The edges of the day are wonderful times to make landscape photos. During the golden hour, the quality of light is beautiful: diffused and warm with a flattering low angle. Blue hour light is also soft and creates excellent conditions, though of course the color temperature is quite different.

Everybody knows these are the optimal windows in which to work. The rest of the time, the light varies between "meh" and lousy, especially at midday. Those hours are best utilized for other activities, like scouting or traveling to the next location.

But what if everybody is mistaken?

First, consider the math. Blue hour isn't really a full hour: it's more like twenty minutes, or maybe a half hour. Adding golden hour to that, we end up with a total of three hours each day (morning plus evening) during which we can make photographs. But wait: what if it's overcast? That eliminates the golden hours. Now we're down to just 60 minutes.

So much for productivity.

Maybe we should reframe the way we think about light. What if it is neither inherently "good" nor "bad?"

It's more useful to observe how different types of light affects the appearance of various subjects, and to consider what kinds of photographs can be created given the way the landscape is being lit.

"Wherever there is light, one can photograph."
~Alfred Stieglitz

All sorts of photographs can be made outside of the golden and/or blue hours. Experiment with techniques like these when the sun is overhead:

Remove Color
When the sun is high in the sky, it creates a lot of contrast along with deep shadows. This can be a great time to think in terms of black and white - the perfect vehicle with which to emphasize light, shadow, shape, and texture. If you've shied away from working in harsh light, consider the work of Ansel Adams. He is, of course, renowned for his use of high contrast black and white. It worked pretty well for him; give it a try.

Backlighting
Positioning sunlight behind the subject is another tool that can be used to create dramatic images. Backlight can emphasize the edges of the subject (sometimes making it appear to "glow"). You can also use it to create silhouettes or to accentuate atmospheric effects like mist.

Open Shade
It's often possible to find open shade, even on the sunniest of days. You can also make your own shade with a diffuser (collapsible diffusers are relatively inexpensive). No diffuser? Use a jacket, an umbrella, or your own body to block the light.

Abstracts
Particularly when it comes to intentional camera movement, you can work in just about any kind of light.

Storms
Hot, sunny afternoons during the summer months sometimes cook up showy storms. While they're forming, the skies can be quickly changeable and provide dramatic subject matter. (Just make sure to stay safe when lightning is involved. If you can hear thunder, you're in range of lightning.)

Each of the following photographs were made between 10am and 2pm on bright, sunny days.

Desolation Canyon, Death Valley National Park
1:08pm
High contrast black and white emphasizes the lines and shapes of these striking badlands.

 Fremont's Cottonwood near Moab, Utah
11:40am
This is an example of what backlighting can do to a subject. Areas near the Colorado River in and around Moab are dotted with these cottonwoods which, before they leaf out, look like they are glowing when backlit. At other times of the day, this tree is mostly inconspicuous.

 Unusual autumnal color along the Swift River - White Mountains, New Hampshire
11:16am
Super-sunny day, but the canopy from abundant trees near the shoreline provided the shade I needed to create even lighting.

 Backcountry in Canyonlands National Park, Utah
12:45pm
A study in contrasting colors. Midday sun and clear atmosphere intensified the vibrance of the sky.

 Rapidly building monsoonal energy - Teton Valley, Idaho
12:51pm
Intense sun, smack dab in the middle of the day. I retained the color to anchor the top and bottom of the frame with the blue/yellow contrast.

Ignore the clock. You can shoot whenever you wish, as long as you understand how to work with the conditions.

The hours between 10am and 2pm need not be relegated to the ash heap, and you don't have to sit around twiddling your thumbs waiting for astronomical twilight before you can pull the camera out.

Regard light as a tool in your kit. Know what you can do with it. Your creative vision will expand, you'll begin to recognize more potential subject matter, and you'll make more photographs!