Outdoor Photography January 2018

HOW TO TAKE INSPIRING WINTER LANDSCAPES
landscape | wildlife | nature | adventure
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In awe of winter
THE ISSUE
at a glance
Now we’ve all had time to adjust to the better people. Struggling through deep
lack of daylight at this time of year, the snow in ferocious weather conditions
full majesty of winter can seep its way with many kilos of camera gear is
into our veins, be processed by our rarely number one on anyone’s list of
minds and produced as beguiling fun things to do with your spare time,
images that capture the emotion of but if we endure and emerge the other
the cold darkness that envelops us. side – with or without photographs
Of course each season is distinct to show for our efforts – the sense
but there is something particularly of connection to the land and nature
entrancing about the period when and an understanding of our remarkable
snow and frost radically transform the existence are never more visceral.
We talk with landscape and travel
nature of the landscape and the biting It’s clearly a good idea to know what shooter James Appleton – page 16
northerly winds deliver hints of what you are doing when conditions are
it is like to live in more arctic climes. wintery out there, but there are also
While many photographers do, plenty of reasons to take carefully
somewhat understandably, resist the managed and mitigated risks too.
urge to tumble out of bed in the Camping out wild on a mountain
winter pre-dawn to tackle the might seem to be something best kept
elements and be on location when the for the warmer seasons, but do it when
light begins to do its magic, the there is snow on the ground and you
rewards for those brave souls that do are guaranteed to feel uplifted (not to
go forth can be substantial. Beyond mention that a warm cuppa brewed on Dylan Nardini shows us how to get
the opportunities to enjoy locations a camp stove will never taste so good). great images in winter – page 28
with nobody else there and to take Add to these benefits the chance
photographs that through simple of seeing compelling
math are extraordinary merely by light, and winter can
being in existence, there are deeply be the best time of
meaningful experiences to be had that the year to explore
can make us better photographers and with your camera.
Steve Watkins Andrew Parkinson on the importance

of integrity in photography – page 40
GET IN TOUCH
Email Contact the Editor, Steve Watkins, at stevew@thegmcgroup.com
or Deputy Editor, Chris Gatcum, at opdeped@thegmcgroup.com
Write to us Outdoor Photography, 86 High Street, Lewes,
East Sussex BN7 1XN
Keep right up to date with news by ‘liking’ OP at

facebook.com/outdoorphotographymag
Fergus Kennedy puts the Nikon D850
Follow us on Twitter at http://twitter.com/opoty ON THE COVER through its paces – page 90
Dylan Nardini took this stunning image
Find us on Instagram at instagram.com/outdoorphotographymag/ of Buachaille Etive Mòr, in Scotland.
January 2018 Outdoor Photography 1
1 Eds letter 226_SW.indd 1 28/11/2017 12:22

JANUARY
TOP STRAP2018
16
FEATURES & OPINION LEARNING LOCATIONS

16 In conversation with…
James Appleton
43 Landscape
Photographer of the Year
ZONE GUIDE
Landscape and travel Our favourite images from the 28 How to shoot 54 Turnberry lighthouse,
photographer James Appleton 2017 competition winter landscapes Ayrshire
talks to Nick Smith about his Dylan Nardini shows you how to Putting its political associations
colour-charged st yle and love 63 Inside track make the most of winter’s many to one side, Scott Campbell
for creating unusual images Nick Smith reflects on photographic possibilities in enjoys the natural beauty of
of classic vistas the somewhat precarious his in-depth guide to achieving this Scottish landmark
nature of life on the road as stunning seasonal landscape
25 One month, one picture a freelance photographer after images when the cold sets in 57 St Thomas à Beckett
Pete Bridgwood tries a different an assignment was cancelled church, Kent
approach and celebrates the because of Hurricane Irma 36 Quick guide to… An uncommon bout of frost
beauty of the mundane in an decisive moments in encourages Stewart Mckeown
urban environment 65 Insight wildlife photography to travel on New Year’s Day to
Mark Littlejohn looks at a key Richard Garvey-Williams’ top this picturesque location
39 Lie of the land compositional element, the tips on the right time to fire the
James Mills sets out one use of scale, and how it can shutter and capture compelling 58 Viewpoints
mist y morning to capture the enhance a landscape image images of animals Eight top UK locations to
enchanting quality of a wood shoot this month, including
not far from his house 70 In the spotlight photogenic spots in Cheshire,
British photographer Paul Isle of Skye, Dartmoor and
40 Opinion Gath enjoys working in Tyne and Wear
Andrew Parkinson champions a range of genres – be it
the ‘honest’ photograph, wildlife, landscape, drone or
and explains why it is more astrophotography. He shares
important than ever to maintain some insights with Nick Smith
integrity in our imagery
2 Outdoor Photography January 2018
2_3 Contents_226_SW.indd 2 23/11/2017 16:04

80
104 58
NATURE GEAR ZONE REGULARS YOUR OP
ZONE 88 Gearing up
We round up eight new bits
8 Newsroom
Keeping you up to date with the
14 Social hub
Your feedback, thoughts
78 Life in the wild of kit to keep you pushing latest photography, outdoor and musings on all things
Laurie Campbell tackles the limits in the outdoors and conservation stories photography related
the subject of preserving
individuality in our photography 90 Camera test: 10 Out there 62 Next month
in an increasingly homogenised Nikon D850 Our selection of the newest A sneak peek at the February
and interlinked world With its 46MP sensor and photography and nature books 2018 issue of OP
continuous shooting mode of plus we look at painters, both
80 Photography guide 7fps, Nikon’s latest full-frame past and present, who strived 68 Your chance
Laurie’s nature highlights for DSLR has an impressive to evoke a sense of a place in Discover how to get your work
this month, plus world wildlife specification. Fergus Kennedy their work published in OP
spectacles and great British puts it through its paces
waterfalls to photograph 12 The big view 73 Reader gallery
The latest exhibitions, nature Our pick of this month’s best
83 A moment with nature events and a new mountain reader images
Perseverance pays off for film, screening at a cinema
husband and wife duo Andy near you; plus we take a look 104 If you only do one thing
and Sarah Skinner with a at three awesome photography this month…
grizzly sow in British Columbia galleries in the USA The winners of our autumn
colour photography
84 On the wing competition, plus details
Steve Young jumps at the of our next challenge
chance to photograph a mega
rare bird in the Peak District, NEXT ISSUE ON SALE 11 JANUARY 2018 112 Where in the world?
even though it means a four- How to shoot black & white landscapes Correctly identify the location
hour round trip Images from the masters of landscape photography featured and you could win
The winners of our Lakes and Rivers photography challenge a Sprayway Aldan vest,
worth £100!
2_3 Contents_226_SW.indd 3 23/11/2017 16:04

IN THE MAGAZINE THIS MONTH...
16 16+63
+70 EDITORIAL
Editor Steve Watkins
stevew@thegmcgroup.com
Deputy editor Chris Gatcum
opdeped@thegmcgroup.com
Assistant editor Anna Bonita Evans
anna.evans@thegmcgroup.com
25 28 Designers Toby Haigh, Olly Prentice
James Appleton is a Nick Smith is a writer and Pete Bridgwood is a fine Dylan Nardini is a landscape ADVERTISING
full-time mountain and photographer specialising art landscape photographer photographer from South Advertising executive
adventure addict . When in travel and environmental and writer. He is fascinated Lanarkshire. Currently he is Guy Stockton
he isn’t chasing volcanoes, issues. He is a contributing by the creative foundations driving freight trains around guy.stockton@thegmcgroup.com,
aurora or eclipses, he is out editor on the Explorers of landscape photography 01273 402825
Scotland, being inspired
running in the hills trying Journal and is a fellow of the and passionate about by the ever-changing light MARKETING
his best to be a semi- Royal Geographical Society. exploring the emotional that falls on the landscape
professional mountain nicksmithphoto.com elements of the art. Marketing executive
he travels through each day, Anne Guillot
runner as well as a full-time petebridgwood.com while noting spots to return anneg@thegmcgroup.com,
landscape photographer. to with his camera. 01273 402871
jamesappleton.co.uk dylannardini.com
PRODUCTION
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54 Origination and Ad design
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Geographic. He works
exclusively with wild animals,
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for a number of years has
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from Canterbury, Kent. photographer based near professional wildlife messing around in the sea
He specialises in creating Ullswater in the Lake District . photography team from the and playing with gadgets.
atmospheric and evocative He likes the little view more UK, with a passion for the Forty years on, very little Buy OP as an app
images of his local area. than the grand vista and his natural world and more than has changed. He is a marine Get Outdoor
Especially fond of the sea, favourite images tend to be a decade of experience biologist and works as a Photography magazine
he can usually be found at those taken during aimless photographing wildlife. freelance photographer, for your iPhone, iPad or
the coast before work. wanderings close to home. Andy and Sarah currently drone pilot and camera Android device!
stewartmckeown.photography markljphotography.co.uk host photographic wildlife operator for clients such as
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© Marko Schoeneberg / markoschoeneberg.com
6_7 OP226 Opening shot_SW.indd 6 16/11/2017 09:51

Refuge
by Marko Schoeneberg
A historical route during World War I;

a playground for mountain climbing
fans today. On many mountains
in the Dolomites you can still find
signs of this terrible war. Back then,
approaching the Buffa di Perrero
mountain hut was a very dangerous
undertaking, as the hut was located
at the Dolomite frontline. Today,
the Ivano Dibona via ferrata leads
directly past the hut and is one of
the most popular climbing routes
in the Ampezzo Dolomites.
Canon EOS 350D with 20mm
lens, ISO 200, 1/1000sec at f/8
Marko’s compelling image is featured

in The Spirit of the Mountains, a
stunning new book showcasing the
best photographs submitted to the
International Mountain Summit photo
contest. To find out more about the book
and to read our review, turn to page 10
(hardback, Firefly Books, £25).
6_7 OP226 Opening shot_SW.indd 7 16/11/2017 09:51

THE LATEST BULLETINS
NEWSROOM CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

© Biplab Hazra / Sanctuary Nature Foundation
Horrific image scoops photography award

The winners of India’s longest-running wildlife Odisha, Chhattisgarh and Tamil Nadu, among
photography competition have been announced,
with top honours going to Biplab Hazra, a
others,’ it reported.
Sadly, as villages grow and forests are destroyed,
Swindale Beck award
wildlife photographer from West Bengal state, elephants are finding themselves in ever-closer In its annual Conservation Awards, the
for his harrowing and aptly named image ‘Hell proximity with man, with often-disastrous Wild Trout Trust has named the Swindale
is Here’. Hazra’s shocking photograph depicts consequences for both sides. Indeed, a recent news Beck restoration project at Haweswater
in the Lake District the Best Large-Scale
an elephant cow and her burning calf fleeing an report on Sanctuary Asia’s website revealed how
Habitat Enhancement Scheme. The
angry mob that is pelting them with burning tar a herd of elephants entered a village, destroying
river restoration scheme saw Natural
balls and fi recrackers in what has been described 17 homes and making 21 families homeless in
England, the RSPB, the Environment
as an attempt to keep the animals away from the process. While nothing can truly justify the
Agency and Union Utilities restore
human settlements. actions of the mob in Hazra’s photograph, it clearly
natural bends to a stretch of Swindale
There is no denying the immediate shock factor demonstrates just how fragile the relationship
Beck that had been ‘straightened’
of the subject matter, but what is perhaps more between man and the natural world has become hundreds of years ago to create more
disturbing is that this isn’t a one-off incident. in certain areas, and this isn’t something that will farmland. In doing so, the partnership
According to the competition’s organiser – nature be resolved quickly or easily – if indeed a solution slowed the flow of the river, which has
and conservation organisation, Sanctuary Asia exists at all. As the description accompanying not only reduced the risk of flooding
– India is seeing an increasing number of what Hazra’s winning image states: ‘For these smart, further downstream, but also provided
are described as ‘human-elephant conflicts’: ‘In gentle, social animals who have roamed the sub- the more varied habitats favoured by
the Bankura district of West Bengal, this sort of continent for centuries, hell is now and here.’ trout and salmon; already salmon are
humiliation of pachyderms is routine, as it is To see more of the Sanctuary Wildlife Photography spawning in the new meanders.
in the other elephant-range states of Assam, Award winners visit sanctuaryasia.com.
8-9_NEWSROOM_JANUARY_226.indd 8 23/11/2017 13:37

Adobe alternative NUMBER
With prices increasing for Adobe’s software
Finnish moods CRUNCH
© 100 Moods from Finland

subscriptions, it looks as though photographers
seeking an alternative to Lightroom may have a viable
new option in the form of ON1 Photo RAW 2018. 400 Panasonic may
well have wildlife
enthusiasts pricking up their ears,
While the previous incarnation of the software was
more a Lightoom plug-in rather than a standalone as the company has announced the
replacement, the newcomer benefits from a host of Leica DG Elmarit 200mm f/2.8
new features, including HDR, panoramic stitching, a prime lens featuring Power OIS
variety of masking options, and selective noise control stabilisation. On a Micro Four Thirds
– plus other options – all wrapped up in a fresh user camera, such as the company’s
interface. There’s a free 30-day trial available at new Lumix G9, this will provide a
on1.com/products/photo-raw. 400mm equivalent focal length,
There is also good news for people who don’t want but without the weight or price of
to cut ties with Adobe, as the popular Nik Collection a full-frame lens: Panasonic’s
of plugins has been acquired by DxO. The French newcomer weighs 1245g and costs
company, which bought the software from Google, has 100 Moods from Finland is a collaborative project £2,699, compared to Canon’s EF
already implemented Nik Software’s U Point control that ‘aims to export Finland to the world in a 400mm f/2.8 L IS II USM which
technology in its new DxO PhotoLab software. It has completely new way’ according to Miikka Niemi, weighs in at 3850g and £9,499…
also said that it will continue to develop the plugins, CEO and creative director of Flatlight Creative House,
with the next edition scheduled for release later this and the man behind the venture.
© Andy Hay (rspb-images.com)

year. In the meantime, the last iteration from its To coincide with Finland celebrating 100 years of
Google-owned days is available to downloaded for independence, 100 Moods from Finland saw Niemi
free again; head over to nikcollection.dxo.com. and project coordinator Pauliina Silvén-Alamartimo
oversee the creation of 100 videos, each of which was
shot using a 360-degree camera to reveal a corner of
Pay per view Finland. Whether it’s an intimate folk festival, the
northern lights or a snow-covered wilderness, the
viewer can open the video on their smartphone, tablet
or computer screen and rotate the scene to explore
the location in a full 360-degrees. Among the videos
are five locations chosen by ‘people who for their own
part have positively and genuinely contributed to the
0 The RSPB has published its
© Mapics / Shutterstock.com
national image of Finland’. This includes the vice Birdcrime 2016 report, which
reveals 81 confirmed cases of raptor
president of the Sami parliament, Heikki Paltto, who
persecution in the UK, including 41
chose the Ravadas Falls as his personal slice of Finland:
shootings, 22 poisonings and 15
‘the River Lemmenjoki is my home river and the
trappings. However, what is perhaps
Ravadas Falls displays the power of nature and is also
more shocking is that from these
a source of spiritual strength’.
illegal killings there was not one
To view a selection of videos from the project visit
single prosecution.
Lonely Planet describes the Italian town of Positano outdoorphotographymagazine.co.uk – or 100moods.com.
as ‘the Amalfi Coast’s most photogenic (and expensive)
town’ and ‘with vertiginous houses tumbling down
to the sea in a cascade of sun-bleached peach, pink
A positive tern out 3 Professor Alasdair Rae from
Sheffield University has
published A Land Cover Atlas
and terracotta’ it’s easy to see why photographers Of The UK, which interprets the
© Kevin Simmonds (rspb-images.com)
from around the world have turned their lenses in its European Commission’s CORINE
direction. That now looks set to change, though – at land cover data to ‘show the variety
least for commercial photographers – as Positano’s and volume of land uses across
mayor, Michele De Lucia, is imposing a €1,000 fee the UK’. These uses range from
on commercial photography and a €2,000 fee for vineyards at the bottom of the scale
commercial video/fi lm work. Although some critics (a mere 0.0001%) to pastures at the
have branded it a ‘location tax’, the mayor insists it is top (28.7129%), with a wide range
not a money-making scheme, but a deterrent so that of categories in between. The
‘not everyone can tie their name to Positano’, and so fascinating data throws up some
the ‘discomforts and bickering’ caused by photo/video surprising finds: ‘discontinuous
sets blocking the town’s steep streets can be avoided. urban fabric’ (which is places where
The good news is that wedding photographers will The RSPB has reported a successful breeding season 50–80% of land is built on) makes
be able to work in the popular destination without for the little tern, which is ‘one of the UK’s smallest and up just over 5% of the UK’s land
charge – providing they apply for permission at rarest seabirds’. Migrating over 3,000 miles each year use, for example, and Rae has also
least 10 days before the shoot – and there are no from West Africa, the birds start to arrive in April and determined that the Lake District
fees involved for non-commercial photography or spend their summer around the British coast. In recent is only 3% lakes. Visit figshare.
for newspapers, magazines and documentaries. years the little tern population has been in decline, com/articles/A_Land_Cover_
However, the real test will come when the town starts though, with numbers falling by 18% since 2000 and the Atlas_of_the_United_Kingdom_
to implement its new regulations: just how easy will birds classified as an ‘amber list’ species. However, 2017 Document_/5266495 to view or
it be for the authorities to differentiate between a was a positive year, with 617 fledglings raised in the UK. download the freely distributed
‘commercial’ photographer and an amateur armed Gronant Beach in Wales, and Norfolk’s Blakeney Point atlas and to find links to maps for
with a pro-spec DSLR? and Winterton were all key nesting sites. the whole of the UK.
8-9_NEWSROOM_JANUARY_226.indd 9 23/11/2017 13:37

THE LATEST NEW MEDIA
Young orphans at the daily mud bath at Ithumba,
OUT THERE Tsavo East National Park, Kenya, 2017.
BOOK OF THE MONTH

© Joachim Schmeisser
Elephants in Heaven Bringing together 108 images – 93 of which are black & white – this
Joachim Schmeisser book documents one of the world’s largest rehabilitation centres for
teNeues orphaned elephant calves. As well as charming portraits of the animals
978-3-96171-047-8 at play, there are insightful photographs of what the daily routine at the
Hardback, £50 trust entails. Starting at 6am with the first feed, the caretakers are on
Joachim Schmeisser’s visit to the David hand throughout the day to nurture the elephants. Pictures of calves
Sheldrick Wildlife Trust in Nairobi was still suffering from the trauma suffered at the hands of poachers paint
only supposed to be brief – it was really just to a powerful portrait of life at the charity and the work it does.
satisfy his son so he could meet Kibo, a young There’s an interesting mix of compelling documentary and traditional
orphaned elephant he’d sponsored earlier that portraiture here, and Schmeisser often adopts a st yle akin to another
year. After meeting the abandoned calves and those dedicated to looking leading wildlife photographer, Nick Brandt. The foreword by Dr Dame
after them, Schmeisser formed a strong connection to the charity and it Daphne Sheldrick, founder and chair of the David Sheldrick Wildlife
soon became his photographic focus for the next eight years. Trust, is hugely powerful and the perfect set up to viewing the pictures.
The Spirit of the Mountains The Living Forest:

Markus Gaiser and Alex Ploner A visual journey into the heart of the woods
Firefly books Robert Llewellyn and Joan Maloof
978-1-77085-980-7 Timber Press
Hardback, £25 978-1-60469-712-4
This collection of winning and highly Hardback, £30
commended images comes from the last five Attempting to present a complete portrait of
years of the International Mountain Summit, an ecosystem is a challenge, but photographer
a competition that in 2016 saw a staggering Robert Llewellyn endeavours to achieve just that in his latest book,
12,000 photographers enter from more which takes us to all corners and heights of deciduous forests. From
than 100 countries. The 130 images included present breathtaking looking at the diverse range of wildlife to different tree sp ecies, 300
moments at the world’s tallest and most photogenic peaks. The quality vividly colourful photographs reveal the complex web of energy
of the imagery is superb, with a wide range of different photographic and matter that make up a woodland full of life. While Llewellyn’s
techniques on show, including large format, HDR and drone imagery. commitment to document his subject is impressive (we’re even shown
Expect to see inspiring renditions of America’s Half Dome, New the varying patterns made by beetle larvae in tree trunks) there does
Zealand’s Mitre Peak and Indonesia’s Mount Slamet – to name just a seem to be a lack of direction here. The plethora of images can become
few of the summits. The book is organised into four chapters according a little overwhelming, leading one to consider whether the book might
to the competition’s different categories: Mountain Nature, Mountain have benefited from a more ruthless selection process. Despite the
Action, Mountain Faces and Mountain Aerial. quantity, the photographs are still a delight to look at.
10_11 Out there_226.indd 10 16/11/2017 09:59

EDITED BY ANNA BONITA EVANS
CAPTURING THE SENSE OF A PLACE

WILD PAGE TURNERS: We take a look at three books, past and present, that
showcase artists whose work is driven by emotions,
FOUR NEW NATURE BOOKS TO INSPIRE YOU light, colour and space. Leaving the representational
21st-Century Yokel behind, their creations resonate strongly and could
Tom Cox easily feed into your way of capturing the world.
Abrams
Unbound Joan Eardley:
978-1-78352-456-3 A sense of place
Paperback, £16.99 Patrick Elliott and
A witt y and engaging collection of essays that Anne Galstro
together sit somewhere between a family National Galleries of Scotland
memoir and a moving piece of nature writing 978-1-91105-402-3
– with a little bit of folklore, humour and social Hardback, £19.95
history added in. 21st-Century Yokel shows us Released to coincide with a
how intrinsically linked we are to nature and the major retrospective held at
landscape. Unlike anything else you’re likely to the Scottish National Gallery
read over the next few months, this is a delightful, refreshing book that will of Modern Art in early 2017, this book shows how Joan Eardley
have you laughing from start to finish. focused on encapsulating the wildness of the landscapes she
painted. Inspired by raw elements of nature, philosophy and
The Wood for the Trees: her battle with depression, Eardley spent a lot of her time at
One man’s long view of nature Catterline, a small isolated fishing village just south of Aberdeen.
Richard Fortey Often painting in situ, her work was seen as being driven by the
William Collins time and tide of the place. Here, maps depicting the locations
978-1-1019-1156-3 she chose are included, along with a significant proportion of
Paperback, £9.99 previously unpublished works, personal letters and interview
Gifted scientist and writer Richard Fortey transcripts. Speaking of her st yle she once said: ‘I suppose I’m
endeavours to find out more about nature so a romantic. I believe in the emotion that you get from what your
sets out to study a small patch of woodland close eyes show you and what you feel about certain things.’
to his home over a one-year period. Here he
shares his intelligent perceptions of the place as Emil Nolde:
the seasons change, not only revealing the wide Landscapes
variety of Britain’s flora, fauna and fungi, but also Christian Ring
giving a wider view of nature and the important role it has played in shaping DuMont Literature
our culture, history, architecture and industry. 978-3-83219-488-8
Hardback, £12.95
Icebreaker: A voyage far north German-Danish painter
Horatio Clare Emil Nolde was a leader
Chatto & Windus in exploring the evocative
978-1-7847-4-195-2 qualities of colour in the
Paperback, £14.99 Expressionist movement
To celebrate Finland’s centenary, Horatio at the eve of the 20th century. This book focuses on the flat, plain
Clare is invited by the country’s embassy to landscape of north Germany and Nolde’s interest in portraying
join a crew on board the icebreaker ship Otso that point where the light, land and sky meet. With 30 of his
and voyage around the Bay of Bothnia – the watercolour works depicted in this small-format book, we see
northernmost arm of the Baltic Sea. Looking out his technique of vehement brushstrokes and the bleeding of
at a frozen seascape full of nothing but horizon, one colour into another that he so subtly executed.
sky and extraordinary colours provides Clare
with the space to reflect on Finland’s history, Caspar David Friedrich
culture and the fascinating properties ice holds. Johannes Grave
Prestel
The Hidden Ways: Scotland’s forgotten roads 978-3-7913-4628-1
Alistair Moffat Hardback, £80
Canongate Books The Romantic German
978-1-78689-101-3 artist Caspar David Friedrich
Paperback, £20 sought to portray nature as
Retracing and walking Scotland’s lost paths makes a formidable force and has
Alistair Moffat reflect upon the country’s history in become an inspiration to many
a different sort of way. Thinking of the routes the landscape photographers.
Roman armies, medieval pilgrims and his great aunt Striving to capture the beauty,
Annie traversed down prompted Moffat to look at energy and power of the
how the country’s historic events and generations elements, Friedrich adopted a new approach to painting that
of the past have made their mark. From Perthshire draws the viewer into a unique aesthetic experience. In this
to Ballachulish, Moffat explores the land in a personal, inquisitive way and book, excellent reproductions of his works are accompanied by
searches for evidence of the people who helped shape it. insightful essays shedding new light on one of the most popular
artists of the 19th century.
10_11 Out there_226.indd 11 23/11/2017 13:38

THE LATEST WHAT'S ON
THE BIG VIEW

EXHIBITIONS
Common Ground
To 7 April
Southampton City Art Gallery, Southampton
Landscape photographer David Baker holds
a major solo show of his most recent series,
Common Ground, at Southampton City Art
Gallery for the winter and spring seasons.
The four-year project shows Baker exploring
Southampton Common, a 328-acre public
space that was officially made a park in 1844
and is now seen as an integral part of the city.
With a neutral colour palette and soft light, the
collection’s aesthetic echoes the style seen
in Baker’s earlier series, Ridge Trees.
With a mixture of presentation techniques
on show – including framed prints, lightboxes
and a book – the aim of the Art Council funded
exhibition is to encourage visitors to develop
a deeper connection with the common. This
relationship could be in the collaborative or solo
sense, or for artistic or leisure purposes. Baker
hopes the public will share their stories on the
project’s website.
commonground2017.com Water © David Baker
DON’T MISS! AMAZING

ADVENTURE FILM
Mountain
Directed by Jennifer Peedom
Various locations across the UK from
15 December
Directed by Jennifer Peedom (Sherpa:
Trouble on Everest) and with the great
Australian Chamber Orchestra playing the
Kussum Kanguru © Doug Scott score, Mountain is a paean to the world’s
tallest peaks and our obsession with
High Exposure climbing them. Drawn from more than 2,000
To 5 January hours of footage and with carefully selected
D Contemporary, London extracts from Robert MacFarlane’s writings
Doug Scott’s powerful monochrome images, – which are narrated by Willem Dafoe – every
Winter Dunes © Tessa Sinclair second of this 74-minute film captures the
which are currently on show at London’s
inexorable pull of mountains. This is a fine
D Contemporary gallery, reveal the extreme
Here Is All I Want To Be example of great cinematography, writing,
To 4 January beauty of the world’s mountains. Casting the
music and filmmaking.
Darsham Nurseries Café Gallery, Darsham colour spectrum aside to clearly communicate Watch the trailer at
Nature, mindfulness (or being mindful) and the dramatic shapes, texture and scale of outdoorphotographymagazine.co.uk
photography have been inextricably linked since the planet’s tallest peaks, Scott’s images are
the likes of Minor White and Paul Caponigro, and testament to his experience of high altitudes
has had a second wave of popularity in recent in landscapes often untouched by man; known
years. Here we see a display of images of the for completing the first ascent up Everest’s
Suffolk coast that are as much about the process southwest face, Scott has embarked on more
of creating the images as the final result. Tessa
than 40 major expeditions.
Sinclair explores the idea of training oneself to
All proceeds from this exhibition will go
be focused yet remain in a receptive state of
mind when taking pictures. Speaking of the to Community Action Nepal, a charity Scott
series she says: ‘Here Is All I Want To Be is about founded to rebuild infrastructure and hope
being in the present when in nature. It is a journey for victims of the 2015 Nepalese earthquakes.
of images taken in a place that has many layers of dcontemporary.com
history and an ever-changing palette of light.’
12_13 OP226 The Big View_CG.indd 12 16/11/2017 10:00

EDITED BY ANNA BONITA EVANS
GALLERIES IN AMERICA NOT TO MISS WINTER NATURE EVENTS

Visiting America over the next few months and want to see some Pink-footed roost
photography stateside? We’ve picked three galleries to inspire you. 11 January, 3pm
NWT Cley Marshes, Norfolk
A bird that breeds in some of the coldest climates of the north
– including Greenland, Iceland and Svalbard – the pink-footed
goose migrates to northwest Europe, with more than 200,000
wintering here in the UK. With 100,000 of those found in
north Norfolk and the Broads, you’re sure to have plenty of
opportunities to photograph this attractive bird. On this late
afternoon, two-hour, stroll around the marshes, you will witness
hundreds of geese coming in to roost.
norfolkwildlifetrust.org
Winter Wildlife Walk

13 January, 9.30am
WWT London, London
WWT London is a remarkable piece of wilderness in the UK’s
capital. This winter walk around the London wetlands has a
knowledgeable warden as your guide, who will be pointing
out seasonal wildlife and sharing how the team at the reserve
manage the site sustainably. Expect to see flocks of over-
Ice Forms, Irwin Lake wintering birds, such as teal and wigeon, and keep a look out
© Anne Larsen for the elusive bitterns, which are often found hiding out in the
reed beds. You might even catch a rare glimpse of bearded tits
Exploring Light: or waxwings.
John Sexton and Anne Larsen wwt.org.uk
To 7 January
Ansel Adams gallery, California Winter Waders
Situated in the heart of 20 January, 10am
Yosemite National Park with Churchtown Farm Nature Reserve, Cornwall
views of Half Dome, Glacier Wrap up warm for this three-hour walk around Churchtown
Point and Yosemite Falls, Farm Nature Reserve. This community nature reserve that has a
the Ansel Adams Gallery has Trees Snow in Winter © John Sexton range of habitats, so is ideal for getting a variety of photographs
a programme of inspiring in a relatively small area. While the majority of the site is former
photography all year round weeks are large format black farmland, there is also a significant amount of grassland, wetland,
and a select number of great & white landscape photographs woodland, mudflats and hedgerows; two old quarries can also
American photographer’s work. by Anne Larsen and John Sexton. be found here. Goldfinch and redshank dwell here all year round,
On display for the next three anseladams.com while other winged visitors such as oystercatchers, dunlins, egrets,
avocets and greenshanks are often spotted around the reserve.
Wild cornwallwildlifetrust.org.uk
To 15 January
National Geographic Early Bird’s Golden Hour
Museum, Washington DC 27 and 28 January, 8am
The country’s capital is a WWT Arundel
fitting location for National With sunrise at 7.45am, get to Arundel’s magnificent nature
Geographic’s gallery and events reserve before the crowd to capture atmospheric shots of
centre, as it’s a key source to your favourite wild subjects in low, winter light. Expect to see
greatly expanding the world’s common winter migrants, including tufted duck, poachard and
awareness and understanding mallard (and, of course, Canada geese), as well as Bewick’s
of the planet. On show is Wild, © Michael ‘Nick’ Nichols/ swan, bittern and water rail. Sightings of teal, gadwall, shoveler
a collection of arresting wildlife National Geographic and shelduck are also possible.
imagery by the magazine’s wwt.org.uk
editor-at-large Michael ‘Nick’
Nichols, captured on cutting- Starts Here, which looks at the Winter tree walk at Sydenham Hill Wood
edge camera technology. Don’t organisation’s origins, highlights from 28 January, 1.30pm
miss the permanent exhibition its 129-year history and its future aims. Sydenham Hill Wood, Dulwich
National Geographic: Exploration nationalgeographic.org Trees are at their most dramatic in winter: the strong structural
shapes make them great photographic subjects, especially
Rotella Gallery, New York City when set against a stark sky. It’s also a great time to deepen
If you find yourself on the east coast, why not visit the prestigious Rotella your knowledge and skills in identifying different species. On
Gallery in New York City? Representing some of the industry’s leading this two-hour walk a guide will help you distinguish one leafless
landscape, nature and wildlife photographers, such as Art Wolfe and branch from the next and tell you about the woodland’s history,
David Yarrow, you’ll see a great mixture of high-quality imagery. as well as the London Wildlife Trust’s efforts to restore the area.
rotellagallery.com/contact wildlondon.org
12_13 OP226 The Big View_CG.indd 13 23/11/2017 13:39

THE LATEST FEEDBACK
SOCIAL HUB
We love hearing your views and opinions. Write to us, tweet us or join the conversation on Facebook and Instagram!
Email your letters and comments Tweet us at Connect with us at facebook. Follow us at instagram.com/
to anna.evans@thegmcgroup.com twitter.com/opoty com/outdoorphotographymag outdoorphotographymag
A good idea, shoot film if that’s what you know works and Back to the future
LETTER OF
THE MONTH
but without the gear you’ve still got the equipment to hand? I read Pete Bridgwood’s One Month, One
I agree with Steve Watkins You could also argue that no camera (or Picture article in OP225 with some interest, as
that you don’t need the latest camera gear subject) actually requires a 16fps shooting rate. it contained a couple of points that resonated
to produce great pictures (The Inner Creative, Top sport and wildlife photographers didn’t have with me as a fi lm photographer. It is very true
OP224). In a way, I proved him right by being that luxury until recently, yet they still managed that there is a resurgence of interest in fi lm
Commended in the 2017 International Garden to capture those elusive ‘decisive moments’. So photography, but why is that? Among younger
Photographer of the Year Competition, with perhaps technique – especially timing – is the photographers it is possibly seen as a hip thing
an image taken on my trusty nine-year-old area to look at here, rather than equipment? to do, in the same way as listening to vinyl
Canon EOS 5D MkII. And as for limited dynamic range? Pah! Bracket records. However, I haven’t seen many hipster
However, I am no longer able to afford the your exposures and blend them so you’ve got all landscape photographers on my travels around
latest cameras I do feel that I am working with the dynamic range you want! the UK, so there must be something else and
my hands tied compared with others. Don’t It may be that a high ISO will be beneficial for I think Pete has touched on this in his article:
get me wrong, my EOS 5D MkII serves me star shots, but many of the items on your wish list it is the ability to convey emotion better.
very well for most of my photography and are potentially already in your hands. It might If, like me, you believe that the art of
is great to use, but 30–50MP resolutions mean a bit more work at the editing stage (and landscape photography is about conveying
and 16 fps are delights I can only dream of. some techniques will admittedly only work with the feelings you had when creating the image
I also cannot take multiple exposures – as I certain subjects), but perhaps your hands are not to the viewer, then emotion must surely
used to in the days of fi lm – so the artistic tied as tightly as they first appear! be part of that process. I think that fi lm’s
images we have been treated to in Outdoor gradual transition between tones and colours
Photography over recent months are beyond my can convey this much more effectively than
reach. And when photographing the night sky the defined steps that are part of the digital
I am restricted by limited dynamic range and process. I also believe that the whole time-
having to use exposures of 30sec (or longer in consuming process of creating an image on
most circumstances), which result in unsightly fi lm results in more of the photographer
star streaks, instead of twinkling pin points being put into the image.
of light. Oh for an ISO of 12800 instead of my Dave Varo, email
6400, freeing me up to take a 20sec exposure
© John New
on a sensor that does not seem to know the OP says: This may be complete hokum, but
meaning of the word ‘noise’! perhaps another of film’s emotive qualities stems
Wendy Newing, email from its tactile and enduring nature?
Man up When you shoot ‘analogue’ images you have to
OP says: Firstly, congratulations on your I read with interest the Human landscapes load the film into the camera, unload it and then
achievement in the competition – like you say it article by Mark McColl (OP225). Last May I had handle the negs, slides or prints as you load slides
confirms Steve’s sentiment that it’s not just the a ‘me-day’; one of those rare occasions where into a projector, set up your scanner or view your
camera that makes the photograph! You should I get out for the day with my camera kit and printed images. Maybe at some subconscious level
also use this as a reminder that your hands are have no one to please but myself. I had wanted getting more ‘hands on’ with your images creates
definitely not tied, especially if you are willing to take the walk up to Warnscale bothy in the a stronger ‘bond’ between the photographer and
to try a few alternative approaches. Buttermere area for quite some time, and as the photograph, in much the same way that a
For example, you dream of higher resolution the weather was on my side it was game on! carrot from the supermarket never quite tastes as
images, so why not try shooting static subjects Once up at the bothy I took some time taking good as one that you plant, cultivate and pull out
in sections and stitching them together? The various shots from different viewpoints and of the ground yourself?
principle is the same as shooting a stitched camera settings – the view over the lake is Images shot on film are also intrinsically
panorama and can be used to create shots with stunning. As I was using my tripod, a thought more ‘permanent’. As they cannot be deleted
any proportions and any pixel count. It’s a bit came into my mind to include myself, to from history at the press of a button, without
more work, but it won’t require a new camera. give the image a sense of scale. I think it a second thought, a longer-term relationship is
As for the multiple exposures that you used to has worked quite well! formed, which again might create a more emotive
take on film, there’s a clue right there – why not John New, email connection. What do you think?
November’s letter of the month winner Elaine Cook receives a £30 voucher
from Triplekite Publishing, and can choose a book of her choice.
This month we’ve teamed up with Triplekite Publishing to give away a £30 voucher so the winner can choose a book of his or her choice.
Set up and run by David Breen and Dav Thomas, Triplekite is dedicated to producing high quality, fine art landscape photography books.
Discover more at triplekite.co.uk/book-shop
14 Social Hub_226.indd 14 23/11/2017 13:39

015_OPHO_226.indd 15 16/11/2017 11:36
16_22 Interview_226_SW.indd 16 23/11/2017 14:21

IN CONVERSATION WITH
James Appleton
Keswick-based James Appleton is a British landscaper
with a flair for capturing timeless vistas with a confident,
colour-charged style that doesn’t hold back
Interview by Nick Smith

ames Appleton says that ‘one of the best his time to exploring Iceland, ‘when I heard of often have a camera with me.’ In his gap-year,
J photos I have ever taken – and it might

well end up being one of the best I’ll ever
take – was of the volcano in Iceland.’ He’s
referring to one of the most readily identifiable
landscapes by a photographer of his generation:
the volcano erupting, I could see instantly that
it was on a pass that I’d been over a few times.
The next neuron brainwave connection that
happened told me “I’m going” – there wasn’t
even a second’s hesitation.’
he prefaced going to Girton College Cambridge,
to read for a degree in Anglo-Saxon, Norse and
Celtic history, literature and languages, with a
rite of passage road trip into the land of Ansel
Adams, photographing the great American
the Fimmvörðuháls eruption at Eyjafjallajökull. James spent the following 48 hours booking landscapes of Yosemite, Sequoia National Park
It’s a stunning elemental image of a flaming some fl ights, updating his kit and contacting and Big Sur. ‘When we got to Death Valley there
mountain with a green flare of the aurora volcanologists in an attempt to learn as much was this absolutely unbelievable sunset, with
borealis flickering in the background across about the event as possible. He admits that he incredible light and colour falling across the
a star-strewn sky. ‘almost hadn’t thought about the photography desert. But when I got home and looked at the
To those who know Appleton’s work, it side of things until I got on the plane and found photographs I’d taken, not a single one lived
encapsulates both his creative spirit and his myself wondering what I wanted to get out up to my memories of these places. I’d taken
hard-nosed dedication to getting his shots. The of the trip. What would be the number one with me a camera that I thought would be
image involved eight hours trekking in dangerous shot in all of this? Then it dawned on me that good enough to take good shots. And it was.
conditions with 40kg of supplies and five days maybe the aurora would make an appearance, The moment of realisation for me was that
on location; planning, improvising, surviving so maybe the shot was an erupting volcano photography had nothing to do with the camera.’
the elements and keeping his appointment with with the northern lights? I drew this image
the muse, who rewarded his dreadnaught on a piece of paper – which, unfortunately, Previous pages Fimmvörðuháls fissure, 2010,
determination with a huge slice of luck. I no longer have – and created a sort of cartoon Eyjafjallajökull, Iceland.
‘Everything came together and it was version of the photograph I ended up with.’ Below Blizzard at Kirkjufell, Snæfellsness
probably the first time I’d gone to a place Recalling his first steps in the direction of peninsula, Iceland.
with an aim that, for all the complications becoming a full-time professional, James Opposite, top Lupins at Lake Tekapo, Mackenzie
and difficulties, allowed me to come out with explains that: ‘I was always into photography, Basin, New Zealand.
an image no one had ever taken, that was in my even when I was a kid. My father always had a Opposite, below left Sunset, Hartland Quay, Devon.
style and would never be repeated.’ Critically for few photos of his on the walls at home. I don’t Opposite, below centre Cerro Torre from Lago Torre,
the 31-year-old British photographer, ‘the image know if that had an impact or not, but whenever Los Glaciares National Park, Argentina.
represents how I felt.’ Having devoted much of we went away on family trips to Snowdonia I’d Opposite, below right Mirador Fitz Roy, Argentina.


This realisation led to what James describes as what I wanted to do – it had been the best night transitional places. You can have a vast area of
an ‘intense three years’ at Cambridge, during of my life. I sat down and said to myself: this is land and a vast area of sea, but the shore is very
which he spent as much time learning about what you’ve got to do, and you’ve got to do it as thin. Likewise you can have the whole length
what was involved in taking a good photograph much as possible on a day-to-day basis.’ of the day and the night can feel endlessly long,
as he did studying mediaeval calligraphy. ‘I was James says that when he goes out in the field but the switch between the two lasts perhaps
lucky, because I had been bitten by this bug, with his camera he’s not there to capture half an hour; a beautiful sunset might last only
realised I had to practise and had been dropped anything in the abstract. ‘I like to be hit in the five minutes. There’s something about this
in this most beautiful city in which to practise.’ face by a view. I like to be in places that are understanding that these moments are fleeting
It was at this time that James became aware sometimes a bit more extreme. For me, this – that they are neither one thing nor the other
– in a clear-cut moment – that he was going to includes sunrises and sunsets.’ Here he recalls – that was once important within cultures. We
be a photographer. While on a family holiday childhood memories of holidays in Cyprus, still have an appreciation of these moments and
in Iceland with his parents and younger sister, taking pictures on film. ‘They were always a reaction to them, which for me is usually about
there was a familial confl ict over how to sunsets. Maybe there’s something deep-rooted dramatic light and the colour that goes with it.’
prioritise their time. The elder brother wanted there. I also think – and I don’t talk about this Seeking out colour in natural landscapes is
to roam the glaciers with his camera, while his too much – that there are some links with what something James pursues with a passion. He
sibling expressed an inclination for spending I studied at university. There are concepts in states matter-of-factly that he doesn’t have an
more time in the city. Compromises were struck, early mediaeval literature of liminal zones.’ easy-on-the-eye colour palette. ‘I like things that
but eventually the undergraduate rebelled, James explains that these are places that are
sneaking out of the hotel while his family slept effectively caught between two worlds; a place Above Sunset at Buckhorn Cove, Mendocino,
to photograph waterfalls in the afterglow of the between places or a time between times. ‘I don’t Northern California, USA.
midnight sun. ‘It was an adventure. When I got necessarily see this as a religious concept, but Opposite Almagelleralp Valley, Saas Tal,
back to the hotel I had such a sense of this being there is a definite human response to these Switzerland.


really grab you. I’m not a minimalist and I don’t James says that the most important aspect to up with was taken on the second day of being
have a soft style. When it comes to colour I don’t creating his landscapes is a deep-seated love of there, having spent a day looking for the exact
hold back.’ Neither will you detect much human the outdoors. Beyond that, there are no secret angle I wanted. I know it sounds crazy, but by
influence is his landscapes (his University of ‘tricks of the trade’ he can impart. ‘I’d love to this time I was using an ND graduated fi lter on
Cambridge stock portfolio is an exception to say that if you buy a certain piece of kit you’d be a 30-second exposure at night, while waving a
this). You get the feeling that with the key able to take a certain type of shot, but it doesn’t Mars bar wrapper slowly in front of the camera
narrative elements being living physical really work like that. If there is a trick at all, it’s to prevent some of the light from the molten
geography such as waterfalls, mountains, planning. It’s about giving yourself enough time lava entering the lens. It was completely
glaciers and volcanoes, James is presenting the to connect with a place when you get there, or bonkers, but it was to try and balance the shot.
world in a way that it would have appeared eons having been there before so you have an idea I’m not a fan of post-production software or
ago, unchanged over geological time. ‘There has of what to expect when you return.’ Something composite images. I always feel that if I can’t
been this trend recently on Instagram for James learned early on is that if you turn up to translate what’s in front of me to the camera,
landscapes needing to have a person wearing a a place without giving yourself enough time, I’m not a photographer. So when this image
nice yellow jacket in them to provide a sense of ‘you can run around like a headless chicken, fl ashed up on the back of the camera and I knew
scale. I don’t mind that sometimes, but my only to find you didn’t get the shot. You have to I’d got it, I was jumping around like a mad man.’
reaction to the landscape has always been to turn up hours beforehand to get to know the
have no sign of humanity in it at all. I love to go place like the back of your hand. Look for the To see more of James’s photography visit
to places that, when you look at them, could be lines and learn where the light will fall.’ jamesappleton.com
how they were 5,000 years ago. I want to see the At this point James returns to his wonderful
raw, elemental side of the landscape that says: shot at Eyjafjallajökull as an example of looking
this is what this place is. I’ll go to great lengths for dynamic lines, learning about the light and Above Lago Pehoé at sunrise, Torres del Paine
to avoid having human elements in my shots.’ improvising technique. ‘The picture I ended National Park, Chilean Patagonia.

Repeat Winner of the TIPA Award
‘ Best Photo Lab Worldwide’

Awarded by the Editors of 28 International Photography Magazines
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023_OPHO_226.indd 23 23/11/2017 16:41

PHOTOGRAPHY TOURS AND WORKSHOPS
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024_OPHO_226.indd 24 16/11/2017 11:38

ONE MONTH ONE PICTURE
It is easy to get weighed down by the numerous factors involved in taking a photograph, whether
it’s the exposure, focus, or even the camera and lens you use to start with. For his latest project,
Pete Bridgwood is exploring how self-imposed restrictions can help unleash greater creativity
My image this month is taken from a shot. To assure this compositional discipline more restrictions we impose on ourselves,
series of photographs documenting the the images are printed with the scanning the more creative space is opened up!
transformation of a century-old bustling artefacts adorning the edges, and – apart Shooting a portfolio of related photographs,
market into Nottingham’s new ‘Creative from the simplest adjustments and spotting – rather than a single standalone image, also
Quarter’. The series is part of my latest there is no post-processing involved. allows for a more mellow style, because it
project, entitled Within One Mile, which You may be wondering if I’ve finally lost eliminates the need to visually arrest the
sees landscape meet social documentary. my marbles. I am making life intentionally viewer. Photographs in a series can be less
Within One Mile is a wrapper for a group difficult for myself by imposing seemingly attention seeking and less dramatic; each
of assignments that share a common theme: random restrictions and using a relatively individual image is a small part of the overall
all of the photographs in any series are low-fidelity medium to create what is context, so it doesn’t have to encompass the
made within a one-mile radius of a specific ultimately a rather understated and entire narrative within a single composition.
location. This could be a large place, such as undramatic fi nal image! To complement this gentler imaging intent,
a city, or a linear one, like a road, but it is all However, when we’re feeling creatively I chose a colour negative fi lm with a unique
about self-imposed geographic limitations. challenged, a commonly suggested solution and honest pastel palette that I love – I find
Within each individual project I’ve is to go out and photograph with a lens we the colours divine.
extended the idea of self-imposed limitations may not usually use, and maybe even restrict
even further. For example, in this instance ourselves to a single focal length. There is a Sneinton Market, Nottingham
I used a single roll of 35mm fi lm and shot paradoxical freeing of creativity that comes Canon EOS 30V with Canon EF 50mm
all of the images unfi ltered and handheld from such self-imposed restriction, because f/1.8 STM lens, Kodak Portra 160 film,
within a one-hour window. I employed a it reduces the number of necessary decisions exposure details not recorded (unfiltered
50mm prime lens (with no cropping allowed) and consequently allows more mental space and handheld), Plustek OpticFilm 7600i,
and gave myself just a single attempt at each for creativity. Extrapolating this idea, the SilverFast 8, Adobe Photoshop CC
25_ONE_MONTH_226_SW.indd 25 23/11/2017 14:26

026_OPHO_226.indd 26 16/11/2017 11:39
LEARNING ZONE
IMPROVE
28 How to shoot 36 Quick guide to...
winter landscapes Shooting decisive wildlife moments
INTO THE SNOW WE GO

Dylan Nardini shares his advice for taking stunning winter landscapes
27 Learning Zone Opener_SW.indd 27 23/11/2017 14:32

Winter landscapes
The dark months ahead can deliver conditions that will enable you to make some of the
most rewarding and unique images of the year. Dylan Nardini explores the winter options
Freezing mornings and evenings, and unpredictable and to a calm dawn landscape coated with hoar frost, or find
adverse weather are just some of the challenges facing yourself in deafening silence as thick, fluff y snowflakes fall
outdoor photographers during winter. Cold, driving rain gracefully to the ground on a windless day. These are the
pushed along by biting arctic winds may seem like the norm moments that should pull you out from under your warm
in these days of global warming, but winter is also a time duvet in the morning and keep you out until the last of
for special moments. It is the season when you might wake the winter light has faded from the horizon.
28_34_Technique_226_SW.indd 28 23/11/2017 14:43

LIGHT
Photographers constantly chase rare moments when the see a whole new landscape developing behind me as the sky Top left
light is magical, and winter is the prime time of year for changes, casting colour over an unexplored area. Clouds Buachaille Etive
seeing exceptional light conditions for prolonged periods. can come alive, while simultaneously reflecting and throwing Mòr, Glen Coe.
Nikon D810 with
Sunrise times mean that your alarm can go off later, or you even softer coloured light across the landscape. If you are Zeiss 25mm
can have more time to get to your location, so you can be lucky enough to have a dusting of fresh snow it will bounce the f/2.8 Distagon
better prepared and refreshed with each outing. colour back again, enveloping the air with a rich winter glow. lens, ISO 100,
The low angle of the sun throughout the daylight hours It is not just the prolonged colour you can exploit, as the 1/3sec at f/11,
means its rays are passing through the dustier part of the low, directional light casts lengthy shadows almost all day polariser, 0.9
ND grad, tripod
earth’s atmosphere for a greater number of hours, which is long, enabling you to make use of just about every hour of
a crucial ingredient in creating warm red, orange or pink tones a winter’s day, no matter how few there are. Low light helps Top right
around sunrise and sunset. The sky is where colour often emphasise form and texture, and mixed with that sp ecial Morning light
occurs in winter, especially when there is scattered cloud, colour it is possible to create something memorable. Used scatters across
the Leadhills
so it is always good to look all around to see if there might directionally over the tops of hills or mountains the low light of South
be something interesting developing. On many occasions will add depth to an image, transforming and bringing to life Lanarkshire.
I have been ready to pack up and go home, only to turn and any foreground detail. Nikon D810 with
Nikon 50mm
f/1.2 lens, ISO
100, 1/125sec
at f/11, handheld
Left
Warm low light
illuminates
a hoar frost
in Sherwood
Forest.
Nikon D810 with
Nikon 135mm
f/3.5 AI-S
lens, ISO 100,
1/125sec at f/11,
polariser, tripod

BLIZZARDS
When you look out of the window and see dark
grey clouds, freezing arctic winds and little light
there can often be a feeling of ‘what’s the point?’
It is tempting to light the fire (or turn the heating
up) and put the kettle on, but what if you took a
gamble, got wrapped up and went for it?
More often than not, when you give yourself that
nudge and force yourself to look for something
in the gloom you will be rewarded. Personally,
I rarely return home with a huge haul of shots
in these conditions, but sometimes there’s an
image of something special – perhaps a fleeting
blizzard or a sudden flurry of large snowflakes on
wet ground – that makes it worthwhile.
A blizzard will help create separation of the
foreground/mid-ground and background by
blurring out the horizon. This is similar to the
effect of mist or fog, which can help to simplify
a scene, so keep an eye out for an incoming
storm or flurry and be ready to shoot your scene.
There are many ways to shoot in blizzards
or flurries, but it’s best to have an idea of the
effect you want to create. If you want to freeze
the individual flakes you will need to consider
the speed at which they are falling and select
an appropriate shutter speed. This may mean
bumping up the ISO, but high ISO noise can
actually be welcome in these conditions, as it will
add to the textures and atmosphere of the image.
You will need to choose the focus point
carefully and most likely switch to manual focus,
as autofocus can struggle to work through the
snow. Focusing on the foreground flakes can be
a particularly effective treatment, as it will throw
the background out of focus, leaving suggestions
of shape and form. A short burst of flash can take
things a step further by highlighting the flakes
just in front of the lens.
PRO TIP
The first snowfall – just before the snow has
started to accumulate on the ground – is a
great time for photography, as it is still possible
to make out subjects through the falling snow.
Look for interesting subject s that are free
from surrounding clutter and use a medium to
long focal length to narrow the view. Combine
that with a wide aperture to add depth and
separation and use a fast shutter sp eed to
freeze some flakes. The result is a subject that
is isolated in the storm, standing out sharply
among its soft surroundings with dots of detail
peppering the foreground.
Top
Snow blows through heathland in South Lanarkshire.
Nikon D810 with Nikon 50mm f/1.2 lens, ISO 100,
1/400sec at f/5.6, handheld
Left
A snow flurry on the Eaglesham Moors.
Nikon D810 with Nikon 85mm f/1.8 AI-S lens, ISO 64,
1/200sec at f/1.8, tripod

DETAILS
Winter landscapes are not all about grand vistas,
but also the smaller details they are comprised of.
The most mundane subject can be transformed
when it has been decorated by the ingredients
of winter, be it the crystalline deposits of a hoar
frost, ice formations or just a thin dusting of snow.
Consequently, one broad scene may have a dozen
individual elements that create more interest when
they are given sole attention than they do when they
are brought together in a wider shot.
This is a great time to capture these unique views,
and it does not always have to be about macro
shooting: unseen shapes and lines will appear in the
larger landscape, so search them out as you dissect
your environment. Ice on water can often create
wonderful shapes that appear randomly, and each
area will have an individual signature. If you are lucky,
fresh snow will add to the design, while the crossover
point from ice to water will change as temperatures
rise and fall throughout the day.
Mixing these unique elements of winter with a
burst of warm light can generate small pockets of
delight. As with other details, it is easy to discount
little patches of light, as we generally look at its
overall effect on a scene. However, the golden glow
from low-angle light glinting through bare branches
enveloped in sparkling morning frost is a feature
of winter not to be overlooked. Concentrate on
stripping down the vista and pulling out the little
areas that, together, create the bigger picture.
Below left Snow covers a submerged branch,
Douglas, South Lanarkshire.
Nikon D810 with Tokina 100mm f/2.8 Macro lens,
ISO 200, 4sec at f/22, polariser, tripod
Below right Light filters through a frost-covered tree.
Nikon D810 with Nikon 135mm f/3.5 AI-S lens, ISO 100, Above Hoar frost on Troon beach.
1/500sec at f/5.6, handheld Nikon D810 with Nikon 24-70mm f/2.8 lens at 32mm, ISO 200, 1/30sec at f/11, handheld

STRIPPED BARE
Woodland plays an integral role in the work of
many landscape photographers throughout
the year, whether it is awash with bluebells in
spring, full of blossom and wildlife in summer
or bursting with autumn colour. It would be
easy to disregard woodland and forests in the
colder months, when most of the foliage lies
decomposing on the ground, but this would be
an opportunity missed.
At other times of the year woodland views are
obstructed by foliage, be it fresh buds, broad
leaves or the autumnal colour show. However,
in winter the branches are stripped bare and
the view can alter dramatically, enabling you
to discover and shoot compositions that are
unavailable during the other seasons.
The thinned canopy also allows light to
penetrate new areas, with light travelling a much
greater distance through the skeletal trees. This
has the potential to transform even the most
familiar of locations, so go out with fresh eyes
and ignore preconceived ideas of which areas
will have the best light.
Without foliage, trees become exposed and
share with us their individual shapes. Every kink
and twist is revealed and you can make their
form the main element in a composition. If you
look hard it is usually possible to discover order
among the wiry mayhem of branches, and a
dusting of snow will aid you by accentuating
the lines and shapes. With snowfall, woodland
naturally becomes more monochromatic, so it
is worth considering a switch to black & white.
This will also help you reduce the subject so that
form and shape are the main focus of the shot.
PRO TIP
Winter simplifies the landscape, and
woodland is no different. Consider reflecting
Above Sticky wet snow hugs birch trees in South Lanarkshire.
this with your kit, by venturing out with a single
Nikon D810 with Nikon 50mm f/1.2 AI-S lens, ISO 200, 1/2sec at f/2, tripod
standard fast lens (I will usually reach for my
50mm f/1.2). This approach will really allow
you to concentrate on parts of the woodland
by getting in among it. Look for small areas
of interest, such as an accumulation of snow
that has rested in an unconventional way on a
thin branch, and shoot wide open to separate
the focal point from the clutter that surrounds
it. You do not necessarily need to look for jaw-
dropping standalone images – an intimate
collection of shots that give an overall feel
of the woodland in its state of cold undress
might work just as well.
Far left The remains of a cultivated woodland in

winter mist near Douglas, South Lanarkshire.
Nikon D810 with Nikon 50mm f/1.2 AI-S lens,
ISO 64, 1/25sec at f/11, tripod
Left A thin dusting of snow in Douglas Water
woods, South Lanarkshire.
ISO 200, 1/125sec at f/2, handheld

SEIZE THE MOMENT
The British weather can be temperamental at
the best of times, but in winter it is at its most
volatile. Huge temperature swings can occur
only hours apart, with sudden cold spells
producing a blanket of snow that then melts
a short time afterwards. This can make it very
difficult to second-guess what the weather
will throw at you when planning a shoot, and
you can often be left disappointed.
One option is to make the most of what
you get, when you get it, regardless of the
time of day. As temperatures drop at night,
occasional overnight snow flurries can occur,
but these are often gone soon after the sun
comes up. But rather than waking up to the
end of the thaw, why not take the bull by
the horns, wrap up warm and head out for
a nocturnal shoot in the snow?
You don’t need go far – just walk around
youe neighbourhood in the silence of
the falling snow and use whatever light is
around, be it streetlights or maybe even
moonlight. Streetlights have changed over
the years, with cooler white bulbs replacing
the traditional yellow-orange ones, and white
balance – either in-camera or during post-
processing – makes it easy to neutralise
any residual cast.
Observe how the light falls on its
surroundings, especially the small area
beneath each lamppost and the areas
adjacent to it. At times the light can be like
the beautiful, moody side-lighting used by
portrait photographers in their studios to
create strong shadows and enhance texture.
It is possible with a little extra effort to find
unique images that will rarely be replicated –
branches weighed down by wet snow under
artificial light can create quietly sad scenes
of urban winter – so make the most of the
immediate conditions in case they are gone
by the morning.
Top left Gentle hints of streetlight on an urban

tree sprinkled with snow.
ISO 1600, 1/30sec at f/2.8, handheld
Top right Streetlight on urban foliage in snow.
Nikon D810 with Nikon 24-70mm f/2.8 lens at
55mm, ISO 3200, 1/30sec at f/2.8, handheld
Right Streetlight illuminating a snow-covered tree.
Nikon D810 with Nikon 24-70mm f/2.8 lens at
50mm, ISO 3200, 1/30sec at f/2.8, handheld

STEPS FOR SUCCESS
High key
Be patient. Things can change quickly in winter and
Shooting high key is a great way to simplify winter images. A lighter
you do not want to miss the ‘magic moment’ after all
exposure accentuates the soft tonal transitions in the landscape and sky, the effort you’ve taken to find your composition.
which can change colour like a soft graduated filter; purples can slowly
merge into pinks, while whites become gradients of grey. Shoot to the If you are lucky enough to be out in fresh snow, watch
right of your histogram and allow your subject to stand out from where you walk. You can spoil a scene with your
footprints before you have managed to shoot it.
this blanket of subtlety.
Consider every element of winter as being unique
and use it as best you can. Even the thinnest dusting
of snow can help to create an intricate leading line.
Never take your eye off the sky; it can often create
something special at a moment’s notice.
Scout out your winter locations all year round. Look
for areas that might have something hidden by
foliage that will be of interest and visible in winter.
With the sun remaining low in the sky it is important
to consider if its light will reach your location in
winter – some areas remain in shadow the whole
day. Determining this beforehand may prevent
a wasted journey.
Always dress appropriately for the conditions and
take extra warm and rainproof/windproof layers.
Gloves, a hat and good footwear are essential.
Expand the wonders of the winter sky by looking
for reflections on water, ice or even snow.
Use intentional camera movement to accentuate
the shape of tree forms against a white winter floor.
Isolate a subject to create minimalist compositions
– this can help reinforce the feeling of remoteness
that is often associated with winter.
Moffat Hills in rising winter cloud.

Nikon D810 with Nikon 50mm f/1.2 AI-S
lens, ISO 100, 1/125sec at f/11, handheld

#ITSNOTYOUITSME
I NEED
MORE SPACE
Photographer: Steve Gosling stevegoslingphotography.co.uk, steve_gosling
TIME TO BREAK-UP WITH YOUR OLD DSLR?

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Together with its robust construction, this compact camera goes where DSLR cameras can’t.
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035_OPHO_226.indd 35 23/11/2017 09:39

QUICK GUIDE TO…
Capturing the ‘decisive moment’ in wildlife photography
The moments when everything comes together in a wildlife photograph to produce
something truly special are rare and fleeting. Richard Garvey-Williams considers Above Altercations
what can be done to improve your chances of capturing the perfect moment between hippos
were frequently
kicking off in the
I was watching a wildlife documentary the moment when the whales broke all the difference and illustrates perfectly Serengeti as the
recently, in which attempts were being the surface. Then, the guide alerted one of the key points in capturing the water levels fell
made to fi lm humpback whales working the cameraman to the importance of best photographs: understanding the in the dry season,
as a team, blowing bubbles to corral listening out for the piercing scream that behaviour patterns of your subject will forcing them into
closer proximity.
herring shoals and drive them to the the whale beneath the shoal emits to enable you to predict where and when
Capturing these
surface in order to engulf them in their drive their prey towards the surface, and things are most likely to occur. moments involved
enormous mouths. Initially, there were suggested using this to determine where Familiarity with a particular location reacting quickly
a number of failed attempts to capture he should point his camera. This made and its animal populations is another to sudden noises
critical asset. Unfortunately, due to the and any sense of
constraints of our limited lifespans we disturbance.
Canon EOS 5D with
can’t expect to become familiar with the 500mm lens and
intricacies of behaviour, lifestyle and 1.4x converter, ISO
environment of all our chosen subjects, 200, 1/320sec at f/8
so turning to a good local guide is often
Left Territorial
the answer. disputes were
On safari in Africa, photographers are erupting regularly
invariably astonished by their guides’ between the few
ability to spot various creatures. It isn’t coots on this lake.
Being prepared with
that their eyesight is markedly superior,
appropriate settings
simply that they know from experience and firing off a burst
where to look and where things are likely of shots enabled
to happen. The same applies to less exotic me to come away
locations as well; the staff at a nature with this dynamic,
reserve or national park are likely to be graphic image.
Canon EOS 5D
aware of the creatures inhabiting the area, MkIII with 500mm
and their behavioural patterns, which can lens, ISO 320,
help steer you in the right direction. 1/2500sec at f/8
36_37_Quick guide_226_SW.indd 36 16/11/2017 10:07

Tips for success
Having defined a few of your goals,
research where you need to be
and when you need to be there to
maximise your chances. Consider
what equipment you might need,
including any supplementary lighting.
Visualise your ideal image and think

what you will need to do to manifest
it. What camera settings and focal
length are likely to be appropriate, and
where should you position yourself to
record what you are anticipating in the
desired way?
Many aspects of behaviour are

repeated, which gives you the
opportunity to try again and again
until you get it right. You should strive
for perfection, but not in any way that
might stress your subjects – always
place the welfare of your subjects
above your photographic ambitions.
Top left The array of postures of these

crowned cranes creates an intriguing
sequence running from left to right. I
only had a split second to react to this.
Canon EOS 5D with 500mm lens and
1.4x converter, ISO 100, 1/50sec at f/8
Left Luck, of course, will also play a role.
It was pure good fortune that this individual
timed its dust bath to perfection.
Canon EOS 5D MkIII with 100-400mm lens
at 100mm, ISO 320, 1/100sec at f/10
Below This lone giraffe was making its
way through low acacia scrub in Nairobi
National Park. I asked our guide to drive
to where I felt I could create a pleasing
composition with the giraffe and distant
city, and then waited for the giraffe.
Canon EOS 5D MkIII with 100-400 lens
at 400mm, ISO 400, 1/100sec at f/18
Preparing mentally
Remain ‘in the moment’. Concentrate
and be continually aware of what your
subject is doing. Anticipate what this
could lead to.
Think about the course of movement

that your subject is taking so you can
time your shot to provide the optimum
composition and pleasing expression
of its gait. Fire off bursts at appropriate
times to improve your chances.
Although you are likely to be following

the antics of your subject through
the viewfinder, try to be aware of
what other individuals are up to in
the vicinity. A second pair of eyes
can prove invaluable.
36_37_Quick guide_226_SW.indd 37 23/11/2017 14:44

038_OPHO_226.indd 38 22/11/2017 14:57
LIE OF THE LAND
Hidden among the tangled trees

For James Mills there is immense satisfaction to be had from creating order from the chaos of
a woodland scene, but how best to approach this? The key is to distil the essence of the place
My alarm rings. A quick glance ancient. Instead, man has shaped them woodland with a child-like innocence,
through the curtains reveals the over the centuries; in many cases it is allowing our imagination to run wild.
forecast of mist is correct, and I am off simply disused gritstone quarry land Most of all, though, we need to revel
to one of the woodlands in my corner reclaimed by nature. However, visit on in the atmosphere of the place, rather
of the Peak District, hoping to seek out a misty morning and for a few fleeting than fretting about getting ‘the image’.
some elegant dancing birch, majestic hours they can be transformed into Whether it’s a stark winter view,
beech with wonderful autumn colours a magical ‘otherworld’; a dense, moody, fresh spring woodland or a musty,
or some gnarly, ancient oak. I find foggy wood full of graphic shapes as decaying, colour-fi lled autumn scene,
woodlands wonderfully calming and background clutter disappears. Yet woods reveal their secrets slowly.
refreshing places to visit. It could how might we go about fashioning Return to the same place and look and
be that there’s something primeval a unique, personal and intimate scene look again. Notice how it changes with
about ancient woods that unlocks from these wild, tangled areas? How the seasons and how this reveals new
a deep connection to our hunter- do we ‘feel’ the woodland? How do we compositions and areas of interest.
gatherer past, or perhaps it is down find the right mindset for creating? Try to be at one with the wood and
to memories of childhood; of camping How do we get ‘in the zone’? treat it as a safari with a camera in tow,
and dens. There are many options. We can rather than trying to force an image;
In truth, though, these woods are relax, slow down, stand still and – who knows, perhaps you will start to
not primeval, or even particularly as some people suggest – observe the see things differently?
39 Lie of the land_226_SW.indd 39 23/11/2017 14:45

OPINION
To live a lie
As an increasing number of photographers feel the need to indulge
in ever-more dramatic and involved processing to make their images
stand out, Andrew Parkinson argues we should be eschewing these
unreal pictures and championing ‘honest’ imagery instead
I have always considered myself a ‘full always I have to straighten the horizon! It is an oak tree in waiting, a mere brush
disclosure’ photographer; someone who Other than that, nothing is added stroke in the direction of the finished
puts honesty before ego, authenticity and nothing is taken away – give or masterpiece. For some, there are no
before artifice and ethics before images. take the odd dust spot. My intention rules about what can or cannot be done:
It’s not a particularly complicated is always to maintain the integrity of ‘If the image lacks it, then add it’ seems
process, I just tell the truth about all both the original image and the original to be the predictable refrain. Never, it
aspects of my work and my images experience, and the act of processing is seems, is this dubious approach more
are an accurate reflection of what simply a fi nishing touch on an authentic prevalent than in the peculiar and
I experienced at the time. Like all end product. I think this is what is occasionally murky world of the ‘fi ne
digital images, my Raw fi les do require known as ‘photography’. art’ photographer.
some optimisation prior to publishing However, it is fair to say that these Of course, it goes without saying
and I will usually apply a small amount prosaic values are not shared by all that it is technically none of my damn
of contrast and saturation, perhaps image makers. For some, it seems the business what other photographers do
a little colour correction and almost original Raw fi le is merely an acorn. (or do not do) with their own hard-
40-41_Opinion_226_SW.indd 40 23/11/2017 14:49

earned images, but in our rapidly average; badly lit and badly executed. I shall be doing no such thing, Opposite and above
changing world I often look on with It might be a bear, it might be a lion, though. I loathe the artifice of the Two interpretations
interest – and occasionally bemusement it might be wild or it might be captive: black & white version. The unreal and of the same image.
The monochrome
– at some of the trends that ebb and the audience will never know. The overly contrasted bear looks as if it has ‘fine art’ version is
flow. As more and more people try magic does not occur in the field – this been clumsily cut and pasted and the likely to draw more
to eke out a living by following their is simply where the Raw materials are tediousness of the Photoshop-added attention, but the
dreams we are increasingly bombarded mined – it occurs on the screen of vignette – introduced solely to darken colour photograph
with images so unreal that they have a computer, and the photographer the corners – creates the illusion that is a truer reflection
of the moment.
long since left the realm of photography. is instead a composer as the artifice is I was perhaps shooting through some Nikon D3s with
One only needs to scroll through the orchestrated. Multiple images can be serendipitous window from my place 200-400mm
pages of Instagram to see the level merged, miraculous anomalies can of concealment. The moody, brooding lens at 400mm,
of absurdity that is applauded, the happen with the light and the sky really sky is nothing more than a convenient ISO 800,
falsehood that goes unnoticed and is the limit. It is here that the fi nal invention, created to mitigate the 1/3200sec at f/4
the invention that is praised. image can rise phoenix-like from the absence of foreboding; it is the
In a world largely ignorant to the embers of mediocrity. impending storm towards which the
duplicity of the desperate, my critical Accompanying this text are two bear is seen striding confidently.
eye is growing weary of this fakery. examples of the same image of a young I don’t doubt that if I posted both
More so now than ever the natural male grizzly bear, captured during images on social media the ‘fi ne art’
world is dependent upon the honesty a wonderful encounter on a remote version would garner more attention,
of image makers to produce authentic Alaskan beach; I chose a particularly more awe and more kudos, but such
renditions of what they saw: we need average bear image from the sequence praise would be false, undeserving
to inspire with reality, not distract simply because it’s best suited to and hollow. For me, the image is a lie.
with deception. demonstrating the point. Of the two It is an unrealistic fantasy composed
‘Fine art’, it seems, is concerned images, my wife by far preferred the of exaggeration, invention, manipulation
only with the apex species (the gallery monochrome ‘fi ne art’ version. ‘Perhaps and deceit. I have effectively and
walls are no place for a water vole) you should process a few more of your shamelessly put the art into artifice
and the images, when viewed without images like this’ she quipped, ‘they and I could never bear to have my
the deceit, often seem mundane and might sell better!’ Ouch! name associated with such falsehood.
40-41_Opinion_226_SW.indd 41 23/11/2017 14:49

042_OPHO_226.indd 42 24/11/2017 15:08
PHOTO SHOWCASE
LANDSCAPE PHOTOGRAPHER
OF THE YEAR 2017
Now in its eleventh year, this landmark competition
features in every UK landscape photographer’s
diary and has once again delivered a stunning set
of awarded images. These are some of our favourites
HIGHLY COMMENDED,
YOUR VIEW
Colin Bell
Overleaf
Dalt quarry, Borrowdale,
Cumbria, England. LANDSCAPE PHOTOGRAPHER OF THE YEAR
Benjamin Graham
Nikon D800 with 70-200mm
Diminutive dune, sand forms at low tide,
f/4 lens at 200mm, ISO 100,
West Wittering, West Sussex, England.
1/5sec at f/11
Nikon D810 with Nikkor 50mm f/1.4 lens,
ISO 64, 0.6sec at f/11, tripod
43-50 OP226 Showcase - LPOTY_SW.indd 43 23/11/2017 14:55

Top left Bottom left Above
CLOSE TO NATURE, WINNER Sarah Hanson OVERALL WINNER AND
Ross Hoddinott Brown hare (Lepus europaeus) URBAN WILDLIFE, WINNER
Emerald damselflies (Lestes sponsa) With my local brown hares proving difficult to Daniel Trim
I’m always looking to capture less conventional find I explored an unfamiliar footpath in the Pied wagtail (Motacilla alba)
close-ups – maybe through creative lighting, south Pennines, West Yorkshire. As I reached In winter, pied wagtails roost communally in
use of depth of field or my choice of focus. With the edge of the moorland, I could see two hares urban areas, both for protection and for the
this image, taken near Broxwater, Cornwall, leaping among the dry heather. Photographing additional warmth given off by buildings and
I wanted to place the emphasis on the delicacy them in motion was impossible, as they were too lights. This extra degree or two can make the
and design of the damselflies’ wings, so carefully fast and their appearances too fleeting. But when difference in harsh weather. Here, a single
placed my focus on the wingtips. This type the female escaped her male pursuer, he paused individual out of hundreds in the roost is
of shot is very Marmite – you’ll either love to peer at me from his camouflaged position, silhouetted by the lights of Terminal 5 at
it or hate it! enabling a split-second shot. Heathrow airport.
Nikon D810 with Nikon 200mm f/4 macro lens, Nikon D500 with Nikon 80-400mm Canon EOS 5Ds with Canon 500mm
ISO 800, 1/200sec at f/8, tripod AF-S f/4.5-5.6 G ED VR lens at 400mm, f/4 L IS USM lens, ISO 2500, 1/160sec at f/4
ISO 1250, 1/1000sec at f/7.1


PHOTO SHOWCASE
Opposite, top
COMMENDED,
CLASSIC VIEW
Jake Turner
Emsworthy Mire barn
in Dartmoor National
Park, Devon, England.
Fujifilm X-T2 with
Fujinon 16-55mm f/2.8
lens at 16mm, ISO 200,
1/15sec at f/11
Opposite, bottom
COMMENDED,
CLASSIC VIEW
Martin Steele
Rainstorm over Loch
Linnhe from Onich,
Highlands, Scotland.
Sony Alpha 7II with
70-200mm f/4 G OSS
lens at 200mm, ISO 100,
1/160sec at f/11
COMMENDED, CLASSIC VIEW

Paul Mitchell
Frost light, Stoke Common, Buckinghamshire, England.
Nikon D810 with Nikkor 70-200mm f/4 lens at 200mm, ISO 64, 1/4sec at f/11

COMMENDED,
CLASSIC VIEW
David Speight
Ben Nevis and Loch
Linnhe at Corpach,
near Fort William,
Highlands, Scotland.
Canon EOS 5D MkII
with EF 24-105mm f/4
L IS USM lens at 55mm,
ISO 100, 15sec at f/8,
Lee Little Stopper
COMMENDED,
YOUR VIEW
Simon Byrne
Solar, Cambridgeshire,
England.
DJI Mavic Pro with
lens at 4.7mm, ISO 134,
I/100sec at f/2.2

PHOTO SHOWCASE
COMMENDED,
CLASSIC VIEW
Tony Gill
Electrolight at
Marshwood Vale,
Dorset, England.
Canon EOS 6D with
Tamron 150-600mm
lens at 350mm,
ISO 1250, 1/50sec at f/8,
Manfrotto tripod
COMMENDED,
YOUR VIEW
William Dore
Pond life, Gailes,
Ayrshire, Scotland.
Nikon DF with 50mm
f/1.2 lens, ISO 6400,
1/100sec at f/4

COMMENDED, YOUR VIEW
Matt Cooper
Alum Bay, Isle of Wight, England.
DJI Phantom 4 Pro, ISO 100, five bracketed shots at f/8 blended in Photomatix Pro
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can be seen on the Balcony of London Waterloo station until 4 February 2018,
followed by a tour of selected stations nationwide. The awards book, Landscape
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051_OPHO_226.indd 51 24/11/2017 10:47

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052_OPHO_226.indd 52 22/11/2017 16:31

TOP STRAP
ACCESS RATING
These are based around
an ‘averagely fit’ person.
Below are loose guidelines
to what thee ratting
ingss mean
mean
(N.B. the
heyy are
a ass ssigned
ed by
the author andnd not verifified
by OP.
P Walk didist
stance
anc s are
a
one-wa
w y only
o l ):
1/5 Easy access. You

can prett y much get straight
out of your car and quickly
Roker lighthouse, Tyne and Wear by Malcolm Bawn
be at the viewpoint via good
quality paths.
2/5 Some gentle

walking is involved
(generally less than a half
mile), which may be on
LOCATIONS
GUIDE
mixed quality paths.
9
10
3/5 A walk of up to 8
about two miles, over
quite easy terrain.
54 Viewpoints of the month
1 Turnberry lighthouse Ayrshire
7
2 St Thomas à Beckett church Kent
4/5 Medium length 1
hike – up to about four
miles over mixed terrain, 58 Viewpoints 5
possibly with some quite 3 Wheal Bush Cornwall

steep gradients.
4 Wildboarclough Cheshire
5 Roker lighthouse Tyne and Wear
4
6 Peek Hill Devon
5/5 The most difficult
7 Meldon Burn Scottish Borders
access. Long hike over
challenging terrain (e.g. 8 Loch Cill Chriosd Isle of Skye
mountains/summits/steep
9 Loch Uidh na h-larna Sutherland
coastal terrain); or involves
travelling over particularly 10 Lossiemouth Moray
extreme ground (e.g. 2
scrambling on rocks/
exposed coastal paths 6
or mountain ridges) over 3
any distance. Map plottings are approximate
53 Viewpoints opener 226.indd 53 23/11/2017 14:58

Turnberry
lighthouse,
Ayrshire
Donald Trump might not be the first name you’d
associate with stunning outdoor photographic
opportunities, but Scott Campbell says that a sunset
visit to the lighthouse on the edge of the US President’s
luxury resort and golf course is well worth the journey
Turnberry lighthouse is an iconic involves driving past the golf

landmark on Scotland’s west coast, course, parking on the roadside and
towering above treacherous rocks following the private road used by
where numerous ships have met their hotel staff that leads directly to the
end. Sitting on the outer edge of the lighthouse. Alternatively, you can
newly renovated Trump Turnberry park in the nearby car park and walk
Resort, the lighthouse now serves as along the beach, although this route
a watering hole for thirsty golfers as is dependent on the tide; checking
well as housing the Lighthouse Suite beforehand may save you having to
room option, which boasts beautiful scramble over rocks.
views across to Arran and an eye- On reaching the lighthouse
watering price tag. there are endless possibilities for
There are two easy access routes compositions: it can be photographed
leading to the lighthouse. The fi rst with the jagged harsh rocks below
16 miles from Ayr • 51 miles from Glasgow

ACCESS RATING
How to get there From Glasgow, take will provide great images. In summer,
the M77 (south), which becomes the the sun sets behind Arran providing
A77, passing Kilmarnock, Glasgow some dramatic sunset images.
Prest wick Airport and Ayr. Just over Ordnance Survey map Explorer 326
15 miles south of Ayr you will reach Nearby locations Culzean Castle
the A719 (Maidens Road) on the (5½ miles); Galloway Forest Park
right, signed Turnberry, Maidens (17 miles).
and Coastal route to Ayr. Turn on to
the A719 and park in the small car
park on your right. Walk north along
Turnberry beach to the lighthouse.
What to shoot The lighthouse, it; you can include Arran in the
dramatic seascapes, jagged rocks, background; and from the northern
rock pools, abstracts.
side of the lighthouse there are views
Best time of day Sunset provides
with Ailsa Craig in the distance.
the best light.
Food/drink Wildings Hotel and
This image was taken in the fi rst
Restaurant, 21 Harbour Road, week of January 2017, from a position
Maidens, Girvan, KA26 9NR, south of the lighthouse. I knew the
01655 331401, wildingshotel.com. setting sun would provide some nice
Accommodation As above. lighting, but I had to work hard to
Other times of year Any time of year fi nd my composition: my Fujifi lm
X100T has a fi xed 23mm lens (35mm
54-55_VP_Turnberry_226_SW.indd 54 23/11/2017 14:59

equivalent) so it took a while to fi nd a The high wind was creating a lot I had regained just about enough Fujfilm X100T
spot that allowed enough foreground of drama in the scene, causing the feeling in my hands to look at the with fixed 35mm
interest and enabled the lighthouse waves to crash against and over the images on the back of the camera (equivalent) f/2
lens, ISO 200,
to be placed on the upper right rocks. I opted for a long exposure to and knew that I had got my shot.
10sec at f/11,
third of the frame. I also needed to record the tumultuous ocean, using On returning home I processed the 10-stop ND filter,
fi nd somewhere that was sheltered a 10-stop ND fi lter to extend the Raw fi le in Lightroom, tweaking tripod, self-timer
enough from the wind, as it was a shutter speed to 10sec. However, it the highlights and shadows
cold, blustery day, which made it was a balancing act to retain shadow before transferring the image
hard to keep my tripod rock-steady detail while ensuring the highlights into Photoshop. After some minor
– in the end I had to weigh it down didn’t blow out. adjustments, dodging and burning,
with my camera bag. After a long walk back to the car, I was happy with the result.
54-55_VP_Turnberry_226_SW.indd 55 23/11/2017 14:59

056_OPHO_226.indd 56 16/11/2017 11:40
St Thomas à Beckett church, Kent
Despite being a familiar haunt, the vast number of possible views means that
Stewart Mckeown will continue to return to this isolated church on Romney Marsh
Little remains of the village of Fairfield was unexpected, but would not affect aperture to f/11 and focused using Live Nikon D600
that St Thomas à Beckett church my plans too much. With the sun due View to ensure front-to-back sharpness. with 16-35mm
was built to serve in the 13th century. to rise to my right, I set up in front of To prevent the bright pink sky from lens at 16mm,
ISO 100, 2.5sec
Along with many other villages on the church with a ‘crossroads’ of dykes blowing out I added a 0.6 soft ND grad,
at f/11, 0.6 soft
the marshes, Fairfield vanished as as my foreground. I adjusted the position and then took the shot just as the first ND grad, tripod,
its population fell, notably due to of my tripod until the church reflected warm rays of light began to strike the remote release
malaria, which was prevalent in the nicely in between the grasses. side of the church. After the magic hour
area up until the 1800s. Consequently I needed to set my lens at 16mm for colour had faded I worked my way round
the mediaeval church now sits alone this composition, so had to make sure the fields for the rest of the morning,
among the watercourses and drainage the camera was completely level to keep making use of the frosty ground in my
ditches used to keep the sea from any distortion to a minimum. I set the shots. What a great start to the year!
reclaiming the Kent marshes.
The waterways offer fantastic 16 miles from Ashford • 30 miles from Canterbury ACCESS RATING
opportunities to frame and reflect
the church in all directions. On this
How to get there Follow the A2070 south from Other times of year Good location any time of year.
occasion I planned to visit in the
Ashford for 11 miles, until you reach Brenzett Ordnance Survey map LR 189
morning, when the forecast was for Roundabout and the A259. Take the second Nearby locations Camber Sands (8 miles);
very cold conditions that I imagined exit off the roundabout on to the A259, signed Dungeness (10 miles).
would offer great potential. Frost does Hastings and Rye. Continue on the A259 for two
not occur that often in this area, so and a half miles and then turn right directly after
I was determined to make use of it, a sharp bend (look out for Jo’s Café on the corner).
even though it was also New Year’s Day! The church is a little over one mile on your right;
I arrived shortly before sunrise. park in the lay-by opposite the access gate.
Rather unsurprisingly, no one else had What to shoot The church reflected in drainage
ditches from all angles.
decided to spend their New Year’s Day
Best time of day Sunrise and sunset.
morning in the freezing cold, so I had
Food/drink Jo’s Café (see above) or the Woolpack
the location to myself. Walking along Inn, Brookland, Romney Marsh, TN29 9TJ,
the footpath I could see that the water 01797 344321, woolpackinnbrookland.co.uk.
levels were quite low for this time of Accommodation Rye Lodge, Hilders Cliff, Rye,
year; the smaller ditches that sit around TN31 7LD, 01797 223838, ryelodge.co.uk.
the church were almost dry, which
57_VP_FAIRFIELD_CHURCH_226_SW.indd 57 23/11/2017 15:03

Wheal Bush, Cornwall
he remains of Wheal Unity Food/drink The Fox and Hounds,
T Wood Mine at Wheal Bush

occupy a prominent position on
the eastern side of Poldice Valley. The
Scorrier, Redruth, Cornwall, TR16 5BS,
01209 820205, fox-and-hounds.co.uk.
Accommodation The Kings Head,
engine houses that were formerly used The Square, Chacewater, Truro,
in the extraction of tin and copper ore Cornwall, TR4 8PY, 01872 560652,
make great photographic focal points thekingshead-chacewater.co.uk.
on cold winter mornings, when layers Other times of year The area is also
of mist often linger in the valley below. prone to mist on early spring and late
autumn mornings.
How to get there Head east from Ordnance Survey map LR 204
Redruth on the A3047 and then take Nearby locations Wheal Busy (1 mile);
the B3298 at the mini roundabout, United Downs Engine House (2 miles).
signed Chacewater and Carharrack.
Follow the road towards Chacewater
for one mile and shortly after you
pass the parking area for Killifreth
Mine, turn right at a crossroads on to
an unclassified road signed Todpool.
A small roadside parking area near
the entrance to the engine houses
is reached after half a mile.
What to shoot A pair of picturesque
Cornish engine houses. Views over
the Poldice Valley can be taken with
or without the lower of the two
© Andrew Ray
engine houses in the foreground.

Best time of day Mornings for the
chance of mist .
3 miles from Redruth • 6 miles from Truro ACCESS RATING
9 miles from Macclesfield • 24 miles from Stoke-on-Trent ACCESS RATING
Wildboarclough, for a couple of cars. Park here and walk

along the A54 for about 500m until
Macclesfield, Cheshire, SK11 OBL, 01260
227229, blazefarm.com.
Cheshire you see a footpath sign on the right. Accommodation The Stanley Arms Hotel,
The barn and trees are about 300m Bottom of the Oven, Macclesfield Forest,
ildboarclough is a small village Nr Wildboarclough, Macclesfield, Cheshire,
W
along this often-boggy footpath.
in Cheshire, on the western What to shoot The barn and trees can SK11 OAR, 01260 252414, stanleyarms.com.
edge of the Peak District and be photographed from several angles, Other times of year Year round, but works
to the south of Macclesfield Forest. It is depending on the weather conditions particularly well when there is snow or mist.
home to Shutlingsloe, a 506m hill known and available light. Ordnance Survey map OL 24
locally as the ‘Cheshire Matterhorn’. The Best time of day All times of day. Nearby locations Three Shire Heads
area is primarily used for grazing, and Food/drink Blaze Farm, Wildboarclough, (2 miles); Macclesfield Forest (5 miles).
features small woodland, dry stone walls
© Mark Helliwell
and several brooks.
How to get there Take the A537 from

Macclesfield towards Buxton, turning on
to the A54 towards Congleton after seven
and a half miles. Approximately two miles
along the A54 there is a sharp right-hand
bend with a lane off to the left, and space
58 Outdoor Photograph January 2018
58-61 VP at a glance 226.indd 58 24/11/2017 09:49

Roker lighthouse,
Tyne and Wear
f photographing dramatic seascapes
I with iconic lighthouses is your bag, the

12-mile stretch of coastline along Tyne
and Wear is second to none in the UK.
One of these man-made bastions of the
coast is the 42m tall red and grey granite
Roker lighthouse, which stands at the
end of a 600m pier, protecting the
entrance to Sunderland harbour.
© Malcolm Bawn
How to get there From Sunderland
city centre head north on the A1018,
following the one-way system and signs
to Roker until you join the A183. Continue
on the A183 for approximately three
quarters of a mile and take the second exit on the mini-roundabout to join Pier Food/drink Love Lily, 1 Pier Point, Marine
View road. At the end of the road is a pay Walk, Sunderland, SR6 0PP, 01915
and display car park, from where you can 656329, facebook.com/lovelilycake.
walk to the pier and lighthouse. Accommodation The Roker Hotel, Roker
What to shoot From the many high Terrace, Sunderland, Tyne and Wear, SR6
vantage points you can get good views 9NB, 01915 671786, rokerhotel.co.uk.
of the lighthouse and the sweeping Other times of year Spring and autumn
curve of the pier. also offer a better-than-average chance
Best time of day Any time of day in of rough sea conditions.
winter months, but the most dramatic Ordnance Survey map LR 88
seas come with northeasterly weather Nearby locations Souter lighthouse
fronts. Alternatively, visit at dawn to catch (5 miles); Herd Groyne lighthouse
a brilliant northeast coast sunrise. (7 miles); St. Mary’s lighthouse (12 miles).
1 mile from Sunderland • 14 miles from Newcastle ACCESS RATING
3 miles from Yelverton • 12 miles from Plymouth ACCESS RATING
Peek Hill, Devon

eek Hill lies to the west of
P
a cattle grid. After a short distance there
Dartmoor, close to the main is a small off-road parking area to the
Tavistock-to-Princetown road. right of the road: park here and walk
The hill commands fantastic views in the short distance to the top of the hill.
most directions, with the most obvious What to shoot Burrator Reservoir to the
being the view to the south, over south – with Sheeps Tor beyond – is the
Burrator Reservoir. However, the view dominant view. There are plenty of rocky
east (shown here) towards Leather Tor outcrops and stunted spindly hawthorn
is also rewarding, as is the vista to the trees to add interest.
north, which takes in many of the Best time of day This is an ‘either end
larger west Dartmoor tors. of the day’ location, thanks to views in
all directions.
How to get there Leave the A386 at Food/drink Fox Tor Cafe, Two Bridges
Yelverton and follow the B3212 road up Road, Princetown, Dartmoor, Devon,
on to Dartmoor, towards Princetown. Go PL20 6QS, 01822 890238,
through the village of Dousland, and just foxtorcafe.com.
over one mile further you will drive over Accommodation The Old School Guest
House, Whitchurch Road, Horrabridge,
Yelverton, Devon, PL20 7TT, 01822
852437, theoldschoolguesthouse.co.uk.
Other times of year All year round.
Ordnance Survey map LR 202
Nearby locations Merrivale stone
row (6 miles); St Michael’s Church,
Brentor (12 miles).
© Bruce Little

Meldon Burn,
Scottish Borders
et into position before dawn and
G you will likely have this location

to yourself as the sun creeps over
the border hills. Have a strong ND fi lter
ready to blur both the burn and the
clouds as they catch the early morning
rays. You can then consider turning your
lens on the wooded countryside that
extends in all directions.
How to get there Head west from
© James Poots
Peebles on the A72, in the direct ion
of Glasgow. After approximately three
miles turn right at Meldon Bridge.
Continue for half a mile until you reach
a car park (with toilets nearby) on Bar, 71-72 High Street, Peebles, EH45
the right. Meldon Burn runs roughly 8AN, 01721 720405, coltmans.co.uk.
alongside the road, but you may want Accommodation The Tontine Hotel,
to cross the burn to pick your spot High Street, Peebles, EH45 8AJ, 01721
(wellies are advised). 720892, tontinehotel.com.
What to shoot Rolling hills, big skies, Other times of year Autumn is a riot
woods, the burn, sheep and an isolated of colour, while spring sees lambs
cottage provide plenty of options. gamboling in the fields.
Best time of day Just before and after Ordnance Survey map OS 337
sunrise/moonset. Nearby locations Cademuir Hill
Food/drink Coltman’s Kitchen Deli and (6 miles); Glentress Forest (8 miles).
3½ miles from Peebles • 26 miles from Edinburgh ACCESS RATING
3 miles from Broadford • 85 miles from Fort William ACCESS RATING
Loch Cill Chriosd, Isle of Skye

his is a beautiful small, shallow, How to get there Take the B8083
T
mountains and the ruined church.
reed-covered loch. The from Broadford to Elgol. After three Best time of day Suitable from
atmospheric Red Cuillin miles you will reach the loch on your sunrise to sunset.
mountains in the background are right, along with the ruin of Cill Chriosd Food/drink Café Sia, Broadford,
reflected on the water when it is still (Church of Kilchrist) where there is Isle of Skye, IV49 9AB, 01471 822616,
and there is a ruined 16th-century parking. The viewpoint is a fi ve-minute cafesia.co.uk.
church nearby that can also look walk further along the road. Accommodation Dunollie Hotel,
great under a dramatic sky. What to shoot Loch and reflections; Broadford, Isle of Skye, IV49 9AE,
0843 178 7118, besp okehotels.com/
dunolliehotel.
Other times of year Any time of year
is good, but added appeal comes when
there is snow on the mountains.
Ordnance Survey map LR 32
Nearby locations Loch Slapin
(2½ miles); Elgol (11 miles).
© Lloyd Lane

Loch Uidh na h-larna,
Sutherland
he mountain Quinag in Assynt,
T is in fact a range of hills with an

undulating series of peaks along
its Y-shaped crest. It has three main
summits over 750m, and with its steep
sides and undulating ridge it is an
impressive mountain wherever you
view it from. This shot was taken
from Loch Uidh na h-larna.
How to get there From Lochinver
© Paul Holloway
follow the A837 north for one mile
before turning left on to the B869.
Follow this wonderfully scenic road for
15 miles until you reach the village of
Nedd. Continue for another mile to the Street, Lochinver, IV27 4JY, 01571
start of the Gleann Leireag footpath to 844356, en-gb.facebook.com/
Loch Assynt; there is a small parking Lochinver-Larder-223889527627765.
space beyond the start of the path. Accommodation Drumbeg Hotel,
Loch Uidh na h-larna is just over one Drumbeg, Nr Lochinver, IV27 4NW,
mile down the path. 01571 833236, drumbeghotel.co.uk.
What to shoot Shoot across the loch Other times of year Nice in spring
towards Quinag. and autumn.
Best time of day Late afternoon for the Ordnance Survey map LR 15
best light on the west face of Quinag. Nearby locations Clashnessie Falls
Food/drink Lochinver Larder, Main (8 miles); Stoer lighthouse (13 miles).
ALL MAPS © Crown copyright 2017 Ordnance Survey. Media 037/17

17 miles from Lochinver • 37 miles from Ullapool ACCESS RATING
6 miles from Elgin • 42 miles from Inverness ACCESS RATING
Lossiemouth, Moray
ossiemouth’s west beach is a Food/drink Skerry Brae Hotel, Stotfield
L
Road), signed Golf course and West
three-mile stretch of stunning beach parking. After about half a mile you Road, Lossiemouth, Moray, IV31 6QS,
sand leading to a headland housing will reach a crossroads with the B9040; 01343 812040, skerrybrae.co.uk.
Covesea lighthouse. The beach provides head straight over and follow the road Accommodation The Stotfield Hotel,
panoramic views across Moray Firth, round to a free car park. Stotfield Road, Lossiemouth, Moray, IV31
while the receding tide offers the What to shoot Expansive views across 6QS, 01343 812011, stotfieldhotel.com.
opportunity for reflections of the Moray Firth, taking in Covesea lighthouse Other times of year Winter sees fewer
lighthouse and moody skies. Autumn and Spey Bay. During the week, aircraft visitors, but offers more dramatic light
and winter sunsets can be especially taking off from and landing at RAF and stormy seas. However, the views are
stunning, as the sun often sets Lossiemouth fly directly over the beach. stunning all year round.
directly behind the lighthouse. Best time of day Perfect for dramatic Ordnance Survey map OS 423
sunrises and sunsets, especially if the Nearby locations East beach (1 mile);
How to get there Head north from Elgin tide is going out, as the beach provides Spey Bay (16 miles).
on the A941 and continue for five miles to the perfect canvas for reflections.
Lossiemouth. On entering Lossiemouth,
© Tony Sanderson
take the left turn up the hill on to School

Brae (which becomes St. Gerardine’s

NEXT MONTH
OP227 ON SALE 11 JANUARY 2018
How to shoot powerful

black & white landscapes
Quick guide to photographing mountain hares
Results of our Lakes and Rivers competition
Images from the masters of landscape
© Lee Frost
62 Next month_226_SW.indd 62 23/11/2017 15:12

INSIDE TRACK
An ill wind that blew

nobody any good
Recent hurricanes in the Gulf of Mexico have caused massive loss of life and wreaked untold
destruction, while also creating economic pandemonium from which it will take years to
recover. Nick Smith was due there on assignment, but got turned back en route to Heathrow
It was a pleasantly sunny September morning and I was of sumptuous magazine photography we were hoping for.
heading to Heathrow on the London Underground, on my Over the following days I tracked Irma’s progress northwest
way to South Carolina on a travel shoot for a fancy London through the Caribbean and watched as the tail of the
style magazine. I checked my mobile phone one last time weather system beat its way up to South Carolina. I was
for any messages, before putting myself through the pre- later told that the exact region I was to be photographing
boarding meat-grinder. I wasn’t really expecting anything too had taken a battering and – while nowhere near as bad as
dramatic; maybe a deadline or two brought forward, or a few that on the Caribbean islands – the destruction to the hotel
queries about some missing hi-res files. It never even crossed I’d been booked into was pretty serious. Thankfully, no one
my mind that the entire trip could be cancelled at the drop had been injured, but the hotel was now without a roof, and
of a hat, but it appeared that was exactly what had happened. even with this relatively low-level impact the chaos had to
On my screen was an email from my American hosts be seen to be believed.
saying I should not take my flight across the pond. Not I think we can all agree that as near-death experiences
only was there an evacuation warning in place, due to the go, mine wasn’t very near at all, but it did get me reflecting
projected arrival of Hurricane Irma over the next few days, on the precarious nature of life on the road as a freelance
but they were also nervous about how they’d get me back photographer. Of course, the inconvenience I underwent
to Blighty. Most of the major airlines were already starting was nothing compared with the effect that Irma had on the
to wind down operations on the southeastern seaboard, people of the Caribbean and in no way am I attempting to
while those that were still hanging in there were cancelling put my setbacks on the same level as those left without loved
schedules left, right and centre. What return flights ones, homes or jobs. But even at this distant end of the scale,
remained were spiralling in cost, so even if I could get a seat I could see the far-reaching effects of this natural disaster
I’d probably only get as far as another hub, such as New York, rippling out into the distant waters. I thanked my lucky stars
for which I could confidently expect a $10,000 bill. that those very same stars had aligned themselves in such a
Rolling along on the Piccadilly line, my immediate way as to keep me well clear of the central tragedy.
thought was that this was one of those thoroughly modern Of course, what people feel in situations similar to this
over-reactions you get these days. However, on checking is what psychologists term ‘survivor guilt’: a phenomenon
with my hosts I was quickly brought to the opinion that that prevents us from rationally accepting our good fortune
they were deadly serious and sorry for the inconvenience. and moving on with our lives. But this is what you have to
There was also a tacit level of ‘between-the-lines’ anxiety do, because if you just sit there thinking ‘it could have been
that seemed to say they had enough on their plate me’ you will draw the confused conclusion that while the
without being responsible for the well-being of a British impact on the self is negligible compared with that of others,
photographer who was still safely on the other side of the somehow the consequences will have no effect at all. You
Atlantic. Somewhat bemused, I did the only rational thing preface every statement with self-indulgent whimsy along
I could, which was to get off the train – I think at Boston the lines of ‘there but for the grace of God go I’, while
Manor – and retrace my steps, rueing that I’d cleared out my secretly and guiltily thinking that you’ve dodged a bullet.
diary, postponed other assignments and was staring point- A photographer friend of mine got caught up in the 9/11
blank into a hole in my schedule that would inevitably lead terror attack in New York, and for months after the event
to a corresponding hole in my end-of-year accounts. thought the entire disaster was his fault; he felt that in
Of course, I was grateful to my American contacts for surviving the atrocity he’d done something wrong.
putting my safety ahead of other considerations. The As we now enter the calm after the storm and the Gulf of
weather forecast, they told me, was such that even if Irma Mexico enters a phase of reconstruction, my plucky friends
didn’t rip South Carolina apart over the next few days, – as they now are – have repaired their hotel and reissued my
the conditions were unlikely to be conducive to the sort invitation to photograph it soon. I’ll let you know how I get on.
63 Inside track_226_SW.indd 63 16/11/2017 10:14

WILD PHOTOGRAPHY HOLIDAYS
North Iceland in Winter with Niall and Charlotte Benvie
Dates 21–28 Jan and 28 Jan – 4 Feb. Kick off 2018 with
a photographic holiday in ‘real’ Iceland far away from the
madding crowds. Magical aurora locations, ice-encrusted
waterfalls, surreal landscapes, cozy lakeside cottages and
excellent hospitality. Christmas gift vouchers available.
www.wildphotographyholidays.com
064_OPHO_226.indd 64 16/11/2017 11:41

TOP STRAP
The allure of ambiguous scale

For an image to remain in its viewer’s head for more than a few seconds we need to involve their imagination.
An effective way of accomplishing this, says Mark Littlejohn, is to play around with conventional notions of scale
I’ve always felt that a lot of landscape large vistas they are less successful when photographs, and an obvious use can be Above
photographers are too keen to take literal it comes to recording a more personal witnessed in the increased number of Black Mount,
photographs of the landscape, with an vision. What is it about the scene that shots including people in the landscape Scotland.
overwhelming desire to show everything drew you in the first place? A ‘grab’ of (usually standing on the edge of a precipice
that is in front of them. That might mean everything you can see often does not with their arms outstretched in the style
bracketing and fi ltering so there are tell us. Consequently, some images are of Christ the Redeemer). It’s fair to say that
no areas of extreme darkness or blown successful because they show the viewer I’m not a huge fan of this particular style
highlights, or using a lens so wide that care less, rather than more; encouraging the of shot, although some of my favourite
has to be taken not to get toes or other viewer’s imagination to become involved mountain photographs do have people in
protruding body parts in the shot. in the process and fi ll in gaps that you them; images by Tim Taylor of climbers
In fact, many landscape photographers have intentionally chosen to hide. defying knife-edge ridges on Makalu
are glued to ultra-wideangle lenses, but The use of scale is also seen as an spring to mind, but here the use of human
while these focal lengths can capture important aspect in most landscape figures is to indicate how extreme the
65-67_FEATURE_SW.indd 65 23/11/2017 15:19

TOP STRAP
Above locations are. Buildings, trees and other • There is a bright section at the top focal lengths to capture a small section
Cirque de naturally occurring elements in a scene of the image, which is hard to expose for. of a scene and disguise the true size of
Gavarnie, can all provide a less artificial guide to • When we look at the image, our eye is a cliff face or a peak. In doing so, what
Pyrenees. scale, but sometimes you don’t need to drawn to the bright patch of sky at the top. is inside the scene attracts as much
Top right supply any scale clues. • We can see exactly how big the fall is. attention as what is outside it; hints of
Assynt, A case in point is photographing Scale However, if you compose the image just dizzying heights, inaccessible summits
Scotland. Force waterfall, which is hidden away in below the top of the waterfall not only are and jagged edges. The truth might be
Middle right a ravine between Crummock Water and the first two issues negated, but the viewer that what lies outside the frame is closer
Lac de Gaube, Buttermere. It is a wonderful, moss- no longer has any indication of how big the to gentle, grassy slopes, but the viewer
Pyrenees. covered narrow ravine with a mountain waterfall is. For all they know the waterfall will never know: it isn’t a photograph
Bottom right stream falling over 51m in a single drop. could go on for another 50m, so why not let of Buachaille Etive Mòr or Corfe Castle
Svínafellsjökull, The natural instinct for most people is to their imagination run riot? – it is something different.
Iceland. photograph the entire waterfall, including I have enjoyed a similar approach when Visiting a location that’s alien to your
the sky, but this gives rise to three issues: photographing in mountains, using longer usual surroundings can also affect your
65-67_FEATURE_SW.indd 66 23/11/2017 15:19

TOP STRAP
use of scale and there is an argument to do so is to select little parcels of it. In no rule of thirds and simply let the viewer’s Above
that achieving ambiguity is assisted when this way, creating an ambiguity of scale eye roam across the image while they Cirque du
photographing away from your normal can also solve the problem of how to wonder just how expansive the scene Troumouse,
haunts and those of your friends, family photograph a difficult subject. is. This is similar to using intentional Pyrenees.
and other viewers. I visited the Pyrenees On other occasions you can photograph camera movement, multiple exposures or
a year or so ago and was immediately a vast landscape and include as much as making abstracts, as you are not creating
entranced by it – the scale of the mountains you want, and yet still leave the viewer ‘record’ shots. It is not like joining dots,
was entirely different to my normal haunts unsure as to how high or wide it is. Where where the viewer’s eye is invited to travel
of the Highlands and the Lake District. does it start? Where does it end? Large from one point to the next in a specific
The Cirque de Gavarnie is a case in point, swooping landscapes with no sign of order. Instead, they are free to use their
with rock walls up to 1,490m tall and human interference work best here, such imagination to connect the dots in any
Europe’s second highest waterfall at more as the hills of Harris, the north Pennines order they wish, and this will ensure the
than 420m. It is a challenging subject to or something similar. Fill the frame with photograph is more enduring.
photograph and perhaps the easiest way no direct focal point, no leading lines,
65-67_FEATURE_SW.indd 67 23/11/2017 15:19

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68_69 OP226 Your Chance.indd 68 23/11/2017 15:20

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68_69 OP226 Your Chance.indd 69 23/11/2017 15:21

IN THE SPOTLIGHT
Paul Gath
Paul Gath is an amateur photographer who specialises in ‘being a generalist’, tackling subjects ranging from
landscapes to wildlife, aviation and drones to astrophotography. He tells Nick Smith what makes him tick…
Nick Smith: You cover a lot of ground

with your work, don’t you?
Paul Gath: If there’s something I see
that looks good, I’ll try to take a good
photograph of it, no matter what it
is, although I’d say my passion is for
landscapes. I love being outdoors and
going to interesting parts of the world,
and take my camera with me wherever
and whenever I can.
NS: Tell me something about your

travel photography…
PG: I didn’t really travel until the mid-
1980s, when I started going further
afield on foreign trips. I’ve always
struggled a bit to find the balance
between being on a family holiday and
creating the opportunity to do my travel
photography, but you get into a rhythm.
Often you find that the more remote
a place is, the more interesting it can be.
NS: Shooting travel, you need to be

quite flexible…
PG: I’d agree. It’s important to have a
plan in advance, but it is also important
to be reactive. So while you find that
you’re getting up early to catch the
good light, your best shots can come
at any time in the day. I’ve just come
back from Vermont where I intended
to photograph the autumn leaves, but
because of the recent hurricanes and
high temperatures the autumn colours
simply weren’t there. There was a lot
of fog, though, so I took photos of trees
and creeks in mysterious fog.
NS: How did your passion for

photography begin?
PG: My dad worked for Kodak and
could get fi lm for free, and developing
and printing was available for pennies.
So photography was in our family.
He always had a camera and so did I.
Left top Patricia Lake, Canada. Canon EOS
5D MkIII with EF 24-70mm f/2.8 L II USM
lens at 33mm, ISO 100, 1/2sec at f/11
Left bottom Preci, Umbria, Italy. Canon
EOS 5D MkIII with EF 70-200mm f/2.8 L IS II
USM lens at 123mm, ISO 160, 1/6sec at f/8
70-71 In the spotlight_226_SW.indd 70 24/11/2017 09:56

NS: As a long-term amateur, NS: Does that mean the time is ripe of standing out from the crowd, which Above
how does photography fit in with for the amateur photographer? is effectively where what you do after A cabin stands
everything else? PG: Not necessarily. Everyone has a you’ve taken the shot comes into it; bathed in the light
of the midnight sun
PG: Well, I’m 55 this year and work as a camera, and it’s great that people have the processing work.
on Vest vågøy in the
chief technology officer for a company been given the tools to produce images Lofoten Islands,
in the energy sector in London, so I’m that can go on a website or be printed, NS: How do you improve over time? Norway.
at that stage in my career when I’m but I don’t think that everyone is PG: Two ways. I’m fanatical about Canon EOS 5DSr
wondering what I’ll do when I retire. necessarily a photographer. learning, so on days when I’m not with EF 24-70mm
It will be photography, but I worry what working I spend my time reading f/2.8 L II USM lens
at 65mm, ISO 160,
will happen when I take something I NS: How do you keep your work online or looking through magazines
1/13sec at f/11, tripod
do as an amateur passion and make it looking so fresh? to try to fi nd new and better ways of
full time. Will I become less passionate PG: It’s about being in the right place at doing things, whether it’s something
about it? I really don’t know. the right time and also persistence. It’s technical or artistic. The second is to
also about not just driving somewhere just go out and do it.
NS: Do you ever feel left behind in your car, getting out, walking 50m,
by the professionals? taking a shot and then driving off.
PG: I’m not sure that the professionals My photography was perhaps once like Paul’s top tips
are having the time of their lives at that, but as you get more experienced One thing I never go on a shoot without is… a plan.
the moment. Stock libraries seem to you realise that this is not the way to A time and destination is the absolute minimum
be paying a pittance, so if you look do something different. that goes into my planning.
at so-called ‘traditional’ professional My one piece of advice would be to… try to avoid
photographers they are having to NS: Do you regard yourself as being good weather. Some of the best light occurs in
branch out into things they never used part of an ‘old school’ tradition? ‘poor’ conditions.
to do, such as teaching and writing, to PG: Yes, I do. You’ve got to get the Something I try to avoid is… sticking to my plan too
make it work. basics right: composition, lighting – rigidly. Some of my best photographs are the result
that sort of thing. But these days I feel of unexpected opportunities.
photographers also need to find a way
Paul’s critical moments To see more of Paul’s work visit paulgath.co.uk
1973-82 Spurred 2008 Bought my 2013 Went on my first 2016 Published on Páramo 2016 Published in 2017 Commended
on by my dad, who first full-frame DSLR, location workshop; blog after winning the ‘Spirit OPOTY Portfolio II, image in Landscape
worked for Kodak and a Canon EOS 5D. Umbria, with David of Adventure’ award in David Small World section. Photographer
could get film for free. Noton and Paul Sanders. Noton’s f11 competition. of the Year.
70-71 In the spotlight_226_SW.indd 71 24/11/2017 09:57

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072_OPHO_226.indd 72 22/11/2017 14:58

READER GALLERY
Each month we publish the best images from those submitted for our Reader Gallery. Turn to
page 68 to find out how to enter your work using our online system. Here is this month’s winner…
Winner Darren Rose

I started photography as part taken, which means I try to avoid discernible Possibly due to my background in painting,
of my A-level art course, and points of identification. Without an obviously I am a big advocate of the final print – creating
then took it further while identifiable point of reference, my intention is something physical is also a welcome relief from
I was studying fine art painting to invite the viewer to explore the scene a little working with computers all day. I have exhibited
at university. After completing further and, in doing so, connect with it on a my work several times in Bedfordshire, and
my degree I worked at a college deeper level. had a solo show of my local landscapes in
teaching A-level students in Like many other photographers, I would January 2017. Exhibiting at #Connected10 in
the darkroom, before leaving to get a ‘proper like more time to be able to develop my own Nottinghamshire was a highlight of the year,
job’. It wasn’t until late 2014 that I picked up style and produce a cohesive portfolio of and I am pleased to be taking part again in 2018.
a camera with any kind of purpose again, but work. Since mid-2017 I have been shooting A series of my pinhole landscapes will also be
it didn’t take long for the photography bug fi lm exclusively and I love the huge variety of exhibited at a venue in London in 2018, before
to kick back in. formats – as well as the challenges – that it hopefully travelling round the UK.
I have never been drawn to photographing offers. Although I mainly shoot using medium
instantly recognisable natural or manmade format cameras, I am now dipping my toe into Hometown Bedfordshire
landmarks, so I wouldn’t consider myself large format photography, which is an exciting Occupation IT service delivery manager
a ‘location’ photographer. I prefer it if there’s challenge and one that I think will offer a new Photography experience Three years
some ambiguity about where an image was perspective to my work. winterrosephotography.com
73-75 Reader gallery 226_SW.indd 73 23/11/2017 15:35


Previous page
A rare morning of snow meant a quick trip to a nearby lake.
I arrived just before sunrise, so there was plenty of time to Send in your best images and win great prizes.
capture the faint glow of the sun as it began to rise. I decided
to shoot the scene through an ND filter to smooth out the
This month’s winner receives a pair of Keen
surface of the water and create a cleaner reflection. Westward waterproof boots, worth £99.99!
Nikon D750 with Nikon 70-300mm f/4.5-5.6 lens at 116mm,
ISO 100, 5sec at f/10, three-stop ND filter, tripod Designed to perform on a variety of
terrains, the Westward – available in
Opposite men’s and women’s sizes – is made
A perfect sunrise, complete with frost, mist and a wonderful soft from a mixture of suede and canvas
colour palette. The lone tree was the perfect centrepiece as the and has an outer KEEN.DRY waterproof
rolling landscape faded into the distance under a layer of mist. breathable membrane for protection
Hasselblad 500CM with Carl Zeiss 50mm f/4 lens, against the elements. Its compression
Fuji Velvia at ISO 50, 1/2sec at f/8, tripod moulded EVA midsole, removable
metatomical dual density EVA footbed,
Above high-cut collar and stability shank all
Walking into a small dip in the land, I discovered that help to give extra support and comfort,
everything was covered in a layer of hoar frost . Working quickly, even on long treks. A great piece of kit
I focused on a small copse of silver birch trees before the sun for your autumn and winter adventures,
got to full strength and started the melting process. I shot this boot is certain to be on the feet of
the scene using both colour and infrared film, but ultimately hundreds of hikers out on the hills.
preferred the alternative feel that the infrared film provided.
m
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Hasselblad 500CM with Carl Zeiss 50mm f/4 lens, Rollei
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Canon 5Ds, 24-70mm f/4L at 42mm,

ISO 200, 480 seconds at f/8.0
When the weather is overcast and dull, one option is to try long exposure minimalism
and the Old Pier at Swanage in Dorset is a great subject, with its decaying wooden ProGlass 4.5 IRND (15-stop),
0.6 ND medium grad (2-stop)
posts surrounded by empty sea. Why long exposures? Well, with seascapes, a long
exposure will smooth out the texture of both water and sky, simplifying the scene
(RAW file – unprocessed)
further and enhancing their use as negative space in the composition.
I wanted to smooth the water to a completely glassy surface, so I selected a ProGlass
4.5 (15-stop) IRND. With some adjustment of aperture and ISO, I was able to get an
exposure of 8 minutes - any longer would have smoothed the clouds too much. A
0.6ND (two-stop) medium grad added some drama to the sky and the final result had
just the look I was after.
The colours are really neutral, which is remarkable for such a dense filter and there is
a superb clarity and evenness of exposure across the frame. The other great feature
of this filter is that its stated stop value is absolutely spot on, so calculating long
exposures is no problem. It should be no surprise that these filters now have a
permanent place in my kit bag.
Mark Bauer
markbauerphotography.com
leefilters.com
076_OPHO_226.indd 76 22/11/2017 10:37

NATURE ZONE
DISCOVER
78 Laurie Campbell: 80 Nature 83 A moment 84 Steve Young:
Life in the wild photo guide with nature On the wing
A GOLDEN PHOTO OPPORTUNITY?

Laurie Campbell explains why red deer can be dangerous subjects
77 Nature Zone Opener_SW.indd 77 16/11/2017 10:20

Life in the wild
Is an increased pace of life pressuring wildlife photographers to follow the herd, rather than strike out on
their own? Laurie Campbell believes this is having an impact on the range of species being photographed
In last month’s column I wrote about the problems of a subject that were different from the more Photographs of wild golden
caused by ever increasing numbers of visitors to predictable posts on Facebook, which invariably eagles in flight taken in the UK
beauty spots. This is a worldwide issue and one feature a relatively small group of species that are are uncommon for good reason:
they require a huge amount of
that isn’t restricted to the effects on the landscape; being photographed endlessly. It may seem unfair
effort. But the more difficult the
it also affects the welfare of wildlife, especially to use Facebook as an example, because it is of subject, the greater the sense
where large numbers of photographers gather to course a platform where all kinds of images are of satisfaction.
photograph a particular species. At about the same shared for all sorts of reasons, but nevertheless, Nikon D3s with Nikon 500mm
time that I wrote that piece I posted a link on my it does serve as a barometer to the type of subjects f/4 VR lens and 1.4x teleconverter,
Facebook page to a series of photographs of roe deer being photographed the most. Although we see ISO 1000, 1/2000sec at f/6.3,
I had come across online. They were easily the best beautiful images of interesting and uncommon handheld from hide
I had ever seen of this shy and secretive species and subjects as well, these are far fewer, and for the
really deserved to be seen and shared. most part I cannot help thinking that we are seeing
So what’s the connection? Well, the photographs a homogenised approach to nature photography
of the roe deer were a textbook example of what in the UK.
can be achieved by quietly working your local patch One explanation for this could be that some
and doggedly staying with one subject. This is quite locations for photographing particular species have
the opposite of what usually results from travelling become so well known via the internet that so-
further afield for a short time to photograph the called honeypot sites have developed. To be fair, any
same subject in the company of lots of others photographer has the chance to try and approach
who have gathered to do much the same. the subject differently, but it becomes increasingly
Alongside the link I commented on how difficult to come up with anything substantially
refreshing it was to have come across photographs original from many of these locations.
78-79 OP226 Life in the wild_SW.indd 78 23/11/2017 15:37

Having already discovered and photographed the roosting behaviour
of treecreepers, I began to think of the next stage. This was to try Tips for photographing nature
to photograph them with a wideangle lens to show them in context,
At one time, almost all nature photographers began with an interest in the
against the night sky. Having regular contact with the birds gave me
natural world, and the desire to photograph it came later. The advantage
the option to refine my approach.
of this is that having an understanding of the subject and knowing its
Nikon D4 with Nikon 24mm f/3.5 PC-E lens, ISO 800, 1444sec at f/16,
Nikon RC1 macro-flash, LED lamp, camera clamp, cable release
habits simply makes it easier to work out where to find them and how to
approach them. Without this knowledge, it is unsurprising that honeypot
sites are so popular. Consequently, the first step to increasing the range
of species you can photograph is to start doing some research on those
There are other reasons why so much similar that you know inhabit your local patch.
imagery of so few species is being produced,
including the popularity of facilities created by more Using only long lenses is never the complete solution for shooting
experienced photographers. Since the demise of the close-ups of wildlife; field craft and the deployment of hides also
stock photography industry, many photographers plays an important role. Like most other nature photographers of
have turned to guiding and setting up hides to rent my generation I read the classic book An Eye for a Bird, which is the
out as an alternative source of income. Dubbed ‘pay autobiography of the pioneering British bird photographer Eric Hosking,
who began his 60-year career in 1929. Published in 1970, this book is
and display’, the positive side to this approach is that
full of information on many aspects of fieldwork, including first-hand
it keeps photographers in business and gives others
accounts, as well as theory.
the opportunity to photograph species they might
otherwise never have. There is also the social aspect It is not surprising that photography competitions are usually the first
that is important to many nature photographers. place that we tend to see new and original images of wildlife because
The need to guarantee photographs also influences this is exactly what most judges are looking for. However, before long
the choice of species targeted, with those considered we see similar images from other photographers and the view of
a safe bet to fulfi l client expectations contributing to competition judges becomes tainted with a feeling of déjà vu. One year,
for example, I was involved in the judging of the Wildlife Photographer of
the saturation coverage of so few subjects. Of course,
the Year competition. We saw a large number of entries of photographs
not everyone has the field skills or time to create
of polar bears, which was almost certainly down to the success of US
their own opportunities to photograph other species, photographer Tom Mangelsen’s image, Polar Dance, the previous year.
so the pace of life is also to blame. Yet despite all of It was almost as if we needed a whole new category for ‘polar bears
this, for those that are committed enough it is not photographed at Churchill’! Joking aside, we also see variations that are
difficult to learn the skills to progress further in the sometimes better than the original and are just too good to be ignored.
name of wishing to ‘produce something different’.
78-79 OP226 Life in the wild_SW.indd 79 16/11/2017 10:20

WHAT TO SHOOT THIS MONTH…
Laurie’s January highlights
Turnstones (Arenaria interpres) are perhaps one

of the most confiding wading birds of our shores
in winter; in places they commonly associate with
the less widely distributed purple sandpipers
(Calidris maritima). One of the best ways of
photographing either species is to first observe
them at distance to work out their general direction
I have often written about how red deer (Cervus elaphus) in the Scottish Highlands are of travel along the shore, and then to get ahead of
more wary and difficult to photograph than those living in parks further south in the UK. them and lie prone with your camera supported on
In winter, the harsher conditions force the deer to move to lower ground and in some quiet a beanbag, waiting for them to come within range.
glens it is possible to photograph them at close range from the roadside. There is just one Alternatively, you could shuffle forwards to stalk
proviso: be extremely wary of animals that come very close. Chances are they have become them when they are roosting at high tide.
accustomed to being hand-fed from car windows by visitors, so have lost much of their fear Nikon D3s with Nikon 500mm f/4 VR lens and
of people. This makes them become very dangerous. 1.4x teleconverter, ISO 500, 1/125sec at f/8,
Nikon F3 with Nikon 20mm f/2.8 AI-S lens, Kodachrome, ISO 200, 1/60sec at f/8, handheld beanbag, cable release
Roe deer (Capreolus capreolus), brown hares

(Lepus europaeus) or indeed any other large
animal that doesn’t turn white in winter obviously
shows up when moving across open ground in
snowy conditions. This is especially so on arable
farmland where the bold shapes of the animals
are strong enough to be instantly recognisable, We see many beautiful seascape images, which are often shot with a long exposure and neutral
meaning they really don’t need to appear large in density filters. If you fancy a change then consider using a focal length of 300mm equivalent or
the frame to make an impression. This gives you longer to photograph waves (or sections of waves) with a fast exposure time of at least 1/500sec.
added freedom to think more about composing In rough, overcast conditions, and when shooting over distance, the water droplets in the air
the whole scene, as nearby features such as fence reduce contrast, resulting in soft, pastel tones. Conversely, the oblique harsher winter sunlight
lines and hedgerows can be included. in fine weather is good when shooting backlit waves because it can reveal the colours of the
Nikon D3 with Nikon 500mm f/4 VR lens and 1.4x waves, or at least that of the sea bottom and sky, just as the waves break.
teleconverter, ISO 800, 1/640sec at f/7.1, handheld Nikon D3 with Nikon 200-400mm f/4 VR lens at 200mm, ISO 400, 1/800sec at f/7.1, handheld
80-81_WHAT_TO_SHOOT_226.indd 80 16/11/2017 10:21

More seasonal subjects Five falls to fill your frame
Flora
Sea thong / thongweed (Himanthalia elongata) – attached to rocks on the lower
With autumn’s colour a distant memory and
shore, the ‘button-like’ parts of this algae will soon grow narrow ‘strap-like’ fronds the buds of spring still to appear, now is the
measuring up to two metres in length. ideal time to seek out unrestricted views of
Oakmoss lichen (Evernia prunastri) – found throughout the northern hemisphere the landscape. Waterfalls are prime subject
(and not just growing on oak trees), this ‘bushy’ lichen is diffi cult to miss.
Golden-head moss (Breutelia chryscoma) – an attractive sp ecies that grows
matter, especially if there is snow or frost in
in patches on the ground in mostly upland areas of high rainfall. The tips of these the air. Take care on slippery rocks, though:
plants have a soft , ‘fuzzy’ appearance. it is only the water that you want to fall!
Fauna 1
Eas a’ Chual Aluinn, Scotland
If you want to experience the highest waterfall
Swan mussel (Anodonta cygnea) – occurring primarily in the south of the UK, this in the UK then you need to head to the Assynt peaks,
freshwater mollusc can reach a length of 20 centimetres. where you’ll find the 200m high Eas a’ Chual Aluinn,
American mink (Neovison vison) – released from fur-farms, the American mink has roughly 30 miles north of Ullapool. However, it is not
had a huge impact on our native fauna and can be quite bold. easy to photograph: from a distance it’s easy for the
Coal tit (Periparus ater) – more common than the similarly marked marsh and willow scale of the fall to become ambiguous, while making
tits, they can frequently be seen in mixed flocks of other sp ecies in winter as they the arduous three-mile trek to the top won’t allow
move through woodland, adopting a ‘safety in numbers’ strategy. you to see much of its drop. Instead, consider the
broader landscape for your photographs, and treat
the waterfall as an added compositional element.
World wildlife spectacles Spout Force, Cumbria
also present, as the birds migrate from 2 Scale Force may be the biggest waterfall in
the north of the island to enjoy the higher the Lake District, but there are plenty of other, less
temperatures in the south, and there is crowded falls to turn your lens to. Spout Force is a
© del Monaco / Shutterstock.com
a chance of seeing the endemic, but in great example, and its woodland location means that
decline, Styan’s bulbul. winter is the perfect time for a visit, as views are more
open. There is a parking area just off the B5292 at
Cheetahs, Botswana the western end of Whinlatter Pass, from which the
January and February are the wettest waterfall is a two-mile walk.
months in Botswana, and just like the UK
there can be long periods of continuous Brontë Waterfall, Yorkshire
rain. Because of this it is hardly surprising 3 Head to Yorkshire and you’re spoiled for
Birds of Taiwan that most people avoid planning a safari choice when it comes to impressive-sounding
Taiwan may not feature on a lot of at this time of year, but don’t be too quick waterfalls: Thornton Force, Catrigg Force, Kidson
people’s ‘must go’ nature locations; to dismiss the wet season. When the Force and Aysgarth Falls all conjure up images of
after all, this is one of the world’s most rains come, large swathes of wilderness thundering cascades. The same cannot be said
densely populated countries, not a are transformed from a barren brown of the Brontë Waterfall, which evokes a far gentler
remote wilderness. However, the island’s landscape into a lush green paradise. experience. The small falls can be reached by
location and geography provides the The ‘green season’ is also the time when following the Brontë Way from nearby Haworth;
perfect habitat for 15-20 endemic bird young antelope are finding their feet, you can also take in Brontë Bridge and the ruins of
species and huge numbers of non- and this naturally sees an increase in Top Withens (the alleged inspiration for Wuthering
endemic species, as well as attracting predators – including the elusive cheetah. Heights house) as part of your literary inspired walk.
migratory and overwintering visitors. To stand a chance of witnessing the
Two great locations for bird watching planet’s fastest land animal – as well as Rhaeadr Ewynnol (Swallow Falls), Wales
lie at opposite ends of the 245-mile seeing other safari staples – consider 4 With easy access from the A5 and plenty of
long island, so splitting a trip between visiting the Central Kalahari Game parking there is little reason not to stop at Swallow
two bases is a good option. In the north, Reserve in the heart of Botswana. Not Falls if you are in the vicinity of Betwys-y-Coed in
where winter temperatures average 19°C, only does the region claim to offer some Snowdonia National Park. Step away from the road
you will find Yangmingshan National of the world’s best cheetah viewing, but and you are on the southern bank of the Afon Llugwy
Park, which consists of subtropical from a practical standpoint you will also as it cascades towards the River Conwy. However,
rainforest and less densely covered benefit from lower visitor numbers and walk half a mile to the west and you can cross the
mountain peaks. The park is home to cheaper rates – just don’t forget to pack river before coming back on yourself along a less-
more than 100 different bird species, a rain cover for your camera! well-trodden footpath by the northern bank for a
including endemic species such as the less frequently seen angle.
© Aleksandra Grzegane / Shutterstock.com
Taiwan whistling thrush and Taiwan blue

magpie (pictured above). Burrator Waterfall, Devon
Head to the southern tip of the 5 If you are heading to Dartmoor, Burrator
country and you will find the tropical Reservoir is definitely worth a visit: reflections in the
Kenting National Park with temperatures water, the reservoir, Sheeps Tor, Peek Hill (see page
averaging 24°C. This area sees plenty 59), and woodlands and wetlands provide plenty of
of overwintering birds, with raptors such photographic fodder. The west shore of the reservoir
as the crested honey-buzzard, Eurasion is also home to one of the south west ’s (very) few falls;
hobby and grey-faced buzzard all drawn perfect if you want to hone your long exposure skills.
to the warmer climate. Cattle egrets are
80-81_WHAT_TO_SHOOT_226.indd 81 23/11/2017 15:37

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082_OPHO_226.indd 82 24/11/2017 10:50

A MOMENT WITH NATURE
© Andy Skinner
Bear essentials
As professional wildlife photographers, husband and wife team Andy and Sarah
Skinner have had many memorable wildlife sightings. One experience that stands
out is time spent with a North American brown bear sow and her two cubs
Successfully photographing wildlife depends to keep a respectful distance, so as not to her trust and confidence was one of the
on patience, knowledge of your subject and, interfere with their feeding pattern, and it last days we spent with her. After resting
most importantly, sensitivity and respect is also important to let them know you are together for several hours nearby, she left her
towards your subject. It also requires you to there – a surprised bear is never a happy one! cubs on the riverbank a short distance away
maintain your personal safety (especially We would speak softly, yet confidently in from us and ventured further upstream. At
around large mammals and predators), but her presence, and although the mother was that moment we realised we had been left
with those few criteria you can capture a little wary of us at fi rst, she continued to babysitting two bear cubs!
interesting behaviours and intimate portraits, fish and feed, keeping her cubs close by and Remaining at a safe distance we were
and enjoy wonderful wildlife moments. always with a wary eye on us. able to photograph the two cubs as they
During a trip to British Columbia, Canada, As the days passed she became more made eye contact with us, producing an
we were in an area where bears were coming relaxed with our presence, until she no intimate portrait of the youngsters waiting
regularly to fi sh for salmon, stocking up on longer appeared to see us as a threat. for their mother to return. This was a very
their food supplies before the winter. We However, we would still treat her and her special sighting and the week spent with this
started seeing the same mother with her cubs with caution and respect – they were grizzly family is well and truly etched in our
two cubs, and spotted a pattern in terms still wild animals, and for many reasons memory forever. It is also shows that with
of when she would come down to the river’s their behaviour could still be unpredictable. wildlife photography, patience is certainly
edge to fi sh. With bears it is important The moment we felt we had truly gained a virtue.
83 Moment with nature 226_SW.indd 83 16/11/2017 10:22

NATURE ZONE
STEVE YOUNG
This is one of the

few shots I managed
of the bird perched
in the trees in
the orchard.
On the wing
When a local birdwatcher found an unfamiliar thrush in the small
village of Beeley, Derbyshire, little did she know what was about
to happen. Steve Young tells the story as the birders descended…
Rachael Jones spotted the thrush on taken over by a flock of strangers. After
a December day and posted her shots I had enjoyed a bacon roll washed down
online, asking if anyone could help with a cup of tea for an early lunch,
identify the bird. It turned out that her I had a little wander round Beeley to
photographs were of a mega rare dusky see where else the thrush was favouring.
thrush and the lanes around the Peak A small crowd had gathered around a field,
District were soon to be invaded by and through telescopes you could see
hordes of travelling birders; Beeley was a distant bird. It was the thrush, but it was
going to be firmly on the rare bird map! never going to be photographable at that
Views were good at times, but brief as the thrush flew
Being only 76 miles from my Liverpool range, so I headed back to the orchard
down from trees, hopped around looking for apples
and then flew off again to feed elsewhere. home, I visited almost immediately, to wait, hoping it would come back for
although it took well over two hours to more apples.
get there. The bird had been seen most And it happened! Initially perching
regularly in an old orchard, feeding on in a tree in the open, the dusky thrush
apples – either in trees or on fallen ones plucked up the courage to face a barrage
on the ground – so this seemed a good of shutters from the assembled birding
place to start. paparazzi and flew to the ground,
After a brief view, but no photos, the hopping around briefly before settling
time started to tick by and hunger started on an apple that was in clear view. It was
to set in. I realised that some people were almost perfect; a little too distant for
eating bacon rolls, which was strange, frame-fi lling shots, but we all fired away
because no one usually brings a cooking to our heart’s content.
stove to rare bird ‘twitches’. It turned out By this time the light was failing and
that the village had opened up the visitor it was time to leave, but not before
centre and were making bacon rolls, another cup of tea and a homemade
as well as chips, tea, coffee and scones. scone. It had been a fantastic ‘twitch’,
Rather than charging for items, the locals certainly one of the best I’d been on in
asked for donations, and they were also over 30 years. Everyone was made to feel
Eventually, the dusky thrush dropped down and fed extremely helpful, friendly and interested welcome by the villagers, most birders
on an apple that was out in the open, so we could in what was happening; they were not at had contributed to the charity bucket and
all take some shots. all annoyed that their village had been we had all enjoyed the bird and the food.
84-85_ON_THE_WING_226_SW.indd 84 16/11/2017 10:22

STEVE’S JANUARY LOCATION OF
THE MONTH
HIGHLIGHTS
© Mark Kras / Shutterstock.com

BIRD OF THE MONTH
The top of Scottish mountains is the
only place in Great Britain to see
ptarmigan. As well as being unique for
its true mountain setting, ptarmigan
is also special because it changes its Errol, Scotland
plumage colour for the winter months; As traditional uses for reeds
from a summer mix of browns and greys Moulting into a white plumage against a snowy backdrop have dwindled and the demands
it moults into pure white feathers to protects the ptarmigan from predators such as golden eagles. of agriculture have seen land
help protect it from predators. Blending drained of water, so the UK’s
into the snowy surrounds means it reed beds have slowly reduced
can be a difficult bird to find if it keeps in scale and distribution; small,
still and quiet, but it is often quite fractured beds are now the norm.
vocal so can give away its presence One exception to this are the reed
beds along the northern shore
regularly. Approach ptarmigan with care
of the Tay estuary, which provide
and you can take good photographs
a near-nine-mile stretch of this
can, but if you walk quickly towards important wildlife habitat, running
them they will disappear over the from Invergowrie in the east to the
horizon, leaving you with a long meeting of the rivers Tay and Earn
trudge back through the snow with Small groups of ptarmigan can gather along ridges, in the west.
nothing to show for your efforts. but be careful how you approach them. From a birding perspective,
these reed beds play host to a
number of overwintering visitors,
BIRD PHOTOGRAPHY TIPS including pink footed and greylag
geese, but the species most
closely associated with this
location is the relatively rare
bearded tit. There are thought
to be 600–700 breeding pairs
of this species in the UK, and
a 2014 survey suggested that
around 45% of the population
called the Tay reed beds ‘home’.
A great starting point if you want
to explore is the village of Errol.
A number of paths leave the
The bird might be wet and you may get wet as Lying down to take photographs during winter
village for the shores of the Tay,
well, but try to make sure your camera gear does usually means wet, muddy or snowy ground,
where you can also explore tidal
not: use lens covers so you can carry on shooting so wear waterproof trousers to ensure you
during the rain. stay dry and comfortable. mudbanks and sandbanks with
your lens, including the ominously
If you are venturing out in the winter months for Protect your gear as well as yourself with named ‘Sure as Death Bank’.
a full day of photography, make sure that all your waterproof covers; shower caps make good Location Errol lies on the north
camera batteries are fully charged before you emergency covers for a camera with a standard shore of the river Tay, mid-way
leave home, including spares. There is nothing lens, or for the end of telephotos. between Dundee and Perth,
worse than being out and having the dreaded just south of the A90.
low battery symbol appear. Getting there From the junction
Dress for the weather and wear plenty of layers: of the A85 and A90 at Dundee,
it’s easier to remove a layer than shiver through the take the A90 west for just under
day because of a lack of them. If you are trudging five miles, then slip off onto the
B953, signed Inchture. Turn left
through snow, waterproof trousers and jackets
at the roundabout at the top of the
are a must (especially if you like lying down for
slip road, and right at the second
low-level work), while elasticated ankle gaiters will roundabout, signed Errol. Follow
prevent snow getting in through the tops of your the road for five miles to Errol.
boots. Don’t forget your feet and hands; cold ones
OS Map OS Explorer 380.
can ruin a day, so waterproof boots and thermal Make sure you don’t slip on the ice like this grey heron;
socks are a must, as are gloves (although I have or at least make sure your feet are warm enough to
to confess to taking mine off when photographing). stop the cold ruining your day out.
84-85_ON_THE_WING_226_SW.indd 85 16/11/2017 10:22

086_OPHO_226.indd 86 24/11/2017 11:57
GEAR ZONE
ACQUIRE
88 Gearing up 90 Camera test
WHAT’S COOKING THIS MONTH?

Discover the latest new kit, including the Jetboil MightyMo stove
87 Gear Zone Opener_SW_CG.indd 87 23/11/2017 15:39

Sony Alpha 7R III
There’s no doubt that Sony’s Alpha 7R III boasts an impressive
specification: its 42.4MP Exmor R CMOS image sensor, continuous
shooting mode of 10 frames per second, 4K movie capabilities and
399 phase-detection AF points makes this a main contender in the
full-frame mirrorless interchangeable lens camera market.
Guide price £3200
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Haglöfs Essens Mimic

Designed for the extreme cold of the Scandinavian mountains, this
jacket will serve you well when you are out on location waiting for the
perfect light to break. Insulated with synthetic QuadFusion Mimic,
which emulates the warming qualities of down but retains excellent
performance when wet, the jacket’s outer shell is a lightweight
30D tear and wind resistant fluorocarbon free DWR treated Pertex
material. The Polartec and Powerstretch shoulder inserts promise
freedom of movement too.
Guide price £165
haglofs.com
GEARING UP X-Rite i1Studio

A colour management system that’s easy to use and promises to deliver
excellent results throughout your whole workflow process, X-Rite’s
i1Studio all-in-one spectrophotometer will profile your monitor, scanner,
mobile devices and printers, plus there’s a dedicated black & white print
module for creating custom profiles for five unique monochrome looks.
Guide price £375
xritephoto.eu
Samyang 35mm AF f/1

f/1.4
4 lens
The fourth autofocus lens to be released by Samyang, this 35mm
f/1.4 lens is compatible with full frame mirrorless cameras in Sony’s
E-mount range. With 11 elements in nine groups (with two aspherical
lenses and two high refractive lenses) it is ideal for landscapes and
shooting handheld in low light.
Guide price £599
intro2020.co.uk
88_89 Gearing Up 226.indd 88 23/11/2017 15:40

Komperdell Carbon Ravine Sport Blue-Ridge heated walking boots
Trailsticks Vario Compact Cold, numb feet during winter can now be a thing of the past with Ravine’s
ingenious new boots. A rechargeable, lightweight lithium-ion power source
A more compact version of housed in an external, weatherproof pocket on the side of the boot is linked
Komperdell’s foldable four-section to a heating element embedded in the tailored cushion insole, with three-
walking poles that pack down from stage temperature control and an on/off switch for maximum comfort.
125cm to 38cm. Made from top- The insoles are removable, so you can wear the boot all year round.
quality carbon, the trailsticks Guide price £139
(which come as a pair) weigh cooltraxxoutdoor.com
230g and have a Powerlock
3.0 mechanism, a carbide tip
and an expedition foam grip.
Guide price £119.80
komperdell.com
Lifeventure Ellipse Travel Mug

Thanks to its double-walled construction, the Lifeventure Ellipse Travel Mug keeps liquids hot or
cold for more than one hour. Its flip-top lid can be pulled back or pushed forwards for ease of use,
and the 100% BPA-free mug comes in four different colour options.
Guide price £10.99
lifeventure.com
Jetboil MightyMo
The Mighty Mo is a single burner stove
that weighs just 95 grams. While it is tiny,
it houses a powerful 10,000 BTU/h burner,
so you’ll be able to cook a normal-sized meal
no problem. The regulator valve spindle gives
excellent temperature control and the boil
time is approximately three minutes per litre.
Performs in temperatures as low as -6°C.
Guide price £65
jetboil.johnsonoutdoors.com
88_89 Gearing Up 226.indd 89 16/11/2017 10:25

GEAR ZONE
CAMERA TEST
Nikon D850
With its 46MP full-frame sensor and 7fps
continuous shooting rate, the Nikon D850’s
core specifications are certain to appeal to
landscape and wildlife photographers alike.
Fergus Kennedy puts the newcomer on trial
Guide price £3499

Contact nikon.co.uk
Opposite page In the hand, the Nikon D850 will coming from a nearby building. At this
The D850’s feel fairly familiar to users of its point I was delighted to be able to use
long exposure
LIKES
predecessors: it is a solid, substantial Excellent image quality and the D850’s built-in viewfinder ‘blind’
performance is
superb, but care camera that feels well built, with good dynamic range (operated by the small switch top left
must be taken all-round weatherproofing that should Very good autofocus performance, of the viewfinder). With the viewfinder
to ensure the reassure more adventurous outdoor including 3D tracking covered there was little danger of
camera is held photographers. However, it is clear Tried and tested handling and additional light leaking into the camera
rock-steady. that a number of beneficial changes build quality through the viewfinder with long
Full-frame 4K video
have been made compared to the D810. exposures. Landscape photographers
Below
For a start, the top of the camera has DISLIKES who do a lot of slow shutter speed
Shot without an
ND filter, I was able been remodelled, with the pop-up shooting will also appreciate the
Video AF could be better
to extract plenty flash removed to make way for a larger, Implementation of focus peaking implementation of Electronic First
of highlight and improved optical viewfinder. On the in video Curtain Shutter (EFCS) mode, which
shadow detail back, the D850 gains a high-resolution, can help to eliminate the minor camera
from the D850’s touch-sensitive, tilting 3.2in LCD, while shake associated with mirror slap.
Raw files.
the right hand side now houses dual as darkness fell, in search of the Milky With the camera set up in this way I
memory card slots, accommodating Way. Despite the sky being fairly clear, managed to grab a few 30sec exposures
one SD card and one XQD card. conditions were challenging on the before clouds obscured the heavens.
Nikon’s newer full-frame DSLRs coast; a brisk wind whipped in off Back at my desk I was not
are well known for their low-light the sea, shaking my tripod, despite disappointed with the results. The
ability, so to test whether the D850 the additional weight I had on it, and Raw fi les from the D850 had plenty of
continues this tradition I headed out there was an annoyingly bright light scope for adjustment, even when shot
at ISO 3200. A little bit of tweaking
and the Milky Way came out nicely,
with minimal noise. However, with
such a high-resolution sensor, the
slightest camera shake (such as wind
on the tripod) becomes more evident
when images are viewed at 100%
magnification. As with the D810, this
means that your technique is more
critical – there are no half-measures
with this camera.
Given the D850’s pixel count it
could perhaps be forgiven for not
being the speediest performer, but
I was pleasantly surprised. I tried
shooting fast-moving subjects and the
continuous AF was quick and accurate;
for more unpredictable subjects the 3D
tracking was also impressive. Yet while
it houses the same AF unit as the Nikon
D5, it felt that the D850 was losing
focus slightly more often than its top-
end sibling would. It still delivered an
90-91_Nikon_D850.indd 90 23/11/2017 15:42

impressive performance, though, and jumpy and erratic), but on the plus
TECHNICAL SPECIFICATIONS the continuous drive manages a very side, if you shoot 1080p resolution
Sensor 46MP full frame credible 7fps (rising to 9fps with the video there is very effective electronic
Resolution 8256 x 5504 pixels addition of the optional battery grip). stabilization and the frame rate can
Lens Interchangeable Nikon F Keen to explore the image quality be upped to 120fps.
Shutter speed 1/8000sec – 30sec, plus Bulb of the D850 further, I headed up to the
ISO 64–25600 (expandable to ISO 32–102400) hills at sunset. The dynamic range of
Viewfinder Optical, 100% coverage, 0.75x magnification the D810’s 36MP sensor was impressive, VERDICT
LCD 3.2in tilting LCD, 2359k pixels, static touch control but I wondered whether the new 46MP It looks like Nikon has a winner
Flash Hotshoe only sensor would have similar abilities. on its hands with the D850.
Movie mode Max 2160p (UHD 4K) at up to 30fps; To test this I shot into the sun without Often, a very high-resolution
1080p at up to 120fps an ND grad filter, knowing that if I sensor means trade-offs in
Card formats SD/XQD (dual slot) exposed correctly for the sky, the land other areas, such as autofocus
Power EN-EL15a li-ion performance or continuous burst
would be significantly underexposed.
Dimensions 146 x 124 x 79mm shooting, but this isn’t the case
Shooting at ISO 64 (which is a nice here: the D850 is a well-rounded
Weight 1005g (with battery/no lens)
option to have) and then pushing camera that appears to do almost
the exposure of the shadows to fairly everything incredibly well. As
extreme levels in post-processing such, I am sure it will keep a lot
revealed phenomenal detail in the of photographers happy for a
shadow areas. There was very little long time.
hint of noise, even with Lightroom’s
Shadows slider set at maximum.
Videographers will also be very RATINGS
Handling 97%
happy, thanks to the D850’s upgrade
Performance 98%
to 4K resolution, which you can shoot Specification 97%
in full-frame mode or 1.5x crop APS-C Value 93%
mode. There are a few annoyances
(focus peaking isn’t available in many Overall 97%
modes and the video AF is rather
90-91_Nikon_D850.indd 91 23/11/2017 15:42

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EF 24-70mm f4 L IS USM ...................£699
EF 24-70mm f2.8L II USM ..................£1684
EF 28-300mm f3.5-5.6 L IS USM .......£2249
50.6 mp 30.4 mp 20.2 mp
EF 70-200mm f2.8 L IS II USM...........£1899
5.0 fps 7.0 fps 16.0 fps
EF 70-200mm f4 L USM .....................£578
Full Frame Full Frame Full Frame
EF 70-300mm f4-5.6 L IS USM ..........£1249
EF 100-400mm f4.5-5.6 L IS II USM ..£1789 5DS Body £2949 5D Mark IV £3229 1D X Mark II £4799
£1574 Inc. £215 Cashback* 5DS Body £2949 5D Mark IV Body £3229 1D X Mark II Body £4799
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D850 D5600 40mm f2.8 G AF-S DX Micro ...................................£259
New D7200 85mm f1.8 G AF-S ...................................................£449
45.7 mp 24.2 mp 24.2 mp 105mm f2.8 G AF-S VR IF ED Micro .......................£779
6.0 fps 5.0 fps 6.0 fps 10-24mm f3.5-4.5 G AF-S DX..................................£745
4K 1080p 1080p £700 Inc. £45 Cashback*
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D850 £3499 D5600 Body £649 D7200 From £889 £989 Inc. £70 Cashback*
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D5600 + 18-140mm £949
*Nikon Cashback ends 09.01.18
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X-T2 X-E3 A7R Mark II Black A6500
16mm f1.4 ....................£799 £300 Black or Silver 55mm f1.8 ....................£749
New £704 Inc. £95 Cashback* Cashback* £669 Inc. £80 Cashback*
23mm f1.4 ....................£748 42.0 mp 90mm f2.8 .....................£889
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14 fps 8.0 fps 5.0 fps 11.0 fps
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From From GH5 Body £1699 GX800 + 12-32mm £379 100-300mm f4-5.6..... £569
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SanDisk Ultra 98MB/s SanDisk
SanDisk Extreme Pro: Micro SD Card plus USB 3.0 M Series: 260MB/s SDHC M Series XQD: 440MB/s
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CompactFlash PIXMA Pro 100S ................... £359
32GB ...............£22.99 Reader 64GB ................... £84.99 64GB ................... £129
16GB ...............£39.99 64GB ...............£40.99 £39.99 PIXMA Pro 10S ..................... £504.99
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Lifestyle Windsor
Messenger S:
Flipside 300 AW II: Anvil Slim 11 Manfrotto Reloader This practical
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Pro Runner: Flipside: Anvil Slim................... £122 travel with. Messenger S ................ £89.95 Large ...............................£154
BP 350 AW II .............. £199 300 AW II ..................... £112 Anvil Super ................ £134 Messenger M ..................£107 Pro Original .....................£189
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092_093_OPHO_226.indd 93 16/11/2017 11:44

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OPHO_226.indd 98 11/27/17 3:26 PM

"Just to say many, many thanks for last week; it was one of the best
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OPHO_226.indd 103 22/11/2017 15:01

If you only do one thing this month…
Autumn colour
In our Autumn issue we asked you to send us your most inspiring images of autumn colour,
and your photographs astounded us. In one of the toughest competitions to date, this is our
winner, who gets a Goal Zero Nomad 7 Plus solar panel, and 16 runners-up…
WINNER Tamsin Bailey Chris Bestall Daniel Bridge

Above It’s very rare to get a good fall of snow Opposite top We stopped at Aberglasney House Opposite bottom This amethyst deceiver
in autumn, so when we did I felt like a kid in and Gardens in Carmarthenshire on the way mushroom, taken at Hanningfield reservoir in
a sweet shop! The snow weighed the branches home from a holiday in Pembrokeshire early Essex, stood out nicely from the surrounding
down creating a curtain of autumn leaves. one November, and I was attracted to this leaf litter once I was lying down flat on the
Canon EOS 650D with Sigma 17-70mm lens old garden door surrounded by beautifully floor using my very versatile tripod.
at 17mm, ISO 400, 1/13sec at f/11, tripod coloured leaves. Pentax K-3 with 300mm lens, ISO 100,
Canon Powershot G10 with 6.1-30.5mm lens 1/8sec at f/4, polariser, tripod
at 6.1mm, ISO 80, 1/100sec at f/4, handheld danielbridge.co.uk
chrisbestall.co.uk
104_111 One thing this month 226_SW.indd 104 23/11/2017 15:57


Chris Munden
Top left This shot of a merlot grape
vine touched by autumn colour was
taken in my back garden in Donington,
Lincolnshire.
Olympus OM-D E-M1 with 60mm f/2.8
macro lens, ISO 200, 1/400sec at f/2.8,
handheld
Dylan Nardini
Bottom left This detail image of
the steep cliffs of Corra Linn, one
of the four waterfalls of the Falls of
Clyde near New Lanark, was taken
during the perfect autumn of 2015.
The foliage decorates the walls of the
stone amphitheatre, which towers
above the 25m falls.
Nikon D810 with Sigma 70-200mm
f/2.8 lens at 200mm, ISO 200, 1/125sec
at f/8, polariser, handheld
dylannardini.com
Geoff Kell
Opposite top left Over a period of time
I had watched these giant ferns in the
New Forest become more and more
colourful, and pre-dawn was the time
when they really glowed. It was still
quite dark, but a long exposure and
LED fill-light brought things to life.
Canon EOS 5D MkIII with Canon EF 16-
35mm f/4 L lens at 28mm, ISO 400, 26sec
at f/16, polariser, LED light, tripod, four
files focus stacked
flickr.com/photos/148444916@N05
Jack Davidson
Opposite top right The Falls of Acharn
are situated on the slopes of the hills
to the south of Loch Tay in Perthshire.
Having captured some glorious images
of the spectacular lower falls the
previous day, I returned to explore
the higher falls, which in view of their
smaller size and greater tree cover,
provide a more intimate environment
for photography.
Canon EOS 550D with Canon EF-S
15-85mm f/3.5-5.6 IS USM lens at
42mm, ISO 100, 2sec at f/13, tripod
Mike Dunlevy
Opposite bottom I loved the way the
early morning light caught this copse on
the far side of Buttermere, in Cumbria’s
Lake District, on an autumnal morning.
Canon EOS 5DSr with Canon EF
24-70mm f/2.8 L MkII lens at 70mm,
ISO 100, 1/6sec at f/11, polariser, tripod
mikedunlevy.co.uk


Katrina Brayshaw
Left I wandered for perhaps one hour
after dawn along the lower slopes
of Great How, near Coniston in
Cumbria, in search of some autumn
colour. Suddenly the clouds lifted
and these splashes of sunlight ran
along the ground and illuminated
this splendid tree.
Fuji X-T2 with Fuji XF 55-200mm lens
at 128mm, ISO 400, 1/150sec at f/7.1,
handheld
Tammy Marlar
Below I loved this scene at Royal Botanic
Gardens, Kew, for its individual story
and its simplicity. Sometimes, there
is an expectation for autumn pictures
to deliver a panoramic, show-stopping
punch, but I loved the intimacy and
small scale of this composition, together
with the full gamut of autumn colours
on show and the carpet of leaves
beneath the tree.
Canon EOS 5D MkIII with Canon EF
180mm f/3.5 L macro USM lens, ISO 500,
1/400sec at f/5
tammymarlar.com

Martin Wurzbacher
Above left On a late-September morning
I went to a nearby beech forest to take
photographs of autumn mushrooms.
I was lucky to capture this beautiful
amethyst deceiver mushroom.
Canon EOS 50D with Canon EF 100mm f/2.8
USM macro lens, ISO 400, 1/6sec at f/4, tripod
martin-wurzbacher.com
Matt Garbutt
Above right On a morning walk in early
autumn at Westleton Heath in Suffolk,
fellow photographer Matt Dartford and
I were blessed with thick mist and a fairly
clear sky, which set the heath alight with
colour. These twin birches caught my
eye as the light streamed through from
behind them.
Nikon D750 with Nikkor 70-200mm f/2.8
lens at 122mm, ISO 100, 1/60sec at f/8, tripod
ghostedout.photo
Geraint Evans
Right Walking through Grassington Woods
in Yorkshire, I hoped I could portray the
autumnal colour using multiple exposure
and intentional camera movement.
Nikon D7100 with 50mm f/1.8 lens,
ISO 100, 1.6sec at f/16, polariser
flickr.com/photos/126232476@N06

Phil Selby
Above The 87-mile-long Kennet and
Avon canal links London with the
Bristol Channel. With the autumn colour
developing, calm weather and a good
chance of mist, I headed to a wooded
section of the canal near Pewsey in
Wiltshire. The conditions were perfect
and the dispersing early morning mist
gave the light a wonderful glow, adding
an impressionist feel to the already
tranquil scene.
Canon EOS 5D MkIII with EF 24-105mm
f/4 L lens at 80mm, ISO 100, 1/40sec at f/4,
Victoria Gray
Left The day before I left for an autumn
photo-making holiday in California’s
stunning Eastern Sierra, I noticed
the light falling on roadside trees and
sagebrush near my home in Reno,
Nevada. I thought to take a few shots to
‘get me in the mood’ for my upcoming
adventure. I think it is ironic that I love
this ‘practice’ shot more than anything
I captured on my holiday.
Nikon FE with 85mm Petzval lens, AGFA
Precisa ISO 100 film, 1/500sec at f/2.2,
handheld; the light and lens brought the
gift of swirly bokeh

Your next challenge
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Winter landscapes
As the landscape takes on its winter coat this
is one of the most challenging and rewarding
times of year to be out taking photographs.
With the temperatures dropping, more focus
needs to be given to staying warm and safe
and keeping your camera equipment
functioning. Overcome these hurdles and the
resulting images can transcend anything taken
in the more photographer-friendly months.
From sweeping snowscapes and haunting
images of bare-branch trees to intimate details
of frostbitten scenes, we want to see your very
best winter landscape images. Make sure you
read Dylan Nardini’s insightful feature on page
28 about shooting winter landscapes and then
send in your most compelling photographs for
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To submit your images, head to
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Thomas Roberts Roger Crebers

Above Waterfall country in the Brecon Below I took this image of backlit golden
Beacons provides a very short window for birch leaves on a late-afternoon walk
peak autumn colour. This year, I managed round Bramshaw Wood in the New
to catch Sgwd Gwladus (Lady Falls) at the Forest, Hampshire.
right time and was taken by the gentle Nikon D700 with Nikkor 70-200mm lens at
variation in colour. Using a telephoto lens 200mm, ISO 200, 1/30sec at f/4.5, Lee diff usion
from a distance allowed me to carefully and warm-up filters, tripod
compose, giving full attention to the rwcimages.co.uk
waterfall’s autumnal surroundings.
Canon EOS 6D with 70-200mm lens at
70mm, ISO 100, 0.8sec at f/11, tripod Enter and you could win
thomasroberts.cymru a Columbia Powder Lite
Hooded Jacket, worth £100!
The winner of our ‘Winter landscapes’
competition will not only see their image
published in the May 2018 issue of OP, but will
also receive a superb lightweight Columbia
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autumn or early winter, the Powder Lite Hooded
Jacket features a waterproof and breathable
outer shell lined with Omni-Heat Reflective –
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insulation. It will keep you toast y warm during
those long waits for the right light. It also has
an attached adjustable hood, interior pocket,
zippered hand pockets and elastic cuffs.
Find out more at columbiasportswear.co.uk

© Shutterstock.com
Where in the world?

If you can identify the stunning canyon in the image above you
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Street, Lewes, East Sussex, BN7 1XN. Low GTX shoes – congratulations!
Find out more at sprayway.com
Deadline for entry is midnight on 2 February 2018.
112 OP226 Where in the world_CG.indd 112 23/11/2017 16:01

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IBC_OPHO_226.indd 1 16/11/2017 11:47

OBC_OPHO_226.indd 1 24/11/2017 11:52

Outdoor Photography January 2018

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HOW TO TAKE INSPIRING WINTER LANDSCAPES

landscape | wildlife | nature | adventure

OFC_226_Dylan Nardini_01_SW.indd 1 12/7/17 2:10 PM

Steve Watkins Andrew Parkinson on the importance

Keep right up to date with news by ‘liking’ OP at

January 2018 Outdoor Photography 1

1 Eds letter 226_SW.indd 1 28/11/2017 12:22

FEATURES & OPINION LEARNING LOCATIONS

2 Outdoor Photography January 2018

2_3 Contents_226_SW.indd 2 23/11/2017 16:04

January 2018 Outdoor Photography 3

2_3 Contents_226_SW.indd 3 23/11/2017 16:04

Outdoor Photography (ISSN 1470-5400)

£91.20 instead of £114.00 (UK)

For further details:

4 Contribs 226.indd 4 23/11/2017 12:58

X-Pro2 (body only) £190 XF18mmF2 R £45

GET MORE, FOR LESS

005_OPHO_226.indd 5 16/11/2017 11:34

6 Outdoor Photography January 2018

6_7 OP226 Opening shot_SW.indd 6 16/11/2017 09:51

A historical route during World War I;

Marko’s compelling image is featured

January 2018 Outdoor Photography 7

6_7 OP226 Opening shot_SW.indd 7 16/11/2017 09:51

NEWSROOM CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

Horriﬁc image scoops photography award

8 Outdoor Photography January 2018

8-9_NEWSROOM_JANUARY_226.indd 8 23/11/2017 13:37

© 100 Moods from Finland

© Andy Hay (rspb-images.com)

January 2018 Outdoor Photography 9

8-9_NEWSROOM_JANUARY_226.indd 9 23/11/2017 13:37

OUT THERE Tsavo East National Park, Kenya, 2017.

BOOK OF THE MONTH

The Spirit of the Mountains The Living Forest:

10 Outdoor Photography January 2018

10_11 Out there_226.indd 10 16/11/2017 09:59

CAPTURING THE SENSE OF A PLACE

January 2018 Outdoor Photography 11

10_11 Out there_226.indd 11 23/11/2017 13:38

THE BIG VIEW

DON’T MISS! AMAZING

12 Outdoor Photography January 2018

12_13 OP226 The Big View_CG.indd 12 16/11/2017 10:00

GALLERIES IN AMERICA NOT TO MISS WINTER NATURE EVENTS

Winter Wildlife Walk

January 2018 Outdoor Photography 13

12_13 OP226 The Big View_CG.indd 13 23/11/2017 13:39

14 Outdoor Photography January 2018

14 Social Hub_226.indd 14 23/11/2017 13:39

16_22 Interview_226_SW.indd 16 23/11/2017 14:21

Interview by Nick Smith

16_22 Interview_226_SW.indd 17 23/11/2017 14:21

J photos I have ever taken – and it might

18 Outdoor Photography January 2018

16_22 Interview_226_SW.indd 18 23/11/2017 14:21

16_22 Interview_226_SW.indd 19 23/11/2017 14:22

20 Outdoor Photography January 2018

16_22 Interview_226_SW.indd 20 23/11/2017 14:22

16_22 Interview_226_SW.indd 21 23/11/2017 14:22

22 Outdoor Photography January 2018

16_22 Interview_226_SW.indd 22 23/11/2017 14:23

‘ Best Photo Lab Worldwide’