Outdoor Photography - May 2016

HOW TO SHOOT EPIC LANDSCAPES
landscape | wildlife | nature | adventure
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EDITORS LETTER
THE ISSUE
at a glance
Making an impact
Ive just heard about the untimely
passing of Gary Braasch, one of
the worlds greatest conservation
photographers. When he died, Gary,
70 and from Portland in Oregon, USA,
was out snorkelling on the northern
end of the Great Barrier Reef in
Australia, where he was documenting
the eect of climate change on the reef
system. You need to know little more
to understand how passionate Gary
was about the planet and trying to do
things that may have an impact and
tip the balance ever so slightly back
in the planets favour.
Several years ago, we included
Gary in our feature on the 40 Most
Inuential Nature Photographers;
an easy decision given his immense
talent, wonderful humanity and a
lengthy list of achievements, which
included the Ansel Adams Award from
the Sierra Club, and publication of his
work in numerous major magazines
and newspapers around the globe.
Gary was, in the truest sense of an
overused word, a hero.
Perhaps his most signicant body
of work was the one he had been
working on since 2000, a Global

View of Climate Warming, which
saw him documenting the work of
scientic projects on the rapid eects
of climate change, from Australia and
Antarctica to China and the Arctic, as
well as around his home state. He was
relentless in his pursuit of the images
that could help these people fully and
engagingly tell their stories.
Gary was a photography giant,
and it is, of course, hard for many
of us to countenance giving such a
commitment of time and energy to
causes, no matter how critical they
are. Yet, the enduring inspiration
from Garys life is that every little
counts, even if it seems relatively
inconsequential at the time.
With a camera in our hands we
have the potential to change things,
whether that is at a local level or
beyond. For Japanese photographer
Nobuyuki Kobayashi, it is an ultra
long-term impact he
seeks, to make prints
that will endure for
1,000 years or more
(see page 18).
Landscape photographer Nobuyuki

Kobayashi talks to OP page 16
Alex Nail goes in search of epic

landscape photographs page 30
See stunning images from a new

book on Shetlands otters page 78
Steve Watkins
GET IN TOUCH
COVER IMAGE
EMAIL Contact the Editor, Steve Watkins,

at stevew@thegmcgroup.com or Deputy Editor,
Claire Blow, at claire.blow@thegmcgroup.com
Alex Nail took this

stunning image
during a hike up
Norways national
mountain, Stetind.
It was one of the best
light shows he has
ever witnessed. See
his epic landscapes
feature on page 30.
WRITE TO US Outdoor Photography,

86 High Street, Lewes, East Sussex BN7 1XN
Follow us on Facebook Keep right
up to date with things by liking OP at
facebook.com/outdoorphotographymag
Fergus Kennedy tests Leicas new

adventure camera page 94
May 2015 Outdoor Photography 1
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MAY 2016
GO BIG! ALEX NAIL ON CAPTURING EPIC LANDSCAPES
FEATURES & OPINION

16 In conversation with
Nobuyuki Kobayashi
54 A photographers guide
to life on Earth
We meet Japanese ne art

photographer Nobuyuki
Kobayashi, who specialises
in creating exquisite images
of nature using the platinum
palladium process
Chris Weston explores the

importance of taking the
time to see details within
the bigger picture
26 One month, one picture

Pete Bridgwood captures
a dramatic coastal scene
in Devon
40 Lie of the land

Claire McConnell takes
inspiration from Mahler to
photograph a woodland scene
62 In the spotlight
Outdoor photographer and
writer Jon Sparks talks to
Nick Smith
65 International Garden
Photographer of the Year
Stunning images from the
competition that celebrates
all things botanical
85 Inside track
42 Opinion
Would you step in to feed
a wild animal in need?
Andrew Parkinson tackles
this controversial issue
Nick Smith embarks on a

photographic adventure in
Canadas frozen wilderness
30
LEARNING
ZONE
LOCATIONS
GUIDE
30 How to photograph epic

landscapes
46 Porth Nanven cove,

Cornwall
Alex Nail offers logistical,

technical and creative tips to
help you capture awe-inspiring
images of big vistas
Andrew Ray seeks out

a dynamic wideangle
composition on a picturesque
Cornish beach
38 Quick guide to
High frame rate shooting
for wildlife
49 Lodge Park Wood,

Pembrokeshire
Richard Garvey-Williams on the

benets of using your cameras
continuous shooting mode
when photographing wildlife
Drew Buckley shoots a classic

springtime scene in a owerlled wood
50 Viewpoints
Eight top UK locations to shoot
this month, including stunning
spots in Derbyshire, Kent,
Cornwall and Merseyside
2 Outdoor Photography May 2016
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50
72
78
94
NATURE
ZONE
72 Life in the wild
Laurie Campbell looks at
ethics in the fast-changing
world of wildlife photography
74 Photography guide
Lauries seasonal highlights,
world wildlife spectacles and
eight top spots for coastal ora
and fauna
GEAR ZONE
REGULARS
YOUR OP
92 Gearing up
8 Newsroom
14 Your letters
Our round-up of the latest

outdoor kit to hit the shelves
Keeping you up to date with the

latest photography, outdoor
and conservation stories
Your feedback, opinions

and musings on all things
photography-related
10 Out there
59 Reader gallery
Our pick of new photography

titles and nature books
Our pick of this months

best reader images
12 The big view
87 Next month
The latest photography and

art exhibitions, plus upcoming
nature and adventure festivals
A sneak peek at the June issue

of Outdoor Photography
94 Camera test: Leica X-U

Fergus Kennedy heads to the
south coast of Sussex to try
out Leicas new outdoor and
underwater camera
77 A moment with nature
88 Your chance
Australian photographer Judith

Conning nds beauty in an
unremarkable paddock
Find out how to get your

work published in OP
108 If you only do one thing

this month
78 Otters in Shetland:
The tale of the draatsi
A glimpse of Richard
Shucksmith and Brydon
Thomasons new book
82 On the wing
Steve Young heads south to
Somerset to photograph a
mega-rare Hudsonian godwit
NEXT ISSUE ON SALE 5 MAY 2016

How to relate land and sky in your landscapes
Are smartphones dumbing down photography?
How to read water with nature guru Tristan Gooley
The winners of our joy of

the landscape photography
competition, plus this months
challenge: epic landscapes
112 Where in the world?

Correctly identify the location
featured and you could win
a Vango Fuse 2 sleeping bag
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IN THE MAGAZINE THIS MONTH...

EDITORIAL
COVER + 30
Alex Nail is a photographer
based in Bristol with a
passion for capturing remote
landscapes. He loves to seek
out spectacular light, and
wild camps in Scotland and
round Britains national parks
throughout the seasons.
alexnail.com
Rachael Talibart is a
landscape photographer,
camera club judge and
lecturer based in Surrey.
She is co-founder of
f11 Workshops, leading
workshops in Surrey, West
Sussex and London. She also
exhibits, and her rst solo
exhibition is in October.
rachaeltalibart.com
42
16
Nobuyuki Kobayashi
is a Tokyo-based ne art
landscape photographer,
who also shoots portrait
and fashion images for
advertising campaigns
and magazines. His project
Portrait of Nature: Myriads
of Gods and his other work
have been widely exhibited
in Japan and abroad.
zenne-inc.com
46
Editor Steve Watkins

stevew@thegmcgroup.com
Deputy editor Claire Blow
claire.blow@thegmcgroup.com
Assistant editor Anna Bonita Evans
anna.evans@thegmcgroup.com
Designer Jo Chapman
38
Richard Garvey-Williams
is an award-winning wildlife
and landscape photographer
and author. Having spent
his childhood in Africa,
he relishes opportunities
to return and share the
experience by leading
photographic safaris.
Now based in Devon he also
offers tutoring on Dartmoor.
richardgarveywilliams.com
49
ADVERTISING
Raphael Pottinger
raphael.pottinger@thegmcgroup.com,
01273 402825
MARKETING
Marketing executive
Anne Guillot
anneg@thegmcgroup.com,
01273 402871
PRODUCTION
Production manager Jim Bulley
Production controller Scott Teagle
Origination and Ad design
GMC Repro. repro@thegmcgroup.com,
01273 402807
Publisher Jonathan Grogan
Printer Precision Colour Printing, Telford,
01952 585585
Distribution Seymour Distribution Ltd
Outdoor Photography (ISSN 1470-5400)
is published 13 times a year by GMC Publications Ltd.
86 High Street, Lewes, East Sussex BN7 1XN.
Tel 01273 477374
40
Claire McConnell is a
Buckinghamshire-based
photographer who is
passionate about landscape,
abstract and street
photography. A professional
musician, her love of music
and the performing arts
often provides inspiration
for her work.
greeneyedlens.com
54
Guild of Master Craftsman Publications Ltd. 2016
Andrew Parkinson is a
multi award-winning wildlife
photographer and a feature
contributor to National
Geographic. He works
exclusively with wild animals,
supplies his images to nine
international agencies, and
is one of the 2020VISION
project photographers.
andrewparkinson.com
72
Andrew Ray is a full-time

professional photographer
based in Cornwall who
specialises in UK landscape
images. His work has been
widely published, and he
has won numerous national
competitions and awards.
andrewrayphotography.com
Drew Buckley is an
award-winning professional
landscape and wildlife
photographer from
Pembrokeshire. His images
are internationally published
in many magazines, books,
and in the media. He also
runs location-based
photographic workshops
around Wales.
drewbuckleyphotography.com
94
77
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Chris Weston is a
professional wildlife
photojournalist . He has
travelled widely to document
the issues and challenges
facing many of the worlds
rarest species, and is the
principal photographer
for the NGO Animals on
the Edge.
chrisweston.photography
With more than 30 years

experience of photographing
Scottish wildlife, Laurie
Campbells creative aim is
simple, to share his passion
for Scotlands landscapes,
ora and fauna. He regularly
leads nature photography
workshops, and his images
are widely published.
lauriecampbell.com
Judith Conning is an
Australian photographer who
has long enjoyed capturing
images of the natural world
landscapes, weather and
wildlife both close to home
and further aeld. She hopes
her images encourage people
to do their bit to preserve our
fragile world.
judeconningphotography.com/
wonderfully-wild
At the age of ve, Fergus

Kennedy loved messing
around in the sea and playing
with gadgets. Forty years on,
very little has changed. He is
a marine biologist and works
as a freelance photographer
and camera operator for
clients such as the BBC
and Canon Europe.
ferguskennedy.com
ALSO IN THIS ISSUE

Pete Bridgwood petebridgwood.com, Graham Dunn grahamdunn.co.uk, Mark Helliwell markhelliwell.com,
Stewart McKeown stewartmckeown.co.uk, David Eberlin davideberlin.uk, Matt Whorlow matt-photo.co.uk,
Nick Smith nicksmithphoto.com, Steve Young birdsonlm.com
For further details:

Call 01273 488005
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Outdoor Photography considers article ideas for publication, which should be sent to the Editor, along with a stamped self-addressed return envelope if you require your material back. GMC Publications cannot accept liability for the
loss or damage of any unsolicited material. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers
of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior
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GMC Publications cannot accept liability for the loss or damage of any unsolicited material.
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Storm Imogen
by Rachael Talibart
I had been to Newhaven on the
East Sussex coast almost every
week through the winter, working
on a series of wave pictures. Id
bagged some images I liked and
the set was taking shape, but Storm
Imogen was a game-changer. With
gusts of 70mph, even standing up
was difficult and the waves were
amazing. I think it was the most
exhilarating shoot I have had yet,
and a stark reminder of our place
in this world.
Canon EOS 5DS R with Canon
70-200mm f/2.8 L IS lens at
190mm, ISO 200, 1/1000sec at f/10
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THE LATEST BULLETINS
NEWSROOM
NEW LAUNCHES
ianwoolcock/Shutterstock.com
CONSERVATION
COMPETITIONS
OUTDOORS
TECHNOLOGY
Pednvounder beach and

Logans Rock near Porthcurno,
Cornwall; part of the newly
designated Mounts Bay
marine conservation zone.
OTHER NEWS
British Wildlife
Photography Awards
nal call for entries
The annual search for the UKs best
wildlife images is coming to an end.
Covering everything from animal
behaviour, urban fauna and the marine
world, to the hidden creatures that live
in the undergrowth, the British Wildlife
Photography Awards celebrate the
varied and wonderful wildlife found in
and around Britain. The competition
also showcases the incredible talent
of photographers and lmmakers who
seek to capture the countrys wild side.
With a prize fund up to 20,000,
theres no better time to enter!
OP readers discount
Spiny lobsters, stalked jellysh, basking sharks

and Balearic shearwaters are among species the
government has pledged to protect through the
designation of 23 new marine conservation zones
(MCZs) in the seas around England. Distributed
as far north as the Farne Islands o the coast of
Northumberland, down to Lands End in Cornwall,
the safeguarded areas cover 4,155 square miles of
marine habitat. Added to the 27 zones created in
2013, they more than double the size of Britains
so-called blue belt the maritime equivalent
of the green belt.
Set up to protect 45 dierent types of habitat,
geological features and species, the sites include
the Cromer Shoal Chalk Beds, Europes longest
chalk reef; the wildlife-rich Swale Estuary in Kent;
and Cumbrias Allonby Bay, which supports many
dierent sea creatures, most notably the reefbuilding honeycomb worm.
Conservation measures will vary from site to site,
depending on the habitats found within each zone.
For example, in a new reserve around the Needles,
o the Isle of Wight, new restrictions on trawling
and oyster dredging may be put in place to protect
its seagrass meadows and associated wildlife, which

includes the rare native oyster and the sea hare.
The Wildlife Trusts have been campaigning for
many years for better protection for Britains
marine habitats and wildlife. Joan Edwards, head
of the Trusts Living Seas initiative, said: UK seas
have the potential to be full of incredible life and
colour, but continued destruction has reduced them
to a shadow of their former selves. We are pleased
by the governments commitment to addressing the
decimation of our seabed over the past century, and
to delivering an ecologically coherent network of
marine protected areas. This second step towards
the completion of a blue belt in UK seas is crucial
in turning the tide on the state of our seas, but
theres still work to be done.
The third planned tranche of MCZs will be put
forward for consideration in 2017, and designated
in 2018. Defra has also launched a consultation on
creating ve new special areas of conservation for
harbour porpoises, and there are proposals for
seven other marine protected zones to safeguard
threatened birds such as spoonbills and puffins.
To nd out more, go to wildlifetrusts.org/mcz
Until the competition deadline at

midnight on 30 April, when you
purchase four entry credits on the
BWPA website (allowing you to submit
up to 10 images), you can receive an
extra credit for free simply use the
voucher code OPMAY16. So, if you
want to enter 20 images in the Adult
Competition, for example, you can pay
for just 10. Each credit costs 5, and
all of the fees are fully explained on
the BWPA website: bwpawards.org.
Oliver Charles Wright
UKs protected blue belt

for marine life expands
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EDITED BY CLAIRE BLOW
WAYS TO GET INVOLVED

With longer, warmer days to look forward to, its the perfect time to use your photography skills and outdoor knowledge
to make a difference. Here are just some of the inspiring events, projects and surveys taking place around the UK...
Camera posts are being set up around the

Pembrokeshire Coast National Park as part of a
project to explore how the landscape is changing
over time. The Changing Coasts project invites
visitors to take and share photographs taken at
specic locations, starting at Abereiddy.
pembrokeshirecoast.org.uk/changingcoasts
Seahorse Neil Garrick-Maidment, courtesy of the Seahorse Trust
Walk to support the

Peak Districts trails
The Peak District National
Park Authority is holding
a sponsored walk along the
Monsal Trail to help support the areas trafficfree trails. The family-friendly Walk in the Park
event, which is the parks rst major fundraising
campaign, will take place from 19-21 August . All
money raised will go towards maintaining the
Monsal, Tissington, High Peak and Thornhill trails.
Tickets and information can be found at
peakwalkinthepark.com
Monitor Scotlands upland plants

If youre lucky to live close to Scotlands
mountains, you may be interested in a new
survey that has launched to monitor the
rare plants found in these iconic habitats.
A signicant number of these arctic-alpine
species such as starry saxifrage, moss
campion and mountain azalea are in decline
due to challenges such as climate change and
unsuitable land management, according to
Plantlife. The charity is inviting the Scottish

public to take part in the National Mountain Plant
Scheme, a habitat-based plant monitoring
survey that aims to collect data to provide an
annual indication of changes in plant abundance
and diversity.
Find out more at plantlife.org.uk or npms.org.uk
Keep your eyes

peeled for
seahorses
Calling all beachgoers: the Seahorse
Trust is appealing
to anyone who nds
a dead seahorse
washed up on the
shore in the UK
whatever its condition
to send it to them. Any specimens received
will form part of a new collection of seahorse
material that scientists at the Natural History
Museum will use to extract DNA from, in
an effort to understand better the exact
classication of British seahorses compared
with the rest of Europe.
So, if you spot a seahorse, photograph it where
you found it (including an image of it next to a
ruler or a measurable object), record the exact
location (preferably a grid reference) and contact
Neil Garrick-Maidment at the Seahorse Trust
(neil.seahorses@tesco.net) for details of where
to send it.
theseahorsetrust.org
Document
the Dales
Photographers can
apply to take part
in an ambitious
project this summer
to document the entire Yorkshire Dales National
Park. Successful applicants will be tasked with
mapping a particular section of the park through
images between 28 March and 29 October
(British Summer Time). There are 134 sections
to choose from, and you can take part as an
individual or a group. The project will culminate
in an exhibition next year, and the images will
be archived for future generations to enjoy.
yorkshirephotowalks.com/gridproject
Tom Marsh
Help to record Pembrokeshires

changing coastline
Share your photographs of

Northumberland National Park
Northumberland National Park is calling on
visitors from around the world to share their
photos and lm footage of the area to help mark
its 60th anniversary. Images will be featured in
an online gallery on the national parks website
and shared via social media throughout 2016.
Andrew Mitchell, web and social media officer at
Northumberland National Park, said: We already
have an extensive library of still photography and
lm taken throughout the history of the park but
were intrigued to see how visitors have recorded
their own experiences over the years.
You can email your photographs and lms
to 60years@nnpa.org.uk or via Twitter and
Instagram using the hashtag #NNP60
UK photographer
awarded
A photograph that captures the Milky
Way as it ascends over the Darvaza
gas crater in the Karakum desert,
Turkmenistan has been chosen as
the single best image by a British
photographer in the 2016 Sony World
Photography Awards. Taken by
London-based doctor and amateur
photographer Tino Solomon, the
image (left), entitled The Door to
Hell was entered into the Low Light
category of the Open competition.
Solomon wins a Sony ILCE-7M2K
camera, and his image will be part
of the 2016 Sony World Photography
Awards exhibition at Somerset House
in London from 22 April to 8 May
see page 12 for details.
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THE LATEST NEW MEDIA
OUT THERE
IN PRINT
Robert Adams
BOOK
Steidl
OF THE
978-3-86930MONTH
9000-2
Hardback, 28
First published in 1974,
Robert Adams The New West is among
the classic photography books. Placed
alongside other landmark series such as
Walker Evans American Photographs
and Robert Franks The Americans, this
is an artful, insightful exploration of US
culture, society and landscape thats
still pertinent today. Now, more than
Wild America:
A personal celebration
of the national parks
David Muench and Roly Smith
Rucksack Readers
978-1-898481-73-7
40 years after its original publication,

this re-release puts Adams powerful
images back into the spotlight.
Visiting the Colorado Front Range,
the intersection between the Western
Frontier and Great Plains, Adams looked
at urban development and its impact
on nature. Once a place seen as the
unknown and a symbol of American
freedom and self-reliance, this stretch
of land is now lled with freeways, tract
homes, low-rise business buildings and
advertising billboards.
With photographs captured in black
& white, and presenting a distilled way
of looking at the world, Adams The New
West represented a signicant shift
in recording the American landscape.
Almost the complete opposite to
Ansel Adams richly toned images
of Americas most impressive natural
sights, Robert Adams renders the
construction of urban sprawl in the
suburbs of Colorado with the Rocky
Mountains as a distant backdrop.
A lot can be learned from Adams
series and it deserves a place on every
landscape photographers bookshelf.
Hardback, 14.99
When a respected landscape
photographer such as David Muench
teams up with a nature writer as
eminent as Roly Smith, the results
are sure to be excellent. Living up to
expectations, this new publication pays
homage to North Americas national
parks. Sharing their experiences of the
continent through their chosen medium,
21 locations found across Americas
wilderness are seen here including
Mount Rainier, Antelope Canyon and
Shenandoah. Although the design
doesnt match up to the high standard
of the books content, dont let that
put you o, otherwise youll be missing
out on a ne portrait of Americas
wild beauty.
Robert Adams
The New West: Landscapes

along the Colorado
Front Range
A BOOK WITH A DIFFERENCE

Another Way of Telling:
A possible theory
of photography
John Berger and Jean Mohr
Bloomsbury
978-1-4088-6445-6
Paperback, 25
A fascinating read for anyone interested
in photography, John Berger and Jean
Mohr look together at the fundamental
nature of the medium in Another Way of Telling. Written from the
viewpoints of critic (Berger) and photographer (Mohr) in a fresh
and engaging approach, questions such as what is a photograph,
what do photographs mean and how can photographs be used,
will enlighten readers and help them underst and what it is that
distinguishes photography from other art forms. Far from a dry,
academic series of essays, this intriguing book includes 230
images by Mohr to illustrate the ideas raised. This is a new edition
of the title and, after reading the rst few pages, youll wonder
why it was out of print for so many years.
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EDITED BY ANNA BONITA EVANS
NATURE BOOKS TO INFORM AND INSPIRE

Our pick of the latest books about nature in all its intricacy and glory that will help inform your photography
and encourage you to see the natural world around us in a very different light.
James Macdonald Lockhart

4th Estate
978-0-00-745987-2
Hardback, 16.99
As much a literary masterpiece as an
informative wildlife study, James Macdonald
Lockhart uses engaging prose to truly excite
us about nature specically the 15 birds
of prey that breed in the UK. Beginning in
Orkney with the hen harrier and ending with
sightings of the sparrowhawk in Devon, each
chapter is dedicated to a particular species. Telling us of his own
experiences, Lockhart writes in a way that allows the reader to join
in on his discoveries and marvel at these majestic birds. Focusing
on their incredible biology and how, historically, they have captured
our imagination, Lockhart only partially reveals our complicated
relationship with these amazing birds.
Mark Carwardines Guide to Whale

Watching In Britain and Europe
Mark Carwardine
Bloomsbury
978-1-4729-1015-8
Paperback, 16.99
Giants of the sea that are utterly mesmerising
to watch, whales are one of natures most
beautiful and mysterious animals. Here,
wildlife photographer, and radio and TV
presenter Mark Carwardine tells us where,
when and how to watch these species in
a fact-le st yle, making this the ideal reference book when planning
a trip. Including where to spot dolphins and porpoises too, this
authoritative guide gives you top tips to help you get the most out
of your trip. Organised into different regions of Europe and what
species to look out for where, the books success is down to
Carwardines experience and knowledge of marine wildlife.
Tristan Gooley
Raptor: A journey through birds
The Most Perfect Thing: Inside

(and outside) a birds egg
Tim Birkhead
Bloomsbury
978-1-4088-5125-8
Hardback, 16.99
Exploring the science behind birds eggs
and the history of mans obsession with
them, ornithologist Tim Birkhead reveals
remarkable facts about this vital element
of life in nature. The journey of a birds egg,
from creation and fertilisation to its hatching,
are explained here, with answers to
questions you may not have considered
before such as why do eggs vary in shape, pattern and colour;
and when does the shell harden? Divided into nine chapters, each
grounded in science and enriched by Birkheads lifetime obsession
studying birds, this is a wonderful insight into one of natures most
fascinating processes.
How to Read Water:

Clues, signs and patterns
from puddles to the sea
above Birds eggs are far more complex than they appear. Tim Birkheads
revealing and engaging book takes us on a journey through their lifecycle.
Tristan Gooley
Sceptre
978-1-4736-1520-5
Hardback, 20
Tristan Gooley is known for revealing the
countryside in such a way that youll never
look at it in the same way again. Now
focusing on water, from it being in a glass
to the vastest oceans, Gooley tells us over
700 clues, signs and patterns to enhance our understanding of this
vital element. Following on with his witt y, engaging tone, Gooley shows
us how to spot dangerous water in the pitch black with the help of a
clock face, identify lighthouses with the aid of an elephant and read the
sea using ancient Viking methods. Well be taking a closer look at the
book in the next issue of OP.
10_11 Out there_SW CB.indd 11
17/03/2016 15:58
THE LATEST WHAT'S ON
THE BIG VIEW

EXHIBITIONS
Spiti: A Himalayan
story by
Joan Pollock
Alexander Semenov, Russia, Sony World Photography Awards 2016
of her images at the society

this spring. A lm about her
charity and pictures, Saving
Spiti, will be shown at the RGS
on Tuesday 12 April at 7pm.
rgs.org
Sony World
Photography
Awards 2016
Somerset House, London

22 April to 8 May
Selected from more than
230,000 entries, 500 winning,

nalist and shortlisted images
from this years Sony World
Photography Awards will be on
show at Somerset House for
just over two weeks this spring.
Representing some of the
worlds nest contemporary
photography through its
Professional, Open and
Youth competitions, the
awards cover a vast range
of genres from landscape,
nature and wildlife, to still
life, architechture and travel.
The work demonstrates a
strong sense of empathy and
originality, and highlights the
use of new technology such
as drones.
Images by the recipients
of this years Outstanding
Contribution to Photography,
RongRong & Inri the
inuential husband and wife
team who have helped shape
contemporary photography in
China will also be on show
somersethouse.org.uk
Atkinson Grimshaw courtesy of Tate Britain
Royal Geographical Society,

London
12 April to 6 May
Travel photographer Joan
Pollock rst visited Spiti, a
remote valley in the western
Himalaya, in 1993. Moved by
the plight of those who lived
there, and entranced by the
stunning landscapes, Pollock
photographed the Spiti Valley
people and their connection
to Tibetan Buddhism. Intimate
portrayals of a disappearing
world, the images are
compassionate portraits of the
monks, farmers and villagers
going about their day-to-day
activities. In many of her
pictures, Pollock captures the
mountainous scenery of the
area, such as her image of
Key (right), an 11th century
Buddhist monastery perched
on a craggy hill outside Kaza
the capital of Spiti.
Passionate about helping
to preserve the Spiti peoples
gentle, simple way of life
and beliefs, Pollock founded
a charity to help build vital
infrastructure to improve their
health, hygiene and wellbeing
without stripping them of
their native identity, religion
and customs. A fellow of the
RGS, Pollock displays a set
Joan Pollock
Painting with Light: Art and

photography from the PreRaphaelites to the modern age
Tate Britain, London
11 May to 25 September
Revealing how vital painting and photography
were to one another during the late 19th century,
Tate Britains new exhibition includes 200 works
by leading gures from the two mediums,
including Robert Adamson, JWM Turner and Julia
Margaret Cameron. Painting with Light shows
how the dawn of photography coincided with
a tide of revolutionary ideas in the arts, such as
Turner inspiring the rst photographic panoramic
viewpoints and John Everett Millais invoking
meaning and emotion in art. There will also be
scenes created by the same artist , such as Alvin
Langdon Coburn, in both media. The exhibition
emphasises the importance of looking outside
of your chosen art form for inspiration.
tate.org.uk
12_13 The Big View_SW CB.indd 12
16/03/2016 10:11
EDITED BY ANNA BONITA EVANS
NATURE AND ADVENTURE FESTIVALS

Orkney Nature Festival
Various locations, Orkney
16 to 22 May
This years Orkney Nature Festival
is a week-long event lled with walks,
day trips, boat excursions and lm
screenings to celebrate the islands
rich natural heritage. The full programme
is listed on the website, but visitors
can expect sightings of the regular
visitors to the islands, including
common and grey seals, guillemots,
razorbills, kittiwakes and fulmars.
orkneynaturefestival.org
Ben Masters
BOOK AHEAD!
KESWICK MOUNTAIN FESTIVAL

A weekend lled with talks, activities and sporting events all related to mountain
culture, the Keswick Mountain Festival in the Lake District attracts outdoor
enthusiasts from across the UK and beyond. Here are some of the highlights...
THURSDAY
Wainwright Wander
SATURDAY
Wild Camping
Take in six of the best summits in the Lake District

during this nine-mile hike. The route will reward
walkers with stunning views of Buttermere,
Ennerdale, Wasdale and Borrowdale.
Event grade: Very hard. Tickets: 25
A two-day introduction to wild camping in the Lakes,

the trips route includes a walk along the Langstrath
Valley and, after spending the night above Easdale
with views of Grasmere to take in, a descent to
Watendlath to follow the path back to Keswick.
Event grade: Moderate. Tickets: 70
Monty Halls
Writer, explorer and television presenter Monty Halls
has circumnavigated the globe four times. Hell
recount some of his most memorable expeditions,
including the discovery of a sunken city off the Tamil
Nadu coast of India and encounters during an antipoaching project in Nyika Plateau, northern Malawi.
Standard tickets: 18
Alan Hinkes
FRIDAY
Blencathra by Moonlight
SUNDAY
Beginners Navigation
Climb one of the most northerly mountains of the

Lake District during sunset to reach the summits
plateau under starlight. If its a clear night there
will be plenty of celestial delights to see.
Event grade: Easy. Tickets: 30
A day of learning navigation in the Cumbrian

mountains, this course will help you understand
different map scales, interpret contours, plan
and follow a route, estimate distances, plus how
to navigate in poor visibility.
Event grade: Moderate. Tickets: 40
Various locations, UK and Ireland

7 April to 28 May
This spring, catch at a location near
you the BANFF Mountain Film Festival.
Screening at 22 venues across the UK
and Ireland, this years line-up delivers
the best new lms created for the global
mountain and sports community. Get
ready for two and half hours of exploring
remote cultures, intense expeditions
and thrilling action sports, all from the
comfort of your cinema seat.
banff-uk.com
Discover Rock Climbing

Learn to climb some of Lakelands rock faces
during this three-hour introductory session. With
a maximum of six people per group, each person
will get coaching from experienced instructors.
Event grade: Moderate. Tickets: 37.50
Keswick Mountain Festival 19-22 May, Crow Park, Keswick, Cumbria

For the full schedule, and more information on each event, visit keswickmountainfestival.co.uk
Julian Claxton
The rst Briton to climb all 14 of the worlds peaks

over 8,000m, Alan Hinkes gives a gripping
account of his adventures focusing on reaching
the summits of Everest, K2 and Kangchenjunga.
Hell also touch upon more recent adventures,
including ice climbing in Norway. Tickets: 15
James Cracknell
Olympic gold medalist and six-time World
Champion athlete James Cracknell talks about his
most gruelling endurance expeditions to date. Hell
touch upon the physical and mental challenges he
faced during the Amundsen Omega3 South Pole
Race and his trip across the Atlantic. Tickets: 26
BANFF Mountain Film Festival
Broads Outdoors Festival 2016

Broads National Park, Norfolk and Suffolk
7 to 22 May
With 186 miles of footpaths and 122 miles
of rivers, the Broads National Park is
the ideal place for an outdoor festival.
With a schedule full of events taking
place throughout the three weeks of the
festival, some highlights include a walk
across RSPB Strumpshaw Fen nature
reserve to hear the dawn chorus and
a boat trip to Hoveton Great Broad
Nature Trail.
outdoorsfestival.co.uk
12_13 The Big View_SW CB.indd 13
16/03/2016 10:11
THE LATEST FEEDBACK
Your letters
Write to us! We love getting your views and responses; email claire.blow@thegmcgroup.com
LE TT ER
OF TH E
MONT H
More women photographers, please!
Oh where oh where have the

women photographers gone?
Oh where oh where can they be?
I eagerly wait each month for my
delivered copy of Outdoor Photography,
and even more eagerly ip to the In the
magazine this month page but my
anticipation rapidly subsides when I nd,
yet again, there are no featured women.
There are some spectacular women
photographers, but why are they not featured
in OP? Is the comment from Victoria Gray
from Nevada (Your letters, OP203) correct,
in that its just too hard for us women to nd
a suitable tree to wee behind when outdoors
and therefore we cannot take great photos?
Is the age-old stereotype actually true that
above Nic Davies

iPhone image,
taken in the
Peak District.
women dont self-promote and so dont

ask to be featured in OP? Or perhaps its
the other age-old stereotype that nature/
landscape photography requires a degree of
exactness that (too-emotional) women lack?
I personally havent tried submitting to
OP because Im just plain old too busy
trying to redene a new career while raising
a munchkin who has time to investigate
where to buy a set of (frankly, antiquated)
CD-Rs? I suppose all other women
photographers have similar excuses. In the
meantime, I suppose Ill add CD-Rs to my
shopping list on the off-chance that they still
sell them at grocery stores, and will yet again
eagerly await Mays contributors page.
Sara Rawlinson, via email
Walking the line

For once, leaving my DSLR at home was
a smart move. I had travelled up to the
Peak District, from London via Beeston
and Buxton, for what has become an
annual cycling weekend with a couple
of friends. As we were due to cover about
35 miles, starting on the Tissington trail
(an old railway line, repurposed for
cyclists and walkers) at Sparklow
towards Ashbourne, and then back to
Sparklow. Cycling and a tight schedule
Eds response Hi Sara, thank you for raising

this issue. We would love to feature more work
by female photographers, we simply dont receive
as many submissions from women compared with
men. Youll hopefully be pleased to see that this
month women photographers are better
represented on our contributors page, but
we agree that it would be great to have a more
even balance of male and female photographers
in Outdoor Photography.
We are also aware that nding the time to send
in entries by post is an issue for men and women
alike so youll be happy to know that an online
submission system for the magazine is in development
and set to launch soon; well reveal all the details
as soon as it has been fully tested and is ready to
go live.
meant my DSLR had to stay in London.

Autumn was nearing its pinnacle; the
landscape was a kaleidoscope of coloured
foliage, softened that morning by heavy
fog. Perfect photography conditions, if
you had a camera, that is. The limitations
of my iPhone 5s camera wouldnt do
justice to the scenery, so I resigned myself
to enjoying the beauty of the landscape
without the pressure of recording it.
As we prepared the bikes I saw a couple
returning from walking their dog. It was
a photographic gift that I couldnt pass
up. They were framed beautifully by the
trees, the fog softening the background
so they stood out as near silhouettes.
It was a simple image that needed careful
framing and little else.
The original camera image was
disappointing, at and lifeless with
muddy colouring; it didnt reect
the scene I had seen. But I felt the
composition worked well, and some
minor tweaking would bring it to life.
Mays letter of the month winner, Sara Rawlinson, receives

a Samsung PRO Plus 64GB memory card, worth 87.99
Samsungs new PRO Plus memory cards are equipped to store and transfer professional-grade
photos and 4K UHD video content from high-end DSLRs, smartphones, tablets and action
cameras. With read and write speeds of 95MB/s, the cards satisfy both UHS-I Speed Class 3
(U3) and Speed Class 10 performance levels. The 64GB PRO Plus memory card can record
approximately 110 minutes of 4K UHD video or 490 minutes of Full HD video without the need to
change or replace the memory card.
For more information, visit samsung.com
My rst attempt with Lo-Mobs black

& white treatment felt too cold.
Instead, I used the Enlight app by
Lightricks, changing the crop and
adjusting the clarity to highlight the
gures. The tilt and shift allowed me
to soften the right-hand side, where the
texture of the foliage was too distracting.
I then exported to Instagram to apply the
Crema lter, which gave a warmer and
softer colouring. This treatment more
closely resembled the scene I saw.
Happy with the result, and as the only
image I took that weekend, it more than
made up for having to leave my camera
at home.
Nic Davies, via email
Look after your boots

I have just read a letter about wet feet
due to boots being like sponges (Wet
weather gear, OP203). I have had a pair
of Le Chameau Mouon Plus leather,
Gore-Tex lined boots for about 10 years
now. They have been worked reasonably
hard in wet terrain in the Scottish hills.
From day one I have treated them with
Nikwax Aqueous proofer, and as a result
they are as waterproof as any wellies
up to a point, of course. The moral is,
buy good boots and look after them.
They will serve you well and keep your
feet dry.
Jim Paxton, via email
14 Letters CB.indd 14
16/03/2016 10:13
WOULD YOU LIKE TO

IMPROVE YOUR LANDSCAPE
PHOTOGRAPHY?
JEREMY WALKER
Landscape
Workshops
in association with LEE Filters
Snowdonia National Park

North Wales
(Weekend Workshop 750)
Friday 14th October to
Sunday 16th October 2016
Jurrasic Coast Dorset

(One day Workshop 195)
Saturday 19th November 2016
Jurrasic Coast Dorset

(One day Workshop 195)
Sunday 20th November 2016
Glencoe Scotland
(Weekend Workshop 725)
Friday 27th January to
Sunday 29th January 2017
LEE Filters have teamed up with leading landscape

photographer Jeremy Walker for a number of exclusive
photographic workshops.
Ideally suited to photographers who wish to learn more about
the use of lters, these extensive workshops will be limited to
just eight photographers and will concentrate on all the key
elements of landscape photography.
For further information visit www.leelters.com or

for booking details please contact Jeremy on
01935 872537 or info@jeremywalker.co.uk
015_OPHO_204.indd 15
3/16/16 9:44 AM
IN CONVERSATION WITH
Nobuyuki Kobayashi
Japanese ne art photographer Nobuyuki Kobayashi has dedicated his life to
creating wonderful large format images of nature using the platinum palladium process.
He talks to us about the deep connection he feels with his subjects, and about the
extraordinary eort he put in to nding the right handmade paper to print on
Interview by Steve Watkins
Why do I take a journey? Why do I want to put

myself in nature? It is because, I want to feel the
gods dwelling in nature, says Japanese ne art
landscape photographer Nobuyuki Kobayashi.
Brought up near the mountains to the west
of Tokyo and immersed from childhood in the
indigenous faith Shintoism a central plank
of which revolves around showing respect for
the kami, or gods, residing in the natural world
it is unsurprising that Nobuyukis photography
has led him deep into the landscape.
Born in the town of Yokoze-machi, in Saitama
prefecture, in 1970, Nobuyuki has been living
in Tokyo with his wife for the past 26 years.
Although he loves the city, it was the formative
years prior to moving to the capital that began
to shape his love of nature. The place is close
to the mountainside and has many rivers and
big trees, and is home to a Shinto festival that
gives thanks to nature, so it is a very natural
thing for me to have a love of that environment.
Contemplative, gently spoken and with
an infectious and joyful smile, Nobuyukis
approach to life is mirrored by his approach
to photography. He takes his landscape
photographs on a Toyo-view large format
camera, a tool that while it ensures a mindful
methodology does not come without some
downsides. The camera is so big and heavy and
handles badly, so its quite difficult to nd a good
point about it, he says, laughing. However, the
weaknesses of using it have become positive
things for me: its size means it provides a big
image; its weight provides protection against
the wind; and the handling means I am not in

a hurry when facing nature.
Although Nobuyukis passion for nature stems
from his early childhood, it took much longer for
him to warm to photography. At school he hated
cameras and couldnt stand to have pictures
taken of him, something he says was perhaps
sparked by his mother constantly reminiscing
about how it was good back then when
looking at old photos. He says, It seemed to
me that pictures were things that neglected the
present and caused an obsession with the past.
What a cynical child I was! It was a subsequent
incident at high school that proved to be the
turning point for him and photography. I had
been away travelling, and many school friends
came to hear the story about my trip. One friend
was dismayed that I hadnt taken any photos,
and I countered this by reaffi rming my dislike
of cameras. He said to me What a shame. You
have a heart of stone! I was shocked and it made
me want to get a camera and bring images to the
people who want to see them.
After this epiphany, Nobuyuki set about
learning more, largely through self-education
(he did enrol at the Tokyo Photography School
but admits he didnt go that often). Eventually
he managed to make a break into the world
of commercial photography, initially shooting
for magazines for around ve years before
expanding into advertising work such as cars,
food and fashion something he still enjoys
doing today because he nds both sides are full
of charm.
He has been working on his Portrait of Nature

Myriads of Gods project, featuring exquisite
images of nature printed using platinum
palladium on handmade washi paper, for over
20 years. He rst became interested in this
complex printing process when he was 24
after seeing the platinum palladium prints
of Koichiro Kurita at a gallery in Tokyo (Kurita
would later become Nobuyukis print master).
After progressing through learning about
negative lm development, he went on to try
his hand at the platinum palladium process
four years later, which kickstarted his Myriads
of Gods project.
For Nobuyuki, an important element of the
project is the handmade washi paper that the
large format images shot on Kodak TXP-320
negative lm are printed on. I spent a very
long time learning how to make Japanese paper.
There are several places nationwide that say they
are the home of Japanese paper but bearing
in mind that I needed paper that would resist
ageing, as well as being manufactured using
traditional methods, I wondered how many
places really made the paper in the old style.
After much searching and trial and error,
Nobuyuki was somewhat surprised to nd
the paper he was looking for in the local village
of Higashi-chichibu-mura and the local town
Ogawamachi. Their method of making
Hosokawa paper hasnt changed since 1642.
They only use mulberry trees to make it and
utilise traditional tools. With absolutely no
chemicals used in the process, it is paper that
16_24 Interview_SW.indd 16
16/03/2016 10:25
Kei The state where the gure is even and beautiful. August 2010. Akita Japan
16/03/2016 10:25
Yuuzen The state of water, voice and emotions arising ourishingly. November 2004. Gifu Japan
16/03/2016 10:25
Kizashi New things begin to occur. And, the signs of things that will occur. August 2010. Akita Japan
16/03/2016 10:25
Mizoregawa The state when snow is about to dissolve in the water of the river. January 2005. Miyagi Japan
16/03/2016 10:25
Jikuu Time and space. January 2007. Miyazaki Japan
16/03/2016 10:25
Engen The place where things are being generated and is the basis of all the things. May 2008. Yamagata Japan
16/03/2016 10:26
Kamui Majest y of God. May 2008. Yamagata Japan
16/03/2016 10:26
Zen The state of being itself. The exact. November 2004. Gifu Japan
can survive for over 1,000 years with no

obvious deterioration.
Given that large format images printed using
the platinum palladium process are capable
of capturing the most exquisite levels of detail,
he acknowledges that it seems a preposterous
clash to print them on rough washi paper, but
its a contradiction Nobuyuki enjoys. The paper
is well known for its unrivalled strength, and as
a Japanese person it is part of my identity, which
is something I wanted to bring to the project.
Compared with western paper its roughness
is readily apparent, but it gives a softness and
warmth to the images, and this avour is
something that makes it all worthwhile. I think
that is something that all art needs.
Many of the scenes featured in his work are
from his favourite places to photograph nature,
in Gifu and Nagano prefectures. When I go out,
I decide the direction I will take only once

I am there on location, as I dont like to have
a destination in mind. I follow my feelings, and
sometimes feel the call of a particular place
pull me towards it. I worship nature, so to speak,
and feel that water, trees and stones have dignity;
that they are more holy than I am. I often use
the term yubi, meaning gentle (yu) and
beautiful (bi), to describe things I see in nature,
and feel an overwhelming sense of existence
from them; thats why I like to capture them
on lm. Although I am always endeavouring
to capture portraits of the gods in nature,
of course I dont always connect with things
on this level; I just keep walking until its so,
and I dont mind how much time I spend for
that to happen maybe this is a way of thinking
particular to the Japanese!
After already spending 20 years working on
the project, Nobuyuki feels he will continue

with it for the rest of his life. Through it he says
he has become more modest, and has learnt just
how fragile and courageous nature is, but it is
the longevity of the prints that is the real driving
force behind his commitment to it. I want to
leave nature to posterity, as in this world it
is very difficult to do that because economic
activities are given priority and we cannot
prevent the destruction of nature. I am taking
photos for the people who will live in 1,000 years
time or later, I think it is my job to show the next
generations what was once here.
See more of Nobuyukis work at zenne-inc.com.
You can see a wonderful 30-minute documentary
lm about Nobuyuki and the Myriads of Gods
project on the Outdoor Photography website, at
outdoorphotographymagazine.co.uk.
16/03/2016 10:26
3/15/16 2:51 PM
ONE MONTH, ONE PICTURE
Faced with a captivating coastal scene, and with time on his side, Pete Bridgwood takes the
opportunity to practise a geometrical composition technique to emphasise the stormy sea
I sat there for hours, enveloped in the salty
scented spray, making images on this primeval,
threatening rocky foreshore at Woolacombe.
For a landscape photographer, conditions dont
get much better than this: moody monochromatic
lighting with a softened contrast due to the
heavily overcast conditions, a soul-stirring
stormy cloud base and high winds violently
throwing up spume from the surface of the
crashing waves.
When were faced with a scene like this, the
most valuable luxury available to us is time.
The weather was forecast to remain unsettled
all afternoon, allowing me to obsessively hone
my composition and play with the various
elements inside the frame over potentially
hundreds of exposures. Choosing which
elements to keep and which to discard is an
exercise in compositional geometry. The most
captivating feature of the scene was the wild,
stormy sea juxtaposed against the solid jagged
rocks anchoring the base of the composition.
After analysing a series of captured images on

the LCD, it slowly became obvious that waves
breaking at this position, linking the upper and
lower halves of the image through the horizon,
were obvious candidates for a main subject.
My favoured placement for main subjects is
often around the rabatment (pronounced like
apartment). We can visualise this imaginary
line within any frame, by mentally rotating one
of the short sides up towards one of the longer
sides, and then imagining a line dropped down
from the end of it to create the fourth side of an
imaginary square, as though making a square
crop from the left or right side.
This imaginary rabatment line oers a
compositional placement suggestion, much like
the rule of thirds, which encourages us to place
our main subject one third of the way along our
image and one third of the way from the base or
the top. Unlike the rule of thirds, rabatment
only directs horizontal placement in a landscape
aspect photograph. Importantly, though, in my
experience, it always works with images of any

aspect ratio except those shot in 2:1, where the
rabatment coincides with the central vertical
line of the image.
I attached an appropriate strength neutral
density lter to allow the choice of a shutter
speed sympathetic to the movement of the
waves at an optimum aperture of f/11. A neutral
density graduated lter was used to accentuate
the drama in the clouds. Then, as the hours
passed and the waves kept hitting the shoreline,
I made multiple captures using a remote release
to avoid camera shake, all the time trying to
capture a wave breaking in the perfect place
at the perfect moment.
above Woolacombe, Devon.

Fujilm X-Pro1 with Fujinon XF 18-55mm f/2.8-4 R
LM OIS lens at 18mm, ISO 200, 1/8sec at f/11,
Lee Seven5 3-stop ND and 2-stop ND grad,
Manfrotto 055CXPRO3 tripod, Manfrotto 405 Pro
Geared Head
26 One month one picture_SW CB.indd 26
16/03/2016 10:28
3/15/16 12:55 PM
3/15/16 2:56 PM
LEARNING ZONE
IMPROVE
30 How to photograph
epic landscapes
38 Quick guide to...

High frame rate shooting
THE WOW FACTOR

Alex Nails guide to capturing the drama of epic landscapes
29 Learning zone opener CB.indd 29
16/03/2016 10:30
LEARNING ZONE
How to photograph
epic landscapes
Creating truly awe-inspiring landscape photographs requires three essential ingredients:
a breathtaking location, stunning light and technical mastery; Alex Nail shows you
how to maximise your chances of capturing images that stand out from the crowd
t seems appropriate that I should start an article about shooting epic
landscapes while camped up a Scottish mountain in the snow. Its just
after 3pm, Im lying in a tent and about to put my crampons on to do
the nal 150m to the top of Stob Coire Raineach. Id be in trouble
with the editor (and mountain rescue) if I proposed you all do the same
at such a late stage in the day, but the truth is that capturing epic
images usually means putting in extra eort.
Epic images often combine a dramatic location with spectacular
lighting. The resulting photos show the wonder of nature and get
a wow from the viewer. Of course, photography can be much more
than burning peoples eyes out with raging sunset, but there is still
a lot to be said for images that excite and amaze. More than that,
these photos are incredibly difficult to achieve. Success is met with huge
satisfaction. If youre looking to take your photography in a thrilling
new direction, then shooting epic landscapes might be the way!
TRIP PLANNING
f you dont have months to wander in the outdoors, then
plan to make sure you are in the right place at the right
time. Finding new locations to photograph can be done
from the comfort of your home. There is a wide range
of tools available to help you on your way.
We are fortunate in the UK to have the best mapping
in the world, which makes nding potential shots and ways
of getting to your location much easier than it is abroad,
where mapping is often less detailed. If you can interpret
contours then its relatively easy to identify potential
viewpoints and anticipate scenes you may encounter.
Using maps exclusively allows you to visit a landscape
relatively blind, which can be creatively invigorating.
30 Outdoor Photograph May 2016
30_36 Technique_SWCB.indd 30
16/03/2016 10:46
Google Earth
(left ) was used
to virtually scout
a remote location
in Greenland.
Canon EOS 5DS R
with 16-35mm lens
at 24mm, ISO 100,
1/60sec and
1/180sec at f/8,
three horizontal
images stitched
The Photographers Ephemeris

If you are hoping to capture a aming sunrise or sunset,
the Photographers Ephemeris (photoephemeris.com)
can be used to see how the position of the sun varies with
location and time of year. The online web app gives a whole
host of additional information, while the mobile app gives
you similar options when you are on location.
summits in a matter of minutes. The day/night simulation

allows you to move through time showing how the light will
fall on the landscape as well as where the sun, moon and
stars will rise and set. Since Google Earth also gives you
a three-dimensional view of the world this is as close as
you can come to previsualising your nished image.
Panoramio
Google Earth
Google Earth is the go-to tool for thoroughly exploring
mountain areas. While the aerial views on offer lack the
detail of a map, they give a much better impression of the
landscape you are likely to nd. By ying around Google
Earth you can place yourself on the top of a dozen mountain
In addition, photos from Panoramio (panoramio.com) can be

found geolocated in this three-dimensional world to give you
a real view of what the landscape looks like. These images
are generally happy snaps that are perfect for forming
compositional ideas without being inuenced by the artistic
ideas of other photographers.
16/03/2016 10:46
WEATHER AND LIGHTING

During heavy rain
in Austria beams
of light shone
through dark
clouds overhead.
Canon EOS 6D with
a 70-200mm lens
at 82mm, ISO 100,
1/180sec at f/11
he most dramatic light often

comes before or after the
worst weather. Even in the
middle of a massive lowpressure system it is possible to have
moments of truly sensational light.
Rain often leaves behind clear air and
a colourful landscape bear this in
mind when reading forecasts.
Local weather forecasts are a good
place to start. The Met Office and BBC
are great in the UK, and there are
similar national forecasters in most
of the western world.
PRO TIP
If you see the bottom of the clouds glowing before
sunrise this is a good indicator that you are in for
a spectacular sky. Make sure you are prepared!
Mountain forecasts give more

in-depth information about what
the weather is doing and also include
information specic to the summits.
The weather in Kendal can be very
different to the weather on Scafell!
The Mountain Weather Information
Service (mwis.org.uk) gives forecasts
for all the mountain ranges of the UK,
including the likelihood of cloud-free
summits. It is important to read and
understand this forecast before
heading out.
What those forecasts often miss
are the underlying trends driving
the forecast. Learning how to read
synoptic charts can help you to
understand the probability of certain
weather occurrences, particularly
when you are planning trips several
days or more into the future.
In general, forecasts from the BBC

and Met Office covering a period of
between ve and 10 days err on the
side of caution sometimes reading
synoptic charts can give you reason
to be optimistic. The website Windyty
(windyty.com) has a beautiful graphical
representation of the Global Forecast
System (GFS) weather forecast model
and is great for beginners.
Being able to identify cloud types
can help you predict the light that will
arrive at the start and end of the day.
I am particularly drawn to high altitude
clouds including altostratus, cirrus
and altocumulus. These clouds often
provide the most richly coloured skies
and regularly precede a warm front
this is where being able to read and
understand those synoptic charts
comes in!
16/03/2016 10:46
HEADING INTO THE WILDERNESS

ome of the UKs most
dramatic landscape locations
are within easy reach you
dont need to hike for a week
in the wilderness. Here, like many
places worldwide, there are roads
that lead into the mountains and
offer sensational views, but their
accessibility brings with it familiarity
with the viewing public. If you want to
achieve that wow factor image youll
have to venture a little further from the
road unless youre prepared to hang

on for once-in-a-lifetime light.
If heading out into the wilds seems
daunting, consider this: most people
who climb mountains arent athletes.
You dont even need to be t to get up
some of the UKs easier peaks. Even
with 100m of elevation, a whole new
world can emerge.
Invest in suitable outdoor gear
and boots, pick a sunny day, rope in
a friend and go for it. As you develop
your outdoors experience you will

quickly grow in condence. It wont be
long before you are planning your rst
summit camp!
One thing you will need above all
else is tenacity. Walking up a mountain
or into the wilderness isnt necessarily
easy, and it is inevitable that your trips
will be fruitless time and time again.
Try to look at your failures as
successes eventually you will be
rewarded, failure is part of the process.
Repeated
backpacking trips
to Iceland nally
resulted in seeing
a sensational
moment.
Canon EOS 6D with
a 16-35mm lens
at 35mm, ISO 100,
1/45sec, 1/15sec
and 1/8sec at f/8,
six vertical images
stitched
Scouting also extends to exploring

a location immediately prior to the
best light arriving. Even go as far as
actually shooting the image to see if
the shot works and to solve any glaring
compositional issues. The aim is to be
in a position where, when the sky sets
on re, you can calmly walk around
capturing the images you have planned.
This image was

captured on
a scouting trip sometimes you can
be unexpectedly
successful.
Canon EOS 5DS R
with a 16-35mm
lens at 16mm,
ISO 100, 1/45sec
at f/8, ve vertical
images stitched
SCOUTING LOCATIONS
couting is an invaluable
method to construct photo
opportunities in advance.
Trips on cloudy days can
be put to good use by exploring
compositions and nding new
locations. Take reference shots so that
you have something to come back to
and store them all in one place on your
computer. I often relate these trial

images to a compass direction so that
I can tie in the composition with the
position of the sun. When its overcast,
try to visualise how the light might fall
at sunrise and sunset or how the
mountains might look with snow
being able to imagine your end goal
puts you halfway to achieving it.
16/03/2016 10:46
EQUIPMENT
Simplifying your
setup can help
if you are in a hurry;
the light faded
moments after this
image was taken on
Stetind in Norway.
Canon EOS 5DS R
with a 16-35mm lens
at 23mm, ISO 100,
1/180sec at f/8,
two horizontal
images stitched
here are lots of reasons to cut

down on camera equipment.
If you are going hiking, the
most obvious reason is to
save weight; camera kit is heavy and
often goes unused.
There is no need to carry more
than three lenses. My personal
recommendation is to carry a
wideangle in the 16-35mm range,
a 50mm prime and a 70-200mm
telephoto. That should cover you for

almost any eventuality; minor cropping
or multi-image stitching can be used
on the rare occasion that you need
something in the 35-50mm or 5070mm range. Camera failures are so
uncommon that the backup camera
body can stay at home
Many landscape photographers
swear by neutral density graduated
lters but, while they are nice to have,
they arent strictly necessary. Filters

are particularly problematic when
shooting in epic light often time
is short, and faffing about with lters
can be much slower than ring off an
exposure bracket. I carry just a screwin polariser and a solid ND.
By reducing your kit you will nd your
process is simplied, which brings
with it a certain freedom and takes the
emphasis back to the images.
CAPTURING THE SCENE

Deep shadows
in this Icelandic
canyon warranted
an exposure
bracket to bring
out detail.
Canon EOS 5D
MkII with a
16-35mm lens
at 16mm, ISO 100,
1/15sec and 0.7sec
at f/8, images
blended in
Photoshop
n a perfect world there would be plenty

of time to prepare before the light hits,
but the reality is often different.
Distractions, equipment failures, overcondence and laziness have often left
me rushing to get the shot.
Mastery of technique is absolutely
essential. If your ability to use your
camera and select suitable settings
is likely to restrict you, its worth
spending some time practising the
basics. As a general rule, if you cant
instinctively adjust exposure, focus
and check your histogram then you
need more practice.
The critical rst step to creating

a stitched panorama is to level your
tripod. To do this consistently you will
need a bubble level. The camera can
then be rotated around a plane that is
level with the horizon unfortunately
the panning clamps used by many
photographers are completely useless
unless the horizon is placed centrally.
Make sure the camera is set in manual
mode to ensure that the exposure is
consistent across the panorama and
set the camera to exposure bracketing
if necessary. Finally, when it comes
to capturing the exposure set, allow
a 30-50% overlap between images.
Panoramic landscapes
Some of the most engaging grand
landscape images are panoramic
views. Cropping a single frame shot
with an ultra wideangle lens can work
brilliantly, particularly with the latest
cameras and lenses. For 180 images
showing an expansive landscape,
however, you may wish to produce
a stitched panorama.
Shooting into the sun

Shooting into the direction of the sun
can also result in epic scenes, as it
introduces a massive contrast range
in the image. To give yourself sufficient
processing latitude, a bracketed
sequence of images is the way to go.
Set your darkest exposure so that the
area surrounding the sun looks slightly
darker than it appears; the remaining

brighter exposures should be set to
provide plenty of shadow detail. Your
bracketed sequence can later be
merged to HDR in Lightroom or
Photoshop to create a single Raw le
with a massive dynamic range.
A measured approach
Staying level-headed can be
challenging when the light nally
comes together. This is where
technical mastery and the ability to
follow a method really come in. If your
camera has custom modes they can
be a great way to reduce potential
errors and set your camera up in a
consistent way. At the turn of a dial you
could have your camera set up at ISO
100, f/11, 1/10sec, in Raw with mirror
lockup, a two-second shutter delay
and exposure bracketing.
Above all, dont try to do too much.
Focus on getting one really great
image and only move on when you
know you have it right.
16/03/2016 10:46
16/03/2016 10:46
FIVE EPIC
LOCATIONS
1
Fur Tor, Devon
The two to three-hour walk

in from the car park at Lane End
takes you up Tavy Cleave, one
of Dartmoors most picturesque
areas. The view over the cleave
from Fur Tor is a classic!
AMhaighdean,
Highland
If you really want an adventure,

how about camping on Scotlands
most remote munro? The entire
area, deep in the heart of
Fishereld Forest, is full
of incredible scenery.
Landmannalaugar,
Iceland
If you have wanderlust, book

a cheap summer ight to Iceland
and go to Landmannalaugar.
The landscape is as spectacular
as it is unique.
Stac Pollaidh,
Highland
This diminutive Scottish peak,

in Inverpolly in the north-west
Highlands to the north of
Ullapool, is one of the easiest
hikes in the UK but the views
it offers are out of this world.
4
The Snowdon
Horseshoe,
Gwynedd
Walking the Miners Path up

Snowdon eventually takes you
to a ridge with fantastic views
around the entire horseshoe.
Continuing on over the summit
takes you to the impressive
ridge of Y Lliwedd.
10 STEPS TO SUCCESS
Master camera technique dont let
it hinder you at crucial moments.
Understand weather and cloud

types so you can predict epic light.
Seek out new locations that the

viewer can be excited about.
Scout your shots so that when the

light arrives you know exactly what
you want to do.
Plan your images with maps and

online tools.
Spend much time on location.
Use camera custom modes to

create a repeatable process.
Bracket your images if shooting into

erce light to give the best chance
of success.
Shoot panoramas of mountain
vistas to show the scale.
Keep at it youll probably fail plenty
of times before you nally succeed.
TAKE PART! Enter

our epic landscapes
competition turn to
page 111 for details
16/03/2016 10:46
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New Zealand
20 Day Landscape
and Wildlife
New Zealand
14 Day South
Island Landscapes
2nd 21st October 2016

with Ben Osborne,
Sue Bishop and
Richard Young
2nd 15th October 2016

with Ben Osborne,
Sue Bishop and
Richard Young
New Zealand
7 Day Wildlife
and the North Island
Aurora Borealis
in Arctic Norway
15th 21st October 2016

with Ben Osborne,
Sue Bishop and
Richard Young
12th 19th November 2016

with Antony Spencer
and Justin Reznick
Plus many more tours!

You will be working with some of the most respected photographers in the world. They include:
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and many more.
Light and Land.

T +44 1747 824727 E admin@lightandland.co.uk
www.lightandland.co.uk
LL152_OP advert.indd 1
07/03/2016 09:23
QUICK GUIDE TO
High frame rate shooting for wildlife

The ability of modern cameras to take photographs in rapid succession is a great
advantage in capturing eeting aspects of behaviour and dynamic images of moving
animals. The continuous shooting mode can also be an asset in other situations when
shooting wildlife, as Richard Garvey-Williams explains
o here we are, utilising our panning
skills to track a ying bird or a running
animal through the view nder. The
autofocus is locked on to our subject
and the camera is cleverly adapting the focus as
it speeds towards us. We gently press the shutter
release and hear that satisfying t-t-t-t-t-t-t.
There are certain phases of the gait of a moving
animal or the wing-beat of a bird that will
create a more appealing and balanced
photograph with a greater sense of dynamism.
Firing o bursts at the right time greatly
improves our chances of capturing that
moment. And, of course, the higher the frame
rate particularly when the action is fast the
better the odds of success.
SOME IMPORTANT CONSIDERATIONS

When you set the drive mode to continuous
shooting, many cameras now offer high or lowspeed options. If youre photographing a slowmoving subject, the lower speed may suffice and
at least you wont risk lling your memory card
with virtually identical shots.
If the action is likely to be intense and prolonged,
its worth considering your cameras ability to
keep up with all this data coming in so quickly.
The size of the data buffer will affect how many
shots you can re off in one sustained sequence
before it slows down or stops to clear the
amassed data. Faster memory cards may also
help decrease waiting time if it does buffer out.
When following a passage of continued action,

it is often better to re off short bursts now and
then rather than keeping your nger pressed
down on the shutter release continuously. This
way, when that peak moment comes, the
camera will still be ready to capture more
images rather than be stalled while it clears the
buffer of shots that were less important.
If its doubtful that the camera will be able to
shoot the desired number of sequential images
needed to cover the situation you are facing,
it may be worth switching from Raw to capturing
the images as JPEGs, which will write to the
memory card more quickly.
38_39 Quick guide_SW CB.indd 38
08/03/2016 15:49
left When a chameleon projects

its tongue to catch insect prey,
its all over in a split second.
While photographing this
Namaqua chameleon in
Namibia, I soon learned to begin
ring a burst as soon as I saw
it starting to open its mouth.
Eventually, with some patience,
I was able to capture one with
the tongue fully extended.
Canon EOS 5D MkIII with
EF 100-400mm L lens,
ISO 400,1/1000sec at f/9
right In capturing this portrait of
a male leopard, these two were
taken only a split second apart.
Canon EOS 7D with EF 500mm
f/4 L and 1.4x converter,
ISO 200, 1/250sec at f/6.3
below In this sequence of a baby
elephant rushing back to its
mothers side, I think most
viewers would agree that the
third image (bottom) is the most
impactful the legs are nicely
separated and at full reach, the
tail is curved upwards and the
trunk is extended forwards.
Canon EOS 5D MkIII with
EF 100-400mm L lens,
ISO 400, 1/250sec at f/5.6
OTHER BENEFITS OF
A HIGH FRAME RATE
Even with a walking animal it is difficult to
monitor all the variable factors that might
contribute to making an engaging shot,
such as the phase of its gait, distractions
in the background and the direction of its
gaze. Shooting in continuous mode will
help you capture that split second when
it all comes together.
For portraits it can also be a life saver.
Quirky or emotive expressions can be very
eeting, and a change in the angle of the
gaze to reveal a catch-light in the eye may
only last a split second.
Often animals will blink or ick an ear,
particularly if theyre being pestered by
ies. So, again, ring off a couple of shots
will ensure you have a better chance of
coming away with what you wanted.
You also often nd that the second or
third shot of a sequence is a little sharper,
particularly when taking risks with slower
shutter speeds due to poor light. This is
because the very slight movement caused
when you press down on the shutter
release button has dissipated by then.
38_39 Quick guide_SW CB.indd 39
16/03/2016 10:47
LIE OF THE LAND
A photographic note
For professional cellist Claire McConnell, music and photography are intertwined.
Here she explains how a classical piece by Mahler inspired her to capture the
complex atmosphere of a woodland scene close to her home in Buckinghamshire
When Im performing or rehearsing music in
my day job (or rather evening and weekend job)
as a professional cellist, I always think visually
as opposed to emotionally. I think this helps
keep me centred and focused rather than risk
losing myself in the sheer loveliness of some
music. It makes complete sense to me that this
process is reversed when Im involved in creating
an image, be it when Im out shooting in the
natural landscape or back in the warmth editing,
and I often nd myself hearing a specic type
of music in my head at this time.
The image shown here, which Ive entitled
Touching, was shot locally in Wendover Woods,
on the edge of the Chilterns, at the start of 2016.
Like the majority of my images, its monochrome
and my intention was to capture the atmosphere
of dark, seemingly sinister woods and bring out
a softer, more human element of the location.

Here its the branches touching each other in the
centre of the image. For me, the music that
always accompanies this image is the Adagietto
from Mahlers Fifth Symphony.
Composing in the late 18th/early 19th century,
Mahler wrote music for huge orchestras that
included harps, many strange varieties of wind
instruments and an enormous section of
percussion instruments for that big bang
moment. His life and, perhaps unsurprisingly,
his music, was full of success and sorrow, hope
and unavoidable despair. The Fifth Symphony
is characteristically heavy with sadness. It even
kicks o with a funeral march. The Adagietto,
however, played by only the string instruments
and harp, was intended by Mahler to be a love
letter to his wife. Named after a musical term
to convey the relatively slow tempo that

the composer intended, the piece is a simple
expression of love, lled with tenderness.
Yet being the fourth out of ve movements,
its surrounded by music thats often much
darker in nature.
What could be gentler and show more love
than a touch? Out of the darkness of the woods
above we see light, and were only able to see the
branches touching because of this light. Through
the darkness and the mist, hope shines just as
Mahlers love letter does in his Fifth Symphony.
Maybe the image evokes very dierent music
for you. Of course, perhaps you feel it needs no
music at all. Either way, I hope that sharing the
music that inuenced and inspired the image
has added to your experience, and hopefully
enjoyment, of it.
40 Lie of the land_SW CB.indd 40
16/03/2016 10:48
14-144 OP app ad Full.indd 41
3/16/16 1:15 PM
OPINION
To feed or
not to feed
With the debate raging on whether or not
we as photographers should feed wild
animals, Andrew Parkinson reveals where
he stands on the issue. Drawing on his
experiences in the eld, he explores the
reasons for intervening wisely, and says we
all need to make our own informed choices
My rst recollection of feeding wildlife was when, as a young child, I used

to go for walks with my gran. She would always take with her a small bag
of grated cheese, which she would feed to various small birds at regular
intervals. Here rob, rob was one of the de nitive sounds of my childhood,
no doubt due in part to the immediacy with which robins would
opportunistically appear in the hedgerow. Forty years later, my passion
for wildlife continues unabated, as does my desire to make a positive
contribution whenever and wherever I can. This is at the very core of who
I am and what I want to achieve. Ralph Waldo Emersons famous saying,
To know even one life has breathed easier because you have lived. This
is to have succeeded, pretty much epitomises my lifes (not particularly
lofty) ambition. This often includes, but is not limited to, the occasional
supplementary feeding of our animal cousins, especially during critical
or challenging times in their lives. I say supplementary feeding because
Im always incredibly mindful never to create a dependence on the food
that I provide.
Its perhaps not surprising, then, that in the latest to feed or not to
feed social media squabble playing out at present I am rmly in the feed
camp, but only under specic circumstances and only with certain species.
Its also important to state that this is simply my opinion, based on my
own extensive experience and subject knowledge, and that there is no
denitive one-size-ts-all solution to this delicate issue. As is typical with
wildlife photography we need to make our own responsible judgement
calls about what is right and what is not.
To date, the only mammals I have routinely fed in relation to my
photography are foxes and badgers, but with both I have one overriding
objective. That is to never build an association between humans and the
provision of food. With rural foxes especially, this association would
almost certainly bring them to harm at the hands of some ill-informed
halfwit with a gun fetish.
I have, for the last 15 years, invested huge amounts of time into
photographing badgers, striving as I do with every subject to try to raise
the bar of what has already been achieved. Working exclusively in the
daylight hours this can be extraordinarily challenging, as a badgers rst
instinct upon leaving the sett is to head straight for cover. There are of
course those who may argue that I could still make images without using
food and this, to a degree, is true. However, these images would consist
almost exclusively of badgers rear ends disappearing at speed into some
tangled bracken.
Its also worth noting that during the long, dry summer months,
badgers and their young are most vulnerable to starvation and

dehydration as the earthworms on which they often feed retreat deeper
into the soil. Taking this into account, together with the fact that there
was an absence of any water close to the particular sett I spend time at,
it was a no-brainer for me to start putting down some supplementary food
and water during the challenging warmer months. The badgers and their
young benet from the small amount of regular food and water I provide
and, in doing so, they pause long enough for me to make some images.
Equally, I always remain downwind and am always concealed so that no
potentially harmful association could ever be created a win-win to even
the most ardent pedant! On evenings when I wasnt photographing, and
therefore not present to oversee their safety, I would throw the food into
the bracken so that they could forage out of sight.
42_43 Opinion_SW CB.indd 42
16/03/2016 10:50
With my fox cub project I used largely the same sense of logic, reason
and compassion. Several years earlier I had seen rst-hand the awful
consequences for a young fox family when one of the adult food providers
was killed. Although I hadnt been photographing the group, I didnt
hesitate to step in to help. When I did, things began to look up. I vowed
then that if I were to experience a similar situation in the future I would
do the same. Speaking candidly, there isnt a person alive today who could
persuade me, under any circumstances, to sit back and watch a young
family suer the agony of starvation; not if there was something I could
do to help.
Fast-forward to 2010 when, concealed in a hide, I watched mesmerised
as seven young, vulnerable fox cubs emerged from an earth close to home.
In that instant I knew that I was going to do everything I could to help
them reach adulthood. And yes, as a wildlife photographer, no one should

be too surprised to learn that Id be recording their progress along
the way. Every day for seven weeks I sat, watching, learning and
photographing. As time went by, their innate foxiness increased and,
as they started to venture further aeld their visits grew more and more
sporadic. Nevertheless, I have a great sense of pride in knowing that
while the fox cubs never knew me, they benetted greatly from our
brief relationship.
Wildlife photographers must be prepared to make similar judgement
calls. Every time we step out in to the eld to make images there are
consequences. However, with a little intelligence, some informed
eldwork and compassion, our actions can, on occasion, have no negative
impact, just a whole heap of benets.
42_43 Opinion_SW CB.indd 43
16/03/2016 10:50
3/16/16 9:45 AM
TOP STRAP
ACCESS RATING
These are based around
an averagely t person.
Below are loose guidelines
to what the ratings mean
(N.B. they are assigned by
the author and not veried
by OP.
P Walk distances are
one-way only):
1//5 Ea
Easy
s acc
c es
e s youu
can pr
prett
ett y much ge
et straight
out o
out
of you
your
y
ca
car a
and
d qu
q
quickly
c y
be at the viewpoint via good
quality paths.
2/5 Some gentle

walking generally less
than a half mile is involved,
which may be on mixed
quality paths.
3/5 A walk of up to
about two miles, over
quite easy terrain.
Trebarwith Strand, Cornwall by Matt Whorlow
LOCATIONS
GUIDE
46 Viewpoints of the month
1 Porth Nanven cove Cornwall
2 Lodge Park Wood Pembrokeshire
4/5 Medium length

hike up to about four
miles over mixed terrain,
possibly with some quite
steep gradients.
50 Viewpoints
3 Tumbling Hill Derbyshire
4 Perch Rock lighthouse Merseyside
5 King's Wood Kent
4
8
6 Portreath Cornwall
5/5 The most difficult

access. Long hike over
challenging terrain (e.g.
mountains/summits/steep
coastal terrain); or involves
travelling over particularly
extreme ground (e.g.
scrambling on rocks/
exposed coastal paths
or mountain ridges) over
any distance.
45 Viewpoints opener CB.indd 45
7
3
7 Hell Bank Derbyshire

8 Back Tor Derbyshire
9 Trebarwith Strand Cornwall
2
10 Porth-cadjack Cove Cornwall
9
10
1
Map plottings are approximate
16/03/2016 10:52
LOCATIONS GUIDE
VIEWPOINT OF THE MONTH
Porth Nanven cove,

Cornwall
Timing his visit with sunset and a low tide,
Andrew Ray heads to a photogenic Cornish
cove and captures a dynamic wideangle
image from the boulder-strewn beach
orth Nanven cove is located in
a site of special scientic interest
near St Just in the far west of
Cornwall. It lies at the seaward
end of Cot Valley, in a wild and often
windswept location where, when the
conditions are right, spectacularly large
waves crash in o the Atlantic Ocean.
The cove faces west towards the Brisons,
a twin-peaked islet one mile oshore
that is said by some to resemble General
Charles de Gaulle lying on his back.
The beach is often referred to as
the dinosaur egg beach because of
a remarkable deposit of oval-shaped
boulders. These were moulded by the sea
120,000 years ago and left suspended on
the raised beach behind the cove when

sea levels receded. Hundreds of them
have since broken away from the cli
due to coastal erosion, and fallen to the
beach below.
The former tin mining valley that
leads to the cove has its own, very mild,
microclimate and is a popular location
for birdwatchers and nature lovers. It is
not uncommon to see Cornish choughs
ying over the cove and surrounding
area. These red-legged, red-billed birds
are symbolic of Cornwall and even
feature on its coat of arms, but they have
only recently returned to the county
after a long absence.
Living less than an hours drive from
1 mile from St Just | 35 miles from Truro

ACCESS RATING
PLANNING YOUR TRIP

How to get there Follow the A30
through Cornwall, to the Mount Misery
roundabout on the Penzance bypass
(one mile west of the town centre).
Take the A3071 to reach the town of
St Just (seven miles). Turn left in the
town square and follow Market Street
(which becomes Lafrowda Close) to
reach a T-junction. Turn right then,
almost immediately, take a left into
Bosorne Road. This becomes a
narrow country lane that takes you
to a National Trust car park next to
industrial ruins (approximately one
mile). There is a good view of the cove
from near the western end of the car
park. The more able and adventurous
photographers can descend to sea
level and cross the boulder-strewn
beach and (often slippery) rocks to
reach the waters edge.
What to shoot Coastal views, ancient
raised beach, granite boulders and
Cornish choughs.
Best time of day Evenings when the
sun sets out to sea.

Nearest food/drink The Commercial
Hotel, 13 Market Square, St Just In
Penwith, TR19 7HE, 01736 788455,
commercial-hotel.co.uk.
Nearest accommodation The
Commercial Hotel as above.
Other times of year The autumn
months can be good here too.
Ordnance Survey map LR 203
Nearby locations Cape Cornwall
(2 miles); Botallack mines (3 miles).
the cove, I have visited the area on

numerous occasions the appearance
of the beach changes every time I return.
Ive seen the cove covered with seaweed
and large areas of golden sand, and at
low tide when there is nothing but sea
and boulders. You just never know what
photographic opportunities will be
available until you arrive.
My preferred time to visit is at sunset
during the spring and autumn months,
when the setting sun is visible in a
westerly direction. Mornings also oer
an abundance of photographic
46_47 VP Porth Nanven_SW CB.indd 46
16/03/2016 10:54
opportunities, although it does take

a considerable amount of time for the
sun to rise high enough to illuminate the
boulders on the beach. School holidays
are best avoided, as it is not uncommon
to be vying for the best viewpoints with
a dozen or more photographers and
sightseers with mobile phones.
The image shown here was captured
one evening in late May, when low tide
coincided with sunset. The only sand
visible in the cove was close to the
waters edge; it took about ve minutes
to carefully negotiate the slippery, large
egg-shaped boulders to reach my

preferred vantage point.
A large boulder was selected as the
main foreground feature, with the
stream on the beach carefully positioned
to lead the viewers eye out towards the
setting sun, which I placed in the topright third of the frame. I initially tted
just a 0.9 hard neutral density graduated
lter to my wideangle lens in order to
control the contrast levels in the image,
but it soon became apparent that the
relatively benign sea conditions were
best suited to creative images. With this
in mind, I slotted a second lter (1.2 ND)

into the lter holder and waited for the
sunset to develop.
The Raw le captured required minor
contrast, saturation and highlight
corrections, along with lens vignetting
and distortion adjustments in Adobe
Lightroom. It was then transferred to
Adobe Photoshop for sharpening, the
removal of a prominent lens are spot,
noise removal and image straightening
I hadnt noticed that my tripod legs had
sunk slightly into the soft sand during
the shoot.
Canon EOS 5D
MkII with 16-35mm
lens at 16mm,
ISO 100, 6sec at
f/13, 0.9 hard ND
grad, 1.2 ND grad,
remote release,
tripod
46_47 VP Porth Nanven_SW CB.indd 47
16/03/2016 10:54
WILD PHOTOGRAPHY HOLIDAYS
North Icelands Midsummer Birds and Landscapes

Photograph the diverse birdlife in Icelands unique
landscapes under the superb ambient light of the
midsummer sun. We will be joined by Pl Hermansen one of worlds leading nature photographers.
www.wildphotographyholidays.com
3/11/16 9:28 AM
LOCATIONS GUIDE
Lodge Park Wood, Pembrokeshire

Beguiled by the swathes
of wildowers that
carpet a local wood each
spring, Drew Buckley
carefully composes a
photograph that captures
the essence of the season
s there anything more evocative than
the sight and smell of wild garlic in
springtime? Swathes of delicate starshaped white owers atop large, green
parasol leaves carpet our deciduous
woodlands at this time of year. Couple
this with a fresh lime-green tree canopy
and youve got a scene with great colour
contrast and photographic potential.
The lovely little stretch of wild garlic
shown here can be found in Lodge
Park Wood in the Stackpole Estate in
Pembrokeshire Coast National Park.
The estate takes in dramatic clis,
stunning beaches backed by sand dunes,
lakes and wooded valleys. In early spring
youll nd great quantities of wild garlic
lining the pathways the owers appear
shortly before the bluebells emerge.
This is my local patch and Ive seen
the wood change shape throughout my
lifetime. Ive walked its paths on many
occasions, so I decided it was about
time I captured it on camera. There are
various types of deciduous trees here,
and throughout the seasons youll nd
a large number of bird and mammal
species, including lesser spotted
woodpeckers, greater horseshoe bats

and, in the lakes, otters. Through careful
management of the woodland oor over
the years, wildowers now ourish.
This particular section of the wood is
probably the most photogenic. Sweeping
uphill, the path cuts through the sea of
white and green, giving a strong leading
line into the scene. To aid composition
you may need to stand back further than
you might think. A medium focal length
is ideal, allowing you to zoom in to
compress perspective while retaining
the sense of depth.
To capture this particular view

I needed to venture carefully into the
edge of the undergrowth, with the
camera around ve feet from the ground
to ensure that the path was visible
behind the owers. For me, a scene like
this is all about ambient occlusion light
and soft shadows, so I always prefer
overcast days to avoid strong sunlight.
A polarising lter helped to minimise
reections in the foliage and to boost the
colour, and I framed my composition to
exclude any sky to combat any blown
white areas within the tree canopy.
Canon EOS
5D MkIII with
24-70mm lens
at 35mm, ISO 320,
1/6sec at f/13,
polariser, tripod
8 miles from Pembroke | 62 miles from Swansea | ACCESS RATING
PLANNING
YOUR TRIP
How to get there From Pembroke, head southeast on the A4139. After passing the school, turn
left on to St Daniels Hill/B4319; follow this road
for the next two miles, turning left on top of the hill
(signed towards Bosherston). A further mile down
the road, after descending through woodland, take
the left fork (signposted towards Stackpole), then
after a short while turn right into Stackpole Court,
where you can park. Walk down the pathways
heading west for around 400 yards.
What to shoot Vivid springtime ora and
woodland birds. Wild garlic, bluebells and owers
in the walled gardens. Head to the ponds for
wildfowl and reections of arched bridges.
Best time of day Evenings for golden sunlight,
overcast days for abstracts and close-ups

of owers and plants.
Nearest food/drink Cawdor Tea Rooms,
Stackpole Estate, near Pembroke, SA71 5DJ,
01646 661442, stackpole-walledgardens.co.uk.
Nearest accommodation Stackpole Centre,
Old Home Farm Yard, Stackpole, near Pembroke,
SA71 5DQ, 01646 661425.
Other times of year Visit in autumn for great
foliage colours and a superb array of fungi around
the wood. Summertime for wildower meadows
and butteries in the walled garden.
Ordnance Survey map OL 36
Nearby locations Barafundle Bay (2.5 miles);
St Govans Chapel (4 miles).
49 VP Lodge Park Wood_SW CB.indd 49
16/03/2016 10:55
LOCATIONS GUIDE 8 great places to photograph this month

VIEWPOINTS
Tumbling Hill, Derbyshire
How to get there Follow the A625

south out of Sheffield and into the Peak
District. Continue through the Longshaw
Estate woodland, and park in the lay-by
just past the Grouse Inn. Backtrack up
the hill past the inn and turn left through
the gate and into the eld. Continue
through the second gate on the left
and follow the path through the woods
to Tumbling Hill.
What to shoot The quarry edge and
rocks from the quarry workings. Views
across and along the Derwent Valley.
Best time of day Late afternoon/evening.
Nearest food/drink The Grouse Inn,

Longshaw, S11 7TZ, 01433 630423,
thegrouseinn-derbyshire.co.uk.
Nearest accommodation The Grouse
Inn as above.
Other times of year Autumn is
wonderful here too, when you can
capture the changing colours of the
surrounding woodland.
Nearby locations Froggatt Edge
(1 mile); Padley Gorge (2.5 miles).
5 miles from Hathersage | 9 miles from Sheffield

ACCESS RATING
Graham Dunn
umbling Hill is a lesser-known

viewpoint in the Peak District,
tucked away among the stunning
edges that run down the eastern ank
of the national park. Originally the site
of a gritstone quarry, it oers ne views
across and along the Derwent Valley
together with more intimate scenes
where nature has reclaimed the old
quarry workings.
0.5 miles from New Brighton | 7 miles from Liverpool

ACCESS RATING
Perch Rock lighthouse, Merseyside

erch Rock lighthouse, situated in front of Fort Perch
Rock, was built almost 200 years ago, but was last used
as a lighthouse in 1973. It sits on sand next to a line of sea
defences, which curve their way out in the direction of a wind
farm on the horizon. The lighthouse can be photographed
from the sea defences on either side, and there are also many
viewpoints from behind the lighthouse, looking back towards
Liverpool and the docks. The location is ideal for long exposure
photography, but check tide times in advance.
Mark Helliwell
skyline lie to the east of the lighthouse,

and are best captured at sunrise. At high
tide on stormy days the waves crash
dramatically into the lighthouse.
Best time of day Any time of day, but
its particularly good for sunrise and
sunset just after high tide.
Nearest food/drink Sea Horse,
Wallasey Waterfront, New Brighton,
CH45 2HZ, 01516 389894,
hungryhorse.co.uk/locations/sea-horse.
Nearest accommodation Travelodge,
Marine Point, Kings Parade, New
Brighton, CH45 2PB, 0871 984 6476,
travelodge.co.uk.
Other times of year All times of year,
but between April and September the
sun sets near the lighthouse.
Nearby locations Albert Dock (7 miles);
Gormleys Another Place (12 miles).
How to get there Go to the end of the

M53 towards Wallasey and join the A554
towards New Brighton. Head towards the
seafront and then turn right on to Kings
Parade. Follow the signs for Perch Rock
lighthouse; there is free parking by the
Marine Lake.
What to shoot As well as the lighthouse
and sea defences, there are many tide
pools in which to capture reections
of the lighthouse. Liverpools docks and
50_53 VP at a glance_SW CB.indd 50
16/03/2016 11:08
Stewart McKeown
Kings Wood, Kent

ings Wood is one of the largest
ancient woodlands in Kent and
it can be explored via an array
of trails and well-maintained paths.
The forest oor is carpeted with
bluebells during spring and, if youre
lucky, you may get to see fallow deer
among the owers.
How to get there From the M20

at Ashford, take the A28 towards
Canterbury. At the second set of
crossroads, take a left on to White Hill
towards Challock. The car park will be
on your right.
What to shoot Bluebell woodland, fallow
deer and adders.
Best time of day Just after dawn or just
woolpackchilham.co.uk.
Other times of year Autumn for
changing leaves and mist, and
theres also potential for fungi shots.
Nearby locations Seasalter (13 miles);
Dungeness (25 miles).
before sunset for long shadows of trees

among the bluebells.
Nearest food/drink Halfway House,
The Crossroads, Canterbury Road,
Challock, TN25 4BB, 01233 740258,
halfwayhousechallock.co.uk.
Woolpack Inn, The Street, Chilham,
CT4 8DL, 01227 730351,
6 miles from Ashford | 11 miles from Canterbury ACCESS RATING

4 miles from Redruth | 13 miles from Truro
ACCESS RATING
ortreath is a village and former

industrial port on the wild and
often windswept north coast
of Cornwall. It is a popular holiday
destination, situated at the northern end
of the Portreath to Devoran tramway
trail. There are stunning coastal views,
and a large golden sand beach on the
western side of the pier protects the
village harbour.
How to get there From the double

roundabout on the Avers junction of the
A30 (one mile north of Redruth), take the
A3047 (signed Redruth and Portreath).
At the bottom of the hill, take the second
exit at a roundabout, then turn right on
to the B3300. Follow this all the way to
Portreath (three miles) and park in the
beach car park.
What to shoot The picturesque cove,
Gull Rock, towering sea cliffs, remains
of Cornwalls oldest railway and the
villages pier and harbour.
Best time of day The cove faces northwest, so its a great sunset location
during the summer months, when the
sun sets behind Gull Rock.

Nearest food/drink The Waterfront Inn,
Forth-Ann-Nance, Portreath, Redruth,
TR16 4NQ, 01209 842777,
thewaterfrontinn.webs.com.
Portreath Arms, The Square, Portreath,
TR16 4LA, 01209 842259,
theportreatharms.co.uk.
Other times of year Winter for sunlit
shots and rough seas.
Nearby locations Porth-cadjack Cove
(1 mile); Godrevy lighthouse (6 miles).
Andrew Ray
Portreath, Cornwall
16/03/2016 11:08
Hell Bank, Derbyshire
How to get there From Beeley, take the

Chestereld Road south-east, following
it uphill for just over one and a half miles.
As the road bends sharply to the right,
pull in and park on the track on the left.
From here, follow the path left into the
Hell Bank plantation.
What to shoot Beeley Brook and its
waterfalls; the multitude of trees.
Best time of day Good all day, but late
afternoon/early evening might offer
shafts of sunlight.
Nearest food/drink The Devonshire
Arms, Devonshire Square, Beeley,

DE4 2NR, 01629 733259,
devonshirebeeley.co.uk.
Nearest accommodation Post
Cottage, Devonshire Square, Beeley,
DE4 2NZ, 0208 692 3810,
postcottagebeeley.co.uk.
Other times of year Its worth visiting
in autumn to catch the changing colours.
Nearby locations Chatsworth (3 miles);
Birchen Edge (6 miles).
6 miles from Bakewell | 8 miles from Chestereld

ACCESS RATING
Graham Dunn
ell Bank is a little-known

coniferous plantation tucked away
behind Chatsworth Park in the
eastern Peak District. Rich with trees
and lush vegetation, which ank the
delightful Beeley Brook, it is well worth
exploring for the small but picturesque
waterfalls. Its an ideal location for
patient photographers seeking a more
intimate landscape.
3 miles from Castleton | 18 miles from Sheffield

ACCESS RATING
Back Tor, Derbyshire
top (signposted Chapel-en-le-Frith).

From the west it is a little more difficult
from the A6; there is a small road to
Slackhill and on to Castleton.
What to shoot The high vantage point
of the ridge on Mam Tor provides photos
in all directions.
Best time of day During spring and
autumn the sun rises and sets along
the ridgeline.
Nearest food/drink Ye Olde Cheshire
Cheese Inn, How Lane, Castleton,
S33 8WJ, 01433 620330,
cheshirecheeseinn.co.uk.
Nearest accommodation Ye Olde
Cheshire Cheese Inn as above.
Other times of year Any time of year
is good in the Dark Peak area.
Nearby locations Padley Gorge
(10 miles); Stanage Edge (10 miles).
How to get there The easiest access

is from the National Trust Mam Nick car
park, which is a short walk from the Mam
ack Tor is one of the peaks on the Ridge Walk; stretching
Tor summit path. The photo was taken
from Mam Tor to Lose Hill in the Dark Peak area of the
on the ridge towards Hollins Cross
Peak District. It is one of the most spectacular walks
(another access point for keen walkers).
in Derbyshire, with superb views in all directions over Edale,
Rushup Edge and the Hope Valley. The area can be photographed Take the A6187 from Castleton, up
Winatts Pass, then a sharp right at the
in all weathers, even in the rain.
David Eberlin
16/03/2016 11:09
Trebarwith Strand, Cornwall
How to get there From the A30 west

of Launceston, take the A395 towards
Camelford. At the A39, turn left and then
take the right on to the B3314 through
Slaughter Bridge. Continue straight
over the crossroads, then rst right on
to the B3263 (Tintagel). Continue down
the valley until you reach the turning for
Terbarwith Strand. There is a car park
as you enter the village.
What to shoot Dramatic rocks at high
tide and the sandy beach at low tide.
Nearby cliffs offer fantastic views and
plenty of wildowers.
Best time of day Late afternoon and
evening for the best light especially
if this corresponds with an extreme high

or low tide.
Nearest food/drink The Port William,
Trebarwith Strand, PL34 0HB, 01840
770230, theportwilliam.co.uk.
Nearest accommodation The Port
William as above.
Other times of year The location is
fantastic all year round but it can be busy
in summer.
Ordnance Survey map Explorer 111
Nearby locations Tintagel (2 miles);
Port Isaac (7 miles).
Matt Whorlow
ocated at the mouth of a secluded

valley, Trebarwith features a
picturesque beach that looks out
towards Gull Rock. The top part of the
beach is dominated by a dramatic rock
formation and provides a stunning
setting at high tide, when the waves are
channelled either side of a central spine
of rock. At low tide, a wide sandy beach
can be accessed via the rocks.
2 miles from Tintagel | 35 miles from Truro

ACCESS RATING
5 miles from Redruth | 14 miles from Truro

ACCESS RATING
Porth-cadjack Cove, Cornwall
Andrew Ray
How to get there From the double

roundabout on the Avers junction of the
A30 (one mile north of Redruth), take the
A3047 (signed Redruth and Portreath).
At the bottom of the hill, take the second
exit at a roundabout, then turn right on
to the B3300. Follow this to the village
of Portreath (three miles), where it
becomes the B3301. Continue on this
road for a mile and half, to reach the
North Cliffs car park, in a wooded area
on the northern edge of Tehidy Country
Park. Walk 100 yards back down the
B3301 and take the public footpath on
the left, to reach the cliff top. Turn right
on to the South West Coast Path and
follow it in a north-easterly direction to
reach Porth-cadjack Cove (half a mile).
What to shoot The picturesque cove,
Samphire Island, spring owers and

the waterfall.
Best time of day Late evening and
sunset are best for the light.
Nearest food/drink The Basset Arms,
Tregea Terrace, Portreath, TR16 4NG,
01209 842077, bassetarms.com.
Portreath Arms, The Square, Portreath,
TR16 4LA, 01209 842259,
theportreatharms.co.uk.
Other times of year Winter is great for
shooting rough seas.
Nearby locations Portreath (1 mile);
Godrevy (5 miles).
ALL MAPS Crown copyright 2015 Ordnance Survey. Media 071/16
orth-cadjack Cove is situated in

a designated area of outstanding
natural beauty on the South West
Coast Path, near the picturesque port
of Portreath. It has commanding views
along the north Cornish coast towards
Samphire Island. The cove is at its most
photogenic in late spring, when the
cli tops are carpeted with wildowers.
16/03/2016 11:09
INSIGHT
A photographers guide to life on Earth

During a routine trip to his local supermarket, Chris Weston draws inspiration from an
Andreas Gursky image to uncover the details that lie hidden beneath the bigger picture
PART 15 Seeing the bigger picture
54_57 A photographer's guide_SW.indd 54
16/03/2016 11:14
The other day, I went to the supermarket to do some shopping.

Theres nothing unusual in that. I suspect pretty much everyone
reading this has done the same in the past week or two. I went
to Morrisons. Not because I have any particular allegiance to
that company but because the shops layout is familiar to me
everything I want to buy, I know exactly where it is.
As I made my way round the store, I saw everything I usually
see: the newspaper stand and the ower stall, right by the
entrance; the rows of fruit and vegetables, the shmonger, the
butcher and the baker; the frozen food aisle and my childrens
favourite section the shelves of computer games and toys. I say
I saw everything I usually see but of course I didnt. Not really.
I didnt see, because I was shopping on autopilot. I was seeing
without noticing. Thats the beauty of shopping at a store you
know so well you dont have to pay attention.
I didnt take my camera to the supermarket. After all, why
would I? I had my iPhone with me but I didnt think to take
a picture. Who would?
Well, Andreas Gursky for one.
Simple compositions
help to focus the
viewers attention
on the important
details.
How to turn 99 cents into a million dollars

Andreas Gursky is a German photographer known for his large
format architecture and landscape images. Some time in 1999 he
went to a supermarket a 99-cent store and took a photograph,
which he later titled 99 Cent II Diptychon. At rst glance, theres
nothing particularly special about the image Gursky made. In
fact, take a look at the image online and ask yourself whether you
could have taken it. Youll probably answer yes. And when I tell
you that in 2007 a print of this image sold at Sothebys for $3.34
million youll probably wish you had.
In fact, three versions of this image have sold at auction for a
combined sum of more than $8 million. Does this make Gursky
a creative genius? He doesnt think so. In an interview with
Insight magazine in 2009, Gursky speaks of not always knowing
what he had to do in his work, and talks about his long time
mentor Je Wall, without whom, he believes, some of his iconic
images would never have come into being. Referring to one
particular print, titled Giordano Bruno, Gursky says, Without
knowing Je Wall, I would not have noticed this situation the
photograph is of an old man and a young boy sitting on a bench
on a beach talking about mathematics.
Gursky doesnt consider himself a genius any more than
you or I might. He is an ordinary man who trained his mind
to notice the extraordinary in everyday things. His creativity
is inherent, as it is in all of us. All he had to do was nd it. He
did and we can too.
Living in the moment

Youre probably wondering why anyone would pay so much for
a photograph of a supermarket? I did at rst. But then I looked
at the image objectively and realised it speaks to us on many
16/03/2016 11:14
The power of any

composition is
usually found
not in the bigger
picture but in the
detail of which
the bigger picture
is comprised.
levels. For Gursky it is a synonym of the awareness that We are

not just living in a certain building or in a certain location but
we are living on a planet that is going at enormous speed
through the universe.
For me, it is a representation of many of the discoveries
I have made during the course of this journey and, in
particular, how to activate and engage with our creative mind.
After all, we have all been to a supermarket but how many
of us, while there, have been as aware as Gursky? How many
of us are truly aware in the moment.
To illustrate this point, take a minute to do this short
exercise. Get a pen and a piece of paper. Divide the paper into
three columns. Find a quiet place, close your eyes and just
think for a few moments. When youre done, write down your
thoughts in the following order: Anything that pertains to
stu that happened earlier, yesterday or further in the past,
jot it down in the left-hand column. Then, in the right-hand
column, note any thoughts relating to things you have to do
when youve nished reading this, tomorrow or further in the

future. Finally, any thoughts connected specically to the few
moments just now, when you were sitting with your eyes
closed, write them down in the middle column.
Chances are, the middle column is blank while the right
and left-hand columns are lled with your ponderings. This
is because we spend most of our time reminiscing over past
events or contemplating the future. Rarely do we spend our
time living in the here and now.
Hidden depths
For much of our lives, this brain function is useful to us.
It ensures we get things done and stops us from suering
overbearing sensory input. But at other times, those times
we want to be creative, such as when were out photographing,
it inhibits us. For creativity to spark we need to be present and
take time to see the extraordinariness of the everyday things
we often take for granted.
16/03/2016 11:14
At this point I want to look at another of Gurskys prints,

Rhein II. The large colour photograph depicts a stretch of the
river Rhine outside Dusseldorf, close to Gurskys home, and,
like 99 Cent II Diptychon, at rst glance it isnt especially
noteworthy. And yet it sold at auction for a record-breaking
$4.3 million. What makes a seemingly average photograph
worth so much? Martin Fox, a photo historian, oers an
opinion: Gursky is tapping into the history of art in some
savvy ways. In terms of scale and composition, Rhein II is
reminiscent of large-scale paintings, notably those by
American abstract expressionist Barnett Newman. Both are
intended to overwhelm us with their scale and focus our
attention on details within their large expanses.
And herein lies its value. There is great worth in our noticing
the small details that often lie hidden beneath the bigger picture.
Hard work and effort

There is another part to the creative process. Earlier I asked
whether you felt you could have taken the image of the
supermarket. If you answered yes then my next question is,
So why didnt you?
Of all the men and women to whom we attach the label
genius Einstein, Picasso Gursky every idea or notion
he or she had, of which we later became aware, was followed
by action. Creativity isnt just having ideas; it takes hard work
and eort. Rarely is it an act of divine intervention.
It is often said of Mozart that his symphonies came from
heaven, perfect and complete, and through his hand and pen
etched themselves on to paper. If you read the letters Mozart
wrote to his father and sister, however, you will discover he was
far less passive in the process. As the composer himself describes,
he sketched his compositions, revised them and often got stuck.

While he may have plucked the creative spark from thin air, the
individual pieces took weeks and months of eort.
The same is true of Einstein and Picasso, whose journeys
I have discussed before. It took Einstein eight years to develop
his theory of relativity and Picasso worked on his denitive
painting Les Demoiselles dAvignon for three seasons. Gursky
spent a year working on Rhein II in post-processing before
he considered the piece to be complete.
There is beauty in
all things, however
common they may
be. It just requires
that we look closely
at the detail.
Be the change you want to see

American author Joel Barker once said, Vision without action
is merely a dream. Action without vision is just passing time.
Vision with action can change the world.
Contemplating this quote, has it ever been the case that
there are places you want to go to, wildlife you want to see but
youve never got round to doing anything about it? Have there
ever been occasions when youve headed out with your camera
without intent only to return disappointed?
Here I hold up my hand and admit to being as guilty as any.
In my office I have a large white board on which I write all my
ideas documentaries I want to lm, images I want to make,
projects I want to get o the ground. Some of them have been
up there for months, and Im always able to nd an excuse as
to why I havent done them yet. Sometimes its all too easy to
let the urgent things on the to do list get in the way of more
important things in life. But allowing that to happen is not
being the best version of myself.
I chose a career in wildlife photography because I wanted
to make a dierence. As this chapter of my journey draws
to a close, I realise now how Im going to make that happen.
16/03/2016 11:14
Spectacular Arctic Light and Landscape

Lofoten Islands
Workshop dates
31st January - 7th February & 7th February - 14th February 2017
Spend 7 nights in a beautifully renovated, traditional Rorbuer

tour led by award winning photographer Tom Mackie

Tel 01603 465292 Email tom@tommackie.com
www.tommackie.com
3/9/16 11:49 AM
READER GALLERY
Each month we publish the very best images from all those submitted for our Reader Gallery.
Turn to page 88 to nd out how to enter your images. Heres this months winner
Geraint Evans
My father introduced me to photography around 40 years
ago, but being a kid I never really took enough notice at
the time. I have always really enjoyed walking and rock
climbing, but around two years ago injuries started to
happen all too frequently, so I came back to photography.
My approach to photography is that I aim to convey both what I see and
feel rather than always just making a literal interpretation of the view.
My ambitions at this stage are to keep improving, to further develop a style,
and to continue to enjoy the process of making photographs.
Hometown Leeds
Occupation Further Education
college lecturer
Photographic experience Two years
shooting seriously
ickr.com/photos/126232476@N06
59_61 Reader gallery_SW CB.indd 59
16/03/2016 11:20
WHY WE LOVE THEM...

Geraint has previously featured in OP, in the One Thing This Month
competition, and he has continued to develop his skills with the
increasingly vogue ICM technique as well as exploring more
traditional techniques. The thing that stands all his images apart
however, no matter which technique he employs, is his ability
to convey his emotional reaction to a place in his photographs.
The simple composition of the mist y image above Fewston is
enhanced by the bold positioning of the tree in the bottom left
corner of the square frame, which perfectly counters the negative
space in the right-hand side of the image. In his cave shot at Hodge
Close he has used the natural framing of the cave to great effect,
and the exposure and toning both add wonderfully to the mood.
The ICM image of Tuscany is a triumph of dark emotion rendered
from a straightforward scene; it feels as if you can hear the wolves
howling through the storm! They are three very different but equally
successful photographs from a very talented photographer.
opening page This was one of my best mornings

of the autumn. I was driving out to Brimham Rocks
but just as I came up out of the Fewston area I had
to stop to witness the fantastic mist and dawn light.
Nikon D7100 with Nikon 70-300mm lens at 82mm,
ISO 200, 1/6sec at f/5.6
above I spent a few days in the Lake District on this
trip, and this day was particularly wet. I ended up
sheltering in the quarried cave at Hodge Close,
and while it was still raining the sun broke through.
Nikon D7100 with Nikon 50mm f/1.8 manual lens,
ISO 100, 0.3sec, aperture not recorded, tripod
17/03/2016 16:34
above Isola is a very small village in the Tuscan Alps

in Italy. My partner and I spent a wonderful two
weeks there (for me at least, as the weather was
up and down with lots of storms and mist). Having
already taken some st atic images, I hoped to
capture something a bit different using intentional
camera movement, to convey the feel of the place
and weather.
Nikon D7100 with Sigma 10-20mm lens at 15mm,
ISO 100, 10sec at f/16, Haida 10-stop ND
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16/03/2016 11:20
IN THE SPOTLIGHT
Jon Sparks
Jon Sparks is an outdoor photographer and writer of vast experience whose career has evolved
alongside changing technologies and shifting inspirations. Nick Smith puts him in the spotlight
above Above
Achnashellach,
in the north-west
Highlands. Small
gures in a big
landscape I like
to show an activity
in its setting.
NICK SMITH How do you describe

your work?
JON SPARKS The outdoors has always
been a great part of what motivates me.
These days it tends to be mostly about
bikes. Owning a car may be a necessarily
evil and a means to an end, but my
actual enjoyment of the great outdoors
is bound up with self-propelled ways
of experiencing it.
NS What is it about being organic

that appeals to you?
JS Its a closer contact with the
environment youre in. I used to do a lot
of rock climbing and mountaineering
and that makes you focus on a tiny bit
of rock. It always used to strike me
that, when you got to the top of a climb,
you were suddenly that much more
aware of the sounds and the smells.
When you relax like that you seem
to open yourself up to all sorts of

other stimuli.
NS Does that have a positive effect
on your ability to take authentic
outdoor photos?
JS I might not be the person to judge,
but Id hope so. Im much more
interested in capturing what I see and
feel than creating those manufactured
images you so often see. I like to keep
62_63 In the spotlight_SW CB.indd 62
16/03/2016 11:26
it simple and respond to whats out there

rather than have pre-conceived notions
about it.
NS So no classic brochure shots from
you, then?
JS Theres a lot of stu in magazines
thats done with o-camera ash and
so on. Its impressive and I can do that.
But, I think that the stu I like best is
when Im out on a big ride, working fast
with fairly simple equipment, trying to
capture what the experience is really like.
NS What do you mostly work on at
the moment?
JS A lot of what I do these days is taken
up with both words and pictures. There
seems to be a trend towards appreciating
words and pictures from the same
source. But I still do commissions
and stock photography as well. When
I started there seemed to be more work
and bigger budgets.
NS What do you think of the decrease
in budgets and the medias increased
reliance on citizen photography?
JS Its aected me very signicantly.
It has meant that Ive had to work harder
looking for new outlets, and you can tell
from the forums that there are a lot
of people in the same boat. But theres
no point weeping and wailing about it,
because its happening. It has meant that
Ive had to continually improve and
learn new skills. It pushes you to get

better, which isnt entirely a bad thing.
NS Are you less optimistic about the
genre than you were a decade ago?
JS Ive got a schizophrenic answer to
that. On the one hand, the quality of
work you see has never been better and
I am a fan of digital empowering
photographers to do more. Its just a

shame that there are still a lot of people
who arent exploiting that. The cream
at the top is fantastic, but there is a lot
of stu that isnt very exciting.
NS Would you say you are a writer
or a photographer rst?
JS You could ask me that at dierent
points in my career and Ill have given
you a dierent answer each time. As
a teenager I wanted to be a writer, but
really discovered photography in my
college years. It just happened that
I found outlets for my photography
earlier than I did for my writing. Theres
no reason why you cant be good at both.
above Looking
down Longsleddale
in the Lake District.
Ive photographed
in this valley several
times and love the
lines of the river
and the track, but
Ive never had a
better day than this.
left Becky Nokes,
riding above
Achnashellach,
in the north-west
Highlands. This is
much more of an
action shot but
theres still a good
sense of where it is.
JONS TOP TIPS

One thing I never go on a shoot without is
a beanbag. My partner made it for me years ago and it is
really handy when you dont want to lug a tripod around.
My one piece of advice would be to make sure this
is what you want to do. The world wont beat a path to your
door, so make sure you love it.
Something I try to avoid is imitation. I try to avoid the
images that look like youve simply ticked a box.
JONS CRITICAL MOMENTS

1973 First SLR
a Zenit E.
1975 Learned to
develop and print
black & white lm.
1980s Worked parttime while shooting

landscapes around
north-west England.
To see more of Jons work visit jonsparks.zenfolio.com

1990 First exhibition,
which led to regular
work for local
tourism board.
1994 Became a fulltime photographer.

Gradually developed
as a writer too.
2004 Bought rst

digital SLR and
embarked on steep
learning curve.
2014 Exhibition of
cycling photography
to coincide with Tour
de France.
62_63 In the spotlight_SW CB.indd 63
16/03/2016 11:26
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3/14/16 2:01 PM
International Garden Photographer

of the Year Competition 9
This prestigious competition continues to highlight the wonderful world
of plants and gardens in all its glory. This is our selection of favourites
from the winning, commended and nalist entries
65_69 Showcase - IGPOTY_SW CB.indd 65
08/03/2016 16:01
PHOTO SHOWCASE
Mandy Disher
Richard Bloom
Ins Leonardo
Portfolios First place
Overall Winner and Wildower

Landscapes First place
Wildlife in the Garden Second place
Cambridgeshire, UK
(opening page) When the owers have
nished, seed cases and pods develop,
bearing their valuable treasure inside,
until the time is right for nature to set
them free to grow and mature once
again. I like the diversity of interesting
shapes and textures, from the papery
lunaria and the fragile physalis and
allium, to the prickly dipsacus and the
sturdy papaver.
Canon EOS 6D with Canon 100mm macro
lens, 1/4sec at f/13, subjects arranged on
a light pad, post-capture: other leaves and
grasses merged with the main subject at
varying densities
Lake Tekapo, Mackenzie, Canterbury,

South Island, New Zealand
(above) On the way to Lake Tekapo in
early summer the landscape, already
amazing, was scattered with drifts
of naturalised lupins, which gave it an
almost psychedelic, wonderland feel.
The banks of this stream were bristling
with masses of dierent coloured lupins
stretching toward the distant hills and
out of shot to the west, giving the sense
that they went on forever.
Canon EOS 5D MkII with Canon 24-70mm
lens, ISO 160, 1/4sec at f/16, polariser,
ND grad, tripod
Arrbida Natural Park,

Setbal, Portugal
(right) Almost every weekend I go to the
Arrbida Natural Park. Its packed full
of interesting wildlife, such as this
spider, which was shot in the middle
of the summer. The plants and elds
were beginning to show the eects
of the long, dry days and these colours
and shapes mirrored that of the balletic
spider dancing in the wind.
Canon EOS 60D with Canon 100mm lens,
ISO 800, 1/180sec at f/5.6
16/03/2016 11:29
08/03/2016 16:02
16/03/2016 11:29
PHOTO SHOWCASE
Frantisek Rerucha
Carole Drake
Portfolios Finalist
Beautiful Gardens First place
Pionyrska, Czech Republic

(left) Throughout the year I collect fresh
plants and dry them, arranging them
into dierent compositions; I nd the
owers, stems and leaves provide
a wealth of intriguing patterns and
colours. Although dried plants have an
aspect of beauty taken away, they also
retain something mysterious that is
waiting to be discovered.
Canon EOS 70D with Canon 60mm lens,
1/60sec at f/9, stand, focusing rail,
ring light, helicon focus, post-capture:
focus stacking
Rousham House, Oxfordshire, UK

(above) April is a special time in gardens,
when everything is fresh and newly
minted. The cornus, the blossom on
the trained fruit tree and the crimson
leaves on the rose bushes all signal the
beginning of the growing season. I was
inspired by the balance of shapes in the
garden, which provided the perfect
accompaniment to the breaking dawn
and beautiful pearlescent light.
Nikon D700 with Nikkor 24-85mm lens,
ISO 200, 1/60sec at f/10, tripod
GET THE BOOK!

The International Garden
Photographer of the Year:
Collection 9 book features all
the winning and selected other
entries, and it is available now
(Garden World Images, ISBN
978-0993452901, 25).
For more information on
forthcoming exhibitions and the
competition, go to igpoty.com.
16/03/2016 11:29
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3/14/16 11:01 AM
NATURE ZONE
DISCOVER
72 Laurie Campbell's
Life in the wild
74 Nature
photo guide
77 A moment
with nature
78 Photo showcase:
Otters in Shetland
82 Steve Young's
On the wing
AN OTTERS PLAYGROUND
Richard Shucksmith and Brydon Thomason capture Shetlands otters
71 Nature zone opener_SW.indd 71
16/03/2016 11:31
NATURE ZONE
LAURIE CAMPBELL
Life in the Wild

As nature photography grows in popularity, Laurie Campbell is seeing more and more
examples of when an animals welfare is put at risk by those who lack the eld skills and
knowledge to act responsibly, and are often unaware of the consequences of their actions
As opposed to the
image opposite, this
shows the same bird,
a female hen harrier,
on a different day in
a far more relaxed
state and paying
no attention to my
carefully introduced
hide. Again, this
image was taken
under licence.
Nikon D3 with Nikon
500mm f/4 VR lens,
ISO 500, 1/100sec
at f/7.1, cable release
everal miles to the east of

Edinburgh, along the coast
of the Firth of Forth, lies the
local nature reserve of Aberlady
Bay, which I once read was listed as the
most watched site in Scotland by birders.
Located close to major centres of
population, its not difficult to see the
attraction of the place for those wishing
to escape urban life for the day.
Ive enjoyed visiting the reserve
since the mid-1970s, and I watched
with interest when the Scottish
Ornithologists Club moved their

headquarters from a site in Edinburgh
to one overlooking the bay. I am
sure that the late George Waterston,
a renowned ornithologist and one
of the clubs founding members, would
have been very pleased to learn that this
beautiful new timber building had been
named in his honour.
Waterston House was opened in 2005
and, having had a long association
with the Scottish Ornithologists Club,
I visited very early this year, only to learn
of an unfolding tragedy at a site further

along the coast. Three short-eared owls
had been found dead, likely as a result
of starvation. This was primarily caused
by harassment not from birdwatchers
but from some photographers.
I had been made aware that there
was a winter roost containing over
a dozen owls at the site through posts
on Facebook, many of which were
accompanied by some very nice
photographs of these graceful birds
in ight. Inevitably, news of the owls
72_73 Life in the wild CB.indd 72
16/03/2016 11:33
This photograph
shows a very
stressed female
hen harrier bearing
down on me. At
the time, I was
working under
licence and beside
scientists who were
attaching satellite
transmitters to
the young of this
bird at the nest.
Images like this
unequivocally
reveal disturbance
and, as such, the
photographer
should be
challenged.
Nikon D3 with
Nikon 500mm f/4
VR lens, ISO 500,
1/1250sec at f/6.3,
handheld
presence had spread and, as the winter

wore on, more and more photographers
began to congregate. Ill admit to
visiting the site myself, more out of
curiosity, but I didnt feel the need to
return especially after hearing the
news of the death of the owls.
Of course its unfair to blame
everyone who visited the site, because
I could see that a good number of
photographers were acting responsibly;
most were keeping to the margins of the
grasslands and waiting patiently for the
owls to appear naturally rather than
pursuing them. But, as often happens
in life, there was always going to be that
element that acted badly; some of the
photographers were constantly trying
to ush the birds into the air by
criss-crossing the grasslands in which
they were roosting. This example isnt
unusual. It is getting worse and Im sure
there are parallels in birdwatching
circles too.
So, how have we reached this state
of aairs? My best guess is that, due to
the meteoric rise in the popularity of
nature photography over the past decade
or so, we are seeing an approach that has
become far removed from what nature
photography should be about. For me,
the joy should come from being alone
in the eld, discovering sites by yourself
then using eldcraft to connect with
your subject. Granted, not everyone

has the time to do this, so any news
of opportunities such as the owl roost
are bound to be very tempting, as are the
so-called pay and display sites created
by more experienced photographers.
In some respects, the wider
understanding and consideration
needed when photographing wildlife

is still in its infancy. Indeed, from
what I am seeing nowadays, some
photographers just dont seem to know
any better or even recognise when they
are causing disturbance. Quite what
George Waterston would have thought
about this, I shudder to think.
WILDLIFE ETHICS: THE WAY FORWARD

At one time, the majority of nature
photographers came from a background of
having a lifelong interest in the natural world,
with photography coming later. The advantage,
of course, was that they had an understanding
of their subjects and the eldcraft skills required
to get close with minimal disturbance. In nature
photography, these skills are far more important
than learning the technicalities of choosing and
using photographic equipment, which can be
learnt relatively quickly.
Times have changed and we now live in an
age where life seems to run at a faster pace and
is usually more competitive. There is also an
expectation that we can have what we want, and
quickly. Nature is different, and while we have the
option of using pay and display sites that virtually
guarantee results quickly, they can leave some
photographers wanting a little more; perhaps to
cover a subject using an approach that can claim
to be all their own work.
Pre-prepared sites have the disadvantage
that the person who created it has more or less
chosen, among other things, your viewpoint,
background and direction of lighting. This is all

very well, but it doesnt allow photographers to
gain experience in deciding these factors for
themselves. On the positive side, pre-prepared
sites are usually managed in ways to lessen the
risk of disturbance.
Taking a purists view, working your own sites
is always going to result in photographs that look
different and express your own view. Apart from
having the satisfaction of simply claiming that
it is all your own work, there is also a sense
of achievement in obtaining the result you had
hoped for; this in itself can be highly motivational.
Key to all this, is taking a more considered
approach and teaching yourself to become
a better naturalist.
The Nature Photographers Code of Practice,
produced by the Royal Photographic Society in
consultation with the RSPB, contains essential
guidelines on how you can minimise disturbance
when photographing wildlife, including vulnerable
and protected species. To download it, go to
rps.org/special-interest-groups/nature/about/
the-nature-photographers-code-of-practice
72_73 Life in the wild CB.indd 73
16/03/2016 11:33
NATURE ZONE
PHOTOGRAPHY GUIDE
What to shoot this month

Lauries May highlights
Large, mature trees in deciduous

woodland are often difficult to photograph
in their entirety once they are in full leaf and
the green canopy above is complete. One
option use the perspective of telephotos
to isolate lower sections of the trunks
and boles of the trees. Choose overcast
weather to avoid excessive contrast, and
avoid including areas of sky in the frame.
Nikon D3X with Nikon 200mm f/2 VR lens,
ISO 100, .03sec at f/8, mirror-lock, cable
release, tripod
Just as calling cuckoos (Cuculus canorus) and the sight of

swallows (Hirundo rustica) in ight are sure signs that spring
is upon us, the song of the sandpiper (Actitis hypoleucos) is
indicative of its arrival to many of our waterways. These recently
arrived summer migrants waste no time in setting up territories.
Careful observation from a distance can reveal favourite perches
they use on rocks, logs or grassy tussocks in the river or on the
bank. Once found, its just a case of introducing a low-prole hide.
Nikon F5 with Nikon 500mm f/4 AFS lens, Fuji Velvia ISO 50,
1/200sec at f/5.6, beanbag, hide
Ramsons (Allium ursinum) are aromatic With new life in abundance, look for
wildowers that smell just as their other
broods of ducklings, goslings or cygnets
common name, wild garlic, suggests. From on waterways in public places, or wherever
February, the green shoots emerge though waterfowl have grown to trust people. Young
the leaf litter in damp woodland. By May,
birds usually stay close together when
the broad, lush leaves and fully developed
swimming in a row behind their parents, so
rosette of white owers stand out on the
obtaining sufficient depth of eld when they
tip of a single stalk. The ower heads are
are travelling across your eld of view is
tricky to photograph in close-up because
fairly simple. This is not the case when they
their three-dimensional shape can make
are randomly milling around in groups,
it difficult to obtain sufficient depth of eld. however. Here, a handheld camera and
Instead, try to shoot a wider view.
the exibility of a zoom lens can help.
Nikon D3X with Nikon 14-24mm f/2.8 lens
at 15mm, ISO 100, 1/8sec at f/18, mirror-lock,
cable release, tripod
Nikon D2X with Nikon 500mm f/4 AFS

lens, ISO 200, 1/125sec at f/5.6, tripod
with uid head
74 Outdoor Photography April 2016
74_75 Nature photo guide CB.indd 74
16/03/2016 11:37
MORE SEASONAL
SUBJECTS
8 TOP SPOTS FOR COASTAL FLORA & FAUNA
Flora
Spring is a superb time to head to the coast: seabirds are beginning

to congregate on cliffs, wildowers are blooming and heathland reptiles
and birds are returning to our shores. With warmer days and gentler
weather, its also a great time to go rockpooling. Here are some top
locations that combine stunning coastal scenery and an array of wildlife
Holly (Ilex aquifolium) check for the tiny, white, waxy

owers between the prickly leaves.
Martin Fowler/Shutterstock.com
Broom (Cytisus scoparius) common native shrub

of dry ground with intensely yellow owers that are
sometimes tinged red-orange.
Fauna
Grey wagtail (Motacilla cinerea) an attractive

waterside bird thats often found living side by side
with dippers.
Green-veined white buttery (Pieris napi) best
photographed when at rest because the undersides
of the wings are more attractive than the uppersides!
Curlew (Numenius arquata) these birds are now

away from the coast and on upland breeding sites.
The island is one of the best places to

see one of Europes rarest habitats: machair.
Restricted to exposed north-west coastlines
of Scotland and Ireland, it is renowned for
its vast array of colourful wildowers, which
bloom between May and July. The machair
supports breeding waders such as lapwings,
oystercatchers and redshanks.
visitouterhebrides.co.uk
African wild
dogs, Zambia
Once distributed
throughout subSaharan Africa,
African wild dogs
are now restricted
to fragmented
populations in
southern and eastern parts of the continent.
Living in packs of 10-20, they hunt across the
open plains and savannah but are notoriously
elusive. In Zambias South Luangwa National
Park, a beautiful river-based reserve, the dogs
have made something of a comeback in the
past decade and, with the help of a good guide,
chances of a sighting are good. Most encounters
occur at the end of the wet season, in April and
May, when the landscape is at its greenest.
Found only on
an archipelago
of the Lesser
Sunda Islands,
east of Bali,
Komodo dragons are awe-inspiring animals.
Up to 3m long and weighing as much as 70kg,
they are the biggest lizards on the planet. Their
main prey is deer but they also attack and kill
water buffalo; recent research has shown that
the dragons inject venom when they bite, which
has the effect of weakening their victims slowly,
often over a period of days. The islands of
Komodo and Rinca, which lie within a Unesco
World Heritage Site, are home to the largest
number of dragons.
The Lizard, Cornwall
Christopher D. Allsop/Shutterstock.com
Wembury, Devon
Samphire Hoe, Kent
St Abbs Head, Berwickshire
Studland and Godlingston Heath,

Dorset
This stunning stretch is coastline is

renowned for its rockpools; visit about an hour
before low tide to allow yourself a couple of
hours to search for a whole host of colourful
seashore creatures including limpets, sea
anemones, crabs and starsh. Further out
to sea, keep your eyes peeled for basking
sharks, porpoises and dolphins.
nationaltrust.org.uk/wembury
With its dramatic cliffs, wildower-rich

grasslands and wooded areas, St Abbs Head
is a wonderfully scenic place to photograph
nesting seabirds such as guillemots, kittiwakes
and razorbills. Despite its close proximity
to the A1, the reserve is quieter than more
famous seabird hotspots such as Bempton
Cliffs and Bass Rock.
nts.org.uk
Gower peninsula
Gower in South Wales has a huge range

of coastal landscapes and a wealth of ora
and fauna to match. The cliffs, sand dunes,
grasslands and ash woods provide refuge
for many chalk-loving plants and owers,
including rarities such as yellow whitlowgrass.
explore-gower.co.uk
Created by Eurotunnel during the

construction of the Channel Tunnel, the nature
reserve covers a 30-hectare site at the foot
of Shakespeare Cliff, between Dover and
Folkestone. It is lled with wildowers in spring
and summer, including the rare early spider
orchid. Brimming with life, including birds and
butteries, its also great for rockpool wildlife.
samphirehoe.com
Cornwalls coastal owers are at their

best in May, and the Lizard peninsula, south
of Helston, is a botanical hotspot. Take a walk
down to the spectacular Kynance Cove and
you can expect to see a wealth of interesting
plants such as kidney vetch, thrift and sea
campion. Also look out for the peninsulas
star bird, the chough.
nationaltrust.org.uk/lizard-point
Anna Kucherova/Shutterstock.com
Rich Carey/Shutterstock.com
WORLD WILDLIFE
SPECTACLES
Komodo
dragons,
Rinca and
Komodo
North Uist, Outer Hebrides
wildowers brighten the island in spring and

summer; May is the peak month for orchids.
rspb.org.uk
National Trust Images/Ross Hoddinott
Comfrey (Symphytum officinale) a robust plant

whose leaves and stem feel like sandpaper. Flowers
vary and may be pink, mauve or white.
Rathlin Island, County Antrim
Lying six miles off the north-east coast

of Northern Ireland, Rathlin Island is a haven
for wildlife. From mid-April, thousands of
seabirds guillemots, razorbills, kittiwakes,
puffins, fulmars, shags and gannets
congregate on the cliffs. A variety of
Offering views down to the shores of Poole

Harbour, the reserve comprises Dorsets
largest expanse of unspoilt lowland heath.
Its home to all six UK reptile species, which
emerge from hibernation during April and
May look out for male sand lizards, which
turn bright green to attract a mate.
nationaltrust.org.uk
74_75 Nature photo guide CB.indd 75
16/03/2016 11:38
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3/16/16 1:39 PM
A MOMENT WITH NATURE
An unremarkable paddock
Although Judith Conning gets to travel, she spends most of her time photographing
around her local patch in Australia. Sometimes even the most ordinary of locations can
be transformed into something magical given the right weather conditions and light
All too often we see photos of wonderful nature
taken in far-away places and despair that we
may never have the opportunity to travel to such
locations due to costs, family commitments or
health reasons. Or, if we do get there, we may
not have the right weather conditions to get the
photograph we wanted. I am fortunate enough
to travel each year but its only for a few weeks,
as I work full time. So for the other 48 weeks
I need to do my photography closer to home.
One of the advantages of working in our local
environment is that we can be there for all four
seasons, which allows us to get to know the area
well. We learn how the light falls at dierent
times of the year, we know whats blooming
when and we can become familiar with the
wildlife and their habits. Of course, the other
signicant advantage of photographing your
local patch is that it is easy enough to head out
for only an hour or two to capture those elusive

images. Even if you live in a city or town there
are usually parks and gardens that are within
easy reach or require a short journey to get to.
I live in a rural area very near to the coast in
Australia, in a delightful place called Diamond
Beach. So I have the choice of photographing
beaches or bush, and a variety of animal and
birdlife. Its easy enough to get pretty snapshots
but I need to work harder to produce images
that are a little dierent and more eye catching.
I particularly watch the seasons, and am always
on alert for changes in the weather. Storms can
come through from the land or along the coast,
and they regularly bring spectacular displays
of lightning and wild seas.
Rainfall is often followed by misty mornings
so I tend to head towards the bush, as the mist
fades away so quickly on the coast. Just three
kilometres from my house and on a relatively

busy road there is a paddock with lots of grass
and numerous gum trees. From one day to
another it is mostly unremarkable but when the
mist rolls in it is transformed. This particular
morning a heavy mist hung over the paddock,
and the rising sun cast beams of light between
the trees, just catching the long grass in the
foreground. It was magical. I leapt out of the car
with my camera and tripod and had just a few
minutes to capture the scene before the mist and
wonderful light disappeared.
The locals here express their amazement that
this image which won a gold award in the 2015
Epson Pano Awards was taken in that very
ordinary paddock. It shows that we shouldnt
neglect the potential around us; sometimes you
need to just truly look to see your environment
with new eyes.
77 Moment with nature_SW.indd 77
16/03/2016 11:40
PHOTO SHOWCASE
Otters in Shetland:
The tale of the draatsi
Setting out to document one of Britains most
charismatic mammals, wildlife photographers
Richard Shucksmith and Brydon Thomason have
captured all aspects of the lives of Shetlands otters
in a stunning new book
The Shetland Islands boast the highest density of otters in Europe. Here the
animals have adapted and evolved to be much more at home along saltwater shores,
rather than rivers and lakes, where their daily routine essentially revolves around
the rhythm of the tides. Their high numbers, combined with the geography of the
remote coastlines they inhabit and the fact that they hunt during daylight hours,
makes these islands arguably the best place to see and study otters in the wild.
Few wildlife experiences can compete with the excitement of tracking an otter
family along a remote Shetland shoreline. Watching a mother and her cubs go about
their daily routine in the undisturbed natural environment is a very special and
emotive experience. Tracking otters during the summer months, the coast is
particularly rich in life. A ock of feeding arctic terns scattering as an arctic skua
gives chase, the call of golden plovers from the moorland behind, or perhaps the
haunting cries of displaying red-throated divers; there is magic all around.
78_81 Photo showcase - Otters_SW CB.indd 78
17/03/2016 16:39
17/03/2016 16:39
16/03/2016 11:52
GET THE BOOK!

Otters in Shetland: The tale of the draatsi, by Richard
Shucksmith and Brydon Thomason, is available now. Through
stunning photographs and informative text, the book gives
a superb insight into the behaviour and ecology of Shetlands
otters and the other wonderful wildlife found on and around the
islands. Published by the Shetland Times Ltd, Otters in Shetland
costs 28 (ISBN 978-1-910997-00-0).
16/03/2016 11:52
NATURE ZONE
STEVE YOUNG
On the wing
On hearing news of a rare godwit in Somerset, Steve Young makes the long journey south
in the hope of good views, but the bird turns out to be a challenging subject to photograph
The Hudsonian
godwit never came
close enough for
anything other than
a record shot in
ight; its the bird
right in the middle
of the ock of
black-tailed
godwits and can
be identied by its
small white wingbar and slightly
wider black tail
band the image
has been severely
cropped.
dont visit Somerset very often; over

the years Ive been a couple of times
to see the occasional rarity that has
turned up but have never spent a
decent amount of time there. Recently
a mega-rare Hudsonian godwit was
found in Shapwick Heath nature
reserve, and it was time to reacquaint
myself with the West Country county.
My rst impression of the site, which
was totally new to me, was of a large,
very scenic and picturesque reserve;
there were blackcaps, chichas and
willow warblers singing around the car
park area, brimstone butteries were
itting around on their butter-yellow
wings. As I made my way along the path,
a Cettis warbler gave a loud blast of song
to notify everyone of its presence.
The walk continued towards the
reserves ooded, marshy areas where the
very rare godwit, a visitor from America,
was feeding. It was still there when
I walked up to join the crowd but it was
a very distant view and the bird was not
recognisable through binoculars.
Feeding with a large ock of black-tailed

godwits, it seemed very happy where
it was and it looked like Id be waiting
a long time for it to come closer.
Sadly my prediction was correct, and
despite spending most of the day waiting,
the godwit ock remained at the very
back of the scrape. The birds took ight
once or twice but they were still very
distant over the reed bed, allowing only
a few record shots to be taken. This is
one of the most frustrating aspects of
rare bird photography; these days you
see quite nice images on the internet
and presume that you will get the
same results, but most of the time you
dont! Despite using a camera with
a 1.5x crop factor, a 500mm lens and
a 1.4x converter, the bird was still only
very small in the viewnder I knew
I would need to crop the resulting images
to have any sort of shot.
There was plenty going on while
waiting for the godwit, however. Over
the reeds there were several hunting
marsh harriers, while great white egrets
regularly ew past this former

rarity has now colonised the UK,
and the Somerset Levels are one
of the strongholds. Cettis warblers
continued to sing, and at one point
a bittern suddenly appeared from the
reeds and ew over the heads of the
crowd. A hobby hunted for dragon ies
against the blue sky; these small falcons
are a delight to watch as they skilfully
catch the insects in their talons and
dismember them in mid-air. I saw at
least six individuals hunting the skies
but only one came close enough for
me to get the lens on it.
It hadnt been a great day for
photography; the target bird had failed
to show well enough and that is always
disappointing, but it had been a great
day out at a site that was full of birds
to see and listen to. If you live in or
close to Somerset you will already know
how good Shapwick Heath is, but if you
dont then it is well worth a visit to this
reserve and the neighbouring ones
found in the Somerset Levels.
82_83 On the wing CB.indd 82
16/03/2016 11:53
left Insects are the source

of food for warblers, and
whitethroat is no exception
they collect all sorts during
the summer months to feed
their young.
LOCATION OF
THE MONTH
Genevieve Leaper (rspb-images.com)
Steves May highlights
bottom left Lacking the males

grey head and pink breast,
females are much duller and
can be harder to see.
BIRD PHOTOGRAPHY TIP

Its always nice to have a selection of spring
images on le not just singing or displaying
shots but photos of birds among seasonal
foliage such as blossoming owers.
If you have a feeding station or a garden this
can be a simple matter of setting up the feeders
close to a tree with nice blossom; this will enable
you to take lots of shots as the birds perch up
before dropping to the feeders.
If there are no suitable trees nearby it could
be a matter of pruning a small branch to t in
place near your feeders, taking down any other
perches that are already up so the birds only
have one choice. Its worth changing the perch
after a day or two as they tend to look tired
by then, and its always good to have a variety
of images.
Planning ahead for next year, it is a good idea
to plant bulbs such as snowdrops or daffodils
during early winter so that they are ready to
use next spring. Seed or other food discreetly
scattered on the ground nearby should lead
to nice shots of birds among the owers.
top right One species that comes easily to seed

is the coal tit; this one is feeding next to fresh
snowdrops for an early spring shot.
bottom right A great tit searches for food among
a blossom branch that I pruned from a nearby
tree and placed across my bird table.
Erni/ShutterStock.com
Continuing the warbler theme of last month (willow warbler)

well turn our attention to another of our summer visitors that
should just be back in force by now, the whitethroat. This bird,
as its name suggests, has a very white throat and bright rufous
wings, on both the male and female birds. The male also has
a grey head and a pink-tinged breast, which makes it a very
attractive species; the female is browner in appearance.
This is a common
breeding bird and can be
found throughout most
of the UK. It favours scrub
habitats with brambles
and long grass. The song
is very scratchy and is
repeated from a favoured
perch or when in ight.
below Whitethroats are very

vocal when they rst arrive
at a site and sing constantly
from favoured perches.
Coll, Argyll and Bute

Located four miles west of Mull in the
Inner Hebrides, Coll is a stunning wild
retreat thats known the world over for
its white sandy beaches and wonderful
carpets of wildowers. With a tiny
population of around 220 residents, it is
the perfect place to relax and enjoy the
array of wildlife that calls the island home.
Birdwatching opportunities abound on
land and at sea. During the ferry trip
across the Sound of Mull it is possible to
see an array of seabirds such as gannets,
auks, Manx shearwaters, petrels, little
terns and fulmars. On the island itself
theres a good chance of twite, skylarks,
meadow pipits and stonechats. One of
Colls most famous birds is the corncrake,
a real British rarity. The islands RSPB
reserve works to protect the birds and
is one of the best places to see them
listen out for the males distinctive
rasping calls between May and August.
Getting there Coll is reached by ferry
from Oban, landing at Arinagour. The
crossing takes just over 2.5 hours and
pre-booking is recommended. Contact
Caledonian MacBrayne for details on
08705 650000, or visit calmac.co.uk.
Facilities and accommodation The
main township is Arinagour, where you
will nd a general store, caf, gift shop
and post office. The island has a hotel
(collhotel.com), hostel accommodation
(collbunkhouse.com) and self-catering
options, including Lonban Cottage
(lonban.co.uk).
82_83 On the wing CB.indd 83
16/03/2016 11:53
Photograph Otters in The Shetland Islands

With the UKs leading otter tour specialists
Specialist one-to-one assignments

or our Focus on Otters photo
tour for four photographers
led by two otter guides
t Co-authors of the book Otters in Shetland
tWorking under schedule 2 otter license
tSupporting otter conservation
info@shetlandnature.net 01957710000 www.shetlandnature.net

3/17/16 11:21 AM
INSIDE TRACK
Cold weather photography?

Its a dogs life
Nothing could be ner than a days photography out in Canadas wild interior, propelled
along the trail not so much by the internal combustion engine but a pack of Arctic dogs.
Inevitably, says Nick Smith, the enterprise was not as easy as it looked
Oh, to be in Canada now that spring is here.
Well not quite spring, but as I stepped out
into the glorious February forests of Quebec
I couldnt help messing about with that most
famous of lines from Browning. The air is crisp,
the snow as white as paper, while the cobalt blue
skies are, well, sky blue, only in a way that makes
you think this might be the rst sky you have
ever seen in your life. If you dont fall in love
with Canadas great outdoors, theres something
wrong with your soul.
Not quite spring, because its 30 degrees of
mercury below. When the wind gets up, you feel
more like Apsley Cherry-Garrard and his chums
on The Worst Journey in the World down in the
seldom trodden reaches of Antarctica, rather
than a hiker heading for the interior with a
couple of energy bars and a bag full of maple
syrup candies stued into the pocket. But, cold
aside, this is Eden, Narnia and Arcadia all rolled
into one, where the grand, majestic landscapes
beckon and your mind echoes to those long
descriptive passages in Jack Londons The Call
of the Wild. The wilderness calls you and it is
a strong call, and you must obey.
The Arctic dogs get extremely excited. Clever,
muscular and brimful of enthusiasm, they bay to
be clipped to the harness, and soon were making
ready to sled across the frozen lake at Sacacomie,
anked by great pine-clad mountainsides,
camera poised for action. Theres only one rule
when dogsledding: keep both hands on the rail
that connects you to the powertrain and both
feet on the brake if you dont want to go
anywhere. And so ddling with one of the
dials on my camera with only a perfunctory
connection to the vehicle, the six strong dogs,
clearly hearing the cry of allez, allez, allez! in

their heads, set o like thunder rolling down
from the Appalachians. Suddenly, and without
ceremony, my world turns upside-down, my
camera is about 20ft away from me and, if
I havent quite let slip the dogs of war, theres
certainly plenty of havoc to cry about.
As it turned out, this was but the rst and
by far the least of my problems. I might have
mentioned that these snow-hounds are nothing
if not enthusiastic and, as such, nd themselves
with little time for what I shall restrict myself
to calling bathroom protocol. They do their
business on the hoof, the resultant frozen
deposits icked up behind them as the team
races along. The scarf wrapped around my face
is not so much a defence against the icy air, but
an essential barrier to prevent one of the most
unpleasant sorbets the world has to oer from
making unwanted transit into the digestive
tract as you breathe heavily from the labour
of sledding. I was on the point of wondering
what might be the best way to clean my lens
when, completely out of the blue, it started to
rain. With it came a new and serious headache,
only this time related to the phenomenon that
scares all photographers half to death: that
of the entanglement of water and electronics.
I suppose I was lucky in that my camera didnt
completely give up its ghost until we were
heading home in the failing light and
penetrating frozen drizzle of a long day. We
unclipped the dogs and trudged back to the
Land Rover with the quiet satisfaction of a job
well done, the canines gleefully peeing in the
snow after a heavy stint of doing what they were
put on Earth to do. As the unpleasant mixture
of ice and dog residue started to thaw on my

clothes, I couldnt wait to get back to the lodge
to be hosed down. As the wheels of the car
crunched through the snow, I decided to take
a sneak peek at what was on the data card.
But the butchers bill was that there was no
sign of life in the machine.
Only time will resurrect a water-damaged
camera, and as I waited I felt a certain affi nity
with Dr Frankenstein as the modern
Prometheus makes his monster come alive.
The rst ickerings were unpromising: a screen
of unrecognisable computerish junk that bore
more than a passing resemblance to a crashed
Space Invaders machine of yore. Menus
spontaneously appeared and disappeared, the
camera shut down, the camera booted up. Lights
ashed and dimmed. Somewhere in the innards
of this electronic snowstorm were the images
I had taken earlier. I also started to feel some
sympathy with Wordsworth when he casually
wondered whither is ed the visionary gleam.
Sitting in the bar of the Sacacomie Hotel, and
several glasses of Malbec later, my camera did
the decent thing and started to behave itself.
But it had been a close run thing.
Oh, I forgot to mention the photographs.
For the record, they were quite good I thought
in that mildly detached way you sometimes get,
which means you are barely daring to admit to
yourself that there are some real barnstormers
in the portfolio: a handful of images that made
the whole adventure, though a lot more difficult
than I had anticipated, worth the eort. A hard
day out in the eld, frozen to the bone, wet
to the skin and covered in well, you get
the picture.
85 Inside track_SW CB.indd 85
08/03/2016 16:10
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3/17/16 11:01 AM
NEXT MONTH
OP205 ON SALE 5 MAY
Linking land and sky

in landscapes
Will smartphones destroy photography?

How to read water by Tristan Gooley
Dylan Nardini in the spotlight
Richard Garvey-Williams
87 Next month.indd 87
16/03/2016 11:55
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88-89 Your chance_SW.indd 89
08/03/2016 16:10
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GEAR ZONE
ACQUIRE
92 Gearing up
94 Camera test
OH, I DO LEICA TO BE BESIDE THE SEASIDE....

Fergus Kennedy puts the new Leica X-U to the test on the south coast
91 Gear zone opener_SW.indd 91
16/03/2016 11:57
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16/03/2016 11:58
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92_93 Gearing Up_SW CB.indd 93
17/03/2016 16:48
GEAR ZONE
CAMERA TEST
Leica X-U
Leicas new outdoor camera
claims to offer outstanding picture
quality in the harshest conditions.
Fergus Kennedy takes it to the
south coast of Sussex to nd out
if it lives up to its promise
Guide price 2,400 Contact leica-storemayfair.co.uk
heres no denying that the Leica
X-U is a niche product. Not only
is it a large sensor, xed focal
length camera, it is also
waterproof to a depth of 15m and pretty
rugged to boot. Having never shot with
a Leica camera, I was pretty excited at the
prospect of getting my hands on a new
product from this legendary brand. How
would the experience compare with my
trusty DSLR setup? What about the image
quality? Would it be responsive enough?
Straight out of the box, the Leica has
a reassuring heft to it. I may be showing
my age but there is a certain fond
nostalgia to shooting fully manual and
adjusting shutter speed and aperture
on the small but perfectly formed
retro-styled dials on the top plate.
In terms of grip, I found it adequate for
a rm hold, without being too bulky.
For protection, much of the camera is

nished with a rubbery layer: practical,
rugged and grippy but perhaps not
completely in keeping with its high-end
Leica heritage. I also wasnt convinced
by the aesthetic appeal of the protruding
ash on top of the lens barrel.
In terms of optics, the X-U sports a
xed 23mm f/1.7 lens equating to 35mm
in full-frame numbers a focal length
much beloved of street photographers
and photojournalists. Its wide enough
to be able to get a good sense of ones
surroundings, but still tight enough to be
able to manage some nice shallow depth
of eld portraits and detail shots. During
a landscape session at the coast, I found
that its a fun creative process to be
limited to a single focal length and was
forced to move around the environment
to nd good angles, rather than taking
below Golden hour

at the beach in
Brighton. Shooting
in Raw, the Leica
did a decent job
preserving
highlight and
shadow detail.
Leica X-U, ISO 100,
1/320sec at f/5.6
the lazy option of changing lens.

The other aspect of the X-U that
takes some getting used to is the lack of
a viewnder. Being a habitual viewnder
user I found I had to dig out my reading
glasses to focus my aging eyes on the
LCD, camera held at arms length.
Not a big deal for some, but it didnt help
me channel my inner Cartier-Bresson!
In general, the X-U behaved as I hoped
it would. Despite the absence of a familiar
mode dial it was straightforward to work
with in manual, aperture priority and
shutter speed priority modes. Exposure
compensation is dealt with via plus and
minus buttons on the back, and I found
exposure bracketing pretty easy to set up
after a brief consultation with the user
manual. Capturing close-up details was
no problem with a 20cm minimum focus
distance, though I did nd that the
camera had an annoying tendency to
shut down the aperture unilaterally
when I wanted to shoot close objects
with the iris wide open.
Selection of auto or manual focus
is easily achieved by twisting the focus
ring. Once you go beyond in nity, the
camera clicks into AF mode. In manual
focus, a magnied area pops up in the
centre of the LCD to aid focusing.
This seemed to work pretty well and
autofocus was also reasonably snappy
for static or slow-moving subjects.
I found the lack of a front lter thread
limiting at times.
Next to test that rugged outer shell.
Setting up the camera on a tripod at the
waters edge, it was a relief not to have
to stress about the camera getting hit by
the odd drop of spray, but how would it
cope under more extreme conditions?
I waded into the English Channel on a
rainy January morning clad in neoprene.
My subjects of choice, kitesurfers, zipped
94_95 Camera test_SW CB.indd 94
16/03/2016 12:01
past at alarming speeds and the Leicas

waterproong proved its mettle when
one kiter threw up a curtain of water
that drenched me and the camera alike.
In terms of performance it is notable
that, in fast-moving situations, the
autofocus struggles to keep up. To be
fair, though, action sports performance
was probably never in the design brief
and it does manage a reasonably brisk
ve frames per second in continuous
shooting mode.
As an avid underwater photographer
I did consider the X-U for diving and
snorkelling with compactness and
minimalism both weighing in its favour.
Sadly, however, the focal length is not
ideal: underwater photographers tend
to prefer either an ultrawide/sheye
perspective or a true macro lens; with
the X-Us 35mm equivalent somewhere
in between, it belongs perhaps to the
realm of stylish but rugged adventure
travel gear.
Back in the warmth of the office,
reviewing the 16MP DNG Raw les in
Lightroom, I was pretty happy with the
results. The lens certainly lived up to
Leicas reputation for sharp glass, and
the Raw les allowed me to pull plenty of
detail out of the shadows and bring back
apparently blown highlights in the sky.
Image quality was pretty usable up to
ISO 1600. Despite shooting video at full
HD, the video quality had a slightly soft,
muddy quality and was not up to the
standard of the stills, but then with no
HDMI or headphone socket it probably
isnt aimed at the video enthusiast.
VERDICT
TECH SPECS
Sensor 16.2MP APS-C
Resolution 4928 x 3272 pixels
Lens 23mm f/1.7 Summilux
(35mm full frame equivalent)
Minimum focus distance 20cm
Shutter speed 30-1/2000sec
ISO 100-12,500
Viewnder None, but optional EVF-2
LCD 3in TFT LCD, approx. 920,000 pixels
Flash Built-in and hotshoe
HD Movie Mode 1080P up to 30fps
Card formats SD/SDHC/SDXC
Power Leica BP-DC8 Battery
Size 140 x 79 x 88mm
Weight 635g
top A respectable
20cm close-focus
ability is useful.
Leica X-U, ISO 100,
1/20sec at f/5.6
above The
waterproong
was put through
its paces in the
English Channel.
Leica X-U, ISO 100,
1/2000sec at f/2.5
All in all, using the X-U was an

enjoyable experience, and certainly
a change for a habitual DSLR user.
Its not a camera for everyone, and
there is a heft y premium attached
to the little red dot on the front.
In terms of alternatives theres
the Fuji X100 series, the Sony
RX1 and of course, the X-Us nonwaterproof sibling, the Leica X. But
if you need a fully waterproof, large
sensor camera with a fast prime
lens, this could be the one for you.
RATINGS
Handling
Performance
Specication
Value
95%
92%
90%
80%
OVERALL
89%
94_95 Camera test_SW CB.indd 95
16/03/2016 12:01
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CANON LENSES
14mm f/2.8L II USM
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24mm f/1.4L Mk II USM
24mm f/2.8 IS USM
EF-S 24mm f/2.8 STM
28mm f/1.8 USM
28mm f/2.8 IS USM
35mm f/1.4L USM
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40mm f/2.8 STM
50mm f/1.2 L USM
50mm f/1.4 USM
50mm f/1.8 STM
EF-S 60mm f/2.8 Macro
MP-E 65mm f/2.8
85mm f/1.2L II USM
85mm f/1.8 USM
100mm f/2 USM
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135mm f/2.0L USM
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1,529.00
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300mm f/2.8L USM IS II 4,799.00
300mm f/4.0L USM IS
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400mm f/2.8L USM IS II 7,698.00
400mm f/4.0 DO IS II
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400mm f/5.6L USM
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500mm f/4.0L IS MK II
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600mm f/4.0L IS MK II
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1,449.00
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934.97
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1,124.00
8-15mm f/4L Fisheye USM 899.00
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179.00
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16-35mm f/2.8L II USM 1,060.00
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70-200mm f/2.8L IS II USM 1,499.00
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945.00
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3/16/16 9:42 AM
IF YOU ONLY DO ONE THING THIS MONTH
Joy of landscape
In our January issue we asked to see your most inspiring adventure images that showed people
enjoying the landscape. These are the ones that won the Aclima WarmWool Hooded Sweater,
and, over the page, a selection of our other favourites
WINNER
Andy Teasdale
(above) A team of British Guides was ahead of
us on the return journey from the Aiguille du
Plan to the Aiguille du Midi, in France. As they
descended the crest of this ridge I could see that
a possible silhouette shot was appearing in front
of me. Timing and luck helped with this one.
Nikon Coolpix 7100 with lens at 61mm, ISO 100,
1/800sec at f/7.1, handheld
(right) I was guiding two clients on the fantastic

Triftigrat on the Breithorn in Switzerland. We
were just moving away from some steep ground
when I noticed the vista behind us. It was too good
to miss, so I pulled my camera out of my pocket
and caught a couple of shots while still moving so
as to keep the rope between us tight. Its not too
difficult to walk backwards on easy angled ground,
allowing shots like this to be taken.
(overleaf, top left) While working with a group

of British aspirant guides on the Moiry Glacier
in Switzerland we came out of the shadows
and into the light. I was glad to have my
camera handy to capture a couple of shots
while still walking.
Panasonic Lumix LX5 with lens at 30mm, ISO 100,

1/2000sec at f/6.3
andyteasdalemountainphotography.co.uk
Nikon D810 with Nikon 24-120mm lens at 70mm,

ISO 72, 1/1600sec at f/7.1, handheld
108_111 One thing this month CB.indd 108
16/03/2016 12:04
COMPETITION
16/03/2016 12:04
Kasia Nowak
(left) I took this photo of a hot air balloon ying
at sunrise in Cappadocia, Turkey.
Nikon D800 with Nikkor 70-300mm VR lens
at 300mm, ISO 100, 1/1000sec at f/8
Ric Harding
(top right) Sgwd y Pannwr is one of the waterfalls
on the Mellte River near Ystradfellte in the
Brecon Beacons. When I was there, a group of
gorge walkers was jumping into the falls under
close supervision.
Nikon D800 with Nikkor 24-70mm lens at 31mm,
ISO 800, 1/160sec at f/9, handheld
Ric Harding
(bottom right) Devils Tower National Monument
in Wyoming, USA, was formed by erosion of an
igneous intrusion, and rises 386m above the
surrounding landscape. The sheer hexagonal
rock columns provide over 220 climbing routes,
which attract about 5,000 climbers a year.
Nikon D800 with Nikkor 80-400mm VR lens
at 400mm, ISO 400, 1/320sec at f/11, tripod
16/03/2016 12:04
YOUR NEXT CHALLENGE

Epic landscapes
This month we want you to show us the big view! We want to see your
most inspiring epic landscape photographs, the ones that capture
the full majesty of being out in the stunning locations that we all get to
now and then. Dont be shy of including awesome light or submitting
your most compelling panoramic images; just make sure that they
have epic running through the heart of them. Well be on the lookout
for the images with the biggest wow factor and that make us want to
be right there. Make sure you read landscape guru Alex Nails excellent
guide to shooting big vistas on page 30, and then send us your favourite
shots. We cant wait to see them!
Closing date for entries is 8 June 2016.
See page 88 for an entry form and our terms and conditions.
Enter and you could win a Joby GorillaPod Focus Tripod

with Ball Head X and a Joby Pro Sling Strap, worth 197!
The winner of the Epic landscapes challenge will not only have their
image published in the September 2016 issue of OP, but will also
o
receive a Joby GorillaPod Focus Tripod with Ball Head X and
a Joby Pro Sling Strap, together worth 197! The strong and
lightweight Focus Tripod, with its exible and wrappable legs,
and Ball Head X are perfect for setting up professional cameras
with large zoom lenses (up to 5kg) in many unusual or awkward
situations, to get perspectives that will make your images stand
out. The Pro Sling Strap offers quick and effortless response
times and secure connection, thanks to the SpeedCinch System.
m.
joby.com/gorillapod-focus-ballheadx
16/03/2016 12:05
COMPETITION
Where in the world?

If you can name the location of these stunning lakes shown below, you will be
in with a chance of winning a superb Vango Fuse 2 sleeping bag, worth 130!
Shutterstock.com
Where is it?
The photograph shows a wonderful region
of lakes and mountains, in a truly wild area.
But is it:
a) Sunnmre, Norway
b) Garibaldi Ranges, Canada
c) San Carlos de Barriloche, Argentina
The correct answer and the winners name will be
published in OP207 (on sale 30 June 2016). Enter
online at outdoorphotographymagazine.co.uk/c/
where204, using lakes204 as the code, or send
your answer to opcomp@thegmcgroup.com,
stating Lakes as the subject, or drop it in the post
to: Where in the world Lakes, OP, 86 High Street,
Lewes, East Sussex, BN7 1XN.
THIS MONTHS PRIZE

An innovative and lightweight
Vango Fuse 2 sleeping bag
FEBRUARY ISSUE WINNER

WORTH
130
The Vango Fuse sleeping bags are the companys

rst bags that combine down and 4T synthetic insulation.
Designed for year-round adventures the Fuse range
incorporates Vangos new and innovative Insulite Fusion
Technology, which combines ethically sourced 70% 90/10
700FP Hydro-Barrier duck down with 30% 4T synthetic
insulation, into a compact, warm and lightweight sleeping bag
that is resistant to damp conditions. The Hydro-Barrier down
stays dry four times longer than untreated down, while the
interlinked lattice bres provide support to achieve superior,
even loft when wet or dry. The Vango Fuse 2 comes in a rolltop dry bag, weighs just 850g and is comfortable
down to 2C, so makes a great two-season
trekking bag. There are also versions
that go to -6C (180) and -12C
(220) for extreme adventures.
Visit vango.co.uk
In the February issue, we asked you to

identify where this beautiful waterfalls
area is. The correct answer is:
b) Kanchanaburi, Thailand
Patrick Foto/Shutterstock.com
NEW! ONLINE ENTRY
Mr M Harris from Darlington is the winner

o
of the Manfrotto RedBee-210 backpack.
Congratulations! Well be in touch soon.
Deadline for entry is midnight on 24 May 2016.
112 Where in the world_SW.indd 112
16/03/2016 12:08
Creative space...
Nov: 21-27, 2016
PORTRAIT OF AN TEALLACH: CAPTURE, PRINT AND CURATE AN EXHIBITION
COLIN PRIOR, EDDIE EPHRAUMS & ADRIAN HOLLISTER
Over the week you will photograph An Teallach, one of Scotlands iconic mountains, from
various perspectives; its glacially eroded corries, woodlands, rivers, waterfalls and summits.
Each day there will be visits to several locations, making the workshop suitable for those of all
levels of fitness. Back at the Studio we will work with you to process, edit and print portraits of
this mountain, finally curating an exhibition to be held locally on the final day of the workshop.
Nov: 14-20, 2016
MESSAGE & MEANING: FROM SINGLE PICTURE TO BOOK
EDDIE EPHRAUMS & ANDREW NADOLSKI
Work with two of the UKs most experienced and passionate photo book maker-designers to
develop your ability to convey your photographs in a clear and creative manner. Using images
youve taken on location we will work through the key stages of concept development, editing,
sequencing, design, and typography to create an elegant three-hole sewn book.
Nothing matches the

creative buzz and
collective experience
of a small group OSW
residential workshop
Our unique range of outcomebased workshops cover the
practical, creative and aesthetic
considerations of being a
photographer. You will be
inspired, motivated, encouraged
and pleasantly challenged.
The Open Studio Photo
Workshop Centre (pictured
above) overlooks Loch Ewe,
in NW Scotland, looking towards
the Torridon mountains and the
Outer Hebrides. With its own
sea-view cafe, lecture room and
fully equipped imaging studio,
it makes the perfect photo
location workshop centre.
Sept: 19-24, 2016

B+W WORKSHOP: CAPTURE, EDIT, PRINT
EDDIE EPHRAUMS & ADRIAN HOLLISTER
Email us for further information.
Further details of these and our other workshops can be found on our website:
www.openstudioworkshops.com
info@openstudioworkshops.com
IBC_OPHO_204.indd 1
3/14/16 9:56 AM
IBC_OPHO_204.indd 1
3/9/16 3:11 PM

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HOW TO SHOOT EPIC LANDSCAPES

landscape | wildlife | nature | adventure

Winner of the TIPA Award

Best Photo Lab Worldwide

working on since 2000, a Global

Landscape photographer Nobuyuki

Alex Nail goes in search of epic

See stunning images from a new

EMAIL Contact the Editor, Steve Watkins,

Alex Nail took this

WRITE TO US Outdoor Photography,

Fergus Kennedy tests Leicas new

May 2015 Outdoor Photography 1

GO BIG! ALEX NAIL ON CAPTURING EPIC LANDSCAPES

FEATURES & OPINION

We meet Japanese ne art

Chris Weston explores the

26 One month, one picture

40 Lie of the land

Nick Smith embarks on a

30 How to photograph epic

46 Porth Nanven cove,

Alex Nail offers logistical,

Andrew Ray seeks out

49 Lodge Park Wood,

Richard Garvey-Williams on the

Drew Buckley shoots a classic

2 Outdoor Photography May 2016

Our round-up of the latest

Keeping you up to date with the

Your feedback, opinions

Our pick of new photography

Our pick of this months

12 The big view

The latest photography and

A sneak peek at the June issue

94 Camera test: Leica X-U

77 A moment with nature

Australian photographer Judith

Find out how to get your

108 If you only do one thing

NEXT ISSUE ON SALE 5 MAY 2016

The winners of our joy of

112 Where in the world?

May 2016 Outdoor Photography 3

IN THE MAGAZINE THIS MONTH...

Editor Steve Watkins

Guild of Master Craftsman Publications Ltd. 2016

Andrew Ray is a full-time

12 issues: Save 10%

51.30 instead of 57.00 (UK)

24 issues: Save 20%

91.20 instead of 114.00 (UK)

Pay by Direct Debit and save 30%

With more than 30 years

At the age of ve, Fergus

ALSO IN THIS ISSUE

For further details:

Visit the Apple App store,

6 Outdoor Photography May 2016

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May 2016 Outdoor Photography 7

6_7 Opening shot_SW CB.indd 7

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