Outdoor Photography July 2022

CHOOSING GREAT LOCATIONS + PHOTOGRAPHING LOCAL WILDLIFE + BEAUTIFUL HUMMINGBIRDS
landscape | wildlife | nature | adventure
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When the living is easy
I know photographers are not supposed to like summer. The light is too harsh.
There are too many people everywhere. The colours of the landscape don’t have the
THE ISSUE
subtle beauty of autumn. But I do have a sneaking fondness for the summer months.
The days are longer, which means there are chances to shoot in the evenings after
at a glance
work. The shadows are longer too, creating opportunities to photograph familiar
scenes in a different kind of light and mood. Gardens are in full bloom, and bees and
butterflies are regular visitors.
Crucially, many of us can take a break from work commitments and spend
more time on our photography. That could mean heading off to faraway places,
photographing locations very different from our normal haunts. Being away from
home excites the senses and gives us a renewed sense of motivation. We see pictures
everywhere and want to capture as much as we can with our cameras.
But having time at home can also be a huge boost to our photography. It’s a chance In conversation with
to spend longer photographing the places nearby that mean the most to us. We can Verity Milligan – page 10
experiment with different viewpoints and techniques, such as intentional camera
movement and slow shutter speeds. And we can think more about our photography:
what kind of work do we want to create? How do we want to present it?
What would we like to do next?
Perhaps most important of all, taking time off in the summer gives us the chance
to simply enjoy the landscape and wildlife. It’s an opportunity to reconnect with
nature and renew our sense of wonder at the colours and life around us. If we are
able to find joy in our surroundings, it’s certain to boost our photography.
Enjoy the issue.
Exploring life beneath the waves
Mark Bentley with Tony Wu – page 20
Choosing a landscape
location – page 30
ON THE COVER
Picture by Andy Parkinson.
See page 60.
GET IN TOUCH
Email markbe@thegmcgroup.com
Write to us Outdoor Photography, 86 High Street, Lewes, East Sussex BN7 1XN
Keep right up to date with news by ‘liking’ OP at facebook.com/outdoorphotographymag

In pursuit of hummingbirds
Follow us on Twitter at twitter.com/opoty – page 44
Find us on Instagram at instagram.com/outdoorphotographymag
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10
FEATURES & OPINION LEARNING LOCATIONS

10 In conversation with… 42 In the spotlight ZONE GUIDE
Landscaper Verity Milligan Cheryl Hamer has perfected
30 Choosing a
talks evolution, authenticity
and connection
her impressionist style
of landscapes landscape location
50
Shaun Derby explores the
18 One month, one picture 44 In pursuit of factors that contribute to
Pete Bridgwood harnesses hummingbirds more satisfying shoots
the power of limitations Glenn Bartley travels the
to boost his creativity world in search of these 36 The highs (and lows) of
captivating birds local wildlife photography
20 Beneath the waves Andrew Mason documents
Underwater specialist Tony Wu 60 Fox: Neighbour, the fascinating flora and fauna 50 On location
shares office space with Villain, Icon on his doorstep Alan Novelli explores the epic
whales and sharks A brilliant new photobook views and dark skies of the
explores the many facets Isle of Anglesey
28 Lie of the land of the British red fox NEXT ISSUE
Drew Buckley braves the 53 Viewpoints
elements to transform 67 Inside track
ON SALE Pembrokeshire, County Down
11 AUGUST
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Nick Smith on the once-
ubiquitous square format
and Sutherland provide this
month’s locations
2 Outdoor Photography
20
30
44
NATURE GEAR ZONE REGULARS YOUR OP

ZONE 84 The OP guide to… 6 Newsroom 68 Reader gallery
Hydration systems will help The latest competition results David Townshend shares
76 Life in the wild you keep your fluid intake and wildlife conservation news his abstract images
Laurie Campbell reports on up on long adventures from around the UK of the Norfolk coastline
the rise of cetacean numbers
around the UK coast 8 Out There 74 Your chance
Simon Baxter and Joe Cornish Discover how you can
78 Nature guide unveil their new exhibition, get published in OP
This month’s seasonal plus a trio of inspiring books
highlights include dunlin, 89 Next month
grouse and noctilucent clouds OP 284 is on sale 11 August
80 A moment with nature NEVER MISS 90 If you only do one

Ben Hall meets a Patagonian AN ISSUE thing this month…
fox amid the savage winds
of Torres del Paine
82 Your best flower and foliage
images, plus our next challenge
Have Outdoor Photography
86 Gearing up delivered direct to your
82 On the wing Canon’s R7 and Fujifilm’s door and save up to 30%. 96 Where in the world?
Steve Young returns to
his old stomping ground www.bookshq.net
X-H2S headline this month’s
new gear round-up
See page 65. Name the mystery location and
you could win a great prize
Outdoor Photography 3
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OPENING SHOT
Destruction 2022 by David Rippin

Taken in Grizedale Forest, Cumbria,
David Rippin’s picture shows
a scene of broken trees, snapped
off at the trunk by Storm Arwen.
It is among the shortlisted images
in Earth Photo 2022. Pictures
from the competition are now on
show at the Royal Geographical
Society (with IBG) in London until 26
August. They will also be on display
at six Forestry England sites.
www.bookshq.net © David Rippin / Earth Photo 2022
THE LATEST BULLETINS
NEWSROOM
CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS
© Yhabril Moro © Yhabril Moro
© Paul Zizka © José Allende
Mountain climbers
It’s always worth remembering that, outside of the world’s heavy-hitting spectacular image of a skier jumping in the sunset light at the Catalan
photo competitions, there are plenty of niche contests in which you can resort of Baqueira. Yhabril also picked up one of the contest’s sponsored
share your photos and enjoy those of others. A great example is the Club categories with a night shot of mountain bikers silhouetted against
Vasco de Camping Elkartea (CVCE) and its international mountain the moon. Second overall was Canadian photographer Paul Zizka,
activity photography contest, CVCEPHOTO. CVCE is based in San whose image also features a skier, this time framed by ice in the Jasper
Sebastian, Spain, but the contest is global and now in its eighth year, National Park. Third place saw a complete change in conditions with
with entries from professionals and amateurs alike. José Allende’s shot of climbers in the Wadi Rum desert, Jordan.
This year’s grand winner was Yhabril Moro, from Biscay, with his See more at cvcephoto.com.
Wetland warriors
In a biodiversity project to be admired, Lewes District Council is realigning a local
stream in the Lewes Brooks SSSI to create new wetland habitats. The project is a
partnership between the Ouse and Adur Rivers Trust, Lewes Railway Land Wildlife Trust
and South Downs National Park Authority. The chalk stream to be moved, called the
Cockshut, is currently clogged up by an invasive non-native plant called parrot’s feather.
Chris Bibb, who is managing the project for Lewes District And in a nod to the possibility of similar projects, as well as creating a thriving wetland
Council, councillor Julie Carr and councillor Matthew Bird environment, it should also help to prevent more damaging floods.
at Cockshut stream.
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Find out more about the area via sussexwildlifetrust.org.uk.
EDITED BY KINGSLEY SINGLETON
© Cecilie Stuedal © Ben Horne
Jump for jay A natural choice

The Society of International Nature and Wildlife Photographers Now in its second year and open for entries, the Natural Landscape
(SINWP) has announced the winners of its Our World Photography Photography Awards (NLPA) is a competition that rewards the
Competition. The competition is one of many run by the SINWP and unfettered field skills of photographers. Post-processing is allowed,
open to members and non-members alike, all in aid of promoting wildlife but should be truthful to the photographer’s experience.
photography and conservation. With a prize pool totalling $17,500, and gear prizes on top,
Cecilie Stuedal from Norway was chosen as the winner, with her image NLPA has three main categories – Grand Scenic, Intimate Landscapes
of a Eurasian sparrowhawk trying to catch a Eurasian jay, shot with and Abstracts or Details – along with nine sub categories.
a Nikon D500 and 180-400mm lens. Entries can be made anytime between now and 31 August at
You can enter the SINWP Bird Photographer of the Year 2022 naturallandscapeawards.com. For inspiration, here’s one of last year’s
competition, which is in aid of the RSPB, at sinwp.com/bird. winning images, by runner-up Ben Horne.
© Isabella Hillhouse © Iain H Leach
Highland praise One-way flight?

Set up to recognise and reward talented photographers practising In worrying news for the UK’s butterflies, the risk of extinction is increasing
in Scotland, the Scottish Landscape Photography Awards has just for more species. Wildlife charity Butterfly Conservation has used data
announced its eighth annual Photographer of the Year. This year’s gathered by volunteers via the UK Butterfly Monitoring Scheme and
overall winner was Isabella Hillhouse from Dunoon, whose portfolio Butterflies for the New Millennium recording programmes, finding that
of three images, entitled ‘Holy Stones, Talisker Bay and Calm’, picked 24 species are now listed as threatened, of which eight are endangered,
up the highest combined score from the judges. Second place was John including the heath fritillary (pictured). To find out how you can help, and
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Rutherford with his trio of images, ‘Split Rock, Rum, Cromarty Skyline’.
Head to slpoty.co.uk for more category winners and special awards.
for details on how to take part in the Big Butterfly Count 2022 (15 July to
7 August), go to butterfly-conservation.org.
OUT THERE
BIG
Marko Dimitrijevic
and Amos Nachoum
teNeues
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The acclaimed photographers, who have been
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encounters during a lifetime of expeditions.
BIG contains prize-winning shots that will
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Dimitrijevic and Nachoum are equally
comfortable working above and below the
waves, the book covers the land animals you’d
expect to see, including bears, tigers, lions,
giraffes and elephants, as well as offering
© Clark Little
The Art of Waves: Ocean Eagle awe-inspiring coverage of ocean giants such
as sharks, whales and big fish.
BOOKS the way. His new book, The Art of Waves, brings The photographers’ goal is not only to
Clark Little: together his most remarkable work to date. showcase their images, but also to share the
The Art of Waves Little creates his deceptively peaceful emotions they experienced behind the camera;
Ten Speed Press pictures of waves by placing himself under their enthusiasm and wonder shine through in
Hardback, £30 the deadly lip just before it hits the sand – a both their images and words.
Growing up on dangerous but spectacular perspective of the
the north shore of ocean from the inside out. Using a fast shutter How I Make Photographs
O’ahu, Hawaii, it was speed to freeze the action, he shows the power David Yarrow
perhaps inevitable that the ocean would play and majesty of the waves, often incorporating Laurence King
a big part in Clark Little’s life. In the 1980s and coastal landscape elements such as trees and Paperback, £14.99
1990s he made his name as a pioneer of surfing mountains. More recently, Little has added David Yarrow is famous for
at the island’s infamous Waimea Bay, but it Hawaii’s diverse marine life to his portfolio, his boundary-pushing fine
wasn’t until 2007 that he discovered his passion including turtles, sharks and humpback whales. art black & white images of
for capturing the beauty of the shorebreak – For Clark Little, a deep understanding of his the planet’s most impressive
after his wife Sandy wanted a picture of a wave subject is not only the key to getting amazing animals. In his new book, he offers an insight
to decorate their bedroom wall. pictures; it’s essential to his survival in this into his creative process with the aim of helping
Fifteen years on, Little has established himself extreme environment. His work offers us a you take your own photography to the next level.
as arguably the world’s best wave photographer, unique glimpse into a world most of us only Through 20 bite-size lessons and ideas,
gaining a string of awards and accolades along experience from the safety of the shoreline. Yarrow covers everything from lighting and
composition to working with wild animals,
capturing emotion and achieving arresting
close-ups. There are tips on shooting in
challenging conditions, collaborating with
others and conveying a sense of place.
© David Yarrow
BIG: Leopard seal and gentoo penguin www.bookshq.net © Amos Nachoum

All You Need Is Love, Falkland Islands, 2018
EDITED BY CLAIRE BLOW
© Simon Baxter © Barry Webb

Anticipation Maturing comatricha slime mould
EXHIBITIONS
A Woodland Sanctuary Earth Photo 2022 exhibition since the pandemic. The work of
Inspired by… gallery, North Yorkshire Royal Geographical Society, London around 25 photographers will be on display,
16 July to 10 September To 26 August with an array of styles represented – from
Leading landscape photographers Simon Selected from thousands of images sent from traditional landscapes to more creative
Baxter and Joe Cornish have joined forces around the world, 56 outstanding photos and approaches – including Mike Prince’s image
for an exciting new show. On display at the videos have been shortlisted for Earth Photo shown below. At the opening event on 6 August,
Inspired by… gallery at the Moors National 2022. Developed by Forestry England and the (1-4pm) exhibition sponsors Kase Filters will
Park Centre, Danby, A Woodland Sanctuary Royal Geographical Society (with IBG), the global showcase some of their latest products.
brings together top-class images made in competition embraces the power of photography limetreefortwilliam.co.uk
the North York Moors National Park over to promote a better understanding of our planet.
the last five years. Macro specialist Barry Webb is among the
For both photographers, the woodland shortlisted photographers, with his series of EXHIBITION WITH
environment has been a source of exploration, images of slime mould (see above).
tranquillity, meditation, artistic study, In addition to the exhibition at the RGS, a
A DIFFERENCE
inspiration and solace – particularly during the selection of photos will be on show at Forestry
pandemic. Their work reflects their individual England sites, including Moors Valley, Dorset,
journeys in the woods, and the intense from 11 July to 19 September. For all the dates
experience of studying trees in all weather and venues, head to earthphoto.world.
conditions and all times of year. rgs.org
A series of special events will run alongside
the exhibition, including presentations by guest Society of Scottish Landscape
speakers Mark Littlejohn, Lucy Lapwing, Sean Photographers
Tucker and David Ward. Tickets are available Lime Tree An Ealdhain, Fort William
via the exhibition page, below. 1 to 27 August
baxter.photos/woodland-photography- In August the Society of Scottish Landscape
exhibition-event Photographers will host their first ‘live’ Insects & Us
© Mike Prince The Bug Farm, St Davids
14 July to 26 August
Kris Hofmann’s augmented reality
documentary Insects & Us invites visitors
to explore an animated environment and
engage with the interwoven stories of its
inhabitants. On display at the Bug Farm
in the Pembrokeshire city of St Davids,
it shows crickets, dragonflies, butterflies,
beetles and ants making their simple
yet vital contributions to a functioning
ecosystem, while four scientists discuss
why insects matter, the crises they currently
face and what can be done to help.
Harris Storm www.bookshq.net thebugfarm.co.uk
In conversation with
Verity Milligan
Professional landscaper Verity Milligan is on a quest
for authenticity, to find the connection between the
landscape, the photographer and the moment.
Interview by Nick Smith www.bookshq.net
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hat you’re seeing here is an landscape photographer’. To put it even This pair of complementary approaches
W evolution of a style,’ says Verity

Milligan. She’s commenting
on the apparent contradictions
between her images that seem to effortlessly
flip from the calm reassurance of almost
more simply: ‘I like taking photos of things
I see outside. And that’s the landscape.’
Looking at Verity’s portfolio online, a
striking theme emerges, which is that she
appears to have two distinct but visually
is the product of Verity’s ‘commitment to
different creative processes. I really enjoy
that, and I love writing too, but I think
that what you might be seeing here are
two different interpretations of essentially
dream-like scenes to a more literal portrayal related dominant styles, often within the the same landscape.’ She says that she’s
of the countryside. There’s no essential same picture sets. On the one hand, there instinctively more comfortable with her
difference in the subject matter – for the most are tranquil landscapes characterised by ‘more contextualised’ compositions, while
part, it’s all woodlands and lakes – but there’s muted pastels, soft lines and lingering being less confident in the ‘more abstract,
a frequent and radical shift in approach. mists. On the other, there are saturated not so stand-out stuff. We can all look at
‘This is an evolution every photographer colours, deep contrasts and an ‘all in a landscape and understand how it’s put
goes through. It’s not necessarily that I’m focus’ front-to-back confidence – almost together, and these hero shots can be very
getting better at it, it’s just that I’ve realised stridency – to her compositions. appealing and perhaps successful in the eyes
that the conditions become the photograph.’ These simultaneous voices are most of a lot of people, but it is the more difficult,
There’s a refreshing vagueness to how apparent in her Lake District and Peak more creative imagery that I push myself
Verity describes her thoughtful and District collections, where one style sits towards because that takes me out of the
understated landscapes. While other comfortably beside the other, neither comfort zone that I’d quite happily sit in
photographers theorise about their creative competing nor jarring, combining to create forever, but wouldn’t get me anywhere.’
intentions and ascribe protocols to the way a curiously complete understanding of the There is no such thing as a perfect image,
they fulfil them, Verity has a low-key attitude landscape. At Stanton Moor, she takes us says Verity, but that shouldn’t stop you in
to such self-assessment. ‘I’m somebody that into the dusty pinks of heather in bloom in your pursuit of authenticity in your creative
enjoys the quiet of the morning and I depict a misty copse of silver birch, while at Padley output. Being authentic is a cardinal belief
those ethereal moments either pre-dawn or Gorge there are the booming emerald greens in her photographic philosophy, and it
just after sunrise.’ The resulting images, she of the wet moss, set against the copper and is a concept she returns to throughout
says, are an extension of ‘how much I love bronze of hyper-realistic autumn leaves that our conversation. ‘To consider myself an
being outside. Colourful and atmospheric.’ jump out of the picture like knives. This authentic photographer, I’ve got to represent
If you were to pin a label on her work, Verity juxtaposition happens with such fluidity the landscape as I see it. I have to feel that
would claim to be nothing more than ‘a that it is unmistakably a style marker. I’m using my time in a worthwhile way.
Below Ullswater fog | Opposite (top) Millstone Edge | Opposite (below) Manesty, Derwentwater
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Lofoten winter
It might sound a bit wishy-washy, but it’s elevating myself would be something I’d like One thing of which she’s certain is that
not just to do with showing off how much to do. But I’m still on this learning curve and authenticity has no magic formula. ‘It’s not
this country has in terms of its landscapes. it’s massive, learning my craft slowly and something that you can write on paper. It’s
I love to take photographs and to share methodically, allowing my style to evolve an expression between the photographer
my work with the world, but I also want along the way. To be honest, I think I’m going and the landscape and the moment. That
to communicate how I feel about it. The to be on that learning curve forever, but I’m might be the beauty of photography. I
landscape is a universal thing and to try
to communicate that without pretence or www.bookshq.net
trying to do something worthwhile and that
matters more to me than anything else.’
think that a route to authenticity for
me might be to combine writing with
photography more.’ Verity explains that she did harbour ambitions to become a experience that I just trashed that part of my
while she’s had some experience of producing painter. ‘I’m quite competent at drawing,’ she life and walked away from that completely.’
complementary words and images for reflects, but didn’t get the chance to nurture Being academically minded, she went in
magazines and web publications, ‘I think her skills as a painter, ‘because at A-level, a different direction and opted to pursue
I want to do this on a bigger scale.’ they wanted to push you in the direction of her interest in filmmaking, later becoming
Based in Birmingham, Verity says that abstract painting and I’m very much a literal a media and communications lecturer at
there was never any big plan to become a
photographer, although from an early age www.bookshq.net
thinker. In my head, I always thought I’d
go to art college, but it was such a dismal
the University of Leicester in the fields of
digital storytelling and filmmaking. But at
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Opposite Padley Gorge | Above Assynt
some point in her childhood, she picked after a while her photography became self- a photographer, for all the risk assessment
up a camera, inspired by her late father sustaining, and something had to give. and contingency plans, Verity still felt the
who was a watercolour artist and poet. Thinking that making images deserved strong emotional imperative of ‘you only
‘I liked birdwatching. I was an outdoor her full attention, she started to make the get one shot at this’. What is a life worth,
kid – that was a happy place for me – and transition away from academia, which was she wonders aloud. ‘For me, I’d much rather
I enjoyed capturing those moments when helped by the fact that ‘it’s not a traditional have the opportunity to go out with the
I was outside.’ At the time – around 2007 nine-to-five career and there were ways I sunrise. Of course, it doesn’t always work
– it was the heyday of Flickr, ‘and that could work around essentially having two out that way because I have commercial
helped me too. I was really terrible for a jobs. Universities also encourage you to have clients, but the whole idea of going full-time
long time, but I progressively got a little a professional practice, because it brings pro was to have more flexibility. I could
bit better, became more sure of what I something additional to the students.’ spend the rest of my life just exploring
was doing, and people responded to it. Verity kept these two plates spinning Scotland, for instance. There’s so much
And it just sort of grew from there.’ simultaneously ‘for longer than most people out there to be grateful for. The idea was
At this point, Verity ‘fell in love’ with the probably would’, which she puts down to always to give myself more time in the
process of photography. ‘It was a way to be being ‘sensible’ in the face of turning her landscape because that’s where I’m happy.’
outside, and a way to engage with others back on a regular monthly salary in favour Despite the wide-ranging challenges
over the natural and urban world. It was an of a career that was far less economically that go with the life of a professional
accidental career progression that crossed dependable. ‘There were probably many photographer – not least balancing the
over with being a lecturer for a while.’ moments when I felt “yeah, I can do this”, requirements of commercial clients with
Becoming a full-time photographer, who but it took a lot of planning. I planned for the desire to produce a body of independent
also has a handful of blue-chip commercial everything – except a global pandemic. It’s creative work – Verity has no time for
clients, happened holistically. ‘It’s not funny how you think you’ve covered every regrets. ‘My father never really got to do
something I hold on to too tightly,’ she base and then a new one comes along and everything he wanted to do, which was
adds, with a cautionary tone, ‘because it knocks out all your security. It’s been an further evidence for me that I had to live
might just disappear holistically as well.’ interesting few years, that’s for sure.’ much more on my own terms. Not everyone
Big isn’t the right word, says Verity, but For all her balanced approach to becoming gets it, but I’m being true to myself now.’
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To see more of Verity’s photography, visit veritymilliganphotography.com.
ONE MONTH, ONE PICTURE
Can self-imposed limitations intensify the creative process? Pete Bridgwood weighs up the arguments for artistic
freedom and restrictive boundaries and finds a balanced approach that harnesses elements of both extremes
When the rural views of summer fail to to explore, interpret and express, and On a day-to-day basis, self-imposed
inspire, the coast always offers a solution. creating self-imposed boundaries, limiting constraints greatly facilitate artistry; going
We can lose ourselves for hours in our ourselves to a specific genre, arguably limits out to shoot in a restricted location with
quest to capture the perfect fine art this freedom and therefore our artistic just one camera and a prime lens is a great
seascape, or for those of us less committed expression. From the perspective of society stimulus for creativity. Such constraints
to the purity of a specific genre, there as a whole, if artists had been so self- help to limit the decisions involved in the
are myriad other seaside possibilities to restrictive historically, the art world would creation of our photographs, freeing up
offer some fresh new perspectives. have remained stagnant; there would have more mental space for the purely visual
I would specifically define myself as been no new movements like impressionism and creative parts of the process.
a landscape photographer, so unlike a or cubism. Why should we limit ourselves Perhaps the best approach is to use
travel photographer, for example, I’m not to expected norms? Surely, creativity is king elements of both these extremes as the
particularly interested in the personification and anything goes. In the words of Andy situation dictates, allowing ourselves the
or personality of any occasional human Warhol, ‘Art is whatever you can get away with.’ freedom to experiment as widely as we wish,
subject. And, although I might use wildlife The counterargument against such an and being open to the idea of straying outside
to embellish my narrative, I wouldn’t know unrestricted approach is that there are our boundaries, while also harnessing the
a sanderling from a turnstone. To borrow a some counter-intuitive benefits to self- power of intentional specific limitations
term from the wider art world, any humans imposed artistic limitations. Deciding ‘who’ when required to intensify our creativity.
or animals in my imagery are merely ‘staffage’, we are with our photography and to truly
compositional accessories or decorations ‘know’ ourselves artistically is profoundly
serving merely to embellish the most empowering and is key to knowing ‘where’ Saltburn Beach, Redcar and Cleveland
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Beneath the waves
For underwater specialist Tony Wu, photography
is the final part of a process that involves research,
interaction and relationship building. He talks to
Graeme Green about close encounters, being
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a ‘biology geek’ and the allure of the oceans
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he first whale I swam with took me off as an investment banker before scuba diving photographed everything from humpbacks to
T into his mouth,’ says Tony Wu. It

sounds like the start of a Moby Dick-
themed novel, but it was just one of
many encounters with giants of the deep in the
real life of the renowned marine photographer.
and the alien worlds of the Blue Planet took
hold of him. Describing himself as a ‘photo-
naturalist’, his early encounter with a massive
sperm whale was a lesson in photographing
marine creatures by developing relationships.
sea lions. But his curiosity goes beyond iconic
ocean giants to discovering and photographing
interesting behaviours and less famous, less
photographed creatures, from horseshoe
crabs to polychaete worms, with the added
Born in Yokohama, Japan, and now based in He has witnessed massive congregations benefit that tiny marine animals are far less
Kyushu in the south of the country, Wu started of whales, swum with feeding sharks and likely to swallow him.
Above Twinspot snapper spawning aggregation, Palau. Opposite Four sperm whales socialising and hanging head down, Dominica.
Graeme Green: What is it about it’s imposing. But I’ve spent so much time minutes and the instructor said, ‘You’ve never
underwater worlds that fascinates you? with them, I don’t even think about size been diving before? You were completely at
Tony Wu: It’s a different planet. You may as any more. The first time I was with an orca, home.’ I said, ‘Yes, everything’s fantastic.’
well be on Mars. Take whales, for example: a male, 8m or so, I thought to myself, It was like I’d been doing it all my life.
they’re mammals, like us, but everything ‘This is so small compared to many other
about the way they live is different, and not species I’ve swum with.’ GG: What were your early encounters
just the fact they live in the water. For us, with whales like?
sight is the most important sense, but sight GG: What was the first dive that got you TW: The first whale I swam with took me into
is almost useless underwater. Whales live hooked on exploring underwater? his mouth. It was scary. It was a sperm whale
by sound first. Think about what it’s like TW: As a kid, I was always fascinated with in the Pacific Ocean. I spent three years
to live in an environment that is not two- the ocean. I’d walk along the beach and pick planning this trip to remote islands in Japan.
dimensional. Going into the ocean, you can things up, and get yelled at for having all this We were eating lunch one day and a whale
enter that world. It’s pretty cool. You feel smelly stuff all over the place: shells, crabs, appeared directly below the boat. I jumped in
like you’re in an alien world and you’re starfish… I didn’t have any money growing the water. This was in the days of film. The
one of the aliens. up. Being from a Chinese family, the last captain said, ‘Remember, if he turns on his
thing Chinese parents want is their child in sonar, it might mean he thinks you’re food’.
GG: What’s it like to be in the water with the ocean with dangerous animals, getting The water was choppy, so I dived down
giants such as humpbacks and sperm whales? tan and salty. It wasn’t until I left home and to get stability. Ten metres below the surface,
TW: In the beginning, you go into the ocean
and there’s a huge animal, 10-15m long, and www.bookshq.net
got enough money and time that I did a trial
dive in the Philippines. We came up after 30
I turned around and the whale was right
there, this huge thing in front of me. Then
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the sonar came on, bang, really loud. My
reaction was ‘Oh, heck’. I let out all my air,
which was stupid.
I came up and the whale came up right
behind me, surfacing like a submarine.
I ended up spreadeagled on the whale’s
head, with the sonar pounding. I was totally
panicked. I wasn’t thinking rationally because
my thought was, ‘Push the whale away’.
I ended up on its head again. I was exhausted
and I’d swallowed a lot of water. I started
sliding to one side and felt a tug. The whale
had taken my left fin into its mouth and was
gnawing on it. It gave me a jolt of energy.
I flipped around, so I could swim and get
some distance, but when I looked back, I
could see it was coming with me. I thought,
‘It’s probably going to eat me. I’m going to
die. But before I die, I’m going to get the best
photos of a sperm whale ever taken’. I started
thinking about photography, about f-stops…
My brain kicked into rational mode. I took
a shot and realised it hadn’t eaten me and
maybe it didn’t want to eat me. I was just
being scared and stupid.
I did an experiment and swam towards
the whale. I put the camera down and passed
the whale slowly. Our eyes connected, we
looked at each other and I saw no aggression,
just mammalian curiosity. I thought, ‘Wait a
second, this whale doesn’t want to kill me. It
wants a friend. I’ve got a huge puppy’. I turned
and it followed me. I turned again and it
followed me again. I got my 36 shots.
GG: What’s the largest congregation

of whales you’ve ever seen?
TW: A huge gathering of sperm whales in
the Indian Ocean. For three days, there were
constant whales. As far as I could see in every
direction to the horizon, there were whales,
and if you got in the water and went down as
deep as you could go, there were more whales
– thousands and thousands of them.
GG: You’ve also been in the water with sharks

during a feeding frenzy – what was that like?
TW: It happened a long time ago at a small
island group called Malpelo in the middle
of the South Atlantic. I didn’t have a lot of
experience at the time and a humongous bait
ball appeared. Three of us decided to go in.
It was a pretty stupid thing to do. As soon as
we got in, the silky sharks came, hundreds
charging in, curious to know what just hit
the water. We freaked out, scared for our
lives. The boat came over and grabbed us.
Left (top) Spotty blenny (laiphognathus

multimaculatus) Japan.
Left (middle) A fat greenling (hexagrammos
otakii) protecting its eggs Japan.
Left (below) A male Korean seahorse
www.bookshq.net (hippocampus haema) giving birth.
An injured humpback whale calf with its mother in Tonga. A bumphead parrotfish spawning aggregation in Palau.
We were in the water for three or four water, to position yourself around large, started getting really good shots was when
minutes. We had our cameras, but we’d been fast-moving animals, and to work with the I realised it’s about developing a relationship
so scared that none of us got a single photo. below-surface conditions? with those entities. Sometimes, they’re not
TW: Technically, it’s not as difficult as some in the mood or don’t take an interest, which
GG: Sharks are often misunderstood – that other forms of photography, because you is fine. But all the best photos I have are the
encounter aside, do you generally enjoy don’t have a choice in terms of lighting. All result of some kind of extended relationship.
your experiences with sharks? the variables are decided for you – whatever
TW: Yes, that experience was just humans light is there is the only light you have. GG: You describe yourself as a photo-
being stupid. It’s like people you hear about What’s difficult is understanding naturalist – what does that mean?
who go into lion cages at the zoo and get behaviour, which is where most people fall TW: For all the subjects I choose, even tiny
bitten. I love sharks. short. They don’t take the time to read, to animals, taking the photograph is the last
understand. It’s not a photo subject you’re part of a process. Learning to understand the
GG: How difficult is it to take photos in the dealing with – it’s a living entity. When I animal is the best part and the most difficult
First verified humpback whale sighting, Sri Lanka.

www.bookshq.net
and frustrating. Starting a new subject, you
start from a base of close to zero. As you
learn, you get better with interacting, timing,
what makes this animal unique, and what it is
you need to understand to capture a moment
that stands out. There’s a lot of research,
reading, talking to people who know the
animals, from locals to scientists. A lot of
subjects I work with, there’s no information
available, so it’s about spending time.
GG: Do you get just as excited by smaller

creatures as you do whales and other
iconic creatures?
TW: I’m a total biology geek. I get excited
every day by tiny things I find. My project
at the moment, which I call ‘the other 99%’,
is to try to photograph things everyone
else seems to ignore. A large proportion of
people keep taking photos of the same thing
over and over again. To me, that’s a huge
waste of time. That’s not photographing to
add to knowledge or conservation. That’s
photographing to gratify yourself.
I’m really lucky – I can do what I want.
Will I just repeat what other people have
done? Sometimes I do. I’ve been to Alaska
to photograph bubble-net feeding because
it’s spectacular. But with a lot of stuff I do,
I’m trying to show some new aspect or
increase the breadth of knowledge, to push
the boundaries.
GG: What small creatures have you come

across lately that excited you?
TW: I’ve been photographing the spawning
of squids, horseshoe crabs, starfishes,
sea urchins…
GG: What haven’t you seen and photographed

yet underwater that you’d like to?
TW: A lot of things I wanted to see, I have
seen. For a long time, I said I wanted to see
a blue whale, and now I’ve seen a lot. I’ve
made friends with some of them, swimming
alongside them for hours.
Two days ago, I went to the ocean to test
some gear and I saw these things I’d never
seen before. They were pretty. My friend and
I figured out that they were the egg masses
of polychaete worms. I went back again next
day to get photos of them spawning. I know
no one will care about these photos and they
wouldn’t have been on my ‘to do’ list, but
they’re beautiful.
For art prints and more on Tony’s work,

see tony-wu.com. Follow on Instagram @tonywu98.
Left (top) Sperm whales socialising, Indian Ocean.

Left (middle) A humpback whale nursing its
calf, Tonga.
www.bookshq.net Left (below) Humpback whales bubble-net

feeding, Chatham Strait, Alaska.
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LIE OF THE LAND
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Honeypot rainbow
Vision, planning and a little luck can
transform even the most familiar of
locations, says Drew Buckley
I generally steer clear of so-called honeypot locations,
as I always like to find my own compositions in the
landscape. While this approach is more challenging
and doesn’t make life easy, it’s something I’ve
always done and ultimately feel better for it, having
produced something unique. However, when time
is limited, such as on family holidays or passing
through areas not often visited, they work great as
quick go-to shots to help build up the image library.
A popular spot in the Lake District is Ashness
Bridge. It’s a picturesque but odd location, as any
predetermined ideas of the tranquil-looking scene
soon change – it’s not as remote as you think and is
quite busy with traffic too, with a constant stream
of cars passing over the narrow bridge on the road
up to Surprise View and further on to Watendlath.
Like at any well-photographed viewpoint, I would
always try to find a different take on it if possible,
and one guarantee to get something varied is using
changeable weather to your advantage. It had been
a day of sun and showers – classic autumnal weather
for the Lake District – and I was hopeful a break in
the sky could potentially form a rainbow in the right
place. However, that meant waiting and hoping for
the weather gods to help out.
Parking up, and while listening to heavy rain
bouncing off the car roof, I checked the short-term
rain radar on my phone for a break. I always do this
when out on location (if I have phone signal) and
I saw there would soon be a gap in the rain. Due to
their nature, rainbows can be short-lived, so that
meant I had to get into position before the rain
stopped. Donning my wet-weather gear and setting
up the camera and filters under a brolly, it was a
good 20 minutes before the rain slowed.
Thankfully, the clouds started to part soon enough
and the bright sun shone through the last of the
rain, resulting in a brief but vibrant rainbow over the
bridge. Magic, I thought, as I started snapping away,
adjusting exposures for the now very bright river
that was rushing past me in spate.
Unfortunately, this moment also seemed to
coincide with the sudden arrival of multiple
cars stopping on the bridge, as well as a group of
psychedelically dressed hill walkers passing through.
More patience needed, then!
Finally, with the scene empty of distractions,
I took a couple of shots before the light went and
the next squall passed through. So, although it was
a familiar view, with a bit of short-term planning
with the weather and some luck, I was able to capture
a unique moment in time.
Canon R5 with EF16-35mm f/4L IS USM lens, ISO 50,
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1/25sec at f/16, polariser, 2-stop soft ND grad, 3-stop ND
LEARNING ZONE
Choosing a landscape location

Where will the sun rise and fall? Will there be mist, clouds or rain? Which season is best? These are all
important questions that need answering before setting off on a landscape shoot. Workshop leader
Shaun Derby is on hand to help us choose the best location for the most satisfying results
Loughrigg Tarn, Cumbria, at sunrise. I’ve been here many times before, often in the search of a misty valley. The forecast was unpredictable
and ever-changing, so I took a chance. Knowing where the sun rises at specific times of year and when mist is likely to form is invaluable here.
Nikon D810 with 24-70mm lens at 24mm, ISO 64, 1/10sec at f/8, 0.6 ND grad
When it comes to landscape photography, our best efforts, it doesn’t always go to disappointment, unnecessary journeys and
I love variety, exploration and spending plan, which I’m sure many of us can relate coming home empty-handed. This is just one
time familiarising myself with a new to, as numerous elements need to come aspect of it, as over time, experience gained
place and surrounding terrain, so I use a together for everything to work. Factors and certain methods and techniques have all
few different methods when selecting a such as travel, weather, time of day, seasons, helped enhance my photographic experience
location. Getting the best from a location light and composition are just some of the and end result. So, here are a few suggestions
often presents its own challenges, requiring considerations that help us achieve success, on how to choose a landscape location and
planning, perseverance and working the but can also work against us if overlooked. what elements will assist you, culminating in
area until you get the desired shot. Despite
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In the past, I have made errors, resulting in a more successful and rewarding experience.
LEARNING ZONE
INSPIRATION FROM
OTHER PHOTOGRAPHERS
The use of social media and following other
photographers, be it amateur or professional,
is an excellent way of finding new locations.
It could be the composition that caught your
eye, the view in the image or the location
itself which inspires you. Many photographers
add location data to their files and captions,
although if you are not familiar with where
a particular location is, additional work is
required to find when, where and at what time
of day the image was taken, specifically if you
are looking to replicate it.
Location guidebooks are also an excellent
means of finding somewhere new. In many
cases, these are written by a photographer
or with the assistance of one and contain
valuable information on specific locations,
while also providing useful images and
Blackrock Cottage, near Glencoe ski village, Scotland. On a recent trip to Scotland, I visited this
compositions. I used one such book on location several times as the weather changed during the week. There was very little snow on the
a recent visit to Scotland, which proved mountains when I arrived. However, heavy snow at the end of the week transformed the scene.
invaluable as a source of information Use of a location guide and repeated visits helped in achieving something different.
and inspiration. Nikon D810 with 24-70mm lens at 50mm, ISO 64, 1/40sec at f/8
Cap de Formentor lighthouse, Majorca.

Taken at sunrise following repeated visits with and
without my family to find a composition, so I knew where
to go at sunrise. Gaining knowledge of this location prior
to golden hour was crucial and saved valuable time.
Nikon D850 with 24-70mm lens at 38mm,
ISO 64, 1/2sec at f/11, 0.6 ND grad
HOLIDAY LOCATIONS
Going on holiday, travelling or weekends to photograph something new, such as a presents challenges, as most holidays are
away can be a great way of adding variety coastal scene as opposed to mountains. I have for short periods of time, and time spent on
to your photography, as the locations you emotional connections with some holidays, location is generally time away from family.
come across can be very different from our particularly family ones, which have inspired Having an understanding wife certainly
local surroundings, thus creating inspiration
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me to photograph a particular scene. This assisted me following a family holiday in
Majorca and a missed opportunity. But I was
fortunate enough to be able to revisit the
following year, photograph the lighthouse at
Cap de Formentor and capture an image that
encapsulated our time spent there as a family.
Alternatively, being away on your own gives
you more time, so utilise this during the day
by spending time at the locations you want
to photograph. Take some snapshots of
compositions – you can view these later and
decide whether they will work before going
back at a more critical time of day. I regularly
spend time just walking around with my camera
in hand looking for compositions – only when
I’m completely happy will I set everything up.
Finally, check your image in camera for
sharpness and your metadata before leaving
the scene. It would be a huge disappointment
if you overlooked this, only to find out when you
got home that something was wrong.
BUCKET-LIST LOCATIONS
Above Kimmeridge Bay, Dorset. Taking the time to familiarise myself with this location was a huge plus. I’m a big fan of using this method, and why
As I sat in the car watching it being covered in spray from the sea by the ever-increasing wind, weighing not? Those classic locations that many
up my options and confident I’d struggle to get a shot by the shore, I went higher up beyond Clavell Tower.
photographers know about, a composition that
Perching myself on the cliff edge while hanging on to the tripod, I increased my ISO to get a faster shutter
speed while still allowing some movement in the grass. just works, or an area of such beauty you just
Nikon D850 with 24-70mm lens at 24mm, ISO 200, 1/50sec at f/11, 0.6 ND grad have go to see it for yourself and photograph
it, wherever it may be. It doesn’t matter that it’s
been photographed thousands of times before,
you just want that image in the bag.
Even though they are classic compositions
and locations, it is still worth highlighting that
taking the time to plan your visit will help you
achieve better results. Direction of light and
time of year are just a couple of points to
note when planning your visit.
LOCAL AREA
For the majority of us, heading out in our local
area is probably the most common way of
selecting a location to photograph. Broadly
speaking, we all have somewhere on our
doorstep we can access without the need
to travel miles. We have more options at our
fingertips and a greater understanding of how
seasonal changes affect the landscape, which
in turn makes it easier for us to familiarise
ourselves with our surroundings. Plus, being
able to frequently work that location often
means achieving more successful results.
I have been lucky enough to visit the same
location three times in a week and walk away
happy after the third attempt, because it has
been on my doorstep.
Left Red Screes just above Kirkstone Pass in
Cumbria, looking towards the distant Ullswater.
I’d had two failed attempts here earlier in the week,
as the light never materialised. Getting to the
location entailed a three-hour round trip, including
the 30-minute hike. I focus stacked this image due
to the focal length and foreground being close to
the lens, then merged the layers later in Photoshop.
www.bookshq.net ISO 64, 1/5sec at f/11, 0.6 ND grad
LEARNING ZONE
LEARNING ZONE
WEATHER CONDITIONS
It goes without saying that the weather plays deciding where to go at a given time of day. Above Parkamoor Jetty on Coniston Water,
a huge part in photography. However, it’s Paying close attention to what the weather Cumbria, at sunset. Only after heavy rain is
the jetty submerged. I used a 6-stop ND filter
often unpredictable, changeable and very is doing can pay dividends in the long run.
to iron out ripples on the water.
frustrating. I’m sure we’ve all been there Take the Lake District, for example – when you Nikon D850 with 16-35mm lens at 20mm,
when heading out, only to find the forecast is are in one valley, but shooting towards another ISO 64, 120sec at f/11, 0.9 ND grad, 6-stop ND
nothing like what you viewed the night before. valley, it’s worth looking at the forecast for
However, when out in the right conditions, it both areas, as conditions often vary from can also bring great results. I’ve observed
really can make an image. It is an element valley to valley due to the topography. some superb skies following a storm, had
which nearly all of us take into consideration A mountain forecast is also a useful tool, as fantastic results when being out in snowy
before heading out, and one that proves higher terrain can bring changeable weather, conditions, and made my own luck in getting
fundamental when choosing a location. For in particular low cloud. In contrast, if you are something different when opting to venture
example, if you have good knowledge of your shooting a coastal scene, tide timetables are out in strong winds. So, if in doubt, head out
local area, viewing a forecast will assist you in also invaluable. Adverse weather conditions and take a punt.
DIRECTION OF LIGHT
Used in many aspects of photography,
the direction of light (position of the sun)
shouldn’t be overlooked. Just like the weather,
considering where the light is coming from is
an integral part of the process and another
method of selecting a location. Now, that’s
not to say you can’t get an awesome image
without direct sunlight. Personally, I have
some lovely images where the sun is nowhere
to be seen, giving a moodier, more dramatic
look. Just as Rembrandt used lighting to add
depth to a subject’s face, the direction of light
from the sun, particularly during golden hour,
can shape and add dimension to the terrain,
Right Warnscale Bothy above Buttermere, Cumbria.

Despite the lack of light and adverse conditions,
along with debating whether to get out of the
car with snow and hail falling, I took a punt. The
conditions made for an interesting composition
from this well-known location. Trying to get a clean
shot with a headwind proved challenging.
ISO 64, 1/6sec at f/8, 0.3 ND grad
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creating longer shadows, which is especially
effective in woodland scenes. In the same
way that a direct flash can flatten a subject’s
face, sunlight from behind or high up can
have a similar effect on the landscape and
can also create shadows in your foreground
if it is behind you at sunrise or sunset. That
said, if you are looking towards rain with the
sun at your back, you have a good chance of
catching a rainbow.
The direction of light can also influence
highlights in your image, but how you use it is
subjective, as it all depends on what you are
aiming for in that final image. It might sound
picky, but if you are striving for perfection,
it can make all the difference.
Tools such as Google Earth and
Photographer’s Ephemeris, to name just a
couple, can aid you in making decisions long
before you drive to a location, especially if
heading abroad or a significant distance from
your home. With the use of these tools, you
can see the topography of the landscape,
see where the sun rises and sets, and where
shadows will fall throughout the day, 365 days
a year. In a nutshell, you can see whether light
Above An old barn just below Black Fell in the Lake District. I’d visited here the evening before, would fall on the foreground you’re looking
but had little success with the poor light. I’d used my time wisely, looking for a composition I was
happy with for a possible return visit. Two days later and with better conditions, I returned knowing to photograph from the comfort of your
exactly what I was going for. I shot this at 50mm to bring the distant fells a little closer. own home, essential when planning ahead,
Nikon D810 with 50mm lens, ISO 64, 1/10sec at f/11, 0.9 ND grad especially on locations you have never visited.
WORKING
THE LOCATION
This is fundamental when it comes to
landscape photography and potentially
coming away with something special. Having
knowledge of the area or terrain, finding
compositions that work, knowing how the
seasons affect that location, along with
where the light is coming from throughout
the year, or how weather conditions
will contribute to the overall scene, will
dramatically increase your chances of
success. Understandably, it is not always
possible to do this if the location is not local.
If you are on holiday and time is against you,
viewing a location during the day and finding
a composition is a far better option than
arriving at sunrise, then rushing around trying
to find something during the best of the light.
So, preparation, advance planning and using
whatever tools possible to capitalise on the
time you have is crucial.
Left Wall Holm Island on Ullswater, Cumbria, at

sunrise. One of those well-known locations that
just works when the weather conditions are right,
with a calm morning providing beautiful reflections
and cracking sky as the sun begins to rise.
www.bookshq.net ISO 64, 20sec at f/8, 0.3 ND grad
LEARNING ZONE
CHANGING SEASONS
These are major contributors when choosing a forward to photographing during the year, but heather in the Lakes several years ago, only
location and present an abundance of options, are not to be taken for granted. For example, to head over to the outskirts of the North York
as each brings its own unique transformation there are no guarantees of how well plants Moors days later, and the heather was already
of the landscape. Snow, mist, bluebells, will flourish, as weather conditions and the past its best. Frustrating, to say the least,
rapeseed, heather and the gorgeous colours area they are situated in can affect how and but it certainly gets you thinking about how
of autumn are just a few of the things we look when they bloom. I can recall photographing you could improve on this for future visits.
The River Brathay in Cumbria at sunrise in December. The look my wife gave me the night before when I said I might go out for sunrise on Christmas Eve
was priceless. Having seen the forecast and knowing the location well, I knew there was a chance of mist, along with the likelihood of it being quieter.
Nikon D810 with 70-200mm lens at 112mm, ISO 64, 1/13sec at f/10, 0.6 ND grad
10 TIPS FOR LOCATION SUCCESS

1 Take whatever inspiration you can find to assist understanding of how the light works can 8 If you don’t get what you want on your first
you in choosing a location to photograph, be it significantly increase your chances of success. attempt, keep trying. You may need repeated
books or other photographers, as these often visits to a location to be successful, but the
help if you’re searching for something new. 5 It goes without saying that the weather plays rewards are worth the effort.
a huge part in photography. It’s unpredictable,
2 As much as I love the area in which I live, changeable and can be very frustrating, but 9 Seasons are a major factor when choosing
having variety when selecting the locations should always be taken into consideration. a location to photograph and present an
I’d like to photograph keeps me motivated. Adverse conditions can also be advantageous. abundance of options, as each one brings its
own unique transformation of the landscape.
3 Planning is key, especially when visiting a 6 Use your time wisely when on location, taking Having good knowledge of how the specific
location that is further afield, be it in the UK or the time to try out different compositions to see time of year affects the area you’re visiting
overseas. For example, crops in a farmer’s what works, saving you valuable time when you is invaluable.
fields can change from year to year, while the return in the right conditions.
blooming times of heather can also differ 10 Whatever you do, make sure everything is
across the country. 7 As with the weather, direction of light as you’d like it to be in camera before leaving
can dramatically improve an image. Having a the scene. Downloading your images after
4 Build your knowledge of your local area. good understanding of where the light is coming your flight or a long journey home only to find
Knowing what compositions work, how from during the day and throughout the year can something isn’t as sharp as it should be is no
seasons affect them and having a good increase your chances of a successful shot. laughing matter.
www.bookshq.net
LEARNING ZONE
The highs (and lows) of local wildlife photography

In response to his growing eco-anxiety, Andrew Mason set about documenting the fascinating fauna on
his doorstep, enjoying memorable encounters with badgers, spotted flycatchers and barn owls along the way
Over the past 17 years, I have been fortunate next to my garage, my local churchyard and photographing the badgers that live in
to live in a quiet, rural area of Staffordshire. the surrounding farmland. While I was aware them. The first badger I photographed was
By spending time photographing close to my that the wildlife in the farmland was declining a young cub from one of these setts that
home (within an hour’s travel of it), I have (with certain animals being hunted, shot and was foraging for food in a field of clover
developed a good working knowledge of the even culled), during the time that I focused on grass. It was also a badger from this sett
wildlife that can be found in my local area this area I realised how bad the decline was, that I photographed as it paused on a well-
throughout the year. This has been very particularly in the number of wild birds. worn path they had made through a field
productive, allowing me to make the best use There are several factors that have of crops to look directly at me. This is an
of my time. It has reduced the environmental contributed to this decline: modern farming image that I had visualised, took me seven
impact of my photography, particularly when I practices; an increase in game shooting in years to make and is one of my favourites.
have been able to work within walking distance the local area (with the associated increase in Unfortunately, I lost access to this badger
of home, and has afforded me access to wildlife gamekeeping activity); and climate change. sett a few years ago, when the landowner
on the edges of, and in, urban environments, As the pandemic continued, I found myself set up a new pheasant shoot. Shortly
an area that I am particularly interested increasingly worrying about the decline of afterwards, the badger cull was extended
in. While this has given me a great deal of wildlife locally. Eco-anxiety is more normally to include Staffordshire. Over the last two
pleasure, it has not been without its downsides associated with free-spirited teenage years, there has been a very noticeable
and frustrations, particularly when it comes to activists, not a 53-year-old married man. decline in badger activity locally, with at least
photographing on the nearby farmland. Rather than viewing it as the picture-book one sett effectively no longer occupied.
‘area of unspoilt countryside’, I saw that in However, this has not been the end of
LOCAL ECO-ANXIETY reality the farmland was, in places, a sheep- my badger photography. While I stopped
When the travel restrictions were imposed wrecked ecological desert. photographing badgers in these fields
within the UK to combat the Covid-19 when the cull started, my focus shifted to
pandemic, I was technically permitted to travel BADGERS photographing urban badgers in areas that
for my work as a photographer. However, I I have spent more time locally photographing are not included in the cull. I have been
took the decision to limit my photography to badgers than any other animal. There are very fortunate to have been given access to
within walking distance of home, an area that two large badger setts nearby where I badgers that visit the gardens of two local
includes my garden, a small copse of trees have spent many evenings watching and families. Both of these families have a great
www.bookshq.net
Eye to eye with a very curious young badger cub near to its sett in farmland. Nikon D850 with 180-400mm f/4 TC1.4 lens, ISO 560, 1/640sec at f/4
LEARNING ZONE
Badger in a field of crops.

Nikon D4 with 200-400mm
www.bookshq.net f/4 lens, ISO 640, 1/200sec at f/4
Barn owl perched on a fence
post on a winter’s afternoon.
Nikon D5 with 600mm f/4 FL
lens and 1.4x teleconverter,
ISO 1100, 1/200sec at f/5.6
www.bookshq.net
affection for these beautiful, sentient animals,
which is wonderful to see. On one memorable
evening, I sat in one of these gardens as the
large clan of badgers that visit it each evening
ate the treats the family had left out for them.
BARN OWLS
I regularly catch brief glimpses of the local
barn owls while driving at night as they are
caught in car headlights when hunting along
the edges of the fields or perched temporarily
on a fencepost by the roadside. On a handful
Adult spotted flycatcher
of occasions, I have seen a barn owl flying
perched on a metal roof
at dusk or late in the afternoon around the
fixing, photographed from
nearby fields. I had tried on several occasions a bedroom window.
to photograph them, but with no success. Nikon Z 7 with 600mm
When the third lockdown began in England f/4 FL lens, ISO 640,
in January 2021, my wife and I again found 1/640sec at f/4
ourselves taking our daily walk along the lanes
and footpaths near home. As the weather
turned colder, we were pleasantly surprised
to find a barn owl hunting in daylight over
a couple of fields within walking distance.
Having worked out this barn owl’s routine,
and being able to photograph as part of my
work as a wildlife photographer, for the next
week I left early each afternoon and walked
to the fields where the barn owl was hunting.
Setting my camera equipment up, I would
conceal myself in a hedgerow at the edge
of one of the fields and wait patiently for the
barn owl to appear. Having waited many
years to photograph these birds, to finally be
able to do so during one of the lockdowns
brought some much-needed relief from the
darkness of the pandemic. The time I spent
with this barn owl really lifted my spirits.
SPOTTED FLYCATCHERS
Last summer, I was surprised to find a pair
of spotted flycatchers nesting in a gap in Adult spotted flycatcher perched on an old wooden gate.
the brickwork literally under my roof. Not Nikon Z 6II with 600mm f/4 FL lens and 1.4x teleconverter, ISO 1000, 1/320sec at f/5.6
so long ago, spotted flycatchers were
common breeders in the UK, but recently
the numbers returning to breed each year
has declined markedly. It was a real treat
to have this pair nesting so close. Having
discovered their presence, the spotted
flycatchers quickly became a welcome
distraction from the ongoing pandemic.
With their nest under the roof and the
adults catching insects in the garden
before returning to feed their growing
young, I was able to photograph the
spotted flycatchers from the comfort of
the garden and through the open windows
of the house. This allowed me to make
best use of the weather conditions and
the available light. When it came time for
the four young birds to fledge, I watched
and photographed as they all successfully
left the nest. As I write this article at the
beginning of spring, I am hoping they will
return again this summer to breed and that
I will be able to spend more time with them. www.bookshq.net
Newly fledged juvenile spotted flycatcher sitting on a patio garden table.
Nikon D850 with 180-400mm f/4 TC1.4 lens, ISO 720, 1/400sec at f/4
RED-BACKED SHRIKE
As a rule, I do not chase rarities. I accept that a lot
of bird photographers derive great pleasure and
satisfaction from photographing the various rare
birds that pop up from time to time on our shores.
I just prefer to spend time working with the animals
I am photographing, building a series of images
that tell a story about their life and behaviour.
At the beginning of autumn 2020, in a period
between the lockdowns, I became aware that
there was an adult red-backed shrike not far
away in Sutton Park on the edge of Birmingham.
It’s fair to say that I was not the first or even the
second person to become aware of this shrike. In
fact, knowledge of this shrike’s presence quickly
spread throughout the local and national bird
watching and wildlife photography communities.
Being a relative rarity, shrikes can be found in
the UK on passage during their annual migrations,
but they are now only scarce breeders. This
little bird rapidly became a must see, with bird
watchers and photographers travelling from all
over the country hoping to see and photograph it.
Given all that was going on at the time, I decided
that this was one rarity that I would photograph.
Together with a good friend, I spent a couple
of enjoyable days in Sutton Park watching and
photographing this striking male shrike.
Left (top) Male red-backed shrike perched on gorse

in Sutton Park, Sutton Coldfield.
Nikon D850 with 600mm f/4 FL lens and 1.4x
teleconverter, ISO 1400, 1/640sec at f/5.6
Left Male red-backed shrike perched on a dead

branch among gorse in Sutton Park, Sutton Coldfield.
www.bookshq.net
Nikon D850 with 600mm f/4 FL lens and 1.4x
teleconverter, ISO 400, 1/640sec at f/5.6
LEARNING ZONE
10 TIPS FOR LOCAL WILDLIFE SUCCESS
Victoria Pattison-Willits measuring a young

1 Wherever you live, there will be wildlife.
By spending time getting to know your
local area, you will learn what wildlife can
sensitive animals that are susceptible to
disturbance. The welfare of the animal
you are working with should always take
blue tit as part of the fieldwork for her PhD. be photographed and at what time during precedence over photographing it.
Nikon D850 with 24-70mm f/2.8 lens, the year.
ISO 800, 1/250sec at f/8
2 Using trail cameras can be a great

way to identify the wildlife that can be
7 Working with scientists and/or local
nature groups is a great way to
support their work and is very rewarding
found in your local area – you may even be photographically.
URBAN BLUE TITS surprised by the nocturnal visitors to your
There are many scientists and wildlife
organisations working in the UK to
understand the effect that climate change
garden. Be careful when deploying trail
cameras in public areas, and consider
using a protective security box and lock.
8 When documenting change, while it
is important to highlight the issues
that are contributing to the decline in our
(and other factors) is having on our wildlife wildlife, focus on the positives to highlight
with a view to hopefully mitigating its decline.
A few summers ago, I spent time with one
of these scientists, Victoria Pattison-Willits,
3 Obtaining access to private land
can give you the opportunity to
photograph your local wildlife without the
the measures that can be put in place to halt
this decline and to turn it around.
documenting the field work for her PhD.

As a member of the School of Geography,
Earth and Environmental Sciences at
risk of being disturbed by other people.
It will also allow you to make unique images
of your local wildlife.
9 As well as making individual
standalone images, work on producing
a series of images that tell the story about
Birmingham University, Vicki’s PhD focused your local wildlife. The combined series of
on investigating the dual impacts of
urbanisation and extreme-weather events
on breeding phenology and success in
4 Animals in urban areas, such as
foxes, are generally more tolerant of
human presence and as a result more easily
images will have more impact than the sum
of the individual images.
blue tits. Vicki’s study sites were spread out

across the larger Birmingham conurbation
and included various diverse urban habitats,
photographed than their country cousins.
10 Modern mirrorless cameras, with
their silent shutters, are ideal for
from urban woodland to city parks. Working

with Vicki, I was surprised to see the variety
5 Local Facebook and Twitter nature
groups are a great source of
information on the wildlife in your local area.
photographing animals such as badgers and
owls, which can react adversely to the noise
of a mechanical camera shutter and mirror.
and diversity of habitats that can be found They also have good high-ISO performance
in Birmingham, areas that I would not
otherwise have known about, let alone
visited and photographed.
6 However, be careful about sharing
www.bookshq.net
information on the locations of
and in-camera stabilisation, which makes
them ideal for photographing in low light.
IN THE SPOTLIGHT
Cheryl Hamer
Based in Crete, Cheryl Hamer is a recently retired professional landscaper who has
spent a decade evolving her impressionist style. Nick Smith puts her in the spotlight
High seas at Georgioupoli
Nick Smith: Tell me how you get your a kind of ‘ghost’ image, which allows you to and slow exposures now, which is great for the
impressionist photography. decide what to do in terms of the next frame. sort of images I want to take. All this means
Cheryl Hamer: The way to get a good I’m producing impressionist images on my
impressionist image is to look very carefully NS: You do a lot of your work phone now. There’s an old adage that the best
at what you’ve got on the back of the camera. on smartphones. camera is the one that you’ve got with you at
Usually, I’ll take nine frames, and as you build CH: Aren’t we lucky how good they are these the time. I still use my pro gear, but I do about
up the shot you can see what you’ve got as days? They’re even allowing us to do multiple half of my work on the mobile.
NS: What made you retire?

CH: I’m 64 years old and when I first moved to
Crete a few years ago, I was exhausted from
running workshops. Then, when I got arthritis
in my hip, I started to struggle carrying all the
heavy gear. And then Brexit happened. And
then Covid. And it all impacted badly on my
business and I just thought that it was time to
call it a day. But you never really retire: once
a photographer, always a photographer.
NS: Crete must be a good place to work

on your impressionist photography.
CH: I’m lucky in that I live a few hundred
metres from the sea, on a hill with an
unimpeded view of the sea. It’s an amazing
source of inspiration. It’s important for me
to get across the essence of the place rather
than worry about what equipment I’m using.
You need to forget all the rules because
Olive tree delight www.bookshq.net they’ll inhibit your creativity.
IN THE SPOTLIGHT
NS: What set you on the path to becoming

a professional photographer?
CH: Until late 2012, I was working in a hugely
stressful job in social care, and by that time
I’d become very ill with stress. And yet I was
also lucky to get both early retirement and
redundancy. So, I used that money to take my
life in a new direction and set up my landscape
photography business. I felt I was ready at
that point.
NS: How did you develop your skills as

a photographer?
CH: I spent 30 years bringing up kids and avidly
reading photo mags. Later, I went on workshops
with a Dorset-based photographer and then
with Joe Cornish. Both were very helpful, but
the biggest thing I learnt was from Joe, when
he said, ‘Don’t just take what you see, take what
you feel’. That was a huge wake-up call for me.
NS: Are you still a big fan of workshops?

CH: Very much so. Even though I’m supposed
to be retired from professional photography
these days, I still enjoy hosting workshops here
in Crete and have been beguiled and seduced
by this wonderful island into running another
couple of week-long tours. It is an inspirational
place that seeps into your soul.
NS: How do you get the tranquil atmosphere

into your work? The lollipop tree
CH: You need to sit quietly and spend some time
just soaking in the essence of a place before you NS: What’s next for Cheryl Hamer? as a way of helping us to connect with our
start shooting. In this way, an idea is more likely CH: I’ve finally found my voice as an beautiful world more fully: to look at it, feel it
to come to you about what the spirit of the place impressionist landscape photographer. My aim and stop taking it for granted.
is and how you want to express that. is to highlight the extraordinary in the ordinary To see more of Cheryl’s work, visit cherylhamer.com
NS: Did you have a breakthrough moment

that helped to set your style?
CH: Definitely. I discovered the multiple-
exposure facility on my camera while
photographing huge waves on a north
Wales beach. So exciting. Never looked back.
I have been experimenting and playing with
it ever since.
Cheryl’s top tips

One thing I never go on a shoot without is…
My mobile phone. I never really stop shooting
and so I need a camera with me all the time.
My one piece of advice would be to…
Let go of the rules. They will stop you finding
your creative voice.
Something I try to avoid is…
Doing what other photographers do.
Cheryl’s critical moments Among the crags
1973 2003-8 2005 2012 2013 2020

Got my first SLR and that Developed photographic Exhibited at London’s Retired from social care Invited to join Landscapes Retired from professional
was it – I was hooked on
landscape photography
skills by going on
workshops www.bookshq.net
OXO gallery and several
others in Wales
career to become a
professional photographer
by Women and discovered
multiple exposures
photography as a result
of Covid and Brexit
www.bookshq.net
www.bookshq.net
In pursuit of hummingbirds
World-renowned nature photographer Glenn Bartley’s obsession with these captivating birds has
taken him to some ‘staggeringly beautiful’ places. Here, he shares the fieldcraft and techniques
needed to capture intimate images of hummingbirds in their natural habitat
www.bookshq.net
LEARNING ZONE
LEARNING ZONE
have been fascinated by hummingbirds hummingbird up close. The speed, grace and Over the past 20 years, I have spent
I for as long as I can remember. Where

I grew up in Canada, we only had a
single species of hummingbird (the
ruby-throated) that would from time
to time grace us with its presence. As a
accuracy with which they move never ceases
to amaze me. They are truly captivating to
watch and seem to perpetually tease their
onlookers with fancy acrobatic manoeuvres
and flashes of brilliant iridescence. Alas,
thousands of hours and taken tens of
thousands of images of nearly 200 species
of hummingbirds. I am still just as amazed
by these stunning little birds as I was all
those years ago. If anything, the more I
young person, this was always an exciting it is often the case that these birds never learn about hummingbirds and the more
occurrence for me. Seemingly from out allow us to really soak up their beauty and time I spend with them, the more I respect
of nowhere, our backyard friend would study their intricate details. Most of the and appreciate them. In this article, I’ll
descend into our world, zipping from flower time they disappear far too quickly, leaving share how I got hooked on hummingbirds
to flower with the utmost determination. their fans wanting more. And that is where and the techniques that I have learned to
It is an amazing thing to observe a photography comes in to play. photograph them in the wild.
Opposite Purple-throated carib Above (left) Chimborazo hillstar Above (right) Fiery-throated hummingbird
MY FIRST VISIT TO THE TROPICS

I can still remember the very first photograph incapable of portraying just how stunning in the ever-changing subjects sufficiently
I took of a tropical hummingbird. Having these birds are in real life. Part of what truly to appreciate them. This is where a
arrived in Costa Rica’s capital city of San makes hummingbirds so magical is that good photograph can be really magical.
Jose the night before, I set off by bus the next their appearance is constantly changing. If I’m being totally honest, most of
morning for a biological research station in As they move their heads from side to the images that I took on that first trip to
the heart of the lowland rainforest. It wasn’t side and adjust their position, they gift Costa Rica were not very good or magical
long before I had an impossibly beautiful onlookers with glittering flashes of iridescent in any way. There were, however, a few
purple and green male crowned woodnymph splendour. There is something absolutely standout shots that I am still proud of.
perched on a very complementary mesmerising about the show they put on In reality, that trip was a glimpse into the
heliconia fuchsia flower. What a colourful for those of us fortunate enough to see fascinating, complex and challenging world
introduction to tropical bird photography! them in real life. It is almost as if our brains of tropical bird photography. It was the trip
Those who have studied the plates of are able to fully realise the beauty of what that got me hooked on tropical birds and I
field guides know that, as good as these
illustrations are, they are completely www.bookshq.net
we are seeing and yet, at the same time,
cannot quite soak up the details inherent
headed home humbled and determined to
improve my skills before I would return.
UNDERSTANDING LIGHT
Photographing hummingbirds under the
dark canopy of a tropical rainforest almost
always requires the use of artificial lighting.
On my first trip to Costa Rica, I had only one
flash for my camera and the reality is that
I barely knew how to use it. As a result, I relied
almost exclusively on natural light for my
images. When the conditions are right, this
can work out perfectly well and is a viable way
to photograph hummingbirds. In fact, when the
conditions are suitable (bright low-angle light),
this is my favourite way to take their picture.
The problem is that in the tropics, you very
rarely have such light to work with. More often
than not photographers run into challenging,
or impossible, light to work with.
In the tropics, the sun rises quickly and
almost immediately becomes very harsh.
Often times, once it clears the surrounding
mountains, it is already impossible to work with.
And because the hummingbirds are typically
Anna’s hummingbird extremely active and dynamic subjects, it is
STUDYING BEHAVIOUR very challenging to keep a consistent light
I learned a lot on my first trip to the tropics. it pays to sit and wait. I also learned that angle. Furthermore, many of the species like to
Perhaps the most valuable lesson was the sometimes it pays to set up some new stay in the dark parts of the forest or are found
simple fact that I did not have the skill or perches close to a food source (ideally a where cloudy weather is the norm. As a result,
equipment to photograph hummingbirds in sugar-water feeder). Once the birds get you simply do not have enough natural light to
the way I really wanted to. Nevertheless, all used to the new resting spots, they are get a fast enough shutter speed to photograph
this time spent in the field was certainly not often extremely cooperative and, with a these speedy creatures.
wasted. My time in Costa Rica allowed me little planning, much more photogenic. You can certainly capture successful images
to get a much better understanding of how If only all hummingbirds returned over and of perched hummingbirds in these conditions
hummingbirds behave day to day. I began over to the same spot. While this strategy and these are a great addition to a portfolio, but
to notice that some hummingbirds were works for some aggressive species, there images of perched hummingbirds alone are
extremely habitual about the places they are others that use different strategies not enough to represent these acrobatic little
chose to rest – the birds would regularly altogether. One such strategy, employed birds adequately. In order to capture images of
return to the exact same spot on a branch largely by the hermits, is to feed along a so- hummingbirds in flight that fully celebrate their
over and over again if they were feeding called ‘trap line’. In other words, they have a beauty, I knew that I would need to come up
in an area or protecting a food source. mental map of a large number of flowering with a better system.
Identifying this predictable behaviour plants throughout the forest and will visit Photography is at its core all about light. We
is extremely beneficial when trying to each of them in sequence over and over use the light to paint the real-world subject
photograph them. I learned that, instead of throughout the day. The patient photographer into an image. The amount of light falling on
hopelessly chasing them around, sometimes can take advantage of this behaviour. a camera sensor or film depends on the size
of the aperture and the speed of the shutter
Long-tailed sylph that allows it to pass through. A slower shutter
speed, giving a longer exposure, allows in
more light, but in that fragment of time, the
subject may move, giving a blurred image. To
‘freeze’ the motion of a hummingbird’s wings,
a very fast shutter speed – giving the briefest
possible exposure – is vital.
A faster shutter speed requires brighter light.
Predictably, capturing images of hummingbirds
in flight requires consistent and bright low-
angle sunlight to achieve enough shutter speed
to freeze the incredibly fast motion of their
wings. There are definitely times when the stars
align and natural light can be used to capture
such images. However, more often, using
natural light is an exercise in frustration.
Fortunately, there is one aspect of
hummingbird behaviour that gives us
photographers a fighting chance to photograph
www.bookshq.net them in flight. It is simple – hummingbirds

are addicted to sugar. Hummingbirds spend
a significant portion of their days pursuing
nectar. They have to, in order to fuel their
insanely high metabolism. Because they
are so desperate for sugar, they can easily
be lured to an artificial hummingbird feeder
that promises an easy meal. Knowing
exactly where the hummingbird is likely to
come allows photographers simply to set up
and wait and does indeed solve part of the
challenge. Unfortunately, the amount and
quality of natural light are still unlikely to be
adequate for quality images.
After my first trip to Costa Rica, I knew that
to capture quality images of hummingbirds
in flight would require the use of artificial
light. If I knew the exact location that a
hummingbird would return to over and over
again, I would be able to set up a small
artificial studio in the field and illuminate
the birds properly. This is the theory behind
‘multi-flash’ hummingbird photography.
DEVELOPING
NEW TECHNIQUES
Multi-flash hummingbird photography works
by taking advantage of the incredibly brief
pulse of light that is emitted by a camera’s
external strobe light. By synchronising several
flashes (I typically use four) to light both the
bird and background, we can completely
control the lighting conditions. The quantity of
light that a flash emits is directly related to the
duration the flash bulb fires. For example, in
most camera systems, a full power (1/1) burst
of flash will last for approximately 1/500sec.
A half-power flash would fire for approximately
1/1,000sec and a quarter-power flash would
be 1/2,000sec. Using this formula, we can
turn the flash power down to 1/32 power and
achieve a flash duration of somewhere around
1/16,000sec – plenty fast enough to freeze Black-tailed trainbearer
a hummingbird’s wings and approximately
double the speed of the fastest shutter
speed possible using natural light alone.
Multi-flash photography is about much
more than simply freezing the hummingbird’s
motion. That part is actually very easy to do
with the right equipment. Where the skill
and artistry comes in is in positioning the
flashes and background so that the resulting
image is beautiful, but not looking ‘fake’.
As I mentioned, I generally use four flashes
and they are positioned in such a way as to
light both the bird and background naturally.
Technically speaking, I could adjust the
flashes’ distance from the subject to allow for
the bird to be completely frozen and for every
feather on the bird to be in perfect focus.
However, the problem with this approach
is that it looks extremely artificial and is
therefore never my goal. By closing the
aperture down as small as possible, we
get a greater depth of field, so the whole
bird will look sharply focused. When I am www.bookshq.net
Velvet-purple coronet
doing multi-flash, I try to open up the lens as
much as possible, given the ambient lighting
conditions (ideally f/6.3-f/8), so the depth of
field is reduced. After all, if we were trying to
photograph hummingbirds in natural light, we
would need all the shutter speed we could
possibly get. This would mean shooting with
our lenses wide open (perhaps f/4 or f/5.6). My
goal with multi-flash is to have the images look
as natural as possible. Therefore, stopping
down to more than about f/8 is probably a
move in the wrong direction and not likely
to yield the type of images I am after.
Another part of multi-flash hummingbird
photography that generally does not get the
attention it deserves is selecting appropriate
flowers to introduce to the image. By studying
the birds in the wild and knowing which
flowers are appropriate to use, I am able to
position these flowers close to the feeder and
add a small amount of sugar-water to them.
Instead of sticking just a small part of the
flower in the top of the frame, I try to make
the flower as much a part of the composition
as the bird itself. Furthermore, to create
more natural-looking images, I generally try
to position the flower so that some parts of
the leaves or stem are falling slightly out of
focus. This also contributes to the image
looking more natural. When all of these
elements are put together well, the resulting
images can be nothing short of spectacular.
Aside from the technical aspects of capturing
images of hummingbirds, it was also important
for me to consider the implications for the birds
themselves. I have seen photographers take
down every single feeder within sight, except
for the one they are photographing at. In my
opinion, this is not only unethical, but also
counterproductive to getting good images.
In such cases, what almost always happens
Red-tailed comet is that the most dominant hummingbird will
become extremely territorial over that feeder
and chase away all of the other hummingbirds,
leaving the inexperienced photographer
wondering ‘where did all the birds go?’.
Even worse from an ethical standpoint
are some photographers who actually
capture the hummingbirds and place them
inside an artificial studio box. This to me
is unimaginably cruel and should never
be done under any circumstances.
I always leave multiple food sources
available to the birds. If the flash bothers
the birds or stresses them in any way,
they can simply choose to visit one of the
other feeding stations. The birds must
always have the free will to come and go
as they please and never be forced to visit
the feeder at which I am positioned.
Part of what makes multi-flash so exciting
for the photographer and so compelling for
the viewer is that you are indeed capturing
Tufted coquette www.bookshq.net something that we are not capable of seeing

with our eyes. These birds simply move
LEARNING ZONE
Rainbow starfrontlet
too fast for us to appreciate the small and the places they have led me throughout the and the fascinating lives they lead. Perhaps
beautiful details they are adorned with. What Neotropics. Bird photography for me is about you will even decide to seek out some of these
our eyes see as a blur of wings and a flash many things: creating beautiful images to share tiny birds yourself and find an adventure of your
of iridescence can be frozen in time as a with people around the world; achieving a hard- own along the way.
perfect moment of pristine glowing feathers. fought goal; being outside and using all of my
Our eyes can finally soak up all of the beauty senses to explore and understand the natural Hummingbirds:
that these spectacular birds possess. world in a more profound way. But perhaps A Celebration of
more than any of these tangible outcomes, Nature’s Jewels
A WORTHY PURSUIT bird photography becomes the excuse to visit by Glenn Bartley
I love hummingbirds for their beauty, for their staggeringly beautiful and unusual places that and Andy Swash
acrobatic abilities and for the ingenious ways I would otherwise never find myself. is published in
that they have evolved to solve problems I hope that my advice and images of hardback by Princeton
over millions of years. But even more than hummingbirds will give people a more University Press,
these characteristics, I love hummingbirds for satisfying look at these extraordinary animals price £28.
3 TIPS FOR PHOTOGRAPHING HUMMINGBIRDS TOP 10 MUST-SEE HUMMINGBIRDS

1 Hummingbirds habitually use the same perches – study their favourite 1 Marvellous spatuletail (Peru)
Chimborazo
resting spots and then set up and wait for them to return. hillstar 2 Red-tailed comet (Bolivia)
3 Velvet-purple coronet
2 Natural light is great – if you have enough of it. In order to really freeze (Ecuador / Colombia)
hummingbirds wings, you need a shutter speed of at least 1/2,000sec, but 4 Chimborazo hillstar (Ecuador)
freezing the wings is definitely not a necessity to a great photo and sometimes 5 Tufted coquette (Trinidad)
a bit of blur in the wings can actually add a sense of motion and look great. 6 Sword-billed hummingbird
(Ecuador / Colombia)
3 Flash can be very helpful. Using artificial lighting can allow you to freeze 7 Booted racket-tail
the hummingbirds in mid-air, even if the ambient light is inadequate to do so. (Ecuador / Colombia)
But in order to achieve natural-looking images, you will have to light the scene 8 Black-billed streamertail
carefully, use at least three flash units, and turn the power of the flashes way (Jamaica)
down. I typically use manual flash set at just 1/32 power in order to achieve 9 Bee hummingbird (Cuba)
the equivalent of a 1/16,000sec shutter speed.
www.bookshq.net 10 Snowcap (Costa Rica)
ON LOCATION
Photographing Anglesey
Poetically known as the Isle of the Brave, Anglesey, off the north-west coast of Wales, is a hugely popular bucket-list
location for landscape enthusiasts, particularly those in search of dark skies and epic views. Alan Novelli is your guide
inked to the mainland by two historic with fascinating coastal features spring paradise all for yourself? It’s certain not to
L bridges which cross the Menai

Strait, the Isle of Anglesey (or Ynys
Môn in Welsh) is a jewel set in the
sparkling Irish Sea on the north-western tip
of Wales, with many wonderful scenes for
instantly to mind.
Ease of access was a priority when choosing
the locations featured here, and most of
the sites are easily reached by car or along
the impossibly beautiful 130-mile (200km)
disappoint and I’m sure will begin a love affair
that keeps you coming back for more.
Where to shoot
photographers to enjoy. Isle of Anglesey Coast Path, which almost Menai Suspension Bridge
With much of Anglesey’s coastline completely circumnavigates the island. Completed in 1826, Thomas Telford’s great feat
falling under the designation of an Area of I could wax lyrical about the Isle of Anglesey of engineering is also one of Anglesey’s premier
Outstanding Natural Beauty, a wealth of all day without drawing breath. However, why attractions. There are several vantage points to
lighthouses, heritage sites and hidden bays not discover this wonderful photographers’ shoot the bridge from, including two viewpoints
from parking areas on the A5 Anglesey side
between the Britannia and Menai bridges.
Choose a clear day if you wish to capture
the classic view, incorporating the mountains
of Snowdonia. The state of the tide is also a
factor, with a high tide and evening light offering
the best conditions. The bridge can also be
photographed from a minor road in the town
of Menai Bridge. Finally, try shooting from the
Bangor (mainland) side alongside the entrance
to the bridge and close to the Antelope Inn.
Images from here look fabulous at night.
Tŵr Mawr lighthouse

If one image has come to symbolise Anglesey
for photographers, it is the charismatic old
lighthouse of Tŵr Mawr (‘great tower’ in
Welsh) set upon the southern tip of Llanddwyn
(pronounced ‘thlan-thwin’) Island. Use the car
park accessed from the village of Newborough,
then take a 30-minute walk along the gorgeous
Blue Flag beach to Llanddwyn Island. The island
Evening light on the Menai Suspension Bridge and Snowdonia mountains is tidal and can be cut off for a short time during
high tides, so always check the timings.
The whole of Llanddwyn is photogenic, but it is
the lighthouse that photographers undoubtedly
flock to for an image incorporating the distant
Llŷn peninsula beyond. North Wales is also a
dark-sky area and Tŵr Mawr is popular with
astrophotographers seeking to capture images
of the Milky Way above the lighthouse.
St Cwyfan’s church, Aberffraw

The most recognisable church on Anglesey,
more for its position than its stature, is the
quaint 14th-century church of St Cwyfan
(pronounced ‘koo-ee-vann’), located on its own
miniature tidal island called Cribinau. Known as
the ‘Church in the Sea’, St Cwyfan’s is accessed
via a narrow causeway which floods at high tide.
Park at the end of the single-track road from
Aberffraw village, just before the beach. The
ideal time to photograph St Cwyfan’s is around
one hour either side of high tide. Often, there are
wonderful reflections to be had and the location
Tŵr Mawr lighthouse at sunrise, Llanddwyn Island
www.bookshq.net is also popular at sunset. Wellies can be useful!
Parys Mountain
Once the home of Anglesey’s copper mining
and close to the town of Amlwch on the north
coast, Parys Mountain is accessible via a
number of well-defined footpaths which lead
around the old mine workings. The name is
deceiving, as Parys Mountain is actually barely
150ft high and there is a convenient car park.
The main attraction for photographers is the
lunar landscape of this former opencast site,
but it is the myriad vibrant and unusual earthy
colours that make it special. Wideangle images
show the nature of Parys Mountain, but close-
ups of the workings offer an interesting exercise
in capturing colour and texture.
St Cwyfan’s church on the island of Cribinau, backed by the Llŷn peninsula, near Aberffraw
South Stack lighthouse
Known simply as South Stack, the tall lighthouse
is located on Holy Island at the extreme westerly
point of Anglesey. This is an iconic sunset
location and when the weather is inclement,
fantastic stormy sky images are on offer here.
The classic view is from cliffs on the south side,
but be warned: the footpaths are clear but there
are few barriers between them and almost
certainly terminal drops. So stay on the paths!
Views from the top of the long flight of stairs
to the lighthouse are wonderful, as are those
from the flanks of Holyhead Mountain.
Through the seasons

Spring sees cliffs and the coastal path
covered in wildflowers, while bluebells
carpet woodlands. In summer, flowers on
Llanddwyn Island and in hedgerows burst
into colour. Later, purple heather covers the
wild moorland areas. Autumn offers mists
and fruitfulness, and dazzling red creepers Parys Mountain, near Amlwch
at the National Trust’s Plas Newydd House.
Winter snows are rare, but the views to
snow-capped Snowdonia are evocative.
Wildlife
The island boasts numerous sea bird
colonies and reserves, the most famous
of which is RSPB Ellin’s Tower near South
Stack. Around the coast, particularly in the
north, grey seals and dolphins frequent
the bays, and in summer you might even
see whales in Wales. Anglesey is also a
stronghold for charismatic red squirrels.
Tips and advice

It is vital to consider tides on Anglesey,
particularly when accessing beaches and
the many tidal islands. Be sure to consult
reliable tide tables and, if in doubt, shoot on
a falling tide. North Wales is an international
dark-sky reserve and offers excellent
opportunities for astrophotographers.
www.bookshq.net
Summer heather at South Stack lighthouse
Photographic Adventure Travel to Superb Remote Locations
Travel with us to the more remote corners of Iceland. Our team of
photographic tutors and guides have fabulous local knowledge,
they are well qualified, friendly and avid adventurers themselves.
We are trustworthy, place high value on your safety and are always
available for a friendly chat – it’s time for a creative adventure.
www.bookshq.net
www.wildphotographyholidays.com
LOCATIONS
GUIDE 3
5
VIEWPOINTS
We want to see your best shots from
around the UK and Ireland. Each
month the winner will receive £200!
Turn to page 75 for submission details.
1 St Catherine’s Island
Pembrokeshire
2 Hare’s Gap
County Down
Ben Stack
2
3
Highland
4 Crook Peak
Somerset
5 Bullers of Buchan
Aberdeenshire
1
4
ACCESS RATING
These are based around an ‘averagely fit’ person.
Below are loose guidelines to what the ratings mean
(N.B. they are assigned by the author and not verified by
OP. Walk distances are one-way only):
1/5 Easy access. You can 3/5 Medium length walk 5/5 The most difficult
pretty much get straight out of your car and quickly be of up to about two miles, over quite easy terrain. access. Long hike over challenging terrain (e.g.
at the viewpoint via good quality paths. mountains/summits/steep coastal terrain); or involves
travelling over particularly extreme ground (e.g.
4/5 Longer length hike scrambling on rocks/exposed coastal paths or
2/5 Gentle walking is up to about four miles over mixed terrain, possibly with mountain ridges) over any distance.
involved, which may be on mixed quality paths.
www.bookshq.net
some quite steep gradients.
www.bookshq.net
11 miles from Pembroke • 52 miles from Swansea ACCESS RATING
VIEWPOINTS
WINNER
Andrew Ray
andrewrayphotography.com
St Catherine’s Island,
Pembrokeshire
enby is a seaside town and holiday
T resort on the south coast of

Pembrokeshire. The walled town
centre is surrounded by locations
such as the picturesque harbour, which is well
known for its colourfully painted buildings,
Caldey Island and St Catherine’s Island and
Fort, which are cut off by the tide twice a day.
The hours around sunrise and sunset are
great times to visit, and the harbour is an
excellent location for twilight photography.
How to get there: From the A40 at St Clears,

take the A477 and A478 to a mini roundabout
on the outskirts of Tenby. Take the second exit
and continue until the harbour comes into
view. Turn right, then left and follow the town
wall to the Five Arches car park. Walk through
the walls to reach the photographic locations.
What to shoot: Tenby Harbour, two RNLI
lifeboat stations, St Catherine’s Island
and Caldey Island.
Other times of year: Tenby is full of
photographic potential at any time of year.
Nearby locations: Skrinkle Haven beach
(6 miles); Carew Castle (7 miles).
Congratulations!
Andrew wins £200 for his stunning shot.
www.bookshq.net
VIEWPOINTS
Derek Smyth
dereksmythphotography.com
Hare’s Gap, County Down

he Mourne Mountains in County Down This is a fairly tough hike, so suitable walking from the car park on the left.
T are well known for their natural beauty

and rugged landscape. There are many
walking trails to follow in the mountains, but
boots and clothing would be advised.
How to get there: From Newcastle, take the

What to shoot: Spectacular views from
the Gap, the Trassey River and mountain
landscapes.
the hike to the Hare’s Gap is one of the most Bryansford (A2) road for approximately 2.6 Other times of year: All year round, but
beautiful. The Gap is a mountain pass that was miles. Turn left on to Hilltown Road (B180) and to get the sun setting, as in this image,
used in years gone by to smuggle goods from continue for 2.2 miles, then turn left on to the summer would be the best time.
the coast up along the Brandy Pad and down Trassey Road. After 0.8 miles, the car park will Nearby locations: Mourne coastal trail
the valley of the Trassey River for distribution. be on your left. The mountain track is 50 yards (5 miles); Murlough Nature Reserve (6 miles).
4 miles from Newcastle • 32 miles from Belfast ACCESS RATING

www.bookshq.net
VIEWPOINTS
4 miles from Laxford Bridge • 33 miles from Lairg ACCESS RATING
Mark Ferguson
markfergusonphotography.co.uk
Ben Stack, Highland

en Stack is a steep-sided, conical- north along Loch Shin to Achfary. From
B shaped mountain in remote northern

Sutherland. Its modest height of 721m
belies the tough if relatively short hike to its
here, there is a parking spot on the right
about one mile north. The path to the
summit starts on the other side of the road.
summit. From the summit, one can see most What to shoot: Panoramic views of the
of the North West Highlands Geopark and Geopark including Arkle Mountain and
its distinctive landscapes of Lewisian gneiss distinctive knolls and lochans.
and quartzite mountains. Other times of year: Any time of year is
good here, although conditions can get
How to get there: From Inverness, take very harsh in winter.
the A9 and A839 north to Lairg. From Nearby locations: Loch Inchard (9 miles);
Lairg, take the A838 single-track road
www.bookshq.net
Badcall Bay (12 miles).
VIEWPOINTS
Jonathan Haines
Crook Peak, Somerset
t the western end of the Mendip Hills
A is Crook Peak, formed by a rising

jagged outcrop of limestone strata.
From here, you get panoramic views of the
Somerset Levels and Severn Estuary, including
sights of Glastonbury Tor, Exmoor and the
Brecon Beacons.
How to get there: There are several access

points near Crook Peak, including along Barton
Road which curves round the west side, but
Webbington Road is the most used approach.
The lay-by along this road is already quite high
up the side of the hill, high enough to have
good views southwards over the Levels.
What to shoot: Landscapes, especially if
a storm is imminent, and great sunsets.
Other times of year: Any time of the year,
but the autumn and winter months are best
for spectacular sunsets.
Nearby locations: Cheddar Gorge
(2 miles); Berrow beach (10 miles).
5 miles from Cheddar • 14 miles from Weston-super-Mare ACCESS RATING
John Thom
Bullers of Buchan, Aberdeenshire
his enormous collapsed sea cave is one of park nearby that does become narrower and down the road, you’ll see the car park on the left.
T the highlights of the Aberdeenshire

coast. Rising to 30m, the ragged cliffs
allow uninterrupted views of the opposing cliff
rougher further on. There are no protective
fences, so some care is needed.
What to shoot: Cliffs, seabirds – mostly
puffins – and wildflowers.
Other times of year: Best seen early on at
faces, making this a popular spot for anyone How to get there: The Bullers is just off the any date; can be poorly lit later in the day
wanting to photograph puffins and other main A90 route from Aberdeen. Heading north, during autumn and winter.
nesting seabirds. you need to turn off at the A975 junction just Nearby locations: Longhaven Cliffs Nature
Access is by an easy path from the small car before the village of Longhaven. About one mile Reserve (1.5 miles); Slains Castle (2 miles).
2 miles from Cruden Bay • 25 miles from Aberdeen ACCESS RATING
www.bookshq.net
READ ANYWHERE FROM
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£3.25
PER ISSUE
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Fox: Neighbour, Villain, Icon
In their stunning new book, photographers Neil Aldridge, Matt Maran and Andy Parkinson shed fresh light
on the British red fox – one of our most enchanting yet misunderstood wild animals
Words by Andy Parkinson
© Andy Parkinson
here is no animal in the UK in an age of ‘fake news’ it was imperative that Above A magnificent sub-adult male fox
T that is as misunderstood, or as
intentionally misrepresented, as
the red fox. An icon of our natural
heritage, it remains our apex predator, and
as such it remains critical to the healthy
we brought with us the very latest in peer-
reviewed scientific research, from those who
have dedicated their lives to working with, and
understanding, this remarkable animal.
Each one of the three photographers
inquisitively approaches the photographer’s hide.
Opposite (top) An estimated 100,000 foxes
are killed on Britain’s roads every year. Traffic
collisions pose the biggest risk of mortality and
are a primary cause of cubs losing their parents.
and productive functioning of ecosystems brought with them different experiences,
Opposite (below) The Fox Project in Kent takes
throughout the country. and wildly varying portfolios. Matt’s work is
in more than 300 sick, injured and abandoned
Myth and misinformation remain largely with the urban foxes that live locally cubs every year. Each cub requires shelter, soft
depressingly and frustratingly rampant, to him in London. Neil’s background is in toys for enrichment, food, water and a daily
however, peddled by a powerful minority conservation photography, and he’d spent time supply of clean newspaper and straw.
that still seek pleasure in barbaric Victorian documenting foxes in rehabilitation, as well
cruelty. Working, as all three of us have, for as working alongside the hunts and the hunt working regularly with rural foxes, capturing
more than 20 years, there are few people in the saboteurs to accurately reflect this grotesque their cunning and guile. The end product, we
UK who have spent as much time as we have blood sport. For my part, I am the ‘pretty hope, is the definitive book on foxes; accurate,
in the company of foxes. It was this knowledge
and this passion that we wanted to share, and www.bookshq.net
picture’ taker of the three; the last 15 years of
my wildlife photography career has been spent
honest and backed up with the very latest in
scientific research and understanding.
© Neil Aldridge
© Matt Maran
www.bookshq.net
© Matt Maran
Left (top) Two foxes rest on a green, close

to their allotment home. The relatively quiet
streets, favourable terrain and easy access
to food and shelter have given this family a
better chance of survival in the city, where
average fox lifespan is barely 18 months.
Left (below) Gamekeepers routinely control

fox numbers to protect game birds reared
for sport shooting. This fox was shot on an
estate near Salisbury, after being caught
breaking into pheasant-rearing pens and
killing young birds. Fox control measures are
also practised by conservation organisations
in order to protect native wildlife.
Opposite (top) As predominantly nocturnal

creatures, foxes have reflective cells called
leucophores in their eyes to improve their
night vision, making it easier to operate under
the cover of darkness, while the city sleeps.
© Neil Aldridge
Opposite (below) A fox flashes a determined

stare at her younger brother as she holds
a large brown rat in her jaws. Rats can be
formidable prey for foxes, so it’s possible
that this specimen died after ingesting
a rodenticide, which in turn can leave
predating foxes vulnerable to poisoning.
Overleaf (top) Playing, sparring, stalking and

pouncing are important survival skills for foxes
to hone early in life. At around seven months
they will have to fend for themselves and source
their own food through foraging and hunting.
Overleaf (below) Rounding the corner

of a north London street, a fox meets
her doppelganger; a piece of street art
by the Bristol-based artist, Stewy.
Fox: Neighbour, Villain, Icon is published

by Hemisphere Publishing in hardback, price
£35. Edited by Keith Wilson (OP’s founder and
former editor) and with a foreword by Chris
Packham, it features more than 150 images by
Neil Aldridge, Matt Maran and Andy Parkinson,
www.bookshq.net alongside a series of insightful essays that

explore our complex relationship with the fox.
© Matt Maran
© Matt Maran
www.bookshq.net
© Andy Parkinson
© Matt Maran
www.bookshq.net
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Landscape
Photography Workshops
Supported by Kase Filters, UK Digital and Novo
Take your photography to the next level with Sarah Howard
South-West Cornwall - September 29th - October 2nd

With its sweeping vistas
and relics from an
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©Sarah Howard
©Martin Stubbings
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Enchanting Exmoor The Peak District Yorkshire’s Coastal Treasures Dorset’s Jurassic Coast
August 12th - 14th August 23rd - 25th September 12th - 15th October 7th - 9th
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INSIDE TRACK
Back to photographic square one

Once a firm favourite in the film era, the square format has gone out of fashion
to the point where it’s virtually disappeared. Which is a shame, says Nick Smith
There’s a dirty, unspoken secret in the world of of equal length. Some of us will remember the once-
journalism and I’m going to blow the lid off it right now. favoured medium-format ‘rectangle’ – the magnificent
I’m qualified to do so because, having been in the trade 6x6cm – frequently associated with Hasselblad and
for more than three decades, and having committed Rollei. But you could also find it on amateur snapshot
the transgression more times than I can remember, cameras such as the Kodak Brownie that flourished in
I’ve earned that right. It is this: whenever you see an the mid-20th century.
unreferenced statistic in support of the writer’s argument, It will strike some as twee to anthropomorphise the
nine times out of 10 it’s been fabricated on the spot. photographic image in such a way, but I think that deep
We all know the famous quotation that’s often down, photographs want to be round. There’s a certain
attributed to probably the greatest of all journalists, amount of logic in this, as most lenses are circular.
Mark Twain, who in turn attributed it to the 19th- What the rectangular silicon sensor – or in the old days,
century British statesman Benjamin Disraeli, who in fact film – really does is capture the segment of light allowed
never said, wrote or possibly even thought it. Perhaps the through the lens that convention has dictated we want
most lucid version reads: ‘There are lies, damned lies to use. We may think it’s of our own choice to produce
and there are statistics.’ parallelogrammical images, but the camera’s sensor has
The inference is clear: in the compost heap of dirty pre-emptively chosen for us, literally squaring the circle.
verbal tricks, numerical ones are the worst. And yet I Despite there being reasonable optical arguments for
make no apology for making up the following. The only wanting to strip away some of the aberrant surplus from
difference between this sweeping generalisation and the edges – think of it as trimming the uneven pastry
those you read in today’s newspapers is that mine is edges off the roof of an apple pie with a knife – they don’t
almost certainly accurate. Get ready: today, a whopping adequately explain the inconsistency of the corners and
99% of published photographs are in postcard format. the uprights nearly falling off the edge of the lens, while
Which is a shame because there are so many classic the top and bottom go nowhere near it.
variant formats available. A suggestion that you’ll find regularly is that stereo
Despite the fact that I shoot square almost exclusively human vision happens in a landscape-oriented oval
these days, I don’t dislike the postcard. I just think and so rectangular images attempt to simulate that.
there are times when using different configurations can And yet this hardly accounts for vertical options, the
produce better outcomes. I used to enjoy using my old presentation of which probably has more to do with the
645 medium-format film camera for the same reason, standing human form occupying the aspect ratio of a
while getting the attention of magazine art directors panoramic format turned though 90º and then cut in
who loved that the resulting transparencies were twice half along the transverse plane.
the size of the far more common 35mm format. One of the most compelling arguments for the images
But you’ll be hard pushed to find a decent digital we produce with cameras being rectangular is that
camera that can be programmed to shoot square. This we’ve always done it this way. Admittedly, the following
may not matter to most, but when you want to frame statement comes with several caveats because picture
a shot this way, it’s annoying to have to look though a framing can arguably be traced back to the Ancient
rectangular viewfinder, which means I end up roughing Egyptians, but the first ever ‘modern’ framed painting –
out many of my ideas on the smartphone, which lets Gentile da Fabriano’s early Renaissance Adoration of the
me compose in 1:1 all day long. Ansel Adams preferred Magi (1423) – is resolutely rectangular in the landscape
to shoot square compositions because they were easy to orientation. Move through the Baroque, Neoclassical,
crop and there was no need to rotate the camera to take Romantic and Modern periods and the bulk of the
vertical shots. creative output is overwhelmingly non-special case
These days, the most common aspect ratio is 3:2. rectangular. In other words, postcard-shaped.
This was set in stone by the introduction of 35mm film Once a firm favourite, the square-format photograph
photography more than a century ago, but which became has been all but forgotten, replaced by the instinctive
the de facto standard in the 1960s, and remains popular use of the oblong. Those thinking that today’s dominant
among those still shooting with analogue technology. aspect ratio holds sway because somehow evolution has
But there were (and still are) plenty of other rectangular decreed it to be the natural order of things are doubtless
formats to choose from. right. But it’s worth repeating the phrase attributed to
Technically speaking, the square is a rectangle because American computer scientist Grace Hopper – famous also
all you need is a quadrilateral with four right angles to for coining the term ‘bug’ for a program malfunction –
qualify. In geometry circles, the square is a ‘special case who famously said, ‘The most dangerous phrase in our
www.bookshq.net
rectangle’, as it has four sides, as well as two diagonals language is “we’ve always done it this way”.’
READER GALLERY
Each issue we publish the best images from those submitted to our Reader Gallery.
Turn to page 74 to find out how to enter your work. Here is this month’s winner…
Vanishing point, Blakeney Through the reeds, thatched hide

Across the creek, the water vanishes amid ripples and reflections. The birdwatchers in the hide beside me asked what rare bird I was
photographing – they were not impressed that it was just a reflection!
Winner David Townshend

I have had a lifelong connection with the coast In 2020 I won the portfolio category of elements present at that location and on that
– I grew up in Norfolk and studied shorebird International Garden Photographer of the day to convey a sense of place. Impressionist
ecology and behaviour at Teesmouth for Year, and in 2021 I was awarded a Royal photography appeals to me because of the
my PhD – so it was perhaps inevitable that Photographic Society fellowship for my opportunity to be creative. I endeavour to
I would head for the shore to shoot. Although impressionist series of hosta leaf patterns. present a different take on the world around
a scientist for my entire career, I now describe My images interpret the light and colours, me, like a half-recalled memory tantalisingly
myself as an artist who creates abstract and shapes and patterns in both grand views just out of reach.
impressionist images using the camera as my and intimate details, presenting the famous
tool. This approach provides me with curiosity Norfolk coastline in different and exciting Hometown Oundle, Northamptonshire
and excitement (together with a touch of ways. I compose the images in the field Occupation Retired
frustration) because of the endless ways using in-camera multiple exposures and Photographic experience 50 years
in which I can create my photographs.
www.bookshq.net
intentional camera movement, combining Website davidtownshend.com
Morston moorings
www.bookshq.net
Early morning reflections among the moorings as the tide slowly rises along the creek.
Blakeney harbour lines
A fleeting impression of the moorings at Blakeney – a moment in time that no one else saw.
Flying back, Holme

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On a dark November afternoon, a skein of brent geese heads inland to the grazing marshes, flying across the Holme dunes and saltmarsh.
Reflections, Morston
Reflections of the mooring posts in the water and sunlight on the surface.
Greens are good for you, Morston

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The soothing green combined with the softness from intentional camera movement create a deep sense of calm.
Submit your best images
and win great prizes.
This month’s winner,
David Townshend,
receives a Shimoda
Explore V2 30 Starter
Kit, worth £369
The Explore V2 30 is
Shimoda’s mid-size travel and
landscape-specific adventure
pack. Built for comfort and
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The Shimoda Explore V2 30
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women’s straps are available
throughout the range.
Find out more at
shimodadesigns.com
Left (top)
Magic in the mud, Holme
Magic created from the edge of
a muddy creek on the saltmarsh.
Left (below)
Cobbles and creek,
Blakeney harbour
The flint cobbles from the cottage
walls, reeds and ripples in the
creek and reflections of the masts
and rigging – all the elements of
www.bookshq.net Blakeney harbour in a single image.
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ONE THING THIS MONTH
If you only do one thing this month…
READER GALLERY
Garden glories Each issue we publish the best images from those submitted to our Reader Gallery.
Turn to page 74 to find out how to enter your work. Here is this month’s winner…
In issue 280 we asked you to send us your best images of the flowers and foliage blooming in your gardens
and local parks. Here’s our winner, Phil Avery, who wins a pair of Keen NXIS EVO WP hiking boots,
and our superb runners-up. For details of our next challenge, turn to page 95
Opposite Above Alan Thomson Below (left) Chris Bestall Below (right) Doron Talmi
WINNER Phil Avery Multi-exposure image of This normally shy maple The morning sun in
Chinese wisteria (Wisteria sinensis) comes various flowers in my back becomes an extrovert when Rosh-Haayin park, Israel.
into flower before the leaves start to unfurl, garden, with three frames the low sun lights up its Canon EOS R6 with 70-200mm
so when the leaves do start to unfurl, the taken and blended in-camera. leaves like a beacon. lens, ISO 200, 1/320sec at f/5.6
flowers provide great background colour. Canon EOS 6D with 100mm Sony A7R III with 18mm lens, Instagram @talmidoron
Nikon D7200 with 105mm lens, macro lens, ISO 800, ISO 320, /40sec at f/8
Vanishing point, Blakeney Through the reeds, thatched hide
ISO 400, 1/160sec at f/5.6, tripod 1/4000sec at f/4.5 chrisbestall.co.uk
Across the creek, the water vanishes amid ripples and reflections. The birdwatchers in the hide beside me asked what rare bird I was
photographing – they were not impressed that it was just a reflection!
Winner David Townshend

I have had a lifelong connection with the coast I gained my Royal Photographic Society elements present at that location and on that
– I grew up in Norfolk and studied shorebird Fellowship and won the portfolio category day to convey a sense of place. Impressionist
ecology and behaviour at Teesmouth for International Garden Photographer of the photography appeals to me because of the
my PhD – so it was perhaps inevitable that I Year in 2020 with my impressionist series opportunity to be creative. I endeavour to
would head for the shore to shoot. Although of hosta patterns. present a different take on the world around
a scientist for my entire career, I now describe My images interpret the light and colours, me, like a half-recalled memory tantalisingly
myself as an artist who creates abstract and shapes and patterns in both grand views just out of reach.
impressionist images using the camera as my and intimate details, presenting the famous
tool. This approach provides me with curiosity Norfolk coastline in different and exciting Hometown Oundle, Northamptonshire
and excitement (together with a touch of ways. I compose the images in the field Occupation Retired
frustration) because of the endless ways using in-camera multiple exposures and Photographic experience 50 years Morston moorings
in which I can create my photographs. intentional camera movement, combining Website davidtownshend.com Early morning reflections among the moorings as the tide slowly rises along the creek.
68 Outdoor Photography Outdoor Photography 69

IF YOU ONLY DO READER GALLERY

ONE THING THIS MONTH Send us your very best outdoor images,
Enter our ‘Local landscapes’ photo and if you’re chosen as our winner your
challenge and you could have your work will take pride of place in OP.
image published in issue 286 of OP. Plus, there is a brilliant prize each issue:
Plus, there is a superb prize for the This month’s Reader Gallery winner
winner: a Fjällräven Abisko Hike 35 receives a Shimoda Explore V2 30
backpack, worth £150. See page 94 Starter Kit, worth £369. See page 72
for competition entry details.
www.bookshq.net for further details.
COMPETITION
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Tell us the location of this verdant and bountiful volcano and you could
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ENTER ONLINE NOW! THIS MONTH’S GREAT PRIZE OP 280 WINNER

Rising steeply from the surrounding
grassland, this volcano is the highest point Worth
Montane Terra Route Pants
The winner of this month’s
In issue 280 we asked you to identify
the scenic port in the image below.
Find us on Instagram at instagram.
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in a field of over 100 volcanic landmarks. £95
A unique ecotone, the area is home to more
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perfect for high-altitude trekking routes.
But is it: The pants are made from
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96 Outdoor Photography EMAIL ENTRIES

We are unable to accept speculative
WHERE IN THE WORLD? SOCIAL HUB submissions via email, so please do not send
Name the location on Please send your views, work in this way, unless requested to do so
page 96 and this month opinions and musings to by a member of the OP editorial team.
you could win a pair of markbe@thegmcgroup. Send via post or online instead.
Terra Route Pants from com, or submit them
Montane. Available in via our website WEBSITE SUBMISSIONS
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perfect for high-altitude and be aware that your words may be edited
trekking routes. before they are used in the magazine. PLEASE NOTE
Due to the many submissions we receive from
VIEWPOINTS our readers each month, if you have not heard
from us within eight weeks (except for
WINNER
Andrew Ray
andrewrayphotography.com
Viewpoints) then it is unlikely we will be using
St Catherine’s Island,
Pembrokeshire your work in the magazine on this occasion.
enby is a seaside town and holiday
T resort on the south coast of

Pembrokeshire. The walled town
centre is surrounded by locations
such as the picturesque harbour, which is well
known for its colourfully painted buildings,
GMC Publications cannot accept liability
for the loss or damage of any unsolicited
Caldey Island and St Catherine’s Island and
Fort, which are cut off by the tide twice a day.
The hours around sunrise and sunset are
great times to visit, and the harbour is an
material, including slides.
excellent location for twilight photography.
How to get there: From the A40 at St Clears,

take the A477 and A478 to a mini roundabout
on the outskirts of Tenby. Take the second exit
and continue until the harbour comes into
view. Turn right, then left and follow the town
wall to the Five Arches car park. Walk through
EXHIBITIONS AND EVENTS
the walls to reach the photographic locations.
What to shoot: Tenby Harbour, two RNLI
lifeboat stations, St Catherine’s Island
If you would like an exhibition or event included
and Caldey Island.
Other times of year: Tenby is full of
photographic potential at any time of year.
in Outdoor Photography, please email
Nearby locations: Skrinkle Haven beach
(6 miles); Carew Castle (7 miles).
markbe@thegmcgroup.com at least 10 weeks
in advance. You can also submit it online
through our website.
NEWS STORIES
Is there a current and time sensitive story you’d
Congratulations!
Andrew wins £200 for his stunning shot!
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details to markbe@thegmcgroup.com or submit
11 miles from Pembroke • 52 miles from Swansea ACCESS RATING

it online at: outdoorphotographymagazine.co.uk/
contact-us.
VIEWPOINTS WRITE FOR US!

We want to see your favourite UK and Irish viewpoints! Send us up to 10 of your best digital images We are always on the lookout for inspiring new
and if one of them is selected it will be published in the magazine. Plus, there’s £200 up for grabs features. If you have a great idea for an article
each month for the winning image. You can submit online at: outdoorphotographymagazine.co.uk. then please send a short outline (no more than
60 words), plus five high-res JPEG images
Don’t forget to include your name, daytime contact number and email address.
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LIFE IN THE WILD
Have a whale of a time in the UK I

f you were to ask people in the UK where
the best place is to see whales and dolphins
(cetaceans), most of them would probably
Worldwide cetacean numbers are on the up, as are sightings in list a number of overseas locations they may
UK waters, with a new cetacean-watching industry emerging to have read about or seen in TV documentaries.
Top of the list could be the waters off Alaska
meet demand from tourists and photographers. If you’re lucky, for humpback whales, New Zealand for sperm
you might see a porpoise or whale, says Laurie Campbell whales and Patagonia for orca snatching seals
from beaches.
Sadly, and just as likely, most people are
also aware of the relatively recent history
of commercial whaling elsewhere in the
world. For example, who wouldn’t remember
the Save the Whale campaign and the
subsequent weight of public pressure that led
to the International Whaling Commission
announcing a moratorium and then a ban
on commercial whaling.
Alarmingly, some countries such as
Iceland, Japan and Norway have resumed
whaling from time to time under the guise
of ‘scientific research’, or for cultural reasons.
Most notorious is the ‘grind’, the continuing
slaughter of huge numbers of pilot whales
in the Faroe Islands that continues to grab
news headlines because of the sheer graphic
nature of the scenes.
The UK’s involvement in commercial
whaling is no less shameful and, having been
consigned to history, it is largely forgotten.
Serving as a reminder are the many
‘whalebone arches’ constructed from whale
jawbones that adorn coastal locations that
were once whaling ports, and which were the
foundation of some of our towns and cities.
Few other relics from this past remain,
except perhaps the ruins of a whaling station
at Bunavoneader on North Harris, with
its eerily silent processing buildings and
concrete slipway, where the unfortunate
whales would be winched ashore.
On a less macabre note, the good news is
that worldwide, the numbers of many species
of cetaceans, particularly the larger ones,
are now starting to recover and sightings
of them in UK waters have frequently been
making news headlines in recent years. This
isn’t necessarily linked to any increase in
cetacean populations elsewhere, it could just
be as a result of more people becoming aware
and simply going out and watching places
where they have always been present.
For example, the resident population of
bottle-nosed dolphins in the Moray Firth
that I often mention in this column may
well have been there long before I started
photographing them almost 35 years ago. And
they aren’t the only cetaceans being sighted
This shocking image shows a bottle-nosed dolphin tossing a harbour porpoise into the air in the there. Harbour porpoise are frequently
process of killing it. It’s not clear why they do this and despite years of observing and watching present, but usually go unnoticed unless the
dolphins, it was a behaviour I had only ever heard about. water surface is flat calm. Minke whales are
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Nikon D4 with 500mm f/4G VR lens and 1.4x teleconverter, ISO 1000, 1/1250sec at f/7.1, handheld often observed a little further out in the firth,
but closer in, a pod of pilot whales and even a
fin whale, the world’s largest species next to
blue whale, are just a few of the most exciting
sightings that I know of in recent years.
With this new awareness, a whole industry
in cetacean watching is now emerging in
the UK and there is a wealth of information
online about key vantage points around our
coasts for land-based cetacean watching
and photography. Similarly, it’s not difficult
to locate boat operators that run trips that
will enable you to get a little closer, albeit
adhering to strict guidelines and laws that
offer protection to these sensitive, intelligent
and amazing mammals.
Just be aware that once you begin looking
for cetaceans, the activity can become highly
addictive and you’ll find yourself hurrying to
distant locations in fear of missing out on a
sighting you may have heard about on social
media. My advice is to just go!
Viewpoint considerations
There is nothing quite like seeing your first
whale. My first, a minke, was off Neist Point
on the Isle of Skye, a location photographed
endlessly by landscape photographers. It’s a
relatively narrow but prominent headland with
a picturesque lighthouse at the tip. The sea
is very deep close in, and if there are people
fishing for mackerel off the rocks beneath the
lighthouse in mid-to-late summer, there is a
good chance there will also be minke whales
in the area looking for the same prey. Another
indicator is the presence of tightly massed
seabirds on the surface that usually indicates a
fish ‘bait ball’ below.
There are many such vantage points around
the UK coast and the one thing they usually
have in common is that they are on headlands
and at a reasonably high elevation above the
sea. Again, online research will reveal these
and may even give information about the
species most likely to be seen. At Duncansby
Head overlooking the Pentland Firth by John
O’Groats, it could be orca, while Tiumpan Head
on Lewis is said to be good for humpback
whales and Risso’s dolphins.
The disadvantage of using land-based
viewpoints invariably means waiting for long
periods, often working at extreme range where
atmospheric conditions such has haze can Photographed late in the day and during a spell of unsettled weather, this image was taken near
affect image quality. Working from boats is the top of the concrete ramp of the derelict whaling station on North Harris. Nikon D3X with 24mm
undoubtedly a more reliable way of getting f/3.5 PC-E lens, ISO 100, 1/6sec at f/22, polariser, tripod, cable release, mirror lock-up
close, but it will come at a cost. If you plan to
join a scheduled boat trip, try to avoid busy hull boats than RIBs (rigid inflatable boats) when shooting. Personally, this is one of the
times such as school holidays, and if there is the because I like the freedom of movement. Also, few situations where I would fit a skylight/
option, go for an early morning or evening cruise in choppy seas, they are a less hazardous UV filter to ‘protect’ the front of the lens. I’ll
in sunny weather when the light will be better. environment for photo equipment. Either way, always remove the coating of sticky salt spray
The size and type of vessel is an important I always keep my camera and longest lens with a damp cloth from the surfaces of all my
factor to consider. I personally prefer fixed-
www.bookshq.net
safely tucked into a dry bag, only removing it equipment afterwards.
NATURE GUIDE
Laurie’s August highlights
Above Opposite (top) Opposite (middle) Opposite (below)

Illuminated by the sun deep below While waiting for cetaceans to Sometimes called Indian balsam, Red grouse (Lagopus lagopus
the horizon, noctilucent (night view from land-based shore sites, Himalayan balsam (Impatiens scoticus) are endemic to the
shining) clouds are the highest in this is also a good month to see glandulifera) is a non-native, UK and have developed in
our atmosphere and are formed wading birds such as dunlin introduced, invasive species isolation as a subspecies to the
by ice crystals around meteor dust (Calidris alpina), returning from that colonises the banks of our willow ptarmigan that is widely
and particulate matter ejected their breeding grounds in the waterways with tall, densely distributed across Eurasia and
by volcanoes. They were first uplands to spend the coming packed stems that shade out North America. Regardless of its
noticed in 1885 after the eruption months on the coast. Rather than our native plants. Environmental origins, red grouse are deeply
of Krakatoa and have become trying to stalk them, spend time bodies are working towards synonymous with our heather
brighter in the 20th century, watching small groups as they eradicating it, but in the meantime, moorlands and especially at this
leading scientists to suspect they work their way along, feeding at it does offer a few benefits to some time of year, when the dominant
are indicators to changes to our the water’s edge on a rising tide of our native wildlife. Most obvious species, ling heather (Calluna
atmosphere since the industrial and try to identify their direction are the beautiful scented flowers vulgaris), is in full flower. They are,
revolution. In the Northern of progress. Once established, that persist well into late summer, however, difficult to photograph
Hemisphere, look for them low it’s just a case of getting well providing a source of nectar for on foot and their movements
on the horizon to the north-west ahead of them and keeping low, insects such as hoverflies. too unpredictable to use a fixed
about an hour after sunset, then preferably lying in a prone position, Nikon D2X with 200mm f/4 hide, so the best solution is to
an hour before sunrise in the waiting for them to approach. IF-ED micro lens, ISO 100, work from a vehicle window.
north-east from May to August. Nikon D4 with 500mm f/4G VR 1/25sec at f/11, tripod, cable Nikon D3X with 500mm f/4G
Nikon D5 with 500mm f/4FL lens, lens and 1.4x teleconverter, ISO release, mirror lock-up VR lens, ISO 100, 1/200sec at
ISO 2000, 20sec at f/11, tripod,
cable release, mirror lock-up www.bookshq.net
640, 1/200sec at f/6.3, beanbag f/6.3, beanbag, car as hide
More seasonal subjects
Flora
Crowberry
Nikon F4s with 105mm f/2.8D micro lens,
Fujichrome Velvia 50, 1/8sec at f/22, tripod,
cable release, mirror lock-up
Giant polypore fungi (Meripilus giganteus)

– a large, tiered bracket fungi frequently found
growing on tree stumps. The brackets are a
beautiful cocoa-brown with creamy-yellow
margins.
Crowberry (Empetrum nigrum) – So-called

because of its black berries, this low-growing,
creeping plant of upland and maritime heaths is
often found growing in association with lichens.
Field scabious (Knautia arvensis) – with beautiful

pale-purple flowers, its tall spindly stems can
make it tricky to photograph in all but the calmest
of weather, but it is worth persevering.
Fauna
Mallard
Nikon F3 with 600mm f/5.6 IF-ED manual-
focus lens, Kodachrome 64, tripod
Mallard (Anas platyrhynchos) – after the breeding

season, some species of birds moult into what is
known as an eclipse phase. With male mallards,
the change in plumage can make them look like
a different species.
Feral pigeons (Columba livia) – the fact this species

is so common makes it an ideal candidate on which
to start a project where we can return time and
again, experimenting and refining technique.
House sparrow (Passer domesticus) – a gregarious

species that congregates to drink and bathe in dry,
www.bookshq.net sunny weather. Try staking out a garden bird bath,

or even just a dripping outdoor water tap.
A MOMENT WITH NATURE
Patagonian fox
in the landscape
Torres del Paine National Park in Chile is known
for its savage winds, otherworldly landscapes and
spectacular wildlife. All three aligned for one
of Ben Hall’s favourite images
have always felt a strong draw to South America. It wasn’t only
I the high diversity of wildlife that appealed to me, but also the
dramatic and varied landscapes. Ultimately though, it was the
potential for capturing compelling environmental images
that inspired my first trip to Patagonia.
After spending a week photographing great dusky swifts and
other wildlife that inhabit the spectacular Iguazu Falls in Brazil,
my brother and I travelled south to explore Torres del Paine
National Park in Chile. It was here I experienced some of the
most memorable encounters with wildlife that I have ever had.
I spent the first few days searching for a suitable location to
photograph Andean condors. After managing to secure some
images of these immense raptors soaring among the peaks, I
came across a lone Patagonian fox traversing the steppe. At first,
it remained distant, so I put on my 500mm lens and took some
close-up portraits, positioning myself towards the sun for some
subtle but effective backlighting.
After a short while, the fox sauntered over with seemingly no
fear whatsoever. To my amazement, it ended up within a metre
of my lens! To take full advantage of the opportunity, I quickly
swapped lenses and put on my 17-40mm with the aim of
capturing the fox in its stunning environment.
Torres del Paine is known for its savage winds, and true to form,
the gusts were so fierce it was difficult to keep the camera steady,
even when fixed to a sturdy tripod. After a minute or so,
I gave up with the tripod and lay down flat on the floor, steadying
the camera by locking my elbows. The low angle gave me the
eye-level view I needed, as well as lessening the effect of the wind.
I fired a burst of frames as the fox passed. The surrounding
landscape was otherworldly, with the jagged mountain peaks
cutting across the frame like a row of sharp teeth. It was one
of those special encounters that will be forever planted in
my memory.
All of the elements seemed to come together at precisely the
right moment. The stormy sky, dramatic light, the pose of the fox
and the way it braced itself against the relentless wind, and of
course, the stunning backdrop.
I particularly like the way the outline of the fox mimics the
mountain above, something I didn’t notice until afterwards so
take no credit for! It remains one of my favourite images. For me,
it tells the story of Torres del Paine, a wild and harsh environment
which is home to some of the world’s most spectacular wildlife.
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www.bookshq.net
NATURE ZONE
STEVE YOUNG
On the wing
A long-overdue return to his old stomping ground sees Steve Young reacquainted with its resident terns,
house martins and finches. Despite the reserve’s post-Covid neglect, planned development points to a brighter future
To my shame, it had been over two years since
I last visited my old local patch, Seaforth
Nature Reserve. There were mitigating
circumstances, of course, with three phases
of lockdown and then, as a result of the
pandemic, the reserve itself was closed to all
visitors for almost a year. As with most things,
when you can do something, you tend not to
bother and then when you are prevented from
doing it, you want to do it even more.
Within that time, my dock permit expired
and there was no chance of visiting the office
to renew it, so that state of affairs dragged on
until I finally got my act together and made an
appointment at the docks for a renewal. With
new (and at £25, more expensive than last time)
pass in hand, I finally drove to the entrance
gate, showed my pass and was then told it had
expired last year. The issuing officer had put
this year’s date on – I hadn’t even checked, so
it was out of date a day after being issued. I It was good to see the common terns again and, despite having hundreds of images already on file,
explained and was allowed in as long as I called I just can’t resist taking even more, especially when adults feed their young in front of the hide.
back next week when the office was open again.
Anyway, I was on the reserve and there juveniles sat around on various rocks waiting promise of future developments planned for
was nobody else around, which was odd for a for food to be brought. I have hundreds of this the autumn and winter ahead, including new
Saturday, but in a way, it was very pleasant to species on file, but once again couldn’t resist screens and fenced-off islands for the terns, the
have the old place to myself. In my two missing taking more flight and feeding shots. future looks the brightest it has for some time.
years there had been significant growth to the In the reed bed, a Cetti’s warbler was heard
various bushes and trees, which will provide but not seen, while singing reed bunting was Below (left) Reed bunting is a relatively new
much more cover for birds, but the actual hides photographed, but a reed warbler wasn’t. I’d breeder at the docks, moving in when the new
and screens were in a neglected state and in noticed house martins collecting mud at a reed bed was created a number of years ago. The
much need of repair and some TLC. smaller pool, so walked around to have a out-of-focus blue background in this shot is one
However, the birds didn’t mind. The closer look. Sitting quietly a short distance of the grain container buildings that now virtually
freshwater pool was full of life, with the tern away, I waited to see what would happen and surround the reserve.
rafts fully occupied, and there was plenty to was rewarded with birds returning to collect Below (right) I spent a few hours just sitting by this
see and photograph: the common terns were in mud, while both greenfinch and goldfinch large rainwater pool. Greenfinch and goldfinch
full breeding mode, flying to and fro to those came to drink. came down to drink, but the highlight was house
young that were still on nests, while older It had been good to be back, and with the martins visiting to collect mud to build their nests.
www.bookshq.net
BIRD OF THE MONTH
Taken many years ago on Skomer Island during a week’s stay, this is my My ‘latest’ image of puffin is from Iceland in 2014, although being
favourite shot of puffin. Using a 28mm lens and slide film, I waited patiently on a cliff face, they weren’t very approachable.
for a couple of hours for the bird to leave its nesting burrow.
Puffin is a species familiar to even those who it can be quite tricky to photograph. species. (When I was searching my files
have no real interest in birds or birdwatching. RSPB Bempton Cliffs on the Yorkshire for photos for this section, I was stunned to
With its quizzical look, black-and-white coast is the best mainland site, while a find that I hadn’t photographed puffin in the
plumage and large, colourful bill, it is a trip to the Farne Islands or further afield to UK since 2009, when I last visited Bempton.
delight to see and photograph but, as it places such as Shetland will reward you Shame on me! I’ll be putting this right this
prefers mostly off-shore islands to breed on, with stunning close-ups of this charismatic year, I hope.)
BIRD PHOTOGRAPHY TIP
This is an old shot taken in 2004, at a feeding station I had at the time, and One of my best-selling images, this Manx shearwater was almost full-frame
shows behaviour I haven’t seen since (a great spotted woodpecker raiding a with my 500mm lens, as it flew virtually over my head on a stormy sea-
blue tit’s nest box), so am unlikely to be able to replace with a newer version. watching day. Taken in 2010, the quality has stood the test of time, as there
It was shot in Jpeg because I didn’t understand what Raw was in those days; has been a levelling off of DSLR quality compared to the original models.
exposed at 1/60sec at ISO 200, as higher ISOs weren’t very good back then;
as a result, it’s not very sharp, but OK at this size reprint.
How many photographs do you need of one re-shoot everything (an impossibility) or make on that old Nikon D1X two decades ago do
species? I asked myself this question when do with what I have? show their age.
I realised it had been so long since I had A perfect example from my files is great If, like me, you find trawling through your
photographed a puffin. I have plenty of images spotted woodpecker. I have literally hundreds older images a chore, just ignore them and
on file, but they are all quite old and the quality of images, but examining them closely shows leave them in peace, but if you do feel, also
of the original digital bodies from 20 years ago that some that looked great ages ago are not like me, that some need renewing and can be
differs greatly from today. up to the standard I expect nowadays when it done relatively easily, write a ‘to do’ list and
So, the next question is, should I go out and
www.bookshq.net
comes to noise and sharpness. Photos taken group them into tasks for the months ahead.
GEAR ZONE
The OP guide to…hydration systems

With summer and, hopefully, long, dry, sunny days ahead, it’s important to start thinking more seriously
about our water levels. No, we’re not talking hosepipe bans, but rather about keeping ourselves hydrated
when out and about in the wilds. Here are several options to help keep your fluid intake up
Sigg Water Bottle Traveller 1L
Best for safely carrying smaller quantities of water
Aluminium water bottles have been a mainstay of
hiking hydration for years, and none are as iconic
as the traditional Sigg bottle – they can be spotted
carrying the beverages of everyone from long-distance
runners and mountaineers to casual walkers and hill-
climbing photographers. Part of their appeal is their
light weight combined with their robustness – while it’s
not uncommon to spot a dented and scratched bottle
dangling from the rucksack of an adventurous explorer
(and a battered Sigg bottle is something of a badge of
honour), it takes quite a lot to actually pierce one.
And the dangling factor helps too.
Although it’s possible to get Sigg bottles with a range
of different lids, the traditional hooped stopper is still
hugely popular, as it allows the bottle to be clipped to
the outside of a pack with a carabiner, keeping it and its
contents safely away from the inside of your bag or pack
and any equipment therein. Of course, if you’re unable
to top up while out on your day’s shoot, 1L may not be
enough. If you need to carry more fluid, 1.5L versions
are available. Alternatively, two 1L bottles strapped to
either side of a rucksack makes it look like a jetpack…
£17.99 sigg.com
Steripen Adventurer Opti UV Water Purifier

Best for a chemical-free way to treat wild water
Have you noticed how some hand driers in public toilets (usually
the posher ones) emit a blue light as they blow warm air over
your skin? These devices are making use of UV light’s ability to
neutralise germs, adding an additional step to soap-and-water
cleaning. The Steripen works in a similar way. Dip it into a bottle
of water, switch it on and let the UV light it emits kill off bacteria,
protozoa and viruses which may be present in any water you’ve
collected from rivers or lakes. It’s possible to get water-treatment
tablets that will do the same thing, but unlike those, the Steripen
won’t leave any unpleasant chemical taste.
There are some caveats – the water has to be reasonably clear
for it to work (although why would you drink murky water?) and the
mouth of the bottle has to be wide enough to accommodate the
device (the Nalgene bottles are, the Sigg bottles aren’t). It’s also
battery powered (two CR123 batteries – pre-digital photographers
may remember them well), so is capable of running out of charge.
It also won’t remove any sediment or foreign objects from the
water, but for making sure optically clear water is safe to drink,
the Steripen is an elegant solution.
£95 katadyngroup.com
www.bookshq.net
EDITED BY BEN WEEKS
MSR TrailShot Micro Water Filter

Best for a quick and easy way to filter wild water
If you’re out shooting in a landscape filled with tumbling waterfalls and crystal-clear lakes, it may
be tempting to think that hydration is all around you and topping up your water bottle as simple
as dipping into the nearest stream. The thing is, while most fast-flowing rivers high in the UK
hills will be safe to drink from, it can’t be guaranteed, and still water from ponds and lakes is
even less reliable. One way to make this wild water safer is to filter it, and the MSR TrailShot is
ideal for the job. Lightweight and compact, it will remove most particulates, including 99.9999%
of bacteria and 99.9% of protozoa. It’s not so good at removing free-floating waterborne viruses,
but these are rare in the UK. However, combine filtering with either a chemical or UV treatment
(see the Steripen) and you’ve got a reliable belt-and-braces approach to purifying water.
One thing to note: the TrailShot is powered by
squeezing. If all you need is a few gulps to quench
your thirst (you can drink direct from the
pump), that’s not a problem, but if you’re
attempting to fill a 3L bladder, you might
find your forearms
give up before you
reach capacity.
£60 msrgear.com
Nalgene Wide Mouth Tritan Bottle 1L

Best for drinks other than water
This kind of bottle is of the no-nonsense, no-frill variety, but its absolute
simplicity is also its great strength, and its best features are equally
straightforward. The Tritan plastic from which it’s made is tough, durable and
taste free. The markings on the bottle make it easy to mix drinks (we’re talking
energy drinks rather than cocktails) and keep track of how much you’ve drunk.
The wide mouth makes adding ice or fruit infusions a doddle, and cleaning
the bottle is a piece of cake. And speaking of cleaning, the Tritan bottle is
dishwasher safe, so you can bung it in with your other mugs and glasses.
Although not insulated (a £25 insulated bottle cover is available), the Nalgene
bottle will hold hot drinks up to 100ºC. In fact – and this is a solid gold tip you
can have for free – a Nalgene bottle filled with hot water from a stove pot and
inserted into a thick sock makes for a wonderful sleeping bag warmer on cold
camps. But even if all you’ll ever do is fill it with plain cold water, the leak-
proof lid and tough build will mean
the humble Nalgene could
become a lifelong photo-
shoot companion.
£14 nalgene.com
CamelBak Crux Reservoir 3L

Best for longer days out with no access to water
A hydration reservoir or bladder such as the CamelBak Crux is perhaps the easiest way of
carrying larger quantities of fluid. Made from lightweight plastic, they weigh next to nothing
themselves, so it’s just the weight of the water you’re carrying. Perhaps best of all, they allow you
to drink on the go – with the reservoir stowed in a rucksack, the hose is threaded through the lid
of the bag or out through a specific port and positioned over your shoulder and under your chin.
This hose functions like a straw, albeit one that will have a leak-proof device such as a bite
valve on the end, so you can take a slurp of water whenever you want.
However, there are downsides to these reservoirs. Some people find they make the water
taste plasticky, and they can be difficult to clean, meaning they’re best used with plain water
rather than anything which could leave a residue in the bladder. The biggest issue, perhaps, is
that while hiking bags will usually have a dedicated pouch for the reservoir and an access hole
for the hose, photo bags – even hiking-focused camera rucksacks – may not, and you won’t
want to tuck one of these bladders full of water in with your expensive camera gear.
£40 camelbak.co.uk
www.bookshq.net
GEAR ZONE
H&Y Revoring circular polariser

As part of its Revoring filter system, H&Y has added a new circular
polariser-only option. Available in 46-62mm, 58-77mm and 67-82mm
sizes, the system is a neat choice for photographers using multiple
lenses with various filter sizes, with the rear of the unit opening or
closing to change size. Previously only available combined with a
variable ND, the polariser-only version rotates freely using a low-
profile, integrated handle, helping to keep finger marks off the glass.
Guide price From £120
hyfilters.net
Sigma 16-28mm f/2.8 DG DN C

If you’re a landscaper using Sony E-mount bodies, or Sigma’s own
L-Mount, the company’s new 16-28mm f/2.8 DG DN C should be
of interest. Promising excellent edge-to-edge sharpness and low
distortion, its focal lengths cover a nice range of scenes. It has a
durable metal outer with dust and splash resistance, and comes in
a small and light package, weighing in at only 450g and measuring
100.6mm. Filter size is 72mm.
Guide price £750 sigma-imaging-uk.com
GEARING UP Fujifilm X-H2S

Fujifilm X Series users
wanting extra speed should
take note of the new X-H2S.
The first camera to use a
26.1MP fifth-generation
X-Trans sensor, the new
chip keeps its unique
photosite design that’s
Hanwag Blueridge ES popular with photographers
wanting to avoid moiré
Perfect for eco-conscious outdoor and false colour, but
photographers, Hanwag’s Blueridge adds a ‘stacked’ design,
collection is made in Europe with European- accelerating performance
sourced components and a fully traceable and freeing photographers X-H2S is also the
supply chain. Sitting within the company’s from any stutter through the X Series camera
respected Banks family of walking boots, viewfinder when shooting in of choice for use with
these new models are lighter, softer and continuous mode. The latter longer lenses, featuring
more flexible for less technical routes. can reach a heady 40fps in a redesigned and more
Available in both male and female fits, with electronic mode and 15fps using the comfortable SLR-style grip. It
high and low ankle versions, the uppers use mechanical shutter, while the ISO range is measures 136.3x92.9x84.6mm and
a mix of Perwanger leather and polyamide 160-12,800, expandable to 80-51,200. weighs 660g with battery and cards onboard.
fabrics with Eco-Shell lining, while the The combination of a new sensor and In further good news for wildlife shooters,
Terragrip sole is made of 15% recycled X-Processor 5 engine have also vastly there’s also a new XF150-600mm f/5.6-8
rubber. Sizes run in halves from 3.5 to 9 in improved AF speed and accuracy with some zoom (£1,899) and additions to the X Series
women’s and 6 to 13 in men’s. impressive AI-assisted subject-recognition lens roadmap, including a 30mm f/2.8 Macro.
Guide price From £150 hanwag.com
www.bookshq.net
options, including birds and animals. The Guide price £2,499 fujifilm.co.uk
GEAR ZONE
Laowa 24mm T14

2x PeriProbe lens
Cementing its place as a pioneer in macro
lenses, Venus Optics has updated one of its most
popular models with a new design and new mounts,
including Canon EF and R, Nikon F and Z and Sony E.
The 24mm T14 2x PeriProbe is similar to the Laowa 24mm
f/14 2X Macro Probe lens, but adds a 90º rotating periscope
tip at the end. The lens has an 85° field of view and a 2cm working
distance, giving a unique mix of wideangle and close-up at twice life
Outwell Penguin size, and has rotation options for easier composition. The extension is
waterproof, allowing underwater subjects to be captured, and comes with
6L Cooler Bag a built-in LED Ring Lite and 1/4in accessory mount if needed.
A nice addition to any summer shoot, Guide price £2,449 venuslens.net
Outwell’s Penguin range includes 25L, 15L
and 6L models, the smallest of which will
take plenty of essentials while keeping you
mobile. Made from rugged polyester and
using 20mm EVA foam insulation, they have
an easy-care PVA lining and, with welded
seams, are also waterproof, protecting your
provisions from the weather as well as your
other kit from internal spills. The bag has two
comfortable wrap-around handles, external
mesh pockets and a sturdy twin-zip lid.
Guide price £23 outwell.com
Canon EOS R7
Canon’s EOS R mirrorless cameras feel half-pressing the shutter button, records
like they’ve been around for a while, but the images 1/2sec prior to taking a picture, which
new R7 is the first of two APS-C bodies in is great for unrepeatable wildlife moments.
the range. As with the 7D series of DSLRs, The R7 is also highly portable, measuring
smaller sensors can be helpful for wildlife 132x90x92mm and weighing 612g.
Benro GH5CMini photographers, promising greater speed and Using the same RF mount as full-frame
subject magnification, with smaller, lighter cameras, the EOS R7
carbon fibre gimbal
lenses, so it should be of great interest. can use all existing
Matching the efforts of manufacturers to The EOS R7 has a 32.5MP 22.3x14.8mm RF lenses. In
create smaller and lighter cameras and lenses, chip, giving a 1.6x crop factor. Its Digic X addition, two new
Benro has released the lightweight, robust processor provides up to 30fps, and thanks to APS-C lenses have
GH5CMini. Made of carbon fibre, it weighs just inheriting the Dual Pixel CMOS AF II from its also been released
1.1kg, so won’t add much heft to your pack on a full-frame cousins, the R7 also offers deep- for the new body:
hike, and balances combinations up to 30kg. learning subject recognition and tracking the RF-S 18-45mm
It has an integrated bubble level, sliding mount modes for birds and animals, and great f/4.5-6.3 IS STM
and adjustable height platform for precise set- performance in low light, with AF rated (£320) and RF-S 18-
ups, while the gimbal pans through 360º with down to -5EV and 7 stops of in-body 150mm f/3.5-6.3 IS
adjustable tension. Quick release is provided image stabilisation. STM (£520).
by an Arca-Swiss-style plate. The electronic shutter can hit 1/16,000sec Guide price £1,349.99
Guide price £465 uk.benroeu.com
www.bookshq.net
and there’s also a pre-shot mode which, on canon.co.uk
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Outdoor Photography 284 | On sale 11 August
EDITORIAL
Editorial Mark Bentley, Claire Blow,
Ben Hawkins, Scott Teagle
markbe@thegmcgroup.com
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ADVERTISING
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Robbie Shone on the challenge of photographing in caves
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If you only do one thing this month…
Garden glories
In issue 280 we asked you to send us your best images of the flowers and foliage blooming in your gardens
and local parks. Here’s our winner, Phil Avery, who wins a pair of Keen NXIS EVO WP hiking boots,
and our superb runners-up. For details of our next challenge, turn to page 95
www.bookshq.net
Opposite Above Alan Thomson Below (left) Chris Bestall Below (right) Doron Talmi
WINNER Phil Avery Multi-exposure image of This normally shy maple The morning sun in
Chinese wisteria (Wisteria sinensis) comes various flowers in my back becomes an extrovert when Rosh-Haayin park, Israel.
into flower before the leaves start to unfurl, garden, with three frames the low sun lights up its Canon EOS R6 with 70-200mm
so when the leaves do start to unfurl, the taken and blended in-camera. leaves like a beacon. lens, ISO 200, 1/320sec at f/5.6
flowers provide great background colour. Canon EOS 6D with 100mm Sony A7R III with 18mm lens, Instagram @talmidoron
Nikon D7200 with 105mm lens, macro lens, ISO 800, ISO 320, /40sec at f/8
ISO 400, 1/160sec at f/5.6, tripod 1/4000sec at f/4.5 chrisbestall.co.uk
www.bookshq.net
Left (top) Deborah Hammond
Lupins are my favourite garden flower
– they need plenty of space to perform
at their best.
EOS 5D MkIV with 24-105mm lens,
ISO 100, 0.8sec at f/14, tripod
Left (below) Jenny Fenton

A bee collecting pollen from a teasel.
Olympus E-M1 MkII with 40-150mm
lens, ISO 200, 1/500sec at f/4, tripod
Opposite (top) Deborah Hammond

Cotton grass photographed just outside
my friend’s garden on Lewis, Outer
Hebrides, on a bright and windy day.
Canon EOS 5D MkIV with 100mm macro
lens, ISO 800, 1/8000sec at f/4
Opposite (below, left) Carol Hall

We had many of these small white alliums
in the garden; I brought some inside and
photographed this one on the kitchen floor
using natural daylight from the window.
I edited the image to give it a soft glow.
Canon EOS 77D with 50mm lens, ISO 100,
1/20sec at f/4, tripod
Opposite (below, right) John Notman

This glorious acer tree casts a colourful
reflection on the surrounding pond
at the Sir Harold Hillier Gardens
near Romsey in Hampshire.
Panasonic TZ25, ISO 400, 1/200sec at f/6.3
www.bookshq.net
www.bookshq.net
Left (top) Carol Hall
We have many alliums in the garden, and this
one grows in the middle of grasses, lavender
and aquilegia, but stands out because of its
strong shape and beautiful colour.
Canon EOS 77D with 70-200mm lens,
ISO 400, 1/500sec at f/4, tripod
Left (below) Alison Bell

Taken in a local meadow around Sherborne,
Dorset. I experimented with the creative
settings on the camera to produce
a dreamier quality to the foliage.
Panasonic FZ330, ISO 100, 1/160sec at f/3.2
Opposite (top) Ray Wilson

Taken in my own beautiful garden,
which is the result of my wife’s labours.
This was shot one evening using natural
light, courtesy of our west-facing garden.
Nikon D7100 with 18-200mm lens,
ISO 140, 1/200sec at f/7.1, tripod
Facebook @ Whitsnickst
Opposite (below) Mark Saunders

Shot taken in my own garden.
Canon EOS 60D with 105mm macro lens,
ISO 200, 1/250sec at f/3.2, tripod
marksaundersphotography.com
www.bookshq.net
Your next challenge
Enter online now!
Local landscapes
Factors such as travel restrictions,
spiralling fuel costs and eco-anxiety are
increasingly putting us off venturing to
far-flung photography hotspots. Instead,
many of us are turning our attention to
our local landscapes; this approach can
enable us to forge a deep connection with
a particular location and capture superb
images. With this in mind, we want to
see your own local landscape pictures.
For inspiration, be sure to read Shaun
Derby’s feature on page 30 for ideas on
getting the most out of a location, then
send us your best photographs for your
chance to be published in OP 286.
To enter your images, go to
outdoorphotographymagazine.co.uk/
submissions. The closing date for
entries is midnight on 26 August.
Enter and you could win a

Fjällräven Abisko Hike 35
backpack, worth £150!
Fjällräven’s Abisko Hike 35 is a lightweight,
flexible backpack designed for low-
weight trekking and day trips. Made from
durable materials in recycled polyester
and organic cotton, it is comfortable
to carry with lightly padded shoulder
straps, hip belt and a lightweight frame.
There is a zippered front pocket and an
expandable side pocket, plus a security
pocket inside the main compartment.
Other features include an attachment
for trekking poles and loops on the
hip belt for fastening a camera bag.
www.bookshq.net Find out more at fjallraven.com
COMPETITION
Where in the world?

Tell us the location of this verdant and bountiful volcano and you could
win a pair of Montane Terra Route Pants, worth £95
ENTER ONLINE NOW! THIS MONTH’S GREAT PRIZE OP 280 WINNER

Rising steeply from the surrounding Montane Terra Route Pants In issue 280 we asked you to identify
the scenic port in the image below.
grassland, this volcano is the highest point Worth The winner of this month’s
competition will receive a pair of The correct answer is:
in a field of over 100 volcanic landmarks. £95 Terra Route Pants from Montane.
A unique ecotone, the area is home to more Available in men’s and women’s a: St Peter Port, Guernsey
than 70 species of birds and numerous versions, these versatile soft-shell pants are
Shutterstock.com
other animals, including mule deer. designed to withstand changeable weather –

perfect for high-altitude trekking routes.
But is it: The pants are made from
tough, stretchy and wind-
a: Capulin, New Mexico resistant ‘granite stretch’
b: Kula, Turkey fabric, with PFC-free DWR
for more environmentally
c: Monte Nuovo, Italy friendly durable water
resistance. The men’s
The answer and the winner’s name are available in Black,
will be revealed in OP 286. You can Slate or Oak Green, while
enter the competition online at: the women’s version
comes in Black or Slate.
outdoorphotographymagazine.co.uk/ Congratulations to our winner!
Find out more at
competitions, using Volcano283 as montane.com Ian Morrison from Dunshalt
the code. Deadline for entry is 26 August.
www.bookshq.net
Meet the demands of any
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photo-tools.co.uk
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Email hello@photo-tools.co.uk
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Buy. Sell. Trade. Create.
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CHOOSING GREAT LOCATIONS + PHOTOGRAPHING LOCAL WILDLIFE + BEAUTIFUL HUMMINGBIRDS

landscape | wildlife | nature | adventure

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Find us on Instagram at instagram.com/outdoorphotographymag

FEATURES & OPINION LEARNING LOCATIONS

NATURE GEAR ZONE REGULARS YOUR OP

80 A moment with nature NEVER MISS 90 If you only do one

Destruction 2022 by David Rippin

www.bookshq.net © David Rippin / Earth Photo 2022

© Yhabril Moro © Yhabril Moro

© Paul Zizka © José Allende

© Cecilie Stuedal © Ben Horne

Jump for jay A natural choice

© Isabella Hillhouse © Iain H Leach

Highland praise One-way flight?

BIG: Leopard seal and gentoo penguin www.bookshq.net © Amos Nachoum

© Simon Baxter © Barry Webb

Harris Storm www.bookshq.net thebugfarm.co.uk

W evolution of a style,’ says Verity

Experts in photography Unbeatable stock availability Competitive low pricing UK stock

Canon RF 600mm Fujifilm Fujifilm Fujifilm

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Find out more at parkcameras.com www.bookshq.net

T into his mouth,’ says Tony Wu. It

GG: What’s the largest congregation

GG: You’ve also been in the water with sharks

Left (top) Spotty blenny (laiphognathus

www.bookshq.net (hippocampus haema) giving birth.

First verified humpback whale sighting, Sri Lanka.

GG: Do you get just as excited by smaller

GG: What small creatures have you come

GG: What haven’t you seen and photographed

For art prints and more on Tony’s work,

Left (top) Sperm whales socialising, Indian Ocean.

www.bookshq.net Left (below) Humpback whales bubble-net

Canon R5 with EF16-35mm f/4L IS USM lens, ISO 50,

Choosing a landscape location

Cap de Formentor lighthouse, Majorca.

www.bookshq.net ISO 64, 1/5sec at f/11, 0.6 ND grad

Right Warnscale Bothy above Buttermere, Cumbria.

Left Wall Holm Island on Ullswater, Cumbria, at

www.bookshq.net ISO 64, 20sec at f/8, 0.3 ND grad

10 TIPS FOR LOCATION SUCCESS

The highs (and lows) of local wildlife photography

Badger in a field of crops.

www.bookshq.net f/4 lens, ISO 640, 1/200sec at f/4

Left (top) Male red-backed shrike perched on gorse

Left Male red-backed shrike perched on a dead

10 TIPS FOR LOCAL WILDLIFE SUCCESS

Victoria Pattison-Willits measuring a young

2 Using trail cameras can be a great

documenting the field work for her PhD.

blue tits. Vicki’s study sites were spread out