(Photo) Outdoor Photography I289 01.2023

CAPTURE WINTER COLOUR + PHOTOGRAPH TRAVEL ICONS + FUJIFILM X-H2
landscape | wildlife | nature | adventure

A good list
Maybe it’s the day job, but I do love a good list. I accumulate piles of them: lists for
jobs at work and home, lists of people to see and places to photograph. And for
THE ISSUE
list-lovers, there’s never a better time than the start of a new year.
The Christmas break allows many of us a little headspace to think about what
at a glance
we’d like to do in the months ahead. It’s a chance to gather ideas, make plans and
dream a little. My photography list usually starts modestly with a few new places I’d
like to visit, but it quickly spirals out of control. Ideas keep popping up – locations to
photograph close to home and further away, projects I’d like to develop, photography
styles I want to try. Then there’s the book idea and the determination that this year
I’ll definitely get some printing done. And I’ll read more photography books, visit
more exhibitions and make up my mind about whether to buy a new lens.
Soon, what started as a simple vertical list requires sub-headings with extra
notes on the original plans. Then more thoughts arrive – about dates, possible kit,
In conversation with
likely cost. The short vertical list becomes a tangled web of perfectly reasonable ideas Edd Allen – page 10
mixed with wholly unrealistic ambitions and hugely time-consuming photography
projects that are never likely to happen.
Now, all this might appear to be a waste of time. But for me, it’s a great way
of generating ideas and a sense of excitement about the pictures I want to take.
And if I can make sense of the list then one or two of the ideas might actually
succeed. I might just need to break the list into several shorter lists.
In this month’s issue, don’t miss a fascinating interview with Niall Benvie
(page 20), Karl Holtby’s pictures of winter solitude (page 46) and Laurie Campbell’s
tips on what to shoot this month (page 76).
Enjoy the issue. Emma Stokes on capturing
winter colour – page 30
Mark Bentley
How to photograph
travel icons – page 36
ON THE COVER
Picture by Martin Rak
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

Stu Meech is In the
Follow us on Twitter at twitter.com/opoty Spotlight – page 42
Find us on Instagram at instagram.com/outdoorphotographymag

10
FEATURES & OPINION LEARNING LOCATIONS

10 In conversation with… 44 Wildlife photography ZONE GUIDE
Edd Allen discusses his and the law
beautiful, brooding images Charles Everitt explains the 30 The beauty of 50 On location
important legislation which winter colour Alan Novelli explores the
18 One month, one picture protects all of the UK’s Emma Stokes embraces the history and diversity of the
Pete Bridgwood attempts airborne fauna season’s muted palettes and Peak District National Park
to emphasise beauty enhanced atmospheres
20 The unteaching process

46 Winter solitude
Karl Holtby enjoys the silence 36 Photograph
50
Niall Benvie rails against at a local woodland he’s been travel icons
formulaic ways of thinking exploring for years Escape the winter blues
with Jeremy Flint’s guide to
28 Lie of the land 61 Inside track capturing famous landmarks
Mark Littlejohn on Nick Smith confuses house-
shooting and processing hunting with location scouting
NEXT ISSUE
42 In the spotlight 62 Photo showcase 53 Viewpoints
Colour and simplicity are Incredible natural world
ON SALE 26 Castles, coastlines and
at the heart of Stu Meech’s images from the Mangrove JANUARY 2023 reservoirs feature in this
countryside landscapes Photography Awards 2022 month’s landscape locations
2 Outdoor Photography
53 30
62
78
NATURE GEAR ZONE REGULARS YOUR OP

ZONE 82 The OP guide to… 6 Newsroom 68 Portfolio
Your phone is a constant Get the low-down on what’s We focus on work by one
74 Life in the wild companion, so keep it safe happening in the wonderful photographer. This month
Laurie Campbell discusses and protected at all times world of outdoor photography it’s the fabulous landscapes
Speyside, a great location of Pawel Zygmunt
for nature photographers 8 Out There
We preview the best new 72 Your chance
76 Nature guide books and exhibitions by Find out how to get your
What to photograph in outdoor photographers work published in Outdoor
the month ahead Photography magazine
78 A moment with nature 88 If you only do one

Alwin Hardenbol captures 84 Camera test 84 NEVER MISS thing this month…
waxwings feasting on their
favourite berries
If resolution is more
important than speed, look
AN ISSUE Your best autumn colour images,
plus your next challenge
no further than Fujifilm’s X-H2 Have Outdoor Photography
80 On the wing delivered direct to your 96 Next month
Steve Young enjoys brief 86 Gearing up door and save up to 30%. Outdoor Photography 290 goes
encounters with twite and Great new camera gear ideas See page 60. on sale on 26 January 2023 –
pink-footed geese for your wishlist here’s a sneak peek
Outdoor Photography 3
OPENING SHOT
This stunning close-up portrait
of an American crocodile by
Tanya Houppermans has won
the Mangrove Photography
Awards 2022. Titled Guardian
of the mangroves, Tanya’s
image captures the moment
the curious reptile swam right
up to her at Jardines de la Reina
(Gardens of the Queen) off the
coast of Cuba, one of the most
pristine marine ecosystems in
the world.
Turn to page 62 to see more
amazing images from this
unique competition.
THE LATEST BULLETINS
NEWSROOM
CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS
Maned wolf © Kev Gregory/Shutterstock
A dog’s life
New in January from BBC Studios’
Natural History Unit, Dogs in the
Wild: Meet the Family is a three-
part examination of wild dogs that
thrive in environments as diverse
as the Himalayas and the Sahara
Desert. As the most widespread
and varied carnivores on the
planet, the documentary focuses
on canids operating far from the
cosy couch-dwellers most of us
know and love, and there’s amazing
© Benjamin Briones Grandi
behavioural footage of Tibetan
foxes, maned wolves, fennec foxes
and forest-dwelling Indian dholes.
Watch it on BBC1 and iPlayer.
A beautiful world
The International Landscape Photographer of the Year competition often produces wonderful
results and this year’s edition is no exception. The top placed photographer was Benjamin Briones
Grandi from Chile, who saw off 3,800 other entries from around the world. Based on a portfolio
of four images, Benjamin’s award was based on his shots of Chilean coastal dunes, combining
a beautiful mix of subtlety and grandeur.
There were also prizes for single photos, special categories and plenty more to get inspired by,
so head to the contest’s website at internationallandscapephotographer.com. An eBook of 2022’s
top entries is also available.
© Shutterstock
Moving
mountains
After a 5,000-strong petition,
park authorities have stated that
Wales’ highest mountain will now
be referred to by its Welsh name.
The move means that ‘Snowdon’
is out and ‘Yr Wyddfa’ is in. The
wider national park will also now
be known as ‘Eryri’ rather than
‘Snowdonia’. The park already
uses Welsh alongside English
in its signage and publicity,
but giving prominence to the
mountains’ names in Welsh ‘gives
people from all over the world
the opportunity to engage with
the Welsh language and its rich
culture,’ said Naomi Jones, the
park’s head of cultural heritage.
EDITED BY KINGSLEY SINGLETON
© Eleanor Bentall / rspb-images.com
Watch out
for wildlife
An increasingly popular
and important measure of
UK birdlife, the RSPB’s Big
Garden Birdwatch 2023
is open for registrations.
Highlighting the winners
and losers of climate
change and habitat loss,
© Mehdi Mohebi Pour
Environmental winners the event, now in its 44th

year, has been running
The winners of the Environmental Photographer of the Year 2022 have been announced, offering since 1979 and in 2022 saw
a striking but not always pleasant look at the effects of climate change and other man-made disasters. 700,000 spotters catalogue
The top award went to Mehdi Mohebi Pour with a grave image depicting birds which had died from lack over 11 million birds. This
of water and contamination in the Miankaleh Lagoon, Iran. year’s survey is to take
The worldwide competition, now in its 15th year, is judged by a panel of not only photographers, place on 27-29 January,
but also journalists and experts, in an effort to make sure images are created in an ethical fashion. with participants asked to
For more winners and news on next year’s contest, head to epoty.org. spend just one hour each
day watching and recording
the birds in their garden,
Peak performance balcony or local park.
Full instructions, as well
Conservationists plan to reintroduce over 400
hectares of blanket bog in the north of the Peak as materials to identify and
District National Park. The project, which has count species, can be found
multiple benefits, has been made possible via an at rspb.org.uk/birdwatch.
award of more than £1 million from the National
Peatland Grant Scheme, and is part of a venture
to restore to 35,000 hectares by early 2025.
Reintroducing moorland is claimed to improve
biodiversity, increase flood defences, enhance
water quality and add resilience against the effects
of climate change; the project has the potential
© Shutterstock
Blue shark to prevent the loss of more than 80,000 tonnes
of carbon over the next 50 years and could yield
Sharks protected a greenhouse gas benefit of nearly £13 million.
The Convention on International Trade in Endangered
Species of Wild Fauna and Flora (Cites) has struck
an important blow in protecting sharks. November’s
conference in Panama saw 186 nations agree to a
landmark ruling that could help tackle overfishing
and lack of regulation which has pushed sharks ever
closer to extinction – all for the sake of a growing
appetite for fin soup. Commercial trade in 54 requiem
shark species, including including tiger, bull and blue
sharks, is now limited or regulated, along with six
small hammerhead shark species and 37 types of
guitarfish (shark-like rays). The protection means that
applicable countries need to at least offer sustainable
practices and comply with Cites permits.
© Shutterstock © Nigel Blake / rspb-images.com
OUT THERE
Ocean: Exploring
the Marine World
Phaidon
Hardback, £44.95
Art book specialists
Phaidon set themselves
an ambitious task with
their new title. Taking the
ocean as their subject and with many centuries
of visual culture to dive into, they have created a
book that aims to show how artists and image-
makers have been inspired by the marine world.
The huge, 2.5kg tome features 315 images
spanning a staggering array of subjects and
media, from fantastical prints of sea creatures,
vintage film posters, paintings and sculptures to
maps and scientific illustrations. Photography
is well represented here, with works by Esther
Horvath, David Doubilet, Rachael Talibart,
Coral pink sand dunes tiger beetle © Levon Biss Cristina Mittermeier, Alex Mustard, Doug Allen,
Theo Bosboom and Sue Flood, among others.
BOOKS Subjects range from the monarch butterfly Beautifully designed, with the selected
Extinct & and the nine-spotted ladybird to lesser-known images thoughtfully paired across each double-
Endangered species such as the Lord Howe Island stick page spread and accompanied by a mini-essay,
Levon Biss insect of Australia and the Nevares Spring Ocean is a wonderful coffee table book that will
with the American naucorid bug. Perhaps the most poignant provide endless enjoyment.
Museum of Natural photographs are those of species that have
History already gone extinct, including the Xerces blue Lechuguilla Cave
Abrams butterfly, once abundant in San Francisco, Edited by Max Wisshak
Hardback, £35 California, and now a symbol of the US and Hazel A Barton
In his stunning new book, British photographer conservation movement. speleo-photo editions
Levon Biss makes visible some of the more Biss creates each of his photographs from Hardback, $49.90 from
overlooked victims of the extinction crisis we over 10,000 individual images captured with speleo-photo.de
are currently witnessing: the insects. a bespoke camera system and microscope Lechuguilla Cave in New
Working with the American Museum of objectives, to reveal intricate details normally Mexico, USA, is one of the
Natural History, he has created commanding hidden from the human eye. Their mind- world’s beautiful caves, but a place few of us are
portraits of 40 extinct or endangered species, blowing clarity allows the viewer to closely study likely to have the privilege of visiting. Here, its
selected by a team of scientists from the 20 the insects while encouraging a new level of most active explorers reveal its hidden wonders.
million arthropod specimens in the museum’s respect for the tiny yet precious creatures we Lechuguilla is famed not only for its extreme
vast research collections. share the planet with. size – 150 miles of cave have been explored so
far, with no end in sight – but also for its variety
of rare and spectacular geological features,
including gypsum glaciers, aragonite trees,
soda straws, hydromagnesite balloons, cave
pearls, crinkle blisters and calcite popcorn.
Edited by cave scientists Max Wisshak and
Hazel A Barton, Lechuguilla Cave combines
fabulous photography and insightful writing to
take the reader on an awe-inspiring journey
through the cave’s pristine wilderness.
Ocean: Exploring the Marine World – Father and Son, Kimbe Bay, Papua New Guinea, 2013 © David Doubilet Hudson Bay, Lechuguilla Cave © Max Wisshak
EDITED BY CLAIRE BLOW
© Joe Cornish / A Woodland Sanctuary
EXHIBITIONS
A Woodland Sanctuary
Joe Cornish Gallery, Northallerton,
North Yorkshire 7 January to 25 March
Originally displayed at the Inspired by… gallery,
Danby, in 2022, this beautifully conceived and
curated exhibition comprises photographs
made in the North York Moors National Park by
Joe Cornish and Simon Baxter. For both
photographers, the area’s woodlands have
been a source of exploration, tranquillity,
meditation, artistic study and inspiration.
joecornishgallery.co.uk
RPS Landscape Group Outdoor Exhibition

Southwark Cathedral, London
8 to 31 January
Following two successful outdoor exhibitions
in Edinburgh and York in 2022, the RPS
Landscape Group is bringing its latest show
to central London this winter. The 61 prints will
be presented on 22 panels, spanning almost
24 metres and displayed at the main entrance
of Southwark Cathedral on the South Bank
of the River Thames. the top prize with his wintry image of the Brecon in Gloucester. The next stop is Oxfordshire
rps.org/Landscape-EXPO22 Beacons from Pen y Crug hill fort in Powys. County Museum (21 January to 5 March), with
LPOTY 2023 opens for entries in January. more dates and venues to be announced.
Landscape Photographer of the Year lpoty.co.uk birdpoty.com
Manchester Piccadilly © David Longstaff / lpoty.co.uk
4 to 18 January Bird Photographer of the Year

The acclaimed LPOTY exhibition continues its Nature in Art, Gloucester
tour of Network Rail stations this winter, arriving To 15 January 2023
at Manchester Piccadilly on 4 January before Bird Photographer of the Year 2022 is the
travelling to Glasgow Central on 19 January. seventh edition of this global competition
The remaining stops will include Edinburgh celebrating the beauty and diversity of the avian
and Leeds, plus three London railway stations: world. More than 20,00 images were entered,
Liverpool Street, London Bridge and Waterloo. with Erlend Haarberg scooping the grand title
The 15th edition of the competition features with his environmental shot of a rock ptarmigan.
classic views, urban scenes, nocturnal All the winning images can now be enjoyed in
landscapes and more. Will Davies scooped a touring exhibition, which is currently on show
The Cuillin mountains from Elgol, Isle of Skye
Yosemite Forest Fire © Vaughn Sears / RPS Landscape Group Outdoor Exhibition Sage grouse, Colorado, USA © Peter Ismert / birdpoty.com
In conversation with
Edd Allen
Based on England’s south coast, amateur landscaper Edd Allen
is looking to capture nature at its most brooding and elemental.
‘I like to make my pictures really dark,’ he says
Interview by Nick Smith
is images are of waves and trees; familiar with work created in the genre by is intensified by his habit of giving his shots
H normally a single wave and often

a single tree. He tends to place
his subject on a central vertical
axis; sharp, saturated, simple. Most of
his images are dark with extraordinary
much better-known photographers such
as Rachael Talibart. He describes it as
‘fantastic’, but in his defence explains that
when he first started to visit Newhaven –
‘where the waves happen’ – he was at the
enigmatic single-word titles. We talk about
‘Colt’, which for all its synthesis of timing
and mood, is a masterpiece of geometry.
The light catches a wave plume shooting
vertically from a harbour wall on the central
highlights. ‘That’s my favourite thing to do start of his photographic career, ‘unaware axis, while the offset lighthouse to the right
in photography,’ says Edd Allen, ‘emphasising even of what a wave photograph was’. balances out faint whitetops on the left.
the contrast between dark and light.’ Living only a short journey on his The remainder of the image has a royal-blue
Newcomers to his portfolio might think mountain bike from the sea, Edd ‘just cast fading to inky black at both top and
that he shoots at night, or his images are happened to be there one day when a storm bottom. The upright edges are marginally
underexposed. Neither is true, but the came. I couldn’t believe what was happening.’ less intense, an effect that seems to widen
darkness is there for a purpose. For Edd, this He recalls how he rushed around trying to the shot out along an implied horizon.
is a better approximation of what we see when capture these dramatic moments. When There was no pre-planning for ‘Colt’, Edd
we look at the tonal dynamics of the natural he returned home and looked at his images explains: ‘The thing with wave photography
world. Bright pictures don’t interest him. on the computer screen, he thought: ‘Wow, is you just sort of turn up with your camera
An amateur photographer living on the this is what I want to do. Since then, I’m and capture what’s going on. It’s crazy
south coast of England, Edd – ‘I’ve no idea always looking at the weather. As soon because compositions are constantly
why I have another “d” in there, but I’ve had as there are strong winds, I’m there.’ revealing themselves for a second or two
it since I was a kid’ – is only too aware that Explaining his fascination with waves, and then a new one crops up.’ Edd says he
he’s not the only photographer to take on the 40-year-old says: ‘It’s the power, seeing shot in the region of 50 frames to get the
the storms that rage in the English Channel Mother Nature letting us know who’s boss. image right, ‘so that the waves aren’t
as his subject. He says that ‘obviously’ he’s Then there’s me, the spectator.’ The drama covering the lighthouse too much.
Previous Colt | Above Iris | Opposite (top) Moorland | Opposite (below) Divide
It all came together in that one moment.’ exposure properly.’ Even from a distance, In ‘Moorland’, taken on Pew Tor, he
Although ‘Colt’ looks like it is shot under from the safety of the shore, Edd routinely concentrates on the central solitary tree
moonlight, this is an optical illusion that gets soaked to the skin, which means that highlighted against a bank of black cloud.
reveals one of Edd’s most eye-catching he spends a lot of his time ‘wiping down In the right-middle ground, the landscape
style markers. ‘I like to make my pictures the equipment before the next shot’. is separated by a curve that could be a ditch
really dark,’ he says. He tends to use ultra- His dedication to getting wet means that or a low stone wall. The burnt orange of
fast shutter speeds to create his glass-like there’s an additional characteristic that the bracken that threatens to dominate
structures out of the waves, or ‘you can runs through Edd’s work. While there is a the colour palette abruptly turns into
play around with filters and longer times. school of thought that says the rare event emerald-green pasture. And then, there’s
Most won’t work, but you might get one of the rainbow should be celebrated with the last tenth of the rainbow diving into
or two with a painterly feel to the image. big, booming colours and colossal arcs, Edd the right-hand edge of the picture.
Normally, the spray is so intense, the lens uses understated fragments of rainbows In ‘Iris’, shot at Hope Gap, chalk cliffs to
gets covered before you can take a long as part of the compositional jigsaw. the left are counterbalanced by another
Opposite Revery | Above Absolution VIII | Below Absolution II | Bottom Revenge
Above First Sight | Opposite (top) Capture | Opposite (below) Anomic
rainbow neatly curving over a tiny boat nonchalant exterior lurks a photographer ramps, all that sort of stuff’. Towards the end
and pointing downwards to a small wave of steely determination, prepared to ‘run up of his career in action video, he found himself
breaking in the foreground. These images hills to get the shot I want, camera in hand, working on scenery shots in Brighton. ‘I was
are made more satisfying for Edd because never giving up’. Perhaps it’s Edd’s natural just doing stills that day. There were no riders,
‘we hardly ever get rainbows here. That’s modesty – he dislikes receiving any praise and it was much more relaxing. And I held
what I love about photography – those for his prowess as a photographer – but on to those feelings – it was much more my
moments when it just all happens.’ he shrugs off the idea of being a ‘tutored’ kind of thing compared with the fast pace
The way Edd describes his approach to photographer, preferring to think of himself of the BMX world. So, my mum, who was a
photography gives the initial impression that as a natural who ‘learned a bit’ from looking photographer, gave me her camera and told
these images are the product of luck more at the work of others. Unlike many landscape me to give it a go.’ He took the camera to the
than judgement; that his easy-going nature photographers, he hasn’t acquired his South Downs, and as soon as he got there,
is somehow content to remain unfazed expertise in the craft from books or videos. ‘I ‘I thought, this is what I’ve been searching
by whatever compositions the conditions learned how to do it in the field, to be honest.’ for in life. This is what I want to do. It’s not
allow him. He jokes that he ‘barely knows Edd’s route into photography wasn’t exactly the craziest story, but it’s how I started.’
how to use a camera beyond the basics’ conventional either. In another life, he was a Moving away from waves, Edd’s woodland
and isn’t possessed of any great technical videographer for a BMX company, ‘shooting and countryside landscapes are of equal
knowledge about equipment, but behind this guys flying down some stairs or hurtling up importance to his portfolio. When asked
what the connection between such dissimilar other than, ‘I’m never happy with my image Perhaps one of the reasons Edd’s
subjects is, he explains, perhaps unnecessarily, unless it’s dark. I like to make it darker and photography strikes the viewer as so fresh and
that ‘waves are nothing like a static tree darker and then find the highlights.’ He goes original, both in atmosphere and structure, is
standing in a landscape, where you can spend on to say that he’s naturally suspicious of simply that he’s not particularly influenced by
as long as you want’. Again, he understates his landscapes that ‘look like pretty postcards other photographers. He admits that this is
creative position, because while ‘there’s only in travel magazines’. His aversion to bright an aspect of his work that he doesn’t ‘put too
a certain amount you can do with waves,’ to compositions using – in something of an much thought into. I try to walk around with
make your mark on landscape photography, irony here – ‘every colour of the rainbow my camera without any preconceived ideas.’
you need to be far more original. Edd’s point has driven me to do something different. When it comes to single trees – ‘arguably
of difference is his trademark moodiness of I even give my pictures miserable names.’ my favourite subject’ – he says that, along
the images. ‘Going back through my photos, Perhaps miserable is a bit strong, but going with a friend that he often goes out in the
I noticed that my pictures have got darker through them – ‘Decay’, ‘Impend’, ‘Bound’, field with, ‘we’ve become obsessed with
and darker over the years. So, I guess that the ‘Loom’, ‘Conclude’, ‘Isolate’ – does feel a finding them. I love looking for them and
natural progression is that one day I’ll end up little like reading a list of names rejected for giving them each their own little spotlight.’
with a black screen.’ He’s joking, of course. the title of an album by the Cure. ‘I’ve tried
When asked to explain this tendency, he giving my pictures nice names, but they To see more of Edd’s work,
states that he doesn’t know what’s behind it, never go hand in hand with the image.’ visit eddallenphotography.com.
ONE MONTH, ONE PICTURE
If beauty really is in the eye of the beholder, can the beholder’s eye be trained to be more receptive to beauty?
This is the question Pete Bridgwood poses as he attempts to emphasise this infinitely mercurial aesthetic quality
Einstein advised that in order to better When all of these important attributes a camera. They say beauty is in the eye of
understand any concept or process, it is are honed to perfection, the overarching the beholder, which might appear to simply
necessary to break it down into its simplest, common denominator that lies behind all suggest that whether or not something
most basic elements, so I’ve been wondering of these characteristics and elevates a good is beautiful is a matter of personal taste.
how we might apply this idea to landscape photograph to a great one is beauty. However, there’s another side to this saying:
photography. What are the magical True beauty is nuanced, never blatant whether or not something beautiful is seen
ingredients that go into making a great or manufactured, so I was mindful of this at all depends on whether or not the beholder
landscape photograph? when processing my image of these arboreal is open to seeing it.
Of course, the effective visual translation friends, enveloped in a mesmerising layer Our mind naturally blocks out all
of any given scene demands an understanding of mist, accompanied by an exquisite pastel the boring stuff that we see, but as
of light, mastery of composition and an sunrise. Subtlety is key when processing an photographers, we can train our beholder’s
understanding of all the technical elements image like this – we can easily destroy the eye to be more receptive. Practising the art
surrounding photographic capture and moment by over-exaggeration of contrast or of visualisation – putting imaginary square
process. Technically proficient workflow saturation, and once the viewer determines and rectangular frames around the potential
is a necessary precursor to ensure we can that an image looks unreal, we’ve lost them. compositions that life places before us, from
create a good photograph, but what is it I don’t know if I’ve necessarily created a moment to moment – is a fabulous way of
that defines a great one? great photograph, but the creative process fine-tuning our visual cortex to be more
Once we have mastered the basics, of attempting to emphasise beauty was receptive to beauty.
our thoughts may turn to important certainly a very pleasurable exercise.
compositional and emotive concerns, such One fabulous thing about photography Hoveringham, Nottinghamshire
as geometry, symmetry, simplicity, order, is that it encourages and improves our Fujifilm X-T2 with XF16-55mm f/2.8 R LM WR
depth, contrast, colour, mood and mystery. visual recognition of beauty. The trick is lens at 30mm, ISO 200, 1/8sec at f/5.6,
But these are all secondary elements. to train our brain to learn to see more like Adobe Lightroom: Vintage 10 Profile
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The unteaching process
Niall Benvie believes that formulaic ways of thinking prevent us from being truly creative. He talks
to Graeme Green about conservation photography, caviar with ketchup and the secret of a good life
cottish photographer Niall Benvie Scotland and originally working as a berry International League of Conservation
S hits the nail on the head when he

talks about ‘the normalisation of the
extraordinary’ in photography. The
accessibility and popularity of photography,
along with improvements in digital cameras
farmer, Benvie, a self-proclaimed ‘contrarian’,
has stood out over the decades by following
his own path and exploring new ways to
present his ideas about nature and the
environment. In his new ebook, Making Art
Photographers, and has created and worked
on other projects using photography to
communicate scientific and environmental
issues, including Wild Wonders of Europe,
2020VISION and Meet Your Neighbours. He
and editing software, and platforms like with Your Camera, he shares artistic ideas, has worked and led workshops in countries
Instagram, mean we’re now swimming in from deconstructing landscapes to how to across Europe, including Scotland, Iceland,
often-exceptional images from around the present images in series, and advice on how Norway, Latvia and Estonia. Since 2020, he
world. Standing out from the crowd, and photographers can develop their own creative has been based in Morvan in central France,
standing out for the right reasons, is a challenge. thinking and photographic style. working as one of the directors of Food and
Born in Arbroath on the east coast of Benvie was a founding Fellow of the Photography Retreats.
Graeme Green Can art and creativity

be taught?
Niall Benvie The techniques definitely can.
The thought processes can. A lot of it is
about being open to ideas. Creativity can
be taught by unteaching the formulaic
ways of thinking people have learned at
school or university. It’s an unburdening
process to let the creative side come out.
GG How do you define ‘art’ in photography?

NB Art is whatever people want to call art.
Rather than trying to define it, I say there’s
substantial art, which gives you something,
and art that’s there to impress. It’s the
difference between pictures that are purely
decorative and pictures that lead you into
thinking about things, exploring what’s
happening beyond what you see in the
frame; pictures that are a bit more giving
or substantial.
Left
Offer a hungry person a single chunk of
chocolate and they aren’t likely to be satisfied,
but offer the whole bar and it’s a different story.
The same principle applies to single close-ups
of rock, or lichens or urban details, as we have
here. However, present them together in a single
piece of work and they acquire a presence,
collectively, that they lack alone.
Opposite
Foxglove illusion. I sampled the foxglove’s
colours then displayed them in the surrounding
circles. While that process itself energises the
picture – as the circles appear to move about
as your gaze shifts – the gaps between are also
filled with after-images. This is the phenomenon
whereby the opposite colour to the one you’ve
been staring at appears momentarily when
you look towards a blank area of the page.
The overall effect is an effervescent experience
of colours where the identity of the plants
that provide them becomes incidental.
GG How can people go about creating more
substantial or ideas-driven work?
NB Someone once said that if you want to be
a more interesting photographer, be a more
interesting person. It’s about the experiences
you have and the maturity of your worldview
you form in that process. If you can then
find a way to communicate that to other
people, that’s great. I’ve looked at what’s
considered art photography by people in the
know over the years, and I find a lot of it quite
insubstantial. I’m a curious person, but a lot
of the time, when I look below the surface,
there’s nothing there.
One guy at a gallery told me, ‘Photography
becomes art when I hang it on the wall of my
gallery’. The problem is that for most people
who decide what art is, art is generally talking
about the human condition, whereas what
outdoor photographers are interested in is
what happens in wild nature, unmediated
by us. So, those gallery owners often have no
understanding of how the natural world works.
The metropolitan art establishment isn’t well
positioned to comment on pictures about the
natural environment in the way we are.
GG In your book Making Art with Your

Camera, you talk about ‘the normalisation
of the extraordinary’ and a creative ‘arms
race’ with photographers vying to create
images with impact that get people’s
attention – is it becoming more difficult
for photographers to stand out?
NB The notion of the ‘arms race’ is tied up
with generic photography. People talk about
a squirrel jumping, an osprey diving or a
wildebeest crossing. In the past, they’d go with
better sight, better angles, better light. Now
they’ll maybe reach for editing software to
help gild the lily. I think that’s futile. I’d like to
think mature photographers who’ve tried a lot
of stuff are not interested in doing that.
I’ve always been a visual person, thinking
about ideas and concepts. My approach is to
follow my own ideas and interests, to try lots
of techniques and approaches. It’s about
finding new ways to illustrate ideas.
Left (top)
Great skua. I process images according to what
I want to convey about a subject. I wanted to
imbue this one with a sense of menace which,
to me, is quite appropriate for the great skua.
Left
Google captchas are a demoralising but
nevertheless well-understood form whose
familiarity I’ve leveraged to signal, in a fresh
way, the biological richness of our part of
France. Subverting a ubiquitous form is more
immediately understandable for the audience
than one you invent from scratch.
I’m also a fan of sharing ideas, so people
can copy you, but along the way do something
smart you didn’t think of before. There’s a
snowballing effect. A lot of photographers
miss out on that, as they’re very guarded.
GG In the rush to stand out, do you think

people are making mistakes and over-
processing images, such as heavy saturation
or clearly artificial lighting?
NB For my personal taste, yes. I don’t know
what goes on in their thought process. If it’s
upping the saturation five notches so it will
stand out more than other images, that’s pretty
vacuous, and someone else will just come along
and up their saturation another five notches,
until it’s at the end of the slider. It’s a dead end.
I don’t like putting any negative comments
on Instagram, unless I receive a sponsored post
of a picture like that. The last comment I wrote
was: ‘This is caviar with ketchup.’
GG In your previous book, Retrospective, you

described yourself as a contrarian – do you
think that’s useful for being creative?
NB Yes, because you never accept anything
on face value. You retain a little scepticism,
which is part of being Scottish – it’s within the
national character not to get overly excited
about things. A willingness to question things
is a useful trait, and not just to think, ‘This
is the way to do it’, but to question, ‘Is there
another way to do this?’.
GG You were involved with the

International League of Conservation
Photographers, and set up other
conservation-focused photography
initiatives – what good do you think
photography does in the mission to promote
conservation and environmental issues?
NB I’m afraid to say I had a volte-face from
2005 to 2022, and now my feeling is that the
best thing a conservation photographer can
probably do is give up photography and start
planting trees or doing something practical
instead. I was at the founding meeting of
the ILCP in Anchorage in 2005 with Cristina
Mittermeier and there was a great buzz. We all
believed we’d get great engagement from the
scientific community and help them advance
what they were saying, to popularise it by
marrying science with our photography. That
engagement, by and large, hasn’t happened.
Right
Stag beetle and Moorish gecko psychedelia.
This is a hybrid of field studio photos (for
the animals), in-camera multi-exposure
‘kaleidoscopes’ and Blending Mode fun.
I use the kaleidoscope patterns to give each
creature its own identity; like people, they are
all individuals, in spite of outward appearances.
Left
The many faces of the Icelandic horse.
‘Chocolate bar’ images, if nothing else, give
the viewer more to look at, as well as more
information about the subject than a traditional
single image.
Left (below)
Luskentyre Chocolate Bar. I love the colours
of Luskentyre but, just as fascinating – if
overlooked – are the patterns that form in
the sand near the river that flows into it.
I see a cohort of people coming up now who

are not in the ILCP but use the ‘conservation
photographer’ label as a branding device.
There are a few good examples where
a photographer has made a difference, such as
Peter Dombrovskis in Tasmania – his photos
were instrumental in stopping the Franklin
River Dam. There have been a number of
projects in North America that brought about
substantial change. But they’re vanishingly
small. What I keep thinking is: we’ve been
taking marvellous photos of nature for many
years, writing about it, banging on about it,
but are we better off? No. We’re in a much
more perilous state than we were previously.
GG Is it possible we’d be in an even more

dire state if it wasn’t for photographers
communicating big issues and
environmental and nature stories?
NB That’s a valid argument. There have
been campaigns that have used very strong
photography. The world would be worse off
without the nature reserves in the Hawaiian
archipelago which Susan Middleton and
David Liittschwager were photographically
responsible for bringing about through
their influence with Laura Bush. But the
idea that photography will save nature
is overstated. Photography is part of the
consumer culture, even if we think we are
conservation photographers.
Opposite
Roadside flowers in the Morvan. I believe that
viewers regard these pictures as illustrations
rather than as literal representations of green
spaces and as such I’m comfortable scaling
the different subjects for aesthetic effect rather
than strict observance of their relative size or
when in the season they appear. Nevertheless,
the composites comprise animals and plants
that occur in the same regional biological
communities, even if they do so at different
times of year. This approach makes for an
effective representation of biodiversity at a time
when popular understanding of its capacity
to enrich us is slowly, belatedly, growing.
GG Is there a story or project you’ve worked hedgerows, maybe like Sussex was 100 years Above
on that you think had a positive impact? ago, with lots of wildlife and a lovely climate. Stating colour explicitly is central to the idea
NB You never know what can lead on from We decided one summer: we have a pot of behind colour sampling, be that on a landscape
children being educated at an impressionable money, we should buy a house. At one of the or close-up. These images make colour central-
age. The Meet Your Neighbours project that places we went to, just as we were leaving, we stage rather than an add-on.
Clay Bolt and I started in 2009 was almost an heard a golden oriole singing in the garden. We
open-source project. We made a technique thought: OK, that seals it, we’ll have this one. photography are both creative pursuits, and
available to people, so you could see the subject We do retreats all over Europe, but highly enjoyable, especially when they’re done
clearly against a white background. People increasingly, we want to do more here, as in the company of other people.
could take that technique and go off and do there’s so much to show people. We’re not Where we are, we can sit outside eating
their own thing with the project. A number into ‘trophy hunting’ and bagging things. in the evenings with nightingales singing in
of Meet Your Neighbours photographers have We introduce people to ideas and take them the background. There’s sunshine, and you
gone on to teach in classrooms and introduced to nice places, but we slow the pace down – can hear woodlarks and other birds through
children to nature. In the long term, that may there’s lots of lovely food and a nice ambience. the summer. Having lived in the east of
well have sown an interest in children. We encourage people to really think about Scotland until I was 56, I find the quality
their photography and what they want to do of life here is so much more enjoyable.
GG Why did you move to France? with it, and give them the techniques and I feel completely at home.
NB My wife, who’s English, has her parents ideas to go forward.
and sister living here. We could buy a house Making Art with Your Camera is
and piece of land here in France for a fraction GG By combining food and photography, available from benvieart.eu, price €15.
of what it would cost in Scotland. Where have you discovered the secret of a good life? For Food and Photography Retreats see
we are, it’s old, rural France with fields and NB We like combining the two. Food and foodandphotographyretreats.com.
READ ANYWHERE FROM
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LIE OF THE LAND
Dawn’s rich light

Always one to shun pointless arguments and cliques, Mark Littlejohn
instead shoots – and processes – only for himself and the image
he saw in his mind’s eye at the point of capture
I never see much argument about subject was an awkward schoolboy. I take pictures
matter among landscape photographers. for myself. I only have to please one person –
There might be a wee bit of angst about and I’m not talking about Mrs Littlejohn.
whether or not to shoot clichés, or whether But that doesn’t mean to say that I just
we should divulge the precise location of our set the sliders to 11 and forget about them.
latest masterpiece, but whatever your point I usually envisage the end result as I’m
of view on any of these topics, you aren’t taking my shot – I see something in my
likely to see someone get too vociferous or mind’s eye – and it’s that something that
involved in a shoving match. I want to process; to accentuate what it
Start talking about processing, however, was that I saw in my mind’s eye.
and it’s a different story. Polite disagreements I’m not really fussed about breaking any
turn into pistols at dawn; a duel to the death, imaginary rules. Or what others think of
with no one willing to back down. But who is me as a result. We have to remain true to
to say what is right and what is wrong? When ourselves and our artistic inner self. Embrace
it comes to competitions these days, there your uniqueness, your individuality. Take
seems to be one for each different level of the pictures you want to take. Process them
processing. Each to his own, but at times the way you want and present however you
I get the feeling that different camps form; see fit. Take no notice of keyboard warriors
we split into little cliques. and turn your back on silly arguments.
We might be talking about colour Look instead to your pictures and think of
photography, but we are looking at it in the satisfaction you felt when you saw that
black and white – and there isn’t anything image appear on the big screen, exactly
remotely resembling 19% grey. But life is as you saw it in your mind’s eye with the
one huge grey area – there is no black, there camera in your hand, standing on the fell,
is no white. I’m not interested in these looking at dawn’s rich light breaking on
arguments. And I’ve hated cliques since I the mountains in front of you.
LEARNING ZONE
Harness
the beauty
of winter colour
While it’s tempting to see winter as
a season of darkness and dormancy,
it’s also a time of muted colour palettes
and enhanced atmospheres. Landscape
specialist Emma Stokes guides us
through the many and varied facets
of winter’s creative possibilities
Ever since I started photography, I have been
drawn to the use of colour to portray atmosphere
in a scene, and with winter offering some of the
most atmospheric conditions, but arguably the
least colour across the landscape, a different
approach is sometimes required. While traditional
landscape photography techniques still have
their place, creative, minimalist or intimate styles
can help us get the best out of this time of the
year. Of course, as with most forms of outdoor
photography, the right conditions are important,
and although getting up in the dark on a cold
Colourful frosted silver birch leaves backlit by the morning light. winter’s morning may not appeal, the potential
Canon EOS 5D MkIV with 70-200mm lens, ISO 200, 1/1000sec at f/3.5 for mist and frost often makes it worth it. Here
I share some different approaches to capturing
winter colour as well as some tips for increasing
your chances of finding the best conditions.
WOODLAND TRANSITION
The meeting of two seasons is such a wonderful
time of fusion, with the outgoing season often
lingering long after the calendar tells us it is over.
This period of change creates storytelling photo
opportunities, and none more than when trees
seem frozen in time as autumn leads into winter.
With certain species such as the oak and beech
losing their leaves later than others, and the
chance of early frosts delaying leaf fall further,
there are lots of opportunities to look out for.
Early on in winter, frost is often more localised,
found in areas where the ground temperature
has started to edge below zero, so it is worth
heading to exposed or elevated ground rather
than urban areas to find these pockets of frost.
A telephoto or macro lens will help you to focus
in on intimate scenes, and use of a square crop
can help draw the viewer’s eye in further. Look
out for colourful frost-edged leaves still hanging
on to trees – with frost more likely on a clear
morning, a chance of early morning sunlight can
offer a striking rim-lighting effect. Alternatively,
you can capture a crisp carpet of fallen leaves
to fill the frame with texture and definition.
Take time to look for relationships between the
overlapping shapes or opt for frost-laden ferns
Bracken frozen in time. Canon EOS 6D MkII with 24-105mm lens, ISO 100, 1.3sec at f/22 and bracken for a more architectural feel.
LEARNING ZONE
LEARNING ZONE
Frosted gritstone in the Peak District. Canon EOS 6D MkII with 17-40mm lens, ISO 800, 20sec at f/11
BLUE HOUR
With the sun rising at a more sociable hour the start of nautical twilight. Time spent in some visual interest. In near darkness,
and with the potential for frost and fog, winter advance planning your composition, working focusing can prove challenging, so take
is perhaps the best season for capturing the out the route to your preferred location and a torch to help to focus on foreground
blue hour. So called because of the blue light preparing for the cold weather is essential elements or try setting your manual focus
waves filtering through the atmosphere when to help you make the most of your time. ring to near infinity for a more distant view.
the sun is a few degrees below the horizon, When choosing your composition, this With the deep blue tones of early dawn
it can occur even in fairly overcast conditions, near-monochrome style of photography will providing a key atmospheric element,
making it more reliable for photographers benefit from strong elements, interesting it is a good idea to check your white
than the often-favoured golden hour. To make textures and contrast, but the subtle balance, then enjoy capturing one of the
the most of the changing light, aim to arrive at presence of complementary or contrasting most atmospheric parts of the day as the
your planned location in near darkness before colours such as urban lights can bring landscape emerges from the darkness.
A golden winter sunset turned my local lake into liquid gold. Canon EOS 5D MkIV with 70-200mm lens, ISO 250, 1/500sec at f/4.5
WATER ABSTRACTS
We don’t need to travel far in the UK to be created using just the ripples alone, with circles and overlapping patterns which can
reach a river, stream or lake, all of which can a gentle breeze of about 4-7mph providing be captured to great effect. A telephoto lens
offer wonderful opportunities for abstract enough friction to bring the surface to life. is needed here, and handholding the camera
photography. I find the process of capturing If you want more interest in your image, fallen or using a monopod will give you greater
this type of image can be just as rewarding, trees or reeds can create striking silhouettes versatility. Using manual settings to control
if not more so, than the end result, with where straight lines seem to liquify on contact. shutter speed and aperture is essential,
colours dancing across the surface producing After rainfall, even if conditions are and you can try shutter speeds to either add
a mesmerising effect. Given the right still, water drops falling from overhanging sharpness and definition or slow down the
conditions, intimate abstract images can branches can produce beautiful concentric motion for a more impressionistic feel.
LEARNING ZONE
TREE COLOUR
After the vibrant reds and golds of trees
in autumn, the dormant period can seem
devoid of colour. However, you don’t have to
look far to find some subtle tones in trees as
they prepare for spring. The silver birch can
display a reddish haze above striking white
trunks, and the weeping willow with its arching
golden branches is another prime example.
One perhaps lesser known species is the
alder, a tree native to the UK with distinctive
purple catkins and cones. Often found
growing along riverbanks and lake edges,
this cone-shaped tree can offer serene
reflection opportunities and, as with any
tree or vegetation, damp conditions can
help to enhance its tones. With purples,
reds and golds to choose from, look out
for conditions best suited to their colour.
Complementary tones help to add further
tranquillity to a scene, with the golden hour
bringing out the golds of the arching willow,
and the pink hues of a misty winter’s sunrise
or the cool blue of early morning frost
creating synergy for the alder’s purples.
Left This birch had great close-up potential.

Canon EOS 6D MkII with 24-105mm, ISO 100,
1/80sec at f/4
Below Pastel colours. Canon EOS 6D MkII with
70-200mm lens 110mm, ISO 100, 1/5sec at f/11
LEARNING
LEARNING ZONE
ZONE
WINTER IMPRESSIONS
Intentional camera movement (ICM) is enough to create such images, and in winter, light, as these will naturally influence the
an acquired taste, but whichever side of there are few better places to capture this look and feel of the resulting image. You
the fence you fall, there is no denying that than on the coast where there is plenty of may wish to capture the pastels of a cold
it is the most impressionistic of genres, reflected light, and wide-open coastal vistas winter sunrise or the slate greys and blues
encapsulating the essence of a scene and provide larger compositional elements. of an incoming weather front, depending on
conveying a sense of mystique. Larger areas If you are new to ICM photography and your preferred photographic style. Shooting
of differing tone, light and colour are often want to try it, consider the conditions and towards the light will provide more contrast
in your image, which can add some depth to
your winter scene. Plus, at low tide, wet sand
not only acts like a large mirror for the tones
above, it can also help create lagoons and
ripples, adding tonal variation to the scene.
Depending on the time of day, neutral
density filters will be required to slow your
exposure, and a shutter speed of between
a quarter of a second to a few seconds, with
a variety of different movements and pausing
techniques, will start to bring results. Trial
and error is par for the course with ICM
photography, but once you have found
a look you like, its rewards can be many.
Above Winter impressions at the coast.

Canon EOS 5D MkIV with 70-200mm lens,
ISO 160, 1.6sec at f/9
Left Shooting towards the light can bring
a dynamic feel to the image.
ISO 160, 2sec at f/10
Above Afternoon light at Camber Sands, Sussex.
ISO 100, 1/640sec at f/6.3
Left Soft winter light at Beachy Head in Sussex.
ISO 100, 0.8sec at f/16
WINTER LIGHT
ON THE COAST
With the sun lower in the sky throughout
the shorter days and sunset colours
often lasting longer in the winter months,
heading to the coast will help you make
the most of the unique light. In all but the
clearest of days, there are photographic
opportunities to be found, with the skies
changing throughout the day. High clouds will
create diffused light, bringing subtle winter
tones to a scene, but if it is vibrant colour
you are after, look out for a combination of
different cloud layers, which will light up
with an array of colour as the sun sets.
The skies found ahead of a warm front or
on the edges of a band of slow-moving high
pressure can often bring the best results.
Wideangle lenses can help you capture
the sense of open space at the coast, with
sand, water ripples or streaks of cloud all
providing lead-in lines to draw the eye into
the image. Alternatively, opt for a telephoto
lens to create a more minimalist feel. Neutral
density filters can be used to slow down
the water movement to create a softer
look, with half a second of exposure being
enough to transform a scene or to introduce
lead-in lines as the waves ebb and flow.
LEARNING ZONE
LEARNING ZONE
10 TIPS FOR WINTER

COLOUR SUCCESS
1 Invest in good-quality winter clothing,
especially for your extremities. There
is nothing worse than feeling the cold
in your fingers while trying to get your
camera settings right. Hand warmers
are also a great addition to your bag,
especially if you’re going out at dawn.
2 Batteries can lose power quickly

in cold weather so take plenty of
spares and keep them in a warm inside
pocket to ensure they last as long as
possible in the cold weather.
3 Try to put textbook compositions and

techniques to one side and instead
go with your instinct. Absorb yourself in
your work to capture the feeling of a scene
and spend time working out what it is that
has drawn you to photograph it.
4 Lighten your kit bag by taking just

one lens with you. A telephoto lens
is a great option and will encourage
you to think creatively.
5 Try out different aspect ratios – we

are so used to fitting the landscape
into a 3:2 aspect ratio, we sometimes
forget to try alternatives. A panoramic
crop can eliminate dead space while a
square crop can help to focus the image
in an intimate woodland scene.
6 Check your white balance. While

auto white balance can work well
most of the time, in certain conditions,
such as the blue hour, it will
overcompensate, so spend a few
moments getting it right in camera.
7 If venturing out at dawn or dusk,

always make sure someone knows
where you are heading, and take a fully
charged phone, torch and provisions.
8 Get up and out. Even if the

conditions are not looking
favourable and the cold outside is not
appealing, there is often something to
photograph and it is one of the best
ways to start the day.
MIST
9 Protect your gear. Condensation
can wreak havoc on your camera
gear so avoid exposing your camera and
With colder nights in winter bringing a greater
chance of early mist, we are often blessed
A frosty January in the Sevenoaks Weald, Kent.
with a natural filter which diffuses any morning ISO 100, 1/100sec at f/11
lenses to sudden temperature changes colour and adds to the tranquil atmosphere
when you get back home by leaving your
of a scene. With mist often forming locally, you can carry out your own mist forecast.
camera bag closed while it warms up
to room temperature. typically along valley floors and over bodies Search for an elevated view and use a
of water, it is not always mentioned on the telephoto lens to capture the tonal layering
10 Manual mode can be essential

if the conditions and light are
changing quickly, or you just want to take
regional weather forecasts, so it is worth
spending time getting to know your local
along a valley, or you can consider a minimalist
approach along the valley floor to make
area and learning what weather conditions to the most of the already simplified scene.
your creative photography to the next
level. Spend time learning how to change look out for. Cold, still nights, high humidity Atmospheric silhouettes or rays of sunlight
settings quickly when time is not of the and air temperature close to dew point all breaking through a group of trees all create
essence to ensure you don’t miss that contribute, and with some weather apps eye-catching images and if shooting into the
shot when the conditions are right. such as Clear Outside providing helpful sun, be sure to underexpose your images,
colour coding for some of these elements, bracketing if necessary, to capture its outline.
LEARNING ZONE
How to photograph travel icons

Heading overseas to escape the winter blues this year? If so, you may want to take in a travel icon or two. Jeremy Flint
shares his tips and advice on capturing memorable images of the world’s most recognisable landmarks and structures
Travel icons are symbols that represent the such as the Taj Mahal in India, the Great see these majestic sites with your own eyes is
world’s most awe-inspiring sites. As some Wall of China, Machu Picchu in Peru, the a truly magical experience. Understandably,
of the most recognised wonders on Earth, Golden Gate Bridge in San Francisco, the this is the reason why many people travel,
travel icons comprise a range of landmarks geothermal wonders of Yosemite and the as it is rewarding and immensely satisfying
and structures both natural and man-made. Sydney Harbour Bridge to name a few. to witness and photograph travel icons
They include some of the most captivating While the popularity of these locations and for yourself, an experience that will
and compelling subjects you can visit, the expense of travel can be challenging, to become etched in your memory forever.
LEARNING ZONE
LEARNING ZONE
RESEARCH
Many of the world’s most remote places Good photography planning is essential
are now more accessible than ever and you for more successful shoots, as it reduces any
can jump on a plane and be on location to unnecessary stress caused from unforeseen
photograph an iconic destination in a matter events, such as the disappointment of carrying
of hours. Start by identifying the famous sights a tripod only to find that you’re not allowed
you want to see and plan a time to visit. Some to use it. The Blue Mosque in Turkey and the
travel icons, such as the Houses of Parliament, Taj Mahal in India are two prime examples
Stonehenge and the Eiffel Tower, are closer to of locations that won’t allow you to bring in a
home, while others, such as the Grand Canyon tripod, so consider this when planning your trip.
and Angkor Wat, are further afield. While luck does sometimes play a part in
When conducting your research, think capturing great travel photography, you will
about when and where you want to go and the likely get the best images by spending a bit
best times of day to visit. Some of the world’s of time at the planning stage and by factoring
top travel sites are only accessible during in a bit more time to visit a place. If you aim
particular hours, so do your research and time to visit in a particular season, this will help
your visit accordingly. Research is a great way you to capture some interesting and varied
to build your knowledge about a destination images from your chosen destination with
and is a worthwhile method to generate ideas a variety of light and conditions. While the
of what you want to photograph and the types weather can’t be predicted, good planning
of images you would like to create. can pay dividends.
USE A TRIPOD
One of the most important pieces of kit for stable. One of the biggest advantages is
creating captivating images of travel icons is that you can blur motion, such as people in
a tripod with a stable head. When you travel a crowd, and keep your main subject in sharp
to the far-flung corners of the world, ensuring focus. Movement in your images can give
this set-up can take the weight of your camera dynamic results, as the use of a tripod can
and lens comfortably is vital to eliminate support lengthier exposure times. If you are
any potential movement that may occur in shooting at dusk or dawn, you can also take
windy conditions. I use the Manfrotto 405 Pro advantage of the longer exposure times that
Above
Machu Picchu, Andes Mountains, Peru. Geared Head, which ably supports my kit present themselves at these times of day. Also,
Canon EOS 5D MkII with 17-40mm lens when shooting with a DSLR and heavy the spirit level provided is a wonderful way to
at 19mm, ISO 100, 1/8sec at f/11 telephoto lenses. keep your horizons straight and composition
Using a tripod gives you the creative freedom level. If you want to travel light, you can still
Right Taj Mahal, Agra, India. to capture long or short exposures, depending achieve great results without the use of a
Canon EOS 5D MkII with 24-70mm on the lighting and the type of image you want tripod, especially if you have built-in image
lens at 70mm, ISO 100, 1/5sec at f/14 to achieve, and helps to keep your set-up stabilisation when shooting handheld.
LEARNING ZONE
Tower Bridge, London, England. Canon EOS 5DS R with 16-35mm lens at 16mm, ISO 100, 15secs at f/11
HAVE PATIENCE CREATIVE COMPOSITION

One of the best pieces of advice I can give Applying conventional composition line provides balance and interest, as in this
is to have patience, as it can be hugely techniques such as leading lines and the image of a monk in Myanmar.
beneficial to the outcome of your images. rule of thirds can make for more dynamic But don’t be afraid to break the rules by
There will likely be many people visiting, shots – leading lines draw the viewer into simply placing your main subject front and
such is the popularity of these sites, and a scene, while placing elements on a grid centre. This can work really well depending
monuments such as the Taj Mahal and the
pyramids of Chichén Itzá can be challenging
to photograph well because they are usually
streaming with crowds. Plan to visit during
quieter times when large tour groups have
dispersed and the hordes of tourists have
gone for the day. Early mornings and late
afternoons are usually the best times for
encountering fewer people and the best light.
As crowds can really test your patience, if
your only option is to visit during busy times,
just wait for the gaps in the crowds – they do
eventually come and hopefully you will be
rewarded for your efforts.
Achieving epic shots of famous sites takes
time, and patience is required in abundance
when waiting for the light. In fact, waiting can
be one of the most enjoyable and rewarding
aspects of photographing travel icons,
as catching a glimpse of a special landmark
or structure bathed in glorious light, if only for
a few seconds, is amazing. Once you have
found a good spot, the next step is to find Monk at Shwezigon Pagoda, Nyaung-U, Myanmar.
a good composition… Canon EOS 5D MkIII with 24-70mm lens at 32mm, ISO 640, 1/60sec at f/815secs at f/11
LEARNING ZONE
LEARNING ZONE
on your subject and clearly identifies
the focal point of your image. With
this shot of a fisherman on Inle Lake,
Myanmar, I positioned the subject in
the centre of the frame and added his
conical fishing net for more impact.
There are several other techniques
you can apply to enhance your
composition. Find a new angle and show
a famous landmark in a new way, or use
lighting to your advantage to make your
images stand out. Travel icons can look
incredible when captured in dramatic
or overcast conditions, conveying very
different moods. For example, mist and
fog adds coolness and muted tones to
an image, while sunlight creates
warmth and vibrancy.
Framing is another compositional tool
that can be used to add context and depth
to familiar landmarks. Frames that work
well are those that complement the main
subject in terms of colour and shape, but Leg-rowing Fisherman, Inle Lake, Shan Hills, Myanmar.
don’t compete for the viewer’s attention. Canon EOS 5D MkIII with 24-70mm lens at 24mm, ISO 100, 1/200sec at f/5.6
The Great Wall, Beijing, China. Canon EOS 5DS R with 24-70mm lens at 24mm, ISO 100, 1/160sec at f/8
LEARNING ZONE
CAPTURE A
UNIQUE ANGLE
Instead of taking the same tourist shots as
everyone else, I challenge you to find an
unusual angle of these familiar travel icons.
This is one of the greatest challenges with
photographing such well-photographed
locations. Strategies to employ include
shooting away from the tourist traps or
combining two aspects of a landmark to
differentiate your image.
Architecture often features several distinct
elements in its design that can be shown as
abstract details, so get up close and fill the
frame if possible. Consider what it is that
interests you, whether it’s the shape, colour
or details, and find a way to show those
features in the frame. Also, including people
is a great way to add context and scale.
I captured this image of a priest walking
under the torii gates of Fushimi Inari Shrine
with his umbrella in the rain.
Alternatively, try visiting out of season With people tending to travel outside Above Fushimi Inari Shrine, Kyoto, Japan.
when the weather is more variable. For of the UK more over winter to escape to Canon EOS 5DS R with 24-70mm lens,
instance, spring for magical mist, autumn sunnier climates, I encourage you to escape ISO 3200, 1/60sec at f/2.8
for golden foliage, winter for a blanket of the winter blues, explore a travel icon and
snow. Any additional elements will help you capture the beauty it brings. The photos you Below Chichén Itzá, Yucatán, Mexico.
to create something unique that stands out take can provide some of the best memories Canon EOS R5 with 24-70mm lens at 24mm,
from the crowd. and souvenirs of your travels. ISO 100, 1/125secs at f/11
LEARNING
LEARNING ZONE
ZONE
Bagan, Myanmar.
Canon EOS 5D MkIII with 70-200mm lens 10 TIPS FOR TRAVEL ICON SUCCESS
at 200mm, ISO 100, 1/30sec at f/11
1 Plan ahead and time your visit to capture

the world’s iconic sights out of season
and wait for gaps in the crowds to appear.
ADD A SPLASH
OF COLOUR
when there are fewer crowds and less people
likely to be in your images.
7 Shoot travel icons in dramatic and
overcast weather, or even rain, to capture
something different to the countless classic
Colour can be used to add contrast,
draw the viewer’s eye and complement 2 Visit during the winter or spring to add
a seasonal element such as snow or
shots found on social media.
the main subject. Vivid flowers in the

foreground or background of your
vibrant colours.
8 Add a splash of colour in the
foreground, background or main subject
composition can enhance a landscape, 3 Challenge yourself to capture a travel

icon from a new angle – it’s a great way
to bring images to life and enhance the mood.
while a muted sky at dawn or dusk can

provide the perfect backdrop, particularly
to develop your own vision.
9 Travel light and be selective with kit.
Only take the things with you that you
if the subject is bright and colourful.
Backlit scenes with warmer golden hour
4 Use a tripod to facilitate slower shutter
speeds and create more dynamic
images with blurred lights or people.
plan to use that day and leave the rest behind.
You will enjoy the experience more and your
tones will add drama and depth, while back will thank you for the lighter load.
the cooler tones of the blue hour work
particularly well when coupled with the 5 Don’t be afraid to break the classical
rules of composition and place your
main subject in the centre of the frame.
10 Most importantly, enjoy your
adventures. If you are having fun,
ambient lights of a bustling city. you will likely be more relaxed and more
likely to create those special shots you
6 When in the company of many people
visiting the world’s best sites, be patient have always dreamt of capturing.
IN THE SPOTLIGHT
Stu Meech There are a lot of colourful foregrounds of

Award-winning amateur landscaper Stu Meech brings colour and
flowers in my work and this is something
confidence to his clean interpretations of the British countryside. I hope makes the images interesting and
Nick Smith puts him in the spotlight memorable. It helps to differentiate the image
– but I just like colour.
Nick Smith What made you specialise sometimes in complete darkness. When I’m
in landscapes? not at work, I want to be outside and I want to NS How would you describe your style?
Stu Meech My day job is as a production do something that’s bright. SM For years, I’ve never thought that I have
electrician in the theatre industry, which means a style. I suppose I must have one – it’s just
that I tend to work in a dark environment. I’m NS There’s a lot of colour in your work… that I’m not very good at noticing what my
indoors all day, normally under artificial light, SM I like colour and for me, it’s also important. own thing is. I do like my photos to be simple.
You want to put enough in there to look at,
without it being too messy. That’s why I can’t
do woodland photography because I think:
‘Where do you start?’ I’m going for the middle
ground between something to look at and
avoiding clutter.
NS Are you an intuitive photographer

or do you plan hard?
SM I have one of those ‘rock up and see
what happens’ philosophies. There are some
local locations where there might be a shot
I desperately want, and you just have to wait
for the right time. But most of the time, when
I have a day spare, I’ll go out and see what
I come back with.
NS How did you make your start

as a photographer?
SM I never really sat down and thought
that I had to do something creative. But
since I can’t draw or paint, I thought I’d
IN THE SPOTLIGHT
try a camera. My old man always had an

SLR kicking around when I was a child,
and so subconsciously I think I always had an
appreciation of photography. When I moved
to Bath in 2007 to work in a theatre there,
the creative opportunities such as lighting a
band became almost non-existent overnight
because the shows were bigger and already
had their own creative teams. I loved it, but
I didn’t have anything to do creatively.
NS So, you started taking photos

to fill that gap?
SM A friend of mine on casual staff was also
a photographer and this got me thinking,
which led to me getting my first DSLR. And
it all went from there. Until that point, I’d
always enjoyed taking pictures, but they
were nothing special. I started off just with
a camera phone and I just sort of fell into
it, but when I found I didn’t have a creative
outlet, that’s when I thought: ‘Ah, maybe
photography is the one for me.’
NS How did you increase the quality was a massive sap on my motivation. What NS Is that one of the drawbacks
of your work so quickly? I’d normally do was tie in photographic trips of being an amateur?
SM I started to chuck myself into it after with working away. I’d go somewhere and SM Yes. As an amateur, you have times
moving to a new area and learning to drive. say: ‘I’ll stop on the way back and go to the when you are fully into it and times when
This gave me the opportunity to go wherever Lakes…’ This year, theatre has exploded back you’re not able to be. You have to ride
I wanted. At the time, I was just doing any into life – which is good – but as a result, that wave knowing that you’ll get back
photography that came my way: landscapes, we’re all working that much harder now, to it when you can, while hoping that
wildlife, architecture. For a couple of years, and that’s put my photography on the back when you do, you’re still capable of taking
I just took as many photographs as I could. burner a little. good photographs.
There was a lot of trial and error, to be honest.
I knew a few photographers and I joined Flickr
quite early. It was a bit like a snowball rolling
down the hill gathering layers.
NS How do you sustain the quality?

SM That’s the tricky one, because since Covid
I’ve gone out with the camera very little. That
Stu’s top tips

One thing I never go on a shoot without is…
Graduated ND filters. I like to get things right
in the camera. I may go out without a tripod,
but never my filters.
My one piece of advice would be to…
Try, try and try again. Go out and learn from
your mistakes. Keep going and you’ll make
gains in the long run.
Something I try to avoid is…
Other people. It sounds antisocial, but if I
get to a location and there’s a lot of people
around, I’ll want a different shot to them.
Stu’s critical moments To see more of Stu’s work, visit stumeech.co.uk.
2002 2008 2012 2014 2019 2022

Bought my first Bought my first Nikon First commendation in Started taking Upgraded to the Two photos commended in
point-and-shoot DSLR and started to take a national competition landscape photography Nikon Z mirrorless Landscape Photographer
digital camera. photography seriously. (LPOTY). even more seriously. system. of the Year.
Wildlife photography and the law: air
From soaring birds of prey to fluttering butterflies and moths, the UK’s airborne wildlife is just as protected by
law as its land and sea-based fauna, so it’s imperative you stay the right side of the law when approaching nest
sites and habitats. Charles Everitt explains the finer points of the Wildlife and Countryside Act 1981
Care is certainly required if a Schedule 1
species is on your photographic hit list.
It is an offence to intentionally or recklessly
disturb any Schedule 1 bird while building, in,
on or near a nest containing eggs or young.
Guidance on what constitutes ‘intentional
and reckless disturbance’ was described in
OP 287 (also see boxout). For instance, creeping
up and remaining near a red-throated diver’s
nest resulting in the bird, frightened by a
human presence, vacating it and causing
its eggs to chill, would be considered as
disturbance and an offence is likely to have
been committed. Similarly, to leave a hide
near an occupied kingfisher burrow causing
the adults to desert the nest would also be
considered as disturbance. The safe and
recommended option is to always photograph
well away from any nest and look for
perches where the bird may sit.
It is also an offence to intentionally or
recklessly disturb dependent young of a
The air environment is dominated by birds, The Wildlife and Countryside Act 1981 is Schedule 1 bird. To cause panic among chicks
and with more than 600 species on the the principal act that offers birds protection in a Slavonian grebe’s nest while trying to
British list, there is plenty to interest wildlife and creates offences. From the outset, it is frame a photograph would be a prime example.
photographers. Bird photography has grown worth mentioning that all wild bird nests However, this offence might also apply to newly
in popularity and now even has its own are protected while being built or occupied, fledged birds still dependent on the adults for
exclusive photography competition in the so should be left alone during the breeding food and protection, so to scare away barn owl
Bird Photographer of the Year. season. The legislation also places certain fledglings that have only recently left their
What might be less well known is that the species of birds that are either rare or at risk nesting site could equally constitute an offence.
law protects all wild birds in the UK, and on a list known as Schedule 1, and these birds Bird photographers travel around the UK
photographers need to be aware of offences are afforded greater protection. to photograph localised species, but the law
around disturbance. No matter whether your Most birds included in Schedule 1 make strengthens as one crosses into Scotland.
subject is a mountain, woodland, arable or attractive subjects for photographers and White-tailed sea eagle, golden eagle, hen
coastal dweller, the legislation is applicable to include chough, stone curlew, fieldfare, harrier and red kite are popular subjects, but
all wild birds irrespective of habitat. Dartford warbler and many birds of prey. all are protected from intentional or reckless
harassment north of the border. To continually
disturb any of these species from a perch at
any time of the year would be an offence.
The dawn courtship display of capercaillie,
known as lekking, is one of the great wildlife
spectacles. Declining numbers make them
elusive, however, and they are very susceptible
to disturbance. Consequently, in Scotland, any
Schedule 1 bird (which includes capercaillie)
is protected from intentional or reckless
disturbance while lekking.
Left (top) Tawny owl, Edinburgh. This bird, nestling

in a tree near a path, attracted so much public
attention that it eventually deserted its hollow.
Left Swallow chicks, Fife. While photographing
this nest, knowledge and fieldcraft meant the
parent birds were undisturbed by my presence
and continued to feed their young.
PART 3 (OF 3)
Above Mute swans, Edinburgh. removed from the nest. The law also prohibits social media where the drone has panicked
Nests accessible to people inevitably carry possession of any wild bird, part or derivative, razorbills and guillemots into leaving their
a greater potential for disturbance. technically making it an offence to even take a nests, risking eggs tumbling off cliff ledges
Above (right) Guillemots and razorbills, Isle of feather or broken egg shell from the woodland and exposing their young to avian predators.
May. Disturbing cliff-nesting birds can cause floor. However, there is an exemption if able to On one occasion, after photographing at a
chicks and eggs to perish as adults flee in fear. show that no crime had been committed when busy seabird colony in the Scottish Borders,
acquiring the item, which effectively means I had a brief word with someone at the cliff
that you will be safe if you make a note of edge who was about to launch his drone.
As discussed in previous articles, a licence where and when you acquired the object. Operators need to consider carefully what
can be applied for that grants permission to If you use GPS settings within your camera, impact and disturbance their drone may cause
disturb a bird for photographic purposes. and take a grab shot of the item in situ, the to wildlife ahead of any flight.
These licences are very specific and can be image’s metadata should have the time, date A quick word on photographing wild
requested from any of the respective country’s and place recorded for you. But to keep things butterflies: some rarer species are listed on
management authorities. However, be aware in perspective, I have not heard of anyone Schedule 5 of the Wildlife and Countryside Act
that wildlife management is a devolved ever being prosecuted for innocently taking 1981, which creates an offence to possess a live
government power so licences are unlikely to be any found feather, bone or egg fragment one, or to intentionally or recklessly disturb it
valid when crossing into another UK country. from the countryside. while occupying a structure it uses for shelter
Eggs, feathers and bird skulls are The law also provides an offence for or protection, which might potentially extend
all attractive objects to take away and ‘causing or permitting’ disturbance, so the to the grass stem it has overnighted upon.
photograph. Throughout the UK, the eggs use of drones deserves a quick mention. I have Some moths are also listed on Schedule 5
of wild birds are protected and must not be seen footage of seabird colonies posted on and afforded the same protection.
Most police forces around the UK have
specially trained wildlife officers whom the
Top tips UK National Wildlife Crime Unit expertly
Look for perching birds and avoid their nest sites.
supports. It is an area of policing with a rising
Continually watch and assess your subject’s behaviour.
profile as protecting the environment increases
Immediately retreat if a bird leaves a nest due to your presence.
Be aware of the law regarding your target species and whether you’ll need a licence. in priority. Beyond investigating wildlife
Think carefully how you might approach your subject to avoid causing disturbance. crime, the officers are excellent sources of
advice about wildlife law, and email enquiries
Licensing management authorities can be made through the force’s website.
England: gov.uk/guidance/wildlife-licences The simple approach to stay on the right
Wales: naturalresources.wales/permits-and-permissions/species-licensing side of the law is to avoid photographing birds
Scotland: nature.scot/professional-advice/protected-areas-and-species/licensing near their nest. Feeding stations and perches
Northern Ireland: daera-ni.gov.uk/articles/wildlife-licensing
can be constructed to lure in birds for close-up
Understanding of terms photographs, but I prefer to photograph them
Disturbance: an involuntary change in an animal’s behaviour caused by human presence. in their environment, which ensures they are
Reckless: behaving with prior knowledge that one’s actions are likely to cause disturbance. given sufficient space. Research, watch and
Harassment: a series of incidents of disturbance. interpret the bird’s behaviour continually –
they’ll let you know what they want you to do!
Winter solitude
Karl Holtby’s new series of pictures explores the silence and solitude of an East Yorkshire
woodland he calls his second home, having visited regularly for many years, developing
a deep understanding of its many layers, interconnected nature and intimate details
British wintertime doesn’t usually see woods. Even the birds are quieter, saving size, it has a good mix of ancient woodland
heavy snowfall. A winter wonderland it is their energy for the lean times ahead until and heathland, a rare thing in East Yorkshire.
not. As photographers, we get so excited the abundance of spring, the silence mostly The reserve has a wildly unkempt feel about
at the thought of snowy scenes to add to broken by the welcome ‘tchack, tchack’ of it and is a great example of how biodiversity
our portfolio, but more often than not, the jackdaws or a shrieking woodpecker. can thrive if given the opportunity.
light dusting of snow that we encounter This series of images, Winter Solitude, has I really wanted to evoke that sense of
can leave us feeling somewhat deflated and been made in the same woodland over the a peaceful, dormant, winter woodland.
cheated after the forecasters’ promises of course of around four years. The woodland is Whenever there was a hard frost, I’d
blanketing whiteness. In reality, winter in local to me, a little-known Yorkshire Wildlife take myself off to the woods. It really is
these isles is often a time of grey stillness – Trust reserve that I’ve been visiting for many astonishing how a simple layer of frost adds
perhaps not the most inspiring conditions years. I discovered this gem of a woodland a touch of beauty to an otherwise drab winter
for photography. while studying for a degree in conservation landscape. In the cold bleakness of winter,
Winter is, however, a peaceful time in the many years ago. Despite its relatively small there is secret movement at work.
TOP STRAP
One can sense a numinous energy among

the trees which I cannot put into words,
nor do I think the words exist to describe
those feelings.
In the Anthropocene, we have lost touch
with the rhythm of the seasons. Winter is
a time for rest and reflection. When we sit
awhile and allow ourselves to fully relax, we
can sense the quiet work of the woodland.
There is no rush. There is a vast network of
roots under our feet, communicating with
one another, an energy that we can’t fathom.
But we don’t need to; simply being aware of
the mystical, mysterious ways of nature is
enough. These cyclical rhythms are as much
a part of ourselves as they are of the
woodland and deserve our utmost respect.
On one particular morning, I woke up
early, looked out of the window and noticed
the hard frost on my car windscreen. Half
an hour later, I was in the woods, just before
sunrise. The grey skies cleared and suddenly
everything seemed very bright. We’re a fussy
bunch as landscape photographers and I was
hoping that it wouldn’t become too bright.
Thankfully, the cold morning air produced
a haze to diffuse the sunlight, creating an
ethereal and most uplifting atmosphere.
I don’t often feature the sun in my work,
as it tends to dominate the image – I prefer
a more subtle aesthetic – but as I walked the
frosty path, the sun became a welcome light
on this cold morning, its soft glow framed
by diagonal birches. I composed a scene with
the sun central, the aim being to create a
meditative image; guiding the viewer with
the geometry of the various trees, leading
the eye around in a pleasing way, but always
returning to the subtle glow of the sun,
sitting centrally among the chaos. I often
refer to this compositional process as a
visual mantra.
Visiting regularly, I became completely at
ease in this woodland, which began to feel
like a second home. I found that even on
those grey, still, apparently dull days, there
is always something to photograph. I find
myself looking for layers in the woods, how
they overlap, and the relationships between
the different species, focusing on the more
intimate details. In this stillness of winter,
with bare branches, we can fully observe
the structure of the forest.
By allowing ourselves this time to
appreciate the silence and solitude that
we experience in the quiet of the woods,
we are rewarded with a stillness of mind;
we come home to a different rhythm. And
when we feel at ease, our eyes are opened,
photographically, to the often-neglected
nuances which exist in the winter woodland.
karlholtby.com
48 Outdoor Photography August 2017

TOP STRAP
August 2017 Outdoor Photography 49

ON LOCATION
Photographing the Peak District

Spanning five counties and over 500 square miles, the Peak District is not only huge,
it’s also historic and varied, being the UK’s first national park and offering a wealth
of geological diversity. Alan Novelli knows the region like the back of his hand…
xtending over several counties, desolate high plateau moorlands, fringed with Where to shoot
E including Derbyshire, South and West

Yorkshire, Staffordshire and Cheshire,
the Peak District covers an area of 555
square miles, and more than 20 million people
live within one hour’s drive of its boundary.
rocky outcrops and escarpments.
The southern White Peak section of the park
couldn’t be more different. Named because of
the dominance of its white limestone rock, it
offers an altogether gentler, rolling landscape
Narrowing down just a few locations in such a
diverse landscape is challenging. However, the
following locations offer those photographers
new to the Peak District somewhere to begin.
The Peak District is split roughly into two made up of wide meadows and dales or valleys The Great Ridge
halves: north and south. The northern area is lined with limestone cliffs. The Great Ridge separates Edale from
called the Dark Peak, and is dominated by the Together, they are the perfect playground neighbouring Hope Valley in the central High
local dark gritstone. This section is typified by for both landscape and wildlife photographers. Peak area of Derbyshire. It is a short, but classic,
Peak District walk stretching from Mam Tor in
the west to Lose Hill in the east.
Access is via a stepped path up the western
side of Mam Tor (literally Mother Hill), which is
also nicknamed the Shivering Mountain owing
to numerous landslips along its eastern face.
Dawn during spring or in autumn is the
best time to be up here, when moist katabatic
winds pour cold air into the Hope Valley,
often producing a temperature inversion and
associated blanket of low-lying mist and fog.
There is a perfectly sited gate just down from
Mam Tor, which is excellent for foreground use.
Stanage Edge
Situated above the town of Hathersage on the
eastern fringes of the Peak District National
Park, Stanage is perhaps the best known of the
gritstone edges that pepper the region. Late
afternoon and evening light will serve you well
here, as Stanage is west facing.
There is a large free car park at its southern
Sunrise over the Great Ridge, Lose Hill and the Hope Valley, Derbyshire end, allowing for quick and easy access on
to the edge along well-defined tracks. Long-
abandoned millstones can be discovered
among bracken near the base of the cliffs.
Once up on Stanage Edge, you can walk for
miles searching for your ideal composition
among the rock formations. This gritstone
escarpment glows in the evening sunlight and
will benefit from a stormy or inclement sky.
Cressbrook Dale
Located in the heart of the Derbyshire Dales,
Cressbrook Dale is a steep-sided limestone
valley which contains a distinctive and towering
domed rock formation known as Peter’s Stone.
May and early June is the perfect time to be
here, when the hillsides are carpeted in early
purple orchids. The whole area is Access Land
and exploration of the entire dale will be a
worthwhile experience.
There is a car park at its southern end, or if
you don’t mind a steep descent, there is some
lay-by parking for just a few cars on Mires Lane,
Evening light on Stanage Edge, near Hathersage, Derbyshire a minor road to the west.
Through the seasons
Spring highlights include mist and fog-
filled valleys, while bluebells and wild
garlic appear in woodlands and newborn
lambs frolic in the fields. Early purple
orchids appear in May, then from June
onwards, meadows in the White Peak area
burst into life with wildflowers. Heather
is a particular feature of the Dark Peak
in late summer, with most of the edges
and wild moorland plateaus bursting into
colour. Autumn sees bracken changing
to a deep russet on the hillsides, while
trees take up autumnal hues in the dales
and valleys below. Finally, winter snowfall
can be awesome in the Peak District. If
access and ability allow, head up into the
high Dark Peak areas where wild winds
craft weird and wonderful snow forms for
The Boxing Glove Stones, Kinder Scout, Derbyshire photographers to create unique images.
Kinder Scout Kinder has a multitude of access points, but Wildlife

In April 1932, Kinder was the location for the a good place to start is from the car park on the As you would expect within any national
mass trespass that helped secure access rights outskirts of Hayfield near Kinder Reservoir. park, the Peak District is a hotspot for
to open country for all to enjoy and which acted wildlife. Red deer can be seen on Big
as a catalyst for the establishment of all the Chatsworth House and Estate Moor and on the Chatsworth Estate,
UK’s national parks. Magnificent Chatsworth House is nine miles red grouse and pheasants inhabit wild
Aside from its historical significance, Kinder east of Bakewell. The formal gardens are moorland areas, as do mountain hares
Scout is a remarkable place to spend the day for stunning, in particular the Emperor Fountain. in the higher elevations of Kinder and
those who make the 2,000ft climb to its plateau. However, it may well be the parklands Bleaklow. Birds of prey include buzzards,
Once there, photographers will be rewarded surrounding Chatsworth, designed by Lancelot kestrels, red kites and peregrines, while
with distinctive and unusual rock formations. ‘Capability’ Brown, that offer up better images. other birds such as golden plovers,
A particular favourite of mine is the Boxing These parklands are free to enter and contain lapwings, skylarks and curlews can
Glove Stones (grid ref: SK 079 897), which are a diverse selection of trees. beseen. Brown hares can also be
impeccably situated overlooking Black Ashop An evening view of the house over the triple- observed in the early morning, with foxes
Moor on Kinder’s northern flank. In late summer, arched Paine’s Bridge is a favourite viewpoint, and badgers also widespread, although
the landscape bursts into a kaleidoscope of as is Chatsworth House reflected in the still they are warier than their urban cousins.
colour with swathes of purple heather. waters of the River Derwent on a calm evening.
Tips and advice
The Peak District’s higher elevations
require a degree of fitness to reach safely,
particularly the more isolated and often
featureless Dark Peak areas surrounding
Kinder and Bleaklow. The weather can
descend rapidly on the hills, reducing
visibility to a minimum. You should be
confident in map reading and always
carry a paper map and compass with you.
Dress properly for the moors. Walking
boots are essential to walk among ankle-
snapping heather and there is nothing
worse than being cold and wet when
looking for photographic inspiration.
Layer up and dress appropriately for
any day out on the hills, including a
good waterproof.
Finally, if staying late on the high edges,
carry a torch for the sometimes long
journey down after sunset.
Chatsworth House, Paine’s Bridge and the River Derwent in autumn
LOCATIONS 6
GUIDE
VIEWPOINTS
We want to see your best shots from
around the UK and Ireland. Each
month the winner will receive £200!
Turn to page 72 for submission details.
1 Brougham Castle
Cumbria
1
2 Grasmoor 2
Cumbria
3 Valley of the Rocks
Devon
4 Ladybower Reservoir
Derbyshire
4
5 Burnham-on-Sea
Somerset
6 Yesnaby Castle sea stack
Orkney
3 5
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. some quite steep gradients.
WINNER
Janet Burdon
Brougham Castle, Cumbria

rougham Castle is an excellent ruin picturesque image at the best of times, but What to shoot: A selection of views of the
B about two miles south-east of Penrith.

The castle was founded by Robert
de Vieuxpont in the early 13th century and
is particularly pretty in a deep winter frost.
How to get there: Take the A66 east from

castle from the lane, or from the road bridge
over the A66; the rivers and local wildlife.
Other times of year: Early morning is
is sited near the confluence of the rivers Penrith until you reach the turning for Moor particularly rewarding, especially in
Eamont and Lowther. This impressive Lane, signed for Brougham Castle. Follow the winter.
site had been chosen by the Romans for a the lane and you will find ample roadside Nearby locations: Cliburn Moss Nature
fort called Brocavum. The castle makes a parking overlooking the castle. Reserve (4 miles); Ullswater (6 miles).
2 miles from Penrith • 22 miles from Carlisle ACCESS RATING
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Congratulations!
Janet wins £200 for her inspiring picture.
Above Opposite (top) Opposite (below)
Philip James pjip.co.uk Sean Vernell Andrew Ray andrewrayphotography.com

Grasmoor, Cumbria Valley of the Rocks, Devon Ladybower Reservoir, Derbyshire
n the lower tip of Crummock Water he Valley of the Rocks on the north adybower is a large Y-shaped reservoir
O sits Buttermere village. This is one of

my favourite locations to begin many
photographic treks, including the walk to
T Devon coastline is a magical place
where Exmoor meets the sea and goats
roam wild. Visiting the valley at sunset at any
L in the Upper Derwent Valley in
the Peak District National Park.
Successful images of the reservoir can be
Grasmoor. The best time to photograph the time of the year can be a beautifully calming captured from numerous locations along
mountain is at sunrise when the sun comes experience. Often you will find yourself alone its shoreline, or from the heather-clad
up over the peak and illuminates Crummock in this vast and dramatic space. There are moorland that surrounds it. This includes
Water below. Afternoon also gives great lots of different places to shoot from. I chose Bamford Edge and the footpath up to
rewards, with the sun shining down the this spot because I like how the light of the Crook Hill, which passes a photogenic barn.
valley between Grasmoor and Whiteside. sinking sun lit up the sea and the rocks. Early morning is a great time to visit for
colourful sunrises and the best chance of
How to get there: Follow the B5289 from How to get there: Travelling west from mist or reflections on the water’s surface.
Keswick, heading towards Borrowdale. Stay Minehead, follow the beautiful coast road
on that road, following it past Honister Slate (A39) towards the village of Lynton. When you How to get there: From Sheffield, take
Mine over Honister Pass, which takes you reach Lynton, you can park here and walk the A57 towards Manchester. After 11
down into Buttermere village. Just before on for 10 minutes. Alternatively, continue miles, park in the parking bays on the left
the village you’ll see a road to the right right into the valley to park your car. next to the reservoir. For the footpath
(heading back to Keswick) and parking What to shoot: The valley from many past the barn, continue down the A57
ahead on the side of the road. Park here different angles, seabirds and wild goats. crossing a bridge, then turn right towards
and walk up the hill towards Grasmoor. Other times of year: Summer and the upper dams to reach the footpath up
What to shoot: Mountains and lakes. autumn for the stunning colours. Crook Hill on the left after 100 yards.
Other times of year: Winter is an Nearby locations: Holdstone Down What to shoot: The reservoir from
excellent time of year, as the tops of the (6 miles); Hawkcombe Woods the bank, or the fields and heather-
fells often have a covering of snow. Nature Reserve (12 miles). clad moorland that surrounds it.
Nearby locations: Buttermere lake Other times of year: Spring and
(1 mile); Melbreak (3 miles). 2 miles from Lynmouth autumn for the best chance of mist,
19 miles from Barnstaple late summer for heather in bloom.
13 miles from Keswick ACCESS RATING Nearby locations: Wyming Brook Nature
18 miles from Whitehaven Reserve (6 miles); High Stones (9 miles).
ACCESS RATING
3 miles from Bamford
11 miles from Sheffield
ACCESS RATING
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Above Opposite
David Eastwell Mark Ferguson

davideastwellphotography.co.uk markfergusonphotography.co.uk
Burnham-on-Sea, Somerset Yesnaby Castle sea stack, Orkney

urnham-on-Sea sits on the north Somerset coastline he Yesnaby coast lies within the Hoy and Orkney West
B overlooking the Bristol Channel. This is an easily overlooked

coastline, yet there are many beautiful photography spots
including the Burnham-on-Sea Low Lighthouse. The lighthouse sits
T Mainland National Scenic Area. Its rugged, weather-beaten
cliffs, rocky beaches and sea stacks are constantly pounded
by waves. The sea stack is one of the most accessible on Orkney
on a wide-open beach facing north, meaning there are good photo and can be reached by a short walk from the end of the road.
opportunities at either sunrise or sunset. Just be aware of the tide,
which comes in and out very fast. While shooting, you will need to How to get there: Most people travel to Orkney by ferry, either to
recompose in between each shot if you want to avoid wet feet! Stromness or St Margaret’s Hope. From Stromness, it’s a short
six-mile trip north on the A967 then B9056 to Yesnaby, where there
How to get there: Park in the town of Burnham-on-Sea and walk is ample parking at a disused World War II site. From here, walk for
half a mile down the beach until you reach the Low Lighthouse. just under a mile south along the well-marked path to the stack.
What to shoot: Wide-open dramatic landscapes What to shoot: Rugged cliffs, stormy seas and sunsets.
as the sun sets beneath the horizon. Other times of year: Any time of year is good, but
Other times of year: Any time of year. evenings are best, as the coastal views face west.
Nearby locations: Huntspill River Nature Reserve (8 miles); Nearby locations: Ring of Brodgar (6 miles);
WWT Steart Marshes (18 miles). RSPB Marwick Head Nature Reserve (8 miles).
10 miles from Weston-super-Mare • 11 miles from Cheddar 6 miles from Stromness

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INSIDE TRACK
House-hunting?
More like location scouting…
Looking for a new property is nowhere near as exciting as taking photographs, says
Nick Smith, whose recent forays into house-hunting descended into location scouting
We all set ourselves resolutions for what we would do circulate the countryside and coastline until I found my
if the pandemic lockdowns ever ended. Depending on dream house, and then I’d buy it. Provided the dream was
where you were on Shakespeare’s sceptred isle, however modest enough, the plan had no fault, and the exercise
you may have experienced the confinement, we all have would be complete before the moon next waned gibbous.
our tales to tell, and for many of us they make grim There’s another play by Will of Stratford that deals with
reading. Here in Wales, you weren’t allowed to do very overconfidence. By the end of Macbeth, there’s sufficient
much at all for a long, long time. I’m not saying that the blood sloshing about the stage to confirm its negative
ordeal was worse for me than anyone else – far from it – points. All this somehow escaped my attention as I looked
but like you, I just wanted my old life back. at the photographs on estate agents’ websites that made
During this period, I took on plenty of photographic ruined cottages look like Hampton Court; that set disused
challenges that I hoped would keep the creative plates farmhouses in grounds to rival the glories of Kew Gardens.
spinning in the front of my mind, but there was this Perhaps more importantly, it never occurs to the
persistent feeling that I wanted to leave the busy, semi- salespeople who take such photographs for their
urban terraced row of Victorian villas that I’ve called brochures to show buyers what they want to see: they
home for more than a decade. On reflection, I now publish image after image of spare bedrooms, as if in some
realise I was luckier than most, whiling away the hours way trying to prove that they’re the same as every other
scanning out of my window south towards the spare bedroom you’ve ever encountered. But they hardly
lighthouse over the magnificent bay. Keen readers of ever show the surrounding views, probably – as I was to
this column might remember that I produced a small discover – because if they had, you’d never go to inspect
smartphone monograph on the subject. these properties in the first place due to the electricity
But two years of wondering what was next had left pylons, sewage treatment plants and highway construction
me with the feeling that it was time to head for the hills. lurking out of the frame.
Or maybe the sea. Either way, I was going to escape into In my naivety, I knew none of this, which was to
solitude somewhere in the valleys, where the air is pure present an obstacle to my ambitions, as what interested
and red kites circle the chilly Welsh mountains. Or I’d me was what could be seen from the successful property.
establish basecamp right on the tide’s reach, where Whether I awoke to the commanding presence of the
seals sunbathe on limestone pavements within earshot Brecon Beacons or the Bristol Channel, it hardly mattered,
of shearwaters, petrels and kittiwakes. It was one of because subconsciously I was looking for a photographic
those distracting daydreams that, despite the tedium bolthole to which I could retreat and observe the outside
of life during the pandemic, kept my eye optimistically world through the lens. It seems daft now, but I think I
fixed on the horizon. was trying to decompress by returning to the landscapes
There’s a play by the Swan of Avon that examines why of my youth where I camped on geology field trips, taking
delay is a bad thing and how no good can come from it. my first photographs that seem so much better than the
And so, with our freedoms reinstated, and unwilling to professional shots I take today.
make the errors that took the young philosophy student It didn’t take long to realise that I was reluctant to
Hamlet down the path of procrastination, I decided I’d relocate. I’d mistaken my original restlessness for a sign
grasp the nettle and start life afresh elsewhere. It was an that I should uproot, when it was in fact the first flickering
exciting moment as the river of normality started to flow of a photographic project taking shape. There was no need
again. So it was with the enthusiasm of a newcomer to to move house – I just needed to go deeper into the places
any procedure that others have had to master the hard I’d wrongly thought of as a closed book, photographed to
way that I declared the process a mere bagatelle, while completion in the way a tourist might do on a pleasant
becoming one of those infuriating instant experts on day trip to the countryside. More than that, I wanted to
every microscopic aspect of moving house. understand what these places meant to me now.
Almost certainly because it was the worst possible time I got out of the car and gazed on the snow-capped
to do so, I set about my task with vigour. I remember loneliness of Pen Y Fan, facing into the stiff breeze
all too well filling the car to bursting point with petrol sweeping down the scarp, mildly amused when my
before punching co-ordinates into my GPS until that was smartwatch sent me a ‘loud environment’ notification. It’s
bursting too. With my camera sitting comfortably on the only the wind, I thought, as I set off into the hills on foot
vacant front passenger seat, the quest was crystal clear: I’d with my camera, all notions of house-hunting forgotten.
PHOTO SHOWCASE
Mangrove
Photography
Awards 2022
Run by the Mangrove Action
Project, this unique competition
aims to shine a much-needed
light on to the conservation of
the world’s mangroves. Now in
its eighth year, more than 2,000
images from 68 countries were
submitted. Here are our favourites
Left (top)
Meharab Hossain
Source of little water
Women from Gabura Union in the
Sundarbans in Bangladesh collect water.
Coastal villages have to rely on rainwater
or freshwater ponds for safe drinking water.
Left (middle)
Alex Cao
Living in a white mangrove
A local fisherman casts his net in the white-
flowered mangroves (Lumnitzera racemosa)
of Bàu Cá Cái, Vietnam, an area allocated
to local people to protect.
Left (below)
Muhammad Mostafigur Rahman
Honey hunters
Honey hunters collect wild honey deep in the
mangroves of the Sundarbans, between India
and Bangladesh, the largest mangrove forest
in the world. This extraordinary relationship
between the Moulis honey hunters and the
mangrove forest is unique and in danger of
disappearing. Recent human development in
the area and the climate crisis, in particular
the rise in sea levels, are threatening the
ecology of the Sundarbans and with it,
the way of life of the Moulis people.
Opposite
Loïc Dupuis
Walakiri dancing trees
The sun rises along the peaceful beaches
of East Sumba in Indonesia. I wanted to
capture the beauty and fragility of this
unique wonder. We need to protect and visit
places like this with great care, so future
generations can also enjoy them.
PHOTO SHOWCASE
Top (left) Top (right) Below (left) Below (right)

Jayakumar MN Hamid Rad Alvaro Herrero Lopez-Bletran Alex Cao
Take off Different perspective Flying crocodile To be continuing
A greater flamingo A little world of its own. A lonely A view from below. A crocodile Mangrove beds are planted in
(Phoenicopterus roseus) takes off mangrove tree growing in the swims in the open water rows in Bàu Cá Cái, Quang Ngai
on a migration journey across shallow waters of a lagoon in area of a cenote, surrounded province, Vietnam, in an attempt
Asia, and will most likely return Raja Ampat, Indonesia. Corals by mangroves. to improve the resilience of
to the same coastal wetlands growing around can be seen in vulnerable coastal communities
in the winter months. It was the reflection (green area). to the effects of climate change.
feeding with its head in the
water, before flying off into the
morning light.
PHOTO SHOWCASE
PHOTO SHOWCASE
Previous page (top)
Melodi Roberts
Dreamlife of mangroves
Reflections at dawn on the Merritt Island
National Wildlife Refuge, Florida. The refuge
became a place for me to satisfy a need for
quiet and peace where language and reason
fall away, and the mind settles into a stillness
and opens to a connection with all things.
Previous page (below)

Martin Broen
Blue crab
A blue crab (Callinectes sapidus) fishing in a
unique transition between fresh and salt water
in the Mexican cenotes. During an exploration
dive through the dark flooded caves, I came
across this proudly standing crab silhouetted
against the mangrove roots above.
Left (top)
Jennifer Goddard
Dark night
A tricolored heron (Egretta tricolor) spreads its
wings while fishing in the mangroves. These
migratory birds can be seen breeding and
visiting the mangroves of the Caymans.
Left (middle)
Jillian E Morris
At the edge
If the mangroves disappear, so does the wildlife
that depends on it. Both mangroves and sharks
are right on the edge and need protection. I
wanted to show a different side of these juvenile
lemon sharks; a social side, a more vulnerable
side, and the delicate balance of this system.
Left (below)
Lorenzo Mittiga
Flamingo
Caribbean flamingos (Phoenicopterus ruber)
landing in the mangroves of Bonaire. The
flamingo is Bonaire’s national symbol, and the
iconic species breed here and attract tourists.
Opposite (top)
Priscila Forone
Colhereiro
The preserved mangroves of Guaraqueçaba,
Brazil, are an important place for visitors,
including this pair of roseate spoonbills
(Platalea ajaja). Paddling in a small boat
allowed us to get close enough to the birds to
watch them in their natural environment.
Opposite (below)
Fernando Constantino Martínez Belmar
Living fossil
An Atlantic horseshoe crab (Limulus
polyphemus) in the mangroves of Ria Lagartos
Nature Reserve, Yucatan, Mexico. Females
can lay up to 20,000 eggs a night, many of
which are eaten by migratory birds.
Portfolio
Each issue, we publish a set of inspiring images selected from those submitted to
Portfolio via our website – turn to page 72 to find out how to enter your work.
Here is this month’s winner...
Above Mountain view from Sasso di Sesto, Italy. Opposite Seceda, Italian Dolomites, after sunset.
Winner Pawel Zygmunt

I am a Polish-born landscape photographer in Ireland, but I also try to get to other fly high, and sometimes you only need to
living in Ireland. I started my journey places such as the Faroe Islands, Norway, lift the drone just above your head to get
with photography a long time ago, but Italy and Iceland. the perfect perspective. I often fly close
in the past seven years it has become an Drones have become a significant tool to the subject (regardless of how large it
important part of my life. I blame Ireland, for photographers because of the unique is) and use multiple exposures to create
as it’s such an amazing place! perspective they offer. My main preference panoramas in order to cover big vistas.
I started travelling mostly to the wild is to shoot with a handheld camera, but
Atlantic coast, where I found stunning there are places that are screaming to be Hometown Oldtown, Fingal, Ireland
sea stacks, caves, rugged cliffs and calm, photographed from the air. It is important Occupation Airline staff
turquoise waters, as well as beautiful to choose the right altitude and angle Photographic experience Seven years
mountains. There is still a lot to discover when flying a drone; it is not necessary to Website breakinglightpictures.com
PORTFOLIO
Tre Cime di Lavaredo, Italy.
PORTFOLIO
Left (top) Cauliflowers; a bird’s eye

view of a local Irish forest.
Left (below) Passo di Giau (the Giau Pass), Italy.
Submit your best images

and win great prizes.
This month’s winner,
Pawel Zygmunt, receives
a Deuter Futura 32 backpack,
worth £135.
The Futura is designed for longer day

hikes and multi-day hikes where comfort
and ease of use are the focus. It has an
Aircomfort back system for maximum
ventilation, reducing sweating up to 25%,
while moveable ActiveFit shoulder straps
and ergonomic hip fins (with pull-forward
adjustment) also ensure comfort on the
move. In addition, a separate bottom
compartment offers useful organisation
options in the backpack. It comes with
a rain cover, is compatible with 3.0 litre
drinking system/bag, and includes a
walking pole holder and attachment
loops for a helmet.
Find out more at deutergb.co.uk
How to get published
See your work in print and win great prizes!
Submit your images online at outdoorphotographymagazine.co.uk
ONE THING THIS MONTH PORTFOLIO
If you only do one

thing this month… Portfolio
Each issue, we publish a set of inspiring images selected from those submitted to
Autumn Portfolio via our website – turn to page 72 to find out how to enter your work.
Here is this month’s winner...
colour
In issue 286, we asked you
to take advantage of the
amazing photographic
opportunities provided by
the changeable conditions
in autumn. Here’s our
superb winner by Ulrike
Eisenmann, who wins a
Manfrotto Befree Advanced
Tripod, and our worthy
runners-up. For details
of our next challenge,
turn to page 94
Above Mountain view from Sasso di Sesto, Italy. Opposite Seceda, Italian Dolomites, after sunset.
Winner Pawel Zygmunt

I am a Polish-born landscape photographer in Ireland, but I also try to get to other fly high, and sometimes you only need to
living in Ireland. I started my journey places such as the Faroe Islands, Norway, lift the drone just above your head to get
with photography a long time ago, but Italy and Iceland. the perfect perspective. I often fly close
in the past seven years it has become an Drones have become a significant tool to the subject (regardless of how large it
important part of my life. I blame Ireland, for photographers because of the unique is) and use multiple exposures to create
as it’s such an amazing place! perspective they offer. My main preference panoramas in order to cover big vistas.
I started travelling mostly to the wild is to shoot with a handheld camera, but
WINNER Ulrike Eisenmann Atlantic coast, where I found stunning there are places that are screaming to be Hometown Oldtown, Fingal, Ireland
Large birch in its autumn dress sea stacks, caves, rugged cliffs and calm, photographed from the air. It is important Occupation Airline staff
on a foggy morning in Bavaria. turquoise waters, as well as beautiful to choose the right altitude and angle Photographic experience Seven years
Nikon Z 7 with 70-200mm lens at mountains. There is still a lot to discover when flying a drone; it is not necessary to Website breakinglightpictures.com
80mm, ISO 320, 1/160sec at f/6.3
88 Outdoor Photography Outdoor Photography 89 68 Outdoor Photography Outdoor Photography 69
If you only do one thing this month Portfolio

Enter our ‘Winter colour’ photo challenge We’re looking for inspiring outdoor images
(page 94) and you could have your image that work brilliantly as a set. As well as having
published in OP 292. Plus, the winner will your work showcased in the magazine, there
receive a pair of Oboz Sawtooth X is a superb prize on offer; this month’s winner
Mid Waterproof trail shoes received a Deuter Futura 32 backpack
worth £200. worth £135.
YOUR OP
VIEWPOINTS
Write for us!

We are always on the lookout for inspiring new features.
If you have a great idea for an article then please send a short
outline (more than 60 words), plus five accompanying images
for our consideration via our online submissions page.
Exhibitions and events

If you would like an exhibition or event to be included in OP,
please email Claire Blow at claire.blow@thegmcgroup.com
WINNER
Janet Burdon at least eight weeks in advance.
Brougham Castle, Cumbria
rougham Castle is an excellent ruin picturesque image at the best of times, but What to shoot: A selection of views of the
B about two miles south-east of Penrith. is particularly pretty in a deep winter frost. castle from the lane, or from the road bridge
The castle was founded by Robert
de Vieuxpont in the early 13th century and
is sited near the confluence of the rivers
Eamont and Lowther. This impressive
site had been chosen by the Romans for a
fort called Brocavum. The castle makes a
How to get there: Take the A66 east from
Penrith until you reach the turning for Moor
Lane, signed for Brougham Castle. Follow
the lane and you will find ample roadside
parking overlooking the castle.
over the A66; the rivers and local wildlife.
Other times of year: Early morning is
particularly rewarding, especially in
the winter.
Nearby locations: Cliburn Moss Nature
Reserve (4 miles); Ullswater (6 miles).
Congratulations!
Janet wins £200 for her inspiring picture.
Privacy
2 miles from Penrith • 22 miles from Carlisle ACCESS RATING If you win a prize (If you only do one thing this month and Portfolio)
54 Outdoor Photography Outdoor Photography 55
you agree we can give your contact details (address, email and
telephone number) to the prize sponsor so they can contact you
Viewpoints about sending your prize. They will not use your details for any
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We want to see your favourite UK and Irish viewpoints!
Send us up to 10 of your best digital images and if
one of them is selected it will be published in the WIN OP community
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LIFE IN THE WILD
The splendour of Speyside

From its rich diversity of habitats to its lengthy roll call of fascinating species, this Highland ‘sub-region’
is a nature photographer’s paradise. Laurie Campbell knows Speyside’s charms better than most
Renowned for its scenic beauty, Badenoch and ideal location for skiing as far back as the Above I was sorely tempted to offer an image
Strathspey, otherwise known as Speyside, lies 1890s, leading to the development of the of the nationally rare and local speciality of
close to the heart of the Scottish Highlands Cairngorm Mountain Ski Area. the native pinewoods of Speyside, the crested
and has long been recognised as a must-see One of my earliest memories of visiting tit (Lophophanes cristatus), but decided on
destination by many UK nature photographers. Speyside was on a family camping holiday in one of the less well-photographed Cairngorm
In world terms, and like Scotland as a whole, the 1960s, when we visited the ski centre and reindeer, introduced to Scotland by a Laplander,
Speyside may not be a particularly large area, used the chairlift to access what seemed like Mikel Utsi, in 1952.
but it contains a diverse range of habitats an otherworldly environment where we were Nikon D3S with 500mm lens, ISO 500,
which in turn support a wide variety of species. able to play in snow in July. 1/600sec at f/6.3, tripod
Not surprisingly, much of the region was Another must-see was the RSPB’s osprey hide
included in the Cairngorms National Park, at Loch Garten. Their return as a breeding bird a model that has been replicated elsewhere
which, at 1,748 square miles, is the largest to Scotland had made national news in 1954, ever since. To date, over 2.75 million visitors
in the UK. Established in 2003, it is only the although the eyrie was much further away have enjoyed the pleasure of seeing nesting
second national park in Scotland after Loch than I expected, with only the head of an adult ospreys at Loch Garten.
Lomond and the Trossachs, which was set up visible above the rim of the nest. I remember Those early impressions had a lasting impact
one year earlier. The park contains a quarter being just as impressed by what looked like the and since becoming a professional nature
of all native woodlands in Scotland, and one- largest pair of binoculars I’d ever seen. Only photographer in 1985, I’ve visited Speyside
third of all land in the UK above 600 metres. much later did I realise that it must have been often to undertake all kinds of projects.
At its core are the Cairngorm mountains, the first time I’d ever been inside a wooden Most significant was a commission in 1988
whose plateau is classed as a sub-Arctic, hide dedicated to watching wildlife. to part-illustrate a book, The Great Wood of
tundra-like environment. The decision by the RSPB to establish the Caledon, which enabled me to obtain a better
Gaining national park status may have osprey hide at Loch Garten set a precedent understanding of the native pinewoods.
boosted visitor numbers today, but it was of national importance, in that it provided a Happily, this coincided nicely with the
the Cairngorm mountains that drew most way of allowing large numbers of people to acquisition of Abernethy Forest by the RSPB,
attention when it was recognised as an view a rare bird in a safe and controlled way, which at 127,500 hectares was the largest
LIFE IN THE WILD
land purchase in Europe by a voluntary

conservation organisation. Being on site
already placed me in an ideal position to supply
the demand for images and promote the book.
The native pinewoods are a significant part
of the mosaic of habitats on Strathspey and it
would take many more columns to adequately
cover each of the others. If you visit, don’t just
rush to tick species off a wish list. Instead,
take a little time to sit quietly and tune in to
your surroundings. You can be assured of a
dry seat beneath a granny pine on even the
wettest of days.
Strathspey wildlife
There is so much information online about
locating wildlife on Strathspey that it can be
difficult to know where to begin. Many of the key
sites for photographing birds and mammals are
well publicised and there are many operators
that offer hide rental or guiding services.
However, there’s nothing like spending
time exploring a few locations by yourself. To
experience native pine forests, for example,
key locations could include Rothiemurchus
Estate, the RSPB’s Abernethy Reserve from
Forest Lodge, the walk to Loch Mallachie
beyond Loch Garten, and Anagach Woods, the
community woodland by Grantown-on-Spey.
You are just as likely to encounter sought-after
species such as crested tits and red squirrels on
these routes, with the advantage that you may
have these opportunities to yourself. It really
helps not to get too fixated on finding a particular
species because you are more likely to notice all
the equally rewarding ones in the same habitat.
Photographing subjects such as ptarmigan
and mountain hares requires a lot of effort and a
fair degree of physical fitness. Many of the trails
from the Cairngorm Ski Centre will take you up
on to the plateau, but even in summer you will be
entering a potentially dangerous environment
so be prepared by carefully checking local
weather forecasts and dressing accordingly.
If in doubt, hire the services of a guide.
Alternatively, there are almost always snow
buntings to photograph down in the ski car park.
For a more leisurely approach, a session in
the hides at the RSPB Insh Marshes Reserve
may result in photographs of roe deer and
even a marsh harrier, but if you want near-
guaranteed photographs of ospreys fishing and
are prepared to pay, search online for Aviemore
and Rothiemurchus ospreys respectively.
For more modest fees, there are hides
available to photograph red squirrels, badgers
and pine martens, but also think about the
satisfaction of finding and photographing
some of the other less glamorous but no less Photographed from a hill between the villages of Insh and Kingussie, this view encompasses many
special species such as false morel fungi, dwarf of the habitats on Speyside, from the fens of the Insh Marshes, to rough grazing, native birch and
willow, narrow-headed wood ants, creeping pine forests, to the Cairngorm plateau.
lady’s tresses and timberman beetles. Nikon F3 with 50-300mm lens, Kodachrome 64, 1/15sec at f/16, tripod, cable release, mirror lock-up
NATURE GUIDE
Laurie’s January highlights Left

As a breeding UK species, the curlew
(Numenius arquata), or more precisely, the
Eurasian curlew, is now regarded as Britain’s
highest conservation-priority bird species
due to predation and changes in farming
practices. In winter, and away from the
breeding grounds in the uplands, they gather
on the coast where numbers double to around
140,000, counting an influx of wintering birds.
At 50-60cm long, it is Europe’s largest wader
and with a distinctive, long, curved bill, even
a tiny silhouette of a single bird is enough to
characterise any sand or mudflat at sunset.
Nikon D3X with 200-400mm lens at 280mm,
ISO 160, 1/40sec at f/8, beanbag, car as a hide
Opposite (top)
It is rare to appreciate the details and plumage
of many species of birds in real life outdoors
and you are more likely to do so when sharp
images are viewed later on a computer monitor.
Sadly, road traffic takes its toll and even on
quiet country roads, the corpses of pheasants
(Phasianus colchicus) are all too common.
Keep a plastic bin liner in your car and next
time you see a freshly killed, not-too-damaged
bird and it is safe to stop, you will have potential
to shoot some really beautiful macro images.
Nikon F3 with 105mm macro lens,
Kodachrome 64, 1/15sec at f/16, tripod,
cable release, mirror lock-up
Opposite (middle)
In the darkest of damp days in winter
woodlands, where any hint of colour can be a
bonus, growths of lichens, algae and mosses
growing on trunks and branches can be all that
is needed to give a hint of structure and form.
To add to the subtlety, these lower forms of
life tend to grow only on the north-facing side,
where light levels and humidity are more stable.
This photograph of downy birch (Betula
pubescens) was photographed in a Galloway
forest in the damper south-west of Scotland.
Nikon D5 with 70-200mm lens at 155mm,
ISO 200, 1/60sec at f/6.3, handheld
Opposite (below)
Atlantic salmon (Salmo salar) are the only
species of salmon that enter river systems
in any month of the year to begin their
migration upstream ready to spawn from
autumn to early winter. These ‘fresh-run’
fish are prey for bottle-nosed dolphins and
grey seals in the vicinity of estuaries, but
upstream, otters (Lutra lutra) are about the
only predator capable of taking a full-grown
salmon. Once captured, they are always
landed and with such large items of prey,
they certainly offer enough time to plan a
route and move closer for photography.
Nikon D3 with 500mm lens,
ISO 800, 1/500sec at f/4, tripod
NATURE GUIDE
More seasonal subjects

Flora
Wilson’s filmy fern

Nikon F3 with 200mm macro lens plus
extension tube, Kodachrome 25, 4sec at f/22,
tripod, cable release, mirror lock-up
Marram grass (Ammophila arenaria) – this is a

common species that stabilises sand dunes and
an ideal subject for providing foreground interest
when using long exposures in windy weather.
Frost – an alternative to shooting close-ups

of frost on the dead leaves of deciduous trees,
those of larger plants such as butterbur offer
possibilities to work with wideangle or
fisheye lenses.
Wilson’s filmy fern (Hymenophyllum wilsonii)

– a tiny, fragile species that grows in dark, damp
places. Occurs in the west of Scotland, Wales,
Lake District, Pennines and south-west England.
Fauna
Ptarmigan
Nikon D2X with 500mm lens, ISO 200,
1/1000sec at f/6.3, tripod
Maerl (Lithothamnion sp) – a collective name

used to describe coralline algae that forms
beds in our seas. Coral beach on north-west
Skye is a fine example of masses that wash
up on our shores.
Great northern diver (Gavia immer) – breeding

in Greenland, Iceland and North America where
they are called ‘loons’, this hefty species is
primarily a winter visitor to our coasts.
Ptarmigan (Lagopus mutus) – their plumage

famously turns white in winter, but when there
is a little snow, search for them hiding among
rocky patches and listen for their croaking calls.
A MOMENT WITH NATURE
Chasing berries
With more than 700 waxwings on his
doorstep all feasting on an abundance
of rowan berries, Alwin Hardenbol
was perfectly placed to capture these
attractive birds flying to and from
their favourite food source
ast winter was a great time to photograph
L berry-eating birds in many parts of Finland.

Rowan trees were full of berries, and I got
the chance to see thousands of waxwings
in the town where I live. As such, we got a winter
that was a bit more colourful and noisier than usual.
The relationship between berry-eating birds
and the trees and bushes that produce them is one
in which both parties benefit. Birds gain valuable
energy, and the trees and bushes get their seeds
dispersed. Waxwings are famous for their strong
relationship with berries in autumn and winter, and
especially with rowan berries, which they favour.
Waxwings can eat an enormous number of
berries, even hundreds a day; sometimes as much as
double their own weight. Their immense hunger for
berries drives them to travel to wherever there are
any. As such, they can migrate thousands of miles
to eat their beloved berries, frequently reaching
countries such as the United Kingdom and the
Netherlands to feast on them.
In the Netherlands, where I am originally from,
as well as in the United Kingdom, people hope for
a bad berry crop in the Nordic countries, so that
the waxwings will migrate and visit our shores.
Until last winter I had not encountered an
amazing berry year in Finland, so this was my time
to try and take as many pictures as I could. There
were so many waxwings all over the city where I live,
with one part of town harbouring a huge flock of
around 700, which I visited most often.
I went to photograph these birds on several
occasions, including on the coldest day of that
winter with a temperature of -36ºC. That is the day
that I took the image you see here. You may notice
the frozen crest, a sign of the extreme cold.
Many berries were hanging around eye height and
so I decided to try to capture some action shots, as
many birds were flying to the berries and then to
a higher point where they would consume them.
With a fast shutter speed and a good position, I fired
away whenever I saw a waxwing about to take off
from the picturesque branches.
This winter, with a poor yield for rowan berries
in Finland, waxwings are already leaving in large
numbers for ‘redder berries’ to the south and south-
west. As such, I sincerely hope you get to take some
beautiful pictures of these photogenic birds in the
United Kingdom this winter.
NATURE ZONE
STEVE YOUNG
On the wing
Patience and perseverance pay off for Steve Young as a brief encounter with a twite justifies a stakeout
and another photo opportunity interrupted by marauding dogs. The pink-footed geese weren’t bad either...
Twite is a moorland breeder that forms large
flocks during the autumn and winter and
spends its time foraging along shorelines and
saltmarsh searching for food. It is a birder’s
bird and non-birdwatchers will probably have
never heard the name.
Large flocks (50 or more) can occur along
the Southport coast in Merseyside and were
reported again this year, so with not having
photographed the species for a number of
years, I thought it was about time the files
were refreshed. The presence of a small flock
of wintering snow buntings along the same
stretch of coastline was an added attraction,
as was the nearby reserve of RSPB Marshside.
It was a beautiful winter’s day, cold, sunny
and with little wind, and as I strolled along
the tideline, I had a good feeling about the
photography; it was going to be a good day. A
distant flock of twite over the saltmarsh wasn’t
really a good sign, but I’d only just arrived and As the dog walked past, the snow bunting looked up – click, click!
hadn’t checked out all of my favoured sites.
Scanning the beach ahead with binoculars, towards me, landing only 20-30 yards away. what I was doing and would walk around?
I could see four small birds running around I’ve hundreds of photos of snow bunting on No, the dog trotted between my lens and the
the tide-wrack, which had to be snow file, but they are just so hard to resist, especially bunting while the owner walked blindly by.
buntings, even at this distance. I then watched as the closest bird was a lovely winter male. Three of the birds took flight, but by some
in dismay as the birds were disturbed by the I snapped away, just sitting on the shore, miracle my bunting stayed put, raising its head
dreaded dog walkers and flew much further patiently waiting as he walked slowly towards while pausing feeding. It turned and looked
away along the beach, but then dismay turned me. Out of the corner of my eye, I could see a straight at me and I took the image shown here.
to delight as they turned and headed back dog approaching. Surely the owner could see I bit my lip, said nothing to the owner and
took a few more photos before walking away
from the buntings, very happy with how the
images looked on camera. Now it was time
for the twite.
A stakeout of a favoured bathing/drinking
area was fruitless and so I started a long walk
along the saltmarsh end of the beach, but once
again all I saw were a few distant flocks flying
out of view. Although happy with the day so
far, as I’d also photographed some close pink-
footed geese on the saltmarsh, I was feeling
slightly disgruntled as I trudged slowly back
along the beach. Then, from virtually under
my feet, a small brown bird with a buff wash
and pink rump flitted in front of me, landing
in some long grass hidden from view – a twite.
I waited and sure enough it flitted out
and began feeding in the washed-up grasses
along the tideline, searching for seeds and
occasionally perching up on various stems.
I spent a very happy hour or so taking a
selection of images, appreciating my luck in
finding a bird away from the main flock that
was easy to photograph. Or was it patience
and perseverance by walking the beach yet
again? Whatever it was, it had been a great
Patience paid off when I stumbled upon this single twite after many long walks along the shore. winter’s day out.
BIRD OF THE MONTH
Left The song of a robin brightens
up any winter’s day.
Below Virtually anything will be used for a
perch by a tame garden robin, but a classic
spade is the photographer’s favourite.
Unlike twite, the robin is recognised by virtually one bird singing just as dusk is falling – nothing
everyone and despite all the rare birds I’ve seen quite like a robin’s song to make me smile.
and photographed over the years, it remains Even though robin is a common breeding
one of my favourites. If my, or next door’s, bird and is present all year round, it is the winter
garden doesn’t have a pair nesting so they are months and especially Christmas with which it
regular visitors, I am not a happy snapper. has become synonymous, and my home-
Luckily, I am blessed with a pair most years produced calendar wouldn’t be the same
and even as I write this in October, I can hear without a robin gracing the December pages.
BIRD PHOTOGRAPHY TIP
This was more perseverance than patience, with Both patience and perseverance were called for with this wintering bittern a few years ago at Mere
visit after visit to my local park until I managed to Sands Wood Nature Reserve in Lancashire. I made many visits and spent hours in the hide waiting
take something without branches across the bird. for it to walk out of the reeds and into the open.
As well as all the equipment needed to take snowy Finland in February, took one shot of years, but I can still stand or sit around for
a good bird photograph, you also need lots of a golden eagle and then watched it disappear a while. I’ve just spent the day at Martin Mere
patience. Unless you are incredibly lucky you into the distance. I’ve lost count of the hours where I sat for three hours in a hide to catch
will need to to wait for a bird to appear, then I’ve spent waiting for a rare bird to appear in a glimpse of a barely visible rare purple heron
to show well enough to photograph. a bush (nine hours was the longest), or waiting (more of that in a later issue). But patience
Patience is something I’ve had lots of in (and waiting) for a distant bird to come closer. really does pay off, so just give that bird a little
the past – I once spent six hours in a hide in My threshold has reduced in the past few bit longer, then a little bit more longer!
GEAR ZONE
The OP guide to…phone protection

Whether it’s used for staying in touch, navigating the hills or – dare we say
it – taking photos, a mobile phone is a key companion in the outdoors.
Here are five products that will help keep yours safe and protected
OtterBox LifeProof Frē Series

Best for total protection for iPhones
These cases used to be made and sold under the name of LifeProof, but then
OtterBox spotted an opportunity to plug a gap in its own range and bought
LifeProof. None of which is particularly important or interesting. What is more
worthy of note is that the LifeProof Frē Series of cases are all waterproof.
And properly waterproof at that. The specifications quote an IP68 rating,
claiming that the case will protect your phone for up to an hour under 2m of
water. And while you might not want to take that kind of risk, it does mean
you can rest assured that an accidental puddle drop or heavy downpour is
unlikely to cause any problems. The LifeProof Frē cases also offer significant
drop protect from up to 2m, which in combination with the waterproofing
would make this the ultimate adventure phone case were it not for one small
issue. Disappointingly, the OtterBox LifeProof Frē Series only currently offers
cases for iPhones, meaning Android users will have to look elsewhere.
From £69.99 otterbox.eu
Hangtime Koala 2.0

Best for not dropping or losing your phone!
Even if it were possible to encase your phone in some kind of protective
capsule that would allow it to be dropped from the top of Yosemite’s El
Capitan or sunk to the depths of the Mariana Trench without breaking, you
would still be separated from your device – and the chances of getting it
back would be, at best, minimal. This is where Hangtime’s Koala 2.0 comes
in. The heavy-duty silicone harness wraps around your phone, holding it in
an almost inescapable clinch. Clip the other end of the Koala’s leash to you,
your rucksack or whatever comes to hand – either with the integral clamp
or carabiner – and there’s far less chance of your phone hitting the deck if
it’s dropped, and no chance of it being lost. The tether is stretchy enough
to allow your phone to still be used for phone calls, photos and selfies, but
strong enough to catch your phone if you let go of it – just remember to attach
it fairly high up. Best of all, the stretch in the Koala harness means it can be
attached over a phone case for a belt-and-braces approach to protection.
£26 hangtimegear.com
EDITED BY BEN WEEKS
Spigen Tough Armor Case

Best for robust, affordable phone protection
The official Spigen website ships from the US, the prices are in dollars and
the delivery costs are high. There is a spigen.co.uk site, but clicking on that
reveals it to be a shop on Amazon. However, depending on your opinions on
Jeff Bezos, this is not necessarily a bad thing. For example, the Spigen Tough
Armor case (its toughest of tough cases) for the Google Pixel 7 is $44.99
on spigen.com, but on Amazon’s official Spigen EU store, it’s £19.99 – a
rare case of UK consumers getting a better deal. But why would you want a
Spigen Tough Armor case? Quite simply, its two-layer construction makes it
one of the most robust and protective cases you can slip your phone into. An
impact-absorbing, foam-padded TPU inner is encased within a polycarbonate
outer shell, the latter of which features a built-in kickstand so you can prop
your phone in a comfortable viewing position while you catch up on the latest
Netflix binge. It’s available to fit a range of phones – both Android and iOS –
although the lack of a screen cover means it doesn’t offer the wrap-around
protection of some cases, but pair it with a matching Spigen tempered glass
screen protector (£11.99 for a two-pack on Amazon) and you’re good to go.
From £19.99 spigen.co.uk
Quad Lock Case

Best for phones put to multiple uses
Mobile phones aren’t just phones. They’re TVs, personal
stereos, cameras, navigation devices, health trackers and
much more. Quad Lock understands this and has created
a case that allows the phone to be put to as many uses
as you need it for. The case itself is made with a tough,
polycarbonate core and an impact-absorbing TPU edge-to-
edge outer shell for ultimate protection. On the back of the
case is Quad Lock’s slimline yet uber-secure twist-and-lock
mounting mechanism. This allows the case – and the phone
contained within it – to be securely attached to a range of
accessories, including in-car dash mounts, motorcycle
handlebar mounts, a sports armband, a tripod adapter, a belt
clip and many more. You can even factor wireless charging
into the equation with dedicated weatherproof mounts. The
standard case offers little screen protection, but the optional
tempered glass screen protectors (£11.99) or waterproof
Quad Lock Poncho (£18.99) have got that covered.
From £22.99 quadlockcase.co.uk
Aquapac Waterproof Phone Case

Best for waterproofing any phone
Sometimes the simplest solution is the best. The Aquapac
Waterproof Phone Case is essentially just a bag into which you pop
your phone to keep it protected from water, sand and dirt. Except
it’s a bit cleverer than that. Firstly, there’s the sealing mechanism.
This double twist-lock closure ensures that the case remains
absolutely watertight, even allowing the phone to be submerged
under water. Secondly, the material it’s made from not only allows
perfectly reasonable photos to be taken through it, it also allows most
touchscreen functions to still operate. And finally, it still allows the
phone to be used as a phone – communication through the case
is almost completely unaffected. There are one or two issues – you
may find that your phone’s face or fingerprint recognition doesn’t
work within the case – but with a range of sizes to choose from
and all at a fairly affordable price, the Aquapac Waterproof Phone
Cases are ideal for anyone using their phone in or around water.
From £19.99 aquapac.net
GEAR ZONE
Fujifilm X-H2
The new addition to Fujifilm’s APS-C
line of cameras boasts an all-new 40MP
backside-illuminated sensor as well as a
host of impressive specs. Fergus Kennedy
took it out in a range of scenarios to put
it through its paces
Guide price £1,899
Contact fujifilm-x.com
Ergonomically, the X-H2 is identical to improvements over the previous

its recently released higher-speed but LIKES generation. Both with a fixed focus
lower-resolution sibling, the X-H2S, Improved autofocus point and with subject-tracking, the
with the same large body (by APS-C Feels great in the hands X-H2 was snappy and reliable – I used
standards). The top plate features a Fully articulating rear LCD face detection for human subjects
mode dial, but no ISO or shutter speed In-body image stabilisation and birds, and it worked well in
dials, which are adjusted via the front Excellent image quality both instances. Even in low-light
and rear command dials. The handgrip in stills and video situations, and with more distant
is deep and inspires confidence and DISLIKES subjects, the hit rate was good.
the rear LCD is fully articulated. The Subject recognition AF can I shot fast-moving water sports at
AF-point joystick can move the AF occasionally struggle the beach in tricky backlit conditions
point, change its size and, by pushing IS occasionally a bit and got very good results. Even
it, you can centre it or zoom in. The jerky in video mode though the frame rates are lower
X-H2 also has dual card slots – a UHS- than the X-H2S, I found 15fps with
II SD and a faster CFexpress Type B, to LCD is also a handy addition, giving mechanical shutter and 20fps with
Below (left) accommodate the high-speed modes useful information such as the number electronic shutter was more than
Face recognition and high bit-rate video codecs. of shots remaining on the card, even sufficient for my needs and would
autofocus worked
In use, the X-H2 feels assured and when the camera is switched off. probably suit the majority of users.
very well, even in
low light. refined. Both the rear LCD and the The in-body image stabilisation The big selling point of the X-H2
EVF offer sharp images thanks to a fast (IBIS) was very effective and with a is, of course, the new 40MP sensor,
Below (right) 120Hz refresh rate. One little touch steady hand it was possible to get the highest resolution in any APS-C
The in-body image
that I noticed and appreciated was that sharp results even at exposure times of camera as far as I can tell. The files
stabilisation was
extremely useful all the onscreen info flips when you put a second or more – great for low-light were detailed and offered a great
during night the camera into portrait orientation, situations. The autofocus is another dynamic range. I could pull plenty of
time shooting. making it easier to read. The top-plate area where there have been significant detail out of the shadows on the Raw
CAMERA TEST
Above Good files, and noise in the darker areas was shoot at up to a whopping 160MP. The
dynamic range. easily controlled with some mild noise difference in resolution is definitely FINAL WORD
Above (top right) reduction. Higher ISO performance noticeable, but the stitching isn’t
was very good for a camera with an done in camera – you need a separate Like its sibling, the X-H2S, the
It can recognise a
variety of subjects. APS-C sensor, giving pretty good computer app, which combines the X-H2 is an extremely versatile
results up to about 6400 ISO – beyond 20 shots. The camera should be on a and user-friendly camera, but
Above (bottom places the emphasis on image
right) A nicely that you start to noticeably lose detail. tripod and it needs to be a pretty static
If you need even higher resolution, shot, but for those that need ultra-high resolution rather than outright
rendered
woodland scene. Pixel-Shift Multi Shot allows you to resolution for large landscape prints, speed. However, it’s still no
this could be just the ticket. slouch and proved its worth
Those who shoot video are extremely capturing high-speed sports
TECHNICAL SPECIFICATIONS well-catered for, with resolutions up action and performed very well in
Sensor 40MP APS-C Stacked CMOS a wide variety of other scenarios.
to 8K and 4K at up to 60fps, making
Resolution 7728x5152 pixels
the X-H2 the most affordable camera Photographers who need to
Lens Interchangeable Fujifilm X mount
Shutter speed 30sec to 1/8,000sec that can record 8K video by some produce large prints and want to
(electronic shutter up to 1/180,000sec) distance. There are F-Log profiles for take advantage of the wide range
ISO 160-12,800 (80-51,200 extended) squeezing the maximum gradeability of Fujifilm X-series lenses will be
Viewfinder Electronic out of the files, and headphone and very happy with this camera.
LCD 3in fully articulating (3:2) 1.62M-dot mic sockets. In contrast to many
Flash Hotshoe rivals, the X-H2 also sports a full-sized
Movie mode 8K up to 30fps, HDMI socket. There is an RATINGS
4K up to 60fps Handling 96%
optional fan attachment to
Card formats CFexpress and Performance 96%
SDXC dual card slot
cool the camera and extend
recording times before Specification 97%
Power NP-W235 lithium-ion
overheating, but in practice Value 96%
Dimensions 136x93x85 mm
Weight 660g (battery/no lens) I didn’t find overheating was Overall 96%
a big issue with this model.
GEAR ZONE
DJI Mavic 3 Classic RC Zerofit Heatrub Ultimate
The preferred choice for aerial landscapes, Claiming to be five times warmer than a
DJI has added another model in the shape standard base layer, the Zerofit Heatrub is
of the Mavic 3 Classic. Using a Hasselblad one for the coldest days – or shoots where
camera with a 24mm equivalent lens and a you’re immobile for long periods. For warmth,
Micro Four Thirds CMOS sensor with a 20MP the fleecy inner fabric is designed to gently
resolution, it easily beats the quality of smaller brush against the skin, rather than relying
drones in the line. Claiming Raw files with 12.8 on compression, enabling freer and more
stops of dynamic range as well as improved comfortable movement. Available in an
low-light performance, it also uses the same adaptable unisex fit and a variety of colours,
colour science as Hasselblad’s flagship sizes run between XS (28-32in, size 6-8) and
medium-format bodies. Also shooting up to XXXL (52-56in, size 18-20).
5.1K video, the Classic is easy and safe to fly, Guide price £55 zerofit.co.uk
with omnidirectional obstacle sensing and
an included DJI RC controller – plus up to 46 Fujifilm XF 30mm f/2.8
minutes of flight time. The Mavic 3 Classic’s
R LM WR Macro
only downside is its weight (895g), so you
should check restrictions before flying. For Fujifilm photographers shooting nature and
Guide price £1,529 dji.com fine art close-ups, the XF 30mm f/2.8 Macro
looks like a great option. The lens measures
60x70mm and weighs only 195g, yet it’s still
weather-sealed. It’s also an internally focusing
model, so the front element won’t rack out
and strike the subject in your sights. It takes
43mm filters and focuses as close as 10cm for
maximum 1:1 reproduction.
Guide price £599 fujifilm-x.com
GEARING UP
Canon EOS R6 MkII

Only two and half years have passed since There’s also Canon’s excellent Dual when shooting and an upgraded 3.69m-dot
Canon released the original EOS R6, which Pixel AF II system, offering great subject EVF with a smooth 120fps refresh rate.
shows how fast the company’s mirrorless tracking, low-light performance and Of course, the R6 MkII also shoots video,
range is evolving. The R6 MkII builds on recognition of all sorts of animals, plus so if you’re making movies as well as stills,
its predecessor’s popularity with a hike in the ability to follow their face, eye or body. there’s an excellent choice of oversampled
resolution, speed and expanded features. What’s more, the R6 MkII offers a heady 8 4K 60p or 6K Raw footage as well as Full
Its 24.2MP chip offers more detail, while stops of stabilisation when both an optical HD slow-motion up to 180p. It measures
full-resolution images can be captured at image-stabilised lens and the camera’s 138x98x88mm and weighs 670g with
an impressive 40fps with the electronic in-body IS are combined. There are also a card and battery.
shutter and 12fps in mechanical mode. Dual UHS-II SD card slots for security Guide price £2,779 canon.co.uk
Montane Phase XPD Fujifilm X-T5
Montane’s new Phase range is a collection of The Fujifilm X-T line has long been an runs from 125 to 12,800. For even more detail,
technical waterproofs combining light weight X-series favourite for landscapers and there’s a 160MP pixel-shift mode. The latter is
and excellent protection from the elements. nature photographers, and with a raft of powered by the X-T5’s redesigned IBIS unit,
Top of the line is the Phase XPD, which improvements alongside familiar styling, the which has a 7-stop rating, so it’ll aid handheld
mixes 40-denier Gore-Tex on the body with latest iteration shouldn’t disappoint. There’s shooting too. Keeping to its predecessor’s
80-denier thickness across contact areas like a decent hike in resolution from the previous highly portable appeal, the camera measures
shoulders, hips and elbows. There are fully model, with the X-T5 using a new 40MP 130x91x38mm and weighs 476g.
taped seams and an adjustable, roll-away X-Trans 5 CMOS sensor, while its ISO range Guide price £1,699 fujifilm-x.com
hood with a stiffened peak. The Phase XPD is
available in red and black, in women’s sizes
from 8 to 16 and men’s from S to XXL.
Guide price £450 montane.com
Sony SF-G 256GB Tough SD

With capacity and speed to match its tough
credentials, this UHS-II SDXC card should be Canon RF 135mm f/1.8 L IS USM
of interest both to users of high-res bodies as
well as those shooting thousands of frames Although the RF 135mm f/1.8 L IS USM might, The lens uses a nine-bladed circular aperture
on an epic adventure. The card boasts read/ on the surface, look like a portrait lens, it could for smooth and rounded background blur,
write speeds of 300MB/s and 299MB/s be just as useful to nature photographers so subjects should really pop at the f/1.8
respectively and, at IP68, a very high grade shooting close-ups of animals, flowers or setting. Focusing uses a Nano USM AF motor,
of protection from water, dust and extreme fungi. Focusing down to 70cm, where it promising fast and near-silent performance,
temperatures, while a ribless and switchless gives a decent 0.26x magnification, you can and the lens has L-series weather sealing too.
design enhances reliability and minimises the expect sumptuous and delicate detail, with It measures 89x130mm, weighs 935g and
risk of breakage. a 5.5-stop optical image stabiliser on board takes 82mm filters.
Guide price £470 sony.co.uk to keep things sharp even at slower speeds. Guide price £2,599 canon.co.uk
If you only do one
thing this month…
Autumn
colour
In issue 286 we asked you
to take advantage of the
amazing photographic
opportunities provided by
the changeable conditions
of autumn. Here’s our
superb winning image by
Ulrike Eisenmann, who
receives a Manfrotto Befree
Advanced Travel Tripod,
and our worthy runners-up.
For details of our next
challenge, turn to page 94
WINNER Ulrike Eisenmann

Large birch in its autumn dress
on a foggy morning in Bavaria.
Nikon Z 7 with 70-200mm lens at
80mm, ISO 320, 1/160sec at f/6.3
ONE THING THIS MONTH
Left (top) Carol Hall
These leaves were swirling in the water of
the Leeds-Liverpool canal in Saltaire. I had
to lean right over and almost toppled in,
but stopped myself just in time.
Canon EOS 77D with 15-85mm lens
at 59mm, ISO 400, 1/500sec at f/8
Left (middle) Charles Gibson

Not the usual autumn colours, but the bright
red of fly agarics always means autumn to me.
Nikon D7100 with 70-300mm lens at 160mm,
ISO 3200, 1/400sec at f/4.8
Left (bottom) Martin Rooimans

The start of the autumn at Elswout Estate
in Overveen, Netherlands. I couldn’t resist
the floating leaves in the beautiful light.
Pentax K-3 II with 55-300mm lens at
120mm, ISO 200, 1/6sec at f/4.5, tripod
Opposite (top) Milan Gonda

Sunlit autumnal forest in the Malá Fatra
mountain range, Slovakia. It is not common
to get morning fog this high in the mountains,
especially not in combination with the sun,
which creates these spectacular sunbeams. On
this day, the conditions were rather exceptional.
Canon EOS 450D with 10-20mm lens at 20mm,
Opposite (below left) Alan Thomson

At any time of year, Glen Affric, Scotland,
is a marvellous place to visit, but especially
in autumn when the needles on the
larch trees turn to gold, in contrast with
the deep green of the Scots pines.
Canon EOS 6D with 24-105mm lens at
105mm, ISO 400, 1/180sec at f/5.6, tripod
Opposite (below right) Alison Taylor

Autumn at Thorp Perrow near Bedale,
North Yorkshire, is a wonderful place, with
layers of colours in the trees. I wanted to
capture the feeling of the layers and depth,
so I focused on a hanging branch and threw
the background trees out of focus.
Canon G5 X with lens at 37mm,
ISO 250, 1/125sec at f/8
Above (left) Amina Grigore Opposite (top) Kevin Griffith
Picture of a fern plant. While waiting for the early morning light
Nikon D5600 with 35mm lens, to shine on Cat Bells and Derwentwater,
ISO 200, 1/400sec at f/2.5 I looked back towards Bassenthwaite Lake.
The sun had just reached a small section of
Above (top right) Colin Rooke the fells. I just loved the colours and contours
This was taken on a stormy autumn morning and got a shot. The light changed seconds
at Derwentwater in the Lake District. A brief after, so for once my timing was spot on.
burst of light provided a lovely contrast with Canon EOS 6D MkII with 24-105mm lens
the grey clouds above. The rower’s arrival at 70mm, ISO 800, 1/6sec at f/11, tripod
into the frame was a nice finishing touch.
Canon EOS R5 with 70-200mm at 200mm, Opposite (below) Jenny Fenton
ISO 100, 1/40sec at f/8, tripod What caught my eye was the combination
of soft colours, which are quite unusual in
Above (bottom right) Janet Burdon the autumn. I purposely backlit the leaves
Dalby Forest, North Yorkshire, is one of my on this sunny day to bring out the grey,
favourite locations in autumn and winter, brown and green pastel tones.
and one I regularly visit. On this particular Olympus E-M1 MkII with 75-300mm lens
morning, the early morning sun had risen just at 300mm, ISO 3200, 1/250sec at f/6.7
enough to illuminate the tree tops and give
the scene a magical feel.
Nikon Z 7 with 24-120mm lens at 120mm,
Left (top) Elaine Hagget
A gorgeous autumn maple tree in
full colour on a very windy day.
Canon EOS 600D with 50mm lens,
ISO 100, 1/250sec at f/2.5
Left (below) Torsten Pull

Reflections in Lofoten, Norway.
Nikon D810 with 16-35mm at 23mm,
ISO 64, 2.5sec at f/11, tripod
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CAPTURE WINTER COLOUR + PHOTOGRAPH TRAVEL ICONS + FUJIFILM X-H2

landscape | wildlife | nature | adventure

Keep right up to date with news by ‘liking’ OP at facebook.com/outdoorphotographymag

Find us on Instagram at instagram.com/outdoorphotographymag

FEATURES & OPINION LEARNING LOCATIONS

20 The unteaching process

NATURE GEAR ZONE REGULARS YOUR OP

78 A moment with nature 88 If you only do one

Maned wolf © Kev Gregory/Shutterstock

© Eleanor Bentall / rspb-images.com

Environmental winners the event, now in its 44th

RPS Landscape Group Outdoor Exhibition

4 to 18 January Bird Photographer of the Year

The Cuillin mountains from Elgol, Isle of Skye

H normally a single wave and often

S hits the nail on the head when he

Graeme Green Can art and creativity

GG How do you define ‘art’ in photography?

GG In your book Making Art with Your

GG In the rush to stand out, do you think

GG In your previous book, Retrospective, you

GG You were involved with the

I see a cohort of people coming up now who

GG Is it possible we’d be in an even more

Dawn’s rich light

Left This birch had great close-up potential.

Above Winter impressions at the coast.

10 TIPS FOR WINTER

2 Batteries can lose power quickly

3 Try to put textbook compositions and

4 Lighten your kit bag by taking just

5 Try out different aspect ratios – we

6 Check your white balance. While

7 If venturing out at dawn or dusk,

8 Get up and out. Even if the

10 Manual mode can be essential

How to photograph travel icons

HAVE PATIENCE CREATIVE COMPOSITION

1 Plan ahead and time your visit to capture

the main subject. Vivid flowers in the

composition can enhance a landscape, 3 Challenge yourself to capture a travel

while a muted sky at dawn or dusk can

Stu Meech There are a lot of colourful foregrounds of

NS Are you an intuitive photographer

NS How did you make your start

try a camera. My old man always had an

NS So, you started taking photos

NS How do you sustain the quality?

Stu’s top tips

Stu’s critical moments To see more of Stu’s work, visit stumeech.co.uk.

2002 2008 2012 2014 2019 2022

Left (top) Tawny owl, Edinburgh. This bird, nestling

One can sense a numinous energy among

48 Outdoor Photography August 2017

August 2017 Outdoor Photography 49

Photographing the Peak District

E including Derbyshire, South and West

Kinder Scout Kinder has a multitude of access points, but Wildlife

Brougham Castle, Cumbria

B about two miles south-east of Penrith.

How to get there: Take the A66 east from

2 miles from Penrith • 22 miles from Carlisle ACCESS RATING

Philip James pjip.co.uk Sean Vernell Andrew Ray andrewrayphotography.com