outdoor photography - june 2016
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HOW TO SHOOT BLACK & WHITE WILDLIFE
landscape|wildlife|nature|adventure
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70 awards and recommendations. Made in Germany. Gallery quality trusted
by 21,500 professional photographers. Discover us at WhiteWall.com
Don
WhiteWall.com
Awarded by the editors of 28 leading international photo magazines
Best Photo Lab Worldwide
Winner of the TI PA Award
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June 2016Outdoor Photography1
An online revolutionIf youve ever submitted images or
article ideas to Outdoor Photography
then you will be familiar with the
time and dedication it requires. After
taking, processing and selecting
your images, you then need to find
a CD and some packaging before
heading to the post offi ce and hoping
the package makes it safely to us.
Well, weve got some exciting news
for everyone this month... the OP
submission system has moved online!
Oooh, I can hear the bells ringing and
the street parties erupting round the
country as I type. With immediate
effect, you can go to our website
outdoorphotographymagazine.co.uk
and upload your images and ideas
depending on which section of the
magazine you want to be considered
for. Were thrilled to be able to do thisat last, and hope you will enjoy using
the system. Of course, let us know
of your experience with it (whether
positive or negative), as we want to
ensure it is as user-friendly as possible.
As weve noted on the website,
please make sure you carefully read
the submission guidelines, and use
your knowledge of the magazine to
decide which section best fits the
work you want to send in. Were
expecting a sharp rise in the number
of submissions we receive, and we are
very much looking forward to seeing
work from even more of you.
If you havent already engaged with
us on social media, then its certainly
worth checking out. We have brilliant
and very dynamic communities on
Facebook and Twitter and a rapidly
growing one on Instagram too, and
we are always scouting there for new
talent and great, fresh images. Our
details for connecting with us on
those platforms are below.
Were keen to expand our real life
interaction with you too, so if you
have any cool ideas for events that we
could create or attend then please letus know. One thought weve had is to
have a series of reader days at locations
across the country, where we can all
get together, shoot
some images, learn
from each other and
have fun. What do
you think?
Steve Watkin
Afria-baed wildlife phoographerand lodge manager Pieer Raook hi sunning elephan por raiimage. Find ou how o hoo yourown powerful blak & whie wildlifeimage on page 28.
GET IN TOUCH
EmailConac he Edior, Seve Wakin, a sevew@thegmcgroup.com
or Depuy Edior, Claire Blow, a claire.blow@thegmcgroup.com
Write to usOutdoor Photography, 86 High Sree, Lewe,
Eas Suex BN7 1XN
Keep righ up o dae wih new by liking OP a
faebook.om/oudoorphoographymag
Follow u on Twiter a htp://witer.om/opoy
Find u on Insagram a insagram.om/oudoorphoographymag/
EDITORS LETTER
Landape phoographer JameOmond alk o OPpage 16
Rihard Garvey-William on blak &
whie wildlife phoography page 28
Niall Benvie on he impac ha
marphone are having page 42
Fergu Kennedy es Panaoni
new DMC-GX8 amera page 94
THE ISSUEat a glance
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2Outdoor PhotographyJune 2016
FEATURES & OPINION LEARNINGZONE
LOCATIONSGUIDE16 In onveration with
Jame Omond
Brisol-baed landape
phoographer Jame Omond
alk o Nik Smih abou
finding ue a a pro, and
wha ha led him o fou hi
len on a loaion loe o home
24One month, one picure
Pee Bridgwood explore he
benefi of experimening wih
oher phoographi genre
42 Opinion
Niall Benvie onider
he derimenal impac
marphone are having
on phoography
54A photographer guide
to life on Earth
In he penulimae par of
hi erie, Chri Weson ha
advie on how o be a more
reaive phoographer
58 Lie of the land
Norfolk-baed phoographer
Mathew Darord reveal
why he i drawn o deail
wihin he landape
64 In the sotlight
Dylan Nardini explain how
hi job a a freigh rain driver
inire hi phoography
67 Wilderne to Waeland
Phoograph by David T Hanon
doumening he impac
indusrial and miliary ulure
ha had on he US landape
83 Inide trak
Nik Smih reflec on
hi phoographi exploi
on deer iland
28 How to take unning
blak & white wildlife
photograph
Diover why a monohrome
approah an lead o powerful
and reaive wildlife image,
wih Rihard Garvey-William
in-deph ehnial guide
36 Quik guide to
Linking the land to the kyRihard Garvey-William
offer ompoiional advie o
improve your landape ho
38 How to read water
We dive ino Trisan Gooley
uperb new book abou he
fainaing world of waer
46 Combeone Tor, Devon
Jame Omond apure
a sunning une ho of
one of Darmoor mos
popular beauy o
49 Ben Venue, Stirling
Paul Holloway enjoy
breahaking view from
he op of one of he
Troah dramai peak
50Viewpoint
Eigh op UK loaion o hoo
hi monh, inluding sunning
o in Gwynedd, Derbyhire,
Wilhire, he Orkney Iland
and he Sotih Highland
JUNE
NEW ONLINE SUBMISSIONS SEE PAGE
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June 2016Outdoor Photography3
GEARZONE REGULARSNATURE
ZONE
74 Life in he wild
Laurie Campbell begin
a two-part feature about
nes photography
76 Phoography guide
Laurie eaonal highlight,
world wildlife ecale and
even great plae to ee
heathland flora and fauna
79A momen wih naure
Paul Miguel apture a touhing
ourthip ritual between a pairof arci tern in Ieland
80 On he wing
Steve Young hare hi
experiene of a pay and
dilay wildlife hide etup,
and offer hi bird photo
tip and highlight for June
90 Gearing up
Our round-up of the latesoutdoor kit to hit the helve
92 Camera es: Panaonic
Lumix DMC-GX8
Fergu Kennedy find out
if Panaoni flaghip
mirrorle offering give
DSLR a run for their money
8 Newroom
Keeping you up to date with thelates photography, outdoor
and onervation sorie
10 Ou here
Our pik of the lates
photography title and
nature book to inire
12 The big view
The lates photography and
art exhibition, plu
upoming nature and
adventure fesival
YOUROP
14Your leter
Your feedbak, opinionand muing on all thing
photography-related
60 Reader gallery
Our pik of thi month
bes reader image
85 Nex monh
A neak peek at the July iue
of Outdoor Photography
86Your chance
Find out about our brand new
online ubmiion ysem toget your work publihed in OP
106 If you only do one
hing hi monh
The winner of our winter
wildlife photography
ompetition, plu thi month
hallenge: blak & white wildlife
112 Where in he world?
Identify the loation and you
ould win Keen Veratrail hoe!
NEXT ISSUE ON SALE JUNE
A guide to alternative way of hooting landcape
Interview with nature photographer Henrik Spranz
On tes: the new Olympu Pen-F
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Oudoor Phoography conider aricle idea or publicaion, which hould be en o he Edior, along wih a samped el-addreed reurn envelope i you require your maerial back. GMC Publicaion canno accep liabiliy or he
lo or damage o any unolicied maerial. View and commen expreed by individual in he magazine do no necearily repreen hoe o he publiher and no legal reonibiliy can be acceped or he reul o he ue by readero inormaion or advice o whaever kind given in hi publicaion, eiher in ediorial or adveriemen. No par o hi publicaion may be reproduced, sored in a rerieval ysem or ranmited in any orm or by any mean wihou he prior
permiion o he Guild o Maser Crafman Publicaion Ld. Wih regre, promoional offer and compeiion, unle oherwie saed, are no available ouide he UK and Eire.
GMC Publiaion anno aep liabiliy for he lo or damage of any unoliied maerial.
IN THE MAGAZINE THIS MONTH...
ALSO IN THIS ISSUE
Pee Bridgwoodpeebridgwood.com, Ron Evan ronevan.co.uk, Mark Helliwell markhelliwell.com, Rihard Burdon
rjbphoographic.co.uk, Rober Hatonrobe rhatonphoography.co.uk,Simon Swaleimonwaleshoography.co.uk,
Mark Ferguon markferguonphoography.co.uk, Anna Sowe annaowephoography.co.uk, Chri Weson chriweon.phoography,
Laurie Campbell lauriecampbell.com, Seve Young birdonfilm.com
EDITORIAL
Edior Seve Wakinsevew@hegmcgroup.com
Depuy edior Claire Blow
claire.blow@hegmcgroup.com
Aisanedior Anna Bonia Evananna.evan@hegmcgroup.com
Deigner Jo Chapman
ADVERTISING
Raphael Potinger
raphael.potinger@hegmcgroup.com,01273 402825
MARKETING
Markeing exeuiveAnne Guillo
anneg@hegmcgroup.com ,01273 402871
PRODUCTION
Producion manager Jim Bulley
Producion onroller Sot Teagle
Originaion and Ad deign
GMC Repro. repro@hegmcgroup.com,01273 402807
Publiher Jonahan Grogan
Priner Preiion Colour Prining, Telord,01952 585585
Disribuion Seymour Disribuion Ld
Outdoor Photography(ISSN 1470-5400)
i publihed 13 ime a year by GMC Publiaion Ld.
86 High Sree, Lewe, Eas Suex BN7 1XN.
Tel 01273 477374
Guild o Maser Crafman Publiaion Ld. 2016
Buy OP a an appGe Outdoor
Photographymagazine
for your iPhone, iPad or
Android devie!
Vii he Apple App sore,
find i on Google Play
Sore or go o
pokemag.om
12 issues: Save 10%
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For furher deail:
Call 01273 488005
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SUBSCRIBE+ SAVE UP TO 30%!**by Direc Debi
Jame Omond ha been
a proeional landape
phoographer ine 2002.
He upplie landape and
ravel image o publihing
and adveriing indusrie
worldwide, and alo run hi
own phoography workhop
wihin he UK.
jameomond.co.uk
Pieer Rai a 30-year-old
lodge manager who ha
ravelled o and worked
in ome o he remoes
plae on Earh. He love
wildlie and atemp o
apure he beauy o
naure in hi phoograph.
raiinphoo.com
COVER
Veriy Milligan i a reelane
proeional phoographer
and eduaor working ou o
he iy o Birmingham, UK.
She i happies oudoor
apuring he landape and
love o ravel, boh around
he UK and beyond.
veriymilliganphoography.com
Trisan Gooley i a wrier,
navigaor and explorer. He
e up hi naural navigaion
hool in 2008 and i
he auhor o The Natural
Navigator. He ha writen
or he Sunday Timesand
he New York Times, and
i he only living peron o
have boh flown olo andailed inglehanded aro
he Alani.
nauralnavigaor.com
Rihard Garvey-William
i an award-winning wildlie
and landape phoographer
and auhor. Having en
hi hildhood in Aria,
he relihe opporuniie
o reurn and hare he
experiene by leading
phoographi aari. Now
baed in Devon, he alo
offer uoring on Darmoor.
richardgarveywilliam.com
Niall Benvieha
phoographed and writen
abou he naural world
and our relaionhip wih
i, proeionally, or over
20 year. He i o-ounder
o he inernaional
phoography projec
Mee Your Neighbour.
niallbenvie.com
Paul Hollowaywork par
ime a a eaher, and live
in he village o Callander a
he gaeway o he Sotih
Highland. He end a
muh ime a he an ou
phoographing, and being
a keen hillwalker he enjoy
ombining boh purui.
paulhollowayphoography.co.uk
Dylan Nardinii a
landape phoographer
rom Souh Lanarkhire.
He ake iniraion rom
he ligh he oberve
alling on he landape
he drive hrough in hi
day job driving reigh
rain around Soland.
dylannardini.com
Nik Smihi a wrier
and phoographer
eialiing in ravel
and environmenal iue.
He i a onribuing edior
on he Explorers Journal
and i a ellow o he Royal
Geographial Soiey.
nickmihphoo.com
Mathew Darordi a
proeional illusraor and
keen amaeur phoographer
rom Norwih. When he no
suk in he sudio he like o
explore Norolk wonderul
oas and woodland.
mdarord.phoography
Paul Migueli a widely
publihed phoographer
and wrier, repreened by
picure librarie in he UK
and abroad. He pariularly
enjoy doumening hi loal
wildlie in Wes Yorkhire,
and alo run a divere range
o phoography workhop.
paulmiguel.co.uk
A he age o five, Fergu
Kennedyloved meing
around in he ea and playing
wih gadge. Fory year on,
very litle ha hanged. He i
a marine biologis and work
a a reelane phoographer
and amera operaor or
lien uh a he BBC
and Canon Europe.
fergukennedy.com
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Joe Cornishwww.joecornishgallery.co.uk
The English Lake District has been immortalised in literature, poetry, painting and photography since
the dawn of the Romantic era. I am lucky to have friends living in the Lakes, and it was they who
guided me to this magnificent prospect of Crummock Water early one autumn morning.
The sun rose into a mostly clear sky, but as soon as the cloud built over the central lakeland fells
the light became inspiring and ever-changing for almost an hour. It was one of those occasions to
be grateful for digital photography, for in days past this would have cost a fortune in exposed large
format film!
Great perspective, cool foreground shadow light and warm sun rays, but highlight/shadow range
was extreme. Fortunately, a medium 0.9 ND graduated filter (three stops) did most of the work
needed to balance the dynamic range discrepancy. LEE have made medium grads for me, and
others, to order for a while; these are now being made available to all. Carrying several different
strengths of grad enables me to tune exposure balance really accurately in camera.
It was a thrill to subsequently discover a painting by JMW Turner of Crummock Water, with stormy
lighting and a rainbow over the lake, made over two hundred years earlier.
Crummock Water
LEE 0.9 ND
medium grad filter
Linhof Techno, Phase One P45+, 40mm Rodenstock Digaron-W lens. 1/8 sec @ f/16, iso 50
Medium grad filter
NEW
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6Outdoor PhotographyJune 2016
Achmore rainbow
by Verity Milligan
Long before unrie, I seulatively
drove from Blealeit on the Ile
of Lewi in the direcion of Harri.
I notied that there wa a blanketof mi in the direcion of Ahmore,
providing ome muh needed
atmoshere for the hill beyond.
Soon a orm rolled in, illuminated
by the riing un. A it paed
over the landape, a rainbow
appeared, aending from the
mi into the loud above. It wa
the perfec addition to an already
amazing ene.
Olympus E-M5 MkII with Olympus
40-150mm f/2.8 lens at 40mm,
ISO 200, 1/60sec at f/14
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June 2016Outdoor Photography7
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Ile of Man awarded Unecobioshere reerve atuThe Isle of Man has been added to Unescos global
network of biosphere reserves in recognition of
its outstanding natural heritage. The island, which
lies about 70 miles off the north-west coast of
England in the Irish Sea, is one of 20 new biosphere
reserves, bringing the total number to 669 sites in
120 countries. Awarded to areas that balance the
needs of people, business and nature, their main
purpose is to encourage conservation, sustainable
development and active involvement in the
environment. The Isle of Man joins iconic sitessuch as Yellowstone National Park in the USA
and Ayers Rock in Australia.
Unesco says the Isle of Man is a special place for
people and nature. In awarding the status it praised
the islands varied coast line, peat-rich hills, wooded
glens, grasslands, pools and wetla nds. Two areas
were of particular i nterest to Unesco: the Calf
of Man, a bird-rich islet off the southernmost tip
of the island; and the Ballaugh Curragh, in the
north-west, which boasts one of the largest winter
roost sites of hen harriers in western Europe. T he
islands rich marine biodiversity was also recognised.
Angela Byrne, Head of Isle of Man Tourism said:
We are immensely proud of what our island has
to offer visitors from awe-inspiring waterfalls
hidden away in verdant historic glens, to wide-open
expanses which produce vistas that t ake your
breath away. We work hard to ensure these can
be easily enjoyed and will be protected for locals
and visitors to enjoy for generations to come.
In addition to the new biosphere reserves, nine
existing sites have been extended. In north-west
Scotland, the Wester Ross Biosphere Reserve replacesthe much smaller Beinn Eighe site, which was
designated in 1976. Extending from the tip of
Knoydart northwards to Achiltibuie and the Summer
Isles, and inland eastwards to Garve, the new reserve
includes Loch M aree, which is internationally
important for its black-throated diver population.
There are now si x Unesco biosphere reserves
in the UK, i ncluding the North Norfolk Coast,
Galloway and Southern Ayrshire, Biosffer Dyfi
in Wales and the Brighton and Lewes Downs. To
find out more about them, head to unesco.org.uk/
designation/biosphere-reserves.
8Outdoor PhotographyJune 2016
NEWSROOMCONSERVATION NEW L AUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS
THE LATESTBULLETINS
OPto hos sellar
eaker lineup at
Patching Fesival
The Pahing Fesival reurn o
Notinghamhire hi ummer. The
annual our-day even elebrae
and howae he alen o aris,
phoographer and rafeople, and
i paked ull o iniraional alk,
workhop and demonsraion.
For he hird year running, Oudoor
Phoographywill preen a elecion
o iniring illusraed alk a he
esival. Speaker inlude ome o he
bes oudoor phoographer working
in he UK oday rom landape
maser Jame Omond (inerviewed
on page 16), Dav Thoma and Rahel
Talibar, o naural hisory phoographer
Jak Perk, who eialie in
hooing underwaer phoograph
in Briain rehwaer river.
You an ge an inigh ino ValdaBailey reaive approah o landape
phoography, learn howOPolumnis
Pee Bridgwood reae hi evoaive
image, and diover he sorie
behind Rob Knigh work. Oudoor
Phoographer o he Year 2014 winner
Greg Whiton will alk abou hi paion
or epi landape, and OP Seve
Wakin will be on hand wih ip on
how o ge your image publihed.
The Paching Fesival run from
9-12 June, cloe o he village of
Calveron in Notinghamhire, and
icke cos from 7.50. For full deailand o reerve your icke, go o
pachingfesival.co.uk
r3gin/Shutersock.com
SeveWakin
From andy beahe o owering
liff, he Ile o Man ha more
han 100 mile o oasline.
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June 2016Outdoor Photography9
EDITED BY CLAIRE BLOW
Google offers Nik Collecion for freeGoogle ha made i Nik Collecion o phoo ediing ool available o download
ree o harge. Compaible wih Phoohop, Lighroom and Aperure, he
ollecion omprie even plug-in: Analog Eex Pro, Color Eex Pro, Silver
Eex Pro, Viveza, HDR Eex Pro, Sharpener Pro and Dfine. Ediing apabiliie
range rom filer appliaion ha improve olour orrecion o reaive effec.
The Nik Collecion previouly os $150 (abou 105); anyone who purhaed
he ofware earlier hi year hould have auomaially reeived a ull reund.
The bad new or an o Nik ollecion o ediing ool i ha Google may no
oninue o updae he ofware; he firm aid in a saemen ha i plan o ou
on building phoo ediing ool or mobile, uh a Snapeed and Google Phoo.
To download he Nik Collecion, head o google.om/nikollecion
M
aaser/Shutersock.com
NUMBER CRUNCH
1,345m he offi ial new heigh o BenNevi, whih ha gained a merehank o a GPS heigh meauremen by Ordnane Survey.
The Sotih mounain wa las meaured in 1949, when
urveyor alulaed he heigh o be 1,344m. Modern
meauring ehnology ha provided a more aurae reul
o 1,344.527, whih i rounded up o 1,345m.
153 he lengh, in mile, o he Norh Down Way,whih an now be explored virually. The roue rom Farnham in Surrey o Canerbury and he Whie
Cliff o Dover in Ken i he firs o 15 UK Naional Trail
o be made available on Google Sree View.
58 mile o oas pah in Somere rom BreanDown o Minehead are open o he publi orhe firs ime. Following wo hird o he ouny oas,
ii he longes sreh o be added o he England Coas
Pah o ar. By 2020, a oninuou pah will allow walker
o ae he enire oas o England.
8,262,662bird were reorded in
he RSPB Big Garden
Birdwah in January. Long-ailed i made i ino he op
10 mos oted garden bird due o he mild winer. Grea
i and oal i alo benefied rom he warmer weaher.
See he reul o he urvey a rb.org.uk/birdwah
3,401 eie o plan and animal wereouned by voluneer a 25 NaionalTrus plae around Briain oasline on 20 June
2015, inluding he firs reorded ighing o Baleari
hearwaer a Blakeney on he Norolk oas. The
Naional Trus will ue he finding o deermine how
i manage onervaion along he 775 mile o oasline
i look afer in he UK.
J
oePender
Sotish Naure Phoographer
of he Year 2015 winner revealedA sunning oasal une ho ha earned Wes Lohian-baed DavidQueenan he ile o Sotih Naure Phoographer o he Year 2015. Hi
image, The Ba Rok rom Sealiff beah, won he ompeiion Sea
& Coas aegory beore being eleced by judge a he overall winner.
David aid: My winning image wa aken a he end o a pleaan evening
hooing he une over Tanallon Casle rom Sealiff beah. I wa rying o
make my way bak along he beah o he ar park beore i go ompleely
dark, when I oted he waer-ormed hape in he and leading o he
Ba Rok in he disane and had o sop or one las ho hankully I did!
Find ou more abou he awards a sotishnaurephoographyawards.om,
and see a gallery of all he winners a oudoorphoographymagazine.o.uk
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Top Wildlife Sie of he World
Will and Natalie Burrard-Luca
New Holland
Publishers
978-1921517594
Hardback, 19.99
Will Burrard-Lua ha
made hi name from
invening ingeniou devie ha enable
him o ake picure of wildlife in new
way. Hi laes book howae hi
imaginaive imagery, he aweome
plae he ha viied and hi paion
o hare hi knowledge o you oo an
enjoy he wonder of he naural world.
Saring wih a vii o Peru magial
Man Naional Park bak in 2006 and
finihing wih hi rip o Yellowsone
in he USA las year, i ook inrepid
raveller Burrard-Lua almos 10 year
o reae hi new book on he bes
loaion o ee wildlife. Wih imagery
from Tamania o Svalbard and from
he Okavango Dela o Alaka, he
apure wildlife from plae and
perecive we rarely ge o ee.
Inluding 30 desinaion aro
he globe and illusraed wih sunning
phoograph, eah loaion inlude
an evoaive aoun of wha i like
o vii eah pariular ie hee are
writen by Burrard-Lua wife Naalie,
who aompanie him on many of hi
rip. A loaor map and facfile an alo
be found nex o eah desinaion.
10Outdoor PhotographyJune 2016
OUT THERE
THE LATESTNEW MEDIA
IN PRINT
Leon in Landcape:
80 echnique for aking
beter phoograph
Peter Waton
Ammonite Press
978-1781451441
Paperback, 19.99
A how-to book that is bot h informative
and inspiring, Lessons in Landscape
offers 80 practical lessons to help you
improve your landscape photography.
Emphasising the importance of taking
the time to consider techniques and kit
that wi ll complement the environment
youre in, and the value of knowing the
type of image youd like to produce,
Peter Watson includes the fundamentals
of composition, tips on seeing the
landscape creatively and how to use
natural light to full effect. Written ina friendly, accessible tone, with superb
pictures (printed to an excellent quality
throughout), Watsons book is sure to
appeal to anyone wishing to take their
landscape photography to the next level.
Underwaer Phoography
Masercla
Alex Musard
Ammonite Press
978-1781452226
Paperback, 19.99
BOOKOFTHEMONTH
Rokhopper
penguin
howering
on he Falkland
Iland, by Will
Burrard-Lua.
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Our pik of he laes book where naure ha impaced
eah auhor life for he beter and alered heir perepion
of he world
Walking Away
Simon Armiage
Faber & Faber
978-0571298358
Hardback, 16.99
Renowned poe,
playwrigh and
novelis Simon
Armiage ake
on he hallenge
o omplee he Souh Wes Coas
Pah by oo wihou a penny in hi
poke. Offering nighly reading
o hi poery in exhange or bed
and board, Armiage ell u o hi
journey and hi dioverie along
he way, in hi wity and el-
depreaing syle.
The Outrun
Amy Lipro
Canongate Book
978-1782115472
Hardback, 14.99
Amy Lipro wrie
o reurning o her
homeland, Orkney,and he ime en
immered in he
landape and wahing wildlie o
omba her addicion and ormer
hedonisi liesyle. The book
demonsrae how naure ha he
power o resore lie and renew hope.
Thirty Yearin WilderneWood
Chri Yarrow
Matador
978-1784624934Hardback, 16.95
Keen o avoid
a onvenional
middle-age liesyle, oreser
Chri Yarrow and hi wie bough
Wilderne Wood in Suex and
e abou earning a living rom he
63-are ie. Yarrow ell u o
he hallenge hey aed and he
dioverie hey made in produing
a profiable oresry buine rom
heir anien woodland.
The SeaInidePhilip Hoare
Fourth Esate
978-000
7412136
Paperback,
9.99
Beginning hi
journey on he
ouh oas o
England, where he grew up, Philip
Hoare ravel or a year aro he
world oean o rediover hi
relaionhip wih he ea. Telling
u o hi enouner wih animal,
people and landape, Hoare
blend peronal memoir, ulural
hisory and ravelogue o reae
a sirring piee o lieraure.
Beinga Beas
Charle Foser
Profile book
978-178
125534614.99,
Hardback
One o he
unnies and
mos proound
book youll read hi year, barriser
urned wrier Charle Foser
reoun he ime he lived a five
animal o beter undersand heir
live and our. Chooing o live
and ea a a badger, oter, ox, sag
and wif or a ew day a a ime,
Foser ommimen led him o
ome illuminaing dioverie.
MODERN NATURE WRITING
BOOKS TO INSPIRE
June 2016Oudoor Phoography11
EDITED BY ANNA BONITA EVANS
BUILD YOUR DVD LIBRARYHOLLYWOODS TAKE ON NATURE
We look a wo blokbuser film howing
Hollywood porrayal of a real-life expediion
diaser and iue relaing o he environmen
EveresBalaar Kormkur
Univeral
DVD, 11
Thi i Hollywood ake on he rue-lie
1996 Moun Everes diaser, where eigh
limber died in a reak blizzard during
heir expediion o he ummi o he
Earh highes mounain rom he norh-
easern roue. Wih panorami view o he epi, high-aliude
landape inerered wih loe-up ho o eah limber
aending heir roue, Everesaply porray wha i like o
be in one o he harhes environmen on he plane.
To learn more abou he 1996 Moun Everes diaser, read
Jon Krakauer book, Into Thin Air, or, or a differen ake, look
up Anaoli Boukreev The Climb: Tragi Ambition on Everes.
Raing Extincion
Louie Pihoyo
Dicovery Channel
DVD, 12.99
Examining he major hrea aing
endangered eie aro he world, hi
90-minue film rom 2015 ollow direcor
Louie Pihoyo and a eam o ienis,
environmenalis, aris and engineer a
hey underake over operaion o expoe he blak marke
rade o animal par and he derimenal impac o he ga and
oil indusrie. Raher han being filmed in a doumenary syle,
Raing Extincioni more o a whie-knukle uene hriller,
whih migh no i well wih ome. The imporane o Pihoyo
meage and he very real evidene he preen, however, doe
how u he urgeny or a all o acion. Oher film by Pihoyo
inlude Chaing Ie, whih ollow Jame Balog and hi eam a
hey hronile he plane rapidly meling glaier.
Underwater photography is fast
becoming one of the most exciting
genres in the medium, with
improvements in aquatic gear
making it possible to be t ruly creative
when taking pictures in the planets
oceans, seas and lakes. In Underwater
Photography Masterclass, Britishunderwater photographer and marine
biologist Alex Mustard reveals how you
can explore what lies beneath the waters
surface with your camera. With a focus
on understanding and contolling light,
Mustard offers in-depth technical
advice, tips and ideas. With more than
30 years experience as a photographer,
and a deep knowledge of marine life,
Mustard is the ideal g uide to help you
take the plunge and discover the beauty
and majesty of t he underwater world.
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12Outdoor PhotographyJune 2016
Scene from theWater Edge
Loughborough Sock Gallery,
Leiceserhire
12 May to 25 June
Paul Heathote ha sent the
la even year photographing
water and wateride loation,
and 35 of hi image are
exhibited at Loughborough
Sok Gallery. Heathote'
love of water goe bak to hi
hildhood. He ay: For year
I have enjoyed the peae and
erenity that an be found next
to the water. Regardle of
where I go with my amera,
I alway find myelf drawn to
the water, rambling down
an embankment to get right
to the edge. It i from here
that you ee the water and
urrounding landape from
a different persecive.
loughboroughtownhall.co.uk
Alisair Young: AcentAlan Reece Gallery,
Perth and Kinro
To 30 June
Fuing together hi love
of literature, being out in
the landape and taking
picure, Aliair Young i
a photographer, writer and
mountaineer baed on the
Ile of Skye. Many of the
image on dislay at the Alan
Reee Gallery, in Pitlohry, are
aompanied by Young' haiku
in hi native language, Gaeli.
johnmuirtrus.org
THE BIG VIEW
THE LATESTWHAT'S ON
EXHIBITIONS
FILM INSTALLATIONS
TO INSPIRE
People, Place, PropoitionTowner Art Gallery, Easbourne
To 10 July
The fir major exhibition of work by filmmaker,photographer and inallation arti Melanie
Manhot, People, Plae, Propition inlude
the premiere of her new piee, Out of Bound,
at the Towner Art Gallery in Eabourne.
A two-part inallation hot in the Alpine valley
of Engelberg, Switzerland, the film doument
two different team of worker who make the
potentially hazardou environment afe for the
publi to enjoy. Fainated by the ultural hiory
of mountain, for the la five year Manhot
ha foued on Engelberg to reate thought-
provoking piee that queion the omplex
relationhip between nature and man.
townereasbourne.org.uk
Ben River: The two eyeare not brother
To 22 May
Whitworth Art Gallery, Mancheser
Looely baed on Paul Bowle hort ory
A Disant Epiode a brutal tale of a man
travelling through the Moroan deert Ben
River ha reated a erie of five hort film
that merge reality and ficion to powerful effec.
Uing hand-proeed 16mm inemaope,
Ben ombine hi adaptation of Paul Bowle
piee with footage of the making of the film and
hiorial reording of Mohammed Mrabet
(a renowned Moroan author and Bowle
mue) telling hi own enthralling orie. All
are united by hot of the auerely beautiful
Moroan landape.
whitworth.mancheser.ac.uk
P
au
lHeathcote
M
elanieManchot
B
enRiver
A
lisairYoung
above Cropon Reervoir; belowBeinn Sgritheall.
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June 2016Outdoor Photography13
EDITED BY ANNA BONITA EVANS
WILDLIFE EVENTS
Nene Wahe Bird WalkLong Drove, Cambridgehire
7-8pm, 12 MayDuring he Wildlie Tru' wo-hour
guided evening walk along he wo-
and-a-hal mile Long Drove in he Nene
Wahe, near Whitleey, youll have he
hane o ee nipe, variou wildowl
and bird o prey, inluding owl.
Ticket cos 2. To book, email
cm@jsephen.f9.co.uk
wildliebcn.org
Suex Wildlie DayWWT Arundel, Wes Suex
16 June
Celebrae Suex Day a Arundel
Weland Cenre, where you an enjoy
a guided walk around he ie, alk in he
Sand Piper Theare and a loal wildlie
quiz. Viior may well ah ighing
o waer vole, oyeraher, lapwing
and oher wildlie ha reide a he
reerve during sring and ummer.
No advanced booking required
wwt.org.uk
Wildlie Training Workhop:an introducion to reptile
Stockgrove Country Park, Bedordhire
8 May
Inroduing he kill needed o ideniy
he variou repile ound in he UK,
hi ix-hour workhop, wih Helen Muir-
Howie and Mat Andrew, will how you
where o look or pariular seie
and how o enourage hem o oupyavourable habia. Se wihin he larger
Ruhmere Counry Park, Sokgrove
Counry Park over 80 are o anien
oppie woodland, heah remnan and
onierou planaion.
Ticket cos 35. To book, email
trainingworkhop@wildlifebcn.org
wildliebcn.org
Bat WalkWWT Llanelli, Carmarthenhire
9-10pm, 10 June
Learn abou Llanelli Weland Cenre'
ba during hi hour-long nigh walk.
Exper guide will be on hand o
hare heir knowledge o seieall, habia preerene and loal
populaion diveriy.
Ticket cos 5, and booking i
eential. To ecure your place,
call 01554 741087
wwt.org.uk
What that WarblerWWT Caerlaverock, Dumriehire
1-4pm, 15 May
Find and ideniy he newly arrived sring
migran bird a Caerlaverok Weland
Cenre near Dumrie. Wih 1,400 are
o explore, youre ure o ah ighing
o he regular, inluding he array o
warbler. Guide will be on hand o eah
you how o ideniy seie by heir ong.
No advanced booking required
wwt.org.uk
NATURE FESTIVALS
Fesival o NatureBrisol Habouride, Brisol
11 to 12 June
The UK bigge ree naural hiory even i bak,
reurning o Briol Harbouride or wo day hi
June. Inviing you and your amily o explore and enjoy
he naural world, more han 100 organiaion will beatending he eival, offering alk, workhop and
hand-on aciviie. Viior have he hane o find
ou more abou he wildlie, landape and eology o
wild woodland, urban jungle and divere weland.
Afer he elebraion in Briol, he eival move
on o nearby Keynham, five mile o he ouh-ea
o Briol, or one day on 19 June, beore ending i
advenure in he iy o Bah or he la o he eiviie
on 25 June.
bnhc.org.uk
The Buhraf ShowBeehive Farm Woodland Lake, Derbyhire
28 to 30 May
The Buhraf Show i one o he bigge even
o i kind in he world, wih viior ravelling rom
ar and wide o ry heir hand a buhraf aciviie
and o hear alk rom leading urvival exper.
There pleny o inere oudoor phoographer
during he hree-day even, wih workhop on rak
and ign idenifiaion, a hane o experiene anoe
amping and a wild ood walk o eah pariipan
how o orage. There alo an impreive lineup
o seaker, inluding naural navigaion guru and
auhor Trian Gooley (read abou hi new book on page
38), proeional wildlie and underwaer phoographer
Jak Perk and experiened buhraf and urvival
inrucor and eleviion preener Andrew Prie.
thebuhcrafhow.co.uk
C
hriDobb
A
myLewi
J
ameLee
C
lareEdward
CourteyofTrisanGooley
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14Outdoor PhotographyJune 2016
Your letterWrie o u! We love geting your view and resone; email claire.blow@hegmcgroup.com
THE LATESTFEEDBACK
Wildlife widom
A a wildlife photographer of ome 46 year sanding
(profeional for 20 year), and the mos experiened
photographer of hen harrier in Britain, I write to fully
upport Laurie Campbell omment in the May iue
(OP204) relating to undue disurbane of raptor by photographer.
Only reently did I witne two o-alled wildlife photographer at a
barn oupied by barn owl. One went in and the other waited outide,
with hi amera ready, for an owl to fly out. Suh acion i totally
unaeptable, and if the owl had laid egg the photographer would
have been breaking the law. Regular disurbane of a barn owl ite i
enough to aue abandonment of the ite; the photographer would
have no idea that it wa their acion that had aued thi deertion.
Laurie artile brought the ad new that three wintering hort-
eared owl had died through sarvation brought about by the
preure of photographer at their feeding ite. Suh enario
have been repeated throughout the ountry thi winter, when group
of 30 or more photographer have gathered to photograph hort-
eared owl or day-hunting barn owl. I feel ure that Laurie would
agree with me that over the many deade that we have been filming
wildlife, the exitement ome from finding the ubjec and from the
uniquene of any photograph obtained. Neither he nor I would get
any atifacion sood in a line of other photographer all taking
hundred of hot of the ame bird.
My meage, therefore, to fellow wildlife photographer i to get
out there and find your own ubjec; that way your photograph will
be totally unique to you and your amera. Alway remember that your
reult will be direcly proportionate to the time that you put in.
Gordon Yates, via email
A colourful journeyI really enjoyed Robin Hoskyns photo
showcase, Wild Madagascar, in the
April issue (OP203). In fact , it convinced
me to take my camera travelling again,
so I booked a plane ticket to Rajasthan
in northern India a destination
Ive long thought would have great
photographic potential. It didnt
disappoint. Like Robin, I found it
different to my expectations in some
ways but it surpassed them in others.
The medieval forts and exquisite palaces
were amazing. For me, though, as a
photographer, the Rajasthani peoples
traditional love of colour and decoration,
which was evident all around, was what
kept my finger constantly on the shutterbutton from the vibrant primary
colours of the womens saris and the
mens turbans to t he tractors and trucks
adorned like Christmas trees. Oh, and
the moustaches definitely photogenic!
Im just back and with a treasure
trove of hundreds of photos Im very
grateful to Outdoor Photography for
the all-important initial inspiration.
Chris Dunham, Leiceser
All mapped outAlex Nails technique guide, How to
photograph epic landscapes (OP204)was a very good article with practical
advice. I particularly agree with the last
paragraph, where he says dont try to
do too much.
I have just planned a trip to Newcastle
and I have four locations I want to shoot
at certain times over a two-day period.
Hopefully it will a ll come together and
I will capture the four images I have
pre-visualised based on research
using Google Eart h, the Photographers
Ephemeris, Ordnance Survey maps,
Google Street View and a quick look
at Flickr. I will be choosing the exact
viewpoint and framing when I get there,
but I have an idea of the four images
I am trying to capture.
Steve Williams, via email
Camera ratings: too goodto be true?
Ive just read your April edition OutdoorPhotographymagazi ne (OP203) with
interest and have enjoyed it as usua l.
I was puzzled by the Canon PowerShot
G5 X review, however. Andy Luck
described quite a few negative points,
such as the lens performance, and yet it
got an overall score of 93%. There were
as many dislikes as likes listed, and the
dislikes seemed to be quite serious ones.
I am left wondering if he has been too
generous with his rating? To me, a score
of 93% would indicate an almost perfect
camera which this one does not seem to
be, based on the findings of his appraisal.Numerous other camera reviews in
recent OPs have been similarly generous.
Are almost al l cameras nearly per fect?
For a review to be worthwhile, it should
have realistic ratings that reflect the
comments made, in my opinion.
Chris Lewis, via email
Ed resoneHi Chris, thanks for
getting in touch. Ratings for cameras are
a diffi cult thing to apply in a uniform
manner, as each camera has different
LETTER
OFTHE
MONTH
belowOne ofmany olourful
hot Chri
Dunham took
during a trip
to Rajashan.
C
hrisDunham
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June 2016Oudoor Phoography15
Junes leter of he monh winner, Gordon Yaes, receives hree superb books
from Triplekie Publishing, ogeher worh 55.50
Thi monh we have eamed up wih Triplekie Publihing
o give away all hree book from heir new erie: Yosemite
by Charle Cramer, Fragileby Valda Bailey and Mud/Sand
by Jame Omond. Se up and run by David Breen and Dav
Thoma, Triplekie i dedicaed o producing high qualiy fine
ar landcape phoography book, and i laes releae are
no excepion.
Discover Triplekites photo books at triplekite.co.uk/book-shop
strengths and weaknesses and the impact
of these on a users experience are largely
subjective , depending on the type of
photography being undertaken. There are
very few truly poor cameras these days,
so ratings scales are tricky to define in a
meaningful way. I rarely see reviews giving
a camera less than 70%, so it is about where
they sit between 70 and 100% (we dont see
any of the latter either!). Weve toyed with
the idea of dropping the ratings, so wed
love to hear other readers thoughts on this.
Are ratings useful for making buying
decisions? Is there a better system?
A wordy issueI opened my April issue (OP203) with
interest to look for your apology to
Laurent Baheux for the mix-up in your
review of his book, The Family Album
of Wild Africa, in the March edition
(OP202). Am I the only person to have
been brought up short by the phrase
this monograph is ambitious but
doesnt fail to disappoint? Can we just
do some substitutions here? Doesnt fail
= succeeds (broadly speaking). So you
are saying that the book succeeds in
disappointing? Should it read doesnt fail
to impress, perhaps? Sorry to complain
this brought out the pedant in me!
Many thank s for a very enjoyable
magazine... which doesnt disappoint!
Kirsy McLeod, via email
The real compeiion
It was interesting reading Victoria Graysletter in the April issue (OP203) about
feeling she is unable to compete with
men. As president of a running club
I often see the same frame of mind
among some of our members. Even
though I was a successful high standard
runner, I rarely won a race, so the
question is who did I beat and who
was I competing against? and similarly
I would encourage people to think about
who the real competition is. Running
and photography are the same in this
respect. Our true competition is
ourselves. Are we really trying to beatanother photographer or are we trying to
get the very best from within ourselves?
I would say it is the latter. This is even
more so in the subjective world of
photography appreciation where you
dont have the advantage of measuring
with a finish line and a stopwatch.
If you feel you do want to compete
against others then there is another
sporting analogy you can use. If you
want to win, dont try to compete with
your rivals strengths. Some people may
be happy to camp out a ll night in remote
places, and sometimes the results are
a glorious location but not very good
light. Often the images are super crisp
records of the landscape. So choose your
own strengths as your batt leground.
Maybe that is an easily accessible
location that you visit when the light is
fantastic. Perhaps your strength is t he
way you interpret the feeling of a place
by using alternative shooting methods.
A friend at our camera club has bui lt
a whole ecosystem on a bit of land hehas, with a hide sunk into the ground.
Now he has kingfi shers and water voles
there all the time. He wins a lot of
awards, and quite rightly so, because his
work is fantastic and he works very h ard
to achieve his images. So Im unlikely
to enter a kingfisher photo in a club
competition. Instead, I have entered reed
warblers, swans, roe deer and bar n owls
and they have done well.
So, we all should forget about
competing with other photographers;
instead, we should use them for
inspiration to get the very best outof ourselves.
Henry Szwinto, via email
Ar atackThe story of Andreas Gursky and his
$3m photo of a superma rket shouldnt
come as a surprise (A photographers
guide to life on Earth, OP205). Im
guessing that as a 10x8in paper print
called supermarket, the image would
hardly raise any interest. But print it at
81x121in on acrylic and give it an art y
name, and it becomes art.
Before I retired, some technicians at
the university I worked at were tasked
with assembling a collection of artworksby one of the professors to exhibit at a
local gallery. As a wheeze, the technicians
welded together, in a fairly random
manner, a collection of metalwork from
their scrap bin. Their new artwork was
then presented to the gallery along with
the other items. It was accepted without
question. Rubbish had become art.
In my modest collection of images
perhaps I have some that, if I were to
print them on a suitable medium at
a large scale, I could ta ke to Sothebys
and sell for silly money. Im scanning my
folders already....Tony Gomm, Chandlers Ford
H
enrySzwinto
aboveHenry
Szwino image,
aken a Highcliffe
in Dore. He ay,
I i a prety
uniniring bi
of coas, bu for
a couple of week
in he ring and
a couple of week
in he auumn he
un rie in he
righ place o hine
along he wave.
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16Outdoor PhotographyJune 2016
James Osmond
IN CONVERSATION WITH
Bristol-based landscape photographer James Osmond has been a professional photographersince he left university. Here, he explains how, over the years, his work has become
more focused, and why today he concentrates mostly on local geography
Interview by Nick Smith
Ithink every photographer is trying to find
a subject that they can make their own,
so that they ca n really explore their style.
And it occurred to me t hat Id been visit ing
the Bristol Cha nnel with increased f requency.
Sometimes you go to the coastline there on
a grey, dull day, especially when the tide is out
and there is mud everywhere. It can look really
bleak and horrible. Thats when you say toyourself what am I doing here? This isnt
anyones idea of a beach.
James Osmond is discussing the moment
of creative awakening that led him to the
publication of his latest bookMud|Sandwhich,
as its utilitarian title suggests, has less to do with
the sparkling gold strands of, say, Cornwall, and
everything to do with the gritty reality of what
to most people would instinctively appear to be
a deeply unattractive landscape. Then one day as
I was driving home I started to wonder why I was
having these thoughts. He goes on to explain
that he started to realise that this is a legitimate
subject. Furthermore, Osmond came to theconclusion that, as t he Bristol Channel is a
landscape, and he is a landscape photographer,
I should be looking for something here thats
photogenic and worthy of a picture.
Glamorous and romantic it is not. Mud|Sand
gets its name from Ordnance Survey notation
that occurs regularly along the cartography
of the channel. Like many la ndscape
photographers I spend a lot of time poring
over OS maps and I thought that this phrase
was a succinct description of the coast here.
Compared with his earlier work especia lly
his stock and magazine commissions h is latest
book is monochromatic, sparse and moody. I ask
him if its a foray into fine art photography. But
hes not entirely comfortable with t hat label,
and so we agree that the change of direction in
the Bristol Cha nnel portfolio is probably more
photography for its own sake than anything
else. I was also keen to produce a book that was
in a cert ain photographic style. He develops thetheme by explaining that unlike some of his
earlier work there was no particular agenda
here. Its purely about the beauty t he shapes,
the light. All of those things that go into ma king
something worth seeing.
From the moment he left university,
the Bristol-based photographer has been
a professional, although in the early days he
undertook various supplementary day-jobs to
pay the bills. But the career path was always
heading towards photography. I had an inkling
that I wanted to work with wildlife, partia lly
because my degree was in zoology, but it was
the call of t he landscape that was st ronger.Today, hes not even had a back-up job for
a decade. But I have a wife and t hree children
and so, as a freelancer, I have the flexibility
to form the hub of the family in terms of the
school run and stuff like that.
But flexibility isnt always everything its
cracked up to be. On the one hand, you get
to watch your family grow up. But on the
other, to maintain the situation you need
to be physically on hand, which means that i n
the 15 or so years that Osmond has been taking
photos for a living, his universe has shr unk
somewhat. One of the first things you have
to work out is what is achievable. Since having
children I have done far fewer long-haul trips.
Today, I hardly go any furt her than four or five
hours in the car. And so Ive got to make use
of the landscapes that I can get to quickly and
easily, and so Ive become a lot more familiar
with those of my local area. Perhaps counter-
intuitively, having constraints imposed on hisgeographical range has led Osmond to think
a lot more about what I do and how to exploit
the places I visit in a different and better way.
Reflecting on his proximity to t he Brecon
Beacons in South Wales, he states t hat one
of the real advantages in livi ng so close to
the location is that he ca n get to anywhere he
wants to in the region within an hour or two.
Looking back on my earlier days I wa s pretty
much an uncontrollable scattergun. I was drawn
further afield to the Lake Distr ict and Scotland,
and the attraction is a n obvious one. As lovely
as that was, t he work Id come back with was
sometimes superficial and reactive. You knowthat first ti me you go to Scotland and you drive
through that valley at Glencoe and the hills are
right over your head? The scale is ama zing and
youve got to take those shots. But then you
realise that everyone reacts in t he same way.
Not that theres anything wrong with taking
pictures of the Three Sisters: its just that
everyone else has. When I go somewhere local,
such as Corn Du or Pen Y Fan in the Brecon
Beacons, part of me thinks I am repeating
myself, but you never know when something
amazing is going to happen.
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18Outdoor PhotographyJune 2016
previous page Wes Bay, Juraic Coas, Dore; aboveRiver Parret esuary, Somere.
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June 2016Outdoor Photography 19
above Incoming tide at Sand Bay, Somerset.
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20Outdoor PhotographyJune 2016
This is, according to Osmond, when he gets
some of his best shots. In the old days I wouldnt
have had that attitude and would have moved
on to something else. But knowing that youre
working locally, and theres not much cost
involved, you might as well hang around. And on
one occasion working this way I got a shot that
was much more special than anything Id taken
from that viewpoint before. Its moments like
that, says Osmond, which really bring home the
significance of what repeated visits to landscapes
can yield. Allowing yourself the indulgence of
becoming familiar with your subject puts more
texture into the finished product, he says.
Osmond cheerfully admits t hat the genre
he works in is overpopulated and is sometimes
prone to repetition and clich. While t hese
are characteristics he is keen to avoid, as a stock
photographer he is also aware that this is an
approach he needs to pursue from time to time.
Once you become aware that stock is an
ingredient of how you make a living you can
sometimes become quite mercenary about it.
I can imagine th at somebody who takes their
photography very seriously as an artist might find
this all a bit superficial, while a more business-
oriented photographer might think that shooting
stock is a perfectly logical way to go about things
because its your bread and butter. Im aware of
this in my work, but to be honest I try not to
berate myself too much on this score. And the
reason for that is because I try to remember what
drove me to get into this game in the first place.
Osmond explains that for him it is quite
simply about enjoying the process of ta king
photographs. Every now and again I do slightly
top Cloud clearing Cribyn, Brecon Beacons National Park.
above Wye Valley at Symonds Yat, Herefordshire.
opposite (top) Colmers Hill, Dorset; (bottom) Glyder Fach, Snowdonia National Park.
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June 2016Outdoor Photography21
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above Reedbed at Sharpham Nature Reerve with Glasonbury Tor in the disance, Someret.
lose sight of that. It can be diffi cult, being away
from home for a few days, and you can feel quite
isolated. But then, when you get to the top of
a hill and can see something that is classically
beautiful, it is very enjoyable and Im very lucky
to be able to do it. If while enjoying the scenery
you find yourself idealising the landscape in
your output, then so be it. There is some worth
in that, even if its just for your own personal
enjoyment. So to take that photo of a sunset
at that moment might be a bit of a clich, but it
still has va lue, and its much better than being
stuck on the M25 in a traffi c jam on the way to
the offi ce, which might ot herwi se have been my
fate. I dont really feel a responsibility to pursue
a certain line or style of work and I dont let
myself feel guilt.
Despite this pragmatic approach, Osmond is
not interested in what he calls run of t he mill
shots. For Osmond, conventional achievements
dont always satisfy him artistically and he
constantly finds himself trying to lif t his work
on to a higher level. I do exp ect more from
myself these days. I still enjoy taking those
shots, but dont necessarily find them as
challenging as I once did. Today hes more
interested in the one frame that jumps out at
you from all t he thumbnails on your computer.
This may only happen a handful of times a year.
I think th is ability to capture a brief moment is
one thing that photography does better tha n
any other media.
To see more of James Osmonds work, visit
jamesosmond.co.uk, and to pre-order Mud|Sand,
which will be released in July, go to triplekite.co.uk.
22Outdoor PhotographyJune 2016
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JERSEY | GUERNSEY | SARK | FRANCE
www.fototonic.co.uk
INSPIRATIONAL PHOTOGRAPHY WORKSHOPS & TOURS
10.00am to 5.00pm daily
SAVE 1 on the gate price when you
buy your ticket online in advance.
PLEASE VISIT OUR WEBSITE FORFURTHER INFORMATION
Illustrated talks
to include :
Valda BaileyDav Thomas
James OsmondSteve Watkins
Pete BridgwoodRob KnightJack PerksGreg Whitton
AN EXCITING ADDITION TO PATCHINGS ART & CRAFT FESTIVAL NOW IN ITS 23RD YEAR
PATCHINGS ART CENTRE. NOTTINGHAMSHIRE. NG14 6NU www.patchingsfestival.co.uk - 0115 9653479
Over 250 Artists, Photographers, Craft Makers and
Designers set in 60 Acres of Nottinghamshire Countryside
SUPPORTED BY
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ONE MONTH, ONE PICTURE
24Outdoor PhotographyJune 2016
For a landscape photographer, the occasional
dalliance with other genres of photography
is good for the soul. It opens our eyes to
alternative ways of seeing and stokes our
creative fire. When we continually see our
landscape heroes producing breathtaking
imagery in their own distinctive style, the
natural response is to assume that if we
follow a similar path and introduce stylistic
constraints to our own photography, then we
will improve. With the exception of shootingfor a specific themed project, this approach
is usually counter-productive. Craving our
own style introduces an overly prescriptive
perspective: our subject matter, compositional
approach and favoured colour palette all start
to tighten. Of course, themed portfolios of
images are very appealing, and shooting
projects can be enormously rewarding. Its
easy to see how such a strategy can be self
perpetuating; but if we concentrate our
efforts too much on honing our style, without
ever allowing any deviation, then a hidden
morbidity can develop. An increasingly limited
approach can stifle our vision; and creativity
always welcomes deviations from the aesthetic
path of our artistic journey.
If we crave personal style, we cease to
approach our photography with the calm and
carefree attitude essential for productivity:
a craving mind is not a ver y relaxed or peaceful
one. It is therefore my belief th at our style is
something that should find us, rather than the
other way round; and when we are ready, itwill. Meanwhile, the more we can experience
other styles of shooting, the more expansive
our creative toolkit will become, the more
balance we will bring to our photography and
the more relaxed we will feel.
When bad weather h inders our i ntentions,
shooting in alternative environments can also
be a purely pragmatic response to ensure we
remain productive during the time available
for the shoot. Alternatively, as with my image
this month, shooting indoors can simply be
something we do while travelling. Going
indoors, for an outdoor photographer, could
involve shooting portraits, environmental
portraits, still life, architecture, street,
reportage and countless other sub-genres
of photographys rich and expansive tapestry.
Some styles of photography can intensify
our creative spirit more than others, and
intentional camera movement is one of those
styles I keep coming back to. Rendering
intentional blur with an appropriate subject
is a magic formula for the creation of anengaging image. I was travelling through Paris
and decided to experiment for a while on one
of the underground platforms. I processed the
image in Adobe Photoshop by blending with
several textured layers and applying di fferent
blending modes to achieve this painterly effect.
Being open-minded to different photographic approaches can allow our creativity to flow freely.
Pete Bridgwoodheads underground in Paris to experiment with intentional camera movement
above Metro, Paris, France.Fujifilm X-T1 with Fujinon XF 18-55mm f/2.8-4 R
LM OIS lens at 35mm, ISO 200, 1/8sec at f/3.6,
handheld
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LEARNING ZONEIMPROVE
GO WILD WITH BLACK & WHITE
Richard Garvey-Williams guide to photographing nature in monochrome
36 Quick guide to...
Linking the land to the ky
28How to take sunning black
& white wildlife photograph
38 How to read water
with Trisan Gooley
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28Outdoor Photograph June 2016
The natural world is bestowed with
colour. Indeed its often the vibrant
patterns of birds, insects and flowers
that fill us with awe and bring us
so much joy. When the colour is
a dominant part of what we want
to convey, then naturally it makes sense to retain
it. As with other genres of photography, however,
there are times when removing the colour to render
an image in monochrome can create something very
special. Simple pencil or charcoal sketches frequently
hold their own alongside colourful paintings in art
galleries, and the same applies in our sphere of work.
Here well look at why and when you might want
to turn it all to shades of grey. To fully harness the
power of black & white photography, it is worth first
considering some of its distinctive and potentially
beneficial attributes.
LEARNING ZONE
Learn to see the natural world in shades of grey, as Richard Garvey-Williamsreveals how stripping out the colour can lead to powerful wildlife images
A cormorant sread it wing and
gaze out over a mi-enhrouded
lake. Simple, graphic image ofen
work well in black & white.
Canon EOS 7D with 100-400mm
lens at 300mm, ISO 125,
1/1000sec at f/10
How to take unning black& white wildlie photograph
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June 2016Oudoor Phoography29
above Geting he expoure righ or hee brighly li wan enured
a very dark bakground, whih I exaggeraed in po-proeing o
provide hi rongly graphi and ymboli image. The hear hape
i appropriae or a seie ha end o orm laing relaionhip.
Canon EOS 7D with 100-400mm lens at 150mm,
ISO 160, 1/2000sec at f/5.6
below The graphi marking o zebra make hem ideal andidae
or blak & whie, eseially when you an inorporae patern
ormed by group o hem.
Canon EOS 7D with 100-400mm lens at 400mm,
ISO 320, 1/400sec at f/13
REALISING THE POTENTIAL
1 Blak and whie animal
or hoe wih marking or
patern ha are srongly defined
in erm of one.
Simple, graphi image wherehape, ouline, patern or
exure are predominan.
Carefully onidered imagewhere he ompoiion iuppored eiher by line or hape
ha are deermined by srong
variaion in one.
Phoograph where here i
a srong ene of balane or
relaionhip ha relie on he one
of elemen in he ene.
When you wan o direcatenion o a feaure wihouhe disracion of olour. Forexample, srong olour uh a
red or yellow elewhere in he ene
may be dominaing, drawing he eye
away from he main ubjec.
FIVE SCENARIOS
TO LOOK OUT FOR
When viewing blak
& whie imagery, we
generally aep a le
lieral inerpreaion
o realiy han we would wih olour
phoograph. Through he removal
o olour, we have already aken a bigep away rom wha our eye ee, o
we evaluae a blak & whie image in
a very differen way. For example, when
viewing image in hi medium we are
ofen more orgiving o lighly blown
highligh or lo o deail in hadow
area beaue oher acor requenly
ake preedene. Indeed we are ofen
looking or rong blak and whie
in he image and requenly a more
graphi inerpreaion o hing. Thi
i no o ay ha a large dynami range
and reenion o deail in exreme one
i never imporan when hooing blak& whie uble gradaion o one an
alo work in erain image and ome
even work hrough variaion in mid-
grey one wihou he overpowering
influene o blak and whie.
In blak & whie phoography,
expreion ofen ome largely
hrough he modulaion o one o
define exure, hape, patern and
orm. Wihou he emoive influene
o olour, i beome riial ha he
image an onvey omehing rongly
hrough graphi or meage
inorporaing hee oher modaliie.So, in pracie we are ideally looking
or iuaion where removing he
olour will acually enhane an image
by emphaiing and ouing more
atenion on i oher rengh, whih
ould alo inlude meage abou
ale or a ene o relaionhip
beween animal, or example. There
are no e rule abou wha work and
wha doen work in blak & whie, bu
i i erainly imporan o hooe yourubjec mater, viewpoin, lighing and
ompoiion o uppor a viion o
omehing ha i likely o have
impac in hi medium.
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30Outdoor Photograph June 2016
Blak & whie phoography i
no jus a ae o onvering
image ha don quie work in
olour o monohrome in he
hope ha hey migh be ranormed
(alhough, on oaion, hi pracie
an yield urprie and i alo a ueul
exerie in opening our eye o he
poenial o blak & whie rendiion).
Underpinning onisen ue inhe producion o hi ype o imagery
i an abiliy o pre-viualie how a
olour world will appear when rendered
in monohrome. Thi undoubedly
ome largely rom experiene.
On my workhop and aari I ofen
enourage pariipan o ry o
viualie how erain ene would look
in hade o grey, bearing in mind ha
here i alo he poenial o raie and
lower he one o erain olour, a
we hall ee in he nex ecion.
We need o srive o develop an
appreiaion o he range o one ina ene and he poiion o he srongly
defined one wihin he rame wih
a view o oneiving balaned
ompoiion wih impac.
A an illusraion o he imporane
o learning o ee in erm o he one
raher han he olour, imagine he
ollowing enario: A group o flower
o imilar hape in a olour phoograph
do no appear o relae o eah oher
beaue heir olour differ radially
and he arrangemen o olour i no
balaned and pleaing. When onvered
o monohrome, however, hey beome
he ame one. Now heir hape and
one are loe enough o rigger an
aoiaion baed on heir imilariy and
we pereive hem a being one o a kind.
In hi ae, i he arrangemen o he
flower head i in a pleaing patern,
we migh have a wonderul ho. Thi
an, o oure, work boh way wihimilariie baed largely on olour being
more apparen in he olour verion.
One preauionary noe ha i relaed
o hi i he imporane o being on
he lookou or onal merger when
hooing in blak & whie. One animal
may be a very differen olour o hoe
around i, bu in monohrome i end
o merge wih oher in a way ha i
derimenal o he ompoiion beaue
heir one when onvered o hade
o grey are very imilar. Similarly you
may loe he disincivene and lariy
o he ouline o an individual i i oneare oo imilar o i urrounding.
Try viewing he ene hrough
parially loed eye. Thi remove
ome o he deail and pu your
atenion more on he hape ormed
by he darkes and lighes one.
Pracie onvering image o
monohrome on your ompuer
o help develop your abiliy o ee
in blak & whie.
PRO TIPS
above The differene in one beween hee migraing wildebees and
he gra wa uffi ien o onider a blak & whie ho o emphaie
he srong zigzag. In he olour verion, he blue o he ky and
yellow-green o he gra end o derac rom hi imple meage.
Canon EOS 7D with 100-400mm lens at 190mm, ISO 320,
1/200sec at f/10, beanbag
The lea patern make a pleaing rame or hiAnolis richardii
lizard in Tobago. In olour, he green o he leave, he ligh brown
o he lizard and he bakground ended o make i overly omplex.
Canon EOS 7D with 105mm macro lens, ISO 320, 1/400sec at f/4
SEEING IN BLACK & WHITE
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June 2016Outdoor Photography31
THE ROLE OF COLOUR
IN BLACK & WHITE
Colour filer an be very
poen ool o ouner he
problem o merger and
lo o definiion due o
differen olour having a imilar grey
one, and adding one will requenlyranorm an image. Mouned on your
len, hey radially aler he way erain
olour are rendered in blak & whie.
Eah le hrough i own olour o ligh
and blok oher olour o varying
degree. Red one le red ligh hrough
bu blok mos green and blue; hey
darken blue kie, helping he loud
o sand ou, and alo ofen grealy
inreae onras. Yellow one end o
have a uble effec and are good or
eparaing hade o green, hu
affecing oliage. Orange one offer a
nie balane beween hee wo. Greenfiler help eparae green oliage rom
oloured flower and bud or animal,
and an give gra and ree in he
ene a boos. Blue one are ued le
requenly beaue hey darken mos
olour, ofen reduing onras aro
a ene.
In he digial era, ew phoographer
inlude olour filer in heir ki bag
beaue he effec o hee filer an
be imulaed in proeing ofware,
wih he added luxury o being able o
reely adjus he degree o heir effec.
Some onverion ofware appliaion,
uh a Nik Sofware Silver Eex Pro,
give you ab and lider ha mimi he
appliaion o olour filer. Thi an be
appealing o hoe amiliar wih heir
ue in film phoography. By onras,
in Adobe Lighroom and Phoohopwhen perorming a blak & whie
onverion you will be preened wih
lider giving you he opion o raie or
lower he one o variou olour ha
were in he olour verion o he ene.
Noe ha he red lider i no, hereore,
he ame a a red filer raiing i will
brighen red area bu won do he
oppoie o oher olour uh a blue
and green. In digial pos-producion
he phoographer now ha grea ope,
hereore, o manipulae he one a
whih any hue will be rendered in he
blak & whie image.Polariing filer, in addiion o
offering he benefi hey bring o
olour image in erain iuaion,
an alo help e up an image or a
more poen blak & whie onverion.
For example, when phoographing
a broader ene howing a reaure in
i environmen, a polarier may render
he blue o he ky more vibran hi
an really be played upon wih he
addiion o a red filer in he onverion
o darken he ky ubsanially, hereby
eting off he loud ormaion and
alering he whole mood o he image.
Play wih he olour filer opion or he olour lider in
your proeing ofware on a variey o image o learn
o appreiae heir effec and poenial ue. Thi will
enable you o more auraely predic heir effec on he
reuling image and gain an idea o wha i poible.
A wih any manipulaion, i imporan o avoid hanging
one exeively in order o preven degradaion in erm
o image qualiy.
PRO TIPS
A green filer lighened he iri leave and
lighly darkened he reddih Platycheirus
granditarsusfly, providing he srong
onras ha make hi image.
Canon EOS 7D with 105mm macro lens,
ISO 125, 1/100sec at f/4.5, tripod
A polarier enabled me o make he ky an ineresing urround ohe ubjec in hi phoograph. I ued a genle red filer o boos
he ky and a yellow filer o enhane he paterning o he giraffe,
blending he wo a saked layer uing a layer mak.
Canon EOS 7D with 100-400mm lens at 200mm, ISO 160,
1/125sec at f/11, beanbag
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32Outdoor Photograph June 2016
A litle dodging and burning erved o lariy he waer drople
hrown up by hi playul European oter, he reflecion o he
ree on he ar bank and he ripple patern.
Canon EOS 5D MkIII with 100-400mm lens at 220mm,
ISO 400, 1/320sec at f/6.3
A
we have een, removing
he influene o olourmean ha he one
beome everyhing. I i,
hereore, even more imporan ha
he one in erain par o he image
are rong and diinc or he image
o ueed in erm o i deign and
ompoiion. To help onvey a pleaing
ene o balane, i may alo be
imporan ha an elemen on one
ide o he image i balaned by
omehing o an appropriaely rong
one on he oher ide. The proee
o dodging and burning an be ued
o exaggerae differene in one ando draw atenion o eaure a well
a o help balane one and weigh
wihin he image field.
Again, mo ofware pakage
offer u anai ailiie o apply
hi lighening or darkening elecively
o seified one and preiely where
in he image we hooe. In pracie
i i uually a ae o ubly lighening
ligh one or darkening dark one
o help e omehing off again
i urrounding.
In Lighroom, or example, you
migh elec an Adjumen Bruh,eting i o raie he Highligh o
+10 and he Whie o +15, and pain
over he ligh one ha you wan o
emphaie. Phoohop ome wih
a dodge/burn ool. In hi ae you
would ue he dodge ool, eting he
Range o Highligh o ha i only
affec hee and he Expoure o
perhap 3-4%, and ue i o pain
over he ligh one.
DODGING AND BURNING
Cah-ligh in he eye an be givena helpul litle boo uing dodging
and burning.
Doing a litle dodging o brigher one
and burning o darker one over
a pah o eaher or ur an erve
o make he exure more apparen.
Similarly, you migh ue hi o
emphaie he paterning o an
animal. Don overdo i.
Lead-in line or inereing hape
in he urrounding alo ofen benefi
rom a litle exaggeraion o heir one.
PRO TIPS
Thi phoo o a reiulaed giraffe
baby a i moher ide i really
abou heir nework patern.
A litle dodging over he whie
line in ome area helped o even
ou heir one aro he image.
Canon EOS 7D with 500mm lens
and 1.4x converter, ISO 320,
1/400sec at f/8, beanbag
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June 2016Outdoor Photography33
Preie onra adjumen uing Adjumen Curve
enabled me o impliy hi image and draw atenion o
he reflecion and he slah aued by he gull.
Canon EOS 5D MkIII with 500mm lens and 1.4x converter,
ISO 400, 1/3200sec at f/5.6, tripod
The ue o a polariing filer and hen a red filer in he onverion give hi ho o a sringbok herd a lighly oherworldly eel ha uied o he barren loaion.
I alo make he sare loud a more dominan eaure. An inrared filer migh have produed omehing imilar.
Canon EOS 5D MkIII with 24-105mm lens at 47mm, ISO 200, 1/250sec at f/11
GETTING CREATIVE
The ue o olour filer
erainly open u up o
ome relaively dramai,
and even urreal,
inerpreaion. Anoher filer ha i
ofen ued o produe a omewhaehereal image i he inrared. Thi
an be ued o render blue kie
virually blak, and unli oliage a
virually whie. There are variou
inrared filer available, deigned o
filer lighly differen wavelengh
720nm i widely onidered he
andard. They will ypially redue
he amoun o ligh by up o 10 op,
o in wildlie phoography hey have
limied ue. Inead, or inrared
wildlie phoography i i worh
having a amera onvered
permanenly o apure inrared,
a you will hen be able o avoid
he very long expoure ime ha
plaing an inrared filer on your
len neeiae. Noe ha ouing
an be riky wih a onvered
amera, o i ofen helpul oue live view o zoom in and hek
he harpne.
We an, o oure, go on o
reinrodue olour in a uble
and onrolled way hrough he
proee o oning, sli-oning,
or even olour-popping (olouring),
where olour rom he original file i
reinrodued o par o he now blak
& whie image. Thee are all ueul
orm o expreion or onveying
your meage or reflecing a mood,
and heir ue will depend on your
inenion in a given iuaion.
CONTRAST ADJUSTMENT TIPSI ofen worh heking wheher making he
lighe one in your image rue whie and he
darke rue blak help in a mono onverion.
In Lighroom you an do hi by dragging he
edge o your hiogram urve ou o mee he
orner o he hiogram rame. In Phoohop
i i done via a Level adjumen, whereby
you lide he ouer wo lider in o mee he
edge o he urve. O oure, hi in alway
appropriae. More preie adjumen
direced a seifi range o one in your
image an be made uing urve adjumen.
In Lighroom he Tone Curve ha a ailiy o
enable you o lik on a ligh one in he image
and drag i up o lighen i. You an hen lik
Done and repea hi or anoher eleced
darker one, hi ime dragging i down lighly
o darken i. In Phoohop you would do hi
wih a Curve Adjumen layer, wih he
advanage ha you an hen ue he layer
mak o apply he adjumen wih differen
ineniie o seifi area o he image. Thi
i ueul pariularly or emphaiing exure
or erain eaure o your ubjec.
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34Outdoor Photograph June 2016
Pracie viualiing how
ene would look in blak
& whie.
Experimen wih onvering
a variey o image o
monohrome, and ry uing he
variou lider or alering he one
o differen olour.
Acively look or enarioor loaion ha migh ui
hi medium.
4 Conider wha i i you migh
wan o reveal or expre
abou he ubjec mater.
Take ime o ompoe yourho o uppor hi viion.Chooe your viewpoin o inlude
and poiion oher elemen ha
migh uppor i.
6 Keep i imple.
7 Ponder how you migh wan
o proe he ho do you
need o modiy he expoure o
aommodae hi or perhap hoo
wo or more expoure o blend?
8 Shoo in Raw i poible o
maximie your proeing
opion and o minimie
degradaion i more radial
adjumen are needed.
Pre he huter genly!
1 Enjoy proeing he image
experimen wih he olour
filer or lider o ee how hey
affec hing. Think abou he onein he image and finih off wih
ome dodging and burning o
fine-une your reaion.
TAKE PARTEnter our black & white
wildlife competition turn
to page 111 for details
Cerainly in loe-up naure
phoography, olour are likely
o be a pariularly imporan par
o wha we eek o reveal in our
ubjec. Again, however, here are ime when
monohrome may erve u beter. Typially
we will hooe hi roue or he ame reaon,
uh a exaggeraing he impac o line and
hape in he image or reduing he diracion
o olour in he bakground, whih are ofen
diffi ul o avoid in maro work.
Shadow an ofen make he differene o our
ompoiion, produing inereing hape
or helping o reveal he orm o our ubjec.
So, off-amera flah i erainly a benefi a
i will give u ome reaive onrol over where
and how he hadow appear.
The darkening o bakground due o he
rapid all-off o illuminaion rom a flahgun wih
diane an alo be ued o ou atenion
more seifially on he ubjec or oher
oreground eaure. In general we ry o avoid
overdoing hi, a he inenion i uually o avoid
i being oo obviou ha arifiial ligh wa ued.
MACRO CONSIDERATIONS
In hi ae, I wa ruk by he way he iri
lea ip urved over o ake he eye niely
along he line o he blue-ailed damelfly,
orming a pleaing invered V. The imilar
one o he lea and damelfly make i
work in mono.
Canon EOS 7D with 105mm macro lens
and extension tube, ISO 400,
1/160sec at f/11, twin-lite flash
STEPS
TO SUCCESS
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Capture theNorthern lightsArctic NorwayTour dates: 12th-19th November 2016
To the best in the world with the best in the world
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36Outdoor PhotographyJune 2016
QUICK GUIDE TO
Linking the land to the skyCompoiion in phoography i ofen abou howing a ene o relaionhip beween
srong elemen in he image. Here, Richard Garvey-Williamsugges ha we aloacively look or onnecion beween eaure in he ky and hoe on he land
S
o often we see images where there isno clear link between what is going on
below and what is going on above the
horizon. In many compositions youcould readily replace the sky with that from
another image and not lose anything. In
landscape photography we generally try to conveya sense of the location. The sky is as important as
the land in this regard, giving information aboutthe weather, including temperature and wind
force. So, features above the horizon including
cloud formations, vapour trails, the sun, themoon and the stars all become key elements in
our portrayals. T herefore, we should perhaps begiving as much thought to their inclusion and
positioning within the frame as we give to the
land-based elements in the scene.
COMPOSITIONAL CONSIDERATIONS
Pariularly i we are aiming
o onvey he beauy oa ene or he ene o joy
i insilled in u when we were
phoographing i, poiioning
eaure o give a ene o
balane i likely o be imporan.
Even floaing loud an have
oniderable viual weigh and
be ued o balane mounain,
ree and o on. Thereore i
imporan o onider all he
eaure boh above and below
he horizon when sriving or
hi balane.
Ahieving a degree o balane
in erm o he one aboveand below he horizon i
an imporan sep oward
onnecing he wo zone in
our mind. So, neural deniy
graduaed filer or blending o
expoure may be appropriae.
In ommuniaing a ene o
he loaion, i i ofen helpul
o ugges an apparen
relaionhip or onnecion
beween he elemen ha
onribue o our ompoiion.
An impreion ha objec,
animal or people are lookinga or leaning oward eaure
in he ky an srongly bring
i all ogeher.
Changing he proporion
o land o ky in a ene an
radially aler he effec o an
image. For example, inluding
more ky may engender
a greaer ene o ae
and reedom and may draw
our atenion o he weaher
and elemen a litle more.
Knowing where he ull moon would be riing helped me ge hi ho. I poiioned
myel o ha he moon wa o he lef and embraed by he urve o he rok ma.
The lone figure limbing Hayor and gazing oward he moon wa pure luk.
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FIVE ESSENTIAL TIPS
1 Do your reearh in erm o un and moon poiion
and weaher oreas.
2 Be paien wai or a loud o drif ino he righ
poiion or hange i hape.
3 Make ue o acual or implied line o lead he eyerom objec in he ene o eaure in he ky.
4 Compoe your ho o ha key elemen in he ky
and on he land appear o be aing or leaning oward
one anoher.
5 You an ue variou ehnique o emphaie
eaure in he ky, drawing atenion o heir hape
and exure. A polariing filer may help enrih he blue o
a ky and make he loud sand ou, or a red filer dur
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