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Land of Giants
issue 64 • june 2016
 Contents
Welcome
Light hunters
Recently I had the pleasure to spend twelve days on the
Lofoten Islands of Norway with friends. Lofoten has become a Keep up to date
popular destination with landscape photographers lately and with our latest
news, competitions
for very good reason, as we found out. A series of scattered and giveaways.
islands connected in the fairly recent years by bridges, Follow us and never
causeways and tunnels. Sharp, ragged and fearsome under miss a thing.
the right light, mountains emerging from the bottom of the sea,
surrounding peaceful harbours that work as a perfect refuge for fishing villages.
Extremely powerful and impressive, at times they resembled the twelve gods of
Greek mythology. To the north, coves and bays with sandy and rocky beaches Become a member
Click here to find
and breathtaking backgrounds – as some would call, a landscape photographers out about our latest
heaven. subscription offers.
There was a reason for visiting Lofoten during May. This time of year the sun
sets and stays just below the horizon for a few hours, before it rises again. If
the weather stays clear, there is constant colour on the horizon – the optimum
twilight photography season.
Our plan was to photograph between 10pm and 4am, as this would be the
best time for ultimate light. However, as Lofoten lies at the edge of the Atlantic,
and we all know how unpredictable the weather can be over there, our plans
sadly did not materialise. As we have done on many occasions before though, Get Published
we made the best of whatever the weather threw at us – besides, it would be Click here to find
out how to send us
impossible to return from a location such as Lofoten without some spectacular your pictures for
images and we certainly achieved that, despite dodging rain showers during the publication in the
last three days of our stay there. magazine.
A key lesson that every landscape photographer learns was never more apt
than during my trip: adapt, be content and get inspiration from the landscape,
whatever the elements have to throw at you.
Dimitri Vasileiou

Editor: Dimitri Vasileiou - dimitri@landscapephotographymagazine.com

Deputy Editor & Designer: Paul Vasiliou
Website & social media editor: Jennifer Schembri
To advertise please contact
Europe Division:
Melanie Beck • +44 7920 483106 - +44 1273 471324
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N America Division: This month’s cover is
Tiffany Briley • +1 502 645 1501 - tiffany@landscapephotographymagazine.com by LPM reader...
Judy Tomlinson.
Landscape Photography Magazine was founded in 2011 and is published online 13 times a year.
www.landscapephotographymagazine.com
 Galleria
Landscape Photography Magazine

Every month we showcase the best pictures submitted for publication

by our loyal readers and followers. Send us your best picture
and besides being published in the world’s leading online photo
magazine, you could also win a Platinum membership for a year

Galleria is sponsored by

6
Feldberg, Germany by Steffen Egly from Germany • Sony Alpha 7R, Canon TS-E 24mm, f/5.6, 1/100sec, ISO 800
Landscape Photography Magazine 7 >>
 Galleria Landscape Photography Magazine

Galleria is sponsored by

Sisiman Bay, Bataan, Philippines by Jigs Tenorio from Philippines

8 Nikon D7000, Tokina 11-16mm f/2.8, f/11, 1sec, ISO 100
>>
 Galleria Landscape Photography Magazine

Galleria is sponsored by

Levocske Hills, Slovakia by Marian Beres from Czech Republic

10 Canon 7D, Canon 70-200mm, f/8, 1/200sec, ISO 200
>>
 Galleria Landscape Photography Magazine

Galleria is sponsored by

Lofoten, Norway by Nicolas Schneider from France

12 Canon 1Ds Mk III, Canon 70-200mm f/2.8L IS II, f/6.3, 1/125sec, ISO 200
>>
 Galleria Merging Images >>

Galleria is sponsored by

North Myrtle Beach, S Carolina, USA by Robert Raia from USA

14 Canon 5D Mk III, Canon 16-35mm f/2.8L II, f/4, 6sec, ISO 800
 Contributors June 2016 in LPM

Dimitri Vasileiou Ian Plant David Hay Alain Briot Erez Marom Rafael Rojas

Andy Brown Trevor Anderson Adam Burton Karen Hutton Steve Rengers Tiffany Reed Briley

Lizzie Shepherd Ilan Shacham Sapna Reddy Tom Mackie

Featured Photographers

Daniel Howarth Stewart Sanderson Sydney Manuel Steffen Egly James Grant Daniel Korzhonov

Christopher Adach Harvey Spears Fereshte Faustini Richard Hurst

Get involved!
For more details about how to submit
your work just click here!
Robert Raia
©Ilan Shacham
16
 Contents 1
Featured Articles
In conversation… Tom Mackie
In 1985, Tom Mackie made two very big
life decisions – he moved from America to
Britain and then embarked on a career as a
professional landscape photographer.
Photo Specifics And Preferences
Photography can be an inherently personal
pursuit. Karen Hutton discusses some of the
decisions every photographer has to make in
order to find his or her own voice.
18
Wild America
An eminent American landscape photographer
and a writer have come together to release a
book about America’s National Parks. David Hay
reviews it here.
Landscape Photography Magazine
June 2016 Issue 64
Land of Giants
The Redwood Forest in California has some of the largest trees in the world, but that is not the
only photographic opportunity. Sapna Reddy gives her insider advice on how to make the most
of a visit here.
Photographing Beech Trees
Beech trees are very common in the
UK, and you will certainly have taken
photographs of them, but how much
do you know about them? Lizzie
Shepherd explains everything you
could possibly need to know.
© This document is for private viewing only. Any distribution or sharing is strictly prohibited. All material is protected by international copyright law
Landscape Photography Magazine 19
 Contents 2
Essays & Advice
Light & Shadow
When a trip to Mt. Baker
looked like it was going to
be unsuccessful due to the
weather, Trevor Anderson
switched to a long lens.
Hay Fever
Most photography involves
trying to get the camera as
stable as possible, but with
ICM you move the camera on
purpose.
Photo of the Month
Every month we showcase
the best pictures submitted
for our Photo of the Month
competition by our loyal
readers and followers.
20
Behind the Scene
Steve Rengers explains how he
captured this beautiful night
time picture.
Advice of the month
Taking the chance to properly
review and double check an
image before leaving a scene
can prevent moments being
lost forever.
Spotlight
Dimitri Vasileiou encourages us
to carry on trying new things
every day and not to worry
about getting things ‘wrong’.
Views & Tips
Digital collages are a very
common way of creating
images larger than your lens
can capture.
Pro Talk
Landscape photography is
often seen as stretching vistas
and wide-angle scenes...
A Photographer’s Vision
Some people think they need
to suffer for their art in order
to make it worthy. Rafael
Rojas offers an opposing
view, that photographs should
be created with love and
enjoyment.
Infinity
There is a secret in the world
of photography: Photoshop is
an essential part of processing
pictures.
Featured Artist
Every month we display the
work of an exceptional artist
and we ask them a handful of
questions about their work and
inspirations.
Wall of Fame
Each month LPM publishes
the best ‘enthusiast’ images
submitted by our readers and
followers. Enter the Wall of
Fame and you could win a
Gold membership for a year.
Landscape Photography Magazine
June 2016 Issue 64
Galleria
Every month we showcase the
best pictures submitted for
publication by our loyal readers
and followers.
Showcase
Every month we showcase one
exceptional picture submitted
by one of our exceptional
readers and followers.
Editor’s Choice
Every month the LPM editor
selects the best submitted
picture by our readers and
followers.
Landscape Photography Magazine 21
 Views & Tips Landscape Photography Magazine

Merging Images
Digital collages are a very common way of creating images larger
than your lens can capture. Alain Briot compares the tools available
for creating these images in Lightroom and Photoshop to see which
produces the best results

»
22 Landscape Photography Magazine 23 >>
 Merging Images
I n November 2015, while photographing
during the 2015 Fine Art Photography
Summit in Death Valley, I found myself
on the Badwater Salt Flat at sunset. Due
to recent flooding the playa was covered
with water, a rare occurrence in a land
known for its dryness. There were clouds
in the sky, which is another uncommon
occurrence. On top of all that, around ten
minutes after sunset the clouds turned red.
When combined, these elements – water,
reflections, salt patterns, clouds and sunset
colors – created an opportunity for a unique
photograph.
Faced with having to decide how to
compose the image I decided to capture the
entire scene, as this was the best way to
showcase what was taking place in front
of me at the time. However, I was using
a Phase One digital back on a Hasselblad
SWCM-CF camera and the fixed 38mm
Zeiss Biogon lens. This system did not allow
me to capture the entire scene in a single
frame, so I had to take three separate
24
Landscape Photography Magazine
vertical frames. This was a common
approach for me as over half of my work
consists of digital collages.
The process
Back in my studio I imported the images in
Lightroom, then merged them in Photoshop
using the Photomerge command – my
usual approach. Even though I can merge
images directly in Lightroom I prefer to
use Photoshop’s Photomerge. The reason
for this is because Photoshop gives me the
option of performing a Reposition Merge.
I like Reposition because it does not...
Paid membership is required to read the
full article. Subscribe now and enjoy our
educational and inspirational features for a
very small fee.
https://landscapephotographymagazine.
com/subscriptions
Please share
this article
AL AIN BRIOT
Alain Briot creates fine art photographs,
teaches workshops and offers DVD
tutorials. His 3 books are available as
printed books on Amazon.com and as
eBooks on his website. You can find more
information about Alain’s work, writings and
tutorials as well as subscribe to his free
monthly newsletter on his website.
www.beautiful-landscape.com
Long vs Wide Lens >>
 Brand Feature Landscape Photography Magazine

Hints and Advice for

Instagram Success
By Kathryn Dyer

Sponsored by
Click here to read the feature »
26 Landscape Photography Magazine 27
 Light & Shadow Landscape Photography Magazine

Long vs Wide Lens

When a trip to Mt. Baker looked like it was going to be unsuccessful
due to the weather, Trevor Anderson switched to a long lens instead
and the landscape intimates he captured are as powerful as any
wide-angle picture

Mt. Baker
Canon 6D
Sigma 70-300mm
f/16, 1/160sec, ISO 50

28 Landscape Photography Magazine 29 >>

 Long vs Wide Lens

I like the wide-angle lens as much as

most other landscape photographers;
in fact, it is what stays on my camera
would be revealed. I saw a smaller cliff
below Mt. Baker that intrigued me; it looked
like...
the majority of the time. But there are
circumstances that can force us out of the Paid membership is required to read the
regular mode of operation and push us into full article. Subscribe now and enjoy our
seeing something in a unique way to bring educational and inspirational features for a
forth the drama of another perspective. very small fee.
There are times where only fragments of https://landscapephotographymagazine.
what we anticipated photographing are com/subscriptions
available to us, and this is when
I look to dissect the scene to see if a piece
of it could convey the power of the whole.
I had the opportunity to put this idea into
practice on a recent trip; I aimed to come
out with more while working with less.
With a forecast of clearing
clouds I took a leap of
faith and headed up to Moments
the Mt. Baker Ski Area later I noticed the
in Washington State. lower side of Mt. Baker
The clouds prevented was beginning to reveal
me from capturing the itself
wide-angle images of
Mt. Baker and Mt. Shuksan
that I had hoped for, but the
presence of the clouds ultimately paved
the way for something more unique to me.
On the ascent, a neighbouring peak to Mt.
Baker caught my eye. The darker clouds
and moody sidelight drew me in. Due to the
mountain’s elongated shoulders (it’s aptly
named Table Mountain), a wider perspective
Please share
would make the mountain look less
this article
imposing and its slope more gradual, so
I used my 70-300mm lens to focus TRE VOR ANDERSON
intimately on this mountain’s summit and
to give the appearance of a much more Trevor Anderson is a Pacific Northwest
based Landscape Photographer. Trevor
precipitous slope. believes that visual art is a necessary
A couple of miles along the path and component for healthy self expression
closer to sunset I was waiting for the and encourages others to appreciate the art
inherent in life.
clearing of the clouds from the mountains, www.trevorandersonphotography.com
but only the bottom half of their summits
30 Photoshop Scepticism >>
 Editor’s Choice Landscape Photography Magazine

32
Slaithwaite, Yorkshire, England by Daniel Howarth from the UK • Nikon D810, Tamron 150-600mm, f/13, 1/250sec, ISO 800
Landscape Photography Magazine 33 >>
 Next Month
In Conversation...

Michael Frye

©Mark Hamblin
34
 Infinity Landscape Photography Magazine

Photoshop Scepticism
There is a secret in the world of photography: Photoshop is an
essential part of processing pictures. Adam Burton breaks the
taboo and discusses it openly

Mono Lake
California, USA
Nikon D800e
Nikon 17-35mm f/2.8
f/13, 4sec, ISO 100
36 Landscape Photography Magazine 37 >>
 Infinity • Photoshop Scepticism
I t’s a strange world we live in. Say to
any non-photographer that you use
Photoshop to post process your landscape
pictures and the credibility of your
photography will almost certainly diminish
in their eyes. Almost everybody understands
the word Photoshop, or rather they think
they do, to the extent that the software
seems to have become the verb to describe
the process of photographic manipulation.
‘That’s clearly been photoshopped’ is a
frequently used disparaging comment to
describe an eye-catching photograph on
the internet. When you try and explain
that processing is a necessary part of
photography, eyes will glaze over. Their
suspicions are realised: you have enhanced
these colours to make something better
than nature offered. The more you explain
yourself, the less they believe you.
Sadly, this seems to be the state of
things these days, and for those of us that
believe in capturing authenticity in their
landscapes, the general perception of digital
photography can be very frustrating indeed.
I firmly believe in keeping my images
natural and faithful to the scene
I photographed. Yet, like most other serious
photographers, I shoot in RAW mode and
post processing is a necessary stage in the
photographic process.
Although it doesn’t make it any easier to
take I do understand the public scepticism.
We live in an age where seeing is no
longer believing. We are bombarded with
amazing images daily, many of which
are clearly computer creations. Winning
entries in several high profile photographic
competitions over the past few years have
been disqualified due to manipulation. On
top of that there is a general ignorance of
the stages involved in the photographic
process.
38
Landscape Photography Magazine
When I first moved across from film to
digital, I had no idea about post processing.
I read somewhere that RAW was the best
format to shoot in, and being a non-
technical photographer I accepted this
without carrying out any research. When
I downloaded my first memory card into
Rawshooter (the forerunner of Lightroom)
I wanted to cry; the computer seemed to ...
Paid membership is required to read the
full article. Subscribe now and enjoy our
educational and inspirational features for a
very small fee.
https://landscapephotographymagazine.
com/subscriptions
We live in an age where seeing is no
longer believing. We are bombarded
with amazing images daily, many of
which are clearly computer creations
Please share
this article
ADAM BURTON
Adam Burton is one of the UK’s leading
landscape photographers and author
of five books. Since 2008 he has been
working as a full time professional
landscape photographer, regularly supplying
imagery and undertaking commissions for a
wide range of clients.
www.adamburtonphotography.com
Portfolio: Daniel Korzhonov >>
Landscape Photography Magazine 39
 Raw & Unedited Landscape Photography Magazine

Jennifer Wu
A Sponsored interview Click here to read the interview »
40 Landscape Photography Magazine 41
 Landscape Photography Magazine
Portfolio Send us YOUR portfolio, click here for details

daniel korzhonov

I was born in a small

town in the Moscow
area. I studied in the
Moscow institute of
Physics and Technology and
became an optics physicist.
I am a guide of photo-
workshops and chief editor
of ‘Continent expedition’
magazine. I spend most of
my time in Norway as I am
in love with the Lofoten
Islands.

Nikon D800
Nikkor 24-70 f/2.8
Nikkor 80-200 f/2.8
Nikkor 14 f/2.8
Nikkor 50 mm f/2.8

42
Husfjellet, Senja Island, Norway • Nikon D800, Nikon 14mm, f/14, 1/60sec, ISO 100, 5 vertical frames stitched
Landscape Photography Magazine 43 >>
 Portfolio • Daniel Korzhonov Landscape Photography Magazine

Book Review: Wild America >>

Husfjellet, Senja Island, Norway

44 Nikon D800, Nikon 14mm, f/14, ISO 200, 2 blended exposures
 Next Month
Global Arctic Awards

46
 Book Review Landscape Photography Magazine

Wild America
An eminent American landscape photographer and a writer
have come together to release a book about America’s
National Parks. David Hay reviews it here

D avid Muench is one of the most pre-

eminent landscape photographers
in America. The Muench family, from his
first National Park in America.

father Josef to his son Marc, have carried
forward the tradition of photographic
excellence from generation to generation.
This book draws on a lifetime of work by
David Muench capturing America’s National
Parks and wildernesses.
Roly Smith is the author of over 80 books
on the countryside and is Vice-president of
the Outdoor Writers’ and Photographers’
Guild.
Their work is brought together in this
new book which features their favourite 21
National Parks in alphabetical order, from
Arcadia to Zion. The book celebrates the
centenary of the law that established the
Content
Each of the featured National Parks has
around four pages of coverage, which
typically include four images by David
Muench, and a short essay by Roly Smith,
describing his visit to the location. The
writing style is vivid and descriptive. Roly
Smith’s experiences in each park are often
memorable, such as his encounter with a
flash flood in Antelope Canyon. The images
are classic David Muench. I imagine many
of them are from the film days, perhaps
using Fuji Velvia, as deep, dark shadows
are usually absent from modern digital
images. The image copyrights cover the
period 1953-2014.

Layout
The photographs are well reproduced,
with a slight drop shadow around them to
make them stand out from the page. The
text is squeezed in around the images in
an old-fashioned serif font. All the pages
have a mauve/grey background which
reduces the contrast and legibility of the
text in anything other than ideal lighting
conditions. The overall effect of the layout
is quite old-fashioned.
The size of the book seems to fall
between two different potential uses. It
48
96 pp
235 x 210 mm
Hardback
Published by Rucksack Readers
is rather too big and heavy to carry in
your rucksack, in spite of the name of the
publisher. However, it is not large enough to
be displayed as a coffee table book, a size
that would have allowed the images to be >>
Landscape Photography Magazine 49
 Book Review • Wild America

WIN A COPY OF

Wild America

LPM has a free copy of this book to giveaway to one lucky reader. Closing date for
entries: 25 June 2016. To enter our draw simply click here.

» shown off to the best effect. Nevertheless, Conclusion

it is well priced at only £14.99 for what I don’t consider this book to be an essential
is a substantial, well printed, beautifully purchase for landscape photographers.
illustrated hardback book. It is not actually a photographic book.
So, who would benefit from buying However, if you haven’t visited any of the
this book? I feel that there is not enough American National Parks before, this book
information or coverage of each National is a good introduction to the variety of
Park to inform photographers of the subject material available. Any landscape
many potential viewpoints, prior to a visit. photographers wanting to create a ‘bucket
It is perhaps more a celebration of the list’ of parks to visit and photograph would
magnificence and variety of the National find this book most helpful.
Parks. Photographers could use this book to
draw up a list of parks they might want to
visit on the basis of the excellent images.
The wisdom of the system of setting up
the National Parks in America, to protect
and preserve these wilderness areas for
future generations, is clearly demonstrated
by this book. We, as landscape
Please share
photographers, have much to be grateful
this article
for.

50 Behind the Scene >>

 Kathleen Clemons
The World of
Flower Photography
Y ou don’t have to look far into the
world of flower photography to be
amazed at the distinct work of Kathleen
Clemons. She is best known for her floral
photography which incorporates natural
light and unique compositions, working
in such a way that macro photography is
taken to a whole new level. Most recently,
52
Kathleen has been described as the
“Georgia O’Keeffe of flower photography”.
When we asked Kathleen about one
element of her photography that was
a game changer in her career, she
unequivocally said that it was the moment
she placed her hands on her first ever
Lensbaby Velvet 56.
Kathleen Clemons has been photographing
with Lensbaby for almost 10 years. She first
learned about Lensbaby from a photography
workshop on November 2006, when she
came across another photographer’s
Lensbaby work. She went straight home
and ordered the Lensbaby 2.0, a small lens
on a bellows that delivered a sweet spot of
Landscape Photography Magazine
Sponsored by
focus surrounded by blur. “I still remember
the first photos I shot, they were of a dried
Hydrangea plant in my yard,” Clemons
reminisced. “I fell in love with the lens the
first day I attached it to my camera. Those
first photos were...
This is a sponsored feature. You can read
the whole feature in our website >>
Landscape Photography Magazine 53
 Landscape Photography Magazine
Behind The Scene
Tobin, California, USA by Steve Rengers from USA

I always tell my friends that great images are not a

product of happenstance. I still firmly believe that. This
image, however, does contradict that claim.
On this dark evening above Chico, California, I found
myself driving north from the hotel I was staying in on a
business trip. I always take my camera wherever I go, but
when I plan a photo shoot I always take all my gear.
On this occasion I had only my camera bag, tripod and
off camera flash gun with me. I reached my destination
after I had run a web search for ‘bridges’, in hopes of
something I could capture while in the area. This bridge
seemed very interesting as it was located precariously close
to the highway with extremely steep cliffs negating any
good composition.
I was just about to quit when I decided to check out the
opposite side of the road where I found a dirt trail leading
down to the bottom of the bridge. Once there, it became
clear that a super wide angle lens was going to be required
to capture the bridge and the Milky Way in the same frame.
I quickly realized that trying to light this bridge with my
hand held flash gun was not going to be effective.
That’s when I heard the sound of an oncoming train.
But where was it coming from? Certainly not on the
vehicle bridge above me. I saw light starting to intensify
in the canyon and realized that there were two bridges
that intersected in this exact spot. The railroad bridge lies
beneath the highway bridge here and the train’s locomotive
was going to offer me the much needed light. I quickly hit
the shutter release button. The 30 second exposure was
just long enough to allow the train to pass through the
frame and light the scene in a way I could not replicate by
any other means. So, many things had to align to bring this
image to life. The lack of moon light, a clear late summer
sky and, of course, a train.
Please share
this article Land of Giants >>

54 Send us your “Behind The Scene” story and earn $50, click here for details. Landscape Photography Magazine 55
 Aperture Landscape Photography Magazine

Land of Giants
The Redwood Forest in California has some of the
largest trees in the world, but that is not the only
photographic opportunity. Sapna Reddy gives her
insider advice on how to make the most of a visit here

56 Landscape Photography Magazine 57 >>

 Aperture • Land of Giants

A s a landscape photographer,
I consider myself truly Try to create images that are unique
fortunate to be living in California. to you rather than recreating a
The 900 miles along the Pacific
photograph that you were impressed by
coast, strewn with dramatic
rocky cliffs, sandy beaches,
majestic mountains, desert lands
and redwood forests, offer a tremendous
opportunity to the wanderer, observer and
Please share
photographer within us.
this article
In that gamut of choices, one of the most
intriguing subjects is the Redwood Forest.
For those...
SAPNA REDDY
Paid membership is required to read the Born and raised in Hyderabad,
full article. Subscribe now and enjoy our India, Sapna Reddy is a landscape
photographer residing in California, USA.
educational and inspirational features for a Being in the unique position of
very small fee. combining a dual career as a physician and
https://landscapephotographymagazine. a freelance photographer, she specializes in
corporate sales to medical centres.
com/subscriptions www.sapnareddy.com

58 Low Hanging Fruit >>

 Beyond the Shutter Landscape Photography Magazine

Interview with:

Chris McLennan Sponsored by

Click here to read the interview »

60 Landscape Photography Magazine 61
 In Conversation... Landscape Photography Magazine

Tom Mackie
In 1985, Tom Mackie made two very big life decisions – he moved from
America to Britain and then embarked on a career as a professional
landscape photographer. More than 30 years later, he reflects on the
changes from large format to digital and reveals his plans to bring his
popular photo workshops to the shores of Australia and New Zealand
Interview by Keith Wilson

62 Landscape Photography Magazine 63 >>

 In Conversation... Tom Mackie Landscape Photography Magazine

Y ou started out as a studio-based

commercial photographer. What
prompted the switch to landscape
change until I get a 50Mb file – the majority
of uses are a 50Mb file minimum – and the
quality is there.’ I resisted until 2006. In the
photography? early days of digital I didn’t feel the quality
At the time in LA I was working in was there. I was shooting with Velvia and
a photo lab and many of our clients I wanted to replicate the style of shooting
were landscape photographers. We I was getting with Velvia. Now, I can get
were producing these massive murals, more out of digital than I could with large
Cibachromes, for them and I just loved format. Because of the high ISO I can shoot
looking at the sharpness and quality. They for longer. With night shots where you had
were using large format cameras. So, that short window of time, digital extends
I started looking more into doing landscapes
that time out. It sees so much more into the
at weekends: I’d do trips out to Colorado, or
shadows that you couldn’t even see with
along the West Coast. It was eye opening. your eyes.
I could get out and shoot some landscapes, What is your earliest memory of getting
never thought I could make any money. into photography?
I was probably around eight years old.
Was there anyone in My parents gave me a Box
particular who Brownie and I just loved
helped you in the I have taking pictures. I
transition? a routine that I go through remember shooting
There was a when I’m setting up: composing, the arch in St Louis.
photographer called focusing and metering, then
James Randklev exposing Is that where you
whom I rang up and grew up?
said… ‘I print a lot of your Yeah, I primarily grew up
work and I was wondering if you in the mid west in Iowa, so...
had a few minutes to have a chat?’ I went
down to his apartment, we had a chat, Paid membership is required to read the
got on really well and he’s still a very good full article. Subscribe now and enjoy our
friend today. He lives in Tucson now. He’s a educational and inspirational features for a
large format photographer and he’s gone to very small fee.
digital as well. I’m giving him tips now on https://landscapephotographymagazine.
digital because he’s very traditional large com/subscriptions
format and I’d like to think I’m a little bit
more up on the technology than he is!

Indeed, switching from film on 4x5 to

digital is a quantum leap in technology, so
why did you do it?
Yes, it’s funny. I had friends saying, ‘When
Please share
are you going to change to digital?’ I said,
this article
‘I’m shooting large format and I can’t
64 The Fear of Rejection >>
 Dolomites Photo Adventure
Inspiring Photography

Italy’s dramatic rocky rooftop,

the Dolomites, the most beautiful
work of architecture ever seen.
Many words have been used to
describe these mountains but
for us, there is only one word –
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 Spotlight Landscape Photography Magazine

T he Fear of Rejection
Dimitri Vasileiou encourages us to carry on trying new things
every day and not to worry about getting things ‘wrong’

A little while ago I visited the Outer

Hebrides of Scotland, where I was
running a landscape photography
the bay has to offer at any tide level.
After all the preparations were
completed – the usual advice procedure
workshop. My Hebridean workshop for my participants – I walked slightly
includes the Isles of Lewis, Harris and further to try and find something
Uist, as well as Berneray and Benbecula different, something that I could use
which are connected to Uist via as an example of the ‘variety’ of
causeways. subjects that people usually
While on the Isle of Uist This ignore while out taking
we visited Griminish Bay. allowed me photographs.
This is a fairly isolated to focus on the I soon came across
bay with pristine sand. subject itself and this little piece of kelp
Apart from some throw everything that was protruding from
sheep, very few visitors else out of focus the sand. I approached
leave their footprints on it with care so as not to
these sands. I always feel spoil the sand and kept the
extremely privileged to stand camera and lens very close
there and enjoy unspoilt nature. to the ground and subject. This
Griminish is a north-facing bay so allowed me to focus on the subject itself
if you wish to photograph sunrise or and throw everything else out of focus,
sunset there, it needs to be during the putting all the emphasis on the kelp’s
summer months. However, this is not detail and its shadow.
the reason we visited this location. We I will not claim that this is one of
were after the isolation, the tranquillity my best images; on the contrary. So,
and the variety of photography subjects why did I capture it? The answer is ‘try »
68 Landscape Photography Magazine 69
 L andscap e
The Fear of Rejection

» something new today’. Please share

I have noticed that many people avoid
trying new things and I believe that this is this article
mainly due to fear of rejection, just in case
the picture will fail to convince our social P h o t o g rap hy Ma ga z i n e
media friends of its charm. But how can
we know if something new will not turn
out to be very interesting and eventually
‘awesome’ unless we give it a try? How DIMITRI VA SILEIOU
about if that latest picture you tried gives
Dimitri is the editor of Landscape
you an idea of something else that can Photography Magazine, a landscape and
potentially be really inspiring? Don’t be outdoor photographer, writer and
afraid to try something different next time workshop tutor. Dimitri is the owner and
tutor of Inspiring Photography, a photographic
you are out with your camera. Forget about workshops and adventures company.
your social media friend for a while – be www.inspiring-photography.com
bold, be adventurous.

Griminish Bay
Isle of Uist, Hebrides, Scotland
Olympus E-M5 Mk II
Olympus 12-40mm f/2.8
f/8, 1/320sec, ISO 100

d e
G ui
n e r’s
e g in g ra p h y

B o t o
p e ph
sc a
an d
t o l
DOWNLOAD

70 Featured Artist >>

 Landscape Photography Magazine
Featured Artist

ilan shacham Become an LPM ‘Featured Artist’, click here for details
I stumbled upon
photography by
chance when I began
writing trip itineraries
for a mountain biking
magazine. I purchased a
digital camera to shoot
some photos to accompany
my articles and I quickly
discovered that I enjoyed
photography as much as
mountain biking, and my
love for nature and the
outdoors swept me into
landscape photography.
Since then I have been
photographing as much
as I can, both in Israel
and abroad. I’ve had some
wonderful adventures and
made some great friends all
over the world.
In recent years I have been
lucky enough to have my
work published in many
magazines, books and
calendars worldwide, as
well as display my works
in a few exhibitions, sell a
good amount of prints and
even win some prestigious
competitions.

Nikon D7000
Sigma 10-20mm f/4-5.6
Sigma 17-50mm f/2.8 OS
Nikon 70-200mm f/2.8 VR
Rokinon 8mm fisheye
Nikon 50mm f/1.8
Sigma 105mm f/2.8 Macro
Nikon 18-200mm f/4-5.6 VR
Manfrotto 190CXPro4 Tripod
Manfrotto 486RC2 ballhead
B+W filters
HiTech GND filters

72 Salt formations, Dead Sea, Israel • Nikon D7000, Sigma 17-50mm f/2.8, f/10, 8sec, ISO 200 Landscape Photography Magazine 73 >>
 Featured Artist • Ilan Shacham Landscape Photography Magazine

ICM and Motion Blur >>

Ein Bokek Beach, Dead Sea, Israel

74 Nikon D7000, Sigma 10-20mm f/4-5.6, f/10, 10sec, ISO 100
 Hay Fever Landscape Photography Magazine

ICM and Motion Blur

Most photography involves trying to get the camera as stable as possible,
but with ICM you move the camera on purpose. David Hay discusses how
to use this technique to capture some interesting pictures

76 Landscape Photography Magazine 77 >>

 Hay Fever • ICM and Motion Blur Landscape Photography Magazine

I CM or Intentional Camera Movement

photographs have become more popular
in recent years, perhaps in response to the
ever more perfect, ultra-high-resolution
images that we are used to seeing
everywhere. Artistic photographers have
turned to producing more impressionistic
images which capture the essence of their
subjects, if not the fine detail.
Intentional Camera Movement
The best shutter speeds for ICM images
are around one or two seconds. During
the exposure you pan the camera slowly,
horizontally or vertically, across the subject
to create streaked images which record
the colours and shapes of the subject, but
But the beauty of digital is that it doesn’t
cost anything, as it would with wasted
film, and you can see if you have got a
successful image straight away.
Motion Blur
An alternative approach is to add motion
blur to an existing image during post-
Please share
processing. This gives...
this article
Paid membership is required to read the
full article. Subscribe now and enjoy our DAVID HAY
educational and inspirational features for a
David is a retired biologist who
very small fee. specialises in nature and travel
https://landscapephotographymagazine. photography. He is based in Pitlochry,
com/subscriptions Scotland where he runs workshops in
digital photography.
www.500px.com/dwhay

The simplification of all the fine Photo Specifics & Preferences >>
details produces an attractive
impressionistic effect

not the fine details. When photographing

seascapes it can be effective to move the
camera in a wave motion, to add curves to
the final image, simulating the movement
of the waves breaking on the shore. It is
safe to use the smallest aperture available,
such as f/22 or f/32. Normally you would
avoid these apertures because of the image
degrading effect of diffraction but with ICM
images there is no fine detail to lose. Keep
in mind that at very small apertures even
the smallest sensor dust particles can be
revealed.
Unless you are photographing at dawn
or dusk, a mild ND filter can be helpful to
get the shutter speed down to the desired
length. One problem with ICM images is the
low yield of successful images. It often takes
many attempts to get one or two that work.
78 Landscape Photography Magazine 79
 In Focus Landscape Photography Magazine

Photo Specifics
& Preferences
Photography can be an inherently personal pursuit. Karen Hutton
discusses some of the decisions every photographer has to make
in order to find his or her own voice
80 Landscape Photography Magazine 81 >>
 In Focus • Photo Specifics & Preferences
I t’s the age of the camera. The era of the
photograph. The epic saga of sharing
your world with the world! It’s almost to
the point where there are so many images
flying by our poor, strained eyeballs they
don’t even know what they are looking
at anymore. I take that back. We are not
almost there. We are there! I’m having
anxiety just thinking about it!
To the discerning photographer/artist, the
question naturally arises: “How do I find my
own voice in the midst of all this chaos?”
The answer isn’t found in buying different
gear, or in taking yet another photography
course designed to tell you how to compose
and process a photo. I’m not negating those
but there is a time and a place for them.
At a certain point in your photography, you
have to step outside of what others are
racketing on about and figure out what your
own voice has to say...
82
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Wild Planet Photo Magazine
K AREN HUT TON
Karen Hutton is a professional
photographer, voiceover artist, online
show host, writer, speaker and teacher
with over 11 billion views of her
photographic work. A Fuji-X Professional
Photographer, she has been featured in United
Airlines Hemispheres & Delta Sky magazines,
Google, Photo Plus Expo, Stuck in Customs and
Forbes.com.
www.karenhutton.com
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Landscape Intimates >>
 Showcase Landscape Photography Magazine

Brooklyn, New York, USA by Harvey Spears from USA • Canon 5D Mk III, Canon 24-105mm f/4L, f/5.6, 30sec, ISO 400

84
“Showcase” yourself in Landscape Photography Magazine, click here for details
Landscape Photography Magazine 85 >>
 Pro Talk Landscape Photography Magazine

Landscape Intimates
Landscape photography is often seen as stretching vistas and
wide-angle scenes, but Ian Plant suggests you should also
take some time to find the smaller features in the scene and
create some landscape intimates
86 Landscape Photography Magazine 87 >>
 Pro Talk • Landscape Intimates Landscape Photography Magazine

I admit it, I am a wide-angle junkie, and

I just love creating sweeping grand
landscape scenes, so sometimes I need
lens requires the ‘art of inclusion’, because
the wide angle of view necessitates the
inclusion of many elements, and the
to force myself to take time to notice the photographer has to find a way to make all
intimate details of the landscape, at least of those disparate elements work together.
once in a while. I’m going to offer you the Zooming in on intimate details requires the
same advice I give myself: don’t always ‘art of exclusion’ – that is, learning how
reflexively reach for your wide-angle to exclude elements and to zero in only
Please share
lens when shooting landscapes. Instead, on what is important for the composition.
this article
determine if discrete portions of the scene Exclusion requires the ability to see what
can be isolated to create a pleasing image. is important for a given composition, and
Landscape intimates, although often subtle what is not. IAN PL ANT
when compared to wide As with anything,
landscapes, can have learning the art of Ian is a full time professional nature
photographer, writer and adventurer. His
a beauty and power Use nature’s designs, shapes, telephoto exclusion work has appeared in numerous
all of their own. forms, lines and patterns to requires... magazines, books and calendars. He is
also the author of a number of ebooks and
Although any
lens can be used to create interesting compositions Paid membership is digital processing video tutorials.
www.ianplant.com
create an intimate required to read the
composition, longer full article. Subscribe
lenses are often preferred, as they give now and enjoy our educational and
you the ability to isolate a portion of the inspirational features for a very small fee. POTM >>
landscape scene that catches your eye, https://landscapephotographymagazine.
making it easier to be selective and to com/subscriptions
simplify. A short telephoto zoom, such as
a 70-200mm, can be very useful when
making landscape intimates. Fine-tuning
an intimate composition is easy to do when
working with a zoom lens, but don’t just
stand in one spot and zoom in and out:
you need to move around and try different
angles when composing the image. Use
nature’s designs, shapes, forms, lines and
patterns to create interesting compositions.
Be careful to include only those elements
that work well together to form a coherent
theme, and exclude anything that doesn’t
contribute to the overall composition or is
otherwise distracting.
The way you use a telephoto lens will
be different from the way you use a wide-
Canon 5D Mk III
angle lens – and that difference can be quite Canon 70-200mm f/4L
fundamental. I like to say that a wide-angle f/11, 20sec, ISO 100

88 Landscape Photography Magazine 89


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Landscape Photography Magazine 91 >>
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92
Nikon D810, Nikon 16-34mm f/4, f/10, 30sec, ISO 400
Landscape Photography Magazine 93 >>
 A Photographer’s Vision Landscape Photography Magazine

The Joys of Landscape Photography

Some people think they need to suffer for their art in order to make it
worthy. Rafael Rojas offers an opposing view, that photographs should
be created with love and enjoyment

94 Landscape Photography Magazine 95 >>

 The Joys of Landscape Photography Landscape Photography Magazine

I cannot help but chuckle every time

certain photographs has caused for their

with his imagination and strong personal
I read about the struggles the making of vision, seeing things where other people
would only find banality, even at one yard
RAFAEL ROJA S

us
need to travel far in order to show
Rafael Rojas is a fine art photographer,
things
author andnobody
lecturer,but himself
whose workwas
authors, as if those extravagant stories of from the car. He did not... able
has to
beensee.
awarded in the most
hardship should make any difference to Extraordinary
prestigious and meaningful
competitions, such as the
Master Hasselblad. He helps other
how worthy or meaningful the photograph Paid membership is required to read the photography happens when photographers
photographers grow as artists and connect
is for the viewer. Furthermore, I cannot full article. Subscribe now and enjoy our expose
with thethemselves to extraordinary
landscape. Join and
one of his photo-
avoid thinking whether that struggle makes educational and inspirational features for a meaningful experiences,
immersion workshops and and are his
discover able
any sense at all in the first place, if the very small fee. audiovisual learning material on
www.essentialseeing.com
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something he or she loved. com/subscriptions
When I am exposed to a landscape
photograph, there is absolutely no difference
to me if the image was
made after waking
Extraordinary and meaningful photography
up at an impossible
hour, trudging up the happens when photographers expose themselves to
mountain in blizzard extraordinary and meaningful experiences, and
conditions, waiting are able to appreciate them while they happen Please share
this article
for hours in freezing
temperatures and
braving the elements while squeezing the Photographing Beech trees >>
very last bits out of the camera battery, or
if it was made ten steps from the car. Of
course, the experience for the photographer La Palma Island, Canary Islands, Spain

in these cases may be quite different, and

to some extent it might permeate into
the photographs, but in general there is
no reason why struggle when making a
photograph should, per se, add value to the
pleasure or enlightenment to be obtained
by the viewer when observing it. In fact, the
opposite is frequently the case.
Brett Weston, truly a master
photographer and printer of the last
century, used to say, “Anything more
than a hundred yards from the car is not
photogenic.” Would his photographs be
more valuable if he had carried his 8x10
cameras up the mountains for hours in the
heat of summer? I do not think so. His style
of photography adopted a meditational
character, through which he could travel
96 Landscape Photography Magazine 97
 Landscape Photography Magazine

How to participate
Articles Phoneography
There is a whole Display your best landscape image
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Every issue of Landscape Photography Magazine publishes dozens of photography and many
photographs taken by its readers. We couldn’t exist without your of our readers love to
write their views and
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thoughts by contributing
your article.

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Enter the ‘Wall of
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98 Landscape Photography Magazine 99 >>

 Revelations
Photographing Beech Trees
Beech trees are very common in the UK, and you will certainly have
taken photographs of them, but how much do you know about them?
Lizzie Shepherd explains everything you could possibly need to know
O ne of the most enjoyable aspects of
writing this series on trees has been
my growing understanding of the historical
and scientific background to these crucial
components of our landscape. Of course, I
am no botanist, and the knowledge
I have gained may be relatively superficial,
but there is no doubt that a greater
understanding of your subject makes
photography a far more rewarding and
meaningful pursuit. This time it’s the turn
of the universally loved beech – a tree that
now has a strong presence in the UK.
The beech tree (Fagus sylvatica) was a
relative late-comer to the UK shores. It is
thought that it didn’t arrive until well after
4000 BC, as the climate became warmer,
and several thousand years after the likes
100
of birch, oak and pine had established
themselves. It is native only in the southern
part of Britain. However, with the helping
hand of humankind over the last few
thousand years, beech has become a
dominant force much further north, with
its habitat extending into central Scotland.
No wonder it has become such a popular
tree with both land owners and landscape
gardeners; its statuesque smooth, grey
trunk wonderfully juxtaposed with delicate
fine twigs, bearing a rich canopy of leaves,
is beautiful at any time of year.
Beech trees growing in reasonably close
proximity typically grow tall and straight,
often reaching a substantial height of up
to about 140 feet. However, they tend not
to live for very long – rarely more than 150
Landscape Photography Magazine
years, thanks to their shallow root system They make very characterful studies for
leaving them vulnerable to high winds. The the photographer and provide a fascinating
storms of 1987 and 1990 accounted for the insight into nature’s ability to adapt. »
loss of many of our finest and oldest beech
trees. Ironically, this loss was the catalyst
for the writing of one of my favourite tree
books – Meetings with Remarkable Trees by
Thomas Pakenham. With storms occurring
ever more frequently, the loss of some of
our finest trees is now a regular occurrence.
In more exposed and consistently
inhospitable environments, beech trees
tend to grow a lot smaller and adapt their
shape and stature to cope with the constant
battering of high winds. This is very evident
in the beech hedgerows of Exmoor and
Dartmoor, but we also have some more
isolated examples up here in Yorkshire.
Landscape Photography Magazine 101
 Photographing Beech Trees Landscape Photography Magazine

» I would guess that many UK-based embrace unruly and...

photographers associate the beech tree with
the quintessential springtime flower, the
bluebell. A number of southern woodlands,
such as Micheldever and Ashridge, are
rightly renowned for their remarkable
displays of bluebells under a canopy of
beech trees. They truly are a wondrous
sight and every year I joke, slightly
enviously, about how the trees all seem to
have been beautifully pressed into uniform
straight lines, the woodland floor almost
immaculately tidy – not a broken branch or
bramble in sight! Do they have woodland
vacuum cleaners down south, I wonder?
Here in Yorkshire, things tend to be a little
bit more unkempt – our woodlands seem
that much wilder and messier and, for that
reason, it was an environment in which I
used to struggle. However, I have come to
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com/subscriptions
Please share
this article
li z z ie s h ep h erd
Lizzie is a full-time professional
photographer based in North Yorkshire
in England and she is specialising
in landscape, nature and travel
photography. She runs small group workshops
and offers 1-2-1 tuition.
www.lizzieshepherd.com

Interesting facts
• Meikleour beech hedge, on the A93 in Perthshire, is the tallest hedge in the world
and is listed in the Guinness Book of Records as being 100 feet tall and one third of
a mile long. It was planted in 1745.
• Beech leaves were valued in the past for their cooling effect on the blood and for
clearing the skin; they were recommended by Culpepper for both hot swellings and
skin conditions.
• Beech wood can be distilled to provide quajacol, cresol and cresoline, known
collectively in medicine as ‘creosote’ and formerly used externally as a general
antiseptic.
• Beech nuts are a good source of proteins and minerals and are popular with a
number of animals for their nutritious value. They were also once eaten by the poor.
Beech’s Latin name ‘Fagus’ comes from the Greek word meaning to eat.
• The grey squirrel is one of the beech tree’s biggest enemies, with its penchant for
stripping away the bark. It is thought that this behaviour is purely down to the male
‘showing off’ to attract females and to warn off any other male competitors.
• Beech is ‘monoecious’ as both male and female flowers grow on the same tree. The
male catkins hang from the end of its twigs, whilst the female flowers grow in pairs,
surrounded by a cup.

102 Phoneography >>

 Landscape Photography Magazine
Phoneography Send us your mobile device shot and show us how artistic you can be, click here for details

With today’s rush in technology, in-phone cameras seem

to produce better images than the first digital compacts.
Here we showcase the creativity of our readers

104
Udine, Italy by Erica Zanon from Italy • G4 LG
Landscape Photography Magazine 105 >>
 Phoneography

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106 Second Chances >>
 Landscape Photography Magazine
Portfolio Send us YOUR portfolio, click here for details

Christopher Adach

My first experience
with a camera was
at the age of 20 and
it was part of my
assignment to Academy
of Fine Arts in Warsaw. I
didn’t touch a camera since
then, until 2011, when I
was already living in the
UK for four years and I had
graduated in Interior Design
from London Metropolitan
University and Rhodec
International. Photography
was the forgotten subject
of study I took in the same
year, which I fell in love
with, completely. From that
moment photography has
become my passion and
way of life.

Nikon D700
Nikon 28-300mm f/3.5
Nikon 16-35mm f/4
Manfrotto 055XProb tripod
Giotto MH 5001 tripod head
Cokin filters

108
South Stack, Holyhead Island, Anglesey, Wales • Nikon D700, Nikon 16-35mm f/4, f/11, 1/200sec, ISO 250
Landscape Photography Magazine 109 >>
 Portfolio • Christopher William Adach Landscape Photography Magazine

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110 Nikon D700, Nikon 16-35mm f/4, f/22, 1.6 sec, ISO 250 Wall of Fame >>
 Landscape Photography Magazine
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112
Shar Mountains, Tetovo by Ardijan Latifi • Nikon D3200, Nikkor 55-200mm, f/14, 1/320sec, ISO 100
Landscape Photography Magazine 113 >>
 Wall of Fame Landscape Photography Magazine

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114 Canon 5D Mk III, Canon 16-35mm f/2.8L II, f/18, 1/5sec, ISO 50 Final Frame >>
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126
Canon 5D Mk III, Canon 17-40mm f/4L, f/13, 1/8sec, ISO 100
Landscape Photography Magazine 127 >>
L andscap e

N
ex ju
t ly 20
P h o t o g rap hy Ma ga z i n e

M 16 •
onIssu
the 65

In Conversation...

Michael Frye
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