HOW TO TAKE STUNNING AUTUMN PHOTOS

landscape | wildlife | nature | adventure

A photo by any other name
I’ve recently watched a short interview
with renowned photographer Wim
Wenders in which he offers up the
thought that smartphone photography
is not photography at all. Indeed, he
goes as far as to ask for suggestions
for a new word to describe this type
of image making; one that would
clearly differentiate it from creating
photographs with ‘proper’ cameras.
We are all aware of the massive
impacts (both positive and negative)
that smartphone photography has had
on society and on those professionals
and companies within the photography
industry, but do images taken on a
phone really constitute something so
different that they require a new label?
I understand where Wim Wenders
is coming from on this matter, as the
volume of images out there is truly
overwhelming (Wenders says in the
interview that most photos taken
nowadays are not looked at even by
the photographer) but I’m not sure
that verbally splitting smartphone
images from the rest is going to help
us handle the overload. It seems we
simply have to face up to the fact that
GET IN TOUCH
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THE ISSUE
at a glance
to see powerful and inspiring
photographs we are going to have to
dedicate more time to sifting through
the deluge to find them. That’s very
much part of our mission here at the
magazine; we spend many hours a
week seeking out images that we think
deserve to be seen by our readers.
Ultimately, as with any art form, it
feels to me that the tools of production
matter far less than the end product
Staffan Widstrand on his outstanding
and the connection that makes with career in photography – page 16
the viewer. For sure, the photography
process can be far more engaging and
rewarding when using higher end
equipment than a smartphone, but
I have seen wonderful and poor
photographs coming from both types
of camera. It comes down to the
photographer behind the lens. In a
world seemingly heading inexorably
towards a robotic future, it is reassuring Andy Farrer's guide to capturing the
to know that in the creative arts at beauty of autumn colour – page 30
least the human aspect is still the
most critically
important part.
I’d be fascinated
to hear your thoughts
on smartphones.
Steve Watkins Andrew Parkinson looks at the pros
and cons of paid-for hides – page 52
Fergus Kennedy puts the new Pentax
ON THE COVER K-1 MkII through its paces – page 84
Andy Farrer took this beautiful autumn
image at Kingston Lacy in Dorset.
Autumn 2018 Outdoor Photography 1
AUTUMN 2018
TOP STRAP
16
FEATURES & OPINION
16 In conversation with…
Staffan Widstrand
The Swedish wildlife and nature
photographer talks to Nick
Smith about using imagery
to tell conservation stories
27 One month, one picture
Pete Bridgwood explores the
role of curiosity in the creative
process; and it helps him
capture a wonderful scene
on the Pembrokeshire coast
41 Lie of the land
During a trip to Ireland dogged
by lacklustre light Michael
Cummins inadvertently comes
across a scene of pure Irish
gold complete with a rainbow
52 Opinion
Andrew Parkinson looks at the
pros and cons of using paid-for
photography hides and how
they can impact photographers
looking to build unique portfolios
2 Outdoor Photography Autumn 2018
LEARNING LOCATIONS
54 In the spotlight
Freya Coursey talks with
ZONE GUIDE
Nick Smith about her love 30 How to take 44 Sior Loch, Argyll and Bute
of photography and how it stunning photographs Aidan Maccormick revisits
fits with her scientific studies of autumn colour a loch near Oban in the autumn
Andy Farrer reveals his best to photograph some magical
57 Shoot and move bits of advice for capturing light conditions
Extolling the virtues of a the full beauty of autumn colour
fluid approach to landscape in the landscape 47 Beggarpath Bridge,
photography, Mark Littlejohn Scottish Borders
reveals a set of images he 38 Quick guide to… Contrary to his original intentions,
took during just a few hours at using histograms James Poots returns home with
Ullswater in the Lake District Richard Garvey-Williams an evocative image of some
explains how creatively trees in the mist
63 Inside track using the histograms on our
Nick Smith heads to South cameras during the shooting 48 Viewpoints
Africa’s Kruger National Park process can lead to better Eight top UK locations to
to photograph a leopard hunting quality images shoot this month, including
photogenic spots in
Monmouthshire, Devon,
Perth and Kinross,
NEXT ISSUE ON SALE 20 SEPTEMBER 2018 Gloucestershire
and Suffolk
How to take superb shots of wildlife behaviour
Launch of Outdoor Photographer of the Year 2018
Winners of One thing this month…Masterful landscapes

48
NATURE
ZONE
74 Life in the wild
With more photographers
acting irresponsibly in the field,
Laurie Campbell asks if it is
time for a new approach to
protecting species
76 Photography guide
Laurie’s nature highlights for
this month, plus world wildlife
spectacles and five places to
shoot woodland wildlife
79 A moment with nature
Canadian photographer Sam
Rose Phillips discovers that,
although she enjoys exploring,
great wildlife subjects can also
be found close to home
80 On the wing
Heading out into stormy
conditions, Steve Young uses
a teleconverter to make his
300mm lens reach a distant
grey phalarope, and it conjures
memories of a trip to Iceland
76
30
GEAR ZONE REGULARS YOUR OP
86 Camera test:
Pentax K-1 MkII
8 Newsroom
Keeping you up to date with
14 Social hub
Your feedback, thoughts
Fergus Kennedy tests this the latest photography, outdoor and musings on all things
new DSLR during a trip to the and conservation stories photography-related
Sussex coast and on a journey
to Marrakech in Morocco 10 Out there 62 Next month
The latest photography titles, A sneak peek at the October
86 Gearing up two inspiring art books and issue of Outdoor Photography
Our round up of the latest our pick of the latest guides
outdoor and photography
p g p y kit to British wildlife and nature 64 Your chance
to hit
it the shelves Discover how to get your work
12 The big view published in OP
The latest photography
exhibitions taking place 67 Reader gallery
across the UK plus six bird Our pick of this month’s best
migration events to attend readers’ images
with your camera
100 If you only do one thing
this month…
The winners of our ‘Art of colour
landscapes’ photo competition,
plus all the details you need for
SUBSCRIBE TO OP TODAY our next challenge
AND SAVE UP TO 30% 112 Where in the world?
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Autumn 2018 Outdoor Photography 3
IN THE MAGAZINE THIS MONTH...
COVER
+ 30
Award-winning photographer,
Andy Farrer was awarded
the title of Landscape
Photographer of the Year
in 2015. He is a tour leader
for Light & Land, running
photography workshops
both in the UK and overseas.
Andy also has a professional
print studio printing his
own work and that of other
photographers and artists.
andyfarrer.co.uk
38
Richard Garvey-Williams is
an award-winning wildlife and
landscape photographer and
author. Having sp ent
his childhood in Africa,
he returns there regularly
to run photography safaris.
Now based in Devon, he also
offers tutoring on Dartmoor.
richardgarveywilliams.com
52
Andrew Parkinson is a
multi award-winning wildlife
photographer and a feature
contributor to National
Geographic. He works
exclusively with wild animals,
supplies his images to nine
international agencies, and
is one of the 2020VISION
project photographers.
andrewparkinson.com
ALSO IN THIS ISSUE
Pete Bridgwood petebridgwood.com, Laurie Campbell lauriecampbell.com, Steve Young birdsonfilm.com,
Andrew Ray andrewrayphotography.com, Anna Stowe annastowephotography.co.uk, Carlton Doudney,
Richard Fox richardfoxphotography.com, Trevor Pitcher tpphotography.co.uk, Wendy Newing wendynewingphotography.com
Outdoor Photography considers article ideas for publication, which should be sent to the Editor, along with a stamped self-addressed return envelope if you require your material back. GMC Publications cannot accept liability for the
loss or damage of any unsolicited material. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers
of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior
permission of the Guild of Master Craftsman Publications Ltd. With regret, promotional offers and competitions, unless otherwise stated, are not available outside the UK and Eire.
GMC Publications cannot accept liability for the loss or damage of any unsolicited material.
06
Mark McColl is a
professional landscape
photographer based in
Ayrshire, Scotland. He leads
photography tours through
his own company and with
Light & Land, and also works
as an NHS doctor. He has
been awarded in international
salons and his work has
featured in magazines,
newspapers and exhibitions.
markmccoll.co.uk
41
Michael Cummins is
a full-time landscape
photographer based and
working mainly in the Peak
District National Park. He
runs various photography
tuition courses in the Peak
District , using his in-depth
knowledge of the area to get
clients to the best sp ots.
michaelcummins.co.uk
57
Mark Littlejohn is a hillwalker
turned photographer based
near Ullswater in the Lake
District . He likes the little
view more than the grand
vista and his favourite
images tend to be those
taken during aimless
wanderings close to home.
markljphotography.co.uk
16
Staffan Widstrand is a
multiple award-winning
professional photographer.
He is co-owner of Wild
Wonders International, the
author of 18 books and a
Nikon Ambassador. Staffan
is a partner in Wild Nature
Photo Adventures and is
a judge on photography
competitions, including
World Press Photo.
staffanwidstrand.se
44
Aidan Maccormick is
a biologist based in Scotland.
His work takes him to the
remotest locations of the
UK, where he moonlights as
a landscape photographer.
His passion is for exploring
the west coast of Scotland,
and one day he hopes to
make it to St Kilda.
maragorm.com
79
Sam Rose Phillips is a
conservation storyteller
from British Columbia. Her
experience absorbing and
framing narratives taught
her that a story well told has
the capacity to shift minds.
Her photos, short films and
writings emphasise emotion
in the hope of moving others
to reconnect to their place
among nature.
samrosephillips.com
16+54
+63 EDITORIAL
Editor Steve Watkins
stevew@thegmcgroup.com
Deputy editor Chris Gatcum
opdeped@thegmcgroup.com
Assistant editor Claire Blow
claire.blow@thegmcgroup.com
Designers Toby Haigh, Olly Prentice
Nick Smith is a writer ADVERTISING
and photographer Advertising executive
specialising in travel Guy Stockton
and environmental issues. guy.stockton@thegmcgroup.com,
He is a contributing editor 01273 402825
on the Explorers Journal
and is a fellow of the Royal MARKETING
Geographical Society. Marketing executive
nicksmithphoto.com Anne Guillot
anneg@thegmcgroup.com,
01273 402871
PRODUCTION
Production manager Jim Bulley
Production controller Scott Teagle
47 Origination and Ad design
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Outdoor Photography (ISSN 1470-5400)
is published 13 times a year by GMC Publications Ltd.
86 High Street, Lewes, East Sussex BN7 1XN.
Originally from Northern Tel 01273 477374
Ireland, but now based © Guild of Master Craftsman Publications Ltd. 2018
in the Scottish Borders,
James Poots teaches
languages but keeps sane
via landscape photography
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 Nikon D810, 16-35mm at 16mm, 1/100th second, f8, ISO800 LEE Landscape Polariser, 0.6 ND Soft Grad Processing: Adobe Lightroom

Skomer Puffins
As an outdoor photographer, I often look to include wildlife in their natural setting to complete the story. This can
mean working with a wide angle lens to include both the sky and the landscape in the frame, making a set of LEE
Filters an essential component of my kit bag.
Whilst watching the puffins on the Welsh island of Skomer, I realised there was an opportunity to capture something
different to the usual frame filling portrait. Switching to a wide angle lens, I added a Landscape Polarising Filter to
give the clouds some extra punch and clarity. With the sun low in the sky I also needed to balance the exposure
using a 0.6ND soft graduated filter.
When processing the shot I was pleased to see a rich, detailed sky without any colour cast and that the soft
transition of the filter had not resulted in the birds face becoming overly dark.

Matthew Cattell
matthewcattellphotography.com

leefilters.com
Matterhorn
by Mark McColl
I took this shot of a cloud inversion around
the Matterhorn in February 2018, while skiing
in Zermatt, Switzerland. I have been there a
number of times before but the conditions this
particular day were unusual – the temperature
(-27°C) was the coldest I have experienced
there and this very cool air helped create the
wonderful meteorological conditions around
this famous mountain.
Sony RX100 with 28-100mm f/1.8-4.9 lens
at 28mm, ISO 100, 1/800sec at f/11
THE LATEST BULLETINS

NEWSROOM
CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

Paddle against plastic

Images © James Appleton

Cal Major, a 29-year-old vet from North Devon,
has entered the history books as the first person
to stand-up paddleboard from Land’s End to
John O’Groats. Covering a distance of more
than 1,000 miles, Cal’s solo Paddle Against
Plastic expedition took just under two months
to complete, with the aim of highlighting the
problem of plastic pollution around the UK.
Covering an average of 20-30 miles a day,
and spending up to 12 hours on her board, fog,
tides and changeable winds were just a few of
the obstacles that needed to be overcome. The
journey started with Cal paddling along the
rugged north Cornwall and Devon coast, before
then heading up the Bristol Channel and using
the UK’s canal network to take her to Blackpool.
Cal returned to the sea to continue up the west
coast, paddling around the Mull of Galloway and
across to the Isle of Arran before entering the
Caledonian canal, which took her to Inverness.
From there it was a ‘mere’ 100 miles or so up the
east coast of Scotland to John O’Groats.
On her voyage, Cal had first-hand experience
of the UK’s plastic problem, seeing it washed
up on beaches, floating in the sea and clogging
canals. Plastic bottles were the biggest culprit,
with more than 600 of them encountered in
just one hour on the canals near Wigan.
You can discover more about Cal’s epic journey
at paddleagainstplastic.com.

2018 Nature Conservancy

winners revealed
The Nature Conservancy has revealed the winners of its 2018
Photo Contest, with French photographer Camille Briottet picking
up the Grand Prize for her photograph of two wild stallions playing
at Camargue, France. Camille’s photograph was chosen as the
winner from more than 57,000 entries across six categories, sent
by photographers from 135 countries. Second place went to Andre
© Roberto Moccini / TNC

Mercier from the USA, for his shot of a broken piece of the Vatnajökull
glacier at Jökulsárlón Bay in Iceland, while Terra Fondriest, also from
the USA, took home third.
Pictured here is Brazilian photographer Roberto Moccini’s winning
entry in the Wildlife category; to see all of the winning images and find
out more about the competition, head over to nature.org/photocontest.

8 Outdoor Photography Autumn 2018

 EDITED
EDITEDBY
BYCHRIS
CHRIS GATCUM
GATCUM

Call for entries

NEWS IN
A duo of established photography competitions have The second competition for you to sink your teeth
NUMBERS
opened their virtual doors for entries, with plenty of into is the Pink Lady Food Photographer of the Year
opportunities for outdoor photographers to show off their
skills and pick up some cracking prizes along the way.
2019. This will be the eighth year that the competition
has run, and while the emphasis of the 23 categories is
90 To celebrate its 90th
anniversary the
Oxford English Dictionary
First up is the Royal Horticultural Society’s Photographic on food, there are several outdoorsy options to consider, is looking to expand its
Competition 2019, which offers free entry into nine including Food in the Field and Bring Home the Harvest. coverage of the words that
categories, which include plants, wildlife and abstracts. As with the RHS competition above, there is a top prize surround hobbies, including
As well as cash prizes and vouchers for Wex Photographic of £5,000 for the overall winner, plus a trophy for each photography. Of particular
for category winners, the overall winner will walk away with category winner and additional cash prizes in some (but interest are slang words and
£5,000. There is plenty of time to get your creative juices not all) of the categories. Again, there’s plenty of time to phrases (rather than more
flowing, as entry to the competition doesn’t close until plan and execute your shots, as entry to the competition technical terms), which are
1 March 2019. For further details and to see last year’s doesn’t close until 10 February 2019. harder to trace in print and
winners, visit rhs.org.uk/photocomp. Visit pinkladyfoodphotographeroftheyear.com for more. less likely to have come to
the attention of dictionary
editors. If you have a word
or phrase to share you can
send it to public.oed.com/
appeals/hobby-words or via
Twitter using #hobbywords.

19 The United Nations

Educational, Scientific
and Cultural Organization
(UNESCO) has added 19
new sites to its roll call of
World Heritage Sites and
‘significantly modified’ the
boundary of the existing
Central Sikhote-Alin site.
The list of newcomers
includes 13 cultural sites,
three natural sites and three
that are described as ‘mixed
sites’. You can view the list in
full at whc.unesco.org/en/.

© Nigel Burkitt, Winner, Greening Grey Britain, RHS Photographic Competition 2018
2019 Adobe has
indicated that
a full version of Photoshop
is to be made available for
Apple’s iPad in a move that
will see the longstanding
Royal recognition for Less waste from photo-editor achieve full
underseas snapper The North Face cross-platform status. The
new release is provisionally
Congratulations to photographer Alex Mustard, who In an attempt to cut down on waste, outdoor clothing scheduled for 2019.
has been awarded a MBE ‘for services to underwater manufacturer The North Face has launched a new
photography’ in the Queen’s birthday honours list. The
multi-award-winning photographer is renowned for his
collection called The North Face Renewed. Although
it is only a pilot scheme in the USA at the moment, the
30 In the mid 2000s,
GoPro single-
handedly created the
stunning underwater images, which regularly feature in company will be taking existing stock that is either
‘action camera’ genre,
a wide range of photographic, diving and natural history imperfect or has been returned under guarantee and
allowing people to shoot
magazines. Alex is also the author of several books, founder sending it to The Renewal Workshop, which will return
stills and record video in
of the Underwater Photographer of the Year awards and the items to ‘as new’ condition for selling at a reduced cost the most adverse conditions
sits on the judging panel of several other photography online. If the pilot is successful it is hoped the ‘refurbished’ imaginable. In 2009, its
competitions. You can see Alex’s work at amustard.com. clothing range will become a permanent fi xture. eponymous Hero range
gained HD video quality
and sales skyrocketed,
thanks in part to the growing
Apple ends Photo Print Products popularity of YouTube. Now,
the company has reported
After more than 15 years as an integral part of the Mac Although it was also made available in Apple’s more that sales of its HD cameras
experience, Apple has called time on its Photo Print recent Photos app, Photo Print Products didn’t transition have passed a phenomenal
Products service. The service first appeared in 2002 as to iOS devices and a decline in its use has led to it being 30 million units, which
part of iPhoto, enabling prints, photobooks, calendars and withdrawn across the board. According to Apple, ‘final averages out at more than
other print-related products to be ordered quickly and orders…must be placed by 30 September 2018’, after 9,000 cameras sold every
simply from within the image viewing and editing program. which the service will be no longer available. day for nine years!

Autumn 2018 Outdoor Photography 9

THE LATEST NEW MEDIA
OUT THERE
Born to Ice
Paul Nicklen
TeNeues
978-3-9617-1123-9
Hardback, £80
National Geographic
photographer and
SeaLegacy co-founder
Paul Nicklen has made
it his life’s mission to
BOOK OF
highlight the important
THE MONTH
issues facing the world,
with a strong focus on the effects of climate
change on the polar regions. Raised on Baffin
Island in the far north of Canada, he gained an
understanding of Earth’s icy ecosystems early
on in his life. Growing up among Inuits, he also
learned the survival skills that would later help
him capture his award-winning photographs.
Born to Ice presents a selection of Nicklen’s
greatest and most thought-provoking work to
stunning effect. A huge book, measuring over
one foot wide and containing more than 300
pages, it is bursting with spectacular colour and
black & white images, many of them printed as
double-page spreads for maximum impact.
Nicklen’s love of Arctic and Antarctic
landscapes and their inhabitants – human
and animal alike – shines through in his
photographs. He goes to great lengths to get
his standout shots, whether diving off the floe
edge in the Canadian Arctic, or sitting patiently
on a piece of glacial ice in Antarctica scouting
10 Outdoor Photography Autumn 2018
leopard seals. Through his lens we are given
a unique glimpse into the icy wonderlands
found at the extreme ends of Earth.
The photographs are beautiful, with tender
and sometimes humourous depictions of
the animals, but there is a strong underlying
message: we must act now to save these
delicate ecosystems and the precious
diversity of life they support.
Seaside Shelters
Will Scott
Heni Publishing
978-1-9121-2204-2
Hardback, £14.99
Britain’s seaside
shelters are
charmingly documented in photographer
Will Scott’s new book. Relics of the heyday
of summer holidays at the coast, these quirky
structures offered refuge from our notoriosly
fickle weather. Mainly built in the late 19th
and early 20th century, they demonstrate
a variety of styles – from Victorian to Art Deco
to Bauhaus – and are often very elaborate
in their design. Today, most of them stand
deserted, and many have fallen into disrepair.
Fifty shelters are included in the book,
photographed at famous seaside resorts,
such as Blackpool and Brighton, and other
lesser-known spots around the coast. Scott’s
placement of each shelter in the centre of the
frame encourages the viewer to focus on their
© Paul Nicklen
faded beauty, while also helping to convey
a feeling of melancholy and a sense of nostalgia
for a bygone era.
Dusk to Dawn:
A Guide to Landscape
Photography at Night
Glenn Randall
Rocky Nook
978-16-8198-306-6
Paperback, £30
The latest digital cameras
have made night-time photography more
accessible than ever, but capturing the
landscape after dark can feel like a daunting
prospect. Offering ‘a trail map for this new
photographic wilderness’, Glenn Randall
shows you how to plan, shoot and process
professional-quality images of the Milky Way,
the aurora, lunar eclipses, meteor showers,
star trails and landscapes lit solely by moonlight.
Throughout the book, Randall explains how to
integrate beautiful depictions of the night sky
with equally compelling renditions of the land
below to create images that evoke a sense
of place and wonder.
Richly illustrated with Randall’s own images
of after-dark landscapes, taken at locations
across the US, Dusk to Dawn is a clear and
comprehensive guide that’s great for beginners
as well as offering more advanced advice for
experienced night-time photographers looking
to further improve their technique.

AN ARTISTIC EYE
Seeing the world through the eyes of an artist
can make us think differently about how we
compose and capture our landscape images.
Here are two recently released books to
inspire some creative thinking…
Hokusai: The Master’s Legacy
Edited by Rossella Menegazzo
Skira
978-88-572-3694-0
Paperback, £40
One of the great masters of Japanese art,
Katsushika Hokusai is renowned for the
wide variety of subjects he depicted, but
his sublime landscapes are perhaps his most evocative works.
Active in the late 18th and early 19th centuries, and lauded
as the unchallenged master of the ukiyo-e genre, he is most
famous for his Great Wave print and his series Thirty-Six Views
of Mount Fuji. These works, together with over 200 others, are
presented in Hokusai: The Master’s Legacy. The book has a
selection of works by Hokusai’s contemporary, Keisai Eisen,
including his erotic prints; be warned that some of these are
rather explicit so if you have children at home you may wish
to keep the book out of their reach!
Trees in Art
Charles Watkins
Reaktion Books
978-17-802-3930-9
Hardback, £35
Charles Watkins draws on his deep
knowledge of the history and ecology
of trees to reveal the myth and magic
of arboreal art through the centuries. Divided into thematic
chapters, the book explores depictions of trees in ancient
stories, such as Daphne’s metamorphosis into a laurel tree,
and brings us up to date with modern works by contemporary
artists such as David Hockney, Giuseppe Penone and Ai
Weiwei. The tree in sacred art is represented in masterpieces
by Botticelli and Michelangelo, while paintings by the likes of
William Blake and Salvador Dalí demonstrate a surreal take
on the subject. One of the chapters is dedicated to the mystery
and wonder of forest interiors, with works by artists such as
Gustav Klimt, Paul Cézanne and Claude Monet. A fascinating
tour of artists’ arboreal obsessions, Trees in Art will appeal
to anyone interested in trees and the landscape.
The Oak and the Reed (1816) by Achille Etna Michallon.
EDITED BY CLAIRE BLOW
BRITISH NATURE AND WILDLIFE GUIDES
Our pick of the latest releases that uncover and
celebrate the UK’s wildlife and natural heritage…
RSPB British Naturefinder
Marianne Taylor
Bloomsbury Wildlife
978-14-729-5125-0
Paperback, £12.99
Increase your opportunities for successful and rewarding
wildlife encounters in the UK with Marianne Taylor’s handy
guide. It tells you when and where to find nearly 300 British
species, from mammals and amphibians, to butterflies and fishes. Useful
features include a map indicating geographical distribution (including Super
Sites where a species is particularly abundant or regular) and a calendar
revealing when each animal is present or active.
Meadows
George Peterken
Bloomsbury Wildlife
978-09-564-9024-7
Hardback, £35
The second volume of a major new series of books on British
natural history, Meadows shines the spotlight on one of our
most beautiful and yet fastest disappearing habitats. Written
by leading ecologist George Peterken, it is a science book at heart, but the
excellent text, together with the many images, makes it accessible to anyone
interested in our natural environment.
The Pebbles on the Beach: A Spotter’s Guide
Clarence Ellis
Faber & Faber
978-05-713-4793-3
Paperback, £9.99
An understanding of the elements that make up the
landscape can inspire a greater appreciation of our wider
surroundings, so why not start with the pebbles that adorn
many of our beaches? First published in 1954, The Pebbles on the Beach is
a classic nature book devoted to the art of pebble spotting. With a wonderful
foreword by Robert Macfarlane, this revised edition’s wraparound jacket
doubles up as a handy illustrated guide to identifying these fascinating stones.
Westonbirt Arboretum’s Plant and Flower
Spotter’s Guide
Dan Crowley and Matt Parratt
Ebury Press
978-17-850-3975-1
Paperback, £8.99
Written by experts from Westonbirt Arboretum in the Cotswolds,
this attractive pocket guide covers 100 popular wild plants and
flowers. Organised by plant type, and simply laid out, it’s an ideal identification
aid ‘on the go’. Meadow saffron, sweet woodruff and Solomon’s seal are
among the species included, and each entry is accompanied by two attractive
colour illustrations.
Hidden Nature: Uncovering the UK’s Wildlife
Isla Hodgson
White Owl
978-15-267-0892-2
Paperback, £16.99
Young conservationist Isla Hodgson aims to show that you
don’t have to travel beyond British shores to experience
a wealth of flora and fauna. Featuring Hodgson’s own
photographs and illustrations, the book documents her adventures travelling
the UK in search of wildlife encounters.
Autumn 2018 Outdoor Photography 11
THE LATEST WHAT'S ON
EXHIBITIONS
A Portrait of the Tree
The Unit Gallery, London 17 to 28 September
Renowned photographer Adrian Houston has had a strong
connection with trees for as long as he can remember. Five years
ago, increasingly concerned that so many of our indigenous trees
are being affected by disease and global warming, he decided to
embark on an ambitious project to give trees a voice. He set about
questioning a diverse range of people – from Richard Branson and
Goldie Hawn, to designer Jasper Conran and Tony Kirkham, Head
of Arboretum at Kew Gardens – about their favourite trees. Tales
exchanged, he then travelled across the UK, and further afield to
Namibia, Madagascar, Spain, France and America, to photograph
the trees in question.

© Adrian Houston
A Portrait of the Tree promises to be an immersive, interactive and
joyful experience, and will feature photographs and stories shared
by over 30 people from an array of backgrounds. Houston says: ‘The
stories behind the chosen subjects are as important as the images
themselves. Together they offer a powerful tool to help educate Cedar of Lebanon, photographed in the grounds of Le Manoir aux Quat’Saisons,
people, from children through to adults, about the vital role that trees owned by legendary chef Raymond Blanc. Sadly, and poignantly, this
play in all of our lives. After all, if there were no trees on the planet, magnificent tree was diseased and recently had to be cut down.
we wouldn’t be here either.’
A percentage of all sales from A Portrait of the Tree will go to
two leading charities: Future Trees Trust and Trees for Cities. The
exhibition will run alongside an educational programme aimed at
raising social awareness about the importance of our trees.
theunitldn.com

© Sue Jugnarain © The Griffith Institute/University of Oxford

Earth Photo
Royal Geographical Society, London To 21 September
Fift y exceptional photographs and films from the inaugural Earth Photo
competition are on display in a free exhibition at the Royal Geographical
Society. Selected from 1,280 submissions from 19 different countries by
an expert panel of judges, the images document Earth in all its diversity.
Focusing on four themes – People, Nature, Place and Change – the
competition was developed jointly by Forestry Commission England
and the Royal Geographical Society (with IBG). Its main objective is to
reveal the stories behind the pictures, enabling a better understanding
of the world around us.
Earth Photo will also tour Forestry Commission England venues
nationwide including Bedgebury Pinetum, Kent (until 1 October);
Forest of Dean, Gloucestershire (8 October 2018 to 1 January 2019);
and Grizedale Forest in Cumbria (11 October 2018 to 20 January 2019).
earthphoto.world
Photographing Tutankhamun
Museum of Archaeology and Anthropology, Cambridge
To 23 September
Highlighting the work of famous Egyptologist and archaeological
photographer Harry Burton (1879-1940), Photographing Tutankhamun
brings together the iconic images he captured in 1922, during the
lengthy excavation of the Pharaoh’s tomb in Egypt’s Valley of the Kings.
Burton’s photographs, many previously unseen, offer fascinating new
persp ectives on one of the most remarkable archaeological discoveries
of the 20th century.
maa.cam.ac.uk

12 Outdoor Photography Autumn 2018

 EDITED BY CLAIRE BLOW

Bird migration events and workshops

The mass movement of birds is one of autumn’s most thrilling nature spectacles.
Here’s a selection of walks, cruises and workshops to get you closer to the action…
Looking for Autumn Migrants
Anglesey
9 September, 7.30am
Focusing on the western side of Holyhead Harbour, the longest
breakwater in Britain, RSPB volunteers are inviting nature
enthusiasts to join them to look for migrating birds, with
seawatching opportunities if conditions are suitable.
For more details about this free event, send an email
to info@wirralRSPB.org.uk

Wildlife Walk: Migrating Birds

The Needles Headland and Tennyson Down, Isle of Wight
21 September, 10.30am to 2pm

© James Lees/wwt.org.uk
Enjoy wonderful views of the famous Needles and some excellent
birdwatching opportunities on this invigorating downland walk,
led by the National Trust.
Tickets cost £5, and booking is essential. To reserve your place
call 01983 741020.
Black-tailed godwits, WWT London Wetland Centre.
Migration Walk with a Warden
Autumn Migration Seabird Cruises WWT London Wetland Centre
Bempton Cliffs, East Riding of Yorkshire 23 September, 9.30am to 11am
2 September at 9.30am, 15 September at 9.30am, Get expert advice on how to identify different birds, plus fieldcraft
30 September at 9am tips. The course will focus on the birds currently present at the
Sail three miles into the North Sea on the MV Yorkshire Belle from reserve, including seasonal visitors such as fieldfares, redwings,
Bridlington, for great opportunities to photograph seabirds such redpolls, siskins, plus wintering ducks and wading birds.
as shearwaters, skuas, auks, gulls and terns. Tickets cost £10 plus entry fee to the centre. Advance booking
Tickets cost £30 (£24 for RSPB members). The cruises are is essential; to reserve your place call 020 8409 4400
very popular, so early booking is recommended. Reserve
your place at rspbbemptonautumncruise.eventbrite.co.uk Bird Migration Workshops
Living Seas Centre, East Riding of Yorkshire
Seal and Birdwatching Cruise 30 September and 21 October, 8.30am to 5pm
The Wash, Lincolnshire Run by the Yorkshire Wildlife Trust and Flamborough Bird
3 September, 9.30am Observatory, these day-long workshops explore the mechanics
Explore the wildlife of The Wash by boat, with a team of experts on hand of bird migration and include bird identification walks, a bird
to help you spot birds and seals; geese, ducks and waders arrive at the ringing demonstration and tips on when and where to go birding
estuary in huge numbers in autumn. on Flamborough Head.
Tickets cost £21 (18.50 for RSPB members) and can be purchased Tickets cost £55 and numbers are limited to 12. To book,
at southhollandcentre.co.uk go to yorkshirecoastnature.co.uk

Ocean Film Festival World Tour

September and October
Various locations across the UK and Ireland
The Ocean Film Festival World Tour returns for its fifth year,
bringing an evening of inspirational ocean-themed films
to 40 venues across the UK and, for the first time, Ireland.
The brand new selection of films features intrepid surfers
riding the world’s biggest waves, seafaring adventurers
rowing treacherous oceans and explores our planet’s
sp ectacular hidden depths.
Highlights include Kiwi Breeze, which tells the inspirational
journey of Londoner Steve’s near-15,000 mile voyage home
to New Zealand in a homemade 44ft yacht; Touched by the
Ocean, a rowing adventure across the South Atlantic Ocean;
and The Big Wave Project, which follows a tight-knit crew of
leading surfers.
Find out more about the festival and book tickets at
oceanfilmfestival.co.uk

© Eusebio Saenz de Santamaria

Autumn 2018 Outdoor Photography 13

THE LATEST FEEDBACK

SOCIAL HUB
We love hearing your views and opinions. Write to us, tweet us or join the conversation on Facebook and Instagram!

Email your letters and comments Tweet us at Connect with us at facebook. Follow us at instagram.com/
to stevew@thegmcgroup.com twitter.com/opoty com/outdoorphotographymag outdoorphotographymag

Limited process
LETTER
I have just read the letter from
OF THE
MONTH Ann Mitchell in August’s
OP (Social hub, OP23 3), and
wholeheartedly agree with her comment and
with your reply. It is now so easy to ‘improve’
images on the computer that good camera
craft sometimes takes second place. I have
my own industrial photography business
and quickly came to realise that I really don’t
want to spend hours correcting problems in
each of the variants of an image that I send
my clients, when it would have taken me two
minutes to fi x on the day.
Some years ago, as a hobbyist photographer,
I introduced a competition at my local camera
club. This required images on a specific theme
to be taken within a 90-minute period in
the local area. Three ‘final’ images were then
submitted, projected and voted on as soon
as the time was up. No editing was allowed,
other than that available in-camera, but there
was not much time to do that either. Having
to shoot and present quickly promotes good
observation, good camera craft and is about
as close as you can get to shooting slide fi lm,
but without the cost of processing. I wonder
whether other OP readers might like to try
this approach?
Steve Hammond, Hawkesbury Upton
OP says: This is a great idea, and not just one
that works within the club environment. As a
personal challenge, each and every one of us
could possibly benefit from adopting a similar
approach every once in a while, to help keep
us focused on the camera side of photography,
rather than the processing.
© Mark Cooper
Shared secrets
It was nice to read that Ann Mitchell (OP233)
wants more info on images and how they
were taken. There are a lot of photographers
who keep their editing secrets to themselves
for fear of giving away a technique that sets
them apart from the pack, but I think this
puts off budding photographers who look at
a photograph for inspiration and wonder what
was done to it or how it was taken.
I write a blog that takes a Raw image from
a wildlife shoot and shows how I got from the
camera to the finished shot – warts and all.
This hopefully helps other photographers to
see how a shot was taken, and what processing
was applied to achieve the finished product.
I’m not the only togger doing this, though – that the ultimate appreciation is to buy an
there are lots of great info-givers out there! item. He said that ‘not enough photographers
Danny Gibson, Northern Ireland buy each others’ work’, which is an interesting
point – I am always so busy trying to perfect
OP says: Danny didn’t give us a link to his blog, my own photographs that I’m certainly guilty
but you can find it at dgpix.org.uk. of that charge.
So I just want to say a huge thank you to all
High praise the professional photographers out there who
I am always inspired by the various articles give their time, effort, money and praise to
written by your many contributors on both lesser mortals such as myself, who would love
landscape and wildlife photography, and am to achieve just a fraction of what they have.
still searching for the perfect shot. I would Mark Cooper, email
just like to say how supportive and friendly
the whole photography community is. In The price is right?
my experience, every photographer I meet Regarding the recent letters to OP about
is always willing to share their time and the use of plastic, if changing to a more
expertise, but I recently received the biggest environmentally friendly option would
compliment so far in my photographic life: increase expense, why not increase the price
a world acclaimed photographer purchased of the magazine by 5p an issue? This would
one of my images and gave a £5 tip to charity! go some way to covering a change and would
I just could not believe it! It is one thing at least be another small step taken.
to praise someone’s work, but I always think David Saxton, email

LETTER
Autumn’s letter of the month winner
OF THE receives a LifeStraw Go 2 water bottle
MONTH
This month, we’ve teamed up with LifeStraw to give away a
Go 2 water bottle worth £45.95. The 650ml bottle’s innovative
design uses a two-stage filtration process to remove more
than 99 percent of protozoa, microplastics and bacteria
(including E. coli and salmonella) from your drinking water,
as well as reducing chlorine, organic chemical matter
(such as pesticides and herbicides) and improving taste.
Find out more at lifestraw.com

14 Outdoor Photography Autumn 2018

IN CONVERSATION WITH

Staffan Widstrand
Former picture editor and internationally
acclaimed Swedish nature photographer
Staffan Widstrand uses his work to
spearhead environmental conservation.
There are no tricks, he says, just classic,
straight-down-the-line photography
Interview by Nick Smith

16 Outdoor Photography Autumn 2018

Reindeer (Rangifer tarandus) herding in the
Saarivuoma Sami community, at Järämä,
Övre Soppero, Lapland, Sweden.

September 2018 Outdoor Photography 17

 sometimes describe myself as a wildlife
I photographer,’ says Staffan, ‘but actually,
I photograph a lot of things, all of which will
be outdoors. Even when I photograph people,
I prefer to do that outside: at festivals, kayaking,
hunting, fishing, hiking, climbing or ecotourism.
I really am an outdoor photographer, that’s
for sure.’ If any confirmation of this fact were
needed, this very magazine once described the
59-year-old Swedish photographer as one of the
‘world’s most influential nature photographers’.
Based in Järfälla, just outside Stockholm,
Staffan’s reputation is huge and global. This
is based on him being a co-founder of the
International League of Conservation
Photographers (ILCP), an ambassador for
both National Geographic Explorer and Nikon,
the author of 18 books in nine languages and
a regular on the competition judging circuit.
As the managing director of Wild Wonders
International, he is also the man behind several
sustained and influential wildlife conservation
photography projects, and has won so many
18 Outdoor Photography Autumn 2018
photography competitions that it’s almost
embarrassing: you get the feeling he was made
a judge of many of these competitions simply to
stop him winning them (for the record, his two
daughters are both double award winners in the
Wildlife Photographer of the Year competition).
Such lofty heights have been attained from
humble beginnings, as Staffan fi rst stepped
into the world of wildlife at the age of 12, as
a birdwatcher. ‘I’ve been interested in nature
for as long as I can remember. As a kid I used
to play with plastic animals and used to enjoy
watching deer and rabbits, foxes and hares.
But then I realised that there are so many birds
around – far more than mammals. So I thought
it would be better to be a birdwatcher, because
there was simply more to see. At around the age
of 13 I got my fi rst camera and started taking
pictures of birds, as well as travel, which is my
other passion.’ During this formative period,
Staffan and his family lived in Tanzania for
a few years, ‘and that also helped to develop
my interest in wildlife’.
Staffan says that initially the camera was
simply a tool used to record what he had seen,
so he could better identify species back at base
and prove to his friends that he had seen them.
‘Needless to say, these pictures were really
terrible. I had a poor camera, a bad lens and
I was taking pictures on grainy black & white
film. I didn’t have much talent, but I ticked along,
and by the time I was in my late teens I was
presenting slide shows to my friends and doing
a lot more travel. When I left school I started
working as a nature tour guide, which gave me
more opportunities photographically. I got a
better camera and started to take better pictures.’
One of the reasons for this improvement was
that the teenager was getting inspiration from
magazines such as National Geographic.
Below European elk bull (Alces alces)
shedding his velvet at Sarek National Park,
Lapland, Sweden.
Opposite White-tailed eagle or sea eagle
(Haliaeetus albicilla) at Flatanger,
Nord-Tröndelag, Norway.
Autumn 2018 Outdoor Photography 19
20 Outdoor Photography Autumn 2018
‘I thought: “Wow! How beautiful are these
photos? I want to go to those places and take
those kinds of pictures.” At this point my friends
said to me that I should become a professional
photographer.’ Thinking that this was an
unrealisable ambition – ‘there were no
photographers or entrepreneurs in my family’ –
Staffan only took on the idea as a potential
parallel career to something more fi nancially
stable. Even then, he quickly started to realise
something that he still believes today:
‘It’s difficult to sell pictures.’
Eventually, Staffan chose to split the
difference and decided to become a picture
editor, a daunting prospect that involved him
returning to education for several years, after
which he’d emerge with only the vague hope
of ‘being eligible to apply for one of the very
few picture editing jobs in Sweden.’
Meanwhile, he was pitching his own photos to
picture editors at book publishers and big name
magazines. ‘I’d go to these editorial offices and
show my stuff, one publication after another.’
Two days after one of those pitches, he received a
call from a schoolbook picture editor who said,
‘look, we don’t want to buy any photos, but we’d
like to offer you a job as a picture editor’. This left
Staffan with the choice of six more years at college,
or ‘starting on Monday’. He started on Monday.
For five years Staffan learned the ropes, from
understanding graphical page elements to the
business side of commissioning, publishing
rights, copyright and purchasing. This was a
revelatory process that was going to stand him
in good stead as he later emerged as a photo
library owner, book publisher and assignment
photographer. It was this experience ‘on the
other side of the commercial table that made
me a photographer for real. It also gave me an
insider’s view on what goes on in the picture
editor’s mind: what kind of budgets and
restrictions they had, how to pitch to them
and how to be realistic about making a living.’
This last point brings a wry smile to Staffan’s
face. While he has nothing but positive things
to say about what digital technology has done for
photography as both an art-form and process, he
is also phlegmatic about how social media and the
internet in general seem to have conspired against
the professional photographer commercially. As
a result, ‘every professional photographer I know
is struggling in one way or another. You have to
make a patchwork income from commercial sales,
self-published books, public speaking, corporate
relationships, and so on. It’s a big puzzle with
many loose pieces. Things are changing. The old
business model of selling rights to print media
has gone, while the digital business case has not
been proven yet. If you have any good answers
to this, I’d be very happy to hear them.’
Opposite (top) Golden pheasant (Chrysolophus
pictus) in Tangjiahe National Nature Reserve,
Qingchuan County, Sichuan province, China.
Opposite (bottom) Golden pheasant (Chrysolophus
pictus) in Tangjiahe National Nature Reserve,
Qingchuan County, Sichuan province, China.
Below Eurasian red fox (Vulpes vulpes) at a vulture
feeding site in Madzharovo, Eastern Rhodope
mountains, Bulgaria.
Autumn 2018 Outdoor Photography 21
TOP STRAP

22 Outdoor Photography Autumn 2018

Crane (Grus grus) displaying at
Lake Hornborga, Sweden.

Autumn 2018 Outdoor Photography 23

TOP STRAP
Boreal forest in mid-winter colours at -39°C, in Jukkasjärvi, Lapland, Sweden.
Staffan is noticeably more comfortable
talking about photography than business; he’d
prefer to photograph water running over a stone
than try to squeeze water out of one, he says.
When he gets the camera out of the bag, it is
without a preconceived style. ‘On the visual
side, I don’t have an opinion about how I should
create my work. I do it from a gut reaction, and
“what you see is what you get”. I can see specific
styles in other photographers’ work, but it is
difficult to see any in mine. People say that my
work is distinctive, but I don’t know about that.
I just photograph the birds and animals and
landscapes in a way I like. There is a lot of
thinking about this: How do you get there?
What kind of light do you want? But it’s a
case-by-case analysis of what’s in front of me.’
Staffan is more defi nite when he talks about
the content of his work, though. ‘I think of
myself as a storyteller. I don’t shoot single
pictures and I don’t even focus on a single
story,’ he says, partly because he considers
all of his projects – especially his monumental
24 Outdoor Photography Autumn 2018
Wild Wonders series – as being part of a bigger
never-to-be-fi nished narrative that he is
painting ‘with a big paintbrush and long
strokes’. As a slow worker he goes deep into
subjects, ‘and if there is any “style”, it is based
on this depth. I want to know things in such
a way that when I am showing pictures on
stage or in magazines I can tell that story.’
‘When I was a picture editor, my colleagues
used to say that an image could reveal more
than words. The way we read magazines and
books is that we look at the pictures first. If the
pictures interest us, we might read the captions.
If those are interesting, we might then read
the headline. If that headline is really good,
then the reader will go to the introductory
paragraph, and maybe ten per cent will get to
the main article, while even fewer will make
it to the end of the article. But the very small
minority of people that read the complete
article might well be those you are trying to
reach, and when it comes to telling stories about
conservation it is really important to reach
them, because they are the people who will
hopefully pass the story on to others.’
Staffan says that if there is one purpose
to what he does it is to spread the word about
environmental and wildlife conservation, and it
is his deep conviction that photography is one of
the best methods for transmitting this message.
To do this, he says, you need good photography,
despite the fact that he has ‘no recipe for that’.
Mildly suspicious of recent trends such as camera
traps, remotely operated vehicles and drones,
he says that when working on big collaborative
projects, he’ll let ‘the young guys do that, while
I get on with what I call the “classic” photography.’
This is what he describes as the time-honoured
tradition of taking straightforward, well
composed and well executed images of subjects
that will play a part on the stage on which the
bigger story is being enacted. And Staffan
Widstrand is a master of that.
To see more of Staffan’s photography
visit staffanwidstrand.se
 Repeat Winner of the TIPA Award – 2013/2017

‘ Best Photo Lab Worldwide’

Awarded by the Editors of 29 International Photography Magazines

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Curiosity may have killed the proverbial cat, but Pete Bridgwood suggests that it may also be the life-blood of creativity
An hour or so before sunset and before
this beautiful moonrise, I stood atop the
towering cliffs at Green Bridge and realised
the compositional challenge facing me was
no less gargantuan than these rocky shores.
To my eyes, the arch appeared to be falling
towards the left side of the picture. If
the whole scene was rotated 30 degrees
clockwise, then it might appear balanced,
but clearly this wasn’t possible if I wanted
to include the horizon. I guess this is what
happens to your scenic sensibilities after
looking at too many pictures of Durdle Door!
It would have been easy to pack away my
gear in the belief that I just wasn’t ‘in the
zone’, in favour of the Kronenbourg waiting
for me back at the hotel, but my saving grace
on this magical evening was curiosity.
I was curious to see what would happen
in the twilight, and the moonrise further
kindled the intrigue. The composition was
eventually transformed by the brilliant orange
shimmer of the rising moon offering some
visual balance to counteract the disturbing
lean of the arch, and I made my image.
I’ve been thinking a lot about curiosity
lately, because I think it’s probably the single
most important driver of creativity. Without
curiosity, photography itself would not exist
and we would be living in a world devoid
of imagery. Fortunately, natural selection
ensured that our ancestors with the greatest
penchant for curiosity were more likely to
learn about important things such as how
to survive, and therefore pass on their genes
through the millennia.
In addition to our ever-increasing appetite
for knowledge, curiosity has also facilitated
an increasing breadth and depth of creative
expression in all the arts. This leads to a
fascinating question for artists: if curiosity
is so good for creativity, could it be that we
can improve our own creativity by making
a conscious effort to become more curious?
ONE MONTH, ONE PICTURE
Our precious curiosity is all but eradicated
by our education system, which prescriptively
demands that we learn only the necessary
facts to achieve the best examination grades.
Consequently, only a child with the most
enquiring mind will maintain their curiosity
through to adulthood.
One way of nurturing our curiosity is
to keep asking questions; to never tire of
asking why and effectively see life through
more childlike eyes. Perhaps these self-
perpetuating, life-enriching creative qualities
are what Einstein was alluding to when he
said: ‘The important thing is to not stop
questioning. Curiosity has its own reason
for existing.’
Green Bridge, Castlemartin, Pembrokeshire.
Canon EOS 6D with TS-E 17mm f/4 L lens,
ISO 400, 10sec at f/8, tripod, six-stop ND,
two-stop ND grad, processed using Adobe
Lightroom with Adobe Standard Profile
Autumn 2018 Outdoor Photography 27
LEARNING ZONE
IMPROVE
30 How to take stunning 38 Quick guide to...
photos of autumn colour Using histograms

AUTUMN SENSATIONS...
Andy Farrer guides us through capturing the magic of autumn colour
LEARNING ZONE
How to take stunning photographs of autumn colour
The transition from one season to the next is never more obvious than with the coming (and going) of
autumn. Andy Farrer shares some tips and ideas for creating eye-catching images in the golden season
Without a doubt, autumn is a much-
anticipated season and the favourite time
of year for many photographers. As trees say
a colourful farewell to summer, early morning
alarm calls become less brutal and morning
jaunts become more pleasant, especially when
mist is more frequent. In my part of Dorset
the sun also swings back far enough south to
rise and set on the Jurassic Coast, with the rich
combination of colours, textures and soft light
providing a palette of creativity.
With all this natural splendour there are
few things more wasteful than staying indoors
on a cool, still autumn day. So now’s the
perfect time to charge your batteries, clean
your lenses and head outdoors with a camera
to look for some stunning seasonal shots.
30 Outdoor Photography Autumn 2018
AT THE WATER’S EDGE
Riverside walks are a terrific starting place
for an autumnal shoot. The damp conditions
are often good for lichen and fungi, while wet
rocks and moving water provide an abundance
of foreground and mid-ground interest. Still,
mirror-like waters can provide extraordinary
reflections and the hours can pass very quickly
as you work various compositions, tweaking
the camera position around and about.
What is excluded from the frame is just as
important as what is included, and picking
a longer focal length lens is often an effective
way to eliminate distracting patches of sky
poking through the more spread out boughs
and branches at the tops of trees. It’s good
practice to check the edges and corners of
your composition for distractions; often a small
adjustment to the left or right, up or down, or
a slight turn of the zoom will make or break an
image. With that in mind, using a tripod and
a geared head is something I have found saves
me a lot of time when it comes to levelling and
fine tuning my compositions, especially on
uneven terrain or when the tripod’s legs are
in water, resting on hidden boulders.
I always favour an overcast day for riverside
photography, as it helps to avoid the highlights
that can restrict your shooting direction.
Often I shoot late into the evening, as the low
light naturally leads to slower shutter speeds
without neutral density filters being needed
and the warm tones pop in golden hour light.
 Capturing the movement of water is key
to translating the essence of a place, and
this plays a huge part in setting the mood of
a scene. Finding the ‘right’ shutter speed is,
of course, subjective, and ND filters can play
an important part in the ‘silkiness’ of the water.
However, a technique I have enjoyed using in
these situations is my camera’s built-in multiple
exposure mode. I shoot with a Canon EOS 5DS,
which offers different types of multi-exposure
control blending – additive, average, bright
and dark – and find that shooting between two
and four images in bright mode provides some
excellent results. These combined shorter
exposures appear more textured than a single,
longer exposure, which I very often find is far
too smooth to convey the atmosphere.

PRO TIPS
Where a longer lens isn’t feasible, try
tilting your camera downwards to include
more of the foreground and exclude
distractions from the top edge. Use
the transformation tools in your editing
soft ware to correct any diverging verticals. Opposite Dorset Woodland. Above Brecon Beacons Waterfall. Below Quarry Reflections.
Canon EOS 5DS with Zeiss Canon EOS 5D MkIII with Zeiss Canon EOS 5DS with 100-
If your camera doesn’t have a multiple 50mm f/1.4 lens, ISO 100, 0.8sec 21mm f/2.8 lens, ISO 100, 15sec 400mm f/4.5-5.6 L lens at
exposure mode, try combining a series at f/11, Lee Landscape Polariser at f/13, four stop ND filter, Lee 148mm, ISO 100, 1sec at f/16,
of exposures as layers in your photo Landscape Polariser Lee Landscape Polariser
editing soft ware and experiment with
different blending modes.

Autumn 2018 Outdoor Photography 31

 WEATHER
The autumnal equinox, which falls around
22-23 September each year, occurs when
the sun rises directly over the equator. This
is generally considered to be the beginning
of autumn, with the end of the season signalled
by the winter solstice around 21 December,
although from a photography perspective,
most trees will have dropped their leaves
sooner than that.
As the days shorten and cool down,
deciduous trees start to lose the chlorophyll
that makes their leaves green, leaving
carotene and other more orange, yellow
and brown chemicals behind. This gives us
a wonderfully rich palette of warm tones. A
hot dry summer followed by a cool – but not
freezing – dry autumn will provide the best
recipe for vibrant colours; too many heavy
frosts and high winds can move things along
more quickly and strip the trees of their
leaves.
For me, one of the best things about the
onset of autumn is the frequency of morning
mist . Residual ground warmth from the
summer, combined with longer, cooler nights
provides some of the ingredients for mist
and temperature inversions. A temperature
inversion occurs when the air temperature
increases with height, rather than decreasing.
Sometimes this will manifest as a small, thin
mist, as you might envisage over a river or
lake, while at other times it will be a deeper
valley mist.
Frequently, once the weather forecast
shows mist or fog there can be too much
of it to see or photograph any subjects.
However, mist can be significantly localised –
even down to a few square miles – so it’s
a good idea to check the conditions at various
locations on weather apps to try to sp ot
opportunities that may not have made it
to the main forecast .
You can also maximise your chances of
a mist y morning shoot by keeping an eye out
on the forecast for a combination of a few hot
sunny days with short showers (which warm
and dampen the ground), followed by a cool,
clear night, wind speeds in single figures,
and high humidity of around 90% or more.
If the dew point and air temperature are
within a few degrees of each other there
is a strong chance of mist, especially near
streams, lakes, rivers or meadows.
Depending on where you are located,
heading for high ground can give you an
overview of the land and allow you to identify
pockets of mist in low-lying areas, as well
as offering the option to photograph the
recession of layered landscapes. If you have
landmarks such as tree-topped hills, tors or
follies, identify these in advance, along with
some nearby high vantage points.

32 Outdoor Photography Autumn 2018

Above Kingston Lacy Trees.
Canon EOS 5DS with 100-400mm f/4.5-5.6 L lens
at 100mm, ISO 100, 0.8sec at f/11, Lee Landscape
Polariser
Opposite (top) Colmers Hill.
Canon EOS 5DS with 100-400mm f/4.5-5.6 L lens
at 350mm, ISO 400, 1/15sec at f/16
Opposite (bottom) Golden Dorset Woods.
Canon EOS 5D MkIII with 100-400mm f/4.5-5.6
L lens at 150mm, ISO 400, 1/6sec at f/14, Lee
Landscape Polariser
PRO TIPS
Woodland is a great choice on mornings
when the mist is dense or it’s quite foggy.
Drizzle can look ‘mist y’ in woodland.
Apps such as Weather Pro and Weather
Live give a dew point forecast, which is
good enough for an evening check on
the dew point for the following morning.
CONTROLLING COLOUR
Colour can be a rather subjective topic. Not
only do eyes vary from person to person on
a physiological level, but psychology also
plays a part, with some of us preferring to
see the warmer, brighter aspects of a scene
while others are drawn to darker, cooler tones.
In either case, when you’re shooting a scene
with a dominant colour, use a manual white
balance setting such as cloudy or daylight;
it’s not uncommon for auto white balance
to overcompensate for very warm autumnal
scenes and produce an overly cold result.
For pretty much any woodland photography,
a polarising filter is your best friend when
it comes to enhancing colour. Eliminating
glare on wet leaves will give you a perceived
increase in saturation, as you’ll be capturing
the leaf colour, rather than the glare on the
leaf. When shooting images at the water’s
edge a polariser will control the glare on the
water as well, again boosting saturation.
There are countless polarising filters
available, but I favour Lee Filters’ Landscape
Polariser, which has a slight warm tone that is
perfect for autumnal photographs. However,
regardless of the polariser you use, it can
be tricky to adjust it for best effect if you’re
looking through the camera’s viewfinder, so
I prefer to look through the polariser before
attaching it to the lens. Hold the filter in front
of you and rotate it while looking at your
scene, and it will be much easier to see the
effect the polariser is having in relation to the
wider scene, making it far simpler to find the
optimum setting. Then, fit the filter to your lens
and set the same orientation. If you change
from landscape to portrait format, rotate the
dial on the filter back by 90 degrees to keep
the polarising effect the same.
PRO TIPS
Set your camera’s histogram to RGB
mode. Being able to keep an eye on the
red channel is particularly important with
warm, autumnal images, as you want to
ensure you don’t clip either end of the red
channel and end up with blocky colours.
As outlined in this issue’s Quick guide
(page 36) your in-camera histogram is
generated from a JPEG file, even if you
shoot Raw, so set the camera’s picture
st yle to Faithful (Canon), Natural (Nikon)
or similar for the greatest accuracy.
Autumn 2018 Outdoor Photography 33
POST PROCESSING
Processing Raw files and getting the colours
of autumn to pop can be a balancing act ,
but first and foremost you need to make
sure you’re working with a calibrated display.
Only then can you be sure that any colour
cast you are trying to remove is actually
present in the image and has not been
introduced by your monitor.
My favoured route is to get the rough
look and feel of a file somewhere close
in Lightroom and then make my final edit
34 Outdoor Photography Autumn 2018
in Photoshop. This is a method I started using
years ago, when it was the only way I could
achieve the level of control I was looking for.
However, Lightroom’s recently introduced
range masks (found in the local adjustment
tools) offer a greater level of control, although
you are restricted to adjustments that can
be made in either a radial or graduated local
adjustment; you can’t use a range mask
to restrict a HSL (Hue, Saturation and
Luminance) adjustment, for example.
This is a shame, because the sliders in
the HSL panel are incredibly useful when
working with autumnal images. They are
perfect for nudging a hue, for lightening
or darkening sp ecific tones, or for gently
boosting the saturation of a single colour.
This can be particularly beneficial when
global vibrance or saturation adjustments
are too heavy handed, which is a common
problem. Often, boosting weaker colours
using vibrance or saturation means colours

that are already more vibrant – leaves with
more sunlight on them, for example – are
enhanced too much, making the image
look overcooked. With HSL you can perform
‘saturation balancing’, toning down already
strong colours and boosting the less
saturated ones.
The de-haze tool – which has featured
in Lightroom for several versions now – is
another very effective way of emphasising
recession and controlling the inherent
Canon EOS 5D MkIII with 100-400mm f/4.5-5.6
softness in mist y images. I like to use this tool
as a local adjustment – either as a grad or
radial – and then use a range mask to apply
the affect to a specific tonal region.
Ultimately, though, the whole editing
process should be about balance. It doesn’t
matter what tools you use to work on your
images as long as they enable you to convey
the mood and feel you are after, and make all
the elements in your image harmonise and
complement one another.
Autumn Mauve.
L lens at 130mm, ISO 200, 1/6sec at f/14, Lee
Landscape Polariser
PRO TIPS
It’s important not to be intimidated by all
the processing options and find the path
of least resistance: if Lightroom allows
you to process your images easily, there
is little point in using Photoshop.
As you improve, you will find there are limits
to what the tools (and your knowledge) can
achieve, so actively explore other options
that might unlock new working practices.
Autumn 2018 Outdoor Photography 35
 Above Croatian Canyon.
Canon EOS 5DS with 100-400mm f/4.5-5.6 L lens at 400mm,
WOODLAND TIPS ISO 100, 1/20sec at f/10, Lee Landscape Polariser
Focal lengths of 50mm and longer are a good starting point for most
woodland photographs, as they will enable you to exclude the sky from
the top of images and contain the viewer’s attention. A longer lens will
also compress the scene, making woodland appear more dense and
accentuating any recession when there is mist .

If a longer lens eliminates too much of the overall scene, think about
shooting a series of overlapping frames to stitch together to create
a larger image or panorama.
Look for an ‘odd one out’ as a focal point. In a wood full of russet-coloured
trees, an evergreen can offer a striking contrast and grab attention.
Visit woodlandtrust.org.uk to find local areas to explore. One of the
rewarding things about woodland photography is that you have to look
and find trees and vantage points for yourself. The compositions aren’t
always as obvious or as recognisable as they are in the wider landscape.
Arboretums are ideal playgrounds for photography, with a great variety
of tree species. Follow them on social media to see the most recent
visitor photographs and gauge how the autumn colour is looking, as
this could save you a wasted trip.
STEPS FOR COLOUR SUCCESS
Set your camera’s white balance to a preset option such as cloudy
or daylight; dominant autumn colours can fool auto white balance
into an overly cool response.
Colours that are opposite one another on the colour wheel (such as
red and green or purple and yellow) are complementary, and create
maximum contrast. Use this to your advantage when photographing
autumn scenes by looking for these combinations in nature.
Calibrate your monitor so you have an accurate baseline for your
processing. Your target values in your calibration soft ware should
be: White Point D65, Luminance 120cd/m2, Gamma 2.2. Ensure
you have any auto-dim preferences disabled.

36 Outdoor Photography Autumn 2018

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QUICK GUIDE TO…
Using histograms
Richard Garvey-Williams explains
how using a histogram can help Top and above Once
you understand what
ensure the optimal exposure for a histogram shows and
how you can use it to
your image processing refinements guide your exposures,
you can ensure that
Checking the exposure of a photograph by you not only capture as
simply relying on your camera’s LCD has its much detail as possible,
limitations, particularly when the screen is but also record it in the
viewed in bright light, as these displays do not best possible way.
accurately represent the tones in the image Canon EOS 5DS
with 24-105mm lens
file. A histogram is far more precise, as it is an
at 58mm, ISO 100,
objective graphic representation of the various 1/60sec at f/14
brightness or tonal levels in an image. The Tips for success
horizontal axis shows tonal values, with the
darkest tones (black) at the extreme left, the Set your camera so the histogram The histogram on your camera
lightest (white) at the right and midtones (18% appears on the LCD for a selected is based on a JPEG version of
grey) in the middle. The vertical axis indicates time after capture to provide an the image, even if you shoot
how many pixels exist for each value. immediate exposure check. Raw, so it is influenced by any in-
The shape of a histogram is unique for each camera picture style settings that Left and above The
image and is not in itself a gauge of correct A loss of detail in extreme shadow affect brightness and contrast. majority of this scene
exposure. However, if the histogram touches areas is usually preferable to lost is very dark, which is
either edge of the graph, it indicates shadow details in the highlights, so be If you shoot Raw there is usually why there is a marked
or highlight ‘clipping’ and this is where on guard for any clipping in the the potential to recover highlights peak at the left of
the histogram. Care
histograms have great value. When clipping brightest parts of an image. or shadows that appear marginally needed to be taken
occurs there is no detail apparent within clipped on your camera screen. to avoid clipping at
this area: the pixels are pure black or pure Enable your camera’s ‘highlight Comparing my own camera’s the right and ensure
white. In certain situations – such as when alert’ so that overexposed histograms with those of the detail remained in
the sun appears in shot – a moderate amount highlights blink in the reviewed Raw files in Adobe Lightroom the swan’s plumage.
Canon EOS 5DS with
of clipping is to be expected and is indeed image. This will provide you with suggests there is perhaps 1/3 to 100-400mm lens at
unavoidable, but even then a histogram can a quick visual indication of any 1/2 a stop of latitude at both ends 400mm, ISO 500,
help you reduce the area affected. potential problems. of the brightness scale. 1/320sec at f/7.1

38 Outdoor Photography Autumn 2018

 Left and above For this image of a monastery
located deep in a Greek gorge, I used ETTR to ensure
a good range of tonal values in the darker regions.
Although the histogram on the camera suggested
the possibility of a tiny bit of highlight clipping, I knew
I was safe with the Raw file. Canon EOS 5DS with
24-105mm lens at 35mm, ISO 100, 1/13sec at f/13
Left and above A snowy scene naturally has the
majority of pixels over to the right of the histogram,
indicating a lot of bright tones in the image.
Canon EOS 5D MkIII with 24-105mm lens
at 55mm, ISO 100, 1/15sec at f/16

Further options
To obtain the optimal image
file, consider exposing to
the right (known as ‘ETTR’),
which involves increasing the
exposure to push the histogram
as far right as possible without
clipping the highlights. This
approach is based on the
fact that the brighter stops
(towards the right of the
histogram) record far more of
the possible number of distinct
tonal values than the darker
stops of exposure at the left.
Therefore, the resulting file
contains more tonal information,
greater dynamic range and
a better signal-to-noise ratio.
The image is then darkened in
post-processing, which typically
results in less degradation, such
as noise and posterisation.
In addition to a luminosity
(brightness) histogram, your
camera is likely to offer an
RGB histogram that shows the
distribution of brightness levels
for each of the primary colours
(red, green and blue). This is
useful for checking that colour
gradations are being recorded.

A B
Above and right This image of a pink carnation against a patterned
background of lavender heads serves as a good example of the value
of RGB channel histograms when it comes to ensuring gradations of colour
in strongly coloured subjects. In this instance the brightness histogram
(A) indicates no problems, even with slight overexposure, but the RGB
histogram (B) tells a different story, and reveals marked clipping of the
red channel. To ensure the reds were not clipped I reduced the exposure.
Canon EOS 5DS with 105mm macro lens, ISO 320, 1/40sec at f/10

Autumn 2016 Outdoor Photography 39


Galway gold
The deadly blast of Hurricane Ophelia struck towards the end of Michael Cummins’ two-week tour of Ireland,
but even before that he hadn’t been blessed with favourable October light. Except, that is, for one brief moment…
Early in the trip, while staying in the
coastal village of Letterfrack, Galway, my
wife Bridget and I decided to drive over
to see the coloured cottages by the sea at
Roundstone in Connemara National Park.
It was a pleasant enough trip, but the very
average light we were becoming accustomed
to spoiled it from a photography perspective
(although a pint of good Guinness with
oysters at O’Dowd’s more than made up
for the disappointment).
Relishing the unique Connemara landscape
on the journey back, I made occasional
camera stops, but these ultimately yielded
nothing in the way of ‘keepers’ and I more or
less gave up on getting anything worthwhile
on another disappointingly grey day.
It was close to sunset as we neared
Letterfrack, so I suggested – somewhat
optimistically – that we should divert to
the small harbour of Ballinakill. I had
noted from an earlier exploration that a
very narrow road ran above the harbour and
around some of the west-facing headland;
if nothing else I could grab a few shots of
Bridget for her social media pages.
Safely parked, we discovered that the wind
had picked up alarmingly, so thoughts of
clambering anywhere precipitous vanished.
I looked at my kit bag, decided the tripod
would be useless, and grabbed the camera
that had a 55mm lens attached. Neither the
camera (a Sony α7R) nor the lens (a Zeiss FE
55mm f/1.8) were stabilised, but I knew
LIE OF THE LAND
I could get decent results by increasing the
ISO and using a wider aperture. Besides,
I told myself, with the weather being what
it was, nothing was going to happen anyway.
How wrong I was. Without any warning
whatsoever, a cloud broke and the most
intense orange light flooded the land and
the sea. Ignoring the landscape momentarily,
I grabbed a couple of posed shots of Bridget
to get the exposure right, and during this
time a double rainbow appeared. I promptly
turned my attention to the unfolding scene
below – the boat, mountains, sea, rainbow
and, most of all, that outstanding, wondrous
light. It didn’t matter what happened for the
rest of our trip now: the Galway pot of gold
was mine!
Autumn 2018 Outdoor Photography 41
ACCESS RATING
These are based around
an ‘averagely fit’ person.
Below are loose guidelines
to what the ratings mean
(N.B. they are assigned by
the author and not verified
by OP.
P Walk distances are
one-way only):

1/5 Easy access. You

can pretty
prett y much get stra
strraight
ight
out of your car and quickly Falls of Acharn, Perthshire, by Carlton Doudney
be at the viewpoint via good
quality paths.

2/5 Some gentle

walking is involved
(generally less than a half
mile), which may be on
LOCATIONS
GUIDE
mixed quality paths.

3/5 A walk of up to
about two miles, over
quite easy terrain.
4/5 Medium length
hike up to about four
miles over mixed terrain,
possibly with some quite
steep gradients.
5/5 The most difficult
access. Long hike over
challenging terrain (e.g.
mountains/summits/steep
coastal terrain); or involves
travelling over particularly
extreme ground (e.g.
scrambling on rocks/
exposed coastal paths
or mountain ridges) over
any distance.
44 Viewpoints of the month 1 4
6
8
1 Sior Loch Argyll and Bute
2 Beggarpath Bridge Scottish Borders 2
48 Viewpoints
3 Llancayo windmill Monmouthshire
4 Loch Tromlee Argyll and Bute
5 Lower Grenofen Devon
6 Falls of Acharn Perth and Kinross
7 Mallards Pike Gloucestershire
8 Pinecone Point Perth and Kinross 10
9 Fingle Bridge Devon
3 7
10 Snape Maltings Suffolk
9
5
ALL MAPS © Crown copyright 2018 Ordnance Survey. Media 023/18
Map plottings are approximate
Sior Loch,
Argyll and Bute
Walking near Oban last summer, Aidan Maccormick found
a beautiful loch with a single willow tree on a reed-ringed
island. He knew immediately that this location would
look great in the autumn with the right weather
A couple of months after I had
‘discovered’ this place, and with
a forecast of settled high pressure,
I drove a few hours west from my
home in Glasgow, passing Loch
Lomond and Loch Awe as I headed
towards Oban. The woodlands along
the loch’s sides were starting to
colour and the clear blue sky signalled
a misty dawn the following day.
Heading inland from Oban on a
single-track road that winds along
a short, steep glen, I emerged on
to a grassy, bowl-shaped plateau.
Nestled in the middle is a series of
spring-fed water bodies collectively
known as Sior Loch (sior is Gaelic
for ‘everlasting’, describing the loch’s
unchanging water levels, even in
the driest of summers). After a short
12 miles from Oban • 85 miles from Glasgow
ACCESS RATING
How to get there From Oban, take
the A816 (Soroba Road) south for four
miles to Kilmore before turning left on
to a single-track road, signed Barran,
Glen Lonan and Musdale. After half
a mile turn right and follow the road
for five miles. Park in the small lay-by
next to the track signed Kilchrenan
44 Outdoor Photography Autumn 2018
walk along a good track I set up camp
by the side of the loch, close to the
willow tree island I had seen earlier
in the year. A healthy population of
midges made sure I went straight into
my tent and stayed there until my
alarm went off just before 6am.
Peeking out of the tent I knew
instantly that I was in for a treat,
as thin mist swirled low over the
surface of the water. Beyond, low
cloud boiled up from nearby Loch
Awe to cover the slopes of Ben
Cruachan, one of the finest and most
distinctive mountains in southern
Scotland. I set up at the water’s edge,
as close to the isolated willow tree
as I could get. The ground was so
soft I had to push the tripod legs
deep into the mud to gain stability,
and on foot follow the track east for
just under two miles until you reach
the interconnected lochs.
What to shoot Mist and reflections
of Ben Cruachan.
Best time of day Early morning.
Food/drink The Corryvrecken,
The Waterfront Centre, Railway Pier,
Oban, PA34 4LW, 01631 568910,
jdwetherspoon.com.
Accommodation Harbour View but even then the slightest movement
Guest House, Shore Street,
was causing camera shake, so I switched
Oban, PA34 4LQ, 01631 563462,
from using the camera’s self-timer to
harbourview-oban.co.uk.
Other times of year Winter for ice- a wireless remote trigger and stood
covered lochs and frozen waterfalls. back a few feet.
Ordnance Survey map LR 192 I played around with various
Nearby locations Loch Awe (5 miles); compositions and focal lengths as
Ben Cruachan (10 miles). the scene rapidly changed during the
fi rst 20 minutes after sunrise. I finally
settled on a composition with my
zoom lens set at its maximum focal
length of 85mm and an aperture of
f/10. This allowed me to make the
tree the main point of interest while
also including the hills behind and
the tree’s reflection.
Happy with the images I had taken,
I was about to pack up when the sun
rose above the nearby hillside at the
same time as a puff of wind sent up
a billowing cloud of mist to obscure
it. This created a brief, but magical
scene as orange mist swirled around
the silhouetted and reflected tree.
I knew this would make an interesting
contre-jour shot so quickly increased
the shutter speed to 1/250sec and
managed a couple of frames using Nikon D750 with
the remote trigger before the mist 24-85mm lens at
dissipated. I knew there would 85mm, ISO 100,
be some blown highlights, but it 1/250sec at f/10,
didn’t worry me. In post-processing tripod, remote
I tweaked the shadows and highlights trigger
to decrease the contrast, and adjusted
the white balance to recreate the
warm hues I had experienced.
Autumn 2018 Outdoor Photography 45
 LOCAL KNOWLEDGE
GUIDING YOU TO THE BEST PHOTOGRAPHY LOCATIONS

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FOR 20% OFF ALL OUR BOOKS AND FREE UK SHIPPING
Beggarpath Bridge, Scottish Borders
Following a misty pre-dawn sortie in the Scottish Borders, James Poots finds
that you don’t always go home with the images you originally had in mind
When I set out from Peebles in
search of the autumnal morning mist
promised by the weather forecasters,
my aim was to take a photograph of
Beggarpath Bridge.
On arrival it quickly became clear
that the view from the bridge looking
east towards Edston Wood and
Jedderfield Plantation offered far more
potential than a view of the bridge
itself. Lyne Water, which flows under
the bridge, didn’t make it into the
image either, although its course can
be discerned from the line of Scots
pines on its banks.
Given the time of year – poppies were
already being worn – I was reminded
of a World War One battlefield with
shell-shattered trees and drifting
smoke. It was certainly a spooky
scene, and I tried to accentuate this
eeriness by switching the white
balance to tungsten to inject a coolness.
Although it was just before 7am
and the light levels were low (the
sun wouldn’t rise for another hour),
I was reluctant to ramp up the ISO,
having recently upgraded my camera
specifically to be able to shoot at ISO
64. Aware that my long, non-stabilised
lens was at risk of wobbling, I took
every step I could think of to minimise poles; likewise the lone tree puncturing Nikon D810 with
the danger of going home with a soft the sky in Edston Wood and disrupting 300mm lens,
image. Tripod? Check. Legs extended as the otherwise gentle slope of the tree ISO 64, 1/5sec
at f/11, tripod,
little as possible? Check. Mirror locked line. Although I had tried different
cable release,
up? Check. Cable release? Check. angles to minimise their appearance three-stop hard
In post-processing I resisted the urge when I was shooting, I ultimately ND grad
to remove the barely visible telegraph decided I could live with their presence.
4 miles from Peebles • 27 miles from Edinburgh ACCESS RATING
How to get there From Edinburgh, take the A701 High Street, Peebles, EH45 8AJ,
south for 13 miles to Leadburn Crossroad. Go 01721 720892, tontinehotel.com.
straight across the crossroads on to the A703 Other times of year Autumn is a riot of colour
and continue for 10 miles to Peebles, where the in the heavily forested Tweed Valley, but any
A703 meets the A72. Turn right and follow the time of year is good.
A72 west for four miles before turning left on Ordnance Survey map Explorer 337
to the B172 (signed Broughton). Beggarpath Nearby locations Peebles (4 miles);
Bridge is immediately after the turning, and Dawyck Botanical Gardens (8 miles).
parking is possible on the roadside a short
distance further on the left.
What to shoot Beggarpath Bridge; Lyne Water
(a tributary of the nearby river Tweed); the view
east towards Edston Wood and Jedderfield
Plantation; the view west towards Torbank Hill
and the remains of a Roman fort.
Best time of day Any time of day is photogenic,
but especially sunrise and sunset.
Food/drink Ramblers Coffee Shop, 1-2
Old Town, Peebles, EH45 8JF, 01721 722217,
ramblers-coffee-shop.business.site.
Accommodation The Tontine Hotel,
Autumn 2018 Outdoor Photography 47
Llancayo windmill,
Monmouthshire
lancayo windmill is an early

L 19th-century structure that

has been recently restored as
a luxury self-catering holiday home.
It is a prominent landmark in the Usk
valley and makes a great focal point for
landscape images during the autumn
months, when misty morning, sunset
and twilight images can often be
captured on the same day.

How to get there From junction 24 of

the M4, just east of Newport, take the
A449 north for eight miles. Exit left on
to the A472 to reach the town of Usk
after one mile. At the Three Salmons
Hotel turn right on to the B4598 and
follow the road for one and a half miles
to Llancayo. The windmill is on private
property to the west of the village, but it
can be photographed successfully from
the gateway leading to it, or from the public
footpath that runs through fields to the
north of the mill.
What to shoot The restored windmill
in its rural setting.
Best time of day Late afternoon and
evening for sunlit and sunset shots; later
for floodlight-illuminated images; morning
brings the best chance of mist.
© Andrew Ray
Food/drink Three Salmons Hotel,
Bridge Street, Usk, NP15 1RY,
01291 672133, threesalmons.co.uk.
Accommodation Llancayo House,
Llancayo, NP15 1JF, 01291 672995,
llancayohouse.50webs.com.
Other times of year Summer, when
crops are in the fields; spring for mist.
Ordnance Survey map LR 171
Nearby locations Raglan Castle (5 miles);
Monmouth and Brecon Canal (5 miles).

1 mile from Usk • 13 miles from Newport ACCESS RATING

18 miles from Oban • 93 miles from Glasgow ACCESS RATING

Loch Tromlee, Argyll and Bute

och Tromlee is a small freshwater loch How to get there From Oban, take the A85 north a good track. Please resp ect the private

L located near Loch Awe in west Scotland.

Almost encircled by its larger, more famous
neighbour, Loch Tromlee offers a quieter and
more relaxing place to photograph autumnal
mists. In the right conditions it also offers
unrivalled opportunities to capture reflections
of Ben Cruachan and Beinn a’ Bhuiridh.
and then east for 12 miles to Taynuilt. Just before
you exit the village, turn right on to the B845,
heading south towards Kilchrenan. After fi ve miles
road and the permissive access of this
working estate and farm.
What to shoot Mist over a Scottish loch;
turn left on to a private track for Ballimore Farm reflections of Ben Cruachan and Beinn
Estate and park in the large lay-by next to the a’ Bhuiridh.
small bridge 200m further on. The loch’s shore Best time of day Morning and evening.
can be accessed after a short walk of 400m along Food/drink Kilchrenan Inn, Kilchrenan,
PA35 1HD, 01866 833130,
kilchrenaninn.co.uk.
Accommodation As above.
Other times of year Early spring
for reflections of the mountains with
remnant snow patches.
Ordnance Survey map LR 50
Nearby locations Kilchurn Castle
(16 miles); Castle Stalker (27 miles).
© Aidan Maccormick

48 Outdoor Photograph Autumn 2018

Lower Grenofen, Devon
ower Grenofen is a beautiful

L location in West Devon, combining

native woodland, riverside walks,
lovely plants and even wild ponies, birds
and an assortment of insects and flowers.
The only way to describe the vegetation
in this Area of Outstanding Natural
Beauty and Site of Special Scientific
Interest is ‘lush’.

How to get there Leave Tavistock,

heading south-east on the A386.

Continue for approximately two miles
until you reach Grenofen. As you enter the
village you will see Drake’s Café on your
left; take the right turn opposite. Follow
the lane for just over 300m and turn left
on to a smaller single-track lane. Continue
for one third of a mile, cross a small bridge
(note that this bridge is under 2m wide)
and park in the small car park. Walk back
over the bridge and turn left, following
the bridleway; you will shortly recognise
this riverside scene on your left.
What to shoot Riverside scenes and
ancient trees. If you continue walking
you will come to West Down mine
chimney and ruins.
Best time of day Morning to mid
afternoon. As this wood is in a deep
valley, the sun disappears quickly
in autumn and winter.
Food/drink Drake’s Café, Grenofen,
© Wendy Newing
Tavistock, PL19 9ER, 01822 617697,
drakescafe.co.uk.
Accommodation Boyton Farmhouse
B&B, Boyton Farm, Whitchurch,
Tavistock, PL19 9EJ, 07792 206655,
boytonfarmhouse.co.uk.
Other times of year A good location
for shooting all year, but at its very best
in spring and autumn.
Ordnance Survey map OL 28
Nearby locations Cox Tor (5½ miles);
Burrator Reservoir (6 miles).

3 miles from Tavistock • 12 miles from Plymouth ACCESS RATING

8 miles from Aberfeldy • 40 miles from Perth ACCESS RATING

Falls of Acharn, Tay road (technically going straight on
at a sharp right turn) and continue to the
Perth and Kinross village of Acharn. The walk around the
falls starts shortly after the stone bridge,
he Falls of Acharn form a delightful where you will find parking on your left.
Food/drink Karelia House,
Comrie Bridge, Aberfeldy, PH15 2LS,
01887 822027, kareliahouse.co.uk.
Accommodation The Kenmore Hotel,
The Square, Kenmore, PH15 2NU,

T short circular walk through rich

woodland, the highlight being the
numerous falls that drop down through
the small gorge. Several stop off points
give plenty of options for photographers,
and being a short walk it would also suit
a non-photographer companion; the
What to shoot Distant mountains,
woodland scenes, tumbling waterfalls
and pools.
Best time of day Afternoon is ideal,
but any time of day works well, especially
if it is overcast.
01887 830205, kenmorehotel.com.
Other times of year Worth a visit at
any time of year, but autumn is best.
Ordnance Survey map LR 52
Nearby locations Birks of Aberfeldy
(7 miles); Shiehallion (10 miles).

© Carlton Doudney
manmade cave en route is dark and low,
though, so watch your head!

How to get there Take the A9 north from

Perth for approximately 20 miles before
turning off at Ballinluig on to the A827.
Continue for 15 miles, passing through
Aberfeldy to Kenmore. On entering
Kenmore turn left on to the south Loch

Autumn 2018 Outdoor Photography 49

Mallards Pike,
Gloucestershire
wned and created by the Forestry

O Commission, the name of this

location in the Forest of Dean
refers neither to birds or fish, although
mallards and other ducks are seen here
over winter. Instead, the ‘pike’ is a
turnpike or toll road, while ‘mallard’
comes from a Mr Maller, who lived in
a nearby toll keeper’s cottage until the
early 1950s; hence Maller’s Turnpike
became Mallards Pike.

How to get there Heading in or out of

Cinderford on the A4151, turn on to the
B4226 (St White’s Road), signed Coleford
and Forest of Dean. After three quarters
of a mile turn left on to Ruspidge Road
(signed Ruspidge and Blakeney). Follow
the road for three miles and then turn right
at the T-junction (signed Parkend). Parking
for Mallards Pike is one mile further on
your right; parking charges apply.
What to shoot Water birds; woodland
landscapes; fungi in autumn.
Best time of day Both of the ponds
at Mallards Pike are surrounded by hilly
forests, so the sun doesn’t reach them
at dawn and dusk; stay in bed and visit
during the day instead.
Food/drink The Rising Sun Inn,
© Anna Stowe
2 Moseley Green, Parkend, Lydney,
GL15 4HN, 01594 562008.
Accommodation The Speech
House Hotel, Coleford, GL16 7EL,
01594 822607, thespeechhouse.co.uk.
Other times of year Spring is lovely
in the forests; a cold, white winter
is also photogenic.
Ordnance Survey map Explorer OL 14
Nearby locations Clearwell Caves
(6 miles); Symonds Yat (13 miles).

5 miles from Cinderford • 18 miles from Gloucester ACCESS RATING

1 mile from Dunkeld • 16 miles from Perth ACCESS RATING

Pinecone Point, track to the top where there is a small car
park. Walking out of the car park, turn
Perth and Kinross right on to the footpath and follow the red
banded marker posts until you come to
inecone Point is located in a vehicle track. Here there is a sign for
Best time of day Sunrise for side
lighting on the wooded hills opposite.
Food/drink Atholl Arms Hotel,
Tay Terrace, Dunkeld, PH8 0AQ,
01350 727219, athollarmshotel.com.

P Craigvinean Forest. Many of the

trees here were planted by the
Dukes of Atholl from the 1700s onwards;
it is said that one of the dukes was so
enthusiastic about the planting that he
ordered a cannon to be loaded with larch
seeds and fired up the hill. Views reach
to the north-west, where you can see
road, rail and river meet.
Pinecone Point; continue following the
red markers until you reach the viewpoint
at the arched wooden shelter.
What to shoot Deer; red squirrels; fungi;
woodland populated with Scots pine,
beech and larch. It’s also a good location
to shoot light trails on the A9 at dusk.
Accommodation As above.
Other times of year A fine viewpoint
any time of year, but good after a fresh
fall of snow.
Ordnance Survey map LR 52
Nearby locations Loch of Lowes
(2½ miles); Ben Vrackie (13 miles).
© Carlton Doudney

How to get there From Perth, follow the

A9 north for just over 12 miles. Shortly
after passing through Dunkeld, take the
turning on the left for The Hermitage.
On entering, turn sharp right up a dirt

50 Outdoor Photography Autumn 2018

Fingle Bridge, Devon
his view is well known to local

T photographers, as it provides some

of the best autumn colours round
Dartmoor. It does not require any special
footwear or outdoor gear and there is
good access via a wide path from the free
car park nearby. Much of this section of
the river Teign – from Fingle Bridge to
Castle Drogo – makes for great spring
and autumn photography.

How to get there From the town of

Moretonhampstead, travel north-west
on the A382 for three and a half
miles until you reach a crossroads
at Sandypark. Turn right (signed
Drewsteignton and Castle Drogo) and
after two miles fork right towards Fingle
Bridge. Continue for one mile until you
reach a parking area on the left, just
before Fingle Bridge Inn. Cross the stone
road bridge then turn right and follow the
wide riverside path for about five minutes.
What to shoot Short panoramas or
cropped shots around this oak- and
beech-lined river viewpoint; other good
spots are along both sides of the river.
Best time of day Morning or evening,
when direct sunlight is not shining
across the water, although as it is in
a deep river valley there is generally
no late or early golden hour light.
© Richard Fox
Food/drink Fingle Bridge Inn,
Drewsteignton, Exeter, EX6 6PW,
01647 281287, finglebridgeinn.co.uk.
Accommodation The Drewe Arms,
The Square, Drewsteignton, Exeter,
EX6 6QN, 01647 281409,
thedrewearmsinn.co.uk.
Other times of year Any time with
mist; mid-spring is good too.
Ordnance Survey map OL 28
Nearby locations Kes Tor (8 miles);
Belstone Tor (11 miles).

7 miles from Moretonhampstead • 15 miles from Exeter ACCESS RATING

29 miles from Lowestoft • 46 miles from Norwich ACCESS RATING

Snape Maltings, Suffolk

nape Maltings sits in a lovely What to shoot River Alde marshes and 2 Priory Road, Snape, IP17 1SA,

S location on the river Alde in

the village of Snape. Areas of
outstanding beauty can be found in
the region, including a walk along
Sailors’ Path to the coastal town of
Aldeburgh. Views across the salt mashes
can be most appealing, with the added
bonus of being close to Tunstall Forest.
© Trevor Pitcher
mud flats; coastal images at Aldeburgh;
woodland at Tunstall Forest.
Best time of day Sunrise and sunset.
Food/drink The Plough and Sail,
Snape Maltings, Snape, IP17 1SR, 01728
688413, theploughandsailsnape.com.
Accommodation The Golden Key,
01728 688510, goldenkeysnape.co.uk.
Other times of year This area is good
all the year round, especially along the
coast at sunrise.
Ordnance Survey map LR 156
Nearby locations Tunstall Forest
(1½ miles); Aldeburgh (6 miles).

How to get there Take the A12 south

from Lowestoft approximately 26 miles
before turning left on to the A1094.
Continue for roughly one and three
quarter miles, and then turn right into
Church Road (B1069). Follow the road
for one mile and just after you cross
the river Alde, turn left and park at
Snape Maltings.

Autumn 2018 Outdoor Photography 51

Guaranteed delivery
Having initially developed his wildlife photography
and fieldcraft skills in the days before paid-for sites
came along, Andrew Parkinson contemplates the
impact they have on photographers operating today
It was 2001 when I took my first tentative
steps into the world of professional
wildlife photography. Back in those
days, in those uncomplicated times
before either the digital revolution or
the onslaught of social media, wildlife
photographers were, in the main,
naturalists first. Now, I’ll be the first to
admit that I would never adorn myself
with such a lofty and undeserved title;
I was and am at best a passionate animal
advocate, a nature evangelist and someone
whose entire childhood and formative
years were spent exploring the natural
world. Even now, if I ask my wife to come
for a walk with me she’ll often retort ‘only
if you’re not going to be rummaging in
the bushes!’ I’m thinking instead of those
people at the vanguard of UK wildlife
photography at the time, those to whom
other photographers, including myself,
looked to for inspiration, such as the
legendary Laurie Campbell (arguably the
UK’s greatest ever wildlife photographer),
Mark Hamblin, Neil McIntyre and Niall
Benvie, among others.
These photographers have an
encyclopaedic knowledge of specific
parts of the UK’s natural history and
use it extensively, not only to find their
subjects in the first place but also to
advance their photography, and the
genre as a whole. Inevitably this was
how I began to work, finding all of my
subjects myself, observing, learning and
frequently making mistakes. Hundreds
of hours were spent scouring the
countryside, following tracks, looking
for signs and, occasionally, serendipitously,
bumping into wildlife. This was how
I found water voles, badgers, foxes and
hares and it was then, for me at least,
that the learning really began.
Fast forward 17 years and the world
is an astonishingly different place:
not worse or better, just different.
In the intervening years there has been
a spectacular proliferation in what can
generally be referred to as ‘paid-for’ sites.
These are places where, for fees ranging
from reasonable to eye-watering, people
can go and photograph virtually any
UK species, and photograph them well.
52 Outdoor Photography Autumn 2018
Often set up by either astute business
people, or diversifying professional
photographers seeking to create an
alternative revenue stream, these sites
have everything already set up for their
paying guests. The hides are situated
to make the best use of the light,
perspective and backdrop, attractive
perches or props are included in scenic
spots and the animal or bird will visit
at fairly regular times, usually in return
for some food. All that’s left to do
is for the visiting photographers to
concentrate on their own exposure,
composition and focus and then try their
best to capture the action as it unfolds.
Where they are run ethically, there
is absolutely no doubt that these sites
represent a fantastic photography
resource. They often create astonishing
opportunities for time-limited people
who don’t have the luxury of spending
days, weeks or months searching the
countryside looking for their subjects.
They also provide unique access for
people to experience, and thereby
connect with, animals and birds that
they simply wouldn’t get the chance to
otherwise. Not only that but they often
bring much needed investment into local
economies, provide jobs and income and,
most importantly, can educate people
as to the environmental challenges that
specific species are facing. Any personal
concerns I may have about these sites pale
in comparison when viewed holistically.
This is simply a cautionary tale
for aspiring professionals that have a
genuine hope and ambition to one day
make a viable career out of wildlife
photography. The downside of these
sites is that, with hundreds of people
photographing at the same location, the
images are often instantly recognisable,
even generic, making it much more
difficult to either stamp your own
unique creativity on an opportunity or for a deep understanding and connection
to produce something truly exceptional. with the species, nor does it require
There is also the unrealistic immediacy an obsessive drive and commitment to
of these sites, creating the illusion that invest significant amounts of time with
somehow wildlife photography can the subject. It is with these investments
become a ‘turn up and shoot’ endeavour. of time that, in my opinion, astonishing,
There is no fieldcraft involved or a need groundbreaking images are produced,

new understandings are developed and
fresh behaviours observed. Looking out
across the world of modern day wildlife
photography it seems to me that fewer
and fewer photographers are working
in this way, and with such a staggering
amount of the UK’s natural history still
to be explored then this seems to me to
be an opportunity missed. It’s not to say
that these sites shouldn’t be used, but
rather that they should be utilised to plug
the occasional gap in an image collection
rather than to form the bedrock of an
entire photography portfolio.
OPINION
Above This is a decent enough image of a red squirrel and it's one
that I'm more than happy to have my name associated with. My
only concern is that a great many keen photographers out there
will immediately know where this image was taken. Nevertheless,
this site provided me with an opportunity to quickly produce a wide
range of high quality images; images that had I been left to my own
devices might have taken me months or even years to capture.
Nikon D3S with 600mm f/4 VR lens, ISO 800, 1/1250sec at f/5
Autumn 2018 Outdoor Photography 53
IN THE SPOTLIGHT them. So if I post on social media a photo of,
say, an urban fox in Edinburgh, you get this

Freya Coursey reaction where people don’t even know they

exist. So it raises awareness.

Glasgow-based Freya Coursey is a rising star in British wildlife NS How did you reach the level you’re at now?
photography. Just 22 years’ old, her photography is a real passion FC I’m completely self-taught, and beyond
and also provides a welcome break from studying to become that I don’t really know, to be honest.
I haven’t done any courses. But the internet
a research scientist. Nick Smith puts her in the spotlight is a fantastic resource to help you understand
what kind of gear you need and how to
Nick Smith At the age of 22, surely you’re FC Well, it certainly makes me look at take the shots you want. Generally I just
not making a living from your photography? things a bit more closely. I would say that spend a lot of time outside with my camera,
Freya Coursey No. I’m amateur and wildlife my interest in natural sciences came first, experimenting and looking for inspiration.
photography is my hobby. I’m just about but photography has definitely helped me
to start a master’s degree in ecology and to develop that interest. I like to think that NS Are there advantages to being active
environmental biology at Glasgow. Before I’m taking more than just zoology reference on social media?
that, I did a zoology degree at St Andrews. shots. I want to show people the beauty in the FC Social media is a great tool to assist with
I’ve sold a few photos so far, but nowhere natural world, such as the detail of a feather getting exposure for your photos, and if you’re
near enough to call myself a professional. or the animal in its environment. I want my lucky, you’ll get lots of followers. You also
photos to be moody or show emotion. get to see the work of other photographers
NS What are your specialist genres? and can to talk with them. I’ve done that
FC I tend to call myself a wildlife photographer. NS How do you find a balance between through Young Wildlife Photographers UK;
I got into wildlife photography when I was science and photography? we sometimes meet up in London, where we
about 13. I grew up in the countryside and FC I tend to think of the science as being compare photos and help each other.
I’ve always been interested in the natural objective and my photography as subjective.
world. I love going for walks, looking at what’s I also think that photography is a really NS And the downside of social media?
around me, taking in the sights and sounds. important conservation tool. People aren’t FC There are so many photographs out there
going to want to protect wildlife unless they you can feel a bit ‘drowned out’. Recently
NS Does photography play a role in your have some sort of emotional connection to it. I got a bit disheartened when I saw how
academic career? Some people don’t even realise what’s around many photographers there are out there

54 Outdoor Photography Autumn 2018

and I wondered if it was even worth doing this,
because they are so good at what they do. But,
in the end, I’m doing this for my own enjoyment.
NS At this point in your career, what are your
photography ambitions?
FC At one point I wanted to get into wildlife
fi lmmaking, but I also really enjoy scientific
research. The photography is definitely going
to continue and I’d like to use it as a way to
travel. I also hope that my scientific career and
photography will go together. I used some of
my photography to illustrate my dissertation
on a hummingbird species I was working on.
I’m also going to try to increase my exposure
by entering more competitions.
NS Are there any special techniques you use?
FC I tend to avoid photographing from hides.
Although I have patience, I don’t have that
much patience compared with some of the
professional wildlife photographers. I prefer
to walk around and see what’s there. I’d say
about 80 per cent of the time I don’t even take
a photo. But when I do, I’m happy to have an
encounter where the animal or bird knows
I’m there. I like the connection.
Opposite Arctic terns battling overhead.
Canon EOS 7D with 300mm f/4 L IS USM lens,
ISO 400, 1/2500sec at f/6.3
Above Dipper at a waterfall.
Canon EOS 600D with 70-300mm f/4-5.6 IS
USM lens at 300mm, ISO 400, 0.8sec at f/16
Below Puffin resting on a clifftop.
Canon EOS 7D with 300mm f/4 L IS USM lens,
ISO 320, 1/160sec at f/5.6

Freya’s top tips

I never go on a shoot without…
an open mind. I occasionally have a plan,
but if something catches my eye, I’ll just
shoot that instead.
My one piece of advice would be to…
learn to have patience and wait for the
shot. Not that I have much patience!
Something I try to avoid is…
getting too worried about getting
everything right. I don’t care that much
about the obsession with sharpness.

Freya’s critical moments To see more of Freya’s work visit freyaphotos.daportfolio.com

2009 Started 2012 Acquired first 2013 Became a member 2014 Commended 2016 Hosted first 2018 Moved to Glasgow,
photography with parents’ SLR camera, a of Young Wildlife in the RSPCA Young solo exhibition in hoping to explore urban
compact camera. Canon EOS 600D. Photographers UK. Photographers Awards. Edinburgh. wildlife photography.

Autumn 2018 Outdoor Photography 55

Stay ahead…
Get it before the shops

To subscribe and save up to 30%, visit

outdoorphotographymagazine.co.uk/subscribe
or call +44 (0) 1273 488005

Shoot and move
Mark Littlejohn celebrates the freedom of shooting handheld and the creative
opportunities that a more fluid approach to photographing the landscape can bring
I love nature. I love being out in the open
air at the break of day and seeing the
way that the new light interacts with
the awakening countryside. But I have
a curious side. I don’t just want to see the
light hitting one particular place: I want
to see it wherever it hits. I want all sorts
of combinations and the excitement of
a fresh viewpoint. If I were comparing old
sayings, I suppose I would be the one for
whom the ‘grass is always greener on the
other side’ as opposed to the photographer
looking for ‘a bird in the hand’.
I know that some people like to be
more methodical. They look for a
composition fi rst and wait for the light
and the conditions to transform it, no
matter how long that might take. But what
happens if the light never arrives? Or even
worse, it tantalises from a different angle?
In any case, why devote the gorgeous
conditions to just one image?
The fact is I am always worried about
what I might be missing around the
corner; about what combination of
textures, angles and soft diff use light
might be waiting to delight and amaze
me. When I’m out in the field and the
conditions are right I want to keep
seeking out fresh compositions where
the light is changing and making the
mundane magnificent. I want to make
as many images as I can, with a variety
of viewpoints; I don’t want to sift through
INSIGHT
100 variations of the same shot when Above
I start reviewing my day’s work. Guardians
of the Lake,
Because I have to be prepared to Aira Beck.
work quickly and fluidly, this usually Nikon D800
means working handheld and using with 18mm
a wider aperture and a higher ISO than lens, ISO 800,
‘traditional’ landscapers, but this doesn’t 1/250sec at f/8
bother me. I see little point in the camera
manufacturers working so hard to decrease
noise levels and provide us with usable
images at higher ISOs if we are not going
to take advantage of these innovations.
Just because I am shooting handheld
doesn’t mean that I take less care than
someone using a tripod with a geared
head and a tilt/shift lens, though. I like
to be very precise when it comes to my
Autumn 2018 Outdoor Photography 57
TOP STRAP

compositions and firmly believe that there

is a best place to take an image from and
that this is actually the only place to take
an image from. However, finding this
place requires constant movement and
investigation, and that is not as easy to
achieve when you’re tied to a tripod.
A ‘shoot and move’ mindset also makes
sense when you realise that world-beating
scenes are visible only briefly and you almost
have to shoot from the hip to capture them.
You can’t keep adjusting your geared head,
switching to manual focus and live view,
zooming in to confirm focus and expect
that the scene that caught your eye and
made your heart stop still exists: a lot of
the time the conditions will have moved
on and a scene 20 yards away will be more
deserving of your attention. Unless we
change our approach in such circumstances
it will always be like this – we will always be
playing catch up and coming home grumpy
with an empty net.
The conditions that suit ‘shoot and
move’ best are when the light is constantly
changing. These days are remembered for
the quality and number of images we make.
They are the moments that stick in our
minds and serve to inspire us long after
the event, sustaining us through periods of
drought when we feel that our imagination
may have dried up.
The images accompanying this article
are all associated with one such day. I had
arrived at Ullswater after a very early visit
to the Eden Valley had convinced me to try
elsewhere. My arrival at the lake was greeted
by a familiar view, with the Pooley Bridge
end of the lake shrouded in mist. I snapped
one shot on arriving, but realised there was
little variety at that location and decided
to move on in search of greener pastures.
Passing Watermillock, the fog appeared
to be starting to die away, but I carried
on to Glencoyne Bay. At that point I saw
to my surprise (and delight) that the fog
was following me down the lake and

Left (top)
The Fog.
Nikon D800 with Nikon 135mm f/2 lens,
ISO 400, 1/800sec at f/5.6
Left (below)
The Arrival, Dunmallet Rigg.
Nikon Df with Nikon 35-70mm f/2.8 lens
at 35mm, ISO 400, 1/320sec at f/5.6
Opposite (top)
Broken, Aira Point.
Nikon D800 with Zeiss 18mm lens,
ISO 200, 1/250sec at f/8
Opposite (below)
The Mob.
Nikon Df with Nikon 35-70mm f/2.8 lens
at 70mm, ISO 200, 1/400sec at f/5.6

58 Outdoor Photography Autumn 2018

 INSIGHT

Autumn 2018 Outdoor Photography 59

TOP STRAP
Above I immediately set off towards Aira
The Gathering. Point. On arrival, the light was just
Nikon Df with
breaking over the top of Place Fell,
Nikon 180mm
f/2.8 lens, ISO giving the small woodland at Aira
200, 1/400sec Point a wonderfully soft richness.
at f/5.6 It was the perfect opportunity for a
‘shoot and move’ approach and being
a lover of prime lenses I had two cameras
set up with different lenses – one wide,
the other one long.
As the light was changing constantly,
new compositions were being created by
the second, and in these situations you
almost have to have two personalities:
60 Outdoor Photography Autumn 2018
that of a child, excited by the changing
conditions and with an imagination
unrestricted by reality, and an older,
more methodical and technical side,
working out shutter speeds, apertures
and so on.
Allowing your childlike imagination
to take hold while you move from spot
to spot is hugely important, as it is this
‘personality’ that can sometimes result
in images taken just a few seconds apart
having a completely different feel. Some
might be seen in black and white, with
a primordial or elemental feel, while
others might be split toned in colour for
a more natural, organic look. If I had
denied this side of the process, set up
with a tripod and taken my time over
each composition – relying purely on
my methodical, technical personality –
it might have been that I came away with
nothing of note.
The adrenalin-filled and slightly
sweaty ‘shoot and move’ approach might
not suit everyone, but I can guarantee
that adopting a more fluid shooting style
isn’t dull. Who knows, you might even
end up with more shots that you like.
NEXT
MONTH
OP236 ON SALE
20 SEPTEMBER 2018

Atlantic puffin, Skomer, Pembrokeshire © Shutterstock.com / PJ photography

How to take superb

wildlife photographs
Exploiting negative space in landscapes
Launch of Outdoor Photographer of the Year
Results of our 'Masterful landscapes' competition

Close encounters of the leopard kind
A recent photography safari in South Africa’s Kruger National Park yielded a perfect series of encounters
with that most elusive of big cats, the leopard. After many years of unsuccessfully trying to photograph
the species, Nick Smith feels the resulting pictures really were worth the wait
It doesn’t matter how much you pretend that birdlife, flora
and butterflies mean so much more to you than the iconic
species of this planet, any visit to South Africa’s Kruger
National Park is going to ignite in all of us the desire to
photograph the Big Five. For those unfamiliar with the
sub-Saharan safari, the Big Five is a hit list of mega-fauna
comprising the following beasts of the bush: leopard, lion,
Cape buffalo, African elephant and rhinoceros. They are
so named because this is what the trophy-bagging hunter
of yesteryear called them. The label has nothing to do
specifically with size, but more the difficulty and danger
that went with tracking them down for the kill. We still
call them the Big Five, as a reminder that these days we
shoot animals with cameras, not guns. We care about
their conservation and the preservation of their habitat.
And we like to spend time with them.
I can’t put my finger on why, but my favourite of them
all is the leopard. Ever since I read Jim Corbett’s stupendous
The Man-Eating Leopard of Rudraprayag as a kid, I’ve been
both a fan of Corbett and these slinky felines. And while his
book is about one man’s quest to kill the aforementioned
cat, Corbett’s account, instead of leaving me fi lled with
horror at the thought of putting a bullet between its eyes,
left me with nothing but increased admiration for the
spotted quadruped, and I’ve collected books on leopards
all my adult life. I even edited an anthology of leopard
literature, and complained bitterly when I was overruled
on the issue of whether to include Vita Sackville-West’s
wonderful poem Leopards at Knole that describes ‘leopards
on the gable-ends, leopards on the painted stair’ at her
stately pile in Kent.
I think one of the reasons I was able to forgive
Corbett for blowing out the brains of the man-eater of
Rudraprayag was that, in one of those poacher-turned-
gamekeeper moments, the archetypal ‘great white hunter’
and friend of the Queen was to in later life have a road
to Damascus revelation in which he put the double-
barrelled hunting rifle out to grass in order to become a
conservationist. In the process he made history as one
of the first photographers to use the camera as a tool for
raising awareness for wildlife welfare. Quite rightly, the
pith-helmeted corporal of the British Indian Army gives
his name to the sub-continent’s fi rst national park, and
is also regarded as one of the forefathers of both wildlife
protection and wildlife photography.
I can only assume that he had better luck photographing
leopards than I did, and that is because, during the quarter
INSIDE TRACK
of a century I’ve been roaming the African bush, I’ve not
taken one leopard shot of note. For sure, in Kenya I’ve
seen them asleep in trees half a mile away, obscured in
the shadows. In Namibia I’ve seen rehab leopards that
are virtually as tame as your domestic moggy (one in
particular – the instantly recognisable ‘Wahu’ at the Africat
Foundation in Okonjima – routinely features, unfairly
I’d have thought, in wildlife photography competitions).
And once in Botswana I even saw the disturbing sight of a
leopard that had been badly mangled in a fight, scavenging
in the open for food in broad daylight. But never had I seen
a truly wild, fit and active leopard on the move, and I’d never
seen one on the hunt. So, when the call came before dawn
during a recent trip to Kruger, informing me that there was
a two-year-old female leopard in the area and we should go
to see what she was up to, my senses stirred, but I secretly
held no great hope of a meaningful encounter.
But meaningful encounter we had, for there, just after
sunrise, sitting atop a termite mound sniffing the air, was
the leopard to defi ne a leopard’s grace. Although it was quite
unusual to see one hunting at dawn, it’s not unheard of, and
so to watch this sleek feline stretch into action, tracking
a small group of impala under cover of a ravine was a life-
changing experience. Exhilarated, I bagged a few terrific
portraits and some stalking shots of the mottled, tawny
cat among the sand-coloured winter savannah, my hands
slightly trembling with the thrill of it all. The hunt failed,
as morning hunts so often do, mainly because the leopard
mistimed its move, causing the impala to flee like lightning
in all directions. It all happened so quickly that everything
was out of focus, but I was fortunate that over the next few
days my leopard encounters were frequent. Indeed, they
were so plentiful that at one point I decided to lighten the
workload a little by photographing red-billed hornbills,
Burchell’s starlings and lilac-breasted rollers instead.
On returning to Blighty, I quickly edited a few of the
more significant barn-stormers and proudly showed them
to my daughter, who is a keen animal rights supporter and
strident vegetarian. ‘Wow, dad,’ intoned the juvenile female
human: ‘cool cheetahs.’ Okay, so that’s a mistake anyone
can make. But, considering that her favourite book was
once Rudyard Kipling’s Just So Stories, and considering our
favourite story was How the Leopard Got His Spots, I thought
this a little slack. On the other hand, it presented the perfect
opportunity for us to sit together and read once again that
sumptuous set of folk tales that has in its first sentence the
immortal words: ‘once upon a time, O my Best Beloved.’
Autumn 2018 Outdoor Photography 63
 YOUR CHANCE TO TAKE PART
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Autumn 2018 Outdoor Photography 65

READER GALLERY
Each month we publish the best images from those submitted for our Reader Gallery. Turn to page 64
to find out how to enter your work using our online system. Here is this month’s winner and runner-up…
Winner Joshua Burch
I got into photography
through my love and
passion for the natural
world. For me it was
always about bringing
the outside world in and
showing my family and friends what I had seen
on my explorations. At first it would just be a
record picture that let me fi nd out what I had
seen, but then it turned into more considered
photographs that I hoped would inspire others
to go out and have their own wild experiences.
My personal style would be encapsulated
in one word: ‘individuality’. It’s great to get
a sharp photo of a bird perching, but you have
to think how many other similar images there
are and find a way to make yours stand out.
I’ve been lucky enough to have images placed
in the prestigious Wildlife Photographer of
the Year competition, and that has been my
proudest achievement to date, not only for
being awarded, but because it was two images
of common British species, which just shows
that we have some cool wildlife here in the
UK. Being awarded Young British Wildlife
Photographer of the Year was awesome as well.
Looking ahead, I would love to work closely
alongside scientists in the field, documenting
their on-going conservation work. It would
also be fantastic to go back to Canada and
shoot a story on the big predators over there –
that really would be a dream come true.
Hometown Sutton, Surrey
Occupation Bartender
Photography experience Five years
joshuaburch.co.uk
Below While on a boat cruising along the Farne
Isles, I noticed there were few spaces on the rocks
where the seals could haul themselves out. This
often resulted in disputes between individuals and
occasionally blood was drawn. This image captured
the harsh reality of the lives the seals lead, often
battling the elements and each other.
Canon EOS 7D with 400mm f/2.8 lens,
ISO 400, 1/2000sec at f/4
Autumn 2018 Outdoor Photography 67
68 Outdoor Photography Autumn 2018
Left Many people have seen images of red
deer stags with bracken in their antlers, but
they seldom see images of the hinds (female
red deer). This day was prett y warm, so the
deer would make their way to the lakes to cool
off, often sticking to the shallows. As the sun
started to set, the water lit up as the deer made
their way up along the banks. It’s a different
perspective that shows images of the hinds
can be just as good as those of the stags.
Canon EOS 7D with 400mm f/2.8 lens,
ISO 500, 1/1250sec at f/2.8

Autumn 2018 Outdoor Photography 69

READER GALLERY
Runner up Kevin Foley
I started photography
at college in the 1990s,
shooting film, but never
pursued it as a career. I took
it back up in 2012 as a very
dedicated hobby, and moving
into the digital era was amazing. Today, my main
subjects are seascapes and mountain scenes,
as that is what I have on my doorstep in Ireland.
I have played with all types of techniques, but
my real focus is capturing natural light.
I have not really put myself out there in terms
of selling my images or exhibiting, but I would
like to explore this when I feel my technique
and portfolio are at the right level. Eventually
I would like to retire from my day job and take
up landscape photography full time, but I don’t
think it would pay the bills right now!
Hometown Dublin
Occupation Sales director
Photography experience Five years
500px.com/kevinfoleyphoto
70 Outdoor Photography Autumn 2018
Above For this shot of Cap de Formentor, Majorca, I blended five
exposures together, which each had a car coming down the hill.
Because of the different cars and light trails, this required meticulous
editing to stitch together; I was also lucky to have enough cars leaving
the lighthouse in the blue hour.
Canon EOS 6D with 16-35mm f/2.8 lens, ISO 100, 30sec at f/11,
multiple blended exposures
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 NATURE ZONE
DISCOVER
74 Laurie Campbell: 76 Nature 79 A moment 80 Steve Young:
Life in the wild photo guide with nature On the wing

HIGH FLYER PROFILES...

Laurie Campbell advises on when to take gannet silhouette shots
LIFE IN THE WILD

Nature photography, the law and ethics

Seeing increasing numbers of nature photographers behaving irresponsibly, Laurie Campbell asks whether the UK
needs more managed wildlife sites and how we can raise awareness about the importance of working conscientiously

I was working on a project photographing golden eagles with an RSPB officer when we came across this eyrie where the eggs had failed to hatch.
The cause was most likely due to disturbance at a critical time during incubation. We both held a Schedule 1 licence in order to survey the site.
Nikon D3S with Nikon 17-35mm f/2.8 AF-S lens at 17mm, ISO 640, 1/80sec at f/16, handheld

I enjoy giving presentations of my work because
it provides an opportunity to share stories that
went into the making of certain photographs,
as well as allowing me to show personal work
that may otherwise never be seen. For wildlife
subjects, I always try to include relevant pictures
that show the hides I used. As well as talking
about the different types of hides and materials
used, I also try to stress the importance of
taking care when introducing them to subjects
to avoid disturbance.
At one presentation I gave several years ago,
I showed a series of photographs of nesting
ospreys taken at treetop level, using a hide
on top of a 12m tall scaffold tower. I explained
the necessity of fi rst obtaining a licence that
would allow me to go near the birds in the
breeding season, the process of carefully
erecting the tower in stages over several days,
and then having someone see me into it and
leave alone to fool the birds into thinking
that any threat had passed.
At the end of my presentation, a member
of the audience asked: ‘Why didn’t you just use
a drone?’ It was difficult to think of a polite
answer at the time, and it was also a reality check
for me that not everyone might appreciate just
how much damage would be caused by using
a drone in such a situation.
As someone who is in contact with lots of
like-minded people who are generally interested
and knowledgeable about nature, it’s easy for
me to become complacent when ‘living in
a bubble’, and the notion that not everyone
might understand how to approach subjects
responsibly is deeply worrying. Although
there has always been the odd rogue nature
photographer, I’m seeing more and more
examples of bad behaviour in the field and
it is a growing problem.
Shortly before writing this I was invited to
give a presentation of my work later this year
at a Police and Wildlife Crime Conference.
Rather than just talk generally, the organisers
have welcomed my suggestion that I focus on
examples of situations where there are risks
to wildlife because of bad working practices
adopted by some nature photographers.
In effect, they have also realised that it has
become a real issue.
The situation reminds me a little of the
decision that the RSPB took in 1959 when,
after a long absence, ospreys returned to breed
in the UK at Loch Garten, in what is now the
Cairngorms National Park in the Scottish
Highlands. Rather than keep the site secret,
they allowed it to be known and provided

74 Outdoor Photography Autumn 2018

 Nature tips
In the March 2008 issue of OP (OP98)
I wrote a standalone article about nature
photography and the law. It contained
information about where we stood when
photographing everything from rare
birds to plants in relation to the Wildlife
& Countryside Act of 1981. It was as
comprehensive as I could make it, while still
allowing it to be readable, and contained
lots of web links as well. These were mostly
for the government agencies responsible
for nature conservation in England,
Wales, Northern Ireland and Scotland that
issue licences to allow the photography
of protected species: these are Natural
England, The Countryside Council for
Wales, The Northern Ireland Environment
Agency and Scottish Natural Heritage
respectively. If you are unsure about which
species require a photography licence,
look at the websites of these bodies for
lists of protected species and application
information regarding licences.
Another good source of information is
the Royal Photographic Society’s Nature
Photographers Code of Practice, which
is produced by its Nature Group and was
revised in 2007. A PDF document of this
can be accessed at rps.org.

The leaders of some reputable tour

companies who guide nature photographers
to work with sensitive species hold licences
that allow them to do so. These are few and
far between, but one that comes to mind is
Shetland Nature, which offers contact with
otters in coastal environments. This is highly
commendable and we could reach the stage
where it becomes compulsory for wildlife
guides and associated companies to be
licensed, even if they are only giving advice
as to where to find protected species.

a hide and information point where people

could see the birds from a safe distance.
To date, well over two million visitors have
enjoyed views of these enigmatic birds from
the Loch Garten Osprey Centre.
In our ever more crowded islands, and with
the rapid dissemination of information about
sites appearing online, we have reached the
stage where we need more places where nature
photographers can photograph wildlife at
managed locations. I really don’t want to come
across as overly negative, because I believe that in
the majority of examples of bad behaviour that
I’ve witnessed it is very much a case of people
just not knowing any better or not recognising
when they are causing disturbance. The answer, Living for decades, freshwater pearl mussels are as protected in law as golden eagle eggs. The threat
is mainly from poachers who raid mussel beds in the hope that they will find sought-after pearls, although
of course, is to increase awareness and to try these are rarely ever found inside. I shot this image from the riverbank, without standing in the water
and anticipate potential problems in advance. and risking disturbing the mussel beds; that in itself would have been a wildlife crime.
The question is how. Nikon D3X with Nikon 24mm f/3.5 PC-E lens, ISO 125, 1/4sec at f/22, homemade underwater housing

Autumn 2018 Outdoor Photography 75

WHAT TO SHOOT THIS MONTH…
Laurie’s autumn highlights
Bumblebees are often in the news these days because of the impact
many pesticides are having on their numbers. They are incredible insects
close-up, and photographing all 24 species occurring in the UK can be
a long-term project. They aren’t easy to photograph in warm weather,
but the cool spells on dull days in early autumn can render them almost
incapable of flight and they become relatively easy to photograph. Look
for them resting on the flowerheads of thistles and late-flowering plants.
Nikon D3X with Nikon 200mm f/4 macro lens, ISO 160,
1.3sec at f/29, tripod, cable release, mirror lock
With the nesting season long since over for the majority of our seabirds,
gannet (Morus bassanus) colonies will still hold birds well into September
due to their lengthy incubation and fledging periods. With many gannetries
around the UK being on islands, not all are easily accessible, but some
boat operators offer early morning or evening cruises and this is perfect
for shooting silhouettes of these graphically shaped birds.
Nikon D3 with Nikon 200-400mm f/4 AF-S lens at 400mm,
ISO 320, 1/30sec at f/7.1, tripod, cable release
76 Outdoor Photography Autumn 2018
The accidental escapes and well-meaning, but disastrous, releases of
North American mink (Mustela vison) into the UK countryside have taken
their toll on many native wildlife species, from water voles to ground-
nesting birds. Sometimes mistaken for otters, they are regularly spotted
on the coast, and at this time of year anglers fishing for mackerel from
the shore will tell you just how bold these voracious predators can be,
sometimes approaching to within a few metres to steal some of their catch.
Nikon D3 with Nikon 500mm f/4 VR lens, ISO 800,
1/800sec at f/5, beanbag
It is sometimes difficult to appreciate that we have around 2,500 species
of moths in the UK, as many of them are camouflaged and mostly active
at night. Moth trapping is one way of gathering specimens to record and
photograph, but this can require specialised equipment and a power
supply. An alternative is to search around the walls of buildings and
suchlike in the morning, where external lighting has been left on all night.
Nikon D3X with Laowa 60mm f/2.8 macro lens, ISO 100,
1/10sec at f/16, tripod, cable release, mirror lock
More seasonal subjects
Woodland wildlife
Flora Autumn is a great time of year to go on
Great bindweed (Calystegia silvatica) – a climbing plant, common of hedgerows,
with large, white, trumpet-shaped flowers.
a wildlife-watching walkabout, as some
Autumn crocus (Crocus nudiflorus) – rare but naturalised in the wild in meadows, of the UK’s resident mammals prepare
but commonly grown in gardens. for winter, others enter the rut and
Lily of the valley (Convallaria majalis) – the beautiful hanging flowers are now migratory visitors start to arrive from
sometimes replaced with attractive (but highly poisonous) red berries.
the north. Here are five top spots for
Fauna seeing some of the UK’s leading lights.
Horse mussels (Modiolus modiolus) – at up to 20cm in length, these bivalves are surprisingly
large. Look for them at extreme low tides.
House martin (Delichon urbica) – flocks of these hirundines typically join swallows perched Loch Arkaig, Scotland
on telephone cables prior to migration. 1 As ‘one of the UK’s most significant
Silver Y moth (Autographa gamma) – mostly day-flying, this migratory sp ecies can be seen remaining fragments of native Caledonian
in the UK as late as October. pinewood’, Loch Arkaig, 10 miles north
of Fort William, is a haven for wildlife. The
forest ’s residents include red deer, wild boar
World wildlife spectacles and pine marten, but the osprey that breed
by the loch will have already migrated to
Africa for the winter.
woodlandtrust.org.uk

Glenariff Forest Park,

© ChameleonsEye / Shutterstock.com
2 County Antrim
Although the red squirrel was once
commonplace, it now requires a lot more
effort to seek out the UK’s only native squirrel
species. Glenariff Forest Park, roughly 40
miles north of Belfast, offers a chance to see
them as they prepare for winter; they are most
active in the early morning and late afternoon.
nidirect.gov.uk/articles/glenariff-forest-park

Forest of Dean, Gloucestershire

Humpback whales, Cook Islands
Every year, humpback whales migrate
north from their feeding grounds around
New Zealand and Australia to breed in the
warmer waters of the South Pacific. This
journey, which starts in July, sees them travel
through and around the Cook Islands, where
they frequently rest in the autumn months.
The whales can be seen from any one of
the 15 scattered islands that make up this
independent nation, but for most tourists,
the largest island – Rarotonga – is the
destination of choice. Here, the whales
can approach within metres of the reef that
surrounds the island, which allows them
to be viewed clearly from shore (although
binoculars or a long lens will get you closer
3 The mix of oak and beech in this ancient
forest provides a colourful and atmospheric
autumnal backdrop for England’s largest
feral wild boar population. Spotting (and
photographing) these mainly nocturnal
and somewhat controversial creatures
and photograph these birds, as they will will rely on a healthy amount of luck, though,
be choosing a breeding site and starting and care needs to be taken around them.
to dig their tunnels. Both male and female wyedeantourism.co.uk
birds are involved in the tunnelling, with the
peak activity occurring in the early morning RSPB Minsmere, Suffolk
and evening, when temperatures are cooler. 4 England’s largest herd of red deer
A walking safari in South Luangwa National can be found in Suffolk, and from the end
Park is perhaps the best way to experience of September until early November the rut
the event, but the breeding season is brief; is underway, giving you the opportunity of
come December the birds will be heading a classic photographic encounter. To improve
north to Kenya and the Democratic Republic your chance of success you can hire a guide
of Congo. to take you on a half-day walk tailored to your
intended subject.
rspb.org.uk
River Otter, Devon
5 The river Otter flows from the Blackdown
© John Peter Davies / Shutterstock.com

still). Black Rock, at the north-west of the Hills in Somerset to Budleigh Salterton
island, is a prime viewing site. in Devon, passing through two Areas of
Outstanding Natural Beauty along the way.
Southern carmine bee eaters, Zambia It is also home to a growing population of
From mid August , the banks of Zambia’s beavers, which according to Devon Wildlife
Luangwa River are transformed by the arrival Trust are ‘the first breeding beavers to have
of large flocks of red and blue southern lived in England for more than 400 years’.
carmine bee eaters. Nesting in burrows in devonwildlifetrust.org
the riverbanks, this is a great time to watch

Autumn 2018 Outdoor Photography 77

WILD PHOTOGRAPHY HOLIDAYS

Iceland’s Northern Lights, Ice & Autumn Colours October 2018

Autumn, always a fabulous time for photographers. Dark nights

and high chances for aurora, plentiful ice plus the stunning

colours of Icelandic tundra. Our photographic tutors are well

qualified, friendly and very approachable. Small groups and

excellent local knowledge – come have an adventure with us!

w w w.wildphoto gr aphyholiday s.com


Where the wild ones are
Canadian photographer Sam Rose Phillips has been drawn to quiet places for as long as she can remember,
but has grown to realise that the wildlife she is looking for can sometimes be right on her doorstep
When I was growing up, 6am lakeside
sunrises spent watching a blue heron wade
through lily pads while a beaver glided
through the glassy lake stirred a love in me
for stillness. This pull only intensified as
I learned to tune into the quiet. It’s a familiar
story: I would step further outside civilisation
with every journey, but still trip over a pile
of rubbish in a clearing of ancient trees.
So I went deeper. Part of the pull of wildlife
photography was to get space from society
and be absorbed by wild expanses, almost
in search of a brief respite from being human.
But I spent the first few years of learning the
craft refusing to acknowledge one simple truth:
moving further from society often means that
you move further from encountering wildlife.
I would backcountry snowshoe in hopes of
fi nding elk, only to return home to fi nd a
herd on the lawn of my friend’s apartment
building; I would spot a single squirrel’s track
in the snowy wilderness, but back in town saw
animal tracks almost everywhere I looked;
I even sat quietly for hours waiting to no
avail to spot a coastal wolf, only to get home
as night fell and watch in awe (and silent
laughter) as one crossed the street just a few
metres away from me. It seems as though for
every ounce of desire we have to get lost in
a wild place, wild animals are drawn to the
pavements we leave behind.
I photographed these Rocky Mountain
bighorn sheep at the side of a road, within
their winter valley range. The geography
of this Canadian landscape means that the
conditions best suited for human development
are found in the same valley locations
inhabited by wild animals. In the process of
trying to safely navigate their way home, these
bighorn sheep have noticed the attractants
of human proximity; snow-ploughed roads
are easier to travel on, humans come with
accessible meals, the salt used on icy roads
replaces natural mineral licks and the
maintenance of the ditches increases their
foraging options.
For a time, the charm is undeniable, until
the little adjustments in their behaviour
A MOMENT WITH NATURE
become long-term habits with serious
impacts. Highway collisions, restricted
movement between populations, disease,
habitat destruction and harassment are just
some of the consequences of our attempts
to expand and grow ourselves, which see us
fracturing the wilds around us in the process.
These threats reveal that a close
relationship between humans and wild
animals is inevitable, but we forget that this
does not have to be for the worse. For years
I traded places with the wild creatures I love
to document, but I now recognise the value
in meeting these subjects where they are. In
witnessing the closeness and oneness shared
by humans and our wild counterparts I more
directly understand how every decision from
water consumption to air quality to
throwing out the rubbish should be made
with respect towards our wild neighbours.
This understanding means that instead of
seeking respite from being human, I can sit
in the fullness of what it means to be part of
a landscape we share with truly wild beings.
Autumn 2018 Outdoor Photography 79
NATURE ZONE
STEVE YOUNG

On the wing
On the lookout for more storm-blown feathered visitors, Steve Young
compares the distinctly different experiences of shooting phalaropes
near home, on the river Mersey, and on an island off Iceland
In the last issue of this magazine I wrote
about photographing Leach’s storm-petrels
on the river Mersey during stormy weather,
but it is not only the petrels that can be blown
downriver at this time of year. The same
weather conditions can bring a small selection
of other sought-after species close enough to
the shore to be ‘snapped’; Sabine’s gull, long-
tailed skua, Manx shearwater and razorbill are
just some of the species I have photographed
over the years during north-westerly gales.
Last autumn wasn’t a classic one, though.
Skuas were noticeable by their absence and
Sabine’s gull passed by elsewhere, but not
here. However, the winds did blow in at least
three grey phalaropes that lingered along
the shoreline, giving some good (but difficult)
photography opportunities.
The previous day, I’d been using my 500mm
lens to photograph the Leach’s storm-petrels,
shooting handheld because using a tripod in
gale force winds can be a bit risky (I’ve seen
many blown over into wet sand). With the long
lens I had struggled to keep the petrels in the
frame when they came very close, so today
I had returned with a 300mm lens, hoping for
more of the same. It wasn’t to be, though: there
were no petrels near the camera, and the grey
phalarope close to the shore were at the perfect
distance for a 500mm lens, not a 300mm.
Although I had the longer lens in the boot
of my car, I thought that by the time I had
walked back across the sands, changed lenses
and walked back, the bird might have flown
off, so I decided to use my 300mm with a 1.4x
converter instead. When a bird is sat on the
sea you can’t really approach it through the
waves, or change your shooting angle so the
sun is better positioned, so it was just a matter
of waiting to see what happened. The sun was
high with strong side-lighting, but I still took
a series of decent-looking images, including a
couple of fl ight shots when it briefly took off.
Watching this bird brought back memories of
a trip to Iceland a few years ago. Grey phalarope
is a scarce breeder there, and the highlight of
my trip was being taken to an island via an
hour-long boat trip to try to see this species
in its beautiful summer plumage. It took a
while to find the bird, but I then had about
30 minutes with one at a feeding pool, and
although it didn’t come very close I managed
some nice images with a 500mm lens and 1.4x
converter. My guide and other Icelandic birders
called this species ‘red phalarope’ whereas
I referred to it by the better-known name of
‘grey phalarope’. Friendly arguments ensued,
but it’s easy to see why they prefer ‘red’, as it
is seen in Iceland in its breeding fi nery; by
the time it migrates and is seen in the UK
and elsewhere it is grey in colour.
No matter what it is called, it is a great
bird to photograph, and with Leach’s storm-
petrel yesterday and the phalarope today
it had been a good couple of days.
Above This is where our name of grey phalarope
comes from: the autumn/winter plumage is
basically that colour and this is when they are
seen in the UK. This winter plumaged adult bird
was photographed last autumn at New Brighton.
Below In Iceland, the bird is better known as the
red phalarope, because here they are seen in
their full breeding plumage – truly gorgeous!

80 Outdoor Photography Autumn 2018

 BIRD OF THE MONTH LOCATION OF
There are only three species of phalarope
THE MONTH
in the world: Wilson’s, grey and red-necked.
Only red-necked phalarope breed in the
UK, and then only in very small numbers on
Shetland. However, in autumn they can be seen
on migration with storm-driven birds and found
in small numbers virtually anywhere, including
many inland lakes and reservoirs. At this time
of year most will be juvenile birds, but during
the spring migration adults can be found.
Red-necked phalarope can sometimes be
photographed at close range if they are found © Michal Masik / Shutterstock.com
at a favourable site; they are quite tame and
although lacking the adult colours they are still Lackford Lakes
a lovely bird to see and photograph. Kingfishers are undoubtedly
one of the UK’s most beautifully
Top The adult red-necked phalarope is a gorgeous
bird, as you can see from this image taken in
coloured birds, which makes
Iceland where they are very common breeders. them exceptionally photogenic.
Right Although lacking the colours of the adult, However, photographing
the juvenile red-necked phalarope is still a good- these elusive birds in the wild
looking bird with its dark eye patches and crown typically requires enormous
contrasting with the grey, white and brown of patience unless you turn to
the overall plumage.
the controversial practice of
artificial diving tanks.
BIRD PHOTOGRAPHY TIP Of course, you can improve
your chance of a wild encounter
When taking most of my bird photographs by visiting a known haunt of the
I always use the fastest shutter speed possible, bird, such as Lackford Lakes
but this is even more important when shooting in Suffolk. The Suffolk Wildlife
phalaropes. Their feeding movements are Trust’s centre is well-known for
incredibly fast, with lots of head and neck jerking its resident kingfishers, and even
as they try to catch insects from the water’s has a dedicated half-mile-long
surface. They also spin around to disturb the ‘Kingfisher trail’. This takes in
water, which in turn moves insects so they can four of the site’s nine hides, from
be caught – another action that will guarantee which you can (hopefully) get a
blurred images. Try to use a shutter speed of at
glimpse – and a photograph or
least 1/1000sec (faster if possible), increasing
two – of the distinctive birds
the ISO setting to allow this if the weather is dull.
in their natural habitat.
Left (top) The fast shutter speed I was using to Getting there Lackford Lakes is
photograph this grey phalarope came in handy six and a half miles north-west
when it suddenly took flight for a short distance. of Bury St Edmunds. Simply take
Left Occasionally, grey phalaropes will walk along the A1101 north out of Bury St
the water’s edge to feed, but usually they feed sat
Edmunds and follow the road for
on the water.
six miles. Shortly after passing
Below The ‘spinning’ feeding action is difficult
to show in a single photograph, but you can see Flempton Golf Club you will see
the ripples the bird makes to disturb prey. the entrance to Lackford Lakes
on the right; look out for the
brown sign for Lackford Lakes
Nature Reserve.
Entry fee Free (no dogs allowed).
Opening times The visitor
centre (with café and toilets)
is open every day from 10am
until 5pm.
Website suffolkwildlifetrust.org/
lackfordlakes

Autumn 2018 Outdoor Photography 81

 GEAR ZONE
ACQUIRE
84 Camera test 86 Gearing up

MISSION CONTROL...
The Loupedeck+ promises a more intuitive Lightroom experience
GEAR ZONE
CAMERA TEST

Pentax K-1 MkII

The original Pentax K-1 took the photography
world slightly by surprise, thanks to the
combination of a full-frame sensor, high
specification and relatively modest price.
Fergus Kennedy takes a look at its successor,
which promises improved performance
Guide price £1,799 (body only)
Contact ricoh-imaging.co.uk

Left (bottom) One of the first things you notice definitely comparable with the best of
The K-1 MkII has about the Pentax K-1 MkII is that LIKES the current crop of full-frame, high-
a great dynamic it’s a substantial piece of kit. With a Fantastic image quality resolution cameras, which may be
range with plenty
magnesium frame and comprehensive Effective in-body image stabilisation helped by the camera’s lack of an anti-
of shadow and
highlight detail dust and moisture seals, this is a Articulating LCD aliasing fi lter. At higher ISO values
in this shot. camera that inspires confidence; it’s Environmental sealing (ISO 3200 and above), the images are
Pentax K-1 MkII nice not to have to worry about where very clean, although they perhaps
with 24-70mm you put your camera down when
DISLIKES have a touch more in-camera noise
f/2.8 lens at Continuous AF performance
you’re out and about. reduction than I would have liked.
70mm, ISO 100, Limited frame rate
The controls are well laid out Pentax’s K-1 line is unique in the
1/800sec at f/8 Underwhelming video features
and reasonably easy to get to grips world of full-frame DSLRs, as it is
with, and I love the fact that the No touchscreen currently the only range to feature
Right (bottom)
14-bit Raw files buttons have backlights, which is in-body image stabilisation. This is
ensure smooth really useful on night shoots. The it is quite a weight to carry around, a big deal for some photographers,
tonal gradations rear LCD is articulated, which is particularly with one of Pentax’s hefty as it means you can shoot handheld
in blue skies. great for very low-angle or high angle f/2.8 zoom lenses. in lower light conditions, with any
Pentax K-1 MkII
shots, but it would have been nice if After shooting a variety of street lens. In practice, I found I got a good
with 70-200mm
f/2.8 lens at it featured touchscreen technology scenes and landscapes, I opened up percentage of keepers shooting with
200mm, ISO 100, as well, particularly for rapid focus the Raw fi les in Lightroom. At low a shutter speed in the region of 1/5-
1/800sec at f/3.2 point selection. ISO values, the results are very 1/8sec at the 24mm end of a 24-70mm
For general photography, the K-1 pleasing, with plenty of detail and f/2.8 zoom. With longer focal lengths
MkII is responsive and versatile, but a great dynamic range. They are you will have to use a faster shutter

84 Outdoor Photography Autumn 2018

Right
The K1-MkII’s
full-frame sensor
and lack of an anti-
aliasing filter allow
it to resolve plenty
of detail.
Pentax K-1 MkII
with 24-70mm
f/2.8 lens at
53mm, ISO 100,
1/100sec at f/9

Far right (top)

The AF and
maximum frame
rate are better for
sedate ‘action’
rather than fast-
moving subjects.
Pentax K-1 MkII
with 24-70mm
f/2.8 lens at
24mm, ISO 400,
1/125sec at f/4

Far right (bottom)

At ISO 3200
images are barely
affected by noise.
Pentax K-1 MkII
speed, but you can realistically achieve The first of these is Pentax’s Pixel rate is also a relatively modest 4.4 fps,
with 24-70mm
f/2.8 lens at two to three stops of added stability. Shift technology, which can provide so while both the AF and the frame
38mm, ISO 3200, The in-body stabilisation also enhanced resolution photographs by rate are sufficient to keep landscape
1/60sec at f/3.2 has a couple of extra side benefits. stacking several exposures into one photographers happy, they are not so
image. For this to work effectively you good if you want to shoot a lot of fast-
generally need a fairly static subject moving action.
and to put the camera on a tripod, As for video, the K-1 MkII has the
but a new mode on the K-1 MkII also necessary mic and headphone sockets,
allows you take advantage of Pixel but video resolution tops out at full
Shift for handheld shots. However, HD, rather than 4K, and the AF system
while Pixel Shift seems to provide can struggle somewhat to keep up
some extra detail, it can also lead to during video recording.
some distracting artefacts, so is not
necessarily suitable for every situation.
Another new mode that takes VERDICT
advantage of the in-camera Overall, I enjoyed using Pentax’s
stabilisation is Astrotracer. This new flagship camera, and the
uses data from the onboard GPS incorporation of a number of truly
TECHNICAL SPECIFICATIONS and electronic compass to move the
innovative features means the K-1
Sensor 36MP full-frame CMOS sensor MkII offers good value for money.
camera’s sensor to compensate for the
Resolution 7360 x 4912 pixels (max.) It is a very capable camera, and
earth’s movement and reduce blurring could be ideal if your main focus is
Lens Pentax KAF4 mount
on stars in longer exposure shots. on landscape work, but if you prefer
Shutter speed 1/8000-30sec, plus Bulb
Clever stuff ! fast-moving sports or video work
ISO 100-819200
Although the K-1 MkII sports the you might want to look elsewhere.
Viewfinder Pentaprism finder; 100% coverage;
0.7x magnification same number and arrangement of
autofocus points as its predecessor,
LCD 3.2in tilting LCD, 1037k pixels
Flash Hotshoe it claims improved performance. In RATINGS
practice, the camera does a reasonably Handling 94%
Movie mode Max. 1080p (Full HD) up to 30fps
good job of tracking moving subjects, Performance 85%
Card formats SD/SDHC/SDXC (dual slot) Specification 88%
Power Li-ion battery D-LI90 but the continuous AF performance
Value 92%
Size 137 x 110 x 86mm lags behind many of the current DSLR
Weight 1010g (with battery/no lens) or mirrorless offerings from its rivals. Overall 90%
The maximum continuous frame

Autumn 2018 Outdoor Photography 85

 Inov-8 Terraultra G 260
The Terraultra G 260 belongs to
British brand Inov-8’s new G-Series
range of sports shoes, which are the
first to use graphene – the strongest
material on the planet – in their
construction. Delivering superior
performance and durability, the
Terraultra G 260 is designed
to deliver tough grip on
long-distance trails.
Garmin Fenix 5X Plus
Guide price £140
As well as the core features of the Fenix 5 range – such as GPS inov-8.com
mapping, a heart rate monitor, multisport tracking and smart
connectivity – Garmin’s upgraded watches also include built-in
routable topographical maps, storage for music playlists and Garmin
Pay (a contactless payment solution). The largest (and most expensive)
of the watches, the Fenix 5X Plus, has a Pulse Ox sensor, which gauges
blood oxygen saturation levels when you’re climbing at higher altitudes.
Guide price £599.99 to £999.99
garmin.com

GEARING UP
Nikon Monarch HG
Nikon has added two lightweight and compact 30mm diameter
models (8x30 and 10x30) to its Monarch range of binoculars.
Weighing just 450g and offering a sharp and clear view all the Manfrotto Befree
way to the lens periphery, they are ideal for bird and nature Advanced Carbon
photographers, and those who prefer to travel light.
Guide price £899 (8x30); £949 (10x30) Balancing portability and stability,
nikon.co.uk the Befree Advanced Carbon
is one of three new additions
to Manfrotto’s range of tripods
for travelling photographers.
Designed and manufactured
in Italy, it weighs just 1250g
and features the M-lock,
Manfrotto’s unique twist
lock, to ensure fast
and secure operation.
Guide price £319.95
manfrotto.co.uk

86 Outdoor Photography Autumn 2018

 Billingham Galbin
Designed to carry a wide variety of binoculars in 8x32, 8x42 and 10x42 sizes, the
Galbin 8 and Galbin 10 cases are precision engineered to offer the greatest level
of protection for valuable optics equipment. Made in England, using hardwearing
but lightweight materials and incorporating a strong leather strap, they are
versatile enough to carry other gear, such as cameras, lenses and accessories.
Guide price £120 (Galbin 8); £135 (Galbin 10)
billingham.co.uk

Sony 400mm f/2.8 GM OSS

Created with professional sports, wildlife and nature
photographers in mind, Sony’s new large aperture
super-telephoto is the lightest lens in its class. Weighing
just 2897g thanks to an innovative optical design, it offers
fast and precise panning and tracking for handheld or
monopod shooting. The lens is compatible with Sony’s
high-speed E-mount bodies, including the α9 and α7R III.
Guide price £10,500
sony.co.uk

Loupedeck+
First launched in June 2017, the Loupedeck is a
bespoke console designed specifically for editing
photos in Lightroom. Following a year’s worth of
feedback from photographers, the updated version
of the device, Loupedeck+, boasts even more
buttons and dials, better soft ware and improved
build quality. There is also a ‘Custom Mode’ that
allows users to customise the function of every dial.
Guide price £199
loupedeck.com

H&Y Magnetic Filter Frames Tenba Solstice

Doing away with the slot design found on traditional filter holders, Sling 10L
Hong Kong based company H&Y has embraced the power of
magnets to make filter mounting even simpler. The system uses Lightweight yet durable, Tenba’s
nba’s
magnets inside the frame to make it easy to position filters, which Solstice Sling camera bagss are
can then be locked into place. The frames are compatible with ng
designed to offer the carrying
most square filters (100x100mm or 100x150mm), including comfort of a backpack with
Lee Filters, when used with an adapter the quick camera access off
system (sold separately). a shoulder bag. Featuring a fully
Guide price £23 (100x100mm); ew
customisable interior, the new
£25 (100x150mm) 10L model can hold up to twowo
hy-filter.store DSLRs, four to six lenses
and an iPad or 10in tablet.
Guide price £99
tenba.com

Autumn 2018 Outdoor Photography 87

 Online Phone
Incorporating
wex.co.uk 01603 208768 Call us Mon-Fri 8am-7pm,
Sat 9am-6pm, Sun 10am-4pm

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A7R III Body £3199 £979 inc £300 Cashback*
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X-T20 + 16-50mm £829 X-E3 + 18-55mm £1049 18-55mm f2.8-4 ............£619 24-70mm f2.8 ..............£1849
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X-Pro2 Body £1399 X-H1 Body £1699 50-140mm f2.8 .............£1329 £1749 inc £100 Cashback*
X-Pro2 + 23mm £1999 A7S II Body £2399 A6300 Body £779
55-200mm f3.5-4.8.......£699 24-70mm f4 .................£779
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Olympus Lenses Panasonic Lenses
PEN-F OM-D E-M1 II 8mm f1.8 Pro.................£649 GH5S £250 G9 £300 15mm f1.7 Leica......... £459
12mm f2.0 .....................£549 Cashback* Cashback* 20mm f1.7 .................. £249
New New
17mm f1.8 .....................£369 25mm f1.7 .................. £148
25mm f1.8 .....................£299 20.3 mp 20.3 mp 25mm f1.4 .................. £459
20.3 mp 20 mp 25mm f1.2 Pro...............£999 12 fps 20 fps
30mm f2.8 .................. £269
10.0 fps 60 fps 30mm f3.5 .....................£249
4K video 4K video
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1080p CMOS 45mm f1.8 Pro...............£209
GH5S From DC-G9 From 45mm f2.8 Leica......... £599
PEN-F OM-D E-M1 II 45mm f1.2 .....................£1199
60mm f2.8 Macro ..........£360 £2199 £1499
200mm f2.8 Leica ...... £2699

£1499
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From £999 From 75mm f1.8 .....................£699
300mm f4.0 Pro.............£1999
GH5S Body £2199 G9 Body £1499
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12-60mm f2.8-4 .......... £879
PEN-F Body £999 OM-D E-M1 II Body £1499 £1949 inc £250 Cashback* £1199 inc £300 Cashback*
7-14mm f2.8 Pro ...........£949 14-42mm f3.5-5.6....... £299
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9-18mm f4.0-5.6 ............£469 14-140mm f3.5-5.6..... £549
OM-D E-M5 II Body £899 +12-40mm £2199 £1399 inc £200 Cashback* £1719 inc £300 Cashback*
12-40mm f2.8 Pro .........£759 35-100mm f2.8 ........... £969
OM-D E-M5 II OM-D E-M1 II GH5 + 12-60mm f3.5-5.6 £1699 GX80 + 12-32mm £399
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+ 12-40mm PRO £1249 +12-100mm £2599 £1499 inc £200 Cashback* G7 + 12-60mm £549
14-150mm f4.0-5.6........£489 45-175mm f4.0-5.6..... £349
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adapters:
32GB .............. £32.95 64GB ................... £179 64GB ................... £199.99
32GB ...............£22.99
64GB ............. £54.95 128GB ................. £349 128GB ................. £329
64GB ...............£40.99 SanDisk Pixma
128GB ............ £89.95
USB 3.0 M Series: 260MB/s SDHC M Series XQD: 440MB/s Pro 100S
256GB ............ £149
ImageMate 32GB ................... £59.99 32GB ................... £74.99 PIXMA Pro 100S ................... £359
For more Memory Cards visit Reader 64GB ................... £84.99 64GB ................... £129 PIXMA Pro 10S ..................... £499
£44.99 128GB ................. £149 128GB ................. £199 imagePROGRAF PRO-1000 £899
wex.co.uk/memory-cards
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Lifestyle Windsor
Messenger S:
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solid protection. f2.8 lens attached and
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Pro Runner: Flipside: Anvil Slim................... £122 travel with. Messenger S ................ £89.95 Large ...............................£189
BP 350 AW II .............. £199 300 AW II .................£112 Anvil Super ................ £134 Messenger M ............... £107 Pro Original .....................£199
BP 450 AW II .............. £199 400 AW II .................£119 Anvil Pro .................... £126 Reloader 55.....................£199 Backpack...................... £149 Hadley One .....................£265
Tripods & Heads Gorillapod:
Gorillapod 500....... .........................£35
Gorillapod Kit 1K ............................£52
327RC2 Gorillapod Kit 3K ............................£85
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MT055XPRO3.......... £149 • Max Height: 160cm Tripod Terms and Conditions All prices incl. VAT at
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MT190XPRO3.......... £139 Manfrotto 190 GO Systematic Tripods: rate of £7.95**. ¹Sunday deliveries are charged at
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92 Outdoor Photography Autumn 2018

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"Just to say thank you so much for the workshop on Harris & Lewis, it went
beyond my expectations not only in the photography but the standard of
accommodation the places you found to ensure we took some truly memorable
photos also the way you worked so hard to ensure that everything went well,
it's the first workshop I’ve been on that ticked all the boxes"
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Ύ'ůĞŶŽĞ͕'ůĞŶƟǀĞΘ/ƐůĞŽĨ^ŬLJĞ
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Please see website for more details ΎϭͲϮͲϭƚĞĂĐŚŝŶŐŝŶƐŵĂůůŐƌŽƵƉƐŽĨũƵƐƚĮǀĞ
SEPTEMBER 2018 Ύ^ƚƌƵĐƚƵƌĞĚĐŽƵƌƐĞǁŝƚŚŝŵĂŐĞƌĞǀŝĞǁƐ
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SEPT/OCTOBER 2018
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Autumn 2018 Outdoor Photography 95

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98 Outdoor Photography Autumn 2018

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If you only do one thing this month…

Art of colour landscapes

In our June issue, we set you the challenge of using colour effectively and creatively in your landscape
photographs and your entries wowed us. In one of the closest competitions to date, this is our winner,
who receives an MSR WindBurner Duo Stove System, and 20 runners-up…

Above WINNER Dylan Nardini
This was a very impromptu shot, taken
while I was at work, of a small patch of urban
woodland that sits next to the railway line
near Greenfaulds station in Cumbernauld.
There was nothing glamorous about this area
but I was grabbed by the glorious winter light
sidelighting the little patch of bare woodland,
with hints of silver, gold and rich red all
helping to create a pleasing scene.
Sony RX100 II with 28-100 lens at 44mm
(35mm equivalent), ISO 100, 1/30sec at f/4,
polariser, handheld
dylannardini.com
Opposite (top) Ade Gidney Opposite (bottom) Stephen Horsted
Looking towards the Outer Hebrides from I took this image in Hverfjall, Iceland,
Neist point on Skye, a beautiful sunset where the earth grumbles and spits
was developing. I had to capture this image beneath your feet!
handheld, as I had accidentally left my tripod Nikon D3 with 70-200mm lens, ISO 640,
in the B&B I’d stayed at the night before. 1/100sec at f/13, handheld
I decided to put the horizon in the lower
quarter of the frame to emphasise
the colours in the clouds.
Canon EOS 6D with 24-70mm lens at 53mm,
ISO 100, 1/125sec at f/6.7, handheld
flickr.com/photos/39546003@N06

100 Outdoor Photography Autumn 2018

Autumn 2018 Outdoor Photography 101
 Left Catherine Illsley
This was taken in Burgundy, France, last
summer when I was concentrating on wine
related photography for my new project
‘Photo Meets Wine – Stories from the
Vineyards’. From my raised viewpoint, I could
see right over the vines and was immediately
attracted by the contrast between natural
and manmade elements, as well as the
harmonious repetition of layers and colours.
Canon EOS 5D MkII with Canon 70-200mm f/4 L
lens at 121mm, ISO 200, 1/160sec at f/10, handheld
photomeets.wine

Left (bottom) Mark Huntley

I have visited Birling Gap in East Sussex on
many occasions. During this sunset jaunt the
weather conditions were a bit grey and I had
the location almost to myself. The sun didn’t
appear, but I stayed anyway and was happy
to capture this gloomy shot of the ghostly
tide with a glimmer of warmth on the horizon.
Nikon D750 with 24-85mm lens at 24mm,
ISO 100, 3sec at f/13, tripod, 1-stop soft ND grad
theprintsboutique.co.uk

Opposite (top) Hannu Mäkelä

I like to shoot misty mornings, which
is why autumn is my favourite season for
photography. On the other hand, winter
is quite dull most of the time here in
Finland, but this particular morning was
different: it was cold and misty and the sky
was exceptionally colourful. I was on my
way to work and decided to make a short
stop at a nearby lake to see if there were any
photographic opportunities. It’s hard to take
an interesting shot of a misty lake without any
subjects, but luckily this one has small islets.
Canon EOS 5D MkIV with Canon EF
100-400mm II lens at 153mm, ISO 100,
1/4sec at f/8, 2-stop hard ND grad, tripod
instagram.com/hannu_makela_photography

Opposite (bottom) Glen Sumner

I captured this cloud image at a small pond,
where the still waters and the colours of
the cloud helped to make it resemble
a large jellyfish.
Canon EOS 5D MkII with 50mm f/1.8 lens,
ISO 50, 0.7sec at f/10
glensumnerphotography.com

102 Outdoor Photography Autumn 2018

Autumn 2018 Outdoor Photography 103
 Left Alex Wrigley
Plenty of photographers, myself included,
get excited about the bluebells arriving every
year. However, what many fail to appreciate
is the gorgeous colour contrast between the
purples of the flowers and the fresh, vibrant
greens of new growth on the trees.
Nikon D800 with Sigma 70-200mm lens
at 150mm, ISO 100, 1/8sec at f/2.8, tripod
alexwrigleyphotography.com

Below Paula Cooper

This image was taken at sunset while standing
in a local lake to catch the reflected light in
the gentle waves. By slowing the shutter speed
down and using ICM it made it look like the
waves had fire running through them.
Panasonic Lumix G80 with Lumix G Vario
14-140mm lens at 24mm, ISO 800, 1/3sec
at f/5.6, handheld
iceniphotography.com

Opposite (top) Richard Freeman

I was setting off just before sundown to
visit another location when I spotted this
storm developing, so decided to get some
photographs of it first.
Canon EOS 5D MkIV with Canon 24-105mm
f/4 lens at 45mm, ISO 100, 1/10sec at f/13, tripod
richardfreemanfoto.com

Opposite (bottom) Andy Tibbetts

As the day came to a close these ice crystals on
Loch Bhraomisaig, Knoydart, were forming
before my eyes. By the time the sun had set,
the entire loch had frozen over.
Canon EOS 5D MkIII with Canon 70-200mm
f/4 lens at 70mm, ISO 100, 1/15sec at f/8, tripod
andydounephotography.co.uk

104 Outdoor Photography Autumn 2018

Autumn 2018 Outdoor Photography 105
Above Matt Goddard
A walk along Hove beach in East Sussex was
happily rewarded with these serene colours
and calm sea. I chose a square crop to give
it a more artistic feel.
Sony α7R with Canon 50mm f/1.8 lens,
ISO 100, 1/13sec at f/10, handheld
mattgoddardphotography.co.uk
106 Outdoor Photography Autumn 2018
Opposite (top) Jason Freeman
I took this image early one morning as the
sunlight illuminated foggy farmland on
the edge of Melbourne, Australia.
Nikon D610 with Tamron 150-600mm lens
at 400mm, ISO 100, 1/4000sec at f/11, tripod
gowildimages.com
Opposite (bottom) Geraint Evans
Over the course of a couple of weeks I’d
visited the Yorkshire Dales several times
looking for buttercup meadow compositions.
On this occasion, thick mist had developed
overnight. I wanted to portray a sea of yellow,
so focused on the distant tree, which allowed
the buttercups to ‘flow’ out of focus.
Nikon D7100 with Tamron 70-200mm f/2.8 lens
at 75mm, ISO 200, 1/160sec at f/8, tripod
flickr.com/photos/126232476@N06
Autumn 2018 Outdoor Photography 107
 Left Justin Haynes
Whenever I’m in Bude, Cornwall, I can often
be found photographing the sea pool or lido,
and this trip was the first chance I had to use
my 10-stop ND fi lter. The weather conditions
on the first morning were perfect for what I
wanted and I caught the tide at just the right
time. The cool, blue tones of the morning
fitted well with the metal handrails.
Nikon D7100 with 24-85mm f/3.5-4.5 lens
at 42mm, ISO 640, 320sec at f/11, 1-stop ND
grad, 10-stop ND, tripod, cable release
justinhaynesphoto.co.uk

Left (bottom) Chris Beesley

On a short trip round Dorset last summer it
had been very dreary with drizzle for much of
this particular day, but later in the afternoon,
once the rain had eased off, I walked to the
shingle beach at Seatown. I was aiming to
capture movement in the waves and, because
of the subdued light, was able to take longer
exposures of up to one second without using
any neutral density fi lters. I was eventually
rewarded with some nice light in the clouds.
Pentax K-3 with Pentax 16-85mm WR lens
at 16mm, ISO 100, 1/3sec at f/16, polariser,
2-stop ND grad, tripod
flickr.com/fancithat

Opposite (top) Phil Corley

The forecast looked promising, so an early
start got me in position for sunrise on the side
of Pen yr Ole Wen in north Wales. Shortly
after sunrise, the warm light flooded across
the side of the mountain and lit the summit
of Tryfan on the other side of the valley.
Fuji GFX50s with Fuji GF 23mm f/4 lens,
ISO 100, 1.7sec at f/11, 3-stop ND, tripod
philcorley.com

Opposite (bottom) Tammy Marlar

Heading back from the beach in the blue
twilight of a fading summer’s day, I glanced
back towards the famous row of beach huts
arranged perfectly along the sand spit at
Hengistbury Head in Dorset (the prices they
fetch when they are for sale make them the
most expensive beach huts in the UK). The
intensity of the blue sky and reflection was
certainly the main colour attraction, but
it was beautifully supported by the warm
orange glow of lighting up time.
Canon EOS 5D MkIII with EF 70-200mm
f/2.8 IS II USM lens at 105mm, ISO 2000,
1/200sec at f/2.8
tammymarlar.com

108 Outdoor Photography Autumn 2018

Autumn 2018 Outdoor Photography 109
 Left Sam Bose
Anse Lazio in the Seychelles is regularly
described as one of the best beaches
in the world and I have to agree. We’d
been to visit the beach a few days earlier
but had suffered torrential downpours,
so when the weather cleared we had to
come back for a sunset shot.
Canon EOS 5D MkII with 24-105mm
f/4 lens at 40mm, ISO 100, 4sec at f/16,
4-stop ND, polariser, tripod
sambose.com

Below Tamsin Bailey

While autumn colour will always have
an instant appeal for me, I also like the
more muted colours of winter. I used
ICM to try to catch a slightly abstract
view of this birch and willow woodland.
Canon EOS 650D with Sigma 17-70mm
lens at 70mm, ISO 100, 0.3sec at f/32,
handheld

Opposite Stu Meech

This image shows my local go-to
landmark, Chesterton Windmill, which
on this occasion was surrounded by a
field of oilseed rape.
Nikon D750 with Nikon 16-35mm f/4 lens
at 16mm, ISO 100, 0.6sec at f/11, 3-stop
hard ND grad, tripod
stumeech.co.uk

110 Outdoor Photography Autumn 2018

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There is little doubt that autumn is one of the most active
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photographers. As the long days of summer draw to a
close and the sunlight starts to strike the land at lower
angles for longer periods of time (and at more sociable
times of the day!), the wild spaces that we love so much
take on a compelling and beautiful appearance. As autumn
progresses, the changing colours of the trees and plants
add to the magic and provide exhilarating scenes. Absorb
all the great information in Andy Farrer’s article on capturing
the spirit of autumn colour and landscapes on page 30,
and then send us your very best images to be in with a
chance of being published in the January 2019 issue.
To submit your images, go to our website at
outdoorphotographymagazine.co.uk/submissions.
The closing date for entries is 10 October 2018.
See page 64 for more details and terms and conditions.
Enter and you could win a Gitzo Adventury
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The winner of our ‘Autumn colour’ photography competition will not only see their
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Autumn 2018 Outdoor Photography 111
COMPETITION
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Deadline for entry is midnight on 10 October 2018.
112 Outdoor Photography Autumn 2018
© Shutterstock.com
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