Insight Into Life As A Pro Mountain Shooter: Landscape Wildlife Nature Adven Ture

INSIGHT INTO LIFE AS A PRO MOUNTAIN SHOOTER
landscape | wildlife | nature | adventure
OFC_228_Ben Tibbetts_01.indd 1 18/01/2018 12:27

IFC_OPHO_228.indd 1 17/01/2018 14:47
Connectivity is key
THE ISSUE
at a glance
Following on from last month, where images to illustrate the story, the
I’d been thinking about how greater more rewards I got in terms of my
focus and mindful effort when we get own photography practice.
to our location could help us move Out in the field, if I’ve thoroughly
from taking good photographs to done my research (whether that is
outstanding images, I’ve been geographical, geological, historical or
contemplating this some more. cultural) on a place and actively plug
At every stage of us being outdoor that knowledge into the visual and
photographers it seems that being visceral sense of being there then it
more connected to what we are doing often leads to a level of insight and
will almost invariably result in us connectedness that adds deeper
We talk with mountain and adventure
producing more powerful images. meaning to the resulting photographs. photographer Ben Tibbetts – page 16
If we’re cosied up on a sofa perusing For sure, it doesn’t all come together
a photography book, it’s easy enough all of the time but the moments when
to skim through the images, taking in it does are notably distinct from those
their immediate impact and standout when it doesn’t and far more memorable.
details before moving on to the next One such time was at the Mayan ruins
page. But is that really helpful? of Copán in western Honduras. I’d
My route into photography came spent months reading about the Maya
largely through the pages of National prior to my visit, gone to several other
Geographic and, while there were of ruins around the region and contacted
course issues where I simply flicked the authorities at Copán to request Sarah and Andy Skinner on taking
through the magazine, the times special early access to the site. When inspiring safari images – page 28
where I became more engaged with the morning came I was fully primed,
the experience of looking through the completely in tune
pages, wondering how and why the with being there and
photographer took an image in the the rich experience at
way he or she did and what made the hand, and it flowed
editors choose that particular set of into the images.
Steve Watkins Paul Harris explores shooting

environmental portraits – page 58
GET IN TOUCH
Email Contact the Editor, Steve Watkins, at stevew@thegmcgroup.com
or Deputy Editor, Chris Gatcum, at opdeped@thegmcgroup.com
Write to us Outdoor Photography, 86 High Street, Lewes,
East Sussex BN7 1XN
Keep right up to date with news by ‘liking’ OP at

facebook.com/outdoorphotographymag
See the results of our ‘Low light
Follow us on Twitter at http://twitter.com/opoty ON THE COVER landscapes’ competition – page 104
Ben Tibbetts shot this on the south
Find us on Instagram at instagram.com/outdoorphotographymag/ ridge of Dent Blanche, Switzerland.
March 2018 Outdoor Photography 1
1 Eds letter 228_SW.indd 1 23/01/2018 15:00

MARCH 2018
TOP STRAP
16
FEATURES & OPINION LEARNING LOCATIONS

16 In conversation with…
Ben Tibbetts
43 Insight: Nicholas White
We take a look at Nicholas
ZONE GUIDE
Mountain and adventure White’s Black Dots project , 28 Photographing wildlife 50 Sgorr Tuath, Highland
photographer Ben Tibbetts where he has travelled round on safari Drawn to its peaks and
shares his awe-inspiring the UK to document mountain Thinking about going on a lochs, James Grant climbs
imagery and discusses why bothies and bothy culture safari but want to make sure his favourite mountain in the
he’s drawn to some of the you get the most out of it Assynt and Coigach area to
world’s coldest locations 58 Opinion photographically? Husband capture a stunning vista
Paul Harris reflects on the and wife duo Andy and Sarah
25 One month, one picture power of context in an image, Skinner tell you what you need 53 Jangye-ryn, Cornwall
To discover new locations to and why it’s so important to to know Once the haze clears, Dave
photograph, Pete Bridgwood photography today Fieldhouse explores the
adopts an intriguing method 36 Quick guide to… picturesque Lizard Peninsula
61 Inside track photographing quarries but he has to be quick, as the
39 Lie of the land Missing the quintessential Greg Whitton on the creative tide is rising
Chris Dale doesn’t have to shot isn’t such a bad thing, potential of these industrial
travel far to take compelling says Nick Smith mazes, and he gives his top 54 Viewpoints
landscape images, he just tips for photographing them Eight top UK locations to shoot
changes his photographic 63 Photo showcase: Travel this month, including wonderful
approach at local sites Photographer of the Year spots in Derbyshire, Perth and
Our favourite images from this Kinross, Cornwall and Devon
40 In the spotlight year’s competition
Swiss landscape photographer
Annette Dahl answers Nick
Smith’s quick-fire questions
2 Outdoor Photography March 2018
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28
40 36
NATURE GEAR ZONE REGULARS YOUR OP
ZONE 88 Gearing up
Our extended round up
8 Newsroom
Keeping you up to date with
14 Social hub
Your feedback, thoughts
78 Life in the wild of the latest outdoor and the latest photography, outdoor and musings on all things
Laurie Campbell tackles the photography kit to hit and conservation stories photography-related
enigma of Scottish wildcats the shelves.
10 Out there 60 Next month
80 Photography guide Our selection of the latest A sneak peek at the April issue
Laurie’s nature highlights for photography and nature books, of Outdoor Photography
this month, plus world wildlife SUBSCRIBE plus three drone videos to
spectacles and the top spots
to see hares this spring
TO OP TODAY inspire you 70 Your chance
Discover how to get your work
Subscribe and save 12 The big view published in OP
83 A moment with nature up to 30%! Never miss The latest photography
Will Hawkes on why the an issue. Have Outdoor exhibitions, talks and our 73 Reader gallery
hoverfly is more exceptional Photography delivered pick of must-see events Our pick of this month’s best
than you might first think direct to your door. at The Photography Show readers’ images
84 On the wing Turn to page 69 to find 104 If you only do one thing
The flooding of his local golf out how to subscribe. this month…
course is good news for Steve The winners of our low light
Young, as it grants him the landscapes photography
opportunity to photograph competition, plus details
some rare winged visitors of our next challenge
NEXT ISSUE ON SALE 8 MARCH 2018
On test: Canon Powershot G1 X MkIII 112 Where in the world?
In conversation with…Morgan Heim Correctly identify the location
Outdoor Photographer of the Year 2017: featured and you could win
see all the category winners! a Snugpak Venture Pile Shirt,
worth £114.95!
2_3 Contents_228_SW.indd 3 18/01/2018 17:14

IN THE MAGAZINE THIS MONTH...
COVER+16 16+40
+61 EDITORIAL
Editor Steve Watkins
stevew@thegmcgroup.com
Deputy editor Chris Gatcum
opdeped@thegmcgroup.com
Assistant editor Anna Bonita Evans
anna.evans@thegmcgroup.com
25 28 Designers Toby Haigh, Olly Prentice
Ben Tibbetts is an alpine Nick Smith is a writer and Pete Bridgwood is a fine Andy & Sarah Skinner A ADVERTISING
photographer, artist photographer specialising art landscape photographer husband and wife professional Advertising executive
and IFMGA mountain in travel and environmental and writer. He is fascinated wildlife photography team Guy Stockton
guide. He specialises in issues. He is a contributing by the creative foundations from the UK, with a passion guy.stockton@thegmcgroup.com,
working in remote and cold editor on the Explorers 01273 402825
of landscape photography for the natural world and more
environments and has Journal and is a fellow of the and passionate about than a decade of experience MARKETING
spent nearly two years in Royal Geographical Society. exploring the emotional photographing wildlife.
the Antarctic and over four nicksmithphoto.com Marketing executive
elements of the art. Andy and Sarah currently Anne Guillot
months in Greenland. petebridgwood.comleefrost. host photographic wildlife anneg@thegmcgroup.com,
bentibbetts.com co.uk safaris to a variety of prolific 01273 402871
destinations across the globe.
imagesofwildlife.co.uk PRODUCTION
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Production controller Scott Teagle
39 43 50 Origination and Ad design
GMC Repro. repro@thegmcgroup.com,
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is published 13 times a year by GMC Publications Ltd.
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Greg Whitton is a multi Chris Dale is a photographer Nicholas White is a James Grant is a Peak © Guild of Master Craftsman Publications Ltd. 2018
award-winning and widely based in Nottingham and is photographer based in District-based landscape
published landscape passionate about shooting the south-west of England. photographer. Having only
photographer who offers locally, even when you don’t His work examines bought his first camera in late
workshops designed to
lead clients to less often
have epic vistas. His images
concentrate mostly on
our relationship with
landscape and the ways
2008, he is proud to have
picked up numerous awards.
SUBSCRIBE*
visited locations, to get away
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intimate woodland scenes
and abstract interpretations
in which we interact with
our natural spaces. In 2017
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allow them to experience a book published of his environmental bursary. 12 issues: Save 10%
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Paul Harris trained as Laurie Campbell With more Will Hawkes is a 21-year- Steve Young has been at OP Email
a photojournalist . He is than 30 years’ experience old zoology undergraduate from issue one. His images pubs@thegmcgroup.com
passionate about storytelling of photographing Scottish at Exeter University who is have appeared in numerous Visit thegmcgroup.com
through his travel, adventure wildlife, Laurie Campbell’s most content when sitting publications and he has
and documentary imagery; creative aim is simple: in a meadow surrounded written two bird photography
balancing the road less to share his passion for by insects. He spent his books and photo-edited two Buy OP as an app
travelled with the spirit of the Scotland’s landscapes, summer researching insect bird identification guides.
Get Outdoor
land and its peoples. Paul flora and fauna. He regularly migration and loves having He was the overall winner
Photography magazine
is a sought-after tutor, and leads nature photography a camera as it allows him of the 2010 British Wildlife
for your iPhone, iPad or
leads photo tours for Wild workshops, and his images to show everyone else the Photography Awards.
Android device!
Photography Holidays. are widely published. wonderful lives of insects. birdsonfilm.com
paulharrisphotography.com lauriecampbell.com willhawkesphotography.com
Visit the Apple App store,

find it on Google Play
ALSO IN THIS ISSUE Store or go to
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Simon Swales simonswalesphotography.co.uk, Simon Whaley simonwhaley.co.uk
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
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4 Contribs 228_SW.indd 4 18/01/2018 12:31

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005_OPHO_228.indd 5 17/01/2018 14:49

6-7_Opening_shot_228_SW.indd 6 18/01/2018 12:51

Denali Viewpoint South
by Jürgen Weginger
I spent three days travelling along the

Alaskan Range before I was fortunate
enough to witness such incredible
light. The first couple of days the
weather conditions were poor, but on
this morning – my last day in Alaska
– I was blessed with this calm and
breathtaking scene. It was 4.30am
and I stood at the upper viewpoint
at Denali Viewpoint South taking in
the vista with no one else around.
Canon EOS 5D MkIII with 70-200mm
lens at 180mm, ISO 50, 2.5sec at f/16,
Benro tripod, Hoya polariser
6-7_Opening_shot_228_SW.indd 7 18/01/2018 12:51

THE LATEST BULLETINS
NEWSROOM
CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS
2017 National Geographic Nature Coral reef warning

A new report published in Science magazine
Photographer of the Year crowned has raised serious concerns about the rate
of coral reef ‘bleaching’ that is occurring at
numerous locations around the planet.
The phenomenon is caused when atypically
warm water washes over a reef, causing the
coral polyps – the tiny animals that are the
building blocks of a coral reef – to discharge
the microscopic algae (zooxanthellae) that live
inside them. In doing so, the coral’s pigment,
which comes from the zooxanthellae, is lost
and the coral turns white, hence the term
‘bleaching’. However, it is not just colour that the
zooxanthellae supplies the coral with: it also acts
as a built-in food source, creating energy for the
coral through photosynthesis, and unless the
conditions are reversed and the coral has time
to recover it can potentially die.
The recent report, from a team led by
Prof Terry Hughes from the ARC Centre of
Excellence for Coral Reef Studies, Australia,
looked at data from 100 reefs, concluding
that bleaching is occurring with increasing
frequency; whereas bleaching events occurred
at intervals of around 30 years up to the 1980s,
the study suggests that the current median
WILDLIFE 1st Place/Grand Prize: time is now as little as six years. The Coral Reef
Photograph by Jayaprakash Joghee Bojan, 2017 National Geographic Nature Photographer of the Year Alliance states that in recent years ‘Scientists
A male orangutan peers from behind a tree while crossing a river in Borneo, Indonesia. have declared three global coral bleaching
events: 1998, 2010 and 2014-2017. This
Jayaprakash Joghee Bojan, from Singapore, at the time and the photographer could take most recent event was the longest and most
has been crowned 2017 National Geographic this mesmerising image, winning him $10,000 widespread bleaching event ever recorded,
Nature Photographer of the Year. Jayaprakash’s and the honour of having his photograph killing as much as two-thirds of the corals in the
winning photograph was taken in Tanjung appear in an upcoming issue of the magazine. northern part of Australia’s Great Barrier Reef.’
Puting National Park in Borneo, Indonesia, and To see the rest of the competition winners, It is estimated that at this rate, coral reefs
shows a male orangutan peering from behind visit photography.nationalgeographic.com/ could be experiencing heat stress on an
a tree while standing in a river. nature-photographer-of-the-year-2017. annual or near-annual basis by the time we
The photographer waited for a day and reach the middle of the century. This will give
a night close to the location where the ape them little chance to recover between times,
was reported to be resorting to the unusual with potentially catastrophic consequences
behaviour of crossing a river potentially Northern Forest funds for the marine and human life that depends
inhabited by freshwater crocodiles. When he The government is set to provide £5.7 on them.
eventually spotted the primate, Jayaprakash million of funding for a new ‘Northern
entered the water himself to avoid disturbing Forest ’ extending across the country
it with his boat, oblivious to the potential from Hull to Liverpool. The plan is to
threat of any carnivorous water-based reptiles. plant 50 million trees – particularly
‘Honestly, sometimes you just go blind when around heavily built-up areas – in a
© Sabangvideo / Shutterstock.com
things like this happen,’ explained Jayaprakash. bid to increase tree cover in one of the
‘You’re so caught up. You really don’t know UK’s most deforested areas. However,
what’s happening. You don’t feel the pain, you critics have noted that the government’s
don’t feel the mosquito bites, you don’t feel the contribution amounts to little over 1% of
cold because your mind is completely lost in the total funding required for the 25-year
what’s happening in front of you.’ project; the remainder will need to come
Thankfully for both Jayaprakash and his from charitable donations.
subject there were no hungry crocs in the area
8-9_NEWSROOM_MARCH_228.indd 8 18/01/2018 12:57

Photos identify third RSPCA Young Photographer NEWS IN
resident UK dolphin pod Awards announced © Gideon Knight
NUMBERS
By studying almost 4,000 photographs taken across
a nine-year period, researchers from University of
Plymouth have identifi ed a pod of 28 bottlenose
dolphins that are permanent residents around
© Shutterstock.com
England’s south-west coast . This makes them the third
resident dolphin group in the UK, joining pods living
near Cardigan in Wales and in the Moray Firth.
The new pod was identifi ed by examining
photographs of their dorsal fins, which, like human
fingerprints, are unique. After creating a catalogue
of dolphins that had been photographed in the area,
87 The latest review from
BirdLife International
has revealed that 87% of
the researchers started to look at which of them were
the breeding kittiwakes on
repeatedly seen, both on their own and with other
Orkney and Shetland have
individuals. This enabled them to not only differentiate
been lost since 2000, while
between dolphins that were simply passing through our
global numbers have dropped
coastal waters and those that were not, but to also build
by 40% since the 1970s.
up a picture of the resident familial group. As a result, the kittiwake is
In total, 98 dolphins were identified from photographs the ninth UK bird sp ecies to
taken between 2007 and 2016, with a population of 28 be added to the IUCN Red
inhabiting the waters around Cornwall. According to List of birds facing potential
the research, the resident dolphins appear to favour extinction, joining the Atlantic
two distinct areas: around St Ives Bay in the north and puffin, European turtle dove,
Mount’s Bay in the south. pochard, Slavonian grebe,
Balearic shearwater, long-
tailed duck, velvet scoter
Pay as you go at Pen y Fan and aquatic warbler.
The RSPCA has announced the winners of its Young

3,239 According to
British Antarctic
Survey, the UK has a new
Photographer Awards 2017, with 17-year-old Gideon highest peak: Mt Hope, which
Knight, from Ilford, London, taking the top prize for is located in a UK-claimed area
his black & white photograph of a little egret fi shing of Antarctica. The team used
on a canal close to his home. Chris Packham, the satellite data to re-measure
competition’s lead judge, described Gideon’s shot as the peak, which revealed
‘a very strong winning image; so stark and very graphic. it stands 3,239m tall, not
It really stood out for all of us’. 2,860m as previously thought.
In addition to this photograph, which won the 16-18 Even taking into account the
year old category, Gideon won the portfolio category, 5m margin for error in the
where he was also highly commended. Other winners measurement method, Mt
© Leighton Collins / Shutterstock.com
in the competition included Lily Edwards (16-18 Hope is at least 50m taller
Walkers and photographers looking to climb Pen y Fan, mobile phone and devices), Joshua Myers (12-15), than neighbouring Mt Jackson
the highest peak in the Brecon Beacons, may have to pay Marlon Darragh (12-15 mobile phone and devices), (previously considered the
for their parking if the National Trust’s latest plans for Thomas Easterbrook (Under 12) and Oliver Porter UK’s highest peak) and more
than double the height of
the site come to fruition. (Under 12 mobile phone and devices).
the UK mainland’s tallest
The trust’s vision sees the current car park at Pont ar This year’s competition, which is open to any
mountain, Ben Nevis, which
Daf – the most popular starting point for climbs up the photographer aged 18 or under, launches on 7 May;
stands at 1,345m.
mountain – being expanded from its current nominal visit young.rspca.org.uk/ypa/home for details.
capacity of 90 spaces to 263 spaces. According to the plans,
a new tarmacked parking area will see 171 clearly marked
‘formal’ spaces created for cars (including disabled spaces),
Idaho receives International
14.1 MILLION
According to recent figures,
while an ‘informal’ extension to the parking area will Blue Planet II was officially
consist of 92 more subtly delineated spaces and a crushed
stone surface. In addition there will be seven formal
Dark Sky Reserve status the most-watched television
program of 2017, with more
spaces for minibuses and three for coaches. The designs The International Dark-Sky Association has designated than 13 million people
also include solar-powered pay and display machines an area of central Idaho covering more than 1,400 square regularly turning on their
and provision for a potential visitor centre. miles as an International Dark Sky Reserve. This makes television to watch the show
Following a public consultation at the start of 2017, it the third largest reserve of its type in the world and in its Sunday night slot, and
the trust has revised and re-submitted its planning the first International Dark Sky Reserve in the United many more catching up
application, but at the time of writing no decision has yet States. The reserve joins 11 existing locations – including online: the first episode saw
been made. To find out more – and to see the initial proposal Exmoor National Park, the Brecon Beacons, Snowdonia 14.1 million people watching
for yourself – head over to nationaltrust.org.uk/brecon- National Park and the South Downs in the UK – as one the show within a week of
beacons/features/proposed-new-car-park-for-pen-y-fan. of the darkest places on the planet. it airing on 29 October.
8-9_NEWSROOM_MARCH_228.indd 9 18/01/2018 12:58

OUT
THE THERE
LATEST NEW MEDIA
Edge (Verse I) #29 (2003)

© Nicholas Hughes
Nowhere Far format film and taken within walking distance of Hughes’
BOOK OF THE MONTH
Nicholas Hughes different bases in London, Cornwall and north Wales.
Gost They’re exquisitely printed and at times creatively so: take
978-1-9104-0114-9 for example the beginning and ending sets that are printed
Hardback, £30 silver and gold on midnight blue paper. The results are
As the title suggests this is an enticing book with elusive beautiful and very effective.
themes so needs time spent on it, but once invested Supporting texts add to the book’s gravitas, with essays
you’ll realise you’ve discovered one of the most intriguing by director of the Photographers’ Gallery Brett Rogers,
photography books you’re likely to pick up this year. writer Jay Griffiths and senior curator of photography at the
A monograph that’s taken 15 years for photographer V&A Martin Barnes. Each interpreting the work in their own
Nicholas Hughes to create, there are six different bodies of fascinating way, the three do relate Hughes’ pictures to the
work included. United by the theme of the environment and Sublime and the Romantic movement. Limited to a print run
our relationship to it, the photographs are all shot on large of just 500, make sure you get your copy soon.
Pilgrimage: The Great Pilgrim Routes Above the Clouds

of Britain and Europe Scott Mead
Derry Brabbs Prestel
Frances Lincoln 978-3-7913-8333-0
978-0-7112-3900-5 Hardback, £45
Hardback, £30 Capturing the majest y of our skies, the
Ideal for photographers who enjoy long walks pictures in this book have all been taken from
over an extended period, this delightful book plane windows by American photographer
has 10 great historic pilgrimages in Western Scott Mead during his travels around the world. Travelling extensively
Europe to inspire you. Routes include Spain’s for work, Mead decided to use his time to reflect creatively on the space
Santiago de Compostela, Germany’s Jakobsweg and other great walks above our planet’s surface. Flying is a time when Mead feels most at ease
in France and Britain, such as St Cuthbert’s Way. Stunning photographs transporting himself to an inner dialogue. He says: ‘Within those rarefied
are accompanied by Brabbs’ absorbing text, which describes the path’s moments and that space above the clouds, we can often find our way back
history, key features to look out for and the number of days it’s likely into an inner-world that’s otherwise difficult to access. Looking out can
to take along with a list of websites for additional advice. A useful and therefore allow us again to look within.’ One could say that these images
engaging book that is sure to appeal to many outdoor photographers. are, to some extent then, self-portraits. This book is sure to inspire.
10_11 Out there_228.indd 10 18/01/2018 13:00

THE LATEST NEW MEDIA – EDITED BY ANNA BONITA EVANS
THREE DRONE VIDEOS TO INSPIRE WILDLIFE BOOK

WITH A DIFFERENCE
1
Over Iceland
Jay Siemens Endangered
Looking down onto the vast
Tim Flach
Icelandic tundra and capturing it
in stunning 4K video, this powerful Abrams
film by Jay Siemens was created 978-1-4197-2651-4
with a DJI Phantom 3 Professional Hardback, £50
– one of the most powerful, compact drones available. Showing views of the country’s The natural world and the
most celebrated locations – as well as those lesser known – at just over one and a half animals living within it are
minutes long you’ll be booking your plane ticket before the credits roll. under threat: the world’s
vertebrae populations have
2
Technicolor: declined by more than 50%
Safia Nolin since 1970 and currently
DAVI productions around 20% of the world’s
Over the course of a seven-day
trip across Newfoundland and
species are threatened with
Labrador, director Mael Demarcy extinction. Photographer
Arnaud and drone operator Tim Flach illustrates this stark reality in his latest project but
Guillaume Beaudoin captured takes an approach that sets his work apart from the majority.
breathtaking footage of the rugged, seemingly untouched, Canadian province for French A book largely comprised of st ylised portraiture of the world’s
Canadian singer-songwriter Safia Nolin. Responding to the song’s themes of death and most threatened species, Flach has the ability to inject emotion
loss in a creative way, the filmmakers play with and challenge our perceptions. into his imagery, fostering our connection with the subject in a
powerful way. Printing large, often across a double-page spread,
3
An Aerial Perspective the pictures are vivid with colour and artistic appreciation.
of Nordland They engage on a visceral level, something Flach says was
Michael Fletcher a key aim for the project, as we read in his introduction when
First shown through National
Geographic’s short film showcase
he quotes Dr George Schaller: ‘You can do the best science
platform, this stunning five- in the world but unless emotion is involved it’s not really very
minute film by Michael Fletcher relevant. Conservation is based on emotion. It comes from
now has more than 165K views the heart and one should never forget that.’
on Vimeo alone. The beauty of this presentation of Lofoten’s mountainous landscape is Guided by some of the world’s leading conservationists,
its simplicity. By focusing purely on the changing light, the landscape and what’s above including Professor Jonathan Baillie, the chief scientist at the
(and often hidden by) the clouds the film delivers an emotion-packed journey. National Geographic Society and former director of conservation
programmes at the Zoological Society of London, who also writes
All three videos are now available to view on the Outdoor Photography website
the book’s prologue, Endangered is a multi-year, ambitious
at outdoorphotographymagazine.co.uk – simply head to the article
Three Drone Videos to Inspire. project that Flach has executed with rigour and st yle.
White bellied pangolin

PHOTOGRAPHY GUIDES TO THE hanging on tail
UK’S MOST BEAUTIFUL LOCATIONS
Ellen Bowness is passionate about the outdoors and travelling around

the UK’s landscapes and areas of natural beauty, so much so that in 2013
she made it into her career and st arted her own publishing company,
Long Valley Books. Four years on she’s released seven books in her
The Photographer’s Guide to… series, with the latest title exploring
photogenic sp ots in Snowdonia and north Wales.
Each book is A5 in size and has 50 brilliant locations in the region that
are perfect to capture on camera. Set alongside her bright and colourful
imagery is a mixture of useful information, such as annotated maps, best
times of year to visit, OS grid references and other tips and advice for that
area. With each book being just over 100 pages long, these guides are an
engaging read from start to finish.
The Photographer’s Guide To… series by Ellen Bowness is out now
Published by Long Valley Books, each guide cost s £12.95 and is
available at longvalleybooks.com.
10_11 Out there_228.indd 11 23/01/2018 15:02

THE LATEST WHAT'S ON
EXHIBITIONS
© Andreas Gursky/DACS 2017 – courtesy of Sprüth Magers
Les Mées, 2016
Andreas Gursky
24 January to 22 April photographer’s most defining works on show – including Rhine II,
Hayward Gallery, London which back in 2011 sold for £2.7 million, setting a new world record for
Andreas Gursky is one of photography’s great innovators. His large format, a photograph sold at auction – Gursky is, says Hayward Gallery director
colour-driven images of landscapes and architecture, often shot from Ralph Rugoff, ‘A true innovator engaged in thinking about and picturing the
a high vantage point, are masterfully produced and technically excellent, times in which we live. Gursky is the perfect artist for launching the 50th
and show an appreciation for repetition and playing with the boundaries anniversary year of the Hayward.’ Check the website for related talks and
of reality and perception. Known for his ‘democratic’ perspective, Gursky events – including what promises to be a fascinating talk, What you Need
gives equal emphasis to all elements in his highly detailed scenes: the to Know: Gursky In Depth, on 24 February.
more you look at his pictures the more there is to see. With 60 of the southbankcentre.co.uk
Dan Holdsworth: Mapping the limits of space British Wildlife Photography Awards
To 16 March To 25 March
Graves Gallery, Sheffield Stockwood Discovery Centre, Luton
Presenting pictures from British photographer Dan Holdsworth’s Celebrating the work of amateur and professional photographers
latest series, Continuous Topography, alongside his defining works who capture the beauty and diversity of the UK’s natural world, the
from the past seven years, this major display shows the fascinating British Wildlife Photography Awards exhibition travels to Luton this
results when photography, science and technology mix. For the season as part of its major national tour. With 100 stunning pictures from
project, Holdsworth collaborated with a geology PHD student to the competition on display, visitors will marvel at this showcase of the
use digital mapping data in wealth of British wildlife.
© Dan Holdsworth
© Ben Hall
creative and innovative ways Entrants had 15 categories

and combined real and virtual to choose from, including
representations of the Animal Behaviour, British
landscape. Speaking about Nature in Black & White,
his work process Holdsworth Habitat, Wild Woods
says, ‘When I’m making and Hidden Britain.
a project I try to do two things. The exhibition will then
One is to do an enormous travel to Oxfordshire
amount of research and the Museum, Woodstock
other is to try to work as and then Nunnington
intuitively as I can.’ Hall in Yorkshire. Wren on frost-encrusted fern, Dunham
museums-sheffield.org.uk Blackout 06 bwpawards.org Massey, Cheshire
12_13 The Big View 228_ABE_SW.indd 12 18/01/2018 13:02

EDITED BY ANNA BONITA EVANS
EXHIBITIONS WITH A DIFFERENCE

TALKS TO INSPIRE YOU
© Sam Laughlin Jerwood/Photoworks Awards
© Vasantha Yogananthan
USA Road Trip
19 March, 7.30pm
WWT Arundel, Arundel
George and Angie McCarthy embarked on
a 12-month road trip across North America,
journeying from Florida to California seeing
and photographing the natural wonders
of the continent as they went. They share
some of their most memorable encounters.
wwt.org.uk
Psychovertical: A Higher Education

Various dates to 20 March, 7pm
Deer browse-line (various species) Party Field, Janakpur, Nepal Various venues across the UK
Leading British mountaineer Andy Kirkpatrick
Jerwood/Photoworks Awards: Illuminating India: Photography 1857-2017 looks back at his 40-year career and shares
Alejandra Carles-Tolra, Sam Laughlin To 31 March some of his most thrilling challenges and
and Lua Ribeira Science Museum, London expeditions to date – including adventures to
To 11 March Surveying the development of photography in the Alps, Patagonia, Yosemite and Greenland.
Jerwood Space, London India from technological and artistic approaches, Touring across the UK, Andy’s talk coincides
Winners of the Jerwood/Photoworks Awards the Science Museum’s latest exhibition is an with the release of Psychovertical, a film
back in January 2017, Lua Ribeira, Alejandra ambitious display investigating how the medium about him and his passion for the outdoors
Carles-Tolra and Sam Laughlin, each received has shaped the country’s visual culture and by award winning director Jen Randall.
a bursary of £5,000 and a year’s mentoring style. Photography arrived in India soon after its speakersfromtheedge.com
from three leaders in the photography inception in 1839, as it was used by the British
industry – including the celebrated American to record the country’s people, architecture and
photographer Mitch Epstein. The results go landscapes. Soon the Indian people saw the BOOK AHEAD!
on show in London this spring before touring medium as a mode of expression and created A new era for shark conservation
to Impressions Gallery in Bradford and then their own interpretations of their homeland. 8 May, 6pm
ending in Belfast Exposed in late 2018. Sam This major exhibition highlights some of Huxey Lecture Theatre, London
Laughlin’s series A Certain Movement will be those photographers who’ve previously been This engaging talk will present some of the
of particular interest to outdoor photographers: overlooked by an audience. Also on show are conservation initiatives created to better
he meditates on the state of the natural world, black & white pictures by the great Henri Cartier- protect the world’s most threatened species
our place within it and impact upon it through Bresson documenting India’s independence of shark and ray. Speakers will share some
an intriguing monochrome approach. from British colonial rule. of the latest techniques using today’s
photoworks.org.uk sciencemuseum.org.uk technology that try to combat the challenges
of conserving such rare and elusive species.
Factors impacting these aquatic creatures’
population will be explored.
UK’S PHOTO SHOW OF THE YEAR: THE HIGHLIGHTS zsl.org
© Harry Hook
Leaders in the UK’s photography industry TUESDAY – 11am
travel to Birmingham this March for one of Nicholas JR White shares stories and
the biggest camera events in the calendar. images from his Black Dots project,
Now in its fifth year, The Photography Show his ongoing photographic exploration
promises another fully packed four days of of mountain bothies and bothy culture
seminars, talks and workshops. Here we’ve throughout the UK.
highlighted some of the must-see talks in
the Behind the Lens theatre. Plus…Don’t miss! The Great Outdoors
stage: dedicated to all types of outdoor,
SATURDAY – 3pm nature, wildlife and adventure photography
Tom Mason shares how to enhance your (including our Outdoor Photographer of the
nature wildlife images and photograph Year awards ceremony at 2.50pm on the
fast-moving subjects. Saturday); and the new Drone Zone.
About Africa: In Pictures - Harry Hook
SUNDAY – 2pm The Photography Show 14 March, 7.30pm
Karl Holtby reveals how injecting emotions 17 to 20 March Logie Lecture Theatre, Stirling
into his landscape pictures helped him The NEC, Birmingham Harry Hook tells the story of Africa’s people
through the recovery period of an illness. Advanced tickets cost £13.95 for adults, moving from countryside to the cities. With
£10.95 for concession. images of places rich with nature’s bounty
MONDAY – 3pm From 14 March online ticket prices will rise contrasted with pictures of the continent’s
In this 40-minute talk a panel of professional to £18 for adults and £15 for concession. ever expanding cities, this is a powerful
photographers will discuss the benefits of Go online to photographyshow.com for portrayal of Africa’s past, present and future.
integrating video into your portfolio. more information on tickets and schedule. rsgs.org
12_13 The Big View 228_ABE_SW.indd 13 18/01/2018 13:02

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
Picture power (a conservation organisation) and that collection as I think spending hours in front
LETTER OF I wonder what persuaded you recognition giving it a global platform through of a screen would spoil the pleasure I get from
THE MONTH to publish the horrendous magazines such as OP means that many people taking a reasonable shot to start with. Family
photograph of those poor thousands of miles away have become aware that and friends have suggested that I should do
elephants in your January issue (Newsroom, this is an all-too-frequent event in India. more with my photographs, but I do not want
OP226)? It will achieve absolutely nothing We can debate whether Biplab should have to weaken my initial enjoyment.
for the elephants, and if you thought that done something other than take photographs, An example is the accompanying shot that
publishing the article in the UK would but it’s reasonable to ask what action would I took while walking through a small hay field
go towards solving the problem then, in have been possible? Singlehandedly tackling with my wife, while on holiday in Austria.
my opinion, you are wrong. This kind of the mob or somehow calming the two panic- I know the butterfly could be centred and
publicity will not in any way help to resolve stricken elephants both seem unrealistic. enhanced using software, but my pleasure
the animal/human conflict shown and you Perhaps more importantly, if Biplab hadn’t comes from the fact that it was the first
must surely rethink your strategy: we are taken the shot then no one would have seen swallowtail butterfly either of us had seen
helpless onlookers and can only help by giving this event beyond the mob and the elephants naturally and I only had a few seconds before
money to charities that try to protect these – and surely it is better that this horror it flew off.
magnificent animals. is exposed rather than going unreported? Henry Hayward, email
The article brought me to tears and I could That he did so means we can all witness
not read the whole of it. I can only hope the the event and choose if we want to act.
photographer did something to help these It certainly doesn’t make for ‘comfortable’
poor creatures, which he should have done viewing, but we feel that doesn’t mean it will
instead of stopping to take photographs. achieve nothing and should never have existed to
In my opinion that is absolutely despicable. start with: sometimes we need to be confronted
This is not the first photograph showing with this type of image in order to take action.
what the human race is capable of doing to
wild animals to get an award (we have also
had a dead rhino with its horn cut off ), but
this is photography gone mad! What next? A difference of opinion
Barbara Gardner, email I have to disagree with Andrew Parkinson
(‘To live a lie’, OP226). Post-processing comes
OP says: Barbara, you are absolutely right down to intent. What he is justifiably raging
© Henry Hayward
that OP publishing the photograph will not against is when the intent is simply to draw
undo what has been done, or prevent it from attention to the image, but what about using
happening again, and we were equally moved it to express your reaction to what you see?
by it, which was behind the reason to publish it. Ansel Adams likened the negative to the
To not show it would be like a national newspaper score and the print to the performance. So,
never showing war or poverty in the belief that Simple pleasures while Andrew’s colour picture might usefully
such photographs will not bring peace or end Following the article by Andrew Parkinson be called Young Male Grizzly on a Remote
suffering. It is true that a photograph does not regarding real and fake pictures in the January Alaskan Beach, the mono image (or a version
in itself have the ability to change anything, 2018 issue (‘To live a lie’, OP226), I have noticed of it that wasn’t just a pastiche to make
but it does have the power to inspire action. that some magazine contributors indicate if a point) might simply be called Bear and
In this particular instance, if people in the UK they have digitally enhanced their photographs. represent pictorially how the photographer
aren’t aware that this type of event is happening I wonder what the photographs looked like responded to the encounter.
to start with, how are they going to feel any urge before submission and whether us readers It is important that wildlife photography
to donate to the charities that are acting on the would actually notice any difference? is honest and genuine when it claims to be,
ground? We don’t live with human/elephant I admit I am a lazy photographer. I take a but that is no reason to dismiss images that
contact in this country, so Biplab Hazra’s picture and if I like it I store it on my computer. attempt something different as ‘lies’.
picture being given an award by Sanctuary Asia If not, I delete it. I do not enhance any of my Graham Hobbs, email
LETTER OF March letter of the month winner Barbara Gardner

THE MONTH
receives a Texenergy Pro-Grip 4, worth £39!
This month we’ve teamed up with Texenergy to give away a superb Pro-Grip 4. When your GoPro, smartphone or DSLR
are about to run out of juice, give them seven hours more power with this USB-C compatible rechargeable battery
grip. Dustproof, splash proof and weighing 185g, the Pro-Grip 4 also doubles up as a camera mount with its
universal attachment point. Discover more at texenergy.co.uk
14_Social_Hub_228.indd 14 18/01/2018 13:03

LEE Big Stopper, LEE 0.9 ND Soft Grad LEE Big Stopper
Nikon D3X, Zeiss 50mm Planar, 240 sec @ f/11 Nikon D3X, Zeiss 50mm Planar, 420 sec @ f/11
LEE Big Stopper, LEE 0.6 ND Soft Grad LEE Big Stopper, LEE 0.6 ND Soft Grad
Nikon D3X, Zeiss 50mm Planar, 305 sec @ f/13 Nikon D800E, Zeiss 50mm Planar, 302 sec @ f/11
BIG STOPPER
My objective with the project CONTINUUM was to shoot a sequence of simple, elemental
photographs, essentially just sea and sky, but all from the same spot on a beach near my
home in France. The photographs would be made at different times of the day in different
conditions; dawn, dusk, the middle of the day, during storms, sunlight, even snow on one
occasion. All would be quite different, but all would link together to form a symbiotic body
of work, due mostly to the positioning of the horizon, and the fact that every photograph
would be shot using very long exposures.
I chose the LEE Big Stopper to help give me the long shutter speeds I required, and
combined this with various LEE ND grad filters to control the light. I am very ‘old school’
regarding my photography and prefer to ‘pre-process’ as much as I can rather than rely
on software after the event. The adaptability of the LEE Filter system lets me be creative
in-camera, which suits me down to the ground.
Jonathan Chritchley
www.jonathanchritchley.net www.leefilters.com
015_OPHO_228.indd 15 17/01/2018 14:50

IN CONVERSATION WITH
Ben Tibbetts
Specialising in cold and remote environments, Ben Tibbetts has forged a creative niche of photography
combined with mountain adventure. His strong artistic background and parallel career in high-altitude
guiding provide the perfect skill set and credentials for producing his breathtaking images
Interview by Nick Smith
16_22 Interview_228_SW.indd 16 18/01/2018 14:05

have got a fairly schizophrenic lifestyle,’ says Ben Tibbetts, The creative sequence takes a bit of unravelling. For Ben, Left
I ‘in that I work as both an adventure photographer and

a mountain guide.’ Talking to me via a Skype hook-up
from his work base in Chamonix, close to Mont Blanc, he
describes how, although British, he doesn’t spend much time
in the UK these days, because most of his work is in the Alps
‘climbing came before photography, but making images came
before climbing. In broad brush strokes, fi rst I was into
drawing and painting, then at about 18 I got into climbing,
and paid my way through university as an instructor,
spending too much time climbing and probably not enough
Valentine Fabre
rappelling the Dent
du Géant in the Mont
Blanc Massif.
Above
– and in the past has been both in Antarctica and Greenland. in the studio.’ Photography followed soon after, ‘but not Jon Morgan and Paul
Cornforth on the
The way the split lifestyle works is ‘that one complements adventure photography. That came a long time after. When
classic Kuffner Arête
the other, but they are obviously very different professions.’ I left college I worked as a climbing and mountain bike of Mont Maudit in the
Ben grew up on the Anglo-Welsh border and was schooled instructor, as well as a bike mechanic.’ Mont Blanc Massif.
in Monmouth, where he enjoyed a strong creative period Realising that as tempting as the lifestyle was, ‘it wasn’t
under the supervision of a ‘very good’ art teacher who really going anywhere’, Ben left the UK for Geneva to read for Overleaf
‘opened my mind to a lot of things. I think I would have a postgraduate degree in fi ne art, which included installation Ice ripples in the
Rambo Nunataks,
been heading towards a medical career, but ended up in art design in public spaces. ‘Some of my installations were
Pensacola Mountains,
school, and that is probably his fault.’ While studying art at photographically based, and some were big moving Antarctica. Shot from
Edinburgh for parallel theoretical and practical qualifications, mechanical sculptures, bearing little relationship to pure 8,000ft in a Twin Otter
Ben concentrated on painting and drawing, but also had photography.’ Having completed his postgraduate course plane...hanging the
access to the darkrooms, in which he spent ‘a ridiculous in 2009, Ben disappeared to Antarctica for 18 months where camera out of the
co-pilot’s window. This
amount of time.’ In terms of his photography, Ben was he worked as a field guide, which was when he made his fi rst
location has been seen
shooting landscapes on a Bronica SQ 6x6 medium format inroads into serious digital photography and video recording. by less than 100 people.
fi lm SLR, as well as large-format field camera systems. ‘I took 30,000 images down there, which these days doesn’t



seem very much. But I recorded what was going on, the tank to allow you to then take photographs. ‘You also need the
science and the landscapes.’ On his return to Europe, Ben experience of many, many years of taking photos, so that you
put himself through the IFMGA international mountain don’t need to think about using a camera. And then you’ve
guiding training while ‘little by little earning bits of money got to be able to both see and manufacture opportunities,
from adventure photography shoots for brands.’ Initially, he while using the landscape to create the image you want.’
made the greater proportion of his living through guiding, You also have to use your climbing companions to your
but over the past few years the balance has been swinging in best advantage, says Ben. ‘Many images will be stage managed
favour of photography becoming the main breadwinner. to a degree. Some will just happen spontaneously: I’ll be in
To be successful in mountain photography ‘you need the right place and the climber will be in the place and, bang,
a pretty broad skill set and to put in a lot of time in dangerous it’s done. But, especially for a more commercial shoot, I’ll
and challenging places.’ Although it seems to be stating the have a very clear idea of what time of day, where and how
obvious, for the 35-year old the key is that ‘fundamentally, you I’m going to get a particular image. Then I’ll take a whole
need to be a good mountaineer. Although you can get good bunch of shots around that key image. But it doesn’t
shots high up without being a particularly strong mountaineer, happen simply by wandering around the mountains and
it is unlikely you’ll get a lot.’ Having this competence nailed pointing your camera at people and hoping it comes back
down – Ben says that he’s not ‘an amazing mountaineer, but all right.’
I’m pretty good’ – allows you to move around ‘wherever and Oddly enough, ‘the stage management of the photography
whenever you want. Night, day, bad weather, technical doesn’t really change the way we tackle a route that much.’
terrain, hanging off ropes. All that stuff.’ But you need to be This is largely down to the fact that ‘the people I climb with
able to do this in such a way that there is enough left in the day to day tend to be very high-level mountaineers and skiers.

There can be a bit of going back and forth if I think that there are working with, which sounds a bit ridiculous when most
is a good image to be had. Most of my friends are now used to of them are world-class athletes. I do a lot of interval training
me hassling them to go back a few metres to do something to allow me to have the sort of cardio level to allow me to
again, or to wait for the perfect light. They know that if they sprint, stop, get my heart rate down, take some steady photos
come out into the mountains with me and the camera is in at very slow shutter speeds, wait for the climbers to pass,
my bag, then there’s going to be some faffi ng about.’ sprint and do it all again. You can be doing this at high
For Ben there are big differences between shooting for altitude for most of the morning. You’ll also fi nd that you’re
commercial brands and editorial. ‘I’m currently in the middle getting up in the middle of the night after only a few hours Left
of a massive book project’ that takes as its subject the fi nest sleep. But you can’t say that it’s bleak, because you choose to Tom Grant in the
classic ‘Y Couloir’ on
routes on the 86 alpine peaks over 4,000m, ‘which I guess is do it. If it is reportage stuff, who even knows if you’re going
the Aiguille d’Argentière,
a bit like the Alps’ version of the Scottish Munros. A lot of to get paid? But in the end, the objective isn’t money. It’s to Chamonix, France.
my energy in the past few years has been put into working spend as much time as possible in the mountains. Which is The couloir reaches a
on this project.’ He goes on to say that a side effect of this a lot. You certainly can’t complain about doing this.’ maximum angle of 50º.
project has been him having ‘a lot of articles published in While fitness and field craft are essential components
mountaineering magazines in the UK, France, Germany and when it comes to getting out there to take the shots, equally Above
the US. By comparison, brand shoots tend to take up less of important for Ben is the link between an artistic background Valentine Fabre at
dawn on the South
my time, but create a more significant part of my income.’ and his ability to take attention-grabbing photographs.
Ridge of the Dent
To be a mountain photographer is to be aware that you’ll ‘There is defi nitely a relationship. I’ve been spending a lot Blanche in Switzerland
probably be covering more ground than the climbers you are of time since the age of 14 making images and a lot of time – with the Matterhorn
photographing. ‘You have to be fitter than the athletes you working out how compositions actually work. And that’s in the background.

a fundamental skill: learning how light, colour and images, the less you experience of a place. And I guess if Above
composition go together to make something compelling. there are things I’d like to get better at, it is other areas Valentine Fabre waking
up on a cramped and
Until probably a decade ago I’d barely taken an image with of photography. I’m quite good at one very small niche
cold bivouac ledge
a person in it that is of any interest. But for a long time photographically, and I’m very glad for that, especially as by the summit of the
I was still learning about this. I was practising, gaining it is quite a difficult niche to get into. But when you look Grand Pilier d’Angle
those 10,000 hours, to the point where now I don’t need to at the breadth and discipline of photography as a whole, (4,243m), Italy. We
think about composition, in that it seems to fall into place. I’m pretty mediocre at most of it.’ hadn’t planned to
sleep here but got lost
I sometimes read about people “placing foregrounds” and ‘I’d also like to get to the point where I can record the
climbing the route on
stuff like that, and I don’t really understand that. I guess you experiences so effortlessly that I can be in the moment. the north face and only
could say that my way of making images is formally learned, That’s something I really struggle with. Most of my got out at sunset. With
but it doesn’t necessarily follow textbook rules at all. It’s memories of the mountains are on a piece of silicon. But 600m further to climb
something that has been developed over a very long time.’ it’s hard to put the camera down when you know that you before hitting the
summit of Mont Blanc
Ben says that he hopes to be working in the mountains for could come back with an amazing shot.’
we had no option but
as long as his body is able. He sees ‘high, long and difficult to hack out a tiny
adventure’ as part of his personal landscape for a while to ledge to sleep on.
come. ‘There’s a lot of stuff to be done. But there’s always
this problem that I think most photographers can relate
to, and that is the difference between experiencing and
recording. The more time you spend recording and making To see more of Ben’s photography visit bentibbetts.com

023_OPHO_228.indd 23 18/01/2018 17:14
#ITSNOTYOUITSME
I NEED
MORE SPACE
Photographer: Steve Gosling stevegoslingphotography.co.uk, steve_gosling
TIME TO BREAK-UP WITH YOUR OLD DSLR?

Always ready for any photo assignment in the world, the E-M1 Mark II body weighs in at a mere 500g.
Together with its robust construction, this compact camera goes where DSLR cameras can’t.
Find out why so many are making the switch at:
itsnotyouitsme.co.uk
024_OPHO_228.indd 24 17/01/2018 14:52

ONE MONTH ONE PICTURE
Always searching for new ways to approach landscape photography, Pete Bridgwood sets
off on a quest to find places with a special and unique connection to his home locale
This photograph was made on a shingle this spot at Hayling Island, there are other shutter speed of around 15 to 30 seconds
beach at Hayling Island on the south coast views that lie on the same meridians as the would most perfectly render the desired
of England. I’ve never visited this location homes of some of my friends. Each ‘random’ amount of blur to ‘dynamise’ the clouds
previously, but this exact viewpoint – accurate location has its own unique photography most emotively. A Lee Filters Big Stopper
to within a few feet – was specifically chosen challenges, but a literally magnetic connection offered the perfect solution, and as the
because of its unique relationship with my enables the creation of wonderful prints, with setting sun warmed the sky and glistened
home near Nottingham. It lies exactly at the each print making a personal and unique gift off the shingle, I made a series of exposures
point where the land meets the sea, on an to give to those friends. as these beautiful clouds smeared across the
imaginary line of longitude drawn south from I must admit, I couldn’t quite believe my sky. Fortunately, whoever painted the beach
my home: -0.9738 degrees from the prime luck when I located the southerly limit of the huts had chosen some beautiful analogous
meridian that passes through Greenwich. -0.9738 meridian on Google Earth and saw maritime blues, imbuing the scene with a
The concept for this idea stems from the that it passed through a group of beach huts. degree of calming monochromatic simplicity
belief that it should be possible to make a Being forced to make a photograph from a and complementing the warmth of the
photograph at any location. Initially I thought self-imposed strictly defined viewpoint was twilight cloudscape.
it might be challenging to choose a completely actually quite a creatively engaging process;
random point on a map, then visit my chosen limiting the choices available for subjects and Hayling Island, Hampshire.
spot with the aim of attempting to create views minimises necessary decisions and frees Fujifilm X-Pro2 with XF 18-55mm f/2.8-4 R
a compelling image of whatever I find there. up more thinking time for creativity. LM OIS lens at 35mm, 15sec at f/8, ISO 200,
The idea then evolved into choosing spots that After considering various compositional Manfrotto 055CXPRO3 tripod with Manfrotto
lie on the same lines of longitude as places in possibilities, I locked the camera into place 405 geared head, Lee Filters Big Stopper,
my locale. Within a few miles either side of on the tripod and determined that a slow two-stop ND grad
25_ONE_MONTH_228_SW.indd 25 18/01/2018 14:42

026_OPHO_228.indd 26 17/01/2018 14:56
LEARNING ZONE
IMPROVE
28 Photographing 36 Quick guide to...
wildlife on safari Photographing quarries
ADVENTURES ON THE SLATE

Greg Whitton’s guide to photographing abandoned quarries
27 Learning Zone Opener_SW.indd 27 18/01/2018 14:45

Photographing wildlife on safari
Seeing wildlife while on safari is without a doubt an enriching, exhilarating and
rewarding experience, and as Andy and Sarah Skinner explain it is possible with
a little bit of preparation, knowledge and patience to return with stunning images
A wildlife photo safari will inevitably involve see when you’ve got a great shot. More than
early starts, long days, shooting in variable light this, though, is the opportunity to review
conditions and spending hours sitting with a your images and push your boundaries in
subject in anticipation of something happening, terms of technical creativity; you can quickly
even though it might not. However, this is part explore ways of improving the look and feel
and parcel of the experience, and the moment of an image, and inject your own style. The
you capture an image that you have been striving following is based on our experiences as wildlife Below
Impala reflection.
to achieve, all of your commitment is rewarded. photographers and photography guides, and Nikon D500 with Nikon 200-400mm f/4 G
Digital photography allows instant feedback will help you produce compelling images on ED VR II AF-S lens, ISO 2500, 1/160sec at
in the field, which immediately enables you to safari that stand out from the crowd. f/4, Kirk window mount and Wimberley head
28_34_Technique_228_SW.indd 28 18/01/2018 15:01

TAKING THE RIGHT GEAR
Understanding the conditions you will be shooting in sharing a vehicle. That said, a tripod can be useful Above, top left
and taking the right kit is vital. On safari you will often back at camp for night sky photography or on boat Elephant, taken with a remotely
triggered camera.
be shooting in low light, because predators are at safaris, so shouldn’t be abandoned completely.
Nikon D5500 with Tokina AT-X
their most active at dawn and dusk. Fast lenses are While a long lens is essential, you should never 116 Pro DX 11-16mm DX lens at
definitely beneficial here, as is a camera with good leave for a safari without a wideangle lens as well, 11mm, ISO 250, 1/400sec at f/8,
high ISO performance and a fast frame rate. If you as this will give you the opportunity to capture remote camera housing with
can, take a second camera body so you have not broader environmental shots, including sunsets Pocket Wizard remote release
only got a backup, but also the option of having two and landscapes both with and without wildlife. Above, bottom left
lenses on hand, ready to shoot. Gathering at a waterhole.
On many occasions your subject will be at quite Nikon D850 with Nikon 70-
some distance, so a lens that provides a focal length PRO TIPS 200mm f/2.8 G VR AF-S lens
Dust y or wet conditions can take their toll on your at 70mm, ISO 1100, 1/250sec
of at least 400mm (full-frame equivalent) is crucial. at f/4, handheld
If your budget doesn’t stretch to a fast prime lens gear, but consider protecting your kit with a dust
cover, rather than packing it away in a bag. This will Above right
then consider a telephoto zoom; in either case a
give you quicker access to your camera and lenses Impala and oxpecker.
teleconverter is also useful for adding extra reach when unexpected moments happen in front of you. Nikon D4s with Nikon 600mm
when needed. f/4 ED VR II AF-S lens, ISO 100,
Never underestimate the number of images you will
To manage your heavy long lens it is vital you have take on a wildlife safari. Make sure you have plenty
1/640sec at f/5.6, Kirk window
a sturdy vehicle mount, monopod or beanbag. For a mount and Wimberley head
of memory cards, as well as a backup storage
vehicle-based safari these are all better alternatives device that you can copy your images on to.
to a tripod, which may become unmanageable when

CAMERA SETTINGS
Camera settings and modes are always
a hot topic among photographers, as
everyone has their own methods that they
are comfortable with. We always use manual
mode so we have total control over the look
and feel of our images, but aperture priority
and shutter priority can also be used in
wildlife photography. As a rule of thumb,
shutter priority is the best option for action
and slow panning shots, while static subjects
and low light are best served by aperture
priority. Really, though, it comes down to
what you are comfortable with: as long as
you can achieve the results you want in the
time you’ve got, that’s all that matters.
While we will set our aperture and shutter
speed manually, for most of our work with
wildlife our chosen ISO setting is Auto ISO.
The reason for this is simple: our cameras
will always select the lowest achievable ISO
setting for the shutter sp eed and aperture
combination we are using (as long as the
minimum and maximum ISO setting on the
camera will allow this), so we are assured the
optimum image quality for the conditions.
Of course, you can set the ISO manually,
but this can have limitations in the context
of a wildlife safari. For example, if your
subject is stationary and you are shooting
at a low ISO, but it suddenly bursts into
action and you need to increase your shutter
speed, you run the risk of underexposing
your image because the ISO is too low, or
you might miss the moment as you set a
new ISO. Conversely, if you try to avoid this
by dialling in a high ISO to start with, you
may be introducing an unnecessary loss of
quality. Manual ISO remains a good option
in more controlled lighting conditions and
for landscape work, but for less predictable
wildlife scenarios Auto ISO can be quicker
and more reliable.
PRO TIP
Having your camera assigned to use back
button focus is highly recommended, as
it means you can easily reposition your
subject in the frame and respond instantly
if a static subject starts to move.
Above left
Leopard and cub.
Nikon D500 with Nikon 600mm f/4 FL ED VR AF-S
lens, ISO 360, 1/800sec at f/4, Kirk window mount
and Wimberley head
Left
Impala backlit by the sun.
Nikon D500 with Nikon 600mm f/4 ED VR II AF-S
lens, ISO 100, 1/800sec at f/4, Kirk window mount
and Wimberley head

COMPOSITION SKILLS
Your images should tell an engaging story
and capture the essence of your subject, so
it is important to allow your own creativity and
st yle to influence your compositions. Thinking
differently and not being afraid to break ‘the
rules’ is one way in which you can stand out
from the crowd, but there are certain factors
that you should always bear in mind.
To start with, be aware of any distracting
elements within the frame – a rogue
stick creeping into the frame or a messy
background can easily draw the viewer’s eye
away from your subject. A clean image will
have far greater impact and in many cases
you just need to recompose slightly or ask
your guide to position the vehicle differently
so the offending item is no longer in shot.
Distracting backgrounds can be minimised
by shooting with the aperture wide open.
Perspective is also crucial to composition.
Creating an emotional and intimate
connection with your subject is achieved by
shooting at eye level to it, or lower. If you are
in a game vehicle that has both a roof hatch
and open sides, always look to shoot from
the lowest angle that you can comfortably
achieve – a difference of just three or four feet
can make a huge difference to the final image.
Achieving eye contact with your subject (and
getting a catch light in its eye) provides an
additional level of intimacy, but you need to
ensure the eyes are sharply focused.
Above
Including your subject’s eyes is not African lion.
essential, though. Many subjects offer the Nikon D500 with Nikon
opportunity for creative compositions that 500mm f/4 FL ED VR
capture textures, markings and striking AF-S lens, ISO 320,
features in a more abstract fashion, so don’t 1/500sec at f/4.5, Kirk
window mount and
be afraid to zoom in or crop your images Wimberley head
more tightly.
However, photographing wildlife is not Left
African lion cub.
always about getting as close as possible. Nikon D810 with Nikon
Sometimes you just won’t be able to get ‘up 500mm f/4 FL ED VR
close and personal’ with your subject, either AF-S lens, ISO 90,
because of the terrain or because it might not 1/800sec at f/5.6, Kirk
be the right thing to do from an ethical point window mount and
Wimberley head
of view (being too close to your subject not
only provides an altered perspective, but can
also affect an animal’s natural behaviour).
When the subject is further away, look at how
you can use the broader landscape to tell a
story of the animal in its environment. PRO TIPS
Finally, don’t be tempted to always put your
A good photo safari guide should position the vehicle you’re in so you are well placed to
subject in the middle of the frame. Even if you get great shots, but don’t be afraid to tell your guide if you are after something different.
haven’t got much time to react, think about Composition and lighting can be subjective, and the more you communicate with your guide,
which way your subject is looking and provide the more you will get out of your safari.
space in your frame for the animal to ‘look Before you even step on the plane to embark on your safari adventure, think about the subjects
into’. You can also experiment by positioning you will be encountering and what you want to achieve. Planning will pay dividends in the
your subjects in less traditional parts of the portfolio that you return home with.
frame and explore how portrait and landscape Understanding your subject will help enormously when it comes to anticipating behaviour,
orientations can add variety and interest. so you will be more likely to capture brief moments of interaction and action.

THE RIGHT LIGHT
Back lighting (or rim lighting) a subject can The method that we find works best is to set
result in a high-impact image, but in Africa the camera to Auto ISO and manual exposure
there is only a small window of opportunity mode. Use the camera’s spot meter to take a
to achieve this. Usually, this is around 20-30 reading from the darkest part of the subject,
minutes before sunset, depending on how which will naturally give you an overexposed
close you are to the equator. At this time, the result as the camera will suggest an exposure
sun is low enough to cast a golden light on to that delivers the dark area as a midtone. Take
the animal and the surrounding vegetation, a shot and review the image with the ‘clipped
providing a beautiful rim light and perhaps highlights’ warning activated so you can see
throwing it into silhouette. which parts of the scene are overexposed.
Lens flare can be an issue here, so it pays You can then fine tune your exposure using
to have a lens hood fitted, although depending exposure compensation to further brighten
on the position of the sun in relation to the the image if necessary.
lens it might not actually do that much. If you With low-key images the aim is to darken
can, use prime lenses, as they have fewer the areas around the subject . This essentially
lens elements, which reduces the risk of flare; uses the same technique outlined previously,
zoom lenses tend to suffer more due to their but rather than taking a spot reading from
increased complexity. the darkest part of the subject, you should
Use spot metering to meter the brightest take it from the brightest point so the camera
part of the scene or subject and then use is ‘tricked’ into underexposing. Again, use
positive exposure compensation to ensure High and low key exposure compensation to tweak the image
the highlights are bright, or intentionally Shooting for a high-key or low-key look is a for creative effect.
underexpose the image to add to the mood. great way of exploiting the various lighting
Colour can be problematic, as the auto conditions you’ll find on safari. For high-key Above left
white balance setting on your camera will images, good subjects are dark animals Lion shot in low-key st yle.
not always reproduce what you are seeing. or those with contrasting markings, so Nikon D500 with Nikon 600mm f/4 FL ED VR AF-S
lens, ISO 100, 1/1000sec at f/6.3, Kirk window
If you’re shooting Raw format images the wildebeest, buffalo and zebra work well. mount and Wimberley head
white balance can be adjusted when you The aim is to overexpose the areas around
process your images, but if you want to get the subject, while ensuring your subject Below
In the footsteps of giants.
it right in the field set the white balance remains free of burned-out highlights. Nikon D500 with Nikon 500mm f/4 FL ED VR AF-S
manually to 6500-8000K to retain the A high-key treatment can work particularly lens, ISO 100, 1/500sec at f/4, Kirk window mount
golden light. well with black & white images. and Wimberley head

USING PANNING
While a fast shutter sp eed will ‘freeze’ on the head of the subject . As your subject Above Zebra and wildebeest by a river.
Nikon D500 with Nikon 80-400mm f/4.5-5.6 G ED
your subject , using a slow shutter sp eed moves, pan the camera with it and fire off
VR AF-S lens at 300mm, ISO 64, 1/10sec at f/22,
and panning your subject can emphasise a succession of small bursts to give you a Wimberley head and LensCoat LensSack
movement, add interest to the background sequence of, say, 10 images. Within those
Below Wildebeest look on at a passing cheetah.
and generally give your images a greater you are likely to have three or four images Nikon D810 with Nikon 200-400mm f/4 G ED VR II
sense of life. The key to panning is to move with a defined focus area. AF-S lens, ISO 72, 1/5sec at f/11, Kirk window mount
the camera at the same sp eed as the
subject , which is most easily achieved using
a tripod with a gimbal head. Handholding the
camera is also an option, but your subject
may not be as sharp due to the added
effect of camera shake.
For panning shots you can determine the
exposure time based on the approximate
speed of the subject , using the formula
1/subject speed in mph or 1/subject speed
x 2 in mph to give you a ballpark shutter
speed. For example, if an elephant is walking
at around 5mph, you would use a shutter
speed in the region of 1/5-1/10sec, whereas
for a cheetah at full sp eed 1/60-1/125sec
would be more appropriate. Use shutter
priority or manual mode to dial in the desired
shutter sp eed, set the camera to continuous
focus and a high frame rate, and then focus

Above Baby elephant being protected by the herd.
Nikon D850 with Nikon 600mm f/4 FL ED VR AF-S lens,
CHOOSING A WILDLIFE PHOTO SAFARI ISO 320, 1/13sec at f/4, Kirk window mount and Wimberley head
Choose a company that limits the number of guest s in each game Below left Take time when choosing a tour operator.
vehicle so you aren’t jostling for sp ace. Nikon D810 with Nikon 500mm f/4 FL ED VR AF-S lens,
ISO 125, 1/800sec at f/5.6, handheld
Choose safaris that offer open-sided vehicles, ideally with a platform
for a beanbag or bars that you can attach a mount to.
Ensure your photography hosts have experience of photographing STEPS FOR SUCCESS
and guiding in the region you are visiting and also have knowledge
of the subjects you will encounter. This will help ensure you are in Movement by other guest s in the vehicle will increase the risk of
the right place at the right time. camera shake, esp ecially when shooting at long focal lengths. Ensure
your shutter sp eed is fast enough to compensate for this and don’t
Look for safaris that offer a good host-to-guest ratio.
be afraid to ask your fellow travellers to minimise their movement.
Ensure the dates you choose coincide with the optimum viewing To get the best shots you need to sp end time in the field. Get up early
times of the main subject s you wish to photograph. Bear in mind and be prepared to be patient.
that in Africa there can be regional variations.
Unless you’re using blur deliberately, your shots should be 100%
sharp, so zoom in and check your results.
The most engaging portraits come from an eye-level persp ective
and eye contact with your subject .
Aim to achieve what you want in-camera, rather than relying on
excessive processing. This will encourage you to experiment more
in the field and challenge you more as a photographer.
Be aware of messy backgrounds and potentially distracting elements
– it’s easy to become so focused on your subject that you don’t notice
anything else.
Don’t be afraid to experiment with your compositions and camera
settings to make your images stand out from the crowd and inject
your own st yle.
Shoot striking images using backlighting. You can also shoot st unning
silhouettes into the light.
Give your subject space in the frame. It’s not always about being
as close as possible.
Animals in their environment can tell a different story. Varying the size
of your subject in the frame can also introduce variety into a series.

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035_OPHO_228.indd 35 18/01/2018 16:46

QUICK GUIDE TO…
Photographing
quarries
On the face of it, quarries may not seem
likely candidates to inspire photographic
creativity, but Greg Whitton claims that
if you allow your mind the freedom to
explore, you can very quickly become
entranced by their hidden beauty
Many quarries are relics of a bygone age, with origins that

are firmly rooted in the industrial revolution, at a time
when Britain was at the forefront of the global trade of ore,
stone and slate. Now, as cheaper alternatives from emerging
economies flood the market, nature is slowly reclaiming what
man has long abandoned. Quarries of various types litter the
British countryside, and some are even within national parks.
I was first drawn to them while hillwalking in Snowdonia,
and in early 2015 I started exploring and documenting these
industrial mazes with a camera. In their heyday, the quarries
of north Wales employed some 18,000 people, while now
they are mostly derelict and widely considered an eyesore.
What better way is there to change attitudes and help people
to embrace their heritage than to produce beautiful and
Top Sony a7R MkII with 70-200mm f/4 Above Sony a7R MkII with 70-200mm f/4 compelling imagery that helps question the common view?
lens at 72mm, ISO 100, 1/40sec at f/10, lens at 200mm, ISO 200, 1/8sec at f/6.3,
polariser, tripod polariser, tripod
36_37_Quick_guide_228_SW_CG.indd 36 19/01/2018 15:00

Safety first!
Quarries are dangerous places, littered with trip hazards, old rusting
machinery, loose rock and vegetation, and steep-sided pits that are
often full of water to significant depths (one particular water-filled
quarry pit in Snowdonia is more than 100m deep).
Many are fenced off and signs warning people of the dangers and
to ‘keep out’ are abundant, so do your research before you go to find
out what public access there is. If something happens to you or your
equipment and you’re trespassing, there’s a strong chance that any
insurance you may have will not be valid. However, assuming you have
permission to be in the quarry, risks can be mitigated by following a
few simple steps:
Always let someone know where Never clamber up or over spoil

you are going and how long you heaps, as they can give way.
are likely to be.
Carry a headtorch with you to
Take extra care if you enter help explore a quarry safely.
abandoned buildings, as the
walls and roofs are often Tunnels in a quarry can often be
crumbling and at risk of flooded and have uneven floors
collapse. If it looks unsafe, or even obscured vertical mine
chances are it is, so don’t enter. shafts. If you are at all unsure,
do not enter.
Slate can be very slippery when
wet, so watch every footstep. Vegetation often overhangs the
edges of pits, so always stand
Use paths that are well trodden. well back from the edges.
In slate quarries these are
obvious as the slate has been Wear appropriate footwear, such
Sony a7R MkII with 70-200mm f/4 lens at 83mm,
broken, crushed and as walking boots with good grip
ISO 100, 0.6sec at f/7.1, polariser, tripod
consolidated by many footsteps. and ankle support.
Top tips for quarry success

Some quarries are blessed with multitude of visual flaws and make
wide-open vistas, while others images more ‘graphic’, while mist
are generally flat or enclosed and can help with separation and
don’t lend themselves to wider allow elements such as lone trees
views. Because of this it’s best to and buildings to stand out from
adopt a mindset that you won’t otherwise dominant backgrounds.
achieve that ‘killer’ image on your If all else fails, some quarries have
first visit. Repeated visits will allow tunnels to explore, with walls that
you to explore the area and spend contain interesting features that
time between outings thinking make fine abstract subjects.
about how best to achieve a
certain shot. Patience is the key Quarries are often hidden from
to capturing great imagery from view or are not overly visible
such a photographically from ground level. However, their
rich environment. photographic potential can often
be assessed by looking at the
A polarising filter is highly topography on OS maps, using
recommended, as rocks satellite imaging services such
(especially slate), trees and other as Google Earth and checking
vegetation, buildings and old out other resources, such as The
pieces of machinery can all create Photographer’s Ephemeris. This
distracting reflections, especially should also give you some idea
when wet. of the level of access: if there is
a public footpath you will definitely
Quarries are excellent locations be able to access some (although
in any weather and inclement not necessarily all) of the quarry.
conditions are definitely worth
exploring if it is safe to do so. Many quarries have published
Rain can introduce extra elements, climbing routes, so literature
such as waterfalls, into the from within the climbing fraternity
pits, and slate will glisten and can also provide a clue as to the
emphasise lead-in lines, shapes suitability of a particular location Sony a7R MkII with Zeiss Loxia 50mm f/2 lens,
and textures. Snow can hide a for photography. ISO 100, 25sec at f/6.3, polariser, tripod
36_37_Quick_guide_228_SW_CG.indd 37 19/01/2018 15:01

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038_OPHO_228.indd 38 17/01/2018 14:57

LIE OF THE LAND
No place like home

It’s easy to start thinking you live in the wrong location to make stunning landscape
photographs, but Chris Dale suggests that a change of approach may be all that’s needed
With a daily feed of epic vistas on social a more dramatic landscape, using intentional format book that has been published
media it’s easy to get jealous, and only natural camera movement to create the impression of recently by Kozu Books as part of its
for us to want what we can’t have. Living in hills receding into haze. My motivation was Landscape Editions series.
Nottingham I went through a long period to take the very thing that had previously held One last piece of affirmation came last
believing I was simply in the wrong place me back – the longing for a big, awe-inspiring November when I was delighted to find
to make landscape photographs. However, vista – and turn it into my inspiration. This I had eight images shortlisted for Outdoor
around two years ago I was introduced to the particular scene is nothing more than a Photographer of the Year 2017. This is an
more abstract side of photography and this couple of small mounds next to a green on achievement I am proud of in its own right,
started me thinking that maybe location my local golf course, but it eventually led to but the most pleasing thing for me is that
isn’t everything. a series of 15 images that reignited my passion within a shortlist packed full of stunning
As you might expect, there’s a lot of trial for photography and opened my eyes to a work showcasing incredible landscapes
and error involved in making this type of fresh way of looking at my local landscape. around the world, seven of my shortlisted
image and my computer’s recycle bin was With this new-found inspiration I found photographs were taken in Nottinghamshire,
soon overflowing with exposures that could myself looking at locations on my doorstep including the image here and four from my
only be described as a blurry mess. There in a much more positive light. I started Sherwood project.
were also a few one-off successes along the making regular trips to Sherwood Forest, So do you need to go to exotic locations to
way, but what really made a difference was which is only a 20-minute drive from my make a successful outdoor photograph, or
the realisation that I needed to have a solid house, but somewhere I’d overlooked for qualify as a landscape photographer? Not a
concept in mind before I started to wave quite a while. I was hooked, and what chance! Shoot local, experiment, revisit the
my camera around. started as an experiment turned into a year- same place over and over, concentrate on the
The image shown here was the fi rst in a long exploration, culminating in 48 of my small details and you may find that you can
series where I decided to try and represent Sherwood photographs making up a small- make any location special.
39 Lie of the land_228_SW_CG.indd 39 18/01/2018 15:11

IN THE SPOTLIGHT
Annette Dahl
Annette Dahl is a Swiss landscape photographer whose subdued compositions
increasingly pull her away from the mainstream. Nick Smith puts her in the spotlight
Nick Smith: What came first,

‘outdoor’ or ‘photography’?
Annette Dahl: I know that for some
landscape or outdoor photographers
everything begins with a love of being
outdoors or travelling, but for me
it was the other way round. I only
began to really explore the world
and my surroundings after starting
photography. I grew up in a house full
of cameras – my parents were keen
photographers – and so photography
came first.
NS: What are the pros and cons of

being an amateur photographer?
AD: I don’t have as much time as a
professional to photograph, because
I have a day job working five days a week,
so I photograph at the weekend. Of
course, the conditions for photography
are always perfect when I am at work!
Once or twice a year I love to travel,
maybe to Scotland, but I’m not a big
traveller going to fancy destinations
every month. It means that I have had
to learn to love my local environment
in Switzerland and take photographs
when I can, but it also means that I am
able to follow any creative direction
I want because I don’t need to make
money from my pictures.
NS: What directions are these?

AD: I am very interested in intimate
landscapes, but I try to avoid using
the word ‘focus’ in terms of creative
direction; that sounds inflexible and
I don’t think that is a good thing for
landscape photography.
Top After the Storm.

Sony a6000 with 70-200mm f/4 G OSS
lens at 169mm, ISO 100, 1/8sec at f/8
Left Ghost Trees.
Canon EOS 5D MkII with EF 70-300mm
f/4-5.6 USM lens at 110mm, ISO 50,
1/125sec at f/11
Opposite Woodland.
Sony a7R with 16-35mm f/4 ZA OSS lens
at 17mm, ISO 100, 0.5sec at f/11
40-41 In the spotlight_228.indd 40 18/01/2018 15:13

NS: You use a quite muted
colour palette…
AD: I think that my style – especially
the laid-back colours – is a development
of my frustration with trying to shoot
classic landscapes where you have all
these ‘wow’ effects. To start with, I was
so focused on creating these brightly Above
coloured photos that I ignored what my Harris Dreams,
heart was saying. Now I have come to Autumn, Isle of
Harris, Outer
realise that I am drawn more to these
Hebrides
intimate and abstract landscapes. Olympus OM-D
I used to think that autumn was my E-M5 with 40-
preferred season, but now I think that 150mm lens at
it is winter because of the softer light. 40mm, ISO 200,
That’s much more captivating for me 1/1250sec at f/4.5
than all those fiery skies.
NS: You seem to tie this colour

into simplicity of composition?
AD: I think that what I shoot are
almost naïve landscapes. I like it when
there’s not much going on. And I love
trees. Wherever I am, I find myself
drawn to trees. I can’t resist. You could
take me to the nicest coastline and
show me the ocean, but I will look
behind me for a tree to photograph.
NS: What turns an enthusiastic

amateur into an accomplished
landscape photographer?
AD: It is something much more
profound than just growing up with
SLRs and photography. One factor is
that I am simply an artistic person.
I have always loved drawing and
painting and have always had this inner
desire to create or capture something
I find beautiful, or something that
touches my soul. This might explain
my preference for mystical moods
and places, subdued colours or simple
compositions. I believe that things are
not always as they appear to be – good
or bad. In photography this means that NS: How does an amateur Annette’s top tips
I love it when the most inconspicuous photographer become better at it? One thing I never go on a shoot without is… spare
scene can leave you filled with wonder. AD: Overall quality is driven simply batteries. I don’t want to miss a potential shot
by a desire to see improvement. As because of a flat battery.
NS: So you were never tempted with more or less everyone, I learn My one piece of advice would be to… be open minded
to become a painter? from my mistakes – which I don’t like and not too focused on a certain image, as you might
AD: I could paint or draw, but making! I also practise as much as miss what nature is offering you.
photography is the medium of my time and conditions will allow and, Something I try to avoid is… getting frustrated when
choice. Probably because with a camera of course, I look to the work of the things do not turn out as hoped for. Instead I just try
I can respond quicker and more easily great photographers as a source of to enjoy being outdoors.
to whatever is captivating me. motivation and inspiration.
Annette’s critical moments To see more of Annette’s work visit annettedahl.com
1986 Bought first 1991 Discovered 2001 Attended 2009 Attended 2010 Entered the world of digital 2017 Currently on a
film SLR camera love of northern photography courses, landscape photography photography; has continuously career break to focus
and started to landscapes, dreaming of a more workshop on Skye with developed and refined photography on and enjoy landscape
explore local area. especially Scotland. creative career. Ian Cameron. and post-processing skills ever since. photography.
40-41 In the spotlight_228.indd 41 10/01/2018 12:46

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042_OPHO_228.indd 42 22/01/2018 13:41

TOP STRAP
Black Dots
A serendipitous discovery of the bothy network online sparked Nicholas White’s fascination
with these buildings, and as he began researching more, the concept of a photo series was born
Maintained by volunteers from the Mountain large-format 5x4 sheet fi lm, the work was made Lookout bothy, Isle of Skye, Highland.
Bothies Association for over 50 years, bothies in England, Scotland and Wales across all four Clinging to the cliffs at Rubha Hunish,
are revered by the outdoor community. Not only seasons and in a variety of weather conditions: Lookout was initially constructed in 1928 as
a coastguard station and became a bothy in
do they offer refuge and basic accommodation for me, it was vital that the project was an 2006. I’d been pacing the ground outside the
in the country’s most remote landscapes, but honest representation of being immersed in bothy for a while in the afternoon attempting
they also serve as a meeting point for strangers the British landscape and that I didn’t just different compositions, but it’s the stunning
with common interests. They are small beacons create work in ‘beautiful’ light. From being panoramic view towards the Outer Hebrides
of humanity, dwarfed by the grandeur of the battered by winter storms in the Cairngorms and the frequent sightings of whales and
dolphins that make this bothy so popular.
British outdoors, which invite us to come as I wrestled to photograph Corrour bothy, to
together, share the warmth of a fi re and sharing charcuterie and whisky with a stranger
exchange stories of past days in the hills. on the farthest reaches of the British mainland,
This project was photographed over a two- this project was as much about the personal
year period and fuses landscapes, still life experience as it was about photography, and
and portraiture to bring together the various it sparked a love affair with bothies that will
elements of the bothy story. Shot entirely on stretch far beyond this series of photographs.
43-47_NICHOLAS_WHITE_FEATURE.indd 43 18/01/2018 15:26

TOP STRAP
Above
Shenavall and the ‘great wilderness’, Highland.
Sitting in the shadows of An Teallach, Shenavall
is perhaps the most popular bothy in the network.
Climbing out of my sleeping bag at 4am, the thick
morning fog that filled the glen slowly dispersed as
the sun rose and struck the Corbetts Beinn Dearg
Mòr (‘Big Red Mountain’) and Beinn Dearg Bheag
(‘Little Red Mountain’). As I made my exposures the
fog retreated past the bothy and hung over the glen
for a short while before burning off. A fleeting
moment of fortune!
Left
The mantelpiece at Glendhu, Highland.
After hiking from nearby Glencoul bothy, I entered the
wood-clad rooms of Glendhu and was immediately
drawn to the arrangement of objects above the
fireplace. Resembling some form of art installation,
somebody had made the effort to crudely string
up some antlers, surrounded by an assortment of
candlewax-coated whisky bottles and disregarded
tea-lights. These peculiar discoveries are what make
entering a bothy so exciting; you never really know
what you’re going to find.

TOP STRAP
Ryvoan bothy, Cairngorms, Highland.

This was the final shot of the project . Keeping an eye on the sun it was clear that if I timed it correctly I’d be able to catch
the last rays of sunlight hitting the bothy. A dash up the hillside and a rush to compose and focus the shot resulted in two
sheets of film being exposed just seconds apart. The second shot missed the light, but the first exposure was a success.

TOP STRAP
Left
David at Kearvaig bothy,
Cape Wrath, Sutherland.
David was alone at Kearvaig, a large bothy
on the northern reaches of the mainland.
He’d hiked across the remote moorland
of Cape Wrath to spend a few days at the
bothy to embrace the isolation of it all – the
immense solitude of these places is one of
the biggest draws. This image was made
the following morning, before we went our
separate ways.
Below left
William at Corrour bothy,
Cairngorms, Highland.
Taken on my first trip to Scotland, I
bumped into William on the approach
to Corrour bothy. An ex-military man, he
shared hilarious stories of people he’d
encountered on the Munros. I took this
photograph on the 5x4 camera without him
realising, as he recounted one of his tales.
Opposite top
Sandy’s canoe at Peanmeanach,
Highland.
This bothy takes its name from the
deserted village that it belongs to on
the southwestern shores of the Ardnish
peninsula. After finding the vivid hues of
sunset to be too overpowering, I woke early
and made this photograph the following
morning. I shared the bothy with Sandy,
who had arrived the day before by canoe
and left it just off the beach. Including the
canoe in the foreground was important;
after all, overland ventures are not the only
way to enjoy the bothy experience.
Opposite bottom
Assorted items, Dulyn, Wales.
In addition to landscape photographs of
the bothies themselves, it was important
for this project to include images of their
interiors. Litter should always be carried
out with you, but traces of things left
behind can help us to imagine the people
who have used this shelter in the past and
add a human element to the bothy story.
These shelves at Dulyn bothy in Snowdonia
contain everything from board games to
a sound system!
NICHOLAS’ KIT
Chamonix 45N-2 camera
Schneider APO-Symmar 150mm lens
Schneider Symmar-S 210mm lens
Nikkor-M 300mm lens
Sekonic L-558 Light Meter
Kodak Portra 400 film stock (at box speed)

TOP STRAP
GET THE BOOK, SEE THE FILM

Black Dots is now available through Another Place
Press for £16 plus shipping (ISBN 978-1-9997424-
5-4) from anotherplacepress.bigcartel.com/
product/nicholas-j-r-white-black-dots.
Nicholas White also teamed up with outdoor
gear manufacturer Rab and production company
Coldhouse Collective to produce a behind-the-
scenes short film about the Black Dots project .
You can see the film and read more about it at
outdoorphotographymagazine.co.uk.

048_OPHO_228.indd 48 18/01/2018 16:52
TOP STRAP
ACCESS RATING
These are based around
an ‘averagely fit’ person.
n
Below are loose gu
g idelines
to what the ratingss mean
(N.B. they are assigned by
the author and not verified
b OP.
by P Walk distances are
on -way only):
one
1//5 Easy access.

s. You
can prett y much geet straight
out of your car and quickly Sgorr Tuath by James Grant
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. 5 9
50 Viewpoints of the month
1 Sgorr Tuath Highland
2 Jangye-ryn Cornwall
4/5 Medium length
hike up to about four
miles over mixed terrain,
54 Viewpoints
possibly with some quite 3 Llyn Idwal Gwynedd
steep gradients.
4 Birchen Edge Derbyshire
5 Meall Corranaich Perth and Kinross
6 4
6 New Brighton Merseyside 3
5/5 The most difficult
7 Lizard Point lifeboat launch Cornwall
access. Long hike over 8
challenging terrain (e.g. 8 Aberdyfi Gwynedd
mountains/summits/steep
9 Meall nan Tarmachan Perth and Kinross
coastal terrain); or involves
travelling over particularly 10 Mutter's Moor Devon
extreme ground (e.g.
scrambling on rocks/
exposed coastal paths 10
or mountain ridges) over

any distance. Map plottings are approximate 2 7
49 Viewpoints opener 228_SW.indd 49 18/01/2018 15:41

Sgorr Tuath,
Highland
The Assynt and Coigach area has a remote and isolated feel
to it, with impressive mountains towering above numerous
lochs. James Grant fell in love with this particular peak
the first time he attempted it, despite a tough ascent
Last March I returned to Coigach prior to our departure, but couldn’t

with one goal: to wild camp on fi nd much about it, except roughly
Suilven and capture some images on where to start and various warnings
and around the mountain. I had given about watching out for holes on the
myself up to a week and had written way. I quickly found out about the
a rough itinerary, which included going holes when I plunged my leg into one,
up Sgorr Tuath, as that was a nearby luckily not injuring myself. It was
mountain that I hadn’t yet been up. then a case of fi nding a path and not
We set off early from Derbyshire getting distracted by sheep tracks
to make the 10-hour drive to the while following a rough bearing up
north-west Highlands and arrived the shoulder of the mountain. From
at around half past four in the the map, we had expected an ascent
afternoon. Despite the long drive time of around 90 minutes, but with
we decided there was enough time a heavy pack and a boggy, featureless
to ascend Sgorr Tuath the same day: ascent, it took an hour longer. This
it was not too far away, looked easy was a bit more of a challenge than we
to ascend and it seemed a shame to expected and meant that by the time
waste the good weather. we got to the top, we were already
I had tried to research the route in the golden hour.
14 miles from Ullapool • 70 miles from Inverness

ACCESS RATING
How to get there From Ullapool, Café, Old Village Hall, Achiltbuie,
take the A835 north for just under 10 IV26 2YF, 01854 622777.
miles, turning left before Drumrunie, Accommodation Summer Isles
signed Achiltbuie and the Summer Hotel, Achiltbuie, IV26 2YG, 01854
Isles. Follow the road for a little over
622282, summerisleshotel.com.
two miles and find a parking spot
Other times of year It’s a great
near the head of Loch Lurgainn.
This is a single-track road so park location all year round.
responsibly: note, there are a few Ordnance Survey map Explorer 439
passing places but you are not Nearby locations Stac Polliadh
allowed to park in them, as it is a risk (3 miles); Suilven (15 miles).
for other drivers. You are then looking
for a kissing gate on the same side
of the road as the loch. Walk through
the gate and ascend the mountain,
following the shoulder. There is no
footpath, so you will need a map
and must be good at navigation, The views from the top were
especially in inclement weather.
incredible for a relatively small
What to shoot Dramatic mountain
views over the lochs, cliff edges, mountain, and we found ourselves
weathered Torrodonian sandstone. looking over glass-like lochs towards
Best time of day Sunrise or sunset. Stac Polliadh, Cùl Mòr and Suilven.
Food/drink Achiltbuie Piping School Torrodonian sandstone is the main
feature for foreground interest, and
50-51_VP_DPS_228_SW.indd 50 19/01/2018 15:01

the round, weathered rocks are some landscape it didn’t really detract It was an incredible evening, Sony a7R with
of the oldest in the world. from the whole scene. If anything, despite the long, tiring drive and the 16-35mm lens
The peak of Sgorr Tuath is more it allowed the setting sun to really gruelling walk. Fortunately, having at 20mm, ISO
100, 1/20sec
like two mini peaks and I discovered intensify and redden the fantastic taken our tents we could pitch in
at f/11, tripod
a spot towards the left peak that I felt sandstone; so much so that I had calm conditions near the summit
worked well compositionally. Although to tone it down when I processed and were able to photograph a lovely
the sky was clear, with such a dramatic the images. sunrise the following morning.
50-51_VP_DPS_228_SW.indd 51 19/01/2018 15:02

052_OPHO_228.indd 52 22/01/2018 13:41
Jangye-ryn (Dollar Cove), Cornwall Canon EOS 5D
MkIII with 16-
35mm lens at
Having previously concentrated on Cornwall’s northern coastline, Dave Fieldhouse decided to 16mm, ISO 50,
1sec at f/16, 0.6
spend a week on the Lizard Peninsula, exploring some of its intricate coves and fishing harbours ND grad, tripod
As tends to be normal for my early must find hilarious to watch. It goes run back up the shore before the next
spring trips, the weather was fine but something like this: wait for a wave wave gets you, pixel peep to see what
the visibility was poor, apart from this to pass your feet (hopefully below the you’ve got and then repeat the process
one evening. It had been a blustery day, tops of your wellington boots), then to try to get a better frame.
which was helping to clear away a lot rush in, plant the tripod into the sand A word of caution, though: always
of the haze, but there was still plenty with as much force as possible, focus check your escape route when trying
of high-level cloud around. This meant quickly and take a shot to make the this. More than once I have seen
it was looking good for a strong sunset, most of the ‘swooshery’ as the receding photographers turn and trip over rocks
so I headed back to this beach, which wave passes beneath your feet. Then that were submerged behind them.
I had explored earlier in the week.
After taking a couple of wide shots 5½ miles from Helston • 22 miles from Truro ACCESS RATING
from the top of the cliffs, close to the
picturesque Church of Saint Winwaloe,
How to get there From its junction with the interest for almost any time of year; if the weather
I made my way down to the sands. As it
A394, south of Helston, take the A3083 towards is poor it’s ideal for minimal long exposures.
was a rising tide I needed to be mindful The Lizard. After two miles make a right turn, Ordnance Survey map Explorer 103
of getting cut off from the path back signed Gunwalloe and Church Cove. Follow this Nearby locations Mullion Cove (9 miles);
to the car park, which forced me to minor road for just over three miles, passing Lizard Point (12 miles – see page 56).
concentrate my efforts on the southern through Gunwalloe, and park in the National
end of the cove. By now the sky was Trust Church Cove pay and display car park.
starting to look interesting, with the What to shoot Clifftop views out to sea,
clouds changing colour as the sun micro worlds in rock pools, Saint Winwaloe
made its way to the horizon. church, rock formations jutting into the ocean.
Best time of day As the beach faces west it is
Having found an interesting cluster
best suited to late afternoon and evening.
of rocks at the edge of the tide line,
Food/drink The Halzephron Inn, Gunwalloe,
I attached a two-stop ND grad fi lter to Helston, TR12 7QB, 01326 240406,
make the most of the sky and dropped halzephron-inn.co.uk.
the ISO to 50 so I could use a relatively Accommodation As above.
slow shutter speed. Then I began a Other times of year This location has enough
dance that I’m sure non-photographers
53 VP_SINGLE_Dave_Fieldhouse_228_SW.indd 53 10/01/2018 12:52

What to shoot Wideangle or telephoto
views across Llyn Idwal towards the
shapely peak of Pen yr Ole Wen.
Best time of day The cwm (valley) is in
shadow nearly all day at this time of year,
but sunrise gives a burst of ‘first light’ on
the south-east side of Pen yr Ole Wen.
Food/drink Ogwen Snack Bar,
Nant Ffrancon, Bethesda,
LL57 3LZ, 01248 600683.
Accommodation Plas Curig,
Capel Curig, Betws-y-Coed, LL24 0EL,
01690 720225, snowdoniahostel.co.uk.
© Alan Novelli
Other times of year Any time of the year,

as the colours change with the seasons.
Ordnance Survey map OL 17
Nearby locations (From the car park)
Llyn Idwal, Gwynedd Llyn Ogwen (100m); Ogwen Falls (200m).
his spectacular viewpoint in How to get there From the A55 south
T Snowdonia overlooks the

glaciated valley of Cwm Idwal
and Llyn Idwal, with the shapely
of Bangor, head south on the A5 through
Bethesda and along the Nant Ffrancon
valley until you reach Llyn Ogwen. When
triangular peak of Pen yr Ole Wen you reach Llyn Ogwen, turn right and
taking the fi rst light of the day on its park in the car park. Head up the track
south-eastern slopes. When combined to the left of the snack bar, towards Llyn
with a little cloud, dramatic images can Idwal. When you reach the lake, follow
be made here; choose a calm morning the western shore of Llyn Idwal towards
for perfect reflections in Llyn Idwal, Devil’s Kitchen at the rear of the lake.
or even some atmospheric mist to add Head uphill and the viewpoint can be
impact to your image. found a short distance along the track.
12 miles from Bangor • 60 miles from Chester ACCESS RATING
5½ miles from Bakewell • 13 miles from Sheffield ACCESS RATING
Birchen Edge, Derbyshire

irchen Edge is a gritstone edge of the Robin Hood Inn. Walk back to the
B near the eastern boundary of

the Peak District National Park.
Its most prominent features are Nelson’s
road and turn left; after 50m you will
reach a footpath on the left . When the
path divides, take the route to the right,
Monument and the Three Ships outcrops, which climbs steeply up, and then follow
which make great focal points for the edge to Nelson’s Monument and
landscape images at sunset, or when the Three Ships.
illuminated by the late afternoon sun. What to shoot Views of rock formations
along the edge, Nelson’s Monument.
How to get there Take the A619 from Best time of day Late afternoon and
Bakewell for approximately five and sunset work well.
a half miles, passing through Baslow, Food/drink The Robin Hood Inn,
until you to reach the B6050. Turn left Chesterfield Road, Baslow,
on to the B6050, and then turn left DE45 1PQ, 01246 583186,
again, almost immediately, to park in robinhoodinnbaslow.co.uk.
the National Trust car park to the right Accommodation Wheatsheaf,
Netherends, Baslow,
DE45 1SR, 01246 582240,
wheatsheafpubbaslow.co.uk.
Other times of year The edge faces
south-west, so it is a good sunset
location at any time of year.
Ordnance Survey map LR 119
Nearby locations Baslow Edge
(3 miles); Chatsworth House (3 miles).
© Andrew Ray
54 Outdoor Photograph March 2018
54-57 VP at a glance 228_SW.indd 54 18/01/2018 16:04

Meall Corranaich, Perth and Kinross
ffering broad views, Meall Best time of day Both ends of the day
O Corranaich sits to the western

side of the more popular Ben
Lawers. As it is less visited the odds are
work well, with sunrise and sunset
accentuating the many ridge lines.
Food/drink Bridge of Lochay Hotel,
good that you can have the summit to Aberfeldy Road, Killin, FK21 8TS, 01567
yourself. Coire Odhar – just below the 820272, bridgeoflochayhotel.com.
summit – was once a focal point for Accommodation As above.
Scottish skiing before the current ski Other times of year This is a great
centres came into existence. location any time of the year. Early spring
mornings can yield flowing waves of mist
How to get there From Aberfeldy, take between the mountains.
the A827 west for approximately 18 miles, Ordnance Survey map LR 51
until you reach a turning on your right, Nearby locations Meall nan
signed Bridge of Balgie and Ben Lawers. Tarmachan (4 miles – see page 57 );
Follow the single-track road for two miles Glen Ogle (14 miles).
until you come to Ben Lawers Nature
Reserve and car park. On foot, cross the
road and take the main footpath towards
Ben Lawers (avoiding the nature trails).
Stay on the main path until you reach the
giant boulder, and then take the path to
the left, which heads up Coire Odhar.
On reaching the top of the coire, leave
© Carlton Doudney
the path and head north-west, taking
the short, steep route to the summit.
What to shoot Mountain vistas and
plunging corries, with opportunities
for sweeping panoramas.
20 miles from Aberfeldy • 43 miles from Stirling ACCESS RATING
8 miles from Liverpool • 25 miles from Chester ACCESS RATING
New Brighton, Merseyside

here are a number of concrete sea The defences are reached via steps next Brighton, CH45 2HZ; 0151 638 9894,
T defences along this coastline,

stretching all the way back to
Perch Rock lighthouse in the centre of
to a white building at the end of the road.
What to shoot Each sea defence offers
a different perspective, depending on
hungryhorse.co.uk.
Accommodation Travelodge Wallasey
New Brighton, Marine Point, King’s
New Brighton. At this viewpoint there the tide. The closest defences to the sea Parade, New Brighton, CH45 2PB,
are three separate sea defences that form wall need a tide above roughly 8.5m, 08719 846476, travelodge.co.uk.
the shape of the letter ‘Y’, extending whereas tides of around 7m work for the Other times of year Year-round.
about 500m from the sea wall. more distant defences. Ordnance Survey map Explorer 266
Best time of day High tide at sunset. Nearby locations Perch Rock
How to get there From Liverpool, Food/drink Sea Horse, Unit 9, Wallasey lighthouse (1 mile); Marine Lake,
the Kingsway Tunnel (A59) across the Waterfront Retail and Leisure Park, New West Kirby (10 miles).
Mersey is the shortest route: pass under
the river and take the slip road signed © Mark Helliwell
non-motorway traffic (A554). Continue
on the A554, following signs for New
Brighton Promenade. When you reach
the seafront, turn left at the roundabout,
where you will find roadside parking.

Lizard Point lifeboat launch,
Cornwall
he rugged and rocky Lizard Accommodation The Top House Inn,
T peninsula has always been

hazardous for passing ships, so
it comes as little surprise that there’s
Lizard, TR12 7NQ, 01326 290974,
thetophouselizard.co.uk.
Other times of year The location works
a lighthouse and a lifeboat launch at its just as well with a stormy squall in the
southernmost tip. With easy access along ocean as it does with a fiery sky;
the cliff tops near to the car park, this visit at any time of year.
location offers plenty of potential. Ordnance Survey map Explorer 103
Nearby locations Mullion Cove (7 miles);
How to get there Take the A3083 from Jangye-ryn (12 miles – see page 53).
Helston towards Lizard. At the centre of
Lizard village continue on to Lighthouse
Road. After approximately one mile there
is a large National Trust pay and display
car park on your left; the lifeboat launch
is a short walk from here.
What to shoot Clifftop views out to sea
using the lifeboat house, launch ramp
and scattering of little rowing boats to
improve your compositions.
Best time of day Afternoon and evening
is best, as the two obvious viewpoints
© Dave Fieldhouse
face south and west.

Food/drink Wavecrest, Lizard Point,
TR12 7NU, 01326 290898,
facebook.com/wavecrestlizardpoint.
12 miles from Helston • 29 miles from Truro ACCESS RATING
10 miles from Machynlleth • 75 miles from Bangor ACCESS RATING
Aberdyfi, Gwynedd
ocated on the northern shores of the Follow the road for 10 miles to Aberdyfi Aberdovey, LL35 0EF,
L Dyfi estuary, Aberdyfi (or Aberdovey)

is sandwiched between rolling hills
and sandy shores. It has a thriving
where you will find ample parking at the
roadside or at the main beach car park.
What to shoot Dramatic skies,
01654 767332, sabrain.com.
Accommodation As above.
Other times of year May and June
harbour, popular watersports centre and expansive beach and seascapes, offer good opportunities to spot ospreys
four miles of sand-dune-backed beach wildlife, fishing boats and watersports. hunting from their nearby nests at
stretching all the way to Tywyn. It is also Best time of day Any time, although RSPB Ynys-hir.
perfect for otter spotting, and for seeing wide skies and open spaces make it Ordnance Survey map LR 135
ospreys later in the year. ideal for sunsets. Nearby locations Dolgoch Falls
Food/drink The Dovey Inn, 8 Seaview, (9 miles); Ynyslas (24 miles).
How to get there Head north from the
centre of Machynlleth on the A487 for
approximately one mile. Immediately
after you pass over the stone bridge
crossing the river Dyfi, turn left on to
the A493 (signed Aberdyfi and Tywyn).
© Simon Whaley

Meall nan Tarmachan,
Perth and Kinross
he eastern-most (and highest)
T summit on the Tarmachan ridge

dominates the skyline above the
picturesque village of Killin. Accessible
from a car park at a height of 430m, the
reward for achieving the summit is a
grand vista of the southern Highlands.
How to get there The starting point for

accessing this viewpoint is the Ben
© Simon Swales
Lawers Nature Reserve car park, which
is the same set-off point for the Meall
Corranaich viewpoint on page 55. From
Killin, take the A827 for just over four
miles, before turning left on to a single- Food/drink The Falls of Dochart Inn,
track road signed Ben Lawers. The car Gray Street, Killin, FK21 8SL,
park is two miles along the road; the path 01567 820270, fallsofdochartinn.co.uk.
to Meall nan Tarmachan is signposted. Accommodation Ardlochay Lodge,
What to shoot Mountain ridges and Main Street, Killin, FK21 8TN,
vistas west along the Tarmachan ridge, 01567 820962, ardlochaylodge.co.uk.
or east over the Munros of Beinn Ghlas Other times of year Year round, but in
and Ben Lawers. Ptarmigan frequent the winter the hill road may be impassable.
slopes above 800m, and golden eagles Ordnance Survey map LR 51
and other raptors can also be spotted. Nearby locations Meall Corranaich
Best time of day Early morning and late (4 miles – see page 55); Falls of Dochart
afternoon (for sunrise and sunset). (7 miles).
6 miles from Killin • 43 miles from Stirling ACCESS RATING
1 mile from Sidmouth • 13 miles from Exeter ACCESS RATING
Mutter’s Moor, Devon

his heath lies in the East Devon
T
What to shoot Rocky terrain with
AONB, on top of a steep hill just plenty of lead-in lines, deciduous and
west of Sidmouth. There are coniferous woodland, and a variety
many tracks and paths across the moor, of wildlife (if you’re lucky).
a variety of woodland and views west Best time of day Late afternoon for
across the Otter Valley. There is also the golden light, but any time of day
heather and gorse aplenty and the area is good in foggy conditions.
is a haven for wild flowers and wildlife. Food/drink Otterton Mill, Otterton,
EX9 7HG, 01395 567041,
How to get there Head west along ottertonmill.com.
Sidmouth seafront on Peak Hill Road. Accommodation Pinn Barton Farm,
Follow the road out of town where Pinn Lane, Peak Hill, Sidmouth,
it turns inland, up the steep Peak Hill EX10 0NN, 01395 514004,
and through some woods. As you leave pinnbartonfarm.co.uk.
the woods the Mutter’s Moor car park Other times of year Works all year
is on your right. round, but late summer when the
heather is in flower is also good.
Ordnance Survey map LR 192
Nearby locations Ladram Bay
(3 miles); Ottermouth and Budleigh
Salterton (6 miles).
© Bruce Little

OPINION
Looking beyond the face

Portrait photography is on the rise thanks to the selfie, but Paul Harris suggests that
including the subject’s environment can lead to more meaningful and powerful images
In hot pursuit of the environmental current crazed world of selfies, it would the same time. In many ways, making Native Kazakhs
portrait, I have – perhaps naively – be so much easier to make portraits direct contact with the person allows prepare their
often relied on the notion that everyone given the enthusiasm of folk to appear you into their world; permission that eagles for the
hunt, Bayan
is a viable and willing subject. Putting before the lens, but that doesn’t appear is sometimes hard won. Olgei Province,
people in front of the camera is never to be the case. A while ago I visited the National Outer Mongolia.
easy for either party, and connecting I have heard landscape photographers Portrait Gallery to see the new crop
them to their environment is just talk often about making a ‘portrait’ of of entries in the Taylor Wessing
as challenging, but it is likely to add a scene; digging deep to reveal colour, photographic portrait prize. Despite
considerable value to both the image texture and the character of the land. its high standing among photographers
and the story behind the subject. I’m Sometimes the presence of dramatic (amid a plethora of major competitions
not especially enthusiastic about being weather allows for a swift resolution, that vie for our attention), I feel that,
on the opposing end of a camera myself, but typically it takes hours or even days many of the submitted images continue
but occasionally relent if for no other to render the spirit of the landscape. to adhere to a formulaic National
reason than to get a feel for what the Photographing people in their Portrait Gallery-style of portraiture.
sitter experiences – awkwardness, self- environment requires an equal amount The competition has begun to break
consciousness, nerves or maybe even of patience, stealth and curiosity, but it the bounds of its traditional studio-
fear. I would have imagined that in the has the potential to tell many stories at style portraiture approach and ventured
58-59_Opinion_228.indd 58 18/01/2018 16:10

more into environmental portraits, on composition and in need of a long samba and merengue. Musical rhythm
but to me it remains unadventurous. explanation. One newspaper reviewer has helped calm my nerves when
Contemplating the photographs, commenting on the slightly formulaic travelling in a new country or passing
I desperately wanted to find the soul nature of it put it succinctly: Teenager? through unfamiliar terrain.
of the images, but on the whole failed Tick. Looking miserable? Tick. Migrant? Having recently caught up on a BBC
to see why they were deemed powerful, Tick. That’s a little harsh maybe, as television series about handmade crafts,
meaningful or enlightening. the ordinary and the familiar can be I was reminded of an encounter in the
For me, the most memorable a foundation for a great image. Another backstreets of Kolkata, on a street that
photograph of the past decade in this reviewer was more balanced, saying that resounded with the sweet rhythm of
competition is Huntress with Buck by when the images deliver such harrowing tabla – a pair of small drums that are
David Chancellor, which was awarded stories, familiarity and simplicity are the core to Hindustani music. This was my
the top prize in 2010. This image is comforts we need. kind of place! I must have spent several
both beautiful and controversial and Ever since I was coaxed into perfecting hours over the next two days dipping
was part of a bigger story David was my paradiddles and crashing cymbals in and out of the shops and talking
pursuing about hunters and the hunted. as part of the percussive background to the owners, who were naturally
He commented after his win that, ‘the to The Dambusters in the military band keen to show off their wares. Outside,
aim is always to be detached. In reality at school, I have been fascinated with hand-drawn rickshaws sped by through
that's rarely possible, but I do hope I can drums. I moved on to playing in a monsoon rains, and played an important
observe without an agenda and without teenage pub band, churning out classics role in the composition of the portraits
the necessity to shout.’ from Fleetwood Mac, Bad Company I was creating inside the stores. With the
This year’s winning image, by César and the Eagles (our Hotel California blaring taxi horns, hammering rain and
Dezfuli, of a 16-year-old migrant staring was particularly good!), and, after what incessant tac-tac of the tabla, it summed
hauntingly and directly at the camera seems like a millennial gap, have now up many of the elements that make up Percussion store,
is undoubtedly arresting and justifiably switched to congas and djembe in an the creative process in the complex world Kolkata, West
topical, but like many others is sparse effort to master the rhythms of salsa, of environmental portraiture. Bengal, India.
58-59_Opinion_228.indd 59 18/01/2018 16:10

NEXT
MONTH
OP229 ON SALE
8 MARCH 2018
How to capture
the essence of
plants and flowers
Outdoor Photographer of the Year – see the winners!
Canon Powershot G1 X MkIII – power in your pocket?
© Shutterstock.com
Results of our Stormy Weather image challenge
60 Next month_228.indd 60 18/01/2018 16:19

INSIDE TRACK
See you later, alligator

An unexpected opportunity to photograph alligators in America’s Deep South produces
a perfect ‘blink and you miss it’ moment, while the chance to capture the ‘Spirit of America’
with a classic bald eagle in flight shot falls flat on the grounds of mistaken identity. All part
of a photographer’s life on the road, says Nick Smith
With the tail of Hurricane Irma having blown through Luckily for me there was a pair of alligators already
South Carolina, and with all the fallen trees hauled away warming up within range of my lens, so all I needed was
and roofs returned to their buildings, Palmetto Bluff was to wait for something to happen. So I waited. And waited.
looking as pretty as a picture. I couldn’t have asked for And waited. As the sun rose, my face reddened and my
better conditions in which to go photographing. throat became parched, I began to realise that one of the
I was on assignment for a fashionable London magazine things the good people of South Carolina had failed to
that has travel pages in which the photography serves mention is that alligators don’t move so much as an eyelid
a slightly different function from that of a photographic muscle for hours on end. After what seemed like an eternity
magazine such as this. I won’t say it’s not as important, the decision was made to stretch my legs. Ambling across
but you’re not expected or required to improvise and no the bridge, I heard from behind me a silky splash as both
one will thank you for submitting images not on the ‘shot alligators slid into the water. It seemed that my one chance
list’, no matter how creatively innovative they might be. for ’gator action this day had gone.
Consequently, your downtime tends to be your own, and As I cycled back to Palmetto Bluff in the early evening
since I’d neither been to the Low Country or photographed I noticed half a dozen bald eagles soaring in the golden
alligators before, I decided that this would be the order air. Deciding that I’d never seen anything quite so
of the day. quintessentially American in my entire life, I dismounted
One of the first things you’ll hear in South Carolina is and walked along a riverbank, eyes and camera pointing
that alligators aren’t crocodiles. They enjoy a much more upward. Although I didn’t quite tread on the fully grown
serene reputation for being calm and reasonable, quite alligator asleep in front of me, I was brought up pretty
unlike their larger, more aggressive cousins. They are sharpish, a few feet from a head-on collision. At moments
protected to a level that borders on mollycoddling and like this you forget how safe they are, and all you can think
they certainly won’t attack you unless you do something of is that this might be the alligator that wants revenge for
really stupid, like try to feed them. They can be a nuisance, all those handbags, belts and shoes. Not knowing what to
but, by and large, they are a harmless variety of crocodilian do – and in the absence of a better plan – I did nothing. My
that, to employ the cliché, are more afraid of you than riverine friend eyed me with suspicion, evidently unwilling
you are of they. to call the first shot. Then of all the bizarre things you can
I mounted my pushbike and headed down to a creek imagine, I saw an old man out walking his dog.
where – I had been assured – there were plenty of alligators ‘Good day, sir,’ I hallooed, not forgetting my recently
to be found. Not only that, but there was a picturesque acquired Southern politeness, before asking him what
wooden bridge spanning some sandbars, with a wonderful advice he had for getting me out of the predicament I was
backdrop of Carolinian swamp positively teeming with in. ‘Sir, you need to step away from the alligator,’ quoth the
great blue heron and snowy egret. man with a certain amount of logic, before adding: ‘I don’t
However, as I unpacked my camera it was as if the world think it will bite you.’
had gone to sleep. Apart from the sun making its stately Later, as we talked, and while I took some rather
transit across the empyrean sphere and a few bald eagles handsome portraits of the 13-foot ’gator, my new friend told
spiralling on steep thermals, nothing moved. There was me that there have been only eight alligator attacks in South
no breath of wind and I could feel the suspension of leaves Carolina in the past half century. ‘And by the way, sir,’ he
on their branches. Here was peace and solitude like no other said as we shook hands before parting company: ‘They ain’t
I had ever experienced. eagles. They’re fish hawks. Everyone makes that mistake.’
61 Inside track_228 CG.indd 61 18/01/2018 16:19

WILD PHOTOGRAPHY HOLIDAYS
Wild Seascapes of Asturias and Galicia, North Spain, April
Learn new skills to photograph unique coastal landscapes.
Capture the outrageous rock architecture, mysterious rock
pools and ever-changing movement of the sea in creative
ways. Scenically located hotels, delicious food and great
company will make this a photography holiday to remember.
www.wildphotographyholidays.com
062_OPHO_228.indd 62 17/01/2018 15:00

PHOTO SHOWCASE
Travel Photographer of the Year

Now in its 15th year, this international competition continues to uncover stunning and insightful
images from around the planet. This is a selection of some of our favourites
Winner, Travel Photographer of the Year 2017

Alain Schroeder (Belgium)
Kolhapur, Maharashtra State, India. Before
every match, each wrestler covers the body of his
adversary with earth, the colour of which varies
by region (red in Kolhapur, yellow in Varanasi).
Fujifilm X-Pro 1 with 50-200mm lens at 54mm,
ISO 800, 1/34sec at f/4.5
63-68_TPOTY_228.indd 63 10/01/2018 12:58

Left Winner, Celebration of Humanity
(Portfolio category)
Paul Sansome (United Kingdom)
Bundi, Rajasthan, India. Boys race across the
wonderfully abstract patterns in the Dhabhai
Kund, one of the finest surviving step wells in India.
Canon EOS 5D MkII with 70-300mm lens at 128mm,
ISO 400, 1/200sec at f/6.3
Below Special Mention, Celebration of Humanity

Somraj Sahu (India)
Howrah, India. Eid-al-Fitr is one of the most
important festivals for Muslims. People gather
around the mosques and streets to offer prayer.
Nikon D7100 with 11-16mm lens at 16mm,
ISO 100, 1/250sec at f/9
Opposite top Winner – Food (Single Image category)

Jianhui Liao (China)
Shanxi, China. A crowd gathers to eat from a huge
dish of noodles.
Sony a7R MkII with 24-240mm lens at 54mm,
ISO 100, 1/200sec at f/8
Opposite bottom Highly Commended,

Earth and Climate (Portfolio category)
Thomas Kalak (Germany)
Dubai. This photo was taken from a helicopter and
shows the interesting graphic structures that seem so
suitable for these endless sand plains. The omnipresent
sand in the air creates a strange, diff use light effect.
Canon EOS 500D with 18-55mm lens at 18mm,
ISO 100, 1/1000sec at f/5.6
63-68_TPOTY_228.indd 64 18/01/2018 16:22

PHOTO SHOWCASE
63-68_TPOTY_228.indd 65 10/01/2018 12:59

Commended – Primary Colours (Single Image category)
Guixiang Huang (China)
Bangladesh. The workers painting this wall climbed the very high ladder
with few safety measures in place. Watching the ladder shaking was scary!
Nikon D4 with 80-400mm lens at 80mm, ISO 200, 1/250sec at f/6.3
63-68_TPOTY_228.indd 66 10/01/2018 12:59

PHOTO SHOWCASE
Winner – Primary Colours (Single Image category)

Wendy Timmermans (Netherlands)
Cenote Nah Yah, Yucatán, Mexico. Freedivers explore the abyss on one breath only. Inside the cenote,
the water was completely still and silent, but the diver’s tiny movements on the surface created an
irregular pattern of reflections, contrasting beautifully with the straightness of the rays underwater.
Sony a6300 with 10-18mm lens at 10mm, ISO 400, 1/125sec at f/4
63-68_TPOTY_228.indd 67 18/01/2018 16:23

PHOTO SHOWCASE
Above Highly Commended

– New Talent Award ‘Destination’
Oscar Tarneberg (United Kingdom)
Kirigamine Highlands, Nagano
Prefecture, Central Honshu, Japan.
This view of Japan’s famous Mount Fuji
evokes the woodblock prints of Hokusai;
it required an early start and some very
warm clothes.
Canon EOS 5D MkIII with 70-300mm lens
at 236mm, ISO 100, 1/5sec at f/13
Left Runner-up, Tales of Adventure

(Portfolio category)
Wenbin Gong (China)
Xi’An, China. The Terracotta Army
has guarded Emperor Qin’s tomb since
around 200BC. Now a group of dedicated
experts is spending many years restoring
the warriors and their steeds – some
from thousands of tiny pieces.
Canon EOS 1Dx with Leica 35mm lens,
ISO 1600, 1/125sec at f/2
For more information on the Travel

Photographer of the Year
competition, forthcoming exhibitions
and the new book, head to tpoty.com.
63-68_TPOTY_228.indd 68 10/01/2018 12:59

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069_OPHO_228.indd 69 22/01/2018 11:04

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70_71 OP228 Your Chance.indd 70 18/01/2018 16:29

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17-166 Cross Titles Ad.indd 72 19/01/2018 11:37

READER GALLERY
Each month we publish the best images from those submitted for our Reader Gallery. Turn to
page 70 to find out how to enter your work using our online system. Here is this month’s winner…
Winner Graham Dargie

I took a serious interest Commercial photography has taught me and tours; going forward I’ll be doing more
in photography in the to work to a brief and to solve problems on tuition, including leading my fi rst photo
early 2000s, shooting the spot, which is something I have taken safari in the Maasai Mara in April 2018.
local landscapes around over to my landscape work: I tend to set out
the Aberdeen area on with something in mind, but I am also ready
black & white fi lm. to adapt when things don’t go to plan. Hometown Aberdeen
I’ve come back to the I regularly talk at camera clubs and in Occupation Photographer
landscape quite recently, having focused 2017 I wrote my first book, 3 Steps to Better and photography instructor
on my commercial photography business Photographs. I love sharing what I’ve learned Photographic experience 15 years
for several years. with others through my blog, workshops grahamdargie.com
73-75 Reader gallery 228.indd 73 18/01/2018 16:33

74 Outdoor Photograph March 2018

Previous page Opposite Above
Loch Earn, Perth Rattray Head lighthouse, St Monans, Fife Send in your best images
and Kinross/Stirling Aberdeenshire I was hoping for some nice early and win great prizes. This
Rob Mulholland’s iconic Still I set out to shoot a long exposure light at the St Monans breakwater.
sculpture at Loch Earn had been here, but it just didn’t capture However, as night turned to day
month’s winner receives
on my hit list for a while. A 2am the dreich atmosphere. The sky there was no sunrise as such, a Think Tank Perception 15
alarm followed by a 2-hour drive got had just enough texture to be so I decided to try to make the backpack, worth over £100!
me to the loch just before sunrise. interesting, though, so I juggled most of the gloomy conditions.
‘Still’ is the perfect word to describe my settings around to give me a I noticed that water was making The Perception series is Think Tank’s
the morning, as I stepped out of 2sec shutter speed that would little waterfalls and splashes all latest line of photo backpacks. The
the car to the sound of birdsong show some intention in the waves, along the breakwater, but I couldn’t Perception 15 is a great option for
and nothing else. After a quick rather than freezing them in place get it looking right everywhere at outdoor photographers who like to
spray of midge repellent I stepped or smoothing them out completely the same time. I decided to shoot travel light, thanks to its breathable,
down to the shore and strode into and losing the mood. I like shooting separate frames for each area (four padded airflow harness, removable
the loch. There’s an obvious shot in these conditions because it frames were used here) and blend waist belt and fitted backpack straps.
to be done here with the figure at forces you to dig a little deeper them in Photoshop – it’s not what As its name suggests, the Perception
the centre of the frame. The water to get the shot, rather than just I set out to do, but the technique 15 can hold a 15in laptop, as well as
was moving gently, but a 10-stop going through the motions. allowed me to salvage something a 10in tablet, plus a small DSLR or
ND and polarising filter turned Nikon D810 with Nikon 24-70mm atmospheric from an otherwise mirrorless camera and two or three
the loch into a mirror to complete lens at 26mm, ISO 400, 2sec at tricky morning. lenses. A durable water-repellant
a beautifully serene scene. The f/11, 10-stop ND filter Nikon D810 with Nikon 16-35mm coating means the bag can cope
perfect conditions meant I had lens at 16mm, ISO 64, 0.8sec with a light shower,
time to try a few different angles (water) and 136sec (sky) at f/22, while a removable
and I even went back to the car for polarising filter rain cover
my 70-200mm for a very different provides
shot, but I kept coming back to protection
this angle as the light changed. in heavier
I packed up, had my muesli and downpours,
a coffee, and headed back up the making it
road to complete a perfect morning. ideal for all
Nikon D810 with Nikon 16-35mm weathers.
lens at 18mm, ISO 125, 30sec To find out
at f/11, 10-stop ND filter, more, go to
polarising filter snapperstuff.
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16-249 2016 App Ad for OP FINAL.indd 76 19/01/2018 14:09

NATURE ZONE
DISCOVER
78 Laurie Campbell: 80 Nature 83 A moment 84 Steve Young:
Life in the wild photo guide with nature On the wing
LARKING AROUND AT THE BEACH

Steve Young searches the dunes on the lookout for shore larks
77 Nature Zone Opener_SW.indd 77 10/01/2018 13:02

LIFE IN THE WILD
Scottish wildcats
With no solid idea of their numbers and a history of persecution, Laurie Campbell asks
how – if we can locate them – should we be photographing Scottish wildcats?
In times past, the Scottish wildcat (Felis
silvestris grampia) was portrayed in folklore
and illustrations as an animal with a fearsome
reputation; it was a charismatic, but ruthless
predator. Unsurprisingly, it was persecuted
relentlessly. The early photographs we saw of
them didn’t help either. As a child visiting the
Scottish Highlands on family camping holidays
in the 1960s, it seemed normal to see postcards
and guidebooks adorned with images of snarling
wildcats. The preoccupation of photographers at
the time was obviously to perpetuate what had
become a standardised view of a wildcat. What
better way to do this than by photographing
captive animals reacting to being cornered
against an all-too-often unconvincing and
contrived backdrop of clumps of heather.
As recently as the mid-1990s I spotted a
photograph of a wildcat in a calendar published
by a country sports magazine, and by the angle
of one of its front legs it was clearly being held
in a snare or trap, albeit just out of frame. No
doubt the photographer happened across the
unfortunate animal, but the fact that they had
taken advantage of the situation demonstrates
just how desperate people were to obtain any
photograph of this seldom seen animal.
Undoubtedly, centuries of persecution
haven’t helped, so it’s little wonder that they
had become wary, elusive and difficult to
photograph. Nobody really talked about just
how rare they might be, though, until around
a decade or so ago when the question was
asked and their plight was finally recognised.
The first problem was deciding exactly
what constituted a pure wildcat. There was
a growing awareness that wildcats had been
interbreeding with feral and domestic cats
and the resulting hybrids didn’t quite match
the accepted set of identifying features, which
in itself had to be revised. The Scottish wildcat
is now finally classed as highly endangered,
with numbers living in the wild estimated
to be anywhere between a few dozen and
a few hundred.
Left This young male wildcat was part of the

captive breeding programme at the Aigas Field
Centre, where I was allowed special access to
photograph it for a magazine article. To attract
its curiosity and tempt it between the bases of
two birch trees, I simply placed a lens cleaning
cloth on the ground of its enclosure.
Nikon D4 with Nikon 200-400mm f/4 VR lens
at 280mm, ISO 800, 1/250sec at f/5, handheld
78_79 Life in the Wild 228.indd 78 10/01/2018 13:03

Above I photographed this orphaned, hand-reared
female wildcat for almost a decade, living wild and
Nature tips free in the Lochaber district of the West Highlands.
My own experiences of wildcats started with using digi-scoping or any other means of This shows the animal still in its impressive, thick
sightings of them at night or in the early hours obtaining high magnifications. The requirements winter coat in early April.
when driving on remote single-track roads in would be to identify a location where there is Nikon F5 with Nikon 200-400mm f/4 manual focus
the Scottish Highlands, often at the end of a local knowledge of them having being seen, lens, Fuji Provia ISO 100 film push-processed to
long journey from home. Curiously, they would keep hidden, downwind, and most importantly ISO 200, 1/500sec at f/5.6, tripod
never rush away, but instead slowly melt into any to be in position long before you expect them to
available cover. Given the locations and habitat appear, essentially at night for a sighting at dawn uniquely in wildlife photography in the UK – we
it often seemed just the sort of place where we or by mid-afternoon for an appearance at dusk. have a situation where a benchmark has been
might expect to see one, but I could never be set as to the authenticity of the identification of
Good photographs of Scottish wildcats
certain that I was looking at a purebred Scottish
taken in the wild are rare, but one of the first the subject we are photographing. Photographs
wildcat. I would really need a photograph and
I remember most was taken by Keith Ringland, of ‘wildcats’ taken in the wild are under scrutiny
in recent years I’ve always driven with a pre-
a Perthshire photographer who succeeded like never before. As a professional nature
prepared camera on the front passenger seat,
in photographing one crossing a burn on a photographer, I still find it disappointing that
set to a high ISO and fitted with a 70-200mm
fallen log at night, using a camera trap and many of the publishers I work with never ask
f/2.8 lens, with a high-powered flash on standby.
flash. This was long before the days of motion-
whether the photographs they wish to use are of
For those living in likely wildcat country and activated digital camera traps, which have now
with a lot of time to invest, there could be a become fundamental tools in researching and
purebred wildcats, or worse still, only ask if I have
chance of photographing them over long range monitoring the distribution of Scottish wildcats. anything showing them ‘looking more fierce’.
Predictably, even photographs of one yawning and
showing some teeth are more likely to be selected.
In response to the crisis, a government- away from the public eye, both to prevent Such is the legacy we have to deal with, and
backed initiative – Scottish Wildcat Action them from being semi-habituated to people although it demonstrates the negative influence
(scottishwildcataction.org) – has been set and of course to avoid anything that could photography can have, I would like to think that
up. One of its roles is to coordinate a captive disrupt their behaviour and breeding success. we can change long-held perceptions. It will just
breeding programme, using wildcats already So, the opportunities for photographing take time and photographs that show so much
held in captivity. These animals are kept strictly Scottish wildcats are very limited and – almost more of their private lives.
78_79 Life in the Wild 228.indd 79 10/01/2018 13:03

WHAT TO SHOOT THIS MONTH…
Laurie’s March highlights
Baiting animals has become a controversial practice, but offering food

and risking your subjects becoming dependant is not the only option; there
are more subtle ways that can actually be beneficial to your subject. At this
time of the year many birds will respond to appropriate nesting material laid
out in the general area where they are building. Rooks (Corvus frugilegus),
for example, will take suitably sized sticks, while house sparrows
(Passer domesticus) prefer feathers or combings from dogs’ coats.
Nikon D300 with Nikon 200-400mm f/4 VR lens, ISO 400, 1/400sec
at f/4, tripod, hide
Black guillemots (Cepphus grylle), also known locally as ‘tysties’,
As the term implies, songbirds are characterised by the way they use are mostly found around the Northern Isles, Hebrides, West coast
their calls to advertise their presence, especially at this time of year of Scotland, Anglesey and much of the Irish coast. With their overall
when they need to establish and proclaim breeding territories. The key black plumage, white wing patches and bright red feet and legs they
to photographing them is to identify frequently used ‘song posts’ and are unmistakeable in the breeding season. While some nest on
select a viewpoint and position in which to place a hide for either morning inaccessible and dangerous sea cliffs, a good number can be found
or evening sessions. Start with familiar garden bird species, such as nesting on stone piers and jetties; being close to humans these birds
robins (Erithacus rubecula), as these can be the most confiding. can become semi-habituated and less susceptible to disturbance.
Nikon F3 with Nikon 600mm f/5.6 manual focus lens, Kodachrome Nikon F3 with Nikon 600mm f/5.6 manual focus lens, Kodachrome
ISO 64 film, 1/250sec at f/5.6, tripod ISO 64 film, 1/250sec at f/5.6, beanbag
All birds – including seabirds nesting in close quarters with one another –
set up breeding territories in spring. Mute swans (Cygnus olor) will nest
on just about any body of freshwater and pairs occupying small lakes and
ponds will attempt to take control of the whole area. Visiting rivals will
not be tolerated and the posturing displayed by the resident cob (male)
bird is known as ‘busking’. With wings arched stiffly upwards, head and
neck lowered, and paddling quickly, they will on occasion take off to follow
through with an actual attack.
Nikon D3s with Nikon 500mm f/4 VR lens, ISO 800, 1/1250sec at f/4, tripod
80-81_WHAT_TO_SHOOT_228.indd 80 18/01/2018 16:36

More seasonal subjects
Mad March Hares
Flora
Sea belt / sugar kelp (Laminaria saccharina) – look for this substantial kelp cast At this time of year, male brown hares
up on the shore after stormy weather. (or European hares if you prefer) can be seen
Creeping speedwell (Veronica filiformis) – as the name suggests, this is a low,
prostrate plant. Fairly common, with beautiful pale-blue flowers.
pursuing females through low vegetation, with
Purple saxifrage (Saxifraga oppositifolia) – a mountain plant found mostly in unreceptive females turning and ‘boxing’ with
Scotland. Can have two flowering periods: in March to May, and then sometimes their would-be suitors. This can make for some
in July to August.
great action shots of the UK’s fastest land
mammal, but where should you be heading?
Fauna
Raven (Corvus corax) – this species nests very early in the year, so by now there
is a chance of seeing family parties on the wing. East Anglia
Brown hare (Lepus europaeus) – most often thought of as an animal to be 1 With the exception of the north of Scotland and
photographed early in the morning, they can be just as active in the evening as well. its islands, the brown hare can be found across most of
Greater white-fronted goose (Anser albifrons) – fewer than 16,000 of these ‘grey UK, but East Anglia is a hotbed of hare activity. It might
geese’ winter in the UK. The ‘white-front’ in the name refers to a white patch around be vague as a location, but simply keeping an eye out in
the bill and forehead. farmer’s fields across the counties of Norfolk, Suffolk and
Cambridgeshire can reap rewards, especially around dusk
and dawn when the hares are most active.
World wildlife spectacles Havergate Island, Suffolk
Orca, Argentina 2 Sticking with East Anglia, if you fancy something
Argentina’s Valdes Peninsula, located a little less conventional, the RSPB’s site on Havergate
in northern Patagonia, is home to the Island – Suffolk’s only island – has its own hare population.
world’s most infamous pod of orcas. Trips to the island run on the first Saturday of the month
The residents have gained their (except May, June and July), with additional guided hare
notoriety thanks to a unique hunting walks in early March and mid April, and a more exclusive
method that sees them actively beach excursion to capture the ‘first light on Haverstock’ on
themselves in pursuit of sea lion April 8, which sets out at 5:30am. Due to limited spaces,
© Nagel Photography / Shutterstock.com
pups. It is said that two male orcas booking is essential for all of these events.
were first seen snatching pups off the rspb.org.uk
beach at Punta Norte (‘north point’)
in the mid 1970s and since then they Wimpole Estate, Cambridgeshire
have effectively taught subsequent 3 Eight miles south west of Cambridge, the National
generations this hunting method, Trust’s Wimpole Estate offers another near-certain hare-
which isn’t replicated anywhere else. spotting opportunity in East Anglia. The estate covers
Today, the orcas – which consist of 2,500 acres, of which most is organic farmland, which is
around 30 individuals – can be seen ideal for hares. The ‘dawn to dusk’ opening hours ensure
in the Punta Norte area from around you can be on location at the peak time, with foxes, stoats
Sloth bears, India mid February until late April, but the and badgers also potentially making an appearance and
The sloth bear may not have quite the two-week window from late March adding to the diversity of your shots.
same cachet as its brown and polar through to early April is when they nationaltrust.org.uk/wimpole-estate
namesakes, but this insect-eating generally hunt most actively. The best
species still has bags of character, time to capture this terrifying event Lyme, Cheshire
thanks to its more gangly build and is at high tide; when the tide is low 4 The UK’s brown hare population is spread across
shaggy coat. The vulnerable species the sea lion pups are too far from the most of the country and Lyme is another NT-owned
is native to Nepal (and there is a Sri water, even for the most determined property that offers plenty of photographic opportunity.
Lankan subspecies), but India is where and athletic orca. When high tide Lyme Hall sits in a 1400-acre deer park located off the A6,
the majority of sloth bears are found; coincides with dawn and dusk you will approximately 15 miles south-east of Manchester. One
estimates suggest it is home to 90% benefit from two photo opportunities of the best vantage points comes from The Cage – an
of the world’s population. Although the in a day, but the potentially bloody 18th-century hunting lodge sitting on a hill overlooking the
bears are distributed across large parts nature of this event means that it isn’t park’s grassland, in which the hares may be seen.
of the country, Satpura National Park in suitable for everyone. nationaltrust.org.uk/lyme
the central state of Madhya Pradesh is
one of the best locations. This is partly Dolydd Hafren, Powys
because it is not known for its tigers, 5 The Dolydd Hafren Nature Reserve is roughly one
so the large crowds seeking big cats and a half miles (as the crow flies) from the Anglo-Welsh
head elsewhere, and partly because border, on the banks of the river Severn. Brown hares are
© Foto4440 / Shutterstock.com
it offers the rare option of a walking frequently spotted on this natural floodplain, which also
safari, which enables you to get much attracts various migratory birds. Be warned, though: the
more ‘involved’ in your visit. In March, half-mile long track from the road to the reserve’s car
look out for sloth bear mothers carrying park can be slightly challenging in places, especially after
their young cubs on their backs; this heavy rainfall or in icy conditions.
is the only bear species to routinely montwt.co.uk/reserves/dolydd-hafre
exhibit this behaviour.
80-81_WHAT_TO_SHOOT_228.indd 81 18/01/2018 16:36

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landscape | wildlife | nature | adventure
082_OPHO_228.indd 82 19/01/2018 12:05

A MOMENT WITH NATURE
Small wonder
Hoverflies are so ubiquitous that we might not even consider them as ‘worthy’ photographic
subjects. But as Will Hawkes explains, this tiny insect may well have travelled thousands
of miles to reach us, making its presence far more remarkable than we think
The tired hoverfly whirrs slowly over the just over a week. A hairline crack appears in Suddenly, my net traps him. I put him in
Scandinavian landscape. Alighting on an the chrysalis and starts to widen. Two small a flight simulator where all he can see is sky
ox-eye daisy she surveys her surroundings. antenna wave out, followed by large eyes of and all he can do is rotate. But he does not
Pale sun warms her wings, as thousands of deep maroon. A bronze back plate covering want to rotate; he orientates south, again and
tiny aphids crawl on the stems around her. the thorax comes next, before the feature again. After 15 minutes his ordeal is over and
Her journey is finally over. She treads slowly, he will become proudest of appears – his he is free to continue his journey.
laying her small, ivory eggs – she will now abdomen. Coloured in varying hues of amber This brief disruption revealed valuable
spend the rest of her days happily sipping and adorned with black double markings, the information about insect migration. Thanks
nectar under the northern European sun. transformation is complete. His new clothes to him and his cousins we have learnt that
The small, green, eyeless grub emerges give him his name: the marmalade hoverfly. hoverflies predominately use celestial cues
hungry from his egg. Lolloping after aphids One day, unfurling his pretty wings, he and that polarised light is probably very
that he detects using smell, his piercing shivers. It is not so warm and there are fewer important to them. We can’t know exactly
mouth hooks dig into them, allowing him aphids about for any future mate of his to lay where this individual hoverfly came from,
to suck them until they are dry husks. But her eggs among. It is time for drastic action, or where he will go, but we do know that he
aphids emit alarm pheromones under attack, so he gets up, hovers, orientates himself and has most likely travelled thousands of miles
so the clever hoverfly grub has to lift the sets off in a southerly direction. in just a few weeks.
aphid high to eat it, ensuring the pheromones Our hoverfly crosses the great plains of Our hoverfly eventually arrives in southern
waft uselessly above future victims. Europe before the Alps obstruct his route. Europe. Others arrive too, and many of them
The small predator grows quickly, until he The little marmalade hoverfly and millions are female. Our fly quickly finds a mate and
reaches nearly 2cm in length. Then, tiring, his of his friends get channelled through Alpine – mission accomplished – lives out his days
skin begins to harden and he falls asleep for valleys, winding from Switzerland into France. sipping nectar on the Mediterranean coast.
83 Moment with nature 228.indd 83 18/01/2018 16:38

NATURE ZONE
STEVE YOUNG
On the wing
This month, Steve Young turns his
lens on the birdlife making the most
of flooding at his local golf course
I have written before in this column about the
amount of time I spend on the golf course, not
just playing golf, but carrying out surveys and
producing a quarterly newsletter for the club
about the wildlife seen. I make no excuse for
writing about it again, because the late winter
of 2016 into early 2017 gave me some fantastic
photographic opportunities.
Much of the course was closed for a lengthy
period, due to prolonged heavy rain leading
to lots of flooded areas. This was bad for the
golfers (and part of me cursed the weather
for that reason), but it meant that the course
was very quiet, and without golfers wandering
around the fairways, birds were able to feed
undisturbed in the surrounding trees.
Consequently, I came across quite a few
surprises. A little egret flying around one of
the ponds was a new bird for the course, as
was an oystercatcher that bizarrely fed along
one of the fairways before flying off to the
east. Both of these happened on the same
day, and as I was congratulating myself and
heading back towards the car park, I heard
a call above me and looked up to see a lesser
redpoll feeding in an alder tree. This was the there they were, feeding in an apple tree on Buzzards, however, are regular here, although
third new bird of the day for the course and the last remaining apples. I took plenty of most views are of birds soaring and calling
when I looked more closely I could see there shots, as despite seeing up to four birds on overhead and all of my previous images are
were at least seven of the lesser redpoll. an almost daily basis I had never got close of this sort of underwing view. But during
That was a good day bird-wise, but a enough for anything other than record shots the closure of the course a juvenile bird took
photographically better day was yet to come. before. Readers from the London area will up residence alongside the ninth green and
A few days later, I noticed two of our now- not get excited over ring-necked parakeet the surrounding area, close to the entrance
regular ring-necked parakeets drop down photographs, but they are still relatively road. After a few ‘tester’ sessions, waiting and
into a small copse. I slowly approached and uncommon in the northwest! watching, I realised it was sitting in a tree then
dropping down to the ground to catch large
earthworms. From where I could park my car
and observe the bird, my 300mm lens was just
a little on the short side, so the 500mm was
brought into action for a rare visit to the course.
By now, the course had re-opened and
there was increased disturbance from golfers
playing the hole, but the buzzard usually
returned after a few minutes (although on
busy days it would disappear altogether). My
perseverance paid off and it all came together
in one session when the bird dropped down in
front of me and fed undisturbed for a full five
minutes. That day’s images were my favourites.
Above After many attempts I finally managed

to capture some nice shots of our regular
ring-necked parakeets.
Left Complete with a worm in its bill, my friendly
buzzard poses for a nice portrait. It seems
strange that such a powerful-looking bird
runs around on the ground chasing worms.
84-85_ON_THE_WING_228.indd 84 18/01/2018 16:39

BIRD OF THE MONTH LOCATION OF
Late winter is a good time to check along the
THE MONTH
shoreline for feeding flocks of twite and linnet.
Also in the same habitat may be snow buntings
and our bird of the month, the rarer shore lark.
A winter visitor, these lovely looking birds with
a yellow face and chin can be seen searching
for seeds in sand dunes or along the beach.
Approached with care they will feed unperturbed
as the camera clicks away. © Rudmer Zwerver /
Shutterstock.com
They are also known as the horned lark, as
in summer plumage the black feathering on top
of their head extends to form a pair of ‘horns’. Shore larks are seedeaters and will search along Saltholme
During the winter these are lost, although small the shoreline for food; this one found a nice
With plenty of events and a
horns can be seen on some individuals. supply on a small plant.
range of facilities, the RSPB’s
site at Saltholme in Teeside
is somewhere that the whole
family will enjoy, not just
birders. However, focusing on
photography first, there are four
hides around the site, as well as
viewing screens that will allow
you to look out over a variety
of habitats, such as reed beds,
grassland, meadows and pools.
In addition to wildlife, which
includes lapwings (pictured),
peregrines, water rails and – if
you’re lucky – brown hares, the
Small flocks of shore larks can occur on the east In this head-on shot you can just make out the
centre also has a walled garden,
coast, but two or three together is more common. two small ‘horns’ on the side of the bird’s head.
so you can turn your lens towards
flora as well as fauna.
While you’re busy with your
BIRD PHOTOGRAPHY TIP camera, partners, children and
grandchildren can enjoy the
Strolling through one of the local parks with my thought of kneeling down or even lying down so site’s play area, café and shop,
grandchildren I often see lots of people taking you are the same height as the bird for a different or explore the centre’s four
photographs of the birds on the lake. There is effect ?’ I have yet to pluck up the courage to miles of trails.
nothing extra-special here, and although little and ask this, as I dread the answer that may follow Getting there RSPB Saltholme
great crested grebes can be very tame, most are to the old guy pushing a toddler around. It could is a short hop across the Tees
just snapping the mute swans, mallards or coots. make such a difference, though, especially to from Middlesbrough town
However, they all do one thing exactly the same: a common species that has been photographed centre, so it’s easy to get there.
they stand up and point the lens down at the bird. thousands of times before: a different angle will The shortest route is a little over
Sometimes I long to say: ‘Excuse me. Have you give you a different-looking image. two miles and involves taking
the Transporter Bridge across
the Tees from Middlesbrough
to Port Clarence. Turn on to
the A178 and follow the road
for just over one mile; RSPB
Saltholme is on your left. If the
Transporter is closed, you will
need to take a longer route
from Middlesbrough centre, via
Newport Bridge and the A1046.
Entry fee £5 per car; free if
you arrive by public transport,
bicycle or on foot.
Opening times Every day except
Christmas; 9:30am until 4pm or
Above Coots are one of the most common birds on any park lake. These two images were taken within a few 5pm, depending on the season
minutes of each other using a 300mm lens. Standing up (left) has produced the expected image, but lying
(check website for details).
down with the same bird as it swam towards me (right) created a much better angle and a different shot for
my files. Of course, you will get some odd looks as you lie down at the water’s edge, and the occasional Website rspb.org.uk
dog will pop over to sniff you (or worse, jump in the water alongside you), but you’ve got your shot!
84-85_ON_THE_WING_228.indd 85 18/01/2018 16:39

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086_OPHO_228.indd 86 17/01/2018 15:02

GEAR ZONE
ACQUIRE
88 – 91 Gearing up –
bumper edition
© Dan Lord / Forecast Designs
TAKE THE WEIGHT OFF YOUR FEET

Our selection of the latest kit includes new Trekmates walking poles
87 Gear Zone Opener_SW.indd 87 10/01/2018 13:23

Trekmates Walker Shock Pole (Pair)
With a spring loaded, anti-shock system, a moulded rubber handle
and a double locking twist mechanism, these walking
poles are ideal for those who enjoy long hikes into the great
outdoors on tough, uneven terrain. Together the Walker Shock
Poles weigh 620g with steel tips and rubber feet
(with 32mm mud baskets).
Guide price £30
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Texenergy Pro-Grip 4
This piece of kit might well become your new best friend. When caught
out on location and your GoPro, smartphone or DSLR are about to run
out of juice, give them up to seven hours more power with this USB-C
compatible rechargeable battery grip. Dustproof, splash proof and
weighing 185g, the Pro-Grip 4 doubles up as a camera mount with
its universal attachment point.
Guide price £39
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GEARING UP
ThinkTank Photo
Airport Advantage Plus
Designed for the jet-setting travel photographer,
this roller camera case meets international carry-
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support heavy gear. The 80mm wheels with
sealed ABEC grade-five bearings promise
many kilometres of quiet and easy rolling.
Guide price £276
snapperstuff.com
Therm-a-rest NeoAir Camper Duo

This double camping mattress is ideal for spring and
summer adventures with your partner as its two independent
chambers and valves means you can both inflate or deflate
to your individual preferences. Made from tough 75D
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size. A stuff sack and repair kit are included.
Guide price £320
thermarest.com
88_91 Gearing Up 228_SW.indd 88 18/01/2018 16:41

Sprayway Selen Jacket
Great for winter and early spring, the Selen
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synthetic jacket ideal for keeping you warm
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along with a drawcord adjustable hem
and elastane bound cuffs and hood.
Available in three different colours,
it also comes with a stuff sack.
Guide price £100
sprayway.com
Obōz Sapphire Mid B-Dry Boots

Designed with women’s needs in mind,
the uppers of these new boots have been
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a thermoplastic urethane chassis for all-day
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Guide price £135
obozfootwear.com
Keen Terradora Ethos

Part of Keen’s Terradora
collection, the Ethos is a
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shoe ideal for the spring season
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low-density EVA midsole, non-
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Guide price £85
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Patagonia Women’s Better These trekking trousers promise
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Guide price £90 Guide price £160
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pouch ideal for essential small items.
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MindShift Gear’s BackLight 36L Photo Daypack

Now available in a new, larger, size and two new colours – woodland green and charcoal
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to six standard zoom lenses (with a maximum length of 600mm) and flash. It has 11 litres
of extra storage capacity at the front of the pack for personal items.
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Tenba Soft Lens Pouches

Tenba’s new range of soft, neoprene pouches provide that extra level
of protection for your precious lenses when inside a larger kit bag.
Available in five different sizes, each pouch has a quick drawstring
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Epson XP-15000 Apple iMac Pro

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the headtorch promises a consistent output
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Guide price £74.95
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EOS 5DS EOS 5D EOS 1D X
EF 24-70mm f4 L IS USM ...................£729 Mark IV Mark II
EF 24-70mm f2.8L II USM ..................£1729
EF 28-300mm f3.5-5.6 L IS USM .......£2249
TS-E 50mm f2.8L Macro .....................£2499
EF 70-200mm f2.8 L IS II USM...........£1899
50.6 mp 30.4 mp 20.2 mp
EF 70-200mm f4 L USM .....................£578
5.0 fps 7.0 fps 16.0 fps
EF 70-300mm f4-5.6 L IS USM ..........£1249
Full Frame Full Frame Full Frame
EF 85mm f1.4L IS USM ......................£1569
EF 100-400mm f4.5-5.6 L IS II USM ..£1829
TS-E 90mm f2.8L Macro .....................£2499 5DS Body £2949 5D Mark IV £3229 1D X Mark II £4799
5DS Body £2949 5D Mark IV Body £3229 1D X Mark II Body £4799
5DS R Body £3149
Nikon Lenses
D850 D5600 8-15mm f3.5-4.5 .......................................................£1299
New D7200 40mm f2.8 G AF-S DX Micro ...................................£259
45.7 mp 24.2 mp 24.2 mp 85mm f1.8 G AF-S ...................................................£469
6.0 fps 5.0 fps 6.0 fps 70-300mm f4.5-5 6E ED VR G AF-S .......................£749
4K 1080p 1080p 105mm f2.8 G AF-S VR IF ED Micro .......................£779
10-24mm f3.5-4.5 G AF-S DX..................................£769
D850 £3499 D5600 Body £649 D7200 From £899 16-35mm f4 G AF-S ED VR ...................................£1059
18-200mm f3.5-5.6 G AF-S DX ED VR II ................£659
NEW D850 Body £3499 D5600 + 18-55mm £729 D7200 + 18-105mm £1149 24-70mm f2.8 G AF-S ED .....................................£1629
D5600 + 18-140mm £949
)XMLÀOP/HQVHV A6500 Sony E-Mount Lenses

X-T2 X-E3 A7R Mark II Black Black or Silver
16mm f1.4 ....................£849 18-135mm f3.5-5.6 ......£569
New 23mm f1.4 ....................£849 55mm f1.8 ....................£749
23mm f2 .......................£419 42.0 mp 90mm f2.8 .....................£879
24.3 mp 24.3 mp 24.0 mp
56mm f1.2 ....................£799 10-18mm f4 ...................£699
14 fps 8.0 fps 5.0 fps 11.0 fps
10-24mm f4 ..................£889 16-35mm f4 ...................£1049
1080p 4K 4K video 1080p
16-55mm f2.8 ...............£949 16-70mm f4 ...................£779
50-140mm f2.8 .............£1329
X-T2 From X-E3 From 50mm f2 .......................£449
A7R Mark II A6500 18-105mm f4 G .............£469
24-70mm f2.8 ................£1899
£1434 £849 55-200mm f3.5-4.8.......£699
100-400mm f4.5-5.6.....£1599
£2299 From £1229 24-70mm f4 ...................£879
A7R II Body £2299 24-105mm f4 G OSS ....£1199
X-T2 Body £1434 X-E3 Body £849 80mm f2.8 LM O IS ......£1249 A6500 Body £1229
12-24mm f4 G OSS ......£1699
27mm f2.8 XF ..............£399 A7S II Body £2499 A6500 + 16-70mm £2099
X-T2 + 18-55mm £1749 X-E3 + 23mm £1149
A7 II Body £1099 A6300 Body £779
X-T20 + 16-50mm £899 X-E3 + 18-55mm £1249
)RUPRUH)XMLÀOPFDPHUDVYLVLWZH[FRXNIXML )RUPRUH6RQ\FDPHUDVYLVLWZH[FRXNVRQ\
Olympus Lenses GX800 Panasonic Lenses

OM-D E-M1 II GH5 25mm f1.7 ................. £148
PEN-F 17mm f1.8 .....................£369 New
25mm f1.2 M Zuiko Pro £1099 12-35mm f2.8 ............ £879
30mm f3.5 .....................£249 12-60mm f3.5-5.6...... £359
20.3 mp 16 mp
45mm f1.8 Pro...............£209 35-100mm f2.8 .......... £969
12 fps 30 fps
20.3 mp 20 mp 45mm f1.2 M .................£1199 45-150mm f4-5.6....... £179
4K video 4K video
10.0 fps 60 fps 60mm f2.8 Macro ..........£360 45-175mm f4.0-5.6.... £349
100-300mm f4-5.6..... £549
1080p CMOS 75mm f1.8 .....................£699
300mm f4 Pro................£2099
DMC-GH5 From DMC-GX800 100-400mm f4-6.3..... £1299
PEN-F OM-D E-M1 II 7-14mm f2.8 Pro ...........£949
12-40mm f2.8 Pro .........£759
£1599 From £379 8-18mm f-6.3 ............. £1049
200mm f2.8 Leica ..... £2699
From £999 From £1849 12-100mm f4 Pro ..........£1099
GH5 Body
GH5 + 12-60mm f3.5-5.6
£1599
£1799
GX800 + 12-32mm
GX8 + 12-60mm
£379
£699
PEN-F Body £999 * 40-150mm f2.8 Pro .......£1099
OM-D E-M1 II Body £1849 GH5 + 12-60mm f2.8-4.0 £2099 GX80 + 12-32mm £499
75-300mm f4.8-6.7........£369
PEN-F + 17mm £1149 OM-D E-M1 II G80 Body £629 G7 + 14-42mm £499
OM-D E-M5 II Body £899 +12-40mm £2399 G80 + 12-60mm £749 G7 + 12-60mm £549
OM-D E-M5 II
+ 12-40mm PRO £1249
)RUPRUH3DQDVRQLFFDPHUDVYLVLWZH[FRXNSDQDVRQLF
092_093_OPHO_228.indd 92 17/01/2018 15:05

Birmingham - Calumet Edinburgh - Calumet Bristol - Calumet
visit wex.co.uk
Unit 2, 100 Hagley Road, Bonnington Business Centre, Unit 7, Montpelier Central Station Rd,
B16 8LT. Tel: 01213 267636 EH5 5HG. Tel: 01315 539979 EH5 5HG. Tel: 01179 422000
Mon - Fri: 9am - 5:30pm, Mon - Fri: 9am - 5:30pm, Mon - Fri: 9am - 5:30pm,
Saturday:10am - 4pm Saturday:10am - 4pm Saturday: 10am - 4pm
Belfast - Calumet
Unit 2, Boucher Plaza,
BT12 6HR. Tel: 02890 777770
Mon - Fri: 9am - 5:30pm,
Manchester - Calumet
Unit 4, Downing Street,
M12 6HHTel: 01612 744455
Glasgow - Calumet
Block 4, Unit 1, Oakbank Industrial Estate,
G20 7LU. Tel: 01612 744455
01603 208768
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
Saturday: 10am - 4pm Saturday: 9am - 4pm Saturday: 9am - 4pm
• 30-Day Returns Policy† • Part-Exchange Available • Used items come with a 12-month warranty††
Digital Compact Cameras

,;86+6 ............................£89
Trade in,
up
,;86+6 ............................£159
PowerShot SX60 HS ..............£349 to
PowerShot SX730 HS ............£329
20.2 mp 20.2 mp 20.1 mp PowerShot G3 X .....................£649 trade
4.2x zoom 4.2x zoom 3x zoom
1080p 1080p 1080p Competitive
Accessories including spare prices
PowerShot G5 X PowerShot G7 X Mark II PowerShot G9 X Mark II batteries are available to buy on
Free collection
£599 £499 £399 our website of your gear
Fast turnaround
of your quote
and credit
16.0 mp 20.3 mp wex.co.uk

5x zoom 60x zoom 16.0 mp 20.3 mp 16.0 mp
4K video 4K video 83x zoom 70x zoom 80x zoom
Coolpix W300 £389 Coolpix B700 £399 Coolpix P900 £529 Coolpix A900 £339 Coolpix B500 £249
Theta V
12 mp 16 mp 16.2 mp £399
4x zoom 5x zoom 3.1x zoom Visit us at The Photography Show
14 mp 17th - 20th March 2018 at the
4K video w/proof 1080p 8gb mem. NEC, Birmingham
Stylus TG-5 £399 Ricoh WG-50 £249 GR II Digital £529 4K
Cyber-Shot HX90V .......£299 Lumix LX100 ........... £499 Lumix FZ330 ........... £449
Cyber-Shot RX100 III ...£549 Lumix LX15 ............. £568 Lumix FZ82 ............. £329
New Cyber-Shot RX100 IV ...£669 Lumix FZ1000 ......... £568 Lumix TZ100 ........... £525 24.3 mp
20.1 mp Cyber-Shot RX10 III......£1299 20.9 mp Lumix TZ70 ............. £249 Lumix TZ80 ............. £329 CMOS
25x zoom Cyber-Shot RX1R II ......£2999 40x zoom 1080p
4K Cyber-Shot RX100........£349 4K video
For more Panasonic cameras visit
Cyber-Shot RX10 IV Lumix FZ2000 £999 ZH[FRXNSDQDVRQLF X100F £1199
£1799
Memory Cards & Readers
32GB .............. £64.99
Extreme Pro: 0%V G Series: 0%V6'+& G Series XQD: 0%V
SDHC 64GB ............. £119
32GB ................... £99.99 32GB ................... £99.99 Pixma
32GB ...............£29.99 128GB ............ £199 64GB ................... £179 64GB ................... £199.99 Pro 100S
64GB SDXC.....£44.99 128GB ................. £349 128GB ................. £279
6DQ'LVN8OWUD0%V SanDisk
SanDisk Extreme Pro: Micro SD Card plus 86% M Series: 0%V6'+& M Series XQD: 0%V
0%V8'0$ adapters: ImageMate 32GB ................... £59.99 32GB ................... £74.99
CompactFlash Reader PIXMA Pro 100S ................... £359
32GB ...............£22.99 64GB ................... £84.99 64GB ................... £129
16GB ...............£39.99 64GB ...............£40.99 £44.99 PIXMA Pro 10S ..................... £499
128GB ................. £149 128GB ................. £199 imagePROGRAF PRO-1000 £979
Photo Bags & Rucksacks

/LIHVW\OH:LQGVRU
Messenger S:
Flipside 300 AW II: Anvil Slim 11 0DQIURWWR5HORDGHU This practical
capacity: capacity: 55 Roller Bag messenger bag features
• DSLR with up • CSC/Small Pro Light Rip-Stop an easily accessible Hadley colours available:
Pro Runner BP 350 to 70-200 mm DSLR Canvas/Leather:
nylon fabric with top opening to the main
AW II capacity: attached lens or • 2 lenses Khaki/Tan, Black/Tan, Black/Black.
water-repellent compartment, where
• Pro DSLR with lens compact drone • 15” Laptop FibreNyte/Leather: Khaki/Tan,
coating to provide a DSLR with 24-70mm
• 4-5 additional lenses • 2 lenses • Flashgun & Sage/Tan, Black/Black.
solid protection. f2.8 lens attached and
• Flashgun, tripod, • Compact tripod accessories
laptop & accessories
This comfortable, 2 additional lenses can Digital ..............................£119
• 7” tablet Anvil: stylish bag is ideal to be stored. Small ...............................£149
Pro Runner: Flipside: travel with. Messenger S ................ £89.95 Large ...............................£154
Anvil Slim................... £122
BP 350 AW II .............. £199 300 AW II ..................... £112 Anvil Super ................ £134 Messenger M ..................£107 Pro Original .....................£189
BP 450 AW II .............. £199 400 AW II ..................... £155 Anvil Pro .................... £126 Reloader 55.....................£279 Backpack.........................£149 Hadley One .....................£265
Tripods & Heads
MT190XPRO3
• Max Height: 160cm 327RC2
• Min Height: 9cm Joystick Head Terms and Conditions All prices incl. VAT at
Gitzo Systematic
Tripod 20% Prices correct at time of going to press. Free
MT055XPRO3.......... £165 Series 5 6S G Delivery** available on orders over £50 (based
MK055XPRO3 MT190CXPRO3 • 278cm on a 4 day delivery service). For orders under
£50 the charge is £2.99** (based on a 4 day
+ X-Pro 3-Way Head 1$ Carbon Fibre ............ £299 Max Height
delivery service). For Next Working Day Delivery
MT055CXPRO3 MT190CXPRO4 • 10cm
Min Height our charges are £4.99**. ¹Saturday deliveries are
Carbon Fibre ............ £329 Carbon Fibre ............ £299 • Carbon Fibre charged at a rate of £7.95**. ¹Sunday deliveries
MT055CXPRO4 MDQIURWWR*2 0DQIURWWR+HDGV Gorillapod: are charged at a rate £8.95**.(**Deliveries of
Carbon Fibre ............ £345 Tripod ....................... £105 494RC2 Mini Ball ..... £49 Systematic Tripods: Gorillapod 500.......£35 very heavy items, N.I., remote areas of Scotland
MT190XPRO3.......... £149 MDQIURWWR*2 324RC2 Joystick ...... £109 & Ch. Isles may be subject to extra charges.) E. &
Series 3 3S L ...............£649 Gorillapod Kit 1K ...£52 O.E. Prices subject to change. Goods subject to
MT190XPRO4.......... £189 Carbon Fibre ............ £249 327RC2 Joystick ...... £159 Series 5 3S L................£819 Gorillapod Kit 3K....£86 availability. Live Chat operates between 9:30am-
Series 5 6S G ...............£1099 Gorillapod Kit 5K....£172 6pm Mon-Fri and may not be available during peak
periods. †Subject to goods being returned as new
Lighting & Accessories and in the original packaging. Where returns are
accepted in other instances, they may be subject
to a restocking charge. ††Applies to products sold
in full working condition. Not applicable to items
VSHFLÀFDOO\GHVFULEHGDV´,1µRULQFRPSOHWHLH
being sold for spares only). Wex Photo Video
is a trading name of Warehouse Express Ltd
(registered as company no. 03366976. VAT
number 231 9471 12). ©Warehouse Express
Ltd 2018.
3m Heavy Duty Urban
430EX III-RT Lumimuse Ezybox Speed- Air Lighting Background D-Lite RX 4/4 Collapsible
£239 SB-5000 LED Lights Lite 2 L308s Plus III Set Stand Support Softbox Set Background
£499 From £44.95 £49.95 £150 £229 £69 £99 £725 £174
092_093_OPHO_228.indd 93 17/01/2018 15:05

Mail Order : PHONE LINES OPEN
Landscape | Wildlife | Nature | Adventure
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MON -FRI 8am - 4pm,
SAT 9am - 3pm,
SUN CLOSED.
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HOLIDAYS, COURSES & TUITION TUE -FRI 10am - 4pm,
Mifsuds Photographic Limited
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PART-EXCHANGE WELCOME
WE PART EXCHANGE, BUY FOR CASH OR COMMISSION SALE
FAIR PRICES OFFERED ~ QUOTED QUICKLY ~ COLLECTION CAN BE ARRANGED
For speediest response please email your equipment details to... info@mifsuds.com
URGENTLY ALL Canon L MKII Series Lenses

WANTED... please contact us NOW... info@mifsuds.com
To advertise on these pages, please contact the Photography team on 01273 402841 or advertising@thegmcgroup.com
Canon EOS 1DX MKII Canon EOS 7D MKII Canon EOS M5 CANON EFS LENSES
10-18 F4.5/5.6 IS STM . . . . . . . . . . . . . . . . . £197
70-300 F4/5.6 IS USM II . . . . . . . . . . . . . . . . £448
85 F1.4 L IS USM . . . . . . . . . . . . . . . . . . . . .£1568
APS-C
Full Frame APS-C Body only 18-55 F3.5/5.6 ISII no box. . . . . . . . . . . . . . £129
CANON EF FULL FRAME LENSES
85 F1.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £319
100 F2.8 IS L USM macro. . . . . . . . . . . . . £797
Body only £898 8-15 F4 L USM Fisheye. . . . . . . . . . . . . . . . . £969 100-400 F4.5/5.6 IS LII USM . . . . . . . . . . .£1788
Body only £4798 £1347 Plus 15-45 £968 11-24 F4 L USM . . . . . . . . . . . . . . . . . . . . . .£2497 200-400 F4 IS L USM . . . . . . . . . . . . . . . . .£9497
200 F2.8 II L USM . . . . . . . . . . . . . . . . . . . . . £698
14 F2.8 USM MKII . . . . . . . . . . . . . . . . . . . .£1749
Plus 18-150 £1148 16-35 F2.8 L USM MKIII . . . . . . . . . . . . . . .£1897 300 F2.8 IS L USM II . . . . . . . . . . . . . . . . . .£5666
16-35 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . £866 400 F2.8 IS L USM II . . . . . . . . . . . . . . . . . .£9497
Canon EOS 5D MKIV Canon EOS 77D Canon EOS M6 20 F2.8 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £419 400 F4 DO II IS USM . . . . . . . . . . . . . . . . . £6498
APS-C APS-C 24 F1.4 LII USM . . . . . . . . . . . . . . . . . . . . . .£1299 400 F5.6 L USM . . . . . . . . . . . . . . . . . . . . . . . £997
Full Frame Body only Plus 15-45 STM 24 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . . £399
24-70 F2.8 L II USM. . . . . . . . . . . . . . . . . . .£1697
500 F4 IS L USM II . . . . . . . . . . . . . . . . . . . £7997
600 F4 IS L USM II . . . . . . . . . . . . . . . . . .£10899
£698 £598 24-70 F4 L IS USM. . . . . . . . . . . . . . . . . . . . . £724 12mm ext tube MKII . . . . . . . . . . . . . . . . . . . £69
Body only £2999 Plus 18-55 STM £829 24-105 F4 L IS USM MKII. . . . . . . . . . . . . . . £988 25mm ext tube MKII . . . . . . . . . . . . . . . . . . £128
1.4x III extender. . . . . . . . . . . . . . . . . . . . . . . £388
Plus 18-135 STM £1028 Plus 18-150 STM £848 24-105 F3.5/5.6 IS STM . . . . . . . . . . . . . . . .£399
28 F2.8 IS USM . . . . . . . . . . . . . . . . . . . . . . . . £387 2x III extender . . . . . . . . . . . . . . . . . . . . . . . . £388
Canon EOS 6D MKII Canon EOS 200D Canon EOS M100 35 F2 IS USM. . . . . . . . . . . . . . . . . . . . . . . . . . £468 CANON FLASHGUNS/GRIPS
APS-C APS-C 40 F2.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . £159 MR-14 EX II Ringlight. . . . . . . . . . . . . . . . . .£519
Full Frame Body only 50 F1.2 L USM . . . . . . . . . . . . . . . . . . . . . . .£1249 MT-26 EX RT mac twin light. . . . . . . . . . £1079
50 F1.4 USM . . . . . . . . . . . . . . . . . . . . . . . . . . £348 430EX III RT Speedlight . . . . . . . . . . . . . . . .£238
Body only £1677 £499 Plus 15-45 STM 50 F1.8 STM . . . . . . . . . . . . . . . . . . . . . . . . . . £109 600EX-RT II Speedlight . . . . . . . . . . . . . . . . £538
Plus 24-105 STM £2078 £568 70-200 F2.8 IS LII USM. . . . . . . . . . . . . . . .£1797 BG-E21 (fit 6D MKII) . . . . . . . . . . . . . . . . . . . £179
Plus 18-55 IS STM £529 70-200 F2.8 non IS L USM. . . . . . . . . . . . .£1197 BG-E20 (fit 5D MKIV) . . . . . . . . . . . . . . . . . . £297
Canon EOS APS-C Cameras 70-200 F4 L IS USM. . . . . . . . . . . . . . . . . . .£1097 BG-E16 (fit 7D MKII) . . . . . . . . . . . . . . . . . . . £218
Canon EOS 80D Body ................................£919
Canon EOS M System 70-300 F4/5.6 L IS USM . . . . . . . . . . . . . . .£1247 BG-E13 (fit 6D) . . . . . . . . . . . . . . . . . . . . . . . . £197
EOS 80D + 18-55 STM ....................£999 11-22 f4/5.6 IS STM ....................... £317
300 F2.8 EOS 80D + 18-135 STM ................£1297 15-45 f3.5/6.3 IS STM .................... £199
18-55 f3.5/5.6 IS STM .................... £199
EOS 800D Body ..............................£698
18-150 f3.5/6.3 IS STM .................. £398
IS L USMII EOS 800D + 18-55 STM ..................£748
EOS 760D Body ..............................£578 22 f2 STM ....................................... £198
£5666 EOS 750D Body ..............................£558
EOS 750D + 18-55 STM ..................£568
28 f3.5 Macro IS ............................. £289
55-200 f4.5/6.3 IS STM .................. £249
200-400 F4 IS L USM £8999
EOS 750D + 18-135 STM ................£798 EOS M mount adap ......................... £98 400 F2.8 IS L USM II £9497
Nikon D850 Nikon D500 NIKON DX NON FULL FRAME LENSES

10.5 F2.8 DX Fisheye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £599
10-20 F4.5/5.6 G VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £328
Full Frame APS-C 10-24 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £729
16-80 F2.8/4 AFS ED VR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . £898
16-85 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £578
10-20 F3.5 EX DC HSM . . . . . .£328 105 F2.8 EX DG OS HSM . . . .£358
Body only price Body only price 18-105 F3.5/5.6 AFS G no box . . . . . . . . . . . . . . . . . . . . . . . £239 12-24 F4 DG HSM Art . . . . . £1378 120-300 F2.8 EX DG OS Sport
£3499 £1798
18-140 F3.5/5.6 AFS VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £469 12-24 F4.5/5.6 II DG. . . . . . . . .£648 DEMO NAF FIT ONLY . . . . £2199
18-300 F3.5/6.3 AFS VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £648 14 F1.8 DG HSM Art . . . . . . £1497
35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £188 17-50 F2.8 EX DC OS. . . . . . . .£328 135 F1.8 DG HSM Art.. . . . . £1198
70-300 F4.5/6.3 AFP VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £359 150 F2.8 EX DG OS. . . . . . . . . .£699
70-300 F4.5/6.3 AFP non VR . . . . . . . . . . . . . . . . . . . . . . . . £299 18-35 F1.8 DC HSM Art . . . . .£648
18-300 F3.5/6.3 DC mac OS .£368 150-600 F5/6.3 OS Contemp £698
Nikon D5 Nikon D7500 NIKON FX FULL FRAME LENSES
14-24 F2.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £1648 20 F1.4 DG HSM Art . . . . . . . .£698
APS-C 16-35 F4 AFS VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £1058 24 F1.4 DG HSM Art . . . . . . . .£648
Full Frame Body only 18-35 F3.5/4.5 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £658 24-35 F2 DG HSM Art . . . . . . .£697
20 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £697
£1297 24-70 F2.8 DG OS HSM Art £1198
Body only £5098 24 F1.8 AFS G ED. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £678
24-70 F2.8 AFS G ED VR. . . . . . . . . . . . . . . . . . . . . . . . . . . . £1998 35 F1.4 DG HSM Art . . . . . . . .£548
Plus 18-140 VR £1598 150-600 F5/6.3 OS Sport . . £1328
24-120 F4 AFS G ED VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £997 50 F1.4 EX DG HSM Art . . . . .£548
Nikon Full Frame Cameras Nikon APS-C Cameras 35 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £1578 50-100 F1.8 DC HSM Art . . . .£898 500 F4 DG OS HSM Sport . £4997
D810 Body Only ...........................£2398 D7200 Body only ........................... £888 35 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £478 70-200 F2.8 EX DG OS . . . . . .£844
D750 Body only ...........................£1698 D7200 + 18-105 VR ......................£1087 50 F1.4 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .£398 500 F4.5 EX APO DG HSM
50 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £208 85 F1.4 DG Art. . . . . . . . . . . . . .£999 CAF FIT - ONE ONLY . . . . . £2997
D750 + 24-120 F4 VR ...................£2297 D5600 Body Only .......................... £648 60 F2.8 AFS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £528 100-400 F5-6.3 DG OS
MBD-18 grip (D850) ...................... £368 D5600 + 18-55 AF-P....................... £728 70-200 F2.8 AFS E FL ED VR . . . . . . . . . . . . . . . . . . . . . . . . £2398 HSM Contemporary . . . . . . . .£698 USB Lens dock. . . . . . . . . . . .£39.99
MBD-17 grip (D750) ...................... £348 D5600 + 18-140 VR ........................ £948 70-200 F4 AFS G ED VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . £1238
MBD-12 grip (D810) ...................... £348 D3400 + 18-55 AF-P....................... £438 70-300 F4.5/5.6 E ED VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . £748 70-300 F4/5.6 Di VC USD ..............£329
85 F1.8 AFS G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £448 85 f1.8 SP Di VC USD ......................£747
Nikon 105 F2.8 AFS VR macro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £788 100-400 F4.5/6.3 Di VC USD ........£788
Nikon 200-500 F5.6 AFS E ED VR. . . . . . . . . . . . . . . . . . . . . . . . . . £1248 15-30 f2.8 Di VC USD .....................£997 150-600 F5/6.3 VC USD G2 ....... £1128
8-15 F3.5/4.5 70-200 F2.8 300 F2.8 AFS ED VRII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £5098
300 F4 AFS E PF ED VR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . £1528
16-300 f3.5/6.3 Di II VC PZD ........£467 150-600 F5/6.3 SP VC USD ...........£828
18-200 F3.5/6.3 Di II VC.................£198 Kenko Converters
AFS E FL 400 F2.8 G E FL ED VR . . . . . . . . . . . . . . . . . . . . . . . . . . . . £10398
AFS E £1298
18-400 f/3.5-6.3 Di II VC HLD .....£648 1.4x Pro 300 converter ..................... £149
400 F2.8 AFS ED VRII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . £4299
ED VR £2398 500 F4 G E AFS FL ED VR . . . . . . . . . . . . . . . . . . . . . . . . . . . £8998
24-70 f2.8 Di VC USD G2............ £1247
70-200 f2.8 Di VC USD G2 ......... £1297
2x Pro 300 converter .......................£149
Auto ext tube set ............................£119
WE STOCK COKIN P, X AND Z SERIES KITS. PLEASE SEE WEBSITE FOR FULL DETAILS.
X Series lenses and accessories etc 23mm F2 XF R WR ...........................................£418 60mm F2.4 XF macro .....................................£648
10-24mm F4 XF ................................................£898 27mm F2.8 XF ...................................................£398 80mm F2.8 OIS WR macro ......................... £1247
14mm F2.8 XF R ...............................................£848 35mm F1.4 XF ...................................................£498 90mm F2 R LM WR ..........................................£898
X-Pro2 body .................................................... £1598 16mm F1.4 XF ...................................................£898 35mm F2 R WR..................................................£428 100-400 F4/5.6 OIS WR .................................... £1698
X-T2 + 18-55mm ........................................... £1848 16-55mm F2.8 ...................................................£948 50mm F2 R WR..................................................£448 1.4x XF TC WR ....................................................£388
X-T2 body ........................................................ £1648 18mm F2 XF.......................................................£498 50-140mm F2.8 R OIS .................................. £1428 2x XF TC WR .......................................................£398
X100f X-T20 + 18-55mm ......................................... £1147 18-55mm F2.8/4 OIS ......................................£599 55-200mm F3.5/4.8 OIS XF...........................£677 11mm Ext tube ....................................................£75
£1177 X-T20 body .........................................................£797
X100f Compact.............................................. £1177
18-135mm F3.5/5.6 XF...................................£718
23mm F1.4 XF ...................................................£829
56mm F1.2 R APD ......................................... £1328
56mm F1.2 XF ...................................................£898
16mm Ext tube ....................................................£75
VPB-XT2 Vertical grip......................................£284
94
Family Run Pro Dealership with Friendly, Knowledgeable Staff. Open 7 days per week. Prices inc VAT - correct 17/01/2018. E&OE.
FREE COURIER DELIVERY FOR NEW ITEMS ORDERED ON-LINE (U.K. Mainland only)
OPHO_228.indd 94 19/01/2018 12:35

Although we are the best stocked dealer in the West Country,
we cannot always have every item listed in stock at all times, so
Landscape | Wildlife
Website altered daily |inc.
Nature | Adventure
manufacturers cashback & promotions
we are happy to reserve new & used items for customers
planning to visit. Prices correct 11/12/2018 but subject to
change without notice. See website for up to date prices. E&OE.
www.mifsuds.com
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HOLIDAYS, COURSES & TUITION
QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED Powershot G12 ................................£229 16-35 F2.8 USM LII..........................£799 55-250 F4/5.6 IS STM EFS ............£199 25mm ext tube MKII ......................... £99 OTHER CAF USED
Used Canon 1DX MKII body box ..........£3699/4199 CANON EOS M USED 16-35 F4 L IS USM...........................£749 60 F2.8 IS USM EFS .........................£279 SIGMA CAF USED TAM 10-24 F3.5/4.5 Di II ...............£279
EOS 1DX 1DX MKI body box ...........£2499/2999 EF-M 55-200 F4.5/6.3 IS STM.........£199 17-40 F4 L USM ...............................£449 70-200 F2.8 IS USM LII ............... £1499 17-50 F2.8 EX DC HSM .......................£249 TAM 17-50 F2.8 XR DiII .................£199
1D MKIV body box ...................... £1499 DC1 viewfinder................................£149 17-55 F2.8 IS USM EFS ..................£449 70-200 F4 L IS USM ........................£699 18-125 F3.8/5.6 HSM ...........................£149 TAM 18-200 F3.5/6.3 VC ...............£149
MKI I body 1D MKIII body ..................................£499 CANON AF FILM BODIES USED 17-85 F4/5.6 IS USM.............................£199 70-200 F4 L USM .............................£469 18-200 F3.5/6.3 DC...............................£149 TAM 18-250 F3.5/6.3 DiII ..............£149
1Ds MKII body..................................£599 EOS 1V HS body ..............................£699 18-55 F3.5/5.6 IS EFS ............................. £99 70-300 F4.5/5.6 IS USM L .............£999 28-135 F3.8/5.6 ........................................ £99 TAM 28-300 F3.5/6.3 VC.........................£449
box 7D MKII body box...........................£999 EOS 1V body box ............................£599 18-200 F3.5/5.6 IS EFS.........................£299 70-300 F4.5/5.6 IS USM ................£249 28-200 F3.5/5.6 Asph ......................£99 TAM 28-300 F3.5/6.3 XR Di...................£199
7D body box.....................................£499 EOS 3HS body inc PB-E2 ..............£449 20 F2.8 USM.............................................£349 75-300 F4/5.6 MKII ...........................£99 50 F1.4 DG Art box.........................£499 TAM 70-300 F4/5.6 Di USD VC ...........£199
6D body box.....................................£799 EOS 3 body .......................................£299 24 F2.8 STM..............................................£109 100 F2.8 L IS USM ...........................£649 50 F2.8 EX macro ............................£149 TAM 70-300 F4/5.6 ................................. £99
£3699/4199 5DSr body box .................................£2499 EOS 5 body box.................................£79 24-70 F2.8 L IS USM II ................. £1399 100 F2.8 USM box...........................£299 50-500 F4/6.3 EX DG OS...............£699 TAM 150-600 F5/6.3 VC USD ...........£599
5D MKIV body box..........................£2499 EOS 50E body.....................................£59 24-70 F4 IS USM ..............................£599 100-400 F4.5/5.6 LII IS U............ £1499 50-500 F4/6.3 EX DG .....................£399 TOK 100 F2.8 ATX..................................£299
5D MKIII body box ..........................£1699 EOS 600/650/1000/10 b/o ea ........£49 24-105 F4 L IS MKII .........................£899 100-400 F4.5/5.6 L IS U .................£799 70-200 F2.8 EX DG OS...................£749 Triplus ext tubes set............................... £69
Used Canon 5D MKII body .......................................£799 EOS 5000/300V body ......................£49 24-105 F4 L IS...................................£549 135 F2 L USM box.............................£699 70-300 F4/5.6 APO DG....................£99 CANON FLASH USED
EOS 7D 50D body box......................................£299 EOS 500/500N/1000f b/o ea.........£39 28-80 F3.5/5.6 USM MKI ...............£149 300 F2.8 LII IS U .............................. £4699 105 F2.8 EX DG OS box ................£299 270EX MKII ..........................................£99
600D body ............................................£249 PB-E2 drive fits EOS1/3 .................£149 28-80 F3.5/5.6 ....................................£79 300 F2.8 LI IS U................................ £2699 120-300 F2.8 EX DG .......................£599 430EX MKIII box ..............................£199
MKII BG-E2...........£39 BG-E2N .................... £49 CANON AF LENSES USED 28-90 F4/5.6........................................£99 400 F2.8 IS USM L ........................ £4999 150 F2.8 EX DG OS box ..................£499 430EX MKII ........................................£169
body BG-E3 ......................................................... £49 8-15 F4 L fisheye .............................£799 28-105 F4/5.6 USM...........................£99 400 F4 DO....................................... £2499 150-500 F5/6.3 DG OS ........................£449 550EX ....................................................£99
BG-E7 ......................................................... £79 10-18 F4.5/5.6 IS STM EFS ...........£179 28-135 F3.5/5.6 IS USM ................£249 500 F4 IS L USM............................ £4499 180 F3.5 EX DG HSM mac.................£399 580EX MKII ........................................£269
box BG-E11 ....................................................£169 10-22 F3.5/4.5 USM EFS ...............£269 28-200 F3.5/5.6 USM box ............£199 1.4x extender MKIII ..........................£329 300 F2.8 EX DG......................................£ASK 580EX box .........................................£179
BG-E13 ....................................................£119 14 F2.8 USM LII box .................... £1349 35 F1.4 L USM ..................................£699 1.4x extender MKII ...........................£249 300-800 F5.6 EX DG ............................£ASK 600EX RT ............................................£349
£999 TC-80N3 remote................................£85 15-85 F3.5/5.6 IS USM EFS...........£379 50 F1.2 USM L ..................................£999 2x extender MKIII..............................£339 TC1401 1.4x conv..................................£189 MORE ON WEBSITE
Powershot G5X box .......................£499 16-35 F2.8 USM LIII ..................... £1599 50 F1.4 USM......................................£279 2x extender MKII box ......................£239 1.4x EX DG conv ....................................£149 WWW.MIFSUDS.COM
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIKON DIGITAL AF USED D80 body ...........................................£169 16-35 F4 AFS VR box ..........................£899 70-200 F2.8 VR II box .................. £1299 18-200 F3.5/6.3 DC mac C ................£199 28-300 F3.5/6.3 XR Di..........................£199
Used Nikon DF + 50 F1.8 chrome box ......... £1599 D60 body ...........................................£149 16-80 F2.8/4 AFS E DX VR ................£699 70-200 F2.8 VR I box ......................£999 18-200 F3.5/6.5 DC...............................£149 70-300 F4/5.6 ............................................ £79
D4s body box ................................ £3199 MBD-17 grip .....................................£279 16-85 F3.5/5.6 AFS VR........................£379 70-200 F4 AFS VR............................£899 24 F1.4 DG Art.......................................£499 150-600 F5/6.3 Di VC USD ................£599
D4s body D4 body box.......................£1999/2699 MBD-15 grip .....................................£149 18-35 F3.5/4.5 AFD .............................£269 70-300 F4.5/5.6 AFS VR.................£369 24-35 F2 DG Art box ..........................£599 OTHER NAF USED
box D3X body box ............................... £1299 MBD-14 grip .....................................£149 18-105 F3.5/5.6 VR AFS .....................£179 70-300 F4.5/5.6 AFD ......................£349 24-70 F2.8 EX DG HSM......................£469 TOK 10-17 F3.5/4.5 ATX ................£249
D3s body box ................................ £1299 MBD-12 grip .....................................£229 18-140 F3.5/5.6 AFS VR .....................£299 70-300 F4/5.6 G non VR..................£99 24-70 F2.8 EX DG .................................£299 TOK 12-24 F4 ATX Pro ...................£329
£3199 D3 body box........................... £899/999 MBD-10 grip ................................ £49/99 18-200 F3.5/5.6 AFS VRII box .........£449 85 F1.4 AFS M- box ........................£949 24-105 F4 DG OS HSM ......................£499 FLASH / ACCESSORIES USED
D850 body Mint box .................. £3299 MBD-80 grip .......................................£49 18-200 F3.5/5.6 AFS VRI ....................£299 85 F1.8 AFS .......................................£349 28-200 F3.5/5.6 early............................ £69 SB-300 box ................................................. £99
Used Nikon D810 body box............................. £1799
D810 body ..................................... £1399
MBD-200 grip.....................................£49
NIKON AF FILM BODIES USED
20 F2.8 AFD ............................................£449
24-70 F2.8 AFS ......................................£999
85 F2.8 DN PC-E ..............................£999
105 F2.8 AFS VR...............................£499
35 F1.4 DG Art .................................£499
70-300 F4/5.6 APO DG....................£99
SB-500.........................................................£149
SB-600.........................................................£149
300mm D800E body box .......................... £1199 F5 body ..............................................£399 24-85 F3.5/4.5 AFS VR .........................£399 200 F2 AFS VRII ............................. £3999 105 F2.8 EX DG.......................................£199 SB-700.........................................................£179
F2.8 D800 body box..................£1199/1399 F90X body ...........................................£99 24-120 F4 AFS VR ..................................£699 200-400 F4 AFS VRII .................... £3999 135-400 F4.5/5.6 DG............................£299 SB-800.........................................................£129
AFS VRII D750 body box............................. £1199 F801/F601/F70 body each ............£49 24-120 F3.5/5.6 G VR ...........................£299 300 F2.8 AFS VRII ......................... £3999 150 F2.8 EX DG OS ...............................£549 SB-900 box ...............................................£199
D700 body box................................£599 F55 body ..............................................£29 24-120 F3.5/5.6 G ..................................£199 300 F4 AFS box................................£549 150-500 F5/6.3 DG OS ........................£499 SB-910 box ...............................................£299
£3999 D610 body ........................................£799 NIKON AF LENSES USED 28 F1.8 AFS G ..........................................£399 300 F4 AFD (non AFS) ...................£369 170-500 F5/6.3 D...................................£299 SB-R1 Ringflash box............................£299
D600 body ........................................£699 10.5 F2.8 DX ...........................................£399 28-100 F3.5/5.6 AF G ............................. £69 500 F4 AFS VR ............................... £4999 150-600 F5/6.3 contemp...................£649 SU-800 commander ............................£229
Used Nikon D500 body box............................. £1499 10-24 F3.5/4.5 DX ................................£599 35 F1.8 DX.................................................£149 600 F4 AFS EDII .................£3499/3999 TAMRON NAF USED DR-6 angle finder..................................£149
D810 body D300s body ......................................£349 12-24 F4 AFS DX...................................£599 35 F2 AFD .................................................£199 TC17EII ................................................£199 10-24 F3.5/4.5 DiII .................................£239 DR-5 angle finder..................................£149
D300 body box................................£299 14 F2.8 AFD ............................................£899 45 F2.8 PC-E ......................................£999 TC20EII. ...............................................£199 11-18 F4.5/5.6 .........................................£219 DW-21 fits F4 ....................................£119
box D7100 body ......................................£449 14-24 F2.8 AFS M- box ...................£1099 50 F1.4 AFS G ...................................£299 TC20E ..................................................£149 18-250 F3.5/6.3 ......................................£149 MB-10 (fits F90) ........................................ £29
D7000 body ......................................£399 14-24 F2.8 AFS box .............................£999 50 F1.8 AFS .......................................£149 SIGMA NAF USED 19-35 F3.5/4.5 ........................................... £99 MB-23 (fits F4)........................................... £49
£1799 D3300 body ......................................£269 16 F2.8 AFD Fisheye box ..................£499 55-200 F4/5.6 AFS VR ....................£169 10-20 F4/5.6 EX DC ..............................£249 28-75 F2.8 XR Di.....................................£229 MC-30 remote .......................................... £45
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED SONY NEX USED 35-70 F4 ...............................................£39 18-35 F1.8 Art.....................................£549 E3 body ..............................................£299 ECG grip ...............................................£39
Used Fuji X-Pro2 body box .......................... £1099 NEX 5 body ..............................................£129 35-70 F3.5/4.5 ........................................... £25 18-50 F3.5/5.6 DC ............................... £69 E1 body ................................................£79 HLD-8 grip...........................................£99
X-Pro2 X-Pro1 body box .............................£399 FE 16-35 F4 ZA OSS E..........................£899 35-80 f4/5.6 ................................................ £25 18-250 F3.5/6.3 DC mac HSM.........£199 E510 body .........................................£149 HLD-7 grip box ..................................£89
X-T1 body black...............................£499 FE 16-50 F3.5/5.6 EZ ............................£149 35-105 F3.5/4.5 ........................................ £99 28-105 F2.8/4 ....................................... £69 E500 body .........................................£129 PANASONIC DIGITAL USED
body X-T1 body black...............................£449 FE 24-70 F2.8 GM ...............................£1599 50 F1.7 .......................................................... £89 28-135 F3.8/5.6 .................................... £79 11-22 F2.8/3.5 ..................................£269 GH2 body ..........................................£299
box X-T20 body silver box....................£599 FE 90 F2.8 macro ...................................£699 50 F2.8 macro .........................................£179 28-300 F3.5/6.3 macro....................£149 14-45 F3.5/5.6 MKIII .......................£149 G5 body .............................................£199
£1099 X-T10 body box ...............................£299 Samyang 100 F2.8 macro .................£229 70-210 F4.5/5.6 ........................................ £69 50-150 F2.8 EX DC MKII..................£399 14-54 F2.8/3.5 ..................................£149 G3 body box .....................................£199
14 F2.8 XF R box..............................£499 MINOLTA/SONY AF USED 75-300 F4.5/5.6 ......................................£129 55-200 F4/5.6 DC OS ......................... £79 25 F2.8 ................................................£179 GX7 body...........................................£349
18 F2 R XF..........................................£349 Dynax 9 body...................................£399 100-300 F4.5/5.6 APO .........................£179 70-300 F4/5.6 DG OS .....................£169 40-150 F3.5/4.5..................................£99 GF6 body box silver .......................£199
Used Olympus 18-55 F2.8/4 XF ...............................£399 7xi body ...............................................£99 100-300 F4.5/5.6....................................£149 70-300 F4/5.6 APO DG....................£99 50 F2 macro ......................................£299 7-14 F4 G ...........................................£499
OM-D E-M1 23 F1.4 R XF ......................................£699 Dynax 5 body.....................................£69 500 F8 mirror...........................................£349 105 F2.8 EX DG ................................£239 VA-1 angle finder ..............................£69 14-42 F3.5/5.6 ....................................£99
body M- 27 F2.8 XF ..........................................£249 5xi body ...............................................£49 VC700 grip.................................................. £39 150-500 F5/6.3 APO DG ...............£499 OLYMPUS MICRO 4/3 USED 14-45 F3.5/5.6 ..................................£149
box 50-230 F4.5/6.7 XRC ......................£249 7000i or 500Si body each ..............£39 RC1000S cord............................................ £29 1.4x EX conv .......................................£99 OMD-EM1 body M- box ...............£499 14-140 F4/5.8 box ..........................£299
90 F2 WR box ...................................£599 300Si body ..........................................£29 SONY LENSES USED TAM 10-24 F3.5/4.5 DiII ................£239 OMD E-M5 MKII body box...........£499 20 F1.7 ................................................£199
£499 EF-42 flash box ..................................£99 11-18 F4.5/5.6 AFD DT ..................£259 16-80 F3.5/4.5 ZA DT...........................£499 TAM 24-70 F3.5/5.6 ..........................£49 OMD-EM10 MKII body ..................£349 35-100 F4/5.6 ...................................£149
EF-20 flash box ..................................£59 24 F2.8 ................................................£199 18-70 F3.5/5.6 ........................................... £89 TAM 70-300 F4/5.6 USD VC .........£249 9-18 F4/5.6 ........................................£369 45-150 F4.5/5.6................................£149
Used Sony MINOLTA/SONY DIGITAL USED
Sony RX10 MKII box ........................£699
24-50 F4 ...............................................£99
24-85 F3.5/4.5 ..................................£149
18-135 F3.5/5.6 DT SSM.....................£329
18-200 F3.5/6.3 DT ...............................£199
TAM 90 F2.8 ............................ £179/249
TAM 200-500 F5/6.3.......................£399
12 F2....................................................£479
12-40 F2.8 ..........................................£599
45-200 F4/4.5 box ..........................£179
100-300 F4/5.6 MKII.......................£449
RX10 MKII Sony A77 MKII body box ...............£699 28 F2.8 ..................................................£99 55-200 F4/5.6 DT SSM .......................... £69 Teleplus 1.4x conv ............................£69 14-42 F3.5/5.6 silver.......................£169 100-300 F4/5.6.................................£299
box Sony A350 body................................£149 28-75 F2.8 AFD ................................£299 75-300 F4.5/5.6 ......................................£129 Teleplus 2x conv ...............................£79 17 F1.8 ................................................£279 FZ200 bridge camera....................£249
Sony VG-C70AM................................£129 28-80 F4/5.6........................................£39 SIGMA MIN/SONY AF USED Kenko 1.4x Pro 300DG ..................£149 25 F1.8 ................................................£269 PENTAX DIGITAL USED
£699 Sony LA-EA4 mount adap ............£189 28-85 F3.5/4.5 ....................................£99 10-20 F3.5 EX......................................£269 OLYMPUS 4/3 USED 40-150 F4/5.6 ...................................£149 K50 body ...........................................£299
Sony HVL-43AM box .......................£179 35 F2 box ...........................................£199 10-20 F4/5.6 EX DC ..........................£249 E5 body ..............................................£599 MC-14 converter .............................£249 K100d body ......................................£149
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
WANTED
BRONICA ETRS 645 USED Winder early .......................................£79 SQAI winder......................................£149 Lens hoods various ................... £20/50 Porrofinder ..........................................£59 90 F3.5 W M- box ............................£299
ETRSi + 75 + WLF Speed Grip E.......................................£59 Speed grip S .......................................£79 MAMIYA 645 MF USED MAMIYA 6 & 7 RF 6x7 USED 180 F4.5 W.........................................£199
+ 120 back.........................................£399 Tripod adapter E ...............................£39 FUJI USED Plain prism (645 Super) ..................£79 43 F4.5 L + VF box ....................... £1199 PENTAX 645MF USED
ETRS body .........................................£119 Winder early .......................................£49 G617 inc 105 F8 ........................... £1299 645 Super WLF...................................£99 50 F4.5 L + VF box ..........................£799 645 body + insert ...........................£199
URGENTLY
30 F3.5 PE ..........................................£699 Metz SCA 386 .....................................£49 HASSELBLAD 6x6 USED Polariod Back HP401 .......................£29 150 F4.5 M- .......................................£399 200 F4 .................................................£149
40 F4 E ................................................£199 BRONICA SQ 6x6 USED 501C + 80 CB + A12.................... £1699 Polaroid back .....................................£29 MAMIYA RB 6x7 USED 300 F4 .................................................£249
50 F2.8 PE ..........................................£349 SQB + 80 + WLF 500CM body black .........................£299 120 Insert.............................................£20 Pro S body .........................................£199 1.4x converter ..................................£199
75 F2.8 PE ..........................................£149 + 120 back .........................................£399 500C chrome body ........................£249 120 Back...............................................£79 Plain prism early .............................£149 PENTAX 67 USED
BRONICA 150 F3.5 E ............................................£99

150 F3.5 PE M- Box.........................£149
200 F4.5 PE........................................£199
40 F4 S ................................................£299
50 F3.5 S.............................................£149
150 F4 PS ................................. £149/199
503CW winder .................................£179
45º prism late ...................................£299
45º prism early ..................................£99
Winder ..................................................£79
45 F2.8 N ............................................£199
150 F3.5 N ...........................................£79
WLF ........................................................£79
50 F4.5 ................................................£299
127 F3.5 KL........................................£299
45 F4 ....................................................£399
135 F4 macro late ...........................£249
165 F2.8 latest M- ...........................£499
HASSELBLAD
250 F5.6 MC ......................................£199 200 F4.5 PS M- box ........................£199 Sports viewfinder .............................£69 150 F3.8 NL leaf...............................£299 Pro SD ext tube 1 45mm..................... £99 200 F4 latest .....................................£169
2x extender.......................................£199 2x PS converter M- .........................£179 Chimney...............................................£99 210 F4 N M- ........................................£79 Pro SD ext tube 2 82mm..................... £99 200 F4 early ........................................... £99
E14 Ext tube .......................................£49 135N 35mm film back ..................£119 A12 chrome latest ..........................£349 Ext Tube 1 ............................................£29 MAMIYA RZ 6x7 USED 300 F4 early scruffy ........................... £99
E42 Ext tube .......................................£49 SQAi 120 RFH .....................................£79 A12 late blk/chr ...............................£199 Ext tube 2 ............................................£29 RZ Pro body ......................................£149 1.4x Pentax rear converter ..........£249
120 RFH ................................................£69 Plain Prism S Boxed .........................£69 Polaroid back 100 .............................£79 Ext tube 3S ..........................................£29 120 RFH Pro II...................................£149 2x Pentax rear converter ..............£179
MAMIYA 135W back ........................................£299
135N back .........................................£169
Polaroid Back .....................................£49
AE Prism Early ....................................£79
ME Prism Finder ................................£69
Metz SCA 386 .....................................£49
50 F4 CF FLE .....................................£849
50 F4 Black T*...................................£399
150 F4 CF ...........................................£499
Teleplus 2x converter ......................£49
Vivitar 2x converter..........................£49
MAMIYA TLR 6x6 USED
120 RFH Pro ........................................£99
Polaroid back .....................................£79
FE701 prism ......................................£299
Auto ext tubes ...................................£49
Wooden grip ....................................£169
ROLLEI 6x6 TLR USED
ETC
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AEII prism ..........................................£129 Pro shade S .........................................£59 150 F4 Black T* ................................£299 65 F3.5 box late ...............................£199 WLF ........................................................£79 3.5F White Face serviced........... £1699
Plain prism ..........................................£59 Lens Hood 65-80...............................£20 250 F5.6 Black T* .............................£199 65 F3.5 serviced...............................£149 Winder II...............................................£49 MORE ON WEBSITE
Rotary prism .......................................£99 SQAi Motorwinder .........................£149 Vivitar 2x conv ...................................£49 250 f4.5 ...............................................£179 65 F4....................................................£399 WWW.MIFSUDS.COM
35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED 50mm Ext tube..................................£29 70-210 F4 MD.....................................£99 35-105 F3.5/4.5 AIS ..........................£79 24 F2.8 ................................................£199 16-45 F4 .............................................£199
Used Nikon A1 body serviced............................£169 2x Extender B .....................................£49 2x Converter .......................................£79 50 F1.2 AIS.........................................£399 28 F2.8 ..................................................£79 17-70 F4 SDM M- box ...................£299
8mm F2.8 AIS AE1 Program body ...........................£99 CANON BINOCULARS USED Ext tube for 50 F3.5..........................£29 50 F1.4 AI ...........................................£199 35 F2.8 box .........................................£99 18-55 F3.5/5.6 ....................................£69
24 F2....................................................£299 15 x 45 IS............................................£569 Ext tube set.........................................£49 50 F1.8 AI ...........................................£149 35-70 F4 ...............................................£99 28-80 F3.5/5.6 ....................................£49
24 F2.8 ................................................£149 CONTAX 35mm RF USED Auto bellows 1...................................£99 50 F1.8 E...............................................£59 35-105 F3.5/4.5 box .......................£149 50-200 F4/5.6 DA ..............................£99
24 F2.8 breechlock .........................£149 90 F2.8 G ............................................£199 NIKON MF USED 500 F4 AIS..........................................£999 35-105 F3.5/4.5..................................£79 55-300 F4/5.8 ED WR .....................£229
28 F2.8 ..................................................£49 LIGHTMETERS USED FE2 body chrome ...........................£349 500 F8 mirror....................................£249 50 F1.8 ..................................................£69 55-300 F4/5.8 ED box....................£199
35-70 F4 ...............................................£69 Gossen Spot-Master ......................£299 F2 Photomic body box .................£349 SC-17 TTL lead ...................................£25 80 F4 mac ..........................................£199 100 F2.8..............................................£149
£1499 35-105 F3.5 .......................................£149 Minolta Flashmeter IV...................£199 FM2n body chrome .......................£349 DW-3 WLF find fit F3 .......................£99 135 F2.8 box .....................................£149 SIGMA PKAF USED
50 F1.2 L .............................................£699 Sekonic L308S..................................£119 FE body black.....................................£99 PK-11a ext tube.................................£49 135 F4.5 macro ................................£199 18-250 F3.5/6.3................................£199
Used Nikon 50 F1.8.......£49 50 F2 .....................£49
50 F3.5 macro ....................................£99
MINOLTA MD USED
XD7 body black/chrome..............£149
8 F2.8 AIS ........................................ £1499
20 F3.5 AI ...........................................£199
PK-12/PK-13 ext tube each ...........£49
OLYMPUS OM USED
200 F4 .................................................£149
Vivitar 400 F5.6 ................................£149
28-200 F3.5/5.6................................£149
PENTAX PK MF USED
500mm F4 AIS 70-150 F4.5 .........................................£29 X300 chrome body ..........................£49 24 F2 AI ..............................................£299 OM-4T body .....................................£249 7, 14, 25 man ext tube ea ..............£20 24 F2.8 PK ..........................................£199
100 F2.8..............................................£149 X300s black body .............................£49 24 F2.8 AI ...........................................£219 OM-2SP body .....................................£99 14 or 25 auto ext tube ea ..............£29 50 F1.4 PK ..........................................£149
£999 100-300 F5.6 .......................................£79 X700 black body ...............................£99 28 F2.8 E box ......................................£69 OM40 body .........................................£79 60-116 auto ext tube set .............£199 120 F2.8 K ..........................................£199
135 F3.5................................................£49 XGM chrome body ...........................£49 28-85 F3.5/4.5 AIS...........................£199 OM-2n chr body box .....................£249 Tripod mount ring............................£59 135 F3.5 PK .........................................£69
135 F3.5 (Breechlock) ......................£39 28 F3.5 MD. .........................................£49 35 F2.8 PC..........................................£349 OM-2n body chrome........... £149/199 PENTAX 35mm AF USED 150 F3.5 PK box...............................£149
200 F4 macro ...................................£299 50 F1.7 MD ..........................................£49 35-70 F3.3/4.5 AIS...........................£129 OM-1n body chrome.....................£199 Z50P body ...........................................£49 50 F1.4 PK..£99 50 F2 .....................£49
25mm Ext tube..................................£29 50 F2 MD .............................................£49 35-70 F3.5 AIS ....................................£99 OM-1 body ........................................£199 SFXN body ..........................................£49 50 F4 macro PK..................................£99
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OPHO_228.indd 96 19/01/2018 12:35

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TO DESTINATIONS IN THE UK AND OVERSEAS FOR WILDLIFE, NATURE AND LANDSCAPE PHOTOGRAPHY
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Take the next step up in your photography, contact us for latest tour dates:
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OPHO_228.indd 98 19/01/2018 12:35

Learn the artistic side of
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"Just to say many, many thanks for last week; it was one of the best
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ΎtŽƌŬƐŚŽƉƐƐƉĞĐŝĮĐĂůůǇĨŽƌďĞŐŝŶŶĞƌƐ
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103
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If you only do one thing this month…
Low light landscapes

In our November issue we asked you to send us your most impressive images taken
when the light levels are low, and you certainly delivered. Here’s our winner, who
receives a Goal Zero Nomad 7 Plus Solar Panel, and 13 runners-up…
Above WINNER Jim Nilsen Robert Harvey Elizabeth Beattie

This was taken on Park Butte on the south Opposite (top) Quiver trees at a mesosaurus Opposite (bottom) I went to the promontory
side of Mount Baker in Washington State, fossil site in Keetmanshoop, Namibia. The opposite Manarola, in the Cinque Terre region
USA. I made the three and a half mile trek image captures the brightest part of the Milky of Italy, to photograph sunset, but there was
up to this location at the end of October, Way and two Magellanic clouds, only visible a bank of clouds over the sea on the horizon.
which is usually not possible at this time from the southern hemisphere. I turned to see the wonderful light that was
of year because of snow. However, we had Canon EOS 5D MkIII with Rokinon 24mm warming the town itself, so I opted instead
an unseasonably warm period and I was able f/1.4 lens, ISO 3200, 20sec at f/2, tripod, five to capture Manarola in the half light.
to spend the night there. This is an evening overlapping images stitched together using PTGui Olympus OM-D E-M5 Mkll with Olympus Zuiko
‘blue hour’ shot taken approximately 30 naturalworldphotography.net ED 12-40mm Pro f/2.8 lens at 12mm, ISO 200,
minutes past sunset. 25sec at f/16, Manfrotto tripod
Sony a7R with Metabones adaptor and Canon
16-35mm f/4 lens at 24mm, ISO 400, 10sec at
f/16, Feisol tripod with RRS BH30 ballhead
photographytraveltours.com
104_111 One thing this month 228_SW.indd 104 18/01/2018 17:09


Alf Branch
Left I took this photograph on Parton
beach, near Whitehaven in Cumbria;
it’s my local beach. The two fishermen
arrived just as I was finishing shooting
sunset and it was getting dark. I fired
off a few shots of them, and this was
one where they stood still and I got
a nice flow on the water.
Olympus OM-D E-M5 II with Zuiko
9-18mm f/4-5.6 lens at 9mm, ISO 200,
3.2sec at f/8, Formatt Hitech 0.6 soft grad
flickr.com/photos/32457074@N07
Bill Brooks
Below (left) This image was taken
an hour or so before dawn on an
October morning at Chantry Hill,
near Storrington in West Sussex.
I was waiting to take pictures of the
sunrise, but this full moon over a small
copse and chalk path provided a better
opportunity to interpret this landscape.
Canon EOS 5D MkIV with Canon EF
100-400mm f/4.5-5.6 L IS II USM lens at
135mm, ISO 100, 1/6sec at f/11, Gitzo tripod
Gavin Hayhurst
Opposite (top) During a three-week
road trip around Umbria and Tuscany
in Italy we stopped for a few days at
Borgo di Colleoli in northern Tuscany.
The resort sits atop a hill and each
morning the valleys surrounding it
filled with mist before sunrise, creating
perfect conditions. This image was
taken just a hundred metres or so
from our room; it was lazy landscape
photography at its best.
Canon EOS 5D MkII with EF 70-200mm
f/4 L IS lens at 111mm, ISO 100, 0.4sec at
f/11, Lee two-stop soft ND grad, tripod,
cable release
gavinhayhurst.com
Daniel Kenealy
Opposite (below) As my week-long stay
on the Isle of Skye was coming to an
end, a cold snap was getting pushed
down from the north. The rain that was
forecast quickly turned to snow. I had
eyed up these small pieces of land around
Loch Dunvegan when I arrived on the
island, and knew that if the conditions
were right I could get an interesting
image. This was the first band of snow to
arrive. I watched the storm sweep down
the loch and just before the low cloud
drained the last bit of light from the
land I captured this shot.
Canon EOS 5D MkIII with Canon 70-
200mm f/2.8 L lens and 1.4x converter
at 280mm, ISO 100, 1/30sec at f/11,
Manfrotto 190 tripod


Allan Davies
Left I took this photograph in
the Murlough Nature Reserve in
the Mourne Mountains, County
Down, Northern Ireland. With the
wonderful evening light behind the
mountains, the skeletal dead tree in the
foreground, the four trees that have an
African savannah appearance and the
cloud detail, it made for an impressive
scene. It was one of those very rare
times where I stepped out of the car
and simply put my tripod down.
Canon EOS 5D MkIII with Tamron
24-70mm lens at 27mm, ISO 100,
1/25sec at f/16, Lee three-stop soft ND
grad, Manfrotto 055CXPro 4 tripod
Peter Lorence
Left (below) This image shows the
view of Pen yr Ole Wen and Llyn Idwal
from the trail up to Devil’s Kitchen in
Snowdonia. Shot on a dark wintery day,
it had been fairly drab conditions and
the light levels dropped further as a wall
of snow and hail rolled up the valley to
the left. Just before it arrived, however,
a glimmer of distant sunshine snuck
though, enabling me to quickly adjust
my exposure and capture the scene.
Canon EOS 5D MkIII with 17-40mm f/4
L lens at 23mm, ISO 100, 8sec at f/16,
Breakthrough Photography X4 six-stop
ND and X4 CPL polariser, MeFoto tripod
Richard Moore
Opposite (above) I took this atmospheric
image during the ‘blue hour’ early one
morning on a visit to Creeve Lough in
County Tyrone, Northern Ireland.
Canon EOS 6D with Canon 17-40mm L
lens at 17mm, ISO 100, 5sec at f/16, tripod
waterasclouds.com
Kasia Nowak
Opposite (below) I took this image of
Reyniskirkja church during a blizzard on
a trip to southern Iceland. The wideangle
lens gave the sense of wild isolation to
the church and I used flash to freeze the
motion of the snowflakes mid-air.
Nikon D800 with 24-70mm lens at 24mm,
ISO 100, 1.6sec at f/11, tripod, flash
kasianowak.com


Jo Farmer George Robertson
Top This shot of the Cuillins across Loch Above The image was taken at Machhapuchhre basecamp in the Annapurna Sanctuary
Scavaig, on the Isle of Skye, was taken in the late in Nepal. The camp is a collection of wooden teahouses and old stone buildings located
afternoon as dark clouds rolled in with sheets at 3,700m. During the day, clouds often envelope the area, but as dusk approaches the
of rain. The sunlight was still coming through clouds draw back to reveal the beauty of the landscape. There was a full moon that
strongly at the horizon, which made it very evening and the light from it, combined with some lights from the teahouses, proved
moody and atmospheric. I loved the quality of sufficient to bring out the detail in the building. The mountain in the background is
the light and the layering and textures it revealed. the 7,219m high Annapurna South.
Nikon D90 with 18-105mm f/3.5-5.6 lens at 30mm, Nikon D810 with Nikon 16-35mm lens at 17mm, ISO 1600, 15sec at f/4, Gitzo Traveller tripod
ISO 100, 1/100sec at f/9, handheld mountaintreksphotos.co.uk

Your next challenge
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There are few things more exciting than
heading off overseas on a trip to
photograph some of the wonderful
animals to be found around the globe.
Whether you head to Africa on a safari,
go to Asia in search of giant pandas or
journey to the far north to see polar bears,
the experience awaiting you is one that
will never be forgotten. Taking images of
wildlife on these sorts of trips is hugely
challenging but also immensely
rewarding, and often comes down to
a mixture of having the right camera gear,
a healthy period of planning and a good
dose of luck. Make sure you read Andy
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inspiring guide to shooting wildlife images
on safari on page 28, and then send us
your very best images of exotic wildlife
from around the planet for a chance to
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To submit your images, go to
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submissions. Closing date for entries is
28 March 2018. See page 70 for more
details and terms and conditions.
Enter and you could win a

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The winner of our ‘Exotic Wildlife’
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means you can access your camera kit
while wearing the pack, so you can locate
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Above This is an image of the fits two DSLRs plus four to six standard
spectacular Burj al Arab Hotel in Dubai. zoom lenses (with a maximum length
I took the photograph at dusk from its of 600mm) and flash. It has additional
sister hotel, the Jumeirah Beach, and space for a 15in laptop and has 11 litres
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used a wideangle lens to include the
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© Shutterstock.com
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you could win a superb Snugpak Venture Pile Shirt, worth £114.95!
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This month we’ve teamed up with Snugpak to offer the
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Insight Into Life As A Pro Mountain Shooter: Landscape Wildlife Nature Adven Ture

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Insight Into Life As A Pro Mountain Shooter: Landscape Wildlife Nature Adven Ture

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INSIGHT INTO LIFE AS A PRO MOUNTAIN SHOOTER

landscape | wildlife | nature | adventure

OFC_228_Ben Tibbetts_01.indd 1 18/01/2018 12:27

Steve Watkins Paul Harris explores shooting

Keep right up to date with news by ‘liking’ OP at

March 2018 Outdoor Photography 1

1 Eds letter 228_SW.indd 1 23/01/2018 15:00

FEATURES & OPINION LEARNING LOCATIONS

2 Outdoor Photography March 2018

2_3 Contents_228_SW.indd 2 18/01/2018 17:14

March 2018 Outdoor Photography 3

2_3 Contents_228_SW.indd 3 18/01/2018 17:14

Outdoor Photography (ISSN 1470-5400)

For further details:

Visit the Apple App store,

4 Contribs 228_SW.indd 4 18/01/2018 12:31

SEE MORE OF THE WORLD

FUJIFILM G FORMAT 43.8X32.9MM SENSOR | 51.4-MEGAPIXEL RESOLUTION | 425-POINT AUTOFOCUS SYSTEM

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6-7_Opening_shot_228_SW.indd 6 18/01/2018 12:51

I spent three days travelling along the

March 2018 Outdoor Photography 7

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2017 National Geographic Nature Coral reef warning

8 Outdoor Photography March 2018

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The RSPCA has announced the winners of its Young

March 2018 Outdoor Photography 9

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Edge (Verse I) #29 (2003)

Pilgrimage: The Great Pilgrim Routes Above the Clouds

10 Outdoor Photography March 2018

10_11 Out there_228.indd 10 18/01/2018 13:00

THREE DRONE VIDEOS TO INSPIRE WILDLIFE BOOK

White bellied pangolin

UK’S MOST BEAUTIFUL LOCATIONS

Ellen Bowness is passionate about the outdoors and travelling around

March 2018 Outdoor Photography 11

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Les Mées, 2016

creative and innovative ways Entrants had 15 categories

12 Outdoor Photography March 2018

12_13 The Big View 228_ABE_SW.indd 12 18/01/2018 13:02

EXHIBITIONS WITH A DIFFERENCE

Psychovertical: A Higher Education

March 2018 Outdoor Photography 13

12_13 The Big View 228_ABE_SW.indd 13 18/01/2018 13:02

LETTER OF March letter of the month winner Barbara Gardner

14 Outdoor Photography March 2018

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16 Outdoor Photography March 2018

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I ‘in that I work as both an adventure photographer and

March 2018 Outdoor Photography 17

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16_22 Interview_228_SW.indd 18 18/01/2018 14:06

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20 Outdoor Photography March 2018

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March 2018 Outdoor Photography 21

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22 Outdoor Photography March 2018