Outdoor Photography - June 2016

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    HOW TO SHOOT BLACK & WHITE WILDLIFE

    landscape|wildlife|nature|adventure

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    70 awards and recommendations. Made in Germany. Gallery quality trusted

    by 21,500 professional photographers. Discover us at WhiteWall.com

    Don

    WhiteWall.com

    Awarded by the editors of 28 leading international photo magazines

    Best Photo Lab Worldwide

    Winner of the TI PA Award

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    June 2016Outdoor Photography1

    An online revolutionIf youve ever submitted images or

    article ideas to Outdoor Photography

    then you will be familiar with the

    time and dedication it requires. After

    taking, processing and selecting

    your images, you then need to find

    a CD and some packaging before

    heading to the post offi ce and hoping

    the package makes it safely to us.

    Well, weve got some exciting news

    for everyone this month... the OP

    submission system has moved online!

    Oooh, I can hear the bells ringing and

    the street parties erupting round the

    country as I type. With immediate

    effect, you can go to our website

    outdoorphotographymagazine.co.uk

    and upload your images and ideas

    depending on which section of the

    magazine you want to be considered

    for. Were thrilled to be able to do thisat last, and hope you will enjoy using

    the system. Of course, let us know

    of your experience with it (whether

    positive or negative), as we want to

    ensure it is as user-friendly as possible.

    As weve noted on the website,

    please make sure you carefully read

    the submission guidelines, and use

    your knowledge of the magazine to

    decide which section best fits the

    work you want to send in. Were

    expecting a sharp rise in the number

    of submissions we receive, and we are

    very much looking forward to seeing

    work from even more of you.

    If you havent already engaged with

    us on social media, then its certainly

    worth checking out. We have brilliant

    and very dynamic communities on

    Facebook and Twitter and a rapidly

    growing one on Instagram too, and

    we are always scouting there for new

    talent and great, fresh images. Our

    details for connecting with us on

    those platforms are below.

    Were keen to expand our real life

    interaction with you too, so if you

    have any cool ideas for events that we

    could create or attend then please letus know. One thought weve had is to

    have a series of reader days at locations

    across the country, where we can all

    get together, shoot

    some images, learn

    from each other and

    have fun. What do

    you think?

    Steve Watkin

    Afria-baed wildlife phoographerand lodge manager Pieer Raook hi sunning elephan por raiimage. Find ou how o hoo yourown powerful blak & whie wildlifeimage on page 28.

    GET IN TOUCH

    EmailConac he Edior, Seve Wakin, a [email protected]

    or Depuy Edior, Claire Blow, a [email protected]

    Write to usOutdoor Photography, 86 High Sree, Lewe,

    Eas Suex BN7 1XN

    Keep righ up o dae wih new by liking OP a

    faebook.om/oudoorphoographymag

    Follow u on Twiter a htp://witer.om/opoy

    Find u on Insagram a insagram.om/oudoorphoographymag/

    EDITORS LETTER

    Landape phoographer JameOmond alk o OPpage 16

    Rihard Garvey-William on blak &

    whie wildlife phoography page 28

    Niall Benvie on he impac ha

    marphone are having page 42

    Fergu Kennedy es Panaoni

    new DMC-GX8 amera page 94

    THE ISSUEat a glance

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    2Outdoor PhotographyJune 2016

    FEATURES & OPINION LEARNINGZONE

    LOCATIONSGUIDE16 In onveration with

    Jame Omond

    Brisol-baed landape

    phoographer Jame Omond

    alk o Nik Smih abou

    finding ue a a pro, and

    wha ha led him o fou hi

    len on a loaion loe o home

    24One month, one picure

    Pee Bridgwood explore he

    benefi of experimening wih

    oher phoographi genre

    42 Opinion

    Niall Benvie onider

    he derimenal impac

    marphone are having

    on phoography

    54A photographer guide

    to life on Earth

    In he penulimae par of

    hi erie, Chri Weson ha

    advie on how o be a more

    reaive phoographer

    58 Lie of the land

    Norfolk-baed phoographer

    Mathew Darord reveal

    why he i drawn o deail

    wihin he landape

    64 In the sotlight

    Dylan Nardini explain how

    hi job a a freigh rain driver

    inire hi phoography

    67 Wilderne to Waeland

    Phoograph by David T Hanon

    doumening he impac

    indusrial and miliary ulure

    ha had on he US landape

    83 Inide trak

    Nik Smih reflec on

    hi phoographi exploi

    on deer iland

    28 How to take unning

    blak & white wildlife

    photograph

    Diover why a monohrome

    approah an lead o powerful

    and reaive wildlife image,

    wih Rihard Garvey-William

    in-deph ehnial guide

    36 Quik guide to

    Linking the land to the kyRihard Garvey-William

    offer ompoiional advie o

    improve your landape ho

    38 How to read water

    We dive ino Trisan Gooley

    uperb new book abou he

    fainaing world of waer

    46 Combeone Tor, Devon

    Jame Omond apure

    a sunning une ho of

    one of Darmoor mos

    popular beauy o

    49 Ben Venue, Stirling

    Paul Holloway enjoy

    breahaking view from

    he op of one of he

    Troah dramai peak

    50Viewpoint

    Eigh op UK loaion o hoo

    hi monh, inluding sunning

    o in Gwynedd, Derbyhire,

    Wilhire, he Orkney Iland

    and he Sotih Highland

    JUNE

    NEW ONLINE SUBMISSIONS SEE PAGE

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    June 2016Outdoor Photography3

    GEARZONE REGULARSNATURE

    ZONE

    74 Life in he wild

    Laurie Campbell begin

    a two-part feature about

    nes photography

    76 Phoography guide

    Laurie eaonal highlight,

    world wildlife ecale and

    even great plae to ee

    heathland flora and fauna

    79A momen wih naure

    Paul Miguel apture a touhing

    ourthip ritual between a pairof arci tern in Ieland

    80 On he wing

    Steve Young hare hi

    experiene of a pay and

    dilay wildlife hide etup,

    and offer hi bird photo

    tip and highlight for June

    90 Gearing up

    Our round-up of the latesoutdoor kit to hit the helve

    92 Camera es: Panaonic

    Lumix DMC-GX8

    Fergu Kennedy find out

    if Panaoni flaghip

    mirrorle offering give

    DSLR a run for their money

    8 Newroom

    Keeping you up to date with thelates photography, outdoor

    and onervation sorie

    10 Ou here

    Our pik of the lates

    photography title and

    nature book to inire

    12 The big view

    The lates photography and

    art exhibition, plu

    upoming nature and

    adventure fesival

    YOUROP

    14Your leter

    Your feedbak, opinionand muing on all thing

    photography-related

    60 Reader gallery

    Our pik of thi month

    bes reader image

    85 Nex monh

    A neak peek at the July iue

    of Outdoor Photography

    86Your chance

    Find out about our brand new

    online ubmiion ysem toget your work publihed in OP

    106 If you only do one

    hing hi monh

    The winner of our winter

    wildlife photography

    ompetition, plu thi month

    hallenge: blak & white wildlife

    112 Where in he world?

    Identify the loation and you

    ould win Keen Veratrail hoe!

    NEXT ISSUE ON SALE JUNE

    A guide to alternative way of hooting landcape

    Interview with nature photographer Henrik Spranz

    On tes: the new Olympu Pen-F

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    Oudoor Phoography conider aricle idea or publicaion, which hould be en o he Edior, along wih a samped el-addreed reurn envelope i you require your maerial back. GMC Publicaion canno accep liabiliy or he

    lo or damage o any unolicied maerial. View and commen expreed by individual in he magazine do no necearily repreen hoe o he publiher and no legal reonibiliy can be acceped or he reul o he ue by readero inormaion or advice o whaever kind given in hi publicaion, eiher in ediorial or adveriemen. No par o hi publicaion may be reproduced, sored in a rerieval ysem or ranmited in any orm or by any mean wihou he prior

    permiion o he Guild o Maser Crafman Publicaion Ld. Wih regre, promoional offer and compeiion, unle oherwie saed, are no available ouide he UK and Eire.

    GMC Publiaion anno aep liabiliy for he lo or damage of any unoliied maerial.

    IN THE MAGAZINE THIS MONTH...

    ALSO IN THIS ISSUE

    Pee Bridgwoodpeebridgwood.com, Ron Evan ronevan.co.uk, Mark Helliwell markhelliwell.com, Rihard Burdon

    rjbphoographic.co.uk, Rober Hatonrobe rhatonphoography.co.uk,Simon Swaleimonwaleshoography.co.uk,

    Mark Ferguon markferguonphoography.co.uk, Anna Sowe annaowephoography.co.uk, Chri Weson chriweon.phoography,

    Laurie Campbell lauriecampbell.com, Seve Young birdonfilm.com

    EDITORIAL

    Edior Seve [email protected]

    Depuy edior Claire Blow

    [email protected]

    Aisanedior Anna Bonia [email protected]

    Deigner Jo Chapman

    ADVERTISING

    Raphael Potinger

    [email protected],01273 402825

    MARKETING

    Markeing exeuiveAnne Guillo

    [email protected] ,01273 402871

    PRODUCTION

    Producion manager Jim Bulley

    Producion onroller Sot Teagle

    Originaion and Ad deign

    GMC Repro. [email protected],01273 402807

    Publiher Jonahan Grogan

    Priner Preiion Colour Prining, Telord,01952 585585

    Disribuion Seymour Disribuion Ld

    Outdoor Photography(ISSN 1470-5400)

    i publihed 13 ime a year by GMC Publiaion Ld.

    86 High Sree, Lewe, Eas Suex BN7 1XN.

    Tel 01273 477374

    Guild o Maser Crafman Publiaion Ld. 2016

    Buy OP a an appGe Outdoor

    Photographymagazine

    for your iPhone, iPad or

    Android devie!

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    find i on Google Play

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    Pay by Direc Debit and save 30%

    19.95 every 6 issues (UK only)

    39.90 every 12 issues (UK only)

    For furher deail:

    Call 01273 488005

    Vii hegmcgroup.com

    SUBSCRIBE+ SAVE UP TO 30%!**by Direc Debi

    Jame Omond ha been

    a proeional landape

    phoographer ine 2002.

    He upplie landape and

    ravel image o publihing

    and adveriing indusrie

    worldwide, and alo run hi

    own phoography workhop

    wihin he UK.

    jameomond.co.uk

    Pieer Rai a 30-year-old

    lodge manager who ha

    ravelled o and worked

    in ome o he remoes

    plae on Earh. He love

    wildlie and atemp o

    apure he beauy o

    naure in hi phoograph.

    raiinphoo.com

    COVER

    Veriy Milligan i a reelane

    proeional phoographer

    and eduaor working ou o

    he iy o Birmingham, UK.

    She i happies oudoor

    apuring he landape and

    love o ravel, boh around

    he UK and beyond.

    veriymilliganphoography.com

    Trisan Gooley i a wrier,

    navigaor and explorer. He

    e up hi naural navigaion

    hool in 2008 and i

    he auhor o The Natural

    Navigator. He ha writen

    or he Sunday Timesand

    he New York Times, and

    i he only living peron o

    have boh flown olo andailed inglehanded aro

    he Alani.

    nauralnavigaor.com

    Rihard Garvey-William

    i an award-winning wildlie

    and landape phoographer

    and auhor. Having en

    hi hildhood in Aria,

    he relihe opporuniie

    o reurn and hare he

    experiene by leading

    phoographi aari. Now

    baed in Devon, he alo

    offer uoring on Darmoor.

    richardgarveywilliam.com

    Niall Benvieha

    phoographed and writen

    abou he naural world

    and our relaionhip wih

    i, proeionally, or over

    20 year. He i o-ounder

    o he inernaional

    phoography projec

    Mee Your Neighbour.

    niallbenvie.com

    Paul Hollowaywork par

    ime a a eaher, and live

    in he village o Callander a

    he gaeway o he Sotih

    Highland. He end a

    muh ime a he an ou

    phoographing, and being

    a keen hillwalker he enjoy

    ombining boh purui.

    paulhollowayphoography.co.uk

    Dylan Nardinii a

    landape phoographer

    rom Souh Lanarkhire.

    He ake iniraion rom

    he ligh he oberve

    alling on he landape

    he drive hrough in hi

    day job driving reigh

    rain around Soland.

    dylannardini.com

    Nik Smihi a wrier

    and phoographer

    eialiing in ravel

    and environmenal iue.

    He i a onribuing edior

    on he Explorers Journal

    and i a ellow o he Royal

    Geographial Soiey.

    nickmihphoo.com

    Mathew Darordi a

    proeional illusraor and

    keen amaeur phoographer

    rom Norwih. When he no

    suk in he sudio he like o

    explore Norolk wonderul

    oas and woodland.

    mdarord.phoography

    Paul Migueli a widely

    publihed phoographer

    and wrier, repreened by

    picure librarie in he UK

    and abroad. He pariularly

    enjoy doumening hi loal

    wildlie in Wes Yorkhire,

    and alo run a divere range

    o phoography workhop.

    paulmiguel.co.uk

    A he age o five, Fergu

    Kennedyloved meing

    around in he ea and playing

    wih gadge. Fory year on,

    very litle ha hanged. He i

    a marine biologis and work

    a a reelane phoographer

    and amera operaor or

    lien uh a he BBC

    and Canon Europe.

    fergukennedy.com

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    7/116www.leefilters.com

    Joe Cornishwww.joecornishgallery.co.uk

    The English Lake District has been immortalised in literature, poetry, painting and photography since

    the dawn of the Romantic era. I am lucky to have friends living in the Lakes, and it was they who

    guided me to this magnificent prospect of Crummock Water early one autumn morning.

    The sun rose into a mostly clear sky, but as soon as the cloud built over the central lakeland fells

    the light became inspiring and ever-changing for almost an hour. It was one of those occasions to

    be grateful for digital photography, for in days past this would have cost a fortune in exposed large

    format film!

    Great perspective, cool foreground shadow light and warm sun rays, but highlight/shadow range

    was extreme. Fortunately, a medium 0.9 ND graduated filter (three stops) did most of the work

    needed to balance the dynamic range discrepancy. LEE have made medium grads for me, and

    others, to order for a while; these are now being made available to all. Carrying several different

    strengths of grad enables me to tune exposure balance really accurately in camera.

    It was a thrill to subsequently discover a painting by JMW Turner of Crummock Water, with stormy

    lighting and a rainbow over the lake, made over two hundred years earlier.

    Crummock Water

    LEE 0.9 ND

    medium grad filter

    Linhof Techno, Phase One P45+, 40mm Rodenstock Digaron-W lens. 1/8 sec @ f/16, iso 50

    Medium grad filter

    NEW

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    6Outdoor PhotographyJune 2016

    Achmore rainbow

    by Verity Milligan

    Long before unrie, I seulatively

    drove from Blealeit on the Ile

    of Lewi in the direcion of Harri.

    I notied that there wa a blanketof mi in the direcion of Ahmore,

    providing ome muh needed

    atmoshere for the hill beyond.

    Soon a orm rolled in, illuminated

    by the riing un. A it paed

    over the landape, a rainbow

    appeared, aending from the

    mi into the loud above. It wa

    the perfec addition to an already

    amazing ene.

    Olympus E-M5 MkII with Olympus

    40-150mm f/2.8 lens at 40mm,

    ISO 200, 1/60sec at f/14

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    June 2016Outdoor Photography7

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    Ile of Man awarded Unecobioshere reerve atuThe Isle of Man has been added to Unescos global

    network of biosphere reserves in recognition of

    its outstanding natural heritage. The island, which

    lies about 70 miles off the north-west coast of

    England in the Irish Sea, is one of 20 new biosphere

    reserves, bringing the total number to 669 sites in

    120 countries. Awarded to areas that balance the

    needs of people, business and nature, their main

    purpose is to encourage conservation, sustainable

    development and active involvement in the

    environment. The Isle of Man joins iconic sitessuch as Yellowstone National Park in the USA

    and Ayers Rock in Australia.

    Unesco says the Isle of Man is a special place for

    people and nature. In awarding the status it praised

    the islands varied coast line, peat-rich hills, wooded

    glens, grasslands, pools and wetla nds. Two areas

    were of particular i nterest to Unesco: the Calf

    of Man, a bird-rich islet off the southernmost tip

    of the island; and the Ballaugh Curragh, in the

    north-west, which boasts one of the largest winter

    roost sites of hen harriers in western Europe. T he

    islands rich marine biodiversity was also recognised.

    Angela Byrne, Head of Isle of Man Tourism said:

    We are immensely proud of what our island has

    to offer visitors from awe-inspiring waterfalls

    hidden away in verdant historic glens, to wide-open

    expanses which produce vistas that t ake your

    breath away. We work hard to ensure these can

    be easily enjoyed and will be protected for locals

    and visitors to enjoy for generations to come.

    In addition to the new biosphere reserves, nine

    existing sites have been extended. In north-west

    Scotland, the Wester Ross Biosphere Reserve replacesthe much smaller Beinn Eighe site, which was

    designated in 1976. Extending from the tip of

    Knoydart northwards to Achiltibuie and the Summer

    Isles, and inland eastwards to Garve, the new reserve

    includes Loch M aree, which is internationally

    important for its black-throated diver population.

    There are now si x Unesco biosphere reserves

    in the UK, i ncluding the North Norfolk Coast,

    Galloway and Southern Ayrshire, Biosffer Dyfi

    in Wales and the Brighton and Lewes Downs. To

    find out more about them, head to unesco.org.uk/

    designation/biosphere-reserves.

    8Outdoor PhotographyJune 2016

    NEWSROOMCONSERVATION NEW L AUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

    THE LATESTBULLETINS

    OPto hos sellar

    eaker lineup at

    Patching Fesival

    The Pahing Fesival reurn o

    Notinghamhire hi ummer. The

    annual our-day even elebrae

    and howae he alen o aris,

    phoographer and rafeople, and

    i paked ull o iniraional alk,

    workhop and demonsraion.

    For he hird year running, Oudoor

    Phoographywill preen a elecion

    o iniring illusraed alk a he

    esival. Speaker inlude ome o he

    bes oudoor phoographer working

    in he UK oday rom landape

    maser Jame Omond (inerviewed

    on page 16), Dav Thoma and Rahel

    Talibar, o naural hisory phoographer

    Jak Perk, who eialie in

    hooing underwaer phoograph

    in Briain rehwaer river.

    You an ge an inigh ino ValdaBailey reaive approah o landape

    phoography, learn howOPolumnis

    Pee Bridgwood reae hi evoaive

    image, and diover he sorie

    behind Rob Knigh work. Oudoor

    Phoographer o he Year 2014 winner

    Greg Whiton will alk abou hi paion

    or epi landape, and OP Seve

    Wakin will be on hand wih ip on

    how o ge your image publihed.

    The Paching Fesival run from

    9-12 June, cloe o he village of

    Calveron in Notinghamhire, and

    icke cos from 7.50. For full deailand o reerve your icke, go o

    pachingfesival.co.uk

    r3gin/Shutersock.com

    SeveWakin

    From andy beahe o owering

    liff, he Ile o Man ha more

    han 100 mile o oasline.

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    June 2016Outdoor Photography9

    EDITED BY CLAIRE BLOW

    Google offers Nik Collecion for freeGoogle ha made i Nik Collecion o phoo ediing ool available o download

    ree o harge. Compaible wih Phoohop, Lighroom and Aperure, he

    ollecion omprie even plug-in: Analog Eex Pro, Color Eex Pro, Silver

    Eex Pro, Viveza, HDR Eex Pro, Sharpener Pro and Dfine. Ediing apabiliie

    range rom filer appliaion ha improve olour orrecion o reaive effec.

    The Nik Collecion previouly os $150 (abou 105); anyone who purhaed

    he ofware earlier hi year hould have auomaially reeived a ull reund.

    The bad new or an o Nik ollecion o ediing ool i ha Google may no

    oninue o updae he ofware; he firm aid in a saemen ha i plan o ou

    on building phoo ediing ool or mobile, uh a Snapeed and Google Phoo.

    To download he Nik Collecion, head o google.om/nikollecion

    M

    aaser/Shutersock.com

    NUMBER CRUNCH

    1,345m he offi ial new heigh o BenNevi, whih ha gained a merehank o a GPS heigh meauremen by Ordnane Survey.

    The Sotih mounain wa las meaured in 1949, when

    urveyor alulaed he heigh o be 1,344m. Modern

    meauring ehnology ha provided a more aurae reul

    o 1,344.527, whih i rounded up o 1,345m.

    153 he lengh, in mile, o he Norh Down Way,whih an now be explored virually. The roue rom Farnham in Surrey o Canerbury and he Whie

    Cliff o Dover in Ken i he firs o 15 UK Naional Trail

    o be made available on Google Sree View.

    58 mile o oas pah in Somere rom BreanDown o Minehead are open o he publi orhe firs ime. Following wo hird o he ouny oas,

    ii he longes sreh o be added o he England Coas

    Pah o ar. By 2020, a oninuou pah will allow walker

    o ae he enire oas o England.

    8,262,662bird were reorded in

    he RSPB Big Garden

    Birdwah in January. Long-ailed i made i ino he op

    10 mos oted garden bird due o he mild winer. Grea

    i and oal i alo benefied rom he warmer weaher.

    See he reul o he urvey a rb.org.uk/birdwah

    3,401 eie o plan and animal wereouned by voluneer a 25 NaionalTrus plae around Briain oasline on 20 June

    2015, inluding he firs reorded ighing o Baleari

    hearwaer a Blakeney on he Norolk oas. The

    Naional Trus will ue he finding o deermine how

    i manage onervaion along he 775 mile o oasline

    i look afer in he UK.

    J

    oePender

    Sotish Naure Phoographer

    of he Year 2015 winner revealedA sunning oasal une ho ha earned Wes Lohian-baed DavidQueenan he ile o Sotih Naure Phoographer o he Year 2015. Hi

    image, The Ba Rok rom Sealiff beah, won he ompeiion Sea

    & Coas aegory beore being eleced by judge a he overall winner.

    David aid: My winning image wa aken a he end o a pleaan evening

    hooing he une over Tanallon Casle rom Sealiff beah. I wa rying o

    make my way bak along he beah o he ar park beore i go ompleely

    dark, when I oted he waer-ormed hape in he and leading o he

    Ba Rok in he disane and had o sop or one las ho hankully I did!

    Find ou more abou he awards a sotishnaurephoographyawards.om,

    and see a gallery of all he winners a oudoorphoographymagazine.o.uk

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    Top Wildlife Sie of he World

    Will and Natalie Burrard-Luca

    New Holland

    Publishers

    978-1921517594

    Hardback, 19.99

    Will Burrard-Lua ha

    made hi name from

    invening ingeniou devie ha enable

    him o ake picure of wildlife in new

    way. Hi laes book howae hi

    imaginaive imagery, he aweome

    plae he ha viied and hi paion

    o hare hi knowledge o you oo an

    enjoy he wonder of he naural world.

    Saring wih a vii o Peru magial

    Man Naional Park bak in 2006 and

    finihing wih hi rip o Yellowsone

    in he USA las year, i ook inrepid

    raveller Burrard-Lua almos 10 year

    o reae hi new book on he bes

    loaion o ee wildlife. Wih imagery

    from Tamania o Svalbard and from

    he Okavango Dela o Alaka, he

    apure wildlife from plae and

    perecive we rarely ge o ee.

    Inluding 30 desinaion aro

    he globe and illusraed wih sunning

    phoograph, eah loaion inlude

    an evoaive aoun of wha i like

    o vii eah pariular ie hee are

    writen by Burrard-Lua wife Naalie,

    who aompanie him on many of hi

    rip. A loaor map and facfile an alo

    be found nex o eah desinaion.

    10Outdoor PhotographyJune 2016

    OUT THERE

    THE LATESTNEW MEDIA

    IN PRINT

    Leon in Landcape:

    80 echnique for aking

    beter phoograph

    Peter Waton

    Ammonite Press

    978-1781451441

    Paperback, 19.99

    A how-to book that is bot h informative

    and inspiring, Lessons in Landscape

    offers 80 practical lessons to help you

    improve your landscape photography.

    Emphasising the importance of taking

    the time to consider techniques and kit

    that wi ll complement the environment

    youre in, and the value of knowing the

    type of image youd like to produce,

    Peter Watson includes the fundamentals

    of composition, tips on seeing the

    landscape creatively and how to use

    natural light to full effect. Written ina friendly, accessible tone, with superb

    pictures (printed to an excellent quality

    throughout), Watsons book is sure to

    appeal to anyone wishing to take their

    landscape photography to the next level.

    Underwaer Phoography

    Masercla

    Alex Musard

    Ammonite Press

    978-1781452226

    Paperback, 19.99

    BOOKOFTHEMONTH

    Rokhopper

    penguin

    howering

    on he Falkland

    Iland, by Will

    Burrard-Lua.

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    Our pik of he laes book where naure ha impaced

    eah auhor life for he beter and alered heir perepion

    of he world

    Walking Away

    Simon Armiage

    Faber & Faber

    978-0571298358

    Hardback, 16.99

    Renowned poe,

    playwrigh and

    novelis Simon

    Armiage ake

    on he hallenge

    o omplee he Souh Wes Coas

    Pah by oo wihou a penny in hi

    poke. Offering nighly reading

    o hi poery in exhange or bed

    and board, Armiage ell u o hi

    journey and hi dioverie along

    he way, in hi wity and el-

    depreaing syle.

    The Outrun

    Amy Lipro

    Canongate Book

    978-1782115472

    Hardback, 14.99

    Amy Lipro wrie

    o reurning o her

    homeland, Orkney,and he ime en

    immered in he

    landape and wahing wildlie o

    omba her addicion and ormer

    hedonisi liesyle. The book

    demonsrae how naure ha he

    power o resore lie and renew hope.

    Thirty Yearin WilderneWood

    Chri Yarrow

    Matador

    978-1784624934Hardback, 16.95

    Keen o avoid

    a onvenional

    middle-age liesyle, oreser

    Chri Yarrow and hi wie bough

    Wilderne Wood in Suex and

    e abou earning a living rom he

    63-are ie. Yarrow ell u o

    he hallenge hey aed and he

    dioverie hey made in produing

    a profiable oresry buine rom

    heir anien woodland.

    The SeaInidePhilip Hoare

    Fourth Esate

    978-000

    7412136

    Paperback,

    9.99

    Beginning hi

    journey on he

    ouh oas o

    England, where he grew up, Philip

    Hoare ravel or a year aro he

    world oean o rediover hi

    relaionhip wih he ea. Telling

    u o hi enouner wih animal,

    people and landape, Hoare

    blend peronal memoir, ulural

    hisory and ravelogue o reae

    a sirring piee o lieraure.

    Beinga Beas

    Charle Foser

    Profile book

    978-178

    125534614.99,

    Hardback

    One o he

    unnies and

    mos proound

    book youll read hi year, barriser

    urned wrier Charle Foser

    reoun he ime he lived a five

    animal o beter undersand heir

    live and our. Chooing o live

    and ea a a badger, oter, ox, sag

    and wif or a ew day a a ime,

    Foser ommimen led him o

    ome illuminaing dioverie.

    MODERN NATURE WRITING

    BOOKS TO INSPIRE

    June 2016Oudoor Phoography11

    EDITED BY ANNA BONITA EVANS

    BUILD YOUR DVD LIBRARYHOLLYWOODS TAKE ON NATURE

    We look a wo blokbuser film howing

    Hollywood porrayal of a real-life expediion

    diaser and iue relaing o he environmen

    EveresBalaar Kormkur

    Univeral

    DVD, 11

    Thi i Hollywood ake on he rue-lie

    1996 Moun Everes diaser, where eigh

    limber died in a reak blizzard during

    heir expediion o he ummi o he

    Earh highes mounain rom he norh-

    easern roue. Wih panorami view o he epi, high-aliude

    landape inerered wih loe-up ho o eah limber

    aending heir roue, Everesaply porray wha i like o

    be in one o he harhes environmen on he plane.

    To learn more abou he 1996 Moun Everes diaser, read

    Jon Krakauer book, Into Thin Air, or, or a differen ake, look

    up Anaoli Boukreev The Climb: Tragi Ambition on Everes.

    Raing Extincion

    Louie Pihoyo

    Dicovery Channel

    DVD, 12.99

    Examining he major hrea aing

    endangered eie aro he world, hi

    90-minue film rom 2015 ollow direcor

    Louie Pihoyo and a eam o ienis,

    environmenalis, aris and engineer a

    hey underake over operaion o expoe he blak marke

    rade o animal par and he derimenal impac o he ga and

    oil indusrie. Raher han being filmed in a doumenary syle,

    Raing Extincioni more o a whie-knukle uene hriller,

    whih migh no i well wih ome. The imporane o Pihoyo

    meage and he very real evidene he preen, however, doe

    how u he urgeny or a all o acion. Oher film by Pihoyo

    inlude Chaing Ie, whih ollow Jame Balog and hi eam a

    hey hronile he plane rapidly meling glaier.

    Underwater photography is fast

    becoming one of the most exciting

    genres in the medium, with

    improvements in aquatic gear

    making it possible to be t ruly creative

    when taking pictures in the planets

    oceans, seas and lakes. In Underwater

    Photography Masterclass, Britishunderwater photographer and marine

    biologist Alex Mustard reveals how you

    can explore what lies beneath the waters

    surface with your camera. With a focus

    on understanding and contolling light,

    Mustard offers in-depth technical

    advice, tips and ideas. With more than

    30 years experience as a photographer,

    and a deep knowledge of marine life,

    Mustard is the ideal g uide to help you

    take the plunge and discover the beauty

    and majesty of t he underwater world.

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    12Outdoor PhotographyJune 2016

    Scene from theWater Edge

    Loughborough Sock Gallery,

    Leiceserhire

    12 May to 25 June

    Paul Heathote ha sent the

    la even year photographing

    water and wateride loation,

    and 35 of hi image are

    exhibited at Loughborough

    Sok Gallery. Heathote'

    love of water goe bak to hi

    hildhood. He ay: For year

    I have enjoyed the peae and

    erenity that an be found next

    to the water. Regardle of

    where I go with my amera,

    I alway find myelf drawn to

    the water, rambling down

    an embankment to get right

    to the edge. It i from here

    that you ee the water and

    urrounding landape from

    a different persecive.

    loughboroughtownhall.co.uk

    Alisair Young: AcentAlan Reece Gallery,

    Perth and Kinro

    To 30 June

    Fuing together hi love

    of literature, being out in

    the landape and taking

    picure, Aliair Young i

    a photographer, writer and

    mountaineer baed on the

    Ile of Skye. Many of the

    image on dislay at the Alan

    Reee Gallery, in Pitlohry, are

    aompanied by Young' haiku

    in hi native language, Gaeli.

    johnmuirtrus.org

    THE BIG VIEW

    THE LATESTWHAT'S ON

    EXHIBITIONS

    FILM INSTALLATIONS

    TO INSPIRE

    People, Place, PropoitionTowner Art Gallery, Easbourne

    To 10 July

    The fir major exhibition of work by filmmaker,photographer and inallation arti Melanie

    Manhot, People, Plae, Propition inlude

    the premiere of her new piee, Out of Bound,

    at the Towner Art Gallery in Eabourne.

    A two-part inallation hot in the Alpine valley

    of Engelberg, Switzerland, the film doument

    two different team of worker who make the

    potentially hazardou environment afe for the

    publi to enjoy. Fainated by the ultural hiory

    of mountain, for the la five year Manhot

    ha foued on Engelberg to reate thought-

    provoking piee that queion the omplex

    relationhip between nature and man.

    townereasbourne.org.uk

    Ben River: The two eyeare not brother

    To 22 May

    Whitworth Art Gallery, Mancheser

    Looely baed on Paul Bowle hort ory

    A Disant Epiode a brutal tale of a man

    travelling through the Moroan deert Ben

    River ha reated a erie of five hort film

    that merge reality and ficion to powerful effec.

    Uing hand-proeed 16mm inemaope,

    Ben ombine hi adaptation of Paul Bowle

    piee with footage of the making of the film and

    hiorial reording of Mohammed Mrabet

    (a renowned Moroan author and Bowle

    mue) telling hi own enthralling orie. All

    are united by hot of the auerely beautiful

    Moroan landape.

    whitworth.mancheser.ac.uk

    P

    au

    lHeathcote

    M

    elanieManchot

    B

    enRiver

    A

    lisairYoung

    above Cropon Reervoir; belowBeinn Sgritheall.

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    June 2016Outdoor Photography13

    EDITED BY ANNA BONITA EVANS

    WILDLIFE EVENTS

    Nene Wahe Bird WalkLong Drove, Cambridgehire

    7-8pm, 12 MayDuring he Wildlie Tru' wo-hour

    guided evening walk along he wo-

    and-a-hal mile Long Drove in he Nene

    Wahe, near Whitleey, youll have he

    hane o ee nipe, variou wildowl

    and bird o prey, inluding owl.

    Ticket cos 2. To book, email

    [email protected]

    wildliebcn.org

    Suex Wildlie DayWWT Arundel, Wes Suex

    16 June

    Celebrae Suex Day a Arundel

    Weland Cenre, where you an enjoy

    a guided walk around he ie, alk in he

    Sand Piper Theare and a loal wildlie

    quiz. Viior may well ah ighing

    o waer vole, oyeraher, lapwing

    and oher wildlie ha reide a he

    reerve during sring and ummer.

    No advanced booking required

    wwt.org.uk

    Wildlie Training Workhop:an introducion to reptile

    Stockgrove Country Park, Bedordhire

    8 May

    Inroduing he kill needed o ideniy

    he variou repile ound in he UK,

    hi ix-hour workhop, wih Helen Muir-

    Howie and Mat Andrew, will how you

    where o look or pariular seie

    and how o enourage hem o oupyavourable habia. Se wihin he larger

    Ruhmere Counry Park, Sokgrove

    Counry Park over 80 are o anien

    oppie woodland, heah remnan and

    onierou planaion.

    Ticket cos 35. To book, email

    [email protected]

    wildliebcn.org

    Bat WalkWWT Llanelli, Carmarthenhire

    9-10pm, 10 June

    Learn abou Llanelli Weland Cenre'

    ba during hi hour-long nigh walk.

    Exper guide will be on hand o

    hare heir knowledge o seieall, habia preerene and loal

    populaion diveriy.

    Ticket cos 5, and booking i

    eential. To ecure your place,

    call 01554 741087

    wwt.org.uk

    What that WarblerWWT Caerlaverock, Dumriehire

    1-4pm, 15 May

    Find and ideniy he newly arrived sring

    migran bird a Caerlaverok Weland

    Cenre near Dumrie. Wih 1,400 are

    o explore, youre ure o ah ighing

    o he regular, inluding he array o

    warbler. Guide will be on hand o eah

    you how o ideniy seie by heir ong.

    No advanced booking required

    wwt.org.uk

    NATURE FESTIVALS

    Fesival o NatureBrisol Habouride, Brisol

    11 to 12 June

    The UK bigge ree naural hiory even i bak,

    reurning o Briol Harbouride or wo day hi

    June. Inviing you and your amily o explore and enjoy

    he naural world, more han 100 organiaion will beatending he eival, offering alk, workhop and

    hand-on aciviie. Viior have he hane o find

    ou more abou he wildlie, landape and eology o

    wild woodland, urban jungle and divere weland.

    Afer he elebraion in Briol, he eival move

    on o nearby Keynham, five mile o he ouh-ea

    o Briol, or one day on 19 June, beore ending i

    advenure in he iy o Bah or he la o he eiviie

    on 25 June.

    bnhc.org.uk

    The Buhraf ShowBeehive Farm Woodland Lake, Derbyhire

    28 to 30 May

    The Buhraf Show i one o he bigge even

    o i kind in he world, wih viior ravelling rom

    ar and wide o ry heir hand a buhraf aciviie

    and o hear alk rom leading urvival exper.

    There pleny o inere oudoor phoographer

    during he hree-day even, wih workhop on rak

    and ign idenifiaion, a hane o experiene anoe

    amping and a wild ood walk o eah pariipan

    how o orage. There alo an impreive lineup

    o seaker, inluding naural navigaion guru and

    auhor Trian Gooley (read abou hi new book on page

    38), proeional wildlie and underwaer phoographer

    Jak Perk and experiened buhraf and urvival

    inrucor and eleviion preener Andrew Prie.

    thebuhcrafhow.co.uk

    C

    hriDobb

    A

    myLewi

    J

    ameLee

    C

    lareEdward

    CourteyofTrisanGooley

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    14Outdoor PhotographyJune 2016

    Your letterWrie o u! We love geting your view and resone; email [email protected]

    THE LATESTFEEDBACK

    Wildlife widom

    A a wildlife photographer of ome 46 year sanding

    (profeional for 20 year), and the mos experiened

    photographer of hen harrier in Britain, I write to fully

    upport Laurie Campbell omment in the May iue

    (OP204) relating to undue disurbane of raptor by photographer.

    Only reently did I witne two o-alled wildlife photographer at a

    barn oupied by barn owl. One went in and the other waited outide,

    with hi amera ready, for an owl to fly out. Suh acion i totally

    unaeptable, and if the owl had laid egg the photographer would

    have been breaking the law. Regular disurbane of a barn owl ite i

    enough to aue abandonment of the ite; the photographer would

    have no idea that it wa their acion that had aued thi deertion.

    Laurie artile brought the ad new that three wintering hort-

    eared owl had died through sarvation brought about by the

    preure of photographer at their feeding ite. Suh enario

    have been repeated throughout the ountry thi winter, when group

    of 30 or more photographer have gathered to photograph hort-

    eared owl or day-hunting barn owl. I feel ure that Laurie would

    agree with me that over the many deade that we have been filming

    wildlife, the exitement ome from finding the ubjec and from the

    uniquene of any photograph obtained. Neither he nor I would get

    any atifacion sood in a line of other photographer all taking

    hundred of hot of the ame bird.

    My meage, therefore, to fellow wildlife photographer i to get

    out there and find your own ubjec; that way your photograph will

    be totally unique to you and your amera. Alway remember that your

    reult will be direcly proportionate to the time that you put in.

    Gordon Yates, via email

    A colourful journeyI really enjoyed Robin Hoskyns photo

    showcase, Wild Madagascar, in the

    April issue (OP203). In fact , it convinced

    me to take my camera travelling again,

    so I booked a plane ticket to Rajasthan

    in northern India a destination

    Ive long thought would have great

    photographic potential. It didnt

    disappoint. Like Robin, I found it

    different to my expectations in some

    ways but it surpassed them in others.

    The medieval forts and exquisite palaces

    were amazing. For me, though, as a

    photographer, the Rajasthani peoples

    traditional love of colour and decoration,

    which was evident all around, was what

    kept my finger constantly on the shutterbutton from the vibrant primary

    colours of the womens saris and the

    mens turbans to t he tractors and trucks

    adorned like Christmas trees. Oh, and

    the moustaches definitely photogenic!

    Im just back and with a treasure

    trove of hundreds of photos Im very

    grateful to Outdoor Photography for

    the all-important initial inspiration.

    Chris Dunham, Leiceser

    All mapped outAlex Nails technique guide, How to

    photograph epic landscapes (OP204)was a very good article with practical

    advice. I particularly agree with the last

    paragraph, where he says dont try to

    do too much.

    I have just planned a trip to Newcastle

    and I have four locations I want to shoot

    at certain times over a two-day period.

    Hopefully it will a ll come together and

    I will capture the four images I have

    pre-visualised based on research

    using Google Eart h, the Photographers

    Ephemeris, Ordnance Survey maps,

    Google Street View and a quick look

    at Flickr. I will be choosing the exact

    viewpoint and framing when I get there,

    but I have an idea of the four images

    I am trying to capture.

    Steve Williams, via email

    Camera ratings: too goodto be true?

    Ive just read your April edition OutdoorPhotographymagazi ne (OP203) with

    interest and have enjoyed it as usua l.

    I was puzzled by the Canon PowerShot

    G5 X review, however. Andy Luck

    described quite a few negative points,

    such as the lens performance, and yet it

    got an overall score of 93%. There were

    as many dislikes as likes listed, and the

    dislikes seemed to be quite serious ones.

    I am left wondering if he has been too

    generous with his rating? To me, a score

    of 93% would indicate an almost perfect

    camera which this one does not seem to

    be, based on the findings of his appraisal.Numerous other camera reviews in

    recent OPs have been similarly generous.

    Are almost al l cameras nearly per fect?

    For a review to be worthwhile, it should

    have realistic ratings that reflect the

    comments made, in my opinion.

    Chris Lewis, via email

    Ed resoneHi Chris, thanks for

    getting in touch. Ratings for cameras are

    a diffi cult thing to apply in a uniform

    manner, as each camera has different

    LETTER

    OFTHE

    MONTH

    belowOne ofmany olourful

    hot Chri

    Dunham took

    during a trip

    to Rajashan.

    C

    hrisDunham

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    June 2016Oudoor Phoography15

    Junes leter of he monh winner, Gordon Yaes, receives hree superb books

    from Triplekie Publishing, ogeher worh 55.50

    Thi monh we have eamed up wih Triplekie Publihing

    o give away all hree book from heir new erie: Yosemite

    by Charle Cramer, Fragileby Valda Bailey and Mud/Sand

    by Jame Omond. Se up and run by David Breen and Dav

    Thoma, Triplekie i dedicaed o producing high qualiy fine

    ar landcape phoography book, and i laes releae are

    no excepion.

    Discover Triplekites photo books at triplekite.co.uk/book-shop

    strengths and weaknesses and the impact

    of these on a users experience are largely

    subjective , depending on the type of

    photography being undertaken. There are

    very few truly poor cameras these days,

    so ratings scales are tricky to define in a

    meaningful way. I rarely see reviews giving

    a camera less than 70%, so it is about where

    they sit between 70 and 100% (we dont see

    any of the latter either!). Weve toyed with

    the idea of dropping the ratings, so wed

    love to hear other readers thoughts on this.

    Are ratings useful for making buying

    decisions? Is there a better system?

    A wordy issueI opened my April issue (OP203) with

    interest to look for your apology to

    Laurent Baheux for the mix-up in your

    review of his book, The Family Album

    of Wild Africa, in the March edition

    (OP202). Am I the only person to have

    been brought up short by the phrase

    this monograph is ambitious but

    doesnt fail to disappoint? Can we just

    do some substitutions here? Doesnt fail

    = succeeds (broadly speaking). So you

    are saying that the book succeeds in

    disappointing? Should it read doesnt fail

    to impress, perhaps? Sorry to complain

    this brought out the pedant in me!

    Many thank s for a very enjoyable

    magazine... which doesnt disappoint!

    Kirsy McLeod, via email

    The real compeiion

    It was interesting reading Victoria Graysletter in the April issue (OP203) about

    feeling she is unable to compete with

    men. As president of a running club

    I often see the same frame of mind

    among some of our members. Even

    though I was a successful high standard

    runner, I rarely won a race, so the

    question is who did I beat and who

    was I competing against? and similarly

    I would encourage people to think about

    who the real competition is. Running

    and photography are the same in this

    respect. Our true competition is

    ourselves. Are we really trying to beatanother photographer or are we trying to

    get the very best from within ourselves?

    I would say it is the latter. This is even

    more so in the subjective world of

    photography appreciation where you

    dont have the advantage of measuring

    with a finish line and a stopwatch.

    If you feel you do want to compete

    against others then there is another

    sporting analogy you can use. If you

    want to win, dont try to compete with

    your rivals strengths. Some people may

    be happy to camp out a ll night in remote

    places, and sometimes the results are

    a glorious location but not very good

    light. Often the images are super crisp

    records of the landscape. So choose your

    own strengths as your batt leground.

    Maybe that is an easily accessible

    location that you visit when the light is

    fantastic. Perhaps your strength is t he

    way you interpret the feeling of a place

    by using alternative shooting methods.

    A friend at our camera club has bui lt

    a whole ecosystem on a bit of land hehas, with a hide sunk into the ground.

    Now he has kingfi shers and water voles

    there all the time. He wins a lot of

    awards, and quite rightly so, because his

    work is fantastic and he works very h ard

    to achieve his images. So Im unlikely

    to enter a kingfisher photo in a club

    competition. Instead, I have entered reed

    warblers, swans, roe deer and bar n owls

    and they have done well.

    So, we all should forget about

    competing with other photographers;

    instead, we should use them for

    inspiration to get the very best outof ourselves.

    Henry Szwinto, via email

    Ar atackThe story of Andreas Gursky and his

    $3m photo of a superma rket shouldnt

    come as a surprise (A photographers

    guide to life on Earth, OP205). Im

    guessing that as a 10x8in paper print

    called supermarket, the image would

    hardly raise any interest. But print it at

    81x121in on acrylic and give it an art y

    name, and it becomes art.

    Before I retired, some technicians at

    the university I worked at were tasked

    with assembling a collection of artworksby one of the professors to exhibit at a

    local gallery. As a wheeze, the technicians

    welded together, in a fairly random

    manner, a collection of metalwork from

    their scrap bin. Their new artwork was

    then presented to the gallery along with

    the other items. It was accepted without

    question. Rubbish had become art.

    In my modest collection of images

    perhaps I have some that, if I were to

    print them on a suitable medium at

    a large scale, I could ta ke to Sothebys

    and sell for silly money. Im scanning my

    folders already....Tony Gomm, Chandlers Ford

    H

    enrySzwinto

    aboveHenry

    Szwino image,

    aken a Highcliffe

    in Dore. He ay,

    I i a prety

    uniniring bi

    of coas, bu for

    a couple of week

    in he ring and

    a couple of week

    in he auumn he

    un rie in he

    righ place o hine

    along he wave.

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    16Outdoor PhotographyJune 2016

    James Osmond

    IN CONVERSATION WITH

    Bristol-based landscape photographer James Osmond has been a professional photographersince he left university. Here, he explains how, over the years, his work has become

    more focused, and why today he concentrates mostly on local geography

    Interview by Nick Smith

    Ithink every photographer is trying to find

    a subject that they can make their own,

    so that they ca n really explore their style.

    And it occurred to me t hat Id been visit ing

    the Bristol Cha nnel with increased f requency.

    Sometimes you go to the coastline there on

    a grey, dull day, especially when the tide is out

    and there is mud everywhere. It can look really

    bleak and horrible. Thats when you say toyourself what am I doing here? This isnt

    anyones idea of a beach.

    James Osmond is discussing the moment

    of creative awakening that led him to the

    publication of his latest bookMud|Sandwhich,

    as its utilitarian title suggests, has less to do with

    the sparkling gold strands of, say, Cornwall, and

    everything to do with the gritty reality of what

    to most people would instinctively appear to be

    a deeply unattractive landscape. Then one day as

    I was driving home I started to wonder why I was

    having these thoughts. He goes on to explain

    that he started to realise that this is a legitimate

    subject. Furthermore, Osmond came to theconclusion that, as t he Bristol Channel is a

    landscape, and he is a landscape photographer,

    I should be looking for something here thats

    photogenic and worthy of a picture.

    Glamorous and romantic it is not. Mud|Sand

    gets its name from Ordnance Survey notation

    that occurs regularly along the cartography

    of the channel. Like many la ndscape

    photographers I spend a lot of time poring

    over OS maps and I thought that this phrase

    was a succinct description of the coast here.

    Compared with his earlier work especia lly

    his stock and magazine commissions h is latest

    book is monochromatic, sparse and moody. I ask

    him if its a foray into fine art photography. But

    hes not entirely comfortable with t hat label,

    and so we agree that the change of direction in

    the Bristol Cha nnel portfolio is probably more

    photography for its own sake than anything

    else. I was also keen to produce a book that was

    in a cert ain photographic style. He develops thetheme by explaining that unlike some of his

    earlier work there was no particular agenda

    here. Its purely about the beauty t he shapes,

    the light. All of those things that go into ma king

    something worth seeing.

    From the moment he left university,

    the Bristol-based photographer has been

    a professional, although in the early days he

    undertook various supplementary day-jobs to

    pay the bills. But the career path was always

    heading towards photography. I had an inkling

    that I wanted to work with wildlife, partia lly

    because my degree was in zoology, but it was

    the call of t he landscape that was st ronger.Today, hes not even had a back-up job for

    a decade. But I have a wife and t hree children

    and so, as a freelancer, I have the flexibility

    to form the hub of the family in terms of the

    school run and stuff like that.

    But flexibility isnt always everything its

    cracked up to be. On the one hand, you get

    to watch your family grow up. But on the

    other, to maintain the situation you need

    to be physically on hand, which means that i n

    the 15 or so years that Osmond has been taking

    photos for a living, his universe has shr unk

    somewhat. One of the first things you have

    to work out is what is achievable. Since having

    children I have done far fewer long-haul trips.

    Today, I hardly go any furt her than four or five

    hours in the car. And so Ive got to make use

    of the landscapes that I can get to quickly and

    easily, and so Ive become a lot more familiar

    with those of my local area. Perhaps counter-

    intuitively, having constraints imposed on hisgeographical range has led Osmond to think

    a lot more about what I do and how to exploit

    the places I visit in a different and better way.

    Reflecting on his proximity to t he Brecon

    Beacons in South Wales, he states t hat one

    of the real advantages in livi ng so close to

    the location is that he ca n get to anywhere he

    wants to in the region within an hour or two.

    Looking back on my earlier days I wa s pretty

    much an uncontrollable scattergun. I was drawn

    further afield to the Lake Distr ict and Scotland,

    and the attraction is a n obvious one. As lovely

    as that was, t he work Id come back with was

    sometimes superficial and reactive. You knowthat first ti me you go to Scotland and you drive

    through that valley at Glencoe and the hills are

    right over your head? The scale is ama zing and

    youve got to take those shots. But then you

    realise that everyone reacts in t he same way.

    Not that theres anything wrong with taking

    pictures of the Three Sisters: its just that

    everyone else has. When I go somewhere local,

    such as Corn Du or Pen Y Fan in the Brecon

    Beacons, part of me thinks I am repeating

    myself, but you never know when something

    amazing is going to happen.

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    18Outdoor PhotographyJune 2016

    previous page Wes Bay, Juraic Coas, Dore; aboveRiver Parret esuary, Somere.

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    June 2016Outdoor Photography 19

    above Incoming tide at Sand Bay, Somerset.

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    20Outdoor PhotographyJune 2016

    This is, according to Osmond, when he gets

    some of his best shots. In the old days I wouldnt

    have had that attitude and would have moved

    on to something else. But knowing that youre

    working locally, and theres not much cost

    involved, you might as well hang around. And on

    one occasion working this way I got a shot that

    was much more special than anything Id taken

    from that viewpoint before. Its moments like

    that, says Osmond, which really bring home the

    significance of what repeated visits to landscapes

    can yield. Allowing yourself the indulgence of

    becoming familiar with your subject puts more

    texture into the finished product, he says.

    Osmond cheerfully admits t hat the genre

    he works in is overpopulated and is sometimes

    prone to repetition and clich. While t hese

    are characteristics he is keen to avoid, as a stock

    photographer he is also aware that this is an

    approach he needs to pursue from time to time.

    Once you become aware that stock is an

    ingredient of how you make a living you can

    sometimes become quite mercenary about it.

    I can imagine th at somebody who takes their

    photography very seriously as an artist might find

    this all a bit superficial, while a more business-

    oriented photographer might think that shooting

    stock is a perfectly logical way to go about things

    because its your bread and butter. Im aware of

    this in my work, but to be honest I try not to

    berate myself too much on this score. And the

    reason for that is because I try to remember what

    drove me to get into this game in the first place.

    Osmond explains that for him it is quite

    simply about enjoying the process of ta king

    photographs. Every now and again I do slightly

    top Cloud clearing Cribyn, Brecon Beacons National Park.

    above Wye Valley at Symonds Yat, Herefordshire.

    opposite (top) Colmers Hill, Dorset; (bottom) Glyder Fach, Snowdonia National Park.

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    June 2016Outdoor Photography21

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    above Reedbed at Sharpham Nature Reerve with Glasonbury Tor in the disance, Someret.

    lose sight of that. It can be diffi cult, being away

    from home for a few days, and you can feel quite

    isolated. But then, when you get to the top of

    a hill and can see something that is classically

    beautiful, it is very enjoyable and Im very lucky

    to be able to do it. If while enjoying the scenery

    you find yourself idealising the landscape in

    your output, then so be it. There is some worth

    in that, even if its just for your own personal

    enjoyment. So to take that photo of a sunset

    at that moment might be a bit of a clich, but it

    still has va lue, and its much better than being

    stuck on the M25 in a traffi c jam on the way to

    the offi ce, which might ot herwi se have been my

    fate. I dont really feel a responsibility to pursue

    a certain line or style of work and I dont let

    myself feel guilt.

    Despite this pragmatic approach, Osmond is

    not interested in what he calls run of t he mill

    shots. For Osmond, conventional achievements

    dont always satisfy him artistically and he

    constantly finds himself trying to lif t his work

    on to a higher level. I do exp ect more from

    myself these days. I still enjoy taking those

    shots, but dont necessarily find them as

    challenging as I once did. Today hes more

    interested in the one frame that jumps out at

    you from all t he thumbnails on your computer.

    This may only happen a handful of times a year.

    I think th is ability to capture a brief moment is

    one thing that photography does better tha n

    any other media.

    To see more of James Osmonds work, visit

    jamesosmond.co.uk, and to pre-order Mud|Sand,

    which will be released in July, go to triplekite.co.uk.

    22Outdoor PhotographyJune 2016

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    JERSEY | GUERNSEY | SARK | FRANCE

    www.fototonic.co.uk

    INSPIRATIONAL PHOTOGRAPHY WORKSHOPS & TOURS

    10.00am to 5.00pm daily

    SAVE 1 on the gate price when you

    buy your ticket online in advance.

    PLEASE VISIT OUR WEBSITE FORFURTHER INFORMATION

    Illustrated talks

    to include :

    Valda BaileyDav Thomas

    James OsmondSteve Watkins

    Pete BridgwoodRob KnightJack PerksGreg Whitton

    AN EXCITING ADDITION TO PATCHINGS ART & CRAFT FESTIVAL NOW IN ITS 23RD YEAR

    PATCHINGS ART CENTRE. NOTTINGHAMSHIRE. NG14 6NU www.patchingsfestival.co.uk - 0115 9653479

    Over 250 Artists, Photographers, Craft Makers and

    Designers set in 60 Acres of Nottinghamshire Countryside

    SUPPORTED BY

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    ONE MONTH, ONE PICTURE

    24Outdoor PhotographyJune 2016

    For a landscape photographer, the occasional

    dalliance with other genres of photography

    is good for the soul. It opens our eyes to

    alternative ways of seeing and stokes our

    creative fire. When we continually see our

    landscape heroes producing breathtaking

    imagery in their own distinctive style, the

    natural response is to assume that if we

    follow a similar path and introduce stylistic

    constraints to our own photography, then we

    will improve. With the exception of shootingfor a specific themed project, this approach

    is usually counter-productive. Craving our

    own style introduces an overly prescriptive

    perspective: our subject matter, compositional

    approach and favoured colour palette all start

    to tighten. Of course, themed portfolios of

    images are very appealing, and shooting

    projects can be enormously rewarding. Its

    easy to see how such a strategy can be self

    perpetuating; but if we concentrate our

    efforts too much on honing our style, without

    ever allowing any deviation, then a hidden

    morbidity can develop. An increasingly limited

    approach can stifle our vision; and creativity

    always welcomes deviations from the aesthetic

    path of our artistic journey.

    If we crave personal style, we cease to

    approach our photography with the calm and

    carefree attitude essential for productivity:

    a craving mind is not a ver y relaxed or peaceful

    one. It is therefore my belief th at our style is

    something that should find us, rather than the

    other way round; and when we are ready, itwill. Meanwhile, the more we can experience

    other styles of shooting, the more expansive

    our creative toolkit will become, the more

    balance we will bring to our photography and

    the more relaxed we will feel.

    When bad weather h inders our i ntentions,

    shooting in alternative environments can also

    be a purely pragmatic response to ensure we

    remain productive during the time available

    for the shoot. Alternatively, as with my image

    this month, shooting indoors can simply be

    something we do while travelling. Going

    indoors, for an outdoor photographer, could

    involve shooting portraits, environmental

    portraits, still life, architecture, street,

    reportage and countless other sub-genres

    of photographys rich and expansive tapestry.

    Some styles of photography can intensify

    our creative spirit more than others, and

    intentional camera movement is one of those

    styles I keep coming back to. Rendering

    intentional blur with an appropriate subject

    is a magic formula for the creation of anengaging image. I was travelling through Paris

    and decided to experiment for a while on one

    of the underground platforms. I processed the

    image in Adobe Photoshop by blending with

    several textured layers and applying di fferent

    blending modes to achieve this painterly effect.

    Being open-minded to different photographic approaches can allow our creativity to flow freely.

    Pete Bridgwoodheads underground in Paris to experiment with intentional camera movement

    above Metro, Paris, France.Fujifilm X-T1 with Fujinon XF 18-55mm f/2.8-4 R

    LM OIS lens at 35mm, ISO 200, 1/8sec at f/3.6,

    handheld

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    LEARNING ZONEIMPROVE

    GO WILD WITH BLACK & WHITE

    Richard Garvey-Williams guide to photographing nature in monochrome

    36 Quick guide to...

    Linking the land to the ky

    28How to take sunning black

    & white wildlife photograph

    38 How to read water

    with Trisan Gooley

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    28Outdoor Photograph June 2016

    The natural world is bestowed with

    colour. Indeed its often the vibrant

    patterns of birds, insects and flowers

    that fill us with awe and bring us

    so much joy. When the colour is

    a dominant part of what we want

    to convey, then naturally it makes sense to retain

    it. As with other genres of photography, however,

    there are times when removing the colour to render

    an image in monochrome can create something very

    special. Simple pencil or charcoal sketches frequently

    hold their own alongside colourful paintings in art

    galleries, and the same applies in our sphere of work.

    Here well look at why and when you might want

    to turn it all to shades of grey. To fully harness the

    power of black & white photography, it is worth first

    considering some of its distinctive and potentially

    beneficial attributes.

    LEARNING ZONE

    Learn to see the natural world in shades of grey, as Richard Garvey-Williamsreveals how stripping out the colour can lead to powerful wildlife images

    A cormorant sread it wing and

    gaze out over a mi-enhrouded

    lake. Simple, graphic image ofen

    work well in black & white.

    Canon EOS 7D with 100-400mm

    lens at 300mm, ISO 125,

    1/1000sec at f/10

    How to take unning black& white wildlie photograph

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    June 2016Oudoor Phoography29

    above Geting he expoure righ or hee brighly li wan enured

    a very dark bakground, whih I exaggeraed in po-proeing o

    provide hi rongly graphi and ymboli image. The hear hape

    i appropriae or a seie ha end o orm laing relaionhip.

    Canon EOS 7D with 100-400mm lens at 150mm,

    ISO 160, 1/2000sec at f/5.6

    below The graphi marking o zebra make hem ideal andidae

    or blak & whie, eseially when you an inorporae patern

    ormed by group o hem.

    Canon EOS 7D with 100-400mm lens at 400mm,

    ISO 320, 1/400sec at f/13

    REALISING THE POTENTIAL

    1 Blak and whie animal

    or hoe wih marking or

    patern ha are srongly defined

    in erm of one.

    Simple, graphi image wherehape, ouline, patern or

    exure are predominan.

    Carefully onidered imagewhere he ompoiion iuppored eiher by line or hape

    ha are deermined by srong

    variaion in one.

    Phoograph where here i

    a srong ene of balane or

    relaionhip ha relie on he one

    of elemen in he ene.

    When you wan o direcatenion o a feaure wihouhe disracion of olour. Forexample, srong olour uh a

    red or yellow elewhere in he ene

    may be dominaing, drawing he eye

    away from he main ubjec.

    FIVE SCENARIOS

    TO LOOK OUT FOR

    When viewing blak

    & whie imagery, we

    generally aep a le

    lieral inerpreaion

    o realiy han we would wih olour

    phoograph. Through he removal

    o olour, we have already aken a bigep away rom wha our eye ee, o

    we evaluae a blak & whie image in

    a very differen way. For example, when

    viewing image in hi medium we are

    ofen more orgiving o lighly blown

    highligh or lo o deail in hadow

    area beaue oher acor requenly

    ake preedene. Indeed we are ofen

    looking or rong blak and whie

    in he image and requenly a more

    graphi inerpreaion o hing. Thi

    i no o ay ha a large dynami range

    and reenion o deail in exreme one

    i never imporan when hooing blak& whie uble gradaion o one an

    alo work in erain image and ome

    even work hrough variaion in mid-

    grey one wihou he overpowering

    influene o blak and whie.

    In blak & whie phoography,

    expreion ofen ome largely

    hrough he modulaion o one o

    define exure, hape, patern and

    orm. Wihou he emoive influene

    o olour, i beome riial ha he

    image an onvey omehing rongly

    hrough graphi or meage

    inorporaing hee oher modaliie.So, in pracie we are ideally looking

    or iuaion where removing he

    olour will acually enhane an image

    by emphaiing and ouing more

    atenion on i oher rengh, whih

    ould alo inlude meage abou

    ale or a ene o relaionhip

    beween animal, or example. There

    are no e rule abou wha work and

    wha doen work in blak & whie, bu

    i i erainly imporan o hooe yourubjec mater, viewpoin, lighing and

    ompoiion o uppor a viion o

    omehing ha i likely o have

    impac in hi medium.

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    30Outdoor Photograph June 2016

    Blak & whie phoography i

    no jus a ae o onvering

    image ha don quie work in

    olour o monohrome in he

    hope ha hey migh be ranormed

    (alhough, on oaion, hi pracie

    an yield urprie and i alo a ueul

    exerie in opening our eye o he

    poenial o blak & whie rendiion).

    Underpinning onisen ue inhe producion o hi ype o imagery

    i an abiliy o pre-viualie how a

    olour world will appear when rendered

    in monohrome. Thi undoubedly

    ome largely rom experiene.

    On my workhop and aari I ofen

    enourage pariipan o ry o

    viualie how erain ene would look

    in hade o grey, bearing in mind ha

    here i alo he poenial o raie and

    lower he one o erain olour, a

    we hall ee in he nex ecion.

    We need o srive o develop an

    appreiaion o he range o one ina ene and he poiion o he srongly

    defined one wihin he rame wih

    a view o oneiving balaned

    ompoiion wih impac.

    A an illusraion o he imporane

    o learning o ee in erm o he one

    raher han he olour, imagine he

    ollowing enario: A group o flower

    o imilar hape in a olour phoograph

    do no appear o relae o eah oher

    beaue heir olour differ radially

    and he arrangemen o olour i no

    balaned and pleaing. When onvered

    o monohrome, however, hey beome

    he ame one. Now heir hape and

    one are loe enough o rigger an

    aoiaion baed on heir imilariy and

    we pereive hem a being one o a kind.

    In hi ae, i he arrangemen o he

    flower head i in a pleaing patern,

    we migh have a wonderul ho. Thi

    an, o oure, work boh way wihimilariie baed largely on olour being

    more apparen in he olour verion.

    One preauionary noe ha i relaed

    o hi i he imporane o being on

    he lookou or onal merger when

    hooing in blak & whie. One animal

    may be a very differen olour o hoe

    around i, bu in monohrome i end

    o merge wih oher in a way ha i

    derimenal o he ompoiion beaue

    heir one when onvered o hade

    o grey are very imilar. Similarly you

    may loe he disincivene and lariy

    o he ouline o an individual i i oneare oo imilar o i urrounding.

    Try viewing he ene hrough

    parially loed eye. Thi remove

    ome o he deail and pu your

    atenion more on he hape ormed

    by he darkes and lighes one.

    Pracie onvering image o

    monohrome on your ompuer

    o help develop your abiliy o ee

    in blak & whie.

    PRO TIPS

    above The differene in one beween hee migraing wildebees and

    he gra wa uffi ien o onider a blak & whie ho o emphaie

    he srong zigzag. In he olour verion, he blue o he ky and

    yellow-green o he gra end o derac rom hi imple meage.

    Canon EOS 7D with 100-400mm lens at 190mm, ISO 320,

    1/200sec at f/10, beanbag

    The lea patern make a pleaing rame or hiAnolis richardii

    lizard in Tobago. In olour, he green o he leave, he ligh brown

    o he lizard and he bakground ended o make i overly omplex.

    Canon EOS 7D with 105mm macro lens, ISO 320, 1/400sec at f/4

    SEEING IN BLACK & WHITE

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    June 2016Outdoor Photography31

    THE ROLE OF COLOUR

    IN BLACK & WHITE

    Colour filer an be very

    poen ool o ouner he

    problem o merger and

    lo o definiion due o

    differen olour having a imilar grey

    one, and adding one will requenlyranorm an image. Mouned on your

    len, hey radially aler he way erain

    olour are rendered in blak & whie.

    Eah le hrough i own olour o ligh

    and blok oher olour o varying

    degree. Red one le red ligh hrough

    bu blok mos green and blue; hey

    darken blue kie, helping he loud

    o sand ou, and alo ofen grealy

    inreae onras. Yellow one end o

    have a uble effec and are good or

    eparaing hade o green, hu

    affecing oliage. Orange one offer a

    nie balane beween hee wo. Greenfiler help eparae green oliage rom

    oloured flower and bud or animal,

    and an give gra and ree in he

    ene a boos. Blue one are ued le

    requenly beaue hey darken mos

    olour, ofen reduing onras aro

    a ene.

    In he digial era, ew phoographer

    inlude olour filer in heir ki bag

    beaue he effec o hee filer an

    be imulaed in proeing ofware,

    wih he added luxury o being able o

    reely adjus he degree o heir effec.

    Some onverion ofware appliaion,

    uh a Nik Sofware Silver Eex Pro,

    give you ab and lider ha mimi he

    appliaion o olour filer. Thi an be

    appealing o hoe amiliar wih heir

    ue in film phoography. By onras,

    in Adobe Lighroom and Phoohopwhen perorming a blak & whie

    onverion you will be preened wih

    lider giving you he opion o raie or

    lower he one o variou olour ha

    were in he olour verion o he ene.

    Noe ha he red lider i no, hereore,

    he ame a a red filer raiing i will

    brighen red area bu won do he

    oppoie o oher olour uh a blue

    and green. In digial pos-producion

    he phoographer now ha grea ope,

    hereore, o manipulae he one a

    whih any hue will be rendered in he

    blak & whie image.Polariing filer, in addiion o

    offering he benefi hey bring o

    olour image in erain iuaion,

    an alo help e up an image or a

    more poen blak & whie onverion.

    For example, when phoographing

    a broader ene howing a reaure in

    i environmen, a polarier may render

    he blue o he ky more vibran hi

    an really be played upon wih he

    addiion o a red filer in he onverion

    o darken he ky ubsanially, hereby

    eting off he loud ormaion and

    alering he whole mood o he image.

    Play wih he olour filer opion or he olour lider in

    your proeing ofware on a variey o image o learn

    o appreiae heir effec and poenial ue. Thi will

    enable you o more auraely predic heir effec on he

    reuling image and gain an idea o wha i poible.

    A wih any manipulaion, i imporan o avoid hanging

    one exeively in order o preven degradaion in erm

    o image qualiy.

    PRO TIPS

    A green filer lighened he iri leave and

    lighly darkened he reddih Platycheirus

    granditarsusfly, providing he srong

    onras ha make hi image.

    Canon EOS 7D with 105mm macro lens,

    ISO 125, 1/100sec at f/4.5, tripod

    A polarier enabled me o make he ky an ineresing urround ohe ubjec in hi phoograph. I ued a genle red filer o boos

    he ky and a yellow filer o enhane he paterning o he giraffe,

    blending he wo a saked layer uing a layer mak.

    Canon EOS 7D with 100-400mm lens at 200mm, ISO 160,

    1/125sec at f/11, beanbag

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    32Outdoor Photograph June 2016

    A litle dodging and burning erved o lariy he waer drople

    hrown up by hi playul European oter, he reflecion o he

    ree on he ar bank and he ripple patern.

    Canon EOS 5D MkIII with 100-400mm lens at 220mm,

    ISO 400, 1/320sec at f/6.3

    A

    we have een, removing

    he influene o olourmean ha he one

    beome everyhing. I i,

    hereore, even more imporan ha

    he one in erain par o he image

    are rong and diinc or he image

    o ueed in erm o i deign and

    ompoiion. To help onvey a pleaing

    ene o balane, i may alo be

    imporan ha an elemen on one

    ide o he image i balaned by

    omehing o an appropriaely rong

    one on he oher ide. The proee

    o dodging and burning an be ued

    o exaggerae differene in one ando draw atenion o eaure a well

    a o help balane one and weigh

    wihin he image field.

    Again, mo ofware pakage

    offer u anai ailiie o apply

    hi lighening or darkening elecively

    o seified one and preiely where

    in he image we hooe. In pracie

    i i uually a ae o ubly lighening

    ligh one or darkening dark one

    o help e omehing off again

    i urrounding.

    In Lighroom, or example, you

    migh elec an Adjumen Bruh,eting i o raie he Highligh o

    +10 and he Whie o +15, and pain

    over he ligh one ha you wan o

    emphaie. Phoohop ome wih

    a dodge/burn ool. In hi ae you

    would ue he dodge ool, eting he

    Range o Highligh o ha i only

    affec hee and he Expoure o

    perhap 3-4%, and ue i o pain

    over he ligh one.

    DODGING AND BURNING

    Cah-ligh in he eye an be givena helpul litle boo uing dodging

    and burning.

    Doing a litle dodging o brigher one

    and burning o darker one over

    a pah o eaher or ur an erve

    o make he exure more apparen.

    Similarly, you migh ue hi o

    emphaie he paterning o an

    animal. Don overdo i.

    Lead-in line or inereing hape

    in he urrounding alo ofen benefi

    rom a litle exaggeraion o heir one.

    PRO TIPS

    Thi phoo o a reiulaed giraffe

    baby a i moher ide i really

    abou heir nework patern.

    A litle dodging over he whie

    line in ome area helped o even

    ou heir one aro he image.

    Canon EOS 7D with 500mm lens

    and 1.4x converter, ISO 320,

    1/400sec at f/8, beanbag

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    June 2016Outdoor Photography33

    Preie onra adjumen uing Adjumen Curve

    enabled me o impliy hi image and draw atenion o

    he reflecion and he slah aued by he gull.

    Canon EOS 5D MkIII with 500mm lens and 1.4x converter,

    ISO 400, 1/3200sec at f/5.6, tripod

    The ue o a polariing filer and hen a red filer in he onverion give hi ho o a sringbok herd a lighly oherworldly eel ha uied o he barren loaion.

    I alo make he sare loud a more dominan eaure. An inrared filer migh have produed omehing imilar.

    Canon EOS 5D MkIII with 24-105mm lens at 47mm, ISO 200, 1/250sec at f/11

    GETTING CREATIVE

    The ue o olour filer

    erainly open u up o

    ome relaively dramai,

    and even urreal,

    inerpreaion. Anoher filer ha i

    ofen ued o produe a omewhaehereal image i he inrared. Thi

    an be ued o render blue kie

    virually blak, and unli oliage a

    virually whie. There are variou

    inrared filer available, deigned o

    filer lighly differen wavelengh

    720nm i widely onidered he

    andard. They will ypially redue

    he amoun o ligh by up o 10 op,

    o in wildlie phoography hey have

    limied ue. Inead, or inrared

    wildlie phoography i i worh

    having a amera onvered

    permanenly o apure inrared,

    a you will hen be able o avoid

    he very long expoure ime ha

    plaing an inrared filer on your

    len neeiae. Noe ha ouing

    an be riky wih a onvered

    amera, o i ofen helpul oue live view o zoom in and hek

    he harpne.

    We an, o oure, go on o

    reinrodue olour in a uble

    and onrolled way hrough he

    proee o oning, sli-oning,

    or even olour-popping (olouring),

    where olour rom he original file i

    reinrodued o par o he now blak

    & whie image. Thee are all ueul

    orm o expreion or onveying

    your meage or reflecing a mood,

    and heir ue will depend on your

    inenion in a given iuaion.

    CONTRAST ADJUSTMENT TIPSI ofen worh heking wheher making he

    lighe one in your image rue whie and he

    darke rue blak help in a mono onverion.

    In Lighroom you an do hi by dragging he

    edge o your hiogram urve ou o mee he

    orner o he hiogram rame. In Phoohop

    i i done via a Level adjumen, whereby

    you lide he ouer wo lider in o mee he

    edge o he urve. O oure, hi in alway

    appropriae. More preie adjumen

    direced a seifi range o one in your

    image an be made uing urve adjumen.

    In Lighroom he Tone Curve ha a ailiy o

    enable you o lik on a ligh one in he image

    and drag i up o lighen i. You an hen lik

    Done and repea hi or anoher eleced

    darker one, hi ime dragging i down lighly

    o darken i. In Phoohop you would do hi

    wih a Curve Adjumen layer, wih he

    advanage ha you an hen ue he layer

    mak o apply he adjumen wih differen

    ineniie o seifi area o he image. Thi

    i ueul pariularly or emphaiing exure

    or erain eaure o your ubjec.

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    34Outdoor Photograph June 2016

    Pracie viualiing how

    ene would look in blak

    & whie.

    Experimen wih onvering

    a variey o image o

    monohrome, and ry uing he

    variou lider or alering he one

    o differen olour.

    Acively look or enarioor loaion ha migh ui

    hi medium.

    4 Conider wha i i you migh

    wan o reveal or expre

    abou he ubjec mater.

    Take ime o ompoe yourho o uppor hi viion.Chooe your viewpoin o inlude

    and poiion oher elemen ha

    migh uppor i.

    6 Keep i imple.

    7 Ponder how you migh wan

    o proe he ho do you

    need o modiy he expoure o

    aommodae hi or perhap hoo

    wo or more expoure o blend?

    8 Shoo in Raw i poible o

    maximie your proeing

    opion and o minimie

    degradaion i more radial

    adjumen are needed.

    Pre he huter genly!

    1 Enjoy proeing he image

    experimen wih he olour

    filer or lider o ee how hey

    affec hing. Think abou he onein he image and finih off wih

    ome dodging and burning o

    fine-une your reaion.

    TAKE PARTEnter our black & white

    wildlife competition turn

    to page 111 for details

    Cerainly in loe-up naure

    phoography, olour are likely

    o be a pariularly imporan par

    o wha we eek o reveal in our

    ubjec. Again, however, here are ime when

    monohrome may erve u beter. Typially

    we will hooe hi roue or he ame reaon,

    uh a exaggeraing he impac o line and

    hape in he image or reduing he diracion

    o olour in he bakground, whih are ofen

    diffi ul o avoid in maro work.

    Shadow an ofen make he differene o our

    ompoiion, produing inereing hape

    or helping o reveal he orm o our ubjec.

    So, off-amera flah i erainly a benefi a

    i will give u ome reaive onrol over where

    and how he hadow appear.

    The darkening o bakground due o he

    rapid all-off o illuminaion rom a flahgun wih

    diane an alo be ued o ou atenion

    more seifially on he ubjec or oher

    oreground eaure. In general we ry o avoid

    overdoing hi, a he inenion i uually o avoid

    i being oo obviou ha arifiial ligh wa ued.

    MACRO CONSIDERATIONS

    In hi ae, I wa ruk by he way he iri

    lea ip urved over o ake he eye niely

    along he line o he blue-ailed damelfly,

    orming a pleaing invered V. The imilar

    one o he lea and damelfly make i

    work in mono.

    Canon EOS 7D with 105mm macro lens

    and extension tube, ISO 400,

    1/160sec at f/11, twin-lite flash

    STEPS

    TO SUCCESS

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    For more information contact Light and Land on:

    T+44 1747 824727 [email protected]

    www.lightandland.co.uk

    Capture theNorthern lightsArctic NorwayTour dates: 12th-19th November 2016

    To the best in the world with the best in the world

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    36Outdoor PhotographyJune 2016

    QUICK GUIDE TO

    Linking the land to the skyCompoiion in phoography i ofen abou howing a ene o relaionhip beween

    srong elemen in he image. Here, Richard Garvey-Williamsugges ha we aloacively look or onnecion beween eaure in he ky and hoe on he land

    S

    o often we see images where there isno clear link between what is going on

    below and what is going on above the

    horizon. In many compositions youcould readily replace the sky with that from

    another image and not lose anything. In

    landscape photography we generally try to conveya sense of the location. The sky is as important as

    the land in this regard, giving information aboutthe weather, including temperature and wind

    force. So, features above the horizon including

    cloud formations, vapour trails, the sun, themoon and the stars all become key elements in

    our portrayals. T herefore, we should perhaps begiving as much thought to their inclusion and

    positioning within the frame as we give to the

    land-based elements in the scene.

    COMPOSITIONAL CONSIDERATIONS

    Pariularly i we are aiming

    o onvey he beauy oa ene or he ene o joy

    i insilled in u when we were

    phoographing i, poiioning

    eaure o give a ene o

    balane i likely o be imporan.

    Even floaing loud an have

    oniderable viual weigh and

    be ued o balane mounain,

    ree and o on. Thereore i

    imporan o onider all he

    eaure boh above and below

    he horizon when sriving or

    hi balane.

    Ahieving a degree o balane

    in erm o he one aboveand below he horizon i

    an imporan sep oward

    onnecing he wo zone in

    our mind. So, neural deniy

    graduaed filer or blending o

    expoure may be appropriae.

    In ommuniaing a ene o

    he loaion, i i ofen helpul

    o ugges an apparen

    relaionhip or onnecion

    beween he elemen ha

    onribue o our ompoiion.

    An impreion ha objec,

    animal or people are lookinga or leaning oward eaure

    in he ky an srongly bring

    i all ogeher.

    Changing he proporion

    o land o ky in a ene an

    radially aler he effec o an

    image. For example, inluding

    more ky may engender

    a greaer ene o ae

    and reedom and may draw

    our atenion o he weaher

    and elemen a litle more.

    Knowing where he ull moon would be riing helped me ge hi ho. I poiioned

    myel o ha he moon wa o he lef and embraed by he urve o he rok ma.

    The lone figure limbing Hayor and gazing oward he moon wa pure luk.

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    FIVE ESSENTIAL TIPS

    1 Do your reearh in erm o un and moon poiion

    and weaher oreas.

    2 Be paien wai or a loud o drif ino he righ

    poiion or hange i hape.

    3 Make ue o acual or implied line o lead he eyerom objec in he ene o eaure in he ky.

    4 Compoe your ho o ha key elemen in he ky

    and on he land appear o be aing or leaning oward

    one anoher.

    5 You an ue variou ehnique o emphaie

    eaure in he ky, drawing atenion o heir hape

    and exure. A polariing filer may help enrih he blue o

    a ky and make he loud sand ou, or a red filer dur