Waiting for the Light

TitlePhotography Essentials Waiting For The Light Client David amp Charles Size 260mm x 240mm (Bleed 3mm)

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PHOTOGRAPHYE S S E N T I A L S

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A DAVID amp CHARLES BOOK

Copyright copy David amp Charles Limited 2008

David amp Charles is an F+W Publications Inc company

4700 East Galbraith Road

Cincinnati OH 45236

First published in the UK in 2008

First published in the US in 2008

Text copyright copy David Noton 2008

Images copyright copy David Noton 2008

David Noton has asserted his moral right to be identified as

authors of this work in accordance with the Copyright Designs and

Patents Act 1988

stored in a retrieval system or transmitted in any form or by any

means electronic mechanical by photocopying recording or

otherwise without the prior permission in writing from the

publisher

The publisher has made every reasonable effort to contact the

copyright holders of images and text If there have been any

omissions however David amp Charles will be pleased to insert the

appropriate acknowledgement at a subsequent printing

A catalogue record for this book is available from the British Library

ISBN-13 978-0-7153-2741-8 (UK hardback)

ISBN-10 0-7153-2741-0

ISBN-13 978-0-7153-2819-4 (US paperback)

ISBN-10 0-7153-2819-0

Printed in xx by xx

for David amp Charles

Brunel House Newton Abbot Devon

Commissioning Editor Freya Dangerfield

Editorial Manager Emily Pitcher

Art Editor Martin Smith

Project Editor Ame Verso

Visit our website at wwwdavidandcharlescouk

David amp Charles books are available from all good bookshops

alternatively you can contact our Orderline on 0870 9908222 or

write to us at Freepost EX2 110 DampC Direct Newton Abbot TQ12

4ZZ (no stamp required UK only) US customers call 800-289-0963

and Canadian customers call 800-840-5220

ContentsThe Waiting Game 6

Part One Vision 12

Part Two Environments 44

Part Three Gallery 110

Part Four Mechanics 142

Acknowledgments 158

About the Author 158

Index 159

(page 2) Cloudburst over the Isle of Harris from

Neist Point Isle of Skye ScotlandIrsquom huddling on the cliff tops on the western tip of the Isle of Skye wind-battered sodden and despondent waiting for the light Will these clouds ever part Looks like another fruitless vigil A faint lightening of the sky far out to sea over the Isle of Harris rouses me from my musings Therersquos yet another downpour rolling in off the Atlantic Irsquoll get another soaking but behind it the sun is threatening to break through Irsquom scrabbling in my bag to get the filter on my 70ndash200 fumbling with the adaptor ring with cold fingers glancing over my shoulder at the ever more dramatic sky For just seconds a heavenly shaft of sparkling northern light backlights the rain I expose do a few brackets and it has gone a scene never to be repeatedbull Nikon F5 70ndash200mm lens

Jetty near Brenzone Lake Garda Lombardy ItalyIn the cool light before dawn the clouds are scudding across the sky driven by a brisk wind from the east The distant bulk of the Dolomites to the north east is capped by dark angry skies and the waters of Lake Garda are choppy and restless There will be no warm Mediterranean light this morning So I pile on every neutral density filter Irsquove got to slow the exposure down to a tedious ten minutes open the shutter and wait In five minutes Irsquoll take another exposure reading but for now Irsquove just got to let all that movement in the image do the job I would turn to crime for a caffe latte right nowbull Fuji GX617 90mm lens

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Mount Rundle reflected in Vermillion Lake

Banff National Park Alberta Canadabull Fuji GX617 105mm lens

Irsquom standing by my tripod my default setting waiting for thelight Watching the dawn break over a Rocky Mountain lake isan experience to stir the soul Mist seeps across the flat calmwaters diffusing the perfect reflections of the jagged peaksThe call of a loon echoes a beaver surfacing briefly ripples thewater the first light of day seeps through the sky tingeing theclouds clinging to the mountains with pinkThis is my eighthmorning waiting here by the tripod and finally all the elementsare coming togetherThis location was found on the first dayunder grey skies with a chill wind whipping the water it lookeda very different scene but the potential was evidentThreemornings later after several fruitless dawn patrols the daystarted calm and clear with strong sunlight but hellip not a cloud inthe sky ndash no mist no drama no mood So we stayed on waitingfor the light Now after eight days our persistence is rewardedwith clouds draped over Mount Rundle and a layer of mist overthe still waters ofVermillion Lake As always this image is afusion of the elements Mother Nature chooses to offer ndash lightclouds mist reflections and the landscape itself ndash and myinput being there pre-visualizing how the scene could look inthe right conditions persistence and lastly technique In shortthis picture was made by a marriage of naturersquos perfectionand photographic vision ndash these are the elements that are themaking of a photograph

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INTRODUCTION

Letrsquos cut to a grey windy February day 1981 Irsquom up a ladder cleaningthe windows of an office block on a trading estate in Watford hellip soundstantalizing doesnrsquot it Photography has just taken over my life with mypayoff from the Merchant Navy Irsquove just bought my first SLR camera andlife will never be the same again I now know I want to be a professionalphotographer but havenrsquot got a clue how to achieve that As I work mysqueegee Irsquom dreaming of far horizons the Himalayas in particular Myfriend Pedro has just returned from backpacking through Nepal and Irsquomso jealous Last night I was drooling over a travel feature on AnnapurnaSurely if I could scrape together the cash to get there great images wouldjust fall in my lap right

Wrong Itrsquos a popular misconception thatrsquos easy to fall into ndash a belief thatjust turning up somewhere epic will be enough that great shots are justthere for the taking like ripe fruit off a tree But the really unique strikingachingly subtle perceptive images are made not takenThey are theproduct of an idea a vision brought to reality by persistence and soundtechniqueThis is the crunch ndash the difference between the lsquotakingrsquo andlsquomakingrsquo of a photographThis book is all about that differenceTherersquosthe arty bit ndash the development of a photographic vision and the practicalbit ndash how to work in the field or up a mountain or in the jungle And in theprocess wersquore going to see the world So letrsquos go

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Chacircteau St Ulrich Vosges Mountains Alsace FranceWe started trudging up the mountain by the light of our head torches throughmist-shrouded woods Directly overhead the stars were visible we just had to

get above the low-lying cloud As the twilight tones spread through the sky fromthe east we emerged panting from the swirling fogs to our chosen viewpoint

Some sights stay with you forever ndash this is onebull Fuji GX617 105mm lens

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PHOTO E S S AY

Some places are all about the big views but forme the essence of South East Asia can be foundin its marketsThey are such a cultural overloadand a riot of colour ndash a world away from sterilesupermarkets ndash that itrsquos difficult to know where tolook first or to train the lensThey are crowdedand chaotic with difficult lighting but in amongstthe piles of chillies and lemongrass there are stir-fried photographs to be made ndash quick instantand sizzling straight out of the wok

Strawberries on the move Hanoi

VietnamThe fish market at dawn Hoi An

Vietnam

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Chilli dealing at the floating market

Damneon Saduak Thailand

A platter of Thai ingredients at Wat Phra Singh

Chiang Mai Thailand

A young girl selling vegetables at a market in

the Mekong delta Ben Tre Vietnam

Cash being exchanged at Wase market Er Hai Lake

near DaliYunnan Province China

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Before a camera is even touched much ofthe hard work of photography is doneTheelements that make a photograph ndash those oflocation finding pre-visualizing composingand planning ndash all come before a lens is fittedThe only equipment needed for these crucialsteps are a pair of photographerrsquos eyesTraining those eyes to see the potential in alocation envisaging how a scene could lookappreciating the nuances of light motioncolour perspective and composition is whatphotography is all about Developing thatvision is a journey that never ends

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Lake Pehoe and the Torres del Paine Patagonia Chilebull Fuji GX617 105mm lens

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Chacircteau le Chenonceau Loire Valley FranceUnder a grey sky with the wind whipping the water this scene looked fairlysombre The key was to envisage how it could look with the first soft light of dayand perfect reflectionsbull Fuji GX617 105mm lens

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Being in the right place at the right time is of course the prime essentialof all photography lsquoBeingTherersquo is all about the finding visualizing andplanning of an image before shooting the picture A seasoned pro will havean uncanny knack for it Whatever the discipline ndash sports news wildlifefashion or landscape ndash itrsquos the same for all of us Finding that special placeis the hard grind of this game itrsquos what takes up the most time and effortand is without doubt one of the big differences between making a greatshot and taking a snap Knowing what to do once you are there is thesecond half of the equation that produces strong images

So where to begin Itrsquos important to have a starting point an idea ofwhat yoursquore after whether yoursquore in the Rocky Mountains or the LoireValley Aimlessly wandering is rarely productive Guide books existingphotographs other travellers or local knowledge can all be useful butultimately therersquos no substitute for getting the boots on and eyeballingthe lie of the land Itrsquos time consuming and often frustrating but it has tobe doneTherersquos nothing worse than being somewhere tantalizing withgorgeous light splashing across the landscape and not knowing where tohead to get the shot as the sun starts to drop Just to go to where everyoneelse has been to the well-known viewpoint to replicate what has beendone countless times before is not an optionThatrsquos just taking a snapTo make something special means getting out and looking using yourmost important piece of kit ndash your eyes

Once that magical spot is found the key is to visualize how it could lookin different lighting conditions at the beginning or end of the day taking intoaccount where the sun is rising and setting in relation to the lie of the landand seasonal factorsThis is a skill that comes hand-in-hand with a feelfor natural light and is crucial for all location work It canrsquot really be taughtitrsquos a case of looking and learning Really use your eyes to analyse everyelement in the scene

After all that it becomes a logistical exercise planning how and whenyoursquore going to be in the chosen place at the right timeThat can be as easyas a drive and a stroll or can mean several hours hiking in the dark beforedawn Compared to all that shooting the picture is the easy bit

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V I S ION

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The Four Seasons Milborne Port SomersetndashDorset border EnglandI wanted to do a set of images with identical compositions to illustrate the passage of the four seasons Finding a location with a strongcomposition that would work in the different lighting conditions of the seasons was the key I shot from the roof of my Land Rover to getabove the level of the hedgerows Winter was the shot I was most worried about snowy conditions with crisp morning light are a rarityin deepest Dorset I shot this at dawn with the first light creeping over the village from the southeast and the Vicar looking bemused ashe walked his dog Spring was shot at dawn straight into the light before the sun popped over the horizon with mist lying in the fieldsI love the soft watercolour feel of this one Summer was shot late on a June evening with the last sun sidelighting the village fromthe northwest and autumn featured Wendy on her bike on an October afternoon I tied a marker in the hedge to mark my spot aftershooting winter but I guess a cow must have munched it because it wasnrsquot there in springbull Fuji GX617 180mm lens

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J OURNA L

The Old Man of Storr Isle of Skye Scotland Itrsquos windy itrsquos wet my cameras are untouched theLand Rover is full of soggy camping gear and themidges are swarming ndash all typical conditions here onthe Isle of Skye With the fiery Cuilin Ridge thematured Trotternish and salty coastlines all garnishedwith dashes of northern light Skye serves a headyphotographic menu There is however one major drawbackthe weather Oh and letrsquos not forget the midgesWersquove spent four days location searching now we waitDramatic sky gorgeous dawn light highlighting thepinnacles of the Old Man of Storr the Cuilin beyondwith an endlessly receding vista of loch mountain andsea ndash this is what I require ndash I want it all Howeverwhat I require and what nature deigns to provide areoften poles apart Irsquove had this image in the back of myhead now for ten years it may have to wait another ten

Now sipping Talisker in the evening Irsquom ponderingthe chances of getting dawn light The fronts are pilingin off the Atlantic with relentless regularity andanything could happen We have to go for it so itrsquosa 5am start with a one-hour climb to be in place bysunrise Irsquom concerned about these winds though theyrsquollgive me problems It doesnrsquot matter how sturdy my tripodis gale force winds make life difficult

At 5am I can see stars through broken cloud coverUp the hill we plod wondering if Irsquom too old for thislungs pounding I donrsquot want to be late Maybe I shouldgo back to window cleaning Wendy is behind with anothertripod in case I want to double up on 35mm What atrooper Big black clouds are sweeping over the ridgepromising rain but in-between there are clear gaps Itcould be good it all depends on those clouds massed overthe Torridons to the east Finally wersquore up there in thehalf-light of dawn The wind is whistling over my chosenmound we canrsquot even stand still but I manage to find aledge that is reasonably sheltered tucked away just below

ldquoWhat I require and what nature deigns

to provide are often poles apartrdquo

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the summit I want to set up the camera and wait butevery few minutes therersquos a shower so I have to keep itin the bag until the last moment Irsquom using my Fuji GX617with a 90mm lens 220 Velvia no fancy filtration herejust a 09 ND grad on the sky Irsquoll let the quality oflight and composition take care of the rest Wersquod been uphere a few days ago to check it out When the light isgood I need to be ready not still debating my options

Wendy is watching the sky to the north lettingme know when likely breaks in the clouds will occurThe sun is just up but obscured by cloud but Irsquomgetting increasingly optimistic and excited The sky isfantastic as is often the case between showers I gothrough my usual pre-shooting checks then do it allagain This is a routine Irsquove been all through so manytimes but you can never take it for granted

Out of nowhere golden light explodes on to the scenebathing the landscape in gorgeous crystal clear lighthellip sheer absolute perfection The pressure is on now

this may only last a few seconds Spot meter reading onthe pinnacles set aperture shoot hellip 13-stop bracketseither side the exposure is changing as Irsquom exposingEight frames gone reload with high winds and coldhands itrsquos no time to be messing about this needs allthe efficiency of a Ferrari pit stop I get off a fewmore frames before the light goes Did I get it Will weget another chance Did I get the exposure right Is thefilter OK Any rain on the lens All the usual doubts

The sun comes out again about 20 minutes later but itdoesnrsquot quite have the quality of earlier I float backdown the hill on air buzzing knowing wersquove witnessedone of those special moments When itrsquos good Scotland isvery very good Maybe Irsquoll put off a return to windowcleaning for now

After that morning the rain clouds close in again Wecross to Harris but donrsquot shoot a single picture So twoweeksrsquo work boils down to a two-minute burst of lightBut it was worth it

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Bluebells in a wood Dorset EnglandIrsquom kneeling in amongst the bluebells on a spring evening with

soft light filtering through the trees gently backlighting the sceneHow did I find this spot I went for a walk Location finding isnrsquot

rocket science itrsquos just getting mud on your bootsbull Canon EOS-1Ds MKII 70ndash200mm lens

V I S ION

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Autumn colours at Iseacuterables above

the Rhone Valley near Sion Le Valais

SwitzerlandThe late afternoon light catches the alpine autumncolours above the Rhone Valley This is an image thatcould only work in autumn Being There is usuallydependent on the seasons Irsquoll often lsquobankrsquo a locationwith the idea of returning when the right seasonalconditions prevail ndash it could be months or years laterA good idea for a unique image is a valuable assetbull Canon EOS-1Ds MKII 70ndash200mm lens

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Light is the most fundamental element of photography A photographmade in the wrong light is worthless no matter how dramatic the subjectConversely given the right light a photographer can make a lump of coallook good Unlike studio photographers in their warm dry studios whocreate the lighting to suit we troops out in the field have to use whatnature provides Waiting for the light to filter through the atmosphere isfrustrating and time-consuming but the subtleties are endlessly variableAll photographers can given half a chance drone on ad infinitum aboutthe quality of lightThere are so many variables that affect it In truthafter a quarter of a century I feel Irsquom still just scratching the surface ofappreciating the finer points of using natural light As a musicianrsquos earbecomes with experience attuned to the subtleties of pitch and tone thatthe rest of us canrsquot hear so a photographerrsquos eye picks up the variables of

Dawn at Polblue Marshes Barrington Tops

New South Wales AustraliaTwo kangaroos bounce out of the mist passing betweenthe tent and me Did I just see that Australia is sodifferent the wildlife vegetation landscape pubs hellip I love it Camping out in the boonies in Oz is one oflifersquos greatest pleasures This morning I have the luxuryof shooting within yards of our camp The rising sunbacklights the mist lying on the marshes silhouettingthe eucalyptus trees in liquid goldbull Fuji GX617 90mm lens

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light that most donrsquot notice But to start to appreciate these aspectsof light itrsquos important to understand two fundamentals that determine itscharacteristics ndash the directional nature and colour temperature of light

Natural light can be strong directional sunlight or soft hazy diffuseovercast or a combination of all of these Basically what determines thedirectional nature of the light we receive from the sun is the atmosphereitrsquos shining through and at what angle ie the time of day Clouds hazepollution and the weather all have an effectThe crisp light in NewZealand after a weather front has passed through is very different froma humid day in Bangkok On top of all those variables we have reflectedartificial and ambient light to consider and how they all balance Intruth being a photographer means living your whole life subconsciouslyconsidering the light but there are worse things to be obsessed with

Eilean Donan Castle Loch Alsh

Wester Ross ScotlandOn a dull October morning on the west coast ofScotland a momentary burst of light spotlightsthe incomparably situated Eilean Donan CastleA lucky shot You just donrsquot know how long I waited for this And of course Being There hasnothing to do with luck The light in Scotland atthis time of year is to die for but it often takessome waiting forbull Fuji GX617 180mm lens

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V I S ION

Dawn light on the sassi at Matera

Basilicata ItalyI saw Matera featured on a TV programme and justhad to come Itrsquos like a scene out of biblical timesRight up until the 1960s people used to live in thecaves called sassi under the town Yesterday I did my location searches and now Irsquom here at dawnsetting up wrestling with the tripod legs waitingfor the light I see the first rays of the day kissingthe top of the church tower slowly creeping downto bathe the town in warmth Therersquos a dramaticsky beautifully sidelit by the rising sun If only itwere always like thisbull Canon EOS-1Ds MKII 17ndash40mm lens

Old Sherborne Castle in the dawn mist

Dorset EnglandIrsquom standing in a field surrounded by cows gathered around like a bunch of paparazzi Irsquom concerned that theyrsquore getting so excited

about the interruption of another routine day munching grass theyrsquollpoo in my Lowepro One seems determined to lick my Canon

Irsquom not sure itrsquos designed to stand such treatment Across the valleyOld Sherborne Castle lies shrouded in mist early on a summerrsquos

morning The art of Being There has been enhanced on this occasionby local knowledge ndash this is my patch and I know when and where

mist is likely to lie from many dawn patrolsbull Canon EOS-1Ds MKII 100ndash400mm lens

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All light sources have a colour temperature (CT) measured indegrees KelvinThe most dominant one the sun is reckoned to havea CT of 5500K at midday ndash this is what is defined as white lightA typical domestic light bulb radiatesTungsten light which is 3200KItrsquos actually a cooler CT but confusingly looks more orange thanwhite light so we call it warmerThe sunlight at sunset at has a lowerCT typically anything down to about 2000K and looks warm andgoldenThis is because the rays have to slice through a larger layerof atmosphere to get to us the dust in the air scatters the longerwavelengths ndash the blue end of the spectrum ndash leaving the orangeshorter wavelengths to transmit through Correspondingly theambient light left bouncing around the atmosphere after the sun hasset has a very high CT in excess of 10000K and so looks blueTo reallyappreciate this stand outside your house at dusk looking in As it getsdarker the interior lights look very orange compared to the blue lightoutside Normally our eyes and brain adjust to compensate for the CTof the dominant light source to make it appear white but seen this waywith the two light sources in juxtaposition the effect is obvious

Along with BeingThere a feel for light isThe Most ImportantElement of Photography If yoursquore in the right place with the right lightthen the most important elements in the making of a photograph arein place before a camera is even touched Itrsquos why I spend far far moretime waiting for the light than I do behind the camera It has affectedmy sanity but like location searching it has to be done

The Grand Canyon Arizona USAWaiting ndash itrsquos the name of the game Irsquom standing onthe rim of the Grand Canyon at dawn perusing theskyline to the east wondering if the clouds will partHeavy storm clouds lie brooding over the massivegorge Then a heavenly shaft of light lasting lessthan 30 seconds paints the landscape momentarilyand makes the whole trip worthwhilebull Fuji GX617 105mm lens

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Point and shoot ndash thatrsquos how most pictures are taken Lookraise your camera point and shoot What could be simplerBut we all know the difference between a grab shot and astriking image is down to the composition Given that yoursquorein the right place at the right time the arty bit is often howthe picture is composed An eye for the arrangement ofshapes within a frame is one of the differences betweenthe taking and making of a photograph

Composition or more simply where to point the camerais all about arranging shapes in the frame Our first naturalinstinct is to put the main object of interest in the centrepoint and shoot but a bit of thought about how to framea picture can transform a snap into a work of artThesimple expediency of moving the main subject away fromthe centre of the frame can have a dramatic effect on theimpact of an image

The Golden Rule ofThirds is a compositional tool that hasguided artists for centuries possibly millennia maybe eversince man daubed pictures on cave walls If the area of apicture is divided up into thirds then strong lines within thecomposition ndash such as the horizon or a prominent tree ndash will

Shapes

Prayer wheels at Swayambhunath Temple Kathmandu NepalThe first direct rays of the day eventually penetrate the haze sitting over Kathmandu lighting up the temple of

Swayambhunath on the hill above Itrsquos my last day in Nepal and Irsquom trying to squeeze out a few more shots from what hasbeen a magical trip to the Himalayan Kingdom The country is rapidly descending into chaos strife and guerrilla warfarebut for now all is peace and Buddhist harmony as monks circulate chanting and spinning the prayer wheels in the crispdawn light The intricately carved wheels and the woodwork lead into the shot and I drop the background slightly out of

focus to give a sense of place without detracting from the foreground The vertical line of the temple is about one-thirdin and the line of wheels one-third up but itrsquos not a conscious decision to use the Golden Rule more often than not it

comes naturally because it just looks right

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Pont Alexandre III Hocirctel des Invalides and the River Seine at night

Paris FranceIrsquom standing waiting for the lights to come on shuffling from foot to foot in the coldwinter wind blowing along the River Seine Therersquos always this dead time of about an hourto wait after dusk before itrsquos dark enough to make a night image but at least Irsquove had plentyof time to compose this shot With the Pont Alexandre III leading into the frame towardsthe Hocirctel des Invalides itrsquos a classic adherence to the Golden Rule of Thirds The two linesof the embankment and the tops of the row of lights on the bridge and Les Invalides bisectthe image area by a third horizontally while the two towers at the end of the bridge roughlydo the same vertically Itrsquos not an exact science and there are discrepancies but as a rule of thumb for how to piece together a composition it takes some beating Eventuallythe lights come on and the sky darkens enough for me make this exposure and head forwarmth Paris is surely the most beautifully lit city at nightbull Fuji GX617 180mm lens

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give the most pleasing arrangement if they are positionedalong one of those lines of thirds Itrsquos a technique that isunfailingly useful to such an extent that most painters andphotographers indeed all artists have developed it as asubconscious compositional default setting InstinctivelyI will position elements within a frame along the lines ofthirds without ever thinking about it in fact to do otherwisetakes a conscious decision to override the Golden Rule

It is unarguably true that photography is the art ofknowing what to leave out My mother-in-law (bless her)when taking a snap usually moves back into the adjacentcounty in order to lsquoget it all inrsquoThe result is acres of deadarea as foreground and a mass of confusion (the family) inthe middle distanceThe best compositions are always thesimplest there should be nothing in the frame that doesnrsquotdeserve to be there Confusing detail in the backgroundkills a shot Get it out drop it out of focus move changecomposition bend your knees or climb a tree do whateverit takes Sweep your eye from corner to corner of theframe and consider every element in the shot how can thecomposition be improved is there anything in the shot thatshouldnrsquot be Be bold be experimental be arty get high orget low whatever will make for a bolder composition

V I S ION

Detail of saddlery of a huaso (Chilean cowboy)

at rodeo San Fernando Central Valley ChileSometimes composing an image has to be a lightning fast

decision based on intuition At a rodeo in Chilersquos CentralValley Irsquom circulating amongst the huasos waiting their turnto tame a calf in the dusty ring I know the sort of shot I wantndash highlighting the intricacies and elaborate craftsmanship of

their equipment ndash but inevitably when the moment comes itrsquosfleeting I arrange the strong shapes in the frame sweep myeye from corner to corner of the eyepiece and shoot a frame

adjust the framing slightly check focus and expose two moreframes before the huaso spurs his mount into action

bull Nikon F5 70ndash200 lens

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A feel for composition is all about the positioning ofstrong shapes in relation to one another As such I donrsquotbelieve it can be taught to me itrsquos pretty much instinctiveAsk why Irsquove placed that rock in the foreground in thatcorner of the frame and I canrsquot explain itrsquos just a matter ofharmony Itrsquos another skill to be developed and kept in yourtoolbox to be used in tandem with all the others as part ofthe photographerrsquos vision that starts to create a photographbefore a camera is even touched

Derwentwater at dawn Lake District Cumbria EnglandDawn seeps through the sky reflecting in the still waters All is calm tranquil and ethereal I live for moments like thisIrsquove been standing by the tripod on the end of the pier watching as the darkness breaks waiting for the light As the flamered spreads through the sky from the east I take an exposure reading and start to expose All rules are made to be brokenand here Irsquom deliberately flouting the Golden Rule of Thirds by placing the pier slap bang in the middle of the frameUsually thatrsquos a definite no-no but the lines leading into the frame here are so strong it just has to be done Images suchas these evoking powerful concepts for the viewer to connect with are always winners I do believe pictures can be overanalysed but it wouldnrsquot take a huge leap of imagination to connect this one with thoughts of departure discovery and newbeginnings I am paying lip service to the Golden Rule with the water line being one-third down the frame Crucially therersquosnothing anywhere in the frame that distracts from the simple lines of the compositionbull Fuji GX617 90mm lens

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In terms of colour there are five options Full throttle colourbright bold saturated and full on Subdued colour mutedsubtle and washed out Minimal colour so restrained youdonrsquot even notice it Monochromatic colour as many shadesas you like but all of one colour And monochromatic colourwith no colour black and white

How photographers use colour is usually dependenton the nature of the light By definition a misty dawnlandscape will have soft watercolour muted huesThecolours in a scene lit by strong clear directional lightwill be bright and saturatedThe contrast and the colourvibrancy of an image are inextricably linked increase thecontrast in post-production and the colour saturationseems to increase and vice versa In the field and inpost-production the photographer has to make a decisionwhether to emphasize or minimize the colour content ofan image Go too far on maximizing colour and the resultlooks false treacly and tasteless hellip although colours thatare too restrained can rob the image of its impact As usualsubtlety is the key

But colour is also a key consideration when pre-visualizing and composing images Using just one splashof colour in an otherwise monochromatic scene is avery powerful tool as is offsetting primary colours insimple bold graphic compositions And pre-visualizinghow a scene could look lit by the widely varying colourtemperatures of natural light at different times of the day isyet another key part of a photographerrsquos vision

Colour

NewYear Parade SingaporeAt a New Yearrsquos ceremony in Singapore the Indian women are in their finest sarisThis fleeting moment comes and goes almost before I can register it in my eyepieceThe mechanics of taking a picture ndash the exposure focus etc ndash should with practicebecome second nature leaving the eye to concentrate on whatrsquos happening in frontof the lens To me this exquisitely presented lady represents all thatrsquos exotic about theIndian culture The vibrant saris and sharp tropical light giving high contrast dictatethat this can only be a very colourful picturebull Nikon F5 70ndash200mm lens

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Gannet colony at Murawi North Island New ZealandThe sun has sunk into a layer of cloud over the Tasman Sea and the colour

temperature of the remaining ambient light takes on a cool blue toneIrsquove been shooting the sun setting over the sea stacks and carry on as our

star disappears for the night I use a neutral density filter to prolong theexposure giving a milky effect to the movement of the water People will

think the blue monochromatic tones are the result of a filter but in fact itrsquosall down to the nature of the light at dusk Our eyes and brains in tandem do

a sort of lsquoauto white balancersquo meaning we donrsquot usually register these shiftsin the colour temperature of the light but film or a digital sensor does

bull Fuji GX617 90mm lens

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V I S ION

Bodiam Castle at dawn East Sussex EnglandAnother misty dawn at Bodiam The sun is up but is so far havingtrouble slicing through so much mist so Irsquove got the merest hintof directional light striking the left wall of the castle Colour andcontrast usually go hand in hand and this is such a low-contrastscene that the colour is restrained to the point that therersquos hardlyany It is however to my eyes a beautifully subtle scene and wouldbe a very different picture if shot in black and whitebull Fuji GX617 90mm lens

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A misty dawn in the Blackmore Vale from

Bulbarrow Hill Dorset EnglandWendy and I spend much of the year on the road livingout of a rucksack or the back of a car It can be a bit of a rootless life so summer is usually devoted to reconnectingwith home Working my home turf gives me the advantageof local knowledge With a high-pressure system sat overEngland after a still night I know mist is bound to be draped over the patchwork of fields in the Blackmore ValeIrsquom standing on the slopes of Bulbarrow Hill itrsquos hardly a Himalayan peak but it does give great views over the greenand pleasant land of Dorset With the light of dawn tingeingthe mist itrsquos a soft low-contrast scene like a watercolourwith muted subdued coloursbull Canon EOS-1Ds MK II 70ndash200mm lens

Montmartre at night Paris FranceI am of the last generation of photographers who weretrained initially in black and white In the first term at

college standing in the darkroom watching my firstprint appear in the dish of developer in the gloom of

the safelights I thought it was magic I still do Itrsquos notjust nostalgia no one can deny that black and whitehas a unique quality In this digital full-colour age it

seems timeless Sadly I donrsquot work in mono as muchas Irsquod like any more Maybe I should They say you can

always convert from digital colour images which I knowis true but I think a photographerrsquos vision needs to be

tuned into different wavelengths to work best in monobull Nikon F5 70ndash200mm lens

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I could call this section lsquoHow to make things look bigrsquo aswersquore talking all about scale here How do you emphasizethe size of the Himalayas for example Easy show them inrelation to something relatively small that we all know likea tree Fine But if yoursquore standing at the foot of the tree withit looming over you it looks massive even compared to thetowering mountains in the distanceTake a few steps backand the effect is lessened Come back 100 feet and the treeis still large but not as dominating Come back a mile and thetree looks dwarfed by the mountains looming over it Itrsquos onlyfrom this distant perspective that we see things at their truesize in relation to other features around themThe troubleis by definition we have to be a long way back Itrsquos a viewon the world photographers call a long-lens perspective asthatrsquos the tool we use to emphasize it Anything longer thanabout 100mm (in 35mm-format terms) does the job but thelonger the lens the more pronounced the effect

Distance

Hikers near Mount Cook Aoraki National Park

South Island New ZealandTherersquos no better way to give a sense of scale than to

incorporate human figures into the shot Irsquom shoutinginstructions across to my wife and brother-in-law to get themto pose in a suitably intrepid manner The first sunlight of theday is playing across the snow-capped peaks of the Southern

Alps silhouetting my reluctant models If I were to moveback the perspective of the mountains would appear bigger

in relation to the figures but I feel Wendy and Simon wouldbe somewhat lost in the image and theyrsquore doing a sterlingjob Crawling out of your sleeping bag pre-dawn and hiking

several miles to stand on a hillock looking in awe while beingshouted at by a demanding photographer before breakfast isnrsquot

everyonersquos perfect way to start the day Funny thatbull Fuji GX617 180mm lens

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Carcassonne Languedoc FranceThe Citeacute of Carcassonne is everyonersquos fairytale castle realized Situated in one of my favourite corners of France it takes some beating Every yearwe seem to end up drifting through this part of the world in a haze of croissants cassoulet and carafes du vin Irsquove shot the Citeacute from all angles upclose and personal and from afar This evening wersquove driven down a farmerrsquos track and have the luxury of working from the tailgate of the Land Roverwith a baguette and fromage on the go to ease the passage of time as we wait for the evening light I spent all of the previous day cycling throughthe countryside surrounding the town looking for this viewpoint it has taken some finding but itrsquos worth it Irsquom about two miles away working witha 400mm lens to flatten the perspective of the Citeacute and Montagne Noire beyond The narrow angle of view also has the advantage of enabling meto exclude all the clutter of the modern town which sprawls around the base Irsquom worried about the risk of wind causing lens movement which is always an issue when working with long lenses but itrsquos a relatively tranquil summer evening in Languedoc so I should be OK As the sun sinks intothe haze the light loses some of its punch softening it a touch but also giving the warm tone Irsquove been waiting forbull Canon EOS-1Ds MKII 100ndash400mm lens

1 UP36U144471 00 Ser4-4 175

I often use a 400mm lens to really flatten the perspectiveSimilarly the up-close view with the eye dominated by theforeground and the distant objects tiny in relation we call awide-angle perspective A focal length shorter than 35mmgives this view but to really emphasize this effect to theultimate degree I use a 15mm fisheye lens with a 180-degreefield of view With this perspective everything from a fewinches in front of the lens to the distant mountains needs tobe sharp so a correspondingly small aperture for maximumdepth of field is usually prescribed

So in the field tramping around in the heat of the daychasing locations choosing viewpoints it pays to bethinking about perspective Itrsquos all about the foregrounddo you want it to dominate or notThose wild flowersblooming in an alpine pasture how do you want to featurethem Get down amongst them with a fisheye lens and theplants virtually touching the front element in which casethe distant mountains will be but pin pricks on the horizonor stand back and have the flowers as a carpet of colour inthe bottom of the frame with the peaks rearing above Orsomething in betweenThe choice is yours

The Rockefeller Center NewYork City USAFrom one extreme to another from a French long lens perspectiveto a fisheye in New York Irsquom crouching by the tripod underneatha statue at the Rockefeller Center craning my neck to look upthrough the eyepiece The extreme wide-angle perspective allowsthe foreground to dominate with the camera looking almostvertically up and the towers leaning into the shot Using the unusualperspective of either long or short lenses is often a very useful wayof getting a new slant on well-known vistas particularly in citiesbull Nikon F5 16mm fisheye lens

V I S ION

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Roussanou Monastery Meteora GreeceStrange people monks They tend to site their monasteries in the most inaccessible placesI guess therersquos a reason for that and not just for the benefit of future photographers I saw the monasteries at Meteora in northern Greece featured in a Bond film years agoand they struck a chord so here I am scrabbling across rocky slopes in search of thedefinitive angle With the soft evening light sidelighting the scene I shoot with a long lensto isolate the monastery and cliffs This perspective emphasizes the dramatic sighting of themonastery dwarfed by the surrounding rocky pinnaclesbull Nikon F5 70ndash200mm lens

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A photographerrsquos life is dominated by the needto be in the right place for dawn and duskTheperiod immediately before and after sunset andsunrise is happy hour when the natural light goesthrough some wonderful transformations Ninetyper cent of my photography happens aroundthese timesThere are exceptions of course theseasons and latitude have a huge bearing onmy timetable For example north of the ArcticCircle in summer the sun just bumps aroundthe horizon all day never setting and nevergetting that highThe light can be fantastic all24 hours which presents something of a problemin knowing when to time an eyelid inspectionUp on Canadarsquos Ellesmere Island I was happilyshooting away in slanting golden light at 2am Incomplete contrast as I sit writing this book itrsquos

12 noon here on the Seychelles island of LaDigue a little parcel of tropical paradise slapbang in the middle of the Indian Ocean just southof the equatorThe sun is vertically overheadbeating down with a tropical ferocity that sendseven the most fanatical sun worshippers headingfor the shade Photographically itrsquos a hardhigh-contrast unflattering light Here betweenthe hours of 9am and 5pm I wouldnrsquot dreamof touching a camera Conversely consider awinterrsquos day in the Scottish HighlandsThe daysare short and the sun never gets very high in thesky so if the sun appears itrsquos quite feasible to beshooting all dayThe key is the angle of the lightlow slanting rays sidelighting the world are whatwe like But there are endless variations that aphotographerrsquos eye needs to be tuned into

Autumn in the Saco Valley White

Mountains New Hampshire USA I spent all afternoon in this spot usingthe crisp low-angled light of October to

investigate all the photographic optionsOften Irsquom waiting for the sun to drop near

to the horizon but here in mid-afternoon in the New England Fall the light was perfect

By the time the sun was setting the trees onthe bank were throwing long shadows over

the water Therersquos a perfect time for everyshot knowing when that is likely to be is

what itrsquos all aboutbull Fuji GX617 105mm lens

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4am Eype Point Lyme Regis Dorset EnglandA full moon hangs over the Jurassic Coast casting a moon shadow

of me by the tripod over the rocks The faintest light is starting toseep through the sky from over Portland making a photograph

just possible with an ultra-long exposure of 15 minutes The colourtemperature of the ambient light gives the whole scene a blue tinge

my eye automatically adjusts for it but the film does not Itrsquos so dark I can barely see what Irsquom framing through the eyepiece but the lights

twinkling in the distance at least give me something to focus onbull Nikon F5 17ndash35mm lens

ROUNDTHE WORLDIN SEARCH OF LIGHT

TRAVEL D IARY

Text Black

530am Cape Breton Nova Scotia CanadaAnother coastline on the other side of the Atlantic at dawn The sun isnrsquot yet up but from its lair just below the horizonto the east itrsquos bottom lighting the clouds sending streaks of pink and mauve through the sky Therersquos no direct sunlightyet but the diffuse glow is starting to give the faintest touch of soft low-contrast directional light on the landscapeItrsquos another long exposure and Irsquom checking and adjusting the timing constantly as the light levels increasebull Fuji GX617 90mm lens

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D IARY630am Torres del Paine National Park

Patagonia ChileThe sun pops over the horizon and the first direct raysof gold paint the highest peaks of the Torres del PaineThe clouds clinging to the massif are lit up in the fiery

light and itrsquos one of those moments I know will staywith me for the rest of my days I work methodically

double-checking the exposure filtration focus andframing Wersquove come a long long way and camped out in howling winds for a week for this hellip what a reward

9am Tarn Hows Cumbria EnglandOn an autumn day in Cumbria the clouds part and the sun splashes patchesof light across the Lake District making the russet tones glow beneath theheavy brooding sky As usual with this corner of the British Isles it has beenan exercise in patience waiting for the light The clouds close in again and thescene is but a memory I could have a long wait until the next opportunitybull Canon EOS-1Ds MKII 24ndash70mm lens

2pm Siesta

Those dawn rises catch up with you sooner or later

10am Location searchingThe sun is high in the sky and the light has lost all its subtle appeal so itrsquostime to get out location searching ndash finding and planning the next few daysrsquoshoots by foot cycle car or boat whatever it takes Sometimes itrsquos as easyas going for a pleasant stroll other times itrsquos a toil involving many milesWell no one ever said it was easy

5pm Dunguaire Castle Co Galway IrelandThe sun is dropping fast over the west coast Irsquom crouching by the

tripod trying to get the definitive angle on the castle when a slice oflight pierces the stormy clouds rolling off the ocean Irsquod been eyeingthe swan with her cygnets for some time hoping against hope that

shersquod stay in situ long enough to provide foreground interestbull Nikon F5 20ndash35mm lens

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630pm Grand Canyon Arizona USAThe last weak sun of the day is sidelighting the canyonpicking out the relief and textures of the gaping chasmThe light is fading fast but it has a certain soft qualityJust as Irsquom checking my exposure a tourist appears atmy elbow wanting to tell me all about every camerahersquos ever owned This is one of the hazards of the jobparticularly in well-known spots like this I nudge himto his fate over the rim of the precipice Of course Irsquom joking but I did strongly consider itbull Fuji GX617 105mm lens

9pm Piazza del Nettuno Bologna Emilia-Romagna ItalyItrsquos getting dark now and the lights around the piazza are coming on Therersquos still just

enough light in the sky to balance perfectly with the artificial lighting Therersquos a period ofabout 10ndash15 minutes when the balance is perfect for night shots leave it too late and thesky will go black To my mind the shadow of the statue on the right makes the shot I get

some friends to be creative blurs in the left corner of the frame and wersquore awaybull Canon EOS-1Ds MKII 24mm shift lens

8pm The Twelve Apostles Great Ocean Road Victoria AustraliaThe sun has sunk below the western horizon and the sky is streaked with pinky-orange in a carbon copy in reverse of the Nova Scotia dawn only this time Irsquove got the silvery crescentof the moon on tonightrsquos menu Far down on the beach a posse of penguins waddle ashoreWhat a beautiful evening on the tip of this beguiling continent Just one point Irsquod like tomention to my Aussie friends those stacks the Apostles Someone canrsquot countbull Canon EOS-1Ds MKII 24ndash70mm lens

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Life often seems a bit of a blur Much as wersquod all like to slow things down now and then wersquore all whizzing aboutand so is the world around us Waves lap trees lean clouds drift birds flutter leaves scatter grass sways waterripples wind gusts sheep graze people stride and the sun rises ndash the world is a busy place A photograph mustsomehow convey that motion to not do so usually results in a somewhat sterile take on the world

Photographers have a choice to blur or not to blur that is the question Using fast shutter speeds we canfreeze all movement or go slow and everything becomes a bit fuzzy lock the camera off on the tripod whilethe world swirls around it or have the camera moving as well If itrsquos the latter then the slower the shutter speedthe more surreal even impressionistic the image becomes I use motion in pictures to suggest speed or toemphasize the bustle of a busy market or street scene

How much motion is evoked is dependent on the shutter speed the velocity at which the subject is movingand the amount of panning itrsquos a complex relationship that is best perfected with trial and errorTypically fora cyclist whizzing past along a Dutch canal Irsquod use a shutter speed of about 18sec Of course the beauty ofshooting digitally is you can fine-tune the amount of motion blur with just a few test shots But whether

Motion

Dusk on the Lizard Peninsula Cornwall EnglandItrsquos late on a winterrsquos afternoon and Irsquom standing counting off the time in the middle of an eight-minute exposure with the

waves lapping around my feet The tide is coming in and after this exposure Irsquoll have to up sticks and move up the beachto avoid a soggy camera situation Itrsquos a risky set up one large wave and several thousand poundsrsquo worth of equipment is history Irsquom using a neutral density filter to slow down the exposure Therersquos movement in the water and in the sky as the

clouds pile in off the Atlantic The light has got a steely cold grey quality with the setting sun weakly piercing the clouds tothe west to give a few heavenly shafts The movement in the sea and sky is emphasized by the sharp detail in the sculpted

rocks and ship on the horizon Standing looking at this scene with the naked eye it all looks very different from how thefinished picture will look but that is all part of developing a photographerrsquos vision And heavenly shafts always help

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Passing car Havana CubaAmong the most visible icons of Cuba are the 1950s cars Anotheraspect of Havanarsquos old town is the fading elegance of the colonialarchitecture slightly decrepit but atmospheric nonetheless andI want to combine these two elements in an image that just sayslsquoCubarsquo The trouble is up close a lot of the details of Habana Vieja arefairly grotty ndash ugly cabling litter mangy dogs and lots of touristsSo itrsquos going to have to be a panning shot the movement will conveythe bustle of the place while losing some of the distracting detailsFinding the right background was critical I trudged around the cityfending off the hustlers and hookers looking for the right buildingsones that would look good with a bit of blur and evening light So hereI am all set with the old Buicks trundling past and soft golden raysbathing the buildings behind Getting a smooth panning action is thekey ndash it takes some practicebull Nikon F5 24ndash70mm lens

using film or digital a few trial runs practising this useful technique andnoting the results in controlled circumstances are well worth the timeand effort Nine times out of ten therersquos something moving somewhere inmy frame and I often go to great lengths to accentuate that movementI stop down to the minimum aperture and use neutral density filters to slowthe exposure as much as possible Irsquove spent significant tracts of my lifewaiting for a waft of breeze to sway the grass in the foreground or the one

in a hundred wave to crash on the rocks ndash more waiting as if there wasnrsquotenough already In a landscape movement can add mood and interest In astreet scene it can do the same with the added bonus of masking unsightlydetails litter strewn on streets becomes bright streaks of colour as dogarish advertising hoardings and all the other detritus of life Emphasizingmotion is yet another tool in a photographerrsquos arsenal a vital element in themaking of a picture

Street scene Hanoi VietnamThe alleys of Hanoi are a whirlwind of unfeasibly loaded bicycles marketstalls and women in conical hats ndash itrsquos intoxicating I spend several days

engrossed in the mayhem panning and working quickly handheld revellingin the culture shock The women with the hats and baskets of produce are the

icons this time and the bustle of Hanoi can only be conveyed with motionIn this case everything is moving the ladies with the flowers and vegetables

the camera and me They come past me and I slot in behind and up closelong enough to squeeze off a few frames before they become aware of me andstop in bemusement Therersquos nothing sharp but the blur makes for an almostimpressionistic feel Here the background distractions are lost in a wonderful

fudgy blur and thatrsquos before a beer or twobull Nikon F5 17ndash35mm lens

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Each different environment introduces itsown challenges for the photographer both inthe way we use light and construct imagesand in how we manage to be in the right placeat the right timeThe light in a rainforest isvery different from that of a desert dawneach particular environment will present thephotographer with unique opportunities andproblems But often the photography canseem the easy bit just getting around andsustaining yourself can be the toughest taskBut when it all comes together like watchingthe pink rays of dawn kiss the peak ofAnnapurna as the shutter clicks open therersquosnothing better

Alexandra Fjord Ellesmere Island

Nunavut Canadian Arcticbull Fuji GX617 105mm lens

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PHOTO E S S AY

By the cold light of dawn I encountered Marina a youngshepherdess tending her flock alone on the pampas highabove the SacredValley We chatted away unhindered by ourcomplete lack of a mutual language My Spanish is weak butit would have made no difference for she is Quechua a directdescendant of the Inca It was one of those encounters thatrefresh the soul Machu Picchu Cusco the soaring Andesall of these make this a breathtaking experience but for meMarina is the face of Peru

Machu Picchu

Text Black044-049_WFLight_P2_Peruindd 46 51207 83838 AM

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Quechua woman in the mist near Marras

Quechua woman at Chincerro

market near Cusco

Chincerro market near Cusco

Marina a Quechua shepherd girl

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Farmland above the Sacred Valley nears Chincerro nears Cusco

Quechua woman at Chincerro market nears Cusco

Chincerro farmer

Children Chincerro nears Cusco

Text Black

TitlePhotography Essentials Waiting For The Light Client David amp CharlesSize 260mm x 240mm (Bleed 3mm)

1U144471 00 Ser4-4 175

171107 K69 K000 K000

Women with hats and double pigtails Chincerro market

nears Cusco

Woman tilling a field with baby in the morning mist

Pampasmojo Marras

Farmland above the Sacred Valley with the Urubamba Cordillera

of the Andes behind

Old woman in the square Pisac Sacred

Valley

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19110 K6956 K000 K000050-053_WFLight_P2_Chinaindd 50 191107 30156 PM

PHOTO E S S AY

How can you possibly sum up China geographically hugeand populously vast Working there is challenging at onemoment exhilarating the next depressing But the menu for thephotographerrsquos take-away is enticing haunting massive variedlandscapes bustling streets frantic markets new-age cities andrustic villages and peoples of a rich and varied culture despitethe years under a monolithic government A few travel tips donrsquotforget your thermals take a bath plug and prepare to have all yourpreconceptions shattered

Rickshaws in the snow Beijing

The Great Wall

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Imperial Palace (Forbidden City) in the snow Beijing Wase market Er Hai Lake near DaliYunnan

Province

Children playing among drying noodlesYunnan ProvinceCyclists in Tianrsquoanmen Square Beijing

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PHOTO E S S AY

Cobbled bridge in Lijiang at dusk Yunnan Province

Bai women in traditional costume

Wase market Er Hai Lake near Dali

Yunnan Province

Naxi womanYunnan Province

Jietang Songlin Monastery outside Zhongdian with prayer flagsYunnan Province

1U144471 00 Ser4-4 175

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Li River nearYangshuo Guangxi Province

Farmer Li Valley Guangxi Province

Yunnan Province

Detail of Bai womanrsquos costume

Yunnan Province

Bai girls DaliYunnan Province

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Therersquos no denying it all photographers seem drawn to themountains unsurprisingly as they provide some of the mostdramatic landscapes on the planet Photography aside tostand on a peak at dawn looking at the world stretched outbeneath you is one of those experiences to connect youwith the very roots of your soul Itrsquos a tough environment towork in though

Getting to where you need to be for that epic vista canbe somewhat tricky to say the leastYou can use mountainroads and cable cars but depending on how far you wantto take it sooner or later yoursquore going to have to get yourboots on and walkTherersquos no getting away from it Lugginggear up hills is just part of the job I was two inches taller

5454 55

before I was a photographer A mountain photographer willfirst and foremost have to be a mountaineer willing and ableto deal with all extremes of weather and terrain Mountaineersthough are obsessed with only one thing ndashThe Route ndash while wephotographers are fixated solely onThe ShotTo be in the rightplace at the right time high in the mountains for that ultimateimage can be a complex logistical challenge involving manynights spent camping in the thin airTough choices about whatcan be carried on the back have to be made ndash another lens ormore food

In an ideal world I would have the panoramic camera thereon a lofty ridge with both 90mm and 180mm lenses and alsomy complete DSLR system with lenses ranging from 15mm

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Laguna Miscanti and Cerro Mintildeiques The Andes ChileWersquore camping up at Laguna Miscanti which lies high in the Chilean Andes abovethe Atacama Desert These mountains are dry as a bone the thin air equally somaking the Milky Way display at night the best Irsquove ever seen Normally for a shotlike this Irsquod use a polarizer to accentuate the blue sky but the air is so clear up heretherersquos no need Normally I hate uniform blue skies devoid of any interest butclouds up here just donrsquot happen Itrsquos a pretty elemental shot entirely in keepingwith the environmentbull Fuji GX617 90mm lens

Mont Blanc in winter Le Breacutevent above

Chamonix Haute-Savoie FranceThe last glimmer of light from the setting sun

catches the serrated ridge on the flanks of MontBlanc on this winter evening Irsquove cheated for this

one rather than hiking here I caught the cablecar up to Le Breacutevent to make the most of the view

across the French Alpsbull Nikon F5 70ndash200mm lens

1 UP56U144471 00 Ser4-4 175

to 400mm but unless I have a small army of Sherpas insupport thatrsquos just not practical All that kit is two maybethree full loads on very sweaty backs In the Himalayas I douse porters which gives me the luxury of taking everythingbut usually working high means working light In fact takingtoo much gear is a mistake ndash eventually it will weigh youdown physically and mentally It has to be fun a joy to bethere rather than the drudgery of an endurance course Ifthe light and the location are dramatic enough the classiccombination of an SLR with a mid-range zoom will sufficeTypically I take a carbon-fibre tripod my DSLR body andjust two lenses a 24ndash70mm and 70ndash200mm along with theusual bits and pieces cable release polarizer and ND gradfilters and crucially spare batteries Up high in the coldwith the world laid out beneath you is not a situation tobe in with flat batteries and no spares All of that can becarried with only minor damage to the spine and kneesalong with the usual mountain necessities clothingfood water head torch etc But of course all this stuff issecondary to the really important gear your eyes which

The Alps from Aiguille du Midi Mont Blanc

near Chamonix Haute-Savoie FranceDown in Chamonix the valley lies under a layer of fog

but up here at the Aiguille du Midi itrsquos a pristine wintermorning with views as far as the Matterhorn Irsquove been

waiting a week for conditions like this Irsquom wheezingin the cold thin air with a stinking cold that will turn to

bronchitis after this mountain foray But what a view hellip bull Fuji GX617 105mm lens

ENV I RONMENT S

Val di Fassa Dolomites Trentino-Alto Adige ItalyOn my first trip to the Dolomites I never saw the mountains theyremained obstinately shrouded in thick low cloud and I retreated

into Austria without a single picture made It happens Dealing withthe vagaries of the weather is one of the most frustrating aspectsof the job and mountain climates are notoriously fickle On this

second visit to Italyrsquos most dramatic mountain range Irsquom luckierand a day spent trekking around the Val di Fassa has yielded this

superb location Persistence has been rewardedbull Nikon F5 24ndash70mm lens

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ENV I RONMENT S

are constantly searching looking at the light consideringperspectives pre-visualizing how those soaring peaks couldlook in different lighting conditions

But mountain photography doesnrsquot always have to beso extreme Actually I think the tops of mountains areoften overrated places bleak windswept and shrouded incloud Some of the best alpine views are of the toweringsnow-capped peaks rearing above verdant valleys thejuxtaposition of the two emphasizing the scale of themountains And no photographer can resist rocky summitsreflected in a glacial lake Mountain cultures are some ofthe most vibrant and colourful Irsquove come acrossTrekking inNepal isnrsquot just about the huge vistas the people and theirvillages living in the shadow of the Himalayas make for aheady photogenic mix And the colours and faces of theQuechua direct descendants of the Incas living high in theAndes have to be seen to be believed

Dawn at Lake Matheson near Fox Glacier

Westland National Park South Island New ZealandSometimes mountains just look their best from afar At dawn on the shores

of the lake the Southern Alps are mirrored in the still waters Irsquom revellingin naturersquos harmony until a posse of boisterous backpackers arrive

destroying the mood as they shout to each other across the lake Heathensbull Fuji GX617 180mm lens

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Lochan na h-Achlaise and the Black Mount Rannoch Moor Highlands ScotlandIn terms of height the Scottish Highlands donrsquot really cut the mustard compared to the Himalayas Rockies Alpsor Andes But size isnrsquot everything Atmospherically speaking the Caledonians are second to none The combinationof low northern light dramatic weather and an abundance of mountain and sea lochs make it a Mecca for landscapephotographers despite the unpredictable climate Itrsquos where the photographic bug first bit me changing my lifeforever Patience is a must when working here Irsquove had many many fruitless trips camping in Glencoe listeningto the sound of rain lashing the tent Itrsquos enough to drive you to whiskybull Fuji GX617 90mm lens

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J OURNA L

PokharaNepal

The peaks of the Himalayas rise abovethe mist on the lake shore impossiblyhigh Today welsquore off after the joysof Kathmandu and a few days gettingorganized itrsquos time to do what wersquovespent hours talking about in pubs inDorset the Annapurna trek Yesterdaywe met Lil who is to be our guide andporter for the next few weeks I felt atwinge of western guilt as I showed himthe rucksack we hope hersquoll carry for usLil is just over 5ft and only marginally

taller than our monstrous sack fullof decadent possessions which wersquoreexpecting him to lug for $5 a day Hisown possessions consist of a bundleno bigger than my bum bag all thathersquoll need for several weeks in thehigh mountains

Several days later wersquore toiling upyet another never-ending ascent TheHimalayas are big Itrsquos a deeply humblingexperience when a lithe and sprightlybarefoot octogenarian skips past as I

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puff and sweat up the third 1500ftclimb of the day No wonder the Gurkhasare so fit I have all my photographicgear on my back Wendy has a day sackand Lil has the kitchen sink Lil and Iare playing a constant game of guessinghow high we are I have an altimeterwatch and hersquos convinced Irsquom cheatingbut Irsquom not much The views down thevalley to the steep terraced hillsidesand villages perched in ludicrouslyinaccessible spots are absolutelybreathtaking Right now there is nowhereelse Irsquod rather be

Wersquore toiling our way up to a villagecalled Ghorepani where I think wersquollbase ourselves for a couple of daysas the vistas up there sound mostpromising Wersquove left roads far behindbut itrsquos quite a busy place with aconstant stream of porters donkeytrains and other trekkers using theancient pathways

My gear for this trip consists of twoSLR camera bodies and four lenses upto 200mm plus the panoramic beast witha 105mm lens Itrsquos all crammed into aphotographic rucksack with a backpackingharness which makes all the differencewith such a heavy load A carbon-fibretripod is strapped to the back Itrsquos a

good little rsquopod and delightfully lightbut I miss the height and stability ofmy regular piece But all tripods arecompromises and when the only transportsystem is your own feet you canrsquot haveit all Here in early winter at thisheight the temperatures at night plummetand battery consumption is an issueIrsquove got lithiums in the F5s and thespot meter with a couple of spare setsNone of these villages have mains power

At 5am the next morning wersquore goingup hill again this time by the lightof our head torches My breathing in thethin freezing air is a little easier asIrsquom getting used to it To the east thefirst glimmer of pink light is tingeingthe sky Behind us in the gloom Irsquomaware of the vast bulk of Annapurna oneof the worldrsquos few 26000ft peaks Mypace increases as I feel the excitementand tension of what may be the shot ofthe trip unfolding Up on top of thehill I turn round with gasping lungsand there is Annapurna rising out of thecloud Irsquoll never forget this sight Ihave a few seconds gazing in awe beforebattling with the tripod With my coldfingers getting the filter rings onthe lens thread is a fuss and Irsquom awareof the brightening sky I havenrsquot come

this far and climbed this high to missthe sunrise The sun peeks over thefoothills and paints the snowy upperslopes of Annapurna Shoot Wind onCheck everything Hell hellip the filterhas misted up Wipe it Take anotherspot meter off the cloud around themountainrsquos base Reset exposure Wendyis on filter-wiping duty as the lensis constantly misting up between framesShoot more do brackets reload Checkeverything again The cloud is nowobscuring the peak That was it allover in maybe three minutes

One week later and wersquore ambling downthe trail back from the Annapurna BaseCamp towards Ghandruk with a couple ofFrench trekkers talking about food Ithas become an obsession and our littlePhotographic Army of three certainlydoes march on its stomach The Nepaleselive on Dhal Bhat a vegetable currywith Himalayan-size mountains of riceItrsquos good healthy swag but I have tosay after three weeks of it Irsquod sellmy soul for a bacon sandwich Nepal hasbeen a classic trip Photographicallyit has been far more than just mountainscenes the people and village life areunique Lil is still with us ndash hersquos areal star he never complains

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There are few more elemental environments on this planet thandeserts and photographers find them irresistibleThe classicsweeping sand dune landscape is the definitive desert view that takessome beatingThe clean lines and shadowed curves of a sea of dunesin the first or last light of day are quite simply photographic nirvanaBut therersquos far more to deserts than sand dunes the textures andpatterns of the desert environment in microcosm are fascinatingTiny sand signatures of all sorts of creatures let you know you are notalone If you look hard enough the plants and wildlife are exquisiteand leave you in awe of their powers of survival Each time you goback you see more it is a bewitchingly pure environment dailyrefreshed by the blowing sands erasing all traces of passing Anddeserts are not all sand but often twisted rocky landscapes shapedby wind and yes water

6262 63

A fisheye view of the Namib Desert NamibiaI have to be so careful not to get my tripod legs in the shot

here The 180-degree field of view emphasizes the ripples in the dunes in the foreground Combined with the extreme

barrel distortion of the fisheye lens it creates a graphicimage Itrsquos not an effect that often works and can be easilyoverdone but itrsquos a delightfully tiny lens Irsquod not be without

bull Nikon F5 16mm fisheye lens

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Monument Valley Utah USA Irsquove only just arrived but this view looks sofamiliar from so many westerns Irsquom halfexpecting John Wayne or Clint Eastwood

to ride through The landscapes of theAmerican southwest are impressively

dramatic but have been photographedextensively by legions of Ansel Adams

disciples It makes it a challenge to comeup with something unique but I should

never underestimate the variety of MotherNaturersquos fare So often I have to wait days

or weeks for the right light but on thisoccasion Irsquom in luck A local rainstorm

sweeps across the desert dropping a briefshower on the buttes of Monument Valley

and presenting me with the most dramaticsky I could have wished for So often aninteresting sky can make a landscape

I was no youngster when I saw my first desert and now I have tosay Irsquom hooked Of course they are not easy places to hang out infor long Proximity to water dominates everything and everyone andnobody in their right mind chooses to be out long in the midday sun Atall times whether on foot in a car or on a camel carry plenty of waterPeople die as a result of something as trivial as a puncture Hikingup dunes laden with gear is seriously hard work in the heat andkeeping sand out of the equipment is a major bugbear Hard as you tryparticles start accumulating in the depths of the camera bag

After weeks of desert life the car and all inside it are coated inlayers of dust Eventually the lenses start making gruesome grindingnoises when focused a sound as welcome to photographers asfingernails on a chalkboard But I never lose sight of the fact that thisis what they are for Attached as you may be to your gleaming opticsthey are ultimately just tools Use them donrsquot get too precious aboutthem and just resign yourself to having to send them for servicing onyour return

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The desert is one of naturersquos most elemental environmentsPhotographically deserts are irresistible largely because of thefantastic beautiful shapes that wind and water have shaped thelandscape into be they the sweeping dunes of the Namib or the rockformations of Utah Sometimes the sheer emptiness and absenceof anything can be compelling In these flat seemingly featurelessexpanses no obstructions mask the sunrsquos rays in the last minutesbefore it drops beneath the horizon

In such landscapes one lone feature such as a rock a tree or evena road can become a dramatic icon emphasizing the emptinessbeneath limitless skies In such situations lenses of extreme focallength can be powerful tools both wide angle and super-telephotosbut for me the desert just cries out for the panoramic format

The Olgas Kata Tjuta

Northern Territory AustraliaAustraliarsquos Red Centre endless dry busheucalyptus trees bouncing Joeys hugelumps of red rock Thorny Devils andflies Oh the flies It is inconceivable tome how the natives of the Outback livewith them They try to get in your eyesnose ears and mouth I hate them withevery fibre of my being And I think thisis maybe the hottest place Irsquove ever beenWersquore camping nearby not by choicethis time Much as we love the outdoorlife a bolthole away from the flies andheat would be welcome but all the localhotels are full so itrsquos tough But youhave to suffer for your art and despite allof that I wouldnrsquot trade this experiencefor the worldbull Fuji GX617 90mm lens

ENV I RONMENT S

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Oryx vertebra Namib Desert NamibiaThe absence of trees and other features to give scale to thedesert means the use of human figures or in this case animalbones is a handy way of giving depth to an image I just haveto be vigilant not to walk into my own shot besmirching thepristine scene with my footprintsbull Nikon F5 20ndash35mm lens

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TRAVEL D IARY

NAMIB DESERT NAMIBIA

330amWe crawl out of the tent in the pitch black blearily

registering the carpet of stars hanging overhead The

fact that therersquos a completely clear sky is taken for

granted there are seemingly never any clouds here

4amWersquore trundling along the rutted dirt road in our 4x4

heading into the Namib Desert National Park eyes

out on stalks for any wildlife straying into our path

The odd wrecked vehicle abandoned along the way

testifies to the risks Itrsquos a 90-minute drive to the Big

Dunes and wersquoll do this route four times today

520amThe last section is strictly 4WD only and in the half

light before dawn the Toyota is squirming in the soft

sand the engine working hard as we plough on This

is real Boyrsquos Own stuff I love it

540amWersquore on foot now toiling up a massive dune tripod

on my shoulder Two steps up one step back I seem

to be making little headway as the sky to the east is

getting rapidly lighter

6amLungs pumping I crest the dune In front of me

lies a sea of dunes as far as I can see We were here

yesterday location finding but in the fresh light of

dawn itrsquos an altogether more dramatic sight In my

haste I grapple with the tripod legs like a drunken

bagpiper eventually subduing them Camera on

tripod frame shot place filter attach cable release

set aperture check focus wind on film check the

camera is level check all is tight on the tripod take

a preliminary spot meter reading off the sand set

shutter speed glance at the eastern sky The sun is

not up yet but will be imminently Check everything

620amFrom our elevated position we can see the sunlight

creeping across the desert painting the landscape

This is it this is the moment we work for Take

another light reading and adjust the shutter speed

shoot Wind on expose -13 stop Wind on expose

+13 Do it all again Take another light reading the

levels are increasing all the time Do it all again

reload Pause Consider How can I improve this

A sense of scale is missing

630amWendy slowly walks into the frame taking one step at

a time careful not to tarnish her solitary footprints

With her sack on her back shersquos looking suitably

intrepid I beckon for her to stop in the prime spot

giving a human perspective to the sweeping scene

Take another exposure reading expose Bracket

exposures Do it all again Reload Double-check

everything Expose again

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640amThe power of the sun is now burning through I do some

alternatives on 35mm going in tight on my supermodel

with a long lens It looks great

9amThe long drive back to the campsite seems a chore in the

morning heat Wersquove got no option staying out in the open

desert would be madness

11amIrsquom sitting in the pool at the campsite not swimming

just wallowing like a hippo trying to keep cool

2pmIrsquod really like to sleep but therersquos nowhere to shelter The tent

is a furnace so Irsquom still in the pool reading

4pmAt last wersquore checking our stuff saddling up for the evening

430pmDriving again the novelty of this route is starting to wear off

6pmIrsquom shooting a solitary stunted tree dwarfed by the sand dune

behind Working with a 300mm lens the true perspective is

emphasized Itrsquos a graphic composition An oryx wanders past

in the distance What do they find to live off

730pmBack on the road again In the dusk light an ostrich races

alongside our vehicle leaving us standing Show off

9pmWendy is cooking pasta by the tent Irsquom clutching a cool beer

gazing up at the stars feeling totally and utterly content It has

been a long day and tomorrow will be too

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Where I live in southwest England it has to be said winters are a sad disappointment Greywindy and wet ndash theyrsquoll never catch on I grew up in Canada and childhood memories are ofa winter wonderland between November and April I miss those crisp snowy days with thefresh snow hanging from the trees in sparkling winter light ndash I just donrsquot get enough of themphotographically I took them for granted back in Ontario Irsquod give my eye-teeth for a few ofthem every winter now So the only answer is to head north or back to Canada

Of course like all environments there are some particular challenges to working in icyclimes Irsquom not your grandmother so I wonrsquot implore you to wrap up warmly but it goeswithout saying that if yoursquore not prepared the photography will sufferThis game caninvolve long periods of inactivity waiting for the perfect conditions for exposure Batteryconsumption in the cold is also something to be aware of Itrsquos shocking how quickly standardalkaline batteries will run down in sub-zero temperaturesTo be precise a set of alkalineAAs will last for approximately 3000 pictures at 20degC at -10degC you get just 300 I use lithiumbatteries in winter which will last much longer Also consider keeping your camera bodyinside your jacket for warmth while waitingThatrsquos not really an option with the panoramicas itrsquos a serious beast of a camera As itrsquos totally manual batteries arenrsquot the issue but leafshutters donrsquot like the cold and can stick

6868 69

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Banff National Park Alberta CanadaWersquore spending Christmas in Banff except the unthinkable has

happened therersquos no snow Large areas of ugly brown streak thehillsides what is the world coming to Finally up the Bow Valleynear Lake Louise Irsquove found a patch where fresh snow is hangingfrom the trees Except this morning the whole region sits under

a bank of dense low cloud Irsquom standing waiting for the lightwith frozen toes wishing Irsquod bought the thermal boots Finally

there are traces of blue above and the Rockies just start to appearthrough the clearing mists Irsquom balancing the exposure between

the sunlit mountains and the foreground with a 09 ND graduatedfilter and for my exposure readings Irsquom alternating between spot

meter readings of the snow in the foreground and the trees in the middle distance For the snow readings I open up 1frac12ndash2 stops

on the indicated exposure The two different methods seem tocorroborate each other so I canrsquot be far out Eventually the sun

burns off all the cloud but I suspect the shots with the first hintsof the peaks looming through will be subtler

Berctesgarten Bavarian Alps GermanyIrsquove got all hot and sweaty trudging up the hill my boots crunching in the snow now Irsquom standing waiting for the light and cooling rapidlyThe picture I have in mind is a straightforward image (the best alwaysare) with the first light of day striking the peaks Calculating yourexposures with a lot of snow around can be tricky but taking a readingfrom a mid-tone will always work The trick is to know what your mid-tone is in this case I took a spot meter reading off the trees by theAlpine chalet in mid-distancebull Fuji GX617 105mm lens

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Winter light can be so dramatic Days are short and the sun nevergets very high in the sky meaning photography is possible all ofthe daylight hours Making exposures with so much light bouncingaround ndash off the snow ice or water ndash can be tricky What do youexpose for Where are the mid-tones Exposing for snow is all aboutconsidering how much texture you want in the surface Overexposeand the whites blow out underexpose and the snow looks like a dirtygrey mass Ideally every crystal and ripple in the snow will be visibleHow you tackle this will depend a lot on what kit yoursquore using In theold days and still now with my panoramic camera I take multiplespot readings off the surface of the snow with a hand-held exposuremeter and open up about 1frac12ndash2 stops on the indicated readingShooting digitally the brightness histogram display becomes an

especially useful aid after a test exposure in these situations toensure that highlights arenrsquot being lost But here again as with mostaspects of photography experimentation is rewarded Do testsnote what yoursquore doing in terms of how yoursquore exposing analyse theresults carefully learn from your mistakes and enjoy a warm glow ofsatisfaction from the winners With all the technology in the worldtrial and error still remains the only way to consistently improveyour photography

As with deserts the craftsmanship of Mother Naturersquos sculpturesin snow and ice provides us with endless inspirationThe biggestchallenge really of this type of work is finding those perfect icylandscapes ndash the combination of fresh snow and sparkling lightis a rare one

Eilean Donan Castle

Loch Alsh ScotlandOn our last night the snow fell

giving perfect conditions over theScottish Highlands just as we haveto head south Itrsquos a deeply painful

experience having to drive away fromhere now Irsquom ruing the deadlinesand commitments that clutter up

life making this departure necessaryAs we cross the bridge from Skye

the first sunlight beams along LochAlsh taking our breath away A fewminutes later wersquore passing Eilean

Donan Castle This is too much Notonly is there fresh snow but perfectreflections for this classic Scottish

scene I just canrsquot resist ndash I pull in anddive for my gear Stuff the timetable

bull Nikon F5 17ndash35mm lens

ENV I RONMENT S

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ALEXANDRA FJORDELLESMERE ISLANDCANADIAN ARCTIC

TRAVEL D IARY

27 JulyWersquore on the first plane in to fog-bound Resolute for ten days embarking on a sea

kayaking expedition in the Canadian ArcticTherersquos just one problem no kayaks

Apparently theyrsquore following on another plane So we wait

28 JulyWersquore still awaiting the kayaks so wersquore sampling the joys of Resolute If Canada had

political prisoners this is where theyrsquod be sent Forget any notions of pristine Arctic

landscapes In the dense fog and biting cold this is a grey bleak dump a collection

of pre-fab huts that is the jumping off point for many polar explorations But wersquore

buzzing at the start of our Arctic Adventure After all the books wersquove read on the

quest for the Northwest Passage wersquore here on Cornwallis Island and hopefully

tomorrow wersquore heading further north to the very edge of the permanent ice-pack

to Alexandra Fjord on Ellesmere Island off the north shore of Greenland so far

north itrsquos off the top of most maps Maybe Nothing is for sure in the high Arctic

29 JulyThe kayaks have arrived and so wersquore taking off in a Twin Otter with all our gear

for two weeks at the top of the world We fly for two-and-a-half hours in a complete

whiteout before bursting out into the sun glinting off the unspeakably spectacular

glaciers peaks bays and ice flows of Ellesmere Island It is such a contrast to

Resolute Landing on a vaguely level and straight strip of tundra we set up camp on

the edge of a bay crammed with the most beautifully shaped ice I walk along the

shore in the evening in fact itrsquos more like midnight but with 24-hour daylight here

time becomes elastic

30 JulyAs we assemble our kayaks Irsquom looking at the amount of kit wersquove got to get in It

doesnrsquot seem possible even before I consider the photographic stuff a full Nikon 35mm

system tripod and the panoramic camera No way

31 JulyFinally wersquore ready Our two-man kayaks are crammed full of all wersquoll need

for a fortnight ndash camping kit food and water all sealed in waterproof sacks I

have no idea how wersquove managed to cram it all in Wersquore wearing trendy bright

yellow survival suits in case of immersion in the freezing water and on the

foredeck of our vessel Irsquove got my camera kit And so finally wersquore off paddling

down Alexandra Fjord on glassy waters amongst the ice floes Bearded seal

occasionally pop up to track our progress Therersquos a walrus hauled out on

the ice ahead so we spend 15 minutes hiding they have been known to get

inquisitive with kayaks even amorous Being tipped into these black icy waters

by a humping walrus doesnrsquot really appeal

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TRAVEL D IARY

1 AugustWith the sun behind thick cloud and a wind blowing off the ice the temperature

plummets and wersquore wearing every layer we have This is the Arctic summer which

lasts for a few weeks at most Yoursquove got to wonder what the dark winters are like

Our camp is on an island in the fjord our tent is definitely a Room with a View

Some time in the afternooneveningnight (who knows) the wind drops and the

clouds part revealing the most perfect scene of Arctic splendour ndash flat calm waters

mirroring the rippled clouds floating ice and the sweep of the fjord beyond This trip

has been in the back of my mind for so long a personal ambition that has finally

come to fruition If I donrsquot manage to shoot one more picture here it will have been

worthwhile for this

3 AugustAnother day spent dodging the walrus The pack ice has closed ahead and we have to

find a spot to camp before wersquore stuck Wersquore well into it now paddling boldly in this

pristine wilderness Mind you a shower and a malt whisky would be very welcome

But this is the business it is the wildest most remote place I have ever been

4 AugustIrsquom on a hill looking down on a vista of ice and rock stretching to

infinity In the still air the sound of a barking walrus reverberates over

the pack ice The light from the northern horizon is low and golden

My watch tells me itrsquos 2am and I really should be getting some

sleep wersquove got another long paddle tomorrow but I just canrsquot pull

myself away from this scene In the bay below the rest of the crew

are huddled in their sleeping bags Apart from them I doubt therersquos a

single other person for hundreds of miles Certainly I know I am the

sole human gazing out at this scene of utter tranquillity Itrsquos almost

possible to believe all is well with the world

5 AugustWersquore floating amongst the ice on mirrored waters Dipping our

paddles into the perfect reflections seems a travesty Irsquom grappling

with my paddle trying to get to my cameras without dripping salt

water all over them Kayaks are great ways of getting around these

parts but not so good for photographing from I think Irsquove already lost

a lens to the salty drips But Irsquom not losing sleep about it

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161107 K56 K000 K000

6 AugustA long day grey and windy The tents are anchored down with rocks and the

sleeping bag has never been so welcoming Irsquom contemplating how the trip is

going photographically As usual the worm of self-doubt turns in my gut Have I

made the most of this unique environment Wersquove seen some incredible sights

on the water but shooting from the canoes is a nightmare Getting to the camera

in a hurry is impossible by the time I have it and have sorted out my composition

without our paddles in the shot attached a filter and exposed a few frames the

rest of the group are way ahead leaving us adrift in the ice flow Still if it were

easy everyone would be doing it

7 AugustWersquore talking to Resolute on the radio trying to coordinate our pick up from a bay

to our north But there are problems they donrsquot think a plane can get in there so

wersquoll have to head back to Alexandra Fjord

9 AugustWersquove been camping on a headland north of Alexandra Fjord for two days waiting

for the winds to drop The previously flat calm waters are now raging grey seas

with white horses and spindrift Therersquos no way we can cross in these conditions

so we wait spending long hours huddled in our tents Irsquom reading a book about

the early Arctic explorers being forced to spend winters trapped in the ice in these

very parts Hmmm Irsquom not sure wersquove enough peanut butter for that The brief

summer is coming to a close the sun is briefly dipping below the horizon at night

and a layer of ice is visible on the waters close to shore A plane is supposed to be

picking us up tomorrow but unless the winds drop it wonrsquot happen and when one

will be able to get in after that no one knows Wersquore all feeling a touch exposed

10 AugustIn the early hours the winds drop and we pack up for the crossing By the time

wersquore ready the wind is back at full force but we decide to go for it Launching

the kayaks over the ice shelf into the churning waters is hellip challenging Actually

wersquore all terrified But by helping to stabilize each otherrsquos kayaks we go for it

immediately pointing the bows into the 3ft-high waves Grey icy water surges over

the deck Once wersquore all launched we plough across the fjord paddling like wersquove

never done before fear balanced by exhilaration In the middle of the fjord the

wind drops and wersquore paddling through the bizarre ice shapes buzzing with our

adventure Moods can change here in seconds ndash from bleak icy danger to benign

tranquil beauty As we haul the boats out for the final time on the south shore it

starts snowing

11 AugustGood news a Twin Otter is on the way to pick us up All our flight connections

back to the real world have been missed but who cares The fresh snow on the

mountains backdrops the approaching plane itrsquos so beautiful ndash do I really want

to leave It seems I may not have an option The pilotrsquos moaning about our load

and says I have to leave my photographic gear for a subsequent plane to pick up

As I suspect that may not be until next summer I dig my heels in if it canrsquot go

neither can I A standoff ensues Eventually my Canadian friend Jim manages to

negotiate an agreement and Irsquom allowed on the plane clutching my salt-encrusted

cameras The plane labours into the air heading south as we peer out at the

dramatic Arctic wilderness we are leaving behind

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As a 14-year-old boy on our return from Canada I remember lookingdown from the circling Jumbo Jet at the patchwork of fields that makeup Englandrsquos green and pleasant land It seemed a toy landscapein contrast to the huge open spaces of Canada In Europe the rurallandscapes have been shaped and maintained by man for centurieseven millennia to such an extent that the old stone walls rustic barnsand church steeples are as much part of the environment as the treesand hills Age generally mellows manrsquos input and the rural architectureof a region becomes deeply embedded in its character and culture

For all the challenges of deserts and ice caps some of my favouritetrips have consisted of loading up the motor and drifting through therural heartlands of Europe On a long haul flight difficult compromiseshave to be made with what can be taken and I often opt to travel lightwith just the DSLR system So on these road trips itrsquos such a relief toload up virtually all the gear I own including the heavy artillery

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Irsquove been wedded to the panoramic format for some 17 years Ifirst hired a panoramic camera on trial and was so bowled over bythe impact of the big 6x17cm transparencies for landscape workthat I immediately bought one Since then it and its successor havebeen round the world many times As yet therersquos no practical digitalalternative to the big lsquopanorsquo and I still love the impact and quality ofthe formatThe camera itself is big and bulky but not particularlyheavy Itrsquos also delightfully simple with no electronics and not much togo wrong Having said that it does demand a different more rigid wayof working I have to be meticulous in the way I put together an imageand operate the camera I strongly believe you need to be diligentwhatever camera yoursquore using but with the panoramic it does take awhile longer to set up and deployThis can be a good thing imposinga more disciplined regime on the business of making an image andwhen you see a print from this format enlarged up to several feet wideit makes it all worthwhile

Sunrise near Corton Denham

Somerset EnglandItrsquos late June about 430am and Irsquom in the middle of a poppy field waiting for the light Before the sun pops overthe hill and bores into my lens causing flare I exposewith the dawn sky and the poppies swaying in the breezebull Canon EOS-1Ds MKII 17ndash40mm lens

Olive grove near Cazorla Andalucia SpainWersquove found this spot in Andalucia thatrsquos proving very difficultto leave With the wild spring flowers growing in among theolive groves itrsquos a verdant lush landscape that wersquore cyclingthrough every day in search of locations I reckon Irsquove madesome worthwhile images and itrsquos probably time to move onbut somehow we just canrsquot seem tobull Fuji GX617 90mm lens

Poppies near St-Reacutemy-de-Provence Provence FranceBy one of those typical tree-lined roads near St-Reacutemy-de-Provence I find this

concentration of poppies Theyrsquore everywhere in southern France in late May I nevercan resist getting them in my foreground Well Monet did so why canrsquot I

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LittondaleYorkshire Dales National Park EnglandThe stone walls and barns of the Yorkshire Dales are a national treasure Itrsquos one

of my favourite parts of England Itrsquos an early summer evening about 830pm andfriends are waiting for me in the pub in Kettlewell but I just canrsquot come away

Itrsquos tough maintaining a social life when the days are long and the light is goodbull Fuji GX617 90mm lens

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In Europe the classic regions of ProvenceTuscany and Andaluciatake some beating but of course there are many many other equallybucolic and enticing areas Indeed part of the attraction of suchtrips is getting off the beaten track and discovering for yourselfrural backwaters not mentioned in the guidebooks By their verynature these are environments lacking in any particular challenge ofsurvival or access As always location finding is crucial Irsquove oftenfound myself in a region I know is attractive with much photographicpotential but I canrsquot seem to express it in an image Itrsquos extremelyfrustrating and it happens all too frequently A mental block candevelop the harder you look the less it all comes together Butpersistence usually pays offThe location searching itself in suchregions can and should be a real joy if it becomes a chore thensomething is not right Cycling and walking are my preferred waysof finding my spots driving is OK but itrsquos all too easy to whizz past ascene without even noticing it I just canrsquot work out though why all therandonneacutees seem to incorporate lunch in a sun-dappled square All inthe name of familiarization of course

Dawn at Compton Pauncefoot

Somerset EnglandIrsquove cycled past this scene countless timeswithout it really registering ndash itrsquos on one of myregular routes from home Then last time itsuddenly struck me therersquos a shot here Whyhad I not noticed it before Either Irsquom justa useless photographer or therersquos a lessonhere Irsquom not sure So here I am the nextmorning shooting in the soft light of dawnwith traces of pink kissing the clouds and thehedgerow full of early summer colourbull Fuji GX617 90mm lens

The village of Eus perched on a hilltop with the Pic de Canigou

beyond the Pyrenees Languedoc-Roussillon FranceIt has taken me four attempts to make this shot of the church with the Pic de Canigou

beyond Irsquove been battling with indifferent hazy light Irsquom still not entirely happy with itIrsquod like more drama in the sky But wersquove been camping nearby at Vernet-les-Bains in the

Pyrenees for five days now and itrsquos time to move onbull Canon EOS-1Ds MKII 24ndash70mm lens

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TRAVEL D IARY

ITALIAN SUMMERDay 10Our Italian Campaign is going well Like the Vandals and Visigoths

we marched into Italy via the Brenner Pass from Austria Wersquore

giving sacking Rome a miss this time but are blazing a trail of

exposed images through the country leaving in our wake vacated

campsites and decimated pasta dishes Wersquove plundered the

Dolomites Lake Garda and Verona and are now pondering our

next conquests A change of plan was decided last night over our

vino rosso wersquore heading on to Tuscany Wersquove been many times

before but now wersquore this close we canrsquot resist it It hasnrsquot gelled

here in Emilia-Romagna and another wasted day could result in

a loss of momentum that curious fusion of circumstance and

frame of mind that determines just how productive a trip is After

a brief visit to Maranello we bomb down the autostrada and set up

camp in Chiantishire The entire population of the Netherlands is

on the campsite with us but this is great From our tent we look

over a valley with vineyards pointy trees and villas just beyond

the Germanrsquos cycling shorts drying on the line

Days 11ndash15Our local valley collects the mist at night so it has provided a

few good dawn sessions I love it when I can just stumble out

of the tent to stand bleary eyed by the tripod without having

to drive for miles Irsquove been working on vineyards both as part

of the landscape and close-ups of the ripe grapes in the warm

evening sun Theyrsquore almost ready for picking and the smell

is intoxicating The ancient village of Badia a Passignano was

the setting for an evening shoot with an olive grove in the

foreground Gutless skies and haze have continued to be a

problem but hey life is rarely perfect There have also been

details of windows doorways and markets to shoot in the

villages like Castellina in Chianti

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Day 16The grape pickers turning up for work are giving me wry and

bemused looks Irsquom standing on the customized photographic

roof platform of our Land Rover parked in amongst the vines at

dawn If this were Britain Irsquod no doubt have an irate farmer on

my hands but not here no one cares Irsquove got the panoramic

GX617 on the tripod up here with a 180mm lens a polarizer

and a 09 ND grad The sun is coming up to my left giving cross

lighting but itrsquos having to slice its way through a heavy layer of

atmospheric miasma and the sky is just hopeless This could

be a strong shot though and Irsquom not too concerned about

the haze It will soften the light a touch which intuitively I

think may help this image Why I donrsquot know I just feel it Irsquom

framing so therersquos precious little sky in the shot and the lines

of the vines and track lead us to the villa and valley beyond

Therersquos the annoying detail of our campsite on the hillside to

the right Irsquoll just have to annihilate our tent and the Dutch

caravans in Photoshop later

Day 17Wersquore moving on to Puglia today As we drive away fromTuscany I see more great locations and wish

we had more time Well wersquoll just have to come back ndash thatrsquoll be no hardship

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In a village outside Zhongdian high on theTibetan plateau in ChinarsquosYunnan Province the kids were playing up for the cameraTheymay never lay eyes on a distant ocean For many of us that seemsinconceivable Our connection with the sea is wound into our identityand permeates our lives We are all inescapably drawn to it forour leisure our work or just to gaze endlessly at its ever-changingmoods For us photographers that is doubly trueThe coast has aninescapable draw

Photographically the possibilities are endless I could spendmy whole career shooting the sea quite happily Whatrsquos more itrsquosaccessible at least if you donrsquot live in Zhongdian Itrsquos easy to strollalong the coastal path and shoot some dramatic images right Itrsquossafe anyone can do it Well in all my travels the only times Irsquove everbeen in peril have been when Irsquove been a fool and underestimated thepower of the seemingly benign sea I came within an inch of drowninginTahiti trying to wade between two islands A French jet-skier pickedme up Irsquove been caught by the wave from the Perfect Storm on thenorth Cornish coast picked up and tossed with all my gear on to the

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Dawn on the beach at Bamburgh Castle Northumbria EnglandI reckon Irsquove seen more sunrises than Irsquove had hot dinners but this one takes the biscuitStanding by the tripod at dawn in the middle of a two-minute exposure Irsquom marvelling at thecolours rippling through the sky and reflecting off the wet sand A surf is rolling in off theNorth Sea and Bamburgh Castle stands commandingly overlooking the beach silhouetted bythe first light spreading through the wisps of cloud in unbelievable hues of pink and purpleThe novelty of this experience never wanes even after 25 years of dawn patrols Last nighthigh winds shattered our tent and we ended up sharing with complete strangers in theirsTo the mystery couple from York thanks very much hope we didnrsquot wake you when we creptout at 5am for the dawn light Wersquod conquered the wilds of Patagonia but came unstuck in Northumberland ndash all part of lifersquos rich pageantbull Fuji GX617 90mm lens

Anse Severe La Digue SeychellesTo find the perfect palm tree stretched across the perfect white sand beach I searched

tropical islands right around the globe in a two-year quest It was tough but someonehad to do it Irsquove never taken the job of location finding to such extremes I found

my Holy Grail here on La Digue in the Seychelles which is possibly one of the mostbeautiful tropical islands in the world located in the middle of the Indian Ocean

Irsquom here now writing this book about half a mile from that beach The tree is no moreIrsquom afraid but at least that means this picture can never be repeated

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ENV I RONMENT S

Sunrise at Te Pare Point near Hahei Coromandel

Peninsula North Island New ZealandTherersquos clarity to the light here in New Zealand thatrsquos unique Perhaps

itrsquos due to the absence of an ozone layer over Aotearoa but it makesfor some sparkling photographic conditions Wersquove had another

340am rise this morning a 40-minute drive followed by an hourrsquoshike or tramp as they say in these parts and now wersquore in position

as the rising sun bathes the bays and cliffs of the CoromandelPeninsula We scouted this location yesterday and now all the

elements have come together beautifully ndash Mother Nature likes usthis morning Irsquom pondering how Irsquom going to make this image both

here and back at base My working methods have evolved over thelast few years as Irsquove partially switched to shooting digitally and thismorningrsquos high-contrast scene will require all the flexibility the new

medium gives me The sensitivity of the sensor the exposure latitudeof the RAW file and the scope for skilled and sensitive processing

make a digital camera an incredibly versatile toolbull Canon EOS-1Ds MKII 17ndash40mm lens

Weary Bay at dawn Queensland AustraliaTracing the names up the east coast of Australia you get a good indication of Captain James Cookrsquos state of mind as theEndeavour sailed north on his voyage of discovery in 1769 Just out to sea here off Queenslandrsquos Cape Tribulation theystruck the coral reef and almost foundered After temporarilyplugging the breach in the hull with canvas the crew towed thestricken Endeavour with oar power across this bay in search ofshelter to effect repairs I love salty stories like that and haveto admit Cook is a hero of mine Irsquom on the pier of a rainforestlodge at dawn breaking all the compositional rules againItrsquos a long exposure and I manage just a couple of bracketedexposures while the fire in the sky lasts Itrsquos a beautiful sight in a tranquil location but a worm is turning inside of meIrsquom concerned I havenrsquot made enough strong images yet onthis trip Itrsquos the constant photographerrsquos angst which canonly be relieved temporarily with another productive photo-session Sooner rather than later it returnsbull Nikon F5 17ndash35mm lens

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Portland Bill at dusk Dorset EnglandOff this point is the Race a meeting of currentscreating some truly evil seas Normally in winterthis spot is being battered by monster waves itrsquos thegraveyard of many ships and cameras This afternoonthe sea is like a millpond and the sky a leaden greyI almost abandon my watch but decide to hang on a bit longer So many times Irsquove given up prematurelyand headed for dinner only to curse myself bitterly asa final burst of light of the day taunts me Irsquom rewardedas a flicker of gold ignites the rocks Irsquom scrabbling totake a meter reading and expose while the light lastsThe sea is so calm Irsquom concerned the scene will lackthe usual drama this location provides but the qualityof the light more than makes up for itbull Fuji GX617 90mm lens

rocks like a piece of flotsam It hurt And Irsquove been cut off by the tide inScotland only to be saved by International Rescue in the form of mywife paddling out to retrieve me in a rowboat in the dark I suspect Irsquovenot heard the last of that one And Irsquove lost many cameras and lensesto the effects of salt water

Why does all this keep happening Well apart from me being anidiot there are two mitigating circumstances Firstly and Irsquom sure itrsquostrue for all of us when Irsquom working on an image I get totally absorbedthe rest of the world ceases to existTime passes I often think Irsquovebeen crouching by the tripod for ten minutes when it turns out to bemore like an hour And secondly the best images are made when yougo for the boldest composition and that means getting the tripod legswetYoursquore not going to make a knockout picture from the car park

Keeping your kit dry is one of the biggest challenges here and thereare waterproof covers made for cameras which while not protectingfrom a monster wave will keep the worst of the spray off Of coursethat doesnrsquot actually include the front lens element or filter as thisby definition must be exposed So between exposures a soft drylens cloth is needed to remove all the salty moisture steadily addingdiffusion to your image whether you want it or not

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Using long exposures with moving water is hardly a new ideabut itrsquos one wersquore all hooked on it gives a dreamy ethereal look andIrsquove spent many hours standing with water lapping around my feetwaiting to finish another six-minute exposureTo slow exposuresdown neutral density filters are crucial I regularly use a 06 or 09ND which equates to +2 or 3 stops of exposure On larger formatcameras with tiny minimum apertures like f45 and slow ISO 50 filmlong exposures are almost obligatory but with digital cameras itrsquosoften difficult to slow exposures enough With default sensitivitiesof ISO 100 or faster and minimum apertures of only f22 exposureslonger than a second can be difficult to achieve even with ND filtersUsing two in conjunction helps but they must good filters ndash bothoptically and in terms of colour quality ndash otherwise sharpness willsuffer and gruesome colour casts become apparent I use two Lee 09ND glass filters made especially for digital camerasThe amount ofmovement desirable is for you to decide An exposure of 12sec on abreaking wave will give a pleasing blurry drama while an eight-minuteexposure at dusk transforms the water into a sea of mercury Againdo trials experiment And above all know what the tide is doing ndash is itebbing or flowing Check the tide times wear wellies and rinse thetripod down with fresh water afterwards to prevent it rusting andclogging up with salt

Wild flowers on the cliffs of the

Lizard Cornwall EnglandItrsquos late spring in Cornwall and the cliff tops

on the Lizard are bursting with colourIrsquom feeling alternative this morning and make

a shot with no sky concentrating just on thewild flowers and craggy coast Maybe Irsquom

biased but I think wersquore lucky in the BritishIsles to have some of the most varied and

dramatic coastlines anywherebull Fuji GX617 90mm lens

ENV I RONMENT S

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Porthcurno Cornwall EnglandAs the sun rises over the Lizard streaks of fire arc throughthe dawn sky A 09 graduated neutral density filter holdsback the exposure on the sky whilst a 09 neutral density

filter allows me to slow the exposure to 25 seconds torecord some motion blur of the waves breaking on the

beach I expose a test frame check my highlight alertsand histogram dial in +03 exposure compensation with

aperture priority matrix-metering and start exposingbull Canon EOS-1Ds mkII 16-35mm lens)

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The rainforest a dense green mass of vegetationdifficult to be in even harder to work in Where to startSurely one patch of jungle is much like any otherEverything is up close in your face dripping and slimythere are no sweeping views and the light is awful Butanyone who has spent time in rainforests knows whatfascinating places they are ndash full of life the lungs ofthe planet I always feel privileged to be there Itrsquos anenvironment that assaults the senses the sounds andsmells of the jungle permeate my soul And they are alldifferent Definitely difficult to photograph but no oneever said this game was easy

8686 87

Monteverde Cloud Forest Reserve

Costa RicaWith the light levels fluctuating widely as the

clouds filtered through the trees exposingfor this shot was murder Halfway througha five-minute exposure the sun penetratedthe mist sending light levels and contrast

through the roof I aborted the exposure andstarted another I shot two rolls of 220 just to

get one perfect exposurebull Fuji GX617 90mm lens

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Monteverde Cloud Forest Reserve Costa RicaThe mists passing through the forest gave an ethereal mood and a lovelylow-contrast light perfect for this environment It also meant everything

was permanently moist the vegetation the air the camera and meKeeping the drips off all the gear was a major undertaking

Waterfall with wild Busy Lizzies

(Impatiens) near Alajuela

Central Valley Costa RicaItrsquos often difficult in the rainforest to seeany colour other than green Here by thewaterfall these Busy Lizzies give a splashof pink to offset the cool blues and greensdeep in a jungle valleybull Fuji GX617 90mm lens

As usual location searching is the key and that means gettingthe boots on Finding a strong composition is the goal itrsquos a case oftuning your photographic vision into the fine details of the rainforestI look for visually strong features to base a composition on such asroots vines streams or some graphic detail Lighting is the other bigissue but here under the dense jungle canopy all the previously heldnotions of what light I like for landscape work are redundant Strongdirectional sunlight is definitely what I do not need the contrast goesthrough the roof or rather canopy resulting in burnt-out highlightsand dense black shadows Leaden grey skies giving a flat diffusetop lighting are perfect Light levels are very low think in terms ofexposures of minutes so donrsquot even consider going without a tripod

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Giant cedar tree Meares Island Clayoquot Sound Vancouver Island

British Columbia CanadaNot all rainforests are tropical Here on Meares Island the giant cedar trees that used to be found all over Vancouver Island are truly majestic How can anyone contemplate cutting downone of these ancient living entities This one would have been a sapling when the Romans ruledsupreme I canrsquot include the entire towering giant in the frame so I concentrate on showing itsgirth in relation to the new growth around itbull Fuji GX617 105mm lens

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Westland National Park

South Island New ZealandAt the foot of Fox Glacier in New

Zealandrsquos Westland National Park lietracts of dense temperate rainforestIt seems a bizarre mix ice and densegreenery Temperate rainforests have

a very different feel to their tropicalcounterparts ndash theyrsquore much moremossy In fact the more time youspend in the woods the more you

realize all forests are differentbull Fuji GX617 90mm lens

Buttress roots on tree tropical rainforest

Daintree Queensland AustraliaThe roots of a tree in the tropical rainforest reminded me of theflying buttresses on Gloucester Cathedral I suppose theyrsquoresimilarly supportive in the thin soilbull Fuji GX617 105mm lens Nikon F5 16mm fisheye lens

Fill-in flash can be effective for lighting details And take an emptyfilm canister full of salt Itrsquos for the leeches you see if you find any ofthese blood-suckers clinging to your anatomy just pour salt on and theyshrivel and drop off An umbrella is also useful as funnily enough itoften rains in tropical rainforests and I mean seriously rains Itrsquos far toohot to wear a jacket and under an umbrella you can continue shootingBeing a bit of a control freak I usually resist being led anywhere bythe hand but therersquos no substitute for local knowledge so a guide canprovide a fascinating insight into the complex ecosystem Above allstop look and listen Let the jungle envelop you in its mystery Itrsquos fartoo easy to trudge past things of interest

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Santa Elena Cloud Forest Reserve Costa RicaThe mud gets everywhere Irsquom wearing a plasticponcho but itrsquos hopeless nothing stays dry inhere Itrsquos an ethereal place everything is drapedin moss the cloud hangs amongst the trees itrsquosdark damp and muddy and we love it After a fewdays of this everything we own is covered in athin layer of rainforest slime The damp mists areswirling all around us the leaves are constantlydripping and as we brush through the undergrowththey shed more soggy delights on us just for goodmeasure The trail is a slippery quagmire that weslosh and slide along like inebriated ice skatersWelcome to the cloud forests of Costa Rica

The spine of mountains that to the northconstitute the Rockies and to the south the Andescrosses the narrow isthmus of Central America as a6500ft jungle-clad ridge The warm air from theCaribbean streams over this ridge en route to thePacific cooling as it does and forming dense damp

clouds filtering through the woods this is a cloudforest and itrsquos a first for me Wersquore spending fourdays here tramping the forest trails in search ofthe definitive images of this unique ecosystemand despite the grime itrsquos great fun

Photographing the cloud forest presents someserious challenges The damp and the mud is aninconvenience to us but if it gets into my kitall sorts of bad things will happen Every daywe trudge thorough the forest in search of strongcompositions among the seemingly impenetrable massof vegetation As it turns out therersquos a wealthof potential once you get your eye tuned in

The mud squelches beneath our feet I stop andlook Therersquos a shot here Wendy releases theplastic sheet from the back of my Lowepro and laysit in the mud for the bag to rest on I erect thetripod Wendy then holds an umbrella over the bagas I rummage inside Drips run down my neck but the

J OURNA L

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ldquoEvery day we trudge thorough the forest in search of strongcompositions amongst the seemingly impenetrable mass ofvegetation As it turns out therersquos a wealth of potentialonce you get your eye tuned inrdquo

kit is protected Wersquore working as a well-oiled machine now after days of this Itransfer the camera to the tripod underthe brolly Irsquom using the panoramic cameravertically I spot meter off a leaf in theforeground open the shutter and startthe long wait With a polarizer on tosaturate the colours in the vegetation atf45 the exposure time is eight minutesAs the feeble light does its work on thesilver halide crystals we watch the mistsswirling through the lush canopy above ndashitrsquos incredibly atmospheric The sounds ofthe forest envelope us we are not alonethatrsquos for sure A jaguar could be withinspitting distance and wersquod never know it

After four minutes I take anotherreading The light levels are fluctuatingas the cloud blows through the trees itrsquoshalf a stop brighter now I end up giving

it six minutes and start another exposureand so on I get off just eight framesin an hour I donrsquot feel itrsquos enoughallowing for bracketed exposures and thevarying amounts of mist I reload andstart on another exposure Occasionallythe sun briefly penetrates the mists inthe upper canopy sending the contrast skyhigh and forcing me to abort the exposureGenerally though the flat low-contrastlight predominates

Trudging back bag heavy on my backmuddy soggy exhausted Images have beenmade though and that always engenders adeep-seated feeling of satisfaction Wedescend into the bright tropical sunshineof late afternoon Below and to the westlies the Bay of Nicoya and the Pacificcoast our next destination palm treesbeaches and sunshine

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In the urban jungle therersquos always something to point your lens atwhatever the time or weather In the countryside days even weekscan go by waiting for the right conditions but a few days spentworking the melting pots of humanity will always be productivePounding the pavements of the worldrsquos conurbations can bedispiriting but who can fail to be stimulated by the vibrancy andvariety of cities the world over Bangkok itrsquos not a pretty city On myfirst visit I hated the choking fumes and oppressive sprawl Now aftercountless pit stops en route to exotic Asian destinations I love it thetemples tuk tuks monks street food the bustle and life Sydney isthere a better-sited capital anywhere in the world Watching the sunshining down the harbour in the early morning or catching the OperaHouse and Harbour Bridge as joggers trot past Rome all roads leadto it which is easy to believe watching the traffic chaos around thePantheon A bowl of pasta in the Piazza Navona may set you back afew Euros but when the lights come on in the Eternal City at dusk itrsquosa setting not to be missed

Concrete

9292 93

Wall Street NewYork USAEarly morning light beams down Wall Streethighlighting the trudge to work in New Yorkbull Nikon F5 17ndash35mm lens

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Commuter on Millennium

Bridge with St Paulrsquos

on the skyline beyond

London EnglandThe steely light of a winterrsquos

morning in London lights theelegant lines of the Millennium

Bridge over the River Thamesleading the eye to St Paulrsquos

Cathedral as a commuter hurriesto work Itrsquos a classic example of

the use of minimal colourbull Canon EOS-1Ds MKII

17ndash40mm lens

Gondolas at dawn Piazza San Marco Venice ItalyEveryone should see Venice at least once in their lives It doesnrsquot matter how many times yoursquove

seen pictures of it the first impressions are as if yoursquove stepped on to an opera stage It has been aMecca for artists for centuries and is endlessly inspiring Irsquove now been four times maybe I should

call it a day before the novelty of shooting bobbing gondolas wears offbull Fuji GX617 105mm lens

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ENV I RONMENT S

City parks are often exquisite mini-landscapes in the heart of ametropolis and then there are the people in them jogging walkingsnoozing the ceremonies the monuments the markets cafeacutesbars and restaurants ndash itrsquos endless And of course the street lifePhotography aside people-watching from a pavement cafeacute in thespring sunshine is an addictive pastime Photographically with somuch on offer the challenge is where to begin All cities will have theirclassic views that have been shot ad infinitum so coming up withsomething new a unique take on a well-known subject is the name ofthe game Compositionally yoursquore doing exactly what you do in otherenvironments arranging shapes bearing in mind the Golden RuleofThirds looking for foreground interest and considering unsightlydistractions But as cities are all about people I like to include themif possible A few blurry figures in the key spot even if tiny in theframe can lift an image and give a sense of perspective and placeAnd bold compositions with graphic shapes from unusual viewpointsare the order of the dayThink laterally Use your eyes Bend yourknees or talk your way on to that rooftop terrace

Horse riders in Hyde Park

London EnglandItrsquos colour at full throttle for this study

in motion of the Household Cavalryexercising their mounts in Hyde Park

early in the morning Spring is myfavourite time for shooting cities the

parks are ablaze with colourbull Canon EOS-1Ds MKII

24ndash70mm lens

Fountain in Trafalgar Square with pigeons London EnglandThe last of the sunlight backlights the fountain in Trafalgar Square I managed to

squeeze this one off before I was arrested and sent to a Gulag by the Tripod Policebull Nikon F5 80ndash200mm lens

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Jogger at Milsons Point Sydney

New South Wales AustraliaEverywhere you go around Sydney Harbour theyrsquorejogging or rollerblading or swimming theyrsquore a fit bunch the Aussies I set this shot up with mycousinrsquos daughter trotting up and down endlesslywhile I experimented with different shutter speedsAs always I think a human element lifts the well-known view of the Harbour Bridge and skylinebull Canon EOS-1Ds MKII 17ndash40mm lens

Men playing peacutetanque

Barcelona SpainIn the park in Barcelona the old

boys gather for boules and a chatin the spring sun Seems like a

good way to pass the day to mebull Nikon F5 80ndash200mm lens

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The historical architecture of famous European cities just shoutsto be photographedThe buildings speak to us of the passing of timeand are often beautifully lit at night Even the most unappealing areaby day can be transformed when illuminated in the evening Gettingto know how a city is lit at night is part of the unique challenge ofurban location searching Making night images is all about planningand timing Once an image has been pre-visualized and the exactcomposition planned itrsquos a case of setting up as dusk falls andwaiting for the lights to come onThe best night shots are not madein the dark the ideal time is when the skies are darkening but stillholding enough ambient light to give a rich dark-blue tone to offsetthe warm tones of the lights Shoot too early and the effects of theartificial lights arenrsquot apparent enough leave it too late and the skiesblackenTherersquos usually a window of about five to ten minutes whenthe balance between night and day is perfect

Salzburg in the snow AustriaThe previous evening in Salzburg Irsquod

struggled up the hill above the OldTown with a sprained ankle and a

cold to shoot the illuminated cityThe floodlights never came on and I

retreated to my hotel room feeling sorryfor myself The next morning the whole

world looked a much better place as a light sprinkling of snow dusted the city

Charles Bridge at dawn Prague Czech RepublicThe towers statues and minarets of Praguersquos Old Town take us straight

back to the days of Mozart with no modern distractions to disrupt theskyline On a grey overcast morning Irsquom struggling to make something of

the Charles Bridge in the flat light Just as I switch to black and white a couple strolls past hand in hand and I seize the moment

ENV I RONMENT S

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Cities are hard work yoursquore on the go virtually all day and some ofthe night Even in bad weather there are shots to be made in fact Ioften wish for rain to turn pavements reflective at dusk As well as thephotography there are the endless location searches and strugglingon and off the metro at rush hour with a monster camera bag andtripod in search of the next location is exhausting Sometimes itrsquosnecessary to carry the huge bag but more often I know what sort ofimages Irsquom after and take the appropriate set up If for example Irsquomworking in a busy crowded market I have just a body and two lensesand no tripod Fill-flash can also be very useful here I also love usinga fast 85mm f12 lens for portraits in crowded dark bazaars But theone piece of kit I wouldnrsquot be without though for any city trip is my24mm shift lens Make a picture looking up at any building and whatdo you see Converging verticals making it look as if the buildingis falling over backwards Itrsquos actually how we see it but in print itjust looks wrong So architectural photographers have long usedlarge-format cameras with movements enabling them to correct theverticals and keep everything straight by shifting the lens axis upor down to control the angle of view while keeping the image planevertical On 35mm or digital SLR cameras we can achieve the sameby using a shift lensTheyrsquore expensive but mine has paid for itselfmany many times over

A lone figure on Via Cardinal Ferrari at night

Parma Emilia-Romagna ItalyI do like a bit of human blur in my night shots just in

the right place As usual itrsquos Wendy again as the ghostlyfigure in Parma

bull Canon EOS-1Ds MKII 24mm shift lens

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Cities do have their downsides Somehow a tripod when erectedseems a magnet for every drunk stag night gang and hustler in thecity Pickpockets and thieves are always in the back of my mind Anddonrsquot get me on to the subject of theTripod PoliceThey are a modernphenomenon gangs of jobsworth so-called security guards hiredspecifically to stop photographers taking pictures from selectedfamous spots of their own national heritage without a permit costinga fortune applied for months in advance Scaffolding is anotherbugbear On one visit to Florence green sheeting and scaffoldingwhere restoration work was underway blighted every shot I tried Andwhile Irsquom at it trying to sleep in hotel rooms not big enough to swing acat in with the noise of late night revellers in the street outside and theamorous couple next door And NewYork taxi drivers who donrsquot knowthe way to Broadway hellip But at the end of the day all environmentshave their specific challenges and cities provide such rich pickingsthat theyrsquore worth trudging the streets for

Old car passing the Gran Teatro and

Capitolio Habana Vieja Havana CubaAll the icons of Havana in one shot the Capitol Theatreand an old car All I need is an old man with a cigarbull Nikon F5 17ndash35mm lens

Street scene Hanoi VietnamFor all the impressive monuments itrsquos the human interest that defines a city

This street scene of a woman carrying vegetables typifies Hanoibull Nikon F5 80ndash200mm lens

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Chillies Chow Kit market Kuala Lumpur MalaysiaThe stall holders in Kuala Lumpurrsquos Chow Kit market are somewhat bemused asI crouch within inches of their displays holding the camera with one hand and a flash with the other Itrsquos a cramped sweltering rabbit warren of stalls displayingall the colourful ingredients of Asian cuisine fresh fish chillies vegetableslive chickens lemongrass spices hellip you name it Itrsquos also a hellhole of mixedlighting Hard sunlight pierces gaps in the awnings tungsten bulbs mix withfluorescent lights hence the fill-in flashbull Nikon F5 17ndash35mm lens

Pad Thai noodles being stir fried on the

Khao San Road Bangkok ThailandThe Khao San Road in Bangkok is a Mecca for all the

backpackers and travellers passing through this corner ofAsia Pad Thai has to be the best street food in the worldI had the camera virtually in the wok to shoot this as the

chilli sauce went in and balanced the ambient light withthe street lights and a dash of fill-in flash

bull Canon EOS-1Ds MKII 24ndash70mm lens

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PHOTO E S S AY

100100 101

WalkwaysIrsquove photographed Paris more than any other city I find it an endlesslystimulating subject ndash every time I go I get fresh inspiration for the next timeIdeas are the key to avoiding just rehashing the famous viewsTherersquos nogetting away from the fact that the EiffelTower is a potent symbol of notjust Paris but of all things French but of course it has been done to deathThere is simply no point in shooting the classic view from the Palais deChaillot yet again However for icons as familiar as the EiffelTower itrsquosnot necessary to show it all One leg of the famous structure amongst thefoliage beneath is enough Long lenses fish-eyes unusual viewpoints blackand white and infrared film theyrsquore all useful tools in endeavouring to bringfresh perspectives to familiar subjects

Tricolour blowing in wind at dusk Arc de

Triomphe 17th arrondissement

River Seine and Eiffel Tower at dusk from Pont Alexandre III 7th arrondissement

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The Eiffel Tower and Champs de Mars in spring 7th arrondissement

The Cathedral of Notre Dame Ile de la Citeacute and River Seine at night 4th arrondissement

Arche de la Deacutefense

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Much as I love to produce epic panoramas of sweeping vistas itrsquos oftenthe people who best capture the flavour of a place Ideally I aim toreturn from a trip with a comprehensive collection of images rangingfrom landscapes to street scenes portraits and details which willform a photo essay on my website and support each other as a setEach image is stronger as a part of that set than it is on its own andthe portraits and candid images of people in their own environmentsare a vital element

Every photographer has a style and unique way of working As Iseem to spend half my life stood beside my tripod waiting for theperfect light for my landscape work I adopt a completely oppositeapproach with my people shots opportunistic spontaneous andimpulsive I like to react to whatrsquos going on around me rather thanto manipulate it posed portraits of people staring balefully at thecamera are not for me Itrsquos all about observation interaction with thesubjects speed and making the most of fleeting opportunities

102102 103

Farm boy near Chincerro PeruThe composition of a portrait has to happen almost

instantaneously but as with all images the arrangementof the shapes within the frame and the absence ofbackground clutter are crucial factors Usually for

portraits I work with the lens wide open at ffrasl28 to dropthe background out of focus but I have to be so accuratewith the focusing at that aperture and range Usually the

eyes are the focusing point The camerarsquos auto-focus doesa good job normally but I have to be aware of what it is

focusing on and be ready to override it quickly if necessarybull Canon EOS-1Ds MKII 70ndash200mm lens

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Quechua woman Chincerro market near Cusco PeruMarkets are always a good hunting ground for people pictures Here in Chincherro above the Sacred Valley of the Incas this Quechua woman is possibly a direct descendant of the Incas The colours and vibrant culturesof Peru are unique there arenrsquot many places left in the world where mostpeople wear native dressbull Canon EOS-1Ds MKII 24ndash70mm lens

Old ladies in a rickshaw Hanoi VietnamYou take your life into your hands crossing the street in Hanoi There neveris a break in the stream of bleeping motorbikes and bicycles You just have

to take a leap of faith and step out into the flow Irsquom standing watchingthe rush of humanity pass under a heavy leaden grey sky Irsquove been out all day shooting the rich pageant of Vietnamese street life A rickshaw

approaches I dial in 18sec with shutter priority exposure pan and shootfleetingly aware of piercing stares boring into my lens as they pass Itrsquos a

moment thatrsquos gone before I can barely register it a decisive moment onlyto be recognized on the contact sheet a month later

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Do I always ask permission No for candid shots it doesnrsquot workthe moment has passed but sometimes it would be rude not toPeople often refuse many a time Irsquove trudged away from an absoluteclassic but what more can I do Refusals used to be a real setbackIrsquod brood on them for hours Irsquod seldom get back into the groove aftera couple of brusque rejections but Irsquove become less sensitive andthicker-skinned over the years Irsquove had fruit thrown at me and dogs seton me but itrsquos my job so I just get on with it Irsquom never intrusive withmy photography but this game is all about getting stuck in makingthe most of a situation being up close in the thick of it sitting on thefringes with a long lens afraid of upsetting anyone just doesnrsquot work

Monk at Wat Phra Singh

Chiang Mai ThailandWe make a good team Wendyand I People often freeze upwhen the camera is raisedstaring woodenly into the lensbody tense it takes some effortto loosen them up Here in Wat Phra Singh in Chiang MaiWendy is off to my left chattingto the monk to distract him fromthe intruding photographerThen as they continue to talkI move in for a study of hishands clutching his scrollbull Nikon F5 17ndash35mm lens

Nikon F5 28ndash70mm lens

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LijiangYunnan Province ChinaThe sun at this altitude beams down with searingclarity Irsquom sitting in the square just watching theworld go past soaking up the rays and the atmospherefeeling good An old boy sits on the wall next to mehis face is like a historical map of China The light is too harsh but Irsquove got to try for a shot what have I gotto lose I gesture he gestures back I gesture againI think itrsquos game on With the 70ndash200mm ffrasl28 zoomset at about 135mm I squeeze off a few frames Westart communicating again despite the total lack of a common language Hersquos pointing at my shades on thetop of my head he wants to try them on I pass themover and raise my camera compose focus expose hellip hersquos loving it Therersquos a clutch of Chinese tourists nowtaking pictures of the two of us the quintessential faceof China wearing Oakleys and me the westerner witha big lens He then jumps up and makes as if to run offwith my sunglasses with me in mock pursuit and thewhole square erupts with laughter Itrsquos just one of thoserare magical travel moments that leave a warm feelingI head for my lunchtime noodles on a highbull Nikon F5 70ndash200mm lens

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A sad fact of life nowadays is that people often want money forpictures Should you pay Itrsquos a tough question Generally speaking Irsquodsay no it just ruins it for everybody else distorts the local economyand makes the locals into photographic hustlers In the Plaza deArmas in Havana therersquos a bloke with a wrinkled face fulsome greybeard Guevara beret and cigar who makes a living charging tourists$5 per picture When I was judging a travel photography competitionrecently his mug popped up numerous times and hersquos currentlystaring out of the window of the local bookshop from the cover ofa Cuban travel guide I must admit I shot him too but as I walkedaway from that encounter I felt a fraud

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Semana Santa fiesta Maacutelaga SpainAt Easter throughout Spain the Semana Santaprocessions parade through the streets in a displayof religious devotion Irsquom in Maacutelaga pushing my waythrough the crowds trying to get an angle on it allThe blokes in the tall purple hats and black robesinevitably draw my attention I didnrsquot expect theSpanish Inquisition Irsquom treading on peoplersquos toesas I try to get the best backdrop as the processionmarches past the crowds make it difficult and therersquosso much going on A choirboy is momentarily backlitlooking suitably devoted The procession halts and I spot a black-clad widow with features so Spanish itrsquosoutrageous I move around to shoot her cross lit bythe evening sun itrsquos a bit harsh but what can I doNot photograph her She knows Irsquom focused on herbut she loves it striking numerous noble poses beforethey move onbull Nikon F5 70ndash200mm lens

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Backwater scenes Kerala IndiaFive days spent being paddled along thebackwaters of Kerala on a houseboat havegiven us a unique viewpoint on rural IndiaOur merry crew consists of two boatmen topole us along and a cook to feed us unfeasibleamounts of coconut curry We just sit andwatch India drift past Itrsquos not a great tripfor the fitness this one but wersquore certainlywell off the beaten track and therersquos plentyof time for contemplation and photographicexperimentation A couple of women in their bright saris are walking along the pathamongst the lush tropical vegetation andI make a slow panning exposure of themblurring the motion to an outrageous extentAs evening settles a farmer tends his flockof ducks on the river how does he possiblyremain balanced in such a tiny craftbull Nikon F5 80ndash200mm lens

Nikon F5 300mm lens

My shot was undoubtedly no different from countless others aworthless reinforcement of a stereotyped clicheacute I have to believethat what Irsquom doing is unique otherwise itrsquos just a record Of coursethere are times when someone has genuinely put themselves out foryou and in those cases some sort of donation is reasonable Usuallythe further you are off the beaten track the less of an issue this isIrsquove had people thanking me for taking their picture in the backwatersof Kerala and on theTibetan plateau the kids were almost fightingto be the subject of my lens But where legions of camera-clutchingpackaged tourists predominate the locals will most likely be seeingdollar signs when a camera is focused

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Kathmandu NepalItrsquos the last day of the Nepal trip and Irsquovetaken a walk just to see what I come acrossThere are a couple of sadhus hanging out inDurbar Square holy men looking like somethingfrom biblical times Today with no specificlocation in mind Irsquom ambling with a body andjust two lenses a 28ndash70mm and 70ndash200mm f28zoom I kneel next to one of the sadhus and wehave a halting conversation ndash my Hindi is lousyIrsquom buying time and trying to develop some sortof rapport while composing the shot assessingthe light and dialling in my camera settingswithout breaking eye contact When an opportunitypresents itself therersquos no time for changinglenses or messing around with camera controls soitrsquos important to be totally familiar with yourkit If itrsquos a classic medium telephoto portraitsuch as this Irsquoll almost always be working withthe lens wide open at f28 so the minimal depthof field drops the background out of focus Evenso annoying details in the background can ruina shot I point to my camera raise my eyebrowshellip Yes I squat down move around to isolate hisface against a dark background raise the cameralightly depress the shutter hold the focus onhis right eye as I recompose shoot ExposureOK No time to bracket at aperture priority AEwith +03 compensation dialled in to compensatefor the brightness of his beard and face paintIrsquom trusting to long experience of my camerarsquosmetering to get it right The light of lateafternoon is strong and directional ideallyIrsquod like it a bit softer but this is the realworld Five frames exposed I move around for adifferent shot but hersquos had enough so I stopNamaste I back away with a spring in my step

PHOTO J OURNA L

ldquoWhen an opportunity presents itself

therersquos no time for changing lenses

or messing around with camera

controls so itrsquos important to be

totally familiar with your kitrdquo

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Ultimately a picture must stand on its ownmerit All the effort that went into making itndash the photographic techniques the equipmentused and the lengths the photographer hadto go to ndash is irrelevant Some pictures comeeasily when Mother Nature smiles andall the elements come together seeminglyeffortlessly More usually the strongestimages represent triumphs of perseveranceor fleeting moments of perfection

Sometimes after waiting for the light forhours or even days a splash of light paintsthe landscape for just 30 seconds and I onlymanage to expose two or three framesAs the clouds close in again I am oftenleft wondering did I get it How were myexposures Itrsquos good to be your own harshestcritic to be constantly striving to improvebut there also comes a time to trust yourvision and experience and move on to thenext image

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Trotternish Peninsula Isle of Skye Scotlandbull Fuji GX617 180mm lens

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Durdle Door Dorset England

My grandfather used to patrol these very cliff tops in the Home Guard At least thatrsquos what he told us mymother reckoned they were mostly in the pub After a lifetime of travel Irsquove returned to my roots here in

Dorset Itrsquos important to feel you come from somewhere This stretch of coast which wersquove always known is spectacular is now a UNESCO World Heritage Site the Jurassic Coast ranking alongside the Grand Canyon

and the Great Barrier Reef This is one of my most popular images it has sold all over the world and hangsover many fireplaces which considering my photography covers all four corners of the globe says something

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St Michaelrsquos Mount Cornwall England (David NotonNational Trust)

Over the course of this summer Irsquove become a little bit obsessed with St Michaelrsquos Mount Irsquove visited several times to shoot in differentcombinations of tide and light Here on a long evening in June the sun is setting way to the northwest giving perfect cross lighting Irsquomusing a 09 ND filter to slow down the exposure as much as possible in conjunction with an aperture of ffrasl45 a centre-weighted 03 NDto even the coverage of this wide format and ISO 50 film which all cooks up an exposure of about 15 minutes Additionally Irsquove gotyet another filter on a 09 ND graduate to hold back the exposure of the sky in relation to the water This is my most used filter itrsquosemployed on probably two-thirds of all my shots The tide is going out gradually exposing the causeway leading the eye towards themount As I idle the time away while the shutter is open Irsquom pondering all these factors the depth of field the exposure the filtrationthe colour temperature of the light and the composition while weighing the overall impact of the image The making of a photograph isa fusion of science and artbull Fuji GX617 90mm lens

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Coastal heath on the cliffs of Highveer Point above

Heddonrsquos Mouth near Lynton North Devon England

In late summer on the North Devon coast the colours areincredible Where Exmoor tumbles into the sea the coastal path

is fringed with dense profusions of bell heather Irsquove timed myvisit to coincide with this harvest of colour but photographing a

north-facing English coast in September is not easy At this timeof year the sun rises exactly to the east and sets bang on duewest So on a north-facing coast at dawn and dusk Irsquom eithergoing to be shooting straight into the light or have it coming

from directly behind me and during the day the sun will swinground to the south casting the cliffs in shadow Itrsquos hardly idealPurely in terms of the light the ideal time to photograph a north-

facing coast is in late June but the colours arenrsquot at their bestthen For a photographer it is vital to know exactly where the sun

is going to rise and set and the effect of the seasons So hereon the cliff tops in Devon the sun is dropping and Irsquom shootingstraight into it Itrsquos a scenario beset with problems flare from

the power of the sun boring straight into the lens and bouncingabout between the elements and the contrast between the light

reflecting off the water and the detail in the cliffs I wait untilthe sun is very low and starting to lose its punch which solves

the flare problem but the contrast issue can only be resolvedby shooting several exposures for the highlights mid-tones and

shadows and merging them later in the digital darkroombull Canon EOSndash1Ds MKII 17ndash40mm lens

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Croome Park Worcestershire England (David NotonNational Trust)

With perfect reflections a dramatic sky and a trace of mist lying on the lake conditions donrsquot really get anybetter The sun beams through the trees at moments like this there are just too many options If I wereshooting film Irsquod be struggling to get it through the camera quickly enough wasting precious time doingbracketed exposures and reloading just when the lightrsquos at its best But Irsquom not and shooting digitally in situations like this really pays off I shoot one frame and quickly check the monitor A blinking display alerts meto some loss of detail where the highlights are burning out around the sun I re-adjust my exposure by -23 andshoot another check highlights and histogram itrsquos in the can or rather on the card Just two exposures I cannow move on to framing other images making the most of this beautiful English scene at dawnbull Canon EOSndash1Ds MKII 17ndash40mm lens

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Buttermere Lake District Cumbria England

Itrsquos one of those mornings when all my senses seem alive to the pleasures of autumn in the Lake District The colours are at their prime givingthe landscape a russet golden tinge The birdsong reverberates over the stillness of Buttermere Therersquos dampness in the air you can almost

touch and the woods smell of autumn This is familiar stomping ground for many photographers for good reason Irsquove worked here manytimes (I first came here on a college field trip as a photography student back in 1983) but itrsquos infinitely variable and Irsquoll probably be coming

back way past my sell-by date Now the first light is slowly creeping down the fell but it has got a way to go yet so Irsquom standing by the tripodkicking my heels scanning the sky to the east thinking of my next meal waiting for the light I think Irsquove spent half my life in this mode

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Salisbury Cathedral at dawn Wiltshire England (David NotonBritainonviewcom)

I waited all summer for these perfect conditions the still settled conditions of a high pressuresystem laying mist over the water meadows around Salisbury Cathedral Then over the courseof two subsequent dawns I turned out to do the job On the first dawn I saw where the mist waslying and made some reasonable images but I left with a nagging thought that I hadnrsquot quitemade the most of the situation And so the following morning a summer Sunday at 5am I wasthere again Pre-visualization persistence and Being There it worksbull Canon EOS 1Ds MkII 16ndash35mm lens

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Bamburgh Castle Northumberland England

Northumberland is a beautiful county sweeping open beaches overlooked by castles big skies and rolling countryside I oftenchop and change between formats depending on my vision Some locations just cry out for a panoramic approach and this is oneNow though Irsquom winding the exposed 220 film through the panoramic camera contemplating my next move as the best of the pre-dawn glow is over As the sun pops over the horizon high-altitude cloud masks its direct light but this cloud which was previously

lsquoshepherdrsquos delightrsquo is now part of a monochromatic masterpiece of tones and reflections With a solitary figure (you know who again)reflected in just the right place in the frame I expose a set with the digital camera With the smaller format I can work much fasterbe more spontaneous investigate more alternatives and use a wider range of lenses and perspectives The large panoramic format

requires a more preconceived considered approach Therersquos a time and a place for bothbull Canon EOSndash1Ds MKII 17ndash40mm lens

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The four seasons Stourhead Wiltshire England

The autumn image came first Stourhead in the fall is glorious and after a particularly good session here the four seasons idea came to me Thereafter itbecame an exercise in persistence and planning Finding a location that will workin the different light of all the seasons is difficult I lost count of how many times I visited in the making of this set Winter was the tough one thankfully I was in thecountry for one of the few frosty spells we had The direction of the light in the earlymorning for the autumn and winter shots was perfect a low cross light from thesoutheast Spring and summer were much more difficult with the sun rising to thenortheast I had to wait until much later about mid-morning before the sun hadswung around to the southeast To have shot earlier would have given me flat frontallighting which I hate but this way the sun was much higher than I would normallyprefer In the end it was a compromise Summer came last and when I finally printedthe set side by side I got a buzz of satisfaction a yearrsquos work had come to fruitionbull Fuji GX617 180mm lens

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122 123

Poppies and barley blowing in the wind with la Citeacute Meacutedieacutevale beyond Carcassonne Languedoc France

Every time I check in for a flight the rules about what can be taken and how seem to have changed Itrsquos a big problem for photographers Obviously itrsquos desirable totake it all as hand luggage but thatrsquos just not possible when there are long lenses laptops and panoramic systems to take Not to mention all the equipment neededfor living and camping in the wilds I hate having to debate whether to take my 400mm or not and if itrsquos going to be a panoramic-type trip With the change to digital I

no longer have to travel with hundreds of rolls of film but the number of chargers cables and connectors I now need has mushroomed Our annual timetable usuallysees the winter months dominated by long-haul journeys to the tropics or southern hemisphere In spring I often have a blitz on European cities By May Irsquove usually

had my fill of airports and flight schedules So when itrsquos time for another roving trip through the lanes of France or Italy you can imagine what a treat it is to be ableto load the car with what we need and just go Wersquove stayed in this region near Carcassonne for over a week Thatrsquos a bit longer than normal but therersquos so much

potential around the Canal du Midi Irsquom loath to move on Irsquove got a good stock of locations scouted some will have to wait until our next visitbull Canon EOSndash1Ds MKII 70ndash200mm lens

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Cordes-sur-Ciel Midi-Pyreacuteneacutees France

From the guidebooks a friendrsquos testimony and pictures Irsquod seen the bastide town of Cordes-sur-Ciel seemed a promising location So after a half-day drive from thePyrenees wersquore setting up camp just down the valley After a couple of hours cycling around the periphery of the town Irsquove sorted my morning location an adjacent hilllooking back at the quintessential French hilltop town On my first morning there are clear skies apart from a rebel layer of cloud on the northeastern horizon obstinatelyobscuring the rising sun I hang around fruitlessly for a couple of hours before heading for the boulangerie The second dawn is clear too clear The light is low anddirectional slightly hazy and therersquos not a cloud in the sky Somehow itrsquos just not coming together ndash therersquos no drama to the image On the third morning itrsquos mostly clearagain with scattered cloud ndash perfect ndash but by the time Irsquom in position Irsquom standing under leaden grey skies Itrsquos another fruitless vigil before heading for the croissantsOn the fourth morning therersquos broken cloud at 4am so here I go again Therersquos a layer of mist lying in the valley As the rising sun struggles to make an appearance wafts ofmist drape themselves over the town This is the sort of thing Irsquove been waiting for The sunlight is desperately weak but itrsquos enough the mist makes the differencebull Canon EOSndash1Ds MKII 70ndash200mm lens

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124 125

The village of Preci in the morning mist with Monti Sibillini National Park beyond Umbria Italy

It is a rare bonus when the view from the accommodation turns out to be a peach of a location but so it was here on a farm in Umbria The morningafter our arrival Irsquom out at dawn looking down the valley towards the mountains of Monti Sibillini with the village of Preci perched impossibly on

the hillside Except I canrsquot see the village the whole valley is shrouded in mist It may or may not clear but Irsquom set up with the digital SLR andframing the scene just in case as the subtle tones of dawn seep through the sky Through a gap in the mist the village appears fleetingly long

enough for me to make a few exposures before it disappears back into the mists I check the image on the camera monitor it looks OK althoughvery washed out and itrsquos a bit flat with a lack of contrast in the scene I know though that low contrast is a problem I can do something about

later ndash if all the information is there on the RAW file I can optimize it in post-production Cheating No way Irsquom just making the most of what wasthere at the time Itrsquos not as if Irsquom introducing any false elements this is what I saw Matching the tonal range of the subject to the photographic

medium be it film paper or a digital image is what photographers have been doing since Fox Talbotrsquos daybull Canon EOS-1Ds MKII 70ndash200mm lens

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Gondolas at San Marco with San Giorgio Maggiore beyond Venice Italy

Bobbing gondolas are de rigueur foreground interest for all photographs of VeniceIrsquom aware standing here at San Marco looking across to San Giorgio Maggiorethat this is one of Europersquos classic views I suspect a few other people may have

taken pictures here So if Irsquom going to do it and who can seriously resist it I haveto make sure Irsquom stamping my own take on this timeless scene Irsquove spent several

sessions on this trying to get the combination of gondolas right with the warmsidelighting of late afternoon Irsquom using just a touch of diffusion to soften the

scene combined with a hint of warming (an 81C to be precise) Generally speakingI avoid colour filtration I always hear my first year college lecturerrsquos advice lsquoIf

yoursquore thinking of using a filter donrsquotrsquo That is overstating the case therersquos a timeand place but if used filtration has to be subtle If its use is obvious yoursquove failedBut whatrsquos going to make this shot is the gondolas how much movement to useand their alignment Gondoliers keep coming and going but just as the light is at

its best I make this arrangement with one just coming into berth A half-secondexposure gives the desired amount of blur

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Lone figure on the dunes Namib Desert Namibia

Yes itrsquos my supermodel Wendy treading boldly again In the early days I travelled mostly solo it was the only option but there was no way we could have carried on that way indefinitely Andso Wendy started coming on more and more trips Now we make quite a team Having someone to share the driving help establish camps and carry kit watch my back and crucially keep

me sane makes a huge difference Sharing the highs and lows makes travel a much more enjoyable venture She can magic a meal out of nothing while camping in the snow in Patagonia is a nurse by trade and has evolved over a thousand uses for a sarong Being a photographerrsquos partner is not easy therersquos the interminable waiting for the light on drafty hilltops when normalpeople are sitting down to dinner and dealing with a monosyllabic photographer whorsquos suicidal because he hasnrsquot made a picture in five days She thinks itrsquos entirely reasonable that all her

hand luggage allocation is taken up with photographic gear when flying And of course she continues to be the lone figure in the landscapebull Nikon F5 80ndash200mm lens

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Swayambhunath Temple Kathmandu Nepal

The best shots always come from planning Irsquod pre-visualized this image after our first visit in the heat of the day Now itrsquos just a case of spending a long hour craning upward waiting for thepigeons to fly in the right spot on a late afternoon at Swayambhunath Temple Theyrsquore flutteringeverywhere but where I want them I keep stamping and clapping trying to get them tosimultaneously burst forth There are monkeys scampering over the roof of the temple eyeingme up suspiciously I guess theyrsquove seen it all before My neck and arms are feeling the strainof peering up through the camera I think wistfully of my first SLR a delightfully compact andlight Olympus Modern pro cameras have certainly put on weight is that progressbull Nikon F5 17ndash35mm lens

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Angkor Wat Cambodia

There comes a time on every trip when I question what onearth Irsquom doing here At 2am Irsquom lying sleepless and sweatyin a windowless prison cell of a room in Siem Riep swattingmosquitoes jet lagged and with churning bowels All tripshave their low points when all I want to do is head forhome and this is one them All solo travellers will know themental roller-coaster of this game moments of near despairfollowed by peaks of exhilaration Fortunately Irsquove beenthrough so many such low points now that I know theyrsquoretransitory And so it is here The next day Irsquom exposing thewarm evening tropical light of Southeast Asia bathingthe ancient temples of Angkor Watbull Fuji GX617 180mm lens

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130 131

Tea plantation Matale region Central Highlands near Kandy Sri Lanka

Elvis is our taxi driver Hersquos explaining his take on some aspects of his Buddhist faith as hedrives us at some speed up into the hills Apparently it doesnrsquot matter what we do our fates are

preordained so how he drives around this blind corner is of no consequence because of ourkarma And anyway wersquore all going to be reincarnated Irsquom struggling to assimilate this view on

life as we hurtle over another brow dodging cattle small children and cyclists But clearly it wasour karma to reach this tea estate high in the hills of central Sri Lanka as Irsquom now looking out

over this verdant green scene Itrsquos as if the landscape is coated in velvet look closer and theyrsquoretea plants and in amongst them are women with baskets on their backs picking the leaves Thelightrsquos dropping and Irsquom busy with the camera A well-presented man approaches and I inwardly

brace for trouble too many brushes with the Tripod Police have left me wary but no hersquos themanager of the estate come to offer me a cup of tea Later we sit on our veranda watching the

dusk settle over the receding planes of the hills to the north sensing the heartbeat of AsiaSri Lanka gets under your skin given half a chance

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Women in a paddy field Ben Tre Province Mekong Delta Vietnam

Vietnam Just the name gives me a buzz Itrsquos always been a must see destination for me and Irsquove not beendisappointed Irsquom in the Mekong Delta about 60 miles south of Ho Chi Minh City (Saigon) Itrsquos a region of rice

paddies bisected by a bewildering network of tributaries flat as a pancake and is pretty much untouched by theoutside world Irsquom in seventh heaven and staying in the Communist Party hostel in Ben Tre which has a slightly

different atmosphere to a Best Western pictures of Ho Chi Minh abound I also have an entourage my efforts to rent a car resulted in a driver and interpreter being thrown in Wersquore all crammed into a tiny Peugeot dating from the Frenchcolonial era I just canrsquot believe how green the rice paddies are I shoot this image of women picking rice as my merry

band sits in a farmerrsquos hut sipping Mekong whisky (only marginally preferable to lighter fluid) Irsquom standing with themuddy water trickling over the tops of my boots clutching the camera and 70ndash200mm zoom trying to coax the ladies

to raise their heads Itrsquos a strange way to earn a livingbull Nikon F5 80ndash200mm lens

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132 133

Kho Phi Phi Thailand

Irsquom standing on the beach at 1030am the time the Big Wave struckwondering what Irsquod do in the circumstances Where do you go Rush

for high ground There are some low hills about a mile inland I guessat full pelt I could get there in about 15 minutes Would it have been

enough I had to return here post-Tsunami So many of my choicesttravel moments have come around the edge of this normally balmy

ocean in countless beachside bars and bungalows in Sri LankaIndia the Maldives the Seychelles Malaysia and of course Thailand

Itrsquos where I cut my teeth as a travel photographerbull Fuji GX617 90mm lens

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Stilt fisherman near Unawatuna Sri Lanka

The tripod legs are slowly sinking into the soft sand The surf is lapping around them ndash itrsquos not the most stable of supports right now Irsquom notsure this is going to work but I have to give it a go I need the tripod because Irsquom using a slow exposure to accentuate the movement of thesurf breaking behind the fisherman Irsquove got the 300mm lens bolted on which is a difficult lens to keep still at the best of times let alonewhen the Indian Ocean is breaking around my knees The sun is setting into the haze in a big fiery ball itrsquos Sri Lanka at its most intoxicatingThis community was devastated by the Tsunami I often wonder what happened to these fishermenbull Nikon F5 300mm lens

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Eroded coastline of Port Campbell National Park Great Ocean Road Victoria Australia

The Great Circle route between the Cape of Good Hope and Port Phillip takes you way down south into the Roaring Forties andbeyond All the way a solitary albatross followed us skimming the waves with apparently effortless ease The first landfall in two weeks registered as a faint line on the radar the coast of Victoriarsquos Port Campbell National Park Itrsquos a sight littered withshipwrecks from the days of sail when trying to find the safety of Port Phillip was like trying to thread a needle in the darkNow Irsquom gazing out to sea from that very coast waiting for the dawn light I used to spend hours watching that albatross fromthe poop deck contemplating the moods of these angry seas This morning itrsquos more benign therersquos a gentle swell lappingthe beach and the light is gradually seeping through the sky giving a diffuse dash of twilight to the stacks and cliffs Itrsquos a unique stretch of coast here like none Irsquove ever seen I make my exposures in the light just before sunrise shivering in theunaccustomed chill Itrsquos mid-summer in Australia but here now you can sense Antarctica far over the southern horizonbull Fuji GX617 90mm lens

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Uluru (Ayers Rock) Northern Territory Australia

It may be tempting leafing through this book to think a photographerrsquos life is one dramatic vistaafter another It isnrsquot Itrsquos often days even weeks of waiting travelling and boredom interspersed

with occasional and very brief bursts of creativity Wersquod driven down the Stuart Highway fromDarwin arriving in Alice Springs after weeks of outback camping ready for a brief pit stop for rest

and replenishment And then the heavens opened It rained for days and days and days All roadsout of Alice Springs were closed and Lake Eyre started to fill for the first time in a century Thelocals told us how lucky we were to see these rare conditions but looking at the grey skies and

mud we struggled to see it that way Ten days later we were still there marooned in a motel roomwatching the weather reports wandering around the shopping centre rapidly exhausting the

attractions of Alice Springs We had planned to head on to Uluru but the meter on this trip wasticking and we were getting nowhere Eventually we managed to get a flight out to Queensland

and an opportunity to regain the momentum on the stalled trip Later we extended the journeyand came back to Uluru to conclude our unfinished business After all the rains the desert around

the giant monolith was a sea of fresh verdant green growth and then we appreciated our luckCombined with that searingly crisp outback light at dawn it was a magical sight worth the wait

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Oponohu Bay Moorea French Polynesia

A tropical paradise is a popular dream thatrsquos difficult to find in reality Irsquom wading along the shoreline of Oponohu Bay in the firstlight of day up to my hips in warm water multi-coloured fish flitting around my knees Irsquom not too keen on the idea of stumblingon the submerged rocks as Irsquove got the bag on my back and the tripod on my shoulder Irsquove got no choice though this is the only

way to get to my chosen spot found after several days of scrambling through the dense growth and wading along this shoreLocation searching has as usual been the key I knew the shot I was after but finding it proved difficult After several fruitlessdays on Moorea I was starting to get twitchy here I was on an idyllic South Pacific island unable to make a decent picture Self

doubt started to creep in maybe Irsquod lost it or maybe I never had it in the first place hellip Now though Irsquom happy I know this is a goodlocation all I need is the light which hopefully should be a bit more predictable than in Snowdonia at this time of year

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Perito Moreno Glacier Patagonia Argentina

We slipped into Argentina from Chile by the back door driving down a farmerrsquos track toa border post where a bored soldier unlocked the gate to let us in not before stampingreams of paperwork It must be said the driving here hasnrsquot been a highlight long lurchingjourneys down dusty boulder-strewn roads wondering if our rental sedan will make it as yetanother rock gouges a piece out of the undercarriage We arrived in El Calafate feeling likethe marrow had been shaken out of our bones and our internal organs re-arranged Nextitem on the agenda of our South American odyssey is Perito Moreno Glacier a massiveriver of ice tumbling down from the Patagonian ice cap the largest outside of the PolarRegions and a truly jaw-dropping sight Hopefully now this two-month adventure will startto develop some momentum Itrsquos weird sometimes on these long trips a week can go bywithout a camera being touched due to a combination of travelling days and indifferentweather How can that be I get decidedly twitchy until the next decent image is exposedOne of the toughest challenges on the road can be maintaining a positive attitude whenthings are not going well particularly when travelling solobull Fuji GX617 90mm lens

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Solitary figure in the Valle de la Luna at dawn Atacama Desert Chile

The Atacama Desert is the driest place on earth ndash a rippling lunar landscapeof rock and saltpans Itrsquos dawn and Wendy is treading boldly up a rocky ridge

providing perspective again Irsquom on a ledge above looking down on her dwarfedby the harsh folds of the Atacama stretching to the volcanic peaks of the Andes

that dominate the horizon to the east In the midday sun itrsquos about as harsh a place as you can imagine but in the soft light of dawn the elemental shapes

and textures of the desert are simply beautiful and inspiring Top of my agendaat this moment is a battle with a disintegrating cable release An accessory

costing next to nothing is on its last legs and I have no replacement ndash somethingof an oversight On long trips I try to carry spares of the bits and pieces that

are so important filter rings and holders grads quick release plates etc butweight is always an issue and tough choices have to be made The sun pops over

the horizon and I make the shot Irsquom getting a bit casual about the light ndash itrsquosso predictable Every day itrsquos sunny from dawn to dusk and clouds are just a

memory It must be said the light doesnrsquot have the subtlety of an October day onthe Isle of Skye but still the luxury of dependable rays every day is a relief

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The road to Marras at dawn Pampasmojo near Cusco Peru

The sun is slowly punching holes in clouds Just as the light is beginning to lift the landscape in the foreground a farmer drives his donkeys down the road windingtheir way into frame with the Andes towering above I use a 09 ND graduated filter to hold back the sky and with +03 exposure compensation dialled in I expose a fewframes revolve the camera and make a vertical composition Is there such a thing as a lucky shot Well the donkeys appearing at the right time was a stroke of luck noquestion But Irsquove been here on duty by the tripod in the perfect spot at the right time of day for two mornings now and that was no accident As they say you make yourown luck Photography is all about putting yourself in the sort of situations where you can make the most of Lady Luck when she does come alongbull Canon EOSndash1Ds MKII 70ndash200mm lens

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The Kootenay River and Rockies Kootenay National Park

British Columbia Canada

Itrsquos the last night of the trip a two-month adventure wandering throughAlberta and British Columbia Tomorrow we catch a flight home from

Calgary so wersquore enjoying our last night of camping in the booniescooking over a fire with just the river and Rockies as a backdrop I love

this country with its huge landscapes easy people and sense of spaceIrsquove knocked off from duty after two months of dawn and dusk shifts

and wersquore just enjoying being here but the last light on the mountainsis gorgeous Maybe Irsquoll just see what I can make of this I move to within

just a few feet of where wersquore camping and find a verdant clump of wildflowers to use as foreground interest The rushing glacial waters of the

river are a light sky blue and the last light of day is just catching thepeaks The huge contrast range between the sunlit Rockies and theforeground calls for some creative use of neutral density grads and

a polarizer to balance it all I make the exposures and wander back tocamp mentally dismissing the image Irsquove just made It may not have

worked if it does itrsquos a bonus but unlikely to rival some of the epic vistaswersquove had on this trip It turns out to be the best shot of the trip by far

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142 143

MechanicsAnd so to the nuts and bolts of the job thehardware and softwareThe importance ofphotographic tools is usually overestimatednevertheless how a photographer prepares anduses those implements is crucial We aresurrounded by so much techno-babble especiallyin the world of photography that itrsquos often difficultto strip away all the technical distractions andirrelevancies to get to the nub of the task creatingstrong images Since FoxTalbot first exposed hiscalotypes of Lacock in the mid-19th century themechanics of the job have changed immeasurablywith the digital revolution of the last decade beingthe single biggest upheaval since his day But theessentials remain the same a lens a sensitizedsurface and a means of development

Corfe Castle at dawn Dorset Englandbull Fuji GX617 105mm lens

Text Black142-157_WFLight_P4_Mechindd 142 51207 84931 AM

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PreparationlsquoDonrsquot think about it too much just gorsquo is the best travel advice Irsquove everheard Do I practise it Well sort of It is possible to be too pedantic aboutresearching and planning every aspect of a trip as few plans survive theirfirst contact with reality But good research and planning can help you getthe most out of a destination Actually deciding where to go and for howlong is the most difficult part Reading between the lines of guidebooksand Internet sites to determine the photographic potential of a specificregion is a black art and a bit hit and miss Pictures can help but they canalso mislead Before embarking on a recent trip to New Zealand I wasresearching the Hokianga region out of interest I could find little on it andvirtually no pictures on any of the major photo-agency websitesThat couldhave meant it was a region of little interest or the opposite but so off the

beaten track that few photographers have ever been there in which caseit would definitely warrant a visit In the event we went and it was moodywild and dramatic Conversely I have visited many areas with glowingreports in guidebooks only to wonder what all the fuss is about So the keyis to have a plan but build in sufficient flexibility to enable decisions abouthow long to stay to be made on the hoof Ideas come as I move througha country talking to the locals and other travellers consequently I try toavoid booking more than a few days ahead unless itrsquos absolutely necessaryTime is the currency wersquore all short of and itrsquos tough to decide how much toallocate for each phase of a journey As a remarkably faithful rule of thumbI have a three-day rule I never stay for lessThatrsquos because it takes time tofind locations that arenrsquot obvious to get under the skin of a place and make

Deadvlei Namib Desert NamibiaItrsquos a nightmare trying to fly with all the kit we need

for a trip like this ndash all the photographic gear thepanoramic and 35mm systems plus all the camping

kit Pulling together a desert expedition is a majorlogistical exercise but when yoursquore there camping

under the stars plugging in the dawn patrols andmaking the images therersquos nothing quite like it

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the most of its photographic potential If yoursquore moving on every day yoursquoretravelling far but seeing little never getting beyond a surface view I findthe days in transit are rarely productive photographically so I often stayfor more ndash five days a week sometimes more Be wary of first impressionsndash after a long tiring journey they can be very deceptive Many a time Irsquovebeen on the point of skipping a stop based on a fleeting judgement only towonder five days later how I could have been so wrong

Practical considerationsBeyond those fundamental choices of where and when the modes of travelaccommodation and what to take will vary considerably depending on thetype of tripThe reason we appreciate our annual European wanderings so

much is the simplicity of them we just load up and go Wersquove got a roughplan but nothing is fixed But where flights and car rental are concernedthatrsquos obviously not practical In fact dealing with the hassles andrestrictions of air travel is the major bugbear of my job Planning a trip tothe Namib Desert was a major logistical exercise I canrsquot remember how weused to do it before the Internet

And one final top travel tip never read the warnings about the dangersof various destinations in the front of travel guides theyrsquoll put you off goinganywhere Bears in Canada spiders in Australia thieves in Peru malariain Malawi Maoists in Nepal time-share touts in Spain all of the risks areoverstatedTherersquos nothing like a bit of local knowledge to sort the grainfrom the chaff Just go

The Complete ArsenalOf course I would never carryall of this on my back at thesame time but on a long tripwith no airport restrictionsthis is the kit I take We leftout the kitchen sink and Inever return with as manylens caps as I left with

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EquipmentThe importance of the equipment in photography is usually overestimatedMany people are more interested in the gear and technology than theactual imagesTo listen to some itrsquos as if the camera made the image andthe photographer merely leant support Letrsquos just get a few things straightA camera is but a tool useless in the wrong hands Give an experiencedphotographer the cheapest compact and a novice a top-of-the-range modeland who will make the better pictures A photograph stands on its ownits worth depends solely on the impression it makes on the viewerThecamera or lens that was used to create it is irrelevant A photograph ismade not by a camera but with a photographerrsquos vision and craftsmanshipNevertheless the tools are important

My camerasIrsquove used and owned many cameras of all formats over the years I waswedded initially in the early 1980s to the Olympus OM system which wasdelightfully compact with great lenses When Olympus abandoned the

professional market I switched to Nikon For nine years my two Nikon F5scircled the world with me never missing a beatThe F5 is in my view thebest 35mm SLR film camera ever made and many of the images in thisbook were shot using one A battered F5 body now sits on my desk as amemento alongside an OM1 from my student days I think it highly unlikelyIrsquoll ever use the same camera for nine years again

A choice of formatsIrsquove owned various medium-format systems ndash a Hassleblad was myworkhorse for years of commercial work ndash but I never really gelled withthe square format All photographers are different and therersquos no rightand wrong here we use the systems that best suit our approaches Forme thatrsquos been a combination of the 6x17cm panoramic format and 35mmI find the two offset each other wellThe panoramic format deliversincredible quality and allows a unique view on the world particularlyfor landscape work With 90mm and 180mm lenses itrsquos a rugged simple

Hadrianrsquos Wall Northumberland EnglandNothing beats a big panoramic As yet therersquos no digital alternative

Image stitching Fine if nothing is moving in the frame where thejoins are made Trouble is something usually is especially along

Hadrianrsquos Wall clouds cows Centurions Picts hellipbull Fuji GX617 90mm lens

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and relatively portable system but not exactly compact And 35mm hasprovided the flexibility and spontaneity with the ultimate choice of lensesThe 5x4in large format is not for me it delivers impressive quality but at theprice of flexibility but I respect my photo-mates who make this format workfor them A photographerrsquos choice of format will be inextricably linked withtheir vision and way of working and ultimately itrsquos the pictures that matter

The digital switch-overNow itrsquos all change with the switch to digital capture I still use the bigpanoramic film camera as therersquos no digital alternative for that yet butthe 35mm Nikons have been replaced with digital Canons I defected fromNikon to Canon because of the fundamentally important issue of sensorsize and now Irsquove got an extensive system built around two Canon EOS-1DsMKII bodies with lenses ranging from the 15mm fisheye to 400mm

The set-up back in the digital darkroom is just as importantTime waswhen I thought we were high-tech with just a fax machine now wersquove an

office stuffed with computers monitors scanners printers hellip and a kettleA lot of people get worked up about the Mac v PC debate personally Idonrsquot believe it makes much difference We use PCs three of them plus alaptop with loads of RAM for handling large images What are of crucialimportance are the monitors ndash you have to be able to trust what yoursquorelooking at so they have to be colour calibrated My advice is to ignorethe techno-babble and just go for the best monitor you can afford with adedicated colour calibration system All our PCs are networked and eachhas two monitors one LaCie for the critical colour work and a smaller onefor the tools tablets when working in Photoshop Also in constant use isour Imacon 646 for scanning big transparencies And being able to produceprofessional art prints now with the Epson 2100 is such a rewarding kickSomewhat less exciting is the constant necessity of backing up imagesboth RAW and processed For that we use a combination of dedicated harddrives and two DVD libraries one stored remotely Other vital bits Wella graphics tablet is handy hellip as is a packet of ginger biscuits

Buttermere Cumbria Lake District EnglandPerfect reflections on Buttermere shot with the Canon EOS-1Ds MKII with a 70ndash200mm ffrasl28 lens with Image Stabilization In the early days I used to lustafter optics such as this lens in the mistaken belief that their possession wouldimprove my photography It doesnrsquot No equipment doesbull Canon EOS-1Ds MKII 70ndash200mm lens

Dawn at Sleepy Bay Freycinet Peninsula

Freycinet National Park TasmaniaThe beauty of working on 35mm and now with a full-frame DSLR is the option ofusing lenses of extreme focal length Here in Tasmania a 15mm fisheye gives a 180-degree view of Sleepy Bay without getting the tripod legs in shotbull Canon EOS-1Ds MKII 15mm fisheye lens

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In March 2005 I had a mid-life crisis I terminated a long-term relationshipwith my Nikons switched to digital and ran off with a younger camerasystem Like all such momentous changes it was traumatic and expensivebut it had to be done Now several years later Irsquom ruminating over thechanges weighing up the pros and cons What do I love about my new lifeFreedom flexibility quality What do I hateThe fact that I now feel weddedto a computer Still in all honesty Irsquove got no regrets ndash the timing was right

The big debateIrsquom looking back at a magazine article I wrote five years ago when thedebate between film and digital was in full flowThe digital revolutionwas perhaps the biggest seismic shift in photography since the evolutionof the negative Pixels were replacing the light-sensitive emulsion andphotographers were wondering if and when to make the change and how itwould affect them Back then I decided to stick with film over issues suchas power quality and compatibility with my existing system If it worksdonrsquot fix it was my ethos But things moved on quickly and just a year later

I couldnrsquot ignore the fact that the latest generation of digital SLRs wereproducing images of superior quality to my 35mm film cameras A jump inavailable quality was enticing not to mention all the other advantages ofworking digitallyThere was though a big problem for me and many otherNikon users delaying my decision sensor size Nikonrsquos DSLRs use a half-frame sensor suitable for press work maybe but not my game For a full-frame sensor Irsquod have to switch to Canon and change my entire systemThis was a painful decision to make but the writing was on the wall

Now the debate has moved on shooting digitally is the norm and mostphotographers have a foot at least partially in the pixel camp I have toadmit Irsquom a convertThe digital revolution has rung the death knell for35mm film the quality and versatility available from most DSLRs is farsuperior As for medium format itrsquos a tougher call Irsquove done comparisonsbetween my Canon and a Mamiya RZ67 and not only is the DSLR way moreflexible and portable it delivers superior image quality Surprised So was Ibut the EOS-1Ds MKII produces a crisper imageThe ability to vary the ISOsetting to suit the conditions is so useful not to mention a digital camerarsquos

Rainbow over St Michaelrsquos Mount Cornwall England

(David NotonNational Trust)The panoramic camera is low tech and basic the complete opposite of

the state of the art Canonbull Fuji GX617 90mm lens

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flexibility when dealing with mixed lighting Before the change among athrong of swirling dancers in a village hall on theTibetan plateau Wendywas making images with her digital compact that I couldnrsquot ndash that said it all

A personal choiceStill many will disagree with me and letrsquos never lose sight of the fact thatitrsquos the pictures that matter Ultimately in this big debate intangibles creepin A photographer friend of mine insists he prefers the feel of film hedoesnrsquot like lsquometallicrsquo digital images and another questions their evennessof toneThese are issues that are impossible to quantify Ask ten differentphotographers their feelings about a particular film and yoursquoll get tendifferent opinions I know what I think though thatrsquos all nonsense Usingthose two crucial tools wisely the Curves and Levels controls at the RAWconversion and Photoshop stages I have far far more control over allaspects of my images than I ever have done Each to their own but I thinkthe flexibility offered by a DSLR system is a priceless asset that translatesinto better pictures

Maintaining disciplineConversely shooting digitally can foster a looser approach a more laissez-faire attitude blast away and sort it out later if you shoot enough one isbound to work In fact I think to get the best from my DSLR I need to beeven more meticulous behind the camera but undoubtedly the flexibilityof digital capture allows me to explore more options to extract more fromany photographic opportunityTo avoid that condemning me to endlesscomputer hours I have to hone in on the best Irsquod rather produce one greatpicture than 50 average ones So and herersquos the rub the great challenge ofthe switch to digital has been firstly ensuring a tight disciplined approachto shooting while making the most of the possibilities opened up by theflexibility of the kit and secondly learning a whole new way of editing toavoid spending the rest of my life in Photoshop

And large format Well you canrsquot beat a big piece of film which is whyI still use my 617 panoramic monster That will change eventually whendigital alternatives evolve but for now I think Irsquove got the best of bothworlds and Irsquom revelling in it

Mrs Wendy Noton on location

in the Atacama Desert Chile

Marina a Quechua shepherd

girl Peru

Outback driving off the beaten track in the

Flinders Ranges South Australia

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TripodsYou can spot serious photographers by their tripods It is the mostimportant piece kit yoursquoll purchase Perhaps news sports and fashionphotographers wouldnrsquot agree with me but for the kind of images in thisbook steady legs for your camera are crucial Irsquom always amazed to seesomeone who has spent a fortune on a camera and lenses using a cheapplastic tripod that wouldnrsquot keep a mobile phone camera steady in a gentlebreeze A tripod is not as tantalizing a possession as a camera but itrsquos afalse economy to skimp on one

As with all gear compromises have to be made ndash rigidity versusportability itrsquos a tough choice All kit has to be portable to be practical buta tripod also has to be able to support long lenses extend up to head heightand enable you to get down low I now use a carbon-fibre tripod which issignificantly lighter than alloy legs without sacrificing rigidityThe actualweight of the tripod does contribute to its stability but this can be aided byhanging your camera bag from the undercarriageThe head is importanttoo all photographers have their own tastes on these Ball heads arepopular but I canrsquot stand them ndash I prefer a geared head for precise framingadjustments

Camera bagsWhen I first started in this game dinosaurs roamed the planet leg warmerswere in and the options for carrying photo gear over the hills and faraway were limitedYou could use a shoulder bag guaranteed to inducenumerous visits to the osteopath and that was it I used to wrap my lensesin sweatshirts and stuff them in rucksacks Now there is a multitudeof options with photographic rucksacks devised for every imaginablecombination Irsquove got about five in fact Irsquove lost count One big sack the sizeof a coffin for when Irsquom carrying virtually everything the pano and DSLRsystems One for when Irsquom just working with the DSLR One for when Ineed to fly with a laptop One small one for lightweight forays into crowdedmarkets and one for carrying camera kit and lunch waterproofs etc forday-long hikes I think theyrsquore fantastic with one proviso to get to yourcamera you have to put them down in the mud dust and grot But I canrsquotimagine life without them

MECHAN IC S

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FiltersThe importance of filters canrsquot be overstatedThe need for colour filtrationwhen shooting digitally is obviated but I would never be without a set ofLee neutral density graduates for holding back the exposure on the sky apolarizer for saturating the colours in vegetation and deepening the bluein skies and a neutral density for slowing down exposures to optimize themotion in an image

Miscellaneous itemsIn the depths of my bags all sorts of stuff lingersThe usual essentialsremote release spare batteries filter holder and rings a spot meter a hot-shoe mounted spirit level an extension ring and memory cards And otherstuff toilet paper and matches a Swiss Army knife shades for peering intothe sun and sometimes a book for those endless vigils On my wrist I have asolar-powered watch with a compass Whenever I can take it the mountainbike is so useful for location searches and collecting the baguettes Andon the roof of my Land Rover I have a photographic platform big enough toget a tripod up there above the level of the hedgerows and look down on theworld Boys and their toysYeah Irsquoll admit that one But I can vouch for thepracticality of all of them

Trying to keep the flies off the

Outback Australia

Mid-exposure in the

rainforest Costa Rica

Winter backpacking in the

Cairngorms Scotland

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152 153

Post-ProductionSometimes in our office I sit back and reflectThe three of us are heretapping and clicking away in front of our monitors dust busting tweakingCurves attaching metadata converting RAW files copying scanningupdating the database backing up etc etc etc hellip itrsquos endless Wendyand Sharyn our office manager are beavering away I havenrsquot a clue whattheyrsquore doing is it anything to do with meThe office is stuffed full ofcomputers monitors printers and scanners how did this happen Just 12years ago I had a typewriter a light box a filing cabinet and a fax machineand that was about itThe trannies would come back from the lab theyrsquod beedited mounted captioned and submitted ndash a deliciously simple workflowGranted sending off precious originals was always a leap of faiththankfully thatrsquos not an issue any more But what is an issue is the sheeramount of time that needs to be spent in post-production Shooting digitallyitrsquos easy to expose a lot of pixels all of which need sorting I still think theediting process was much better with just a sheet of trannies on a light boxbut thatrsquos tough Irsquove just got to deal with it

From a shoot of say 200 images Irsquoll go through and weed out the obviousalso-rans bringing it down to maybe 40 images Where a shot obviously hasworked there will most likely be multiple variations of it and picking the

best isnrsquot always straightforward ndash often itrsquos necessary to process severalof the options to choose the best Itrsquos easy here to get sidetracked intospending a lot of time on a shot that doesnrsquot warrant it there comes a timewhen I have to say no and hit the delete buttonThe flip side of the coin isthat sometimes an image that looked lacklustre straight out of the cameracan sparkle with just a few basic adjustments at the RAW conversionstage In a nutshell a fine balancing act is needed to avoid wasting time onthe dross without missing out on the jewels Irsquom still learning with this buthopefully getting better and quicker at homing in on the winners

I groan in exasperation at one popular misconception ndash the notion thatshooting digitally means less work If only In fact the digital workflow hasmeant the photographerrsquos workload in post-production has mushroomedFor me this is the huge downside of the digital revolution Clientspublishers agencies and printers all now expect to be supplied with adigital image ready to go to print website or repro It would be nice if theimage that came off the memory card was the finished article but it isnrsquotEven if it were it would still need to be copied backed up stored in adatabase submitted and tracked in its journeys But before that it needsto pass through the digital darkroom

Dunstanburgh Castle and Embleton Beach at dusk

Northumbria EnglandI try and get as perfect a shot in-camera as possible Irsquom not one for

complex manipulations anyway ndash the best shots are the simplestand you canrsquot improve on nature Here I gave a slightly warmer tone

to the reeds in the foreground in post-production Irsquoll often tweakthe contrast or brightness of selected parts of the image such as the

sky Upping the contrast can have the appearance of accentuatingthe colours but it is so easy to go over the top Subtlety is the key

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Exposing RAW filesWhen I expose a digital image the picture is just a bunch ofinformation still in the camera as a RAW file I think of it as a sort ofdigital negative a means of recording an image that needs processingbefore itrsquos of use to anyone If yoursquore serious about your photographythen shooting RAW is the only way to go ndash forget aboutTIFFs andJPEGs If you arenrsquot shooting RAW yoursquore letting your camerarsquossoftware make important decisions about your images that it has nobusiness doing and yoursquore throwing away information in the processWhen I expose a digital image I am trying to maximize the amount ofinformation recorded in particular the range of tones and coloursI donrsquot want highlights burning out but I do want as much detail inthe shadows as possible and a RAW file has huge exposure latitudecompared with transparency filmThat has two big implications forthe way I expose in the field Firstly bracketing exposures is a thing ofthe past which saves much time and allows me to get on with makingthe most of the situation Secondly Irsquom trying to give the maximumexposure possible without losing highlight detail known as exposingto the right referring to the resultant histogram display If you lookat the monitor display and JPEG preview it may appear that I havean overexposed image but by exposing to the right Irsquom maximizingshadow detail and minimizing noise But beware of those highlightsndash perform a preliminary test exposure and check the highlights alertand histogram display in-camera Basically Irsquom exposing a RAW filenot to give me the best display on the camera monitor but to producethe best lsquodigital negativersquo with the greatest scope in-computer later

Heather lining the coastal path in late summer

on the Great Hangman North Devon England

(David NotonNational Trust)The range of tones from the sky to the foreground detail is

so high here that even a RAW file couldnrsquot cope so Irsquove madethree different exposures and merged them Itrsquos a handy

technique but doesnrsquot work if therersquos anything moving in the frame where the different layers merge which is why I

still need to carry neutral density graduated filtersbull Canon EOS-1Ds MKII 17ndash40mm lens

Backing up images on a campsite in Languedoc France

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154 155

RAW conversionSo wersquore back at base and have copied the RAW files to a computerready for processingThe next step is the RAW conversionTo do thiswe need specialist software Adobe RAW is the most common but Iuse Phase One C1 Pro At this stage important decisions about colourbalance density tonal range saturation sharpening and output aremade ndash indeed the whole look of the image can be finalized here Ifyou understand nothing else about the digital darkroom the two keydisplays to understand are the Levels histogram which represents thetonal range of an image and the characteristic Curve which controlsthe distribution of those tones Itrsquos beyond the remit of this book togo into too much detail but working with Levels and Curves you cancontrol the brightness tonal range and contrast of an imageThisis where we take that RAW file we lsquoexposed to the rightrsquo in-cameraand pull back the Levels to give the density we desireThe net effectis an image with more shadow detail than if wersquod lsquoexposed to theleftrsquoThen we output the image as a 16-bitTIFF to hold on to as muchinformation as possible through all the stages of post-production

The Baptistry (1196) Piazza del

Duomo Parma Emilia-Romagna ItalyOften a picture needs minimal input If it hasa perfect range of tones and density it will gostraight through the digital darkroom with no

alterations I always check the Levels and Curvesbut try to avoid tweaking for the sake of it

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Photoshop adjustments and archivingThe last stage of post-production is to import the image intoPhotoshop for its final adjustmentsTherersquos no way I can even startto talk about all the options for sorcery at this stage Quite often I donothing If it works donrsquot fix it Sometimes I do complex compositesmerging multiple exposures Most often in Photoshop we dust-bustthe image checking for tiny imperfections resulting from grot on thecamera sensor at 100 per cent magnification and take out cablesmasts people and aerials where necessary We routinely deprivewholetowns of theirTV reception at this stage I say lsquowersquo because now thecreative decisions about an image have been made Irsquove handed itover to the crew Caption and keyword information is embedded inthe imagersquos metadata the finished image is converted to 8-bit low-res JPEG copies are made for emails and quick searches etc theimage is entered into our database copied to a dedicated hard driveand backed up twice to DVD libraries both on- and off-site Finallythe image is done ready for submission or deletion if as happensI subsequently decide itrsquos no good

I think wersquove gone full circle In the old days we shot and processedour own black and white work in dark stuffy corners of lofts smellingof fixer We made decisions about exposure in-camera based on thecontrast in the scene and how we were going to develop the negativeand then we used all sorts of ruses with our hands and paper underthe enlarger to maximize the tonal range and impact of the final printThe analogies with the digital darkroom are obvious For decades Iworked predominantly with colour transparency film where we hadno such input it all had to be done in-camera Now again wersquorecontrolling every aspect of an imagersquos processing and final impactI rue the time it soaks up but revel in having such control

Vineyards on the hillside above Saillon le Valais SwitzerlandThis one took hours When yoursquore standing by the tripod making the exposure itrsquos important to think through what is going to be necessary to optimize an image Here in Switzerland I shot three exposures of this composition with a 400mm lens flattening theperspective of the vineyards and mountains The trouble was the distant mountains looked washed-out in the haze I knew I couldreintroduce contrast into the distance using Levels and Curves but getting a join that wasnrsquot obvious between the layers took hourswith the Eraser tool Irsquod much rather be out in the field but thatrsquos life For every hour I spend behind the lens I spend the same in thedigital darkroom It feels all wrong but if Irsquove gone to Switzerland got up at dawn and spent hours waiting for the light to make thisone shot I have to make the most of it and that means time hunched in front of the computerbull Canon EOS-1Ds MKII 100ndash400mm lens

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TRAVEL D IARY

MILFORD SOUNDNEW ZEALAND

2amEight meters of rain a year and itrsquos all falling onour tent I now know what it would be like to campat the base of Victoria Falls Irsquom not sure where theOfficial Wettest Place on Earth is somewhere in India But Milford Sound must be up there in the TopThree ndash itrsquos seriously soggy I lie in the tent listeningto the sheets of water deluging us wonderinghow the young German backpacker in his NZ$30 supermarket special is faring this really could be thewinter of his discount tent New Zealandrsquos fjordlandis a spectacular corner of the world with famouslyatrocious weather The combination of deep fjordsjagged mountains and lush temperate rainforest is inspirational when you can see it Only two rocky

promontories interrupt the Roaring Forties tour of thesouthern latitudes the tip of South America and herewith predictable results From Britain itrsquos a long wayto come for a few sodden camp nights I can do thatin North Wales

4amIncredibly wersquove slept well I awake to a strangesensation silence It has stopped raining and I can see stars through gaps in the cloud ndash game onI still get a real buzz in these situations therersquos a distinct possibility of a shot here a chance I hadnrsquotdared entertain in the past few days We scrambledown to the flood plain at the head of the fjord ourchosen location For the first time we see the full

splendour of Milford Sound uncloaked by rain cloudsThe walls of the fjord are almost vertical and thenightrsquos precipitation is cascading down the cliffsin multitudinous waterfalls as if the landscape is weeping ndash totally epic The sky is still heavy with rainbut there are breaks and the first indirect dusk lightis just starting to filter through Whatrsquos more therersquosnot a soul around we have one of the worldrsquos mostbeautiful views all to ourselves

440amIrsquom running now trying to get to a piece of driftwoodlying on the flats for foreground interest Tripod upwhile we wersquore on the move bag on a rock the driestoption Camera on the quick release head compose

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level horizon cock shutter focus set aperture cablerelease in position grad Double check everythingthen open the shutter Then I take an exposurereading while exposing I know from experience atthis time of day the exposure is going to be measuredin minutes so I might as well start on the firstexposure immediately while Irsquom calculating how longitrsquos going to be I donrsquot want to miss a thing all sortsof wonderful things can happen to the light at thistime of the day

5amThe first exposure is about 15 minutes Wendy servescoffee from a flask as we contemplate the advancingtide By the end of the first exposure the tripod legs

are underwater and wersquore perching on rocks forcinga retreat to dry ground This is going to be a problemI want the shoreline in the shot the semi-submergedrocks breaking the reflections of the fjord but the tideis coming in at such a rate I can only make one framebefore having to move and re-compose Also withlong exposures like this the light levels are changingas Irsquom making the exposure I open the shutter aftertaking a reading that gives four minutes twominutes later thatrsquos down to three minutes I endup exposing for about three minutes 20 secondsHow do I come to that figure A combination ofmental arithmetic with wet feet and experienceItrsquos not rocket science but it works

530amThe twilight is spreading a palette of mauves and huesacross the landscape incredibly subtle and far moreatmospheric than a clear sky and direct sunlightThe sun is coming up to our rear giving diffuse frontlighting to the scene I hardly ever work with frontlighting generally I prefer side or backlighting In this case though itrsquos indirect the first tones of dawnstriking the pregnant clouds and reflecting down intothe image Keeping ahead of the advancing tide wemove up the fjord exposing all the way like retreatingskirmishers The damp atmosphere keeps fogging thefilter just another of naturersquos little reminders and thesand flies are on their dawn missions But this is veryspecial It has made waiting for the light worthwhile

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158 159

David Noton was born in 1957 and split his childhood between England California andCanada After leaving school in 1976 he spent four years as a deck officer in the MerchantNavy before trying his hand a number of different professions including working in a gluefactory as a motorcycle courier a window cleaner and a gardener before finally returningto college in Gloucester in 1982 to study photography

Graduating in 1985 David turned freelance and has concentrated primarily onlandscape nature and travel photography ever since winning the landscape category ofthe BBC Wildlife Photographer of theYear Award in 19851989 and 1990 He married Wendyin 1987 and together they run their successful photography business from Milborne Portnear Sherborne on the Somerset-Dorset border and travel the world in search of pictureopportunities

Today Davidrsquos work is published around the globe Every month he licenses in excess of100 images to publishing advertising and the news media During the last 20 years he hasphotographed much of the NationalTrustrsquos landscape and coastline which has featuredin many high-profile publications and several highly acclaimed photographic exhibitionsAdditionally he sells art prints and writes on travel and photography themes for magazinesworldwide including a monthly column in Practical PhotographyThis is his first book

Many thanks to the following who have in one way or another influenced this bookMy father for his forbearance with a headstrong 20-something-year-old son who

seemed intent on wasting his education in search of adventureSharyn Meeks our stalwart office manager who holds the fort with such reliable

efficiency while wersquore treading boldlyCharlie Waite fellow photographer and friend who provided the initial advice and

impetus to getting this project off the groundAll my photo-mates who drink my whisky every year but especially Peter Adams

Jeremy Walker and Jon Gooding we keep each other vaguely rational while navigatingour way through this strange profession

Freya Dangerfield Emily Pitcher and Martin Smith at David amp Charles and editorAmeVerso all who have been such a pleasure to work with on this book

My wife Wendy We make quite a team I couldnrsquot do half of what I do without her

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accessories 150ndash1Adobe RAW 154Aiguille de Midi 56Alajuela 86ndash7Alexandra Fjord 44ndash5 71ndash3Alice Springs 135Andes 49 54ndash5 58 138Angkor Wat 128ndash9Annapurna 60ndash1 61Anse Severe 81Arc de Triomphe Paris 100Arctic 38 44ndash5 71ndash3 71ndash3Argentina 137Arizona 25 41Asian Tsunami 132ndash3Atacama Desert 138 149Australia 22 41 64 82 88ndash9 95 134ndash5Austria 96autumn 17 21 38 40 120ndash1Ayers Rock (Uluru) 135

Badia 78Bai women 52 53Bamburgh Castle 80ndash1 119Banff National Park 68ndash9Bangkok 92 99Baptistry Piazza del Duomo 154Barcelona 95barley 122batteries 56 61 68Bavarian Alps 68ndash9Beijing 50ndash1Berctesgarden 68ndash9birds 31 127Black Mount 58ndash9black and white images 30 33Blackmore Vale 32ndash3bluebells 20blur 42ndash3 42ndash3Bodiam Castle 32Bologna 41Buddhism 26 130built environment 92ndash100 92ndash101

castles 23ndash4 32 40 70 80ndash1 119 142ndash3152

street scenes 33 43 50 52 92 94 97busy lizzies 86ndash7Buttermere 116ndash17 147

Caledonians 59Cambodia 128ndash9camera bags 150Canada 38 39 68 68ndash9 74 88 140ndash1

Canadian Arctic 44ndash5 71ndash3 71ndash3Canon EOS-1Ds MKII camera 20ndash1 24 32ndash3

35 40ndash1 74ndash5 77 82 93 94ndash5 97 102ndash3114ndash15 118ndash19 122ndash4 139 147ndash9 147 152ndash5

Cape Breton 39Capitolio Havana 98Carcassonne 35 122castles 23ndash4 32 40 70 80ndash1 119 142ndash3 152Cazorla 74ndash5Cefalu 85Cerro Miniques 54ndash5Champs de Mar 101Charles Bridge Prague 96ndash7Chateau Chennonceau 14ndash15Chateau St Ulrich 8ndash9Chiang Mai 11 104Chile 12ndash13 28 40 54ndash5 138 149chillies 99China 11 50 50ndash3 80 105Chincerro 47ndash9Chow Kit market 99coastlines 18ndash19 18ndash19 31 39 41ndash2 80 80ndash5

112ndash14 117 132ndash4 136 147 148 152colour 30ndash3 30ndash3colour temperature 23 25 31 39composition 26ndash9 26ndash9 87 94Compton Pauncefoot 76ndash7computers 147contrast 124 152Cook Captain James 82Cordes-sur-Ciel 123Corfe Castle 142ndash3Cornwallis Island 71Corton Denham 74ndash5Costa Rica 86ndash7 90ndash1 90ndash1Croome Park 115Cuba 43 98 106Cullin 18 18ndash19Curves 154Czech Republic 96ndash7

Daintree 88ndash9Damneon Saduak 11Deadvlei 144Derwentwater 29deserts 62ndash4 62ndash5 66ndash7

Atacama 138 149Namib 62 62 65 66ndash7 126 144 145

digital darkrooms 147digital negatives 153digital photography 147ndash9 152ndash5distance 34ndash6 34ndash7Dolomites 4 56ndash7 78

Dunguaire Castle 40Dunstanburgh Castle 152Durdle Door 112dust-busting 155

earth 74ndash9 74ndash9Eiffel Tower Paris 100 100ndash1Eilean Donan Castle 23 70Ellesmere Island 38 71Embleton Beach 152Endeavour (ship) 82England 16ndash17 20 24 29 32ndash3 39ndash40 42 74

74ndash7 80ndash1 83ndash4 93ndash4 112ndash21 142ndash3 146ndash8152ndash3

Epson 147equipment 145 146ndash7

accessories 150ndash1and flying 122overload 54ndash6 60ndash1using in cities 97ndash8using in deserts 138using near water 83 84using in rainforests 90ndash1

Eus 77exposure 153

for water scenes 84for winter scenes 69 70

Eype point 39

fill-in flashes 89filters 151

neutral density graduated 19 31 84 113151 153

polarizers 151fjords 44ndash5 71ndash3 156ndash7 156ndash7flowers 20 74ndash5 84 86ndash7 114 122 153flying 122 145formats 146ndash7fountains 94framing 26ndash9 26ndash9France 14ndash15 27 33 35 55ndash6 75 77 122ndash3French Alps 55ndash6French Polynesia 136Fuji GX617 camera 4 6ndash9 12ndash19 19 22ndash3

25 27 29 31ndash2 34 38ndash42 44ndash5 54ndash6 58ndash963 68ndash9 74ndash6 79 80ndash1 83ndash4 86ndash9 93 96110ndash13 116ndash17 120ndash1 125 128ndash30 132134ndash8 140ndash4 146 148

gannets 31Germany 68ndash9Ghorepani 61giant cedar trees 88

glaciers 137Golden Rule of Thirds 26ndash8 26ndash7 29 94gondolas 93 125Gran Teatro Havana 98Grand Canyon 25 41grapevines 78ndash9 79Great Hangman 153Great Wall of China 50Greece 37Gurkhas 61

Hadrianrsquos Wall 146Hanoi 10 43 98 103Hassleblad 146Havana 43 98 106heather 114 153Highveer Point 114Himalayas 58 60ndash1 60ndash1Hotel les Invalides Paris 27huasos (Chilean cowboys) 28Hyde Park London 94

ice focus on 68ndash73 68ndash73Imperial Palace Beijing 51Inca people 46 47ndash9 58India 108Indian culture 30Indian Ocean 81 133Ireland 40Iserables 21Isle of Harris 4Isle of Skye 18ndash19 18ndash19 110ndash11Italy 24 41 56ndash7 78ndash9 78ndash9 93 97 124ndash5 154

Jietang Songlin Monastery 52JPEGs 155

Kathmandu 109 109 127Kerala 108Kho Phi Phi 132Kootenay River and Rockies 140ndash1Kuala Lumpur 99

la Citeacute Meacutedieacutevale 122La Defense Paris 101La Digue 38 81Laguna Miscanti 54ndash5Lake Garda 4 78Lake Mathesson 58ndash9Lake Pehoe 12ndash13lakeslochs 4 6ndash7 12ndash13 23 29 40 54ndash5 58ndash9

70 78 115ndash17 128ndash9 147le Brevent 55

Note page numbers in bold refer to photographs and captions

Text Black

158-160_WFLight_Endsindd 159 6122007 51811 PM

1 UP160U144471 00 Ser4-4 175

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leeches 89lenses

24mm shift 97fisheye 36 36 62 147long 67super-telephoto 64wide-angle 64

Levels 154Li River 53light 22ndash5 38 156ndash7 157

colour temperature 23 25direction 23in rainforests 87ndash9 91in winter 70

Lijiang 52 105Littondale 76Lizard Peninsula 42 84location (Being There) 14ndash21 144ndash5Loch Alsh 23 70Lochan nah-Achlaise 58ndash9London 93 94

Machu Picchu 46Malaga 106ndash7Malaysia 99Mamiya RZ67 148markets 10 10ndash11 43 47ndash9 51ndash3 98ndash9 103Matera 24Meares Island 88Mekong Delta 11 131Milborne Port 16ndash17Milford Sound 156ndash7 156ndash7Millennium Bridge London 93Milsons Point Sydney 95misty conditions 16 22 24 32ndash3 42 118

123ndash4 142ndash3monitors 147monochromatic images

black and white 30 33colour 30 31 119

Montemartre Paris 33Monteverde Cloud Forest Reserve 86ndash7Monti Sibillini 124Monument Valley 63motion photography 42ndash3 42ndash3 84 84ndash5 94ndash5

103 108 127 151Mount Blanc 55ndash6Mount Cook 34Mount Rundle 6ndash7 7Murawai 31

Namib Desert Namibia 62 62 65 66ndash7 126144 145

Naxi women 52Nepal 26 58 60ndash1 60ndash1 109 109 127neutral density graduated filters 19 31 84

113 151 153New York 36 92New Zealand 31 34 58ndash9 82 89 144 156ndash7

156ndash7

Nikon 147 148Nikon F5 camera 4 26 28 31 33 36ndash7 39ndash40

43 55ndash7 62 70 82 85 89ndash90 92 94ndash6103ndash5 108 126ndash7 131 133 146

North Sea 80ndash1Notre Dame Cathedral 101

Old Man of Storr 18ndash19 18ndash19Old Sherborne Castle 24Olgas The 64olive groves 74ndash5Olympus 146Oponohu Bay 136oryx vertebra 65

Pad Thai 99paddy fields 131palm trees 81Pampasmojo 49 139panoramic cameras 70 75 79 91

see also Fuji GX617 camerapanoramic format 64 75 119 146 146 148

149Paris 27 33 100 100ndash1Parma 97 154Perito Moreno Glacier 137perspective 34ndash6 34ndash7

long-lens 34 35 37wide-angle 36 36

Peru 46 46ndash9 102ndash3 139 149Phase One C1 Pro 154Photoshop 155 155Piazza del Duomo Parma 154Piazza della Signoria Bologna 41Piazza San Marco Venice 93Pic de Canigou 77Plaza drsquoArmas Havana 106Pokhara 60ndash1 60ndash1polarizers 151Polblue Marshes 22Pont Alexandra III 27 100poppies 74ndash5 122Port Campbell National Park 134Portland Bill 83portraits 10ndash11 30 47ndash53 102ndash9 102ndash9 131

133 145 149 151 153post-production 124 152ndash5Prague 96ndash7prayer wheels 26Preci 124Pyrenees 77

Quecha people 46 47ndash9 58 103 149

rain 63rainbows 148rainforests 86ndash91 86ndash91RAW files 124 147 152ndash4

conversion 154exposure 153

Resolute 71 73rivers 13 27 38 53 100ndash1 140ndash1rock focus on 54ndash61 54ndash61Rockefeller Centre 36Rome 92Roussanou Monastery 37

Saco Valley 38saddlery 28St Michaelrsquos Mount 113 148St Paulrsquos Cathedral 93St Remy de Provence 75Salisbury Cathedral 118Salzburg 96San Giorgio Maggiore 125San Marco Venice 125sand 62ndash4 62ndash5 66ndash7 138sand dunes 62ndash3 62 66 66 126Santa Helena Cloud Forest Reserve 90ndash1

90ndash1scanners 147Scotland 18ndash19 18ndash19 23 38 58ndash9 70 83

110ndash11seasons 16ndash17 120ndash1

autumn 17 21 38 40 120ndash1spring 16ndash17 120summer 16ndash17 120ndash1winter 17 50ndash1 55ndash6 68ndash73 68ndash73 120ndash1

151Seine River 27 100ndash1Semana Santa fiesta 106ndash7Seychelles 38 81shapes 26ndash9shutter speed 42Sicily 85silhouettes 34Singapore 30Sleepy Bay 147snow scenes 17 50ndash1 55ndash6 68ndash73 120ndash1 151South East Asia 10 10ndash11Southern Alps 34 58ndash9Spain 74ndash5 95 106ndash7Sri Lanka 130 133stilt fishermen 133storm clouds 25Stourhead 120ndash1street scenes 33 43 50 52 92 94 97sunlight 25 38Swayambhunath Temple 26 127Switzerland 21 155Sydney 92 95

Tahiti 80Tarn Hows 40Tasman Sea 31Tasmania 147Te Pare Point 82tea plantations 130Thailand 11 99 104 132Tianrsquoanmen Square Beijing 51

TIFF images 154time 38ndash9 38ndash41Torres del Paine 12ndash13 40Trafalgar Square London 94tripods 61 98 150Trotternish Peninsula 110ndash11Tuscany 77 78ndash9 78ndash9Twelve Apostles The Victoria 41

Uluru (Ayers Rock) 135UNESCO World Heritage Sites 112United States 25 36 38 41 63 92Utah 63

Val de la Luna 138Val di Fassa 56ndash7Venice 93 125Vermillion Lake 6ndash7 7Verona 78verticals correction 97Via Cardinal Ferrari Parma 97Vietnam 10 11 43 98 103 131vineyards 155Vosges Mountains 8ndash9

Wall St New York 92Wase market 11 51 52 53Wat Phra Singh 11 104water

focus on 80ndash4 80ndash5fountains 94movement 84 84ndash5rivers 13 27 38 53 100ndash1 140ndash1waterfalls 86ndash7see also coastlines lakeslochs

Weary Bay 82Westland National Park 89White Mountains 38winter 17 50ndash1 55ndash6 68ndash73 68ndash73 120ndash1 151wood 86ndash91 86ndash91

Zhongdian 80road to 50 50ndash3

Copyright

Contents

The Waiting Game

Part One Vision

Part Two Environments

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

1U144471 00 Ser4-4 175

171107 K20 K000 K000

1 UP2U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

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2 UP4U144870 00 Ser4-4 175

Cincinnati OH 45236

Patents Act 1988

publisher

ISBN-13 978-0-7153-2741-8 (UK hardback)

ISBN-10 0-7153-2741-0

ISBN-10 0-7153-2819-0

Printed in xx by xx

Part One Vision 12

Acknowledgments 158

Index 159

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

1 UP2U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

171107 K20 K000 K000

2 UP4U144870 00 Ser4-4 175

Cincinnati OH 45236

Patents Act 1988

publisher

ISBN-13 978-0-7153-2741-8 (UK hardback)

ISBN-10 0-7153-2741-0

ISBN-10 0-7153-2819-0

Printed in xx by xx

Part One Vision 12

Acknowledgments 158

Index 159

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

1U144471 00 Ser4-4 175

171107 K20 K000 K000

2 UP4U144870 00 Ser4-4 175

Cincinnati OH 45236

Patents Act 1988

publisher

ISBN-13 978-0-7153-2741-8 (UK hardback)

ISBN-10 0-7153-2741-0

ISBN-10 0-7153-2819-0

Printed in xx by xx

Part One Vision 12

Acknowledgments 158

Index 159

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

2 UP4U144870 00 Ser4-4 175

Cincinnati OH 45236

Patents Act 1988

publisher

ISBN-13 978-0-7153-2741-8 (UK hardback)

ISBN-10 0-7153-2741-0

ISBN-10 0-7153-2819-0

Printed in xx by xx

Part One Vision 12

Acknowledgments 158

Index 159

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

Part One Vision 12

Acknowledgments 158

Index 159

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

1 UP6U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP32U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP34U144471 00 Ser4-4 175

Distance

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP36U144471 00 Ser4-4 175

V I S ION

2U144870 00 Ser4-4 175

041207 K10 K000 K000

1 UP38U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K04 K000 K000

TRAVEL D IARY

Text Black

1 UP40U144471 00 Ser4-4 175

2pm Siesta

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP42U144471 00 Ser4-4 175

Motion

1U144471 00 Ser4-4 175

161107 K04 K000 K000

2 UP44U144870 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K7504 K000 K000

1 UP46U144471 00 Ser4-4 175

PHOTO E S S AY

Machu Picchu

1U144471 00 Ser4-4 175

171107 K69 K000 K000

market near Cusco

1 UP48U144471 00 Ser4-4 175

PHOTO E S S AY

Chincerro farmer

Text Black

1U144471 00 Ser4-4 175

171107 K69 K000 K000

nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

1 UP50U144471 00 Ser4-4 175

PHOTO E S S AY

The Great Wall

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Province

1 UP52U144471 00 Ser4-4 175

PHOTO E S S AY

Yunnan Province

1U144471 00 Ser4-4 175

191107 K6956 K000 K000

Yunnan Province

1 UP54U144471 00 Ser4-4 175

5454 55

2U144870 00 Ser4-4 175

041207 K05 K000 K000

1 UP56U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K24 K000 K000

1 UP58U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

201107 K2404 K000 K000

J OURNA L

PokharaNepal

1 U144471 00 Ser4-4 175 161107 K24 K000 K000

1 UP62U144471 00 Ser4-4 175

6262 63

1U144471 00 Ser4-4 175

161107 K29 K000 K000

2 UP64U144870 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP66U144471 00 Ser4-4 175

TRAVEL D IARY

1U144471 00 Ser4-4 175

161107 K29 K000 K000

1 UP68U144471 00 Ser4-4 175

6868 69

1U144471 00 Ser4-4 175

161107 K5605 K000 K000

2 UP70U144870 00 Ser4-4 175

Eilean Donan Castle

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K56 K000 K000

TRAVEL D IARY

1 UP72U144471 00 Ser4-4 175

TRAVEL D IARY

worthwhile for this

1U144471 00 Ser4-4 175

161107 K56 K000 K000

starts snowing

1 UP74 U144471 00 Ser4-4 175 161107 K76

K000 K000

7474 75

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

2 U144870 00 Ser4-4 175 041207 K10

K000 K000UP77

1 UP78 U144471 00 Ser4-4 175 161107 K76

TRAVEL D IARY

1 U144471 00 Ser4-4 175 161107 K76

K000 K000UP79

1 UP80U144471 00 Ser4-4 175

8080 81

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP82U144471 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

2 UP84U144870 00 Ser4-4 175

ENV I RONMENT S

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP86U144471 00 Ser4-4 175

8686 87

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K08 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 161107 K08 K000 K000

1 UP92U144471 00 Ser4-4 175

Text Black

Concrete

9292 93

2U144870 00 Ser4-4 175

051207 K39 K000 K000

17ndash40mm lens

1 UP94U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

24ndash70mm lens

2U144870 00 Ser4-4 175

051207 K39 K000 K000

2U144870 00 Ser4-4 175

051207 K39 K000 K000

Text Black

1 UP96U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP98U144471 00 Ser4-4 175

Text Black

ENV I RONMENT S

1U144471 00 Ser4-4 175

161107 K39 K000 K000

Text Black

1 UP100U144471 00 Ser4-4 175

161107 K39 K000 K000

1 UP100U144471 00 Ser4-4 175

PHOTO E S S AY

100100 101

1U144471 00 Ser4-4 175

191107 K39 K000 K000

1 UP102U144471 00 Ser4-4 175

102102 103

1U144471 00 Ser4-4 175

161107 K08 K000 K000

1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

1U144471 00 Ser4-4 175

161107 K08 K000 K000

2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

1U144471 00 Ser4-4 175

161107 K08 K000 K000

ENV I RONMENT S

108 109

Nikon F5 300mm lens

2 U144470 00 Ser4-4 175 051207 K24 K000 K000

PHOTO J OURNA L

1 UP110U144471 00 Ser4-4 175

110 111

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP112U144471 00 Ser4-4 175

GAL L E RY

112 113

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP114U144870 00 Ser4-4 175

GAL L E RY

114 115

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP116U144471 00 Ser4-4 175

GAL L E RY

116 117

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP118U144471 00 Ser4-4 175

GAL L E RY

118 119

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP120U144471 00 Ser4-4 175

GAL L E RY

120 121

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP122U144471 00 Ser4-4 175

GAL L E RY

122 123

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP124U144471 00 Ser4-4 175

GAL L E RY

124 125

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP126U144471 00 Ser4-4 175

GAL L E RY

126 127

1U144471 00 Ser4-4 175

171107 K25 K000 K000

2 UP128U144870 00 Ser4-4 175

GAL L E RY

128 129

2U144870 00 Ser4-4 175

051207 K04 K000 K000

Angkor Wat Cambodia

1 UP130U144471 00 Ser4-4 175

GAL L E RY

130 131

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP132U144471 00 Ser4-4 175

GAL L E RY

132 133

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP134U144471 00 Ser4-4 175

GAL L E RY

134 135

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP136U144471 00 Ser4-4 175

GAL L E RY

136 137

1U144471 00 Ser4-4 175

171107 K25 K000 K000

1 UP138U144471 00 Ser4-4 175

GAL L E RY

138 139

2U144870 00 Ser4-4 175

051207 K04 K000 K000

1 UP140U144471 00 Ser4-4 175

GAL L E RY

140 141

1U144471 00 Ser4-4 175

201107 K2505 K000 K000

1 UP142U144471 00 Ser4-4 175

142 143

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP144U144471 00 Ser4-4 175

144 145

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP146U144471 00 Ser4-4 175

146 147

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP148U144471 00 Ser4-4 175

148 149

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

girl Peru

1 UP150U144471 00 Ser4-4 175

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

Outback Australia

Mid-exposure in the

Cairngorms Scotland

1 UP152U144471 00 Ser4-4 175

152 153

MECHAN IC S

1U144471 00 Ser4-4 175

161107 K67 K000 K000

1 UP154U144471 00 Ser4-4 175

MECHAN IC S

154 155

1U144471 00 Ser4-4 175

161107 K67 K000 K000

2 UP156U144870 00 Ser4-4 175

TRAVEL D IARY

2U144870 00 Ser4-4 175

051207 K29 K000 K000

1 UP158U144471 00 Ser4-4 175

158 159

1U144471 00 Ser4-4 175

171107 K75 K000 K000

Eus 77exposure 153

Eype point 39

Text Black

1 UP160U144471 00 Ser4-4 175

061207 K7546 K000 K000

leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

1U144471 00 Ser4-4 175

201107 K1704 K000 K000

1 UP8U144471 00 Ser4-4 175

INTRODUCTION

1U144471 00 Ser4-4 175

171107 K17 K000 K000

1 UP10U144471 00 Ser4-4 175

PHOTO E S S AY

Vietnam

1U144471 00 Ser4-4 175

191107 K56 K000 K000

Chiang Mai Thailand

1 UP12U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP14U144471 00 Ser4-4 175

1U144471 00 Ser4-4 175

201107 K1904 K000 K000

1 UP16U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

J OURNA L

1 U144471 00 Ser4-4 175 201107 K1956 K000 K000

1 UP20U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

161107 K19 K000 K000

1 UP22U144471 00 Ser4-4 175

2U144870 00 Ser4-4 175

041207 K75 K000 K000

1 UP24U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP26U144471 00 Ser4-4 175

Shapes

1U144471 00 Ser4-4 175

171107 K10 K000 K000

1 UP28U144471 00 Ser4-4 175

V I S ION

1U144471 00 Ser4-4 175

171107 K10 K000 K000

2 UP30U144870 00 Ser4-4 175

Colour

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V I S ION

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Distance

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V I S ION

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2pm Siesta

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Motion

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Machu Picchu

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market near Cusco

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Chincerro farmer

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nears Cusco

Pampasmojo Marras

of the Andes behind

Valley

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The Great Wall

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Province

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Yunnan Province

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Yunnan Province

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5454 55

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J OURNA L

PokharaNepal

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6262 63

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ENV I RONMENT S

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TRAVEL D IARY

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6868 69

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Eilean Donan Castle

ENV I RONMENT S

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TRAVEL D IARY

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worthwhile for this

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starts snowing

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K000 K000

7474 75

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K000 K000UP75

1 UP76 U144471 00 Ser4-4 175 161107 K76

K000 K000

ENV I RONMENT S

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K000 K000UP77

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TRAVEL D IARY

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K000 K000UP79

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8080 81

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ENV I RONMENT S

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ENV I RONMENT S

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8686 87

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1 UP88U144471 00 Ser4-4 175

ENV I RONMENT S

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J OURNA L

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1 UP92U144471 00 Ser4-4 175

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Concrete

9292 93

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17ndash40mm lens

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ENV I RONMENT S

24ndash70mm lens

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ENV I RONMENT S

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ENV I RONMENT S

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100100 101

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102102 103

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1 UP104U144471 00 Ser4-4 175

ENV I RONMENT S

104 105

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2 UP106U144470 00 Ser4-4 175

ENV I RONMENT S

106 107

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ENV I RONMENT S

108 109

Nikon F5 300mm lens

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PHOTO J OURNA L

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110 111

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GAL L E RY

112 113

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GAL L E RY

114 115

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GAL L E RY

116 117

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GAL L E RY

118 119

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120 121

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122 123

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GAL L E RY

124 125

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GAL L E RY

126 127

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GAL L E RY

128 129

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Angkor Wat Cambodia

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130 131

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GAL L E RY

132 133

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GAL L E RY

134 135

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GAL L E RY

136 137

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GAL L E RY

138 139

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GAL L E RY

140 141

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142 143

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144 145

MECHAN IC S

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146 147

MECHAN IC S

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148 149

MECHAN IC S

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girl Peru

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MECHAN IC S

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Outback Australia

Mid-exposure in the

Cairngorms Scotland

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152 153

MECHAN IC S

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MECHAN IC S

154 155

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TRAVEL D IARY

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158 159

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Eus 77exposure 153

Eype point 39

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leeches 89lenses

156ndash7

Copyright

Contents

The Waiting Game

Part One Vision

Part Three Gallery

Part Four Mechanics

About the Author

Acknowledgments

Documents

Waiting for the Light