BLOG ARCHIVE
New Photos | Summer 2024
A collection of photos taken during Summer 2024.
Like many landscape photographers, I struggle to take photos in the summer. I prefer to take my photos during the calmer, relaxing sunrise hours meaning some ridiculously early mornings which, along with the green, monotone colours summer provides, can take their toll on my enthusiasm to get up and head out in the morning. This year’s summer months may have been the most challenging yet. Of course, I know that with fuller foliage and the right conditions, the woodland can look incredibly beautiful. Still, throughout June, July and August, I felt I was constantly battling a general lack of motivation and my desire to find some of those early morning summer scenes I knew were out there.
The desire to head out and enjoy the summer woodland in the morning did win out a few times, and I was able to take a few new photos while revisiting some old friends.
Alongside some summertime woodland photography, I’ve also shared a few pictures I took while in Cornwall, London and the Sussex landscape.
June to August 2024 - Summer 2024 collection.
Below is the first of three collections I’ve shared from my woodland adventures in this post. This collection was taken early in the summer when the woodlands were still awash with bright, vivid green tones.
(You can click in the smaller photos to see a larger version)
Next up, I’ve shared some photos I took at my local forest towards the end of June. My local forest is largely made up of open heathland and every now and then, when the conditions are right, I can be greeted with some fantastic foggy conditions such as those I photographed below.
After I spent some time taking photos of London’s rooftops from the Garden at 120 back in July, I made my way down to Tower Bridge and experienced some of the best light I’d ever seen as the sun set across the city. I remember the weather couldn’t make its mind up. One minute it was sunny, the next it was raining and just as the sun set, the entire sky erupted in fiery reds, and I just happened to be at one of my favourite Thameside viewpoints to witness it.
Towards the end of summer, I was yet again blessed with some fantastic foggy conditions in my local forest. This time around the fog was thick enough to penetrate the woodland, so I left the open heathland and ventured in to seek out compositions amongst the trees.
In August. I spent a week in North Cornwall with my family and although this wasn’t a dedicated photography trip, I did manage to head out a few times on my own with my camera to take a few pictures. My first stop was The Rumps where I took a mixture of photos, both with my main camera at ground level and from above by sending my drone up and out to sea, pointing it back towards the coast.
Although happy with the photos I took from the ground, I love the photos I took with the drone. I’ve never seen The Rumps from this angle and with the waves crashing along the coast and dark clouds above, the resulting photos were packed full of drama and mood.
I visited a few other spots during the week, including Bedruthan and Trebarwith Beach. From here, I ended up taking a few black and white photos as I wanted to try something a little different (for me) and the rough, foamy water created some interesting contrast and dynamism in the pictures. With my recent fondness for the square crop, I decided to use it here to add a little consistency to the final set.
As I was staying only a few minutes down the road in Tintagel, I couldn’t leave without paying a visit to this well-known viewpoint in Boscastle. It was a cloudy morning and there was no chance of any sunrise colour but that didn’t put me off at all. With the heather in full bloom, it made up for the lack of colour in the sky and I spent a fantastic few hours photographing this fantastic coastal view.
The last photo of Cornwall below is a top-down drone photo I took at Bossiney Cove. A cute little beach just a few minutes’ drive from Tintagel.
Finishing off this collection of photos I took during the summer months are these more traditional landscape photos taken while out and about in Sussex. All of these landscapes are familiar to me, but all show off the vibrant colour summer can provide.
Until next time,
Trevor
The square photo format
In this article, I delve into the square aspect ratio and explore the benefits it brings to my photography.
When I first embarked on my Timeless City photography project, I quickly decided that along with being black and white, all of the photos in the series would be presented as squares. Although I’m still certain this was the right thing to do, it was a snap decision at the time as I wanted to instil some consistency in how the work would be presented and avoid a mix of different aspect ratios.
If you want to learn a little more about why I started this Timeless City project, check out Timeless City: An Introduction.
Alongside the consistency aspect, I strongly believed that applying constraints to how my work is produced would encourage me to think (and in this case see) differently. I’ve been shooting with a 3:2 aspect ratio for years, and up until recently, I would only occasionally change this after the shoot, back in post. So, seeing and composing a square frame has forced me to think deeply about my compositional habits.
One final thought on composition: I believe there are no rigid rules in photography. You’ll hear about techniques like using the rule of thirds or leading lines, and while these can be valuable tools for learning, they should serve more as guides than strict rules. Whether you choose to follow or ignore them is entirely up to you, because ultimately, you're the one pressing the shutter. If your approach works and the image resonates, then you've succeeded in capturing something uniquely yours.
But why did I choose the square for this project?
I’ve been wanting to write this article for a while; not just to explain my decision to use the square crop, but also to help me better understand why I’m so drawn to it. As I mentioned earlier, choosing the square format was an instinctive decision that felt right for the project as a whole. However, it was only afterwards that I began to reflect on what it adds to each individual image. Ultimately, no matter how the work is presented, it's the strength of the photos themselves that will define the overall success of the project.
The points below are based on a combination of studying the photos I’ve taken for this project and researching the compositional techniques used by photographers I admire. While much of this may have been discussed before, I wanted to write this article as a way to process and understand it through my own work. These are my personal, evolving opinions, and I welcome you to share your own thoughts on the square crop in the comments at the end of the article.
With all that being said, let’s dive in.
The square creates a classic, timeless look to my photos
I want to start with this point because I feel it’s less about composition and more about style, yet it’s a key reason I chose the square format for this project. In a world dominated by 3:2 and 4:3 aspect ratios, I associate the square format with classic medium format cameras like the Rolleiflex or Hasselblad, used by legendary photographers of the past. To me, the square frame evokes a vintage, nostalgic feel. While I’m photographing the contemporary world and can’t (nor do I want to) eliminate all signs of modernity, I believe the square format helps them subtly fade into the background, if only a little, to help achieve a more timeless look.
Placing the subject anywhere in the frame with a square photo
One thing I quickly noticed when composing photos with a square crop is that I could place the subject almost anywhere in the frame without it feeling unbalanced. The square format offers more freedom, as traditional compositional guides seem to carry less weight. Whether I position the subject near the centre or closer to the edge, the image still feels balanced. This flexibility allows me to be more creative and simply have more fun when taking my photos.
A neutral shape which encourages the viewer to look around the image
Lacking a dominant direction, the square photo offers equal visual weight on all sides, encouraging the viewer to look around the frame as opposed to looking side to side or up and down. The symmetry helps prevent the viewer from feeling pulled in a particular direction, encouraging a more immersive exploration of the entire frame. This balanced approach prevents the eye from being directed by dominant shapes or lines, fostering a more comprehensive and immersive exploration of all elements within the image.
Square photos can often convey a sense of calm
Building on the point I made earlier about the square format lacking a dominant direction, I’ve noticed that square photos, both my own and those of other photographers, often convey a sense of calm. I touched on this in my project introduction, referencing the work of the great Michael Kenna and how his use of the square format contributes to the zen-like quality present in much of his photography.
Without the horizontal or vertical bias of a rectangular frame, the square format introduces a sense of stability and harmony. In the chaotic and busy environments I photograph, particularly in my London cityscape work, the square composition helps create a more peaceful, uncluttered feeling.
The square can enhance geometric shapes
Although visual tension in a photo can be a positive thing, it can sometimes detract from the feeling I’m trying to create with my images and when including strong geometric shapes in my photos like in those below, the neutrality of the square crop helps them to feel more centred and balanced within the frame.
Embrace the use of negative space and minimalism with square photos
I’ve already spoken about how the square can convey a sense of calm, but this also goes for instilling a minimalistic feeling in the photos by introducing a more balanced composition. Without the directional bias a rectangle brings to the image, it helps to make every element in the frame, including negative space, equally important, creating a harmonious visual experience.
A square photo can enhance diagonal lines
When I want to introduce visual tension in my photos, I often incorporate diagonal lines into the composition. The inherent stability of the square frame, with its equal sides, contrasts perfectly with the dynamic energy of diagonals. These lines not only add depth but also guide the viewer's eye through the image, creating a more engaging and visually compelling experience.
Symmetry with the square photo
With all sides being equal, the square aspect ratio is ideal for symmetrical compositions. It enhances both vertical and horizontal symmetry, creating a balanced frame that doesn’t favour one direction over the other. This allows symmetrical scenes to shine, amplifying their sense of order and precision. The square format also reinforces simplicity and calm, as the symmetry within the image offers a clean and visually satisfying composition. From architecture to reflections, the square format beautifully highlights the inherent harmony of symmetrical subjects.
A frame within the frame is enhanced with a square crop
I love incorporating frames within my compositions, particularly with a 1:1 aspect ratio. The equal dimensions allow the frame to be uniformly sized on all sides, enhancing the balance of the composition. This uniformity not only creates a sense of harmony but also contributes to the quieter, more relaxed atmosphere I try to portray in my work.
That being said, using frames within the frame doesn’t necessarily require a symmetrical composition. As I mentioned earlier, the square format offers compositional freedom, allowing you to place the subject or the frame itself off-centre. You can also experiment with the dynamic energy that diagonal lines can bring into the image, adding visual interest and movement while still maintaining balance.
Taking square photos and my thoughts about cropping
Before concluding this article, I want to discuss how I compose and capture square photos while out in the field. My Fujifilm XT5 allows me to set a 1:1 aspect ratio directly in-camera, and unlike some other brands, this setting is non-destructive, meaning I can adjust or remove the crop during post-production. Surprisingly, some cameras permanently discard the cropped-out portions of an image, so if that’s the case for you, consider adding compositional grid lines to your camera's display to guide your framing and apply the crop later when editing in your chosen software.
And please! Do not let anyone tell you cropping photos is bad. That’s just ridiculous. There is no right or wrong with photography.
This small study into square format photography and the compositional benefits it can bring has been a great opportunity to dive a little deeper into the work I’ve been creating and I hope that this newfound awareness of the impact a square crop can have on my pictures will help me in my continuous drive to develop my photographic eye. As I mentioned before, please feel free to leave any comments, sharing your own thoughts on the square photo below.
Until next time.
Trevor
My Favourite Photography YouTube Channels in 2024
An updated list of my most watched photography-related YouTube channels.
YouTube is fantastic. It was and remains a game-changer for those with something to say, wanting to pass on knowledge or simply showcase their creations, and as a free resource to learn or be inspired from, there’s not much better out there. The thing is, for all the good it provides, you sometimes have to wade through a lot of average, or even poor content to find it and having done a lot of that work already, I’ve cultivated a healthy list of photography-related YouTube channels. So, to help those also looking for good, high-quality content, I’ve created a list of the channels I enjoy the most. These are the channels that when a new video is released, go straight into my watch list, which is the best endorsement I can provide them.
Back in 2020, I posted a blog listing my Top 10 Landscape Photography YouTube channels and given a few years have passed, I thought I would post an updated list, but this time, I’ve decided not to limit it to landscape photography specifically, but to also include some other of my favourite photography related channels. The point is that although I might consider myself more of a landscape photographer, my interest in the craft spans many genres and regardless of the equipment used or the subject being photographed, I can learn or gain inspiration from pretty much anywhere.
The list is a little longer than my previous post in 2020, so I grouped a few of them by themes. You can jump directly to the list you want to browse by clicking the links below.
Contents
Before diving in, do remember to balance watching videos about photography with actually going out and practising it yourself. Try to use the videos you watch to inspire and motivate you and not replace your creative outlet entirely.
In the field photography YouTube channels
This list of channels features photographers who typically create their videos while taking photos in the field. I love that I can be instantly transported anywhere in the world and learn from the photographers who took the time to video and share their adventures with us.
Simon Baxter
Simon Baxter has been an inspiration to me since I started to take woodland photography more seriously. I have watched his channel for many years now and he really is the master of seeking out woodland compositions. He takes the time to get to know the environment he photographs and expertly walks you through the compositions he frames, helping you to make sense of the naturally chaotic environment the woodland can be.
Fototripper
Fototripper is a channel run by Gavin Hardcastle, a landscape photographer from the UK, now living in Canada. Gavin is a great landscape photographer, an excellent teacher, and a really funny guy. If you want a great mix of landscape photography and comedy, this is the channel for you.
Thomas Heaton
Thomas should not need any introduction. He’s a bit of a superstar amongst the YouTube landscape photography community and for good reason. He has a huge following, an honest and unpretentious manner, and makes fantastic videos from all over the world. Thomas seems to be able to find a photo out of nothing and even on those rare occasions when he can’t, he is content to go home empty-handed due to his “good shot or not shot” approach.
Courtney Victoria
Courtney Victoria spends a lot of time her time photographing the British woodland. A very capable photographer who likes to get nice and close, capturing the smaller scenes she finds there. If you’re not a fan of small woodland scenes, fear not, you will be a fan of Courtney’s woodland jigs. Check her videos to see what I mean.
Nigel Danson
Nigel is one of the best landscape photography teachers on YouTube. His videos provide a great mix of on-location photography and studio-based talks and tuition. He is particularly good at examining and critiquing his own work so others can learn the same lessons he does.
Andy Mumford
Apart from being a fellow Fujifilm shooter (I know, it’s not all about the gear.. blah blah), Andy is an incredibly talented travel and landscape photographer. Andy frequently visits the Dolomites and his photos and videos created there are both engaging and always polished. Andy doesn’t make videos as regularly as others but when he does, they go straight onto my watch list.
Alex Nail
Alex is full-time landscape photographer known for his mountain and wilderness images. You will typically see Alex photographing the landscape during longer trips and expeditions, so he may not upload every week, but when he does, the work he creates is usually pretty epic and worth waiting for.
James Popsys
What I like about James Popsys is how encourages his viewers to think differently, resist the conventional and just have fun with the camera. We landscape photographers will typically shiver at the thought of photographing a scene with a blown-out sky, but James certainly doesn’t and prefers a more high-key look to photos he takes, typically of landscapes influenced by humans. If you like interesting and entertaining YouTube videos (and a bit of gear talk), this is the channel for you.
Mali Davies Photography
What to say about Mali? An open, friendly creative Yorkshireman. Be it exploring the British countryside or pounding the city streets, whatever the subject, Mali’s photography and videos are really engaging, and his work is always top-notch. Well worth a watch. “Sithee”!
Michael Shainblum
A landscape photographer based in California. Michael produces some of the most stunning and original landscape photography out there. He has a calm, relaxing tone to his film making and comfortable photographing a wide range of subjects, from the wide, epic vista, down to close-up macro subjects. A must subscribe.
Simon Booth
If you like small-scene and intimate photography, Simon’s channel is for you. Simon’s knowledge of the environment he photographs is unrivalled in my opinion and along with some beautiful close-up work, his videos are full of educational titbits about the subjects he photographs.
AOWS
A channel by Spanish-American, black-and-white landscape photographer Adrian Vila. I’ve not historically taken a lot of black and white photos, but it is something I’ve started to do more of recently and I’ve become a big fan of Adrian’s mono work. He has a distinctive approach to the way he shoots and edits his work and I’ve spent many an hour following Adrian’s journeys around Europe and America, often sleeping in the back of his car as he searches for the next subject to photograph.
Nick Page
If I had to describe Nick’s landscape photography in one word, I think I would choose “EPIC”. Nick is an incredibly relatable and down-to-earth character and I thoroughly enjoy is “in the field” videos which usually result in yet another incredible landscape photo.
Photography online
Probably one of the most polished, photography shows on YouTube hosted by Ruth Taylor, Marcus McAdam along with the rest of the Photography Online Team. This no-nonsense show is packed full of useful information with features covering a breadth of topics including film, nature and landscape photography.
Murray Livingston
I haven’t followed Murray Livingston’s work for too long, but in that short time, I’ve started to really enjoy his photography and videos. Originally from South Africa and now residing in Scotland, Murray’s videos are quiet and contemplative, and his landscape photography is of an incredibly high quality.
Alan Schaller
Up until now, the YouTube channels I’ve listed have been broadly landscape photography-based, but I think it’s important to mix things up and be inspired by work from outside of your general wheelhouse. You can usually find Alan Schaller walking the streets of London taking incredible black and white street photos of the people and places he comes across and by having a slightly eccentric nature, it makes for some entertaining videos.
First Man Photography
First Man Photography is a channel hosted by Adam Karnacz; a landscape photographer based in Yorkshire. Besides being a talented photographer, Adam will frequently go above and beyond to bring his audience more interesting videos, for example, taking a printer up a mountain to take, edit and print a photo while on location. First Man Photography has been around for nearly 10 years, so I’d be surprised if you’ve not come across him yet, but for the one or two who haven’t, I recommend taking a look.
Adam Gibbs
Although Adam is originally from the UK, he has lived in Canada for a few decades and along with some regular travel further afield, he spends much of his time driving his small camper van to remote locations across Canada to photograph the landscape. Whether taking photos of wide vistas or small, intimate patterns in the rock, Adam’s work is typically subtle and calming and his videos have a similar feel (unless he gets together with Gavin Hardcastle, that is).
YouTube channels featuring film photographers
Although some of the photographers I’ve already mentioned will occasionally use film cameras, I decided to create a separate list of channels I follow where film cameras are their tools of trade. All of the channels that focus on film photography I follow have a familiar calm, quiet, methodical theme running through them, so if you’re looking to strip away some of the technology used in modern photography and get back to basics, these channels are well worth a look.
Ben Horne
If you are after a pure photography experience, look no further than Ben Horne. He shoots wilderness photography on large-format film at places like Zion and Death Valley National Park. Ben will regularly head out on a trip (usually four times a year) and document his journey as he seeks new and different compositions of the places he is already familiar with. After the trip Ben will release a series of videos from the trip, finishing up with an image review where he shares his thoughts about the pictures he took.
Kyle McDougall
Kyle McDougall's channel focuses on film photography, creative exploration, and personal growth through the many projects he undertakes. He clearly and articulately explains his thought process and reasoning for the trips he takes, projects he undertakes and gear he uses. Like the other film channels I watch, Kyle’s videos are incredibly relaxing and informative and even though I’ve not dabbled in film photography myself (yet), it hasn’t stopped me from learning a great deal from this channel.
Nick Carver
I’ve followed Nick Carver’s photographer for just a couple of years after Thomas Heaton mentioned him on one of his videos. Nick is an American film photographer, often found by the side of the road photographing former Taco Bell restaurants. Whether it’s an urban location or the middle of a desert, Nick is happy to make a project out of almost any subject and alongside his presenting style, having such an open mind to what makes a good photo is why I’m eager to watch his videos when a new one drops.
Jess Hobbs
Based in Montreal, Jess Hobs shoots predominantly with film, typically taking pictures of the natural spaces around her. There’s not been a video for a few months, and although I wouldn’t normally include dormant channels on this list, long pauses in video releases are not unusual for her and I think Jess’s videos good enough to stay subscribed for when the next one drops.
Chris Darnell
Chris Darnell is an American landscape photographer who takes his pictures on both film and digital cameras. Spending much of his time seeking fresh compositions in America’s western national parks such as Zion and Bryce Canyon, Chris uses large and medium format cameras, communicating his creative thought process as he goes.
Studio-based and interview-style photography YouTube channels
Here you will find some of the channels I regularly watch that are typically filmed indoors. Some might be a group video with standard webcams, others are filmed in a formal, studio setting but regardless of their style or equipment used, they are all great channels in their own right.
Glyn Dewis
I first came across Glyn Lewis when he presented the “He shoots, he draws” podcast with Dave Clayton a few years ago and continued to follow him as his YouTube channel started to gain a lot more traction. Here he interviews various people from the creative industry from photographers to animators who openly share a wealth of knowledge they’ve gained throughout their careers. For a one-man band, it’s a pretty slick show and if like me, you just love to hear the stories of anyone involved in a creativity, then this is a podcast well worth a look.
Brews n' Views
What’s not to like about a channel about photography and beer? Brews n’ Views has been going for about a year now and is essentially a few good friends who all enjoy an IPA (or five) and getting together to chat photography. The videos usually start with a quick chat about the beers they’ve brought, followed by presenting the work of guest photographers or those they’ve come across online. Some of the videos can be a little on the long side (2-3 hours!!) but it’s still a great way to see work from photographers you might never come across otherwise.
The Photography Pubcast
Like the Brews n’ Views channel I just mentioned, The Photography Pubcast follows a similar theme but is hosted by a few good friends mostly dotted around the UK, having a light-hearted chat about pretty much anything (with a bit of photography thrown in here and there). There are a few funny characters, with plenty of friendly banter and without too much in the way of photos being shown on screen, it’s the kind of video you can have on in the background while doing a bit of editing yourself.
Matt Payne
Matt Payne is a photographer based in Colorado and alongside being an experienced landscape and nature photographer himself, he has been interviewing other people from the photographic world since 2017. Originally an audio-only series, Matt started to film his conversations a little later and now boasts an impressive library of interviews spanning many photographic genres.
The Art of Photography
Ted Forbes and his Art of Photography channel should need no introduction. Ted has been presenting on his channel for years and if you’re looking for photobook hints, tips and inspiration, this is the channel for you. Ted gets sent a ton of photobooks from his viewers and regularly showcases them on his channel, offering subtle but constructive feedback as and when needed.
Sean Tucker
Photographically, I would say Sean is best known as a street and portrait photographer, but his videos are much more than that. Focusing on photography, creativity, and personal growth, Sean offers thoughtful tutorials and insights on photography techniques, gear, and editing while also delving into the deeper, philosophical aspects of being a creative person. A great channel for tackling self-doubt and seeking purpose in your work.
So, there’s my list of some of my favourite photography-related YouTube videos. I’m currently subscribed to around 160 YouTube channels and although many are now inactive, I still skip far more videos than I watch, but having a good selection of channels allows me to watch just the very best shows that peak my interest, so you can’t have too many in my opinion. With that in mind, please feel free to share your favourite channels in the comments.
New Photos | Spring 2024
A collection of photos taken during spring 2024.
In early 2024, I decided that those who visit my website, read my blog or subscribe to my newsletter should be the first to see my most recent work. I want to ensure that those who actively follow my work can see my latest photos here, presented in a way I want them to be seen. I’ll be releasing new collections as and when I finish editing them and with so many of my photos taken in the woodland, a seasonal release schedule seems to make the most sense to me. This approach may not be limited to just seasonal collections as I will still post new photos with my “On-Location” stories or project-specific collections but, the important point is that they will be seen here or in my newsletter first.
I speak about it a bit more in the first Winter 2023 collection.
March to May 2024 - Spring 2024 collection.
Spring got off to an incredibly slow start in the woodland this year. It seemed to take an age for the new growth to appear and with so many cold, wet and windy days we had, I was eager to say goodbye to the bare, dormant woodlands and hello to fresh leaves and vibrant spring colour.
I’ve grouped the woodland collections below into three, each representing the different stages of springtime in my local woodlands. Many of the subjects are repeated but look distinctively different thanks to the changes introduced as spring took hold.
The first few images were taken in March when the woodland still had a wintery look and feel to it. There were early signs of growth around, but the trees and understory were predominantly bare.
I revisited the woodland again in April and the new growth was well on its way. The forest floor had come to life with new grass, fern shoots and a scattering of bluebells.
Finally, in May, the woodland was much fuller and was awash with vibrant lime greens. Along with finding a few new compositions, I also revisited many of my regular subjects as I find it interesting to document them as they change throughout the year.
Although I don’t send my drone up nearly as much as I should, I did take a few aerial images during my time visiting and photographing the South Downs National Park.
Apart from a few trees here and there, it’s difficult to get a sense of spring in my cityscape photos of London, especially with the cooler tones I tend to lean towards in my photos. Still, this image collection was taken between March and May this year. I can never get bored of exploring this fantastic city I’m lucky enough to live close to and even though it’s such a popular place to photograph, now and then, I find a new composition I’ve not seen before.
Finally, at the very end of May, I spent a week in Snowdonia and although not a dedicated photography trip, I did allocate a few hours here and there to get out with my camera for some landscape photography. I published an on-location blog post featuring more of the photos I took.
Until next time.
Trevor
Manfrotto Befree Advanced tripod review
A landscape photographer’s review of the Manfrotto Befree Advanced Twist Carbon tripod.
As with the perfect camera bag, the perfect tripod is like the holy grail to us landscape photographers. No matter how many we buy, there is always some kind of compromise when it comes to weight, stability, hight, features, etc. As soon as I realised that there was no single tripod for all occasions, it became clear that just like the camera bag, I might need one specifically designed for the type of photography I intend to do.
Although I’m pretty happy with my bigger, heavier tripod I use for landscape photography (see my latest camera gear post here), for a few reasons, I’ve never really been fully content with any of the smaller, lightweight tripods I’ve owned. So, when Manfrotto reached out and asked me to review their Befree Advanced Twist Carbon tripod (MKBFRTC4-BH), I decided to take them up on their offer.
To clarify and be completely transparent, Manfrotto sent me this tripod for free in return for sharing my thoughts, but I’m under no obligation to say only positive things. I would not have accepted the offer if there was any expectation of me to be anything but honest and fair.
One final point before we get stuck in. This is not a scientific review but merely my thoughts and opinion about what I need from a tripod and how the Befree Advanced performed after spending some time with it while taking photos in the field. Other photographers may have different priorities and expectations regarding what they need from a tripod, and I always suggest doing your own research before deciding.
I don’t often travel with a tripod but one of the main reasons I need a smaller, lightweight tripod is for my photography in London. I spend a lot of time photographing the cityscape and carrying a large, heavy tripod around the city isn’t practical at all. So, to give this tripod a proper test out in the field, I brought it along on one of my London photography trips to take a few long exposure images for my black and white Timeless City project.
Befree Advanced twist carbon tripod specifications
Before we start, I’ll quickly list the technical specs from the Manfrotto website. I won’t list everything, but I have included the specs important to me and what I am looking for as a landscape photographer.
Maximum and minimum height
When it comes to design, the maximum and minimum height of a tripod is incredibly important to me when photographing in and around London. Where tripods are allowed, I still need to be mindful of other people and I’m often looking for ways to use the tripod for stability but remain out of the way as best I can. To avoid the tripod using too much floor space, I will often avoid extending the legs and rest it on a wall. In this scenario, the walls can often be narrow meaning I can’t lower the tripod too much by spreading its legs. With the Manfrotto Befree Advanced having a minimum height of 41cm, it means I can place the tripod on a wall without it being too high to use comfortably.
On the other hand, the maximum height is equally important, not because it has to be as high as possible but because it must strike the right balance. When using a lightweight tripod, I’m not looking for the highest possible vantage point, I’m looking to ensure I can extend the tripod high enough to be comfortable for me but not so high that I’m carrying access weight or bulk to achieve a height I don’t really need. The Befree Advanced strikes the right balance for me. I’m not a tall person but with only a slight upward tilt of my rear screen, I can comfortably use the tripod at its maximum height of 127cm (without the centre collum extended).
Weight and stability
At only 1.25 kg (head included) the Befree Advanced is light enough to hook to my camera bag and carry around comfortably all day, but without the weight, I was a little concerned it might not be stable enough when photographing in windy conditions.
While out in London testing the tripod, I stopped along the River Thames to take a long exposure photo of the O2 Arena (formally the Millennium Dome). The wind had picked up, making shake-free long-exposure photos a little tricky. So, this was a good opportunity to test the tripod’s stability. The wind was too strong for me to get sharp photos with the centre collum extended and to be fair, most tripods would have struggled in those conditions but keeping the centre column retracted (as I normally do), my long-exposure photos were perfectly sharp.
So overall, from a stability point of view, it performed well considering how light it is which is a big tick in the box for this tripod.
Opening and closing the tripod
It’s important to me that my tripods open and close with minimum effort and fuss and the Manfrotto Befree Advanced Twist Carbon Fiber tripod has a quick and comfortable twist lock mechanism which works well. It feels smooth, does not require too much effort and I could extend or close the tripod quickly and easily.
My only concern and recommendation for improvement here is that to extend the lower/smaller leg section, I had to untwist the lock and then pull on the rubber feet to extend the leg. Not a huge issue but the rubber feet don’t feel particularly solid and they do twist quite easily. So over time, I feel I could end up loosening or even pulling one of them out completely. I would prefer something a little more solid to grip as I pull the lower leg out and I feel the rubber feet could be better engineered so as not to give the impression I might eventually lose one.
It’s a small area for improvement in an overall positive experience with the twist lock leg mechanism.
Ball head and RC2 mount
Starting with the ball head, I was quite happy with how well this performed. In the description on Manfrotto’s website, they clearly state that this tripod is well-suited for mirrorless cameras, and I think that’s a fair statement. The Advanced 494 aluminium Centre Ball Head might not necessarily support a heavier SLR or medium format body and lens combo, but it’s clear to me that this is not the tripod for those photographers. This tripod is perfect for mirrorless cameras and supports my Fujifilm XT5 and lens with ease.
There are three knobs to use for adjusting the ball head. First, a panoramic knob which allows the head to pan 360 degrees while keeping the horizon flat. Although this is a feature I use often when taking panoramic landscape images, I haven’t taken any with this tripod yet, but I still used it to adjust my composition and it worked absolutely
fine.
The other two knobs are situated together with the smaller friction knob situated inside the main sphere lock. Ball heads can be tricky to use when trying to carefully fine-tune a composition by a millimetre here or there, but by including a separate friction lock, Manfrotto has made the life of a landscape photographer much easier. The main sphere lock felt solid and held the camera in place comfortably. I had no concerns and would trust my camera gear to stay put when the ball head is locked.
A small concern is the plastic used for the ball head knobs. I appreciate Manfrotto's need to find ways to keep weight down, but I’ve had plastic ball head knobs fail on me in the past so I’m hyper-sensitive to the materials used. Also, the plastic feel isn’t particularly comfortable to use and makes using the tripod feel a little on the cheap side. It’s far from the most expensive tripod out there and it certainly doesn’t position itself as such but for a £279 tripod, a small rubber grip on the ball head knobs would go a long way to improving the way it feels to use.
The Befree Advanced twist carbon tripod comes with Manfrotto’s RC2 quick-release plate system. The quick-release system works well and with the camera mounted, the camera felt safe and secure.
Like many landscape photographers who use a tripod, I have always used an Arca-Swiss tripod mount and along with that, I use an L-bracket to help me quickly switch between portrait and landscape orientation. This is where things got a little tricky with the RC2 system as it wasn’t compatible with my Arca-Swiss L-bracket and at time of writing, Manfrotto doesn’t seem to offer an L-bracket that works with their RC2 quick-release system.
The good news is Manfrotto offer a solution to my problem with their Arca-type compatible Top Lock Travel Quick Release Adaptor, the bad news is that anyone looking to use an Arca-Swiss L-bracket with this tripod will need to pay an additional £37 to buy the adapter. The adapter worked exactly as expected and once mounted, I had no issues integrating the tripod into my usual workflow.
So, at least Manfrotto has a solution and although I’m coming at this from a landscape photographer’s point of view, I do think it would make sense that Manfrotto included this adapter with the tripod or even offered the Arca-Swiss compatible head as an option when purchasing the Befree Advanced Twist.
Overall, the Manfrotto Befree Advanced twist carbon tripod feels good to use and performs very well. Any complaints or concerns I have are a bit nitpicky and easily solved in a future revision.
Below are two of the photos I took while out in London taking long-exposure, black-and-white photos using the Manfrotto Befree Advanced Twist Carbon tripod.
Would I recommend this tripod? Well, tripods are such a subjective bit of kit and what’s good for me might not be good for others. Having said that, if you want to travel light but still have a sturdy tripod on hand to take landscape, cityscape or travel photos, I recommend you take a good look at the Befree Advanced twist when choosing your next tripod. It may well be the tripod you’ve always needed.
I hope you found that useful and if you have any questions, leave a comment below or send me a message using the form on my contact page.
Until next time
Trevor
Why I chose the Fujifilm X-T50 as a second camera
Thinking about buying the Fujifilm X-T50? Read about why I decided to buy this camera to use alongside my XT5.
Those who have read some of my “What’s in my camera bag” posts over the years will know that I shoot with Fujifilm’s X-series cameras and since owning the XT2 back in 2017, I’ve always had a second, “backup” camera. This was particularly useful when towards the end of 2022, my XT2 decided to die while out taking photos in my local woodland. It had taken a few knocks and had a fall when my tripod tipped over shortly before, so I wasn’t shocked it happened. But with the XT5 about to be released, I decided against having it repaired and used my X-T30 camera for a month or two while waiting for the XT5 to be delivered.
The good news is that accidents and camera malfunctions are pretty rare, but having a backup camera for those just-in-case moments can mean that most of the time, it’s sat on a shelf, unused and depreciating.
So, how can I ensure I have a second camera, both as an adequate backup, and at the same time ensuring it gets used regularly? I could simply buy the same model again and rotate the cameras, knowing that they are both used half the time, reducing the normal wear and tear they typically get. That would work just fine, but can I take it a little further?
For all five generations of Fujifilm’s XT series cameras, they have had a philosophy to have a bigger, more robust flagship model (the XT1-5 range) and a smaller, less feature-rich range being the X-T10 to the newly released X-T50.
My lightweight camera gear from early 2023 featuring my backup Fujifilm X-T30
The key differences between the two are size, weight, construction (weather resistance), memory card slots and tweaks to the control/buttons. But what I particularly like about the smaller, lighter X-TXX range is that they use exactly the same sensor and image processor as their bigger brother.
My primary camera for landscape photography is a Fujifilm XT5
In late 2022, shortly after my XT2 failed, I ordered the newly announced Fujifilm XT5 to use as my primary landscape photography workhorse and after around 6 months of regular use, I wrote a review from the point of view of a landscape photographer. So, if you want to know more about that camera, click the thumbnail below.
Why I chose the Fujifilm X-T50 as a second camera
I chose to use the phrase “second camera” on purpose as I don’t like the idea of just having a backup camera (as I mentioned already). I wanted a second camera that has its own unique role to play, to contribute positively to the work I create while at the same time being a backup to the XT5. This is where the X-TXX range and more specifically the X-T50 comes in.
I wrote this article to not only explain why I decided to own both the XT5 and X-T50, but to also provide help to anyone considering buying one of them but needs help deciding which. I also acknowledge that this is not a scientific gear review, and everyone will have their own reasons and opinions for the gear they buy, and these are mine. If I make an error with any of the technical features and specifications, then feel free to correct me but if you don’t agree with some or all the points I make, well,… then,… that’s ok. We can agree to disagree there.
The Fujifilm X-T50 is smaller and lighter than the XT5
The Fujifilm X-T50 and XT5 side by side
I spend a lot of my time walking the streets of London and even more so while I create work for my Timeless City project and when carrying a camera in your hand or around your neck for a few hours at a time, keeping the weight down is important. When I’m not lugging so much weight around with me (like I might on a landscape or woodland photography shoot), it feels more freeing, and I can manoeuvre faster to find those more interesting compositions by crouching low or climbing to get a higher vantage point.
Same sensor, same image processor, same quality
When selecting a camera from other brands, you often have to choose between the latest sensor in their flagship models or previous generation sensors with their lower-end models. In essence, the more you spend, the higher quality imaging capabilities. This seems pretty fair, but Fujifilm does it a little differently. For both their flagship XTX and less expensive X-TXX models, they have always used their latest sensor and image processor.
With the same 40.2MP sensor in each, I never have to compromise on image quality or resolution when deciding what camera to use for a given situation. This also applies to when I might have to use the X-T50 as a backup camera both exclusively or alongside the XT5. In truth, if they didn’t have the same sensor, I might have just bought another XT5 and rotated between them. So, this was a key point in my final decision.
The X-T50 uses the same X-mount lenses as the Fujifilm XT5
The advantage of a second camera being the same brand as my primary camera is that they use the same X-mount lens system. This means I can use any lens I own with both cameras and equally as important, I only have to invest in one set of lenses for all of my photography endeavours.
My current collection of Fujifilm x-mount lenses
The X-T50 now has in-body stabilisation
As I mentioned, the smaller and lighter body helps when using the camera in hand-held situations such as when photographing in the city, travelling and photographing my family. On top of the form factor, Fujifilm have now found a way to add up to 7-stops of in-body stabilisation (IBIS) which means sharper hand-held photos in low light situations.
Familiar Menus, design and button layout
A back of the camera shot of the Fujifilm X-T50’s menu system and buttons
I know I’m not alone when I say that I do not like replacing my cameras and will only do so if there is an obvious advantage to doing so, as even the slightest of changes between camera generations means there is some level of adapting to new button layouts or features. What Fujifilm do well is keep their camera designs and menus incredibly consistent and although there is always some level of adapting when picking up a new Fujifilm camera, it is kept to a minimum.
So, when I pick up either my XT5 or X-T50, I know I won’t have to spend any time relearning how to dial in my settings for any given shooting situation.
The X-T50 is a fun camera to use
I’m not sure if it’s psychological or not but with it being bigger, heavier and more robust, I see my XT5 as the workhorse in my kit. It’s my serious camera, one I use for my slower, more considered landscape photography work. On the other hand, I see the X-T50 (and previous generations I’ve owned) as the fun, everyday camera. It’s a strange thing to say on one hand, as the X-T50 is just as capable in terms of image quality as its bigger brother but whatever the reason, I just find it more fun to use.
The downsides of choosing the X-T50
It’s not all a bed of roses as from a landscape photography point of view, the Fujifilm XT5 is still a superior camera compared to the X-T50. So, what features and capabilities am I giving up? To clarify, these are not criticisms of the X-T50 as I researched the features in detail before I bought it and knew what I would be giving up. This is more to help those undecided and looking for a comparison between the Fujifilm XT5 and X-T50.
The X-T50 is not weather-resistant
Having a weather-sealed camera is a must for any serious landscape photographer as some of the best photos can be taken during inclement weather and I certainly considered the X-T50’s lack of weather resistance when making my decision to buy this camera. The weather-sealed XT5 is still my go-to camera for my landscape photography outings, so for those times I’m standing there in the rain taking photos, I will have that camera with me. If the XT5 is temporarily out of action and I need to rely on the X-T50 for landscape photography, for the odd time it might be raining, I will have both my ThinkTank rain cover and an umbrella with me just in case.
The Fujifilm X-T50 uses the smaller NP-W126S batteries
The NP-126S battery used in the Fujifilm X-T50
This means I have to buy and maintain 2 different sets of batteries. That’s not such a big issue for me as I already had a couple from when I owned the X-T30 but to some, it might be something to consider. Also, the battery is smaller and has less capacity than the NP-W235 used in the XT5. Sure, that might mean fewer images per charge but there is no way the camera would be as small if it was designed to use a bigger battery. So, I think Fujifilm made the right call there.
The X-T50 only has one memory card slot
The Fujifilm XT5 has dual memory card slots and I’ve configured the camera to write new images to both cards, meaning if one were to fail before I get around to backing them up, I still have all the images safe and sound on the other card. With only one memory card slot in the X-T50, I need to be mindful of how a card failure could result in the loss of images and if I were taking photos for a paid job or at a location I know I can’t return too, then I would be using my XT5 anyway. For the typical situations where I use the X-T50 and in the unlikely event my memory card was to fail before backing up the images, it would certainly be frustrating but not the end of the world.
Hopefully, you found that comparison and some of my rationale for buying the X-T50 useful. As I mentioned, this kind of article is quite subjective, with no right or wrong reasons for deciding what camera gear one decides to buy. The most important thing in my opinion is that we all make the most informed decisions we can as the investment we make in camera gear can be significant and the least we can do is help each other to make the right decision.
Until next time.
Trevor
How to get sharp photos when using a telephoto lens
My top tips for capturing sharp photos with a telephoto lens. Learn to avoid camera shake, use a tripod, and perfect focusing techniques for clear landscape shots
I receive many questions related to all sorts of photographic topics and when I’m asked the same question multiple times, it makes more sense for me to write a quick blog post and point people here when it comes up.
As the title suggests, this post is about how to get the sharpest photos possible when using a telephoto lens. Easier said than done on a telephoto lens as when zoomed in, even the smallest of movements are exaggerated and with a smaller depth of field, getting acceptably sharp photos can be tricky.
In this article, I’ll list some of the main causes of camera shake or out of focus photos and make some suggestions as to how you can overcome these challenges and get the tack-sharp photos you set out to take.
Fujifilm XT5 | XF70-300mm | 300mm | 1/100th Second | f/11 | ISO125
Blurry vs. out-of-focus photos. An important distinction.
Before I dive into it, I think it’s worth explaining what the difference is between blurry and out of focus photos as they are different, but it can be easy to confuse the two.
Out of focus simply means that the subject you intend to be in focus is not. Also sometimes called “missing focus”. You won’t get ghosting caused by camera or subject movement, instead, the subject will appear soft and lack clarity. Even when focus is missed, it’s rare that an entire image will be out of focus, particularly when taking landscape photos as we tend to use smaller apertures and have a larger depth of field. One way to check if you have missed focus is to scan the rest of the image to check if any of it is sharp. If objects in front of your subject are sharp, you’ve focused too close and when areas behind the subject are sharp, the focus is too far back.
Blurry photos are usually the result of camera or subject movement and the shutter speed not being fast enough to freeze it. The telltale sign that a photo is blurry caused by camera shake, is that it will be across the entire image and look more like ghosting than just soft. Alternatively, if the subject moves, this usually looks like camera shake, but only to specific parts of the image.
Fujifilm XT5 | XF50-140mm | 140mm | 1/8th Second | f/9 | ISO125
Tips for avoiding camera shake when using a telephoto lens
Small vibrations caused by subtle movements of the camera or lens is a common reason why photos can lack sharpness. As I mentioned, even the smallest vibrations are exaggerated when using a telephoto lens, making it even more important to ensure the camera stays completely still at the critical moment the image is taken. Here are a few tips or techniques to help avoid camera shake when using a telephoto lens.
Use a tripod
It's obvious for good reason. Having a solid base for your camera to rest will help ensure your images are free from movement, particularly in low-light situations. As a landscape photographer, I spend a lot of my time taking photos in low-light situations and having a tripod allows me to use the most optimal camera settings while still getting pin-sharp photos.
Fujifilm XT5 | XF50-140mm | 140mm | 1/20th Second | f/9 | ISO125
Use the built-in timer
You might not realise it, but pressing the shutter will move the camera and once pressed, it usually needs a second or two to settle before the photo is taken. This is why, in most situations when taking landscape photos, I use the built-in timer set to 2 seconds. When I fire the shutter, I will have a 2-second delay before the image is taken which is usually enough time for the camera to stop moving. If I’m zoomed in at 200-300mm, I might even use a 10-second timer to allow the camera even more time to settle.
Use a remote cable release or a mobile app
The problem when using a built-in timer to delay the shutter is that critical moments such as photographing wildlife in the landscape or waves crashing on the rocks can be easily missed. In those situations, you will want to take the photo at the precise moment you click the shutter, but how do you do this without re-introducing camera shake? For these situations, you can use a remote cable release. These are essentially a cable with a shutter button at the end, which will plug into your camera and allow you to take the photo at the precise moment you want without touching the camera at all.
Remote cable releases are incredibly useful but for those without one, then most modern cameras come with an accompanying smartphone app. These apps will typically connect wirelessly to the camera (using Bluetooth or Wi-Fi) and have a built-in shutter button. Working in the same way as the remote cable release, they will allow you to take the photo at the precise moment you want to but once again, without touching the camera directly and avoiding any of the resulting camera shake usually introduced when firing the shutter.
Fujifilm X-T30 | XF50-140mm | 140mm | 1/60th Second | f/8 | ISO160
Use OIS or IBIS
Not all situations will lend themselves to using a tripod, they can add some weight to your gear and some landscape photographers will avoid using one as they feel tripods “root” them to spot and prefer to take photos hand-held. There are of course certain poses to adopt when taking photos hand-held which limit the amount you move when pressing the shutter, but with the introduction of OIS (optical image stabilisation in the lens) or IBIS (in body image stabilisation) in modern cameras, this has made it even easier for photographers to avoid the impact of camera shake in their photos. So, in almost all cases, if you don’t use a tripod and have these features, they will go a long way to helping to avoid blurry photos.
Use a lens collar
Most higher-end telephoto lenses come with a lens collar which allow you to mount the camera and lens combo onto a tripod underneath the lens. With a more balanced setup, it will inevitably be more stable, and this will minimise the amount of camera or lens movement while taking the photo. The issue with less expensive/lighter telephoto lenses is that not only are they less likely to come with a lens collar, but they can often extend as they zoom, making them more sensitive to vibrations as well as pushing the centre of gravity further and further away from the tripod.
You can buy after-market lens collars that fit most telephoto lenses, so if this is something you suffer with, it’s worth considering, but the main reason I mention this is that it happened to me and it took me a while to release that the reason my photos were soft was down to the instability of the lens as it extended out while I zoomed.
Fujifilm XT5 | XF50-140mm | 124mm | 1/15th Second | f/10 | ISO400
Avoid the lens hood in high winds
Lens hoods are great to help keep rain and glare from ruining your photos but that extra bulk can come at a cost when using telephoto lenses. Apart from adding further weight to the end of the lens, potentially destabilising it, they can also act as a sail when it’s windy. The bigger the lens hood, the more it can be affected by the wind, making it almost impossible to avoid vibrations at the end of the lens. So, my advice is to use them only if you absolutely have too, particularly in high wind and if you do, try to use some of the other tips in this post such as increasing your shutter speed if you can.
Use the electronic shutter
I remember the time when I was out taking photos and no matter what I did, I could not work out why my photos were soft. There was no wind, I was using a remote cable release, and my shutter speeds weren’t too long. I was scratching my head for a while before I realised it was the movement of the mechanical shutter causing small vibrations while the image was taken. When I changed the shutter to electronic, my photos were sharp again. Ever since that time, I exclusively shoot with an electronic shutter and having given it some thought, I can’t think of one reason why, for my photography specifically, I would ever need to use a mechanical shutter. It’s been three or four years since I stopped using a mechanical shutter and I have not once had a reason to switch back.
With modern cameras doing away with the mechanical shutter altogether, I guess I was just a bit ahead of my time!
Freeze the subject by using a fast shutter speed
Sometimes it won’t be camera shake causing a blurry image, instead, it could be subjects within the scene that are moving. Typically for me, this might be branches or leaves moving in the wind while photographing the woodland and this is where shutter speed becomes critical when trying to freeze moving subjects in the frame.
This section touches on something most photographers should know, and that’s the exposure triangle. Shutter speed, ISO and aperture; changing any of these settings will affect the exposure and can be used to your advantage when using a higher shutter speed while still letting in enough light onto the sensor to obtain the exposure you desire. I won’t deep-dive into the exposure triangle here, but if you’re reading this and you’re not familiar with it, I encourage you to add it to your list of things to look into.
Like many of the suggestions in this article, it’s worth noting that these can be used no matter what lens you use.
Fujifilm X-T30 | XF50-140mm | 140mm | 0.5 Seconds | f/7.1 | ISO160
Increase the ISO to ensure the fastest possible shutter speed
In days gone by, you would be forgiven for being reluctant to increase your ISO due to the noise it could generate in the image, but times have changed, and modern cameras manage noise so much better than they used to. My advice is to be more confident in increasing the ISO to help you achieve a faster shutter speed as a photo with a little noise can still be used whereas a blurry photo usually cannot.
Not only are modern cameras far better at minimising noise at higher ISOs, but software makers have also introduced more advanced tools to reduce or even remove the noise from your photos in post-production. So, even if your camera does struggle in high ISO, low-light situations, the image can likely be cleaned up back in post-production.
Fujifilm X-T30 | XF50-140mm | 140mm | 1/6th Second | f/8 | ISO160
Use a wide aperture to let in more light
Like increasing the ISO, increasing the aperture by using a lower f-number can also help achieve sharper images when the subject is moving. With a wider aperture, more light can reach the sensor, resulting in faster shutter speeds to achieve the correct exposure.
There are, however, things you need to be aware of when choosing to use a wide aperture to achieve a faster shutter speed. First off, the more you open the aperture, the shallower the depth of field will be. The depth of field is the area between the nearest and furthest points in the image that are acceptably sharp and the wider the aperture, the narrower that area gets. In landscape photography, the depth of field is typically a creative choice, so using the aperture to achieve a faster shutter can be useful depending on the look you are trying to achieve.
Secondly, another consideration when using a larger aperture is that most lenses will suffer from some degree of edge softness when at their widest due to optical aberrations. Granted, modern lenses suffer to a lesser degree and the higher-end lenses with superior construction less so, however, most photographers will experience this at some point when taking photos when using a wide aperture.
The important point to note here is that to freeze a moving subject, a faster shutter speed is needed, and you should be aware of how the ISO and aperture can help achieve this, but at the same time, be mindful of how changing these can affect the look of the resulting image.
Fujifilm XT5 | XF70-300mm | 300mm | 1/320th Second | f/6.4 | ISO125
Avoid missing focus when using a telephoto lens
Getting sharp images isn’t just about freezing the subject or avoiding camera shake, it’s also about ensuring parts of the image you wish to be sharp are in focus. I talked about the differences between motion blur and an image being soft before and this section of the post provides a few tips to help avoid missing focus when taking a photo.
Use a smaller aperture to increase your depth of field
OK, I know I’ve already talked about using a wide aperture to help get sharp photos but bear with me while I expand a little. I explained before that although using a wider aperture will let more light in, allowing you to use a faster shutter speed, there is a potential downside, that being a shallower depth of field, resulting in less of the photo being acceptably sharp.
It’s probably a good point to note at this stage that although the “depth-of-field” and the “focal plane” are similar, there is a subtle but important difference. The focal plane is the area of the scene in front of the lens where the sharpest focus is achieved. Depth-of-field is the area in front and behind the focal plane that is considered acceptably sharp and the smaller the aperture, the deeper this area of acceptable sharpness is.
So, if the light levels are good and you can achieve the shutter speed you desire while still using a smaller aperture, this will mean more of the image will appear in focus and acceptably sharp.
On top of a larger depth of field, a smaller aperture can limit or even eliminate the edge softness when using wider apertures, again, helping to achieve sharper photos.
Fujifilm XT5 | XF50-140mm | 98mm | 1/60th Second | f/8 | ISO125
Check and then re-check your focus
I’ve been caught out by my cameras a few times in the past by relying solely on auto-focus but since adopting my current workflow when out taking photos, thankfully the days of missing focus are behind me.
Firstly, I assigned the autofocus function to another button on the back of my camera and then switched the camera to manual focus. This means the camera will no longer try to focus when the shutter button is pressed. This is often called “back button focus” or BBF and most cameras will have this option available.
With BBF enabled, I have the best of both worlds where I can manually focus and take the image, knowing the shutter button won’t try to refocus for me as well as having the option to autofocus as and when I need by pressing the assigned button on the back of the camera. It also means that when photographing a scene as the light changes, I can get my focus right and then fire the shutter as many times as I like, knowing the focus will remain locked on throughout.
When I feel I have the photo I’m after, the first thing I will do is zoom in on the back of my camera to check it is sharp. Even using the method I outlined above; things can still go wrong. If you come away from a shoot and you find you’ve missed focus, you can’t typically recover from that so do whatever it takes to make sure you know the image is sharp before you leave.
Fujifilm XT5 | XF50-140mm | 140mm | 1/5th Second | f/8 | ISO125
If you’re struggling with focus, particularly when using a telephoto lens then I hope this article goes someway to help you get consistently sharp photos and if you have any suggestions or techniques others might find useful, feel free to leave them on the comments.
Until next time
Trevor.
New Photos | Winter 2023
A collection of photos taken during winter 2023.
One of the many things I ponder regarding my photography is how to publish my work. How do I avoid randomly sharing photos on social media and be more deliberate with the work I release? How can I ensure that those who actively follow my work can see my latest photos presented in the way I want them to be seen? With social media algorithms deciding what photos of mine are seen by those who follow me, how do ensure those who want to see my new work actually can?
I applaud those who can shoot, edit and post photos in a day or two, but I don’t work that way and there are obvious ups and downs to that approach too. It can be weeks or even months before I finish processing some of my photos as I like to take my time, sit on them for a while and be in the right frame of mind to edit. This is particularly true for the more complex images, those I have to work a bit harder to pull the potential out from, to match what I remember witnessing as I stood there in the field taking the photo.
So, I’ve decided that those who visit my website, read my blog or subscribe to my newsletter should be the first to see my most recent work. I want to release new collections as and when I finish editing them and with so many of my photos taken in the woodland, a seasonal release schedule seems to make the most sense to me. This approach may not be limited to just seasonal collections as I will still post new photos with my “On-Location” stories or project-specific collections but, the important point is that they will be seen here or on my newsletter first.
It’s about taking the pressure off and being more deliberate. I’m not concerned about a strict release date or how many photos will make up a collection and I won’t worry too much about them being portfolio-worthy either. True, some will end up in the portfolio galleries here on my website but for these collections, it’s simply about sharing some of my favourite photos I took during those 3 months.
This approach to releasing photos in batches or as collections is not new. I know of a few other photographers who do the same and little by little over the last few months, it’s something I’ve thought more seriously about. I have already shared one or two of the photos below but going forward, unless for a good reason, I will release photos on my website and newsletter before sharing elsewhere.
December 2023 to February 2024 - Winter 2023 collection.
Winter 2023 was the warmest, wettest and windiest winter I’ve witnessed in a long time, certainly since I’ve been taking photos. There was very little in the way of frost, let alone snow! During these darker months, I spent most of my time photographing my local woodland and found a few new, more intimate compositions. I do like to revisit woodland scenes I connect with and photograph them as they change throughout the year. So, you may see some of these again in future collections.
Alongside my woodland work, I ventured into the landscape to photograph a few more recognisable spots in London, around Sussex and across to Snowdonia. Although my style is constantly changing and woodland photography is quickly becoming my most photographed subject, I still enjoy photographing a wide vista or iconic subject.
Tips for Photographing the Woodland in Spring
In this article, I share some of my favourite tips for photographing the woodland in spring.
I think I’m starting to sound like a scratched record as I’ve said it so many times over the last few weeks, but I’ll say it one more time; thank goodness winter is coming to an end! It has been the worst winter for woodland photography since I first started to point my lens towards the trees. I prefer calm, relaxed conditions when I photograph the woodland and the high winds and relentless rain has meant I’ve lacked the motivation to pick up my camera and head to the woodlands over the last couple of months. Now winter is finally coming to an end and with spring just around the corner, I’m now looking forward and planning for another season of fresh green leaves and colourful carpets of woodland flowers.
So, in a bid to share some of the lessons I’ve learned over the last few years, I’ve listed a few tips that I feel can help anyone trying to get the most from their springtime woodland photography.
Get to know the woodland you plan to photograph
Starting with the big one. Scouting! This, in my opinion, is the most important thing any photographer can do when looking to photograph a spring woodland. Knowing where those colourful wildflowers will appear and having some compositions in mind means that when the time comes and conditions are right, you can head to the woodland prepared with some ideas as to what to photograph.
It’s worth noting that when all the fresh flowers and leaves appear, the woodland transforms and can look very different compared to its lifeless, wintry self. So, although it’s great to head into the woodland with some previously scouted compositions in mind, be prepared to change things up if the shot you planned is no longer on.
2. Be prepared to revisit your chosen woodlands
The thing about the woodland in spring is that it’s not always easy to tell when the colour will appear. It can happen in just a matter of days. So, when you’ve found the areas of woodland you plan to focus your attention on, be prepared to revisit a few times so you catch the growth at the perfect time. For this reason, it’s also worth thinking about trying to find local woodlands to photograph, that way you can keep a closer eye on how things are progressing.
Below are three photos of the same scene spanning just two weeks. Look how fast the woodland bloomed into life.
3. Embrace the woodland’s natural disorder
When I first started woodland photography, the number one springtime photo I wanted to take was the iconic uncluttered carpet of bluebells surrounding a bunch of perfectly straight beach trees. For some, it’s the holy grail of springtime woodland photography. Fast forward a few years, and as my woodland photography has progressed, I’ve learned to embrace the clutter and am now much happier seeking compositional order in a natural disorder. I am immeasurably more satisfied when I find a composition I like after working harder on the arrangement.
4. Learn to spot the telltale signs of a misty morning
Like 99% of all other woodland photographers, I love a misty woodland. Along with removing distracting backgrounds and defusing the light, having mist or fog while photographing the woodland can add atmosphere and a sense of mystery to the images.
Although it is never foolproof, it helps if you can identify the telltale signs of a foggy morning when checking your favourite weather app the night before a shoot. In a nutshell, the chances of encountering a misty forest significantly increase when there is little or no wind, humidity is in the high 90s, and the dew point matches the temperature. The weather being the weather means that even when all the signs are there, it doesn’t always work out the way you plan.
5. No mist, no problem
The thing about foggy or misty conditions is that even when all the signs are there, more often than not, it doesn’t happen. So, my advice to anyone photographing woodland is to embrace the woodland whatever the conditions.
Misty mornings aside, my ideal conditions for photographing woodland is in soft, defused light. Personally, I struggle when the light is strong and direct but the great thing about living in the UK is that there are plenty of cloudy days and even when the sun is out, it typically won’t be long before a cloud floats in and tempers the harsh light.
Another challenge when photographing woodland is that it can be quite dark and if there is any sky visible between the trees, it will likely be the brightest thing in the shot and appear very distracting. In foggy conditions, this is less of a problem as the light will be defused but when it’s clear, I will typically find a composition without any sky, using the thicker foliage or the undulations in the landscape as a backdrop to the image.
6. Use a polarising filter to give the colours a bit of punch
If like me, you enjoy photographing the woodland early in the morning or in damp, rainy conditions, you will almost certainly come across wet, reflective leaves in your scene. Reflective light can be very distracting in your woodland photos. This is where a circular polarising filter (CPL) can come to the rescue. A CPL filter works by blocking the reflective light from entering your lens, which means less glare and more punchy colours in your woodland images. This effect is practically impossible to replicate when processing your photos back at the computer, so, to get the very best quality pictures in these conditions, it’s definitely worth mounting a CPL onto the end of your lens.
Just a word of caution. A common mistake many photographers make is to automatically turn the CPL all the way; removing all reflective light from the image. This can result in flat, highly saturated pictures. My advice is to rotate the filter back and forth until there is a good balance between eliminating the distracting reflections and retaining some of the life in the scene. Taking it one step further, photograph the scene with and without the filter mounted so you can choose the picture you like best later.
7. Photograph the small scenes
When the woodland comes alive with new growth in spring, there can be an abundance of smaller scenes to photograph and one thing I’ve been trying to do more often is to get much closer and photograph the finer details. With so much texture and patterns on offer, once you get the camera up close to these smaller scenes, you will be able to tap into a wealth of photographic opportunities and although getting down that low can often be a little tough on the back, by slowing down and taking your time to compose the image properly, you will undoubtedly capture some beautiful, intimate woodland photos.
At the time of writing, I don’t own a macro lens as I don’t want to carry yet another piece of camera gear. Instead, I invested just a few pounds in a set of extension tubes which I mount between my camera and the lens. These allow me to focus much closer for a fraction of the price (they cost me about £30). Extension tubes may not be as good as a high-quality macro lens, and you typically lose a stop of light when using them, but they are the next best thing in my opinion and incredibly handy for the odd occasion where you want to get a little closer to your subject.
8. Embrace the vibrant greens
Photographing the plethora of beautiful colours can be a wonderful experience, however as quickly as they appear, they will be gone again, and you will be left with an abundance of vibrant green tones across the woodland. I love to include those fresh leaves in my images, but having a single colour across the entire frame can result in an image that lacks interest or dynamism. One approach I take to make more interesting photos is to use the strong lines created by the trees to break up the colour and add structure to the composition. This is the approach I took for the photos below and they remain some of my favourite springtime woodland photos I’ve taken.
9. Leave no trace
Over the last few years, so many people have rediscovered the beauty of their local woodlands, and I love to promote the benefits of woodland photography, but all this footfall is having a big impact on these important natural spaces. That’s why, through effective education and following a few simple principles, these popular places can still be visited and enjoyed, but remain protected for future generations to experience.
Our actions directly impact these natural spaces, and one key example is the English Bluebell. Bluebells are a protected species in the UK and picking or digging them up is illegal, but not many people know just how fragile they are. Bluebells can take years to recover from the damage caused by people trampling over them just to take a selfie, and if their leaves are crushed, they can be weakened (as they can no longer photosynthesis). This can all be avoided if everyone sticks to the woodland pathways.
Nature First is just one of many organisations trying to help us woodland photographers to keep these natural spaces safe and they have a few simple principles to follow. By doing so, we can all do our part to preserve our beautiful woodlands.
Prioritize the well-being of nature over photography.
Educate yourself about the places you photograph.
Reflect on the possible impact of your actions.
Use discretion if sharing locations.
Know and follow rules and regulations.
Always follow Leave No Trace principles and strive to leave places better than you found them.
Actively promote and educate others about these principles.
I hope you found that somewhat useful and if you’re looking for some more woodland photography-related articles to read, check out these three I’ve posted below.
Until next time.
Trevor
My Camera Gear for Landscape Photography in 2024
This post provides a look inside my camera bag and lists the gear I use for landscape photography in 2024.
Does camera gear really matter when taking landscape photos? Well, this may seem somewhat controversial to some, but yeah, I actually think it does. Sure, it’s not the be-all and end-all when it comes to taking photos, as most modern cameras are pretty decent at that, but I believe a camera and lens system is a subjective choice based on the photographer’s specific needs and priorities. Being happy with the size, weight, ergonomics, functionality, menu system, lens choices and features is, in my opinion, very important as it can remove much of the friction from the picture-taking process, leaving the photographer to focus on the creative side of photography.
I’ve been using Fujifilm’s X series for around 8 years now and am still very happy with the choice I made way back in 2016. Having used the system for so long, I know the camera inside out and love the fact that while out in the field, I can manage all my settings without going near a menu. That and the balance between size, weight and features means that this system still works best for me.
Here’s a rundown of the photography gear I use when out taking landscape photos in 2024.
My landscape photography gear
Fujifilm Camera and Lenses
XT5 camera: With a weather-resistant shell, dual card slots, 40 megapixels and tons of other useful features, this is a great camera for landscape photography. If you want to read more about how well the camera performs from a landscape photographer’s perspective, you can read my review of it here.
XF16-55 F2.8 standard zoom lens: Although I still have the very capable XF18-55mm, in 2022, I decided to upgrade to the XF16-55 F2.8 as I wanted all my main landscape gear to be weather sealed. The improved optics is a nice bonus, but the extra weight most certainly isn’t.
XF50-140mm F2.8 telephoto lens: For the same reasons I upgraded my standard zoom, I also traded in my XF55-200mm lens for the even heavier but weather-sealed XF50-140 F2.8.
XF10-24mm IOS WR wide-angle lens: New to 2024 is this wide-angle lens. I used to own the original non-weather-sealed version but decided to sell it as I wasn’t using it often enough, but in 2023, I felt not having the ability to go as wide as 10mm limiting in certain situations and with the release of the newer, weather-sealed version of the 10-24mm lens, I decided to buy it once again.
XF70-300mm IOS WR telephoto lens: Like with the wide-angle lens, I felt at times when out in the landscape, the 50-140mm lens lacked the extra reach I needed. So, instead of buying a teleconverter as I had originally planned, I opted for the 70-300mm instead. I’ve not had this lens too long, so the jury is still out but after using it just a few times, so far so good.
DJI Mini 3 Pro drone
In 2022, after what seemed like an eternity of indecision, I finally took the plunge and purchased my first drone. For a few reasons, I opted for the DJI Mini 3 Pro. Having owned it for a while now, and given most of the blogs and YouTube videos out there talk about the video side of things, I wrote a few blog posts about using the DJI Mini 3 Pro specifically for landscape photography.
DJI Mini 3 Pro | A Landscape Photographer’s Review
DJI Mini 3 Pro Camera Settings for Landscape Photography
How I Process My Landscape Photos Taken with the DJI Mini 3 Pro
Filters and accessories
Kase Wolverine magnetic filters: I used to carry larger, square slide-in filters and would spend time fiddling with step-up rings for the different lenses and the holder before being able to slide in the filter I intended to use. That all changed when I got the Kase Wolverine filters. No more fuss! Snap the filter onto the lens and get shooting. In the pouch, I have a CPL, a 3-stop, 6-stop and 10-stop filter. I wrote more about my experiences with these filters in a previous blog post here: Kase Magnetic Filters | A Landscape Photographers Review.
Benro Mach3 TMA37AL tripod: After using my previous tripod for several years, I was after something a little sturdier and a little taller without relying on a less stable centre column. After much research and getting a few recommendations, I eventually opted for the Benro Mach3TMA37AL.
Benro Gd3Wh geared tripod head: For years I’d been happy to use a ball head on my tripod but when I started taking woodland photos, the lack of precision and having to compensate for further movement while making small adjustments with the tripod head began to frustrate me a lot. I invested in this Benro geared head and although it has a bit more bulk, it has solved this problem for me completely.
Spare batteries: The Fujifilm NP-W235 used in the XT4 and XT5 is so much better than the last generation of batteries and I can shoot for much longer on a single charge.
Memory cards: You can’t have too many memory cards. I still prefer to use Sandisk as they have been bulletproof for me so far, but I know there are other brands, just as capable out there.
3 Legged Thing L-bracket: Used to quickly switch from landscape to portrait orientation when using my tripod.
3 Legged Thing Toolz: A handy tool to tighten tripod legs, remove L-brackets, etc.
Headtorch: Not much to say about this one, other than it is bright, light, waterproof and rechargeable. It cost about £15 and lights my path on those dark treks before or after a shoot.
Camera Bag
If you don’t own a load of camera bags, can you even call yourself a landscape photographer? Jokes aside, I’m still using the Vanguard VEO Active 46 as my primary means to carry my landscape photography gear around. For the features I wanted, the size, weight and price, it ticks all the boxes for me.
Going forward, I have half an eye on what Fujifilm plan for the X-T30 II replacement in 2024 as I may decide to buy a backup camera. I’m also contemplating the XF16-80mm F4 lens to complement the XF70-300mm and use them both for trips where I need to keep my camera bag weight down.
As with all my blog posts, if you have any comments or questions, feel free to drop a comment below.
Until next time.
Trevor
Timeless City | An Introduction
An introduction to my Timeless City project. In this post, I provide a bit of background and answer a few questions such as why I take photos of London, why I chose this style for the photos and what the future might hold for the project.
London is my local city. It’s the closest city to where I grew up, a place I’ve worked for quite a few years and ever since I first picked up a camera and started taking photography more seriously, it’s a city I have spent countless hours photographing.
Why London?
Growing up in the suburbs, I didn’t visit London often as a child, when I did, it was usually a family day out or a school trip to some of the tourist hotspots such as the Tower of London or Trafalgar Square. I remember walking around the city, dwarfed by the buildings around me, in awe of the many different styles of architecture I saw. The hustle and bustle, the noise, and so many people; it was a different world to the one I was used to. This was all decades ago, when there were just a handful of buildings taller than St Paul’s Cathedral and over on the Isle of Dogs stood a solitary One Canada Square. How times have changed.
Fast forward a few years and long before I’d taken up photography, I took a job which involved travelling to London almost every day and getting to know the city much better. My work took me all over London and this is when I first started to build my own, personal connection with the city.
In 2016, photography started to evolve from an occasional hobby, photographing a bit of everything, to the passion it is for me today. After a few years of working closer to home, I was back in London most days and naturally drawn to landscape photography and given the connection I’d already built with the city, it made sense that I would feel more compelled to point my lens at London’s incredible cityscape.
Since then, I’ve spent an untold number of hours across countless visits to the city walking the streets, seeking out new compositions and like all landscape photographers, hoping for perfect conditions in a bid to take that perfect image, knowing full well that such a thing doesn’t exist.
I chose to use “Timeless” in the title because from the subject to processing style, I felt it represented a few of the important ingredients that make up this project.
London as we know it has existed for around 2000 years, from a time when Londinium was the size of Hyde Park to the megacity it is today. Throughout all that time, architectural styles have inevitably evolved, from the medieval Tower of London, English Baroque such as St Paul’s Cathedral through to post-war brutalist and the contemporary 21st-century style with plenty of glass being used today.
London’s iconic cityscape is still represented by all of these architectural styles, and this is why timeless doesn’t mean a city that never changes, embodying just a single point in history. To me, it means a city that represents all times, a place consistently evolving over hundreds of years to a point where all of the significant architectural ages London existed through are represented across its skyline. With both old and new coexisting side by side, I wanted to capture a sense of that in my work.
Although the need to develop and evolve with the times has contributed to London’s ever-changing cityscape, this somewhat mishmash of styles has by no means been solely by design. Through the many turmoils the city has faced, such as the great fire or the blitz, London has been forced to rebuild significant parts of the city over the centuries, and one of the challenges I relish is to seek out ways to represent London in my photography and how it’s many structures stand together side by side in what I can only describe as a chaotic harmony.
The goal here isn’t to produce an “old and new” series of photos and even though most of the photos I take will include more than one architectural style in the frame. The goal is to document London’s cityscape across the entire body of work from high up in the rooftops with views stretching for miles, to closer, more intimate photos where scale can be represented better by including a subject in the composition.
At the time of writing this post, the earliest photo I have included in this project was taken in 2018, which, in the grand scheme of time, isn’t very long at all, but still long enough for many changes to take shape across London’s cityscape between then and now. The rate at which new buildings are being erected, particularly in the financial districts is accelerating and as I continue to take new photos, I will be inadvertently documenting these changes as they happen. If this ends up being a very long-term project, I think it will be good to look back at how the cityscape used to look years before.
Why this aesthetic?
Something important to mention about this work is that it is intended to be more of an artistic project than a documentary one, and every photo is taken with the full intention of being edited in post-production. This will include converting the raw files to black and white (more on that later) and alongside some usual tonal and contrast adjustments, I use plenty of selective dodging and burning to achieve the final look.
I still, however, have my own views about authenticity and how I edit my images. I never swap out the sky and never add something that wasn’t in the scene at the time the picture was taken. I might clone out the odd distraction if I feel it is taking away from the aesthetic, but these are typically transient elements such as rubbish in the foreground, old chewing gum on the pavement or the odd crane in the background. I want the viewer to be confident that if they were standing next to me as the shot was taken, they would have observed the same scene I show in my final image.
Alongside those adjustments, if the dynamic range is too much or I want to illuminate certain moving elements in the scene, I will blend images. I will only do this if there is just a very short time between frames and the camera has not been moved.
Sometimes reality doesn’t quite behave as we want, and we need to find our own limit as to what we are willing to do to get the final image. There is no right or wrong answer here, but I do believe in being upfront and honest about how the photo was created. You should stand by your work and not purposely mislead the viewer.
Getting back to the point about this being more of an artistic project than a “straight out of the camera” documentary, I wanted to give the finished photos a timeless look and feel.
I felt to represent the work as a single body, I had to ensure the final look was as consistent as it could be and given the ever-changing conditions, the many different styles of architecture and the multitude of colour in the scenes I photograph, removing colour and producing only black and white work seemed the right choice.
Of course, I still love colour photography and still produce most of my landscape work this way. So, once the project was starting to take shape and I ventured out into London to deliberately take photos for this black and white project, I learned very quickly that I would have to think and see differently. I had to remove colour from being a compositional element and focus only on shape, form and light. I feel, however, that it was a necessary step to make, as in addition to a more consistent look, black and white photography has a timeless feel about it, as the process does not age the photos and although I have no intention of doing so, they are free from a style that represents any contemporary trend in my work.
Another creative decision I made for this project was to use the square format for all finished photos, and like my decision to only process the images in black and white, there are several reasons for this. The first and most obvious reason for the square is that by having a single aspect ratio for all photos, it helps when trying to obtain a consistent look across the entire body of work.
Additionally, using a square crop has other compositional advantages. For instance, it can help when placing the subject in the centre of the image. I tend to do this quite often and the square crop, with all sides equal, can further emphasise that symmetry in the frame.
For a landscape photographer, the square format may appear more restrictive than the traditional 3:2 or 4:3 aspect ratios, but that’s not the case at all. I feel I have more freedom when composing a photo as the traditional “rules” carry less weight. Having equal sides seems to reduce the need to compensate when composing the image. I’m able to place the subject close to the middle or nearer to the edge of the frame without feeling the picture lacks balance.
Michael Kenna’s work is frequently referred to as being “zen-like” and although I’m sure this has a lot to do with his photographic style and technique he uses, I think that his use of the square format and the compositional freedom it provides has a little something to do with it too.
What’s next?
It’s early days and way too soon to know where this project will go. For now, I’m enjoying heading out with my camera and shooting new images for the collection alongside my traditional landscape work.
I’m still tweaking and refining as I go and allowing the project to develop as the body of work builds.
Along with a spin-off Instagram account dedicated to the project here: https://instagram.com/_timeless.city_, I wanted to give the project a permanent home, so I created this project page. I plan to update the page now and then with newly released photos and if I publish any more “behind the lens” or general blog articles related to the project, I’ll also post them there.
I’ve started to think about how I might present the images and at the moment, I have a few themes such as views from the rooftops or from along the Thames. There are, however, other images creeping into the collection that don’t fit a specific theme just yet and as long as they align with the spirit of the project, I’m quite happy to let them lead me somewhere new.
To get the very best experience of one’s work, I truly believe photography should be printed so I will of course be printing this work. To start it will be printed just for me, but in time I would love to turn this project into a series of zines or maybe even one day, a coffee table book. Thats a little way off yet but certainly something I would like to aim for.
That’s it for this project intro. Hopefully, you found that useful, but as ever, if you have any questions and want to know more about the process or ideas for future blog posts, just drop them in the comments below.
Until next time.
Trevor
How I Process My Landscape Photos Taken with the DJI Mini 3 Pro
In this article, I share my processing steps to create the best quality landscape photos with my DJI Mini 3 Pro.
When I first decided to buy a drone to use for landscape photography, I had to consider the pros and cons of each model available at the time. For example, the larger Mavic models typically have a more capable camera, but the smaller, sub 250g Mini models have fewer restrictions on where they can be flown. After weighing up the pros and cons, I eventually chose the DJI Mini 3 Pro. I’ve already published a post covering my thoughts on this drone, and you can read a full review from a landscape photographer’s perspective here: DJI Mini 3 Pro | A Landscape Photographer’s Review.
Following on from the review I wrote about this drone, I published a second post demonstrating the different camera settings I use while out taking landscape photos with the Mini 3 Pro. DJI Mini 3 pro Camera Settings for Landscape Photography.
You can find both of my previous DJI Mini 3 Pro blog posts below:
So, given that I’ve written a review of the Mini 3 Pro and published a blog post detailing the settings I use to take landscape photos, what’s this blog post all about then? When I published my previous post, I had a few messages asking for a bit more detail as to how I process the Mini 3 Pro raw files and although there are countless different approaches one can take, I decided to write this post detailing the steps I took from raw to final edit using a photo I took recently in low light conditions.
Before I start, I wanted to make two points. Firstly, this post is aimed at those wanting to get their files ready to be printed. The techniques I use to sharpen and overcome noise in the image aren’t really going to benefit you if you plan to just share your drone photos on social media.
The second point to make is that both this and the camera settings for landscape photography post above applies to those using the DJI Mini 3, Mini 3 Pro and the recently released Mini 4 Pro. Features may vary from model to model, but overall, their capabilities are very similar when it comes to taking landscape photos.
Step 1: Taking the photo in the field
Let’s start with the original raw files I took in the field. This is Arundel Castle located in West Sussex and after sunset came and went without much fanfare, I decided to hang back just a bit longer to take a photo during blue hour. It’ll not win any awards but with the low light conditions, I figured this image was a good candidate to use for this processing blog post.
Raw files as shown in Adobe Lightroom. DJI Mini 3 Pro | 24mm Pano | 1/6th and 1/3rd Second | f/1.7 | ISO100
In terms of camera settings, I used the 48mp setting in PRO mode when taking this photo to get the highest resolution. I knew from previous experience that there would be some noise in the files, so I decided to take two pictures, manually adjusting the shutter speed for each. The first image was exposed for the castle at 1/6th of a second, and the other was exposed for the sky at 1/3rd of a second.
Step 2: Increase detail and reduce noise in Adobe Lightroom
As I expected, there was some noise in the sky when viewing the raw file at 100%. So, before I merged the bracketed images, that noise needed to be dealt with. Even though I can see the noise at 100% here on my screen, I’m not too sure how well that comes across on yours, so here’s a 100% and 200% crop demonstrating the noise I can see in the sky. I know the 200% crop isn’t representative in the real world but it’s just to help visualise the noise. If you still can’t see it, you’ll just have to trust me that it is there.
There seems to be a plethora of noise reduction software hitting the market recently and among those, Adobe released its own AI Denoise feature in Lightroom and Camera Raw. Having tried some of the other tools available, in my opinion, Adobe’s AI Denoise is as good as, if not better than many of the other options out there. Plus, its baked into Lightroom making for an easier workflow.
AI denoise is a part of Adobe’s Enhance feature (located in the Photo menu along the top). Along with denoising an image, it also improves raw files by enhancing the details and reducing artefacts. It can, however, only be used with raw images so needs to be applied before using the Photomerge-HDR function in the next section.
To remain consistent across both the under and over-exposed raw files, I ran them both through the Enhance feature, being careful not to add too much noise reduction as overuse can have unintended consequences.
Below is a side-by-side comparison of the original and enhanced files. With any hope, you will be able to see the refined edges and enhanced definition on the right-hand side.
Step 3: Merging the bracketed image files in Adobe Lightroom
With the two new DNG files created by the Enhance feature, I selected them both and used the Photomerge-HDR option in the Photo menu (or via a right-click on the photo). I typically use the settings you see below and once finished, a new HDR DNG file is created. This new file will have less noise in the shadow areas and more detail that can be recovered in the brighter areas, resulting in a cleaner, editable image.
Step 4: Editing the image in Adobe Lightroom
Now, with the image file prepared, it’s time to edit.
This post isn’t a tutorial as to how best to edit a photo as everyone’s style will be different. However, what I have highlighted below is the Detail panel showing that I have applied minimal sharpening in Lightroom and for the small amount that is applied, I have increased the masking to ensure it only applies to the areas of high contrast such as the castle edges, excluding large parts of the image such as the sky.
Step 5: Sharpening in Adobe Photoshop
A note on sharpening. Opinions vary as to when to apply it. During the edit or only when the file is being outputted for a particular use case such as web, socials or print. This is just my approach, and I don’t for one minute suggest it is right for everyone. I will typically add some sharpening when editing, call it a “base sharpening” if you will. This is typically fine for all of my online needs but If I feel I need to add any more sharpening for print, I will do so when preparing the file before sending it to the printer.
Not being a big fan of how Lightroom sharpens my raw files, I apply just a small amount of sharpening using the Details panel before I finish it off properly in Photoshop. For this, I use the High Pass filter. It’s a great tool to detect the edges (or high contrast areas) in a frame, which, when combined with a contrast-boosting blending mode applied to those edges, sharpens the photo without affecting the areas with less contrast, such as the sky.
First up, create a duplicate layer and then, from the menu, select Filter - Other - High Pass. Here, you will decide how much sharpening you want to add by adjusting the Radius amount. Choosing the right number depends on the resolution of the file and how much sharpening you want to add. Typically, I stick between 1-2 pixels at this stage with the view that I can add more later if needed. If you start to see colour artefacts in the preview, you’ve probably taken it way too far. Experiment with the radius yourself to get the effect you like. Once I’m happy with the thickness of the edges detected by the High Pass filter, I then hit OK.
Next, I use the Overlay blending mode for the same layer. This blending mode will hide the grey areas and add contrast to the edges highlighted by the High Pass filter, resulting in a clean, sharper file. Hopefully, you can see the effect by comparing the before and after images in the screengrab below.
The final image, ready to print
After a few Photoshop tweaks that include the spot healing brush to remove a few distracting lights and a final 3:2 crop back in Adobe Lightroom, here is the final photo with more clarity and less noise than before.
As with all processing methods, this approach, which works for me, may not work for everyone, but in some way or another, I will use some or all of these steps when processing my drone photos.
Having said all of that, the proof is in the pudding, so, next up, I plan to print this and a few other photos I’ve taken with my drone to see how the quality holds up at different sizes. If I can find a way to communicate that process in this blog format, I’ll post a follow-up article on that soon.
I hope you found this article useful, and if you have any tips or tricks or can suggest any improvements to my workflow, feel free to leave a comment below.
Until next time.
Trevor
My Favourite Landscape Photos from 2023
I look back at the landscape photos I took in 2023, choose a few favourites and think about what I want to achieve in 2024.
I probably start these yearly posts the same way each time but the reason for me to write them never changes. I enjoy these annual retrospectives as they give me a reason to look back at the last 12 months, enjoy some of the photos and relive some of the adventures I had with my camera in tow.
Have you ever listened to some music and it transported you back to a time and a place where you first heard it? You could have been on a big night out with friends, at home on the sofa with someone special or even in the car driving to work. However momentous or mundane the setting, there is now a connection in your mind between that song and the time or place you heard it. That’s what photography does for me. I look back at these photos and yeah, it’s great to have something nice to look at, but adding the recollection of that time I was stood in the woodland, first thing in the morning with the surrounding mist deadening all sound but the birdsong above me, or standing at the edge of a frozen lake in Snowdonia with distant mountains in front of me and the sun just rising, illuminating the peaks. That is something else altogether. However much I feel that photography is a way to express myself artistically, they are all connections to a time and place where I felt the moment was special enough to capture and keep forever.
So, to sum up, I get as much, if not more joy from writing these yearly posts than anyone might get from reading them.
The Woodland
I think 2023 was the first year since photographing landscapes that I spent more time capturing the woodland than the grand landscape. I really have put a shift in. I’ve made so many early morning trips into my local forest this year and between all that effort, practice and getting to know the woodland properly, I feel my woodland photography has progressed significantly in 2023.
Fujifilm XT5 | XF16-55mm | 23mm | 0.8 Seconds | f/10 | ISO400
Fujifilm XT5 | XF16-55mm | 26mm | 0.5 Seconds | f/7.1 | ISO125
Fujifilm XT5 | XF16-55mm | 35mm | 1/10th Second | f/7.1 | ISO400
Fujifilm XT5 | XF16-55mm | 34mm | 1/3rd Second | f/8 | ISO125
This year, I started to think about how so many of my photos never see the light of day and decided that I wanted to release more of these photos in the form of on-location blog posts. They’re not supposed to be too overwhelming, but just enough to feature the handful of photos I might take on a successful photography outing. Here are a couple of blog posts I wrote about my trips into the woodland.
London’s Cityscape
I was quite productive when photographing London in 2023, but not in my usual way. Ordinarily, I seek the wider, epic cityscape with dramatic clouds or vivid colours in the sky. This year was a bit different as I’ve not taken as many of what some might call my traditional style of cityscape photo. So, why was it productive if I didn’t take as many of my usual cityscape photos? Check out the section towards the end of this post featuring my Timeless City project.
I still managed, however, to bag a few keepers on my many outings into the Big Smoke and I’ve shared some of my favourites below.
Fujifilm XT5 | XF16-55mm | 16mm | 1/13th Second | f/8 | ISO125
Fujifilm XT5 | XF10-24mm | 10mm | 1/40th Second | f/11 | ISO125
Fujifilm XT5 | XF16-55mm | 16mm | 1/1000th Second | f/6.4 | ISO125
Fujifilm XT5 | XF10-24mm | 10mm | 1/100th Second | f/4 | ISO125
Fujifilm XT5 | XF16-55mm | 16mm | 2.5 Seconds | f/13 | ISO125
The Landscape
I always like to share some of the traditional landscape photos I took during the previous 12 months, but this past year, I struggled a little. With the shift to taking more woodland photos and recently feeling a little uninspired by my local landscape, I didn’t make as many trips and subsequently as many landscape photos as I normally do.
I did take a few worth sharing though, often revisiting some of my regular locations in the area to document how they have changed over time or through the different seasons. It’s something I do more and more these days. When I get to a location I like, I will revisit it time and again to try to improve on the photos I’ve taken before, or like I have been doing with the view of the low-lying woodland below, taking photos throughout the year as a mini seasonal project.
Fujifilm XT5 | XF16-55mm | 16mm | 0.4 Seconds | f/11 | ISO125
Fujifilm XT5 | XF16-55mm | 35mm | 1/10th Second | f/6.4 | ISO400
Fujifilm XT5 | XF50-140mm | 56mm | 1/10th Second | f/9 | ISO125
Fujifilm XT5 | XF50-140mm | 140mm | 1/80th Second | f/8 | ISO125
The Small Scenes
I thoroughly enjoy photographing small scenes like this and in 2023, I managed to take a handful of photos I like, some I’ve shared below.
I do, however, feel I lost my way a little when photographing the small scenes over the last 12 months. I believe that to photograph the details around me, I need to practice seeing them, looking down more often at what’s around my feet and working harder to notice nature’s textures and patterns that surround me every day. I just don’t think I did enough of that. It’s not about the number of photos I took, more that if I’m tuned in better to the details, I will spot them more often instead of just walking by. Something for me to work on in 2024.
Fujifilm XT5 | XF50-140mm | 140mm | 1/8th Second | f/9 | ISO125
Fujifilm XT5 | XF50-140mm | 134mm | 1/15th Second | f/9 | ISO125
Fujifilm XT5 | XF16-55mm | 55mm | 0.6 Seconds | f/8 | ISO125
Fujifilm XT5 | XF50-140mm | 140mm | 1/25th Second | f/2.8 | ISO125
The Drone
I have thoroughly enjoyed taking landscape photos with my done this year, but having only owned one since late 2022, it became apparent quickly that taking landscape photos with a drone was going to take a different approach altogether. There was quite a learning curve involved. With so much time spent photographing woodlands, not many of my dedicated landscape photography outings allowed for drone photography, but when they did, I took the opportunity and ended up with a handful of photos I particularly like.
If there’s one thing I want to take more photos with in 2024, it’s my drone, so I’ll be working hard to achieve that over the next 12 months.
DJI Mini 3 Pro | 24mm (effective) | 1/8000th Second | f/1.7 | ISO100
DJI Mini 3 Pro | 24mm (effective) | 1/30th Second | f/1.7 | ISO100
DJI Mini 3 Pro | 24mm Pano | 0.4 Seconds | f/1.7 | ISO100
Photographing Wales
With some beautiful woodland, rolling hills and chalk-lined coastlines, the Southeast of England has a lot to offer the landscape photographer, but what we don’t have is mountains and waterfalls and those lucky sods in Wales have ample amounts of both. So, over the last few years, I’ve been making multiple photography trips to both the Brecon Beacons and Snowdonia National Parks to get my fix of a more rugged landscape.
Since these were dedicated photography trips, I also wrote a couple of On Location blog posts that include more of the photos I took and some behind-the-lens stories. Select one of the thumbnails below to jump straight to that blog post.
A Landscape Photography Trip to Snowdonia
In January 2023, I spent a couple of days photographing a very wintry-looking Snowdonia. Barely scratching the surface, it was my first dedicated photography trip to this stunning location, learning lots along the way and getting to know the area as best I could in the short time I had. With any hope, the more times I visit, the better my photos will be, but as I just mentioned, this being my first trip dedicated to landscape photography, I’m still pleased with the photos I took.
Fujifilm XT5 | XF16-55mm | 18mm | 2 Seconds | f/8 | ISO125
Fujifilm XT5 | XF16-55mm | 16mm | 1/4th Second | f/5 | ISO125
Fujifilm XT5 | XF50-140mm | 54mm | 1/200th Second | f/9 | ISO200
Fujifilm XT5 | XF16-55mm | 16mm | 13 Seconds | f/8 | ISO200
Photographing Waterfall Country
Along with Snowdonia in January, I also took a trip to the Brecon Beacons National Park in October. Given the time of year, I was hoping for a little more colour on the trees, but the leaves were still predominantly green. Still, I made the best of it, taking some photos I was happy with, and I mentally clocked that to get the best colour, it will have to be an early-mid November trip next time.
Fujifilm XT5 | XF10-24mm | 14mm | 0.5 Seconds | f/9 | ISO125
Fujifilm XT5 | XF10-24mm | 10mm | 1/6th Second | f/8 | ISO125
Fujifilm XT5 | XF10-24mm | 10mm | 1/5th Second | f/7.1 | ISO400
Fujifilm XT5 | XF10-24mm | 15mm | 50 Seconds | f/10 | ISO125
Timeless City
I started the Timeless City project this year and was excited about it from the first photo I processed. I’ve been documenting London with my camera for a few years, making countless trips into the city and I feel I have finally found a way that allows me to share the photography as a cohesive body of work.
I deliberately used the word timeless as it represents so much about the project. The years I’ve been and will continue to photograph this great city, the way the old and new architectural styles sit side by side, and the aesthetic of the final image I create with the square crop and monochrome processing. All of it matters and represents something in the project.
I know the project has a way to go yet, not only in terms of the images I take but what it means and how it might develop. For now, I’m just excited to let it flow and see where it takes me.
Looking forward
As I mentioned at the start of this post, I usually spend a little time looking forward and thinking about what I want to achieve in the coming 12 months. Rightly or wrongly, these aspirations are relatively fluid as time is always limited and priorities can change. However, right here, right now, I’ve listed a few things I would like to achieve or make progress on in 2024.
Be it the woodland, cityscapes or small scenes, continue to be curious and inspired by the landscape.
Take more trips and make more memories to look back on in 12 months.
Be more consistent with both my blog and newsletter.
Publish my first book/zine and with hope, sell one or two.
Develop my Timeless City project further. Write about it, give it a dedicated space on my website, promote it and continue to build the work in preparation for something more in the future.
Print my photos more often.
Take photos with my drone more often.
Complete some of my seasonal woodland/landscape series.
There you go. That’s this year’s retrospective done and dusted. All that’s left to do is thank everyone who has supported me and my work this past year and I wish you all a happy and successful 2024.
Until next year.
Trevor
DJI Mini 3 Pro Camera Settings for Landscape Photography
In this article, I share the camera settings I use to take the best quality landscape photos with my DJI Mini 3 Pro.
I’ve had quite a few questions, both in the comments or sent via email since I posted my 6-month review of the DJI Mini 3 Pro for landscape photography, and one question that has been asked a few times is how I find the image quality, particularly when it comes to editing the raw files. The DJI Mini 3 Pro is a very capable drone. When looking to fly almost anywhere (flight restrictions aside) by staying under the 250g weight limit, you will do well to find a more capable drone on the market today.
DJI Mavic Mini 3 | 24mm (effective) | 1/30th Second | f/1.7 | ISO100
That being said, there is no getting around the fact that the image sensor used in the Mini 3 Pro’s camera is a little on the small side. With smaller pixels and a lower resolution compared to some of the larger drones on the market, getting the very best image quality will require you to take advantage of all of the settings and features available. In this article, I will share some tips and tricks I’ve picked up over time so you can take the best aerial landscape photos possible with the DJI Mini 3 Pro.
One final point before we jump in. This article has been written with a specific focus on photos and contains my personal opinion based on my own experience capturing and editing photos taken with the Mini 3 Pro. I won’t be covering other topics in this post such as the best video settings or even flying modes. I’ll save those topics for someone else.
Set the photo mode to PRO
Like most traditional cameras, the Mini 3 Pro has both auto and pro (manual) camera modes. For those that may be apprehensive about switching their camera away from auto mode, it really isn’t as scary as you may think and making the switch provides you full control of the shutter speed, white balance and ISO settings. Having the PRO picture mode enabled will open up more possibilities to ensure the image looks the way you want, and the great thing is, the real-time feedback you get on the screen will help ensure you don’t under/over-expose your photos. Many of the settings I mention in the post rely on PRO mode being activated, so, in my opinion, this should be one of the first things you do when you’ve mastered flying your drone and want to take better photos.
To switch from AUTO to PRO mode, simply tap the AUTO icon located in the bottom right-hand side of the screen. You will know you are shooting in PRO mode as the icon will change and more settings will appear.
Shoot in J+R (JPEG+RAW)
Most people who take digital photos will be familiar with a JPG or JPEG file as it’s by far the most used image format out there. But what is a raw file? Think of it as a digital negative. It’s a lossless picture format that contains all the image data captured by the drone’s camera, without any editing or adjustments and although not for everyone, shooting stills as raw images really is the best way to ensure all of that image data is retained.
When taking JPGs, the camera’s processor will apply the default picture profile settings and discard all other data no longer used. The file size is smaller and if that’s all you need, that’s great. But if wanting to maintain full control of the final look of the image and plan to import the photos into your chosen editing software, then choosing to shoot raw is the better choice.
It’s worth noting that the Mini 3 Pro doesn’t have a raw-only mode, so whatever format you choose, you will still have a JPG copy saved onto your card. That can be useful for the times you just want to quickly grab an image from the memory card to share, bypassing the editing stage altogether. It really is the best of both worlds.
You can shoot in JPEG+RAW in either AUTO or PRO modes. To change from jpg to raw, tap the word JPEG in the bottom right-hand corner of the screen, and depending on whether you are in PRO or AUTO mode you will need to select either J+RAW or J+R.
Keep your ISO as low as possible
The native ISO for taking photos with the Mini 3 Pro is 100, and although raising your ISO can be incredibly useful when the ambient light is too low to take a sharp photo, it will negatively affect picture quality. The higher the ISO, the more digital noise and artefacts will be introduced to your images, and yes, a sharper, noisier image is better than a blurry one in nearly all cases, to keep my images as clean as possible, I will only raise my ISO as a last resort.
If you are in a situation where a higher ISO is needed and PRO mode is enabled, simply tap the ISO icon located at the bottom right of the screen and slide the dial until you have the exposure you need.
Enable the Histogram and Overexposure Warning
Unlike traditional photography where you and the camera typically have the same view of the subject, taking photos with a drone means relying far more heavily on what you can see on the screen. So, in my opinion, the more info it provides, the more likely you will take a high-quality, well-exposed photo and that’s why I keep the histogram and Overexposure Warning enabled when taking pictures with the Mini 3 Pro.
I won’t dig too deep into what a histogram is, but in short, it is a graph that visually represents how much light, mid or dark tones are in the photo. The shape of the graph will depend on the type of photo being taken but the thing to watch out for is when the graph data starts to touch and overlap with the far left or right-hand side. Typically, this is called clipping and means you’re losing image details in the shadows or highlights which might not be recoverable later in post-processing.
The Overexposure Warning feature is a little easier to explain. All this really does is highlight parts of the image that are overexposed with black and white moving lines. To some, this might be a bit too distracting, but I use the same option on my main Fujifilm camera and find it a useful feature to enable to prevent overexposing parts of the image.
To enable one or both features, select the three dots on the top-right of the screen to open the main menu. From here, select the Camera settings sub-menu and scroll down. Here you will see both options with a toggle switch to enable or disable the feature.
Shoot to the right
This suggestion requires the histogram to be enabled, so check out the previous point to see how this is done.
Typically, the more light collected onto the sensor when exposing an image, the higher the quality, because less noise and artefacts will be present in the resulting photo. So, one technique to try is to overexpose an image by a stop or two where the histogram will be heavier weighted towards the right. This is where the term “Shoot to the right” or STTR comes from and is commonplace in traditional landscape photography.
Shooting to the right should be practised with a degree of caution. For example, slowing down the shutter speed risks adding motion blur to an image and if not careful, you can also end up pushing it too far and clipping the highlights. Shooting to the right along with AEB being enabled (see the next tip) can help get around these issues.
Use AEB mode when shooting in high dynamic range situations
AEB stands for Auto Exposure Bracketing and is a super useful feature enabling you to capture varying exposures of the same scene, all with a single press of the shutter button. It works by taking a base exposure using the settings you have already chosen, then taking either one or two extra photos on either side, increasing or decreasing the exposure by a stop each time. This results in 3 or 5 separate images which can be merged in your chosen image editor later.
DJI Mavic Mini 3 | 24mm (effective) | 1/2500th Second | f/1.7 | ISO100
As I mentioned at the beginning of this article, the DJI Mini 3 Pro has a smaller sensor, with smaller pixels compared to the higher end/bigger drone models, meaning it will have more difficulty properly exposing a photo in high dynamic range scenes. So, to make sure I gather as much image detail in the highlights and shadows as possible, I will take 5 bracketed images of a given scene 90% of the time. Not all photos will need to be bracketed, but the file sizes are relatively small and, in my opinion, the benefits significantly out way the minimal drawbacks.
To enable AEB when in photo mode, select the icon just above the screen’s shutter button, select Photo, then AEB, then select whether you want to take three or five bracketed images. Select the AEB icon above the shutter once more to close the menu.
Capture a panoramic image for maximum resolution
The native image resolution for the Mini 3 Pro is 12MP which, by modern standards is on the lower side and if you plan to print your photos, then a great way to boost your resolution is to take multiple images and stitch them together in post. There are actually a few ways to achieve this.
First up, there are the built-in Pano options. If there is plenty of light and the dynamic range isn’t too high, then using one of the built-in pano modes is a great option as the drone will take care of panning and picture taking. All you need to do is set your exposure settings and press the shutter button.
I used the built-in Pano mode when I created the picture below.
DJI Mavic Mini 3 | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100 - Wide Pano Mode
When shooting in jpeg+raw, the drone will automatically stitch the JPEG image and place the individual raw files in their own sub-folder on your memory card, ready to be imported and merged into your chosen software later.
To access the built-in pano modes, choose the icon above the screen’s shutter button and when the menu opens, scroll down and select Pano. Here you can select from the different panorama options which are Sphere, 180°, Wide Angle, and Vertical. I won’t go into all the various options here but for a traditional panorama, you would select the wide option. In this mode, the Mini 3 Pro will take a grid of 9 photos automatically.
The built-in pano modes are incredibly useful but to retain more control of the final image, I prefer to take the individual photos manually, like I would when taking traditional landscape photos with my main camera. My typical approach would be to switch the camera to portrait mode (a welcome feature introduced in the Mini 3 Pro) as this provides more vertical resolution without the need to tilt the camera up or down, thus avoiding any unnecessary distortion which would need to be dealt with in post. I will then pan horizontally, taking individual photos as I go, overlapping by 30-50% and leaving a little room on either side for cropping.
DJI Mavic Mini 3 | 24mm (effective) | 1/5th Second | f/1.7 | ISO100
Create a manual pano with AEB for maximum dynamic range and resolution
This is the number one reason why I like to create my panoramas manually. For reasons only known to DJI, the Mini 3 Pro does not have the ability to take AEB images in pano mode. Maybe it will be introduced later but this seems an obvious feature to add with a firmware update. So, for now, I manually combine the two by taking a manual panorama with the 5-image AEB mode enabled. The resulting images will have the highest (native) resolution with the most image detail and the highest dynamic range.
I will then import them into Adobe Lightroom (my chosen image editing software) and with all the raw images highlighted, I select Photo - Photo Merge - HDR Panorama from the main menu.
With the sun setting behind the mountains, I needed all the dynamic range available to avoid blowing out the sky when creating the panorama below.
DJI Mavic Mini 3 | 24mm (effective) | 1/6400th Second | f/1.7 | ISO100
Use the 48-megapixel mode, (but do so with some caution)
The Mini 3 Pro comes with a high-resolution stills mode, allowing you to take photos at 4x the resolution compared to the base 12-megapixel option. In the right conditions, using the 48MP mode can help when you might want to crop the image later or print your photos even bigger.
Sounds too good to be true, right? Well, maybe. Although the native resolution is 12MP, to achieve a 48MP image, the Mini 3 Pro’s camera has a type of filter (called a quad bayer filter) which, splits each of the 12MP into four, resulting in the 48 megapixels mentioned. The issue is that smaller pixels capture less light and can result in noisier, lower-quality images. If the conditions are good for photography and there is plenty of light, the 48MP images can look really good, but when conditions are less than ideal, the images can leave a lot to be desired. That’s certainly my experience, anyway.
My usual workflow when taking stills with the Mini 3 Pro is to hedge my bets and capture a native 12MP image with AEB first and then a 48MP version which I can then compare and decide on the best one to edit later in Lightroom.
To enable the 48MP stills mode, simply select the icon above the screen’s shutter button, from there select Photo then to the right, select 48 PM.
It’s probably worth mentioning that using the base 12MP stills mode and taking a panorama can result in high-resolution, less noisy images too, but it will be a wider aspect, requiring the drone to be closer to the given subject. There is no right or wrong here, just different options suitable for different situations.
Set your white balance to manual
There are a couple of reasons why you might consider manually setting your white balance while out taking photos with the Mini 3 Pro. If you’re taking single, raw photos, then it’s not such an important topic as the white balance can be changed later in post. But if taking JPEGs, the white balance is baked into the image at the time it is taken, so getting it right while out with the drone is much more important.
Secondly, and the main reason I set the white balance manually is to keep all images completely consistent when taking panoramic images. As you pan the camera around, the changes in the scene being photographed might lead to changes in the white balance which can add more work when trying to seamlessly stitch the photos together later.
I tend to keep the WB at about 5300-5500 on brighter days and a little higher when there is more cloud around but typically, I will judge each situation individually. To manually set the white balance, you need to be in PRO photo mode. On the bottom right corner of the screen, there will be a square with WB and a Kelvin number next to it. This number is the numerical value the white balance will be set to. Select the WB icon and a familiar box will pop up. At the top, if the white balance is set to automatic, the box with Auto will be highlighted in yellow. If so, tap that and then use the slider to scroll through the numbers to your desired white balance value.
BONUS TIP: Fix it in post!
Ok, I hear you. We all want to take the very best photos while out in the field but sometimes you will reach the limit of what the Mini 3 Pro camera is capable of and have noisy photos. Luckily, we seem to be in a bit of a boom when it comes to software-based noise reduction. Amongst others, DxO, Topaz and not Adobe have all recently released updated software with some impressive noise-reduction features. So, even if you use all the suggestions I have listed in this article and still end up with noise or artefacts in your photos, try running them through one of these applications as it might save the day.
Printing your photos taken with the DJI Mini 3 Pro
If you regularly visit my website, you will know that I am a big believer in the printed image. Be it a single print, a photo book or wall art, the physical, tangible print is a far better way to view and experience a photo compared to a screen. With this in mind, I recently printed some of the drone photos I’ve taken over the last year to get a better idea of how they look in the flesh.
I printed a selection of my photos, taken using many of the techniques I mention above at both A4 and A3 sizes, and although it’s impossible to demonstrate here, I have to say, they look pretty good. Nice and sharp and with little to no noise. If you’ve taken some photos with the Mini 3 Pro and are on the fence when it comes to printing your photos, then my advice is to power up that printer or choose a good lab and get some printed. You won’t regret it!
DJI Mavic Mini 3 | 24mm (effective) | 1/30th Second | f/1.7 | ISO100
So, there you have it. If you follow some or all of these suggestions, you will take the very best landscape pictures possible from the DJI Mini 3 Pro and if you have any suggestions I might have missed, feel free to leave a comment below.
Until next time,
Trevor
Fujifilm XT5 | A Landscape Photographer’s Review
My review of the Fujifilm XT5 from the perspective of a landscape photographer after 6 months of owning and using it in the field. How good is the new 40MP sensor? How is the image quality? Have a read and find out what I think.
Towards the end of 2022, while out in the field on a shoot, the screen on my Fujifilm XT2 started to flicker uncontrollably and after a few minutes of strange behaviour, it turned itself off and however much I tried, I couldn’t get it to turn on again. It seemed after 5 faithful years of service, the XT2 was dead. So, I had a decision to make. Do I fix it? Or do I invest in a new camera body? When it comes to cameras and lenses, unless there is a particular problem I need to solve, I never chase the latest gear.
I much prefer familiarity over shiny and new. If my camera does the job for me and I know it’s strengths and weaknesses (they all have them), I tend to stick with it.
After 5 solid years of use, I decided it was time to say goodbye to the XT2 and hello to the newly released XT5. Before buying the XT5, I briefly considered the recently released XH2 but decided against it as I wanted to stick with the familiar dials and ergonomics of the XT range.
Having now used the camera for 6 months and along with a few of the photos I’ve taken with it, I wanted to share some of my thoughts and opinions on the Fujifilm XT5 from a landscape photographer’s point of view. As with my other gear reviews, this will be far from scientific (a simple Google search will provide you with those). I won’t talk about every new and improved feature this camera offers, these are my personal observations and opinions based on how I use the camera in the field and other people’s experiences may differ from mine.
What’s in my camera bag?
Before we get into the XT5, I wanted to mention what gear I currently carry with me while taking landscape photos. More specifically, the lenses I use with my XT5 on a day-to-day basis.
At the moment, I am quite happy carrying just 2 lenses, the XF16-55 f2.8 standard zoom and the XF50-140 f2.8 telephoto. These are red badge lenses so considered the best quality in the XF lens lineup and give me an effective focal range of 16 to 140mm (24mm to 200mm in 35mm terms) which is fine for 95% of the photos I take. That being said, with constant f2.8 apertures, they may be better quality but they’re also a lot heavier than Fujifilm’s variable aperture lenses. Worth thinking about if weight is a priority.
You may have also noticed the DJI Mini 3 Pro which I also reviewed from the perspective of a Landscape Photographer. You can read about that here.
For more details about all the gear I carry in 2023, pop over to my latest “Whats in my camera bag” blog post.
Is the Fujifilm XT5 bigger and heavier than its predecessors?
Well, yes and no. It would have been fair to assume that the XT5 wouldn’t be immune to the current trend that sees mirrorless cameras getting bigger over time and yes, compared to the XT2 (133 x 92 x 49mm, 507g) the XT5 (130 x 91 x 64mm, 557g) is slightly bigger and heavier, but Fujifilm has, to their credit, shaved off a little size and weight compared to the XT4.
However, in real terms, these numbers don’t really mean a lot to me. A few mm here, a few grams there won’t make a huge difference and although its important camera manufacturers keep the size and weight of their respective systems in check, it’s probably easier to say that the XT5 is around the same size as those before it. That’s a good thing.
Fujifilm XT5 | XF16-55mm | 16mm | 1/100th Second | f/5 | ISO125
I spend a lot of time hiking up hills, exploring woodland or even as per the picture of London above, climbing the 528 steps to the top of St Paul’s Cathedral. So, what’s even more important to me is that I choose to shoot with a smaller, lighter system compared to the full frame and medium format systems. Using an APS-C system allows me to carry the XT5 along with 2 heavier, flagship lenses and still have a lighter camera bag compared to other full-frame or medium format systems.
How good is the XT5 build quality and weather sealing?
Landscape photographers need to be able to shoot in almost any condition and in all but the most extreme weather, should be able to do so without the need of additional rain covers and shower caps. The Fujifilm XT5 has a weather-sealed body and when coupled with a weather-resistant lens such as my XF16-55mm or XF55-140mm, I’m able to shoot in most conditions. In the 6 months I’ve been using this camera, I’ve shot in many a wet and rainy woodland, the wintry mountains of Snowdonia and some stormy weather by the coast and so far, so good.
Fujifilm XT5 | XF16-55mm | 18mm | 2 Seconds | f/8 | ISO125
That’s all well and good but there have been questions raised about the amount of plastic used in the construction of the XT5 compared to previous models making it look and feel a little cheaper. I guess if being particularly pernickety, it probably does a little but in the 6 months since buying the camera, I’ve literally given it zero thought. In all fairness, Fujifilm makes no claims that the camera is fully waterproof and certainly doesn’t provide an IP rating. So, although I would happily shoot during an average rain shower, I would stop short of exposing it to a prolonged torrential downpour.
What about the XT5’s physical dials, dual memory card slots and tilting screen?
Although I already had dual memory cards, physical dials and a 3-way tilting LCD on the XT2, I now consider these a must when picking a camera to use for landscape photography.
Coming from the world of IT, I know too well how technology should not be relied upon, however robust it might seem. The last thing I want is for a whole day of shooting to be lost because my only memory card suffered a failure at the wrong time. This is why I’ve configured the XT5 to write my raw files to both cards simultaneously, creating an instant backup while out in the field.
Fujifilm XT5 | XF16-55mm | 16mm | 1 Second | f/8 | ISO125
Next up, those physical dials. For me, these were a game changer. Apart from the warm fuzzy feeling of nostalgia I get when using them, being able to fine-tune my exposure by feel, without a menu in sight makes life so much easier when out taking photos. This is especially true in the winter when using gloves or when the camera is low down to the ground like it was when photographing the Sussex coast as pictured above, which can make accessing menu buttons trickier.
Talking of having the camera low to the ground. As a landscape photographer, this will often be the case and having a tilting screen means I don’t have to be down there too. Whether I’m shooting in landscape or portrait mode, the 3-way tilting LCD means the screen will tilt in my direction whatever its position.
Fujifilm XT5 | XF16-55mm | 55mm | 1/10th Second | f/11 | ISO125
How good is the battery life on the XT5?
With the larger W235 battery used in the XT5 compared to the smaller X126s I was using in the XT2, for me at least, battery life has improved dramatically. A game changer in fact. This was my main gripe with the XT2 as I was constantly having to change out dead batteries midway through a shoot.
The extra battery life really came into its own during the 48 hours I spent in a wintry Snowdonia. The temperature during the day barely made it above freezing and being so cold will reduce the amount of charge the battery will hold, but irrespective of this, I was still able to shoot from sunrise to sunset on a single charge.
Fujifilm XT5 | XF50-140mm | 69mm | 1/2 Second | f/9 | ISO125
Even if upgrading from the XT4 which also uses the W235, Fujifilm still claims an improved battery over its predecessor due to the reduced power consumption of the X-processor 5. So, I think it safe to say that Fujifilm has made a big step forward in battery performance since introducing the larger W235 into their recent flagship cameras.
Is the XT5’s 40-megapixel sensor worth the upgrade?
Fujifilm announced their 40.2MP sensor a long time before it was released and the prospect of having the extra resolution was exciting, opening new possibilities for cropping in post or bigger prints. I was, however, slightly concerned about how cramming more pixels onto the same size sensor would affect image quality and, if it would result in noisier pictures.
Fujifilm XT5 | XF16-55mm | 55mm | 1.3 Seconds | f/6.4 | ISO125
I’m pleased to report that I’ve not found the pictures I’ve taken so far to have any more noise than I was used to with the XT2. That was a big surprise and a welcome one at that! Don’t get me wrong, Do I still see noise in some of my images? Of course. There will always be situations where the light levels are such that avoiding noise altogether is impossible, but overall and in my own unscientific way of pixel peeping, I don’t see any negative impact of those smaller pixels all bunched up together on this new X-Trans CMOS 5 HR sensor.
One thing that I was hoping for and something Fujifilm appear to have delivered is improved dynamic range performance. Again, not something one expects when increasing pixel density but given this sensor is a few generations newer than what I was using, I was very much hoping for this to be the case. I did a little research on this topic and for sure, many out there say the dynamic range has gone backwards slightly and still not as good as the XH2 which uses the same sensor but from my own real-world usage, the dynamic range has definitely improved for me. Sure, it’s still not up there with the full-frame and medium format systems (pesky laws of physics), but what I can say is that with my woodland photography, where high dynamic range scenes are commonplace, I’ve not had to bracket my images nearly as much as I used to. Saving me time during editing and saving space on my hard drive too!
Talking of hard drive space, with the increased resolution comes increased file sizes so if you’re tight on raw file storage space, consider shooting with the compressed raw enabled on the camera or prepare to invest in bigger hard drives.
Fujifilm XT5 | XF50-140mm | 140mm | 1/50th Second | f/7.1 | ISO125
Is the Pixel-Shift on the XT5 worth all the hype?
Remembering this article is about sharing my experience, I’m going to say no……for now.
Pixel Shift, which can be enabled in the menu, is where the camera will take 20 separate photos, shifting the sensor by half a pixel each time and by using a separate software on your computer, you can merge the photos together to create a huge 160MP image.
Taking landscape photos can often mean a static scene where 20 separate photos won’t capture any movement but add in some waves along the coast or some subtle breaths of wind in the woodland and suddenly things start to get a little trickier. I’ve used this feature a few times to see how well it works and if you have a static scene and need that extra resolution, then having this option available is great, but, given the extra disk space needed and the time it takes to merge them together in post-processing, it’s not something I think I will use very often personally.
Fujifilm XT5 | XF16-55mm | 53mm | 1/40th Second | f/8 | ISO125
What about the Fujifilm XT5’s improved autofocus?
This is where things went a little awry for me. Fujifilm boast that due to the higher pixel count in the XT5, the number of phase detection pixels also increases resulting in an improved AF-S focusing accuracy when taking landscape photos.
With the XT2, I preferred to use back button focus when taking landscape photos. When composing an image and selecting the autofocus area, the XT2 locked in nearly all cases without issue, and I only really needed to switch to manual focus in trickier, low-light situations. I didn’t really give it much thought as it just worked.
Fast forward to getting the XT5 out in the field and after setting the camera up to work in the same way, things were a lot different. When pressing the back-button focus, the XT5 was missing focus almost 50% of the time. It was incredibly frustrating and after a little research it seemed I wasn’t the only one to notice how poor the autofocus was on this camera.
Fujifilm XT5 | XF50-140mm | 66mm | 0.4 Seconds | f/9 | ISO125
With zero trust in the autofocus, I switched to manual focus 100% of the time which, although not the end of the world, did slow down my workflow a little.
This went on for about three or four months and although I’ve not seen anything specifically from Fujifilm on the subject, since applying the firmware updates released since, the issue has improved somewhat. I still refuse to default back to my previous workflow as my trust in the autofocus hasn’t been restored but when using features like focus bracketing, which depends on autofocus, I do have a little more confidence that the results will be sharp.
Again, this was my personal experience and there are built-in tools that can help your focusing workflow such as focus peaking, but for me, a quick zoom-in and out again to check the image sharpness works just as well.
Update: I wrote this post just before firmware v2.0 was released, which included some significant focus improvements for the XT5. Since applying this and subsequent lens updates, the camera has had far fewer issues with autofocus.
Does Adobe Lightroom play nice with the XT5 RAF files?
I’ve used Lightroom (Classic) to edit my raw files for many years, long before I swapped to Fujifilm in 2016 and I think it’s fair to say, Lightroom has not always played nice with Fuji raw files - worms anyone? If you know, you know. These days, life is a lot easier when it comes to editing Fujifilm RAF files in Lightroom, either Adobe has improved the compatibility, or I’ve just learned to avoid the pitfalls as I run through my usual workflow (step away from the sharpening slider). In truth, it’s probably a bit of both.
One approach I use is not to apply any sharpening in Lightroom and instead, when I want to prepare for print or screen, I export to Photoshop and use the High Pass filter on a separate layer (between one and two pixels radius) and the Overlay blending mode, masking in the areas I want to be sharpened. A method I still do today and works best for me.
Fujifilm XT5 | XF50-140mm | 140mm | 1/8th Second | f/9 | ISO125
There are, however, still times I feel Lightroom doesn’t render my raw file with the amount of detail I know the file contains. I’ve heard many times that other editing software is more sympathetic to the Fujifilm raw files, but I really don’t want to learn another software. Instead, for those times I need a little more detail I use a plug-in called DXO Pure Raw. I don’t run every picture I take through the software as I prefer some to be a little softer or painterly but when a bit more detail is called for, it seems to do the job nicely.
Conclusion
I’ve written a lot about the features and benefits of using the XT5 for landscape photography and there are many great features I decided not to talk about such as the 7-stops of IBIS, improved video modes, subject detection and white balance driven by AI (whatever that means) but in truth, my needs are quite basic meaning I probably only use about 10% of the camera’s features for my landscape photography and it would be wrong for me to review those I haven’t used extensively.
So, would I recommend this camera to other landscape photographers? The simple answer is yes. If size and weight is important to you, the XT5, with its fantastic image quality, intuitive ergonomics, weather sealing and much-improved battery life, packs a real punch.
I hope you found that useful and enjoyed some of the photos I shared. If you have anything to add such as any points I missed or questions about the camera, please leave a comment below or contact me directly here.
Until next time
Trevor
My Top 10 Tips for Woodland Photography
In this article, I list my 10 top tips for getting the very best woodland photos from when to shoot, how to eliminate distractions and what gear can help improve your images.
I’ve been taking photos of the landscape for a number of years now but more recently, I discovered the joy and subsequent benefits of woodland photography. Woodland photography is a beautiful and relaxing way to connect with nature while still allowing me to practice this creative craft I enjoy so much. It encourages me to explore and learn about the wildlife I see and offers a sense of peace and tranquillity, allowing me to escape life’s more hectic demands, even if it’s just for just a few hours.
During this time, I’ve made plenty of mistakes, learned lots of lessons and picked up new skills that have helped me take better woodland photos. So, this blog post is my attempt to share some of those lessons and provide a little inspiration to those who might not be quite as far along in their own woodland photography journey.
So here are my top 10 tips for woodland photography.
Fujifilm XT2 | XF10-24mm | 11mm | 1.5 Seconds | f/10 | ISO400
#1 Photograph the Seasons
There are so many reasons to pay attention to the way a woodland changes over the course of 12 months and being aware of these can open up so many creative possibilities when it comes to woodland photography. One popular example is to find a particular composition that works in all seasons and take the same picture in spring, summer, autumn and winter, creating a ‘through the seasons’ series. This might sound cliché, but some I’ve seen are simply amazing and it’s a useful little project that encourages you to go back to the same place to observe how it changes. To get the best photos, you might have to wait several years to get a portfolio image of a particular season but chasing that shot is part of the fun. I have a few on the go but haven’t quite made it to all four yet.
Alternatively, knowing how your local woodland changes through the year may also open up new photographic opportunities. There will be places that lack photographic allure in (let’s say) summer but come alive with opportunities at other times of the year. For instance, in my local woodland, there is a lot of fern growth which means parts of the forest are completely cut off in the summer months but from late autumn to late spring, those areas of woodland are easier to explore with the camera.
Another example is the bluebell picture below. Of course, bluebells in spring are beautiful in their own right but in this particular location, the woodland floor is typically messy with fallen branches and patchy plant life, but, for a few weeks each year, the bluebells completely cover the messy floor resulting in a much cleaner photo.
#2 Photograph the woodland whatever the weather
While perfectly defused golden hour lighting can create beautiful woodland photos, don't be put off by cloudy, or even rainy days with less inspiring light. I for one love to head out into the woodland while the sun is obscured as the softer, diffused light of an overcast day can result in quieter, lower contrast images, helping to create a moody and ethereal feel to your photos.
Even if the sky is blue and there is high contrast, midday light to contend with, don’t let that stop you. Personally, I struggle in such situations but when I do find the light too bright and distracting for my usual style of woodland photography, I will change tact and more often than not, point my camera down towards the ground and seek out small scenes with interesting patterns and details hiding in the shadows and away from those pesky specular highlights. More on that in the next tip!
Fujifilm XT2 | XF55-200mm | 55mm | 1/8th Second | f/9 | ISO250
#3 Point your camera towards the floor
Getting into the habit of taking pictures of the woodland floor is something I’m still getting to grips with. It took a while for me to move away from the traditional “landscape” style photo and start paying attention to the smaller shapes and textures hiding amongst the undergrowth, but once I did, I never looked back. A year or so into my woodland photography experience, I started heading out into the forest just to see what small scenes I can photograph, completely ignoring the wider landscape photos I usually look for.
With so much texture and pattern on offer, once you get the camera up close to these smaller scenes, you will be able to tap into a wealth of photographic opportunities and although getting down that low can often be a little tough on the back, by slowing down and taking your time to compose the image properly, you will undoubtedly capture some beautiful, intimate woodland photos.
#4 Look out for mist and fog in the woodland
Although it should never be considered the be-all and end-all of woodland photography, I think it’s safe to say that the majority of woodland photographers prefer to shoot in misty/foggy conditions, and for good reason. A scene full of branches and leaves can be a cluttered, messy affair and one of the challenges with woodland photography is simplifying the composition. This is where a foggy woodland comes into its own as not only can a fog add depth and atmosphere to a scene, but it can also help declutter the composition, providing a sense of space and room for the subject to breathe.
#5 Avoid a distracting sky
Unless you are blessed with the defused light of a foggy woodland, there’s a good chance that by including the sky in your woodland photos, you will be left with some distracting highlights around the top of the frame. With the lower light levels under the trees and the bright sky, the dynamic range will be extreme enough to push the limits of most modern cameras. So, what to do if you come across this situation yourself?
Avoiding the sky completely in your woodland photos can be tricky, but one option to avoid it is to shoot from an elevated position. Keeping the camera pointing slightly downhill can cut some or all of the brighter sky out of the frame. Alternatively, if there is space to do so, try stepping back away from the scene and then use a telephoto lens to zoom back in to better isolate your subject.
Lastly, choose a time of year when there are plenty of leaves on the trees. Like with the picture below, during the warmer months, the woodland will be much fuller and as a result, a lot less sky will be included in your compositions.
Fujifilm XT2 | XF55-200mm | 55mm | 1.4 Seconds | f/13 | ISO200
#6 Pack a circular polariser to give your photos some punch
If like me, you enjoy photographing the woodland early in the morning or in damp conditions, you will almost certainly come across wet, reflective leaves in your scene. Reflective light can be pretty distracting in your woodland photos which is why I recommend packing a circular polariser (CPL) filter in your camera bag. A CPL filter works by blocking the reflective light from entering your lens which means less glare and more punchy colours in your woodland images. This effect is practically impossible to replicate in post, so, to get the very best quality pictures in these conditions, it’s definitely worth mounting a CPL onto the end of your lens.
Just a word of caution. A common mistake many photographers make is to automatically turn the CPL all the way; removing all reflective light from the image. This can result in flat, highly saturated pictures. My advice is to rotate the filter back and forward until there is a good balance between eliminating the distracting reflections and retaining some of the life in the scene.
Fujifilm XT2 | XF18-55mm | 29mm | 2 Seconds | f/10 | ISO200
#7 Remember, the woodland is always changing
These two images below were taken in separate woodlands and are among my favourite woodland photos I’ve taken. I’m so happy I found and photographed them when I did because they now look very different as they were both devastated by stormy weather in early 2022.
So, tip number seven is to not take the apparent static nature of woodland for granted. If you find a location worth photographing and conditions are not quite right at the time, don’t wait too long to return. Through the hand of man, or mother nature herself, it can change literally overnight and like in my case, a couple of locations I planned to return to look completely different now.
Fujifilm XT2 | XF18-55mm | 31mm | 0.6 Seconds | f/9 | ISO200
Fujifilm XT2 | XF18-55mm | 29mm | 1/6th Second | f/8 | ISO200
#8 Get to know your local woodlands
This may seem similar to shooting the seasons or observing the changes in your woodland but getting to know your local woodland goes a lot deeper than that. If you speak to any experienced woodland photographer and they will tell you that knowing a location intimately is by far the best way of getting the best woodland photos.
When heading to new locations or those you can’t visit as often as you like, luck can play a huge part in taking portfolio-worthy pictures as you might not get the best light, or you might not know the best time of day/year to photograph that particular location. Having a local woodland only a short walk or drive from where you live means you remove the need for some of that luck as you can keep returning until the conditions are right. If you live close enough, you can afford to be reactive to the weather conditions and as soon as the fog comes in, you can grab the camera and head out!
Taking it one step further, having the ability to return again and again means the pressure to get a portfolio image on any given trip is removed, meaning you can relax more as you wander the woodland. This will help you slow down and get under the skin of the woodland, helping you fully engage your mind and in turn, spot compositions you might have otherwise walked straight past.
The below four pictures were all taken from the same woodland only 5 minutes’ drive from where I live.
#9 Try different focal lengths
Depending on the subject you are trying to shoot, experimenting with different focal lengths can transform the look and feel of the photos you take.
A wide-angle lens can help you include more of the scene and capture the grandeur of the woodland you’re in, enabling you to include more compositional elements such as an interesting foreground or more dramatic lead-in lines. As appose to using a wide-angle, the telephoto lends itself to seeking out more intimate details, helping you to eliminate distractions and focus on the shapes, colours and texture the woodland offers. As I mentioned in tip #5, when you have a bright distracting sky, this is where a telephoto focal length can save the day.
Play around with different lenses to see which ones work best for the photos you want to take.
#10 Leave no trace
The enthusiasm for the natural landscape is on the rise, particularly since the pandemic as so many people have re-discovered the beauty of their local woodlands. But all this footfall is having a big impact on these important natural spaces. That’s why, through effective education and following a few simple principles, these popular places can still be visited and enjoyed, but remain protected for future generations to experience.
I’ve shared the bluebells photo below as this is a good example of how our actions directly impact these natural spaces. The bluebell is actually a protected species in the UK and picking or digging them up is illegal but not many people know just how fragile they really are. Bluebells can take years to recover from the damage caused by people trampling over them just to take a selfie, and if their leaves are crushed they can be weakened (as they can no longer photosynthesis). This can all be avoided if everyone sticks to the woodland pathways.
Nature First is just one of many organisations trying to help us woodland photographers to keep these natural spaces safe and they have a few simple principles to follow. By doing so, we can all do our part to preserve our beautiful woodlands.
Prioritize the well-being of nature over photography.
Educate yourself about the places you photograph.
Reflect on the possible impact of your actions.
Use discretion if sharing locations.
Know and follow rules and regulations.
Always follow Leave No Trace principles and strive to leave places better than you found them.
Actively promote and educate others about these principles.
Fujifilm XT2 | XF55-200mm | 67mm | 1/13th Second | f/9 | ISO200
There you have it, with a few simple techniques and ideas, you can take your own woodland photography to the next level.
I hope this blog post will help anyone that might be lacking some inspiration and the motivation to get out there and take amazing photos of our beautiful, wooded areas. if you have any more tips you want to share, feel free to leave them in the comments below.
Until next time
Trevor
What's in my Camera Bag for Landscape Photography (2023 Edition)
Want to know what gear I take on a landscape photography shoot? This post provides a look inside my camera bag and lists the equipment I use in 2023.
With my last update now 2 years ago and with so much of my landscape photography gear changing in 2022, I thought it about time I posted an updated “What’s in my camera bag?” blog post. Here you will find a list of the camera equipment I use and a little bit of information about why it’s in my camera bag.
My primary landscape photography gear
Fujifilm Camera and Lenses
XT5 camera: Having used the excellent XT2 since 2017 and it decided to fail on me while out on a shoot, I held out repairing it or buying a new main camera body as based on the rumours I’d heard, it wasn’t going to be long before Fujifilm released the XT5. Sure enough, a few weeks later they did and the day they announced it, I placed the order.
XF16-55 F2.8 standard zoom lens: Although I still have the very capable XF18-55mm, in 2022, I decided to upgrade to the XF16-55 F2.8 as I wanted all of my main landscape gear to be weather sealed. The improved optics is a nice bonus, but the extra weight most certainly isn’t.
XF50-140mm F2.8 telephoto lens: For the same reasons I upgraded my standard zoom, I also traded in my XF55-200mm lens for the weather sealed XF50-140 F2.8. I do miss that extra reach now and again but my plan is to buy the 1.4x teleconverter to get that 200mm (300mm FF) reach for the odd occasion I need it.
DJI Mini 3 Pro drone
Last year, after what seemed like an eternity of indecision, I finally took the plunge and purchased my first drone. For a number of reasons, I opted for the DJI Mini 3 Pro. Having already posted about why I chose this drone and what I think about it 6 months on, there is a dedicated blog post you can read here: DJI Mini 3 Pro | A Landscape Photographer’s Review.
Filters and accessories
Kase Wolverine magnetic filters: I used to carry larger, square slide-in filters and would spend time fiddling with step-up rings for the different lenses and the holder before being able to slide in the filter I intended to use. That all changed when I got the Kase Wolverine filters. No more fuss! Snap the filter onto the lens and get shooting. I wrote more about my experiences with these filters in a previous blog post here: Kase Magnetic Filters | A Landscape Photographers Review.
Benro Mach3 TMA37AL tripod: After using my previous tripod for a number of years, I was after something a little sturdier and a little taller without relying on a less stable centre column. After a bit of research and getting a few recommendations, I eventually opted for the Benro Mach3TMA37AL.
Benro Gd3Wh geared tripod head: For years I’d been happy to use a ball head on my tripod but when I started taking woodland photos, the lack of precision and having to compensate for further movement while making small adjustments with the tripod head began to frustrate me a lot. I invested in this Benro geared head and although it has a bit more bulk, it has solved this problem for me completely.
Spare batteries: The Fujifilm NP-W235 used in the XT4 and XT5 is so much better than the last generation of batteries and I can shoot for much longer on a single charge. So far, I have one spare battery but I intend to add a couple more soon enough.
Memory cards: Can’t have too many memory cards. I still prefer to use Sandisk as they have been bulletproof for me so far but I know there are other brands just as good on the market.
3 Legged Thing L-bracket: Used to quickly switch from landscape to portrait orientation when using my tripod.
3 Legged Thing Toolz: A handy tool to tighten tripod legs, remove L-brackets, etc.
Headtorch: Not much to say about this one, other than it is bright, light, waterproof and rechargeable. It cost about £15 and lights my path on those dark treks before or after a shoot.
Power bank: Now that I carry the DJI Drone with me, the spare battery case can also charge my other devices if I start to run low so technically, I could do without this little guy, but being small and light, it doesn’t hurt to keep a bit more juice with me while out and about.
Camera Bag
Although I still have the bags I mentioned in my last “What’s in my camera bag” post, I now use the Vanguard VEO Active 46 as my primary means to carry my landscape photography gear around. Although I was on the lookout for a new bag when I went to the Photography Show back in September 2022, I hadn’t really considered Vanguard until I had a look around their stand and saw the VEO Active range. For the features I wanted, the size, weight and price, it ticked all of the boxes for me.
My lightweight/walk-about camera and lenses
In addition to my main landscape photography kit, the list below includes another Fujifilm camera body and a few smaller lenses I use when I want to travel a little lighter. Typically, I might swap my heavier camera gear with these smaller alternatives when I head out on a photo walk in London or I might pack lighter when taking a city break abroad. Also, on days out with my family, I will often take with me just the single X-T30 camera and prime lens so I can snap a few nice family photos without lugging around lots of gear with me.
Fujifilm Camera and Lenses
X-T30 camera: Apart from a few “Pro’ features such as weather sealing and dual card slots, etc, this is a very good camera. When my XT2 camera failed, this smaller, but very capable camera became my primary shooter for a few weeks and didn’t miss a beat.
XF18-55mm standard zoom lens: This is the very first Fujifilm lens I bought back in 2016 as it came in the kit with my since-retired X-T10. Although it looks a little beat up now, nearly 7 years on and it is still going strong and I will often grab it when I want to travel light with the versatility of a zoom lens.
XF16mm F2.8 prime lens: I love this range of small primes from Fujifilm. They are compact, light, weather sealed and most importantly, excellent quality. I will often head out onto the streets of London with a single camera and prime lens combo. The simplicity and lack of bulk can be quite liberating compared to when carrying a full bag of landscape photography gear.
XF23mm F2 prime lens: When it comes to primes, this is probably my favourite focal length. Equivalent on a full frame to 35mm, it’s a familiar focal length which is wide enough to include some background but not so wide that it can’t be used for more intimate subjects. It’s incredibly versatile.
Tripod and accessories
3 Legged Thing Corey tripod: I wanted a smaller, lighter tripod to use while in the city or when travelling and this was my choice. Nearly three years on and it works as well as the first day I used it.
Manfrotto Pixi Mini tripod: A pocketable tabletop tripod which can support a surprising amount of weight. I’ll carry this with me when I want to keep my kit as light as possible.
Peak Design Slide Lite neck strap: A comfortable, strong neck strap which comes with a handy quick-release function for when I want to quickly remove the strap.
Spare batteries: Can’t have too many of these, especially when these smaller NP-W126S barely last a few hours when the temperature drops!
Something I’ve mentioned previously and worth reiterating is that I don’t get that excited by new camera equipment and if there is no good reason to upgrade, I’ll happily stick with what I have. After all, I used my previous Fujifilm XT2 camera body for around 6 years and had some of my lenses even longer. Don’t get me wrong, I enjoy new gadgets like everyone else, but when it comes to my photography gear, it’s different. I actually don’t look forward to using a new camera and I prefer familiarity over novelty. Even when upgrading to the newer version of a camera I already own (like I did last year), there is still a period of adjustment to get to grips with new features or changes to the menu system.
My advice to anyone buying new camera equipment is to invest in the gear you feel most comfortable using. If you can, visit your local camera store and hold it in your hands to get a feel for the size and weight. When you get it home, get to know it well and customise the menu and physical buttons so your most important settings are at your fingertips. This ensures the physical act of taking photos is as seamless as possible, allowing you, the photographer, to “focus” on being creative and working the light or composition in front of you.
Until next time.
Trevor
My Favourite Landscape Photos from 2022
Join me for my usual yearly retrospective where I share some of me favourite photos I took in 2022 and what my plans are for 2023.
What I like about these yearly retrospective blog posts is how they encourage me to look back at the photos I took in the last 12 months, assessing how successful the year was (photographically) and whether I feel my craft has taken a step forward or not. It gives me a chance to reflect on the many photo outings I made and reminds me of those special moments like the whisper-quiet mornings in the woodland where all you can hear is the sound of your own breath or the explosion of light appearing over London as the sun sets and the controlled panic trying to capture it before it fizzles away.
Along with cityscape and landscape photography, last year (2021) was my first full year taking woodland photos and you might think that’s probably enough but for some reason in 2022 I also started to dabble in both intimate landscapes and drone photography too. I know that specialising in a particular genre may be a better route to take for some, but personally, I just want to photograph whatever appeals to me and have as much fun being as creative as I can along the way. After all, hobbies are supposed to be just that….fun!
If you were expecting the usual top 9-10 photos other photographers tend to share at the end of the year, I’ve got bad news. I just couldn’t whittle down all of the photos I wanted to share to that fewer number. Instead, I’ve organised my photos into 7 groups and selected 4 for each, that’s 28 photos I’ve shared with you from those I took in 2022.
The Wider Landscape
I’m not quite sure why but I have to admit, I struggled more often than not to be inspired to get out and take photos of the wider vistas in 2022. I think it was a combination of spending more time photographing the woodland and feeling the need to step back from some of the default landscapes, which most people (including myself) photograph here in Surrey and Sussex. Nevertheless, I still managed to add a few vistas to my landscape collection. Below is a small selection of those I took in Sussex and the Surrey Hills.
Fujifilm X-T30 | XF50-140mm F2.8 | 140mm | 1/60th Second | f/8 | ISO160
The Cityscape
For obvious reasons, the last couple of years have been a bit stop-start in terms of getting into London to take photos of its fantastic cityscape, but as I work in the city and started to go back to the office more often, in 2021, I had more opportunities, both at the beginning and end of the day to get out and about with my camera. Along with some cracking sunsets like the one I managed to take below of Tower Bridge and the Shard, I also focused on getting up high and taking photos of the city from above and have included a couple of those I took below. If you want some tips as to where to take photos of London from a high vantage point, check out one of my previous posts here: My Top 5 Free Rooftop Locations to Photograph London
One consistent theme I’ve noticed in my cityscape photos in 2022 has been capturing more drama in the sky. Be it epic light, moody clouds or a rain shower passing in the distance, I’ve managed to add quite a few of these to my portfolio which I’m particularly pleased about.
Fujifilm X-T30 | XF18-55mm | 19mm | 1/100th Second | f/9 | ISO160
The Woodland
As I mentioned before, to the detriment of spending time taking photos of the wider landscape, I focused a lot of my time in 2022 taking photos of the woodland, particularly in a forest close to where I live. Looking back between the photos I took in 2021 and 2022, it’s my woodland photography where I feel I’ve made the most progress. Seeking compositions in the woodland not only takes practice, it also requires me to be in a particular mindset, open to ideas of what will work compositionally and for me, this requires a clear, focused approach whilst among the trees. I think that’s why I enjoy the process so much, as being in the zone means a clear, distraction-free mind which I find quite relaxing and meditative.
Fujifilm X-T30 | XF16-55mm F2.8 | 35mm | 1.3 Seconds | f/9 | ISO160
The South Coast
Although I spent a fair amount of time taking photos along the Sussex coast in 2022, I would have loved to have spent more time down there. The large picture below was taken along the modest dunes at Camber Sands, a stunning stretch of sandy coastline in East Sussex but due to the variety of cliffs, lighthouses and undulating landscape, the stretch of coastline between Beachy Head and Cuckmere is where I spend most of my time. That’s where I took the other three photos below. In 2023, I want to spend more of my time down along the coast, not only capturing the wide vistas on offer but also taking more intimate photos, capturing the shapes and patterns created by the movement in the water.
Fujifilm XT2 | XF10-24mm | 10mm | 1/80th Second | f/10 | ISO800
Photographing Wales
Yes, I’m kind of late to the party but I’ve fallen in love with Wales. After my autumn visit to the Brecon Beacons in 2021, I made two further trips to Wales in 2022. First up, I returned to photograph the falls in the Brecon Beacons, this time to see how it looked in late spring with the fresh vibrant leaves on the trees. Then in June, during a family trip to Snowdonia, I managed to get away with my camera a few times and came away with my own take on this classic view of the mighty Tryfan. I just wish I lived a little closer so I can visit more often.
Fujifilm XT2 | XF10-24mm | 14mm | 1/6th Second | f/9 | ISO200
Drone Photography
In 2022 I finally brought my first drone. I’d wanted to get one for some time but was worried it would see little use but that all changed when DJI released the Mini 3 Pro. Finally, a small drone with a useful camera. It’s a great bit of kit which I carry with me most the time and if you want to know more about what I think about the Mini 3 Pro when it comes to landscape photography, head over to another blog post I wrote on that very subject DJI Mini 3 Pro | A Landscape Photographer’s Review
DJI Mavic Mini 3 | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100
The Intimate Landscape
In 2022 I also started to take photos of smaller scenes in the landscape such as those I’ve shared below. Although I still find it tricky to find interesting compositions, I really enjoy the process. It’s a great way to continue taking photos when conditions aren’t great as I find flat, uninspiring light is perfect to achieve evenly exposed scenes like this, as I can focus on the shape, colour and composition and not worry about changing light and deep shadows. It’s an area of landscape photography I plan to work on in 2023.
Fujifilm XT2 | XF55-200mm | 78mm | 1/20th Second | f/9 | ISO200
Hopefully, that wasn’t too many photos to look through but having taken so many photos across the different genres in 2022, I wanted to give you a good taste of the kind of photos I took.
What’s in store for 2023?
As usual, I now need to give some thought to 2023 and what I want to achieve with my photography.
First up, I want to develop in three key areas, woodland, intimate landscapes and drone photography. Although I love shooting the wide vistas and will continue to do so, those three areas are where I feel I have more scope for development. On top of that, spending time in the woodland and seeking out interesting subjects to photograph is good for me. It relaxes me and enables me to take time out for just a short while so, I’ll certainly be doing more of that.
I plan to head back to Wales, hopefully, a couple of times to photograph the epic landscape and beautiful scenery on offer. My first trip is booked for late January so fingers crossed that works out.
I have a couple of personal projects on the go which are all still cooking and although I don’t have much to say on this right now, in time I’ll certainly share more info on these.
Lastly, I want to spend more time experiencing photos in the physical form, which includes printing more of my work or maybe creating my first zine based on the projects I’m working on. At the very least I want to spend less time in front of the screen and more time reading the many photo books I’ve been collecting from fellow photographers and artists. Some of which I’ve shared with you on this blog in my Photo Bookshelf series.
My plans for 2023 are not particularly ambitious but that’s intentional. I have a day job and photography is a hobby and although I like to get out with my camera as much as I can, it’s still something I must balance between my other priorities such as family and work. I also have some exciting (for me at least) updates to my gear which I will share in the usual “what’s in my camera bag” kind of way in the coming weeks so look out for that too.
That’s it from me for 2022, so I wish you a very happy and healthy new year and speak to you again in 2023.
Until then.
Trevor
DJI Mini 3 Pro | A Landscape Photographer’s Review
My review of the DJI Mini 3 pro from the perspective of a landscape photographer after 6 months of owning his very first drone. Was it easy to fly? Is the camera any good? Have a read and find out what I think.
Those who know me are aware that I’ve been talking about getting a drone for ages! Years in fact. Put off by the many restrictions and rules that went hand in hand with owning and flying a drone, my biggest concern was that I just wouldn’t use it enough. I thought that it would be mostly unused, sitting on a shelf gathering dust, but when DJI announced the Mini 3 Pro, the time was finally right to jump in and place the order. Having now owned the Mini 3 Pro for around 5 or 6 months, I thought I would share my thoughts from the point of view of a landscape photographer owning his very first drone.
Why did I choose the DJI Mini 3 Pro?
To answer that question, I guess I need to answer another question first. What had previously stopped me from buying a drone and why did I believe it wouldn’t get much use?
In short, the drones with the most freedom to fly and the least restrictions were not good enough when it came to photography (in my opinion). If I wanted DJI’s crème de la crème in terms of consumer drone photography, I could have opted for the Mavic Pro, but living here in the Southeast of England, there are so many restrictions and built-up areas, I felt I would be constantly frustrated by the lack of opportunities to fly and would have to travel far and wide to get the most use out of a drone like that.
The DJI Mini line of drones are perfect in terms of form factor as with a sub 250g take-off weight, I could fly almost anywhere as long as I wasn’t in restricted airspace but the original Mini and Mini 2 fell short with regards to the camera. Either because of a lack of RAW format support in the first iteration, or just sensor size and what I had read about the general image quality. If video was my priority, I would have jumped in far earlier, but to get high quality photos that I could edit and print at a reasonable size, the Mini and Mini 2 were not quite good enough.
So, when the Mini 3 and it’s improved, larger image sensor was announced, the time was right to make the jump.
DJI Mavic Mini 3 | 24mm (effective) | 1/500th Second | f/1.7 | ISO100
The image above was taken along the East Sussex coast shortly after the Mini 3 Pro was delivered. It’s not an original composition but allowed me to practice flying and composing photos. Along with traditional landscape and cityscape photos, I also hope to use the drone to build a body of work which features more abstract shapes and textures.
The two photos below were taken above a forest in East Sussex. It’s a place I’ve been photographing for a few years, and it was nice to add some alternative viewpoints to the body of work I’ve been building over that time. By-laws prevent me from taking off from within the forest boundary due to livestock grazing, so I had to take off from the side of a public road and stay high to avoid breaking any rules and scaring the animals in the forest. Thankfully the Mini 3 is much quieter than its predecessors which helps avoid scaring any animals below.
DJI Mavic Mini 3 | 24mm (effective) | 1/200th Second | f/1.7 | ISO100
DJI Mavic Mini 3 | 24mm (effective) | 1/30th Second | f/1.7 | ISO100
I just want to confirm at this point that this blog post is in no way a technical review, I won’t be deep diving into the drone specs, nor will I be comparing the drone to any others as being the first and only drone I have ever owned (or even flown), that would be a little difficult. This is just me sharing my opinion and showing some of the photos I’ve taken along the way.
What DJI Mini 3 Pro package did I buy and how much did it cost?
With the plethora of new features added since the Mini 2, DJI added the Pro label to the Mini 3’s name. With Tri-Directional Obstacle Sensing, 4K HDR Video, true vertical shooting, real-time obstacle avoidance and much more, they were probably justified in doing so. However, with the word “Pro” added to the name came an inevitable price hike from £419 for the Mini 2 to £709 for the Mini 3 Pro (without the RC remote). Personally, I feel these extra features more than justifies the bump in cost, but opinions may vary on that point.
With the desire to fly longer than circa 30 minutes (I did say this wouldn’t be a technical review), I opted for the Mini 3 Pro with the DJI RC Remote along with the extra fly more kit giving me some extra batteries, tripling my flight time. Although around £150 more, the DJI RC Remote with its built-in screen appealed to me as it meant I didn’t need to use my phone in order to fly.
Altogether, (Mini 3 Pro with RC remote £859, the Fly more kit £159 and 1 Yr. Care Refresh £75) I spent a total of £1,093. Far from an inexpensive purchase, especially as I had never even used a drone before, but when compared to the other options and features I wanted, I was certain this was the right choice for me.
DJI Mavic Mini 3 | 24mm (effective) | 1/500th Second | f/1.7 | ISO100
These photos were taken on an early morning flight in London. Conditions were perfect for taking some atmospheric photos and although the City of London restrictions prevented me from flying any further west, I still managed to get the drone in the air and take a few photos from the eastern side of Tower Bridge.
DJI Mavic Mini 3 | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100
DJI Mavic Mini 3 | 24mm (effective) | 1/1600th Second | f/1.7 | ISO100
Is the DJI Mini 3 Pro easy to fly?
I’m writing this post from the viewpoint of a landscape photographer who has never used a drone, so, I guess that’s also my target audience. Maybe you’re also a photographer, tempted by drone photography and concerned flying a drone might be too difficult to master. Let’s be honest, the drone alone is around £709 new, so even with the DJI Care Refresh, it’s not the sort of thing you want to crash too often.
I have to say, flying the Mini 3 Pro was surprisingly straightforward. There are some great tools onboard to keep things simple such as the fantastic return to home feature, single button take-off and landing and the three-way obstacle sensors. The sensors are on the front, back and underneath and help you keep out of trouble for the most part, although you need to remember that the Mini 3 Pro lacks sensors on the side so care should be taken when flying sideways.
5 tips for anyone buying their first drone
I’ll keep this relatively high level as the specifics will differ country by country, depending on where you intend to fly.
Research the local Drone rules applicable for the class of drone you own and complete any registrations and certifications needed.
Research any useful apps that provide aviation information such as real time flight restrictions in your area as the DJI Drone app isn’t always up to date. There are also apps that show flight conditions specific to flying a drone and warn you if the wind is too strong or provides such things as the Geomagnetic storm index which apparently is a thing and can be a problem as it can interfere with the signal.
Make sure you set your new drone up in advance, applying any firmware updates and fully charging the batteries before you head out. It can be a real pain when you are prompted to update the firmware while out in the field with no internet access.
Like the point above, do some research into the best settings before you head out. This might include altitude limits, return to home, camera setup and movement settings. There are so many videos on YouTube and doing a bit of research, really helped me to understand the options and settings before I went for my first flight.
Just because you can, doesn’t mean you should. The Mavic Mini 3 gives me the freedom to fly almost anywhere but I still need to be sensible around people and fly safely. I hate the stigma that comes with flying a drone as so many people feel threatened by them, thinking they are being spied on or maybe even worried it might drop on their heads. Personally, I want to keep drone flyers away from being public enemy number one so as much as possible, I try to stay inconspicuous, avoiding people, and if they are around, I fly a lot higher to the point they probably won’t notice I’m there.
DJI Mavic Mini 3 | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100
With such a compact package, there was no way I was going to travel to Ibiza without the new drone. During my 2-week trip, I managed to get a few early morning and sunset flights around the island. I used the 9-shot automatic panoramic picture mode to take the photo of Ibiza Town above. I stitched and edited the photo in Adobe Lightroom and I’m incredibly pleased with the picture quality.
How good is the DJI Mini 3 Pro camera?
Finally, we can now start talking about taking photos with the Mini 3 Pro, its why I bought it after all. I have to say, I’m not exactly a pixel peeper but I do strive for the best image quality possible, and so far, I have been really impressed with the camera in this drone. In terms of resolution, at 12MP it won’t set the world alight but it’s good enough for most use cases. As I understand it, it’s the same sensor as the 20MP Air 2S model, with the same size pixel size but less of them on a smaller sensor. So, less resolution but equal in terms of image quality.
There is also a 48MP mode where the Quad Bayer Filter tiles the RGB filters to boost the pixel count from 12 to 48 megapixels. I have no idea what that really means, but it can be a great way to boost your resolution. In most situations, the 48MP mode works well, but based on my own experience, in darker scenes, the images can appear noisier in the shadows and completely fall away as the ISO increases. If I’m not too sure what the best option is while out in the field, what I often do is take the image at both 12 and 48MP, just to make sure I have the best version possible.
With the smaller sensor, the dynamic range is going to be limited somewhat and may affect the overall quality in certain situations where you have significantly brighter and darker areas in the frame. I knew this might be a problem before I brought the drone, so, for scenes where I feel the dynamic range is on the high side, I will use the Auto Exposure Bracketing mode which takes 5 separate photos at different exposures. That way I can combine all of them together in Lightroom with the Merge to HDR option and have a DNG file containing all the dynamic range from the 5 bracketed raw files.
Lastly, two other notable features I really like are both the vertical, portrait mode, which rotates the camera 90 degrees and the various panoramic modes to choose from. All are incredibly useful to maximise the photo opportunity or resolution while up in the air taking photos.
DJI Mavic Mini 3 | 24mm (effective) | 1/2500th Second | f/1.7 | ISO100
On a beautifully sunny day back in June, I took a trip down to Brighton in East Sussex to play with the drone and take some photos along the beach. Timing the flight just as the sun was low in the sky, the conditions were perfect, and I managed to take these three photos of both the fairground rides at the end of Palace Pier and a top-down photo of the skeletal remains of the old West Pier.
DJI Mavic Mini 3 | 24mm (effective) | 1/500th Second | f/1.7 | ISO100
DJI Mavic Mini 3 | 24mm (effective) | 1/640th Second | f/1.7 | ISO100
What could be improved on the DJI Mini 3 Pro
Even though I’ve already mentioned that I’m happy with this drone and the camera it has, the device is by no means perfect so here are a few examples of what I think could be improved.
Picture edge sharpness
With an aperture of 1.7, it wasn’t a surprise that the image sharpness would fall away around the edges, but it can be a little too much at times. It’s not a huge problem and can be improved a little in post processing, but it would be fantastic if the boffins at DJI could design a camera with a wide aperture that didn’t suffer this issue as much and provided better edge to edge sharpness.
Signal transmission range
I knew from researching DJI drones that it’s rare or even impossible to get the full advertised transmission range when flying the drone, but so far, the distance between drone and controller I’ve been able to achieve has come nowhere near what DJI advertises. According to DJI, in urban areas with high interference, providing I have line of sight, I should expect to get 1000-15000m and much further in areas without interference but so far, that’s not been the case at all. Even when stood on the edge of a cliff in Ibiza, flying the drone out at sea, the actual distances I’ve been able to achieve have come nowhere near what they advertise before I start to lose signal. I know mileage will vary and one must remember that keeping visual line of sight is usually required, but not even being able to achieve the low-end distances is a little disappointing.
Auto exposure bracketing in the panoramic modes
I mentioned above that with the smaller sensor and high dynamic range scenes, I will often bracket my images to get as much data into the final image as I can. But AE bracketing is not an option when shooting panoramic images. Why? I can’t think it would be a difficult feature to add in a firmware update (hopefully it’s on the roadmap) and if made available, would mean higher quality, well-exposed panoramic images can be achieved in high dynamic range situations.
DJI Mavic Mini 3 | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100
Final thoughts on the DJI Mini 3 Pro…
I must admit, when I first considered buying the mini 3 Pro, I did wonder if I would quickly become frustrated by the smaller sensor and lack of resolution compared to the mini’s bigger brothers, but so far, so good. I’m still very happy with the drone I chose. I can still fly almost anywhere, with fewer restrictions compared to the heavier drones and using the panoramic or even the 48MP modes means I can still work around the smaller resolution in most situations.
The DJI Mini 3 Pro’s smaller, lighter form factor means it fits nicely in my camera bag, so I have it with me on all my landscape photography outings. So, not only are my fears of the drone remaining unused, and gathering dust on a shelf at home unfounded, but it also means I always have it to hand for when an opportunity to bag a good drone photo arises.
Would I recommend this drone?
This drone is a fantastic, capable bit of kit and I’m very happy I went with the Mini 3 Pro as it suits my needs to fly in more locations and be subject to fewer restrictions near where I live. If this is the situation you find yourself in and you’re not looking for the best possible image resolution you can get in a drone, then I certainly recommend the Mini 3 Pro. If, however, image quality/resolution is your top priority and you visit places with more open spaces and fewer flight restrictions, then for not a lot more money, you might opt for the DJJ Air 2S, or for a little more still, the newly announced (at time of writing) DJI Mavic 3 Classic.
Personally, this drone is a perfect fit for my current needs.
Kase Magnetic Filters | A Landscape Photographers Review
After using the Kase Wolverine Magnetic filters out in the field for over a year now, I decided to share my own feedback in a bid to help others when choosing their next filter set for landscape photography.
For decades, both film and digital shooters have used filters to help their image-making while out in the field, be it to balance the exposure with a graduated filter, cut the reflective light with a polariser or slow the shutter speed with a neutral density. To this day, even with the technological strides made by the camera manufacturers, most landscape photographers will still own a set of filters of some sort to help them take photos.
I’ve been using filters for my landscape photography for many years, working my way through a number of different brands. I’ve invested in both circular and square systems, before finally ending up with these Kase Wolverine magnetic filters. Having now used them for over a year and in that time having been asked my opinion about them quite a few times, I’ve decided to share my thoughts on these filters based on my own experiences while out, taking landscape photos.
Before I start, just a couple of housekeeping items. I’m not writing this post to suggest Kase filters are the best filters on the market. Everyone has different needs and in fact, we photographers are spoilt by the options we now have when it comes to choosing filters. This post is my opinion and based on my own experiences with this and other brands I’ve used. Secondly, I’m not affiliated with Kase in any way, I bought my own set of filters and am under no obligation to say good things.
My Kase Wolverine Magnetic Filter Kit
When I switched to the Kase magnetic circular filters, I opted for the 72mm professional kit which consists of an ND8 (3 stop), ND64 (6 stop), ND1000 (10 stop), a polariser, magnetic adaptor, one magnetic lens cap and a leather carry pouch. Being a Fujifilm X mirrorless shooter, I went for the 72mm kit as it fits my largest lens diameter without vignetting and buying anything bigger would have been more expensive and meant more weight in my bag without any benefit. The 72mm kit was just right for me.
Along with the professional kit, I also purchased step-up rings and magnetic lens caps for the other two lenses I regularly use for my landscape photography. All in all, with the professional kit costing £270 and the extra step-up rings and lens caps costing a further £80 (ouch!!), all of the kit you can see in the picture above costs £350.
What do I like about the Kase Magnetic Filters
#1 Minimal colour cast
I remember the days when I would take a long exposure photo and depending on the filter brand, the resulting image would be awash with a blue or magenta colour cast. Yes, it can be corrected in post, but that’s still more work for those who want to spend less time in front of their computer and want to see a more accurate representation of the scene while out there in the field. How do these filters fair in this department? Well, pretty good actually. These filters are incredibly neutral and even with the multi-minute exposures, the colours in the resulting image remain pretty accurate with minimal colour cast.
#2 Quick and simple to use
With the right accessories, this system is a breeze to use. When I bought the Professional kit, I made sure to buy step-up rings and lens caps for all of my usual landscape photography lenses. Although it meant another £80 investment on top, it also meant that while out in the field, I wouldn’t need to mess around screwing or unscrewing adapters to change lenses or put my lens cap back on. I can simply mount whatever lens I need and snap a filter (or two) straight onto the end in a matter of seconds. If the scene changes quickly, in no time at all, I can swap out the filters in a pinch. This has been an absolute game-changer for me.
Lastly, when putting the camera back in the bag, whether I leave the filter on or take it off, the magnetic lens cap will fit regardless and unlike using filter holders for square systems, there is no disassembling to do. I just pop the lens cap on and put the camera away. Zero fuss!
#3 A lightweight filter kit
Without the bigger, thicker square glass and the holder kit, the Kase filter system is compact and lightweight. The 72mm Professional kit weighs just 161g and with the extra step-up rings and lens caps, the weight is still a reasonable 250g in total. The leather pouch alone makes up more than 70 of that 250 grams, so if you need to slim down the weight or size even further, you could look to store the filters stacked together in a smaller, single pocket pouch. For me, the protection the leather pouch offers makes up for this extra weight so it remains in my bag.
#4 Well-made with tough glass
Made from toughened B270 Optical Glass, these hard to scratch filters feel reassuringly robust to use while out in the field. In the last year, my filters have been knocked and dropped here and there without any problems but I have to admit, I haven’t put them through the ultimate test by dropping them from height onto a hard surface. I’ve seen others do so and the filters have come away without a scratch which is quite reassuring for when the inevitable does eventually happen and I have a clumsy moment.
#5 No noticeable loss of image quality
This was never supposed to be a scientific review of the Kase filters but image quality is incredibly important to me, as it is to most other landscape photographers and with the engineering that goes into the expensive lenses we use, what we place in front of them matters. Adding another sheet of glass for the light to pass through will likely affect the image quality to some degree but I’ve zoomed in plenty of times during post-processing, frequently pixel peeping and to my eye, I can’t see any degradation in my photos at all.
#6 Filter magnets are reassuringly strong
I mentioned previously that with over a year of using these filters, I’ve not yet dropped them from height and that might be in part due to luck, but if I’m being honest, its mostly because the magnets are very strong and to this day, I’ve not had a filter drop off the camera a single time. As I wander through the forest taking photos, I will regularly throw my tripod over my shoulder with the camera and CPL filter still attached and as I walk along, with the camera bouncing up and down on my shoulder, not once has the filter dropped off. If I felt for one minute the magnet was not strong enough, I would not be taking that kind of risk.
#7 No vignetting (even when stacked)
One of the issues I had with previous filter brands, especially when using a square format with a filter holder was heavy vignetting around the image, especially when stacking filters in front of my wide-angle lens. Even though I had read positive things about a lack of vignetting, when I was looking at the 72mm Kase filter set, I have to admit, I was a little concerned I might see some at my widest focal length, but I’m pleased to say that even when stacking 2 or 3 filters, the thin profile means they don’t protrude out too much, which helps to avoid the dreaded vignetting.
It’s a problem easily rectified by buying the larger 77mm or even 82mm set, so the filters are slightly oversized, but for me, the small, compact size won out and I’m incredibly pleased with the 72mm set I ended up going with.
The not so good
#1 The CPL is a bit fiddly
Most will know that to add or remove polarisation, you need to turn your circular polariser filter and although there are benefits to having thin, low-profile filters, it does make the CPL a bit difficult to spin. With the strong magnets creating a lot of friction as it turns, you need to get a bit of a grip on the filter but being so thin, it’s sometimes a bit frustrating to lock in the exact amount of polarisation I want. That being said, I prefer to have strong magnets to avoid the filters falling off, so I wonder if, in the future, a better design could be looked into. One that allows for a smoother, less fiddley rotation.
#2 The magnetic lens caps should be stronger
Whereas I mentioned previously that the strength of the magnets on the filters was nice and strong, unfortunately, the same can’t be said about the lens caps. I probably have to mention now that having purchased these lens caps over a year ago, this issue may well have already been addressed but I’ll base this feedback on the versions I received and for my set at least, the magnets are quite weak. I am in constant fear that I’m going to lose one of the lens caps, to the point at which I will only use them when the lens is safely in the bag and even then, they frequently fall off.
#3 Works best after investing in more accessories
I mentioned above that along with the 72mm Professional kit, I also purchased £80 worth of step-up rings and lens caps which I felt I had to buy to get the full “ease of use” benefit from the system. You could avoid buying the magnetic step-up rings and use cheaper (non-magnetic) alternatives but that would mean screwing and unscrewing the single magnetic adapter ring, each time you want to change lenses. That would get very boring, very fast. Also, if I hadn’t invested in the magnetic lens caps, every time I put. the camera away, I would have to unscrew and remove the magnetic adapter ring so I could put the regular cap back on the lens.
The Verdict
With the positives significantly outweighing the negatives, I’m pleased to say that I’m a very happy user of these Kase Wolverine Magnetic filters. I would even go as far as saying that they are the best filters I’ve owned to date. Ever since I stopped using graduated filters in favour of bracketing for my landscape photography, moving back to the circular format was an obvious move and with the solid construction, fantastic image quality and lightweight kit, these super convenient magnetic Kase filters were an obvious choice in the end.
Whether you’re looking to invest in your next filter kit or just curious about the Kase magnetic filters, I do hope you found this post useful. I’d love to hear about other people’s filter experiences and welcome any of you to leave feedback in the comments below.
Until next time.