A Christmas Gift Guide for Landscape Photographers

Christmas is just around the corner and if you have a landscape photographer in your life, then this list will help you find the perfect gift. No matter what the subject, there’s no shortage of Christmas gift guides out there and although there are plenty of gift guides for photographers, I have decided to share a list that has some gifts aimed squarely at the landscape photographer. No matter what your budget, this list will you help you from inexpensive stocking fillers to something a lot more substantial. This Christmas gift guide for landscape photographers will provide you some much needed inspiration.

If you have a strict budget in mind, I’ve made it easier by separating this list into 3 price brackets, under£20, under £100 and £100+, so without further ado, lets jump into my Christmas gift guide for landscape photographers.

Stocking filler Gifts under £20 for Landscape Photographers

Easy Off Unisex Skiing and Photography Gloves

Landscape photographers are a funny bunch. We like to be out in the great outdoors when it’s cold, misty and frosty and avoid warm sunny days so what better gift for a landscape photography at Christmas than a pair of Easy Off Gloves. These gloves are a perfect, inexpensive gift for landscape photographers as the index and thumb pull back allowing them to operate the camera without needing to remove the gloves, ensuring their fingers stay nice and toasty.

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Water Resistant JJC SD Card Holder

The photos we take are the single most important thing to us while on a shoot so it’s important we keep them safe so this rugged, waterproof memory card case is a perfect addition to any landscape photographer’s bag. Just check beforehand what cards the photographer you are buying for uses, just to make sure you get the right one!

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Thermos Stainless King Flask, Matt Black, 470 ml

I have one of these and it comes with me for all of my woodland photography adventures. It keeps my coffee hot for hours and doesn’t leak at all. A perfect gift for any landscape photographer to keep them warm on those cold, winter mornings.

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APUNOL 2Packs Head Torch, Rechargeable Waterproof Headlamp LED Headlight

Getting up for those sunrise shoots can mean some dark, treacherous walks across uneven ground to get on location so having a good head torch is a must to enable any landscape photographer to see and equally important to be seen in the dark. These head torches need not be expensive but being rechargeable, lasting many hours and having adjustable strength means this pack of two torches is a fantastic stocking filler gift for any landscape photographer.

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Giottos AA1900 Rocket Air Blower

This Giottos Rocket Air Blower is a must have accessory for any landscape photographer’s bag. It’s always better to remove dust and grit from your lens with a puff of air rather than a cloth to avoid scratching the glass and the one-way filter in the Giottos AA1900 Rocket Air Blaster ensures that dust and debris isn’t blown over your gear.

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Manfrotto PIXI Mini Tripod

If you check out my “Whats in my camera bag post” you will see I have one of these and carry it around in my lightweight kit. The Manfrotto PIXI is small but strong enough to support my Fujifilm XT2 and standard lens and perfect for any landscape photographer to support their camera in situations a full-size tripod can’t be used. From personal experience, I find it particularly useful in London as there are many places full size tripods cannot be used.

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Premium Microfibre Cleaning Cloths

Photographers can always use more microfibre cleaning cloths to clean or dry our gear and this set is a perfect stocking filler gift for your landscape photographer friend.

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Gifts under £100 for Landscape Photographers

Masters of Landscape Photography Book

If it’s inspiration you’re after then look no further as this book is crammed full of it and will make a great gift for any landscape photographer. It is a collection of the world’s best landscape photographers showcasing their work and sharing their “behind the photo” stories and technical information. I thoroughly enjoyed reading this book and found it incredibly inspiring.

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Hoya 72 mm Pro ND 1000 Filter

This was the first 10-stop neutral density filter I brought and it got me hooked on long exposure photography. If your landscape photographer friend is looking to dip their toe into the creative world of long exposure photography then this is a great option. It’s a high-quality filter without any observable colour cast and at a fraction of the cost of the professional filter kits on the market. Before you buy, check the maximum thread size needed, that way it can be used for all of the lenses with a few cheap step-up rings.

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Instax Link Smartphone Printer

Ok, not strictly for landscape photographers but I just love printing on these Fujifilm Instax printers and have them on display all over the place. These fun, portable little printers allow you to print photos from your phone or tablet using their smartphone app while travelling, out in the field or even create an instant memento of you and your family or friends rather than have the photo stuck on the phone like everyone else.

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SanDisk Extreme PRO 128 GB SDXC Memory Card

Although not particularly sexy, all photographers need memory cards so these make perfect gifts for landscape photographers. Just make sure you check which cards your photographer friend uses so you buy the right ones. I’ve been using SanDisk cards for as long as I can remember and they have never let me down. SanDisk are industry standard so you can’t go wrong if you buy these.

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Peak Design Capture Clip v3

The Peak Design Capture Clip v3 is such a clever little device as it essentially acts as a third hand while out in the field taking photos. By allowing you to swiftly clip your camera to your bag’s strap or your belt, it frees up your hands while keeping the camera close by and ready to grab if a photo opportunity arises using the one-handed quick release. Unlike camera straps, it keeps your camera rigidly stable so it’s not flopping around. It holds over 200lbs. which means it can hold even the heaviest of camera + lens combinations, for any kind of photography.

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A Photobook Gift Certificate

If you read my blog, you will know I am a massive fan of printing photos. It brings them to life from a digital image on a screen to a tangible photograph you can touch and admire so if the landscape photographer in your life has a collection of images that need to be freed from the harddrive they reside on, then why not buy them a photobook gift voucher. Photobooks are a fantastic way to print a collection of photos and when I want to print my photos in the highest possible quality, I use Whitewall. They are not the cheapest out there but I feel they provide the best bang for the buck when it comes to balancing quality with cost. I’m not affiliated with Whitewall in any way, I just love the books I have made using their service.

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3 Legged Thing QR11- LG universal L bracket

The L-Bracket is such a useful gadget for us landscape photographers as it makes it easy to quickly switch between a horizontal or vertical orientation without adjusting the tripod at all. This for many is a bit of a game changer and I for one won’t go on a shoot without it. It may seem a little pricey for what is essentially an L-shaped piece of metal but think of it more in terms of how useful it is, not what it looks like. If the landscape photographer in your life doesn’t have one, this will make an excellent Christmas gift.

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Joby GorillaPod 3K

Sometimes a standard tripod just won’t do. It may be too big, too heavy or just not bendy enough. The Joby GorillaPod 3K is a great tool in a landscape photographer’s arsenal as it allows the camera to be supported on uneven ground or wrap around various objects. It also comes with magnetic feet, an advanced feature which allows you to stick the tripod to metal surfaces. All of this means getting that shot from a different angle or perspective and coming away with some unique photos. The Joby GorillaPod 3K can support the heaviest of mirrorless camera and most DSLR style cameras so you can’t go wrong gifting this to you landscape photographer friend.

£100+ Gifts for Landscape Photographers

Kase Wolverine Magnetic Circular Filters

First up as we move into the £100+ price bracket is the Kase Wolverine Magnetic Circular Filters. These innovative filters are made of both toughened glass and leave no noticeable colour cast but their real party trick is that they are magnetic rather than screw-in so they can be fitted and removed in a pinch and even better, stacked on top of each other. This set of filters includes a circular polariser to cut the glare and give photos a punch of contrast and various strength neutral density filters which can be used for streaky clouds of silky-smooth water. This set may seem pricey but when it comes to filters, quality is everything. As with the 10-stop filter mentioned previously, it’s important to buy the right size so make sure you get the set that is the same or larger than the maximum lens thread size, that way it can be used for all of the lenses with a few cheap step-up rings.

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SanDisk Extreme Portable SSD 1 TB

Upgrading from a standard hard drive to an SSD like this will supercharge any photographers portable photo editing experience. Buying this drive for the landscape photographer in your life will save them so much time as they are lightning quick and all in a package not much bigger than a credit card.

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Canon PIXMA Pro 10S Printer

I mentioned before about how important I think it is for photographers to print their photos so although it’s on the more extravagant end of the budget spectrum, what better gift is there than a high quality A3 professional grade photo printer so their photos can be unleashed from that hard drive and experienced in all of their tactile glory. I have one of these Canon PIXMA Pro 10S printers and it really is an excellent printer so I can personally recommend it!

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Book a Photography Workshop

OK, no link for this one and without doubt this one will take a little research but for any budding landscape photographer, gifting them a spot on a workshop lead by one of their favourite photographers really is a top gift! So, what to do? First off, you need to find out who they follow on the usual social channels like Instagram or Facebook, who they admire and who’s work they have already brought. Then once you know, why not pop by that photographer’s website and see if they offer tuition or workshop sessions. If they don’t have anything bookable on their website, don’t stop there, make contact with them and see what they offer. If you pull this off, it could be quite a special gift.

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Adobe Creative Cloud Photography Plan

Last but not least is an Adobe Creative Cloud photography plan. If your landscape photography friend uses or wants to start using Adobe’s flagship photography editing suit, then this is the perfect gift for them. Whether they have an existing account or not, this 12 month subscription plan means a further 12-months of photo post processing joy!

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I know we landscape photographers can be a difficult bunch to buy for so I do hope this Christmas Gift Guide helps inspire you to find the perfect present for the landscape photographer in your life.

Cloudburst Over London | Weekly Photo #79

I hope those of you that follow my blog are enjoying the mix of urban cityscapes, landscapes and woodland photos I have been posting lately. I hear a lot about how photographers should have a level of consistency in what they photograph to build an identity and to a certain extent, I do, as I only shoot landscapes (both urban or natural), but I feel as a photographer, its far more important I take photos for me first and if others enjoy the work I share, then that’s a rather significant bonus. That’s why I try to split my time between the city and the natural landscape as for the time being at least, I love to shoot them both.

Fujifilm XT2 | XF10-24mm | 21mm | 1/15th Second | f/6.4 | ISO320

This week I want to share a pic I took just a few weeks ago from the 36th floor roof terrace atop London’s Sky Garden. I try to pop by once or twice a year and capture some new views of the city as it’s a fantastic vantage point to photograph London and once again, I was not disappointed.

Check out these two photos I took from the same spot during a previous visit to the Sky Garden:

• London in the Mist | Weekly Photo #13

• Good Morning London | Weekly Photo #37

While up there, I could see a curtain of rain over to the south-west, resembling a cloudburst with the rain visibly falling from the sky and it was coming my way. Getting closer and closer by the minute, it worked its way across the city and with the dark moody clouds stretching out towards me, I knew there was a photo available to me, but that was only half the battle won. This was a technically tricky photo to capture!

Like most rooftop locations in London, when you visit the Sky Garden you have to be prepared to shoot through the rather grubby glass so to avoid dirt and spots showing up, I had to keep the aperture on the wider side at f/6.4 which also helped let in more light as the glass and dull moody weather meant the scene was a bit dark and the wider aperture allowed me to keep the ISO down at 320 which in turn helped keep the photo a little cleaner while still shooting handheld due to the restrictions on using tripods.

I composed the photo the best I could with the River Thames sweeping around the frame towards the rain and moody black clouds but being careful to avoid the building stricture from encroaching into the frame. It was tricky because I had to avoid the window frames and reflective light from between the panes of glass which, even a lens hood couldn’t resolve but once I had everything aligned, I took the shot.

I spent a few minutes taking some more photos, including a front facing photo of The Shard across the river which I really like and will share soon but within just a few minutes, the rains came and the winds increased so the viewing platform was closed for the evening and I had to make my way back inside.

Taking photos of London is usually all about the city streets, river and architecture so when the weather itself can play a part in my cityscapes like this, the story changes and the city steps back into a supporting role to allow mother nature to take the lead in an otherwise man-made, urban setting.

Until next time.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Misty Dawn | Weekly Photo #78

One of the things I hear quite a lot from people I talk to or the photographers I follow is that the restrictions on movement many of us have had recently means we have spent more time exploring and photographing local places we once might have overlooked and I think that’s one of the reasons for what appears to be a bit of a woodland photography boom that’s been happening. It may not be everybody’s cup of tea and might not always have the wow factor of the iconic location-centric landscapes but with a woodland in some form on most people’s doorstep, it’s an accessible genre of photography to try and I find it a great motivator to get outside, learn a new subject and most importantly, enjoy some peace and solitude while surrounded by mother nature.

Fujifilm XT2 | XF55-200mm | 55mm | 1/3rd Second | f/9 | ISO200

Having only starting this year, I still consider myself a novice when it comes to woodland photography, being able to see compositions, understand how the light interacts with the plants and trees and how to translate a scene that is pleasing to the eye into an interesting photo that tells a story. Like most genres of photography, there is no substitute for practice and experience and with woodland photography I lack on both counts but that doesn’t daunt me, it’s what motivates me to learn, improve and take photos that I would be proud to hang on my wall.

This photo was taken in my usual Sussex based woodland hangout in September. I’ve visited many times this year but given its size, I’ve yet to explore it all. On this occasion, I was on an early morning walk with my youngest daughter, who seems to be as excited to explore the great outdoors as I am so whenever possible, I gladly bring her along with me.

As we arrived at the car park, the forest was surrounded by dense fog with just a few metres of visibility and too thick to take any woodland photos. Frustratingly, after an hour or so, the sun began to burn through at rapid speed and it took only around 15 minutes to go from thick fog to a clear sunny morning, so I had time to capture just two photos which included some atmospheric mist and this shot of the Scots Pines amongst the ferns was the first.

I was drawn to the arrangement of the trees and the branch that seemed to be arching over the darker void in the background which adds some depth in the photo. By now, the sun was casting a defused light through the mist and onto the trees adding some life into the scene so I stepped back around 20-25 metres, mounted my 55-200mm lens to create a nice tight frame around the scene, being careful to avoid the bright sky and fired the shutter.

I wish I could say that all the work for this shot was done in camera on location but I would be lying, the photo still needed a bit of work in Adobe Lightroom to adjust the tones and colours to better reflect the conditions I experienced while taking the photo. I guess with time, the need to correct or improve in post will reduce as my on-location woodland experience increases.

Until next week

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Under London Bridge | Weekly Photo #77

Whether I’m photographing the high rises in the city or a misty woodland in Sussex, I tend to have two approaches to taking photos. On one hand, I will pack a bag with a selection of lenses, filters and a tripod and plod around my location, usually with a particular shot in mind usually coming away with a handful of photos of the given subject. On the other hand, I might be travelling light, with a single lens with me, where I just head off on a photo walk with the camera in hand and no fixed agenda, hunting for compositions as I go.

For more info about my gear, including my lightweight setup, check out this post: WHAT’S IN MY CAMERA BAG (2020 EDITION)

Both approaches have their pros and cons, such as when I have my tripod, I tend to slow down, spending more time in a particular location, maybe working on some fine art long exposures, or just waiting for that nice light to come to me, whereas when traveling light, I can be more agile, cover more ground and seek out more unique compositions as I go and it was during one of this photo walks in the city while traveling light that I took this photo of The Shard from underneath London Bridge.

Fujifilm X-T30 | XF10-24mm | 13mm | 1/50th Second | f/5 | ISO160

This photo was taken back in February while I was having a wander with the camera before heading into the office. I had with me my pocket rocket Fujifilm X-T30 camera and wide-angle 10-24mm lens which is a fantastic combination allowing me to travel light, stay agile and use the wide-angle lens to seek out and emphasise the dynamic shapes created by the city’s fantastic architecture.

As I passed under London Bridge just after the sun had risen, I stopped to have a play with the lines and shapes that frame this view of The Shard across the river. Along with London Bridge on the right-hand side, on the left, there is a metal staircase leading up to the road level and by getting in between these two and carefully framing the shot by resting the camera on the handrail, I snapped away and captured this shot.

In my last post here I talked about how I try to balance the composition and if you can imagine that the metal hand rail on the bottom left wasn’t in the frame, there would just be lots of empty space resulting in too much visual weight in the top right of the frame which just wouldn’t work so having both the bridge and the stairs frame The Shard from opposing corners, it solves that problem nicely. In addition, I particularly like how the triangle created by the underside of the bridge mimics the shape of The Shard but in the opposite direction creating a healthy amount of visual tension in the composition.

It was a very productive morning and I came away from the shoot with a nice crop of photos which happens every now and then when the conditions, the light and my photographic eye are in sync and it absolutely makes up for the many times I walk away from a shoot without any good photos at all.

Until next time.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Colour Wheel | Weekly Photo #76

I hope everyone is doing well. It’s been just over a week of what some are calling “Lockdown 2” here in the UK. In reality, it’s not quite as strict as the lockdown back in March as the restrictions are concentrated on indoor venues and we are still ok to venture out alone or with the family to spend time outdoors. This is good news for the majority of us who like to spend time outdoors and importantly those that need it as spending that quiet time out, alone or with family and away from life’s distractions and stresses is incredibly important when keeping your mental health in check.

What it does mean is that I won’t be visiting London for a few weeks while I continue to work from home. staying out of the city is the right thing to do at the moment and that side of my photography will just have to wait. In the meantime, I’ll keep rummaging through my photo archive for photos of London to share with you and speaking of which, here’s a shot of the London Eye I took before sunrise back in January, which, incidentally, feels a lifetime ago now.

Fujifilm X-T30 | XF16mm F2 | 16mm | 9 Seconds | f/7.1 | ISO160

I took this photo while out on a pre-sunrise shoot in Westminster during a mild, but rather windy morning in January. I wanted to capture a photo of the London Eye along with these colourful lights from a slightly different composition that I had seen before. The main issue I have with photographing the London Eye from Westminster Bridge is that the composition is hard to get right and you often end up lots of the visual weight on the right created by the buildings over at County Hall but a lot less going on to the left of the London Eye which leads to an unbalanced frame, so, as I stood on the bridge, I wanted to find a way to add some interest to the left-hand side and create a more balanced composition.

After a minute or two, I spotted the floating platform on the nearside of the Thames and importantly, the lights were on so I could use the contrast it created as a feature in the frame. By placing it on the left-hand, lower third of the image, it added that much needed balance and interest to the composition I was after. I set my small tabletop tripod upon a flat section of the wall that flanks the bridge and with my wide 16mm prime lens attached to my Fujifilm X-T30 camera, I dialled in the settings and took the shot. I wasn’t after a super smooth long exposure as I still wanted a little texture in the water so I went for an exposure time of 9 seconds which was just long enough to help flatten the water a little to make it appear less busy and emphasise those colourful reflections.

As I did in a previous post, I have annotated the final image which I hope will help demonstrate my thoughts on the composition and what I was trying to achieve.

I hope you find these annotated photos useful and as ever, I would love to hear your thoughts so drop me a comment below

Once I had this photo of the London Eye in the bag, I walked across the bridge and managed to capture another shot with the telephoto lens looking in the opposite direction towards St George Wharf just as the blue hour was starting to show. You will find that photo here City Glow | Weekly Photo #40.

I’ll be back with another photo next week but in the meantime stay safe and be creative.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Remembrance | Weekly Photo #75

I normally release my weekly photo stories every Monday morning but I’ve posted this week’s photo a day early as I wanted it to co-inside with Remembrance Sunday here in the UK and pay my own small tribute to this incredibly important day. I appreciate not all countries will observe Remembrance Day but hopefully everyone will appreciate it’s not about who did what and who’s cause was just, it is about remembering those that were lost to war and conflict throughout history regardless of the country they were from. It’s not political, it’s a mark of respect.

During World War One, most of the fighting took place in Western Europe and the previously picturesque countryside was turned into lakes of mud as they were repeatedly blasted by bombs and fought over. The landscape was bleak and nothing could grow with one notable exception, the bright, red Flanders poppy. This hardy flower managed to grow in in the thousands across the otherwise desolate landscape. In spring 1915, a Canadian doctor, Lieutenant Colonel John McCrae was inspired by this resilient flower and wrote the famous poem 'In Flanders Fields'.

Fujifilm XT2 | XF55-200mm | 71mm | 1/6,000th Second | f/7.1 | ISO400

Back in June this year, I was on the hunt for locations to photograph a poppy field down here in the south east of England and I stumbled across this spot in Dover, beside the South Foreland Lighthouse. Located along the historic white cliffs, it’s a beautiful place with stunning views across the English Channel so along with another photographer buddy, we arranged to meet at sunrise to take some photos.

We arrived just before sunrise and quickly realised the sun would be rising in the direction we were shooting which was good in terms of getting some beautiful backlight on the poppies but it presented a challenge with photographing the lighthouse with so much dynamic range. We spent a bit of time wandering around the field, looking for some good compositions and once the sun had risen and moved a little over to the right, the dynamic range was a lot more manageable and I was able to get the scene exposed without the need for filters or exposure bracketing.

I took a number of shots while playing with the depth of field and as I reviewed the photos once back in Lightroom, I settled for this photo with the lighthouse rendered nice and sharp and the focus gradually dropping off as it got closer to the camera. Even though it’s clear what the flowers are, I just feel the out of focus foreground is easier on the eye and softens the overall scene.

Being such an iconic location along the white cliffs of Dover and such a recognisable symbol of remembrance and hope, I’m so pleased I was able to take it and share it on this important day.

In Flanders' fields the poppies blow
Between the crosses, row on row,
That mark our place: and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders' fields.

Take up our quarrel with the foe;
To you from failing hands we throw
The torch; be yours to hold it high,
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders' Fields.

~ John McCrae, 1915 ~

“Lest We Forget”

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Autumnal Woodland | Weekly Photo #74

Along with a trip to the Sky Garden in London, this week, I’ve been out and about on the hunt for some autumnal woodland scenes in my local forest. For the last few years, London and urban cityscapes have been my main focus and as such, autumnal colours never really played a big part in my photography but since venturing into the world of woodland photography, capturing those autumn colours has been high on my photography to-do list and as the colours only last for a couple of weeks, I’ve been travelling into the forest as often as I can to take my own autumnal woodland photo.

Fujifilm XT2 | XF55-200mm | 105mm | 1/8th Second | f/6.4 | ISO320

So, on this particular morning, I set out while it was still dark and arrived at the car park just as the sun was rising and headed off into Ashdown Forest in Sussex. Unfortunately, as much as I hoped, I wasn’t blessed with a calm, misty morning, but I was still confident that even without that beautiful defused light, I could still seek out a woodland image that featured those bold, autumnal colours I wanted to capture.

My aim was to follow a pre-determined route through the woods and just photograph what caught my eye and an hour or so into the shoot I came across this spot that was full of these copper coloured ferns and orange and yellow leaves spread right across scene. It had just the kind of seasonal colours I was after so out came my tripod to set up the shot. The leaves appear to flow through the image from right to left until the point they arrive at the brighter silver birch trees, purposely placed on the left hand third to act as the main focal point and add some contrast to help break up the colour and give the eye a place to rest.

The challenge I had when taking this photo was the strong wind that was blowing through the forest. With the low light and gusts of wind, there was no way I was going to get a completely blur-free image so I deliberately kept my ISO lower at 320 and just embraced the motion blur that was captured in parts of the image, particularly around the ferns in the foreground.

So, with the circular polariser attached to break through any reflective light and give the scene an extra punch of colour, albeit at the cost of an even slower shutter speed, I took the shot.

Back in Adobe Lightroom, I worked on making a feature of the colours, being mindful not to move those sliders too far to the right and with a slight crop to remove a few distractions near the end of the frame, I was left with the final image you can see here.

I know photography like this is very subjective and this photo will no doubt split opinions, but I guess many of my photos do. If we all liked the same thing, life would be boring but I wouldn’t be staying true to myself and my photography if I just posted what I thought people wanted to look at. The only brief I have is to take photos I like and want to share and if it’s received well, that’s fantastic, but if not, then there is always next week’s photo to look forward too.

The weather forecast for the south of England is looking particularly wet and miserable this week and although time is running out, I remain hopeful that I will get another opportunity to head into the woodland and capture those autumn colours once more before they disappear for another year.

Cheers

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Rainy City | Weekly Photo #73

Here’s a familiar view of London, grey, dull and pouring with rain. For some, it’s a cue to get indoors to keep dry but for crazy people like me, I think it’s a great time to be wandering the streets with the camera, seeking out some creative photo opportunities.

Fujifilm XT2 | XF23mm F2 | 23mm | 1/250th Second | f/2.8 | ISO200

Before I head out with the camera, I tend to check the forecast so I‘m prepared for weather like this but as they say, you can’t predict the weather and nor it seems could any of my weather apps, as on this particular afternoon, there was no rain forecast, so I wasn’t exactly dressed for the occasion. Although I was lacking a raincoat, the good news was that I had my weather-resistant Fujifilm XT2 and XF23mm lens with me so even though I was going to get wet, my camera would keep on shooting without me having to worry about rain affecting the gear. So, with the rain falling, I set off towards the city to capture a few shots.

I spotted this view as I wandered towards London’s Bank station and although I was already familiar with the composition, the rain-soaked road added an opportunity to be creative and play around with some reflections. As I worked to refine the composition, I had great fun jumping in and out of the road to avoid the busses so it took a few tries and although I was soaked through, I got the shot I was after.

My aim was to use the huge 22 Bishopsgate building as the main focal point and place it on the left hand third. I also wanted to introduce some colour by using the London bus on the right and at the same time, keep the camera close to the ground so that the reflections were prominent in the foreground. As it was quite dark, I was shooting wide open which enabled me to keep the shutter speed up at 1/250th second and keep the ISO down at 200. Keeping the ISO low helped keep the shot clean of too much noise and the wider aperture and shallower depth of field helped keep the raindrops visible in the foreground but soft enough so they didn’t appear too distracting.

Back in Lightroom. I opened up the shadows just a bit on the right-hand side to brighten up the red bus so it stood out a little more. I also introduced some contrast in the foreground to emphasise those reflections and finished off with some tones and grading adjustments.

In between chasing some autumn landscape photos closer to home, I’m back in London for an evening shoot tomorrow so looking forward to seeing what shots I can come away with.

I’ll talk to you next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Late Summer | Weekly Photo #72

London has been my main focus of photography for a number of years now so photographing the natural landscape without an architectural focal point is all a bit new to me. I’m rediscovering nature again and trying to work out the best time to photograph the seasonal changes and seek out local places that have photographic potential is a challenge, to say the least, but one I’m certainly enjoying.

Fujifilm XT2 | XF10-24mm | 18mm | 1/50th Second | f/10 | ISO200

Although there’s not much in the way of dramatic landscape locations down here in the relatively flat South-East corner of the UK, there’s still plenty of places for me to explore and take photos. There’s one particular place I’ve visited far more than any other and that’s the Ashdown Forest in Sussex. This beautiful area made up of part heathland and part woodland has an abundance of places to explore and is where I took this photo during a sunrise shoot a few weeks ago.

It took me a couple of trips into the forest before I got the right conditions for the shot I was after and when I did, it all came together with a cracking sunrise and some atmospheric mist across the low-lying ground. It’s not perfect as I had a few challenges, in particular, where to stand to get the best composition. You will probably notice the green fern in the foreground. I could have waded into the heather a little so it wouldn’t feature in the frame but I didn’t want to damage the wildlife (leave it how you found it!). I also would have preferred the sun slightly further away from the right edge of the frame but if I shifted the camera any further to the right, then the brighter area of mist down in the valley would be too close to the left edge. I couldn’t really win and as the sun had already cleared the horizon, time was not on my side and I had to take the shot. Although it’s not technically perfect and I had to compromise somewhat, I still really like the atmospheric mood and gorgeous light in the photo.

I used a wide-angle 10-24mm lens to take this photo and although this gave me lots of depth of field, being so close and focusing on the heather rendered the background soft and out of focus. To get a sharp image from front to back, I had to focus bracket this shot. While using all manual settings (exposure, aperture, ISO, white balance) I took three exposures, the first focused on the foreground, the second towards the middle of the frame and the last focused on the background. Later, in Photoshop, I used the “Auto-blend Layers” option to focus stack the three layers together to create this single image which is sharp from front to back.

It’s great to be out in the natural landscape, relaxing, recharging and keeping active and it doesn’t get much better than on mornings like this when the conditions are just beautiful. With Autumn just about to kick in, I’m looking forward to getting out there with the camera to see what photos I can take and as ever, if I capture anything worth sharing, I’ll post it here soon enough.

Check out a couple of recent blog posts featuring photos taken in the Ashdown Forest.

On Location Photographing Ashdown Forest with the XF23mm F2

Forest Bliss | Weekly Photo #58

Until next time.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Venetian Light | Weekly Photo #71

This is one of the most famous views in Venice and one I absolutely love. The winding Grand Canal which cuts through the city, lined with those iconic red and white striped mooring poles and architecture that spans a thousand years topped with traditional terracotta tiles. All of this leading to the main focal point of the domes that belong to the Basilica di Santa Maria della Salute or known simply as the Salute. Translated to Saint Mary of Health and finished in 1681, this 17th-century church was built as a votive offering to commemorate the end of a terrible outbreak of the plague and needed an astonishing one million wooden piles driven into the ground to support the weight of this ornate stone structure.

“To build a city where it is impossible to build a city is madness in itself, but to build there one of the most elegant and grandest of cities is the madness of genius.”

— Alexander Herzen

Fujifilm XT2 | XF18-55mm | 39mm | 1/20th Second | f/9 | ISO200

This photo was taken during my second visit to this jewellery box city in October 2018. I took a wider shot of this view from Ponte dell'Accademia with a single gondola on the water which you can find here Weekly Photo 11 | Solitary Gondola and as I said in my previous post, I got a bit lucky with the river traffic as I only had to wait around for 20 minutes before it cleared for a short while, allowing me to snap a few different shots of the city.

It was getting towards the end of the day and at this time of year, from this vantage point, the sun was going down almost directly behind me so the scene I was photographing had some gorgeous defused light falling on it as the sun was slightly obscured by a thin layer of cloud. Although being in October meant it wasn’t as busy as during the summer months, there was still plenty of people on the bridge and with the light levels getting lower, my shutter speed was getting slower and getting a sharp photo handheld was getting tricky. I could have opened up the aperture or cranked up the ISO but to get the best quality and depth of field, I used a small table-top tripod and rested it on the thick wooden rail that lines the bridge so I didn’t have to compromise the photo at all.

In my previous photo, the focal point was the gondola in the foreground but for this photo, it’s the Salute so I zoomed from 18mm to 39mm to bring the domes forward and make them more prominent in the photo. The diagonal line created by the buildings that line the canal on the right-hand side leads the eye in nicely to the Salute and the darker slither of buildings on the left help frame and add balance to the composition.

Considering how busy Venice can get in high season, the lack of river traffic and the cooler diffused light falling onto the buildings gives the photo a sense of quiet making the city seem almost sleepy, so I tried to respect that mood and reduce the contrast and colour saturation in post-processing. I think it worked out pretty well.

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Blending Light in London | Weekly Photo #70

I cannot wait to get back up to St Paul’s Cathedral with my camera again. I love the 360-degree views of the city it provides and no matter how often I go up there, the different times of the year and the changing light conditions mean that there is always a fresh shot to be taken.

Fujifilm X-T30 | XF10-24mm | 10mm | 1.7 Seconds | f/6.4 | ISO160

I’ve talked about photographing from St Paul’s Cathedral in a couple of previous posts here:

• Western Towers | Weekly Photo #24

• Square Mile | Weekly Photo #59

For this photo, choosing a focal length was easy. I wanted to take it as wide as possible to capture the top of the roof and Western Towers so I used my XF10-24mm wide-angle lens on my Fujifilm X-T30 camera. No tripods are allowed at St Paul’s cathedral so I discreetly used a small table-top tripod I carry in my lightweight kit and rested it between the pillars that surround the Stone Circle to ensure the photo was sharp in these low light conditions.

What I particularly like about this photo is how a potential ordinary, monochromatic photo of the city is brought to life by taking it at just the right time to ensure there is enough ambient light to capture lots of detail in the buildings and sky but late enough for the city lights to add areas of interest and separation into the scene. Some situations will require a technique sometimes called time blending to get an effect like this. You take two photos of the exact same composition but at different times. The first photo to capture a brighter scene with lots of details and the second when it gets darker and the city lights are turned on. The two photos are then later blended in post-production so it shows the lighter scene with the city lights, like the photo here.

Thankfully, I was able to capture all the detail I needed in a single frame and later in post-processing, I focused on emphasising the brighter orange lights and desaturating the strong blue tones across the entire photo, all using the HSL sliders in Adobe Lightroom. There is one thing that bugs me though and that’s the big spotlight near the centre of the image. It’s too dominant and distracts somewhat. I tried toning it down a little but otherwise, I’ll have to accept it as part of the scene I was shooting.

I’m looking forward to getting back up to capture London’s rooftops and have already booked to re-visit the Sky Garden viewing platform next week. Fingers crossed I get a keeper and if so, I’ll be sure to share it here soon enough.

Cheers

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

On Location Photographing Eastbourne Pier and Beachy Head

Photographing Eastbourne Pier

A few weeks ago I decided to drive down to the Sussex Coast for a sunrise shoot at the pier in Eastbourne. I’ve visited the south coast with the camera many times before but this was the first time I’ve taken the camera to Eastbourne to photograph the pier. Personally, I think this is the most photogenic pier along this particular stretch of the southern coastline as despite suffering a fire in 2014, it still has a lot of its original Victorian features and hasn’t been overrun by fair rides and illumination so I was pleased to finally be able to get down there and capture it.

After arriving and finding my first composition, I placed the bigger Fujifilm XT2 camera onto the tripod and took a couple of long exposure photos (I will share one of two of them on my site sometime soon) and used my pocket rocket X-T30 to take some handheld shots as I wandered around seeking out alternative compositions and it’s these photos I have shared below.

In the first couple of photos, I used the wooden groynes that line the beach to help with the composition and lead the eye towards the pier and although there wasn’t much in the way of a pre-sunrise show in the sky, I still really like the cool pastel tones I managed to capture.

As the sun started to rise, I made my way down to the water’s edge, right beside the pier to get a better sense of scale and to use the reflections on the wet sand as some foreground interest.

Photographing Beachy Head

After an hour or so, I was finished with the pier but not finished taking photos so I took a 10-minute drive up to Beachy Head to take a few more photos along the cliff’s edge where I spent some time playing with different compositions of the lighthouse and views out to sea using the Fujifilm X-T30 and 23mm F2 camera and lens combo.

While trying to use some of the wildflowers as foreground interest in the photos I took of the lighthouse, it was pretty obvious that I was too late in the year and most of the plant-life was long gone which means I will make a point of getting back to Beachy Head a little earlier in the year next time so there should be a lot more wildlife to choose from.

It’s posts like this that make having a blog so useful as I’m able to share a collection of photos that tell a better story of the shoot which in my opinion doesn’t work so well on social media. It’s not all about the technical details or techniques I used, it’s just a good way to share a few different shots from a shoot displayed in a way think works best for the photos.

I have a couple of posts lined up from some recent trips back into London which I will share in the next few weeks.

Take care

Trevor

London Light | Weekly Photo #69

I’ve been able to travel into London with the camera a couple of times over the last few weeks and although the city still has a sleepy, quiet undertone to it, it felt great to be up there creating images again. I spent some time wandering London’s streets and along the River Thames and thankfully came home with a few good shots that I’m sure will be shared on this site soon enough. With the pandemic situation heading in the wrong direction for us here in the UK, the shackles are getting tighter and restrictions are increasing so it might not be long before opportunities to photograph London dry up once again, so, I’ll try to get back up there for more socially distanced photo trips as often as I can.

Fujifilm X-T10 | XF35mm F2 | 35mm | 1/600th Second | f/5.6 | ISO200

This is a pre-pandemic photo taken from the roof terrace atop the Garden at 120 on Fenchurch Street which happens to feature in my Top 5 Rooftop Locations to Photograph London.

It was taken while I was in London having an early spring day out with the family exploring London and having dinner. We decided to visit a few rooftop locations where we could grab a drink and take in the views so after visiting the Sky Garden, just down the road, we popped along to the Garden at 120 to have a look around.

As it wasn’t a photo trip, I had with me the since retired Fujifilm X-T10 camera and 35mm F2 prime lens. I now use the X-T30 for such trips which is the same size and form-factor as the X-T10 so it’s a perfect, lightweight combo for trips like this where photography isn’t the priority but if needed, I have the gear to capture a photo if an opportunity such as this presents itself.

It must have been about 3 in the afternoon by the time we arrived up at the roof terrace, but because of the time of year, the sun was still relatively low in the sky providing some nice contrasted light across the rooftops and it’s that light that caught my eye and the little voice in my head said: “take the shot”.

Instead of writing about the photo, I’ve decided to start including an annotated version of the image in some of these posts to help convey my thoughts about the image and what motivated me enough to press the shutter button.

Back in Lightroom, I went to work using the HSL sliders to bring down the blues in the sky and across the scene, allowing the light and warmer tones across the image to take centre stage without the harsh daytime colours taking over.

What do you think of the annotated image? Does it help convey my thoughts and approach when taking the photo? I hope so.

Stay safe everyone and talk to you next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Beachy Head Lighthouse | Weekly Photo #68

I reckon I’m not the only person that does this but when I visit specific locations such as Beachy Head Lighthouse here, I research just a little about it. Not just how to get there, when the best light will be but also why it was built, who built it, how old it is, what stories does it tell. Apart from finding the history of places like this fascinating, it changes how I look at the subject and how I might photograph it.

Fujifilm XT2 | XF18-55mm | 18mm | 1/15th Second | f/13 | ISO200

Back in 2011, the owners announced they couldn’t afford the £27,000 needed to repaint the Lighthouse and declared it would be left to fade back to a granite grey colour. That would have been the case if it weren’t for a sponsored campaign which raised the funds and had the structure repainted. Read more on Wikipedia here. When I edited this photo, I knew how close lighthouse had come to losing its colour, so, in post-production, I made sure to spend a bit of time focusing on the lighthouse so those fantastic, vibrant colours remained a feature in the final image.

Photographing Beach Head Lighthouse

A few months ago, after checking the low tide times aligned with sunset, a friend and I set off along the rocky beach near Eastbourne in East Sussex to photograph this cracking coastal subject.

For tidal rivers and coastlines, I use an app called My Tide Times which tells me the high and low tide times for a given location. The app is available in both the Apple App Store and Google Play Store.

After about an hour of dodging rock pools and clambering over boulders, we arrived at the lighthouse and began hunting around for compositions. My intention was to use the reflection of the lighthouse in the pools of water left by the outgoing tide to create some foreground interest but as I wandered around, I found this layered composition with the rocks anchoring the image in the foreground, the pool of water and reflections in the midground and to top it off, a cracking lead-in line taking the eye from the bottom left corner, diagonally across the scene towards the lighthouse.

Along with the trusty Fujifilm XT2 camera, I had both my 18-55mm standard zoom and wide-angle 10-24mm and although the wide-angle would have emphasised the rocks in the foreground, I decided to keep the standard zoom for this shot as a wider angle would have pushed the lighthouse too far into the background for my liking and I didn’t want to confuse what I deemed the main subject of the shot.

Dialling in an aperture of f/13 to keep the rocks in focus, with the camera mounted on the tripod and image composed, I went about taking the photo.

Although the sky could have put on a bigger show, I’m still pretty happy with this photo and in a way, the more subtle colours mean the lighthouse stands out that little bit more.

After an hour or so of shooting, we noticed the tide heading back in and with a long walk back around the beach and up the cliffs, that was our cue to start heading home.

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

3 Minutes in London | Weekly Photo #67

One of the reasons I like to take long exposure photos of a cityscape is that not only can it help to simplify a potentially cluttered image by blurring out distractions, but in the right conditions, it can also add a sense of energy, movement and dynamism into a scene and that’s what I think I’ve captured in the photo shown here.

Fujifilm X-T10 | XF10-24mm | 13mm | 180 Seconds | f/9 | ISO200

I took the photo from Tower Bridge in London late one evening in Summer 2017. It was back when the Fujifilm X-T10 was my primary shooter which I used along with the wide-angle XF10-24mm lens to take this photo. I don’t often shoot quite as wide as I’m usually left with lots of distortion in the architecture that lines the river, but I think it works quite well here. The wider field of view allows more of the sky to be included and gives the impression the moving clouds are spreading apart as they get closer to the camera, creating some strong lead-in lines that bring the eye back towards the middle of the frame.

Along with an aperture of f/9 and ISO of 200, I used a 10-stop Formatt-Hitech filter to reduce the light hitting the sensor and stretching the exposure all the way to 3 minutes giving the river a smooth, glass-like look and those streaky clouds in the sky.

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Church of our Lady | Weekly Photo #66

This is the Dijver Canal in the picturesque city of Bruges, Belgium. Taken from the Wollestraat Bridge, located just along the river from the more popular view of the Dijver Canal as it zig-zags past the pretty Relais Bourgondisch Cruyce Hotel, I took this photo while on a photo walk on a clear summer’s morning in the city.

For a longer read with lots of the photos I took during our weekend in this beautiful city, pop over to my On Location post here: On Location Photographing Bruges.

Fujifilm XT2 | XF10-24mm | 17mm | 1/13th Second | f/11 | ISO200

Anyone that has been to Bruges or has seen photos of the city will probably be aware of the popular viewpoint along the canal, right in front of the Relais Bourgondisch Cruyce Hotel but even though I visited the spot during the day, at sunset and sunrise, I couldn’t get a shot I was happy with from where most people stand. The composition didn’t work for me. Don’t get me wrong, it’s a pretty scene and popular for good reason but a good view does not necessarily make a good photo. To me, it felt unbalanced, lacked a foreground and the hotel was too dominating in the scene.

I wasn’t defeated. I knew there were some good photos to be had along the river, I just needed to explore, look for compositions that I did like that also reflected my style of photography. I didn’t have to wander for long and before I knew it, I had captured some photos I was happy with. Two of them have already been shared in this Weekly Photo series (see links below) and the third is this image looking along the canal towards the bell tower in the distance belonging to the Church of Our Lady.

As I crossed Wollestraat Bridge, I decided to photograph this charming scene as I liked the balanced composition with the bell tower on the left and the hotel on the right. Both sides of the canal lead the eye nicely into the photo towards the tower and the reflections in the water add some great foreground interest. If I had to change something, I would remove the cars along the left-hand edge of the frame as they are not really in keeping with the rest of the photo, but they are quite small and not overly distracting in my opinion.

Onto the tripod went my Fujifilm XT2 and wide-angle XF10-24mm lens and I went about capturing the photo you can see here.

As mentioned above, this is the third photo of Bruges I’ve shared in this Weekly Photo series from a trip I took back in 2018. You can see the other two photos using the links below.

Wollestraat | Weekly Photo #8

Dijver Canal | Weekly Photo #32

I don’t buy into the opinion that when visiting popular spots serious photographers should avoid taking those postcard shots. In fact, I don’t buy into telling other people what to photograph at all but when I do visit places like this, I’ll often grab the postcard shot first and with that saved to the card, I am free to explore and hunt down other unique compositions. You won’t always get the shot you had spent time planning for, there are too many variables we landscape photographers have to deal with to guarantee a perfect photo but when it doesn’t go to plan, try not to be put off, instead of feeling deflated, take advantage and search for other, unique compositions. You never know, you might come away with something you are much happier with.

Talk to you next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Bankside | Weekly Photo #65

Looking back through my last 64 Weekly Photo posts, I see that I’ve never included a photo of this composition with the Millennium Bridge leading to St Paul’s Cathedral, even though I have photographed it on countless occasions and come away with a few decent shots of it, so, after giving it some thought, I think I now know why I’ve not shared one to date.

Fujifilm XT2 | XF18-55mm | 21mm | 71 Seconds | f/10 | ISO200

You’ve probably heard this quote, or a variation of it before: “Perfect is the enemy of good” which is kind of how I feel about photographing this view in London. It is one of the most popular views to photograph and for that reason, there are so many excellent versions of this image out there. Over the years, I’ve repeatedly visited this spot to capture something better, more epic than I have seen so far and the problem with that is the chances of doing so are, in reality, pretty low. I probably visit this spot every other month when I think the conditions look good to shoot in so when you think about it, that’s only 6 times a year. I want to capture a long exposure, similar to this composition, but with a bit more drama. I want the clouds heading towards or away from me to create some strong lead on lines that mirror the bridge. So far this is the closest I have come to getting that shot.

I decided to share this photo as a bit of a lesson for me really. I have been so caught up in trying to capture the photo I envisage in my mind, I have wrongly dismissed some of the other good photos I have taken, so, it serves as a bit of a reminder to me that although the holy grail is to capture the perfect shot at a particular location, I need to appreciate and not dismiss the photos I capture along the way.

I took this photo in July 2019 while walking around Bankside in London. Hoping for some favourable conditions, I headed to this spot in front of the Tate Modern, which provides this great composition of the Millennium Bridge which leads the eye over the River Thames towards St Paul’s Cathedral. For this long exposure shot, I used my Fujifilm XT2, XF18-55mm lens and my Formatt-Hitech 10-stop ND filter. As there was quite a lot of cloud cover, the light from the sun would come and go so I needed to wait for a large enough gap in the clouds to take this shot while the sun was hitting the bridge and dome.

At this time of day, the area is still busy with locals and tourists, especially during the summer months, so, another advantage of using the 10-stop filter and taking a long exposure is it will blur all of the people crossing the bridge out of the image. With my aperture and ISO dialled in (f/10, ISO200) I got a 71-second exposure making it appear that nobody was crossing the bridge while the shot was taken. In reality, there were plenty but luckily no one stopped for a selfie while crossing.

Although I really like this photo, the clouds lack the definition and subsequent drama I was looking for which means I’ll certainly be returning again soon. It’s possible I’ll never get the image I’m looking for, but I guess that’s part of the game we landscape photographers play. We are slaves to the elements and let’s face it, if it was easy, it wouldn’t be worth doing, right?

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

London's Burning | Weekly Photo #64

After a couple of weeks away, having a much-needed break from adulting, I’m now back and eager to get out again with my camera. I did manage to venture out a couple of times while on holiday but judging by the photos I’ve seen on social media, it looks like I’ve missed some fantastic misty sunrises as a result of the extremely hot and humid weather the UK has experienced recently. I’ll be heading out this week on the hunt for some misty woodland landscapes, so fingers crossed I get some favourable conditions of my own.

Fujifilm X-T30 | XF35mm F2 | 35mm | 1/20th Second | f/10 | ISO160

This is the third and arguably my favourite photo I’ve shared on the Weekly Photoblog that was taken during the same morning back in January this year. I was travelling light with just my Fujifilm X-T30 and a couple of small prime lenses while photographing along the River Thames and More London.

I’ve said it before that, while I normally carry a heavier backpack with a few lenses, filters and a tripod, etc, I will often ditch the weight and take my ultra-lightweight kit into London as it allows me to stay quick and nimble as I search for new, interesting compositions and you can’t get much smaller and lighter than Fujifilm’s F2 prime lenses.

It was a predominantly cloudy morning during this shoot but after capturing a few blue hour shots of Tower Bridge and HMS Belfast (see the links below) I noticed some warmer light peeking through some gaps in the cloud so as my optimism for a great sunrise increased, so did my pace as I headed to London Bridge to take a shot of this classic composition of HMS Belfast and Tower Bridge. The good thing about taking photographs from London Bridge is that it has a rather wide ledge, making it a perfect platform for my small table-top tripod. In theory, I could have opened up the aperture by a few stops to increase the shutter speed enough to hand-hold the camera but as I had the tripod with me, I could keep the aperture slightly smaller at f/10 to maintain a larger depth of field and a slightly sharper image.

It seemed to come out of no-where but all of a sudden, that small area of light I’d seen as I was walking towards the bridge exploded across the sky like a raging fire. I kid you not, I haven’t enhanced the colour, it really did look like this. Luckily, I had already lined up the shot, ensuring the ship and bridge were dead-centre in the frame as no sooner as I had taken a few landscape and portrait photos, the light disappeared behind a cloud and the fire was out, which was my cue to pack up and head to the office. After a successful morning shoot, I couldn’t wait to see how these photos looked back on the computer.

As the sunrise was so epic, the resulting image was very bright with deep oranges and magentas. These days, I tend to like a more desaturated photo so, in Lightroom, I dialled back the saturation to help tame those bold colours. I didn’t want to take too much away as like I said before, the scene really did look like this and I wanted to stay true to the image I captured. Apart from that and along with some of my usual edits, I used the radial filter to selectively brighten the darkest areas of the image as with so much backlight, the foreground was quite dark. Overall, I’m really pleased with the final shot and I said above, it turned out to be my favourite of the shoot.

If you missed the other two posts from this particular morning, you can find them here:

City Blues | Weekly Photo 34

First Light at More London | Weekly Photo 44.

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Misty Moat | Weekly Photo #63

This is Bodiam Castle, a 14th century castle located in East Sussex. The castle, originally built to fend off the French in case they invaded during the 100 Year War is now owned and managed by the National Trust and a popular tourist attraction here in the UK’s south east.

Fujifilm XT2 | XF10-24mm | 11mm | 1/20th Second | f/10 | ISO200

I’ve wanted to photograph Bodiam Castle ever since I first visited these medieval ruins around 15 years ago and given that I live only 60 minutes’ drive away, I’m a little ashamed it’s taken me so long to finally do so. Over the last few years, I’ve been focused on photographing London and only in the past few months have I been venturing around the UK’s south to scratch the photographic itch.

In late May I finally put it right and drove down into East Sussex for a sunrise shoot at Bodiam castle with a fellow photographer. Depending on the conditions, I had two plans lined up for the shoot. If it was cloudy, I would grab the 10-stop filter and capture a long exposure of this view along the bridge that crosses the moat and if the sky was clear, there was a good chance of mist across the water to add the required interest in the scene. As you can see, I was greeted by the latter.

As the sun was rising, I got the tripod out and mounted the Fujifilm XT2 on top. For this shot, I used the wide 10-24 lens to get more of the foreground in and help emphasise the converging lines along the bridge that lead the eye straight to the castle. Just as the sun’s warm light started to catch the side of the castle, I went ahead and captured this shot here.

I’m really pleased with this photo although I can’t help but wonder how it would look as a long exposure image with lots of clouds streaking across the sky. Well, I guess I’ll have to pop back there soon to give it a try. Oh well :-)

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.

Look Up | Weekly Photo #62

I do love a good look-up shot. Whether it’s an urban, architectural shot like this, the inside of a cathedral’s dome or the tall trees in the middle of a forest, as long as you are surrounded by much taller objects you can capture some fresh, unique photos wherever you are.

Fujifilm XT2 | XF10-24mm | 10mm | 1/210th Second | f/4 | ISO200

Not too long ago, I didn’t think much of the “look-up” city shot and I’m sure many of you feel the same but now I love to capture this type of photo when I’m in the city surrounded by these new and impressive high-rise towers. So, what’s changed? Well, after giving it some thought, I think the reason why these photos didn’t appeal to me is that I saw them as a cheap snapshot, an easy photo to take when walking about the city. There was no time needed, no real compositional thought, just point the camera up and take the photo.

In some ways, that’s still true. As long as you are surrounded by tall buildings, the shot is there to take, but after taking quite a few over the last year or so, I now think that to take a half-decent look up shot that is compositionally pleasing to the eye, sharp, well-exposed image, some time and thought needs to be invested into the photo.

I took this photo while photographing around the city earlier this year during a foggy morning in London. After taking a few pictures from across the river, I decided to head into the city to try to capture a look-up photo with the tops of the buildings disappearing into the low clouds. No sooner as I started walking, I noticed the cloud was lifting and by the time I got amongst the high-rise buildings to take my shot, the cloud had lifted to just above the tops of the buildings so the shot I had in mind was no longer on. One for another time then.

I still took the shot, however, as I still liked the way the scene looked even without the low clouds. I used a wide-angle 10-24mm lens at 10mm to get as much of the scene in as possible which also helps to emphasise the many converging lines that run up the buildings. The dull, colourless day gives the image a cool monochromatic look and the subtle reflections in the glass add some more interest in the shot. Finally, I placed the top of the buildings on the right-hand third so that 22 Bishopsgate coming in from the left looked as tall as possible.

When I next come across a foggy London, Ill head into the city and try to capture the image I originally intended but I’m still happy with the photo I came away with.

Until next week.

Trevor

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This post is featured in my Weekly Photo series where I post a new photo every Monday. To have this delivered directly to your inbox, you can subscribe to the mailing list here.