The Landscape by Paul Wakefield | My Photo Bookshelf

After hearing so many recommendations for this landscape photography book by other collectors, I had to see what all the fuss was about and I’m glad I did. In this Photo Bookshelf post, I’m talking about The Landscape by Paul Wakefield.

The synopsis

THE LANDSCAPE is the latest book by British photographer Paul Wakefield. A long-awaited monograph that includes photographs of both epic proportions and intimate detail. Natural landscape is presented through five different sections: Shorelines, Rockscapes, Drylands, Woodlands and Snowscapes.

Paul’s work combines a classic landscape tradition with a contemporary sensibility and reflects his lifelong passion for the natural world. Paul was born and grew up in Hong Kong and has worked continuously on his own landscape projects while using his vision of landscape on advertising commissions. He has published four books previously, three of which were with Jan Morris, renowned author of travel literature.

My thoughts about the book

The first thing I realised when I purchased this book was its size. It’s a big one. So big in fact that it doesn’t fit on my bookshelf! But here’s the thing, having spent time with the book, ready and studying the photos, I can’t imagine it working any other way now. The larger photos look stunning and with the extra real estate, the borders are still a good size meaning even though they are bigger, each photo can stand alone and be allowed to breathe without feeling awkward or cramped on the page.

The book starts with a foreword by Robert Macfarlane and an introduction by Wilton, both written beautifully with a host of quotes and metaphors as they describe Paul’s work and offer their interpretation of the photos.

As mentioned in the synopsis above, when the photos start, they are presented in five different sections: Shorelines, Rockscapes, Drylands, Woodlands and Snowscapes. Within each section is a collection of mostly intimate landscape images with a few wider vistas intertwined. The book flows beautifully and the high-quality paper used suits the imagery perfectly.

For any landscape photographer, this timeless book is a must have. I’ve had the book just a few months and already read it twice and I know for sure, I’ll be drawing inspiration from it for years to come.

Book Details

• Hardcover

• Size: 290mm x 363mm

• Pages: 128

• Photos: 80

• Availability at the time of writing: Still in print and available from the author’s website at https://www.paulwakefield.co.uk/the-landscape

Surrey Landscapes by Nick Oakley | My Photo Bookshelf

I’ve lived in Surrey all of my life and explored this wooded county with and without my camera countless times, so when I saw Nick Oakley was releasing his Surrey Landscapes book on Indiegogo, I had to get myself a copy.

Author’s synopsis

This coffee-table book celebrates both the popular hot-spots and less well known corners of the county and is also a call from the countryside to those who want to see more. There are no other landscape photography books celebrating the breadth of Surrey’s natural spaces, so this collection of images, bringing together work from the last two years, is a perfect keepsake or gift for anyone who enjoys the county’s countryside and landscape photography.

My thoughts about the book

I was interested to see the locations featured, to both enjoy some landscape photos taken of places I know well and at the same time, get some inspiration for future photo locations I might visit. This book delivered on both counts. The photos featured in the book are great, capturing the Surrey landscape across all seasons and for each photo, Nick has included a paragraph of text describing the photo, the conditions or the location in more detail.

There’s a good mix of both popular and lesser-known locations and for the locations I wasn’t aware of, Nick included some high-level location information as well as a handy map of Surrey at the beginning of the book with each photo plotted. Keeping the location information high level was a good move in my opinion as he gives you an idea of the general area the photo was taken but to try and visit the exact same spot still requires a bit of exploring and effort on our part.

It’s worth mentioning that this book cost just £12 (£16 including shipping) and for a landscape photography book, that’s incredibly good value. The book is well-made, solid in construction and as mentioned before, full of great photos and useful information. My only negative point is the choice made by the author to print the pages with a highly reflective, glossy finish. I found this a little unconventional and quite distracting while reading the book.

That being said, the book was still amazing value and worth every penny.

The previous paragraph has been edited since the post was first published. I had assumed that there was a correlation between the glossy pages and the production costs of the book, suggesting that it was a quality issue. I have since been corrected by the company that printed the book that the glossy finish was a creative choice and not in any way down to price or quality. I stand corrected and have retracted that point. Check the comment below for more information.

I’m pleased I spotted this book when it went on sale and I will certainly use it to draw inspiration for location ideas around my home county.

Book Details

• Hardcover

• Size: 240mm x 240mm

• Pages: Contains 45 colour photographs across facing pages

• Availability at the time of writing: Still in print. Available from the author’s website: https://nickoakleyphotography.co.uk

On Location | Photographing Beachy Head Lighthouse

Being an amateur photographer with a full-time job and a young family, finding quality time to be out for hours in the landscape taking photos isn’t always easy. I’m sure many will relate to finding clever ways to balance their time between life and what is essentially a hobby. So, when the opportunity to have a full day to myself presented itself, I wasted no time planning a trip down to Beachy Head to photograph that stretch of the Sussex coastline.

To make the most of my day, I decided it would be a dawn to dusk shoot, arriving on location at the water’s edge just before sunrise and spending the day in the local area, possibly scout a few locations in the area before heading back to the coast for sunset. During April, that would mean a 16 to17-hour day including the travel but thankfully the tide times coincided with my plans nicely with low tide happening around sunrise and sunset, so I would have plenty of time to refuel at lunchtime, while the tide was in and the beach inaccessible.

The thing about photography is that you can envisage a shoot as much as you like but rarely does it work out the way you plan and I have to admit, the sunrise shoot of the lighthouse, didn’t go as well as I had hoped. The fact is, I didn’t leave myself enough time to get on location and find the best composition. I wanted to take this composition of the lighthouse and cliffs rising out of the frame to the right-hand side, but preferably with a little more interest in the foreground. Maybe a rock pool or channel of water to lead the eye into the frame. I hunted around for 15-20 minutes but the sun was rising fast behind me and I didn’t want to miss this subtle light and pastel colours. So, forgoing an interesting foreground (for now), I settled for this classic composition of the lighthouse and cliffs using these layers of different textures along the beach to add some depth to the overall composition.

While on location, I couldn’t help but feel a little disappointed with not finding a stronger foreground for this image but since getting home and living with the photo a little longer, I find the subtlety of the light and composition work really well together and it’s grown on me quite a lot.

Fujifilm XT2 | XF18-55mm | 29mm | 1/15th Second | f/7.1 | ISO200

One of the reasons I decided to head down to the coast for this shoot was to explore the details, look for small scenes and the different textures on the shoreline. The popularity of photographing intimate landscapes seems to have exploded recently and it’s something that has caught my attention too. I’ve started to see past the wide vista and urban cityscape and explore these closeup, natural scenes most people simply pass by as they go about their everyday life.

Spotting and translating these small scenes into a well-composed photo is not as easy as it might appear with both creative and technical challenges to overcome and I for one still have a lot to learn. Like with traditional landscape photography, there are creative challenges such as working with the light, finding contrast and organising the shapes and textures into interesting, meaningful compositions. Technically, you have some depth of field challenges when getting in so close to the subject and knowing how to focus stack in programs such as Photoshop can be a real-life save when trying to keep an entire image sharp.

As I hunted around the various rock pools, it was the colour and texture of the coral weed and how it contrasted against the rocks which first captured my attention. The rocks, with a scattering of barnacles and limpets have a host of interesting textures themselves, but when set against the purple weed and organised into a somewhat pleasing composition, an intimate rockpool image starts to form. I also found this yellow, rusty coloured stone alongside the purple weed and liked the contrast in textures and colours it created.

To my eye, the purple coral weed stood out and had some vibrancy to it but I think because it was submerged underwater, my camera struggled to pick up on this colour and in post-production, I had to pull the colour back quite a lot so it reflects better what I saw when I was there, on location.

I mentioned previously the technical challenges involved when taking close-up photos of small scenes and although it’s not immediately obvious, the rocks above the water and submerged coral weed are at different heights. Being at different distances from the camera and with the focal length I was using meant there was no way to get the entire scene sharp in one photo, so I needed to focus stack the image and blend the sharp areas together later. With the added challenge of the weeds and limpets moving subtly between shots, blending and processing each photo took a lot longer than I first anticipated. I’m quite happy how these turned out and the two images below are my favourite of the set.

Once finished photographing the rock pools, I turned my camera toward the chalky cliffs. The light was getting stronger by this time and I wanted to photograph some of the textures and features of the chalky cliffs before it became too harsh.

Looking upwards, I liked the way this triangular section of the cliffs points upwards, mimicking the peak of a mountain and against the soft, thin layer of clouds, the shapes and textures of the chalk could really stand out. I guess it’s the closest I’ll ever get to a mountainous terrain here in the relatively flat southeast of England.

I wasn’t really sure what I was doing with the second image below other than just enjoying a scene and photographing it. It’s no award winner but on reflection, it turns out I actually quite like it, specifically the horizontal lines and textures in the cliff face set against the soft shapes of the smoother boulders in the foreground creating this somewhat layered composition.

With the sun high in the sky and the tide now coming back in, I decided to head back inland to get a coffee, relax for a while before heading to my next destination.

I’ve wanted to visit the nearby Friston Forest for a while now and being close by, this was the perfect time to go and scout the area for future woodland photoshoot opportunities. So, once rested and hydrated, I drove the short distance, parked up and ventured into the woodland.

By now it was the middle of the day and far from ideal conditions (for me) to take woodland photos but as I wandered through, I did get the camera out a couple of times when a particular scene caught my eye. On any other day, I avoid dappled woodland light like the plague but on this occasion, as I stood at the top of a bank, looking down on this tree, the textures created by the vibrant leaves and the light hitting the trunk was enough for me to set the camera up and take a photo of it.

It was a gloriously sunny day and the shaded walk through the trees was a perfect way to spend the afternoon.

After a lovely walk in the forest and a few hours relaxing along the beach with a coffee or two in nearby Eastbourne, I made my way back to Beachy Head, this time giving myself plenty of time to work on a better composition of the lighthouse.

With the sun getting lower in the sky, slowly working itself around the back of the cliffs and out of view, I searched the many watery channels left by the outgoing tide for my foreground. After hunting around a while, much of the water had filtered out from the gaps in the rocks and I found the foreground I was looking for. This channel of water winds its way between the rocky foreground towards the lighthouse working perfectly as a compositional lead-in line while at the same time adding the right amount of visual weight to the left hand of the frame balancing it somewhat against the heavier line of cliffs on the right.

With the light at its best, illuminating the sky behind the lighthouse and basking the scene in its beautiful golden tones, I took what turns out to be my favourite photo of the shoot. I couldn't decide between a landscape orientation which emphasises the epic cliff line on the right or a portrait orientation, which allowed me to include more of that golden hour sky and longer channel of water in the foreground. So, I took both and have shared them below.

Fujifilm XT2 | XF18-55mm | 18mm | 1/200th Second | f/8 | ISO200

Fujifilm XT2 | XF18-55mm | 20mm | 1/250th Second | f/8 | ISO200

Still happy with the composition, I decided to wait around after sunset, keeping the camera in the same position to see how the light evolved. Was I going to get an epic explosion of post-sunset colour or will it subtly fizzle away as the sun lowered further below the horizon? It turned out to be the latter.

With the light fading, the sky directly behind the lighthouse was looking good as it transitioned from those gold tones we had before sunset to a more subtle pink and blue pallet in the sky and on the cliffs. I really wanted to emphasise these different colours in my next photo, so with the help of my telephoto 55-200mm lens I took this close-up panoramic photo of the lighthouse, set against those pink and blue tones all around it. A simple composition, but sometimes that’s all you need to let the other aspects such as colour and texture stand out.

Finishing off the day, I put the wide lens back on the camera and photographed the lighthouse with the foreground once again included as the last of the light faded and the early blue hour crept in. With the photos I wanted in the bag and a bit of a walk back to the car ahead of me, I decided I was done for the day and made my way home.

Fujifilm XT2 | XF55-200mm | 70mm | 1/20th Second | f/8 | ISO200 | Stitched Pano

Fujifilm XT2 | XF18-55mm | 18mm | 1/6th Second | f/8 | ISO200

Fujifilm XT2 | XF18-55mm | 18mm | 0.8 Seconds | f/14 | ISO200

So, there you have it, a very full-on but enjoyable day of photography along the Sussex coast. I enjoyed a beautiful pastel sunrise, got to practise some intimate coastal photography, enjoyed some time-out, alone to relax, I scouted a new woodland location, had coffee on the beach, and was gifted a beautiful sunset to top it all off.

What a fantastic day!

Until next time.

Venice by Dorothy Bohm | My Photo Bookshelf

Although most of the photo books I’ve purchased feature landscape photography, every now and then I might buy one that has less to do with landscape photography and more about a particular topic I care about. In this case, Venice and specifically the renowned photographer, Dorothy Bohm’s 1992 publication.

Author’s synopsis

Instantly recognizable from snapshots and postcards, the incomparable Venice is a city of many faces. In this lavish book, renowned photographer Dorothy Bohm searches out the layers of significance behind Venice's disguise, probing the many hidden cities behind the familiar architectural drama, the Adriatic light, & the disguise of Carnival. A beautiful collection of images that discovers the true subject matter of great photography in a sudden reflection, a whimsical window display, or the tattered remnants of a poster.

My thoughts about the book

When I discovered this book a few years ago, I hadn’t yet started my photobook obsession, but having already visited and falling in love with this beautiful jewel of the Adriatic, I subsequently came across the late Dorothy Bohm’s work and her fascinating story on a Sky Arts documentary. So, when I found out Dorothy had published a book back in 1992 that combined my love of Venice and her photography, I had to buy a copy.

Most of the books I own are centred around landscape photography, as it’s the genre I enjoy the most, both taking my own and enjoying the work of others. But this book is far from a landscape photography book. Yes, it features some of the iconic cityscapes we all recognise but what I particularly like about this book is that it’s a snapshot in time, combining multiple genres, such as cityscapes, architecture, street and documentary photography, but with a feeling of nostalgia created by the classic film look and the styles captured within them.

Written by author and curator Ian Jeffrey, the forward is a piece of art in itself. It’s so elegantly written and such a beautiful account of Dorothy Bohm’s photography. Throughout the book, many of the photos are accompanied by quotes from famous artists and authors who have some kind of connection to Venice, Italy, or the arts. Dorothy provides a list of these quotes and where they can be found at the back of the book. Also at the back of the book is a reference list with information about all of the photos such as an interesting fact, the place name or a brief behind the photo story. Having these words at the end is an interesting approach as it allows you to add a little more context to the images if you want it. Alternatively, you can ignore the list altogether and just enjoy the photos and their accompanying quotes, allowing you to make your own assumptions.

Along with the landscape and architecture photos, a part of this book focuses on the people of Venice and I love that. You have residents looking out of their windows, ladies meeting for coffee, men at work and people dressed up during the carnival season with masks and face paints galore. What I find fascinating is that although much has changed in the 30 years between the book being published and my visit to Venice, I still recognise so much from this book and get a real sense of nostalgia when I read it. The feeling this book portrays is Venice, it’s a feeling the city has and will always have and that’s how I know Dorothy did such a good job of capturing it in the 90 colour film plates she includes in this fantastic book.

Book Details

• Hardcover

• Size: 241mm x 279mm

• Pages: 112

• Availability at the time of writing: Unavailable from the usual UK booksellers. Consider buying a used copy.

Vistas - Landscape Photography by Nigel Danson | My Photo Bookshelf

This is Vistas by Nigel Danson, a landscape photography book crammed full of photos of some of the most beautiful big vista landscapes in the world.

Author’s synopsis

This book highlights my love of the big vista in landscape photography and showcases some of my favourite images from The Faroe Islands, Iceland, Scotland, Norway, The Lake District and Yosemite and has been careful created to showcase my painterly style of photography.

My thoughts about the book

“Vistas” is the first of what will be a trilogy of landscape photography books by Nigel Danson and having followed his work for a few years, I was keen to get a copy and see his photos come to life in the printed form. With the follow-up books being “Woodland“ (already released) and “Seascapes” (due later in 2022), this book is, as the title suggests all about the big vistas, the epic views Nigel has captured both in England and further afield.

It’s a stylish grey canvas lined cover with silver text and feels sturdy and well made. On build quality alone, I had already felt the relatively modest investment was money well spent before opening the book.

Having already studied much of Nigel’s work, I knew this book would include some stunningly beautiful images but it was nice to see plenty I hadn’t seen before and the sequencing of the book works well with the photos grouped in chapters based on location such as England, Scotland, Faroe Islands, etc.

In terms of narrative, there isn’t a huge amount of text in the book. Each photo has a title, location and Exif data, a nod to us fellow photographers I imagine. Every few pages there is a small paragraph of text about a particular image which is a welcome addition, but given that I’m quite partial to a “behind the photo” story and love to get under the skin of photos I particularly like, it would have been great to see just a little more text in this book. That being said, it is very much a personal preference.

My only slight gripe with the book, (and it’s something that will split opinion) is how some photos span multiple pages as I can find it quite distracting. It probably doesn’t bother most people as its common to allow for bigger images and although with the way this book is made, it doesn’t look too bad, I would still prefer each image to remain on a single page. As I said, a small subjective gripe.

Like I said, Vistas is the first of three books Nigel has planned and I thoroughly enjoyed reading it. I’ve already got the follow-up (Woodlands) on my bookshelf ready to read and I’ll be first in line to order the Seascapes book too. If you can still buy this book directly from Nigel’s website, I highly recommend you do so before they are gone for good.

Book Details

• Hardcover

• Size: 240mm x 300mm

• Pages: 120 Litho printed pages

• Availability at the time of writing: 2nd Edition with limited availability at https://www.nigeldanson.com/products/vistas

Kase Magnetic Filters | A Landscape Photographers Review

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.

Photographing London with my Fujifilm Prime Lenses

Those of you who have been following my work before, let’s say, 2019 would have seen me predominantly as a cityscape photographer, with photos of London representing about 90% of the images I took. Fast forward 2 or 3 years, my trips to London have been few and far between for obvious reasons and I started taking more photos outside of London, exploring the local countryside and coastline here in the southeast of England. So, when I get the opportunity to head into the city with my camera, I take full advantage.

A few weeks ago, I managed to carve some time out before and after work to take photos in London for the first time this year. Knowing I was a bit “cityscape” rusty; I didn’t have particularly high expectations, I was just happy to be out there again, soaking up the atmosphere in the city I love so much.

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/50th Second | f2.8 | ISO160

When I travel to London, I usually end up at London Bridge Station, so it has become a bit of a ritual to start any shoot off surrounded by the modern architecture here at More London. I must have a thousand photos of The Shard, City Hall, and Tower bridge taken from this location, but I find it a great place to start things off, using some old faithful compositions to get that all so important first photo in the bag. I suspect that some of my fellow photographers might relate to the fact that when I’m out taking photos, I have to warm up a bit to get into the zone, so the sooner I start pressing the shutter button, the better.

This composition looking towards The Shard is a favourite of mine as I can use the thick, round rail around the scoop as a compositional lead-in line, adding interest as well as helping the viewer work their way around the frame and finish up at The Shard. The scene works both in portrait and landscape but the 16mm F2.8 lens I had with me could have done with being a little wider for the landscape composition above.

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/40th Second | f2.8 | ISO160

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/180th Second | f2.8 | ISO500

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/80th Second | f4 | ISO160

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/250th Second | f4 | ISO500

With the blue hour slowly giving way to sunrise and very little cloud around, the Belt of Venus started to cast its pastel-pink glow across London. As I left More London, crossing Tower bridge I had to stop and take a few photos of the view looking west along the River Thames. There was no direct light but the muted pre-sunrise colours were right up my street and it while crossing the bridge I took my favourite photo of the morning.

Framing up the classic view of More London and The Shard from across the water, I noticed behind me that one of the Uber Boats was approaching the bridge travelling up-stream and would soon appear from under the bridge below my feet be directly in front of me shortly after that.

Raising the camera a touch to show more of the river so the boat would have more room around it, I waited for the boat to enter the frame and as it approached the ideal spot, I rattled off a few shots with the one below, being the best of the bunch.

Once finished on Tower Bridge and with the pastel colours making way for the stronger, direct sunlight, I headed off towards my office, grabbing a few more snaps along the way.

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 125th Second | f4 | ISO160

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/160th Second | f4 | ISO160

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/200th Second | f4 | ISO160

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/320th Second | f5.6 | ISO200

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/3,200th Second | f3.2 | ISO200

For this London shoot, I had my lightweight Fujifilm kit with me (which you can see in the photo here) and there were a couple of reasons I left the heavier gear at home and went for this compact setup.

First off and the most obvious is that it was lighter and more freeing to walk around with less gear weighing me down. Secondly, and the main reason was that I had decided to visit St Paul’s Cathedral later that day, to climb the dome and take photos from the very top, which is something I hadn’t done since 2019.

The Golden Gallery situated at the very top of the dome is very small with barely enough room for people to pass up there, so having a smaller bag, no tripod and a more compact camera system makes it a little easier and helps me keep out of the way from the other visitors.

For a more comprehensive list of the gear I own and the different configurations I use, check out my most recent “What’s in my camera bag” blog post.

Fujifilm X-T30 | XF23mm f2 | 23mm | 1/400th Second | f4 | ISO200

Fujifilm X-T30 | XF23mm f2 | 23mm | 1/800th Second | f4 | ISO200

Fujifilm X-T30 | XF23mm f2 | 23mm | 1/800th Second | f4 | ISO200

As you can see in the picture of my gear above, the three prime lenses I had with me were the 16mm F2.8, the 23mm F2 and the 35mm F2 and focusing predominantly on the city highrises and The Shard across the river, I spent the entire time I was up there switching between the three lenses, each one provided a different perspective of London’s cityscape.

Fujifilm X-T30 | XF35mm f2 | 35mm | 1/250th Second | f5.6 | ISO200

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/250th Second | f6.4 | ISO200

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/160th Second | f6.4 | ISO200

Fujifilm X-T30 | XF35mm f2 | 35mm | 1/200th Second | f5.6 | ISO200

Fujifilm X-T30 | XF35mm f2 | 35mm | 1/200th Second | f5.6 | ISO200

Fujifilm X-T30 | XF16mm f2.8 | 16mm | 1/320th Second | f6.4 | ISO200

I would have loved to carry on shooting from the top of St Paul’s until after sunset but the cathedral closes quite early so with a season ticket giving me access to The Shard’s viewing platform and it being on my route back to the train station, I popped up there for just a few minutes to check out the view. Unfortunately, the cloud cover prevented any chance of nice light and a brief rain shower covered the glass in droplets, so I only managed to take one useable photo which you can see below. It’s nothing special but gives you an idea of the conditions.

Fujifilm X-T30 | XF23mm f2 | 23mm | 1/30th Second | f2 | ISO160

Overall, a successful first visit of the year to London and coming away with at least one keeper was a real bonus. I certainly plan to get back out there as the days get longer as it gives me more opportunity to capture the best light after a day in the office so stay tuned for more!

Until next time.

Masters of Landscape Photography | My Photo Bookshelf

This has got to be one of my favourite landscape photography books I own. Masters of Landscape Photography features 16 of the biggest names in landscape photography, each sharing 6 photos and the stories behind them.

Author’s synopsis

Landscape photography is one of the most popular genres for amateur photographers, with countless competitions and awards heavily subscribed by enthusiasts and professionals who are keen to pitch their work against their peers. Beyond the competitions is an even larger community of landscape photographers, who can be found tramping through the wilderness in search of their next great shot, ready to sit for hours until the light is just right. However, mastering the genre takes time: time to perfect exposure, colour, composition, and perhaps above all else the ability to see and record the landscape in a way that will make your photographs stand above the rest.

To set you on the path to success, Masters of Landscape Photography delves into the world of 16 leading lights, each with their own unique take on how, where, and why the landscape should be recorded. Through probing Q&A style interviews and beautifully reproduced images, the reader is given an insight into the artist s working practices, from the equipment they use to the techniques they employ to create their breathtaking and visionary works. In this lavishly illustrated title, glorious colour photographs sit beside atmospheric monochrome, the latest digital techniques rub shoulders with traditional film-based imaging, and conventional landscape mores are countered by experimental artworks, guaranteeing something to inspire the reader, no matter what their landscape persuasion.

My thoughts about the book

When I first came across this book, probably via a recommendation and saw whose work was included, I wasted no time clicking the “Buy Now” button on Amazon. Granted, a couple of the names were new to me back then, but when I saw the book featured the likes of Colin Prior, Art Wolfe, Joe Cornish and Hans Strand, I had to get my hands on it. All of the 16 photographers share 6 photos each, meaning the book houses close to 100 world-class landscape photos, each with a unique story alongside.

Putting the content to one side for a moment, I want to mention how the book is formatted. For each photographer, there is a small bio, 6 images with an accompanying story, a Q&A page with differing questions throughout, and lastly, a photo information page with details such as location, camera settings, etc for each image.

I like this format a lot as you get to know a little bit about the photographer (as I didn’t know them all), their thought process and approach to taking the photos and if interested, the technical settings for each. It sounds a bit wordy but it really isn’t as the editor has done a great job to prevent the type from overshadowing the beautiful imagery.

On that note, the way the book has been laid out is superb. Although it’s not a large book, the photos are nice and big and take centre stage throughout and the print quality for a mass-produced book like this is really good in my opinion.

This is a book I’m sure I will come back to again and again and with such varied sub-genres of landscape photography included it has a little something for everyone.

Book Details

• Hardcover

• Size: 285mm x 230mm

• Pages: 176

• Availability at the time of writing: Unavailable from the usual UK booksellers. Consider buying a used copy.

My Top 10 Landscape Photography YouTube Channels in 2022

YouTube is a fantastic resource when it comes to following the work of your favourite landscape photographer and personally, I draw a huge amount of inspiration from the channels I subscribe to, viewing the world through their eyes and picking up a few tips and tricks along the way.

I’ve cultivated a healthy list of accomplished landscape photographers on YouTube and while some will post the occasional video that piques my interest enough to watch it, there are just a few YouTubers that I look forward to and for one reason or another, will always try to watch the content they release. After releasing my first top 10 list back in 2020, I’ve decided to review my previous article and bring an updated list of my top 10 landscape photography YouTube channels for 2022.

As I also mentioned in my previous article, do remember to balance watching videos about landscape 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 no particular order, here are my Top 10 Landscape Photography YouTube Channels in 2022.

#1 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 some time now and he really is the master of seeking out compositions amongst the forests and importantly, talking you through the scene, communicating his thought process as he goes. Since I last posted, Simon has begun to talk more deeply about his connection to the environment he photographs and by understanding the woodland as much as he does, it has propelled him to be regarded as one of the top woodland photographers in the world.

#2 James Bell

Born and bred in the Lake District, once James picked up his first camera it was a no-brainer for him to point his lens at the beautiful landscapes on his doorstep. Fast forward to today, and James is now considered one of the top landscape photographers in and around the lakes. Along with taking some exceptional photos, James is a natural in front of the camera and his approach to talking you through his landscape photography workflow out in the field is excellent.

#3 Fototripper

Fototripper is a channel run by Gavin Hardcastle, a British landscape photographer based 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 skits, this is the channel for you.

#4 Henry Turner

Henry is a landscape photographer based in the north of England and spends most of his time in and around the Lake District and nearby coastline. He is a natural in front of the camera with an incredibly open, honest and energetic approach to the way he presents and his rapid growth to over 60k YouTube subscribers is a testament to that.

#5 Joe Allam

I’ve been watching Joe’s YouTube channel for a few years now and although not strictly a landscape photographer, his usual travel photography includes plenty of natural and urban landscapes. Not only is Joe a fellow Fujifilm shooter, but his videos are always well polished and have a nice mix of both travel photography and graphic design content.

#6 Simon Booth

Ever since I started to take more woodland and natural landscape photos, Simon’s channel has been a real inspiration for me, especially when photographing intimate and abstract scenes. Along with being an accomplished landscape photographer, Simon’s videos are incredibly informative and he has a refreshingly relaxed approach to presenting.

#7 Mali Davies

Along with taking some great photos up in the north of England, Mali has such a friendly and open demeanour and that really comes across in the videos he creates. One thing I really like about his videos is how he addresses his viewers so naturally as if you are there with him having a two-way conversation. It’s quite absorbing to watch.

#8 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.

#9 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 the rare occasion he doesn’t, he is content to come home empty-handed due to his “good shot or no shot” approach.

#10 Ben Horne

If you are after a pure photography experience, look no further than Ben Horne. He shoots wilderness photography on large format film in Zion and Death Valley National Parks. Ben will regularly head out on a trip and document his journey as he seeks new and different compositions that match his intimate style of landscape photography.

So, there you have it, the updated list of my top 10 landscape photography YouTube channels in 2022. It was interesting to see how my list had changed and although many survived from being cut from the 2020 list, the new additions inform me as to where my photographic interests now lie and how they are evolving over time.

Landscape Photography. On Location with Thomas Heaton. Vol 1 | My Photo Bookshelf

This photo bookshelf series is going to start with one of the modern-day heavy hitters in the landscape photography community; Landscape Photography. On Location with Thomas Heaton. Vol 1.

Author’s synopsis

This book tells the stories behind my favourite images from my adventures all over the world. We start from high in the mountains and journey down to the valley floors, through the woodlands, over open desert plains to the coast and finish at the very ground beneath our feet. I share adventures and insights from my time as a landscape photographer.

Adventure is relative only to the person having the experience. Whether you are climbing Everest or exploring your local woodland, I hope this book encourages you to pack your camera bag and see what’s out there.

My thoughts about the book

I do love a good behind the photo story and this book is chock-full of them. Along with some of his best landscape photography work to date, Thomas shares an open and honest account of his experience when taking the accompanying photo which gives a fantastic insight into what it takes to succeed as a modern-day landscape photographer.

As you would expect, the photos are exceptional and you can tell a lot of attention was given to the sequence meaning there is a nice flow throughout the book with mountains and vistas through to smaller, more intimate scenes. The layout ticks all of my neat and tidy boxes with a straightforward story on the left and picture on the right format. Simple but effective without a single photo taking up more than one page (just the way I like it).

Nearly all of the photos in this book were taken while Thomas was filming a YouTube video so he’s done something quite clever in this book and created an index of videos alongside each photo at the back of the book. This means that for any photo or story that captures your attention, you can jump straight into the accompanying video and follow him along on his various adventures.

This is a well presented, hardcover photography book and in terms of build quality alone, punches well above its £39.99 price tag. With large, page filling photos and interesting stories alongside, this book is a great addition to any landscape lover’s collection. I highly recommend this photography book.

Book Details

• Hardcover

• Size: 260mm x 260mm

• Pages: 118 – Fedrigoni 170gsm satin paper

• Availability at the time of writing: Still in print. Available from author’s website: https://thomasheaton.co.uk/product/my-book.

My Favourite Landscape Photos from 2021

It has become customary on my blog for me to share a retrospective post, talking about the previous year I’ve had and sharing stories and some of my favourite photos I took along the way. Deciding not to write a full retrospective this time around but also not wanting to break the tradition of reviewing and sharing my photos from the previous year, I’ve decided to keep this post a little lighter and focus only on the photos. So, here are 10 of my favourite landscape photos I took during 2021.

Photographing the woodland through the seasons

2021 was my first full year of woodland photography and I’ve absolutely fallen for this sub-genre of landscape photography. These days, you will often find me wandering my local woodlands for hours on end as I try to make sense of the natural chaos the trees provide. Woodland photography is hands down one of the most frustrating and equally rewarding subjects to photograph and I’m really enjoying the challenge it provides.

To better tell the story of the year I had photographing woodland, I decided to pick a photo I took from all four seasons.

First up is this photo I took in a hilltop woodland on the Surrey/Kent border. Taken during a rare hoar frost in January, I had the most amazing, albeit cold morning looking for frosty compositions and this winding pathway flanked by silver birch was the perfect setting to create this beautiful wintry woodland scene.

Winter Woodland Triptych

I absolutely love a triptych. Putting three photos together can work incredibly well to tell a more cohesive story and with such a successful morning of photography and having bagged three wintry woodland photos in similar conditions, they had a similar look to them. I feel they are even stronger when presented as a single piece. Hopefully, you feel the same. Click on the photos below to see a bigger version.

View fullsize

It seemed to take forever for spring to finally get out of first gear in 2021. Whereas I would have normally expected to see this beautiful carpet of bluebells by mid-April, after a further 2 scouting trips, I had to wait another month before they were ready here in this beech woodland down in West Sussex. Although at the time I didn’t think much of the white daisies that accompany the bluebells on the ground, I now think they work well alongside the green and purple colours, adding some further interest to this springtime woodland scene.

The photo below is possibly my favourite taken in the woodland during 2021. Surrounded by these lush green leaves and glorious morning mist, I was in my element as I wandered through the trees on this early summer’s day. After spotting this composition, I perched my camera midway up the bank and used my wide-angle lens so I could include those fantastic trees on the left as they leaned into the frame creating this natural archway, framing the misty forest scene in the background. The finishing touch were those purple rhododendrons down in the bottom right-hand corner of the image. As controversial as they are, I think they add some interest and balance to the overall composition.

Last up in this woodland collection is what some might call nature’s greatest annual show. Like in the spring, when I was waiting for the bluebells to appear, the best colours of autumn is all about timing, so, once again, it took multiple scouting trips and a fair bit of patience before I managed to photograph this scene below. In fact, the colours appeared so late, I had to wait until the last week of November before they were at their best.

It was the plethora of colours in this image that initially caught my eye, so with the forest doing its job, my job was to make sense of the chaos and do it justice by taking an interesting photo out of it. I ended up using the green pine tree on the far left to add visual weight, balancing the composition against the strong lines of the Beech tree as it leaned towards the right-hand side of the frame.

Autumnal Woodland Triptych

I lapped up the conditions as I explored these autumnal woodlands and like during the hoar frost back in January, I was able to take several different photos which look great on their own, but in my opinion, they look even stronger presented together as a triptych. One day I might even write a post about why I like them so much. Click on the photos below to see a bigger version.

View fullsize

Landscapes photos taken in the Southeast of England

Surrey, Sussex and Kent have some great landscapes to photograph. Granted, they lack the drama of the Jurassic Coast or the mountainous Lake District, but we still have some beautiful, albeit subtle places to take landscape photos here in the Southeast of England. Below are 3 of my favourite landscape photos I took in 2021.

Starting with this stunning view across the South Downs in East Sussex, this photo is all about how the light hits the rolling hills, emphasising the contours in the landscape and creating a natural zigzagging line leading into the distance. Although it was late April, I distinctly remember how cold it was as I stood there waiting for the right moment to take the photo. As the sun rose above the horizon, it soon became clear that timing was going to be everything. I had to wait long enough for the light to hit the right places down in the valley, but not too long so that there was too much light as those all-important shadows and contours would be gone.

You really don’t have to travel far to take landscape photos and the photo I took below is proof of that. As I drove home from a rather unsuccessful woodland shoot back in May, I remember spotting these moody clouds in the sky as I was passing by this bright yellow rapeseed field not far from where I live. Anticipating something special, I stopped the car, grabbed my camera and headed straight to this spot which provides a good view of this lone tree in the middle of the field. As the cloud rolled in with a band of rain behind, and not being dressed for the occasion, I worked fast to get the image before racing back to the car just in time for the heavy downpour.

A popular subject and certainly one of my favourite places to visit with my camera, pictured below is Bodiam Castle in East Sussex. Not coming across any mist or fog on my drive down, I was surprised to see the entire place engulfed as I arrived on location and after waiting a short while for the fog to thin out a little, I managed to take this photo of the beautiful castle below.

I don’t usually like the photos I take when the camera is pointing directly towards the sun but with plenty of mist still hanging around, the brighter, harsh light from the sun was defused just enough for me to take this photo while still retaining plenty of detail in the castle.

The London Cityscape

For obvious reasons, I didn’t make as many trips into London as usual during 2021 and with so much uncertainty that still surrounds us, I’m not expecting that to change too much in 2022. We will have to wait and see. I did however manage to take a few trips into the city in between work from home orders and I’ve shared below three of my favourite London cityscape photos I took in 2021.

First up is this photo looking down Lombard Street in the city. London was still relatively quiet compared to normal and as I wandered down this empty street, I spotted this small puddle by the side of the road. I’ve taken a photo of this view many times before and although I really like the fantastic lead-in lines at the bottom, the traditional buildings that flank the street, and the more contemporary Fenchurch Building at the top of the frame, I always felt it was lacking a little something. Thankfully, this time around, the rain shower brought the finishing touch and I took full advantage by crouching down and using this fantastic reflection of the Fenchurch Building in this conveniently placed puddle as foreground interest.

Next up in this small collection of London photos is this one taken at sunset from St Katherine Docks in June. Normally a busy, somewhat cluttered view of Tower Bridge and The Shard, I decided to use my neutral density filter to cut the light down even further and create a long exposure photo. Removing the ripples and creating this smooth, almost glass-like effect on the water helped simplify the scene, allowing the iconic architecture and their reflections in the river to stand out.

Last up, is this impressive view looking east across London taken from The Shard’s viewing platform. I’d previously tried a few times to take this photograph but for one reason or another, I was never able to take a photo I was truly happy with. Until now that is.

Taken deep into the blue hour, just before nightfall, timing was once again so important when creating this image. I wanted to wait long enough for the city lights to be a feature in the image but not too late so that it was too dark to pick out any details in the landscape. With the camera precariously rested on my camera bag (no tripods allowed), I took the shot you see below. Thankfully, it all came together on this September evening in London.

That’s it! 10 of my favourite landscape photos taken in 2021. There’s plenty more to come in 2022 and I can’t wait to share it with you.

Until next time.
Trevor

Sunrise Over Beachy Head | Weekly Photo #131

I’ve already taken and shared a couple of pictures of Beachy Head Lighthouse in my Weekly Photo series here and here which were both taken down at sea level along the beach beneath the cliffs, but this is the first I’ve shared of the lighthouse taken from up hight, along the top of the cliffs.

Fujifilm XT2 | XF18-55mm | 50mm | 1/1000th Second | f/9 | ISO200

Located on the far eastern edge of the South Downs in East Sussex, the cliffs at Beachy Head are pretty epic indeed. Well, epic for us here in the relatively flat southeast of England at least and standing as high as 162 metres (530 feet) tall, they are the highest chalk cliffs in England.

Back in March this year, I took a drive down to the coast in a bid to make my own version of this well-photographed composition of the Beachy Head cliffs and lighthouse. I had visited a few times before and knew my way around, so I headed straight to this spot, back up the hill towards Belle Tout which is the other, smaller lighthouse which sits on top of the cliffs rather than down at the water’s edge.

Arriving before sunrise and hopeful for a touch of colour, I found the sky over to the east covered in a thin layer of cloud but it was quite windy up there and the clouds were moving fast, so I remained hopeful for some nice light nonetheless. Bearing in mind how windy it was and how unstable the cliffs are known to be, I was careful to set the camera and tripod up a few metres away from the edge. It certainly looks like I’m closer in the photo but I did crop the photo a little and the foreground does open up a bit in front of me.

In terms of arranging the composition, it was pretty straightforward. With the tide out, I had both the coastline and the cliff’s edge providing some useful lines, leading the eye into the image towards Beachy Head Lighthouse which provides both a focal point and some much-needed scale into the image. With everything lined up and the clouds appearing to clear, all I needed was the sun to rise so it could cast some light across the landscape.

The pre-sunrise glow didn’t really amount to much. I mean it was pleasant enough with nice pastel colours, but as the clouds began to clear towards the east, I had a feeling the best light was yet to come. When the sun did rise, it still took a few minutes to reach the top and peek over the cliffs and as it did, the scene was fully engulfed by its beautiful warm light.

Dynamic range was the challenge here as the sun was now higher in the sky and a lot brighter. I wanted to retain some colour and detail in the clifftops and lighthouse and wasn’t looking for them to be silhouetted against the sun, so I needed the exposure to be bright enough to show the detail in those areas but not too bright that it left all of the sky over-exposed. Pushing my camera’s dynamic range capabilities as far as possible, I couldn’t avoid clipping the brightest area around the sun and with the settings you can see underneath the picture above dialled in, I took the shot.

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.

After The Rain | Weekly Photo #130

I love photographing London in or after the rain as the city takes on a different look and feel compared to when it’s dry and I enjoy taking advantage of the creative ways I can take photos when it’s wet outside. Along with talking about this photo I took shortly after a brief rain shower in London earlier this year, I’ll also share some top tips for anyone looking to explore their local town or city and make the most of their photography during or after the rain.

Fujifilm XT2 | XF18-55mm | 18mm | 1/400th Second | f/7.1 | ISO400

Some of my readers may remember when I took this photo on Queen Victoria Street last year and although it was forecasted to stay dry, I got caught in some torrential rain which was an occasion I wasn’t particularly dressed for. I did, however, have my weather-resistant camera and lens so even though it meant I would get soaked through, I was confident my camera wouldn’t and I could still get out into the rain and take what ended up being one of my favourite photos of London in 2020.

Fast forward to March 2021 and I once again found myself in the city with my camera during a rain shower that wasn’t on the forecast. This time around, I was out with my 18-55mm standard zoom lens which isn’t weather-sealed so, unlike last time where I could wander around in the rain knowing my camera would be ok, this time, I had to take cover as it fell. Thankfully it didn’t rain for long and I was pounding the pavement again in no time at all.

Being March 2021, the UK was still predominantly working from home so the streets of London was still relatively quiet compared to normal and as I wandered down an almost empty Lombard Street, I spotted this puddle by the side of the road. I’ve actually taken this photo of Lombard Street many times before and although I really like the fantastic lead-in lines at the bottom, the view down this traditional looking London street in the middle and the more contemporary Fenchurch Building at the top of the frame, I always felt it was lacking something. Thankfully, this time around, the rain shower brought the finishing touch and I took full advantage by crouching down and using this fantastic reflection of the Fenchurch Building in this puddle as foreground interest.

If this isn’t my best London photo of 2021, it will certainly be in my top 5.

7 Tips for photographing a city in the rain

As promised, I’ve shared below some useful tips to consider when photographing any town or city in the rain. The first few tips are centred around being prepared to shoot in the rain. Although they may seem like common sense, just remember, taking photos when cold and wet is not particularly fun and does nothing to stir those creative juices so don’t be like me and get caught out by the rain… twice!

#1 Prepare to get wet - If I wasn’t prepared to head into the streets during torrential rain then I would not have taken one of my favourite ever photos of London. As I mentioned above, rain wasn’t on the forecast and I wasn’t dressed for the occasion but boy would I have enjoyed that shoot a lot more if I wasn’t soaked to the bone. Don’t do what I did, make sure you bring the right jacket, shoes and even an umbrella so you can get out there take your pictures whilst remaining warm and dry.

#2 Invest in weather-resistant gear if you can - Knowing that your gear can survive a rain shower will do everything for your confidence to get out there and find photos in the rain, so if you can, consider a weather-sealed body and lens when you next buy one. If you don’t, it’s not all lost as you can buy inexpensive plastic housings/bags such as these from Think Tank. Although a bit more cumbersome, they will keep your gear dry. Alternatively, keep your expensive camera in the bag and use your smartphone as most have some level of water resistance these days but make your you check the specs first.

#3 Shoot from covered areas - Providing you can find the right subjects and compositions, photographing the wet streets while taking cover from the rain can be just as effective. So, if you find yourself out in the rain and lack the clothes or gear to make the most of it, see what you can photograph while you keep yourself lovely and dry sheltered from the rain.

The tips below are about getting the most from your photography while shooting your local town or city during or shortly after the rain.

#4 Take advantage of the empty streets - Most people head for cover when the rain falls and when that happens, you could be presented with some relative empty streets for a short while. So, if you have the right gear and dressed for the occasion, get out there and take advantage.

Top tip: With an app like Rain Today, you can even spot the rain coming down to the minute and get into position just before it starts giving you the best chance of taking that street or urban landscape photo without so many people in the frame.

#5 Search for reflections and puddles - Just like I did for this photo here, finding puddles and looking for reflections can transform your photos and elevate them into something really special. Remember, it’s not just about puddles as there are so many reflective surfaces in modern cities so keep your eyes peeled during and shortly after the rain has fallen.

#6 Look for umbrellas - No, this isn’t a repeat of tip #1, this is about including people with umbrellas in your photos. Some might say it’s a bit cliche but personally I love to see people with umbrellas in rainy street and cityscape photos. Oh, and I certainly don’t mean the bright yellow or red umbrellas you often see on Instagram (no judgement here). When I take photos of people walking in the rain, they can add an air of mystery and as they tend to hide the face, a touch of anonymity too. That’s certainly the feeling I get when I look at the photo below which I took on a rainy night back in late 2019.

#7 Photograph the reflections at night - Not only does the photo above show the story umbrellas can tell within your photos but the image also shows how good the reflections can be when the street lights reflect across the wet surfaces. So, as long as you remain safe and where possible go with at least one other person, why not head out into the rain after dark to see the streets illuminated by the city lights.

Top tip: Plan an after dark trip into town during a rainy December night and not only do you get the reflections from the street lights but you can also get some fantastic reflections from the festive lights too!

There you have it. Hopefully those tips inspire some of you to grab that camera and brave the weather next time it’s raining in your local town or city.

Also, don’t forget you can order a print of this week’s photo by clicking on the “buy this print” link below.

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.

Chaotic Colour | Weekly Photo #129

As promised last week, here’s an autumnal photo I took just a couple of weeks ago during a short trip to the Brecon Beacons in Wales. As mentioned in that previous post, I went to photograph the popular waterfalls along the Four Falls Trail but the Afon Mellte (River Mellte) and Afon Hepste (River Hepste) carve their way through some fantastic ancient woodland with an array of interesting trees so, despite some pretty miserable weather and flat light, I could not resist pointing my lens towards the trees and photograph some of the wonderful woodland they have there.

Before we get stuck in, I have some news. I’ve opened an online print store over on Etsy.com. I’ve been toying with the idea for a while, deciding where to host it and how to price the images and finally got around to setting it all up a few weeks ago. My plan is to offer all of the photos I post on my Weekly Photo series as prints but it’s going to take some time to get all 129of them up there, so if you see a photo anywhere on my website and you want to own your own print, drop me a message and I’ll get it added to the store in no time at all.

Here’s a link to the store https://www.etsy.com/uk/shop/TrevorSherwinPhoto, alternatively you can always find it in the menu at the top of this page.

I’m not going to lie, I found this an incredibly difficult scene to photograph and even now as I sit here writing this post, I’m pretty sure it’s tumultuous nature won’t appeal to everyone but all being well, by the time you get to the end of this blog, you will know why, at the very least, it appeals to me.

The main path that takes you from the car park, along the Four Falls Trail remains on the higher ground meaning for each of the four waterfalls, you need to take a separate path that descends down towards the water in the valley. I came across this scene as I was heading down the steep path towards the Sgwd y Pannwr waterfall which, between descents takes you through this small area of captivating woodland. I was mesmerized by how it looked and even though I knew that trying to find an orderly composition in a somewhat chaotic scene would challenge my relatively modest woodland photography skills, I just had to give it a go. So, after finishing up taking photos by the river, I headed back up to this spot to see what I could make of it.

Fujifilm XT2 | XF18-55mm | 32mm | 1/3rd Second | f/10 | ISO200

So, what drew me to this scene? First off, it’s a very different type of woodland to those I typically come across in good-old leafy Surrey. With the rocks and moss across the uneven floor, the quirky shapes carved by the trees and the plethora of autumnal tones, it just felt a little bit special. I probably spent a good 20 minutes or more working out how best to take this photo and eventually settled on this composition you see here. Along with the interesting shapes and textures, the order amongst the disorder is the way the rocks on the ground create a natural path leading the eye in towards an area flanked by the “V” shaped trees and splashes of vibrant yellow tones on either side.

As I mentioned at the start of this post, the weather throughout my trip was pretty miserable and in between the rain, the light was flat and uninspiring. In an ideal world, I would have had some nice, defused light to bring out more of the vibrant colours in this woodland scene, but it wasn’t to be and I had to make the best of the conditions I was given both on location and back home in Lightroom when processing the final image. I had to be careful with the colours, making sure I didn’t overcook them. Some might be tempted to boost the yellows too much and force them to be what they might have been with better light. I chose to make more subtle changes, so the final photo represents the conditions I experienced on that very day.

Once again, please feel free to pop by my new online print store and have a good look around. I’d love to hear what you think so feel free to get in touch.

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.

Autumn Mist | Weekly Photo #128

The colours have finally turned and autumn is in full flow so, like many other landscape photographers right now, I’ve been out and about in the various local woodlands trying to make photographers of this year’s colourful display. I also made a quick trip west to the Brecon Beacons in Wales for a touch of waterfall photography and although the falls were my primary focus, I managed to snag some autumnal woodland images while I was there. That trip was awesome by the way! I’ll be sharing some of those pictures here soon enough.

While I’m providing updates, I’ve also been taking more intimate photos of the natural landscape which I’m calling “small scenes”. These photos focus on nature’s abstract shapes, patterns and textures which, in a good way is forcing me to look at the landscape in a different way and project I am really enjoying so far. I’m not quite ready to share any of these just yet but as soon as I am, maybe early next year, you will of course be the first to see them.

Fujifilm XT2 | XF55-200mm | 55mm | 1/13th Second | f/8 | ISO200

One of the few problems I have with this craft of mine is my editing backlog. I’m normally a few weeks (or sometimes months) behind as with only so much time available to spend on photography-related activities, I tend to prioritise my time spent out with my camera over post-processing. So, in keeping with the time of year and not having processed any of this year’s autumnal photos just yet, here’s one I took during a misty morning back in November last year.

This day was one of those rare occasions when the fog penetrates the forest and just hangs around for a few hours leaving plenty of time to explore and hunt down compositions without it being a race against time before the fog lifts. Although it’s been a year since I took this photo, I remember it well as it’s the same day I took one of my favourite woodland photos of 2020 which I called The Performer.

Along with those delightful autumnal colours, what caught my eye was how the composition includes two framed subjects, one in the foreground and one towards the back. In the foreground, we have that small cluster of vibrant yellow birch trees framed by the delicately slender branches encroaching the frame on the right-hand side, the golden ferns towards the bottom and the Scots Pine to its left. That tall Scots pine with its wavey branches help frame the smaller but no less interesting tree in the bottom-left corner of the image. The subtle orange leaves on that tree in the background complement the similar-looking tones in the ferns and very subtly add balance to the composition as, without that tree, most of the colour in the scene would be on the right, creating too much visual weight on that side.

As I said at the beginning, I’ve shared this photo from last year as I haven’t quite got around to editing any of this year’s autumnal woodland photos but to give myself a bit of a kick up the proverbial, I promise, next week I will absolutely share a woodland image taken in autumn this year.

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.

Summer Skies Over London | Weekly Photo #127

A quick disclaimer. I don’t typically talk about the editing side of photos in this photoblog but this week, I dive into a new “game-changing” feature in my processing software of choice, Adobe Lightroom. I appreciate this won’t be for everyone so if you’re just here for the photo, that’s cool. Just scroll to the end to see the final image.

A question for my fellow landscape photographers. How many times have you been out there on location photographing a fantastic looking scene, only to be disappointed by the resulting raw file when you get back to the computer and view it on the big screen? I’m sure I’m not the only one….. am I? When I first took this photo from Tower Bridge in London as the sun was setting back in July, the scene in front of me looked fantastic, the sky had colour and just the right amount of drama but when it came to reviewing the images back home, I ended up dismissing this photo.

The thing is, my patience for post-processing is quite short. If I can’t get the photo close to the finished product in a few minutes, I tend to move on. That’s not to say I don’t, on occasion, spend hours on a single photo but I need to see the potential pretty quickly before I decide to invest more time into it.

To help demonstrate what I’m talking about, I’ve done something which I very rarely do, I’ve shared the original raw file which you can see directly below. For those that might not be aware, the raw file is the digital negative and by design, look average straight out of the camera. It’s deliberately flat, lacking contrast, saturation and clarity so when it comes to post-processing, the image file has the most latitude possible for when those sliders are pushed and pulled left and right in your given editing software. When I got home, for some reason, I really struggled with this raw file, in particular, the sky.

Some more accomplished editors might take the image into Photoshop and perform some expert wizardry, use luminosity masks, and edit the photo with ease, others might just swap out the sky completely using Photoshop’s Sky Replacement tool, but I certainly don’t subscribe to that approach. I prefer to work with the pixels I captured on location but no judgment here. Each to their own I say.

Using local adjustments, I could get the sky close to how I remember it but the blend between sky and foreground just didn’t work, making the overall image look a bit false. After probably too much time trying to get it to work, I decided to cut my losses and move on.

So, for the last few months, this raw file has sat in my library, unchanged from my previous attempts to edit it.

Fast forward to just last week, Adobe released some great new updates to Lightroom, and one of the many updates was a new option that automatically detects the sky and creates an adjustment mask in just a few seconds.

For Lightroom users, you can now find the option as shown in the screenshot here.

This will save so much time. It means I no longer have to manually select the sky which is especially useful for photos like this where the horizon is anything but flat and requires far more intricate masking. I’m now able to select and edit just the sky with a single click and for someone who lacks the patience to do so manually or likes to do as much of the editing in Lightroom as possible, it really is a game-changer.

By using this new feature, I’m was able to add contrast in just the sky, without worrying about how this affects the foreground or needing to spend too much time masking around the various shapes on the horizon. The increased contrast in the sky has helped to separate the lower, darker clouds from those that are higher and brighter adding depth and interest up top. With the darker clouds being more prominent, they now provide a natural vignette around the Shard which I purposely placed dead centre in the frame.

I was also able to work on the white balance in the sky separately from the foreground. It’s obvious the image needed warming up a little, but when I pushed the sky towards the warmer tones to bring out those lovely sunset colours, the shadows in the foreground were too warm. I could have used the colour grading tools but again, these are global changes, affecting the entire image so local adjustments were the only option for me in this situation.

Fujifilm XT2 | XF10-24mm | 12mm | 1/15th Second | f/11 | ISO200

With the potential for the photo now realised, I spent some more time making local adjustments to various parts of the image and to finish, I cropped the photo to a 2:1 ratio to remove some of the empty space in the foreground.

So, that’s the Select Sky tool. Not one I’ll use for every photo but when I need to edit the sky separately from the rest of the image, it’s a fantastic option to have available.

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.

Radiant Ruins | Weekly Photo #126

Although I enjoy the craft of photography and the ability to be creative with the landscape, photography is also my excuse to be outdoors, exploring, thinking, relaxing, recharging…all of the above and more. So, a few weeks ago, eager to be out the following morning, I was struggling for inspiration as to where to go.

The weather forecast wasn’t great for my style of photography. I tend to avoid clear blue-sky days and the woodland wasn’t yet on the turn from the late summer greens to the golden colours of autumn. What to do? Contemplating an extra couple of hours in bed, I considered for a moment not going out at all but that thought was short-lived. As I mentioned above, I don’t just go out to capture a photo, I need that time out there and photography is just one of my excuses for doing so.

After pondering for a while, I decided to take the opportunity to revisit Bodiam Castle, one of my favourite historic places in East Sussex. I’d been meaning to visit it again and just love the peace and tranquillity of the place first thing in the morning. With my photographic expectations low but enthusiasm for a morning walk high, I set off before sunrise the following day.

Fujifilm XT2 | XF10-24mm | 10mm | 1/550th Second | f/8 | ISO200

As I drove towards the castle, the light levels started to increase and the conditions were as expected with clear, cloudless skies but as I arrived on location, things could not have been more different. I found the castle surrounded by fog and boy, was it a sight for sore eyes. A real surprise indeed, as I’d not come across a single patch of fog during my entire drive down. Expectations were on the rise.

It’s not the first time I’ve photographed Bodiam castle in the fog. Last time though, it was much thicker with very little light filtering through and it took a good hour or two before the fog was thin enough to photograph the castle. Although I managed to take some photos I was really happy with, back then, I remember longing for some defused sunlight to filter through as I knew it would have been the icing on the cake. With the mist looking thinner this time round, the chances of catching some of that glorious light appeared much better. Leaving the car park with a bit more haste, I set off, walking the path that surrounds the caste in the hope of finding a new composition (well, new to me anyway).

Using some of the foliage to help frame my first composition, I spent some time photographing the castle with the sun behind me, capturing some of the subtle light bouncing off its solid medieval stone walls. I even managed to take a photo that eluded me last time around due to the heavy fog, so I was already pleased with how the morning was going so far.

Once finished taking photos with the sun behind me, I decided to continue around to see how the scene might look with the sun behind the castle. I don’t usually like the photos I take when the camera is pointing directly towards the sun but with plenty of mist still hanging around, the bright, harsh light from the sun was defused just enough for me to take a photo featuring a somewhat silhouetted castle in the foreground.

Compositionally, I placed the imposing castle to the right-hand of the frame so I could include the wooden walkway entering the scene from the left towards the castle’s entrance. I was worried this might leave too much visual weight on the right but I think I just got away with it as the tree entering the frame on the far left adds just enough weight to rebalance the composition to my eye at least. With plenty of ambient light, I was able to shoot handheld for this shot and by using my wide-angle lens I could capture the entire scene, including those fantastic reflections in the water. I dialled in my settings, exposing to the right so I could include as much detail in the shadows as possible but at the same time being careful not to blow out the highlights in the sky and went ahead and took the shot.

As expected, it was a beautifully quiet, early autumnal morning and photography aside, it felt great to be out there, but, with the unexpected bonus of having some perfect conditions for photography, I was so pleased to have set the alarm the previous night.

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.

Splash of Yellow | Weekly Photo #125

When I’m out in the woodland with my camera, I try to keep an open mind as to what I might photograph that day. I might have a particular subject or kind of image I’m looking to photograph but to avoid disappointment and to keep my expectations low, I tend to let the environment and conditions lead me rather than the other way round and if something else catches my eye, be it a strong composition, an unusual subject or interesting light, I will head over and to investigate and take it from there.

That’s what happened on this day when I photographed this yellowing birch tree in my local forest.

Fujifilm XT2 | XF55-200mm | 55mm | 1/8th Second | f/8 | ISO250

In November last year, I took an early morning walk in the forest to discover what was left of the autumnal colours. Winter was fast approaching and although I didn’t have a particular subject in mind, I wanted one last woodland shoot before the beautiful autumnal tones disappeared again for another year. The sky was thick with clouds and as the light levels increased, it became apparent that I wouldn’t be getting any good light on this outing and instead, it would be flat and lacklustre. Undeterred and with an open mind, off I went with my camera in hand to see what I could find.

I made my way up the side of a hill to this spot where I found a carpet of dead ferns and an abundance of Scots pine trees and although I was enjoying the subtle, muted colours of this late autumn landscape, I was struggling to find a photo. The brown colours across the forest floor and dull greens in the trees resulted in a lack of vibrancy and I was not feeling particularly inspired. Not willing to give up just yet, I pushed on and continued to explore the area.

As I walked, a splash of yellow over in the distance caught my eye and with the rest of the landscape deprived of any colour, this inordinately vibrant young birch stood there conspicuously amongst the giant pines so I walked over to investigate.

Establishing that this was probably going to be my only photo opportunity of the morning, I took my time, walking around the tree, looking for a way to frame it. This photo is all about the colour contrast and how the birch stands out so, not looking to overcomplicate things or try to wrestle something different from the scene, I decided to keep things simple. I chose this central composition you see here with the vibrant, yellow birch framed by the earthy tones on the floor and in the Scots pines on either side.

Being on the side of a shallow valley, I decided to take advantage of the hillside and climbed up, further away from the tree so I could use the opposing hill as the backdrop. Doing so meant that I could remove any sky from the frame, ensuring there were no bright distracting areas that would compete with the tree for attention. Being further back, I mounted my 55-200mm telephoto lens for a bit of extra reach, dialled in my settings and took the photo.

With the benefit of being able to view this photo on a large screen, I get to see all of that wonderful detail in the leaves and across the forest floor and that’s part of the appeal for me as this will look great printed. That being said, I know this photo doesn’t have a huge wow factor and certainly won’t do well on the socials when I share it but that’s ok and it won’t stop me from putting it out there. For me, this photo has a traditional, almost painterly look to it which certainly appeals to my taste but above all else, I like it and that’s why I am sharing it.

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.

Plethora of Colours | Weekly Photo #124

Although last week’s post was a little on the heavy side, I’m so pleased with the positive feedback it received. Many of you could relate to what I said and that proves just how important talking about difficult subjects such as mental health is.

In that same, rather long blog post, I also promised this one would be shorter and I intend to keep that promise and instead just focus on one thing. Autumn! This is the time of year many landscape photographers like the best because the slightly dulled greens of late summer turn into a plethora of vibrant yellows, reds and oranges as the leaves prepare to fall for another year.

Fujifilm XT2 | XF55-200mm | 90mm | 1/4th Second | f/9 | ISO250

Also, at this time of year, sunrise starts to happen at a much more reasonable time than in the summer. Gone is the lack of sleep the night before and the godawful 3:30 am alarms! Instead, I can now wake up at 6 am and still be on-location before the birds begin to sing. Much better.

Last October, I went out to my local woodland in an attempt to photograph some of the changing colours of early autumn and I spotted this view. I would have much preferred that the path was flat or went downhill so I could make more of a feature of it but it wasn’t to be. I even tried the view looking back from upon the hill but that didn’t work at all.

What I did like though was the way the path was leading through this fantastic tunnel of trees and with the autumnal transformation well underway, I decided I needed to photograph those beautiful colours. Although I didn’t think there was a portfolio worthy photo here, if I tried hard enough, I could come up with a composition that worked well enough to come away with a nice enough photo.

I set the tripod up on the left-hand side of the path to allow what little of it there was to flow from right to left. Doing so allowed me to include those interesting birch trees on the right-hand side which also added some visual weight over there and to my eye, balanced the composition against the brighter area at the end of the tree tunnel quite well.

With the tripod as high as it would go to try to minimise the effect the fill was having, I dialled in the settings, waited for the leaves to settle between gusts of wind and took the photo.

Last year, we had strong winds almost non-stop during late October and early November which blew most of the leaves off the trees early. So, I’ll be out exploring the woodland again over the next few weeks in a bid to photograph some more of those beautiful autumnal colours and I’m keeping my fingers firmly crossed for the weather to stay mild long enough to do so.

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.

Positive Outlook | Weekly Photo #123

Ok, so you’re going to have to bear with me this week because as I sit here, starting to write this week’s post, I already know it’s going to be a bit of a long one but please stick with it as I hope for some of you, it will prove useful.

At the time of posting, yesterday being Sunday 10th October was World Mental Health Day and whether you struggle with this yourself or not, and let’s face it, most of us do to some extent, it’s a chance for people to contribute to this mission in any way possible.

This is my way.

Personally, I consider myself incredibly lucky that although I struggle at times with self-confidence, social anxiety and periods of stress, it is something I’m able to (on the whole) manage on a day-to-day basis. So many people are not so fortunate and have to fight with everything they have in their locker, every single day to overcome their own mental health issues and although I don’t come at this from a point of authority, I think it’s too important not to talk about in this week’s post. Thankfully, the issues I do have to deal with don’t take a front seat in my life too often but that’s not just down to random luck or just how I happen to be wired, it’s also because I am aware that I do need to look after myself, regularly checking in and taking stock with how I’m feeling within myself. It’s obviously not fool proof but it seems to be an effective approach that works for me most of the time.

As I’ve got older, I’ve prioritized certain aspects of my life which I feel helps me keep on top of things and photography is one of them. It plays a huge part in how I keep my mental wellbeing in check and along with the usual creative benefits this craft gives me, I also know it provides me with an outlet to be active, de-stress, take a break from the chaos of “real life” and be in the moment for a short while.

I won’t go into all the benefits photography (or any creative outlet) can bring to one’s mental health as I’ve previously written about it and although this article is a couple of years old now, the message it carries is still as valid today as it was back then.

It’s strange to think but I truly believe you can help your mental health literally anywhere and doing anything. As long as it makes you happy, helps with stress and allows you to take time out, being present in the moment then it really doesn’t matter what the activity is. Whether it’s scaling a mountain, working in the garden, having a walk in the forest or like me, being out with the camera, it can still be mindful, meditative, helping you to process, which, goes a long way towards improving your mental health and turning negative, overwhelming thoughts into positive, manageable ones.

Fujifilm X-T30 | XF16mm F2.8 | 16mm | 1/125th Second | f/4 | ISO160

I have photographed London for years. It’s where I cut my photographic teeth and although I knew back then that the craft was helping me get out into the great outdoors, or in this case, into the city, what I didn’t realise at the time was how good this was and continues to be for my mental health.

I absolutely love being in London around sunrise as the city takes on a totally different feel. Gone are the noises, the hordes of people and traffic and instead you get an almost privileged opportunity to experience a deserted city, having it (almost) all to yourself to explore and in my case photograph. It was during one of those quiet mornings, I took this photo of the Shard from across the Thames.

I was on one of my "keeping things simple” shoots on this particular day as I had just my smaller Fujifilm X-T30 camera and compact 16mm F2.8 prime lens. Although having the right gear with me on a shoot is important, I can’t describe how liberating it is to shed the load every now and then and head out of just a single camera and lens. After taking a photo of the Girl and the Dolphin fountain on the other side of Tower Bridge, I found this composition as I walked along the cobbled street in front of the Tower of London.

It’s a simple composition with the viewers eye taking a journey into the scene, along the path, past the ornate street lamp, to the tree which then leads the viewer around the top of the image towards the focal point, being The Shard. I love the fact that the lights were still on in the street lamps, the hazy diffused light and those interesting lines created by the tree branches. Getting as close as I could to the tree on the right and with my settings dialled in, I took the photo.

As I mentioned at the start of this post, raising awareness for mental health both in terms of treatments and prevention is so important and the one way we can all help is to talk about it openly, normalising the topic and recognise when you or someone you know needs support with their mental health. Here in the UK, we have some excellent charities such as Mind and The Mental Health Organisation who work tirelessly to raise awareness and provide support to those in need with a wealth of helpful advice and tools on each of their websites. Although these sites are UK centric, much of the information they share is helpful regardless of where you’re from but if you’re not from the UK and looking for something a bit closer to home, I’m sure most countries will have their own national charities which can probably be found with a quick google search.

If you got all the way to the end of this post, thanks for sticking with it and I promise, next week’s post will be shorter.

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.