outdoor photography - september 2015 uk

8/18/2019 Outdoor Photography - September 2015 UK

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landscape | wildlife | nature | adventure

HOW TO SHOOT DAWN AND SUNRISE


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and sustainable,this autumnFjällräven introducesa revolutionary collection of Eco-Shell garments. Offering outstan-

ding waterproof and breathableperformance, the new Eco-Shell garments also boast exceptionalenvironmental credentials.

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WATERPROOF

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Keb Eco-Shell Jacket

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2 Outdoor Photography September 2015

Exciting happeningsIt seems like barely a heartbeat has

passed since we were live on stage at

London ExCel awarding Greg Whitton

with his Outdoor Photographer of the

Year (OPOTY) title, and then saw him

head off on the adventure of a lifetime

as part of the Fjällräven Polar dog sled

expedition across the Arctic. Yet, in

this issue we are thri lled to launchthe new OPOTY competition for 2015

( see page 43). And it’s going to be big!

Once again, we have teamed up

with outdoor gear experts Fjällräven

to send the overall winner off to the

Arctic in spring 2016 for their own epic

journey through the snow-covered

mountains, plateaus and forests

of northern Norway and Sweden.

Learning how to handle a dog sled

team, and survive and be comfortable

in what, at first, appears to be an

inhospitable environment is an

experience unlike any other. And it’s

not a trip you can ever buy!

We’ve got some additional exciting

developments in OPOTY this year: the

category prizes are higher than before,

and we will be producing a beautiful

photography book of all the winning,

commended and selected other entries

from the shortlist, to celebrate and

showcase the superb creative talent

that OPOTY brings to the fore. We

will soon be taking pre-orders for the

book, with special discounts for those

who snap up their copy early. It will

be a limited print run and once they’re

gone they’re gone, so don’t miss out!You can find out more about the book

and the competition at the Outdoor

Photographer of the Year website:

opoty.co.uk.

Talking of websites, another exciting

development at OP is the launch of

our very own dedicated site. Head

over to outdoorphotographymagazine.

co.uk and check it out. Rest assured

that we won’t be giving away content

from the magazine or app on there,

but we will use it to augment the print

and app experience and provide you

with curated links to events, news and

other things, such as cool films, going

on in the world of

outdoor photography

that we’re sure you

will find of interest.

Have a fun month!

Steve Watkin

Finn Hopon took thi

sunning image of

early morning mis at

Steyning Bowl in the

South Down. Read

our techinque feature

on page 30 about how

to capture your own

impreive dawn and

unrie photograph.

GET IN TOUCH

EMAIL Contac the Editor, Steve Watkin,

at [email protected] or Deputy Editor,

Claire Blow, at [email protected]

WRITE TO US Outdoor Photography,

86 High Street, Lewe, Eas Suex BN7 1XN

Follow us on Facebook Keep right

up to date with thing by ‘liking’ OP at

faebook.om/outdoorphotographymag

COVER IMAGE

EDITOR’S LETTER

Fergu Kennedy talk about hipaion for the marine world – page 18

Jame Grant on how to make the mos

of dawn and unrie – page 30

Beneath the urface of frehwater

Britain with Jack Perk – page 74

Andy Luck tes the Sony SLT-A77

MkII to ee how it perform – page 90

THE ISSUEat a glance


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Even a single tree has the ability

to make a strong, dynamic image,but there’s nothing wrong withusing a filter or two to add an extra

dimension. With a gentle breeze inthe air, the long exposure captures

the movement in the clouds, as wellas in the crops in the foreground,whilst an ND grad controls the

contrast between the two.

The last colour of the dayreflected in wet sand, makes

a glorious combination for apowerful image. To avoid losing

the colour however, it needscareful exposure and the helpof an ND grad filter. A meter

reading from the beach retainsthe detail, whilst the 2-stop grad

holds the colour in the sky andavoids it being washed out.

The Big Stopper is the ideal

filter to use where there isboth water and cloud in thescene. Combined with an ND

grad, the Big Stopper blursthe incoming cloud, whilst

adding a sheen to the surface

of the lake. I purposefully keptsome of the blue cast from

the filter for extra mood.

0.6 ND hard grad & Big Stopper

0.6 ND hard grad

0.6 ND hard grad & Big Stopper

www.leefilters.com

A reliable filter system is essential inlandscape photography. The Seven5

System is the perfect match for a compact,mirrorless camera, ensuring my images

retain the high quality I expect.

www.craigrobertsphotography.co.uk


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

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

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

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

IN THE MAGAZINE THIS MONTH...

ALSO IN THIS ISSUEPee Bridgwood peebridgwo od.com, Nik Smih nickmihphoo.com, Laurie Campbell lauriecampbell.com, Seve Young

birdonfilm.com, Andy Luk wildopeneye.com, Carlon Doudney , Aiden Maorm ik maragorm.com, John Dominik

johndominic k.com, Jusin Minn jusinminn, Kersen Howard khowardphoography.com, Lizzie Shepherd lizziehepherd.com,

Trevor Piher pphoography.co.uk, Paul Holloway paulhollowayphoo graphy.co.uk

EDITORIAL

Edior Seve [email protected]

Depuy edior Claire Blow

[email protected]

Aisan edior Anna Bonia [email protected]

Deigner Toby Haigh

ADVERTISING

Raphael Potinger

[email protected],01273 402825

MARKETING

Markeing exeuiveAnne Guillo

[email protected] ,01273 402871

PRODUCTION

Producion manager Jim Bulley

Producion onroller Sot Teagle

Originaion and Ad deign

GMC Repro. [email protected],01273 402807

Publiher Jonahan Grogan

Cirulaion manager Tony Loveridge

Priner Preiion Colour Prining, Telord,01952 585585

Disribuion Seymour Disribuion Ld

Outdoor Photography (ISSN 1470-5400)

i publihed 13 ime a year by GMC Publiaion Ld.

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

Tel 01273 477374

© Guild o Maser Crafman Publiaion Ld. 2015

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.

A he age o five, Fergu

Kennedy loved meing

around in he ea and playing

wih gadge. Fory year

laer, very litle ha hanged.

He i a marine biologis

and work a a reelane

phoographer and amera

operaor or lien uh a

he BBC and Canon Europe.

fergukennedy.com

Finn Hopon i a landape

phoographer rom Brighon.

Afer a hildhood en on he

Souh Down, he now end

hi ime phoographing he

area, rying o apure he

hape and exure. In 2014

he opened he Brighon

Phoography gallery near

he iy’ Wes Pier.

finnhopon.com

brighonphoography.com

COVER

Jame Gran i a Peak

Disric-baed landape

phoographer. Having only

bough hi firs amera in

lae 2008, he i proud o

have piked up numerou

award. He wrie arile

or variou magazine

and webie.

jamegphoography.co.uk

Chri Weson i a

proeional wildlie

phoojournalis. He

ha ravelled widely o

doumen he iue

and hallenge aing

many o he world’ rares

eie, and i he prinipal

phoographer or he NGO

Animal on he Edge.

chriweson.phoography

Camillo Bereno i an

Edinburgh-baed landape

phoographer. A biologis

by raining, he i paionae

abou he oudoor in general,

eeially wild area. A

a keen hiker, muh o hi

phoography ake plae

a high aliude in he

Sotih Highland.

berenohoography.com

Jak Perk i a Notingham-

baed wildlie phoographer

and filmmaker. Having gained

a BA Hon degree in Marine &

Naural Hisory Phoography

a Falmouh Univeriy, he

wen on o film or how

uh a Springwatch and

Countryfile, along wih

many oher ommiion.

jackperkhoography.com

Mathew Maran i an

award-winning phoographer

urrenly ouing on he

wildlie and landape o

Hampsead Heah in norh

London. He i phoographing

he heah’ habia and

animal – boh amiliar and

rare – or a new book o

be publihed in ring 2016.

mathewmaran.com

Theo Boboom i an

award-winning landape

and naure phoographer

baed in he Neherland.

In 2013 he gave up hi job

a a lawyer o beome

a ull-ime proeional

phoographer; a sep he

han’ regreted or one

eond o ar.

heoboboom.nl

Karl Morimer i baed

in Monmouhhire;

approximaely wo o hree

hour o driving rom many

o hi avourie oasal

loaion, where he an

regularly be ound wihing

hi wellie were longer or

he wave were genler.

karlmorimer.com

Over he las 20 year,

Lee Fros ha beome

one o he UK’ leading

landape and ravel

phoographer and one

o he world’ beselling

phoography auhor. He

alo lead ell-ou phoo

workhop and our.

leefros.co.uk

Greg Lamber i a London-

baed phoographer who

eialie in landape

and ravel. He reenly

reurned rom China where

he phoographed he

vanihing ribe and rie

errae in Guizhou Provine.

He believe phoography

i a grea ool or enabling

one o expand viion

and riendhip.

David Noon regularly

hoo or he Naional

Trus, and hi oher lien

inlude Briih Airway,

Sainbury’ and he

Sunday Times. He alo

our hi Chaing he Ligh

Road Show, an iniring

audioviual preenaion.

davidnoon.com


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6 Outdoor Photography Sepember 2015

FEATURES & OPINION LEARNING

ZONE

LOCATIONS

GUIDE18 In onveraion wih…Fergu Kennedy

Steve Watkin talk to marine

biologis, photographer and

filmmaker Fergu Kennedy, who

ha turned hi paion for the

underwater world into a areer

26 One monh, one picure

Pete Bridgwood hoot a longexpoure on the Norfolk oas

38 Lie of he land

Karl Mortimer reonider

hi approah to landape

photography during a trip to

the Lofoten Iland in Norway

40 Opinion

David Noton uffer a rii of

onfidene in the fae of the

deluge of image hared online

61 Inide rak

Nik Smith ha an eye-opening

experiene on the river Thame

62 A phoographer’

guide o life on Earh

Wildlife photographer Chri

Weson explore what it really

mean to be in tune with nature

66 In he soligh

Nik Smith talk to Britih

doumentary photographer

Hannah Mornement

30 How o apure

dawn and unrie

Diover how to get the mos

out of your early morning

hoot: Jame Grant ha advie

on everything from planning

your trip to reative tehnique

36 Quik guide o…

Geting o grip wih ACR

Lee Fros on how to proe

Raw file in Adobe Camera Raw

48 Hallin Fell, Cumbria

Greg Lambert hoot a lai

rural ene in the Lake Disric

51 Beinn Eighe, Highland

Camillo Bereno explore one

of Sotland’ great mountain

52 Viewpoin

Top UK loation to hoot thi

month, inluding ot in Wes

Suex, Cornwall and Suffolk

CONTENTS SEPTEMBER

FIRST LIGHT LEARN HOW TO GET THE MOST OUT OF DAWN SHOOTS

SEEPAGE

43


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Sepember 2015 Outdoor Photography 7

GEAR ZONE REGULARSNATURE

ZONE

70 Life in he wild

Laurie Campbell on he benefi

of aking on ommiioned

phoography projec

72 Phoography guide

Laurie’ eaonal highligh,

world wildlife ecale and

op o for phoographing

woodland plan and fungi

74 Beneah he urfaceSunning underwaer wildlife

phoograph by Jak Perk

79 A momen wih naure

Mathew Maran explore

Hampsead Heah’ wild ide

80 On he wing

Seve Young hare ome of

he highligh o look forward

o during hi migraion eaon

88 Gearing up

Our round-up of he laes

oudoor ki o hi he helve

90 Camera es:

Sony SLT-A77 MkII

Andy Luk rie ou Sony’

laes SLT amera o find ou if

i ouperform i predeeor

10 Newroom

Keeping you up o dae wih

he laes phoography, oudoor

and onervaion sorie

12 Ou here

Our pik of he laes phoo

book, plu app o help

you on your advenure

14 The big view

Phoography exhibiion and

naure fesival, plu oure

o improve your navigaion kill

YOUROP

16 Your leter

Your feedbak, opinion

and muing on all hing

phoography-relaed

57 Reader gallery

Our pik of hi monh’

bes reader image

83 Nex monh

A neak peek a he

Auumn iue of OP

84 Your chanceFind ou how o ge your

work publihed in OP

106 One hing hi monh…

The winner of our ‘panorami

landape’ ompeiion,

plu hi monh’ hallenge

112 Where in he world?

Correcly idenify he loaion

and you ould win an f-sop

Tilopa bakpak worh £179!

NEXT ISSUE ON SALE AUGUST

How to apture aweome autumn landape

Ieland: a freh persecive

Shooting maro in Peru’ Manu National Park


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September 2015 Outdoor Photography 9

Mountain plateau light

by Theo Bosboom

Sometime there i a fine

line between a boring, dull

ky at unet and a gorgeou

dislay of light. While high inthe Rätikon mountain range

in Auria one ummer evening,

everything pointed toward

the fir option. It had been

grey and rainy for day, and the

foreca improvement in the

weather wa not yet evident.

Ju a I began to think about

heading back to the hut I wa

leeping in, the ky began to

clear rapidly and I wa treated

to ome amazing mountain

light for at lea half an hour.

It meant I didn’t regret bringingmy heavy photography gear

all the way up into the hill.

A my beloved 70-200mm

len wa being repaired, I ued

my 180mm macro len to get

a tight compoition of the light

weeping acro the mountain.

Canon EOS 5D MkIII with

Tamron 180mm macro lens,

ISO 160, 1/20sec at f/7.1,

cable release with mirror

lockup, tripod

OPENING SHOT


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A large-scale ca mera track ing sur vey has prov ided afascinating insight into the daily lives of the anima ls

found in the Serengeti National Park in Tanzania.

Using 225 automated cameras across a 700 square

mile study area, researchers captured 1.2 million

sets of pictures bet ween 2010 and 2013, more than

320,000 of which contained anima ls. Triggered

by an infrared a nd motion sensor, the cameras

– attached to trees and steel poles –recorded the

natural behaviour of 40 different mammalian

species, including rarities such as a ardwolf, zorilla

and honey badger.

More than 28,000 volunteers helped to classify

all the images v ia the citizen science website

snapshotserengeti.org. The most commonly seenanimals were those undertaking migrations across

the plains; more th an 100,000 wildebeest were

identified, and the cameras were t riggered by

passing zebra on more than 70,000 occasions.

The team behind the project says the data and

imagery offer an unparalleled opportunity to explore

the interactions between species , as well as having

uses in computer research.

Dr Ali Swanson, who was affi liated with the

University of Minnesota, US, for the research, told

OP : ‘We initially set up the cameras to study how

different species interact – how many large carnivores

share the landscape with each other, and how manydifferent prey species balance their need to eat with

avoiding being eaten. We’re still actively working on

many of these ecological analyses, but we’ve also now

published the entire set of photographs and volunteer

classifications in the hope that many different

research groups can use the dataset for an array

of different questions. Not just in ecology, but in

computer vision, citizen science, and even education.

For example, researchers developing machine-

learning algorithms to teach computers how to

recognise images need really large ‘training’ datasets

where the images have already been classified.’

Learn more about the project at snapshotserengeti.org


NEWSROOMCONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

THE LATEST BULLETINS

© s

n a p s h o t s e r e n g e t i . o r g / Z o o n i v e r s e

Camera traps record

Serengeti wildlifeA lion arrying

a meal walk pas

one of he amera

North York Moors

mine gets green light

A heme o build a £1.7bn poah

mine in one of England’ naional

park ha been given he go ahead by

he Norh York Moor Naional Park

Auhoriy. The propoed developmen

would ee he onsrucion of a

minehead near Whiby ogeher wih

a 23-mile underground unnel leading

o a proeing por in Teeide.

The park auhoriy’ planning

ommitee voed eigh o even

in favour of he mine, whih UK

developer Siriu Mineral ha aid

would reae a leas 1,000 permanen

job. The propoal have ome up

agains wideread oppoiion from

environmenal group, however.

The Campaign for Naional Park

deribed he mine a a ‘huge hrea’

o he Norh York Moor and ha

alled for a publi enquiry before

a final deiion i made by heSereary of Sae.

northyorkmoors.org.uk

Opal itizen siene

projec expands

aross Britain

A large-scale cit izen science initiative,

which has a lready involved more than

850,000 volunteers in England, is being

rolled out across Wales, Scotland andNorthern Ireland thanks to a gra nt from

the Big Lottery Fund.

Launched in 2007 and co-ordinated by

Imperial College London, the Open Air

Laboratories (Opal) programme invites

people of all ages to contribute scientific

research in their local area. So far, Opal

projects have gathered data on issues

such as invasive species, environmental

quality and urban spaces.

Learn about citizen science projects

in your area at opalexplorenature.org © s

n a p s h o t s e r e n g e t i . o r g / Z o o n i v e r s e


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EDITED BY CLAIRE BLOW

Photo pos et up in

Cairngorm National Park

Foureen phoo pos have been e up aro he

Cairngorm Naional Park a par of a projec o explore

how our landape hange over ime. Viior o he area

an imply plae heir amera, able or marphone ino

he brake on op of one of he wooden pos, ake a phoo

and upload i o he Cairngorm Seni Phoo Pos webie.

Loaion inlude he river Dee in Braemar, he Inh Marhe

naure reerve near Kinguie and a panorami view aro

Srahey. The pilo projec i heduled o run unil May

2016 and anyone an view he

image, making i a ueful

reoure for landape

phoographer.

To find out more, inluding

detail about eah loation

and how to find the photo

pos, viit airngorm.o.

uk/photo-pos

WILD BRITAINBoom ime for biterns

One of he UK’ rares breeding bird, he

bitern, i bouning bak o full reovery,

aording o he RSPB. More han 150 male

have been reorded in England and Wale o

far hi year – more han a any ime ine he

early 19h enury. Number delined o jus

11 male in England in 1997, leading o a

onered onervaion programme, whih i

driving he urren reovery. Aording o hi

year’ figure, Somere i he op UK ouny

for bitern, wih over 40 male. Oher biternsronghold inlude Lakenheah in Suffolk and

Oue Fen in Cambridgehire.

Pine Maren Reovery Projec

seures vial new funding

The Pine Maren Reovery Projec, esablihed

by he Vinen Wildlife Trus, ha reeived a

£200K funding boos, o help finane a ix-year

projec aimed a resoring he pine maren

o England and Wale. Thi auumn will ee he

firs pine maren brough from Soland, where

hey are hriving, o a ie in mid-Wale. If

ueful, he reovery projec will be rolled

ou o uiable area of England.

pine-marten-reovery-projec.org.uk

River Oter beaver olony expands

A female beaver living on he river Oter in

Devon – par of he firs olony of wild beaver

in England for 500 year – ha given birh o a

leas wo young. Loal nauralis Tom Bukley

ha apured fooage howing one of he new

arrival being arried hrough he waer by i

moher – you an wah he film a oudoor

phoographymagazine.o.uk.

New big but light

lene from Nikon

Nikon has released two professional

super-telephoto FX-format lenses that

claim to have the lightest build in their

class. The new Nikkor 500mm f/4 E

weighs approximately 3,090g (20% less

than its predecessor) while the Nikkor

600mm f/4 E comes in at 3,810g,

lightening the load by 25%.

Both lenses have an all-new optical

design that employs lightweight fluorite

glass elements, a Nano Crystal Coat and

three ED glass elements. They also

feature Nikon’s latest vibration reduction

technology, a Sports mode for tracking

fast-moving subjects and a n electro-

magnetic diaphragm for more precise

exposures during high-speed bursts.

The 500mm f/4 and 600mm f/4 lenses

are available now, priced at £8,149.99 and

£9,649.99, respectively.

nikon.co.uk

NUMBER CRUNCH

500,000rare and

unique

ound – inluding reording of UK

naure – are o be digiied and made

available online by he Briih Library

hank o a £9.5m boos from he

Heriage Lotery Fund. Wildlife

highligh inlude a reording ha

helped o ave he bitern from

exincion in he UK and underwaer

reording of killer whale made in

he waer urrounding Sheland.

703eie of wild

plan an be found

growing on he UK’

road verge, aording o a new sudy

by Planlife. The organiaion i urging

he publi o ign a peiion aking loal

ounil o adop i guideline on how

o manage he habia for wildlife.

Find out more at plantlife.org.uk

70,000picure were

sihed ogehero reae a 365-gigapixel panorama

of Mon Blan, Europe’ highes

mounain. I ook an inernaional eam,

led by phoographer Filippo Blengini,

15 day and 35 hour of oninuou

hooing o apure he mounain in

i enirey, uing a Canon EOS 70D

and a 400mm f/2.8 len fited wih

a 2x eleonverer.

Explore the photograph at in2white.om

2elephan poahing ho o

in Afria have been idenified;

Tanzania ha been revealed a hewors area for poahing, ogeher

wih nearby par of Mozambique.

Sienis loaed he ho o by

analying he DNA from onfiaed

ivory and mahing i o he DNA

profile from he dung of elephan

living hroughou he oninen. I i

esimaed ha more han 50,000

Afrian elephan were los o poahing

in 2013; reearher ay he new daa

may inreae inernaional preure

o sop he killing.

© C a i r n g o r m N a i o n a l P a r k

© D

o r e C

o u n y C o u n c i l

© M

o n i p a i o n / S h u t e r s o c k


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The Falkland Iland and their

Natural Hisory: Image and

obervation by a naturalis

Ian J Strange

Design in Nature

9780955070846

Hardback, £28

Beore piking up hi book, my

knowledge o he Falkland Iland

wa largely dominaed by he war o

1982. Thi limied impreion quikly

diolved afer reading he firs ew

page o The Falkland Iland and their

Natural Hisory . Puting i hisory and

ideniy a a Briih overea erriory

o one ide, nauralis and auhor Ian

J Srange preen hi Souh Alani arhipelago a a plae abundan

wih wildlie and varying errain.

Blak oyseraher, rokhopper

penguin, blak-browed albaro,

elephan eal and hor-eared owl

are jus a ew o he animal ha

reide on he Falkland – and Srange

preen hem all here in hi sunning

imagery. Beginning he book wih

he firs ighing o he iland byEuropean explorer in he early

16h enury, Srange hen ake you

hrough he area’ differen oasal

region, offhore iland, mounain,

lowland and plain. Living on he

Falkland ine 1959, Srange ha

been insrumenal in iniiaing

onervaion projec o preerve he

wildlie and landape. Through hi

obervaion, dioverie and image

o he 778 iland and ile, Srange

how he ranormaion, boh

naural and oiologial, ha he

iland are urrenly experiening, and

ak wha he uure may hold or hem. A limited edition of 250 book i

available. Signed by the author and

preented in a ecial lipcae, each

book i priced at £35 and can be

purchaed from deigninnature.com.


OUT THERE

THE LATEST NEW MEDIA

IN PRINT

The Shark and the Albatro:

Travel with a camera to the

end of the Earth

John Aitchison

Profile Books

9781781253489

Hardback, £17.99Ever wondered what it’s like to be one of

the world’s leading wildlife cameramen?

Filming nature documentaries for the li kes of the BBC and

National Geographic over the last 20 years, John A itchison has

encountered some of our pla net’s most remarkable animals,

including polar bears, penguins, seals, whales, sharks and lynx.

The Shark and the Albatross comprises Aitchison’s personal

diaries made on some of his most thrilling expeditions.

Revealing some of his most memorable moments when on

location, Aitchison takes us behind the scenes and gives insights

into the adventures of filming wildlife for television. The book

shows how prose can, at times, be more evocative than pictures.

above (left) BlinnSak and

rokhopper

penguin,

Beauhene Iland.

above right (top)Cara Iland,

a sroll in he mis.

above right (bottom) Seeple Jaon

Iland.

© I

a n S t r a n g e

©

I a n S t r a n g e

©

G e o r g i n a S t r a n g e


15/116


EDITED BY ANNA BONITA EVANS

Our top three reently releaed photo book, in whiheah photographer ha aptured their ubjec’ majesyand beauty in monohrome...

Terriorie of he Soul

Kenro Izu

Skira Photography 9788857224756

Hardback, £34.95

Travelling around ome of he world’mos awe-iniring and influenialreligiou arhiecure, Kenro Izu’oninued reearh ino anien religiouwonder ulminae in hi breahaking

maserpiee. Moving from opulen emple o erene mounainop, Kenromimi he builder of old by adoping 19h-enury phoographi and priningehnique o pay homage o hee amazing example of religiou heriage.Some of he ie phoographed will be familiar (uh a he pyramid andSonehenge) ye prepare o view hem in a new ligh a Kenro’ disincivesyle bring he unique amohere of hee wonderful loaion o life.

Review by Peter Horne

Myh and LandcapeDavid Parker

Kehrer Verlag 9783868285895 Hardback, £38

By uing a panorami amera, lenghy expoure and iolaed landformfound in he ea or deer loaion, David Parker’ aim o preen image‘where geology i alered in he mind ino he suff of myh’ i ahieved hereo powerful effec. The ie of he hoen rok and sak remain unknown;all we are old i ha hey an be found in remoe area only disurbed byhe elemen and oaional bird rie. Divided ino wo ecion, Myth andLandscape ombine wo erie Parker made in parallel: New Deer Myhand Siren. Wih boh bodie of work imilar in syle and moif, hi book iure o sir your imaginaion.

Materhorn: Porrai of a MounainNenad Šaljić

Orada & Galerie Rigassi Bern9783033050679 Hardback, £65

Referred o by ome a ‘he mounainof mounain’, he Materhorn i one ofhe highes ummi in Europe, makingi a mea for painer, limber andphoographer. Similar o Japanee wooduaris Kauhika Hokuai’ 36 view ofMoun Fuji, here Croaian phoographerNenad Šalijić foue on apuring he eene of he almos perfeclyhaped pyramid peak ha i he Materhorn. Alongide hi 43 blak & whiepicure, Šalijić inlude hisori momen relaed o he mounain.

A elecion of the bes martphone app to help you say afe, keep on trak and film your outdooradventure thi ummer...

HyperlapeInsagram hamigraed o video wih

i new reaion Hyperlape.By uing in-houe sabiliaionehnology, hi app moohou fooage o give inemaiqualiy, even if i’ been hohandheld. Thi i a grea way oexperimen wih video wihouuing bulky ripod orexpenive equipmen.

Free; available from iTunes

For Android uer we

reommend Lape It

– ideal for trying out

time-lape and sop motion

Full HD 1080p video.

Free; available from Google Play

EndomondoExiing developmena Endomondo: heoial fine app, whih allowuer o reord heir workouand hallenge friend, ha beenbough by major oudoor orbrand Under Armour. Ideal forwhen you wan o rememberyour way o hoe leer-knownviewpoin, Endomondo rakyour long disane aciviie.


and Google Play

Weaher MapThere’ a number ofweaher app ou here

and ome are morereliable han oher.WeterOnline’ laes reaiongive you aurae 24-hourweaher foreas from aroundhe world, and feaure a rainradar, aellie imagery andsorm informaion (eahupdaed every 15 minue) allin one map. Uer an upgradeo WeaherMap Premium for£1.99 per monh o ge an evenmore preie reading of loud,rain and sorm movemen – allof whih are updaed everyfive minue.


and Google Play

Firs Aid byBriih Red CroFree, imple o ue andpoenially life aving,hi app how you wha o do inan emergeny. Even when on heop of he highes peak wih noinerne onnecion, you an sillae informaion, a all of ii sored in he app ielf. Wihvideo, ineracive quizze andsep-by-sep advie on wha odo in riial iuaion, downloadhi eenial app oday.


and Google Play

Uepaa! – Oudoor SafeyReenly madeavailable o uer inhe UK, Uepaa! urnyour marphone inoa life-aving, raking, aleringand reue devie, even inarea wih no mobile overage.Deigned for hoe who geheir kik ou of oliaryexurion o remoe and wildplae, hi afey app inludean around he lok alerysem o he neares groundand air reue eam,a loaion hisory of he las 24hour and raking ehnologyo you an rae bak your roue.


and Google Play

Say on TrackDeigned for hiker,walker and ylis,Quanaq’ lases app,Say on Trak, i a imple-o-ue mapping devie ha’aeib le offl ine. Unlike ohernavigaion app, Say on Trakonly ue GPS when he app iin ue, helping o ave baterylife o you an say ou forlonger. Uing daa fromOpenCyleMap, you an geall he rak and rail andonour informaion you wan,

o you know wha o expecfurher down he rail.

£2.29; available from iTunes

For Android uer we

reommend Trak

Navigator, whih, rather

than howing the mos

direc oure from point A to B,

i deigned to help you follow

a pre-determined route reated

for other purpoe – uh a

exerie or ighteeing.


Grid Reference FreeI ay i all in he ile:free o download, hi

app dilay he gridreferene of your urrenloaion. Quik and eay o ue,hi handy app uppor UKOrdnane Survey gridreferene o four, ix or eighfigure. The only drawbak iha you need ignal o ue i.


For iPhone uer we reommend

GB Grid Ref Compa, whih

alo provide your grid referene.

£0.79; available from iTunes

SEEING THE WORLD IN BLACK & WHITE APPS FOR LIFE

© N

e n a d Š a l j i ć

© K

e n r o I z u

© D

a v i d P a r k e r


16/116

1 Light and Land

on the Mall

Mall Gallerie, London

2 to 10 Augus

Giving amaeur and emi-

proeional phoographer

he hane o have heir

image dislayed in a

preigiou fine ar gallery,

Ligh and Land on he Mall

i ure o bring landape

phoographer rom aro

he UK o London’ Mall

Gallerie hi Augu.

The exhibiion will howae

work by 100 phoographerwho’ve joined Charlie Waie

and hi eam on a Ligh and

Land workhop ine he

ompany’ inepion 25 year

ago. Picure by Ligh and

Land pariipan who are

now regarded a leading

phoographer in he field,

uh a Valda Bailey, will

be among hoe eaured.

Alongide he exhibiion

viior an ake advanage

o he erie o alk and

portolio riique aking

plae hroughou he weekendo 8 o 9 Augu. Speaker

inlude ormer picure edior

o The Times urned

landape phoographer Paul

Sander and phoographer

and wrier Clive Minni.

lightandland.co.uk


THE BIG VIEW

THE LATEST WHAT'S ON

EXHIBITIONS 1

Salwick Sunrie, Salwick Bay, Whiby, Augus 2011 © David Neve

BIRDFAIR

Waering Melon © Utam Kamai

22 Atkins CIWEMEnvironmentalPhotographer of the Year

Grizedale Fores, Cumbria

To 6 September

On he fir op o i UK our,

an exhibiion o 111 winning andhighly ommended image

and film rom hi year’

Environmenal Phoographer

o he Year will be on how a

Cumbria’ Grizedale Fore.

Seleced rom more han

10,000 image by phoographer

and filmmaker living aro

60 ounrie worldwide, winning

enrie were judged on impac,

ompoiion, originaliy and

ehnial abiliy. Thi year’ fir

prize wa awarded o Uam

Kamai or hi image WateringMelon (ee lef).

Hi phoograph depic a

huband and wie ending o

waermelon apling on he

Teea riverbed in We Bengal,

India. Uam Kamai’ image

enapulae he ompeiion’

Rutland Water Nature Reerve, Egleton 21 to 23 Augus

Supporing global bird onervaion and elebraing he whole secrum o he

birdwahing indury, Birdair i one o he large eival in he UK elebraing hee

wonderul animal. Wih popular

wildlie preener Chri

Pakham, Simon King and Mike

Dilger making an appearane

hroughou he hree-day eival,

and wih ix even loaion or

viior o hooe rom, hi year

i bound o mah up o he high

andard o previou even.

OP reader may be inereed in

liening o he alk: A new paradigm in birding: digial SLR video by Jeie Barry, Brian

Sullivan and Chri Wood; and Soland’ be birding in ju hree day by Ian Ford.

Three-day ticket cos £31.50 and can be booked at birdfair.org.uk

Hide a Ruland Waer Naure Reerve Courey of Birdfair

Ruland Waer Naure Reerve, courey of Birdfair


17/116

3 Songline Joe Cornih Gallery,Norhalleron

22 Augus o 23 Sepember

Uing he word urbulene,

que, ereniy and ong o

deribe her work, Linda

Lahord i insired by poery

o reae her evoaive picure

o he landape. Mainly

ouing on woodland, river,

horeline and abandoned

building ound aro weern

Europe, Lahord’ way o

phoographing he world i


EDITED BY ANNA BONITA EVANS

Brushing up on your navigation skills

can be useful when hiking to remote

locations for your photography. With the

warmer season being a great time to

learn, we’ve picked a handful of courses

that will help you go further into the wild

Complete Navigation Pla y Brenin, Conwy

31 Augus o 4 Sepember

Thi five-day oure goe rom looking a radiional

mehod o navigaion (uing a map and ompa)o rying ou modern devie uh a GPS yem.

Wih he unning enery o Snowdonia o enjoy,

hi oure will give you he kill and onfidene you

need. Anoher oure run rom 19 o 23 Ocober.

Coure os £470 and inlude food and

aommodaion; book your plae a pyb.o.uk

Two-Day Navigation Coure Ingleon, Norh Yorkhire

3 o 4 Ocober

Run by o-operaive Lupine Advenure, ehnique

overed on hi wo-day oure inlude making

good roue hoie and eimaing he ime eah

pariular roue will ake; uing reloaion raegie

o ge bak on rak; navigaing a day’ walk wihou

having o onanly reer o a map; and finding your

way when viibiliy i poor.

Coure os £99; book your plae alupineadvenure.o.uk by 12 Sepember

Navigation and Hill Skill Glenmore Lodge, Inverne-hire

14 o 18 Sepember

Inorming you on how o navigae in poor viibiliy,

wha o do when you’re lo and how o ge o grip

wih a map and ompa, hi omprehenive

oure alo over roue planning, how he weaher

orea an influene your journey and wha

equipmen you’ll need. A he beginning o he five

day, pariipan will pracie in he enre’ loal

ore wih he aim o hen make all he deiion

when ou in he bigger hill environmen.

Coure os £510 and inlude food

and aommodaion; book your plae

a glenmorelodge.org.uk

Lake Disric-baed MountainNavigation Skill Training Coure

Lake Disric Naional Park, Cumbria

26 o 27 Sepember

Aimed a helping you venure ino mounainou

region o he UK wih onfidene, hi wo -day

oure i run o Mounain Leader Training andard

in he Kenmere area o he Lake Diric Naional

Park. On day one, par iipan will ravel o Green

Quarer Fell and be inrodued o bai map -reading

and navigaion ehnique. On day wo, he group

will hike urher up he Kenmere Valley o walk par

o he Kenmere Horehoe.

Coure os £80; book your plae a

kendalmounaineeringervie.o.uk

NAVIGATE THROUGH THE

MOUNTAINS THIS SUMMER

SCOTTISH NATURE PHOTOGRAPHY FESTIVAL

Batleby Cenre, near Perh 12 o 13 Sepember

Bringing naure’ remarkable orie o lie, hi year’ Sotih Naure Phoography Feival ha

an impreive line-up o seaker, unning imagery and inormaive workhop o insire you

o ge ou and enjoy all ha he landape ha o offer. Speaker inlude Cairngorm-baed

phoographer Neil MInyre, landape huband and wie eam Ted Leeming and Morag Paeron,

wildlie and onervaion phoographer Sam Hobon and wrier and flower phoographer Sue

Bihop. Oher highligh inlude Mark Hamblin’ workhop on garden bird phoography and Jame

Shooer’ uorial on how o film wildlie effecively.

Weekend ike os £99 and an be booked a npf.o.uk

The Old Man of Storr, Skye, Scotland © Aliser Benn

Cantabria © Linda Lahford

Heather at Sunet, Egton Moor © Richard and Janet Burdon

C r e s e d H a w k E a g l e © A

n n M c D o n a l d A R P S

3

4eho, whih i o enhane

an inernaional audiene’

underanding o he aue,

onequene and oluion

o he iue o limae hange

and oial inequaliy.

foresry.gov.uk/grizedale

inriguing by poing more

queion o he viewer han

hey an anwer.

joeornihgallery.o.uk

4 Northern Light Belmon Sudio,Norh Yorkhire

To 6 Sepember

Ofen ound phoographing

remoe plae aro he

Yorkhire oaline, huband

and wie Jane and Rihard

Burdon have developed a

deep onnecion o hi par

o he UK. Wih ligh a he

undamenal heme or hi

exhibiion, he how inlude

a elecion o heir avourie

olour and monohrome

image, plu reen work

© K

a r l M i d l a n e

European Lynx, Switzerland © Laurent Gelin

aken during he winer monh.

belmonsudio.o.uk

5 Chiheser Camera

Club SummerExhibition 2015

The Aembly Room, Chiheser

15 o 22 Augus

An eimaed 250 prin

reaed by beginner,

inermediae and advaned

member o Chiheer

Camera Club will be on how

hi Augu. Alongide he

va ollecion o prin here

will alo be a rolling lidehow

o 150 image projeced on

a monior. I planning a vii,

pleae noe ha he venue i

loed on Sunday 16 Augu.

hiheserameralub.org.uk

5


18/116

Mindful phoography

Thank you or running Chri Weson’ iniring and brave erie, ‘A phoographer’

guide o lie on Earh’. Graned he uperb qualiy o muh o he onen o OP , hi

ha o be one o he bes and mos hough-provoking erie you have run.

I am ure ha many o your reader, like me, wan o be beter phoographer. We have read all

he book, go he ki and rained our phoographer’ eye – and ye we are sill no geting here. Wha

I believe Chri i aying i ha image making i no abou ehnial kill or abiliy – i i in he mind.

I agree – objecive realiy i a himera; we don’ phoograph wha we ee, we phoograph wha we hink

we ee. In my view, he noion o pre-viualiaion i a disracion. I aume ha here i an ulimae

realiy ou here uh ha, i only we an aniipae i, we will be able o ‘ge he ho’. Wha, in effec we

are doing i ‘pre-realiaion’, we are onsrucing our peronal verion o realiy, and ha i he realiy

we ommuniae when we pre he huter. Chri’ alluion o quanum mehani i hallenging and

hough-provoking, bu hi overall meage i o on. Realiy doen’ ubis ‘ou here’, i’ in here

– i’ in our head – and we need o hink abou how we rain our mind, no our eye.

Bob Ryan , Tetbury


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

THE LATEST FEEDBACK

Botanial wondersI was so encouraged to read Laurie

Campbell’s article on the merits and

delights of flora photography (Life in

the Wild, OP194).

Photographing wildflowers has been

my passion since I took up photography

10 years ago, and I am gradually building

up an archive of images of Briti sh species

– from the most common to those thatare threatened. This interest is taking

me on a wonderful journey, which began

with making botanical style portrait

images. Later, a fascination with the

intricacies of flower structure led

to a five-day botany course at Kew

gardens and the development of macro

photography skills. Now I’m on the

road to combining the botanical

and macro techniques to develop

a more artistic approach.

I’m learning and enjoying so much

about photography, but also botany,conservation and the origins of the

intriguing names of our wildflowers.

Pursuing images of flora is not second

best, nor is it an easy option: it has

the same challenges, frustrations and

joys of other w ildli fe genres. Nat ional

exhibitions and competitions are

beginning to recognise this. In 2014

I was fortunate to have two images

shortlisted in the Small World category

of the Outdoor Photographer of the Year

competition, which has encouraged me

further still.

For me, there is no better time spentthan in a meadow on the South Downs

exploring the amazingly beautiful world

of flora with a camera.

Eleanor Coate , Horsham

Sepember’s leter of he monh winner, Bob Ryan, receives a copy of

An Era Without Memories, published by Thames & Hudson, worh £29.95.

Thi powerul book bring ogeher phoograph by 30 o China’ mos alened aris exploring he rapid urbaniaion o heir ounry. Feauring

a wide variey o approahe – inluding blak & whie e, hand-ined picure, panorami image and ollage – hi i a mus-have ollecion

or phoography afiionado and anyone wih an ineres in Chinee ulure.

Find out more about Thames & Hudson’s range of photo books at thamesandhudson.com

LE T TER

OF THE

MON TH

above Red

ampion (lef)

and bee orhid

by Eleanor Coae.

Lohnagar viewpointorrecionI am a long-term subscriber to the

magazine and, although I live i n greater

London, I have been visiting Royal

Deeside at least twice a year since 1992

to stay in Ballater.

The Lochnagar viewpoint on page

51 in the July issue is i naccurate

(OP193). The nearest food, drink and

accommodation is in fact in Ballater,

which is well supplied with hotels

and B&Bs, and very much closer than

Braemar which you list. In addition,

the Fife Arms Hotel you list is currently

closed for refurbishment and will not

open until 2017.

Douglas Paterson , via email

A shared experieneSteve Watkins’ editorial in the July

issue (‘History on t he brink’, OP193)

hit a chord with me.

Both my parents have passed and the

photo albums of shared family holidays

and events are a treasured possession.

Similarly, the four albums of h and-

printed photographs I inherited of mygrandfather, DJ Davies, of family and

friends in the R hondda valleys during

the 1920s, give me a glimpse of a world

with which I am proud to be associated,

but never experienced.

As photog raphers we choose to

celebrate light, by recording its endless

variety. Getting up in t he middle of the

night to capture the d awn, for example,

is a solitary pursuit. By printing the

results, however, we are sha ring these

experiences. This is something that

should not be underestimated, as it may

have significance with someone today,or sometime in the future.

Nic Davies , via email


19/116


Religion and photographyI write in response to Mervyn Benford’s

comment about how Christian groups try

to prove religion by selective application

of science (‘The power of thought’,

OP193). I was quite surprised that such

a comment, usually held in reserve for

specific debates about origins, not

photography, would foul the pages of

OP . As a Young Earth believer, I do take

umbrage at such a pointed suggestion,

especially as I understand the magazine

is supposed to be for photography

purposes, and not biased toward any

religious or ideological/philosophical

persuasions? I do understand that this

is Mr Benford’s opinion, and that the

majority of your magazine does have

an evolutionist ‘flavour’, which I tolerate

and bypass where necessary. But can

we leave the ideological sarcasm for t he

scientific debating community, and let

the magazine focus on its namesake?

I feel that if t his is a prevalent emerging

trend you may lose the subscriptions of

those outdoor photographers who believe

in a world created, not evolved, and there

are quite a few of us.

Mat Smih , via email

Index ideaI agree with Brian Dodson regarding an

index in OP (‘Finding your way’, OP192).

I enjoy the magazine and there are

articles that would be good to refer back

to, even the location guides. I photocopy

those that are local and could be ofinterest, but it would be great if I found

myself in another area and had references.

Years ago, when I was much younger

and foreign travel was more possible,

I had a subscription to Wanderlust , which

printed a colour-coded index on the very

back page every six months. Are there any

another magazines that do t hat? Perhaps

OP could do so this in the future?

David Hawke , via email

The trouble with treesI am constantly struck by t he value of

trees. And yet, while I love trees and enjoy

forest walks, I wrestle and flounder to

capture their interest and beauty through

the lens. It was therefore great to see Russ

Barnes’ article, ‘How to create tree images

with soul’ (OP192). His insight was

appreciated, but as much as I picked up

tips on how to re-approach photographing

trees, I al so realised that I find it diffi cult

to appreciate woodland images. I mean no

offence to Russ here, but while I found

some of his images standouts, the others

failed to grab or hold my attention. I now

realise that, w ithout a conscious effort,

I have solved my own problem of

photographing and appreciating trees

and woodland by taking an abstract ICM

approach. I created a gallery on my website

early this year, entitled Abstracts with

Trees – and it was only upon reading

Russ’s article that I appreciated my

own solution to the messy-complexity

problem that forested areas can embody.

For me, woodland continues to present

the great photographic conundrum – so

stimulating to experience, and yet sochallenging to photograph engagingly.

Jaon Gilchris , via email

below ‘The Blak

Wood o Rannoh’;one o Jaon’

absrac ree

phoograph.

Moving water issue

I would like o aure Jan Hamilon

o Ballahulih ha he i no alone

in eeing waer rendered milky by

long expoure a liele and boring

(‘Go wih he flow’, OP193).

Bak in he 1950, many

phoographi diarie and poke

book inluded a able giving huter

eed o render waer realisially.

The opimum wa beween 1/25e

and 1/100e. Waer ha appeared

milky wa righly een a a reli o

a pas age when plae were oo

low o allow a realisi rendering.

Thoe urren image ha embrae

hi ad will quikly dae, like he

ahion or wonky wedding picure

and he obao kie o yeseryear.

Eric Houlder , via email

I horoughly agree wih Jan Hamilon.

Having reired o he norh-wes

Highland o Soland ome five

year ago and aken phoography

more eriouly, inluding

ubribing o OP , I grimae wih

grited eeh every ime waer in

moion i depiced a oton wool.

Moving waer ha o muh deail

and deerve o be hown a vibran

and alive. I appreiae he ‘reeze’

ho migh no be deirable, bu

pleae, pleae le’ have more o

a uble approah in Phoohop.

Richard Slark , Ardnamurchan

Jan Hamilon i no alone in

deesing hee image o ‘dead’

waer, all movemen desroyed.

Every monh I eagerly open your

magazine, bu reoil a he wo or

hree image alway preen o

exeively blurred waer. They are

he produc o a ripod and ND filer,

no he abiliy o reae a balane

beween waer and i urrounding.

I have en 50 year manipulaing

image, ine long beore hedigial era – whih ha made i

o eay o enhane or desroy

he amohere o a phoograph.

Regarding he onrovery o

how muh digial adjusmen i

aepable pos-apure, I hink one

o your onribuor reenly go i

righ when he aid ha a minue per

image i aepable; afer ha he

onidered he phoograph a ailure.

Graham Smih , Cheshire

© J

a o n G i l c h r i s / j a o n g i l c h r i s . c o . u

k


20/116


INTERVIEW

Fergus KennedyIN CONVERSATION WITH...

These days, to make a career with a camera you need to be multi-skilled and passionate

about your subjects. Marine biologist, photographer and filmmaker Fergus Kennedyhas both these characteristics, and is always on the lookout for the next new wave to ride

Interview by Steve Watkins

More than ever before, there is no prescribed route to

making a liv ing from photography, and it can seem

almost impossible to plot a career path through the

mountains of images we are exposed to every day.

Although everything on this f ront seems to have changed for

the worse in recent years, the fundamental building blocks of

turning your creative streak into something the bank manager

can understand are still pretty much the same.

Firstly, of course, you need talent and an ability to explore

new ways of perceiving subjects; nobody can expect to get

noticed if they produce ‘same as’ work. Critical to th is is

having a deep pa ssion for and knowledge of what you are

photographing, which can help you see things in a di fferent

way to everyone else. Then, there are the abilities to build


21/116


relationships, take chances and be open to new opportunities:

you don’t see ads for ‘the next Canon ca mpaign photographer’

in the newspapers. But perhaps the underlying skill that lin ks

all of these things is having a wi llingness to explore. Put all

these together and you are pretty much looking at the profile

of Sussex-based photographer and filmmaker Fergus Kennedy.

It can seem a little clichéd to claim to know what you want to

do with your life when you are young and haven’t had much

experience, but Fergus knew early on that he wanted to do

something with wi ldlife and the outdoors. He says, ‘I rememberas a child loving exploring outdoors, but I was part icularly

drawn to the sea because I didn’t know what was in there;

it was the mystery of it. I first put on a mask and snorkel

when I was four years old during a fa mily holiday to the

Mediterranean, and was amazed by how clear the water was.

We then star ted holiday ing every summer on the Scil ly Isles,

and I can recall my parents making wetsuits for us – you

probably couldn’t even buy wetsuits in those d ays, certainly

not ones for children. They made the wetsuits by buying bits

of neoprene and gluing them all together. My dad always had

that sense of adventure and love of trying new th ings too. He

was one of the first windsurfers in the south-east, after he

bought a windsurfer from a shop in Newhaven. It was one of

the first wi ndsurfers in the country and nobody really knew

what it was, so nobody wanted to buy it; but my dad did. I was

really lucky to have parents who were on the same wavelength!

They are definitely one of the big influences on me. My dad was

also a keen photographer and did a lot of brochure photography

for his company, so there were always cameras around for me to

play with.’

On the basis of hi s Mediterranean snorkelling experience

and further exploration of the sea duri ng the holidays to theScilly Isles, Fergus decided he wanted to be a marine biologist,

and he focused on this for hi s education. After completing

a degree in zoology at Oxford University, Fergus admits he went

on to become a ‘perpetual student for a while. I did several

degrees, and then a PhD. For that I was based i n Chile for three

years, which was a great environment for exploring and taking

photos; I used my camera a lot then. I did it all on a shoestring

budget but had so much freedom. I didn’t even have a car while

I was there, so used to t ake all my ca mping and mountaineering

stuff on the bus. I even took all my windsurfing gear on the bus

at times. I was initially there on my own a nd there was nobody

else who spoke English. I remember thinking, I’m not even

opposite A divernear the surface

in the northern

Red Sea.

above A diverinside the wreck

of the Giannis D

in the Red Sea.


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INTERVIEW


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September 2015 Outdoor Photography21


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September 2015 Outdoor Photography23


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INTERVIEW

shot that was commended in t he Wildlife Photographer of the

Year competition, and after that Canon got in touch and I startedworking with them on their marketing campaigns. That was t he

first time I st arted earni ng a decent income from photography.’

Fergus feels that knowing about animal behaviour is a crucial

aspect of getting i mages with impact. He says, ‘People now

routinely swim out of cages with great white shark s. The

thought of that would have terrified me some years ago, yet

with the growt h in knowledge about the subject you realise

they are not the mindless kil lers most people think they are.

A lot of shark s, part icula rly great wh ites, rely on ambushing

their prey, so they often attack in poor v isibility, or if they

see a sea lion lying asleep on the surface t hat’s not really paying

attention. Yet in a place in Mexico there are great whites all

around and sea lions swimming among them – they are not

frightened at all because they k now they can outrun andoutmanoeuvre them. Some sharks will have a go at you from

behind. The pelagic sharks, such as ocea nic white tips that you

see in the Red Sea, w ill definitely get a bit feisty. If there are

several of them and two divers, it’s recommended that you stay

back to back so you can see what is going on all around, and so

the sharks know th at you can see them. When there is so much

going on, it’s easy to concentrate too much on the photography

and forget about the diving element. You have to be really

careful. I once came close to getting decompression problems

on a wreck dive, where I was so focused on the imagery that

I didn’t realise that my depth ala rm was going off.’

One of the things Fergus enjoys about shooting underwater

is the high level of gear required, which indulges the technology

geek inside of him. This fascination and willingness toexperiment with new equipment has recently led to him

exploring the world of drones. ‘When drones came out I got

one, and it has already proven to be a good commercial decision.

I shoot all sorts of things; a couple of weeks ago I was shooting

360-degree footage of some industrial est ates with it. It’s really

exciting and the clients are thri lled with seeing their place

from a new perspective. I wrote about buying the d rone on my

Facebook and LinkedIn pages, and, soon a fter, Canon got in

touch about shooting some video footage for t hem with it for

a new campaign. It’s increasingly important to be good at both

stills and film, a s more and more clients are requesting both

elements on a job. Although you can shoot 4k video a nd take

high quality stills out of it, I sti ll prefer to shoot the two

separately, as I think it requires a different mental approach.Shooting 4k video is g reat if there is a fleeting moment and

you are more likely to get it on film; you can then pick a still

out of it. There are limitat ions with shutter speed though, so

it’s not so great for anything fast moving.’

Despite his love of the gadgetry, Fergus acknowledges that

creating great imagery ‘is st ill about the person behind the

camera. It’s all about knowing where to go and when to go, and

then having the patience to stay t here until you get what you

want.’ Aspiring professional photographers would do well to

study how Fergus combines his ra re skillset so successfully.

To see more of Fergus Kennedy’s work go to ferguskennedy.com

above A wavebreak loe to

the derelic Wes

Pier in Brighton.


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ONE MONTH, ONE PICTURE

Crafting impressionistic imagery offers an alluring

distraction for those engaged in the more creative

genres of photography. Visual emphasis of a

spiritual connection between the photographer

and their subject, rather than a strictly literal photorealistic

capture, can intensify the emotional engagement of the person

viewing the final print. Within just a few years of photography’s

invention, our pioneers quickly realised that the long exposures

required to sensitise the earliest materials could be used

creatively; either by creating double exposures by moving the

subject to different positions to create a ghostly presence, orby celebrating movement within their images. Photography

allowed us to visualise something that had never before been

possible: the effect of visually slurring time and encapsulating

it in a still image. Many easel painters, already threatened

by the increasing popularity of hyperreal photographic

representation, were inspired by such blurring of compositional

elements. They realised the benefit of visual suggestion by

emphasising less precise brush strokes and sweeps of colour,

provoking a more imaginative response for the viewer; such

experimentation led to the emergence of impressionism.

A subsequent synergy emerged, and over the intervening

years photographers have drawn much inspiration from

the impressionists. Film users sandwiched intentionally

overexposed slides together to create multiple exposures

– the manual equivalent of Photoshop’s layers. Defocusing

and perhaps blurring or zooming one of the layers to create

a swathe of colour, then superimposing a desaturated but

sharply focused capture of the sa me scene could create

beautiful, impressionistic results. The camera could be removed

from the tripod and moved during exposure – what we now

call intentional camera movement (ICM) – or a single frame

could be exposed multiple times by disengaging the film advance

while cocking the shutter. Many attempts were often necessaryto achieve compelling results, however, and film was expensive.

Since the advent of digital photography, such methodology

has undergone a metamorphosis; the experimentation and

immersive repetition involved in the creation of a captivating

composition suits the digital praxis perfectly.

I was overlooking the beach at Scratby from a high vantage

point as these families basked in the sun with their canine

companions; a very English spectacle. ICM often benefits from

an exposure between 1/15th of a second and one second; we

can force the required exposure in daylight by use of a dense

neutral density filter. I combined the processed result with

a blended texture layer in Photoshop to create my final image.

Exploring the art of creative long exposures, Pete Bridgwood uses intentional camera movementto capture an impressionistic representation of a quintessentially English seaside scene

Scratby, Norfolk.

Fujifilm X-T1, Fujinon XF

55-200mm f/3.5-4.8 R

LM OIS lens at 140mm,

ISO 200, 1/5sec at f/5.6,

Lee Seven5 Big Stopper


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utdoor Photography Magazine, September 2015

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LEARNING ZONEIMPROVE36 Quick guide to...

Adobe Camera Raw

30 How to capture

dawn and sunrise

THE MAGIC OF FIRST LIGHT

Jame Grant how u how to make the mos of dawn and unrie


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It’s certainly not a well-kept secret that capturing the low light of

dawn or the rising of the sun leads to some of the most exhilarating

moments in landscape photography, and that the resulting images can

be among the most special in your collection. Get the planning right

and you can be treated to golden glows and long shadows that stretch

across the landscape. There’s also the rewarding feeling that you are up

witnessing incredible sights while most others are still asleep.

Of course, that’s all in an ideal world. Quite often the weather puts

an end to that, and an early rise is repaid with only an aerial blanket

of grey cloud. At those times it’s easy to think you should have just

pressed the snooze button one more time and stayed in bed. These

disappointments will pale into insignificance on the days when

everything comes together and you are rewarded with a wonderful

moment that you may never be able to repeat .

How to capture dawn and sunrise

LEARNING ZONE

Most landscape photographers would agree that there is something magical about headingout in the early hours for a dawn and sunrise shoot. James Grant guides us through what

it takes to make the most of the experience and reveals how to capture stand-out images

IT’S ALL IN THE PLANNING

Aouple o he mos diffi ul aec o phoographing unrie

are having o ge up well beore your uual waking ime, and

dealing wih he unerainy o wha lie ahead. A emping

a i i, imply looking ou o your window o hek he urren

ondiion in’ enough o auraely indiae wha you will experieneon loaion; o more ofen han no i’ a ae o aking a hane,

geting ou here and eeing wha you ge.

In he winer monh, unrie are eaier o ae, wih airly

oiable sar ime. Summer monh, on he oher hand, an ee

you needing o be up a early a 2am, even o ah a unrie rom

a viewpoin ha i airly loe by. To avoid hee mind-numbing early

rie you may wan o onider amping ou overnigh o enure you

are here beore he acion begin (bearing in mind any relevan wild

amping law and eiquete, o oure).

Whaever your approah, you need o plan well. Look a phoography

guidebook or OP ’ loaion guide o give you idea on where o go, and

hek map o find o ha have a lear horizon o he eas – edge

PRO TIP Se your alarm or earlier han needed – i alway ake more ime

han you hink o ge going in he morning – and go o bed early enough

o enure you have good energy level when you ge o he loaion.

Wild amp below Buhaille Eive Mòr, Highland. Thi in’ a ar-rom-he-road

wild amp, bu i allowed me o be here early and avoid bad driving ondiion.

Sony A7R with 17-40mm f/4 lens at 17mm, ISO 100, 1.6sec at f/11

Planning your rip an make all he differene beween ue and ailure.

wih seep drop ha are eas-aing uually work well. App uh a

he Phoographer’ Ephemeri and PhooPill will help how you where

and when he un will be sriking a any given ime o he year – ome

o have heir prime ime. Finally, phoo haring ie uh a Flikr

an erve a a grea iniraion, eeially i you an order he

equene o he phoo by he dae hey were aken. Thi will allow you

o ee wha you an expec a any ime o he year.

Mehodially pak your ki he nigh beore – knowing insincively

where hing are an be a ignifian help in he morning gloom. Enure

ha all lene and filer are lean and ha your baterie are ully

harged. Even in he ummer monh he emperaure around firs ligh

i ar ooler han i i in he day, and during he winer monh i an

eaily be below zero in he hour beore unrie, o make ure you pak

appropriae lohing. Alhough you migh hink you don’ need a ha andglove, or insane, i’ beter o have hem wih you; having o rerea

due o being ill equipped in’ muh un. I poible, ry o ou he

loaion beorehand in he dayime o ee wha i on offer, and o

viualie he poiion o he un and your ompoiion; hi will ave

ime on he morning o he hoo.


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The brightening ky o early morning ombined with what

i uually a omparatively dark oreground reate a high

dynami range throughout the ene – your amera need

ome help to handle thee ontras. To avoid blowing out

the ky or having overly dark area in your photograph, either ue

a graduated neutral denity filter or take braketed hot and blendthe expoure in pos-proeing.

Whihever route you hooe, hooting in Raw ormat will help greatly

when you sart proeing thee type o image. While it i down to

peronal preerene on how muh you want to edit your photo, Raw

allow you to effecively reover detail in bloky hadow and lipped

highlight, and will leave your final image looking more balaned.

One thing you may wih to onider i whether or not to hoot into

the un or make ue o the idelight. Shooting into the un produe

high ontras, maximum impac hot, but be areul not to look at the

un direcly. There i a time and a plae or taking thee type o hot,

although it i bes not to rely on it to make up or poor ompoition.

Another popular way o hooting landape ene i by uing

idelight. Sidelight reate long, rih hadow that boos texture

within the landape, giving image an almos 3D appearane.Another thing to think about i how to ou your image. Autoou

i beoming more aurate, but in the high ontras light o unrie

it an ofen get onued and be lightly out. To enure ou

i aurate, look at uing manual ou insead; done well, thi will

enure your image are harp.

TECHNICAL

CONSIDERATIONS

PRO TIP A quik tip or nailing manual ou mos o the time i to ue live

view; zoom into an area roughly one third o the way into the ene

and hek that it’ harp.

Sidelight bring out the texture o the Quiraing landape on the Ile o Skye.

Sony NEX 7 with 10-18mm f/4 lens at 18mm, ISO 100, 1/6sec at f/11, reverse

graduated filter

A graduated ND filter wa ued to help redue the dynami range o the ene

at Mam Tor, in the Peak Disric, into omething the amera ould apture.

Sony A77 with 16-80mm f/3.5-4.5 lens at 16mm, ISO 50, 1/5sec at f/11, ND grad

Shooting into the un helped with the drama and ompoition o thi hot rom near the ummit o Mount Snowdon.

Sony NEX 7 with 10-18mm f/4 lens at 10mm, ISO 100, 1/3sec at f/11, reverse graduated filter


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Early light srike the top o Red Pike, looking rom Fleethwith Pike.

Sony NEX 7 with 18-200mm f/3.5-6.3 lens at 18mm, ISO 100, 1/5sec at f/11

Not quite true unrie, but rih, golden light break aro the Conison Fell

afer a wild amp – a ae where the effort to be there wa well worth it.

Sony A7R with 17-40mm f/4 lens at 24mm, ISO 100, 1/8sec at f/11

DAWN VERSUS SUNRISE

A ommon mioneption i that dawn and unrie are the ame

thing. Dawn, oured rom an old Englih verb meaning ‘to beome

day’, i the period o twilight rom when the firs light in the ky

appear to jus beore the un rie above the horizon. Sunrie

deribe the period when the un lear and rie above the horizon.

Twilight i the time where the tranition rom dark to light (or light

to dark at duk) happen. During thi time, no direc light all on to

the landape, but it i the time when loud are more likely to light up

and the ky i going to glow. You alo get more blue light in the ene– ofen reerred to a the blue hour – whih your amera readily pik

up, even though to the human eye the ky sill look a dark olour.

For dawn hoot, you will need to pik your loation very areully.

With no direc light alling on the landape, photograph an look

dark or flat; o try to head or plae where you have reflecive

urae uh a lake, river or the oas. Any pre-unrie light

and olour in the ky will reflec well in water, even in wet and.

The olour o dawn reflec in Waswater, Cumbria. Thi wa a very early hoot, at unrie in June.

Sony A77 with 16-80mm f/3.5-4.5 lens at 16mm, ISO 50, 0.5sec at f/11

PRO TIP You an find out when twilight and unrie will our at your hoen

loation by heking out appliation uh a the Photographer’

Ephemeri and PhotoPill.

A mentioned beore, unrie begin afer dawn, one the un

sart to appear over the horizon. In pracie, there i no et period

o time to ay when unrie end, but it i ommonly aepted to be

any time in the hour afer the un break the horizon – and it i ofen

reerred to a the golden hour.

Around unrie, you generally get warm tone at firs that gradually

ool, and the light get harher a time progree. During ummer,

unrie an be over very quikly, while in winter it will generally las

a lot longer.


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O ne o he major onribuing acor o any early

morning phoography ouing i, o oure, he

weaher. I an be boh your riend and your enemy,

ofen wihin a ew hour. Some o he mos

dramai phoo are apured on sormy day when he loud

roll by, asing brie nippe o ligh aro he landape.Converely, a lear blue ky an make uniniring phoo.

Undersanding he weaher in’ omehing you pik up

overnigh, and you an’ alway rely on he oreas eiher.

Going ou regularly o oberve patern and ondiion will

sar o give you a good idea o how o maximie your hane

o good phoo opporuniie. Predicing he weaher or a

unrie an be eeially diffi ul. Unlike une, you an’ jus

look ou o he window o ee how ondiion are developing.

You have o onul muliple oreas and wake up early o

hek he acual ondiion. There are ome ueul webie

o guide you, uh a a24.om, whih how loud overage,

and meeox.o.uk, whih offer a rainall radar, and he Mounain

Weaher Inormaion Servie (mwi.org.uk) produe oreas

or eigh mounain area in England, Wale and Soland.Period o high preure in he lae evening are uually

a good indiaor o how he nex morning may play ou. In he

ooler monh, he aoiaed lear kie aren’ alway a bad

hing, a emperaure inverion are ommon and mis and

og ofen aumulae in valley – hi an be a landape

phoographer’ paradie when he ondiion are ripe.

WEATHER

right Mis line he valley in he disane, rom Caslerigg sone irle.The image wa aken in he of ligh beore he un had rien.

Sony A700 with 20mm f/2.8 lens, ISO 160, 1/10sec at f/11

below A ool, lear nigh enured ha he Derwen Valley wa misy,reaing grea phoographi ondiion rom Blak Rok.

Sony A7R with 17-40mm lens at 17mm, ISO 100, 1/6sec at f/11


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hour. One you sar produing viually

pleaing ompoiion in ougher ligh

ondiion, you an apply he leon

learned o phoographing unrie. Alo,

ry hooing ene rom differen heigh;

limb a hill or lie down low – i’ an old rik

ha will help your image be more ompelling,

a viewer are ued o eeing he world rom

normal eye level.When poible, hoo an image or erie

o image ha ell a sory. I doen’ have o

be a groundbreaking one. Somehing a

imple a a erie o phoograph howing

he influene o human aciviy on a landape,

or he impac o heavy rain or now, an be

enough o lif he meaning. Knowledge

o hisorial ue o and reerene o

a landape an alo eed ino he proe

o produing phoograph ha go beyond

he obviou, o ry o do a muh bakground

reading abou a loaion a you an.

TAKE PART! Enter our dawn and sunrise competition – turn to page 110 for details

Plan horoughly. Chek map and

he Phoographer’ Ephemeri

or PhooPill o hek ha you will be

in he righ plae. Chek he weaher

oreas beore you go o bed o ee

i i i sill looking good.

Pak your gear he nigh beore.Enure baterie are hargedand filer and lene are lean.

Ge an early nigh. Thi will help

you ge up in he morning eeling

reh and energied.

Afer waking up, quikly hek

he oreas again and ae

loud overage. Don’ be araid o

make las-minue hange o your plan.

Se ou in pleny o ime. On

arriving a your loaion, ou

he area or poible ompoiion.

Be prepared. Beore he ligheven ome, have a ompoiione up ha you’re happy wih. Take es

rame o enure i i wha you wan.

There’ nohing wore han being

augh ou a he acion begin.

Dawn hoo are more worhwhile

i you phoograph around bodie

o waer where pre-dawn olour will

be refleced. Sky ondiion an

omeime make he mos unlikely

loaion look iniraional.

The high dynami range o dawnand unrie ene will puh youramera’ abiliie o he maximum. Ue

filer or expoure blending ehnique

o even ou he expoure.

Pu he exra effor in o apure

your image. Thi will eak

volume o your audiene, plu you’ll

be able o look bak on he image wih

a ene o ahievemen.

1 I’ hard o do, bu ry o pu oulino your phoograph. Be able oexplain he proe behind he image

and why you waned o apure i. Try o

ell a sory and be able o jusiy every

hoie you ook in making he image.

Taking phoo i he eay par, being

original in’.

STEPS TO SUCCESS

A limb up Ca Bell in he Lake Disric looked unpromiing a firs, bu

oon he loud li up and golden ligh sruk Blenahra in he disane.

Sony A700 with 28-80mm f/3.5-5.6 lens at 20mm, ISO 160, 1/8sec at f/11

Afer doing all he deailed planning

and urviving he early rie, when

you ge ou ino he field you need

o lear your head and onenrae

on making image.

Try o ge o your loaion early; he earlier

he beter. You an hen ake ime o ouhe poibiliie, find ompoiion, ake es

rame and enure you are happy wih wha

he final reul i likely o be. One you’re

e up, waiing or he ligh an be a es

o paiene and i ould be he perec

opporuniy o make yourel a up o ea

or offee and oak up he amohere.

Someime, he dawn and unrie ligh will

be ecaular and handed o you on a ilver

plater. A oher ime i ould be a ae o

waiing and wahing a he weaher ysem

evolve. I i’ a pariularly windy day, any

loud over may break up or blow over

quikly o reveal dramai, sormy ligh.

One you have aken he main phoograph

you waned, you ould hen experimenwih differen ompoiion.

PATIENCE IS KEY

PRO TIP Se yourel a realisi goal or eah hoo.

In ruh, eeially allowing or he weaher,

i you ge one good ho per ouing you’re

doing prety well.

PRO TIP Having a deep paion or your ubjec

and he producion o he image hould

help you ahieve image wih oul. Loving

your phoography invariably how in he

end reul.


38/116


QUICK

GUIDE TO…

Getingo gripwih ACRIt’ ound in Photohop

and Lightroom and i

the mos popular Raw

proceing ofware

out there. Lee Fros

take a look at Adobe

Camera Raw

The Raw versus JPEG debate has

been raging for years and will

no doubt continue. The simple

fact is that they are different,

but both formats ultimately achieve the

same goal, so the one you choose is down

to personal preference.

I’m a Raw shooter simply because

I like to be able to choose what I do tomy images rather than let the camera

make important decisions for me that

can’t be reversed. When you shoot in

Raw format, the images recorded on the

camera’s memory card consist of the raw

data from the sensor. Nothing is added,

taken away or changed, which means

there’s substantial room for creative

interpretation and also more opportunity

to correct mistakes if you’ve made them.

Raw files are like film negatives – they

contain all the information (and more)

that you need, but require you to put a bit

of time and effort into post-processingto produce an image that’s ready to use.

JPEGs, on the other hand, are like colour

slides – ready to use straight away, but

Stokksnes, Iceland

Thi erie how going rom original Raw file to proceed

colour image to dramatic black & white converion.

outdoor photography - september 2015 uk

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