Action Photography on the Suffolk Coast

This summer I have found that my photography has taken a definite turn of direction and instead of spending my time creating landscape images I have become much more adventurous getting involved with on the water action photography.

This new direction began on a blustery June day with the Pin Mill Smack race and progressed to dinghy sailing at Alton Water over the summer where I employed a more event type approach to document the children s sailing sessions. The experience has been really enjoyable and I have learnt a huge amount about action photography and my abilities as a photographer.

Below are my top 5 tips for water based action photography:

1. After a lot of experimentation from the shore and from a chase boat I have concluded that it is imperative to be able to get out on the water. Having access to a chase boat to use as a photography platform makes a massive difference to the quality of the images you are likely to achieve. Even with a good zoom, shooting from the shore has limitations. Being able to successfully convey all the action from a scene can come down to simple shooting angles and from a boat you will have many more options. Some of my favourite shots from this summer have come from head on situations which I have only managed to capture by being in among the action.

The first image below was taken from the shore whilst the second was taken from a chase boat allowing a much more interesting angle of view.

2. To freeze motion use a fast shutter speed to ensure that all images are sharp and in focus. To achieve this I shot most of my images at ISO 400 and tried to aim for shutter speeds in excess of 1/300th sec. Although the ISO may seem high I have found that the Nikon D700 which I use is more that capable of producing good sharp images and graining is not a problem.

Many of my shots were produced with a Nikkor 70 - 300mm f4-5.6 lens fitted with a polariser for bright sunny days. This in itself cuts down the amount of light hence the high ISO required. A faster lens and removal of the polarising filter would mean that lower ISO's could be used to achieve the same shutter speeds.

3. Try to mix up your shooting style. Experiment with slower shutter speeds combined with panning the camera to follow the action. This approach results in freezing the moving object whilst blurring the background, giving a good impression of speed.

Remember digital files cost nothing so to ensure success shoot as many images as possible. I often capture 900 plus images in a full day on the water,which I can then whittle down to a few select, good images.

4. When shooting dinghies or windsurfers where the person is the important element in the image use a wide aperture F8 or wider to blur the background and isolate the subject.

5. As with all photography it is important to look after your camera kit especially when out on the water. When weather conditions are blustery and rough I would suggest getting a waterproof case to protect your camera, especially if you are heading out to sea on a rib. Salt water can play havoc with your equipment, so protection is the best policy. Aquapac make a good solution which fits many smaller SLR's http://store.aquapac.net/

There are many inspirational sailing photographers out there but one of my favourites has to be Kos Evans who's book "Walking on Water" details her dare devil approach to photography afloat. Not something I could ever emulate but inspiring never the less!

http://www.amazon.co.uk/gp/product/1408178443/ref=oh_details_o09_s00_i00?ie=UTF8&psc=1

Developing a sense of vision part 2

When I am out in the field I am constantly reminded that in landscape photography there is no such thing as a lack of subject matter only a lack of vision. Everywhere you look there are elements natural or man made which can be used to create an image. The choices available are endless. The key is learning to identifying the most interesting aspects of a landscape,  picking these elements out from their surroundings and arranging them into a successful image.

From a practical point of view there are several things to consider:

1. Learn how to "see" the environment. Think about what it means to you and inject some of your personality into your image. How we "see" an environment is unique to everyone of us, so it follows that our images should be as individual. To achieve this it is important to overcome preconceived ideas of how things should look. Don't fall into the trap of trying to replicate iconic images of already familiar places, instead try to take a different view. Be original and creative.

For every landscape image I make I try to capture something unique about that particular environment. In this shot it was the cloud formations in the sky which prompted me to make the image. Using a polariser and converting to black and white helped enhance the effect I was after.

This alternative view of Orwell Bridge was taken from a position underneath the bridge. I wanted to give a sense of scale which is not possible with a straight forward landscape shot.

2. Perfect your observational skills. This may sound obvious but it is amazing how many people can look at a view and not notice key elements within it. Observation is a very impotant aspect of landscape photography and is a skill worth perfecting. There are some some simple exercises you can try to help with this. Firstly before even venturing outside have a look at some of your favourite images from other photographers and see what catches your eye - what important elements have they used within their scene and do these contribute to the success of the image?

Another good trick is to think about a favourite place; imagine it in your head then write down what you see discribing as many of the landscape elements as you can remember. When you next visit that place take your discription with you and see how many additional elements you can find - I promise you there will be lots!
When you are observing in the field look for lines, shapes, textures, tonal contrast,  pattern and colour and do this across the whole scene; including the foreground, middle distance and horizon. Observe with all your senses - touch, taste, smell and sound will all help establish a picture of your environment and may give you an idea for a unique fresh angle. Don't rush from one viewpoint to the next ; make sure you explore all the posibilities in one location first.

3. When you are observing think about your emotions; what words spring to mind as you look at the scene in front of you? These will help establish a mood; an aspect which is critical if you want to turn your pictures from straight observational records into something artistic which connects with an audience. More about this later.

4. Finally photograph what you care about and your passion and love of the landscape will shine through.

Call of the wild part 1 - Ockle, Ardnamurchan

One of my favourite books of recent years is Christopher Somerville's “Best Wild Places”. In it he explores 500 of his favourite wild places in the British Isles from the hill tops of Scotland to the flat fenlands of East Anglia. Throughout his journey he discovers the wild in the most unusual places and poses the question what constitutes a “wild place”?

Most of us think of the mountains and moorlands as the ultimate wild places; sections of the landscape that remain untainted by human influence. But I am not sure these places exist any more. Almost every part of the British landscape, wild or not, is influenced in some way or another by human activity; whether that be through managed wildlife reserves, farming, or tourist activity. Yet despite this the wild still exists and nature abounds.

Over the last couple of years I have used Christopher Somerville's book as a guide whenever I have wanted to find somewhere new to visit for my photography. This year I though I would share my experiences, images and personal take on the places that make up “Somerville's best wild places".

I will begin with one of my favourites and a place that I have come to associate with my first ever golden eagle sighting.

Ockle (No. 390 in Somerville's book) lies on the northern shore of Ardnamurchan; the most westerly tip of land on mainland Britain and a remote and beautifully wild part of the country. Travelling across the peninsular from Kilchoan the road forks just before Fascaldale and crosses the Achateny Water. It is here that I caught my first sighting of a golden eagle flying majestically over the trees on the edge of sloping ground. I had been coming to Scotland for years hoping to see an eagle; spent countless hours staring at buzzards wondering if they could possibly be something more interesting. Having finally had a positive sighting I felt stupid to have ever wondered if a buzzard was an eagle – the difference between the two is amazing.

From Achateny water the road twists and turns following the coast. Very soon we pass a charming circular graveyard bounded by a stone wall; the only access a path across a boggy hollow. Foxgloves grow wild by the side of the road and beyond the ground slopes dramatically falling away to the sea. Arriving at a row of cottages overlooking a small stream we parked the car and continue on foot along a stony path between grassy swathes dotted with cotton grass and orchids. The path leads to a sheltered bay edged with a stony beach at the back of which stands a ruined crofters cottage. In front the islands of Eigg, Muck and Rum complete a view to keep me engaged for hours.

Sitting on a lichen strewn boulder by the waters edge I contemplate the tranquilly of this place, wondering what life must have been like for the occupants of the now abandoned croft and marveling at how nature has begun to reclaim the last vestiges of human habitation. Bracken brushes at the crumbling stones and foxgloves point their fingers to the sky from within the roofless walls. Dragonflies dart among the foliage and butterflies quietly sun themselves on the rocks. The wild is everywhere and it is amazingly cathartic.

Although I took plenty of images at Ockle it seemed much more important to just soak up the essence of the place, breathe it in and connect.

Ockle can be found on OS Explorer 390 at grid ref:556704

Cape Wrath and the distruction of our wild places

Scotland is one of my favourite places. For walking, wildlife watching , photography and for for simply recharging the batteries, it is the place I go to reconnect with the natural world. It has some of Britain's wildest places, some of its rarest wildlife and most dramatic scenery, and as such should be a landscape to protect and cherish for future generations.

Whilst reading the Outdoor Photography facebook page last night I was saddened to discover the possible threat to Cape Wrath on the North West Coast. This iconic photographic location attracts visitors from all over the world and has recently been announced as the finish point for the newly formed Scottish National Trail. With its towering sea cliffs, abundance of seabirds, marine wildlife, historic lighthouse buildings, and iconic geographical location it is an area which should be preserved.

However with the land currently owned by the Northern lighthouse board up for sale the future of this area is under threat. The MOD have submitted an application to buy the site but if this fails they are threatening to step in and purchase the land for training purposes, increasing their live fire range and effectively closing the area to public access. The alternative to this is a proposed community buy out which would safeguard access for all and the future of this area. The decision is in the hands of the Scottish Government.

It seems crazy to me that this is happening, why does our government seem intent on destroying all our natural spaces or removing our right to access them. If we fail to let our children experience these places for themselves how can we expect them to care about the future of the countryside. After all you cannot love what you don't know. Access to natural spaces is important for us all; for our well being and and for the future conservation of our environment. We seem to hear on a daily basis the call for more housing, more roads, more wind farms; the ever increasing march of urbanisation. How is this sustainable and what message are we sending out to the younger generation - that natural spaces don't matter, that they are there to be used if we need them?

We need these places to be conserved and protected. We need to access them to learn from them, to admire them and to nurture a love for them in our children so that when we pass them on it will be to a generation that understands and cares.

More information about the sale of Cape Wrath can be found here

If you are interested in protecting our wild spaces please check out the John Muir Trust

Developing a sense of vision part 1

As we progress on our photographic journey we are constantly seeking ways to improve and refine our image making. We are persuaded by manufacturers and the media that we need the latest gear or the in vogue techniques to grow and develop our craft and these things are all valid but for me the more important element to master is learning how to develop "vision".

I meet many people through my photography and I am often asked how I captured various images. People tend to recognise the locations but often comment that their images never look the same. They then follow this up by asking me what camera I use. For the most part the difference in images between one photographer and another has little to do with equipment and much more to do with a sense of vision.

So what is vision and how should we go about mastering it?

I believe vision is the art of portraying more than just the literal image. It is about getting a message across and evoking an emotion, looking at a landscape, knowing what you want to say and communicating that using only the elements in your viewfinder. Without vision an image is just a snap, a record of a particular place and time, but with vision it becomes a much more powerful medium through which we can convey our thoughts and emotions.

Vision is unique to every one of us; a personal expression of how we see the world, how we react to our environment, what we see and our emotional response to it.

My photographic vision has been moulded by my love of the great outdoors. When I stand in front of a landscape I want to photograph I feel inspired. I am often struck by a sense of awe and wonder at natures beauty. For every image I make I try to capture something unique about that particular environment, by selecting and carefully using the elements available to me I try to give the landscape a personality which I hope then conveys my connection to it.

From a practical point of view there are several things to consider which can help us develop our sense of vision, but I will save those for another day. As 2013 stretches in front of us maybe this is the perfect time to consider our what we want to achieve photographically in the comming months. We may already have new gear to try out or new techniques to practice but whist doing all that we should think about our vision and what message we want to convey with our images. It may be this after all that makes the biggest difference to our photography.

For inspiration have a look at "Developing vision and style" which has contributions by Joe Cornish, Charlie Waite and David Ward.

My new e course "Reconnecting with our environment through photography" will be available later in the year, but please feel free to register your interest now.

Happy New Year everyone.

Dealing with overcast skies on the Isle of Mull

Ever since spending a day in Tobermory back in July I have wanted to return to Mull and discover what else the island has to offer. Having been delighted by the town's colourful houses and vibrant harbour I have been itching to re visit with my camera and get down to some serious landscape photography.

Returning at Christmas I was hoping for some great winter light and abundant photographic opportunities. Unfortunately the weather had other ideas. We arrived to howling winds and heavy rain which eventually gave way to grey overcast skies, pretty much setting the scene for the whole week.

There is a theory in landscape photography that there is no such thing as bad weather only different kinds of lighting and it is up to the photographer to make the most of the available conditions. Sunshine and bright skies create high contrast images where as grey overcast skies produce much more subtle effects. Colours tend to be pastel tones rather than vibrant hues. These can work really well to create calm, muted images which evoke a sense of tranquility.

Grey overcast skies can also form an effective background to man made colour. In this image of Tobermory the muted colours of the sky and water help the coloured houses to stand out from the background.

Landscape photography on a grey day is all about dealing with the available light and thinking creatively to produce compelling images.

My top 5 tips for creating good images on an overcast day are:

1. Learn to see the landscape in pastel tones, if there really is no colour then practice thinking in black and white and convert your images to monotone during post processing.

2. Think about the available light which is likely to be significantly reduced in overcast conditions. A tripod is essential, shoot in Aperture priority and choose a large F number to achieve a good depth of field.

3. Think about your white balance. Try switching your cameras metering system to cloudy which should warm up your image and make it visually more appealing.

4. Grey skies can produce flat underexposed images so I tend to use a circular polariser to enhance the texture and colour in the sky. Remember that a polariser will also stop some of the available light; roughly 2 stops, so again a tripod is essential for good depth of field. Check your histogram regularly and dial in exposure compensation if necessary. You may also find it necessary to use an ND filter to balance out the exposure between the sky and the land.

5. Think about your composition and avoid large areas of sky if it is lacking in detail. Try to find interesting foreground detail with plenty of texture or tonal contrast to add interest to your image.

Inspiration and motivation

Traditionally, as December draws to a close, I like to review my photography and the journey I have taken over the last 12 months.

This year I have spent a lot of time thinking about my inspiration and motivation and the drivers which lead me to make the images I make.

For me photography is as much about interacting with the environment as it is about producing good images. As human beings our relationship with the outdoors and connection to the natural world is vital to our sense of fulfillment. We need to get outside, to breathe fresh air, take in the view and marvel at our place in this world. We need to do these things to feel alive but I also think that from a photographic point of view we need to do these things to connect and have empathy with our environment. Surely this is the only way we can capture great landscape images. How can we possibly hope to convey a landscape in all its glory if we are not fully connected with it?

For me photography provides a reason to get outside. We live in an age where our relationship with the natural world is diminishing. The fast pace of life has taken its toll and there never seems to be enough time to just be and enjoy our surroundings. Without my love of photography I would have missed so many wonderful things; beautiful sunrises, stunning sunsets, the ebb and flow of the tides and the changing of the seasons. These are all things that have enhanced my life, things that are available to everyone, but which many of us fail to take advantage of. For most these wonders of the natural world go un noticed, burried in a never ending cycle of work, stress and commitment.

I have realised over the last few months that my photography has improved the greater my connection with the environment and equally the more I photograph and observe a landscape the greater my connection to it becomes.

My inspiration has come from many locations but none more influential than Ramsholt on the River Deben, a place I shared with my family for several years. This location shaped my photography; I came to know it really well, I documented it through the seasons and watched the wildlife come and go. I grew to love the landscape, the light, the changeable weather and the flora and fauna. I noticed and observed and channelled all my feelings for this place into my image making.

I was reading a book the other day by Richard Louv which contained the following quote which sums up my attitude to photography and the outside world - "We cannot love what we do not know and we cannot know what we do not see."

Perhaps if we all examined our connection with the natural world we would find our outdoor photography improved as our knowledge of our environment grew. We may also feel a growing sense of fullfillment and a renewed fascination with the world around us and that has to be good for our photography and the future of our environment.

In 2013 I will be introducing a new e - course based on this very subject. It will cover how we see our environment, how we interact with it and how we can channel this into emotive and inspiring image making. If you are interested please contact me for more details.