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WILDLIFE SPECTACLES + HOW TO PREDICT THE LIGHT + MARSEL VAN OOSTEN

landscape | wildlife | nature | adventure

£4.99 • ISSUE 271

‘Best Photo Lab Worldwide’ Awarded by the Editors of 26 International Photography Magazines TIPA World Award 2013, 2017, 2020 and 2021

Erik Chmil WhiteWall Ambassador WhiteWall Ambassadors are among the most respected, talented, and influential professional photographers in the world, and they rely on WhiteWall‘s gallery quality services for their exceptional artworks. Discover unique photo products, made in-house at our facility in Germany, such as the original photo print under acrylic glass with floater frame from our in-house manufacture.

WhiteWall.com Berlin, London, Paris, New York

Time for the weather Lundy, Fastnet, Irish Sea. Easterly, becoming variable, four or less. Slight. Fog patches.

Good. Occasionally very poor…

Anyone who has heard the Shipping Forecast will recognise these words. Sailors even know what they mean. But for most of us, the daily forecast on Radio 4 is a strange incantation. It consists of 350 words detailing gale warnings, wind direction and force, weather and visibility for the seas around the British Isles. The precise meaning is lost to many of us. But we listen to the rhythm, the language and halfrecognised names and are reminded that we live on an island that has been battered by wind and rain for thousands of years.

As photographers, we are fortunate to have a choice of fabulous coastlines and a diversity of landscapes. But what makes photography in the UK particularly challenging and rewarding is the weather. It’s always changing, so even the most familiar of sights can be experienced and photographed in a range of weather systems and light.

THE ISSUE at a glance

In conversation with Ben Bush – page 10

Science offers us sophisticated tools to understand and predict the weather.

Apps such as the Photographer’s Ephemeris have become an excellent tool for us to judge when the light will be at its best. But the language and rhythm of the Shipping Forecast goes further. It describes the elemental power of the sea, wind and rain.

It deepens our connection with our environment.

Viking, North Utsire. North-westerly, four or five. Moderate, occasionally rough at first.

Fair, good. Occasionally poor at first…

Enjoy the issue.

Mark Bentley • The Shipping Forecast is broadcast four times a day on Radio 4 and can also be heard on the BBC Sounds app.

• See page 28 to learn how to read the clouds and predict the light.

Fabulous wildlife pictures by Marsel van Oosten – page 20

Imagine the light – page 28 ON THE COVER Picture by Marsel van Oosten.

See page 20.

GET IN TOUCH Email markbe@thegmcgroup.com Write to us Outdoor Photography, 86 High Street, Lewes, East Sussex BN7 1XN Keep right up to date with news by ‘liking’ OP at facebook.com/outdoorphotographymag Follow us on Twitter at twitter.com/opoty

Wildlife spectacles – page 34

Find us on Instagram at instagram.com/outdoorphotographymag

Outdoor Photography 1

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FEATURES & OPINION 10 In conversation with…

Ben Bush The award-winning astro-landscaper shares his redemptive rags-to-riches story

44 In the spotlight Find out how David Clapp combines business acumen with artistic craftsmanship

55 Inside track 18 One month, one picture Pete Bridgwood mixes photography with other creative forms of expression

Nick Smith defends the herring gull from angry neighbours and cynical picture editors

56 Showcase 20 A world of wonder Superb pictures from acclaimed wildlife photographer Marsel van Oosten

The highlights of the Milky Way Photographer of the Year 2021 competition

LEARNING ZONE

LOCATIONS GUIDE

28 Imagine the light

47 Viewpoints

Peter Gordon uses apps and weather forecasts to plan his landscape shoots

Your favourite landscape locations from around the British Isles

34 A year in the wild

47

The RSPB’s Anna Feeney highlights the four seasons’ most photogenic animals

38 Garden bird photography Genevieve Leaper shows how even small gardens can attract a variety of subjects

26 Lie of the land Theo Bosboom visits one of Iceland’s most active volcanoes 2 Outdoor Photography

NEXT ISSUE ON SALE 9 SEPTEMBER

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NATURE ZONE 70 Life in the wild

GEAR ZONE

REGULARS

YOUR OP

78 The OP guide to…

6 Newsroom

62 Reader Gallery

Find the perfect trekking trousers for your outdoor adventures

Competition launches, conservation news, new photo books and more

Landscaper David Queenan shares his amazing images

Laurie Campbell is inspired by another photographer’s amazing roe deer images

68 Your chance 8 Out There

72 Nature guide Seasonal highlights include seashells, great skuas and rock doves

78

The pick of this month’s new photo books and exhibitions

Ben Dalgleish braves cliffs and fog for dramatic puffin portraits

76 On the wing

80 Gearing up

Steve Young turns his attention to eclipse ducks and ragged-looking adult birds

The latest cameras, lenses, clothing, footwear and camping essentials

83 Next issue What’s coming up in OP 272

NEVER MISS AN ISSUE

74 A moment with nature

Get involved with OP and see your best images in print

Have Outdoor Photography delivered direct to your door and save up to 30%.

See page 67.

86 If you only do one thing this month…

Face up to your best animal portraits, plus our next photo challenge

96 Where in the world?

Name this mystery location and you could win a fantastic prize Outdoor Photography 3

OPENING SHOT A precious fennec fox in the Tunisian desert by Marcello Galleano This picture is among the great shots in the Africa Geographic Photographer of the Year 2021. For more details see africageographic.com.

© Marcello Galleano

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THE LATEST BULLETINS

NEWSROOM CONSERVATION

NEW LAUNCHES

COMPETITIONS

OUTDOORS

TECHNOLOGY

OTHER NEWS

SPOTY 2021 goes live Scotland’s Photo of the Year 2021 competition is now open for entries. With a prize fund of £6,000, and with more sponsors due to be announced shortly, the competition is open to all photographers of any nationality or age, with all profits donated to local Scottish charities.

The only category is ‘Scotland’ and so all images must be taken in the country, with no restrictions on subject matter and no limit to the number of photos you can enter. The judging panel will include Scottish landscape legend Colin Prior, Sigma UK general manager Paul Reynolds and Photography Online presenter Ruth Taylor. © Ben Kapur

© Dennis Oswald

Weather warning The Royal Meteorological Society has compiled the best of its annual Weather Photographer of the Year competition in a new hardback book. Weather – A Force of Nature focuses on climate change and is split into five categories – the changing climate, extreme weather, the oceans, the poles and the impact of the climate on life – with each accompanied by an introductory essay written by RMS experts. The spectacular images depict the beauty to be found in the phenomena that bring us our weather from every corner of the globe, from dust storms in Arizona to tidal waves of fog in Vladivostok via flooded streets in Kolkata.

Weather – A Force of Nature is published in September, priced at £25.

Ban halts decline Europe’s turtle dove population could increase by up to 5%, thanks to a temporary ban on hunting in Spain. The agreement, reached by regional authorities and set to last one year, will stop almost one million turtle doves being shot, according to the RSPB. The turtle dove is a globally threatened species and has been in steep decline for decades, mostly due to agricultural changes, but also as a result of unsustainable hunting across its migration route through western Europe. In the UK, its population is just 5% of what it was 25 years ago, a tragic loss mirrored in other European countries.

‘This is a really positive step from the Spanish authorities because Spain is a key country on the migration route of the species,’ said Dr Andy Evans, RSPB’s head of global species recovery. ‘Hunting exacerbates the problems for these birds caused by agricultural changes, but both problems need to be tackled in order to save the turtle dove. By stopping hunting, turtle doves are given a better chance to recover.’

To find out more about UK efforts to save the turtle dove, visit operationturtledove.org. © Oliver Smart

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EDITED BY BEN HAWKINS

Best sea view

© Phil Barker

Photo Show returns Europe’s biggest stills and video shows returns to Birmingham’s NEC on 18-21 September, with over 150 brands and an impressive list of guest speakers confirmed. The Photography Show and the Video Show will host major camera manufacturers such as Canon, Nikon, Fujifilm, Sony and Olympus, alongside lens and printing specialists such as Sigma, Tamron, Hahnel and Vanguard. Headline celebs include Brooke Shaden, Donna Crous and Rory Lewis, while new features include Shutter Street, a zone dedicated to urban photography, and Analogue Spotlight, with talks from film experts.

Both shows will follow all government and industry guidelines to the letter and doors will be open 9-5 on all four days. Book your tickets at photographyshow.com.

For those about to edit

The Shipwrecked Mariners’ Society has launched its ninth annual photo competition. Open to photographers of all abilities, the national maritime charity is looking for images that capture the UK’s unique relationship with the sea, including its merchant ships, fishermen, coasts, harbours and ports. The winner will receive a £500 voucher.

Due to the restrictions on travel imposed by Covid-19, the Society will welcome images old and new and, for the first time, submissions can be made via the Society’s new Instagram channel @shipwreckedmariners by using the hashtag #SMSPhotoComp2021.

The closing date for entries is 31 August 2021.

To enter, visit shipwreckedmariners.org.uk.

ACDSee has launched a free beta version of its latest image-editing software. Gemstone will officially launch this autumn, but not before feedback has been sought from the photography community.

Established features include built-in Raw support for over 500 cameras, multiple-document interface and full-layered editing, while additional tools from ACDSee’s Photo Studio products have also been incorporated, such as Frequency Separation, Light EQ, Pixel Targeting and Tone Wheels.

Download the Gemstone beta version at r.acdsee.com/cDfyT.

Rare bird sighted

© Laurence Hartwell

An Egyptian vulture has been spotted in the UK for the first time since 1868. This ‘pharaoh’s chicken’ (is there a better nickname in the natural world?) was first seen at Peninnis Head on St Mary’s, the largest island of the Isles of Scilly, and later flew on to Tresco.

‘If proven to be of wild origin then it would be the first sighting for 150 years, maybe a bit longer,’ said Prof Stuart Bearhop, ecologist with the University of Exeter. ‘It’s an incredibly rare sighting.’

The Egyptian vulture is common throughout southern Europe, northern Africa and southern Asia, and is known to fly further north during the summer months.

Togs go green

Pets win prizes

© Chloe Beck

The Comedy Pet Photo Awards has released another batch of its 2021 finalists. This second sneak peek of frontrunners includes chuckle-inducing images of photo-bombing dogs, dancing rats and chicks watching TV. There are seven categories – Dogs, Cats, Horses, All the other creatures, Pets who look like their owners, Junior and Video – and last year’s winner, Elke Vogelsang, has now been added to the judging panel. A cash prize of £2,000 awaits the overall winner, who will be announced in November.

Sponsored by Animal Friends Insurance, this year’s competition will donate £10,000 to Animal Support Angels, an animal welfare charity that provides food, shelter and veterinary support to pets and pet owners.

The closing date for entries is 15 August 2021. Enter at comedypetphoto.com.

Photographers are becoming increasingly aware of the environmental impact of their craft, according to a new study by MPB. The secondhand specialist also says more than half of those questioned agree that E-waste (discarded electrical devices) needs to be urgently addressed.

Driving this shift in mindset are under 35s, who are twice as likely as over 55s to consider the environment when buying photographic equipment. More than 155,000 tonnes of E-waste are sent to landfill every year.

‘Kit is built to last so buying used does not have to mean sacrificing on quality, but it does reduce the environmental impact of our field,’ said MPB CEO Matt Barker.

MPB is also sponsoring this year’s EyeEm Awards, adding a new category: The Environmentalist.

Enter at eyeem.com/awards.

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© Andy Rouse

deeper into the subject, his new book may be just the ticket.

Originally published back in 2013, Digital Macro & Close-up Photography has been revised and updated to include everything you need to know about this fascinating sphere of nature photography. It covers basic techniques including fieldcraft, exposure, composition and post-processing, as well as more specialised topics such as LED lighting, handheld focus stacking and macro focusing rails. And, of course, the book is illustrated with Hoddinott’s excellent photographs of insects, reptiles, plants and fungi to show the amazing results that can be achieved.

Whether you’re new to close-up and macro photography or an expert in the field, there are plenty of great ideas in this book to help you take your pictures to the next level.

OUT THERE BOOKS Tuning into Nature: A Personal Journey Andy Rouse Electric Squirrel Publishing Paperback, £30 You could be forgiven for thinking that Covid-19 and the associated lockdowns have been disastrous for jet-setting pro wildlife photographer Andy Rouse. But on the contrary: the enforced hiatus, which has affected us all in so many different ways, has been his salvation.

Before the pandemic, Rouse admits to barely noticing his local wildlife due to the pressures of work and constant overseas trips. Now, he had the chance to immerse himself in the nature on his doorstep. Not only has this given him a deep appreciation of the beauty of Britain’s flora and fauna, it has also taught him how to conquer his demons and find happiness.

Tuning into Nature is a record of some of the

most enchanting birds, animals and insects that have worked their magical healing powers on Rouse. A photographer more accustomed to capturing images of the world’s megafauna, here we see him photographing comparatively modest subjects such as hares, little owls and swans. He was even inspired to try his hand at macro for the first time; the beautiful demoiselle damselfly had a particularly spellbinding effect on him.

The book is both intimate and insightful, an informally written journal peppered with technical tips and musings on life and photography – and of course the images are superb. Will Rouse revert back to pursuing tigers and polar bears when travel restrictions ease?

That remains to be seen, but one thing is certain: his connection with nature is restored.

Digital Macro & Close-up Photography Ross Hoddinott Ammonite Press £16.99, paperback If you enjoyed Ross Hoddinott’s recent macro technique features in OP and want to delve

PHOTOGRAPHY PODCASTS Here are two great podcasts well worth tuning into – whether you’re listening at home or out in the landscape…

Take a View Did you know that the team behind Landscape Photographer of the Year now has a podcast?

Hosted by the competition’s founder and head judge Charlie Waite, it highlights top photographers to celebrate the joys of capturing images of the landscape.

The Take a View podcast began in May, with Joe Cornish as the special guest, and since then Adrian Beasley, Lizzie Shepherd and Nigel Atherton have joined Waite to discuss their craft.

More episodes to come… takeaview.podbean.com

@ Ross Hoddinott

View Finders Every week, Aberdeen based Graham Dargie talks to a photographer working in a different genre to trace their journey from beginner to being among the best in their field. As a pro photographer himself (specialising in landscape and wildlife) he is well placed to get under the skin of his guests.

The podcast is now in its third season; recently Dargie has enjoyed chatting to Niall Benvie, Dylan Nardini and Paul Sanders, among many others. viewfinderslive.com

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EDITED BY CLAIRE BLOW

NATURE BOOKS

Losing Eden: Why Our Minds Need the Wild Lucy Jones Penguin Paperback, £9.99 In Losing Eden, acclaimed journalist Lucy Jones explores how and why connecting with the living world can so drastically affect our health. Travelling from forest schools in east London to the Svalbard Global Seed Vault via primeval woodlands, Californian laboratories and ecotherapists’ couches, Jones finds new ways of understanding our dysfunctional relationship with the planet.

Birdsong in a Time of Silence Steven Lovatt Particular Books Hardback, £12.99 Conceived during the spring and summer of 2020, in the wake of the Covid-19 pandemic, Birdsong in a Time of Silence is the story of Steven Lovatt’s rekindled passion for nature and birdsong. Illustrated in black and white by Katie Marland, the book draws on poetry, folk songs, myths and science to reveal the key role birdsong plays in our lives and culture.

Restoring the Wild: Sixty years of rewilding our skies, woods and waterways Roy Dennis Harper Collins Hardback, £18.99 Ornithologist and conservationist Roy Dennis is arguably the driving force behind Britain’s reintroduction agenda – he was instrumental in returning the osprey, red kite and golden eagle to UK shores.

In Restoring the Wild he recounts a lifetime’s worth of stories from the front line of conservation.

Regeneration: The Rescue of a Wild Land Andrew Painting Hardback, £20 Regeneration is an account of the ongoing conservation work taking place at Mar Lodge Estate, a huge tract of some of the most beautiful land in Scotland that’s home to more than 5,000 species.

A story of success, the book shows how, after 25 years of hard work, the pinewoods, bogs, moors and mountains are returning to their former glory.

12 Birds to Save Your Life: Nature’s Lessons in Happiness Charlie Corbett Penguin Hardback, £14.99 Charlie Corbett discovered first-hand the healing power of nature following the untimely death of his mother and was moved to share his experience.

Through 12 characterful birds – from solitary skylarks to squabbling sparrows – he shows us there is joy to be found all around if we know where to look, and how to listen.

© Joe Cornish

EXHIBITION OF THE MONTH Joe Cornish: Drawn to Rock Brimham Rocks, North Yorkshire To 30 November This year the National Trust celebrates 50 years at Brimham Rocks, and to mark the milestone renowned photographer Joe Cornish was commissioned to create an exhibition of new works. These are currently on display at Brimham Rocks’ visitor centre, with a smaller selection on show at Cornish’s gallery in the north Yorkshire town of Northallerton.

Cornish was keen to show this beautiful landscape and its amazing rock formations from a different perspective. The majority of his pictures were shot at night, a time when few people visit; he played with light and shadow to convey the spirit of Brimham. The work is also experimental in style, combining photographs with added elements of paint and text. nationaltrust.org.uk/brimham-rocks joecornishgallery.co.uk

Brimham Idol Night Approaching.

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In conversation with

BEN BUSH Astro-landscaper Ben Bush has had to work his way through a variety of daunting personal challenges to become the award-winning photographer that he is today. This is his story . . .

Interview by Nick Smith 10 Outdoor Photography

Ribblehead Arch

TOP STRAP

Above Ben, Floyd & the Core | Opposite (top) Skokksnes Aurora Pano | Opposite (below) Zodiacal light over the Buckle

man bends down to talk to his dog.

They’re standing in silhouette on top of a knoll, with a vast blanket of sky festooned with countless stars as their background. The firmament is huge, while the figures are tiny, occupying perhaps only 0.1% of the composition’s overall area. The man is the photographer Ben Bush and the dog is Floyd, his faithful companion. There’s something about this picture that reminds us how insignificant we are in the universe and yet how vital our relationships with planet Earth and our friends really are. Technically, the image is a selfportrait, but the real narrative is so much bigger than that. The photograph is called ‘Ben, Floyd and the Core’, and it changed Ben’s life.

Ben describes himself as an ‘astro-landscape’ photographer: ‘I know that’s not really a thing, but my goal in life is to capture the beauty of the landscape around us, with the stars above in the heavens. I’d say about 80% of my images are shot at night and that’s where my focus is these days.’ His recent successes include winning the People and Space category of Astronomy

A

Photographer of the Year 2019, which led to his work going on display at the National Maritime Museum, as well as being shortlisted in the Aurora category for the same competition last year. Although his work will be familiar to many readers, my first brush with Ben’s work in the flesh was by chance, when I was shopping at a pop-up market in Brixton a few months ago, where he had a stall at a craft fair. We had a chat and Ben told me his story in bullet-point form.

We decided it needed to be told in print.

The 42-year-old British photographer isn’t cut from the same cloth as most of the landscapers you meet. I’m not daring to suggest that photographers conform to type, but if they did, Ben would be one of the outliers.

He’s got autism, has had recurrent drug and alcohol problems, spent a lot of time living in a minibus and lost a decade of his life ‘trying to find myself, which of course didn’t work’. But somewhere, among the chaos and circumstance, there’s a thread that runs through his life, and that thread is photography. It provides him with the best memories of his childhood, learning

Overleaf Left (top) Durdle Core | Left (below) Aurora over the Black Cuillins Right (top) A Billion Stars over the Gap | Right (below) Castlerigg Core 12 Outdoor Photography

to dodge and burn in his mum’s darkroom, and it has brought a sense of stability, meaning and achievement to his cleaned-up forties, a stage in which ‘it’s all come together’. He’s just opened a gallery in the Lake District where he’s based, he’s just got married, and the future looks good.

But it wasn’t always like that.

The photograph that took the award in the 2019 edition of Astronomy Photographer of the Year ‘completely changed my life’, which at the time can be described simply as ‘earning a living as a tree surgeon and living in a bus, doing photography on the side’. The dream, says Ben, had been to live a nomadic freewheeling alternative lifestyle, driving around with his camera, exploring the mountains of the Lake District and Scotland at night with the ‘place to ourselves. Then one day I found myself at Sycamore Gap in the Northumberland National Park. The clouds were rolling in, but I saw one brief break in the clouds. There was this little grassy knoll and behind that there was the night sky with Mars and Saturn, Scorpius and Sagittarius, the gas clouds, at the very heart

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Above Llanddwyn Core | Opposite (top) Malham Tree Arch | Opposite (below) Flare over Stokksnes

of our galaxy, the Galactic Core. And so, I set my camera up on a tripod and went to the top of the hill with Floyd. I took about 30 separate photographs with my remote control, each one with a 10-second exposure. Twenty-nine of them were no good: I would move, or Floyd would move. But the last one was perfect, everyone loved it, and it went global. That image basically put me on the map and opened a lot of doors.’

One of these doors was literally on his minibus: ‘The success of the image got me out of the bus and into fast-forward mode.

I’ve lived in caravans and I’ve lived in squats, and so my bus had seemed the logical solution to the question of where I was going to live.’

His inability to get into the rhythms of a conventional lifestyle stemmed from being an outsider – ‘a black sheep’ – created in part by autism and ADHD, and in part by finding himself geographically displaced from the north of England in his formative years. And yet there was a hint of stability: ‘Photography was always present. Mum’s darkroom under the stairs was

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always a place of wonder and magic. I could see all these pictures being developed. The enlargers, the film… it was fascinating.’

Meanwhile, at school in Cambridge, Ben was ‘an island in a sea of people’, unable to fit in or communicate in a meaningful way with his contemporaries. And yet, he got his hands on the school camera and retreated to the darkroom again, only this time to isolate himself from ‘the people who were bullying me. As a teenager, I was fascinated by engineering and aircraft – my granddad was a mechanic on B-17s – so I’d go to Duxford and take pictures of the aeroplanes and go back to school and practise my darkroom techniques.’ This led to Ben’s first experiments with long exposures: ‘The way my brain works is that I’m fascinated by process and being lost in something. Photography, as well as keeping me away from the bullies, allowed me to focus on something other than the eternal turmoil in my head. And that’s how it started.’

And then it stopped. Hardly surprising when you consider that at this phase in his life, Ben

was living in a cabin on the edge of an airstrip: ‘I lost myself for 10 years, really. I tried to find my solace in the escapism of partying. And, of course, that never happened and my twenties were kind of done and it was all very chaotic.’

But as he entered his thirties, a friend lent Ben a camera, an entry-level and by today’s standards almost agricultural DSLR. ‘I started playing with it and taking photos again. I remember being out in the Lake District at a place called Blea Tarn and I took a picture that is almost as important to me as ‘Ben, Floyd and the Core’. It showed the Milky Way over the Langdale Pikes. At the time, I knew nothing about astrophotography or the night sky, but in that picture, I’d managed somehow to capture the Andromeda Galaxy and that just blew me away. In front of me, there were all these hills and mountains that I love so dearly, and then suddenly there’s this whole new world above me.

I could have galaxies and nebulae and meteors… everything was possible. That ignited a spark in me, and I became quite productive for no other reason than I just wanted to be outside exploring photography.’

At this point in his emerging career as a photographer, Ben did not once think that he’d ever sell a single image, let alone become an internationally reputed image maker. ‘I’ve had some stark times and, in the past, I never really had a thought for the future because I couldn’t get a handle on the present. But, as things began to pick up, I started to post my images online and people really started liking them and I began to wonder if I could do this as a job.’ As he came to realise that his existing gig as a tree surgeon wasn’t a life-sustaining pathway for him – ‘you don’t see many old tree surgeons’ – in 2017, he ‘randomly’ had a few dozen of his photos printed, bought some mounts and booked a stall in a street market outside Poundstretcher in Kendal. ‘It was the Easter holiday, and it was my first foray into selling my work. In a week, I sold £3,500 worth of pictures, having never sold a single photo before.’

This last statement reveals a note of pride in his voice, but he’s quick to point out that it isn’t the pride in sticking two fingers up to the bullies who made his life hell (‘I’m a man of peace and couldn’t care less about them now’).

It’s more the sort of quiet satisfaction of a man who, having lost the path, has found it again.

He admits this couldn’t have happened without the support of his wife Carlie-Rose. ‘Of course, she’s now Rose Bush,’ quips Ben, and he laughs for the only time during the entire interview.

‘Photography has changed my life. It’s given me an identity. It’s a stepping stone for me being able to see the world. It’s given me a living and I’m going to do it until the day I die.’

To see more of Ben’s photography, visit benbush.photos.

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OPINION ONE MONTH, ONE PICTURE

With the dawn of the NFT and digital assets breaking new art sales records, Pete Bridgwood ponders the inevitable convergence of photography and others forms of tangible creative expression Photography has always been a part of our lives, so it’s hard to imagine what a world without it would have been like, and it’s no wonder that many landscape painters found the 19th century such a challenging time: the camera could do what they had spent a lifetime perfecting and capture a faultless depiction of reality with the press of a button.

When we investigate the comparative financial worth of art, however, painters still have no cause to worry: sales records for the most expensive landscape paintings dwarf those of photographs by a factor of 25.

One wonders if there will ever be a reversal of fortune for landscape photographers. If we restrict our hopes to the printed image, I doubt we will ever witness such a reversal, but the relatively new world of blockchain technology may provide some hope.

It will be fascinating to see what happens over the next few decades as the world of

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cryptocurrency and art meld together in the form of non-fungible tokens (NFTs). NFTs have only existed for seven years, but already the NFT associated with Beeple’s digital image Everydays: the First 5000 Days, auctioned this year by Christie’s, has achieved almost 16 times the price of the most expensive photograph ever sold ($69,400,000, to be precise).

In parallel with this exciting melding of art and digital technology, over the last few decades, a steadily increasing number of photographers have started to investigate the fascinating possibilities of mixing photography with other mediums such as painting and digital art as a form of creative expression.

My image this month is part of a series in which I am attempting to create a visual hybrid of an oil painting and a photograph, something that is not obviously either, but sits between the two and hopefully encourages a more lingering view.

I create my ‘oils’ by using multiple textured

layers and blending modes in Photoshop, often with an intentionally heavy vignette.

One could experiment further by using images gathered on location, such as closeup macros of natural textures, intentional camera movement or multiple exposures to incorporate as the textured layers.

Of course, these ideas are still limited to the photographic process, but might it be possible to go even further? Depending on your skills and your imagination, you might try melding your photography with painting, sculpting, sound recordings, music, poetry, gardening and even cooking. You might not be able to sell all these creations as NFTs, but the tangible world offers so much more creative excitement, doesn’t it?

Scallop in Oils, Aldeburgh, Suffolk Fujifilm X-T1, XF18-55mm f/2.8-4 R LM OIS lens at 18mm, ISO 800, 1/2sec at f/8, processed using Adobe Photoshop

fc

Nikon Z fc DX format mirrorless camera The first Z-series camera to adopt a ‘heritage’ design while supporting advanced features.

The Nikon Z fc’s exterior is inspired by the iconic Nikon FM2 SLR film camera released in 1982, a pivotal product in Nikon’s history.

Alongside the camera itself, Nikon is releasing two new lenses that complement its heritage style; the NIKKOR Z DX 16-50mm f/3.5-6.3 VR Silver Edition and NIKKOR Z 28mm f/2.8 SE.

NIKKOR Z fc body only

£899 NIKKOR Z fc Z DX 16-50 f3.5-6.3 lens

£1039 NIKKOR Z fc Z 28mm f2.8 SE lens

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PHOTO SHOWCASE

A world of wonder Fifteen years in the making, Marsel van Oosten’s lavish new book, Mother: A Tribute to Mother Earth, contains a spectacular collection of his favourite images. Here are some of the highlights…

Right Life on the pinnacles, Madagascar

This unique forest of razor-sharp limestone needles is called tsingys, which is Malagasy for where one cannot walk barefoot. The critically endangered Von der Decken’s sifaka is renowned for its capabilities for survival in unforgiving environments.

Long, padded fingers and toes protect them from injury.

Overleaf Left (top) King’s parade, South Georgia The king penguin is the second largest species of penguin, smaller but somewhat similar in appearance to the emperor penguin. The king penguin stands at 70-100cm tall and can dive to over 300m. Here I lay flat on the ground and waited for them to walk past. The tussock grass is a fitting background.

Left (below) Maternal moments, China Female golden snub-nosed monkeys are sexually mature at about five years old. Mating may occur throughout the year but peaks in the month of October. They give birth from March to June and usually have up to three babies. I used a self-made flash snoot to selectively light the scene.

Right (top) Pelican escort, Namibia The Namibian waters are rich in plankton and marine life, which draws large numbers of fishing vessels. Great white pelicans often follow these ships hoping to share in the catch. I used a panning technique combined with a slow shutter speed to create a painterly effect. The top wing belongs to another pelican that slapped me in the face.

Right (below) Nightcap, Botswana After spending a long afternoon in a hide next to a waterhole in a remote eastern corner of Botswana, it was getting too dark to photograph.

As I was packing up, a leopard came down to drink and I quickly got my camera out again. I used a small headlamp and bumped up the ISO to 51200 to get this shot.

Image @ Marsel van Oosten

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Outdoor Photography 21

Images @ Marsel van Oosten

22 Outdoor Photography

Images @ Marsel van Oosten

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Images @ Marsel van Oosten

Left (top) Gotcha! Namibia When I spotted this Namaqua chameleon in the desert, I saw it was eyeing a beetle in a small bush. As the chameleon slowly approached the beetle, I lay flat on the sand with a macro lens and waited for the chameleon to strike.

Left (middle) Happy fall y’all, USA Photography is about capturing moments and telling stories, but for me the experience is just as important. Unfortunately, it is impossible to truly share that experience through photographs. When I look at this image I miss the silence, the mist on my face, the blinding beauty, and I desperately want to go back there.

Left (below) Twinkle, twinkle, USA When I spotted this brown bear in the distance and saw that it was heading towards a small stream, I anticipated that it might cross, and decided to quickly get into the river to prepare for a silhouette shot. I set up my tripod in the water and used my 600mm lens to create the wonderful bokeh in the foreground.

Opposite (top) King of the Arctic, Svalbard While climate change remains the greatest threat to the polar bear’s survival, there are more. In Canada alone – the world’s largest exporter of polar bear skins – more than 600 bears are legally killed every year. Hunters worldwide kill more polar bears than African rhinos, which are protected by armed guards against poaching. Stop the madness.

Opposite (below) Facebook update, Japan When a tourist got too close to a macaque to get some close-ups with her iPhone, the macaque snatched it from her hands and started playing with it in the hot spring. At some stage it held it just like a human. This image has gone viral on the internet, and it is my most stolen image. First Prize winner in Wildlife Photographer of the Year.

Published in hardback by teNeues, Mother: A Tribute to Mother Earth includes more than 200 pictures by multi award-winning photographer Marsel van Oosten. Showing the wonder of nature on every continent, beginning with Africa, his masterful photographs, beautifully reproduced here, create a breathtaking and emotive journey across our planet. Alternating between striking landscapes, exquisite wildlife portraits and arresting close-ups, in colour and black & white, this stunning coffee-table tome is a must-have for anyone who loves amazing nature photography.

The book costs £50 and a portion of the proceeds will be donated to the Canopy Project, which plants trees all over the world. teneues.com, mother-book.com 24 Outdoor Photography

Images @ Marsel van Oosten

Outdoor Photography 25

LIE LIE OF OF THE THE LAND LAND

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LIE OF THE LAND

Go with the flow Finding a kinetic connection between people and lava, Theo Bosboom composed a spectacular landscape of one of Iceland’s most active volcanoes From the moment a large number of earthquakes were reported on the Reykjanes peninsula in Iceland – often a precursor to a volcanic eruption – things started to rumble and get restless inside me too. If there was to be an eruption, would I be able to get there to photograph it?

When Fagradalsfjall did finally erupt on 19 March, my diary was full for the whole week and it took me 10 long days to get there. Thankfully, due to my work as a professional photographer (I’m working on a new Iceland photobook), I was allowed to leave the Netherlands and, as I’d contracted Covid-19 last year, could enter Iceland without quarantine.

It was a fantastic experience to witness the primal forces of Mother Earth, the same forces that shaped Iceland millions of years ago. It was my second such experience, after a previous visit to Eyjafjallajökull in 2010. Yes, I am privileged!

The contrasts between the two eruptions were gigantic: there was no 10km ash cloud at the new eruption and you could get very close without taking large risks. This is a big advantage as a photographer, as access opens up so many compositional possibilities and you can even take close-ups of the lava.

The downside of accessibility was the large crowds. Even with largely closed borders, the volcano site was crowded every day, sometimes very crowded. I really had to get used to this, because normally I try to avoid crowds, but I had to accept that large groups of people were part of the experience and I even started to appreciate the festival-like atmosphere that hung on the hills around the volcano.

So many happy Icelanders, young and old, trained and not so trained, who had all made the rather strenuous hike (around 10km back and forth through mountainous terrain) without any complaints and who were all proud of their volcano.

It certainly had its charms too.

It felt strange not to include people in at least some of my images, but I found it rather difficult to aesthetically combine the two elements – human and volcano – in a photo. At least, I did until night fell, when visitors and their headtorches started to walk back, a long string of lights in the dark.

I soon found a strong viewpoint to shoot from, with the volcano in the background. And it was then that the idea of using a slow shutter speed hit me; I could create smooth light lines in the landscape, revealing the direction of people’s movements. The flow of people looked like the flow of lava from the volcano: both choose the easiest way down!

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LEARNING ZONE

Imagine the light Learning to read the clouds and predict the light are two of the most powerful skills a landscape photographer can develop. Peter Gordon explains how he uses apps and weather forecasts to plan his shoots more effectively

My wife jokes that I’m the only person she knows that loves bad weather. To be fair, I am quite fond of a blustery day where the sunshine comes pouring through the rain. I love extreme weather at either end of the spectrum: big winds or perfect calm; unusual events that are transformative to the landscape.

I think about weather in terms of mood, atmosphere and lighting. What are the possibilities with the forecast we’ve been given? Understanding the forecast helps me be in position for these wonderful events

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whenever possible. However, the reality is we can’t always get to the landscape when we feel the conditions will be just right.

Busy lives, work, family and a multitude of other factors mean photography doesn’t always come first; we can’t always pick and choose when to go out and we can’t always wait for those perfect conditions.

Having an understanding of lighting and the weather forecast dramatically improves my strike rate. Knowing where to go and when, and having a sense of what type of shots will work with what type of weather,

Above Lago del Predil, Italy Sometimes, the light can be simply perfect and it’s a marvel to witness. The winds were slack, the mist was perfect and the light made a timely appearance for good measure.

Nikon D850, Nikon 24mm f/3.5 PC-E lens, ISO 64, 1/50sec at f/11, 0.6 medium ND grad

is key. There’s no such thing as bad weather, just different conditions, different lighting and the possibility of different imagery in a range of moods. For this article I will focus on two core aspects: understanding the light and understanding the clouds.

LEARNING ZONE

LIGHTING IN FLUX When I think about sunrise and sunset, I think about the sun rising in the north in summer and in the south in winter. The east/west aspect is the more obvious part. However, the sun comes from very different positions depending on the time of year and that can have huge implications for your imagery and planning.

As landscape photographers, we can use great apps like the Photographer’s Ephemeris or PhotoPills to check where the sun will come from at a given time of year. But do we appreciate the huge swing in sun position which takes place throughout the year? We need to think about sunrises and sunsets in the context of north and south, and not simply east and west. And taking things one step further, we need to consider the implications of different lighting angles, how this affects the mood of our pictures and what techniques we might use to capture the light.

Side lighting or back lighting are my preferred lighting angles as they create depth within the landscape, whereas front lighting tends to be flatter. Back lighting is likely to be more dramatic. It has more contrast, a wider dynamic range and delivers a high-powered punch to the landscape. Side lighting tends to be gentler, has a narrower dynamic range

and is easier to capture and process.

Consider a location that you are thinking of shooting. What type of imagery would you like to make there? What type of mood would you like to convey? Then consider the lighting angle and what time of year best serves your aims.

Above Alpe di Siusi, side lit in June Nikon D850, 24-70mm f/2.8 lens, ISO 64, 1/15sec at f/11, 0.6 medium ND grad Below Alpe di Siusi, backlit in October Nikon D850, 24-70mm f/2.8 lens, ISO 64, 1/30sec at f/11, 0.9 medium ND grad

Outdoor Photography 29

USING THE LIGHT When we shoot directly into the light, we typically have a wider dynamic range (the sky is brighter than our foreground), thus we will need strong filters such as a 0.9 medium or 0.6 or 0.9 hard ND grad to balance the light. Blending in Lightroom or Photoshop is also a key skill when shooting into the light.

Combining filter use and blending skills covers all bases.

While backlighting can be difficult to manage, it typically provides the most dramatic lighting, the most intense colours, dramatic skies, rays of light and general drama.

When shooting directly into the light, it’s a good idea to plan around locations or weather the light can be diffused in, such as cloudy days, light coming through mist, or waiting until the sun is just on the horizon or below. Shooting directly into the sun without diffusion is mostly problematic.

When we shoot side lighting, we photograph across the light. The dynamic Above Backlighting in the Faroes Nikon D850, 24mm f/3.5 PC-E lens, ISO 100, 1/50sec at f/11, 0.9 medium ND grad Right Tuscan sunset Nikon D850, 24mm f/3.5 PC-E lens, ISO 160, 1/8sec at f/11, 0.6 medium ND Grad

30 Outdoor Photography

range is much narrower (the difference between foreground and sky is less extreme) and thus easier to manage. The light can be dramatic and colourful, but it also lends itself to calm. Blending exposures is rarely needed when shooting side lighting. I find my 0.6 medium or 0.9 soft ND grad perfect for this

type of lighting. Plan to shoot side lighting when you have clearer days or forecasts where you expect light to get through the cloud and fall on the landscape directly. Side lighting is more subtle but it still shapes the landscape beautifully and I often plan to shoot side lighting.

LEARNING ZONE

CLOUD HEIGHTS There is so much more we can learn from the weather forecast if we’re willing to look a bit deeper, especially when we have a good understanding of lighting. Most weather apps present us with beautiful little graphics with sunny and cloudy symbols and we use this to infer the forecast. This type of information is fantastic for taking a quick look at the forecast and getting a sense of what we can expect from the day ahead.

However, as photographers, we are not just concerned with this notional weather forecast – we need to look a bit deeper. We should think in terms of what light might result from a particular forecast. Looking deeper can help us make better decisions on what locations to visit. It also helps us decide what techniques should be used and what type of mood and atmosphere to expect.

The key is looking for forecasts that have low, medium and high-level cloud predications. To get the cloud forecast for your area, visit yr.no and click on the Details tab on a given location to view a more detailed forecast. Why is this low, medium and high-level cloud forecast important?

Because it helps us predict the light and thus informs us where to go and when, and the likely style of imagery and techniques needed. I’ve presented a detailed analysis of this in my new video course, with shot suggestions, technique discussion and postprocessing ideas, but here’s an outline that should be of use (see panel).

Dingle Peninsula, Ireland 100% low clouds Nikon D850, 24-70mm f/2.8 lens, ISO 64, 15secs at f/16, Lee Little Stopper and 0.9 soft ND grad

Five zones To help us understand things a bit better, I’ve drawn up five forecasting zones.

100% low clouds – Grey and featureless, possibly damp. Great for minimalism, details and colourful forests.

0-10% low, 0-10% medium and 0-10% high clouds – Basically clear. Great for long-lens shots of light on the landscape or pastel colours long before dawn.

0-10% low, 0-10% medium and 80-100% high clouds – Great for colourful skies with wispy structure.

0-10% low, 50-80% medium and 70-100% high clouds – Great for colourful skies and the most intense colours. Medium-height clouds can mean skies have more varied and dramatic shape.

40-80% at all cloud heights (a mixed bag) – High clouds are less important here. Great for real drama, with rain one minute and sun the next. Epic success or epic failure is likely, with not much in between.

Dolomites, Italy Clear weather – less than 10% at all cloud heights Nikon D850, 200-500mm f/5.6 lens, ISO 400, 1/320sec at f/8

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CONNECTING THE DOTS So, now that we have a sense of detailed forecast and possible outcomes in the abstract, let’s delve deeper and connect the visual dots.

Long exposures and seascapes are perfect on cloudy days: 6 and 10-stop ND filters are ideal.

Blue toning in post-production works a treat on those low-cloud days. Slide your white balance towards the blue and reduce overall saturation.

Your polariser is perfect in a damp forest for removing glare and deepening colours.

The most intense colour is nearly always in the backlighting so be prepared to blend for intense hotspots and have strong ND grads.

When there are no low clouds, there is a great chance the light will get under the medium and high clouds and really create spectacular light.

If you want deep colours, this is the forecast to look out for.

Clear days are great for long lenses – I use a Nikon 70-200mm and a 200-500mm.

Light falling across the landscape can be so dramatic, especially when it has a dark colour palette behind it. Light on the landscape is always a feature on clear days. The key is to isolate that detail with a longer focal length.

Arrive early as the light can be amazing even one hour before sunrise.

Accentuate contrast in post-production by darkening the shadows and lightening your focal point.

Back lighting and intense colours are technically difficult to manage and process.

Clear days can have great pastel colours before dawn, but it’s important to arrive on location long before sunrise. I like to be on location an hour early.

We need a large percentage of high clouds to really reflect the colour. Ideally, I look for 0% low, 0% medium and 80-100% high.

Don’t be put off by the 100% high cloud forecast – light will often come through.

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The most intense colour will be shooting directly into the light (back lighting). You will need strong grads and good blending skills to manage the light.

It’s a very unscientific explanation, but when I say mixed bag, I mean forecasts where we have a range of clouds at different heights, ideally with nothing at 100%. This allows light to come through at different levels and can lead to some really dramatic lighting.

These types of forecasts often come with rain. Thus, while sunrise and sunset can be spectacular, they can also be a total washout.

But the experience makes everything worthwhile, so bring your rain gear.

CONCLUSION I’ve met some photographers who allow expectations to become barriers to their enjoyment of photography. I plan rigorously and have a good understanding of lighting and the implications of lighting angles.

I genuinely feel this helps me create better images. I would, however, like to think I’m not confined by planning. Use this information as a guide; plan your images and visualise outcomes, but don’t be afraid to change course and let the light and your intuition guide you. Forecast is not absolute, but our enjoyment of this craft we love can be.

So, imagine the light. Do you want your location back lit, side lit, orange or pink, with God rays, in cloud, with or without sky, minimal or epic, tide in or tide out, reflecting or stormy? The possibilities are endless.

Above Tuscany, Italy 0-10% low, 0-10% medium and 80-100% high clouds Nikon D850, 24mm f/3.5 PC-E lens, ISO 64, 1/20sec at f/11, no filters Opposite (top) Torridon, Scotland 40-80% at all cloud heights (mixed bag) Nikon D850, 24mm f/3.5 PC-E lens, ISO 64, 1/40sec at f/8, 0.6 medium ND grad Opposite (below) Forty Foot, Dublin, Ireland 0-10% low, 50-80% medium, 70-100% high clouds Nikon D800E, 24mm f/3.5 PC-E lens, ISO 100, 30secs at f/11, 0.9 ND and 0.9 soft ND grad

LEARNING ZONE

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A YEAR IN THE WILD You don’t have to travel to Svalbard or the Serengeti to experience amazing wildlife – we have some outstanding natural spectacles here in the UK. The RSPB’s Anna Feeney highlights some of the best through the seasons

A

ll wildlife is fascinating in its own way, whether because of its evolutionary twists and turns, its unique behaviour or its enchanting appearance. There are some events, however, that are so striking that they can be described as spectacles.

These are those mesmerising displays of wildlife that flicker for only a brief glimmer of time or only happen at a certain time of year, and

by viewing them we are given a small window into a species’ life.

Here we provide you with a bucket list of seasonal nature spectacles, all governed by the overarching principal to respect the wildlife. As with any experience in nature, nothing is ever guaranteed, but here are some of the RSPB reserves where you have the best chance of seeing – and photographing – these spectacles.

SPRING © Ben Andrew/rspb-images.com

© Ben Andrew/rspb-images.com

Black grouse lekking

Boxing hares Hares are the larger, more athletic cousins of the rabbit. They have black tips on top of their elongated ears and long, lithe legs which help them reach 45mph, making them one of the world’s fastest land mammals.

While that is impressive enough, spring offers a chance to see another of the hares’ special skills – boxing. In the breeding season they streak across fields, racing after each other and boxing in a ferocious battle. It’s easy to assume that the boxers are two males competing, but in fact it’s the female fighting back when suitors become too persistent.

For your best chance of seeing boxing hares, head to farmland, woodland habitats and fields, or check out the RSPB reserves below.

The black grouse is a large, squat bird – the UK’s answer to the turkey. They’re also one of the few species in the UK that ‘lek’, which is when females gather to watch males perform in a breeding display. With their striking red eyebrows, white fantails and jet-black body, they put on a show that is visually stunning to humans and hens alike.

These birds are in decline, so witnessing a lek is very special. You’re most likely to see them in April and May, in the upland areas of Wales, the Pennines and across Scotland, often on farmland and moorland with nearby forests. It’s best to arrive before daybreak and watch them from a car so you don’t spook them.

Where to see them Inversnaid, Stirling and Falkirk Corrimony, Inverness-shire Geltsdale, Cumbria © Chris Gomersall/rspb-images.com

Where to see them Saltholme, North Yorkshire Buckenham Marshes, Norfolk Havergate Island, Suffolk Otmoor, Oxfordshire

© Jake Stephen/rspb-images.com

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Dancing adders The adder is a relatively small, stocky snake with a dark zigzag pattern along its back.

They normally keep to themselves, but in April, the breeding season, the males can clash in a writhing ‘dance’ – coiling around each other and swaying this way and that in a battle for supremacy.

For your best chance of seeing this display, tread lightly and make sure that your shadow doesn’t pass across likely basking spots. They particularly like rough grassland, heath and moorland, but keep an eye on places where they might be found soaking up the sun, or where there is dense cover and plenty of prey.

It’s worth noting that the adder is the only venomous snake in the UK. They are shy and their venom isn’t very strong, but if you do get bitten it’s always best to get checked out by a doctor.

Where to see them Minsmere, Suffolk Arne, Dorset

© Ben Andrew/rspb-images.com

SUMMER © Katie Nethercoat/rspb-images.com

© Ben Andrew/rspb-images.com

Seabirds coming to land

Badgers at play

Some of our most beloved seabirds spend most of their lives out at sea. The Atlantic puffin, for example, spends most of the year bobbing on the water in large flocks called ‘rafts’ and only comes to land to breed between the months of April and July. Solid ground is a foreign destination to them, which is partly why they nest in burrows and on cliff edges close to the sea.

There’s nothing like seeing and hearing a coastline come alive with thousands of breeding birds – puffins, gannets, guillemots, razorbills, and scores of others, swooping, diving and soaring in a cacophony of life.

Many hundreds of years ago, bears, wolves and lynx patrolled the UK. They are now all locally extinct, leaving the badger as the largest carnivorous mammal.

Badgers are understandably cautious of their only remaining predator – man. They also have a tremendous sense of smell and sensitive hearing, so they can be hard to see in the wild. However, there are some ways to increase your chances. Find yourself a sett (their underground living chambers) and then make yourself comfortable about an hour before sunset so the animals have a chance to get used to you. Keep your distance, wear dark clothing and avoid strong scents, and you might be lucky enough to spot one of our last remaining megafauna emerging from the darkness.

Where to see them Rathlin Island, off the coast of County Antrim Ramsey Island, off the coast of Pembrokeshire South Stack Cliffs, Anglesey Bempton Cliffs, East Riding of Yorkshire St Bees Head, Cumbria

© Ben Andrew/rspb-images.com

Leaping dolphins Bottlenose dolphins often conjure up images of Mediterranean coasts and sun-soaked landscapes, but Aberdeen is one of the best places in Europe to see them. In fact, around 25-30 species of whale and dolphin come to UK waters, from the mighty humpback whale to the nimble harbour porpoise.

There are many theories about why dolphins jump out of the water, from communication to aiding navigation, but whatever the reason their leaping antics are a tremendous joy to watch and photograph. These are some hotspots, but there’s always a chance that you’ll see dolphins and whales anywhere around the coast, so if you’re out by the sea in August, keep your camera on the horizon.

Where to see them Haweswater, Cumbria Burton Mere Wetlands, Cheshire

Where to see them Troup Head, Aberdeenshire Culbin Sands, Moray Labrador Bay, Devon © Brian Ludwig/rspb-images.com

© Ben Andrew/rspb-images.com

Outdoor Photography 35

AUTUMN © Ben Andrew/rspb-images.com

© Shutterstock

Rutting deer

Leaping salmon

Fruiting fungi

Autumn is the breeding season for the largest land mammal in the UK – the red deer. Males can weigh up to 190kg and in October these antlered giants compete for a chance to mate.

The stags first show their prowess through bellowing or ‘bolving’, but sometimes this isn’t enough. They pace back and forth, sizing each other up before coming together in a tremendous crash – locking their antlers and battling in violent, sometimes fatal, conflict.

Whether you see a fight, hear their bellows or smell their musk on the air, it’s truly an incredible experience.

The deer are most active just after dawn or at dusk. Use caution when viewing these activities and stay at least 60m away – male deer can attack dogs and even people. Approaching downwind helps, as does treading softly and avoiding any sudden movements.

In the autumn, salmon begin the journey of their lives, a migration from the ocean back up rivers and valleys to their spawning grounds to breed. Salmon are compelled to return to where they themselves were born, and nothing but death can stop them. These 10kg fish battle upstream against the fiercest currents and can even jump up waterfalls, driven by a biological impulse to reproduce.

To photograph this spectacle, try for early morning and evenings during October and November. A period of rain after a dry spell provides the perfect conditions for the salmon to leap. Look for stretches with small waterfalls, find a good vantage point by the river, taking care on wet, slippery banks. They are difficult to find, which is why we ourselves don’t have any photos in our archives – a real one for the bucket list. As sites are rare, we’ve also listed some non-RSPB locations which are famous for leaping salmon.

Fungi are in a whole kingdom of their own and are actually closer to animals than plants.

They cause bread to rise, sugar to ferment into alcohol, penicillin to fight infections, and much more.

The UK has at least 14,000 different species of fungi, but only around 4,000 are mushrooms or other large fungi (mushrooms are the fruiting bodies of fungi). The rest come in the form of mould, mildew, smut and rust.

In October, many mushrooms start to erupt from the ground. From toadstools and puffballs to destroying angel and dead man’s fingers, they come in a smorgasbord of shapes and colours. Hotspots for fungi include rotting tree stumps and damp soil near living trees, as well as dead branches.

Where to see them Minsmere, Suffolk Loch Garten, Cairngorms Leighton Moss, Lancashire Arne, Dorset Haweswater, Cumbria

© Ben Andrew/rspb-images.com

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Where to see them Haweswater, Cumbria The Falls of Shin, Sutherland Buchanty Spout, Perthshire Easter Glenalmond, Perthshire Philiphaugh Salmon Viewing Centre, Selkirk

© Ben Andrew/rspb-images.com

Where to see them The Lodge, Bedfordshire Coombes Valley, Staffordshire Strumpshaw Fen, Norfolk Abernethy, Perth and Kinross Tudeley Woods, Kent

WINTER © rspb-images.com

© Ben Andrew/rspb-images.com

Seal pups

Starling murmurations

Whirling waders

Grey seals are one of only two resident seal species in the UK. You can tell them apart from the common seal by their long snout and their peculiar habit of pupping in late autumn and early winter. It may seem like a strange time to give birth, but one explanation is that the females are simply in great shape to feed their young after a summer of catching fish.

Seeing new white seal pups on the roaring shore while an icy November or December wind roars around you is quite the surreal, and picturesque, experience.

Remember to keep your distance. The mother can abandon pups if disturbed, and grey seals have teeth like a dog – even the pups have a nasty bite.

In the autumn and winter, starlings perform a whirling dance in the sky called a murmuration. As the sun starts to set, hundreds or even thousands of starlings swoop and dive together in a giant flock around their roosting spot, moving in the air in a synchronised flight much like a shoal of fish.

It’s thought they do this for safety in numbers. Starlings need to huddle together for warmth in the winter nights and gathering in a flock means they can find each other.

However, collecting in these numbers makes it easier for predators such as falcons and hawks to find them, so starlings create these shifting waves across the sky to confuse the predators and throw off their hunt.

Where to see them

Where to see them

The muddy seabed that’s revealed as the tide goes out may look to some like an uninspiring brown, wet desert. However, to wading birds such as knot, redshank and oystercatchers, it is an irresistible buffet, as the receding water reveals all the invertebrates that are burrowing in the mud. At some locations, wading birds flock in their thousands to feast, carpeting the mudflat. Then, as the tide comes back in, the birds take off in their thousands, turning and tumbling, whirling and rippling in one of nature’s most impressive sights.

This wild optical illusion can be seen from mid-July to late May, but the best period is from August to January. It’s important to coincide your visit with the tide, so be sure to check each site’s recommendation before setting out.

North Hill, Orkney Noup Cliffs, Orkney Saltholme, Middlesborough Ramsey Island, Pembrokeshire Fowlsheugh, Aberdeenshire

Leighton Moss, Lancashire Titchwell Marsh, Norfolk Newport Wetlands, South Wales Minsmere, Suffolk

Where to see them Marshside, Kent Frampton Marsh, Lincolnshire Snettisham, Norfolk Rainham Marshes, Essex Pulborough Brooks, West Sussex

For further information about the reserves featured and more, visit rspb.org.uk

© David Kjaer/rspb-images.com

© Chris Gomersall/rspb-images.com

Outdoor Photography 37

LEARNING ZONE

Garden bird photography There are two main approaches to wildlife photography: you can either go in search of your subject or persuade the animals to come to you. With around 30 species of birds visiting gardens, with a little ingenuity even a small outside space can offer a variety of settings, says Genevieve Leaper

The first step is to make the garden attractive to birds and there is no shortage of advice on gardening for wildlife. Trees, hedges and weedy corners will provide photographic settings as well as cover and natural food sources. With around half of UK households feeding garden birds, more and more species are learning to take advantage of these handouts and there is a huge range of foods and feeders available.

Sunflower hearts (better than whole seeds) and suet pellets are popular with many

38 Outdoor Photography

species and can be scattered on the ground or hidden in crevices. Peanuts and fat balls are good and a robin will do almost anything for mealworms. Lard can be smeared on the back of branches, but is best mixed with dry food such as ground-up peanuts. I prefer small feeders that can be hung on thin branches, though large feeders with many ports may draw in whole flocks of finches.

Water is a valuable asset in any garden. My bird baths were only used infrequently, but

Above Goldfinch on teasel Goldfinches feed on teasel so although the seeds were long gone, they were easily attracted to these seed heads by scattering them with niger seed.

Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/800sec at f/5.6, beanbag

as soon as I dug a pond it seemed all the birds in the neighbourhood were taking advantage of the new bathing facilities. I’ve been able to photograph birds which don’t come to feeders and species I’d rarely seen in the garden.

LEARNING ZONE

Female yellowhammer bathing in pond The pond was an immediate success and best for photography in the early stages before too much vegetation. Canon EOS 7D, 300mm f/4 IS lens, 1.4x converter, ISO 320, 1/800sec at f/5.6, tripod

Coal tit on ivy I noticed tits would occasionally perch on the ivy growing up the corner of the house so hung a feeder in the ivy. Coal tits are very active and need a fast shutter speed. Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/2000sec at /6.3, beanbag

LOCATION The first decision is where to place the camera, which will depend on the layout and orientation of your house and garden.

My favourite hide is the living room, with the window open and the camera rested on a beanbag on the window sill. It’s warm and comfortable and faces west so is ideal for the morning light. My curtains are rather

lightweight so I hang an old duvet over the curtain rail, leaving a small corner where I peg a piece of camouflage netting around the lens. This enables me to see out and not be limited to the viewfinder. If it’s not possible to photograph from the house, a shed or garage might work – anywhere with a window or door.

Sometimes, I set up a temporary hide in the

garden. Mine is a kids’ play tent bought from a charity shop, but any sort of tent will do. For many garden birds there is no need for a hide at all – sitting quietly is all it takes to get close enough to a blue tit or robin. Others, such as woodpeckers, are more wary and may react to movements of the camera, even if the photographer is well hidden.

Treecreeper The tree is actually a short log from a dead elm which had been felled.

Canon EOS 7D, 300mm f/4 IS lens, ISO 320, 1/2000sec at f/6.3, beanbag

Outdoor Photography 39

Blue tit in Scot’s pine I think the blue tit is one of our most photogenic birds.

Pine is a good evergreen tree to grow in a pot.

Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/800sec at f/6.3, beanbag

WHEN TO SHOOT The best time for photography is winter, especially early in the morning, both for the light and because birds are hungry and sporting their best plumage. However, you can’t photograph swallows in December but there is potential at any other time of year. Spring brings fresh new leaves and blossom, singing males, courtship behaviour and returning migrants. Nesting birds are best left alone, though early summer is a good time for newly fledged young. Fledglings can be ridiculously approachable, but don’t stay close for long or the parents might not bring the next meal. By late summer, many adult birds are looking decidedly scruffy and my resident robins disappear into the undergrowth while moulting.

The dull time soon gives way to autumn, though, with more seasonal backgrounds, the first winter visitors and birds feasting on berries.

40 Outdoor Photography

Below (left) Tree sparrow fledgling The cow parsley in a meadow area provided perfect cover for this youngster who had just left the nest box. I took a couple of pictures quickly and moved away.

Canon EOS 7D, 300mm f/4 IS lens, ISO 320, 1/640sec at f/5.6, handheld Below (right) Male chaffinch in flight Busy feeders are good for photographing birds in flight. I pre-focused on the feeder (out of shot to the left), re-composed and waited for a bird to approach.

Canon EOS 7D, 300mm f/4 IS lens, ISO 400, 1/1000sec at f/5.6, beanbag

LEARNING ZONE

SETTING THE SCENE With the birds in the garden and a place to photograph from, it’s time to get creative with the scenery and persuade the models to pose in the right place. Food is the bribe but generally we don’t want the feeder or bird table in the shot. The trick is to place an attractive perch that birds will use on the way to the food supply.

Placing the feeder a little closer and lower than the desired perch often works and it’s always worth watching how birds approach the food.

The possibilities for the foreground setting are endless. Whether you want it to look natural or show the garden environment, a mossy log or a dead branch covered with lichen is a very simple option. Moss, incidentally, is great for hiding a scattering of sunflower hearts.

Then there are longer-term strategies, which take more preparation. When great spotted woodpeckers started to visit, I put a dead tree in the middle of the lawn and drilled holes for filling with suet pellets or a lard mix. Growing trees such as birch and pine in pots is a favourite trick.

Not only can I move them around but the young saplings have a simple structure, with fewer twigs and unwelcome shadows.

If your trees need pruning, leave a few branches for a photo session. Small birds can perch on something as insubstantial as a grass stem, so dead flower stalks of plants like teasel, hogweed or dock are worth collecting – another reason to leave some weeds.

When placing perches, pay attention to the background – if you can’t remove distracting elements, a change in position or height may be all that’s needed. Distance from the camera is obviously important when using a fixed lens; think about whether you want a close portrait or a shot of the bird in its environment, as well as which species you hope to photograph.

Keep it simple! I’ve often made the mistake of setting up too many props at once; it’s all too easy to miss the action when you are focused on the wrong spot. It can also take a day or two for birds to get used to a new set-up. Don’t leave feeders low down if there are cats around, nor too close to a window that birds may fly into it.

Right (top) Coat tit close-up This individual was very bold and followed me around demanding food, sometimes perching on the lens hood.

Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/800sec at f/6.3, handheld Right (middle) Male siskin I placed the potted cherry tree with fresh spring leaves against the dark background of shade from a large tree and shot from a tent hide.

Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/1000sec at f/5, tripod Right (below) Goldfinch A birch tree grown in a pot provides a simple, natural perch.

Canon EOS 7D, 300mm f/4 IS lens, ISO 320, 1/1600sec at f/5.6, beanbag

Outdoor Photography 41

Robin on garden fork Robins are very obliging and can easily be persuaded on to a perch by placing a bowl of mealworms on the ground.

Canon EOS 40D, 300mm f/4 IS lens, ISO 400, 1/500sec at f/4, +1 exposure compensation, beanbag

SNOW A forecast of snow always has me rushing around to set up for a photoshoot. There are many reasons for this: birds are hungrier and tamer; more unusual species like brambling may turn up in the garden; snow can transform an unattractive backdrop, making it easier to conceal food containers on the ground; and there is the visual appeal of sparkling, sunlit snow or falling flakes against a dark background.

One effect I love for a background is the beautiful blue cast of snow in shadow. Even if you don’t want snow in the picture, it’s worth taking advantage of the lighting – snow on the ground acts like a huge reflector to fill in the shadows.

Left Male chaffinch in snow Low winter sun with the snow acting as a giant reflector shows this male chaffinch’s plumage at its best and shadowed snow makes a lovely background.

Canon EOS 40D, 300mm f/4 IS lens, ISO 320, 1/1000sec at f/5.6, beanbag

42 Outdoor Photography

LEARNING ZONE

EQUIPMENT Unlike many types of wildlife photography, there is no need for expensive, specialised equipment. Good results are entirely possible with an entry-level DSLR and 70-200mm telephoto zoom lens. Fast autofocus is definitely an advantage and a 300mm or 400mm lens will expand the possibilities. Depending on the set-up, either a beanbag or tripod may be the best option for camera support.

Right Great spotted woodpecker, male feeding juvenile Woodpeckers are regular visitors to a succession of dead branches I have planted in the garden and drilled with holes. June is a good time for young birds.

Canon EOS 350D, 100-400mm IS lens at 235mm, ISO 400, 1/400sec at f/7.1, beanbag

GETTING TO KNOW THE SUBJECT Garden birds may be less challenging to photograph than some wildlife but the usual rules apply about getting to know your subject. The more you understand the birds’ behaviour, the better your chance of anticipating their actions and catching the perfect moment. It’s so much easier to get to know the birds that are around every day and, for me, it’s the feeling of connection with the subject that makes photographing the birds in my garden so rewarding.

I’ve learned a lot about different species over many hours spent watching them.

I started with the robin, a very obliging species, and blue tit, surely one of the most

photogenic of British birds. Coal tits are among my favourites, though I soon learned to set a faster shutter speed for these feisty little characters. I have come to know individuals and some of them get to know me. One coal tit would feed from my hand and used to follow me around demanding food, presenting the unusual problem of a wild subject too close to focus.

There is always something new to try, whether capturing a different aspect of behaviour or devising a new setting. And there’s always the occasional surprise like the sudden appearance of a sparrowhawk and the chance of a new species. After 30

years of occasionally passing through, it was only a couple of months ago that long-tailed tits started visiting my feeders. They are not at all shy but I am finding them deceptively difficult to photograph as they never stay still. But what better way to spend a few hours than sitting in the sunshine in the company of such delightful creatures?

Below Long-tailed tit in blackthorn When I saw the blackthorn was starting to flower, I hung some fat balls in the bush and spent several mornings sat in a garden chair – no need for a hide!

Canon EOS 7D, 300mm f/4 IS lens, ISO 320, 1/1000sec at f/7.1, handheld

Outdoor Photography 43

IN THE SPOTLIGHT

David Clapp David Clapp is a business-focused photographer whose relentless pursuit of creative perfection has brought him much commercial success. Nick Smith puts him in the spotlight

Haytor Vale, Devon

Nick Smith: You say that photography is a business for you…

David Clapp: I’m a businessman with a camera.

OK, that’s a little cold. I’m deeply connected to the creative pursuit of photography, but the primary driving force is financial.

At the very centre, my thoughts remain focused on maintaining longevity within my photography career, which has lasted for 12 years as a full-time professional. I’m far from being an artist; my work is the marriage of camera, computer and business acumen.

NS: What made you want to become a professional photographer?

DC: A miserable existence working out of a suitcase for seven years as a contractor in the water industry – I was surrounded by engineers and other non-creatives. In those days, my creations were realised when designing elaborate ways of skiving off. After years of writing music, I realised my creative

Kennick Reservoir, Devon

44 Outdoor Photography

mind found photography to be second nature, so I pushed this very hard and it saved me.

NS: You shoot a lot for image libraries – how does that work?

DC: Over the first 10 years of my career, I used to shoot for nine different agencies, but due to buyouts, takeovers and mergers, many of the agencies became collections within larger agencies, like my primary agency Getty Images. I do submit work to quite a few global art companies that make prints and canvases, who all pay on a royalties basis. Although not strictly an agency, I treat them in the same way. They are valuable targets to aim towards.

NS: But doesn’t that mean you never get to shoot what you want to?

DC: I shoot projects and ideas that I find fulfilling, but they must contain a saleable aspect, so my creative foundation comes from maintaining a business overview. I realised at

an early point that if you drive your creativity, if you produce the very best you can achieve, then everything will financially align. Shoot with a saleable outcome in mind and run it parallel with your own desires.

NS: Would you describe your work as fine art or craft?

DC: Craft. Around 2010, about the time when the 10-stop neutral density filter ‘movement’ began, the moniker ‘fine art’ became grossly misused. As creative revenue streams became scarce, it was far easier to brand as a ‘fine art professional’ and to surround yourself with artistic ambiguity and social media followers, than pursue true craftsmanship and financial success, which I use as a true indicator.

NS: Why can’t we see your work all over social media?

DC: Two hundred ‘likes’ doesn’t mean you’ve had a fortuitous working day: you’re

Bodiam Castle, East Sussex, in infrared

David’s top tips One thing I never go on a shoot without is…

My 100-400mm lens. For long-lens travel and landscape photography, and for closeups and details, it’s the ultimate lens.

My one piece of advice would be to…

Spend more time developing grand ideas and imagery, position these at the creative centre and pursue them relentlessly.

Something I try to avoid is…

All other photographers within my own specialisms. I find it easy to wobble off my creative axis instead of concentrating on my own vision.

swimming in a pool of disillusion. I work far better when I’m out of contact: I’m a creative, not a narcissist. Spend your time nurturing an equally mature and captive audience through meaningful personal contact on the telephone or personal email. Or, become an internet ‘busy fool’, trying to find ‘treasure’ in a cave.

NS: You have a highly technical approach – read a lot of manuals?

DC: I often read manuals for equipment I don’t own. I admit I have a serious problem! Since my mid-twenties, when I gave five years of my life to electronic music, I’ve felt comfortable with artistic complexity. Photography is the marriage of administrative, technical and creative, whether you like it or not. Embracing technical perfection is paramount at all times.

NS: What’s all this experimentation with infrared and UV? DC: Look around at what everyone else is doing and then don’t do that. Infrared was the antidote to the everyday; it’s an interpretive medium that has defined my brand in the past 10 years. It has produced incredibly saleable work, giving my clients originality within familiarity, like my infrared images of landmarks in New York, Paris and India.

NS: So, no big ‘interior artistic monologue’ then?

DC: There’s nothing I hate more than a self-published, third-person diatribe.

Think, design, create, reveal, distribute, reflect, move forwards… It’s a wonderfully creative circle. If you’re doing it right, it doesn’t require any substantiation.

Right (top) Namibia Dunes Right (below) The Catlins, New Zealand

David’s critical moments 2002 Bought a Canon T90 and began shooting film on Dartmoor and the south Devon coast

2006 Bought a Canon 5D and became semi-pro, writing for multiple magazines and agencies

To see more of David’s work, visit davidclapp.co.uk 2009 After multiple contracts for AA Travel, became fulltime professional

2010 Began running photography tours globally

2012 Began working for Canon, leading to multiple contracts presenting and video work

2019 Awarded FRPS for professional career

Outdoor Photography 45

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LOCATIONS GUIDE

5

3

VIEWPOINTS We want to see your best shots from around the country.

Each month the winner will receive a fantastic £200!

Turn to page 68 for submission details.

4

2 1

Croaghaun County Mayo

2

Boyeeghter Bay County Donegal

3

Dunscaith Castle Isle of Skye

4

Longniddry Bents East Lothian

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Ben Hope Sutherland

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Snettisham Norfolk

ACCESS RATING These are based around an ‘averagely fit’ person. Below are loose guidelines to what the ratings mean (N.B. they are assigned by the author and not verified by OP. Walk distances are one-way only):

1/5 Easy access. You can pretty much get straight out of your car and quickly be at the viewpoint via good quality paths.

2/5 Gentle walking is involved, which may be on mixed quality paths.

3/5 Medium length walk of up to about two miles, over quite easy terrain.

4/5 Longer length hike up to about four miles over mixed terrain, possibly with some quite steep gradients.

5/5 The most difficult access.

Long hike over challenging terrain (e.g. mountains/ summits/steep coastal terrain); or involves travelling over particularly extreme ground (e.g. scrambling on rocks/exposed coastal paths or mountain ridges) over any distance.

1

6

Distance: 33 miles from Newport • 45 miles from Castlebar ACCESS RATING

48 Outdoor Photography

WINNER Kevin Foley Croaghaun, County Mayo ituated on the amazing Achill Island in County Mayo is the spectacular Croaghaun mountain range. Croaghaun is home to Ireland’s highest sea cliffs, standing at 688m above sea level, and it also boasts Ireland’s highest lake, Bunnafreva Lough West. The views are incredible and include the local cliffs, cols and loughs.

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How to get there: Take the N59 west out of Mallaranny – the road turns left towards Achill Island and becomes the R319; just follow this road across the Michael Davitt Bridge (looks a bit like a dinosaur’s ribcage). Once on Achill Island, take the R319 to Keem beach. Park at the beach and head north to pick up the ridge, which can be followed to Benmore. It is only about a one-mile walk, above fine sea cliffs.

What to shoot: Mountain and lake views, beaches and cols.

Other times of year: All year round for sunrise and sunset. It is extremely important to visit in good weather – heavy mists are common.

Nearby locations: Lough Annagh (3 miles); Keel beach (6 miles).

WIN £200!

We want to see your pictures of great photography locations around the UK and Ireland.

The best Viewpoint of the Month will win £200.

See page 68 for details.

Congratulations!

Kevin Foley wins a fantastic £200 for his great photograph!

Outdoor Photography 49

VIEWPOINTS

Todor Tilev todortilev.com

Boyeeghter Bay, County Donegal oyeeghter Bay on the Rosguill peninsula is one of Ireland’s most beautiful bays.

At high tide, there are two sandy beaches, which become one glorious beach when the tide recedes. The Atlantic Ocean has eroded the rock to create caves and deep crevices in the cliffs along the bay. The powerful waves from the Atlantic may also be responsible for the bay’s nickname, the Murder Hole.

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How to get there: Heading north on the N56 from Letterkenny, turn right onto the R245 after roughly 14 miles (signposted to Carrigart

and Downings). Take a left onto the R248 to Downings. From Downings, take the R248 north towards Melmore Head. It’s a single-lane road for most of the Rosguill peninsula and there are lots of caravan sites, so parking is very tricky.

There is a car park at Tranarossan Bay – from here it’s a 1.5-mile walk to Boyeeghter Bay. What to shoot: Ocean views, beaches, tremendous cliff faces and caves.

Other times of year: Winter brings in lovely lowlevel sun rays that work well with the craggy cliffs.

Nearby locations: Tramore (6 miles); Doe Castle (11 miles).

Distance: 5 miles from Downings • 28 miles from Letterkenny ACCESS RATING

50 Outdoor Photography

John Cuthbert facebook.com/john.cuthbert.963

Dunscaith Castle, Isle of Skye ot only is this magnificent old castle in a picturesque setting on the beach, the farm track that leads towards it also meanders through some beautiful, lush green salty marshes. In addition, on a clear day, you can enjoy sensational views of the Cuillin and Blà Bheinn across Loch Eishort.

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How to get there: Dunscaith is located on the Sleat peninsula on the Isle of Skye. Take the turning off the A851, signposted to Tokavaig, and follow an unnamed road for approximately six miles. The castle is visible (in the distance) from the road. There is no car park, but a small lay-by

is nearby. If possible, park off the road at Tokavaig Bay, then head back until you see a farmland path and sign for the castle. From here, it’s a case of simply following the track across the bay and past the farm buildings until you reach the castle.

What to shoot: Breathtaking views, mountains, beautiful boulders and rocky beach.

Other times of year: The location is good because it is generally quieter in comparison to the more popular Skye destinations. There are interesting wildflowers during the warmer months, including rare orchids in spring.

Nearby locations: Ord (2.5 miles); Armadale Castle (12 miles).

Distance: 37 miles from Portree • 79 miles from Fort William ACCESS RATING

Outdoor Photography 51

VIEWPOINTS

Brian Nicholson Longniddry Bents, East Lothian art of the Firth of Forth Site of Special Scientific Interest, this area has a multitude of interesting wildlife.

Water voles and grey seals are among the animals that can be glimpsed along the beach and the walkway to the nature reserve.

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How to get there: Take the A1 east from Edinburgh. After about 10 miles (depending on where you joined the A1 around the city), you need to turn

right onto the B6363, heading north to Longniddry. Along the seafront, there is a choice of three car parks, all with easy access to the beach and nature walk.

What to shoot: Beach, seascapes and a great selection of wildlife.

Other times of year: Easy access all year round, great for sunset and sunrise.

Springtime is when the wildlife is most active.

Nearby locations: Hailes Castle (12 miles); Pentland Hills (21 miles).

Distance: 7 miles from Haddington • 15 miles from Edinburgh ACCESS RATING

52 Outdoor Photography

Mark Ferguson markfergusonphotography.co.uk

Ben Hope, Sutherland cotland’s most northerly munro, Ben Hope lies a few miles south of the North Coast 500 coastal route in north-west Scotland. The views from the summit are outstanding. The best views of the mountain itself are from Strathmore and along Loch Hope.

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How to get there: Take the A9 north from Inverness for approximately 35 miles, then take the A836 to Tongue via Lairg. At Tongue, take the A838 westward along the North Coast 500 for 10 miles to Hope, then take the single-track road south (signposted Altnaharra) for two miles.

What to shoot: The craggy west side of Ben Hope, together with shots of Loch Hope.

If you’re lucky, you could spot a golden eagle.

Other times of year: Moody, backlit shots in winter with snow on the mountain summit. Afternoons at any time of year are best for photography, as the craggy mountainside faces west.

Nearby locations: Loch Eriboll (5 miles); Kyle of Tongue (10 miles).

Distance: 10 miles from Tongue • 95 miles from Inverness ACCESS RATING

Justin Minns justinminns.co.uk

Snettisham, Norfolk nettisham is a great location for coastal landscapes. Under vast Norfolk skies, low tide leaves countless pools and channels carved into the parched mud. The remains of an old jetty punctuates the view, as the posts rise starkly from the endless mudflats.

The same area plays host to one of the UK’s great wildlife spectacles – thousands of wading birds feed on the mudflats here.

During very high tides, with the mudflats submerged, they take flight en masse, wheeling as one in a huge murmuration – a sight that even those not usually inclined towards wildlife photography will want to shoot.

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How to get there: Follow the A149 south from Hunstanton for five miles and turn right onto Beach Road. Follow this road for 1.5 miles and turn left at the brown RSPB sign – the car park is at the end of the lane. A footpath runs west from the car park, between the lakes to the beach; the jetty is less than a mile south from here.

What to shoot: Old jetty remains, patterns in the cracked mud, wader flocks.

Other times of year: Excellent throughout the year, especially at sunset. Spring tides are best for the wader spectacle.

Nearby locations: Dersingham Bog (2 miles); Castle Rising (9 miles).

Distance: 12 miles from King’s Lynn • 42 miles from Norwich ACCESS RATING

Outdoor Photography 53

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INSIDE TRACK

Standing up for the herring gull To conservationists, the herring gull is one of the great British seabirds, while for coastal dwellers it’s simply a pest. For photographers, it is a bird that deserves to have its story told, says Nick Smith To live on the South Wales coast facing the Bristol Channel is to find yourself often counting your blessings. Many is the morning, as I draw in the sharp tang of the salty morning air, my gaze running along the strand to the jagged limestone headland guarded by the stately 18th-century lighthouse, I congratulate myself on how clever I was to turn my back on all those years spent in the metropolis, my auditory senses assaulted by underground trains, police sirens and shouting Londoners going about their daily business.

This daily meditation would, of course, be a lot easier were it not constantly interrupted by the screaming of herring gulls that wheel around in the stiff breezes before landing with a thump on my roof to greet the dawn. Being a coastal native, I’m used to these huge and blaring avians bringing in the new day, but there are times when I’m prepared to secretly admit that maybe it wouldn’t be such a bad thing were they a bit quieter, or perhaps if there were slightly fewer of them. My nextdoor neighbour, an elderly and kindly soul rejoicing under the name of Mrs Jones, appeared to take this to new levels when she told me something needed to be done: ‘They’ve ripped open my bin bags again. I’m going to ask the council to exterminate them.’

Herring gulls, as I explained to Mrs Jones, are an endangered species protected by the Wildlife and Countryside Act 1981. So, as much as she’d like the council to carry out her wish, nothing can be done unless the gulls create a public health nuisance. I raised the topic with a few dog-walking friends I used to meet at the pub, but now stand at the side of footpaths in the local park wearing blue surgical masks, their hands like raw meat due to the effects of a year’s worth of hand sanitiser. The consensus was that ‘seagulls’ (as they insisted on calling them – no such bird) were ‘vermin’ and the sooner they were extinct the better.

Almost as if it had read the script, a herring gull the size of a small dog landed on a nearby bin and started tearing at fast-food wrappers. I must have been looking at something different to the others because, rather than a pest, I saw a bird of purest white offset by a subtle mauvish slate grey, its wingtips charcoal black.

The red spot on the underside of its turmeric-yellow bill reminded me that Larus argentatus – along with 66 more British birds – is on the UK Birds of Conservation Concern Red List. While the gull in the bin was doing everything it could to confirm the dim view that most present were taking of it and its kin, I wondered from

where humans derived the arrogance to suppose we can kill them for our convenience. ‘If you don’t like the gulls,’ I said, ‘why don’t you go and live somewhere else?’

Later that day, I hoofed it down to the lighthouse with my camera, still arguing in my head with the seagullhating dog walkers, determined to do something: quite what, I didn’t know. I’d take a set of photographs and send them to the editor of the South Wales Evening Post, offering to write an article about why we should learn to love our vocal coastal birdlife. I’d submit a set of stunning images to a local lifestyle magazine, drawing the readership’s attention to the all-important point that the herring gull’s strewing of litter throughout the city centre is merely an unintended consequence of their being part of our wildlife heritage. And as for the BBC’s local news website reports of ‘seagulls’ stealing shoppers’ chips, perhaps they shouldn’t be scoffing junk food in the first place.

I snapped away, a soldier on the frontline of photography’s fight against wildlife crime, determined to produce the killer images that would focus my defence of the noble herring gull under the public microscope. This would be the power of the photograph: and just as the art form had done so much to bring to the world’s attention the plight of the orangutan, the pangolin and the moon bear, so too would it come to the aid of the herring gull.

‘Not interested,’ said the picture editor on the other end of the line. ‘They’re a bloody nuisance.’ I tried to explain that the herring gull was an endangered species in the same way that the black-tailed godwit is, or the red-backed shrike or the white-tailed eagle. All I got was an editorial roll of the eyes and a change of inflection, indicating that the phone call was crashing towards its end. ‘So, you’re only interested in species that you perceive to be glamorous or photogenic?’ I huffed.

‘Look,’ came the reply, ‘they’re rats with wings. Good luck with your story. You’re going to need it.’

I returned to my computer screen, dejected by the thought that my story was dead in the water. To lighten the mood, I decided to go out with my camera again, perhaps this time to shoot yellowhammers because, let’s face it, everyone likes yellowhammers. Along the way I bumped into Mrs Jones, who told me that she had good news for me. ‘I’ve just heard that the council is introducing gull-proof bin bags. So, it looks like we won’t have to exterminate them after all. Now all we need is to find a way of shutting them up in the morning.’

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PHOTO SHOWCASE

Milky Way Photographer of the Year 2021 Every year, travel photography blog Capture the Atlas chooses its 25 favourite Milky Way images with a view to sharing the beauty of our galaxy. This year’s list includes photos taken as far afield as Chile, Iran and New Zealand. Here’s our pick of the Milky Way Photographer of the Year 2021 collection…

Left (top)

Chamber of Light, Spencer Welling Utah, USA

With all that the south-west has to offer, it’s easy to overlook the more obscure hidden gems hovering under the radar. This is one such location, which is situated below a remote set of cliffs in Grand StaircaseEscalante. Due to its remoteness, this natural stone chamber provides some of the clearest views of the Milky Way. Left (below)

Dragon’s Lair, Daniel Thomas Gum Mungo, NSW, Australia

Jagged walls framed a winding path leading to a centred spire to the west. There was only ever going to be one way to do it justice and that was as a multi-layered Milky Way panorama. I planned this image using PhotoPills during the day, but in postprocessing I used the blue-hour blend for the foreground, with a tracked sky for the cleanest possible image.

Opposite

Paradise, Marcin Zając Big Sur, California, USA

If I had to choose my favourite place on Earth, this might be it. Located on the Pacific Coast near Big Sur, it really has everything: a beautiful cove filled with emerald waters, an 80ft waterfall, a palm tree that makes you feel like you’re on a tropical island and a perfectly dark sky that shines bright with stars at night.

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Top (left)

Volcano and Cross, Tomas Slovinsky Villarrica Volcano, Chile

To easily recognise the south celestial pole, the best indicator is the Southern Cross constellation, located in the image just above the Villarrica volcano. Within the cross, we can see the dark area called the Coalsack, which is one of the best-known dark nebulae in the sky. In the upper-left corner is the red-coloured Carina Nebula.

Top (right)

Grantecan, Antonio Solano La Palma, Canary Islands, Spain

On the last night of my trip, I went up to the Roque de los Muchachos where I enjoyed a nice dinner with my girlfriend. There was no wind and no haze on the horizon. After several tests, I opted for a 50mm focal length that allowed me to capture a closer perspective of the telescope while framing our galactic bulge.

Left (middle)

Riaño, Pablo Ruiz Riaño, Spain

I captured this image last winter in the Riaño Mountain Reservoir in Spain. The biggest difficulty that night was mainly the cold – it was -10ºC. The moisture in the reservoir was freezing the lens and it was difficult to shoot for a long period of time.

Left (below)

Night Lovers, Mohammad Hayati Hormozgan Province, Persian Gulf, Iran

In this picture, you can see the Milky Way rising on a fascinating spring night on the Persian Gulf coast. The light pollution from a faraway city was quite strong, so it was a challenging post-processing process.

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PHOTO SHOWCASE Right (top)

Navajo Nights, Christine Kenyon Bisti Badlands, New Mexico, USA

When I saw this scene, and verified with the PhotoPills app that the Milky Way core would perfectly align with the rock feature, I was hooked. I shot the foreground as blue hour washed over this ancient land.

When the Milky Way rose into prominence and settled where I had hoped, I exposed for the sky to complete this blend.

Below (left)

ADK Magic, Daniel Stein Adirondack Mountains, New York, USA

The Adirondacks are home to some of the last dark skies on the east coast. This shot captures the magic which fills my heart when I am there.

Not only does it consist of a heart-shaped lake, it also shows just how much the east coast has to offer: beautiful woodlands combined with still water and rolling hills.

Below (centre)

The Watchman, Brandt Ryder Zion National Park, Utah, USA

Utah’s dark skies are a mecca for astrophotographers. When I noticed how the angles of the tree matched the peak near perfectly, I knew I had found something special.

This composition is a blue-hour blend, with the sky taken at night and the foreground taken before the sun came above the horizon.

Below (right)

Nyctophilia, José Luis Cantabrana Great Ocean Road, Victoria, Australia

After numerous failed attempts to align my new star tracker towards the south celestial pole, I was ready to give up, but I decided to take a shot while the galactic core was rising up.

Surprisingly, it worked out nicely, and a door to a new magical world full of stars opened for me.

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Above

Below

Rising from the Dust, Lorenzo Ranieri Tenti

Mt. Taranaki Milky Way, Larryn Rae

Tenerife, Canary Islands, Spain

Fanthams Peak, Mt. Taranaki, New Zealand

The Milky Way seems to rise from a thick blanket of dust that scatters all the light from the faraway towns, creating a warm glow over the horizon.

This glow is caused by the Calima, a warm wind that comes from the Sahara Desert and is always loaded with sand, which has a big impact on night-sky visibility.

This is one of the most challenging shots I have ever captured, as it required climbing for four hours in 70kph winds to reach the ice summit. At an elevation of 2000m and -15ºC outside with gusty wind blasts, I had to choose settings that would get me the capture rather than what I may have considered more ideal settings.

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Landscape Photography Workshops Supported by Kase Filters, UK Digital and Novo

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Impressions of Westonbirt Arboretum

Yorkshire’s Coastal Treasures

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The Lake District

September 30th - October 3rd

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READER GALLERY Each issue we publish the best images from those submitted to our Reader Gallery – turn to page 68 to find out how to enter your work.

Here is this month’s winner...

Winner David Queenan I first developed a passion for photography while I was studying for a degree in graphic design at the Duncan of Jordanstone College of Art in Dundee. Photography wasn’t available as a standalone degree course, but I had the option to study it as a secondary subject to my main degree. The college had a great darkroom suite at that time, and we learned how to develop our own black & white film and make prints. This led to me buying my first SLR film camera, an Olympus OM-10, which I still own to this day.

After graduating, I gained employment as a graphic designer at an agency in Glasgow, but it wasn’t until the advent of Apple Macs and Photoshop in the early 1990s that my interest in digital photography really started. I initially bought a Nikon D50 before upgrading to a Nikon D200, but I’ve been mainly using a Fujifilm X-T3 in recent years.

I live in the central belt of Scotland, about 10 miles from the Forth Bridges, so they tend to feature a lot in my photography. However, I have been working from home as a freelance graphic designer and photographer for over five years now. I have been successful in a few landscape competitions in recent years, including commendations in Landscape Photographer of the Year. I was also a runner-up in the 2020 Scottish Landscape Photographer of the Year and won the Scottish Nature Photography Awards in 2015.

Hometown Bo’ness, Falkirk Occupation Freelance graphic designer and photographer Photographic experience Nearly 40 years Website dqphotography.com Right Cramond Causeway This causeway leads to Cramond Island on the outskirts of Edinburgh and gets completely covered at high tide, cutting the island off from the mainland for many hours.

It therefore requires a bit of planning to time your visit to coincide with the receding tide at sunset. This is a four-minute exposure taken with a Lee Big Stopper ND filter.

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READER GALLERY

Outdoor Photography 63

READER GALLERY

Above Criss Crossing I liked the graphic structure of the bridge silhouetted against the golden sky and the sense of scale given by the small boats below. I used a long lens to zoom in and frame just a section of the bridge as one of the many daily trains crossed the Forth. This image was commended in Landscape Photographer of the Year 2020, in the Lines in the Landscape category.

Opposite Carlingnose Point Pier This is the remains of a WW1 submarine munitions pier near North Queensferry at sunrise and it is a long exposure of 120 seconds using a Lee Little Stopper. The image was shortlisted in the 2020 Scottish Nature Awards in the Sea & Coast category.

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READER GALLERY

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READER GALLERY

Loch Rusky This small loch in the Trossachs is a popular spot with many landscape photographers as it’s well known for holding early morning mist and for its small fishing boats. However, it took me at least six visits over several years before I finally got the calm and misty sunrise conditions I was after.

Submit your best images and win great prizes.

This month’s winner, David Queenan, receives a superb Lowepro PhotoSport III, worth £164.

Made from 75% recycled fabrics, the third generation PhotoSport collection marks Lowepro’s move towards sustainable products.

Built for photo-adventurers looking for a lightweight camera backpack for day hikes and backcountry travel, the PhotoSport III offers the comfort and capacity of an outdoor pack with the modularity and protection synonymous with the Lowepro brand.

To find out more go to lowepro.com

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Subscribe and save up to 30% outdoorphotographymagazine.co.uk/subscribe Call +44 (0) 1273 488005

GET INVOLVED

Your chance to take part See your work in print + win great prizes!

Online submissions!

Go to outdoorphotographymagazine.co.uk READER GALLERY

ONE THING THIS MONTH

READER GALLERY

If you only do one thing this month…

Wildlife portraits In issue 268 we asked you to send us your best pictures that capture the spirit and character of your animal subject, and your submissions have produced one of the best collections of wildlife photography we’ve seen.

Here’s our winner, Alan Smith, who wins a Keela Insect Shield bundle, and our superb runners-up.

For details of our next challenge, turn to page 95.

Each issue we publish the best images from those submitted to our Reader Gallery – turn to page 68 to find out how to enter your work.

Here is this month’s winner...

Winner David Queenan

WINNER Alan Smith An afternoon of bird photography came to an end when this crocodile decided to swim in the lagoon surrounding a hide in Zimanga Private Game Reserve, South Africa. Making the best of the opportunity provided by my new subject, I tried to capture atmospheric shots of it. Underexposing prevented the water from burning out and increased the vibrancy of the background colours when the luminance was restored during processing.

Canon EOS 5D MkIV with 100-400mm lens, ISO 2000, 1/800sec at f/5.6, tripod footprintsinthedust.me

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I first developed a passion for photography while I was studying for a degree in graphic design at the Duncan of Jordanstone College of Art in Dundee. Photography wasn’t available as a standalone degree course, but I had the option to study it as a secondary subject to my main degree. The college had a great darkroom suite at that time, and we learned how to develop our own black & white film and make prints. This led to me buying my first SLR film camera, an Olympus OM-10, which I still own to this day.

After graduating, I gained employment as a graphic designer at an agency in Glasgow, but it wasn’t until the advent of Apple Macs and Photoshop in the early 1990s that my interest in digital photography really started. I initially bought a Nikon D50 before upgrading to a Nikon D200, but I’ve been mainly using a Fujifilm X-T3 in recent years.

I live in the central belt of Scotland, about 10 miles from the Forth Bridges, so they tend to feature a lot in my photography. However, I have been working from home as a freelance graphic designer and photographer for over five years now. I have been successful in a few landscape competitions in recent years, including commendations in Landscape Photographer of the Year. I was also a runner-up in the 2020 Scottish Landscape Photographer of the Year and won the Scottish Nature Photography Awards in 2015.

Hometown Bo’ness, Falkirk Occupation Freelance graphic designer and photographer Photographic experience Nearly 40 years Website dqphotography.com Right Cramond Causeway This causeway leads to Cramond Island on the outskirts of Edinburgh and gets completely covered at high tide, cutting the island off from the mainland for many hours.

It therefore requires a bit of planning to time your visit to coincide with the receding tide at sunset. This is a four-minute exposure taken with a Lee Big Stopper ND filter.

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IF YOU ONLY DO ONE THING THIS MONTH

READER GALLERY

Enter our ‘Compositions with contrast’ photo challenge and you could have your image published in issue 274 of OP. Plus, the winner will receive a Power Traveller Condor 100, worth £200, courtesy of Trekitt. See page 95 for details.

Send us your best outdoor images, and if you’re chosen as our winner, your work will take pride of place in OP, plus you’ll receive a brilliant prize. This month’s Reader Gallery winner receives a superb Lowepro PhotoSport III, worth £164

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Outdoor Photography 63

GET INVOLVED

OP COMMUNITY

COMPETITION

Join the OP community on our social channels where you can see what we’re keen to share in the world of outdoor photography.

Keep right up to date with news by ‘liking’ OP at facebook.com/ outdoorphotographymag Follow us on Twitter at twitter.com/opoty

Where in the world?

Do you recognise this golden waterfall? If so, you could win a Unibank power bank, worth £89.95, supplied with an ambient light attachment (RRP £24.95).

Hidden in dense jungle this beautiful waterfall is a true hidden gem – but is it…

a: Iguazu Falls, Argentina b: Huay Mae Kamin Waterfall, Thailand c: Blue Nile Falls, Ethiopia The answer and the winner’s name will be revealed in OP 274.

You can enter the competition online at outdoorphotographymagazine.co.uk, using Water271 as the code, or send your answer to opcomp@thegmcgroup.com, stating Water271 as the subject. Alternatively, drop it in the post to: Where in the World – Water271, Outdoor Photography, 86 High Street, Lewes, East Sussex BN7 1XN. The deadline for entry is 24 September 2021.

THIS MONTH’S GREAT PRIZE Worth

UNIBANK POWER BANK WITH AMBIENT LIGHT

Four years in the making, the award-winning Unibank is a unique power bank that’s rechargeable via its pull and power charger.

Simply pulling the neatly stored cord for 90 seconds can give you 25 minutes of talk time on a typical smartphone. Ideal for when you’re off-grid, it can also be used to power devices such as digital cameras. This extremely versatile piece of kit can also be charged by USB.

£115

In addition to the Unibank itself, our competition winner will receive one of Unibank’s super-useful accessories: an ambient light attachment to provide bright illumination for after-dark adventures, with the ability to pick from the full colour spectrum.

For more details visit unibanktm.com

OP 268 WINNER

Find us on Instagram at instagram. com/outdoorphotographymag

In issue 268 we asked you to identify these stunning caves in the image below.

The correct answer is:

c) The Marble Cave, Chile Shutterstock.com

ENTER ONLINE NOW! Where is it?

Congratulations to our winner!

Tom Gilland from West Calder

EMAIL ENTRIES

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WHERE IN THE WORLD?

SOCIAL HUB

Name the location on page 96 and this month you could win a Unibank Power Bank with an additional ambient light attachment included.

The Unibank Power Bank is a unique power bank that’s rechargeable via its pull and power charger. Pulling the cord for 90 seconds can give you 25 minutes of talk time on a typical phone.

For more details visit unibanktm.com

Social Hub, our letters page, will soon be returning to OP. Please send your views, opinions and musings to claire.blow@thegmcgroup.com, or submit them via our website or by post (accompanying images are welcome). Each issue, our Letter of the Month winner will receive a great prize.

Please limit your letters to about 200 words or under and be aware that your words may be edited before they are used in the magazine.

We are unable to accept speculative submissions via email, so please do not send work in this way, unless requested to do so by a member of the OP editorial team.

Send via post or online instead.

WEBSITE SUBMISSIONS You can send us links to your website, for us to view your general work only. Please note that strictly no correspondence will be entered into regarding website submissions. Send the link to opweb@thegmcgroup.com.

PLEASE NOTE WINNER Kevin Foley Croaghaun, County Mayo ituated on the amazing Achill Island in County Mayo is the spectacular Croaghaun mountain range. Croaghaun is home to Ireland’s highest sea cliffs, standing at 688m above sea level, and it also boasts Ireland’s highest lake, Bunnafreva Lough West. The views are incredible and include the local cliffs, cols and loughs.

S

How to get there: Take the N59 west out of Mallaranny – the road turns left towards Achill Island and becomes the R319; just follow this road across the Michael Davitt Bridge (looks a bit like a dinosaur’s ribcage). Once on Achill Island, take the R319 to Keem beach. Park at the beach and head north to pick up the ridge, which can be followed to Benmore. It is only about a one-mile walk, above fine sea cliffs.

What to shoot: Mountain and lake views, beaches and cols.

Other times of year: All year round for sunrise and sunset. It is extremely important to visit in good weather – heavy mists are common.

Nearby locations: Lough Annagh (3 miles); Keel beach (6 miles).

WIN £200!

We want to see your pictures of great photography locations around the UK and Ireland.

The best Viewpoint of the Month will win £200.

See page 68 for details.

Congratulations!

Kevin Foley wins a fantastic £200 for his great photograph!

Distance: 33 miles from Newport • 45 miles from Castlebar ACCESS RATING

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Outdoor Photography 49

Due to the many submissions we receive from our readers each month, if you have not heard from us within eight weeks (except for Viewpoints) then it is unlikely we will be using your work in the magazine on this occasion.

GMC Publications cannot accept liability for the loss or damage of any unsolicited material, including slides.

EXHIBITIONS AND EVENTS If you would like an exhibition or event included in Outdoor Photography, please email markbe@thegmcgroup.com at least 10 weeks in advance. You can also submit it online through our website.

NEWS STORIES Is there a current and time sensitive story you’d like us to cover in our news pages? Please email details to markbe@thegmcgroup.com or submit it online at: outdoorphotographymagazine.co.uk/ contact-us

VIEWPOINTS

WRITE FOR US!

We want to see up to 10 of your best digital images from your favourite UK and Irish viewpoints.

If one of them is selected it will be published in the magazine, plus there’s £200 up for grabs each month for the winning image. You can submit online at: outdoorphotographymagazine.co.uk Don’t forget to include your name, daytime contact number and email address.

And please include camera data for each image submitted.

We are always on the lookout for inspiring new features. If you have a great idea for an article then please send a short outline (no more than 60 words), plus five high-res JPEG images for our consideration.

Outdoor Photography 69

LIFE IN THE WILD

The joys of Facebook The discovery of a fellow photographer’s inspiring roe deer images alerts Laurie Campbell to the revelatory powers of social media and the importance of deep-dive wildlife projects It took me a while to decide whether or not to sign up to Facebook. I was concerned, and still am, about the amount of time it would eat up, but I do enjoy the interaction with people because by default nature photographers are usually lone workers and we often don’t get much real-time contact with like-minded others.

I sometimes look at the list of names of those who have responded to my posts and it’s gratifying to see that at least 20-30% of them are people that I’ve met and spoken to in real life.

However, I’m aware that compared to, say, Instagram, Facebook probably isn’t the best social media platform on which to display photographs and I’ve so far resisted joining the latter because I’d have even less time to take pictures. A bit of a paradox if

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ever there was one! Despite that, I see a lot of inspiring work on Facebook and every now and again some real gems appear, and so it was that I came across the work on roe deer

by Mark Nicolaides.

Mark rarely posts his images, but I dug a little deeper and was stunned to discover his depth of coverage, from deer falling asleep in front of him to dramatic scenes of rutting behaviour. Above all, I noticed that he had almost no photographs of deer staring at his camera. Too often, eye contact like this is glossed over as having some emotive, anthropomorphic connection, when in reality it’s a mild form of disturbance where the behaviour of an animal has been changed and they are assessing the situation and deciding their move.

In my opinion, Mark’s work must be

the best and most varied collection of photographs of roe deer ever taken. I may be proved wrong, but to qualify that statement, and as a professional nature photographer, it’s in my interests to be aware of what subjects have been photographed well, not to emulate but for inspiration and the impetus to look for other subjects that haven’t been photographed as well.

Below This roe deer is looking slightly in my direction, but more downwards than directly at me. Moments later, and after hearing the camera shutter of my DSLR, it was gone. Silent shooting with a mirrorless camera offers a significant advantage in such situations. Nikon D4 with 500mm f/4G VR lens and TC-14 III teleconverter, ISO 800, 1/320sec at f/6.3,

For much the same reason, I sometimes don’t post some of my newest work on Facebook, especially if it is destined for, say, a book project. Unpalatable as it is, that’s the commercial reality. Indeed, legendary North American nature photographer Art Wolfe (Google him) once told me that from first discovering a completely new, virtually unphotographed location or subject anywhere in the world, he’d have less than a year to make the most of those images before someone followed in his footsteps and he started seeing similar photographs in print. I see examples of this all the time, and especially in situations where photographs can be easily obtained if you know where to go.

In no way does Mark’s work on roe deer fall into this category. Having been honoured when he asked if I would write a foreword for his book, A Year in the Life of a Roe Deer, and reading his manuscript, I appreciated even more the hard work and dedication required to achieve what he has.

I can’t help but be envious of Mark’s photographs of roe deer, but I also feel warmly vindicated about what I’ve stated so many times in this column about the benefits of working your own patch, studying the biology of your subject and using fieldcraft in order to enter their world.

Opportunity knocks Throughout my career, I’ve never made any distinctions about the difference in the quality of work being produced by amateur and professional photographers. Both can produce good and bad work and there have always been non-professionals like Mark who have had the freedom to pursue their own projects with passion, and without a deadline. Meanwhile, and especially before the advent of the internet, their brilliant work remained largely unseen and lacking the audience it deserved.

I’ve always been aware of this and have never been under any illusions about the times I’ve licensed images, knowing full well there were non-professionals who already had far better coverage. Having built a career and put yourself into a position where your livelihood depends on having work published, you’re naturally going to attract the attention of other picture researchers and editors.

In a world where it seems that everything in nature has been photographed, but not always to any depth, there are always opportunities.

I’ve embarked on projects, often lasting decades, to photograph species that have all culminated in the publication of a book.

Normally, I start by making a wish list of photographs of all aspects of the subjects’ lives that I can think of. The more I work with them, the longer that list gets. For whatever reason,

there are always going to be some images I never seem able to achieve and, by definition, deadlines in a book contract are about as finite as deadlines get, so the book is published without them. For example, this month sees the publication of a revised edition of an otter book I produced with my writer friend Anna Levin.

Second time around, I still didn’t manage to include pictures of otters sliding in snow, but at least I’m left motivated to do better in the future.

Looking at Mark’s book, I’m not sure he is missing anything, or maybe I’m just out of my depth. What I do know is that he has generously

Above A Scottish wildcat photographed in a captive breeding facility. Perhaps more than any other UK land mammal, and for anyone with time to spare and looking to start a groundbreaking project, this species remains the most challenging and under-photographed in the wild. Nikon D4 with 200-400mm f/4G VR lens at 210mm, ISO 800, 1/250sec at f/5, handheld, tripod, cable release, mirror-lock

shared his knowledge about roe deer and provided detailed tips on photographing them throughout the seasons – see aboutdeer.com.

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NATURE GUIDE

Laurie’s seasonal highlights Above Closely related to albatrosses, northern fulmars (Fulmarus glacialis) are consummate gliders, covering large distances using very little energy while flying close to the surface of the sea. They make an ideal subject on which to practise flight photography during long ferry crossings, and in calm weather it’s sometimes possible to include their reflections cast on to the silky surface of the water amid the ripples.

Alternatively, in stormy conditions, find a sheltered spot on deck and try photographing them battling the elements. Either way, you may also see some cetaceans too.

Nikon D3S with 500mm f/4G VR lens, ISO 500, 1/1600sec at f/5.6, handheld Opposite (top) Of a world population of only 16,000 pairs, the UK has 60% of all great skuas (Stercorarius skua). Otherwise known as bonxies in the Northern Isles (Shetland and Orkney), they

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are infamous for their aggressive nature when dive-bombing any intruder that ventures anywhere near their nests in the breeding season. Elsewhere, they are similarly known for their behaviour of predating smaller seabirds or robbing others of their fish. All worth knowing if you plan to be out on a boat in the north and have access to a supply of unwanted by-catch.

Nikon D3S with 500mm f/4G VR lens, ISO 1000, 1/2500sec at f/5.6, handheld Opposite (middle) It seems a common trait among many people visiting glorious beaches littered with spent seashells that they will want to return home with a few as a memento. They certainly make good rainy day standby subjects for a spot of tabletop macro photography, but for many there is nothing to beat photographing them en masse and in situ. Possibly drawn by water currents, large beds composed of just a single species can occur. I’ve seen this with periwinkles,

mussels and common cockles. Ultimately, all will be ground down until finally reduced to sand.

Nikon F5 with 70-180mm f/4.5-5.6D ED lens, Fujichrome Velvia 50, 1/4sec at f/22, tripod, cable release, mirror-lock Opposite (bottom) Rock doves (Columba livia) are the original wild pigeon from which all domestic and feral pigeons are descended. Indeed, Charles Darwin identified 228 distinct varieties of the latter. Nowadays, and to be sure of seeing and photographing pure rock doves, we need to travel to remote rocky places. A key identifying feature is the black bar markings on their pale-grey wings. They can be wary, but like woodpigeons in towns, there are always exceptions if you are lucky enough to find some near to human habitation.

Nikon D3S with 500mm f/4G VR lens and TC-14 lll teleconverter, ISO 800, 1/1250sec at f/7.1, hide, tripod

More seasonal subjects Flora

Chilean Pine Nikon D3 with 60mm f/2.8 AF-S lens, ISO 320, 1/400sec at f/4, handheld Glasswort / marsh samphire (Salicornia europaea) – turns from translucent green to translucent orange-red in late summer.

Goat’s beard (Tragopogon pratensis) – the only dandelion-type flower in the UK with grass-like leaves. After flowering, this species produces a large, robust seed head.

Chilean pine (Araucaria araucana) – more commonly called the monkey puzzle tree, the spiky foliage of this widely planted exotic conifer offers so many options for photography.

Fauna

Scotch Argus Butterfly Nikon F4S with 200mm f/4 IF-ED lens, Fujichrome Velvia 50, 1/15sec at f/16, tripod, cable release, mirror-lock

Feral pigeon (Columba livia) – another one of those familiar, everyday species that provides enormous potential but is largely ignored by many nature photographers.

Risso’s dolphin (Grampus griseus) – a deepwater species, with a blunt head and grey body where scar markings are conspicuous, this dolphin is unlike any other found around the UK. Scotch argus butterfly (Erebia aethiops) – has a flight period from July to September. Roughly the same size as the meadow brown, but with dark-chocolate wings.

Outdoor Photography 73

A MOMENT WITH NATURE The clifftops of the Isle of Unst are not for the faint-hearted, says Ben Dalgleish. But they do present an opportunity to see some wonderful birdlife ermaness National Nature Reserve on the Isle of Unst, Shetland, is one of the most awe-inspiring places I’ve visited with my camera.

The colony of thousands of gannets and puffins is incredible, if not a little smelly.

However, the endless views of seabird cities make you believe you’re living in a dreamworld. On many occasions, I had to pinch myself and question: ‘Is this real life?’

What makes Hermaness so special is the scenery, and I knew I had to include this in my images. To do so, I put away my 600mm prime lens and shot solely with my 24-70mm f/2.8. Working at 24mm gives you a sense of scale against the towering cliffs.

To create environmental images of puffins, composed so the bird is small in the frame, means getting within touching distance of your subject. This means careful fieldcraft must be applied. As I positioned myself inches away from the edge of the cliff, I began shuffling closer to the puffin, making sure my background was how I wanted it. I was also checking on the bird’s body language to ensure I wasn’t causing any distress. As I immersed myself in my photography, the thought of the sheer drop to my left soon retreated, but just as I found myself in the perfect spot, the weather began to change. Within minutes, the clear blue sky gave way to thick fog.

This rolled in over the top of Hermaness Hill, engulfing the landscape. However, there was a shimmer of golden-hour light ever so slightly shining through. What I saw through my viewfinder was nothing short of magical. As thousands of bird calls echoed through the cloud, the atmospheric conditions were breathtaking. All I had to do was wait for the puffin to look in my direction and click the shutter button…

The fog was moving quickly and before I knew it there was almost no visibility. As I slowly and carefully backed away from the cliff and retreated to a safe place, I reached for my iPhone – to find it wasn’t there! I patted down every pocket and that’s when I saw it sliding through the grass before coming to a halt, as it nearly fell into the Atlantic. Thankfully, no iPhones were damaged in the making of this image. So, there are two lessons to this story: always zip up your pockets, and Hermaness is a must-visit location.

H

74 Outdoor Photography

Outdoor Photography 75

NATURE ZONE STEVE YOUNG

On the wing Juveniles may be resplendent in their fresh plumages at this time of year, but identification guides will always need images of adult ducks in eclipse plumage too, so don’t overlook the imperfect, says Steve Young

For the bird photographer, mid-summer can be a tricky time to find good-looking subjects to point a lens at. Seabird colonies will be alive with birds, with plenty of activity as parents bring food to their young, but away from these impressive sights it can be a struggle.

Walk around any park lake at this time of the year and those lovely green-headed male mallards will be nowhere to be seen. But the birds are still there, they just bear little resemblance to their former glory as they are now in full feather moult, or eclipse plumage.

All birds moult, but in no species is it more obvious than in the duck family, when old feathers are replaced by new, ready for the winter months ahead. The mallard loses its green head, white neck ring and brown chest, while even the bill changes to a pale yellow compared to the bright yellow normally seen.

The common garden birds will be like a mix of Rag, Tag and Bobtail (younger readers ask your grandparents), with bits of feathers missing and everything looking very worn after a hectic breeding season.

But is it really as bad a picture as I’m painting or is it just me being a grumpy old

76 Outdoor Photography

Top left Photographed in the middle of July, this is a male mallard in eclipse plumage – it doesn’t bear much resemblance to the glossy, greenheaded birds seen in winter and spring.

Below left Another useful plumage to have on file is juvenile gulls. They are not to everyone’s taste as a subject, but can be useful for identification books or articles.

Right Mid-summer is the time to try and photograph juvenile great spotted woodpeckers, as somehow they just know how to find peanuts wedged in a branch, as in this shot.

snapper who only wants to take pictures of perfect-looking birds? Instead of the adults, take a look at the juvenile birds who will be resplendent in fresh plumage, with some, like the robin, looking nothing like their parents.

Juvenile great spotted woodpecker does look similar to the adult birds, but with a large red cap instead of black. The parent birds will bring them down to a feeding station to show them the way, but then for some reason the juveniles just seem to know where to look for peanuts wedged in branches for that naturallooking image. It still baffles me now that an

insect feeder just knows to search for peanuts when they are only a month or two old – how?

If you like gulls and enjoy building up a portfolio of all the different plumage stages, now is the time to add to your collection with juvenile birds. I know, gulls are not for everyone, and they tend to be a serious birder’s passion rather than the casual birdwatcher/ snapper. But over the years, gull identification books and articles in the birding magazines have used lots of my images, many of them juvenile birds, so I always tend to try and refresh my files each summer. Even familiar species such as black-headed and herring gull can be requested, so you just never know when that pic in the park could earn you some money. I’ve even sold photos of eclipse ducks for a wildfowl identification guide, so it literally could pay to point your lens at them.

So, ignore my grumpy old man views and embrace those mid-summer birds; photograph eclipse ducks, ragged-looking adult garden birds and pristine juveniles while you can. They are all part of the big birding picture of the year and deserve a place in your photo files.

BIRD OF THE MONTH

Above left Female kestrels are similar to the males but lack the head colour and are more streaked on the breast rather than spotted. Above right The male is a very attractive bird when seen close-up. Right Watching a kestrel hover with its head motionless while wings beat steadily is quite a sight.

Many years ago, the kestrel was a common sight feeding along motorways; so common, in fact, that on long birding trips our group would pass the time by counting how many we saw during the journey.

Sadly, these distractions are now a distant memory and this species has declined drastically, with motorway sightings of buzzards far more numerous. In Scotland, the decline has been even more dramatic, with the population crashing by almost 85% between 1994-2019.

Quite why this decline has happened is not totally clear; change of agricultural practices and increased use of rodenticides are all put forward as possibilities. Kestrel’s habit of hovering when hunting makes them quite easy to identify and, when seen closely, the male

is particularly handsome, with a slate-blue head, dark moustachial streak, brown back and a buff breast with dark spots. Females and juveniles are similar but lack the male’s head pattern.

BIRD PHOTOGRAPHY TIP I’ve always enjoyed taking a nice portrait of any bird; side on showing all the main identification features was always a good seller, especially if it was of a rare species.

I did become a little bit blinkered in my approach, but now feel that over the years I have changed my outlook and rather than just take an ID photo will take a variety if the opportunity arises.

One such occasion happened quite recently during the winter on a visit to a local park when a grey heron was showing well. I took a

series of standard shots, but then the bird came incredibly close, unafraid of walkers and joggers.

I only had a 500mm lens with me so was limited, but I took advantage to capture a selection of close-up images of varying degrees, plus a video on my phone. Whether any of the photos will ever sell or just remain hidden away on various hard drives only time will tell, but if the chance does arise with any species take full advantage, as it may never happen again.

A standard portrait of a grey heron…

And then the closer-than-close close-up!

A slightly closer portrait…

Outdoor Photography 77

GEAR ZONE

The OP guide to… trekking trousers Your legs do most of the work getting you anywhere, so good trekking trousers need to keep them warm and dry, but also allow them to breathe. They’ll be required to scrape over rock, push though undergrowth and tramp through mud. Trousers matter, says Ben Weeks, so here are his five favourites Fjällräven Keb Trousers Best for wilderness roaming Fjällräven is the antithesis of today’s throwaway fashion culture. The Kebs might require deeper pockets than others, but these are trousers that will reward your investment. Created for trekking the backlands of Scandinavia, the Keb trousers use a mix of stretch material and G-1000, Fjällräven’s own hardwearing outdoor fabric that creates long-lasting products that will provide years of loyal service. In addition to the hip pockets, there are two voluminous thigh pockets – big enough to house a map or filter set. Long ventilation zippers provide plenty of air flow on warmer days, while the adjustable ankle cuff with lace hook permits a snug fit that will help keep detritus out of your boots. There’s the option of fitting knee pads for greater kneeling comfort, and the already water and wind-resistant Kebs can be made more weatherproof with the application of Greenland Wax. £200 fjallraven.com

Craghoppers NosiLife Convertible II Trousers Best for travel trekking When travelling, any piece of gear or item of clothing that offers more than one use earns its place in your kit bag. The NosiLife Convertible trousers are a case in point. Not sure if the weather will be warm enough for shorts or a bit too breezy for bare shins? With trouser legs that can be removed from just below the knees, these can be converted easily from trousers to shorts and back again with the flick of a zip. They offer plenty of other travel advantages too. The NosiLife anti-insect treatment repels midges, mosquitoes and sandflies, while the 92% polyamide, 8% elastane fabric is quick drying and offers UPF 40+ sun protection. It’s also odour resistant, allowing for longer wear with fewer washes. Plus, a multitude of pockets – including three zipped pockets and one zip’n’clip security pocket – offer plenty of stowage for your passport, wallet, memory cards or detached trouser legs. £70 craghoppers.com

78 Outdoor Photography

EDITED BY BEN WEEKS

Duer Performance Denim Relaxed Best for more casual environments The first rule of trekking trousers is that denim is an absolute no-no. It soaks up water and is slow to dry, making it uncomfortable and dangerously chilling. Performance Denim from Duer is different. Made from 70% cotton, 28% Coolmax All Season polyester and 2% Lycra spandex, Duer’s jeans are stretchier, more water resistant, more odour proof and quicker to dry. They also maintain jeans’ famously robust nature with triple stitching for increased seam durability. While these can’t match dedicated trekking trousers for weatherproofing, speed of drying or lightweight packability, they are arguably more versatile, looking less conspicuous in a pub or on the high street than their more outdoor-focused counterparts, and still adventure capable. And if you really want the denim look in an even more weather-resistant form, jeans with a full waterproof membrane are also available. £110 shopduer.com

Montane Terra Pants Best for warmer weather Even when the sun is shining there are reasons to eschew shorts in favour of trousers, protection from sun, insects and savage vegetation being some of the more pertinent. But trousers still need to be cool and comfortable in warm weather, so not just any legwear will suffice. The Montane Terra Pants (ignore the Americanism – they’re trousers) are bona fide classics.

You’ll see plenty of pairs about in the UK hills and it’s little wonder: they’re wind and water resistant, quick drying and provide UPF 40+ sun protection. Mesh vents on each thigh can be zipped open for ventilation, and quarter-length side zips provide lower-leg cooling and access. But the Terras are tough too. Cordura reinforcement patches on the knees, inner ankles and seat increase the durability of high-wear areas, making these lightweight trousers capable of tackling some heavyweight terrain. £85 montane.com

RevolutionRace RVRC GP Pro Trousers Best for mountain terrain Swedish brand RevolutionRace are relatively new to the UK and are having an impact in the outdoor clothing market.

Their RVRC GP Pro Trousers are designed for people on a mission, whether that be bagging a summit, hiking an epic trail or capturing the perfect photograph. They’re hybrid trousers, featuring breathable stretch-fabric reinforced by tough waterresistant material on the knees, seat and lower legs. This mix of fabrics ensures the RVRC GP Pros offer excellent freedom of movement (important when scrambling up a crag to find the perfect viewpoint) and good breathability (augmented by ventilation zippers along the thighs), but also high durability in those areas most likely to receive abuse. In addition to the fabric reinforcement, the knees have internal pockets which can be fitted with knee pads for increased comfort when seeking the best angle. £95 revolutionrace.co.uk

Outdoor Photography 79

Keela Talus Jacket It may be summer now, but in a few short months it’ll be winter and you’ll be needing a mid or outer layer to keep you warm and dry.

Keela’s updated Talus Jacket ticks all the boxes, with traditional down replaced with 60gsm Primaloft Gold insulation, which works even when wet, and Flylite Ultra fabric for a wind-resistant outer. A side panel made of stretchy fleece softshell allows for easy movement, while articulated sleeves and two-way zip with inner storm flap make the Talus an all-year-round essential. A technical fixed hood with malleable peak completes the spec highlights.

Guide price £139.95 keelaoutdoors.com

Olympus PEN E-P7 OM Digital Solutions, the new home of Olympus, has announced its first camera. The PEN E-P7 (£749 body only) is a classically styled micro four thirds marvel that features the same 20MP MFT sensor and Truepic VIII processor as the E-M10 MkIV, and adds a fiveaxis in-body image stabilisation system, 4K/30p video mode and Olympus’ unique Live Time and Live Composite modes. In addition, the new M.Zuiko Digital ED 8-25mm f/4 Pro (£899) offers a 35mm equivalent focal length of 16-50mm and comprises 16 elements in 10 groups, with several special coatings to minimise aberrations.

This compact zoom weighs 411g and also boasts a minimum focusing distance of 23cm across the entire focal range. olympus.co.uk

GEARING UP LifeSaver Liberty

Need to access safe drinking water when off the beaten track? The LifeSaver Liberty is a water-purifying bottle that uses advanced filter technology to remove virtually 100% of bacteria, cysts and viruses from contaminated water. It can purify 2,000l of water per filter – that’s three years’ worth if you drink 2l a day – is the same size as your average sports bottle and is available in five colours. It can even be used to pump purified water into other clean containers, so groups only need to carry one LifeSaver Liberty between them. A scavenger hose allows you to access hard-to-reach water sources when on location.

Guide price £125 iconlifesaver.com/product/lifesaver-liberty-bottle

Nikon Z fc It may look like a classic FM2 SLR, but beneath the Z fc’s retro exterior is an advanced DX format mirrorless camera wrapped around the same 20.9MP CMOS sensor as featured in the Z50. Aimed at a younger, more style-conscious photographer, the Z fc adds dedicated ISO, shutter speed and exposure compensation dials, alongside a burst rate of 11 frames per second with full AF (nine fps with 14-bit Raw) and 4K video at up to 30p. Nikon has also released two heritage lenses: the Z DX 16-50mm f/3.5-6.3 VR Silver Edition (£329) and Z 28mm f/2.8 SE (available as part of a Z fc kit, priced at £1,129).

Guide price £899 (body only) nikon.co.uk 80 Outdoor Photography

Hanwag Cliffside GTX

Hanwag Arnside GTX

Lens Nest Hanwag Cliffside GTX and Arnside GTX Looking more like a trainer than a walking shoe, Hanwag’s sporty Cliffside GTX (£160) combines a leather upper with a Gore-Tex lining for a multi-purpose shoe equally at home in the city and the countryside. The low-cut upper combines oiled and waxed split leather with Perwanger suede, while the lining keeps feet dry and comfortable. The Arnside GTX (£150) is described as a mountain sneaker and features a ventilated nubuck leather upper and a mesh fabric lining. Both utilise the same protective MTR sole and are made in Europe from 100% European components. hanwag.com

Want to display, store and organise your lens collection in an eco-friendly, biodegradable fashion? Of course you do, which is why amateur photographer Tiago Cardoso has invented the Lens Nest, a cork-based modular product that can be added to and adapted to house a wide range of DSLR and mirrorless lens systems, kind of like a sustainable jigsaw with interlocking connections. The Lens Nest is being launched via Kickstarter, with a range of rewards, from £30 for a three-in-a-row version to £1,200 for 50 Lens Nests (with space for 225 lenses) in a limited dark-grey colour scheme, intended for studios and camera stores.

Guide price From £30 kickstarter.com

Fjällräven Tree-Kånken Marking a step away from the use of fossilbased materials, Fjällräven’s latest backpack is made from a new wood-based fabric called pine weave. This material, sourced from wood pulp, forms the outer and inner layers of the Tree-Kånken, a bag that pays tribute to the company’s first Kånken design in 1978. Intended for everyday outdoor use, the Tree-Kånken’s pine weave is coated with PU (a protective film made of polyurethane) and wax, making it more durable than other lyocell fabrics. New features such as front loops for bike lights, bottom straps for jackets or yoga mats, and a reflective logo all add practical solutions. The Tree-Kånken is available in maple yellow, lichen green, new-moon blue and charcoal grey.

Guide price £120 fjallraven.com

Canon RF 14-35mm f/4L IS USM The widest RF lens to date, Canon’s 14-35mm f/4L IS USM features near-silent autofocus, 5.5 stops of image stabilisation (7 stops when used with the R5 and R6) and three aspherical and three UD elements for enhanced image quality.

The compact wideangle zoom is intended for landscapes and architecture and completes Canon’s trinity of lightweight f/4 zooms alongside the RF 24-105mm f/4L IS USM and RF 70-200mm f/4L IS USM. Sharing the same 77mm filter thread as its RF stablemates, the 14-35mm tips the scales at 540g and offers a minimum focusing distance of 20cm, as well as weatherproofing and a control ring with direct access to camera settings.

If you were inspired by last issue’s wild camping feature, the Primus Essential Trail Kit includes everything you need to enjoy al-fresco dining in comfort. The kit features the Essential Trail Stove, a compact and super-stable topmounted stove with a low centre of gravity and advanced regulator valve that allows you to easily adjust the gas flow, along with a Primus Essential Trek Pot 1.0L, a lightweight aluminium solo meal pot which doubles as a frying pan thanks to its non-stick ceramic coating. The Trek Pot is large enough to house the stove and 230g gas canister when not in use.

Guide price £1,750 canon.co.uk

Guide price £55 primus.eu

Primus Essential Trail Kit

Outdoor Photography 81

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Outdoor Photography 83

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WILD PHOTOGRAPHY HOLIDAYS

Iceland, Scotland and Wales Workshops in Autumn 2021 For lovers of out of this world landscapes, autumn in greenlisted Iceland offers spectacular waterfalls, luminous iceberg lagoons, glaciers and spectacular aurora opportunities. Closer to home we offer Scotland including Orkney & Hoy, Harris & Lewis, Coigach and Assynt. North Wales’ Snowdonia National Park and Portmeirion. It’s time to have a creative adventure!

www.wildphotographyholidays.com

If you only do one thing this month…

Wildlife portraits In issue 268 we asked you to send us your best pictures that capture the spirit and character of your animal subject, and your submissions have produced one of the strongest collections of wildlife photography we’ve seen. Here’s our winner, Alan Smith, who receives a Keela Insect Shield bundle, and our superb runners-up.

For details of our next challenge, turn to page 95.

86 Outdoor Photography

WINNER Alan Smith An afternoon of bird photography came to an end when this crocodile decided to swim in the lagoon surrounding a hide in Zimanga Private Game Reserve, South Africa. Making the best of the opportunity provided by my new subject, I tried to capture atmospheric shots of it. Underexposing prevented the water from burning out and increased the vibrancy of the background colours when the luminance was restored during processing.

Canon EOS 5D MkIV with 100-400mm lens, ISO 2000, 1/800sec at f/5.6, tripod footprintsinthedust.me

Outdoor Photography 87

ONE THING THIS MONTH

Above Matt Smith This image of a common blue butterfly was taken at a local Wildlife Trust reserve.

Shot in the middle of September, autumn was advancing at pace, bringing with it an army of arachnids. This was one of my last butterfly images taken that year. To ensure correct exposure for the image, I used some exposure compensation and a small LED. Canon EOS 5DS R with 100mm macro lens, ISO 320, 1/125sec at f/6.3 instagram.com/oakspringphotos Left Claire Waring I can just imagine these two whooper swans exchanging the local gossip as they strolled along the frozen waters of Lake Kussharo in Hokkaido, Japan.

Canon EOS 1D MkIV with 100-400mm lens, ISO 1250, 1/8000sec at f/10

88 Outdoor Photography

ONE THING THIS MONTH

Right (top) Georgina Strange These black-crowned night herons posed for me in the Falkland Islands.

Canon EOS 5D MkIV with 50mm lens, ISO 160, 1/640sec at f/1.2 designinnature.com Right (middle) Peter Bucek A male pheasant walks across sprouting fields in the Slovak lowlands. He came close enough for me to capture him in the warm light of the rising sun.

Canon EOS 80D with 150-600mm lens, ISO 400, 1/400sec at f/6.3, handheld Right (below) David Hughes This ground squirrel popped up for its photo to be taken during a trip I made to Lake Louise in Alberta, Canada. It was quite a poser.

Canon EOS 700D with 24-70mm lens, ISO 100, 1/200sec at f/3.5 Instagram.com@david.n.hughes

Outdoor Photography 89

ONE THING THIS MONTH Left (top) Doron Talmi A male gelada monkey warms up in the morning sun in Ethiopia.

Canon EOS 80D with 100-400mm lens, ISO 200, 1/1600sec at f/5.6, handheld Left (middle) Fergal O’Callaghan This bird portrait was taken very close to home in Blarney, Ireland, in a small nature reserve called Clogheenmilcon. It’s a beautiful little stonechat who agreed to pose for me.

Canon EOS 1D X MkIII with 300mm lens and 1.4x teleconverter, ISO 250, 1/400sec at f/4 flickr.com/fergalocallaghan Left (below) Adrian Morris This was taken on a river trip in Borneo.

The macaques go down to the river for the night – this youngster still had some energy and was playing by the water’s edge.

Nikon D3200 with 18-200mm lens, ISO 800, 1/80sec at f/6.3, handheld splashphotos.myportfolio.com Opposite (top left) Jonathan Gaunt A common sandpiper photographed on a Northumberland upland stream where they nest every year. They weave and dart along the rocky banks, feeding on insects and other invertebrates.

Canon EOS R5 with 500mm lens, ISO 800, 1/1000sec at f/5.6, tripod jonathangauntnaturephotography.co.uk Opposite (top right) Alex Roddie During the first lockdown, I spent a lot of time watching the local wildlife, and gradually came to know a small family of roe deer. This bewitching encounter with a young doe took place one sunny morning when I came across the animal relaxing in a meadow. It was a moment of real connection.

Olympus E-M1 MkIII with 300mm lens, ISO 320, 1/500sec at f/4 alexroddie.com Opposite (below) Todor Tilev Puffin at Saltee Island, County Wexford, Ireland. I had numerous highly entertaining subjects to shoot during my visit to the island.

Fujifilm HS50, ISO 200, 1/850sec at f/5.6, handheld todortilev.com

90 Outdoor Photography

ONE THING THIS MONTH

ONE THING THIS MONTH Left (top) Carol Hall A large flock of whooper swans flew over us while we were on a local walk.

They were so close that I could only fit a few of them into the frame!

Canon EOS 750D with 70-200mm lens and 1.4x teleconverter, ISO 800, 1/4000sec at f/5.6 Left (middle) Andrew Willock The Isle of Skye is such an exciting place to photograph – the landscape is exhilarating.

While on my way to my chosen location, I noticed some Highland cows. I pulled over, grabbed my camera and before long, this inquisitive beauty strolled up to demonstrate how she could lick her own nostril. This shot was taken seconds later.

Nikon D610 with 70-200mm lens, ISO 100, 1/2500sec at f/2.8, handheld andywillockphotography.com Left (below) David Southern This image was taken on the Isle of May in spring. I managed to get a shot of this elegant seabird against a dark cliff face in deep shadow.

Exposure was tricky, but the bright sunlight helped to bring out the details in the feathers.

Canon EOS 5D MkIV with 100-400mm lens and 1.4x teleconverter, ISO 400, 1/500sec at f/9 southernphotography.co.uk Opposite (top left) Tammy Marlar A Caribbean flamingo, by far the brightest and one of the largest of all flamingos, taking a drink. The drips from its beak, falling from height, rendered brilliant and deep ripples in the water. Taken in the Water Gardens at Whitgift School, an independent school for boys in south London.

Canon EOS 5D MkIV with 100-400mm lens, ISO 800, 1/1000sec at f/5 tammymarlar.com Opposite (top right) Rachael Dunn I had been wanting to photograph starlings for a while, as I think they are often overlooked, but when properly observed they have stunning colouration. I’d put food out in the garden and was struggling to capture a shot, as they move so fast. Then this one landed on a bush for long enough for me to get a couple of pictures.

Canon EOS 80D with 100-400mm lens, ISO 400, 1/250sec at f/6.3, handheld instagram.com/ruby_rainbow76 Opposite (below) Mitchell Pearce Taken at the Big Cat Sanctuary in Kent.

I applied an infrared preset in Lightroom, and to make the cat stand out I used the clarity brush.

Canon EOS 5D with 200mm lens, ISO 800, 1/640sec at f/5.6, handheld

92 Outdoor Photography

ONE THING THIS MONTH

Outdoor Photography 93

ONE THING THIS MONTH Left (top) John Keery Badgers are regular visitors to my garden, and they often take a drink from a small pond which I created for them. I set up the camera and flash equipment over several nights, to avoid alarming the badgers, and triggered the camera with a remote switch from my living room window.

Canon EOS 5D MkIV with 100-400mm lens, ISO 1000, 1/200sec at f/18, tripod Left (below) Graham Clark This Mozambique spitting cobra was photographed in a reptile sanctuary in South Africa. I was lying on the ground for a lowangle shot when one of the keepers walked by and got spat at.

Nikon D300 with 80-200mm lens, ISO 800, 1/1600sec at f/5.6 wildimage.co.uk Opposite (top) Janet Burdon A little owl (Athene noctua) perched on an old rotten tree stump in farmland in the Yorkshire countryside. These owls hunt during the day and are particularly active at dawn and dusk, so they make excellent photographic subjects.

Nikon D810 with 80-400mm lens, ISO 800, 1/1500sec at f/5.6, tripod Opposite (below) Tony Matthews One of my favourite occupations on a summer evening is trying to photograph the hares on the Hampshire Downs. Although alert, this one was quite happy to share the evening sun with me.

Olympus E-M1X with 300mm lens, ISO 800, 1/400sec at f/8, tripod flickr.com/photos/ammatthews

94 Outdoor Photography

ONE THING THIS MONTH Your next challenge

ENTER ONLINE NOW! Compositions with contrast This month we are asking you to tackle the extremes of exposure.

Whether you use ND filters or combine multiple exposures in processing, we’d like to see your favourite shots that demonstrate a creative use of contrast in your compositions. We’re looking for photographs that capture delicate highlights or dense shadows, and yet keep a little detail without looking unnatural. The winner and runners-up will be published in issue 274. To submit your images, go to outdoorphotographymagazine. co.uk/submissions. The closing date for entries is midnight on 17 September 2021.

See page 68 for more details and terms and conditions.

Enter and you could win a Power Traveller Condor 100, worth £200, courtesy of Trekitt Trekitt is your friendly, independent, online outdoor retailer. Got a query?

The Trekitt team will happily share their unbiased knowledge with you.

The winner of our 'Compositions with contrast' competition will receive a Power Traveller Condor 100, worth £200. Mark Trepte from the Trekitt team says: ‘This little beauty of a powerpack is for the device-heavy user. It’s about the size of a chunky coffee mug and weighs just under a kilo. The Condor packs quite a punch with its 2700mAh built-in Lithium-Ion cell, and will charge a DSLR four to six times. It also has a USB 5V/3Amp fast-charge output and is IP65 waterproof rated for wet-weather use.’

Find out more at trekitt.co.uk

Outdoor Photography 95

COMPETITION

Where in the world?

Do you recognise this golden waterfall? If so, you could win a Unibank power bank, supplied with an ambient light attachment, together worth £115 Where is it?

Nestled in dense jungle, this beautiful waterfall is a true hidden gem – but is it…

a: Iguazu Falls, Argentina b: Huay Mae Kamin Waterfall, Thailand c: Blue Nile Falls, Ethiopia The answer and the winner’s name will be revealed in OP 274.

You can enter the competition online at outdoorphotographymagazine.co.uk, using Water271 as the code, or send your answer to opcomp@thegmcgroup.com, stating Water271 as the subject. Alternatively, drop it in the post to: Where in the World – Water271, Outdoor Photography, 86 High Street, Lewes, East Sussex BN7 1XN. Deadline for entry is 24 September 2021.

96 Outdoor Photography

THIS MONTH’S GREAT PRIZE Worth

UNIBANK POWER BANK WITH AMBIENT LIGHT

Four years in the making, the award-winning Unibank (RRP £89.95) is a unique power bank that’s rechargeable via its pull and power charger.

Simply pulling the neatly stored cord for 90 seconds can give you 25 minutes of talk time on a typical smartphone. Ideal for when you’re off-grid, it can also be used to power devices such as digital cameras. This extremely versatile piece of kit can also be charged by USB.

£115

In addition to the Unibank itself, our competition winner will receive one of Unibank’s super-useful accessories: an ambient light attachment (RRP £24.95) to provide bright illumination after dark, with the ability to pick from the full colour spectrum.

For more details visit unibanktm.com

OP 268 WINNER In issue 268 we asked you to identify these stunning caves in the image below.

The correct answer is:

c) The Marble Cave, Chile Shutterstock.com

ENTER ONLINE NOW!

Congratulations to our winner!

Tom Gilland from West Calder

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F UJ I F I LM -X .CO M IMAGE TAKEN BY CHINA X-PHOTOGRAPHER JI GUO