Outdoor Photography

ART WOLFE + PHOTOGRAPH SPRING COLOUR + BEAUTIFUL GARDEN PICTURES

landscape | wildlife | nature | adventure

£4.99 • ISSUE 279



The photography of Goldilocks THE ISSUE

The wonderful world of photography offers a wealth of choices in what we at a glance
photograph and how we treat our pictures in post-production. If we want to get
noticed, it’s tempting to take things to extremes. So how far should you go? In In conversation with
composition, you could go for something shocking. In post-production, you could Paul Gath – page 10
push the sliders until the colours pop. Going to extremes can give your work the
wow-factor, but for how long? A sugar rush will subside. A novelty will wear off. Art Wolfe captures the beauty
of the world at night – page 20
Goldilocks, of course, went for the middle choice: she chose the porridge that was
not too hot, nor too cold. This seems wise. Take the slider up to the limit, then bring
it back a few notches. Marketing people have seized on the Goldilocks idea that most
people will go for the safe, middle choice, so you will often see technology products
sold at three price points, with the majority of sales going to the middle option.
Estate agents will encourage us to paint our rooms magnolia. Advertisers will
choose bland tunes to promote their wares.

But we humans love variety and invention. We enjoy challenge and surprise.
Besides, we may have got Goldilocks wrong. She didn’t simply go for the middle
option, she went for the one that was right for her. I think if Goldilocks took up
photography she would be bold and go where her curiosity took her. She would
sometimes stray from the path and make mistakes, but she would learn her lessons
and get out fast. Most importantly, she would keep working on her pictures, trying
every option and idea, experimenting and learning, working out her vision until
she was satisfied – and the picture was just right.

Creating pictures involves a range of decisions that not everyone will agree with,
but the only person you really need to satisfy is yourself.

Enjoy the issue.

Mark Bentley

ON THE COVER Chris Herring on photographing
Picture by Simon Baxter. spring colour – page 34
See interview on page 30.
Frank Gardner on exotic
GET IN TOUCH butterflies – page 48

Email [email protected]
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

Find us on Instagram at instagram.com/outdoorphotographymag

10

FEATURES & OPINION LEARNING LOCATIONS
ZONE GUIDE
10 In conversation with… 30 Into the woods
Paul Gath on the advantages Simon Baxter celebrates the 34 How to photograph 50
of shooting in a range of beauty and majesty of trees spring colour
different genres Landscape specialist Chris 50 On location
46 In the spotlight Herring explores the season’s Stewart McKeown explores
18 One month, one picture Magda Wasiczek talks flowers, kaleidoscopic subject matter Kent’s beautiful landmarks,
Pete Bridgwood argues passion and natural beauty habitats and beaches
the case for entering 40 Starling murmurations 53 Viewpoints
photo competitions 48 Exotic butterflies Jeremy Flint explains how to Choose from stunning
of the world capture the magic of these locations in Gower, Cornwall
20 Dusk to dawn Frank Gardner recalls some mesmerising aerial displays and the Scottish Highlands
Art Wolfe’s latest book memorable encounters
documents wildlife and NEXT ISSUE
landscapes that come 61 Inside track ON SALE
alive at night Nick Smith grabs his camera 21 APRIL
and turns storm chaser
28 Lie of the land
Mark Littlejohn questions 66 Photo showcase
whether buying expensive Be inspired by fabulous
equipment is ever justified pictures from IGPOTY

2 Outdoor Photography

46 62 40
46 48

NATURE GEAR ZONE REGULARS YOUR OP
ZONE
82 The OP guide to… 6 Newsroom 62 Reader gallery
74 Life in the wild Competitions and birding A spectacular showcase from
Laurie Campbell reports Hats will keep your insight take centre stage in this month’s star reader
on Berwick Pier’s wealth of this month’s news
photogenic wildlife head warm and 72 Your chance
8 Out There See your work in print, win great
76 Nature guide protect your Your round-up of the best prizes and share your opinions
Cuckoo flowers and red deer new photography books
are among April’s highlights face from and exhibitions 87 Next month
OP 280 is on sale 21 April
78 A moment with nature the glare NEVER MISS
A moment of serendipity AN ISSUE 88 If you only do one
helped Robert Canis capture of the sun 82 thing this month…
a magical little egret portrait Have Outdoor Photography The best of your evocative
84 Gearing up delivered direct to your Through the Mist images
80 On the wing This month’s kit round-up – and your next challenge
Steve Young discovers a includes OM System’s new door and save up to 30%.
previously untapped birding flagship mirrorless camera See page 87. 96 Where in the world?
site virtually on his doorstep Name this mystery location
84 and you could win a great prize

Outdoor Photography 3

Curves and Hills by Mara Leite
A stormy day in the Palouse region of Washington, United States.
The area is famous for its vast number of beautiful hills, formed by
ancient deposits of dust and silt, called loess.

The picture is from the International Garden Photographer of the Year.
Some of the best photographs from the competition have been on
display at the Royal Botanic Gardens in Kew, London, and are now on
tour. Visit igpoty.com for details.
See more pictures from the contest on page 66.

© Mara Leite / International Garden Photographer of the Year

OPENING SHOT

THE LATEST BULLETINS

NEWSROOM

CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

© Aytek Cetin

New world views well as a snazzy NiSi 100mm Professional filter single image, and that was won by US-based
kit, was Aytek Cetin from Turkey. His win was photographer Tanmay Sapkal, with his shot
Now in its eighth year, International Landscape based on a portfolio of images featuring the of the NEOWISE comet over Mount Tamalpais
Photographer of the Year celebrates the cream Anti-Taurus Mountains and Cappadocia plateau in Marin County, California.
of scenic photography, often with a fine art in Turkey, and Mount Kazbek in Georgia.
twist. Entries are submitted from all over the Next month (OP 280) we will publish our pick
world, with this edition attracting 4,500 images. The competition also has a section for best of the winning and commended photographs.

The winner, who received a $5,000 prize as

© Mark Lynham © Cecilie Stuedal

Wonderful winners

The Society of International Nature and Wildlife
Photographers has announced the results
of its Wonderful Wildlife competition. One of
several contests run yearly by the society, the
top spot was claimed by Mark Lynham from
Buckinghamshire with his photo of a red deer
bathed in gentle autumnal tones. Second place
went to Cecilie Stuedal from Innlandet, Norway,
with her busy Arctic fox, while Alan Shearman
from Essex came in third with a photograph of
a red-backed shrike devouring a grasshopper.

The society runs regular free-to-enter
competitions, offering membership as part of
the prize. You can find out more at sinwp.com.

EDITED BY KINGSLEY SINGLETON

© Thomas Miller © Nick Upton/rspb-images.com © Michelle K Williams

Reaching new heights Look north

Last year gave the common crane its best breeding After a successful first year, the
Northern Photography Prize is
season in Britain since the 17th century, according to back. Free to enter for amateur
photographers of all levels, there’s
the RSPB. The UK’s tallest bird now logs 72 breeding a Spirit of the North-East category
centred on stunning landscapes
pairs across the country, with the total population captured in the region; Michelle
K Williams’ image (above) scooped
estimated at over 200. It’s not bad going, as the the top prize last year. And if you
fancy putting a human element
species only returned to these shores in 1979, having in the frame, there’s a Heart of the
North-East portrait prize too.
been extinct in the UK since the 1600s. Thanks to
Created by local author LJ Ross,
concerted conservation efforts around peatland and each category has a £1,000 prize,
while winning and shortlisted
wetlands, as well as the creation of new nature entries will be projected on to the
Baltic Art Gallery in Gateshead and
Reed and repeat reserves, 2021 also saw a rise in fledged chicks, with published in Living North magazine.

A research team from Oxford University’s 40 added to the population. Entries can be submitted
Department of Zoology has found that migratory until 30 June via ljrossauthor.
birds, such as the reed warbler, use sensory cues © Nick Upton/rspb-images.com com/philanthropy/northern-
from the Earth’s magnetic field to help them return photography-prize.
to nesting sites year after year.
© Valda Bailey
Reed warblers are a summer visitor in the UK,
especially in East Anglia and along the south coast.
Data was collected from more than 17,500 birds over
eight decades, as they migrated to and from Africa,
and showed that as the Earth’s magnetic field moved
year on year, the logged locations of the returning
warblers moved correspondingly.

For more information head to science.org.

Geo-photographic © Rosie Hallam Time to dance

Earth Photo is a competition that aims to encourage of Change. As well as traditional landscapes, judges A selection of works by Valda
people’s understanding of the Earth through are looking for images showing human connection to Bailey is currently on show at
examination of environment, geography and the natural world, resilience and innovative solutions Bosham Gallery near Chichester,
sustainability. Organised by the Royal Geographical to climate change and environmental destruction. West Sussex. The solo exhibition,
Society (with IBG), Forestry England and visual arts We May As Well Dance, comprises
consultant Parker Harris, the 2022 contest is open For inspiration, check out last year’s overall winner, 10 hand-finished wax prints from
for entries at earthphoto.artopps.co.uk until 3 May. Rosie Hallam, who produced stunning portraits her recent book of the same name,
depicting one family’s story in Ethiopia, and published by Kozu Books.
Key themes include Changing Forests and A Climate David Rippin’s elegant mist-laden treescape.
We recently had the pleasure
of speaking to Valda about her
spellbinding abstract landscapes
– her feature appears in OP 277.

We May As Well Dance runs
until 29 April. Find out more
at bosham.org.

Outdoor Photography 7

OUT THERE

© Eric Baccega/naturepl.com

Polar bear (Ursus maritimus) female coming out the den with her three-month-old cub. Perhaps best known for his work in the
Wapusk National Park, Churchill, Manitoba, Canada. Middle East in the 1960s (including his pictures
taken during his time with the Marsh Arabs
BOOKS Stuff Happens of Iraq), Eigeland’s subjects range from Fidel
Tor Eigeland Castro, Palestinian refugees and AIDS in Africa
Fearless Females Brown Dog Books to a rainforest study in Brunei for the RGS.
Mario Ludwig Hardback, £30
teNeues Oslo-born Tor Eigeland Eigeland, who studied under legendary
Hardback, £35 has had an eventful photojournalist Wilson Hicks, has brought his
Fearless Females is the life, to say the least. For stories vividly to life here. His natural curiosity
first photobook to focus more than 60 years he and deep affection for people and places
exclusively on the female has travelled the world as a photojournalist, shines through in both his written accounts
of the species. Written recording amazing stories and contributing and the accompanying 250 images.
and compiled by German author Dr Mario to prestigious publications such as National
Ludwig, it includes the stories of 30 different Geographic, Time Life and the New York Michael Freeman
animals to explore feminine strength in the Times. Now retired and living in Dorset, On Composition
animal kingdom. he has finally stopped to look back at his Octopus Publishing
From the maternal dedication of orangutan extraordinary career. Hardback, £20
mothers to the gender-changing Asian In his latest book,
sheepshead wrasse, the book covers a diverse Pineapple harvest in South Africa © Tor Eigeland Michael Freeman
range of creatures and behaviours. Through takes a fresh look at
five chapters, Ludwig explores themes such composition, the theme
as reproduction, parenting, sexual selection of his classic bestseller The Photographer’s
and female leadership. He reveals the hunting Eye, published 15 years ago. In On
prowess of the lioness, the vital role of Composition, he offers plenty of new ideas,
experienced elephant cows and the courtship and a crop of new photographs of mainly
rituals of humpback whales, kingfishers and travel and landscape subjects.
hares. Exploring nature’s matriarchal societies, Considering why and how composition
we are taken into the subterranean realm of works, Freeman explores how to ‘design’
the naked mole-rat queen and to the tropical a photograph to create impact – from bringing
rainforest home of the bonobo. Among visual order to a scene, to the importance
Ludwig’s ‘femmes fatales’ is the praying mantis, of framing and the value of geometrical
who normally eats the male after mating. devices such as the golden ratio. The book
The book is beautifully illustrated with images also covers, in some depth, how to achieve
from around 60 wildlife photographers, via ‘neatness’ in a scene for a more harmonious
Nature Picture Library, including familiar names image, and how to add interest through
such as Will Burrard-Lucas, Stefan Christmann, unusual subject placement.
Danny Green, Tim Laman, Andy Rouse, Steve This is an excellent, concise guidebook
and Ann Toon, and Andy Parkinson. that both beginners and more established
With the feel of a nature documentary film photographers will find useful.
in book form, Fearless Females will appeal to
anyone who has a passion for wildlife.

8 Outdoor Photography

BOTANICAL DELIGHTS EXHIBITIONS Panorama taken by Frank Hurley.

Immerse yourself in the fascinating Shackleton’s Legacy and the Power © Royal Geographical Society (with IBG)
world of plants this spring with a of Early Antarctic Photography
visit to one of these wonderful shows Sony World Photography Awards
Royal Geographical Society, London Somerset House, London
International Garden To 4 May 13 April to 2 May
Photographer of the Year To mark the centenary of Shackleton’s
death, the RGS has opened a new exhibition A highlight of the photography calendar,
Cambridge University Botanic Garden highlighting the vital role photography played the Sony World Photography Awards
To 6 May throughout the great explorer’s career. exhibition returns to Somerset House this
The 15th edition of International Garden Drawing on original documents and images – spring. The 2022 edition of the awards
Photographer of the Year has begun its UK tour, some previously unseen and newly digitised attracted more than 340,000 images from
and its current stop is Cambridge. A selection – it presents the influences and motivation 61 countries, with subjects ranging from
of award-winning images from the competition that led Shackleton to a lifelong commitment landscape to portraiture, architecture to
are on display in an outdoor exhibition to the Antarctic and raising public awareness wildlife and fine art to street photography.
alongside top entries from the first year of of the polar region. At its heart lies the A special curation of large-scale
a new special award: The Spirit and Beauty exceptional story of the Endurance expedition photographs by this year’s Outstanding
of Cambridge University Botanic Garden. – a pivotal moment in Shackleton’s polar Contribution to Photography recipient,
Turn to page 66 for our IGPOTY showcase. career, turning disaster to triumph, and where Edward Burtynsky, will also be on display.
igpoty.com his focus on the power of photography to
record the experience was paramount. The overall winners of the awards’
RHS Botanical Art & rgs.org Student, Youth, Open and Professional
competitions will be announced the day
Photography Show before the exhibition opens, on 12 April.

Saatchi Gallery, somersethouse.org.uk

London

9 to 29 April

New work from leading

botanical artists and

photographers goes

on display at the

Botanical Rainbow Saatchi Gallery in

© John Shepherd April – from studies

of native British trees, hedgerow species

and garden flowers, to exotic specimens

such as rosulate violas found high in the

Andes Mountains. Photographic entries

include stereographic panoramas from

the New Forest, macro studies capturing

the details of holly parachute fungi and flat

lay photographs of winter garden buds.

saatchigallery.com

Rooted Beings

Wellcome

Collection, London

24 March to

29 August

In response to the

current environmental

crisis, Rooted Beings

Photosynthetics, aims to highlight the
Charcoal on paper, value of plants and
seeds, 2021 fungi as beings that
have populated the
© Eduardo Navarro/Sony Earth for millions of
World Photography Awards

years. Combining new artist commissions,

botanical specimens and historic works,

the exhibition covers themes such as plant

intelligence, symbiosis and ethnobotany

(the study of how people from particular

areas or cultures use indigenous plants).

wellcomecollection.org Fagradalsfjall, Iceland © Filip Hrebenda, Slovakia, Winner, National Awards, Landscape, 2022 Sony World Photography Awards

Outdoor Photography 9

10 Outdoor Photography

In conversation with

Paul Gath

A self-confessed ‘generalist’, Paul Gath discusses how
techniques learned in one genre are transferrable to others,

while the most important thing for any photographer
is simply to get out there and take photographs

Interview by Nick Smith

Outdoor Photography 11

Previous page Svalbard, Norway. Above, below and opposite Lofoten, Norway.

It’s not often that you meet a photographer film and imaging technology. ‘My dad was to picking the best exposures from thousands
happy to shoot in just about any genre in an engineer at Kodak, so I guess that’s what very early on in my film days,’ says the almost-
whatever style suits that purpose. And it’s got me into photography,’ says Paul, before 60-year-old Yorkshireman.
with even less frequency that you come clarifying that Gath Senior was involved in the
across a photographer possessed of such an X-ray machine side of the business. But due to As a kid following what his dad did, Paul
outlook who’s able to cover the spectrum with the Kodak connection, there was always plenty learned about photography at an early age,
uniform competence and excellence. But Paul of free film to go around, while developing while as a student in Manchester in the
Gath is one such exponent of these arts, and if costs were ‘virtually nothing’. 1980s, he’d surreptitiously take ‘not entirely
such an approach brings with it the tag of jack authorised’ stage shots of progressive rockers
of all trades, he’s made his peace with that. ‘I’m A straight talker, Paul explains that this such as Genesis when they were gigging in
just a photographer who’s desperate to use his access to expensive consumables that were the city. But it wasn’t until he had a family of
camera wherever he can,’ says Paul. True to his once the bane of every photographer’s financial his own that the interest took flight. ‘We’d go
word, his portfolio is a heady mix of landscape, life created in him ‘those nasty digital habits’ away on holiday, and I’d get up at 4.30am, do
portraiture, macro, drone and travel. before his first DSLR appeared on the horizon. four or five hours of photography and then
This approach can be traced back to his By nasty habits, he means shooting frames by come back and have breakfast with the kids,
analogue youth, growing up surrounded by the ton with hardly a thought for economising and maybe go out again in the evening.’
on expense, because there was none. ‘I got used
The arrival of digital technology was also
an important influence: ‘It refreshed my
interest, and I know that a lot of people say
that they hate working on their images in
post-processing software, but I enjoy that.
It’s a fun part of the process for me.’

Paul describes himself as an amateur with
semi-pro intentions and makes his living in the
world of information technology. He describes
his photography subjects as ‘landscape with
other things, but it’s mostly landscape because
that’s where my affinity lies. I like being outside
and I like beautiful places. I like to capture
those thoughts and feelings while I’m out there.
But I’ll also do portraiture or macro work.
Whatever there is to do, really.’ The theory
behind Paul’s acceptance of any genre that
comes his way is that a generalist approach
will increase ‘overall competence when it
comes to making important shots count’.

12 Outdoor Photography

Outdoor Photography 13

Above and opposite Cumbria, England. Below Herefordshire, England.

14 Outdoor Photography

Outdoor Photography 15

On the plus side of the ledger, ‘there’s
something about continually learning new
techniques’ that can be transferred from
genre to genre. ‘On the face of it, what goes
into taking a landscape is quite different to,
say, a macro shot, but the two are quite closely
related. And so, the pros consist of increased
education, knowledge and understanding of
technique – even if it’s just getting to know your
camera a little better – in situations where you
wouldn’t necessarily use it by default.’

On the negative side of the ledger, ‘I’m not
sure that there are all that many cons for
an amateur. Maybe there are more for the
professional who has a certain way of doing
things, that has a certain look and feel to
their images. But I don’t experience the need
to develop a Paul Gath way of looking at the
world. Maybe that’s because I’m still in an
evolving stage in my photography and have
so much left to learn.’

At this point, Paul considers the idea that
once you’ve established a recognisable style, ‘that
might be a sign that you’ve stopped learning
about photography, if that makes any sense’.

For Paul, the whole discussion about an
individual’s style is an interesting debate
triggered by what he considers to be a current
trend that ‘dictates you’ve got to be 100%
individual in everything you do’. The danger
with this approach, he suggests, is that decent,
well-executed classic photography can get
Above Northumberland, England
Left Hampshire, England
Below Killarney, Ireland

16 Outdoor Photography

Hampshire, England

pushed to the margins. ‘Sometimes, this gets courses and training.’ While he accepts that and his interior geek. He also agrees when I
dismissed as biscuit-tin photography, but if this economic diversification has been caused suggest that photography is simply more fun
I’m at a location that’s suitable for that style by the ubiquity of digital photography and than work. In fact, it’s been ‘a bit of a lifesaver
of shot, I’ll take it, because I’m creating these photo-sharing platforms, ‘it’s also a great thing – I’ve had some very stressful moments in my
images for myself. Even when my work is going that anyone can pick up a camera on their career.’ And although he’s understandably
into magazines or for entry into competitions, phone and become a photographer’. But with reluctant to go into specifics, recent turbulence
these compositions will be selected after the the democratisation of the activity, which he in his professional career has led to anxiety-
event from the body of my existing work.’ sees as positive, comes the ‘blurring of the related mental health issues. Today, he’s happy
line between those who can do it properly to report these are now largely a thing of the
He elaborates by stating that it is and those who can’t’. While professionals are past: ‘It’s fair to say that my photography has
disingenuous of photographers to be shooting forced to adapt to stay ahead of the game, ‘as played an important therapeutic role.’
for ‘likes’ on social media while claiming that an amateur, you don’t have those pressures to
what they do is unique. He thinks that such change what it is you actually want to do’. It’s also important to become a better
approval-seeking can only result in everything photographer in a process of continuous
looking the same, ‘which is why I’ve moved Which leads neatly on to what it is that improvement: ‘When I’m not working, I’m
away from posting stuff on social media’. motivates Paul to produce such an eclectic constantly looking at training videos and
portfolio of themes and treatments. A major I’m always learning new things. There’s a lot
That’s easy for him to say, he admits, factor, he says, is simply ‘selfishness – the of self-worth bound up in my photography
because as an amateur he doesn’t feel the feeling of being outdoors to get away from and, although I say that I do photography for
weight of commercial expectation that distractions, stress and pressure. But if you’re myself, there is definitely a part of me that
professionals are under to promote their asking why I take a camera with me into the wants other people to appreciate what I do.’
brand, increase visibility and stay on trend. outdoors then that’s a lot harder to answer.’ Acknowledgement for his work, says Paul, ‘is
‘I can see the benefit of social media to not what keeps me going. These days I enter
professionals in the business of marketing He describes how he’s always been a very few competitions and I don’t often exhibit
workshops and so on, but I also suspect that technology-literate person, coming from a my work. But every now and again, it’s nice to
many of them are having to compromise what university education in electrical and electronic get a pat on the back in recognition of the fact
they are doing to attract followers.’ engineering, progressing to a career in software that perhaps you’re doing as well as you think
development and project management, you are – perhaps even a little bit better.’
If you look at the past two decades, says Paul, before moving up to senior management
professional photographers have had to change as chief technology officer in commercial To see more of Paul’s photography,
the economic model, ‘with less and less of organisations. Paul suggests that the camera visit paulgath.co.uk.
their income coming from actual photography. provides the link between the natural world
Most of it will now come from vlogging,

Outdoor Photography 17

ONE MONTH, ONE PICTURE

The faulty myth of originality permeates all art forms, yet is viewed as an important prerequisite in the world of
photography competitions. Pete Bridgwood explains why the unexpected can give your images a fighting chance

Our most revered annual competition after judging LPOTY, said the only person image can be mesmerising; the importance
for landscape photography, Landscape who should pay any attention at all to the of originality cannot be overstated.
Photographer of the Year (LPOTY), is open result of a competition is the winner.
for entries until 5 May. To enter, or not to So, what of my image – should I enter it?
enter, that is the question. So, if we decide to take the plunge, how Well, it is one of my favourites from the past
should we decide which images to enter? year; I had to travel such a long way to get it,
I’ve always been a strong advocate of We should, of course, always select our best and that means it must be a good one, right?
competitions because they’re a driving force work and I’m reminded of David Ward’s sage I like the simplicity, there’s an air of mystery
for creativity, and for the successful, they advice about the three features that define about how this road came to run through the
can open doors that would otherwise have any great image: simplicity, mystery and ‘conjoined’ trees, and it hopefully has a sense
remained closed. But those perfectionists beauty. For competition purposes, I would of beauty; I certainly haven’t seen an image
among us, whose close attention to detail add a fourth prerequisite: originality. of these trees before. I’ve cloned out seven
and self-critical striving can be such positive large buildings, so that probably means
attributes, can be knocked sideways by failure When sitting on a judging panel and I can’t. No wait, I could maybe enter it
to get an image placed in a competition. seeing thousands of images in a day, each one into the Your View category. Oh dear,
appearing on the screen for perhaps three unfortunately I can’t actually enter it,
We perfectionists have an unchanging, and seconds, by the time you’ve seen your fiftieth because it was taken in France. Phew!
largely subconscious, core belief that failure image of Durdle Door, you’ll be praying
in any endeavour means we are a failure as for them to stop. Conversely, if an image of Montrésor, Indre-et-Loire, France
a human being. The best advice I’ve ever Durdle Door appears that is actually original, Nikon Z 7II, 24-70mm f/2.8 S lens at 50mm,
heard about handling success or failure in offering something unexpected, perhaps from ISO 180, 1/250sec at f/5.6
competitions came from David Noton who, a new viewpoint, or a snow scene, then the

18 Outdoor Photography

Buy. Sell. Trade. Create.

mpb.com

Photography can

Together, let’s change the our
bigger picture. MPB puts hearts
cameras and lenses into more and
hands, more sustainably. minds.

MPB. The platform to buy and
sell used photo and video kit.

mpb.com #ChangeGear

Dusk to dawn

Wanting to capture the awe and majesty of the dark, Art Wolfe took advantage of improvements
in sensor technology to document cultures, wildlife and landscapes that thrive while most of us
are sleeping. He talks to Tammy Marlar about his latest book, Night on Earth, and how he
continues to win support for conservation issues

20 Outdoor Photography

Outdoor Photography 21

Previous spread Milky Way over moai, Ahu Tongariki, Rapa Nui (Easter Island), Chile Above Glacier Bay National Park and Preserve, Alaska, USA
Opposite (top) Milky Way and aurora borealis, Jökulsárlón, Iceland Opposite (below) Comet NEOWISE shoots over Mount Rainier, California, USA

A rt Wolfe is a name that every nature glimpses into a world that comes to life while photographing night-time images way back
photographer is most likely familiar most of us are sleeping. in the winter of 1984, joining a Western
with. With an incredibly successful expedition to Tibet and the north-east ridge
career spanning five decades and an He wanted to avoid a book that focused of Mount Everest, 80% of the book is new
array of sublime images from every continent only on the stars, but to capture the awe material shot in the last three years.
on Earth, he is best known for his images of and majesty of night-time. ‘I wasn’t trying
landscapes, wildlife and native cultures. His to do the Milky Way over every recognisable ‘A German publisher approached me to do
pictures are recognised throughout the world landmark, because that would quickly it,’ he says. ‘Because of my style of shooting
for their mastery of colour, composition and become onerous and boring. I wanted and constant travel, I had more than enough
perspective. And his photographic mission is to bring the mystery of night to life. So, photos in my archive already. However, I’m
multi-faceted and commercially successful, we added culture, we added wildlife and never satisfied and, over the course of nearly
with art, wildlife advocacy, education and twilight images, things right on the cusp of three years, I reshot many subjects with
journalism informing his work. Prolific is not getting dark or pre-dawn light.’ better equipment and results. In particular,
just a platitude – he has over 100 books to I was determined to get back to Easter
his name. Night on Earth is divided into four sections: Island, and I also researched total eclipses
Stars & Shadows (also including volcanic and comets. So, right at dusk, with our more
And so, to his latest magnum opus, Night eruptions), Creatures from the Night (think modern digital cameras, we can capture
on Earth. ‘Every night, an often-unseen buzz lions and rhinos), Embracing the Night things that we could only have prayed for
of activity takes place all around the globe,’ (rituals of fire and water) and The Intuition of a handful of years ago. Technology and the
the blurb on this masterful work reads. This Light (mostly displays of artificial light). The quality of the sensors have definitely enabled
gorgeous collection of photographs takes the way the pictures have been arranged is a feat this book to happen in a bigger, broader way.’
reader on a magical, almost spiritual journey in itself, with some a full page, and a smaller
from dusk to dawn. To create it, Wolfe format for others. Not only does he choose I ask him if there was a moment of arrival
travelled to every continent to explore and interesting and unusual angles to frame his in his career, where he was able to define
document the night-time world of animals, compositions, but the juxtaposition of the his specific style. ‘My whole background
humans and nature. From a blazing sunset pictures in the book is similarly enchanting, is painting. I do human canvas, which is
over the Antarctic ice to Tokyo’s nocturnal so that different architecture, climates and abstraction of the human form. And I paint
street racers to coffee with Brazilian cultures co-exist effortlessly. backdrops. I am currently leading a series
cowboys as the dawn breaks, we are treated of workshops on Photography as Art where
to page after page of previously unpublished Wolfe acknowledges that dramatic I go into degraded environments around
improvements in sensor technology have the world, finding beauty in things that look
made this book possible. While he started

22 Outdoor Photography

Outdoor Photography 23

Base Camp, Mount Everest, Tibet, China

‘This was a camp that George Mallory and Andrew Irvin established in the early 1900s – they were the first to attempt the summit of Mount Everest.
The top of Mount Everest is being hit by the full moon that was rising over Tibet, and the base camp was still in the shadow. So, I illuminated the
tents with headlamps. As the winter wore on, the frozen ponds opened up and I was able to take long exposures of space and the Earth spinning ’

like abstract expressionism. I’ve got a very surreal things that make me feel awe-inspired precious but threatened resource – relates
broad range of interests and I’m never entirely at the moment I’m taking the picture. And how his family learned a powerful lesson
sure I do have a style. If there is one, I try to that’s what any photographer wishes to do when they moved from San Francisco to
photograph very clean, simple concepts. Even – to inspire or to affect the emotions of the Tucson, Arizona: ‘Contrary to common
if it’s a complex environment, I try to capture audience. And I think this would be true of belief, more light does not necessarily
it in a very recognisable, easy-to-digest way. any artist, whether they’re cooks, musicians, enhance visibility or the sense of safety.’
dancers or writers. When people are moved
‘It’s definitely my intent to make whatever by the work and the stories you tell, that to A warning about light pollution – as
I’m shooting clear, interesting and graphically me is the epitome of all the hard work. In a barely visible yet critical factor to the
strong. I don’t ever want to think that terms of photos, there’s not a photo I’ve taken preservation of our natural world – is a
I’ve done everything. I always want to that I couldn’t have improved on. I don’t look backdrop to the book. Our view of the stars –
stay hungry and move the carrot slightly at my photos as trophies. The trophies come a source of infinite amazement for scientists
beyond my reach. One of the best painting as I’m affecting people and inspiring awe or and the millions of us that seek solace in
instructors was an African-American interest. That’s my biggest reward.’ rural places – is obscured by light pollution.
called Jacob Lawrence who said, “Never ‘Light pollution is destroying natural
rest on your laurels, never just sit back and The merging of night and day is one of the darkness with severe consequences. It is
think you’ve arrived. Stay hungry and stay central areas of our increasing disconnect linked to a global insect decline, the death of
productive.” And the analogy then is avoiding from our natural world. Urban life in the millions of migrating birds, increased carbon
writer’s block. Photographers just run out of developed world continues when daylight emissions and increased disease in humans.’
inspiration. But if I keep changing the playing fades, and electricity has made us immune
field and the locations and the style, then I to true darkness. In the book’s foreword, Wolfe’s goal has always been to win support
keep investigating and being excited about Ruskin Hartley of the International Dark- for conservation issues by ‘focusing on what’s
getting out of bed! Sky Association (IDA) – an organisation beautiful on the Earth’. Hailed by William
dedicated to treating the night-time as a Conway, former president of the Wildlife
‘I love the surreal. I wanted to capture the Conservation Society, as ‘the most prolific

Opposite (top) Ecuador White-footed sportive lemur (Lepilemur leucopus), Toamasina, Madagascar
Opposite (below) Tube-lipped tailless bats (Anoura fistulata), Andean cloud forest

24 Outdoor Photography

Outdoor Photography 25

Karlu Karlu/Devils Marbles Conservation A solar eclipse turns day into night, Coquimbo, Chile
Reserve, Northern Territory, Australia
‘This eclipse of the sun occurred a couple of years ago in Chile, 40 minutes
before sunset. The sun and the moon overlapped close to the horizon of the Earth,
which allowed me to incorporate the Earth into the shot. Often when we see total
eclipses, you just get tight, scientific type images, but I wanted to show
the context of Earth as well.’

and sensitive recorder of a rapidly vanishing people in, and the environmental groups gain decade. He still travels nearly nine months
natural world,’ Wolfe has taken an estimated a platform upon which to talk about their of the year, photographing for new projects,
two million images in his lifetime. work. It’s a perfect marriage. And I do believe leading tours and seminars, and giving
that a single salient photo can rally support presentations to corporate, educational,
We talk about the role of artists, and if it’s really effective. Photos are important conservation and spiritual groups. A huge
specifically photographers, in communicating because humans are very visually wired.’ amount of criss-crossing the globe has been
issues around environmental concerns and involved in the production of the book.
climate change. He uses a successful formula Night on Earth is filled with moments and We talk about the challenges of staying
whereby he has put conservation truly at scenes that touch and inspire, encouraging up at night, crossing time zones and the
the heart of his work. A quick glance at his us to think about night-time in an ‘eyes wide physical demands of landscape and wildlife
website reveals the hundreds of non-profit open’ way. When pushed to pick a favourite, photography. ‘I drink a lot of coffee, but not
organisations he has collaborated with. he singles out the quiver trees in Namibia or as much as Jane Goodall,’ he says. ‘I took
the baobabs in Madagascar. ‘And the reason her to a coffee shop in Seattle once, and she
‘I will make only a minor distinction being is that they epitomise what this book could drink me under the table. Shot after
between myself and true artist photographers is about: being out there in the middle of shot of espresso. Trust me, she can power
and photographer journalists. I think the night, photographing stars, in a way we down. And I’m proud to say I gave her her
the artist photographer tries to inspire couldn’t have done 10 years ago. That to me
and show a new way of seeing. They’re was the biggest thrill because we’re actually very first tequila too!’
uplifting the people that come into galleries capturing an image with a longer exposure,
and are affected by their creative works. and revealing sights that we couldn’t see Night on Earth:
Photojournalists are trying to tell stories with our naked eye. When you see the result, Photography by Art
and illuminate what’s happening on the it’s like you’re opening a Christmas present Wolfe is published
front lines. Their mission is to inform and to that you really wanted.’ in hardback by Earth
educate. Mine is to capture the beauty of the Aware (an imprint of
Earth and nature, but also to connect. My The whole endeavour must have been MandalaEarth), price £35.
books become a very juicy worm that draws punishing stuff for a man entering his eighth

26 Outdoor Photography



LIE OF THE LAND

Justified expense

Sometimes, just sometimes, that extra stop of light or few millimetres of sensor size
can be the difference between bagging a shot to be proud of or wondering why you
left your tripod in the car and going home empty-handed, says Mark Littlejohn

28 Outdoor Photography

W hy do we buy expensive
equipment? If you’ve heard
me talk before, you’ve almost
certainly heard me bleat that
it is not about the kit. It is never about the
kit. Why have a lens with an f/2.8 aperture
for a landscape shot when an f/4 or even an
f/5.6 lens would do the job? The f/5.6 lens will
almost certainly be lighter and less expensive.

Pair that big lens with a full-frame camera
and you can save that money you were going
to spend on gym membership; you’ll get all the
exercise you’ll ever need just lugging it around
the countryside. And heaven forbid you want
to carry it all up a big hill to get that viewpoint
that’s been in your mind’s eye all summer.

But that big old full-frame DSLR will
almost certainly have a great dynamic range.
A small fortune will have been spent by a team
of electronics wizards in a state-of-the-art
laboratory ensuring that you can shoot at just
about any ISO you want, without image noise
rendering your image as though it was shot
in a blizzard.

But (and there seems to be a few buts in this
wee spiel) sometimes that expense can feel
entirely justified. This is a shot from a cold
and blustery day up off the Bealach na Bà, over
2,000ft up looking across to Skye as the light
began to fade and my fingers began to freeze.
I’d left the tripod in the car, as it was just
going to be a quick snap. But I liked the view.
I liked the fading light. I liked the way that
light was turning the cold blue sea into a
beautiful blend of silver and grey.

But I didn’t like the way that the wee spit
of land on the right was cutting off the curve
of Loch Sligachan beyond it. So, I kept on
moving further over, further up. All the while
the light was dying, my hands were getting
colder and I was getting further from my
tripod. When eventually I managed to get the
smallest smidgeon of clear space for the inlet,
I had to take advantage of the qualities of my
full-frame camera and fancy f/2.8 lens. I shot
this image at f/2.8 and ISO 640.

My hands were shivering more than a
touch, but the equipment allowed me to shoot
fast enough handheld and get the shot I’d
envisioned in my mind’s eye. The proof of
the pudding was printing it about 30in across
when I got home and being more than happy
with the result.

Outdoor Photography 29

Into the woods

The culmination of hours, months
and years spent in woodlands and
nature, Simon Baxter’s new book,
Gathering Time, is a stunning tribute
to the wild beauty and majesty of
trees. Claire Blow finds out more…

Claire Blow: You have established yourself
as one of the UK’s leading woodland
photographers. What draws you to
trees and forests?
Simon Baxter: I spent much of my
childhood among trees – building dens,
mountain biking and playing in woodland
streams. I believe those early interactions
with nature meant that rediscovering the
woods as a photographer was inevitable.

Woodland photography came at a
time when I was seeking solitude and
solace during a challenging period of
unhappiness, after I began to suffer with
chronic back pain. I soon realised that
immersing myself in such a beautifully
complex environment was profoundly
beneficial for my wellbeing. I’d been
desperately missing my adrenaline-fuelled
hobbies, but photography gave me a new
purpose and passion. At the same time
as being calming and restorative, there’s
always a sense of adventure and childlike
anticipation in the woods. Even the
smallest of woodlands continually present
new opportunities with each seasonal
change and subtle shift in colour, mood,
light and form. Having benefited so much
from time with trees, I guess I’m on a never-
ending quest to express my appreciation
through pictures.

CB: It is notoriously difficult to find
order in the chaos of woodland. Can you
share any tips for achieving harmonious
compositions?
SB: Camera in hand or not, I think it
starts with a genuine love for being there
and an empathy for your surroundings. A
fascination and sense of awe for the many
facets of nature help you to appreciate the
role they might play within a photograph. It’s
about paying attention to the finer details;
noticing the effects of light, subtle areas of
colour, the texture of the undergrowth and
the flow of the branches. I often strive to

Left (top) Guardians of the Forest
Left (below) Ambition
Opposite (top) Passing Through
Opposite (below) Time to Rest

30 Outdoor Photography

Outdoor Photography 31

capture my own experience, which I find
much easier to achieve when my intentions
are clear before taking the camera out of
the bag. Your interpretation of a scene
may become more refined as you start to
frame it with your camera, but it helps to
be consciously aware of what you want to
convey. Equally, my best images also include
an element of instinct – something that is
nurtured with every repeated visit to the
same woodland.

CB: The photographs in Gathering Time
show the landscape through the seasons.
Do you have a favourite time of year to
head into the woods?
SB: I enjoy the woods all year round, but I
have preferred seasons for certain locations
and species. I adore the harshness of
winter when photographing Scots pines
– the way snow gathers on their crown
of needles, and the contrast between
their rich orange upper branches and the
surrounding monochromatic landscape.
The burst of beauty in autumn is blissful
and harmonious, and it’s when you’ll find
me among the beech, birch and oaks. I’m
excited by spring with its sense of vitality
and positivity under a canopy that’s alive
with birdsong. Springtime evenings will
be spent near babbling streams fringed
with wild garlic and slender alder trees. All
the hues of summer’s green can be fully
appreciated on a damp morning among the
ferns, mosses and lichens under the shining
leaves of ancient oak trees. I get excited
for every season, but equally the periods
of transition when autumn clings on into
winter and fresh spring leaves endure a
wintry frost.

CB: Your followers on YouTube will be
familiar with your black labradoodle
Meg, who accompanies you on your
shoots. Tell us about her role in
your photography…
SB: It perhaps sounds a little dramatic to
say that Gathering Time wouldn’t exist if
it wasn’t for Meg, but I genuinely believe
that to be the case. I’m trying to imagine
how I would have returned to photography
without her. If I did, the series of events
would have been very different. It was
Meg who lifted my spirits during a darker
time and gave me a reason to get back into
nature. I would photograph her playing in
the woods and sitting within the landscape,
and as soon as she was one year old, we
ventured a little further into our local
countryside. I turned my attention to trees

Left (top) Shimmer Flame
Left (below) Tree Storm

32 Outdoor Photography

Above Family Tree
Below Mountain Birch

in 2015 and have been almost exclusively
shooting woodland since 2016, and Meg
has been with me every step of the way.
The changes in my life since Meg became
part of it have been quite remarkable.
For that I will be forever grateful.

Expertly litho
printed in the UK,
Gathering Time
contains 90 of
Simon Baxter’s
finest woodland
photographs made
over a six-year period. The book includes a
foreword by Joe Cornish and an essay by
Lucy Jones. It is available as a standard
edition (£45 plus P&P) or a collector’s edition
(£185 plus P&P) from baxter.photos.

Outdoor Photography 33

LEARNING ZONE

How to photograph spring colour

From carpets of bluebells and oilseed rape to single poppies and tulips, the season of new life offers
the landscape photographer a multitude of kaleidoscopic subject matter. Chris Herring offers his
practical advice for making the most of spring’s vibrant potential

Above Each spring, areas of the countryside in Norfolk and Lincolnshire are planted with daffodils
and tulips for their bulbs. The colours are spectacular in full bloom, but they are only in bloom for
a short period of time before the flowers are removed, so more energy can go to the bulbs.

As the spring landscape bursts into life, time to shoot. The days are fairly long, Opposite (top) An early start at Horsey Mill in
there is an explosion of colour, offering meaning sunrise is at a less sociable hour, Norfolk ensured I had the place to myself
endless opportunities for capturing and although there are lots of subjects without having to worry about getting lots
dramatic images, from wildflowers and to shoot, the window of opportunity for of people in the shot at this busy location.
vibrant meadows to trees with fresh leaves some subjects can be quite small if you
and fields full of crops. The light at this time want to photograph them at their best. Opposite (below) One of my favourite crops to
of the year is also particularly atmospheric, Nevertheless, if you plan carefully and shoot in the spring is barley. If you capture
with stormy skies, brilliant rainbows and put the hours in, spring can be one of it at the right time, it looks great swaying in
misty mornings all very common. the most productive times of the year the wind when it’s vibrant and green.
for landscape photography.
However, spring can be a challenging

34 Outdoor Photography

LEARNING ZONE

PLANNING

Planning is crucial for successful spring
photography, as the very best colours can
be surprisingly short-lived and it’s easy to
overstretch yourself by focusing on too many
locations. Many flowers and crops are actually
only at their best for a matter of days, so you
may need several repeat visits to the same
location. I tend to choose a small number of
locations closer to home and continually visit
these over a period of weeks or months. Crops
and the locations of many wildflowers will
change year on year, so there are always new
opportunities each spring.

Open moorland, coastal cliff tops, woodlands,
gardens and fields of crops are great places to
search for spring colour, and local Facebook
photography groups can be helpful for finding
locations of good wildflower meadows and
poppies in late spring and early summer (these
are becoming harder to find due to modern
farming techniques). I used to spend hours
driving around the back lanes looking for poppy
fields – now their locations are easily shared
among photographers online.

If planning an early morning sunrise trip, I
always like to carry out an initial recce during
daylight hours. This helps to familiarise myself
with a location, as the lovely warm light doesn’t
last for very long at this time of the year and so
you have to work quickly if you want to make the
most of that light. Visiting at unsociable early
morning hours also means you are less likely to
have to share the location with crowds of people.

Outdoor Photography 35

LEARNING ZONE

With contrasting night and day temperatures, mist is extremely common and can work well with the vibrant spring colours.

BEST TIME OF THE DAY and grass. The changeable weather and light USE FILTERS
can also be stunning throughout the day and
Lighting can be challenging at this time of rainbows and stormy skies are a common One of the most useful filters during the spring
the year, particularly in late spring. On sunny sight. Always be prepared to head out just in months is the circular polariser. These filters
days, the higher sun position during most case – the best pictures will be about being enhance colour saturation and contrast, and
of the day reveals little texture, provides too in the right place at the right time. eliminate or reduce reflections and glare from
much contrast and lacks warmth. Shooting non-metallic surfaces. Many people are aware
around the golden hour will produce warm, of the polariser’s ability to deepen blue skies,
soft light and long, raking shadows.
Use ND filters to capture movement in your foreground. I used a 1/2sec exposure to capture
Dawn is my favourite time of the day the oilseed rape blowing in the wind in front of Happisburgh Lighthouse in Norfolk.
to shoot spring images. Apart from the
wonderful lighting conditions, the more
unsocial time of sunrise can mean fewer
people and fewer cars in shots. Also,
with fewer vehicles on the road, travelling
between locations and finding available
parking is much easier.

With contrasting night and day
temperatures, atmospheric mist and fog is
extremely common. Head to woodlands,
rivers and valleys for the best places to find
morning mist. However, wrap up warm –
with high daytime temperatures, it’s easy to
underdress for the morning conditions and
travelling through a temperature inversion
can be rather chilly, even at this time of
the year.

Don’t completely rule out shooting in the
middle of the day. Blue skies work extremely
well with the lush, vibrant greens from leaves

36 Outdoor Photography

LEARNING ZONE
LEARNING ZONE

but the filter is also invaluable for removing BLUEBELLS lots of people getting in your shots and
reflections or glare from foliage in particular. there is the added chance of mist and
Foliage reflects light, which reduces its From late spring, carpets of bluebells start fog to add some extra atmosphere.
colour saturation, and by using a polariser we appearing in woodlands, grass verges The warm light and long shadows also
can control that glare and bring out the true and on hillsides. I try to visit a few different add additional drama and shape.
saturated colours of leaves and flowers. woodlands to shoot bluebells, both well-
known spots and some lesser-known Experiment with different tripod heights
Neutral density filters can also be used locations. Popular bluebell woodlands and use a telephoto lens to compress the
to great effect, especially on windy days. are a great starting point, but they can perspective and exaggerate the density
Subjects such as oilseed rape, barley and sometimes be a bit overcrowded and the of the bluebells. A polariser will really help
wildflowers are ideal for capturing a subtle bluebells quickly get trampled on if the to bring out the best in the colours in the
sense of movement. Experiment with slow weather has been pleasant, particularly flowers and foliage by reducing glare.
shutter speeds – around 1/2sec is a good following a busy bank holiday weekend.
starting point, but exposure times will vary Below I love visiting this bluebell woodland
according to the wind and the effect you are In my local area of Norfolk, I tend to find close to my home in Norfolk. It’s a quiet
trying to achieve. For the best effect, highlight late April and early May is usually best, but woodland that is not very well known, so
the sense of movement by including a static this will be different each year and will vary usually the bluebells don’t get trampled by
subject such as a tree or building in your up and down the country. With a particularly large visitor numbers. I captured this image
image. Although I generally opt for only a cold winter, they can be several weeks late; on the edge of the woodland at first light,
small amount of movement in these types of with a warm winter, a few weeks early. with a tiny hint of mist among the trees.
images, longer exposures created with the
use of a 10-stop filter can be equally effective. Dawn is my favourite time to shoot
bluebells. The early hour means you
are unlikely to have to contend with

Outdoor Photography 37

COLOUR CONTRAST

Stay on the lookout for colours that
complement or contrast with each other.
This is a great way to make a foreground
stand out, even if it’s just a small detail.
Contrasting colours help grab the viewer’s
eye and can also add balance to an image.
For instance, a single poppy in a field of
golden barley or a single tulip out of place
and contrasting against the others in a field
can be highly effective.

Bluebell woodlands are great places to
spot contrasting colours, usually with wild
garlic mixed in or the odd white bluebell.
Oilseed rape fields are also great places to
look, as wild flowers are often dotted around
the edges of the sea of yellow, which can add
an extra splash of colour to the scene.

Colour is a powerful and expressive tool
that can grab our attention and define the
mood. Cool and pastel colours can often
promote a feeling of tranquillity, whereas
fiery reds can convey a feeling of danger.
By carefully placing vibrant subjects in
a composition, they can stand out for
maximum impact, especially if they contrast
with the colours around them.

Top I used a telephoto lens to isolate this
single white tulip in a sea of purple flowers.
Contrasting colours always work well in
a composition.

Left (below) The yellow iris flowers help add
an extra splash of colour to the foreground
at Crummock Water in the Lake District.

38 Outdoor Photography

LEARNING ZONE
LEARNING ZONE

By adopting a low viewpoint, I was able to use
the cow parsley to hide some metal harris
fencing in the background of this image
of Thurne Mill in the Norfolk Broads.

HIDE DISTRACTIONS 10 TIPS FOR SPRING COLOUR SUCCESS

Look for any distracting elements in your 1 Carefully plan a range of locations 6 Spend time on your compositions
composition before you press the shutter. you want to shoot and don’t try to with careful placement of
Distractions can be found in most scenes, fit too much in. wildflowers and spots of colour.
but there are various ways in which we can
deal with them or use them to our advantage. 2 Get up early for misty mornings 7 Look for distractions in your image
and avoid the crowds, especially at and use crops and wildflowers to
Man-made objects are a prime example busier locations. It can be difficult at this help hide any distractions.
of something we may try to remove, but if time of the year, especially later in spring
this is not possible then try to use them as when sunrise is very early. 8 Keep returning to the same location
an integral part of your composition – roads, and capture it as the seasons
pathways, boardwalks and fences are all 3 Keep an eye on the weather and change – even just a week can make
good examples of things that can work well make the most of the stormy skies a massive difference, particularly with
in a composition. and rainbows that offer some great crops and flowers.
picture opportunities.
Cropping a scene, or zooming in, can 9 Ask permission to enter fields.
help to simplify a composition and remove 4 Capture movement in your I have always found farmers are
distractions. Careful positioning of your compositions and experiment with mostly accommodating and will let you
foreground can also hide distracting different shutter speeds to get the effect shoot from their land if they know you
elements, as can shooting in mist and you are after. are there in advance and there is no
fog. If there are subjects you can’t risk to their crops.
successfully remove from a scene, take the 5 Use a polariser to get the best
image from further back and go for a wider colours from foliage, especially 10 Don’t forget the macro lens –
composition, so they are less prominent in when shooting bluebells. look for close-up detail too and
the final image. don’t focus entirely on the wider views.

Outdoor Photography 39

LEARNING ZONE

Capture the magic of a starling murmuration

Is there a more spectacular sight than that of tens of thousands of birds swarming across the winter sky?
Jeremy Flint thinks not, and he knows exactly where to be and when in order to photograph these
mesmerising aerial displays

Every winter, one of the UK’s greatest wildlife spectacles occurs of their aerial formations is mesmerising, as the flock makes
in the form of starling murmurations, when European starlings magnificent twists and turns and the birds perform incredibly
migrate to warmer Western climates. A starling murmuration intricate stunts, creating graceful patterns and shapes.
is a natural phenomenon where a group of starlings flock
together in flight, mimicking the shoaling behaviour of fish Although there are challenges associated with winter
or the swarming patterns of insects such as bees. When they weather, starling murmurations are one of the greatest
merge, they fly in unison as a broad mass of thousands of birds spectacles of nature you can witness and are well worth
displaying an aerial dance that turns the heavens black. braving the chilly elements and venturing outdoors for.
Photographing a sea of starlings swishing and swooping
The sight of the birds flying effortlessly through the air at all around you is immensely rewarding and something
great speeds makes for spectacular viewing. The synthesis that you will feel enthralled by.

40 Outdoor Photography

LEARNING ZONE

A panorama of one of the best starling displays
I have ever witnessed filling the Otmoor skies.
Canon EOS 5D MkIV with 70-200mm lens
at 70mm, ISO 1000, 1/400sec at f/2.8

Outdoor Photography 41

LEARNING ZONE

TIME OF YEAR AND DAY population doubles in size to around 16 Above A sea of starlings swirl over the
million birds during its peak. Winter visitors wetlands and reedbeds of RSPB Otmoor
Between the months of October and March come from afar, choosing to migrate to the during a murmuration display at dusk.
starlings form their best aerial displays, UK for its warmer climates. Migrant starlings Canon EOS 5D MkIV with 70-200mm lens
making magical murmurations in the skies. come from Scandinavia and countries such at 70mm, ISO 1000, 1/400sec at f/2.8
The starling numbers tend to start off small as Belgium, Germany, Netherlands, Poland
and develop into larger volumes as autumn and Russia, gathering together to join the resident UK starlings. As the winter flocks
progresses. As thousands upon thousands return from foraging each day, they gather in
of migrant birds arrive, the UK starling large groups then split into smaller groups
before their descent. The magical
Above Starlings swarm together forming a pattern in the shape of an angel at RSPB Otmoor. formations are best seen in the early
Canon EOS 5D MkIV with 70-200mm lens at 70mm, ISO 1000, 1/500sec at f/2.8 evening as the starlings return to their roost
for the night, with their preferred sites being
woodlands, reedbeds and man-made
structures away from potential predators.
For the best chance of photographing a
starling murmuration, I recommend arriving
at your location just before dusk when they
are most active.

LOCATIONS

Some of the best places to see and capture
the incredible starling murmurations in
Europe can be found here in the UK. Although
starling numbers can vary year on year, they
are creatures of habit and tend to return to
the same bases. Large flocks of starlings
can regularly be seen at nature reserves
and RSPB sites, especially around wetlands
and reedbeds, whereas smaller groups

42 Outdoor Photography

LEARNING ZONE

congregate in urban areas and in trees. can see up to an amazing 50,000 birds. Bear Above A murmuration reflects in the Otmoor
Prime viewing locations include: RSPB in mind that you may need to change your wetlands on a tranquil night.
viewpoint at some of the larger sites such as Canon EOS 5DS R with 24-70mm lens
Ham Wall in Somerset, probably Britain’s Ham Wall and Otmoor, where the birds could at 33mm, ISO 800, 1/500sec at f/2.8
largest roost with up to 2 million starlings; land anywhere along the reedbeds.
RSPB Leighton Moss in Lancashire; RSPB the starlings make, capturing the different
Fen Drayton Lakes in Cambridgeshire; CREATIVE formations when they murmurate. These
RSPB Newport Wetlands in Gwent, which images work best when the starlings display
attracts a large reedbed roost; coastal COMPOSITION in higher numbers and make even more
areas such as Brighton Pier and Royal Pier spectacular shapes.
in Aberystwyth, Ceredigion; Albert Bridge in Once you have decided where you are going
Belfast; and Gretna Green in Dumfries and to shoot starling murmurations, think about Alternatively, creating simple, expressive
Galloway, where flocks gather just east what composition you want to achieve. You shots can be achieved by filling the frame
of the M6 services. don’t have to shoot conventionally – you can and blurring the starlings for a more
capture the subject in a creative way. I very impressionistic effect, whether handheld
RSPB Otmoor in Oxfordshire also provides much enjoy capturing the graphic structure or with long exposures. I encourage you to
a great place to see the magnificent bird and shape of the starlings in flight and like to think of your own ways to make your starling
choreography. Established in 1997, the portray them as dark figures gliding through shots stand out and find a new way to
Otmoor nature reserve is primarily wetland the sky. This can be achieved by capturing capture the spectacle creatively. Visualising
and offers 1,000 acres of refuge for birds. It is the starlings in their natural environment the sort of image you want to capture can
a favoured nesting ground for the throngs of where their aerial performances are give you a head start when the starlings
starlings that come to stay here, with its vast spellbinding. Another approach would be to suddenly appear before heading to their
open plains and enticing reedbeds. As more look out for and document the patterns that communal roosts for the night.
and more birds group together, RSPB Otmoor

Outdoor Photography 43

THE BEST LIGHT provide a wonderful contrast to the birds Above A dazzling display of starlings captured
and help to make the dark shapes of the at RSPB Otmoor using a slower shutter speed.
Starlings are most active during the late starlings really stand out, while giving Canon EOS 5D MkIV with 24-70mm lens
hours of the day, usually around sunset. The a sense of the time of day. This works at 70mm, ISO 2500, 1/80sec at f/2.8
colourful hues of dusk and the blue hour particularly well on clear sunny days and on
provide the ideal light to capture them. days with less clouds when the starlings are EQUIPMENT
most active. The morning glow that happens
While side light and front light can work just before sunrise is another great time to The assembly of starlings taking flight is an
really well for lighting up the birds, my see the stunning show, as this is when the incredible natural phenomenon of unique
favourite type of lighting is backlighting, starlings leave their roost and erupt out animal behaviour and a brilliant subject
as I like to capture the starlings en masse of the reeds all at once. to photograph. In terms of lens choice, a
silhouetted against the fading light of day. wideangle or medium zoom would be ideal
With the glowing sky as a backdrop, the for a wider shot. I prefer the 24-70mm, which
vibrant tones visible during these times enables me to take in the entire scene and
capture the majority of starlings murmurating
Above The last group of starlings fly in to nest for the night in front of a colourful sky. in their environment.
Canon EOS 5DS R with 70-200mm lens at 70mm, ISO 4000, 1/500sec at f/2.8
Alternatively, by choosing a longer focal
length, you can zoom in on your subject. I use
the 70-200mm lens as a means to isolate a
selection of the birds. This approach helps
make the birds appear larger in the frame by
bringing them nearer to the camera due to
the compressed effect of the telephoto lens.

Due to the late time of day and challenging
lighting, this situation lends itself well to using
prime lenses to take advantage of the faster
shutter speeds they offer when shooting in
low light. Shooting with mirrorless cameras
will be beneficial too due to the optimum
performance they have in dimly lit conditions.

Using a tripod is a great way to keep
the camera still and frame up more
impressionistic shots, particularly when
combined with a slower shutter speed to blur

44 Outdoor Photography

LEARLNEIANRGNZINOGNEZONE

the starlings’ movement. On the flipside, using 10 TIPS FOR MURMURATION SUCCESS
a tripod reduces your ability to react and move
the camera quickly, especially if the starlings 1 As starling numbers can vary 5 Allow plenty of time to get to your
suddenly appear unexpectedly overhead and each year, I recommend checking destination to ensure you don’t
you need to re-frame your shot. Handholding online or calling for updates that miss the magical sight of the starlings
the camera will free you up, enabling you to starlings have been seen before setting swirling around the sky.
operate more quickly. I also find it is generally off on your journey. I tend to use
best not to use filters, unless your ultimate starlingsintheuk.co.uk. 6 Wear darker-coloured clothing and
intention is to slow down your shutter speed minimise your movement, so you
and blur the starlings in flight. 2 Try not to disturb the birds as they don’t startle the starlings and potentially
fly or come in to land. Keep the scare them away.
SETTINGS noise to a minimum by shooting in silent
mode – this will give you a better chance 7 Choose to visit on a still or warm day.
Once you have your camera ready and of capturing more natural images of I find the starlings tend to murmurate
your tripod set up (if you are using one), the birds. more during these conditions rather than
you can focus on the settings. As starlings on a wet or windy day.
are generally fast-moving subjects, they 3 Use a long lens to hone in on a
can be challenging to photograph well, so cluster while maintaining a safe 8 Starlings can appear from any
aside from the obvious settings for ISO distance from the starlings to respect direction and murmurate at any given
and aperture, you will need to dial in a fairly their welfare. Keeping away from the moment, so always have your camera at
fast shutter speed. Start with 1/200sec reedbeds where the starlings are roosting the ready to capture the spectacle.
and increase the shutter speed and ISO also minimises disturbance.
accordingly as the light fades to capture your 9 Use a tripod for stability and to
subject sharply. Due to the unpredictable 4 Due to the unpredictability of capture images with motion when
nature of the subject, you may also need to the starlings, it is impossible to combined with a slower shutter speed.
increase shutter speed to 1/500sec or more, know where they will land, so arrive
to match the starlings’ speed if your goal is early and look out for places where the 10 Aside from the wide view and
to capture the birds sharply. starlings have previously landed such as impressionistic, blurred look,
the reedbeds. challenge yourself to find a new way
If you are set up on a tripod, you can aim for to capture the starlings.
a more artistic image by dropping the shutter
speed significantly. I find anything between and capturing starling murmurations is a let the opportunity pass you by when
1/10sec and 1/100sec will help to achieve fantastic experience, take the time to listen the murmurations occur, as you will be
this. Conveying motion is a great way to add to the gentle pattering sound of the birds as mesmerised by the unique patterns in the
drama to your images and I particularly like they glide by in their groups. sky. Be mindful of the sensitive habitats in
the painterly look and feel this effect portrays. which the starlings live, stick to the paths
Despite the challenges of cold weather and above all enjoy this true wonder of the
While settings are important and seeing and shooting successfully in low light, natural world.
the results are hugely rewarding, so don’t

Starlings flying above a footpath at dusk
in search of a place to roost.
Canon EOS 5D MkIV with 24-70mm lens
at 24mm, ISO 1000, 1/400sec at f/5

Outdoor Photography 45

IN THE SPOTLIGHT

Magda Wasiczek

Based in Poland, Magda Wasiczek is a flower photographer who has just won International Garden
Photographer of the Year (IGPOTY) for the third time. Nick Smith puts her in the spotlight

Sweet spring Nick Smith: Describe the type of
photography you are involved with…
Beauty of plants Magda Wasiczek: My adventure with
photography began with a fascination with
46 Outdoor Photography macro photography in a very classic form: large
scale of reproduction, detail and a smooth
background. After some time, this method of
photographing both insects and plants began
to evolve. I started putting a lot of bokeh into
the frame. This is how my own style was
created, now referred to as ‘bokeh painting’.

NS: Why are you so interested in flowers?
MW: I love plants and nature. It gives
relaxation to all my senses, but at the same
time fascinates and stimulates my creativity.
Plants and insects can be photographed in
so many ways, and so I never get bored with
them. To photograph them, you must love
them, or they must fascinate you. You must
like being among them.

NS: You’ve won IGPOTY three times now –
what’s your secret for success?

IN THE SPOTLIGHT

MW: I don’t have a magic recipe for success.
Undoubtedly, one should have the courage
to take part, try your hand and not give up,
even if we fail the first time. Of course, in
the meantime, polish your technique and
have faith in your vision of the world. But
remember that this is a competition, and
the judges will want to be surprised. It is not
about cloning the works of other authors.

NS: When did you become a garden Cold morning Green hope
photographer?
MW: I started to be passionate about mean that it is easy to capture this beauty always looked for and found inspiration
photography when I was a young mother of in the frame or avoid cliché. Once you learn there. But I can mention the names of many
three children. I was looking for a hobby, the technical basis for macro photography, photographers that I know who I have
something that could take me away from it’s time to look for your own style. Today, always liked and appreciated: Mandy Disher,
reality for a moment and give me a break. it’s not a problem to take pictures that are Jacky Parker and Rosanna Castrini. I love
I have always been a creative person, but I technically correct. The biggest problem is them as people and photographers.
had no interest in photography before that. to take a picture that is different from all
I could not afford trips to distant lands, so the others out there. NS: What does the future hold for you
I could only photograph subjects nearby. as a photographer?
NS: What photographers have inspired MW: For the past three years, I have been
At the same time, my passion for you in your career? very much involved in working for two
gardening was born and the two became MW: The truth is that I have always been agencies specialising in photography for
intertwined. I concluded that photography inspired by painting in the first place. I have book covers. I love this job.
of nature, flowers and gardens was my true
calling. Before I began photography, I liked
to draw and paint. I just changed tools:
instead of brushes and pencils, I used lenses.
I have learned to use their optical properties
to achieve the desired effects.

NS: What is the most difficult aspect
of shooting flowers?
MW: The most difficult thing – especially
in new places, or large, magnificent gardens
– is to be able to focus and choose from
the whole mass of beauty; finding the right
subject to photograph, choosing one flower
from the entire meadow and to arrange it
beautifully in the frame. Not to perish, not
to drown in excess beauty.

NS: Have you got any advice for people
wanting to start photographing flowers?
MW: Don’t look at the flowers from above or
take photos of them from above. We must
fall on our knees in front of nature. You
can’t rush. We need to give our little models
the time and attention we give to people.
Flowers are beautiful, but this does not

Magda’s top tips

One thing I never go on a shoot without is…
Spare memory cards and charged batteries.

My one piece of advice would be to…
Try to show people your own vision of the world.

Something I try to avoid is…
Imitation and copying of other photographers.

Morning glory

Magda’s critical moments To see more of Magda’s work, visit magdawasiczek.pl

2007 Started my adventure with 2009 First publication in photography 2012 Won IGPOTY 2015 Won IGPOTY 2018 Started work as a 2022 Won IGPOTY
photography and gardening magazine and first solo exhibition first time second time book cover photographer for the third time

Outdoor Photography 47

Exotic butterflies

of the world

From giant glasswings in
Columbia to monarchs in
Madeira, Frank Gardner has
witnessed the exquisite beauty
and iridescence of our planet’s
numerous butterfly species at
close quarters. Here are some of
his most memorable encounters

Full disclosure right from the off: I am no
expert on butterflies. When it comes to
nature, birds are my thing, but who can resist
the mesmerising, iridescent beauty of these
flighty, delicate insects? In Britain, butterflies
also provide us with a wonderful ‘infiller’ in
those slack weeks of summer between the
frenzied activity of the spring bird-breeding
season and the massed migration of early
autumn. It’s hard not to be moved by the
sight of a summer flower meadow alive with
common blues, marbled whites and – if you’re
lucky – a glimpse of a rare orange fritillary.

But the truth is Britain has a relatively
limited diversity of butterflies compared
to other parts of the world. We have just 59
species, while France has 260, Italy has nearly
300, and even chilly Sweden has 120. But
head for the tropics and you are in for a treat.
Colombia, a country I have been lucky enough
to visit several times, has an incredible richness
of biodiversity. As well as hosting more bird
species – at nearly 2,000 – than any other
country in the world, Colombia is home to an
impressive 3,642 butterfly species. That’s nearly
as many as in the entire continent of Africa.

The great thing about visiting a tropical
country like Colombia is that often, you
don’t have to go looking for nature, it comes
to you. There we were in early 2020, just
before the pandemic, right on the edge
of the Colombian Amazon, during a BBC
filming trip to document the aftermath of
the peace process that had just ended 53 years
of insurgency. We had choppered back into
a police base that afternoon in Blackhawk
helicopters after visiting former guerrilla
fighters who had surrendered their weapons.
We were tired, hungry, sweaty and dirty. But
there, just a few metres away, resting on a
leaf, was an exquisitely beautiful butterfly,
seemingly oblivious to our presence. It was

Left (top) The Kuang Si Falls, Laos.

Left (below) Monarch butterfly
(Danaus plexippus), Madeira, Portugal.

48 Outdoor Photography