Outdoor Photography March 2017

HOW TO SHOOT PERFECT EXPOSURES
landscape | wildlife | nature | adventure
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MARCH 2017
28
FEATURES & OPINION LEARNING LOCATIONS

16 In conversation with
Joshua Holko
the latest edition of this
globetrotting competition
ZONE GUIDE
Australian nature photographer 28 How to master exposure 50 Stac aPhris,
Joshua Holko chats to Nick 46 Opinion Doug Chinnery has essential Isle of Lewis
Smith about his passion for Niall Benvie argues the case advice to help you capture Aidan Maccormick
the polar regions for images that have a focus on technically perfect images, photographs the rugged
narrative rather than aesthetics leaving you free to enjoy north coast of the Outer
24 One month, one picture the creative side of making Hebrides islands
Pete Bridgwood shares 64 In the spotlight outdoor photographs
some essential photography Expedition photographer Tim 53 Urquhart Castle,
tips to use on location Taylor on the challenges of 36 Quick guide to Highland
working in harsh environments creating simple but Robert Birkby enjoys
39 Lie of the land powerful wildlife images a rewarding shoot on
Adrian Theze braves the 83 Inside track Richard Garvey-Williams the shores of Loch Ness
backroads of Iceland in winter Nick Smith experiences India explains why less can be
and shoots a big snowstorm through the lens of a compact more when it comes to 54 Viewpoints
camera and is disappointed photographing wildlife Eight top UK locations to
40 Travel Photographer with the results shoot this month, including
of the Year the winners photogenic spots in Powys,
Our favourite images from Cornwall and Cumbria
2 Outdoor Photography March 2017
2_3 Contents CB_SW.indd 2 24/01/2017 11:38

16
40
54
74
NATURE GEAR ZONE REGULARS YOUR OP
ZONE 88 Gearing up 8 Newsroom 14 Your letters
Our round-up of the latest Keeping you up to date with Your feedback, opinions
68 Back from the brink outdoor kit to hit the shelves the latest photography, outdoor and musings on all things
Luke Masseys project and conservation stories photography-related
to document the return 90 Camera test:
of wildlife to Chernobyl Olympus OM-D E-M1 MkII 10 Out there 58 Your chance
Its marketed as the micro- Our pick of the best Find out how to get your
74 Life in the wild four-thirds camera of the future, photography books, plus work published in OP
Laurie Campbell reveals why but will it live up to its claim? we chat to Nicholas Crane
beaches offer rich pickings Fergus Kennedy takes it for about his new title, The Making 60 Reader gallery
for nature photographers a spin to nd out of the British Landscape Our pick of this months
best reader images
76 Photography guide 12 The big view
Lauries seasonal highlights, Photography exhibitions, 86 Next month
world wildlife spectacles adventure festivals and A sneak peek at the April issue
and nine great UK places winter talks to inspire of Outdoor Photography
to see heronries
104 If you only do one
79 A moment with nature thing this month
Tom Way explains why The winners of our dramatic
capturing the character light wildlife photography
of an animal is at the competition, plus details
heart of his photography of our next challenge
NEXT ISSUE ON SALE 9 MARCH 2017
80 On the wing Outdoor Photographer of the Year: the category winners 112 Where in the world?
Steve Young gets acquainted Interview with Icelandic photographer Ragnar Axelsson Correctly identify the location
with his garden birds Peter Cairns tells the story of Scotlands pine martens featured and you could win a
Tenba DNA Messenger 15 bag
March 2017 Outdoor Photography 3
2_3 Contents CB_SW.indd 3 24/01/2017 11:38

IN THE MAGAZINE THIS MONTH...
EDITORIAL
Editor Steve Watkins
stevew@thegmcgroup.com
Deputy editor Claire Blow
claire.blow@thegmcgroup.com
Assistant editor Anna Bonita Evans
anna.evans@thegmcgroup.com
COVER 6 16 28 Designer Jo Chapman
Isabel Dez specialises Simon Roy is an award- Joshua Holko lives in Doug Chinnery is a ADVERTISING
in landscape photography, winning wildlife photographer Melbourne, Australia and professional outdoor 01273 402825
which links her two main based near York. He has a is a full-time professional photographer. He leads
passions, nature and art. degree in art and design, and nature photographer who workshops teaching MARKETING
Her subjects range from her worked as a graphic designer specialises in polar subjects. a diverse range of camera Marketing executive
beloved Basque coast to the for 10 years before becoming A fully accredited AIPP skills, writes about Anne Guillot
anneg@thegmcgroup.com,
lava ows of Hawaii. Textures, a professional photographer. Master of Photography, he photography, and supplies 01273 402871
shapes and colours change, His images have been highly has won countless awards, commercial clients
but all her landscapes have commended in the British including being named worldwide with his images. PRODUCTION
a strong aesthetic sense. Wildlife Photography Awards Global Arctic Photographer dougchinnery.com Production manager Jim Bulley
They are evocative, intense and International Garden of the Year 2015. Production controller Scott Teagle
and, at times, mysterious. Photographer of the Year. jholko.com Origination and Ad design
GMC Repro. repro@thegmcgroup.com,
isabeldiez.com simonroyphotography.co.uk 01273 402807
Publisher Jonathan Grogan
Printer Precision Colour Printing, Telford,
39 53 01952 585585
Distribution Seymour Distribution Ltd
Outdoor Photography (ISSN 1470-5400)

is published 13 times a year by GMC Publications Ltd.
86 High Street, Lewes, East Sussex BN7 1XN.
Tel 01273 477374
Guild of Master Craftsman Publications Ltd. 2016
36 50
Richard Garvey-Williams Adrian Theze returned to Aidan Maccormick is Robert Birkby is a
is an award-winning wildlife photography a few years a biologist based in Scotland. landscape and travel
and landscape photographer
and author. Having sp ent
ago when he had to give up
teaching due to MS. Since
His work takes him to the
remotest locations of the
photographer based
in Yorkshire. He writes SUBSCRIBE*
his childhood in Africa,
he relishes opportunities
then his photographs have
been published widely, his
UK, where he moonlights as
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for several magazines
worldwide, and supplies
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*by Direct Debit
to return and share the Iceland landscapes generating His passion is for exploring images to the travel
experience by leading particular interest . He writes the west coast of Scotland, and tourism industry. 12 issues: Save 10%
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Now based in Devon, he also around 30,000 followers. make it to St Kilda. 51.30 instead of 57.00 (UK)
offers tutoring on Dartmoor. cornwallphotographic.com maragorm.com 64.13 instead of 71.25 (Europe)
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Call 01273 488005
Luke Massey is a wildlife Tom Way is a professional Steve Young has been at OP At the age of ve, Fergus Email
photographer and cameraman ne art wildlife photographer from issue one. His images Kennedy loved messing pubs@thegmcgroup.com
who has been obsessed with based in the UK. He has have appeared in numerous around in the sea and playing Visit thegmcgroup.com
wildlife for as long as he can been awarded in various publications and he has with gadgets. Forty years on,
remember. After a year at competitions, with his written two bird photography very little has changed. He is
university, he decided to take most recent success being books and photo-edited two a marine biologist and works Buy OP as an app
the risk of dropping out to in the European Wildlife bird identication guides. as a freelance photographer, Get Outdoor
follow his dream of going Photographer of the Year He was the overall winner drone pilot and camera Photography magazine
professional with his 2016 competition, with an of the 2010 British Wildlife operator for clients such as for your iPhone, iPad or
photography. His passion image of an African lion. Photography Awards. the BBC and Canon Europe. Android device!
is for raising awareness tomwayphotography.co.uk birdsonlm.com ferguskennedy.com
of conservation issues.
lmasseyimages.com Visit the Apple App store,
nd it on Google Play
Store or go to
ALSO IN THIS ISSUE pocketmags.com
Nick Smith nicksmithphoto.com, Pete Bridgwood petebridgwood.com, Richard Jones richjjones.com, Ade Gidney, Paul Holloway,
David Eberlin davideberlin.uk, Stephen Spraggon spraggonphotography.co.uk, Aidan Maccormick maragorm.com, Andrew Ray
andrewrayphotography.com, Nigel Cooke nigelcookephotography.com, Laurie Campbell lauriecampbell.com
Outdoor Photography considers article ideas for publication, which should be sent to the Editor, along with a stamped self-addressed return envelope if you require your material back. GMC Publications cannot accept liability for the
loss or damage of any unsolicited material. Views and comments expressed by individuals in the magazine do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use by readers
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4 contribs CB.indd 4 24/01/2017 11:15

Adventure in photography
THE ISSUE
at a glance
Its pretty safe to say these days that workshop business on his willingness
any dogma involved in how we go to embrace and experiment with
about our photography is likely to dierent techniques. I recall talking
be holding us back. For sure, its ne to Doug some years ago, and he was
to still talk about the rules of a little unsettled that he hadnt found
composition or to insist that using his signature style at that point in
certain types of equipment is critical time, because, as he admitted, he just
to being a real photographer, just found too much enjoyment in trying
dont get upset if the number of all sorts of creative approaches. He
friends and peers willing to listen didnt try to limit himself to appease
to these edicts dwindles rapidly the community, he just kept following
Joshua Holko reveals why he loves
before disappearing altogether. his own path, and now his reputation working at the Poles page 16
In this unprecedented age of creative for creating fresh and thought-
freedom in photography, there are no provoking images across many styles
rules and there is all sorts of gear of photography is in fact his style, if
capable of producing powerful its important to put a label on him.
imagery; it just needs imagination. Theres almost no penalty for
And that, of course, is where we come attempting something unusual when
in. Mixed with a dose of adventure we are shooting, so there is nothing to
and a playful attitude, imagination lose in giving it a go. We can keep the
can be the key to unlocking exciting results to ourselves for as long as we
new areas to explore in our work. want the Twitterati and leagues of Doug Chinnery shows us how to
Short exposure times for action shots Facebook and Instagram fans can make masterful exposures page 28
and tripod mounted landscapes may wait. I suspect that, despite our minds
be ingrained in our psyche, but theres most concerted
no reason why it always has to be that eorts to resist the
way. Doug Chinnery (see his feature urge to branch out,
on mastering exposure on page 28) we may just discover
has built his successful tutoring and its compelling.
Steve Watkins See our favourite images from Travel

Photographer of the Year page 40
GET IN TOUCH
Email Contact the Editor, Steve Watkins, at stevew@thegmcgroup.com
or Deputy Editor, Claire Blow, at claire.blow@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
Fergus Kennedy puts the Olympus
Follow us on Twitter at http://twitter.com/opoty ON THE COVER OM-D E-M1 MkII to the test page 90
Isabel Dez took this stunning image
Find us on Instagram at instagram.com/outdoorphotographymag/ on La Digue island in the Seychelles.
5 Eds letter_SW.indd 5 24/01/2017 11:16

Frost y hare
by Simon Roy
A brown hare (Lepus capensis)
highlighted by the rising sun
on a chilly morning. If you look
closely you can see the poor thing
has frosty whiskers! I arrived at
this location just before sunrise
and, as forecast, the weather was
clear with frost, despite it being
well into March. From the edge
of the eld, I observed several
hares resting in a tractor track
about 100m away on a rise close
to the horizon. I moved very slowly,
keeping low, until I reached the
track and lay down with my gear
just above the frozen ground,
hoping the animals might move
towards me. While I waited
I checked my camera settings
and made adjustments as the
light improved. Then one of the
hares just sat up and started
running in my direction, stopping
as it realised there was a strange
object in its path. I had just enough
time to compose and take the
shot before the hare turned and
ran away. I used the rule of thirds
and negative space to improve my
composition and a wide aperture
to help isolate the subject.
Canon EOS 5D MkIII with Canon EF

500mm f/4L IS II USM lens, ISO 200,
1/320sec at f/4.5, Gitzo GT3542LS
Series 3 tripod with gimbal head,
camouage scrim net
6_7 Opening shot_SW.indd 6 24/01/2017 11:20

6_7 Opening shot_SW.indd 7 24/01/2017 11:20

THE LATEST BULLETINS
NEWSROOM CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS
See your heroes at

The Photography Show
The Photography Show returns to the NEC, Birmingham this March,
and it is shaping up to be a very exciting event. As well as oering visitors
the opportunity to delve into the latest imaging technology (250 leading
photography brands will be there, including Fuji lm, Canon, Hasselblad,
Nikon, Olympus and Sony), there will also be a host of inspiring talks,
not to mention the chance to meet the Outdoor Photography team!
A nature photography legend

Some of the worlds greatest photographers will be taking to the Super
Stage, including Frans Lanting, who will take a retrospective look
at his four-decade career. Frans has travelled the world to promote
understanding about the planet through his stunning images of nature,
so this is sure to be a captivating talk. Other photographers oering
insights into their work on the Super Stage include Alex Webb, Albert
Watson, Nadav Kander, Jill Furmanovsky, Clive Arrowsmith, David Alan
Harvey, Julia Fullerton-Batten and Louis Cole. Tickets for the Super Stage
sessions cost 10 each and can be purchased once you have obtained your
entry pass (see The Photography Show website, below, for further details).
OPOTY exhibition and awards ceremony

The top images from Outdoor Photographer of the Year will be on display
throughout the duration of the show, and on Saturday 18 March (from
1.45-2.30pm) we will reveal the overall winner of the competition on the
Frans Lanting/lanting.com
Live Stage. All the adult category winners have a chance of scooping the
top prize: an assignment to capture the drama and action of this years
Fjllrven Polar expedition to the Arctic in April.
The Photography Show runs from 18-21 March. To book your tickets, go
to photographyshow.com. Use code OPMTPS17 to get a special discount!
Wex Photographer of the Year revealed

British graphic designer and self-taught photographer Neil Burnell
has been named Wex Photographer of the Year 2016. The competition
received more than 17,000 entries last year; each week, photographers
were invited to enter their best shot from the previous seven days, using
the #WexMondays hashtag on Twitter. The best images of the week were
selected and awarded points by Wex Photographics expert panel to create
a league table. Neil, who favours landscape photography but also has a
passion for macro, amassed the most points throughout the year, including
four top spots. He receives 1,500 of Wex Photographic vouchers.
Wexs Technical Editor Matt Higgs said: With a careful eye for
Neil Burnell
composition, Neils clean and modern approach to photography shone

throughout his submissions, regularly winning the admiration of the
judges. Often breaking scenes down to their most essential elements,
his minimalist creations thrived in their simplicity and technical perfection.
Find out more at wexphotographic.com Crab sp ider: one of Neil Burnells winning submissions.
8_9 Newsroom CB_SW.indd 8 23/01/2017 10:04

EDITED BY CLAIRE BLOW
British Wildlife Kodak to bring back

Photography Awards Ektachrome lm
Leslie Beardmore
open for entries Kodak is bringing back one of its most
Photographers are invited to enter their famous lm stocks, Ektachrome, ve years
best UK wildlife images into 2017s British after it was discontinued. Known for its
Wildlife Photography Awards. The prestigious extremely ne grain, clean colours, tones and
competition, now in its eighth year, offers an during April and May; and the third in June. contrasts, the colour reversal lm was popular
overall prize fund worth 20,000 and the The winning images will be published in British among generations of photographers and
chance to be featured in a touring exhibition Wildlife Photography Awards: Collection 8, and cinematographers. Over the next 12 months,
and published in a stunning book. in our BWPA showcase in OP later this year. Kodak will be working to reformulate and
A celebration of UK wildlife and a showcase manufacture Ektachrome for both stills
for amateur and professional photographers OP readers discount photography (in 35mm format) and motion
practising in Britain, the awards help to raise Until midnight on 31 March 2017, when you picture applications.
awareness about biodiversity, British species purchase a Gold Plan entry on the BWPA It is such a privilege to reintroduce
and their habitats. Competition categories website (allowing you to upload any number Kodak Ektachrome lm to the photography
range from animal behaviour and urban wildlife of images and then submit up to 20 of them community, said Steven Overman, Kodaks chief
to close-up nature and the underwater world. into various competition categories), you will marketing officer and president of the Consumer
There are also two junior categories and receive a 5 discount, dropping the price of and Film Division. We are seeing a broad
a special award for wildlife lmmakers. your 20 entries from 25 to 20. Simply use resurgence of excitement about capturing images
the voucher code OPMAR17ZP. All of the fees on lm. Kodak is committed to continuing to
OP Editors Pick are fully explained on the BWPA website. manufacture lm as an irreplaceable medium
As the entries are uploaded to the BWPA for image creators to capture their artistic vision.
website we will choose three OP Editors Pick The competition is open until 3 June. We are proud to help bring back this classic.
winners: the rst will be chosen from images To nd out more and to enter, please Availability of Kodak Ektachrome is expected
entered during February and March; the second visit bwpawards.org later this year. Find out more at kodak.com
Images from the deep

A dramatic photograph of a Pacic man-of-war, shot by Matt y Smith in New South Wales,
Australia, has scooped the top prize in the 2016 Ocean Art Underwater Photo Contest. The
US-based competition, now in its sixth year, attracted thousands of entries from more than
60 countries. Ninety-ve underwater photographers were awarded, each receiving a share
of the $75,000 prize package. The nal set of images demonstrates some innovative shooting
Jessica Chatburn
techniques and includes out-of-this-world marine life shots, rarely seen animal behaviour and
ocean adventure.
See all the winning images at uwphotographyguide.com/2016-ocean-art-contest-winners
International Images
for Science opens
The Royal Photographic Society has launched
its 2017 International Images for Science
competition. Covering everything from
medicine and forensics to nature, engineering
and astronomy, the competition is supported by
Siemens as part of the Curiosity Project, a three-
year programme that aims to engage young
peoples interest in science and engineering.
The competition is open to everyone, and
is free to enter. RPS coordinator Gary Evans
said: Entrants can have fancy equipment or use
a smartphone, it doesnt matter. The important
point is to capture your view of science in a way
Matty Smith
that tells a story to the average person.

Five cash prizes up to 1,000 will be awarded,
and an exhibition of the top 100 entries will
Blue Lasso by Matt y Smith took rst place in the Wide-Angle category tour the UK.
before going on to win Best of Show. Closing date for submissions is 30 April 2017;
enter for free at rps-science.org
8_9 Newsroom CB_SW.indd 9 24/01/2017 11:20

THE LATEST NEW MEDIA
OUT THERE
Philippe Garcia
BOOK OF THE MONTH
Melrakki:
The Icelandic arctic fox
Philippe Garcia
LExplographe ditions
Hardback, 39
Philippe Garcia has spent thousands

of hours watching and photographing
the Icelandic arctic fox. This new book
is an informative look at the species,
and highlights Garcias ability to capture
unusual images that hold a strong
emotional connection.
Garcias passion for and commitment
to documenting the fox is clear when The photographs are supported by The books production is also of a
looking through this image set, and with Dr Ester Rut Unnsteinsdttirs fact- high quality, with a heavy paperweight
this dedication comes an instinctive driven preface, which lays out the and matt printing complementing the
eye. Often only seen at night, the foxes species diet, habitat, behaviour and subject matter well. This is a tting and
are shown here during daylight play breeding habits. Useful information insightful tribute to one of the norths
ghting, roaming the wilderness and about how to nd arctic foxes in Iceland most enigmatic inhabitants.
fending off predators in a rounded and the conservation efforts over the last The book is available at Philippe
portrait of this alluring, elusive animal. 20 years or so to save them is included. Garcias website: explographe.com
a collection of six pocket-sized document on an international scale the

books where each focuses on one causes and consequences of global
UK species and gives the authors warming. To do so, he travelled across
personal observations of that animal. ve oceans, to more than 30 countries
A gifted nature writer, Crumley and all seven continents. With a foreword
fuses autobiography, fact, personal by environmentalist and political writer
observation and poetry into this books Jonathon Porritt, the book takes a call-
61 pages, and youll be totally absorbed to-action tone. This 411-page tome is
by the rst sentence. Published late divided into 15 main chapters, which
last year, Badger was co-released with cover in detail topics such as impacted
Skylark; both books are charming, ora and fauna, sea level rise and
artistic tributes to these creatures. fossil fuels. Despite the daunting and
challenging subject matter, Images from
Images from a Warming Planet: a Warming Planet remains optimistic
One mans mission to document and lays out plenty of alternatives that
Badger: Encounters in the wild climate change around the world will slow down or even help solve global
Jim Crumley Ashley Cooper warming. The photographs act more
Saraband Global Warming Images Publishing as illustrative tools to support the text
978-1-9101-9262-7 978-1-5262-0592-6 rather than as an artistic interpretation
Hardback, 10 Hardback, 40 of the worlds current state, yet they are
Badger is part of Jim Crumleys UK photographer Ashley Cooper set still powerful in their own unique way and
Encounters in the Wild series himself a hugely ambitious task: to give a valuable insight into the subject.
10_11 Out there_SW.indd 10 24/01/2017 11:22

EDITED BY ANNA BONITA EVANS
FIVE MINUTES WITH

We talk to Nicholas Crane about
his magnicent new book, The
Making of the British Landscape:
From the Ice Age to the present.
Outdoor Photography Your book begins around

9700 BC and traces how, to the present
day, climate, geology and immigration have
inuenced the altering of the UKs countryside
and cities. It is a mammoth subject . What
made you want to write about the history
of the British landscape?
Nicholas Crane I dont see this as a history
but as a geographical narrative, a page-turner
compiled from places; there are no battles
or coronations in this story. Im interested in
the rise and fall of wilderness, in the origins
of farming, the source of cities, in the systemic
Long barrows became prevalent around 3800 BC. This is West Kennet, near Avebury, Wiltshire.
shifts that formed our modern landscapes.
I wanted to offer a fresh way of looking at this
island; a narrative that binds us all together NC I learn from landscape photographs makes sense: the evolution of our habitat
within a single shore. and Id like to return the favour. In my book, from uninhabited ice and tundra to this
Im offering the long view; the 12,000-year populous quilt of elds and villages and cities.
OP How do you think your book will benet exposure. This is the story of our place; Landscape photography has a critical role
landscape photographers? our island. To me, its the only story that in describing modern geographical tensions
between people, place and environment.
OP You write: to care about a place, you

must know its story. Do you see yourself
more as a storyteller or a geographer?
NC The two are one. Geography is the
language and stories are the voice. Geography
gave me a way of looking at the world, of
grappling with issues as varied as climate
change, urbanisation and migration. And
stories are the cleanest means of sharing
complex issues.
OP As a writer, geographer, presenter, and

as president of the Royal Geographical
Society, what, for you, makes a landscape
photograph stand apart?
NC Truth. A landscape photograph is a
portrait of a place. An understanding between
photographer and topography. For the last
decade or so Ive been an avid viewer of the
Landscape Photographer of the Year awards,
and an admirer of competition founder Charlie
Waite. One of Charlies framed photographs
welcomes me to my study at the start of every
day. It never fails to ll me with wonder.
The Making of the British

Landscape: From the Ice
Age to the Present is out now
Weidenfeld & Nicholson
978-0-297-85666-5
Hardback, 20
An ebook is also available
The rump of Doggerland. Sandbanks off the coast of north Norfolk. for 10.99
10_11 Out there_SW.indd 11 23/01/2017 10:05

THE LATEST WHAT'S ON
FROM THE
THE BIG VIEW LEFT FIELD
Evgenia Arbugaeva
Traces of the future: Archaeology
of modern science in Africa
To 26 March
Nunnery Gallery, London
Art meets anthropology in this
innovative exhibition, which explores
past, present and future sciences in
Africa. Taking visitors deep into the
Adrian Warren and Dae Sasitorn
Tanzanian rainforest, artists Evgenia

Arbugaeva and Mariele Neudecker
display new works and ndings from
Amani Hill Research Station. Twelve
of Arbugaevas pictures (as seen in
National Geographic) will be included,
as well as three short lms and 11 images
Wast water, Cumbria. by Neudecker. Specimens collected in
the Tanzanian jungle, in addition to the
Britain from the Air Wildlife Photographer of the Year plethora of equipment the pair used,
To 28 February To 5 March will also be on show.
Station Street, Nottingham MShed, Bristol bowarts.org/nunnery
More than 100 stunning aerial photographs of An exhibition of the best images from the 2016
Britains most breathtaking landscapes can be Wildlife Photographer of the Year competition travels
seen in this major outdoor exhibition. Touring to Bristol this early spring. The 100 photographs
across the UK, Britain from the Air is now on show showcase the beauty and diversity of our natural
in Nottingham, with additional images of the area world and highlight the most exciting contemporary
as seen from the air (such as Nottingham Castle and wildlife imagery on an international scale. The
Wolfgang Tillmans
the Old Market Square) included. By telling the story competition attracted 361 images when it launched
of Britains geography and history found in natural in 1965; this year there were almost 50,000 entries
and human landscapes, the imagery points to mans from 96 countries. This must-see exhibition is
impact on the land. a celebration of the drama and wonder of nature.
rgs.org bristolmuseums.org.uk
Wolfgang Tillmans
15 February to 11 June
Tate Modern, London
The rst exhibition of German ne
art photographer Wolfgang Tillmans
work at Tate Modern is a fascinating
exploration of the modern world, and it
offers visitors plenty of food for thought.
Provocative, and unlike anything you
are likely to have seen before, Tillmans
work reinterprets representational
genres such as portraiture, still life
and landscape from a socio-political
perspective. Tillmans pushes the
boundaries of the photographic form
through abstract artworks that range
Charlie Hamilton James
from video and slide projections to

musical recordings and sculpture.
tate.org.uk
12_13 The Big View CB.indd 12 23/01/2017 10:10

EDITED BY ANNA BONITA EVANS
ADVENTURE FESTIVALS WINTER TALKS TO INSPIRE

Banff Mountain Film Festival
Various locations across the UK
To 17 May
The 2017 Banff UK lm tour promises as much power and
adrenaline as previous tours, with two lm programmes
to choose from. Make sure youre in the front row for Doing
it Scared, a documentary following climber Paul Pritchard
who was left partially paralysed after a catastrophic
accident while climbing Tasmanias Totem Pole. The lm
follows Pritchard 18 years later as he returns to the sea
stack to embark on one of the hardest ascents of his life.
banff-uk.com
Mark Hamblin
Wild Scotland: Peter Holden: Born to Travel
A photographic odyssey 7.30pm, 16 February
7pm, 25 March ARA Club, Bedford, Bedfordshire
Matthew Newton
Droitwich High School, Expert ornithologist Peter Holden

Worcestershire MBE shares his extensive knowledge
Nature and wildlife photographer of bird migration and the compelling
Mark Hamblin, part of the Scotland: stories of different species journeys.
The Big Picture team, will reveal how rspb.org.uk
Sheffield Adventure Film Festival the ambitious project to document
17 to 19 March Scotlands rewilding story came about, Joe Johnstone: On foot across
Showroom Cinema, Sheffield and what they have achieved so far. Lake Khuvsgul (Khuvsgul Nuur)
Expect high-octane, gripping stories from the worlds droitwichcamera.co.uk 7.30pm, 22 March
leading climbers, adventurers and explorers at this Chemistry Theatre,
years festival. More than 100 travel, adventure Winter Lecture: About Africa University of Bristol
and extreme sports lms will be screened: dont 7.30-9pm, 9 March Mountain guide, adventurer and
miss Afterglow, a short documentary about artist, Bristol Museum and Art Gallery documentary lmmaker Joe
photographer and outdoor swimmer Vivienne Rickman Shining fresh light on Africas past Johnstone talks about his Last Nomad
Poole; and Untethered, a documentary about the slack- and present, travel photographer project, a series of his expeditions
lining and high-lining community in Vancouver, Canada. Harry Hook tells the epic visual story across the Mongolian wilderness.
shaff.co.uk of the countrys urban migration wildernesslectures.com
through his stunning imagery.
bristolmuseums.org Ash Dykes: Surviving
DONT MISS! Madagascar
The Photography Show 2017 Into the Abode of Death: Crossing 7pm, 12 March to 19 April
18-21 March, NEC Birmingham the Empty Quarter of Arabia Various locations across the UK
Photographers from across the UK will head to Birmingham in 2.15pm, 9 March Adventurer Ash Dykes talks about
March for one of the countrys biggest annual photo fairs. Along Reneld Centre, Glasgow his record-breaking, world-rst
with hundreds of photography and video products on display, Explorer Mark Evans recounts his crossing of Madagascar, where he
an extensive line-up of speakers (including Luke Massey and aim to recreate the historic journey trekked 1,600 miles in 155 days and
Karl Holtby) and an array of workshops, dont miss our Outdoor of Bertram Thomas, who, in 1931, climbed eight of the islands highest
Photographer of the Year exhibition and awards ceremony: the became the rst westerner to mountains along the way.
overall winner of our competition will be revealed on the Live cross the Empty Quarter. speakersfromtheedge.com
Stage on 18 March between 1.45-2.30pm. rsgs.org
photographyshow.com A night of endurance with Ben
Miranda Krestovnikoff Saunders and Jake Meyer
LAST CHANCE TO SEE! 7.30-10pm, 3 March 7.30-10pm, 23 February
The Island Exhibition Idle Valley Nature Reserve, RGS, London
To 28 February Nottinghamshire Multiple world-record holders and
Bempton Cliffs, East Yorkshire Join television presenter, biologist and adventurers Ben Saunders and
Located a mile off the coast of Northumberland, Coquet Island trained diver Miranda Krestovnikoff Jake Meyer, plus special guests,
is closed to the public to protect its large colony of nesting as she reveals the wildlife encounters are sure to provide an evening full
seabirds. Through the power of virtual reality, until the end and discoveries she has enjoyed of exhilarating stories from their
of February, you can experience a 360 view of life among while exploring the UK coastline. most gruelling expeditions.
the puffins and terns at the RSPBs Bempton Cliffs reserve. attenboroughnaturecentre.co.uk rgs.org
rspb.org.uk
12_13 The Big View CB.indd 13 23/01/2017 10:10

THE LATEST FEEDBACK
YOUR LETTERS
Write to us! We love getting your views and responses; email claire.blow@thegmcgroup.com
Winter safety essentials and an owls eyes process light; humans can expect I told my group we had to respect the
LETTER OF In response to your Quick to experience 5-20 seconds of functional blindness landowners privacy and stay on the track;
THE MONTH guide to preparing for winter when exposed to a bright light, so it is fair to assume before sunrise he drove up in his 4x4 and, in
shoots feature in the January that that owls eyes react in the same way (source: a non-friendly way, clearly indicated that didnt
issue (OP213), I would agree that crampons audubon.org/news/is-ash-photography-safe-owls). want us to stray on to his land. This barrier
and an ice axe are essential for mountains in My personal position is always to operate with did limit our choices a little, but it was still
winter plus proper four-season boots that will extreme caution and, as such, in the absence of any possible to capture some great images. What
take crampons. Just as important, however, is compelling data either way, this is why I myself do concerned me more, though, was seeing other
knowing how to use this equipment safely and not undertake this work. photographers (not associated with my group)
properly. A winter walking/mountaineering not only crossing the barriers, but wandering
training course with properly qualied guides Respecting landowners property through the landowners olive groves and
is recommended before going out to play. I feel compelled to write to you to highlight across crop elds to get their shots. These
The same goes for a map and compass. These a matter of great concern to me. photographers were also British, judging by
are not magic talismans that will guarantee I have been a professional photographer for their accents.
safety if carried: you do have to know how to 40 years and run a variety of workshops and If this attitude continues I can see the farmer
use them in difficult conditions, and a mountain photography holidays. One of my most popular either planting a tall hedge to obscure the views,
in a blizzard is not the time or place to learn. holidays is a trip to the Val de Orcia in Tuscany or he might even put a high chain link fence
Cluny MacPherson, via email where, among other locations, we photograph to keep photographers out; this would make it
the iconic Belvedere farmhouse, which is a almost impossible to get a clear, unobstructed
private property. view of the farmhouse.
On my latest visit back in October we again I would urge all landscape and wildlife
Owls in the spotlight headed to the farmhouse and valley to capture photographers to respect the rights of
Having read Andrew Parkinsons article, the wonderful scene as the sun started to rise. landowners, and not to assume they have
Illuminating images, in the February Access is via a farm track (in the UK it would be the right to wander wherever they want in
issue (OP214), I write to give your readers a bridleway), which gives rights of way through order to get their images. After all, when
more information on the eect of ash the farmland. As we approached, I discovered we trespass on land we increase the risk
on breeding owls. the farmer had tied red and white plastic tape of destroying both the environment and
Every year over the last 46 years, I have along the boundaries of his land (not a pretty the otherwise co-operative relationship
photographed one or all of our nocturnal sight) to stop photographers (I presume) from we have with the landowners.
breeding owls (little, tawny, long-eared and trampling his land adjoining the bridleway. I will be returning to Tuscany again
barn), sometimes all four in one season! While Fair enough, I thought, as it was obvious that this coming October and I hope to see
all owls are individuals, I can honestly say that over the years areas had become well worn the landscape at is best and not spoilt
the activation of the ash has had no adverse where photographers would gather to capture by a few selsh photographers.
reaction from them. their images. Graham Light, via email
Where there may be a response is from the
sound of the shutter followed by the whining
of the ash as it recharges and, of course, the Correction In the Locations Guide
red and green lights that are activated on the section of the February issue (OP214),
rear of the ash head. In respect to the subject, we incorrectly attributed one of the
I only ever use one ash head (Metz CT-4) and viewpoints, Hebers Ghyll in West Yorkshire,
cover up the back of the ash with tape so that to David Handson. The photograph and
neither the owl nor I can see the illumination. accompanying information is actually
Graham Light
Nocturnal digital photography has taken by David Henderson. Apologies to both

a massive step forward with the introduction photographers for our error.
of cameras such as the Canon EOS 7D MkII
with its silent shutter facility.
Gordon Yates, via email
Marchs letter of the month winner, Cluny MacPherson,
ANDREW PARKINSONS RESPONSE
receives a 100 voucher (plus free p&p) from LumeJet.
When it comes to the use of ash to photograph
LumeJet delivers a professional printing service that provides faithfully reproduced, excellent
owls, it is impossible to say whether or not it has
quality prints of your images. Offering a range of printing sizes up to and including one-metre
a detrimental eect on the birds, as there simply isnt long panoramic prints and photo books, LumeJet delivers high quality, natural looking and
a comprehensive body of scientic data to support accurate prints on traditional silver halide papers by using a brand new RGB digital print head.
either position. The limited studies I have read look Find out more about LumeJets print services at lumejet.com
at the similarity between the way a humans eyes
14 Letters CB_SW.indd 14 23/01/2017 10:10

A very powerful program
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015_OPHO_215.indd 15 1/18/17 4:05 PM

16-22 Interview CB.indd 16 23/01/2017 10:19

In conversation with
Joshua Holko
Australian landscape and wildlife photographer Joshua Holko is passionate about
the polar wilderness environments he records. He refuses to compromise on quality,
and his photos are pretty much how they come out of the camera
Interview by Nick Smith

My average day starts at seven in the morning
and doesnt nish until 10 at night. Thats seven
days per week, 365 days a year. Joshua Holko
is describing his unstinting commitment to
his job as a polar photographer. To say that his
attitude is one of total immersion is probably to
understate just how much he puts into getting
his extraordinary images. And he has to work
harder than most because he is brutally hard on
himself to the point of self-agellation when
it comes to what he is and isnt allowed to do
in post-production. He likes to get everything
right in-camera, something he inherited from
his early days of lm, and hes not going to allow
digital technology to soften his approach.
Before we get to the images themselves,
Joshua is keen to stress just how unglamorous
the life of the roving polar photographer
really is. As we chat, hes preparing to set
o for the White Continent and is speaking
from a departure lounge in New York. While
there is never any doubt in my mind that he is

completely focused on addressing my questions,
I can feel the gravitational eld of that great
landmass pulling him away from our discussion
with an intensity thats palpable. Youre in and
out of airports all the time. Youre on planes
a lot. Its a life that might look glamorous, but
its actually quite tough.
Its a price worth paying for Joshua, who
clearly recalls enjoying the creative side of
photography from a very young age. I remember
how I used to capture my images on lm as
a child. It was all lm in those days and so
there was no instant feedback. But I very
much enjoyed that feeling of having captured
something from nature without knowing what
it was until I got the lm back to the lab a week
later. I enjoyed being out in nature in Australia
where I grew up. Whether I was camping out in
the mountains to photograph rock climbing, or
recording landscapes, it was always about being
outside in nature. I think you have to have that
love and passion for nature rst and foremost,
because, he says: if youre not passionate, youre
not going to be able to do good work.
Theres something about the isolation of
the polar explorer that goes deep into Joshuas
psyche. While his contemporaries were casually
conforming to the antipodean stereotype of
playing cricket and following Australian Rules
football, the aspiring photographer was aware
that he was dierent. Look, I couldnt even tell
you how many teams there are or what they are
called. I live in Melbourne and it is one of the
most sports-mad cities in the world. But Ive
always been a bit of an individual, pursuing solo
activities rather than team sports. Thats why
I was always more interested in photographing
rock climbing. But being dierent, standing
outside the world of team sports, was never
really that much of an issue. It just felt natural
to me to follow my passion for photography.
As with so many others before him, Joshuas
desire to visit the polar regions sprung from
a seed planted in his mind by television
documentaries. But it wasnt until I set foot
on the ice that this niche in my photography
really clicked into place. In terms of Australian He is generous in his appreciation of his Previous page Gentoo penguins march across the
photography, its also quite a unique niche. contemporaries, rating French photographer sea ice near the mouth of the Lemaire Channel
in Antarctica.
He goes on to say that he cant o the top Vincent Munier highly: hes not that well
of his head think of any other Australian known outside France at the moment, but hes Opposite (top) An iceberg temple emerges from the
photographer who does what he does, making probably one of the best wildlife photographers fog near Red Island in Scoresby Sund, Greenland.
him even more dierent from his peers. But working today. Its just superb work. And
he sees polar photography as an international there are some guys in Norway who arent well Opposite (bottom) Deep beneath the Vatnajkull
glacier in Iceland, glacial melt ows rapidly as
community, while being completely unfazed known, who are excellent. I think that the
sunlight illuminates the scene through a small
by appearing to be dierent. Hes also unusual standard of work today, especially in Europe, opening in the ice.
in that, unlike other polar photographers, he is very, very high.
doesnt feel as though he walks in the footsteps A look through Joshuas portfolio reveals an Above (top) A giant petrel takes ight during
or shadows of the great polar adventurers and artist seemingly as comfortable with landscape a snowstorm at Elephant Point in Antarctica.
photographers of yesteryear. Im driven by as he is with wildlife. I ask him if this is a fair
Above (bottom) Weighing several tonnes, an
my own need to explore these places. Despite assessment of his photographic subject matter elephant seal bellows, its breath steaming in
which, Im a believer in looking at the work priorities. Yes. In fact I call myself a nature the cold air while surrounded by a throng of
of others. I buy a lot of books so I can see in photographer because I do landscape and king penguins.
what way they are pushing the envelope. wildlife. I grew up learning about landscape and



didnt get into wildlife until later on. But theres post production (although he is a big fan of Previous pages Deep in the highlands of Iceland,
something about good wildlife photography graduated ND lters on the camera) that there a remote track winds through the black volcanic
Tephra landscape as green iridescent moss crawls
that really appeals to me. I think its actually might as well be no software at all. There might
over the fog-covered landscape.
harder to do than landscape. With landscape be a tweak or two on the noise sliders and any
you need a great subject with great light and rogue dust spots will be zapped, but when it Above A polar bear on the pack ice north of Svalbard
composition. And while the same is true in comes to cloning and manipulation, thats just devours a recent seal kill under the midnight sun.
wildlife, you also need an animal. And the about it. Its just about showing your best work.
animal needs to be doing something in order I could come back from a 10-day trip to
to make the photograph interesting. So I nd the Arctic shooting polar bears with maybe photography junkies cant reach has achieved
wildlife more challenging, but I certainly enjoy something like 10-15,000 images. Of these, a new signicance for him in that he can stay
it. Having competence in both genres ensures hell probably show three or four single images, one step ahead of the mediocrity. On the other
that there are more possibilities opening up all which is roughly two hundredths of one per hand, he is also deeply aware of the privilege
the time. This is because if the wildlife isnt in cent. Im very picky about what I show, and if associated with visiting the polar regions so
a co-operative frame of mind perhaps I can it isnt right, it just doesnt see the light of day. many times now that Ive actually lost count.
shift gears and do some landscape work. These days, people seem to be obsessed with Im denitely very lucky to be able to say that.
Theres something about the Australians sharing everything on social media, and theyll His nal words are to tell me that hes hoping
work that makes it dierent from those who do, post their seconds or even thirds. But I think that his work can go yet further down the
on the face of it, the same thing. Joshua thinks this pulls their work down. Joshua goes on to environmental conservation route. Antarctica,
that if there is a hallmark on his compositions, explain that this is the sort of publish or perish says Joshua, with a cadence suggesting hes
its probably due to the way he edits. Im really syndrome created by the unrelenting pressure running out of time (hes just about to step on to
tough on myself when it comes to editing. No of maintaining a dynamic presence on social another plane taking him south for the season),
kidding. This is from his ethical statement on media. But I try to resist that. is the closest you can get on earth to being on
his website; All of the photographs are single Everyones a photographer these days, says another planet. Its a difficult place to get to. Its
image captures without HDR or multi-image Joshua, and the world is full of substandard certainly the most pristine place on the planet.
compositing techniques. No focus-stacking material taken by people who arent really Its an incredible place. Everyone who goes there
or blending of multiple exposures has been photographers, but are exercising their right for the rst time goes there as a tourist, but
used and there are no overlaid textures or to publish work on the wild frontier of the comes back as an ambassador.
dropped-in skies or foregrounds. The manifesto internet. Which means that getting to places
continues by explaining that he does so little where the general population of mobile phone To see more of Joshuas works work, visit jholko.com

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023_OPHO_215.indd 23 1/11/17 11:32 AM

ONE MONTH, ONE PICTURE
Having a consistent process in our approach to photography can help to free the creative artist within
each of us. Pete Bridgwood sets out an easy to remember way of focusing on the important elements
Ive chosen a simple image this month to visual ow through the image, such as clever lighting for granted. Thinking like a painter
illustrate some of the methods we can employ use of shapes and lines to create visual paths and making a conscious eort to observe the
when out shooting to optimise our chances for the viewer, and the choice of optimum way light is falling on our subject can inuence
of capturing the best possible image. As exposure duration to slur the passage of time our composition, by concentrating our attention
an on-location aide memoire, Ive created and convey a more potent sense of energy. on the components of the scene most worthy
a mnemonic, SIMPLE, from the rst letter P stands for Placement and Perspective. of emphasis.
of each element. Composing a photograph involves the E represents Emotion: the most important
S represents Simplicity itself: this can be distillation of three-dimensional chaotic element of all. Our image can convey the
both a natural characteristic of the scene, reality to a more ordered two-dimensional feel of the actual location or an entirely
or something we can enhance by the way we representation. This distillation comprises dierent and manufactured feel, depending
photograph it. Restricting the colour palette two important choices. Firstly, placement on how we choose to process it. The ultimate
to a maximum of two or three colours, use of of the essential compositional elements alchemy in making a photograph, it transcends
symmetry and attention to visual balance are within the frame of our image, and the a simple encapsulation of time and space,
all excellent ways to simplify our composition. simultaneous exclusion of less important creating a single-sensory visual translation
I stands for Interpretation, as a reminder or distracting objects. Secondly, choice of of a multi-sensory emotional experience.
that our photography is unique: it doesnt viewpoint, which determines the perspective
matter how other photographers have of our image and inuences the individual
interpreted the location. Of course, we all presence and relationships of various
have our inuences, but the one thing that compositional elements.
differentiates us creatively and helps us L refers to Lighting. Any discussion about
develop a personal style, is to make our photography wouldnt be complete without Another Place, Crosby, Liverpool, Merseyside.
Fujilm X-Pro1 with XF 14mm f/2.8 R lens, ISO 200,
own interpretation of the scene. mentioning lighting; it is after all the most 6sec at f/11, Lee Seven5 Little Stopper 6-stop near
M is for Movement. This refers to both essential prerequisite for photography. When ND, Manfrotto 055CXPRO3 tripod with Manfrotto
compositional devices that inuence the making an image, however, its easy to take 405 geared head
24 One month one picture CB.indd 24 24/01/2017 11:24

The Mist Stripe
Spis Castle, Slovakia
LEE Filters 0.6 ND Medium Grad and a LEE Filters Mist Stripe
Nikon D810, Nikkor 24-70 F2.8, second at f11 at 100 ISO
Without Mist Stripe lter
The stunning ruins of Spis Castle in eastern Slovakia are perched upon a
rocky outcrop towering over the valley and surrounding countryside. Its 0.6 ND Medium Grad
location is magnicent and the castle itself well worthy of its UNESCO
World Heritage Site designation.
Mist Stripe
I had a great viewpoint from which to shoot the castle and the warm light
was gorgeous, but I felt that the whole image needed something to give it
an edge, something extra that would make it stand apart.
The LEE Mist Stripe is a lter like no other. It gives an effect that cannot
be replicated in post-production. It behaves the way natural mist will when
backlit by the sun, it will glow and the image will have a softer more ethereal
look. In this image not only does the Mist Stripe help create more mood and
atmosphere it is also hiding a messy and distracting foreground.
The effect and drama of the LEE Mist Stripe will vary from focal length to
focal length, making the band of mist appear thinner or thicker. Aperture
will also play a role in how the mist will look. Focal lengths of about 35mm Mist Stripe lter
to 50mm and apertures between f5.6 and f11 will be a good starting point
when rst using this lter.
Jeremy Walker
www.jeremywalker.co.uk
www.leelters.com
025_OPHO_215.indd 25 1/13/17 2:32 PM

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026_OPHO_215.indd 26 1/11/17 11:33 AM

LEARNING ZONE
IMPROVE
28 How to master 36 Quick guide to... creating
exposure simple wildlife images
UNDERSTANDING EXPOSURE
Doug Chinnery helps you get to grips with your cameras settings
27 Learning zone opener CB.indd 27 24/01/2017 11:26

LEARNING ZONE
Mastering exposure
A mastery of the fundamentals of exposure not only enables you to capture technically
excellent images; it also gives you full control over the creative process. Doug Chinnery
shares his expertise to help you get the best results from your photography
What exactly do I mean by exposure? Apart

from, of course, that creeping feeling of
impending hypothermia while standing for
the third hour beside a Scottish loch in winter,
waiting for the light. As photographers we use
the term interchangeably for several things.
Thats a beautiful exposure, can refer to an
image itself. I only have three exposures left
can refer to an analogue photographers lm
stock, and so on.
What I will be discussing here, however, is the
combination and variations of ISO, shutter speed
and aperture with light that goes to make an
image on a light-sensitive medium.
It is this combination, along with focus and
composition, which lies at the very heart of
photography. A mastery of these elements, along
with a willingness not to be straitjacketed into
conventions of a correct exposure, frees the
creative potential of our cameras.
SHAKY FOUNDATIONS
While I assume that as a reader of Outdoor
Photography you are familiar with the
exposure triangle, it is worth noting
that although we might feel we have an
understanding of what ISO, aperture and
shutter speed are and what they do, in reality,
out in the eld, many may be failing to really
use these functions to their full potential.
By relying heavily on the cameras light
meter (and not fully understanding what the
meter is measuring or doing), and by working
in fully or semi-automatic modes, we could be
allowing our cameras to make crucial creative
decisions for us. Imagine Leonardo da Vinci
allowing someone else to mix his paints or
choose his brushes. Imagine Monet painting Fujilm X-E2 with XF 55-200mm lens at 200mm, ISO 200, 1/170sec at f/8, handheld
by numbers. It is unthinkable. Yet, the more we
hand over decisions that have an effect on the
creative results of our images to the computer using these) and manipulate all three quickly, seizing the moment. We will probably
in our camera, the closer we move to this kind elements to our advantage, playing one nd ourselves moving from using more
of scenario. off against the others to craft the image automated modes, such as Aperture Priority
A good understanding of the way ISO, we visualise in our mind. to Manual, to allow ourselves full control
aperture and shutter speed are linked, and Gone should be the questions, what is over exposure with no intervention from the
how making a change to one setting has an the correct exposure for this? or what camera. This can seem daunting at rst, but
effect (either negatively or positively) on the settings should I be using? Very soon those is, in reality, liberating. For many, the creative
other two, is crucial to our creativity. Once choices will become instinctive. When tricky process becomes more absorbing and
we have this rmly in our minds we can work conditions present themselves (which, lets enjoyable as a result of being fully engaged
quickly in the eld (especially if we can think face it, is more often than not) we will know and responsible for every aspect of making
in terms of stops and make calculations the potential solution and be able to apply it the image.
28_34 Technique CB.indd 28 23/01/2017 10:44

Canon EOS 5D MkIII with EF 24-70mm f/2.8 L lens at 25mm, ISO 200, 1/50sec at f/16, 0.9 Lee soft ND grad, tripod
A TECHNICAL APPROACH
I would recommend, when working on a tripod, setting in the rush to capture eeting light.
having a workow in the eld. A repetitive, There are real benets to using our A tripod-based workow
step-by-step process for making images cameras in manual exposure mode. It forces
where all the technical issues are dealt with us to think. The camera no longer intervenes 1 Set ISO.
in a logical order. The benet to me of this on our behalf and so, after selecting our ISO, 2 Set aperture (in manual mode).
approach is that nothing essential is forgotten, we have to make conscious decisions on the 3 Compose using live view.
images will be technically correct (if they are aperture and shutter speed we are using. 4 With lens in manual focus mode,
poor it will be because the light, the subject or The priority modes, while useful in non-tripod use camera screen to live view focus
our composition is poor, but at least they will based photography, allow us to lose sight (autofocus if you prefer). At this point
some cameras (Canons, for example,
be correctly focused and exposed, with the of what is happening with our exposures if
also let you check depth of eld in live
depth of eld we envisaged). we are not concentrating. It is too easy, in view using the depth of eld preview
By following exactly the same steps in the aperture priority mode, to select an aperture button on the camera).
same order for every single tripod-based and then assume the shutter sp eed the 5 Position graduated lters, if required.
image I make year after year, I found I could camera is choosing for us will produce an 6 Depress shutter release half way to
work extremely quickly, even in the low light image that captures the soul of what we see activate light meter gauge in viewnder
of pre-dawn shoots. Your hands and mind before us. (It is true we can use exposure or on live view screen (not all cameras
build muscle-memory. Most importantly compensation to adjust exposures, but will show it on the screen).
for me, the steps creating the image become I often nd I get lazy or forget to do this in 7 Adjust the shutter speed to bring the
virtually automatic, I perform them almost the eld.) Yes, we introduce a certain amount indicator needle to the centre of the
light meter gauge.
in the back of my mind, freeing me to of that soul or mood in post-processing, but
8 Fire the shutter (using a remote
concentrate on composition and light, things so much happens at the instant of exposure.
shutter release).
which, to me, are far more important than It is this moment in time we need to be most
9 Check the histogram, adjust shutter
anything else in the image. It has helped aware of what our camera is doing, and try speed (if required) and re the shutter
me avoid those frustrating missed magical and capture as much of the emotion in the again see Exposing to the Right
moments caused by fumbling about with shot that we can at that point. I nd working (ETTR) on page 33.
menus and dials or forgetting an essential manually helps me achieve this.

THE TROUBLE WITH LIGHT METERS
Light meters are perhaps one of the most It is then pointed at a scene and makes at a more reasonable level. It can be done,
misunderstood features on our cameras. millions of calculations a second, as light yes, but isnt there more satisfaction in being
They are ridiculously clever things and we levels uctuate, in anticipation of us pressing a craftsman in the eld rather than a bodger
ask them to perform seemingly impossible the shutter release. It has to guess what the who covers over their mistakes with Polylla
calculations in fractions of seconds. Yet they light levels will be at the instant we re the and thick dollops of gloss?
are not to be trusted. Use them as a guide shutter, and set the exposure duration at that Far more important to the digital
but remember that they are almost always instant. It is a predictive tool. It is a guess, an photographer than the light meter is the
misleading. The international standard for educated guess, but a guess nonetheless. histogram. Where the light meter is predictive,
programming our light meters, which camera Most photographers trust that guess without the histogram is a record of what actually
manufacturers have to work with, expects hesitation. happened when the exposure was made.
them to set the light meter to underexpose We also have in the back of our mind that Being able to read all the aspects of the
by 6% in ideal conditions. Now 6% is neither because we are shooting in Raw we can push histogram correctly enables us to understand
here nor there in reality. But when do you and pull the le around with abandon, with and trust exactly what is going on in our
work in ideal conditions, with average soft no consequences. But of course there are digital le. It also enables us to get the
grey light? Not often, I would guess. As the consequences to tugging that data about. full power out of the digital sensor, creating
contrast range increases, as conditions get Lightening pixels in shadows to restore detail the largest digital les our camera is capable
more difficult, the light meters problems soon appears as noise. Pulling detail back of producing. This technique is called
increase. We have told it what ISO to use from over-bright highlights rarely has the Exposing to the Right, or ETTR, and it can
and usually give it an aperture to work with. same feel as highlights that have been held be very useful to the digital photographer.
Fujilm X-Pro1 with XF 18-55mm lens at 39mm, ISO 200, 1/5sec at f/8, tripod

Fujilm X-E2 with XF 55-200mm lens at 156mm, ISO 200, 1/3500sec at f/4.5, handheld
The les produced are also capable of use the Spot or Centre Weighted modes.
producing noticeably ner prints due to Evaluative metering allows the camera to Handheld workow
the amount of data they contain, especially give the most accurate reading in most
giving us important detail in the shadows. situations and gets us in the right area for 1 Set ISO.
To understand the process of ETTR, see the an average exposure. Then, using the ETTR 2 Set aperture (in aperture priority mode).
sidebar on page 33. So, for the technical method we ne-tune this, doing away with 3 Set lens to autofocus, with just the centre
photographer, I would recommend using the any need to use other metering modes in focus spot active.
light meter as a guide to get the exposure the vast majority of situations, especially 4 Turn image stabilisation on.
into roughly the right area only, but from in landscape photography. 5 Point the centre of the lens at the object
then on trusting the histogram absolutely Working in this way having a workow you want to focus on, depress the shutter
half way to lock the focus, then, keeping
to ne-tune the image. It is your best friend in the eld and using the histogram to guide
the shutter half depressed, re-frame
on the camera. you to create really large, high quality Raw the shot. This maintains the focus.
It is for this reason I always set my les from your camera, along with a good Remember that when doing this you can
cameras light meter to the Evaluative or understanding of focus and composition move the camera vertically or horizontally
Matrix setting, which allows it to analyse will enable you to produce technically ne, but not forwards or backwards, as this will
alter the focus distance.
virtually the entire frame. I almost never well crafted images of what you see.
6 Once the framing is as you want it in the
eyepiece, re the shutter.
7 Check the image on the rear screen.
8 If the image needs to be darker or
brighter, use exposure compensation
to achieve this, and re-shoot.
9 In aperture priority mode, using
exposure compensation, all you are
doing is slowing or speeding up the
exposure time. By using positive
exposure compensation you are slowing
down the exposure and letting more
light in (I always think of adding light).
When you use negative exposure
compensation you are doing the
opposite, speeding the shutter up and
letting less light in (again, I think of it as
subtracting light, as an aide-memoire).
Canon EOS 5D MkIII with EF 70-200mm f/2.8 L IS lens with 1.4x extender at 100mm,
ISO 200, 2.5sec at f/45, handheld

ANOTHER PATH
While making beautiful, technically crafted be blown, in the same way that we are told shooting at much wider apertures allowing for
photographs is absolutely ne, some nd images must be sharp or comply with certain faster shutter speeds suited to handholding
that they can convey little in the way of compositional rules. Once we accept this is the camera. Once unshackled from the old
soul, story or emotion. The images will not necessarily the case, the creative fun norms I felt a huge relief.
tend to have full detail in the shadows, can begin. My new workow involves using aperture
and highlights will be bright but not blown. For me this has resulted in largely priority and the exposure compensation
They can be seen as simply beautiful images abandoning the tripod for most landscape dial on my mirrorless camera system.
of locations, enhanced by ne compositions photography, and with that huge change in my I use autofocus and image stabilisation
and good light. way of working I have developed a workow and higher ISO settings along with wider
For many of us, though, our creativity and new approach for handheld shooting. apertures to allow me to work quickly
begins to search for ways to inject I have come to realise that obsessing about and instinctively in the eld. I make more
something more into our images. Using le sizes and histograms while technically images to compensate for ones where the
our understanding of exposure and being correct and the ideal method when working composition is not quite right or the focus
willing to stray from convention will allow on a tripod making classic images is is slightly off. I am prepared to experiment
us to explore this need. not really well suited to creating evocative with exposure much more and, horror of
Once we realise that no one is hanging work that conveys what I feel when I am in horrors, I now rarely look at my histogram.
histograms on gallery walls, we can free the landscape. It was standing between I am looking at how the image appears
ourselves of some of the constraints some me and my creative vision. I have realised on the cameras monitor and simply
would place upon us as to what a correct that the high ISO capabilities of modern asking myself, does this excite me, is this
exposure is. I would suggest that a correct digital cameras mean I do not need to be conveying what I am feeling?. I know I am
exposure is simply one that realises our tied to a tripod, except for precision macro/ not getting the biggest Raw le my camera
personal creative vision for an image. It bears composition work, night photography and can produce. I am not concerned if I am
no relation to what a light meter or histogram long exposure images. I have freed myself losing detail in my shadows or blowing
is telling us. Convention tells us shadows from the constraints of the constant need for my highlights (although I do try not to).
have to show detail, and highlights must not front-to-back sharpness and am comfortable The technical considerations have become

secondary. My whole approach is to produce that noise is not the issue it once was (and
images that move me. we have noise reduction soft ware on the Exposing to the Right (ETTR)
The type of images this st yle of photography rare occasions we need it). Play with shutter 1 After ring the shutter, check the
creates will not be to everyones taste, and speed in manual mode, not worrying that the histogram. In the white histogram, the
that is ne. It is simply a case of choosing light meter might be telling you that you are left-hand side of the graph represents
a workow that suits our st yle and approach. two, three or even four stops over or under pure black in the image, the right-hand
side represents pure white.
I use both methods depending on the st yle exposing. Rather, look at the results. Ignore
of image I want to create. the computer. We are the artists. It is the 2 The gaps between the long white lines
spread at equidistant intervals across
Mastering exposure is all about being in results that matter. Enjoy seeing dark images the length of the graph, running from top
control of ISO, aperture and shutter speed. with little or no shadow detail that convey to bottom, represent full stops of light.
It is about being willing to manipulate them melancholy, oppression and drama. Revel in 3 So, if the histogram nishes at the nal
beyond what the camera or other people tell bright, sparkling images with blown highlights line before the right-hand edge, you
you is correct . Be prepared to experiment that speak of joy, freedom and wonder. And, know the image is one stop underexposed.
with apertures to inuence the shutter speed yes, at times, set up the tripod, select f/11 and If this is the case, simply slow the shutter
down by one stop (positive exposure
to create differing effects. Be willing to let use ETTR to simply capture a magnicent
compensation if working in aperture
go of those old worries about digital noise, sweeping landscape in all its natural glory, priority mode) or, if working in manual,
and use higher ISO values to get increased with detail in the shadows and masterfully I simply click my shutter speed control
shutter speeds when necessary, realising held highlights. wheel three times (each one being a third
of a stop) in the direction that slows the
shutter speed down.
4 Re-take the image and check the
histogram again.
5 If the light hasnt changed signicantly
between shots, you should nd the
histogram is now close to touching
the right-hand edge.
6 If it is not, simply slow the shutter by
one or two thirds of a stop, re-take
the shot and check the histogram.
7 If the histogram touches the right-hand
edge and you get a spike, this indicates
overexposure areas of the image will
have gone pure white. If this is not your
desired result, speed up the shutter by
a third (or relevant amount of stops) and
re-take the shot until the histogram is as
close to the right-hand edge as possible
without creating an overexposure spike.
8 Having the blinkies switched on will
assist in seeing if overexposure has
occurred, where it is in the image and to
what extent, so you can make a creative
judgment on whether to allow this or not.
9 It also pays to take notice of the left-hand
edge. If the histogram is touching at the
left then you have pure black pixels in
the image, indicating a loss of detail in
the shadows. If moving the histogram
to the right fails to x this, you may need
to use graduated neutral density lters to
hold back the highlights to allow a slower
shutter speed to be used to pull the detail
out of the shadows.
10 A technically ideal histogram will see
the graph not touching at either the left
or right-hand end. What happens in the
middle is irrelevant, as the peaks and
troughs and where they appear is simply
a representation of the tones that the
camera is being pointed at. If spikes go
out of the top of the histogram, this is
also irrelevant.
11 Do not strive for the bell-shaped curve
that some talk of. This is a mathematically
perfect curve but it represents an image
with no bright or dark tones, just mid-
tones, meaning no contrast. It is likely
to be very at and dull.
Canon EOS 5D MkIII with EF 70-200mm f/2.8 L IS lens with 1.4x extender at 230mm,
ISO 200, 1/6sec at f/11, tripod

10 STEPS TO CAPTURING SUCCESSFUL EXPOSURES

1 Set your cameras colour space to Adobe RGB. as the light meter will want to slow the shutter down at the same time). Equally, if you stop up to a wider
While this does not apply a colour space to the too much to brighten the subject up. (lower) f-number your exposure time will exactly
Raw le (it only does so on the JPEGs, it does halve from the previous. Once you start using
produce more accurate histograms. 6 If your histogram will display the RGB channels third stops these calculations become much
as well as the white histogram, switch these on. more complex.
2 Do not use your cameras monitor to judge The white histogram is produced as an average of
exposure. The only accurate way to judge exposure the RGB channels. In most images it is sufficient to 8 I apply the same principle to working with ISO.
is using the histogram or with a calibrated monitor. work from the white histogram. However, if you have I work only in full stops 100, 200, 400, 800, 1600,
Camera monitors are not calibrated. The fact we one strong colour in your image, take great care not 3200 and 6400. Again, this makes calculating
can change how bright the screen displays on the to allow the predominant RGB channel to blow (to exposure times, especially for long exposures, very
camera means what we see is almost irrelevant. touch the right-hand side of the graph), as this will simple, as the doubling/halving principle works with
result in a loss of detail in that channel. A classic ISO just as it does with aperture.
3 Have the highlight priority warning switched on example would be shooting a eld of red poppies.
in your cameras menu (commonly known as the Your white histogram may appear well in from the 9 With shutter speed I will work with third stop
blinkies). Although some nd these distracting right-hand edge when using the ETTR method, changes to make minute adjustments to how the
when reviewing images, they immediately alert us but on checking the red channel you may nd it image looks and to ne-tune histograms when
to blown highlights, and the extent of them. We can clips the right edge much sooner. This will result shooting using the ETTR method. It allows absolute
then make a judgement as to whether to allow them in horrible at red poppies with no detail in the precision in the exposure.
or to re-shoot, adjusting the exposure accordingly. petals. Ensure you speed up the shutter until the
red channel doesnt clip, and ignore what the white 10 Avoid using ISO 50 and other sub-100 ISOs.
4 Remember, when shooting very bright subjects, histogram does. Watch your poppies transform Generally speaking, these are simulated ISOs
such as snow or mist , set your camera to into all their original glory when you get home. designed by camera manufacturers for specic
overexpose immediately (use positive exposure studio situations, and while they will have an effect
compensation, usually of at least one stop, often 7 It is good practice to work in full stops for on exposure time they will also usually sacrice
more). This is because your cameras light meter aperture: f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22. other asp ects of the image, such as highlight
will want to make the bright subject duller and grey. The reason for this becomes evident when information. Only use them if you absolutely must;
calculating exposures. When you stop down if you have no other way of slowing the shutter (such
5 Conversely, if shooting a very dark subject , be to the next (higher) f-number your exposure time as using neutral density lters).
prepared to use negative exposure compensation, will exactly double (if you do not change the ISO
TAKE PART Enter our masterful exposures competition turn to page 111 for details

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035_OPHO_215.indd 35 1/18/17 4:06 PM

creating simple
QUICK GUIDE TO
but powerful wildlife images
Keep it simple has long been one of the commandments aspiring photographers are regularly
exposed to, and theres good reason for this. In this article, Richard Garvey-Williams looks at
how less is often indeed more in the realm of wildlife photography
Much of photography is about communicating

something or conveying a message. For wildlife, it may
simply be a case of revealing a feature of an animal
that you nd striking, or some aspect of its behaviour
or the environment in which it dwells. Including
anything in the frame that does not add to, support
or reinforce the statement in some way will only
potentially distract or confuse the viewer. The fact
that we are exposed to so much photographic imagery
now, and that we tend to view it hurriedly, often on
small screens, also means that much of our imagery
has to be simple to be noticed.
Furthermore, in the context of our complex, modern
lifestyles, it can be argued that many of us relish, from
time to time, the tranquil oasis that a little simplicity
provides. A scene containing just our animal subject
and perhaps one or two other related elements, if
composed considerately, can have profound impact as
a piece of art. The absence of a complex narrative can
allow the viewers imagination to roam more freely.
There is still, of course, also a place for complex, more
perceptually-challenging images as a contrast to these, Top The morning mist, and shooting into the Above In this case, silhouetting the black rhino
particularly when the intention is to confuse, unsettle light, served to create a platform to reveal the against water reecting the golden dusk sky
or challenge the viewer to look deeper and longer for beautiful proles of the great crested grebe in Namibia has created a simple study of the
and mute swan. The tranquil scene invites animals outline.
the message. Studying a photograph and suddenly viewers to create their own narrative. Canon EOS 5D MkIII with EF 100-400mm
noticing the tigers eye peering out at you from dense Canon EOS 5DS with EF 100-400mm L MkII lens at 400mm, ISO 2000, 1/60sec
thicket can certainly get the adrenaline owing. L MkII lens at 400mm, ISO 320, 1/320sec at f/7.1, cable release, tripod
at f/13, monopod
36_37 Quick guide CB.indd 36 23/01/2017 10:47

Right Catching this great
crested grebe as it passed
10 ways to simplify across a small patch of sunlit
water, with the exposure
your images set for its sunlit plumage,
enabled me to create an
almost studio-like portrait
A longer focal length might of this beautiful bird.
enable you to frame your subject Canon EOS 7D with EF 100-
more tightly, eliminating any 400mm L lens at 350mm,
peripheral distractions, or to ISO 250, 1/250sec at f/8,
zoom right in on a small part handheld
of the creature.
Below In Alaskas Lake Clark
A larger aperture to render the National Park, the local
grizzlies emerge on to the
foreground and background out
coastal mudats during
of focus will reduce the potential the summer to dig for razor
for landscape features to draw clams. This gave me the
the attention away from where ideal opportunity to capture
it is needed. a minimal art depiction
of the bears in this open
Choose locations where you environment.
can photograph wildlife out Canon EOS 5D MkIII with EF
500mm f/4 L lens, ISO 250,
in the open, in uncluttered
1/500sec at f/7.1, tripod
surroundings. Many sp ecies
feel more vulnerable in open
spaces, so strategies to conceal
yourself or habituate them to your
presence may be necessary.
Use foreground elements such

as trees or rocks in the scene
to frame your subject and focus
attention where it is needed.
Select a viewpoint that ensures

a simple, strong composition
that includes just the essential
elements in the frame.
Lying down with your lens

supported on a beanbag may
help by blurring the foreground
detail or including more sky
as background.
Certain weather conditions

can simplify images by creating
more uniform or contrasting
surroundings. Mist , snow
and frost often work well in
this regard.
Motion blur can be used for

moving animals to create
a more uniform backdrop.
Silhouetting by shooting into the

light can be a very potent way of
simplifying a scene and drawing
attention to the outlines and
shapes of animals.
Flash or natural light sp otlighting

the key parts of a creature can
also work well by making it stand
out against darker surroundings.
36_37 Quick guide CB.indd 37 23/01/2017 10:47

038_OPHO_215.indd 38 1/11/17 5:00 PM
LIE OF THE LAND
Into the eye of the storm

On an epic winter drive around Iceland, Adrian Theze races against an approaching snowstorm
and ferocious winds to shoot an evocative image that captures the full drama of the scene
Hrarbylur (n. blizzard) He checked the tyres on my 4WD, an upgrade on for hours. Forgetting my coat and gloves, the
the vehicle I had originally booked; an upgrade biting cold took my breath away as I struggled
Route One circumnavigates Iceland and Id set I came to greatly appreciate on numerous to open the door against the wind. I knew that
my mind on making the journey round the occasions during the trip ahead. Satised that I didnt have long to get the photo; the blizzard
island, starting and nishing in Reykjavik, my vehicle could handle the conditions, the was advancing at a terric rate.
in February. policeman gave me permission to proceed. Hanging on to my tripod and fumbling
On a previous visit Id photographed all I had no idea just what my vehicle needed to with ngers that had already stopped
the major Icelandic landmarks, places weve be able to cope with, but I was about to nd out. responding to my commands, I managed
all become familiar with in photography After quite a few miles and several hours to take an image. I quickly packed up and
magazines. I now wanted to explore deeper of bumping through snow drifts, with the car clambered back into the car just as the
and experience in winter the less-visited being bueted by near hurricane force winds snowstorm hit again. Driving on was only
wilderness areas of this beautiful country. that made the vehicle a little lively to control possible by carefully following the yellow
Setting o, I was soon stopped at a police on the compacted snow and ice, a hole suddenly markers that line the roads in Iceland. These
roadblock just outside Reykjavik, where cars appeared in the storm and I could see. It was yellow markers occur every few metres, and in
were being turned back due to the weather a compelling scene. I still had a long way to a blizzard like this one you literally make your
conditions. I was asked where I was going. go and it was getting late, so I was tempted to way from one yellow marker to the next. It was
Reykjavik, I said, before adding the long way. keep driving, but I stopped. There was no need a bit of a white-knuckle journey but I nally
That drew a wry smile from the policeman. to pull o the road, as I hadnt seen another car made it to the next town.
39 Lie of the land CB.indd 39 23/01/2017 10:50

TRAVEL PHOTOGRAPHER
OF THE YEAR
From aerials of icebergs to portraits shot on the streets of Ethiopia, and a serene
waterscape closer to home, in the Wirral, the latest TPOTY gives a wonderful insight
into life on our planet. Here are some of our favourite images from the competition
40-45 TPOTY showcase CB.indd 40 23/01/2017 11:12

PHOTO SHOWCASE
Sonnge Cui, China

Commended, Journeys
& Adventures portfolio
Opposite page Altay prefecture,
Xinjiang, China. At the end of
May, Kazakhs make the journey
through the Altay prefecture for
summer grazing.
Nikon D3 with 70-200mm lens,
ISO 200, 1/500sec at f/11
Stephan Frnrohr, Germany

Commended, Land, Sea, Sky portfolio
Right Disko Bay, Greenland.
Icebergs, captured straight
down 90 from the zenith.
DJI Zenmuse X5 (MFT) with 15mm
f/1.7 lens, ISO 100, 1/240sec at f/6.3
Marsel van Oosten,

Netherlands
Special Mention Mankind
Below Xiapu, Fujian, China. A farm
worker rows out to inspect the nets
of a large crab farm in the sea.
Nikon D5 with 80-400mm lens,
ISO 800, 1/250sec at f/11

Joel Santos, Portugal
Winner, Travel Photographer
of the Year 2016
Above Salt Desert, Danakil
Depression, Afar, Ethiopia. This
unique aerial photo shows the
salt miners guiding a dromedary
and donkey caravan through the
deserts unique salt patterns.
DJI Phantom 3 and FC300X with
20.7mm lens, ISO 100, 1/710sec
at f/2.8
Left Lake Bosumtwi, Ashanti,

Ghana. The meteorite crater
the lake sits in is estimated to
be 1.07 million years old.
Fujilm X-Pro 2 with 10-24mm lens,
ISO 320, 1/500sec at f/5.6

Panos Laskarakis, Greece
Runner-up, Mankind portfolio
Right Volakas, Falakro Mountain,
Greece. Mysterious and ancient
celebrations in the forests on
the mountain.
Canon EOS 5D MkII with 70-200mm
lens, ISO 2500, 1/1600sec at f/2.8
Ye Hongbing, China
Commended, New Talent, Eye to Eye
Below Hamer, Ethiopia. This
young boy was making his own
entertainment on the colourful
streets of Hamer.
Nikon D4S with 24-70mm lens,
ISO 640, 1/640sec at f/8

Craig Easton, UK
Winner, Land, Sea, Sky portfolio
Above West Kirby, Wirral, UK.
A lone Buddhist monk walks
around the boundary wall of
the West Kirby Marine Lake.
Nikon D3X with 200mm lens,
ISO 100, 1/125sec at f/4.5
Neville Morgan, UK
Runner-up, Cities: Architecture
& Spaces
Left Los Angeles, USA. Part
elevation of the Walt Disney
Concert Hall in Los Angeles.
It was designed by architect
Frank O Gehry.
Olympus OM-DE M10 with
14-42mm lens, ISO 250, 1/320sec
at f/9

Beniamino Pisati, Italy
Winner, Journeys &
Adventures portfolio
Left Bayankhongor, Mongolia.
Horses are present in all aspects
of life in Mongolia. A popular
saying is: A Mongol without
a horse is like a bird without wings.
Canon EOS 6D with 30mm lens,
ISO 640, 1/1000sec at f/7.1
Timothy Allen, UK
Highly Commended, Mankind portfolio
Below Kalofer, Bulgaria. Jordans
Day celebrations.
Canon EOS 5D MkIII with 16-35mm
lens, ISO 1600, 1/125sec at f/2.8
The winning images will go on show at TPOTY exhibitions at the UK City of Culture celebrations in Hull from 18 May
to 30 June, and at the University of Greenwich, 10 Stockwell Street, London from 4 August to 3 September 2017.
To see all the winning images across all categories, visit the 2016 Winners Gallery at tpoty.com

OPINION
The whole story

Photography is a wonderful medium for communicating ideas, yet images that have a strong
narrative are often overlooked in favour of those that are deemed more aesthetically pleasing.
Niall Benvie explains why its important to dierentiate the two approaches
There are a lot of different stories in this image taken on a foggy day at Vestrahorn in Iceland,
including wider ones about nature as a commodity.
46_47 Opinion CB.indd 46 23/01/2017 11:22

Not long ago, a photo tour company my wife and I do work for ran a A concrete example: Im standing at the edge of a large colony of
training week for its guides, old and new, in Iceland. This was not only ladys slipper orchids in a damp spruce forest in central Estonia. My rst
good fun but it also gave the opportunity for an exchange of experience, instinct is to reach for my longest lens, focus in closely on a backlit slipper
knowledge and ideas. I was particularly interested to learn about learning, and, with aperture wide open, render a largely blurry but rather beautiful
since its knowledge that informs how successful you can be as a teacher. impression of ladys slipper. Its a personal statement about what I feel
Id assumed that my detailed, analytical explanations of a range of ideas about the subject and how I view it. My principal intention is expressive.
and techniques in photography, using simple language and analogies, But if Id been commissioned to photograph a story about the orchid,
was the best way because, as a learner, that method works best for me. I would want to show the whole plant so readers could see the shape of
Im what the educational psychologists class as a theorist but it turns out the leaves and the proportions of the owers. Id shoot it with a wideangle
that there are also pragmatists (lets work our way systematically through lens so that they could see the extent of the colony and the sort of place
this); reectors (Ill just watch and think about it rst); and activists it grows. Id certainly want even lighting so that no clues were hidden
(lets give it a go and see what happens). Each benets from a dierent by shadows, and I might even bring a trowel along to illustrate why the
approach to teaching. In truth, were all to a greater or lesser extent a bit plant has become rare in much of its range. Here, my main intention is
of a mixture of these things, depending on what were learning. That a narrative one: to tell the viewer things about the plant that they cant
aside, my own experience suggests that the time we are most receptive glean from the more personal, expressive approach. Neither is better than
as learners is when we have a question we need answered so we can move the other any more than a knife is better than a fork; they each have their
on. When youre new to photography, I think its a mistake to go and take distinctive functions.
a workshop straight away. Without questions you need answers to, youll You may argue that youve seen plenty of narrative images that are
not learn as deeply; knowledge becomes embedded by application. You also beautiful, as have I. But that is as a result of serendipity rather than
just need to go and do it and nd out what you dont know. deliberate intent on the part of the photographer since, as weve seen in
I had a similar experience when I started to learn Adobe InDesign the example of the orchid, the active choices made to support a particular
a few years go; my mentor encouraged me to use it and to come back to intention in respect of lens choice, lighting and perspective, profoundly
him only with specic questions when I got stuck. By doing it this way alter the appearance of the nal image.
I remembered every one of those lessons. This brings me then to the problem with photography competitions.
In my opinion, though, each subject has something fundamental Ive helped to judge a number of national and international ones over
about it that we need to grasp before we can start to understand it. With the years and I cant recall, except where there was a dedicated story
InDesign, the breakthrough came when I got the concept of objects. category, being expected to dierentiate narrative from expressive
Now that I am learning about eld audio recording, with all its parallels images and to judge them separately. But of course you must! If its ever
to photography, I am getting to grips with the unparalleled idea of an niggled you that some of the wildlife images in National Geographic look
auditory corridor extending behind the subject of the recording. So, what a little ropey alongside those in glossy wildlife magazines, its because
is photographys core idea? I propose this: that pictures are of something their primary intention is to tell a story, not just to look pretty (although
or they are about something; pictures that have an expressive intention they are sometimes both search online for Steve Winters photograph
as opposed to a narrative one. Some pictures are primarily about the of a puma beneath the Hollywood sign).
appearance of things, others tell a story. Its not that one is right and the In truth, narrative images may have dirt under their ngernails and
others wrong, one better or worse; simply that these are fundamentally smell a little funny, but its because they have been doing work and I fear
dierent types of photographs that demand dierent approaches by the that too often they are overlooked in favour of the visible virtues of the
photographer and cant be judged by the same parameters. expressive image.
46_47 Opinion CB.indd 47 23/01/2017 11:22

R e v e a l t h e n e x t s t e p i n yo ur p ho t o g rap h y j o u r n e y
L at e s
t
from kit
over
200
exhib
itors
S e s s io n s
to spark
your
c r e a t iv it y
BOOK
TI CK ET S
TO D A Y
S uppo rted bY
Q uo te O P MTP S 1 7 a n d g e t a s pe c i a l di s c o u n t
Discount is valid until 15/03/2017 and applies to standard adult entry tickets only. Members of
trade and pro photographers may apply for free trade passes subject to validation criteria.
p h o t o g r a p h ysh o w.c o m
048_OPHO_215.indd 48 1/11/17 11:34 AM

TOP STRAP
ACCESS RATING
These are based around
an averagely t person.
Below are loose guidelines
to what the ratings mean
(N.B. they are assigned by
the author and not veried
by OP.
P Walk dist
stances are
one-wa ay only
o l ):
1/5 Easy access you

can prett y much get straight
out of your
y car and quickly
q y
Holywell Bay, Cornwall by Andrew Ray
be at the viewpoint via good
quality paths.
2/5 Some gentle

walking generally less
than a half mile is involved,
which may be on mixed
LOCATIONS
GUIDE
quality paths.
1
2
3/5 A walk of up to
about two miles, over
quite easy terrain. 6
50 Viewpoints of the month
4 8
1 Stac a Phris Isle of Lewis
2 Urquhart Castle Highland
4/5 Medium length 10
hike up to about four
miles over mixed terrain, 54 Viewpoints
possibly with some quite 3
3 Scale Force Cumbria
steep gradients.
4 Ben Arthur Highland
5 River Trent (Bulcote) Nottinghamshire
6 Allt nan Giubhas Highland
5
5/5 The most difficult
7 Pen y Fan Powys
access. Long hike over
challenging terrain (e.g. 8 Milarrochy Bay Stirling
mountains/summits/steep 7
9 Holywell Bay Cornwall
coastal terrain); or involves
travelling over particularly 10 Ballintoy Harbour County Antrim
extreme ground (e.g.
scrambling on rocks/
exposed coastal paths 9
or mountain ridges) over
any distance. Map plottings are approximate
49 Viewpoints opener CB.indd 49 24/01/2017 11:28

Stac a Phris | Isle of Lewis
During a week-long work trip to the Isle of Lewis, Aidan Maccormick leaves a late
afternoon free to focus on photographing one of the islands dramatic sea stacks
Nikon D600 Working as an ecologist I get to travel in the air. Golden eagles displayed over the frenzied action of the sea. Using
with 24-85mm all over Scotland surveying birds, and the hills while ocks of elegant whooper this discordant composition I hoped
lens at 24mm,
almost always have the freedom to take swans migrated north on a non-stop to convey an element of the sublime;
ISO 200, 3sec
at f/13, polariser, my cameras with me. Last spring I was ight that would take them to their that uneasy feeling of mild fear and awe
3-stop ND grad, lucky enough to get some work on the Icelandic breeding grounds. experienced while standing on top of
IR remote, tripod Isle of Lewis in the Outer Hebrides, Heading to the north coast, I resisted a cli.
so I immediately began planning a the temptation to linger at the beautiful Sunset was brief and unspectacular.
photographic adventure I hoped to cove of Dail Beag and made the short Instead of packing my equipment away
squeeze in on the side. walk north along the coast. Arriving at I continued to photograph as the cool
The Isle of Lewis is far more rugged the cli edge for my rst view of Stac hues began to dominate the scene.
and austere than its conjoined island a Phris was thrilling. The sea stack is Using a polariser, I was able to cut
twin, the Isle of Harris, to the south. a contorted mess of heavily fractured through the sheen of the wet rocks
Harris is well known for its white sands metamorphic rock, with a natural arch and bring out the blues and greens of
and turquoise waters, while clis, carved out by wave action. The whole the sea. To soften the sea surface while
caves and sea stacks characterise the structure appears to be in imminent retaining the sense of energy of the
rocky coastline of Lewis. An impressive danger of collapsing into the sea with crashing waves, I used a three-stop
example of this is the natural rock arch the impact of the next wave. hard ND graduated lter pushed all the
of Stac a Phris on the islands north I explored the clis very carefully, way down. After experimenting with
coast a site I had long known about without my camera at rst, in search of shutter speeds I felt that a three-second
but had never visited. a suitable vantage point. Returning with exposure gave the best results.
Anyone who has been to the Outer my equipment, I cautiously set up my In post-processing I lifted the shadows
Hebrides knows how brutal the weather tripod on the cli edge opposite Stac a and used a digital neutral density lter
can be, so when I arrived in late March it Phris to get the best view of the natural to darken the clouds. Adjusting the
was heartening to see a benign forecast sea arch. Choosing portrait orientation white balance compensated for the cool
with cool but pleasant weather expected with my 24mm lens and pointing the cast from the two lters. Increasing
for the week ahead. On the morning of camera downwards pushed the sea saturation and vibrance brought out the
my trip to Stac a Phris I made an early stack and horizon to the top of the colours of the rock. My nal edit was to
start on bird surveying, leaving the late image. This allowed me to include the crop a small section of the sky to further
afternoon free for photography. It was a jagged rocks and gully directly below, raise the horizon, emphasising the
beautiful morning with a touch of spring leaving a large portion in the centre to looming presence of Stac a Phris.
9 miles from Barvas 21 miles from Stornoway Access Rating

How to get there From Stornoway, take the A857 What to shoot The cliffs and the sea arch.
north towards Barvas before taking the left-hand Best time of day Dusk and dawn.
turn after the petrol station to head west on the Nearest food/drink The Callanish Visitor Centre,
A858 through Arnol, Bragar and Shawbost. After Callanish, Isle of Lewis, HS2 9DY, 01851 621422,
Shawbost, look out for the sign for Dail Beag and callanishvisitorcentre.co.uk.
follow this single-track road all the way to the car Nearest accommodation Loch Roag Guest
park at the very end. From the car park it is about House, 22a Breasclete, Isle of Lewis, HS2 9EF,
a mile on foot. The footpath follows the fence line 01851 621771, lochroag.com.
north of the bay, then leads alongside a series Ordnance Survey map LR 8
of white posts. The exact location is indistinct, Other times of year Midsummer for sunrise
however, so its best to navigate using an Ordnance illuminating the rocks.
Survey map, walking north along the coast until you Nearby locations Dail Beag (2 miles);
reach Stac a Phris on the map. Gearrannan Blackhouse Village (5 miles).
50_51 VP Stac a Phris_SW.indd 50 23/01/2017 11:27

50_51 VP Stac a Phris_SW.indd 51 23/01/2017 11:27
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052_OPHO_215.indd 52 1/12/17 11:00 AM

Urquhart Castle | Highland
A mist-lled Loch Ness stops Robert Birkby in his tracks en route to the Cairngorms,
and he is thrilled to have the normally busy location virtually to himself
Loch Ness is Britains largest, and

perhaps best known, body of fresh water.
Stretching around 23 miles along the
Great Glen, and to a depth of 230m, the
dark water is mysterious and surrounded
by wonderful scenery. The loch is one
of the must-see attractions for many
visitors to the Highlands, who ock here
in summer for the scenic cruises, pleasant
villages and the castle, and in the hope of
catching a glimpse of a certain monster.
Ive visited the Scottish Highlands
many times and have extensively
photographed the areas to the west
and south of Loch Ness, but I had never
really been attracted to the loch itself,
or Urquhart Castle. The only reason
for this I can think of is the locations
reputation for tourism, and my desire
to venture o the beaten track.
On this particular trip, I was driving
from my rst destination of the week,
in the Kintail region, across the country
towards the Cairngorms. Its quite a
lengthy journey, and a spectacular one
at that. Despite the favourable weather
conditions, thanks to a high pressure
system over the area, I hadnt left my
accommodation particularly early
and, perhaps as a result, didnt see any
photographic scenes for which I felt I had I ran back to the car for the camera and it was a quiet time of year, but I could Canon EOS
to screech to a halt. Until reaching Loch attached my trusty telephoto zoom. only see one person in the area. I also felt 5D MkII with
70-200mm
Ness, that is. Clouds were hanging on the Because it was so bright I didnt bother privileged to see the mist lingering like
lens at 200mm,
hills and a light mist was rising from the with a tripod, and red a few frames at this on Loch Ness, as the time was now ISO 100, 1/400sec
water, all illuminated by a weak winter the maximum focal length of 200mm approaching 11.30am. at f/5.6, handheld
sun to my left. A distant Urquhart Castle and with low ISO. Each shot looked Returning home and reecting on
was mirrored in the loch, appearing and quite dierent due to the swirling and images from this and other trips, it
disappearing through the mist. changing mist. I stood at the side of became apparent that my most enjoyable
I stood and watched for a while, as Ive the loch and considered the situation, and rewarding photographic sessions
driven along this road several times and partly wondering where all the tourists have involved serendipity rather than
never given this location a second glance. were. Perhaps being early March meant careful planning.
1.5 miles from Drumnadrochit 13 miles from Inverness Access Rating
How to get there From Inverness, take the A82 Drumnadrochit, IV63 6UW, 01456 450991,
south alongside Loch Ness. After about 13 miles staylochness.co.uk.
there is a small lay-by on the left. Park here then Nearest accommodation Drumbuie Farm, Loch
walk along the road a little to nd a vantage point Ness, Drumnadrochit, IV63 6XP, 01456 450634,
through the trees. loch-ness-farm.co.uk.
What to shoot Urquhart Castle on the rocky Other times of year Autumn is excellent, as there
headland, birds of prey. are a lot of deciduous trees around Loch Ness.
Best time of day Mornings give the best chance Ordnance Survey map LR 26
of mist on the loch, and the rising sun lights the Nearby locations River Moriston, Invermoriston (15
castle well from the side. miles); Caledonian Canal, Fort Augustus (20 miles).
Nearest food/drink The Loch Ness Inn, Lewiston,
53 VP Urquhart Castle_SW.indd 53 23/01/2017 11:30

LOCATIONS GUIDE 8 great places to photograph this month
VIEWPOINTS
Scale Force, Cumbria

t 170ft, Scale Force is considered Nearest food/drink The Fish Inn,
A the highest waterfall in the Lake

District. Hidden away from view,
the scale of this waterfall is only fully
Buttermere, CA13 9XA, 01768 770253,
shinnbuttermere.co.uk.
Nearest accommodation The Bridge
appreciated once you scramble up the Hotel, Buttermere, CA13 9UZ, 01768
lower rocks to view it take care, as it 770252, bridge-hotel.com.
can be slippery. Moss-covered logs and Other times of year Summer provides
walls provide colourful contrast to the the longest daylight hours in this dark
dark rock on either side. environment. A hard winter can produce
incredible ice falls.
How to get there From the A66 at Ordnance Survey map OL 4
Portinscale, take the minor road south Nearby locations Buttermere (2 miles);
through Stair and along the Newlands Borrowdale (7 miles).
valley, over Newlands Hause and descend
into Buttermere. Park in one of the
designated car parks in the village. Walk
between Crummock and Buttermere for
about two miles: Scale Force is found in
the lower section of Scale Beck.
What to shoot Long exposures of the
waterfalls, moss-covered logs and
rocks, wider views of Crummock and
Buttermere lakes.
Ade Gidney
Best time of day Any time of day. Long
exposures are effective here, without the
difficulty of bright highlights in the scene.
10 miles from Keswick 36 miles from Carlisle ACCESS RATING
1 mile from Arrochar 40 miles from Glasgow ACCESS RATING
Ben Arthur, Highland

en Arthur, or The Cobbler as its more often referred to, in Loch Lomond & The Trossachs National
B Park is a challenging but achievable hike that aords fantastic views of the neighbouring munros and
Loch Long below. With the possibility of mixed weather at any time of year, dramatic conditions can
lead to great image possibilities throughout the day. The photograph shows the view to Beinn Narnain.
How to get there From Loch Lomond,

head north on the A82 and follow the
shore until Tarbet. Take the A83 towards
Arrochar. Continue on the A83 past
Arrochar and around the end of Loch
Long. The car park at the start of the
walk is situated on the left of the road
less than a mile from Arrochar.
What to shoot Epic mountain
landscapes and dramatic weather.
Best time of day Dawn and sunrise,
or any time with interesting weather.
Nearest food/drink The Village Inn,
Main Street, Arrochar, 01301 702279,
villageinnarrochar.co.uk.
Nearest accommodation Seabank
B&B, Arrochar, G83 7AG, 01301 705885,
seabankbandb.co.uk.
Other times of year All times of year.
Ordnance Survey map OL 39
Nearby locations Loch Lomond
Richard J Jones
(3 miles); Bridge of Orchy (30 miles).
54 Outdoor Photograph March 2017
54_57 VP at a glance_SW.indd 54 23/01/2017 11:50

River Trent (Bulcote),
Nottinghamshire
his is one of my favourite local
T spots and oers plenty of variety,

especially when theres mist.
I normally cycle from Gunthorpe along
the riverbank before sunrise; it is a
mist trap when conditions are right.
Landscape features include trees, fences
and a distant village and church, and
there is often lots of bird activity.
David Eberlin
How to get there There are two access

points, both about the same walking
distance. Gunthorpe (Bridge) has ample
parking and is easier to nd, being
located just off the A6097 between
Lowdham and the A46 (postcode NG14 The path forks to a footpath and is predicted. Sunset in winter can also
7FB). Park and follow the riverside path bridleway that leads to Bulcote. You can work. Early mornings produce some
west wards under the bridge (towards also park on Old Main Road, Bulcote good side-lighting.
Burton Joyce) for about 20 minutes. (NG14 5GU): walk south towards the river Nearest food/drink Unicorn Hotel,
(through the farm), turn left at the end Trentside, Gunthorpe, NG14 7FB,
and, at the fork, turn right. 01159 663612, unicornhotelpub.co.uk.
What to shoot The riverside location Nearest accommodation Unicorn
is particularly photogenic when the Hotel as above.
landscape features are silhouetted at Other times of year The area around
sunrise. Theres also a great view upriver the riverbank can be good in any season.
to Shelford (with its church). Ordnance Survey map Explorer 260
Best time of day Sunrise at most times Nearby locations: Clumber Park
of the year has potential, especially if mist (20 miles); Sherwood Forest (20 miles).
1 mile from Gunthorpe 12 miles from Nottingham ACCESS RATING

Paul Holloway
20 miles from Tyndrum 80 miles from Glasgow

ACCESS RATING
Allt nan Giubhas,

Highland
he stream Allt nan Giubhas forms
T a great leading line to the iconic

mountain top Stob Dearg at the
western end of Buachaille Etive Mr.
Following its banks as it meanders on
its journey towards the river Etive will
oer great viewpoints not only to Stob
Dearg but also westwards towards the
impressive mountain of Sron na Creise. 01855 851226,
glencoemountain.co.uk/caf.
How to get there Take the A82 north Nearest accommodation Kings House
from Tyndrum until you get to the turn-off Hotel, Glencoe, PH49 4HY, 01855
for the Glencoe Mountain Resort on the 851259, kingy.com. Note: the main hotel
left-hand side, about eight miles beyond is closed for renovation in 2017 but a new
Bridge of Orchy. Turn off here, and almost bunkhouse is open. Otherwise, try the
immediately theres parking space on Bridge of Orchy Hotel (bridgeoforchy.
the right side of the road next to the co.uk).
bridge over the Allt nan Giubhas. Other times of year Any time of year
What to shoot Down the river towards can be good here, though I particularly
Stob Dearg and straight across the like September for the heather in bloom
stream towards Sron na Creise. and the sun setting behind Stob Dearg.
Best time of day Early morning for rst Ordnance Survey map LR 41
light on Stob Dearg, sunset and twilight. Nearby locations Lochan na h-Achlaise
Nearest food/drink Glencoe Mountain (4 miles); Loch Achtriochtan (8 miles).
Resort, Kingshouse, Glencoe, PH49 4HZ,

Stephen Spraggon
Pen y Fan, Powys
s the highest peak in southern
A Britain, the at summit of Pen y

Fan oers commanding views for
miles in all directions. In winter its
often coated with snow, but it remains
one of the easiest mountains to access
on foot with relevant experience. The
steep slopes of its northern anks are a
dramatic reminder of the peaks height.
How to get there From Brecon, drive

south on the A470 for nine miles. At Pont
ar Daf, there is a free car park on the left.
A footpath leads up the hill from here for
two miles until it reaches Pen y Fan.
What to shoot Wide landscape views, 01874 638032, tannersarmspub.com. lights the north face of the peak.
rock formations and the night sky. Nearest accommodation YHA Brecon Ordnance Survey map OL 12
Best time of day Dawn, dusk and Beacons, Libanus, Brecon, LD3 8NH, Nearby locations Upper Neuadd
nighttime. 0345 371 9029, yha.org.uk. Reservoir (3 miles); Beacons Reservoir
Nearest food/drink The Tanners Other times of year Summer works (3 miles).
Arms, Defynnog, Brecon, LD3 8SF, particularly well, as the morning sun
6.5 miles from Brecon 42 miles from Cardiff ACCESS RATING
13 miles from Balloch 24 miles from Glasgow ACCESS RATING
Milarrochy Bay, Stirling

he lone oak tree on the eastern What to shoot The lone oak tree,
T shore of Loch Lomond is an iconic

feature within Loch Lomond
& the Trossachs National Park. This
the loch and shoreline.
Best time of day Dusk and dawn.
Nearest food/drink The Oak Tree Inn,
solitary tree set against an uncluttered Balmaha, G63 0JQ, 01360 870357,
background makes a simple yet powerful theoaktreeinn.co.uk.
composition. The water levels vary Nearest accommodation The Oak
considerably throughout the year, so Tree Inn as above.
the land around the tree isnt always Ordnance Survey map LR 56
submerged as in this image. Other times of year September for
sunset directly behind the tree.
How to get there From Glasgow, head Nearby locations Inchcailloch (2 miles);
north on the A81 towards Bearsden Conic Hill (3 miles).
before taking the A809 road north
towards Drymen. Just before Drymen,
take the B837 west through Balmaha
and look for the Milarrochy Bay car park
on your left, after about a mile. The car
park has strict opening and closing
times that change depending on the
Aidan Maccormick
season. Alternatively, the site can be

reached by walking along the West
Highland Way for one and a half miles
from Balmaha, where there is 24-hour
parking available.

Holywell Bay, Cornwall
he mile-long golden sand beach at
T Holywell Bay is situated in one of

the most dramatic coastal settings
in Cornwall: it is surrounded by high sand
dunes, towering sea stacks, sheer clis and
the Atlantic Ocean. Photographically,
it is at its best when the sun sets behind
Carters Rocks (Gull Rocks) during the
spring and autumn months.
How to get there From the Highgate Hill What to shoot Spectacular sea stacks,
junction on the A30 (14 miles west of the highest sand dune system in Britain,
Bodmin), follow the A39 towards sand patterns on the beach, waves
Newquay for one mile. Take the second thundering in off the Atlantic Ocean.
exit at the Halloon roundabout, to follow Best time of day Sunset, or mornings
the A392 to where it joins the A3075 at for sunlit images.
a mini roundabout on the outskirts of Nearest food/drink St Pirans Inn,
Newquay (ve miles). Take the rst exit, Holywell Bay, Newquay, TR8 5PP,
signed Redruth (A3075), and, after two 01637 830205, stpiransinn.co.uk.
miles, turn right on to an unclassied Nearest accommodation St Pirans
road, signed Holywell Bay and Cubert. Inn as above.
After passing through Holywell village, Other times of year The sun also
park in the large pay & display car park sets behind Carter's Rocks during
at the bottom of the hill, from where the the autumn months.
beach can be reached by crossing the Ordnance Survey map LR 200
road and following a sandy footpath to Nearby locations Newquay Island
the bay (one quarter of a mile). (6 miles); Perranporth beach (7 miles). Andrew Ray
6 miles from Newquay 12 miles from Truro

ACCESS RATING
15 miles from Portrush 60 miles from Belfast ACCESS RATING
Ballintoy Harbour, County Antrim How to get there From Belfast, take the to Carrowreagh Road. After a further
M2 north. At junction 1, take the A26 three miles, turn right on to the B147
allintoy Harbour, made famous by its inclusion in the towards Antrim/Ballymena/Coleraine. (all three turns are signposted towards
B Game of Thrones TV series, is a picturesque harbour

located on the north Antrim coast. Built from limestone
blocks, it was once a hub for north coast shing, and it boasts
Continue on to the M2 for ve miles
before merging back on to the A26. After
eight and a half miles, turn right on to the
Ballintoy). After three miles, turn right
then take an immediate left on to the
B147 towards Ballintoy. After a further
fantastic views across to Rathlin Island and Scotland. In A44 towards Ballycastle. After a further three miles, turn right on to Whitepark
addition to its beauty, large sea swells also add drama to the eight miles, in the village of Armoy, turn Road. After about one mile you will see
magnicence of Ballintoy. left on to Main Street then turn right on signs towards Ballintoy Harbour (left).
Follow this road down to the car park.
Nigel Cooke
What to shoot The harbour, beaches,

dramatic waves, Elephant Rock (Volcanic
Stack) and Ballintoy Church.
Best time of day Sunrise and sunset
can work well, but mainly between mid-
March and mid-September due to the
ALL MAPS Crown copyright 2017 Ordnance Survey. Media 061/17
north-facing aspect of the location.
Nearest food/drink The Smugglers Inn,
306 Whitepark Road, Giants Causeway,
Bushmills, BT57 8SL, 028 2073 1577,
smugglersinnireland.com.
Nearest accommodation The
Smugglers Inn as above.
Other times of year Winter can be
the most dramatic time, with some of
the wildest waves on the north coast
crashing over the black basalt rocks that
surround the harbour.
Ordnance Survey map OSNI Discovery
Series (Sheet 5 Ballycastle)
Nearby locations The Giants Causeway
(8 miles); The Dark Hedges (9 miles).

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58-59 Your chance CB_SW.indd 59 24/01/2017 11:28

READER GALLERY
Each month we publish the best images from all those submitted for our Reader Gallery.
To nd out how to enter your photographs using our easy to use online submission system,
turn to page 58. Here is this months winner and runner-up
Winner Roberto Roberti

My photography is inspired negative techniques to reproduce looks similar the wilderness areas of the United States
by Japanese visual arts and to older processes such as wet plate collodion of America.
the concept of wabi-sabi the and salt paper. I have just nished the creative work for
acceptance of transience and Landscape photography is important to me a photography book about the landscapes,
imperfection. I think that because it allows me to express my creativity traditions and cultures of Sicily, the land of my
every single shot is not just the and to relax in the countryside, away from the girlfriend. I have spent three years working on
reproduction of a place but is at the same time stress induced by urban life. I think the most this project and I hope that it will be published
the ideal representation of it and a reection important challenge that humanity will face (probably self-published) in June 2017. My long-
of human emotions. For this reason, I prefer over the coming decades will be to preserve term goal as a photographer is to work for art
shooting black & white instead of colour, and nature from anthropization, when human galleries and magazines.
I also like long exposures and infrared. action converts and impacts our natural
Im also very attracted to work from the spaces. In this sense, photography can play an Hometown Parma, Italy
Pictorialism movement at the beginning of the important role in raising awareness, as the work Occupation Human resources manager
19th century, and Ive begun studying digital of Ansel Adams did about the need to protect Photography experience 13 years
61-63 Reader Gallery_SW.indd 60 23/01/2017 11:56

Opposite Appennino Tosco-
Emiliano National Park, Italy.
Canon EOS 5D MkII with Canon
EF 17-40mm f/4 lens at 17mm,
ISO 400, 1/125sec at f/7
Right Appennino Tosco-Emiliano

National Park, Italy.
Canon EOS 5D MkII with Zeiss
Planar T 50mm f/1.4 lens,
ISO 2000, 1/4000sec at f/1.4

Runner-up Graham MacKay
I have always loved The images I enjoy most are those that Above Autumn at Loch
the outdoors but convey real atmosphere, and that is Ard in Loch Lomond
photography is a what I try to capture if I can. I love that and The Trossachs
National Park, Scotland.
relatively recent photography has taken me to some great Sony Alpha 7R II with
passion. Two years places I might not otherwise have seen. FE 70-200mm f/4 lens
ago I went on a Scotland is blessed with such a variety at 70mm, ISO 100,
photography workshop of superb locations and the changeable 1/5sec at f/9
trip to the Isle of Skye and have been weather just adds to the challenge.
hooked ever since. During the last year,
I have been lucky enough to join a group Hometown Glasgow, Scotland
of Scottish landscape photographers and Occupation Surgeon
have learned a lot from sharing images Photography experience Two years
with them and picking up tips from grahammackayphotography.com
people with much more experience.
Send in your best images and win great prizes. This months winner will
receive a superb Case Logic Kontrast Pro-DSLR Backpack, worth 129.99!
The Pro-DSLR Backpack is the premier product in Case Logics Kontrast collection, a range of camera packs designed with a fresh
approach to provide durability and comfort for users. Its tough, water-resistant, EVA-moulded DuraBase ensures your kit stays safe,
and the pack boasts customisable storage solutions enabling adaptability for carrying and organising various kit congurations. The
Pro-DSLR Backpack also includes a suspended hammock system for ultimate impact protection, and a dual-entry lid pocket for quick
access to memory cards, lters and other small accessories. The high-vis lime green lining, which is partly visible on the back outer edge,
makes the bag easier to locate.
To nd out more go to caselogic.com

060_OPHO_215.indd 60 1/11/17 11:35 AM
IN THE SPOTLIGHT
Tim Taylor
Tim Taylor is a British-Canadian full-time professional expedition photographer specialising in inhospitable
far-ung corners of the planet. Its not always an easy life, he says. Nick Smith puts him in the spotlight
Above Karakoram Nick Smith How would you describe mountains. So you need climbing and its pretty brutal. As the photographer,
mountains, what you do? skiing skills, and in that respect my time youre generally carrying more kit than
Pakistan.
Tim Taylor There are two parts to my in the marines has served me very well, anyone else. And youre a climber as well,
A scientist steps
across the glacial work. The rst is that of an expedition with months spent inside the Arctic with oxygen bottles and tents.
melt pouring from photographer, documenting climbing Circle every year. Thats where you learn
within an ice cave and polar missions for magazines to survive, really. On the climbing side NS What are the problems with taking
while at work and scientic research projects. Then of things the skills are quite specialist. photos in these conditions?
on the Yukshin
theres my side of things, producing TT You generally nd that no matter
Glacier, as part
of the Karakoram large format ne art prints. Im a Royal NS Whats the life of an embedded how well everything is planned in
Anomaly Project. Marine Reserve too, and so I do boat expedition photographer like? the warmth of the tent, when you get
work. But thats all part and parcel TT It can be very hard work. It depends out there the other climbers are not
of my expedition photography world. on how you dene the goals from the particularly willing to model for you
outset. The rst expedition I did was again and again. Thats fair enough,
NS What extra skills do expedition part of a military expedition to Makalu, as its a harsh environment. You need
photographers need? an 8,000m peak in the Himalayas. The to get out of bed before the others and
TT My main environments and the objective there was to put up a new route get ahead of them on the mountain.
places that I enjoy working in most are along the south-east ridge. There is 7km Its probably one of the hardest roles
the polar regions and high-altitude of ridge, most of it above 6,000m, so on the team.
64_65 In the spotlight_SW.indd 64 23/01/2017 12:03

NS Do you get many problems with kit something that is artistic and also tells NS Anything special about your gear? Above Makalu,
in these conditions? the story, thats really what I am after. TT Not really. Its a balance between Himalaya,
Nepal.Taken
TT Well, the cold is a killer for batteries. There will be certain shots that the travelling light and maintaining quality.
6,400m above
So you tend to leave your kit outside the sponsors wont be interested in, just as I have experimented with compact sea level
tent, but take your batteries in with you there will be pictures that wont make cameras, but it doesnt work for me. on Makalus
to try to keep them warm by wearing it to being a ne art print, no matter Coming back from a trip and being knife-edge
them on your body. Cameras and lenses how essential they are. disappointed with the quality of your south-east ridge.
do well, but you dont want to get them shots is one of the worst feelings.
cold and then warm again quickly NS What came rst, the outdoor life
because of condensation issues. That or the photography?
can cause all sorts of dramas. But its TT They grew together organically.
Tims top tips
all about good battery management. My rst photography trip was to the One thing I never go on a shoot without is my Rab
Falkland Islands with my father when down jacket. It has literally kept me alive on numerous
NS How do you balance expedition I was eight, where I was absorbed in occasions. Essential.
and photography objectives? adventure and photography. Thats what My one piece of advice would be to get the basic
survival skills sorted before the photography skills.
TT Im doing two jobs, but also Im kick-started it and I remember thinking
Thats more important than anything else.
taking two types of photos. There are it was pretty awesome. Since then, Ive Something I try to avoid is crowds. If there are lots
the expedition documentary shots and done all sorts of stu. I was a semi-pro of other people around photographing where I am,
my own ne art shots. Its important to mountain biker for about seven years, then Im in the wrong place.
me to do both if I can. If I can produce and then the marines kicked in.
Tims critical moments To see more of Tims work visit timtaylorphotography.com
1990 Month-long 2009 First Himalayan 2013 Runner Up and 2014 First 8,000m 2014 First solo 2015 Photographer to 2016 Led
trip to the Falkland expedition. Earned Highly Commended peak. Team exhibition, the Karakoram Anomaly two-month
Islands. Fell in love green beret with in Travel Photographer photographer at the Royal Project, scientic Patagonian
with photography. the Royal Marine of The Year awards. for the Makalu Geographical research expedition expedition.
Reserves. 2014 expedition. Society. backed by the RGS.
64_65 In the spotlight_SW.indd 65 23/01/2017 12:03

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P66_B+W200_OP_AD.indd 66 1/20/17 12:03 PM

NATURE ZONE
DISCOVER
68 Back from the brink 74 Laurie Campbell: 76 Nature 79 A moment 80 Steve Young:
a journey to Chernobyl Life in the wild photo guide with nature On the wing
LIFE IN THE TREETOPS

Rookeries are among Lauries nature highlights for March
67 Nature zone opener CB.indd 67 24/01/2017 15:04

BACK F ROM T HE BR INK
Friends and family were alarmed when wildlife photographer Luke Massey and writer Katie Stacey
announced their plan to head to the scene of the planets worst nuclear accident, but the lure
of exploring this re-emerging wild space in Eastern Europe was too strong to resist
Out of our minibus window, a horse pulling Prior to the trip, the very thought of our above Racoon dog in an abandoned
a wooden cart stacked high with hay was being destination sat uncomfortably with our family village in the Chernobyl Exclusion
driven onwards along the road, its huge load so and friends; You arent going into the zone of Zone (CEZ).
Canon EOS 400D with Canon
overwhelming that we couldnt help but wonder alienation are you? they asked, having read up 18-55mm lens at 18mm, ISO 400,
how it stayed put. This picture of rural life seemed about Chernobyl since wed declared our intention 1/160sec at f/11, Camtraptions PIR unit,
to be more tting of 18th century England to visit there. Another statistic they were keen to Nikon SB28s speedlight, Benro tripod
a scene you might expect to nd in a Winston quote was that Ukrainian officials estimated that
Graham Poldark novel but we were rattling the area would not be safe for human life again for opposite, top Cormorants roosting on
an old shipping crane, Pripyat, CEZ.
and bumping our way from Ukraines capital Kiev another 20,000 years! Despite their displeasure Canon EOS 1DX with Canon 500mm
towards Belarus, to a location near the border. and concerns with our plan, we had done our own f/4 MkII lens plus 1.4x Converter III,
Geographically, we could have easily driven research. The idea to go was initially prompted ISO 700, 1/1250sec at f/5.6, Benro
straight to our destination from Chernihiv in by an article we read the previous year while in tripod with Benro GH2C carbon bre
northern Ukraine, where we had been attending a Spanish caf (during a less life threatening gimbal head
a conference, but the political situation between project). After an enquiring email to Professor opposite, bottom A red deer hind struts
Ukraine and Belarus is complex and crossing the Nick Beresford, the lead scientist named in the across an abandoned road.
little spit of Belarus that pierces the direct route article, and a further 12 months of coordinating Canon EOS 1DX with Canon 500mm
was out of the question. Instead we had to take plans, we nally set out to see the area for ourselves. f/4 MkII lens plus 1.4x Converter III,
a convoluted detour as we made our way to the Professor Beresford, a radioecologist, has ISO 1000, 1/125sec at f/5.6
location of the worlds most catastrophic nuclear been visiting Chernobyl for more than 20 years.
accident, Chernobyl. Through the use of trail cameras, he and his
68_72 Showcase - Chernobyl_SW.indd 68 23/01/2017 12:09

PHOTO SHOWCASE

colleagues have identied an incredible diversity Gaining access was no easy feat. With the above The view from the top of a Soviet
of wildlife returning to the exclusion zone. Their scientists fearful of what weird and wonderful watchtower into the abandoned
cameras have not only been picking up the usual reports we might conjure up were we to be granted buildings below.
suspects of European badger, Eurasian lynx, grey permits, it took a lot of persuasion from us to Canon EOS 1DX with Samyang 50mm
lens, ISO 500, 1/800sec at f/7.1
wolf, racoon dog and wild boar, but have also convince them that the story we wanted to tell was
provided photographs of brown bear returning one of hope and the resilience of nature. In time, opposite, top A European elk (moose)
to the zone, and the rst evidence of European we all realised that we wanted to tell the same and her calf within the CEZ.
bison in the Ukrainian side of the zone. story and share it with the world, and this created Canon EOS 1DX with Canon 500mm f/4
April last year marked the 30th anniversary the common ground to make our visit possible. MkII lens, ISO 2000, 1/250 sec at f/4,
Benro tripod with Benro GH2C carbon
since the devastating explosion at the nuclear At the rst exclusion zone border, 30km from bre gimbal head
plant, and the majority of news stories and TV the plant, our passports were inspected with
programmes that have arisen since the accident military style rigour before we were ushered opposite, bottom A black grouse strolls
have been fear mongering. Among the falsities through to meet our requisite escorts. Appearing across an abandoned track.
within the coverage have been tales of two-headed like life-size action men in their matching army Canon EOS 1DX with Canon 500mm f/4
MkII lens, ISO 500, 1/1250sec at f/4
catsh and hyper aggressive wolves, which have fatigues, they greeted us warily, loaded us into
helped to paint a picture of a barren wasteland a car and drove us into the exclusion zone an
crawling with mutated creatures. However, area that covers over two and a half thousand
Professor Beresfords work has shown that where square kilometres. It very quickly became apparent
humans have been removed for an extended why it has become a wildlife haven. Pine forests
period, wildlife can reclaim the space and thrive. ashed by the car windows, followed by deciduous


PHOTO SHOWCASE
forests, grasslands, wetlands, rivers, lakes and the number of individuals who have illegally returned above A door hangs ajar on an
ghostly abandoned buildings that are synonymous to the homes they were evacuated from on that abandoned house, CEZ.
Canon EOS 1DX with Samyang 50mm
with the name Chernobyl. With such habitats on fateful day in 1986. Visiting the home of Samosely
lens, ISO 800, 1/800sec at f/4
oer, its no wonder creatures are returning. Marie Ilchenko in Kupvata, she told us I dont see
Along the route to Pripyat we kept a keen the radiation, I dont smell the radiation, I dont
eye out for the extraordinary, and it didnt taste the radiation radiation doesnt aect me.
take long to nd something special. Eurasian Among the abandoned houses, where chalky
beavers were swimming in the cooling ponds bricks crumble, paint peels and roots erupt
beneath the power plant, where white-tailed from the oorboards, swathes of seeding
eagle and migrating osprey also sh. Endangered milkweed drape the tall slender r trees, their
Przewalskis horses, red deer and roe deer could canopy letting just a dapple of golden sunlight
be seen grazing contentedly in the grasslands. percolate through. With apple trees bowing under
A Eurasian wolf leapt from the reed beds in surprise bountiful yields and a backing soundtrack of black
at our arrival, while gangly elk loped through woods. woodpeckers yaffling, its all very Secret Garden-
Rather surprisingly, the wildlife is not alone in esque. There is something eerie yet magical, sad
displaying its resilience to the terrible history of yet optimistic about the exclusion zone, and it
this place; humans are also returning to the land. is quite something to witness how the places
Known as Samosely, or self-settlers, and described aected by the cataclysmic events of the disaster
by the Russian poet Lina Kostanko as the native have transformed into one of the planets most
people of the atomic reservation, they are a small impressive natural environments.

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OPOTY AD.indd 73 1/24/17 11:37 AM

Life in the Wild
Beachcombing with a camera is a great way to practise the skill of making images out of
nothing, says Laurie Campbell, and its also the perfect antidote to fast-paced modern day life
Those of us of a certain age may well

remember the 1983 lm Local Hero by
the director Bill Forsyth. It was about
a ctitious community in the Scottish
Highlands that was about to be radically
changed by the construction of an oil
terminal by a large North American
corporation. Everyone was in favour
of the idea except Ben, an elderly
character who lived a simple life on the
beach in a ramshackle hut made from
driftwood, and who appeared to earn
his living by beachcombing.
The lm gained a near-cult following
because of its tongue-in-cheek comedy
take on a situation that was almost
believable. The character of Ben won
through, and even the companys high-
ying executive, sent over to persuade
the locals, was seen towards the end of
the lm reminiscing over the alternative
way of life he had experienced during his
visit to Scotland.
Apart from the lms gentle humour,
a big part of its success was the romantic
idea of being somewhere that oered
a slower, happy-go-lucky way of life.
The attraction is perhaps not surprising
given that we live in an age where
the pace of modern life is driven by
consumerism and the desire to collect
more and more material possessions
that arent always needed.
Nature photography can be a bit like
that too, and Im not talking here about
collecting photo gear, but more about
what we choose to photograph. Think of
the type of subjects in nature that we see
photographed ad-in nitum. Many seem
exciting and glamorous, and although
I can see the attraction to some extent,
I cant help thinking that there is a
certain must have element at play
here too.
Right Large fronds of seaweed cast up on

the shore really lend themselves to being
photographed with wideangle lenses.
The stems of this furbelows (Saccorhiza
polyschides) form an important part of
the composition, leading away into the
background.
Nikon D3x with Nikon 24mm PCE tilt and
shift lens, ISO 100, 1sec at f/22, Singh-
Ray soft-step, one-stop grad, mirror-lock,
cable release, tripod
74_75 Life in the wild_SW.indd 74 12/01/2017 11:48

Beachcombing tips
Winter is possibly the best time to embark on a spot
of beachcombing because its when most of the biggest
storms occur around our coasts; they tend to churn up
lots of material from the intertidal zone on the lower shore
and cast it up on the beach at high tide. So-called spring
tides are high-ranging and occur on a two-week cycle, so Above Seashells such as this prickly cockle (Acanthocardia echinata) are among the most
anything grounded at the topmost strandline during this frequently photographed subjects by people beachcombing. They may be plentiful but
time will remain there longest and at least until the next after coming across what I considered to be a good specimen I spent around 30 minutes
spring tide comes along. photographing it. For this image I lay on the ground and selectively focused manually.
Some of the more violent storms can rip seaweeds from Nikon D3X with Nikon 70-200mm f/2.8 VR 11 lens with Canon 500D close-up lens,
shallow inshore seabeds and land these on the beaches ISO 100, 1/25sec at f/8, mirror-lock, cable release, beanbag
too. Large deposits of bulky seaweed species such as the
various species of kelp (Laminaria) can lie for weeks or
months and, as they decompose, colonies of invertebrates
appear and provide a valuable food source for wading birds.
These tangles of seaweed stems and fronds are different Inevitably, the sites of compelling seems to me to be the ideal solution.
shades of browns and reds that present an innite array of photography subjects quickly become It has an air of surprise and expectation
photo opportunities, especially where the holdfasts (the widely known, some reaching near-viral about it because we are working in an
root-like structures that once anchored the stems to rocks status on the web. This in turn results environment where the opportunities
on the seabed) are included, because they are testament to
in them becoming honeypot sites change twice a day with the ebb and
the severity of the storm.
with all the disadvantages of working ow of the tides; there is no way of
Cloudy or, better still, rainy weather is ideal for
photographing seaweeds because contrast is reduced and shoulder to shoulder with lots of other knowing what subjects will be cast on
the colours always appear more saturated when they are photographers, paparazzi-style. to the shore by the next tide, waiting
wet. In among the seaweed you can often nd the remains This is far removed from what nature to be discovered. With nobody in the
of small marine animals such as crustaceans and shellsh. photography should be about, and UK living more than 70 miles from the
Incorporating the patterns of seaweed stems or sections I think its important to get away to coast, its an opportunity thats open to
of individual fronds when photographing these creatures
provides the perfect backdrop, which can convey as much places where we can work simply, most of us.
information as photographing them in a wider landscape. practising the art of looking for any Having sampled the experience of
The scale and variety of potential subjects washed ashore subject, however prosaic, where we can scanning a beach with expectancy,
is enormous, so it pays to be kitted out with a variety of indulge our imagination. I call it making looking for details at our feet, its then
lenses, including wideangle and macro and a telephoto in something out of nothing embracing easy to translate that to other habitats.
case you are distracted by good opportunities to photograph the notion that there are photographs There are always subtle changes in what
birds or mammals. Tripods are essential for close-up work,
to be had all around us in nature. is available to photograph, throughout
so it all adds up, but by following the natural contours of
the shore there will be no climbing involved. Besides, this Beachcombing with a camera, looking the seasons and in dierent weather and
is a leisurely approach to nature photography that is both for subjects to photograph in close-up, lighting conditions.
therapeutic and highly addictive.
74_75 Life in the wild_SW.indd 75 23/01/2017 12:12

WHAT TO SHOOT THIS MONTH
Lauries March highlights
Rooks (Corvus frugilegus), especially those nesting in semi-urban
environments such as parks and village greens, can become one of the most
trusting of all the crow family in the UK. With deciduous trees still bare, the birds
neednt appear big in the frame, so try shooting silhouettes of the rookeries
either from below with a sheye lens, or to one side with a longer lens. Only
work on overcast, cloudy days, when colourless grey skies help reduce the
scene to simple, monochromatic tones to help capture the atmosphere.
Nikon D2X with Nikon 10.5mm f/2.8 sheye lens, ISO 100,
1/250sec at f/10, handheld
The male and female owers of pussy-willow (Salix

caprea) also known as goat willow, grey or great sallow
grow on separate trees in early spring; a phenomenon
known as dioecious. The yellow male owers are bigger and
are an early source of nectar for bees and other insects on
sunny days. They also make an attractive setting upon which
to photograph inactive invertebrates in cooler weather.
Nikon F4S with Nikon 200mm f/4 AF macro lens, Fuji Velvia
ISO 50, 1/15sec at f/16, mirror-lock, cable release, tripod
Like all members of the crow family (corvids), ravens For a bird that is rarely seen and prefers to skulk around deep in reed beds and
(Corvus corax) are very intelligent and difficult to get close dense marshy areas, water rails (Rallus aquaticus) are more often heard than
to because they are much persecuted. In some locations, seen. In the breeding season the calls made by the males are really quite startling;
such as well-used picnic sites in the west Highlands, and composed of grunts and squeals, they are not unlike the sounds young piglets
mountaintops with frequent public access, they can be make. Try listening in advance to calls of any species of birds that you hope to nd,
bolder and routinely swoop down to grab any leftovers as and use that knowledge later in the eld to help locate your subject.
people move away. Windy weather is best for photographing Nikon D4 with Nikon 500mm f/4 VR lens and Nikon 1.4x teleconverter,
them: it can dictate their direction of approach because they ISO 1000, 1/160sec at f/7.1, cable release, tripod, ll-ash
usually always y into the wind.
Nikon D4 with Nikon 500mm f/4 VR lens and Nikon
1.4x teleconverter, ISO 500, 1/1600sec at f/9, handheld
76_77 Nature photo guide CB.indd 76 23/01/2017 12:15

More seasonal subjects...
Flora
Shepherds purse (Capsella bursa-pastoris) a common
weed of gardens and waste ground, with attractive heart-
shaped fruits.
Coltsfoot (Tussilago farfara) found in bare, grassy places
and sometimes on shingle. Best photographed in sunshine
when the owers are open.
Box (Buxus sempervirens) small shrub with tiny yellow
Giedriius/Shutterstock.com
owers. It is rare in the wild in the UK, but commonly
cultivated and planted for ornamental hedging.
Fauna
Buff-tailed bumble bee (Bombus terrestris) a common
species throughout the UK that is active in early spring.
Great diving beetle (Dytiscus marginalis) at least the size Nine great places to see heronries
of a one-pence coin, and a voracious predator of tadpoles.
Common buzzard (Buteo buteo) now widespread Visiting a heronry is a great way to see herons in large numbers,
across the UK. Watch out for spectacular display ights and to observe their fascinating behaviour. Birds arrive at their
in early spring.
nests in February, and their eggs hatch between March and April.
Here are some of the best places in the UK to observe them
Swell Wood, Somerset opportunities to observe courtship

1 The RSPBs Swell Wood and nesting behaviour.
reserve in the Somerset Levels rspb.org.uk/northwardhill
is home to south-west Englands
Gudkov Andrey/Shutterstock.com
largest heronry, with more than Coed Llwyn Rhyddid,

100 pairs of grey herons and 6 Vale of Glamorgan
a small number of little egrets. Located one mile north of Hensol
rspb.org.uk/swellwood forest, this mixed woodland has the
third largest heronry in Wales. To
Ellesmere, Shropshire book a place on a heron-watching
2 Herons return each year to trip, email Rob Parry at the Wildlife
Moscow Island on the Mere and Trust for South and West Wales:
begin gathering nesting material r.parry@welshwildlife.org.
World wildlife spectacles in February. Its one of the most
accessible heron-viewing spots,
welshwildlife.org
Lesser amingos, Tanzania and video footage is broadcast Attenborough Nature

Every year, more than two million lesser amingos gather live in the visitor centre. 7 Centre and Reserve,
at Tanzanias Lake Natron on the oor of the Great Rift heronwatch.org.uk Nottinghamshire
Valley. Forming pink clouds over their main breeding site, The ooded gravel pits and islands
these tall, elegant birds are very social and are rarely seen The Regents Park, London are perfect for breeding herons.
alone. Courtship rituals involve head agging, wing salutes 3 Just one mile from Oxford There are more than 40 nests
and marching. Visit before the end of March to coincide Street, this royal park has one of the here, most of which can be easily
your trip with the wildebeests breeding season in the largest city-centre heron colonies in spotted around Tween Pond.
southern Serengeti. Europe; over 20 pairs of grey herons attenboroughnaturecentre.co.uk
nest near the boating lake each year.
Orangutans, Borneo royalparks.org.uk Crom, County Fermanagh
In the last 20 years, 8 Set on the shores of the
Kitch Bain/Shutterstock.com
some 80% of the tropical Walthamstow Reservoirs, Upper Lough Erne, Crom Estate
rainforest on which 4 Greater London has one of the largest heronries
orangutans depend has Superb views of grey herons and in Northern Ireland. The National
been destroyed, causing little egrets can be enjoyed at Trusts 3.5-mile Crom wildlife walk
their numbers to plummet; Walthamstow Reservoirs, without is a great way to explore the area.
many experts believe they the need for binoculars. Over nationaltrust.org.uk/crom/
could be extinct in the 100 pairs nest here most years. trails/crom-wildlife-walk
wild in less than 25 years. There are several orangutan walthamstow-wetlands.org.uk
rehabilitation centres and sanctuaries in Borneo, where Muncaster Castle, Cumbria
you can maximise your chances of a sighting of these Northward Hill, Kent 9 There has been a heronry
endangered animals. It's much more rewarding to see them 5 Boasting the UKs largest at Muncaster Castle for centuries;
in their natural environment, however, even though they heronry, with up to 150 pairs of from about 4pm every day, the
are harder to see and more distant. March to December is grey herons and over 100 pairs birds gather on the Cannon Bank
the dry season, and the best time to see orangutans in the of little egrets, this RSPB nature to be fed in front of an audience.
wild, and two of the top locations are Danum Valley and the reserve promises some excellent muncaster.co.uk
Kinabatangan river.
76_77 Nature photo guide CB.indd 77 23/01/2017 12:15

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078_OPHO_215.indd 78 1/23/17 12:17 PM

A MOMENT WITH NATURE
Capturing the character of an animal is one of the most important aspects of wildlife
photography for Tom Way, who is drawn to species that exude spirit and personality
There are a few key factors I consider and look for the character and then look for a moment are very important in expressing emotion, so
for when composing a wildlife image. One, of when those traits are expressed in a single pose. I was thrilled to see this in the image. Being
course, is the light, and another is simplicity. When I rst saw this large male lion on the sensitive to and aware of an animals behaviour
But I often nd that the most crucial element in plains of the Maasai Mara National Reserve, and actions can also add to the the impact of
whether the shot is a success or not is portraying he was at rest anyone who has been wildlife a photograph. The stance of this lion with his
the character of the animal. Capturing this will watching in Africa will know that lions head turned, and the highlighted curve of his
engage the viewer and hopefully provoke an lounging around are a common sight. When spine, emphasises his gracefulness and stature.
emotional response, whether it is one of love he nally began to move he walked right The combined power of these elements can be
or sadness, joy or fear. Without this important alongside my vehicle. I followed him through further accentuated when an image is converted
ingredient, the viewer may feel detached and my viewnder and was pleased when he paused to black & white; removing the colour takes
therefore quickly disregard an image. almost the perfect distance away from me, with away the possibility of any visual distraction
When photographing my favourite mammals his handsome head and mane lling the frame. they may cause. This leaves the viewer with
on the African continent I try hard to keep Finding myself so close to this magnicent only the raw emotion of the image and, in turn,
these considerations in mind. Although lions cat allowed me to more accurately convey his empathy with the subject. As a photographer
are often depicted as large, aggressive, powerful character. By di using the background through I nd I am drawn to animals that visually
predators, I wanted to focus on the beauty and the use of a wide aperture, the focal point demonstrate a strong character, and whenever
majesty of the species. Only by spending plenty of the image is the lions face and the bright, I am in the company of lions I nd myself in awe
of time with your subject can you develop a feel staring eye. With portrait images, the eyes of them.
79 A moment with nature_SW.indd 79 23/01/2017 12:18

NATURE ZONE
STEVE YOUNG
On the wing
With no choice but to stay at
home for a number of weeks
following an operation,
Steve Young takes the
opportunity to acquaint
himself with his garden
birds, and is thrilled when an
unexpected visitor turns up
Around this time last year I was

recovering from a hernia operation,
which prevented me from getting out
and about. In fact, I was unable to do
virtually anything photographically for
a couple of months, and I couldnt carry
a heavy lens. For the rst few weeks
I didnt do much apart from watching
catch-up television and box sets, or
reading, but after a short while I began
once again to take an interest in the
garden inhabitants.
Before my operation, Id moved the
feeders much closer to the window so
that I could use a shorter lens to take
photographs. Natural perches were
already in place for the birds to land on, had to try to photograph it. Hobbling double-glazing and simply hope for the above Wren: I was
and if I sat on the couch and opened the out into the rain in my pyjamas and best in terms of quality. a little bit surprised
door I could watch to my hearts content. a dressing gown, I limped down to the I cant say I enjoyed my operation, that a wren came
to collect my
Photography was still a bit difficult, bottom of the garden. I managed a few minor though it was compared to what nesting material,
but my D7200 with the new Nikon shots, which werent great, as I was wary others go through, but the weeks spent but very happy to
300mm f/4 attached was a lightweight about straining too much, but it was at home recovering did enable me to photograph it, even
combination; by resting the camera on superb to see a treecreeper so close and keep a very close eye on the garden though it was shot
the top of cushions balanced on the arm in my garden. visitors. I learnt a lot more about my through the window.
of the couch, I could actually manage to Over the next few weeks I noticed that birds and added treecreeper to the list, below Its not a
take a few photos. blue and great tits were beginning to which wouldnt have happened otherwise. perfect shot by
Because I was indoors all day, every check out nest boxes and were actually Just as I was nishing writing this any means, but
its taken in my
day, I did get to know what the garden starting to collect nesting material. The column I found out that another hernia garden, in the
birds habits were: what time certain previous year, a blue tit had torn apart operation is needed; either a recurrence rain, by a hobbling
species would come in to feed, how an old ower basket lining, and Id kept of the last one or a new one near to photographer, so
many birds were using the garden the leftovers for this seasons birds. where it was wish me luck Im quite pleased.
and the direction from which they After draping bits of it over a branch
approached the feeders were all useful near to my window, I settled down and
bits of knowledge. I also realised that waited to see what would happen but
there wasnt just one sparrowhawk ying there were no takers. A couple of days
in for a take-away; there were actually later, however, a blue tit, then a great
three dierent birds no wonder my tit collected some material and ew
house sparrow and goldnch numbers o with mouthfuls. Id expected this
were decreasing. behaviour from these species, but was
One very wet day I was sitting on the surprised when a wren joined in and
couch watching yet another episode of took nearly all the remaining material
24 when I glanced out of the window. in a couple of mouthfuls and then ew
A movement in next doors silver birch to a nest in the ivy-covered trees. The
tree made me lift up my binoculars, only problem with this bird was that
and there climbing up the trunk was a for some reason it wouldnt come down
treecreeper! It was a rst record for my when the windows were open, so I had
garden, and totally unexpected; I just to take my photographs through the
80_81 On the wing_SW.indd 80 12/01/2017 11:55

LOCATION OF
STEVES MARCH HIGHLIGHTS THE MONTH
BIRD OF THE MONTH

It may only be February when you are
Forestry Commission
reading this, but early migrants will
already be close to our shores, and one
of the earliest is northern wheatear.
Southern counties will have their rst
birds arriving on the coast around now,
and even here in north-west England I will
be looking for them during the early days
of March.
With a black bandit mask, peachy upper
breast and grey-blue back with dark
wings, male wheatear is a very smart-
1
looking bird. Common breeders in the
UK on uplands, they will arrive any time
between March and May before moving
Carl Day/Shutterstock.com
across the country to their breeding
grounds, stopping to feed along the way.
1 Wheatear (male): With its distinctive

black bandit mask, male wheatear is
a smart-looking bird. Black Wood of
2 Wheatear (female, winter): Although Rannoch, Highland
wheatears are to be expected in spring,
summer and autumn, they are not usually Forming part of the Tay Forest
seen during winter. This female, however,
Park, the Black Wood of Rannoch
was photographed locally on 31 December
2 is one of the largest remaining
a few years ago.
areas of ancient Caledonian pine
forest that once covered much
of the Scottish Highlands.
BIRD PHOTOGRAPHY TIP
Its name might sound dark and
1 2 sombre, but this vast forest is
a magical place thats full of
life and colour. As well as being
home to beautiful pines and other
native trees, some of which are
thought to be hundreds of years
old, it is rich in plants and wildlife
such as deer, pine martens and
red squirrels. Some of the birds
that inhabit the wood are found
nowhere else, or seldom seen
3 elsewhere, including crested
tits and Scottish crossbills.
Another characterful inhabitant
is the capercaillie, famous for its
dramatic courtship display.
Checking and cleaning nest boxes is one of those jobs that Location The Black Wood of
must be done. It might also be a good time to put up a fresh Rannoch lies on the southern
perch alongside it for the birds to land on. As mentioned in the shore of Loch Rannoch, about
main article, you can also help the birds by putting out nesting 30 miles west of Pitlochry.
material for them to collect; old hanging baskets can be broken Access and facilities The wood is
up and scattered around, and the pieces are likely to be found. easily accessed via a network of
1 The only shot I managed of one of my
Commercial nesting material is available from many bird robins collecting the moss that I put out paths. Parking is at Carie, where
food retailers if you want to go this far, and bags of moss can for them. Ill try again this year youll nd picnic areas and toilets.
be bought as well. I have to confess, though, that I had limited 2 Birds will be looking for material to line Website scotland.forestry.gov.uk
success with the moss I put out last year; it was mostly ignored their nests with; an old ower basket was
by the robins that bred locally. I will try again this year, but they perfect for this blue tit.
may just be an extremely fussy pair! 3 A coal tit collects moss to line its nest.
80_81 On the wing_SW.indd 81 23/01/2017 12:19

082_OPHO_215.indd 82 1/17/17 2:20 PM
INSIDE TRACK
Christmas in India was no photographic cracker

Force of circumstance occasionally means were reduced to using equipment below our pay grade.
You can try to make the best of these things but, on holiday in India, Nick Smith discovered that
sometimes youre better o without any camera at all
There are times when we all impose upon ourselves long journeys awaited me was a scene of utter carnage. Probably no point even trying.
with tight schedules, but this was ridiculous. The idea was to travel I internalised the word poppycock with manly and British reserve,
non-stop from the biting cold of the Antarctic Peninsula to the and, as Desmond sat in my kitchen drinking tea, I quickly grabbed what
comforting warmth of a sunset-facing beach in India. The former was I needed from my polar kitbag and transferred it into my Louis Vuitton
the venue of an exciting assignment for a national newspaper, where valise. Dont bother with that, he chirped: its the guys with check-in
Id been photographing penguins and abandoned scientic research luggage that are being held up. Your best chance is to arrive with carry-
stations, while the latter was where I was to join my family to celebrate on only. Knowing that check-in clerks blanch at hand luggage coming
Christmas. For those interested in statistics, my voyage would involve in at more than 10kg, I started to repack, this time under the gun. Metal
four continents, one ship, ve aeroplanes and countless long-distance bodied cameras and long lenses were out of the question and so with the
taxis. But all would be well, because everything was planned down to seconds draining away, I decided to take my leather hat, passport and
the last jot and tittle. little else. Id buy a compact camera for my family album snaps if I ever
The key to arriving in Goa by Christmas Eve was to do the switch got airside.
in London, where Id briey return to my at, dump the polar gear and What happened next was quick and efficient. We glided past the
swap it for a pre-packed bag of Bermuda shorts and Hawaiian shirts, cohorts of simultaneously stressed and depressed holidaymakers outside
sandals and sarongs. As sun block and sunglasses were requirements of Heathrow, and with nothing more than a backpack to slow me down
both adventures, the pit stop seemed to be a triumph of efficiency over I breezed through check-in, security and passport control in something
a schedule that would put the fear of God into lesser mortals. Id need like 18 minutes. I was going to catch my ight and the Christmas reunion
to make snap decisions over what camera gear Id leave behind. But as with my daughter was now a formality. I stopped at one of those
I have already said, the logistics were nailed down with the accuracy and electronics shops in the mall that never sell you anything you really
ruthlessness of a military campaign, and the last thing I was going to do need, unclipped the purse to the total of 300, and with my sleek new
was waste any energy on what could go wrong, because nothing could. toy still in the box, munched peanuts all the way to Mumbai, snoozed
My ship duly docked in Ushuaia, the southernmost city in the world, through a short-haul to Goa, and chatted amiably with the taxi driver
on the very tip of Argentinas Tierra del Fuego, and it was but a matter of who spent the next four hours searching for my beach hut in the
minutes to clear customs and ag down a taxi that would take me to the tropical sun.
somewhat bijou local aireld. From there I ew to Buenos Aires, changed After the longest journey Id ever undertaken, and after battling
planes and charged north to Madrid. In Spain, I sallied forth as condent with the sort of impedimenta that would have entirely defeated Greek
as a man with a broad and easy conscience to Gatwick, where my pre- mythological heroes, I arrived at Mandrem beach exhausted to be sure,
booked minicab awaited me. It was easier than picking apples o a tree, but overjoyed to see my daughter sporting dolphin-like in the surf
and were I to descend into that ghastly business management jargon, Id before a decidedly pleasant smoked salmon sunset. After greetings and
describe the whole aair as being one characterised by an abundance of salutations all round, I decided it was time to take some pictures. As my
low-hanging fruit. new unfamiliar compact camera sprang into life of sorts, I felt a wild
Youve got a problem, quoth the driver Desmond a tad too gleefully pang of nostalgia for the proper instruments of the trade that were now
for my liking. Hed been fully briefed over a beer or two before Id set taking a well-earned rest on my kitchen table in Brixton.
o to Antarctica and was ready to leap into action. You see, theres The results were terrible for the same reason that instant coee
a baggage handlers strike at Heathrow, and people have been stuck granules, powdered milk and saccharine tablets wont make you a
waiting for their plane to take o for three days. Theyre even putting satisfying drink. I tried to put a brave face on it. But as I made my tour of
up marquees to accommodate the overspill. Thinking that this didnt temple ruins, night markets and street cricket matches, I came to realise
sound too catastrophic, even for a snowy 23 December at the UKs that the word compact has no place in my world, being better reserved
busiest airport, I was bought back to earth when he told me that what for hatchback cars and political alliances.
83 Inside track_SW.indd 83 12/01/2017 11:56

084_OPHO_215.indd 84 1/19/17 4:03 PM
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100mm f/2.8L Macro IS 869.00 16-35mm f/2.8L II USM 1,429.00 200-400mm f/4.0L USM 9,769.00 24mm f/1.8 ZA Carl Zeiss 889.00 18-200mm f/3.5-6.3 P. Zoom 949.00 35mm f/1.8 DT 149.00
135mm f/2.0L USM 949.00 16-35mm f/2.8L III USM 2,349.00 1.4x III Extender 359.00 24mm f/2.0 Carl Zeiss T* 999.00 24-70mm f/4 FE Vario-Tessar T*899.00 50mm f/1.4 Carl Zeiss 699.97*
50mm f/1.8 OSS 259.00 24-240mm f/3.5-6.3 FE OSS 849.00 11-18mm f4.5-5.6 DT 599.00
180mm f/3.5L USM 1,329.00 16-35mm f/4.0L IS USM 879.00 2.0x III Extender 369.00
55mm f/1.8 FE Sonnar T* ZA 749.00 28-70mm f/3.5-5.6 FE OSS 449.00 16-35mm f/2.8 Carl Zeiss T* 2,200.00
90mm f/2.8 Macro G FE OSS 949.00 28-135mm f/4 G FE PZ OSS 2,099.00 24-70mm f/2.8 II Carl Zeiss T*2,000.00
10-18mm f/4 OSS 699.00 55-210mm f/4.5-6.3 OSS 269.00 55-200mm f4.0-5.6 SAM DT 246.00
20.4
MEGA 3.0 3.0 3.0 IS
3.0 3.0
4K 16-50mm f/3.5-5.6 OSS 279.00 70-200mm f/4 G FE OSS 1,249.00 70-200mm f/2.8 G SSM II 2,799.00
PIXELS 15 fps
360FLY 4K Samyang AF 50mm Tamrac Hoodoo 20
A micro four-thirds camera with almighty f/1.4 Backp
14 fps 14 fps
ability - this will be known for its performance 4K
in the high speed action eld of photography.
Limited stock now available!
Available from 1,849.00 In stock at Available in Sony FE mount Available in 3 colours
Visit us in store or online for details
489.0
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0
449.0
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9.0
109.00
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0
Olympus E-PL8 Olympus E-M10 Mark II Olympus E-M5 Mark II See website to get 10% off For even more Samyang For even more Tamrac bags /
360FLY accessories! lenses, visit our website cases, visit our website
16 16.2 16.1
MEGA MEGA MEGA IS
PIXELS PIXELS 8 FPS PIXELS Manfrotto MT190GOC4TB 190 Go! Manfrotto Off Road Stunt Backpack
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Body only + 14-42 EZ Body only + 14-42 EZ Body only + 12-50mm with dedicated GoPro Camera mount
3
99.000
399 00
4
99.000
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4
49.000
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5
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7
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8
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Special Price: In stock at
Add an Olympus BLS50 Add an Olympus BLS50 Add an Olympus BLN-1
spare battery for only 47! spare battery for only 47! spare battery for only 53! 225.00* Normally 235.00
99.00 Available in Grey or Red
For all the latest NEW PRODUCTS, visit www.parkcameras.com/outdoor, or subscribe to our free newsletter!
E&OE. All prices include VAT @ 20%. E&OE. For opening times and the address of our stores in Central London and Burgess Hill, visit www.parkcameras.com/outdoor.
Prices correct at time of going to press; Prices subject to change; check website for latest prices.
086_OPHO_215.indd 86 1/18/17 10:42 AM

GEAR ZONE
ACQUIRE
88 Gearing up 90 Camera test
THE BEST MICRO-FOUR-THIRDS CAMERA YET?

Fergus Kennedy puts the Olympus OM-D E-M1 MkII to the test
87 Gear zone opener CB.indd 87 23/01/2017 12:20

Lume Cube Berghaus Extre
Extrem
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Fitting into the palm of your hand, this miniature light emits
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nighttime scenes. Compatible with iPhone, Android, GoPro winter pursuits, the 7000 Belay Parka is made from Pertex Endurance a totally
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Guide price 89.99 (single pack) Guide price 200
intro2020.co.uk berghaus.com
GEARING UP
BenQ SW320 Canon Selphy CP1200

A wide-gamut monitor that takes image quality to the next level, the SW320 A neat and compact printer great for making reference prints,
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wireless Canon Selphy CP1200 is ideal for photographers
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a 10-bit IPS panel and a 14-bit 3D look-up table to give extraordinary clarity or books where you need a quick way to make prints to test
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and nature photographs. prints, and you can use the Selphy portably too, thanks to its
Guide price 1,250 rechargeable battery pack.
benq.co.uk Guide price 99
88_89 Gearing Up_SW.indd 88 23/01/2017 12:22

Adata Ultimate SU900 Snugpak 2nd Skinz baselayer
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the tripod reaches a height of 153cm.
Guide price 142.99
intro2020.co.uk
Cullman CUlight FR60 Panasonic Lumix GH5

This shoe mount TTL ash has a guide number of 60 and A product release to excite videographers far and wide, Panasonics new
integrated radio remote control with an operating range of agship for its Lumix range is the worlds rst mirrorless camera to feature
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Guide price 249.99 panasonic.com
intro2020.co.uk
88_89 Gearing Up_SW.indd 89 23/01/2017 12:22

GEAR ZONE
CAMERA TEST
Olympus OM-D E-M1 MkII

Olympus new agship camera puts the mirco-four-
o-four-
thirds system at the cutting edge of high-speed
ed
shooting with a host of impressive features.
Fergus Kennedy puts it through its paces...
Guide price 1,849 (body only)

Contact olympus.co.uk
Olympus had a tough act to follow ut in

on it. I worked it out
their very popular and capable micro- the end. There are of
four-thirds agship, the E-M1. On course several waysys to
paper, at least, they seem to have pulled quickly change thee ISO,
it o, with improvements across the but none were obviousious on
board. I was keen to get the camera in a casual inspection n of the outside of image stabilisation, the MkII
my hands and see for myself whether the camera. One handy feature here manages to produce a 50MP image
the specs translated into improved is the lever controll immediately to the from a 20MP sensor by combining
performance in the real world. right of the view nder, which can be several photographs. As such, its really
The camera feels very well made used to toggle the function of the two only suitable for static subjects shot
and solid. Its a bit heavier than its main dials, so you can switch between Phenomenal image from a tripod, but it certainly works,
predecessor but still neat and very easy using the thumbwheel for aperture and stabilisation makes giving a noticeable boost in resolution.
low-light handheld
on the eye, with retro styling and a ISO without taking your eye away from shots a breeze. One of the headline features of the
plethora of physical buttons and dials. the view nder. Olympus OM-D new Olympus is its in-body ve-axis
Similarly, the two lenses I tested with Landscape photographers who love E-M1 MkII with image stabilisation. Building on
Olympus M
it were extremely well built and looked to print their work large will appreciate the success of its implementation
300mm f/4
like they could stand up to the elements. the High Res Mode. Making clever use lens, ISO 800, in the original OM-D E-M1, the
In a foolhardy move, I headed of the sensor shift technology used for 1/125sec at f/4 new incarnation claims an almost
out at dusk having barely glanced at
the user manual. Not being entirely
familiar with the Olympus way of
doing things, this strategy did provoke
some frustration. As the light faded
and I needed to up the ISO, I found
myself pressing buttons almost at
random in a desperate attempt to get
the camera to do my bidding. The
MkII has a seemingly innite range of
customisation options in the menu,
which is great for experienced users,
but I did nd myself wishing there was
an obvious button with ISO written
LIKES
Great image quality from
the new 20MP sensor
Build quality
Amazing in-body
image stabilisation
4K video
50 MP High Res Mode
DISLIKES
Socket placement slightly
interferes with LCD articulation
Control interface takes some
getting used to
90_91 Camera test CB.indd 90 23/01/2017 12:26

Above (left) Noise miraculous 5.5 stops of stabilisation. Most of the time its no problem, but
SPECIFICATIONS was certainly This is a big deal for photographers who with really fast subjects on long lenses,
present in higher like to work with minimal gear. It was I still think an optical view nder has
Sensor 20MP micro-four-thirds ISO shots,
Resolution 5184 x 3888 pixels particularly when great to head out on a dusk-to-night the edge.
Lens Interchangeable micro- pushing the shoot with just a small gear bag and no The E-M1 MkII is no slouch in the
four-thirds shadow areas at tripod. After shooting for a couple of video department; it shoots detailed
Shutter speed Still image: Bulb, ISO 3200 or above, hours, I have to say the results were very 4K video up to a very respectable 237
but it was ne- impressive, particularly at longer focal Mbps bit rate. The very eective image
1/8000-60sec, Electronic shutter
grained and
max: 1/32000 lengths. I certainly had a really good stabilisation, articulated LCD, mic and
easily subdued.
ISO 200-25600 Olympus OM-D keeper rate shooting handheld at up to headphone sockets make it a compelling
Viewnder Electronic E-M1 MkII with one-second shutter speed. You could option for videographers.
LCD 3in OLED LCD, approx. Olympus M probably go beyond that if you braced
1037k pixels, static touch control. 300mm f/4 yourself carefully.
Flash Hotshoe mounted unit lens, ISO 1250,
1/400sec at f/4
The new 20MP sensor produced
Movie mode Max 2160p (4K) up
nice looking images even at higher
to 30fps, 1080p at up to 60fps
ISO values, with ner grained noise
Card formats SD/SDHC/SDXC
Power Li-ion Battery Pack BLH-1
Above (right) The
in-body IS worked
than its 16MP forebears. It may not VERDICT
quite be in the same league as some
Size 134 x 91 x 67mm particularly well Overall, the new Olympus is
Weight 574g (body only, of the larger sensor competition, but
when combined certainly at the current pinnacle
with battery) with longer lenses, its certainly very useable up to and
of micro-four-thirds performance.
such as the including ISO 3200. It has outstanding build quality and
fabulous Olympus One area that often provokes an ever-growing array of pro-level
300mm f/4 lens. heated debate is the autofocus on glass to choose from. The image
Olympus OM-D mirrorless cameras versus their DSLR stabilisation is class-leading and
E-M1 MkII with
counterparts. The autofocus of the will go some way towards mitigating
Olympus M
300mm f/4 latest generation of mirrorless cameras the effects of a smaller sensor on
lens, ISO 800, is indeed very snappy and can, in low-light performance. Its price
1/124sec at f/4 tag puts it head to head with many
many respects, rival the performance
leading DSLRs with considerably
of DSLRs. Combine this with an
larger sensors, so your choice will
impressive frame rate (up to 60fps) depend on the relative merits of
and you have the makings of a very portability versus extreme low-light
handy sports or wildlife camera. In performance and the need for very
practice, while I found the camera high native resolution.
tracked moving subjects pretty well,
with really tricky subjects such as birds
in ight on a long lens I struggled to
keep the subject in frame more than
RATINGS
I would with a traditional optical Handling 95%
OVERALL
Performance 95%
view nder. I think this may be due to 94%
Specication 94%
the very slight lag and inherent refresh Value 90%
rate issues of an electronic view nder.
90_91 Camera test CB.indd 91 23/01/2017 12:26

What a customer said about us
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JHWJUHDWVHUYLFHDQGDJUHDWLWHPDWWKHEHVWSULFH7KDQNV
S. Pradham Essex
2YHU3URGXFWV)UHH'HOLYHU\RQRURYHU:HFDQGHOLYHURQ6DWXUGD\RU6XQGD\
Canon Lenses
EOS 80D EOS 7D EOS 6D
EF 24mm f1.4L II USM ........................ 1349 Mark II
EF 28mm f2.8 IS USM ......................... 389
EF 35mm f1.4 L II USM ....................... 1799
()PPI670 .............................. 106
20.2 mp
EF 85mm f1.8 USM ............................. 319
24.2 mp 20.2 mp 4.5 fps
EF 100mm f2.8 L IS USM Macro ......... 689
7.0 fps 10.0 fps 1080p
EF 135mm f2 L USM ........................... 949
1080p 1080p Full Frame
EF 180mm f3.5 L USM Macro ............. 1187
EF 200mm f2.8 L USM MKII ................ 549
EF 300mm f2.8 L IS II USM ................. 5799 80D From 849 7D Mark II 1249 6D From 1149
EF 400mm f5.6 L USM ........................ 1099
NEW 80D Body 849 7D Mark II Body 1249 6D Body 1149
EF-S 60mm f2.8 USM Macro............... 379
()6PPI,6670 .......... 185
NEW 80D + 18-55mm 1029 6D + 24-105mm 1599
EF-S 10-22mm f3.5-4.5 USM .............. 399 NEW 80D + 18-135mm 1219
EF-S 17-55mm f2.8 IS USM ................ 699
EF-S 18-135mm f3.5-5.6 IS USM........ 449
()6PPI,6670 ........ 295
EF 8-15mm f4 L USM Fisheye ............ 1199
EF 11-24mm f4 L USM......................... 2699 EOS 5DS EOS 5D EOS 1D X
EF 16-35mm f2.8 L MkII USM ............. 1199
Mark IV Mark II
EF 16-35mm f4 L IS USM .................... 879
EF 24-70mm f4 L IS USM .................... 739
EF 24-70mm f2.8L II USM ................... 1899
()PPI,6670 ............ 349 50.6 mp 30.4 mp 20.2 mp
EF 28-300mm f3.5-5.6 L IS USM ........ 2249 5.0 fps 7.0 fps 16.0 fps
EF 70-200mm f2.8 L IS II USM............ 1849 Full Frame Full Frame Full Frame
EF 70-200mm f4 L USM ...................... 499
EF 70-300mm f4.5-5.6 DO IS USM ..... 1189
EF 70-300mm f4-5.6 L IS USM ........... 1029
5DS From 2799 5D Mark IV 3499 1D X Mk II From 4799
EF 100-400mm f4.5-5.6 L IS II USM ... 1795 5DS Body 2799 5D Mark IV Body 3499 NEW 1D X Mk II Body 4799
5DS R Body 2899
D5600 D7200 D610 D500
24.2 mp 24.2 mp 24.3 mp 20.9 mp

5.0 fps 6.0 fps 6.0 fps 10.0 fps
1080p 1080p 1080p 1080p
D5600 From 799 D7200 From 849 D610 From 1299 D500 Body 1729
D5600 + 18-55mm 799 D7200 Body 849 D610 Body 1299 NEW D500 Body 1729
D5600 + 18-140mm 989 D7200 + 18-105mm 1099 D610 + 24-85mm 1699
Nikon Lenses
20mm f1.8 G AF-S ED .............................. 649
D750 D810 D5 35mm f1.8 G AF-S DX .............................. 175
40mm f2.8 G AF-S DX Micro .................... 239
50mm f1.4 G AF-S .................................... 385
50mm f1.8 G AF-S .................................... 189
24.3 mp 36.3 mp 20.8 mp 85mm f1.8 G AF-S .................................... 430
6.5 fps 7.0 fps 12.0 fps 105mm f2.8 G AF-S VR IF ED Micro ........ 749
Full Frame Full Frame Full Frame 10-24mm f3.5-4.5 G AF-S DX................... 729
16-35mm f4 G AF-S ED VR ...................... 1019
D750 From 1599 D810 From 2399 D5 5099 16-80mm f2.8-4 G AF-S VR ED DX ......... 860
18-200mm f3.5-5.6 G AF-S DX ED VR II . 625
D750 Body 1599 D810 Body 2399 NEW D5 Body 5099 18-300mm f3.5-6.3 G ED VR AF-S DX ....629
D750 + 24-85mm VR 2099 D810A Body 2899 24-70mm f2.8 G AF-S ED ......................... 1599
28-300mm f3.5-5.6 G AF-S ED VR .......... 829
D750 + 24-120mm VR 2299 55-200mm f4-5.6 G ED VR II DX AF-S .... 239
55-300mm f4.5-5.6 G AF-S DX VR .......... 305
70-300mm f4.5-5.6 G AF-S VR IF-ED ...... 499
200-300mm f5.6 E ED VR AF-S .............1179
OM-D E-M10 II
Black or Silver A6500
PEN-F X-T2 Black A7R Mark II Black or Silver GX80
Black
20.3 mp 16.1 mp 24.3 mp 42.0 mp 24.0 mp 16 mp

10.0 fps 8.5 fps 8.0 fps 5.0 fps 11.0 fps 8.0 fps
1080p 1080p 1080p 4K video 1080p 1080p
NEW PEN-F OM-D E-M10 II X-T2 A7R Mark II A6500 GX80 Body
Body 949 From 449 Body 1399 Body 2999 From 1499 447
PEN-F Body 949 OM-D E-M10 II Body 449 NEW X-T2 Body 1399 A7R Mk II Body 2999 A6500 Body 1499 + 12-32mm 549
OM-D E-M1 Body 849 OM-D E-M10 II NEW X-Pro2 Body 1349 A7S II Body 2849 A6500 + 16-70mm 2499
OM-D E-M1 +14-42mm 529 NEW X-E2S Body 549 A7 II 1299 A6300 Body 899 Panasonic Lenses
+12-40mm 1149 OM-D E-M10 II +14-42mm NEW X-E2S A7 799 A6300 + 16-50mm 1097 12-35mm f2.8 699
OM-D E-M5 II + 40-105mm 619 + 18-55mm 739
Body 749 X-E2 Body 399 A7 + 28-70mm 966 45-175mm f4.0-5.6 299
Olympus Lenses A7S Body 1699 25mm f1.7 148
OM-D E-M5 II X-T10 from 449
A7R Body 999 45m-150mm f4-5.6 179
+12-50mm 849 75mm f1.8 699 X-T1 from 795
35-100mm f2.8 799
OM-D E-M5 II 12-40mm f2.8 Pro 849
+12-40mm PRO 1299 40-150mm f2.8 Pro 1199
14-150mm f4-5.6 ED 549
092_093_OPHO_215.indd 92 1/11/17 11:35 AM

Wex Showroom
Unit B, Frenbury Estate visit wex.co.uk
Off Drayton High Road,
Norwich. NR6 5DP.
Open from 10am daily.
01603 208768
Call us Mon-Fri 8am-7pm, Sat 9am-6pm, Sun 10am-4pm
30-Day Returns Policy 3DUW([FKDQJH$YDLODEOH8VHGLWHPVFRPHZLWKDPRQWKZDUUDQW\
Digital Compact Cameras Accessories including spare batteries are available to buy on our website
Trade in,
20.2 mp
4.2x zoom
20.2 mp
4.2x zoom
20.2 mp
3x zoom
IXUS 275 ..................................104
IXUS 285 HS ............................154
IXUS 180 ..................................129
PowerShot G1 X MK II ...........499
PowerShot SX60 HS ..............349
to
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1080p 1080p 1080p PowerShot SX540 ..................277
prices
PowerShot G7 X .....................331.99
PowerShot G5 X PowerShot G7 X Mk II PowerShot G9 X PowerShot SX720 HS ............279 Free collection
549 549 349 RI\RXUJHDU
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Coolpix P900.............................. 499
NEW Coolpix B700 .................... 369
20.8 mp 20.8 mp 20.8 mp NEW Coolpix B500 .................... 239 wex.co.uk/part-ex
21x zoom 2.8x zoom 3.6x zoom NEW Coolpix A900 .................... 369
4K video 4K video 4K video NEW Coolpix A300 .................... 139
DL24-500 749 DL18-50 679 DL24-85 549 Coolpix AW130 .......................... 239
More Camera
FinePix S9800 ............................ 169
FinePix XP90 Blue ..................... 128
for your money
16.8 mp 16 mp 20.8 mp RIXVHGSURGXFWVLQVWRFN
4x zoom 5x zoom 21x zoom XQ2 ............................................. 180
15m w/proof 15m w/proof APS-C NEW X70 .................................... 499
wex.co.uk/pre-loved
Stylus TG-4 264 Stylus TG-860 179 FinePix X100T 776
Cyber-Shot HX60....................... 168.97 Lumix LX100 .............................. 499
Cyber-shot WX500 ..................... 269 Lumix LX15 ................................ 599
Cyber-Shot RX100 III ................ 579 Lumix FZ1000 ............................ 599 16.2 mp
18.2 mp Cyber-Shot RX100 IV ................ 729 20.9 mp Lumix TZ70 ................................ 269 3.1x zoom
30x zoom Cyber-Shot RX10 II.................... 1129 40x zoom
Lumix FZ330 .............................. 449 1080p
1080p 4K video GR II Digital 529
Cyber-Shot RX1R II ................... 3449 Lumix CM1 ................................. 639
XG-1 .................................................... 189
Cyber-Shot RX100 II.................. 439 Lumix FZ2000 Lumix TZ100 .............................. 549
Cyber-Shot HX90V 269 WG-30 ................................................. 159
Cyber-Shot RX100..................... 319 1099 Lumix TZ80 ................................ 329
Memory Cards & Readers
32GB ............... 49.99
Extreme Pro: 95MB/s
64GB .............. 89.99
SDHC XQD Memory Card: 64GB .....................74.99 Pixma
128GB ............. 159.99
16GB ................ 24 168MB/s 128GB ...................159 Pro 100S
32GB ................ 34 32GB .....................89
SanDisk Class 10 Professional 600x UHS-1:
64GB SDXC ..... 59 64GB .....................139
Extreme Micro SD SanDisk 90MB/s
SanDisk Extreme Pro: Card plus adapters: USB 3.0 Professional 1066x 16GB .....................14
160MB/s UDMA 16GB ................ 24 ,PDJH0DWH
Compact Flash: 160MB/s 32GB .....................20 PIXMA Pro 100S ..................... 375
CompactFlash 32GB ................ 30 Reader
16GB .....................35.99 64GB .....................38 PIXMA Pro 10S ....................... 529
16GB ................ 32.99 64GB ................ 59 39.99
32GB .....................49.99 128GB ...................69 PIXMA Pro 1............................. 599
Photo Bags & Rucksacks F-803 capacity:

DSLR with lens
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Photo Sport BP Anvil Slim 11 Manfrotto Reloader 3-4 more lenses
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BP 350 AW II .............. 149 200 AW .......................... 99 Anvil Super ................ 139 7ULSRG6WUDS F-803 ...........................139
BP 450 AW II .............. 169 300 AW .......................... 147 Anvil Pro .................... 149 Reloader 55.....................279 Black or Tan ....................19 F-2 ...............................139
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MT190XPRO3 3ULFHVFRUUHFWDWWLPHRIJRLQJWRSUHVV
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+ X-Pro 3-Way Head 259 MT190CXPRO3 0D[+HLJKW
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Carbon Fibre ............ 279 MT190XPRO4 324RC2 Joystick ...... 99 Series 2 6X Systematic Tripod SLR Zoom 39
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092_093_OPHO_215.indd 93 1/11/17 11:35 AM

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OPHO_215.indd 94 1/20/17 2:39 PM

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QUALITY USED EQUIPMENT. See website for full list. Call us to check condition. 6 Month warranty on most secondhand.
CANON USED Buy with confidence - all of our used equipment is thoroughly tested and cleaned before being offered for sale
CANON DIGITAL AF USED BG-E6 .......................................................... 79 16-35 F2.8 USM LI........................... 699 70-300 F4/5.6 L IS U .............. 699/799 10-20 F4/5.6 HSM box ..................219 1.4x EX conv ............................................... 99
Used Canon 1DX MKII body ...............................4299
1DX body box .................... 2299/2799
BG-E7 .......................................................... 79
BG-E8 .......................................................... 69
17-40 F4 L .......................................... 449
17-55 F2.8 EFS IS USM .................. 399
70-300 F4/5.6 DO IS U................... 399
70-300 F4.5/5.6 IS USM ................ 249
12-24 F4.5/5.6 EX DG ...........................399
18-50 F2.8 EX DC.................................149
Kenko Pro 300 1.4x conv...................... 99
Kenko ext tubes........................................ 79
EOS 1DX 1D MKIV b/o serviced .................1499 BG-E11 .....................................................169 17-85 F4/5.6...................................... 199 75-300 F4/5.6 MKII ............................99 18-50 F2.8/4.5 DC ..................................99 OTHER CAF USED
body 1D MKIV body ................................1299 BG-E13 .....................................................119 18-135 F3.5/5.6 IS USM .......................349 85 F1.8 M-.......................................... 269 18-125 F3.8/5.6 OS DC .....................149 TAM 10-24 F3.5/4.5 Di II ................... 199
1D MKIII body .................................. 699 BG-E16 box ............................................149 24 F3.5 TSE MKI box..............................699 100 F2.8 USM box........................... 299 18-200 F3.5/6.3 HSM OS............149/199 TAM 18-270 F3.5/6.3 VCII ............... 169
box 1Ds body ........................................... 299 CANON AF FILM BODIES USED 24-70 F2.8 L USM box ..........................799 100-400 F4.5/5.6 L IS U .................... 899 24-70 F2.8 HSM....................................469 TAM 28-75 F2.8 XR Di .................... 199
7D MKII body box........................... 999 EOS 1V body M- box ..................... 699 24-85 F3.5/4.5 USM...............................149 135 F2 L M- box............................... 499 28-135 F3.8/5.6 .......................................99 TAM 70-300 F4/5.6 ................................99
2299/2799 7D body ............................................. 499
5D MKIV body box .......................2699
EOS 3 body M- box ........................ 299
EOS 1n HS body .............................. 199
24-105 F4 L................................................599
28 F2.8 ................................................ 129
180 F3.5 L mac ....................................799
300 F2.8 LI IS U................................. 2799
50 F2.8 EX macro ...............................149
50-500 F4/6.3 EX DG ..................... 399
TAM 90 F2.8 ...........................................249
TAM 150-600 F5/6.3 USD ................649
5D MKIII b/o box ............... 1399/1699 EOS 30/5 body each .........................69 28-80 F3.5/5.6 .....................................79 300 F4 L IS USM box .........................749 70-200 F2.8 EX DG ........................ 399 TAM 200-500 F5/6.3...........................449
5D MKII body ........................................799 EOS 650 body .....................................39 28-90 F3.5/5.6 .....................................79 400 F4 DO ISII L U ........................... 5799 120-300 F2.8 DG OS
Used Canon 5D MKI body box ................................499 EOS 600 body .....................................39 28-135 F3.5/5.6 IS USM ................ 169 400 F5.6 L box .....................................749 Sport box .........................................1799
ZEISS 50 F1.4 ZE M- box ..................599
CANON FLASH USED
EOS 5D 60D body ................................................399 EOS 50E body......................................29 50 F1.2 L USM box.......................... 999 500 F4 LI IS USM.............................. 4499 120-300 F2.8 EX DG ....................... 699
50D body ................................................299 EOS 500N body ..................................29 50 F1.4 USM...................................... 239 1.4x extender MKII ......................... 239 120-400 F4/5.6 DG ......................... 399 ST-E3 transmitter box ................... 189
MKIII 30D body ................................................129 EOS 1000 body ...................................29 50 F2.5 macro .................................. 149 2x extender MKIII...............................269 150 F2.8 EX DG OS mac ...................499 ST-E2 transmitter ...............................79
20D body .................................................. 99 PB-E2 drive M- box......................... 199 55-250 F4/5.6 EFS ........................... 139 2x extender MKII ................................199 150-500 F5/6.3 HSM ..........................499 MR-14EX ringflash .......................... 349
body EVF-DC1 for G3X .................................149 PB-E2 drive fits EOS1/3 ................. 149 60 F2.8 USM EFS mac .................... 249 Teleplus 2x DG conv .........................89 150-600 F5/6.3 DG OS .........................999 430EXII................................................ 169
box BG-E2................39 BG-E2N ................ 49 CANON AF LENSES USED 70-200 F2.8 IS USM LI.................... 999 Kenko ext tube set DG .......................... 89 170-500 F5/6.3 APO DG......................299 550EX .................................................. 149
580EX box ......................................... 179
1699 BG-E4 box ................................................. 69
BG-E5 .......................................................... 49
10-22 F3.5/4.5 U .............................. 279
16-35 F2.8 USM LII.......................... 899
70-200 F2.8 USM L ......................... 799
70-200 F4 U L ................................... 399
SIGMA CAF USED
10-20 F3.5 EX DC......................... 269
180 F3.5 EX DG HSM mac..................399
1.4x EX DG conv .....................................149 580EX MKII ........................................ 299
NIKON USED We carry out sensor cleaning on the premises, firmware updating and equipment hire - please enquire for details
NIKON DIGITAL AF USED MBD-80 grip ........................................49 18-200 F3.5/5.6 AFS VRI .....................249 70-300 F4 G..........................................79 TC20EIII M- box ............................... 249 TAMRON NAF USED
Used Nikon D4s body box .................................3699 MBD-100 grip......................................39 20 F2.8 AFD .............................................329 80-200 F2.8 AFD.............................. 349 TC20EII..........199 TC20E ............ 149 10-24 F3.5/4.5 DiII ..................................239
D4 body box...................................2299 MBD-200 grip......................................49 20 F2.8 AF.................................................279 85 F1.4 AFS M- box ........................ 999 SIGMA NAF USED 11-18 F4.5/5.6 ..........................................219
D4s body D3X body box ................................1999 NIKON AF FILM BODIES USED 24-70 F2.8 AFS box ..............................849 85 F1.4 AFD....................................... 499 10-20 F4/5.6 EX DC ...............................239 18-250 F3.5/6.3 .......................................149
box D3s body box ..................... 1499/1799 F4E body ............................................ 299 24-85 F3.5/4.5 VR ...................................329 85 F1.8 AFS ....................................... 329 12-24 F4.5/5.6 EX DG ...........................449 19-35 F3.5/4.5 ............................................ 99
D3 body box...................................1199 F4 body .............................................. 249 24-120 f4 AFS VR ....................................699 85 F1.8 AFD....................................... 249 15 F2.8 EX DG ..........................................399 24-70 F2.8 USD........................................599
3699 D2xs body ......................................... 399 F65 body ...............................................39 24-120 F3.5/5.6 AFD .............................199 85 F3.5 DX M- box .......................... 269 18-200 F3.5/6.3 DC OS .......................199 28-300 F3.5/6.3 XR Di...........................149
D2x body ........................................... 349 F801 body ..................................... 29/59 28 F1.8 AFS G ...........................................479 105 F2 AFD........................................ 649 24-70 F2.8 EX DG serviced ...............299 70-300 F4/5.6 ............................................. 79
D800 body ......................................1399 F601 body ............................................29 28-100 F3.5/5.6 AF G .............................. 69 105 F2.8 AFS VR............................... 579 28-200 F3.5/5.6 early............................. 69 OTHER NAF USED
Used Nikon D700 body box................................ 699
D600 body box................................ 799
F55 body ...............................................25
NIKON AF LENSES USED
28-300 F3.5/5.6 VR.................................599
35 F2 AFD ..................................................199
105 F2.8 AFD .................................... 399
135 F2 AFD box ............................... 799
30 F1.4 EX DC .........................................199
50 F1.4 Art M- box................................499
TOK 10-17 F3.5/4.5 ATX ................ 249
TOK 11-18 F2.8 ATX Pro................ 329
D4 body D300s body box .............................. 429 10.5 F2.8 AFS DX box .................... 399 35-70 F3.3/4.5 AF ..................................... 59 180 F2.8 AFD M- box ..................... 449 50-500 F4/6.3 DG................... 399/499 TOK 12-28 F4 ATX DX .................... 399
box D300 body box................................ 299 10-24 F3.5/4.5 AFS DX .................. 549 40 f2.8 AFS Micro ............................ 169 200 F4 AF ........................................... 999 70 F2.8 EX DG .................................. 149 TOK 80-200 F2.8 ATX Pro ...............299
D200 body box................................ 149 14-24 F2.8 AFS M- box ...................1099 50 F1.4 AFD....................................... 199 200-400 F4 AFS VRII .....................3799 70-200 F2.8 OS DG ......................... 599 FLASH / ACCESSORIES USED
D7100 body box ............................. 499 14-24 F2.8 AFS ............................... 999 50 F1.8 AFD..........................................99 300 F2.8 AFS VRI ...........................2699 70-200 F2.8 EX DG.......................... 399 SB-24.............49 SB-25............................49
2299 D7000 body ............................. 299/349 16 F2.8 Fisheye AFD .................... 499 50 F1.8 AF .............................................79 300 F4 AFS box................................ 549 70-300 F4/5.6 APO DG.....................99 SB-28............69 SB-80DX .................... 79
D5000 body ...................................... 169 16-35 F4 VR...................................... 749 55-200 F4/5.6 AFS .............................79 400 F2.8 AFS VR serviced ...........5799 80-400 F4.5/5.6 DG OS ................. 399 SB-600.......169 SB-900 .....................249
Used Nikon D90 body ........................................... 199
D80 body ........................................... 169
16-85 F3.5/5.6 AFS VR ....................399
17-55 F2.8 AFS .......................................449
60 F2.8 AFS ....................................... 399
60 F2.8 AF .......................................... 199
400 F2.8 AFS non VR....................3999
600 F4 AFS VR ................................6299
105 F2.8 EX ....................................... 199
120-400 F4/5.6 DG ......................... 399
SB-R1 kit M- box .....................................399
SD-8 batt pack........................................... 49
D3X body D50 body ..............................................79 18-35 F3.5/4.5 AFS ...............................479 70-200 F2.8 AFS VRII ....................1349 600 F4 AFS VR serviced ..............5799 150 F2.8 EX DG OS mac ......................499 DR-3 angle finder..................................... 59
box MBD-15 grip ..................................... 149 18-35 F3.5/4.5 AFD ..............................299 70-200 F2.8 AFS VRI ....................... 899 600 F4 AFS II non VR 150-500 F5/6.3 DG OS .........................499 MB-10 (fits F90) ......................................... 29
MBD-14 grip ..................................... 149 18-55 F3.5/5.6 AFS VR.......................... 99 70-200 F4 AFS VR............................ 899 serviced ............................................4499 300-800 F5.6 EX DG ...........................2999 MB-23 (fits F4)............................................ 69
MBD-10 grip M- box ...................... 129 18-105 F3.5/5.6 AFS VR ......................169 70-300 F4/5.6 VR ............................. 369 TC14EII ................................................ 299 2x EX DG converter...............................149 MC-30 remote ........................................... 39
1999 MBD-10 grip ........................................79 18-135 F3.5/5.6 AFS G ........................169 70-300 F4/5.6 AFD ......................... 129 TC17EII ................................................ 249 1.4x or 2x EX conv each ........................ 99 MF-23 (date back F4) ............................. 79
DIGITAL USED Why not register to receive our email newsletters? Simply send your email address to info@mifsuds.com to enrol
FUJI DIGITAL USED Sony HV56AM .....................................169 35-70 F3.5/4.5 ............................................ 25 70-300 F4/5.6 DG OS ......................169 35-100 F2 M- box............................ 899 HLD-7 grip box ................................ 119
Used Fuji X-Pro2 body box ...........................1099 Sony LA-EA4 mount adap .............189 35-80 f4/5.6 ................................................. 25 70-300 F4/5.6 APO DG ......................99 40-150 F4/5.6 ......................................49 HLD-6 grip............................................99
X-Pro1 body ...................................... 299 SONY NEX USED 35-105 F3.5/4.5 ......................................... 99 150-500 F5./6.3 DG ........................ 499 50 F2 macro ...................................... 279 PANASONIC DIGITAL USED
X-Pro2 X-T1 body graphite box ............... 499 A6000 body ..............................................329 50 F1.7 AF .................................................... 89 170-500 F5/6.3................................. 299 25mm ext tube...................................79 FZ1000 bridge camera ................. 449
body box X-T1 body black............................... 499 NEX 5 body ...............................................129 50 F2.8 macro ..........................................149 1.4x EX conv ........................................99 FL-36 Flash ........................................ 119 GH2 body .......................................... 299
X-T1 body black............................... 449 FE 16-35 F4 ZA OSS E...........................999 75-300 F4.5/5.6 ......................................... 99 TAM 10-24 F3.5/4.5 DiII ................ 239 OLYMPUS MICRO 4/3 USED G6 body black.................................. 299
1099 X-T10 body box ............................... 349 FE 16-50 F3.5/5.6 EZ .............................149 85 F1.4 .........................................................549 TAM 18-200 F3.5/6.3.........................99 Stylus 1F............................................. 299 G3 body box ..................................... 129
X-E1 body black .............................. 199 FE 55-200 F4.5/6.3 .................................149 100-300 F4.5/5.6 APO ..........................149 TAM 70-300 F4.5/5.6 Di box...........79 OMD-EM1 body M- box ............... 449 GX7 body........................................... 399
10-24 F4 ............................................. 599 FE 90 F2.8 macro ....................................799 VC700 grip................................................... 39 TAM 90 F2.8 ............................. 179/249 OMD E-M5 MKII b/o box .............. 499 GX1 body box .................................. 149
Used Olympus 18-55 F2.8/4 XF ............................... 399
27 F2.8 XF box ................................. 199
Samyang 100 F2.8 macro ..................229
MINOLTA/SONY AF USED
RC1000S/L cord ........................................ 15
Angle finder VN......................................... 69
TAM 150-600 F3.5/6.3 USD .................599
Teleplus 1.4x conv .............................69
OMD E-M5 body box..................... 249
OMD-EM10 MKII body .................. 299
GF7 body silver box ....................... 199
GF3 body black ..................................99
OM-D E-M1 35 F1.4 R box .................................... 399 Dynax 9 body box .......................... 299 SONY LENSES USED Teleplus 2x conv ................................79 OMD-EM10 body ............................ 249 GF1 body ..................................................79
body M- 50-230 F4.5/6.7 XC box ................ 169 800Si body ...........................................69 16-80 F3.5/4.5 ZA DT............................499 Kenko 1.4x Pro 300DG .................. 149 EP-M2 body ...................................... 149 GM1 body silver .............................. 299
box 55-200 F3.5/4.8 R ............................ 449 7xi body ................................................49 18-55 F3.5/5.6 SAM ................................. 59 Min 5200i..............................................29 12-40 F2.8 Pro .................................. 649 12-35 F2.8 .......................................... 549
449 60 F2.4 macro box.......................... 429
1.4x converter .................................. 269
7000i body ...........................................39
300Si body ...........................................19
18-200 F3.5/6.3 DT ................................199
55-200 F4/5.6 DT SSM ........................... 69
Min 5400HS .........................................39
Min 5600HSD M-................................99
12-50 F3.5/6.3 .................................. 149
14-150 F4/5.6 ................................... 399
14 F2.5 ................................................ 199
14-42 F3.5/5.6 .....................................79
X-T1 vertical grip................................79 20-35 F3.5/4.5 M- box ................... 249 75-300 F4/5.6 ...........................................129 OLYMPUS 4/3 USED 17 F2.8 ................................................ 159 14-45 F3.5/5.6 .................................. 149
Used Sony MINOLTA/SONY DIGITAL USED 24 F2.8 AF .......................................... 199 SIGMA MIN/SONY AF USED E10 MKII body .................................. 349 45 F1.8 box ....................................... 199 20 F1.7 ................................................ 199
Sony A7R II body box.................... 2299 24-50 F4 ................................................99 18-35 F1.8 Art......................................449 E10 body............................................ 279 40-150 F2.8 Pro ............................... 949 35-100 F4/5.6 ................................... 199
A7R II Sony A7 II body ..................................999 24-85 F3.5/4.5 .................................. 149 28-135 F3.8/5.6 ..................................... 79 14-42 F3.5/5.6 .....................................49 40-150 F4/5.6 ................................... 139 45-200 F4/4.5 box .......................... 199
body box Sony A6300 body ..............................799 28 F2.8 ...................................................99 28-300 F3.5/6.3 macro.....................149 14-45 F3.5/5.6 .....................................79 45 F1.8.......159 60 F2.8.................99 100-300 F4/5.6................................. 349
Sony VG-B30AM ................................... 69 28-80 F4/5.6.........................................39 50 F1.4 ....................................................149 14-50 F3.8/5.6 .................................. 199 75-300 F4.8/6.7 MKII...................... 299 LVF2 viewfinder............................... 149
2299 Sony VG-C2EM ....................................179 28-85 F3.5/4.5 .....................................99 50 F2.8 EX DG macro .......................149 14-54 F2.8/3.5 .................................. 149 1.4x converter .................................. 249 PENTAX DIGITAL USED
Sony VG-C70AM.................................139 35-70 F4 ................................................39 55-200 F4/5.6 ........................................ 69 35 F3.5 ...................................................99 HLD-8 grip......................................... 149 Km body ............................................ 149
MEDIUM FORMAT 6x45, 6x6, 6x7 & 6x9 USED For more used equipment listings please see website www.mifsuds.com
Used Hasselblad BRONICA ETRS 645 USED 150 F4 PS .................................. 149/199
40 F4 MC ............................................ 149 180 F4.5 PS........................................ 399
A12 late blk/chr ............................... 129
Polaroid back tatty ............................79
150 F3.5 N ............................................79
150 F3.8 NL leaf............................... 299
Pro S + 90 + WLF + back .............. 449
Pro S body ......................................... 149
PENTAX 645AF USED
645N body ........................................ 399
50mm F4 50 F2.8 E............................................. 149 200 F4.5 PS M- box ........................ 199 50 F4 CF FLE ..................................... 849 210 F4 N M- .........................................79 Pro S body scruffy .............................99 AF500FTZ flash ...................................79
75 F2.8 PE .......................................... 149 2x PS converter M- ......................... 179 80 F2.8 CF .......................................... 479 Ext Tube 1, 2, 3S each ......................29 Plain prism late................................ 199 PENTAX 645MF USED
CF FLE 105 F3.5......99 150 F3.5 E.............99 135N back ......................................... 119 140-280 F5.6 CF............................... 799 Teleplus 2x converter .......................49 WLF...............79 Chimney...............99 645 + 75 F2.8 .................................... 249
849 150 F3.5 PE M- Box......................... 149
E14 Ext tube ........................................49
SQA Polaroid back.............................59
SQAi 120 RFH ......................................79
150 F4 chrome serviced............... 199
250 F5.6 CF ....................................... 399
Vivitar 2x converter...........................39
MAMIYA TLR 6x6 USED
120 645V back ....................................99
50 F4.5 ................................................ 199
645 body + insert ........................... 199
55 F2.8 ................................................ 249
E42 Ext tube ........................................49 SQAi prism late ................................ 299 Ext tube 21, 55 each .........................39 C330 F Body + WLF ........................ 149 90 F3.5 KL .......................................... 299 150 F3.5 EX++ .................................. 149
Used Mamiya 120 RFH .................................................69
Polaroid Back ......................................39
45 Prism box ................................... 129
Plain Prism S Boxed ..........................69
Vivitar 2x conv ....................................49
Pro shade 6093...................................99
55 F4.5 ................................................ 199
65 F3.5 box late ............................... 199
127 F3.5 KL........................................ 299
180 F4.5.......................................................149
200 F4 ................................................. 149
300 F4 ................................................. 249
RB67 Pro SD Plain prism ...........................................59 AE Prism Early .....................................79 Lens hoods various .................... 20/50 65 F3.5 serviced............................... 149 Pro SD ext tube 2 82mm...................... 99 1.4x converter .................................. 199
127 KL + WLF Rotary prism ........................................99 ME Prism Finder .................................69 MAMIYA 645 MF USED 80 F2.8 late serviced ...................... 139 Pro SD ext tube 1 45mm...................... 99 120 Insert M- box...............................49
Angle viewfinder E......................... 129 Metz SCA 386 ......................................49 645 Prol TL + 80 + prism 180 F4.5 .............................................. 149 Ext tube 2..................................................... 49 PENTAX 67 USED
+ Back M- Winder early ........................................79 Pro shade S ..........................................59 + winder box .................................... 399 250 f4.5 late serviced..................... 249 MAMIYA RZ 6x7 USED 67 II + AE prism box ....................... 999
649 Speed Grip E........................................39
Tripod adapter E ................................39
Lens Hood 65-80................................20
SQAi Motorwinder ......................... 149
Plain prism (645 Super) ...................39
Polariod Back HP401 ........................29
250 f4.5 early serviced ............... 179
Paramender .........................................49
RZ Pro body ...................................... 149
120 RFH Pro II......................................99
45 F4 latest ........................................ 399
105 F2.4 latest .................................. 449
Winder early ........................................49 Speed grip S ........................................79 Polaroid back ......................................29 Porrofinder ...........................................59 120 RFH Pro I .......................................49 135 F4 macro late ........................... 249
Used Pentax Metz SCA 386 ......................................49
BRONICA SQ 6x6 USED
HASSELBLAD 6x6 USED
500C body chrome ........................ 199
120 Insert..............................................20
HA401 120 RFH Box..........................49
MAMIYA 6 & 7 RF 6x7 USED
50 F4 G ............................................... 599
Polaroid back ......................................79
FE701 prism ...................................... 299
165 F2.8 latest .................................. 399
200 F4 latest ..................................... 169
67II body 40 F4 S ................................................ 299 WLF late ............................................. 110 120 Back................................................39 50 F4.5 L + VF ................................... 699 WLF............79 Winder II ..................69 200 F4 early ............................................ 99
+ AE Prism 50 F3.5 PS .......................................... 299 WLF chrome late................................99 Winder ...................................................79 80 F4.5 L M- box.............................. 699 50 F4.5 W ........................................... 249 300 F4 early scruffy ............................ 99
Box 50 F3.5 S............................................. 149 WLF early ..............................................49 45 F2.8 N ............................................ 199 150 F4.5 M- ....................................... 399 65 F4 box M- .................................... 399 Pentax rear conv 1.4x ........................249
CLASSIFIEDS
110 F4.5 PS macro .......................... 399 Sports viewfinder ..............................69 55-110 F4.5 box............................... 299 MAMIYA RB 6x7 USED 90 F3.5 W M- box ............................ 299 2x rear converter............................. 179
999 135 F4 PS M-..................................... 229
150 F3.5 S .............................................79
Chimney................................................89
A12 chrome latest .......................... 299
120 F4 macro ................................... 269
150 F2.8 A.......................................... 199
Pro SD + 127 KL + WLF
+ back M-........................................... 649
180 F4.5 W......................................... 199
Pro shade..............................................49
Auto ext tubes ....................................49
Vivitar 2x conv ....................................49
35MM & MISCELLANEOUS USED Please contact us to determine availability before making a lengthy journey
CANON FD USED Winder B ...............................................30 Sekonic L408 .................................... 149 28 F2.8 AIS......................................... 199 OLYMPUS OM USED 55-300 F4/5.8 ED box.................... 199
Used Leica 28 F2.8 ...................................................49
35-70 F3.5/4.5 .....................................59
CONTAX 35mm RF USED
90 F2.8 G ............................................ 299
MINOLTA MD USED
X300 chrome body ...........................49
28 F3.5 AIS............................................99
28 F2.8 E box .......................................69
OM-4T body ..................................... 249
OM-2SP body ................................... 149
70 F2.8 Limited ................................ 349
70-300 F4/5.6 ......................................79
R8 body 35-70 F4 ................................................69 CONTAX MF USED X300s black body ..............................49 28-85 F3.5/4.5 AIS........................... 199 OM-2n body blk or chr ................. 149 100-300 F4.5/5.6 ................................89
black 50 F1.4 ...................................................99 28-70 F3.5/4.5 MM ......................... 169 X700 black body ................................69 35-70 F3.3/4.5 AIS........................... 129 28 F3.5 ...................................................49 SIGMA PKAF USED
50 F1,8 ...................................................49 HASSELBLAD XPAN USED XGM chrome body ............................49 35-70 F3.5 AIS .....................................99 35-70 F3.5/4.5 .....................................79 10-20 F4/5.6...................................... 229
box 50 F2.......................................................49 Centre filter 49mm...................................129 28 F3.5 MD ...........................................39 35-105 F3.5/4.5 AIS ...........................79 35-105 F3.5/4.5...................................79 18-250 F3.5/6.3................................ 199
70-150 F4.5 ..........................................29 LEICA SLR USED 50 F1.7 MD ...........................................49 50 F1.4 AI ........................................... 199 50 F3.5 macro .....................................79 TAM 70-300 F4.5/5.6 Di ...................79
75-200 F4.5 ..........................................49 R8 body black box.......................... 499 50 F2 MD ..............................................49 50 F1.8 AIS pancake....................... 139 200 F4 ....................................................79 PENTAX MF USED
499 100-300 F5.6 ........................................79 R7 body black .................................. 299 70-210 F4 MD......................................99 50 F1.8 E................................................59 7, 14, 25 man ext tube ea ...............20 40 F2.8 PK .............................................99
135 F3.5 (Breechlock) .......................39 R5 body black .................................. 179 2x Converter ........................................79 55 F2.8 AIS......................................... 199 14 or 25 auto ext tube ea ...............29 50 F1.4 PK .............................................99
2x Extender B ......................................49 28-70 F3.5/4.5 R .............................. 399 Ext tube for 50 F3.5...........................29 85 F1.8 AI ..............................................99 PENTAX 35mm AF USED 50 F4 macro PK...................................99
Used Zeiss 25mm Ext tube...................................29 LEICA OPTICS USED Ext tube set..........................................49 105 F2.8 AIS macro ........................ 199 MZ5N body ..........................................69 TAMRON ADII USED
50mm Ext tube...................................29 Televid APO 77 + eyepiece ..............799 Auto bellows 1....................................99 180 F2.8 AIS ED scruffy ................. 179 10-17 F3.5/4.5 ED ........................... 239 90 F2.5 SP .......................................... 149
Victory Diascope 85T* 177A flash.............................................20 Televid 77 + 20x60 ......................... 649 NIKON MF USED 500 F4 AIS........................................1499 16-45 F4 ............................................. 199 VANGUARD SCOPES USED
FL + 20x60 box 199A flash.............................................39 Trinovid 10x42 ................................. 599 F3 body .............................................. 199 500 F8 mirror early......................... 279 17-70 F4 SDM M- box ................... 299 Endeavour HD65A.......................... 229
1399 244T flash .............................................20
277T flash .............................................25
Ultravid 8x32 HD ............................ 849
LIGHTMETERS USED
FM2n body chr box........................ 299
FM2n body chr ................................ 249
TC200 .....................................................49
SC-17 TTL lead ....................................25
18-55 F3.5/5.6 .....................................29
28-80 F3.5/5.6 .....................................49
VOIGTLANDER USED
15 F4.5 + VF M- box ....................... 269
299T flash .............................................29 Minolta Flashmeter V .................... 199 FE body chrome.................................99 DW-3 WLF find fit F3 ........................99 50-135 F2.8 SDM............................. 379 ZEISS USED
300TL flash ...........................................49 Polaris ....................................................99 20 F3.5 AI ........................................... 199 DW-21 fits F4 .................................... 149 55-300 F4/5.8 HD DA Victory Diascope 85 T* FL
Winder A ...............................................20 Sekonic L308 .......................................99 24 F2.8 AI. .......................................... 199 Nikon bellows II box .........................89 ED WR ................................................. 199 + 20x60 box ....................................1399
95
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HOLIDAYS, COURSES & TUITION
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CLASSIFIEDS
The tutors have been supportive in their feedback and Ive been
encouraged to explore creative paths and research that I would
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Photograph and words by student Michael Colvin
LIVE | LEARN | CREATE oca.ac.uk/op

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OPHO_215.indd 103 1/23/17 12:31 PM

104_111 One thing this month CB.indd 104 23/01/2017 12:45

COMPETITION
If you only do one thing this month WINNER

Jonathan Gaunt
Dramatic light wildlife Opposite This image of a jay was taken a few
years ago from my woodland hide in north
Northumberland. This bird was doing its nal
In our November issue we asked to see your favourite wildlife images taken check of the surrounding area before dropping
to the ground to feed. The strong, dappled light
in dramatic light, and we were impressed with the results. Here is our
was not ideal in the forest setting, but I got
winner, who wins a set of Coleman BatteryLock lights, and 14 runners-up a lucky shot just as the bird tilted its head to
one side, which lit up the eye while throwing
the surrounding area into shadow.
Canon EOS 50D with Canon 70-200mm IS f/4 lens
at 200mm, ISO 200, 1/800sec at f/4, beanbag
jonathangauntnaturephotography
Sarah Jennings
Above I took this image of a tawny eagle in the
Maasai Mara, Kenya. It was a wonderful sunset,
and having watched this eagle ying for a while
I was thrilled with this shot, which was taken as
the bird landed in the acacia tree for the night.
Canon EOS 5D MkII with Canon 100-400mm lens
at 400mm, ISO 1250 1/600sec at f/5.6, handheld
Tony Matthews
Left Ive often seen hares running along the
skyline of this eld near Kingsclere in the
Hampshire Downs. This individual ran right
along the skyline as the moon rose, stopping
for just long enough to allow me to get the
photograph I wanted.
Canon EOS 1D MkIV with EF 500mm f/4 L IS USM
lens, ISO 400, 1/160sec at f/4, Manfrotto tripod

Richie Lort
Above This image of a grey heron was taken on
a local walk just outside Bangor, North Down,
Northern Ireland, where I walked past two
ponds. I was surprised that the heron didnt
move while I was setting up, so I took full
advantage of the opportunity and the light.
Canon EOS 1Ds MkIII with Canon 500mm f/4 lens,
ISO 200, 1/1600sec at f/4, Manfrotto tripod with
504 HD head
lovenature0108.wixsite.com
Conor Molloy
Right This shot was taken close to midnight
on Flatey Island in Iceland in mid-June, when
it never gets truly dark. Its a tiny island and
provided lovely backlighting for this redshank
when it landed. It surprised me how many shots
I needed to take before getting one in which the
bird had its beak open.
Canon EOS 1DX with Canon 600mm IS II USM
lens, ISO 1000, 1/400sec at f/4, Gitzo tripod
conor20images.co.uk

Geraint Evans Andr Verboven Chris Dale
Top (left) I had been waiting for an autumn mist Top (right) While sitting on the terrace of my Above Seeing some stunning light on my
before visiting Fountains Abbey deer park in hotel in Andaluca, Spain, I noticed a gecko drive to work, I pulled over by the river Trent
North Yorkshire. The forecast looked promising chasing insects inside one of the terrace for 30 minutes camera time. I was walking
but I was running late. Driving through the lanterns. I ran inside to get my camera, as the back to the car when I decided to try some shots
Brimham Rocks area, the sun was rising rapidly, silhouette of the gecko seemed an interesting under the bridge. A pair of swans came into view
so I decided to cut my losses and stop. Amazingly, subject. I took several pictures until I noticed and nished o the shot perfectly.
within minutes of leaving the car I spotted these the spider in its web outside of the lantern and Canon EOS 6D with Tamron 24-70mm lens
roe deer, which seemed willing to model for me. decided to include that in the picture too. at 42mm, ISO 400, 1/125sec at f/6.3, handheld
Nikon D7100 with Nikon 70-300mm f/4.5-5.6 lens Nikon D300S with Nikkor 16-80mm lens at 68mm,
at 280mm, ISO 200, 1/30sec at f/8, camera balanced ISO 200, 1/250sec at f/13, handheld
on a rock facebook.com/andre.verboven.9/photos_all


Tammy Marlar
Opposite This image was taken towards the end
of an exquisite dawn shoot at the beginning of
November, when the rutting season is drawing
to a close in Richmond Park, London. A friend
and I literally stumbled upon this incredible
red stag, in a clearing with a large herd of does,
bathed in a pool of morning sunlight in front of
a patch of dark woodland. I was some distance
away, and the stag was positioned on a pretty at
plane, so I was able to use a very shallow depth
of eld. Combined with a relatively fast shutter
speed, this resulted in a picture that brings out
the incredibly stark contrast of bright light and
deep shade.
Canon EOS 5D MkIII with Canon EF 70-200mm
f/2.8L IS II USM lens at 200mm, ISO 100, 1/500sec
at f/3.5
tammymarlar.com
Mark Rutley
Top The photograph is from a collection of
images taken on a four-day safari in Tsavo
National Park, Kenya. We were returning to
Kilaguni Lodge for the evening when these
two giraes seemed to appear from nowhere.
With Mount Kilimanjaro in the background,
I managed to bag a few shots.
Canon EOS 7D with Canon 24-105mm lens
at 100mm, ISO 400, 1/100sec at f/4.5, polariser,
beanbag resting on vehicle roof
Rita Daubeney
Centre I was in Amboseli National Park,
Kenya, which is renowned for its elephants.
Huge herds come down from the foothills
of Mount Kilimanjaro early each morning to
feed. On this particular morning there was
an unusual amount of mist, the light was
amazing and the elephant had an egret on its
back. I underexposed to capture the silhouette
and enhance the light.
Canon EOS 7D MkII with Canon 100-400mm
MkII lens at 400mm, ISO 400, 1/1250sec at f/8,
beanbag, taken from a vehicle
Martin Griffett
Bottom During the deer rut in Richmond Park,
London, I found this fallow deer buck walking in
the open. As he stopped to look in my direction
I captured his outline in the mist against
a brightening sky. I chose a wide aperture
to add to the soft feel created by the mist.
Fujilm X-T1 with XF 60mm lens, ISO 400,
1/1250sec at f/2.8, tripod

Ric Harding Phil Selby Kasia Nowak
Below This photograph was taken late one Bottom Skomer Island, o the Pembrokeshire Opposite The image was taken in Bushy Park in
evening in Amboseli National Park, Kenya. coast in Wales, is a truly magical haven for south-west London. I was photographing the
Amboseli is often very dry and the herds of ground-nesting birds. In late spring the island full moon setting a few minutes before sunrise,
animals were creating a lot of dust as they comes alive with the sights and sounds of and the fading light gave it a warm yellow hue.
walked past. I thought that the setting sun puffins busily toing and froing between their Several stags passed in front of the camera
produced some very evocative conditions nesting sites and the sea. Luckily, my overnight but were too fast to photograph. This curious
and opted to shoot contre-jour to capture stay coincided with some glorious late evening individual stopped and conveniently posed to
the atmosphere of the scene. sunlight, which beautifully backlit the puffins allow for an exposure longer than one second.
Nikon D70 with Nikkor 80-400mm VR lens as they manoeuvred in to land. Nikon D800 with Nikkor 70-300mm VR lens at
at 240mm, ISO 200, 1/1600sec at f/9, beanbag Canon EOS 7D MkII with EF 300mm f/2.8 195mm, ISO 100, 1.6sec at f/8, 0.6 ND grad, tripod
IS II lens, ISO 1600, 1/2000sec at f/4, tripod kasianowak.com

YOUR NEXT CHALLENGE Enter and you could win a Sprayway
NEW ONLINE ENTRY SYSTEM! Mylas jacket, worth 140!
Masterful exposures The winner of our masterful exposure competition will
not only see their image published in the July issue of OP,
One of the most challenging aspects of taking photographs in the great outdoors but will also receive a superb Mylas
is that we are often faced with difficult lighting conditions. Understanding how jacket from Sprayway. Ultra light, highly
all these variations in light translate into our nal image is part of the lifelong compressible and lled with water-
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your resulting photographs will be. Through careful use of the three elements of ideal outer layer for excursions this
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and then send us your best images for a chance to be published in our July issue. catching colours. Its available
To submit your images, head to outdoorphotographymagazine.co.uk/submissions. in mens and womens sizes, and
Closing date for entries is 29 March 2017. See page 58 for full details. a Stuffsac is included.
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COMPETITION
Shutterstock/hkhtt hj
Where in the world?

If you can tell us the name of the imposing 4,000m mountain pictured above,
you could win a superb Tenba DNA Messenger 15 camera bag, worth 125!
NEW! ONLINE ENTRY THIS MONTHS PRIZE DECEMBER ISSUE WINNER

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A Tenba DNA Messenger 15 125! In our December issue, we asked you to
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The answer and the winners name will be closing the bag easy even n when wearing g
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outdoorphotographymagazine.co.uk/c/win,
laptop. Its the worlds rst st
using Mountain215 as the code, or send your messenger bag to feature e quiet
answer to opcomp@thegmcgroup.com, stating Velcro, so it can be opened ed
Mountain215 as the subject. Alternatively, drop it Ric
Richard Glynne Jones, from Conwy,
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in the post to: Where in the world Mountain215, is tthe winner of the Manfrotto XPRO
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OP, 86 High Street, Lewes, East Sussex, BN7 1XN. 5-S
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112 Where in the world CB_SW.indd 112 24/01/2017 11:36

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OBC_OPHO_215.indd 1 1/11/17 11:36 AM

Outdoor Photography March 2017

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Outdoor Photography March 2017

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HOW TO SHOOT PERFECT EXPOSURES

landscape | wildlife | nature | adventure

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FEATURES & OPINION LEARNING LOCATIONS

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Outdoor Photography (ISSN 1470-5400)

79 For further details:

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Steve Watkins See our favourite images from Travel

Keep right up to date with news by liking OP at

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Canon EOS 5D MkIII with Canon EF

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NEWSROOM CONSERVATION NEW LAUNCHES COMPETITIONS OUTDOORS TECHNOLOGY OTHER NEWS

See your heroes at

A nature photography legend

OPOTY exhibition and awards ceremony

Wex Photographer of the Year revealed

composition, Neils clean and modern approach to photography shone

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British Wildlife Kodak to bring back

Images from the deep

that tells a story to the average person.

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Philippe Garcia has spent thousands

a collection of six pocket-sized document on an international scale the

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FIVE MINUTES WITH

Outdoor Photography Your book begins around

OP You write: to care about a place, you

OP As a writer, geographer, presenter, and

The Making of the British

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Tanzanian rainforest, artists Evgenia

from video and slide projections to

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ADVENTURE FESTIVALS WINTER TALKS TO INSPIRE

Droitwich High School, Expert ornithologist Peter Holden

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Nocturnal digital photography has taken by David Henderson. Apologies to both

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Seemingly hopeless situations

Fast, easy landscape photo editing software

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