My priority as an outdoor photographer

My priority as an outdoor photographer is to convey my own vision of the world and to uphold care and respect for the subject and the environment.

It is really a question of ethics and morals, and my approach is to ensure that the well being of the subject is always more important than getting the photograph. There is no shame in walking away from a potential image if it prevents causing distress to an animal or damage to a sensitive environment.

Through my photography I hope to raise awareness, stir the soul and encourage in others a greater appreciation of the splendour of the natural world. Photography has made me more aware of my surroundings. It has helped me to develop a personal vision and is now a way of life that allows me to document the natural world as I see it, without judgment or preconception.

As an outdoor photographer I have over the years developed an empathy with natural detail and pattern believing these to be the building blocks of the natural world. This, combined with attention to colour, shape and texture can bring wonderment from the most mundane of subjects.

So capturing a photograph needs to be more than just producing a record shot; it needs to be a combination of seeing, imagination, vision, patience, light, technical competence and a little luck. You are the creator of your image and your choice of subject matter and composition will become your personal vision of the world. For example if you choose to select a small element within a grand scene you have already made a conscious decision, indeed it is often as much about what to leave out as it is about what to place within the frame.

With this in mind it is clear that personal vision should be seen as more important than photographic technique. We can learn good photographic technique from books or tutorials but developing a personal vision has to be worked at and nurtured over time, it requires a thoughtful, inquisitive approach to identify those photographic opportunities that often lie just beyond the norm.

However, once you start to develop your personal vision you can be assured that it will provide fresh impetus to your photography. It will become a continual source of opportunity, inspiration and provide a great deal of personal satisfaction.

Using Contre Jour in your Photography

Contre jour, a French word literally meaning “against daylight” and it is possible to take stunning photographs when shooting into the light. Whilst this may contradict advice given to beginners to always shoot with the light coming from behind the camera the art of contre jour or backlighting in photography is a technique that can produce wonderful images.

However, many photographers are intimidated by the idea of pointing the camera towards the light and shy away from some of the photo opportunities.

There is much to consider when using this backlighting or contre jour technique if disappointment is to be avoided. Once mastered however, there is little doubt that backlighting can be magical and will add drama and visual impact to your photographic portfolio. There are many subjects to try, some of my favourites are flowers and foliage or trying to catch the rim lighting around animals and birds. Mist, rain and haze will be enhanced by backlighting adding creativity and atmosphere to landscape images.

” The two most challenging aspects of photographing contre jour subjects are to adequately eliminate flare and ensure correct exposure. These concerns can be allayed with a little practice, good technique and an understanding of the exposure process. “

Flare gives rise to a loss of definition and is probably the most significant area within contre jour pohotography that requires attention, so a measured and methodical approach is needed. Flare is produced when intense rays of light hit the front element of the lens causing lens refraction, leading to specula highlights, image softening and a loss of definition. There are several ways to overcome this undesirable effect in our contre jour photography.

Lenses show individual characteristics but in general the more lens elements used in their construction the more vulnerable they will be to flare. So zoom lenses are more likely to be flare susceptible that prime fixed focal length lenses. Lens coatings also have an impact on flare, modern multi coated lenses consistently outperform earlier models and this alone can significantly reduce most potential flare problems.

In many backlighting situations using a designated lens hood will greatly improve the chances of eliminating flare by keeping stray light from striking the front element of the lens. Indeed, the use of a good quality lens hood can improve saturation in contre jour subjects and is genearally beneficial to all images.

Having taken the above precautions a final visual inspection of the image through the viewfinder, preferably with the lens stopped down, will show any remaining areas of softness or highlights resulting from flare and may only require a slight repositioning of the camera to eliminate.

The other challenge in photographing backlit or contre jour subjects is how best to handle exposure. Underexposure is a common problem in backlighting, as the brightly lit background will overly influence the camera’s meter; this will turn the subject very dark, indeed almost silhouette like.

Exposure compensation is the answer and it is best to give between one and two stops extra exposure from the exposure suggested by the camera. Alternatively, take a spot meter reading from the shadow area and expose at the camera’s reading this should require no compensation. As exposure for contre jour subjects is tricky it is best to practice various exposure metering patterns and overrides until you are comfortable in approaching various back lighting opportunities as they present themselves.

So there really is little excuse for not getting out there and giving it a go, there are plenty of contre jour opportunities waiting to be found and with care they can become some of the most creative and satisfying images in your photo portfolio.

Thoughts on landscape photography exposure

Landscape photography exposure is an important consideration in landscape images if they are to be more than just a record of a place visited. It is a combination of seeing, patience, light, technical competence and finally a little luck.

You are the creator, your composition is your personal vision of the world. It may be a sweeping landscape or simply a small element within it, you will decide to include or omit as much or as little of the scene as you choose. However, what we see outdoors and what ends up on our computer screen or in print may not necessarily be the same thing. The process of taking the image requires skill and an understanding of landscape photography exposure to maximise its full potential.

1. What is landscape photography exposure ?

Landscape photography exposure is one of the most important aspects of landscape photography. It is essential to the principle of photographic knowledge. We must move away from the auto settings on our camera if we want to really master exposure. Landscape photography exposure is controlled by 3 things – the relationship of ISO rating (sensor sensitivity), the aperture and the shutter speed. It is this relationship that controls the exposure.

Although simply a relationship it is the essence of photography and dedication to understanding the principles of landscape photography exposure is time well spent. ‘Correct’ exposure is really a misnomer, we are aiming to record an exposure that accurately reflects what we see and feel. If it is darker or lighter than we intended it to be then we have failed to fully master our landscape photography exposure.

2. What are the practical considerations ?

I do most of my landscape photography from a tripod, this holds the camera solid, ensures a considered composition and allows a small aperture to maximise depth of field to be used. As we are using a tripod we can use a slow ISO setting, say ISO 100 to produce an almost noiseless image. I would select this speed for 90% of my landscape work. With the ISO speed set we can now look at the relationship between the aperture and shutter speed. Remember changing one will necessitate changing the other to maintain this relationship.

Depending on the subject matter there are choices to make. If we want pin sharp from foreground to infinity we will need a small aperture, a large f stop number. If the converse applies and we want to isolate a tree in the foreground and render the remainder of the image out of focus we need to select a large aperture, small f stop number. These examples are extremes at either end of the f stop scale, reality states that we should use the most suitable f stop to record the image as we wish.

By selecting Aperture Priority on the camera controls we are allowing the camera to select the shutter speed to match our preferred f stop. We can of course over-ride this by adding or subtracting light via the use of landscape photography exposure compensation to make the image lighter or darker. This is entirely under our control, the camera nothing more than a tool to complete the job in hand.

3. What are the limitations ?

Our cameras digital sensor can record up to 6 to 7 stops of contrast (dynamic) range whereas our eyes can distinguish a contrast range of about 14-16 stops of light, more than twice that which our digital sensor can record. It is important therefore to ensure that the scene is contained within the contrast range of the camera. If it cannot then we run the risk of either blowing out the highlight detail or blocking up the shadow detail. With this in mind we need to try and visualise a scene the way our camera will record it. If your camera has a built in spot meter or you have a hand held spot meter then it can be used to measure the extremes from light to dark (IMPORTANT : NEVER POINT YOUR CAMERA DIRECTLY AT THE SUN – IT WILL BLIND YOU IN AN INSTANT – YOU HAVE BEEN WARNED!).

If the contrast range exceeds 6 stops we can either use a neutral density graduated filter to lower the contrast of the sky or alternatively we can blend two differently exposed images in Photoshop.

4. What next ?

Do you want to increase your knowledge of landscape photography exposure ? I offer Landscape Photography workshops, these are primarily field based and aimed at beginners and improvers who want to enhance their skill and technique. If you require further information please visit Isle of Mull Photography Workshops

Tidal sand patterns – Photography

Tidal sand patterns can be beautiful though harsh sunlight is not always suitable for these subjects. However, for creating abstract images from naturally occurring tidal sand patterns it can be just perfect though it is best if the sun is fairly low in the sky to elongate the shadows.

As seen in the small selection of images below taken on a beach near Knockvologen on the Isle of Mull the harshness of the light increases the contrast to show every small undulation in these tidal sand patterns. These patterns are all around, it is just a question of selecting a suitably pleasing and interesting composition.

In a couple of the images there is a buoy that had washed up on the beach, the ebbing tide has created additional, localised patterns around it that works nicely into the composition.

Planning your Landscape Photography trip

In this article we will look at the approach I take when planning a landscape photography field trip, I will describe each stage from initial preparation to the final image; some may be obvious, some less so.

1. Landscape Photography – Preparation Generally

I start by selecting a landscape photography location, (if this is a new area I like to study maps, guide books and normally contact the local Tourist Information Centres for leaflets, etc). I then use the 1:25000 Ordnance Survey map covering the proposed location to target a potential area for landscape photography. I check sunrise / sunset times and the suns position at sunrise, midday and sunset to decide when is the best time of day to be there. Also, if applicable, refer to the local tide table. It is always a good idea to inform someone of your intended field trip route, destination and time frame. Record the Grid Reference for future use.

For this late summer afternoon landscape photography trip I chose the small village of Croggan on the Isle of Mull. Looking at the map I could see that the sun would set behind the mountains to the west at this time of the year and I could include part of the coastline with a rising tide in the foreground to provide a lead in into the picture. Access to my chosen area was relatively easy with only requiring a little walking from the road.

If your chosen landscape photography area is less accessible then it is essential that further preparation be done, venturing into remote areas requires fitness and additional skills, the ability to map read and navigate for example.

It is always a good idea to check the weather forecast prior to setting off on a landscape photography trip. An adverse forecast may not stop you from going but at least you will be prepared. Local knowledge is a bonus; certainly here on Mull the weather can often vary from one end of the island to the other so local knowledge or having a network of contacts can be of enormous benefit.

2. Prepare Kit & Equipment

Kit for a landscape photography trip will depend on your chosen destination, its ease of accessibility or its remoteness. Typically for a full day of landscape photography work I would carry the following :

• Camerac rucsac
• 2 Camera bodies
• Wide angle zoom 17-40 mm lens
• Fixed 24 mm lens
• Mid range zoom 24 – 105 mm lens
• Short telephoto zoom 70-200 mm lens
• Hand held Sekonic lightmeter with a one degree spot
• Electronic Cable release
• Memory cards, spare batteries
• Polariser and ND Graduated filters
• Tripod, karabiner, canvas bag (to fill with stones for adding extra weight and stability to the tripod)
• Camera cleaning kit and minor repair kit
• GPS, compass, map and whistle
• Note book & pen or digital recorder
• First Aid Kit including Space Blanket
• Plastic bags for protecting gear etc in wet weather
• Waterproofs, hat and fingerless gloves
• Food and drink

3. Arrive at location

I always plan to arrive at the my landscape photography location in plenty of time then find somewhere safe and convenient to park giving due consideration to local residents, farmers etc.

4. Assess area visually – risk assessment

Before leaving the car I have a look around, make sure all is secure and nothing left behind sitting on the car roof for example, trust me it does happen. I know Croggan to be a very safe place to work, but other places are less so. Remember you are carrying a lot of expensive equipment. Having decided on the general area to do landscape photography I then do a more specific risk assessment, again this will vary depending on where you are but it helps to concentrate the mind making you more aware of your immediate surroundings. As Croggan is a coastal location with a very rocky coastline the obvious risks are remoteness, slippy rocks and tidal water.

4. Assess scene visually – photographically

This is now a crucial moment as we now need to identify the exact position from where to compose our image. I take time to look around and visualise what I want, I use the camera to view the scene with different lenses from different angles, low down and high up, trying both vertical and horizontal formats. Doing it this way allows freedom of movement without the constraints of a tripod. Finally I decided on a spot a few metres from the waters edge with some prominent rocks in the foreground. With this combination of foreground rocks, setting sun and rising tide I am happy with my choice.

View across Loch Spelve at twilight

5. Compose the image and position tripod

Ensure that all the elements in your final view are what you want in the scene. Check all around the frame, it is surprising just how often something creeps into the image, remember also that the coverage of most camera viewfinders is typically about 96% of the final image. Only when I have my preferred composition do I finally commit to placing the camera on the tripod. The location of the tripod is crucial, not only photographically but from a stability point of view; it needs to be positioned securely. In many situations I use a karabiner attached to the underside of the tripod to hang either my camera bag or a bag of stones collected from nearby.

6. Select the f Stop and set Hyperfocal Distance

Hyperfocal Distance is point of focus needed to ensure sharpness from half that distance to infinity. It is determined by both aperture selection and lens focal length. For the landscape photography image and composition I have in mind I decide to use a 24mm lens and aim to achieve maximum depth of field (depth of field is the distance from the nearest to furthest part of an image that appears to be sharply focused, it will change with lens selection and point of focus). Fixed focal length lenses have a usable hyperfocal scale on them whereas zoom lenses do not so referring to Hyperfocal & Depth of Field Tables (that I have for all of my lenses) is useful. To achieve the depth of sharpness I want I select an aperture of f11 which will ensure sharpness from 2.5m to infinity when set to focus at a Hyperfocal distance of about 5m (the minimum focus is always half of the Hyperfocal distance).

Having set the point of focus, looking through the viewfinder the image looks out of focus, to actually see what will appear in our image we need to use the Depth of Field preview. This takes a little getting used to as the preview with the lens stopped down to f11 will look very dark indeed. Here we need to be patient and allow our eye to adjust to the reduced light in the viewfinder. After time our eyes will adjust making the view appear brighter, then we can visually inspect and confirm that the f stop selected does actually provide the depth of field we require.

View across Loch Spelve, a 30 second exposure

7. Set exposure

I usually use the Evaluative metering mode setting on the camera. For the majority of instances this works just fine. However, there are times when a high contrast scene will require a little more effort and I will the use either the spot meter on the camera or a 1 degree hand held Sekonic lightmeter to check the exposure difference between the highlight and shadow areas.

If the contrast difference exceeds 6 stops I will add a Neutral Density graduated filter to reduce the intensity of the highlights, the strength of filter required is determined by the amount of brightness above the acceptable 6 stop difference.

I may also add a polarising filter, I always use these filters with care, yes they help to increase saturation and reduce glare but they can also darken skies too much. Using them with ultra wide angle lenses can cause a significant fall off in sky tone that I find unpleasant.

During this particular landscape photography shoot I had no need for a ND grad filter as the sun had set behind the horizon and the contrast range was less than 6 stops. However, I did add a polariser, in this instance to slightly reduce reflection on the water. It also had another benefit, a polarising filter set to maximum will darken the image by about 2 stops which meant a 2 stop decrease in shutter speed. For this particular landscape photography image I wanted the incoming tide to appear silky as it flowed around the rocks, reducing the shutter speed ensured that this would indeed be the case.

8. Wait for the ideal moment

All we need now is that right moment, I waited for the afterglow of sunset combined with an incoming wave to maximise the amount of water in the foreground. Before I took the shot I had quick final look around the viewfinder before tripping the shutter via the cable release.

9. Persistence

Hopefully at this point the shot is in the bag but don’t relax just yet, use the opportunity to seek out further images. A slight change in camera height, changing from a horizontal to a vertical composition (or vice versa) can all add variety and increase your photo opportunities. Only when you have exhausted the potential of an area can you confidently decide to call it a day.

10. Finally

Enjoy your photography, have fun and be safe.

A few thoughts on photography composition

All the individual elements of your photography composition, whatever the subject matter, must work together as a whole if you are looking to create a successful image.

First and foremost photography images are made by you the photographer, they are an amalgam of many elements, including your own inner vision, interpretation and aspiration. If any of these elements are missing then the image will more than likely fail to live up to your expectation.

Attention to detail matters when looking for potential photo opportunities, these details need careful consideration following which it becomes easier to understand that the whole is clearly made up of many individual parts. All these parts inter-relate with each other and without doubt have a vital role to play in your photography composition.

I believe simplicity to be the key to a good strong image, so many images are fussy with too much going on. The main subject within the photography composition frame needs to be clearly identifiable whilst everything else within the frame provides a supporting but nonetheless vital role.

Whilst composing and considering our proposed image we need to look for naturally occurring patterns, be it blocks of colour, strong diagonal lines or an element like a stream, fence or road to lead our eye into the picture. A well selected foreground will provide strong impact to the image and draw the viewer deeper and deeper into the frame.

Placing the subject or horizon on an intersection of thirds makes for a very strong photography composition, known as the Rule of Thirds it is a tried and tested method of producing a strong photography composition. With that said photography is not about rules it is about individual expression, sometimes breaking the rules is liberating and allows our creativity to flow.

Finally, do not be afraid to experiment, push the boundaries within yourself for only then will you realise your full potential.

Jacques Henri Lartigue advice to photographers

1) Never, never be lazy.

2) Know how to eat well; the right foods in small quantities.

3) Know how to sleep well; the sleep that comes after a good day’s work.

4) Know how to appreciate, really appreciate, any good art.

5) Know how to enjoy silence, as well as good music.

6) Open your ears to the ideas and suggestions of God.

7) Love God.

Jacques-Henri Lartigue – Jacques Henri Lartigue’s advice to young photographers

Isle of Mull winter photography tips

Winter photography opportunities on the Isle of Mull are plentiful thanks to the sheer bulk and grandeur of the mountains, lochs and waterfalls. On a cold sharp winters day the air can emphasis the sheer beauty of the luminous clouds making them appear long and thin. They may conversely hang eerily in and amongst the bulk of the mountains or billow in great white heaps, their edges tinged with gold as the sun shines through from behind.

At the first sight of snow, many photographers run for cover, frightened to step outdoors concerned that their equipment may malfunction and although there may be some truth in this, the reality is that with some careful planning, the photographer can discover a whole new side of nature.

On a winter photography day out in the hills always remember a few small things. Check the weather forecast and remember to pack your GPS or Compass. Ensure that you are adequately dressed as the weather can change at very short notice. Wear lots of layers – its better to take off clothing than have nothing to put on if too cold. Remember also to wear a hat and gloves. More importantly, please let someone know where you are going, and at what time you plan to return, it is also useful to leave ordnance survey grid references of your route. If you ever find yourself in difficulty or dangerous situations you will be thankful that someone knows your whereabouts.

We offer quality, personalised Photography Workshops on the Isle of Mull and would be happy to discuss your requirements.

Be safe and enjoy your winter photography.

Photography articles

We have a selection of photography articles available with free reprint rights. So if you are looking for photography articles with photo related content for your blog or website then have a look at what we have to offer.

See the list of Photography Articles that we have available on our main website at Phil McDermott Photography.

If you want to reprint any of our articles on your website or blog free of charge you are welcome to do so providing you include the text and live clickable link as shown below.

“Articles by Phil McDermott Isle of Mull Photographer for commercial and wedding photography”.

We also offer Isle of Mull Photography Workshops – quality, personalised one-to-one photography workshops.

Backlighting for Photographers – Contre Jour

Backlighting offers the opportunity for stunning photography opportunities. Though many photographers are intimidated by the idea of pointing the camera towards the light and shy away from potentially interesting images with backlighting.

Backlighting or Contra jour is a photographic term meaning ‘into the light’ and contrary to popular belief great photos can be taken when shooting against the light. Whilst this may contradict advice given to beginners to always shoot with the light coming from behind the camera the art of backlighting is a technique that can produce wonderful images.

However the are considerations to be taken to ensure success … please follow the link to read the complete article The Art of Backlighting.