Last week, I received some rather good news. My image, below, of a female glow worm, glowing has just been awarded Highly Commended in the Environmental Photographer of the Year and will appear in the exhibition at the SW1 Gallery in London. It’s the first time I have entered this competition and, with over 10,000 entries from 105 countries, I’m pretty chuffed!
She was photographed at a local nature reserve, here in North Kent, where I have been an assistant warden since it’s conception in 1990. They only appear along one particular path which we have aptly named, and not terribly creatively, The Glow Worm Path! So, I spent a number of evenings this summer looking and “trying” to photograph them. They are extremely small and especially tricky to do justice to as you want to illustrate the glow while at the same time, provide just enough illumination to show what she looks like as she has the most beautiful pink markings.
After spotting one in a favourable spot (i.e. not in a thicket!) I then, over the next 30 minutes set up the camera and experimented with shutter speed times and flash output and angles. This is the one I preferred the most as it was as much about the shape of the leaf and lighting as it was about the insect. I hope you like it too.
An extensive article I wrote for Practical Photography magazine titled “Discover Winter Wetlands” can now be read from my website by clicking on the image below.
In it Igo through the variety of subjects which can be found and techniques employed when working on an area such as this from using different lenses, hides and even appropriate clothing to keep you working in what can often be, in a such an open landscape, freezing conditions. I hope you enjoy reading it and perhaps, for some you, pick up a few useful tips along the way!
With plans to run a workshop here, I visited these areas once again, over 2 days, earlier in the month. I found some new locations too including church ruins which will be fantastic when painted with light at night. My attentions, however, were firmly fixed on Dungeness and so I spent a very pleasant few hours on this vast shingle bank from late afternoon to twilight. The subjects in question were the old, rotting fishing boats that, with their decaying hulls and nearby fisherman’s huts, make for great subjects to shoot.
And then sunset gave me innumerable photo opportunities. I would have liked more cloud cover to add more atmosphere and drama and I can imagine that even on the most uninspiring, grey days, strong images are more than possible, especially in black and white.
On another day I re-visited Romney Marsh. a wonderfully atmospheric location which I had the pleasure in being commissioned to shoot for Country Walking magazine. Please click on the link to read the article on my Publications page.
I’ll be running a short, late afternoon workshop at Dungeness for Rye and District Camera Club over the next few months and have plans to run others. Should you be interested, please register your interest by contacting me at either firstname.lastname@example.org or Tel: 07939 117570.
Given the weather in the south east over the last week, it’ll come as no surprise that I have done very little in the way of photography. I have moved the hide from the marsh harrier site to the barn owl place and attempted a different take on an image of a great-spotted woodpecker. So, I have been doing the laborious, but necessary, task of processing images for my agents and converting a number of my photographs of Prague to black and white. This is primarily for a forthcoming Prague prints gallery on my website.
Those of you that have visited my website will know that I have quite a substantial collection of images, taken in all seasons and weathers, of the city they call “the golden city” or “the city of a hundred spires.” Since the majority were taken 4-5 years ago on transparency I have had to scan them, then convert. I am no expert on Photoshop (and I hope will never be!) but a basic understanding of tweaking colours, levels, curves, and a bit of dodging and burning can really transform an image. Prague is such a colourful city and sometimes it’s sheer vibrancy can deflect from the beauty of the architecture and gives it a rather old-world, timeless feel. Indeed many of them could have been taken a hundred years ago and you would never know!
On the photographic side, over those years, my kit never changed. Nikon F5, 20mm, 28-105mm, 80-200mm, polarisers, ND grads, Velvia and Provia and a Manfrotto tripod. Everything was packed into a Lowepro backpack. Above all else, comfortable walking shoes! Prague is one cobbled street after another.
I know, I know. The Internet seems swamped these days with more images than ever of this charismatic little fella. But who can blame a photographer for wanting to photograph them?! They are extremely numerous and very approachable. Getting something different then, becomes increasingly difficult.
I have recently been accepted by a second picture library (I have been with my other, FLPA, for 10 years now) called Wildlife GmbH, in Germany and as a result, I am in the process of submitting material to them, one of which is of this puffin in flight.
Taken on Skomer a few years ago, I stayed for a couple of nights to photograph these and manx shearwaters. Manx shearwaters are incredible birds spending most of it’s life at sea, only returning to land at night to feed it’s young. Why at night? In nutshell, they are are very clumsy on land due to their legs being set far back towards their tale and so if they were to come ashore during the day, they would end up as dinner to gulls and the like. Anyway, back to the puffin. On my second day, fog rolled in along with strong winds. I fitted my flash-unit to attempt the flash-and-blur technique. If you pull it off it can be quite effective with the resulting image exhibiting both sharp and blurred elements giving the impression of movement. It’s relatively simple to do too. Select a slow shutter speed of say 1/30th sec. and your TTL flash-unit to -1. With the flash unit set to minus one stop the effect will be subtle though evident. Experimentation is the key here as the speed of the subject, it’s direction and distance will determine both shutter speed and flash output.
About Robert Canis
Robert Canis is a professional photographer specialising in the natural world.
Read more about Robert Canis