The following is a shortened version of my April newsletter which I sent out to everyone earlier in the month. if you'd like to receive the full-length version then simply subscribe by clicking on the button, below, where you'll also receive a free copy of my Landscape Photography ebook. Each month my newsletter not only includes latest news, images, photography tips and exclusive offers, it gives those that subscribe first refusal to attend workshops prior to them even being listed on my website.
I prefer to keep correspondence to a minimum so that you are not inundated with emails, and it goes without saying that you are, of course, free to unsubscribe at any time.
Newsletter
Two workshops were held this month (boy, it's good to be doing these again and meeting others!) - Mastering Long Exposure (1 place left on each date) and Marsh Impressions where we had very good weather for both. Sure, it was chilly at times but overall, given the time of the year, the conditions were nice with a mixture of sunshine and cloud. I didn't make any images to speak of during the Impressions workshop but I did manage a few on the other. The combination of a square aspect and black and white suit this kind of photography perfectly, I think.
I'm sure to be adding more dates so if you're interested in attending such a workshop then do let me know and you'll be the first to hear as soon as they are up on the website.
Zoom Lectures
I gave my second photography lecture via Zoom a couple of weeks ago (I'll be giving another on Wednesday), this time to the Nikon Owners Club. Although giving live 'performances' is preferable, I can really see the benefit of remote talks, not least that everyone can watch and listen in the comfort of their own homes and that as a speaker you can reach a much wider audience and become more affordable since travel and extensive time are no longer involved. In the past, if the talk was two or more hours away I would add additional expenses for overnight accommodation and an evening meal.
More than a year ago I 'retired' from speaking engagements which was largely due to the travel and clubs, understandably, booking speakers 12-18 months in advance which prevented me from making spontaneous field trips. However, having now done a couple I am happy to be taking the occasional booking so if you're a member of a club and are interested in me giving a talk then do drop me a line.
Yorkshire Dales Gallery
A new gallery of images I have made in the Yorkshire Dales in both summer and autumn both during landscape photography workshops and on solo trips can be viewed on my website. All being well, I'll be leading a 2-day workshop there next month which I am thoroughly looking forward to. it's a truly beautiful part of the world and, quite frankly, if you can't make nice pictures here you can't anywhere!
On this workshop, the group size is kept very small to just three enabling me to tailor tuition accordingly so if you're an experienced photographer that largely wants to be left to their own devices and simply wants to experience new locations in the company of other like-minded enthusiasts or a beginner finding their feet, I'm sure you'll find this both a rewarding and highly enjoyable workshop. Do contact me to should you be interested in joining me next year.
More images in the full-length version...
Monochrome Wanderings
Capturing spring scenes in black and white isn't easy. We are naturally drawn towards nature's contrasts - white wood anemones and bright yellow primroses set against dark green vegetation and vibrant bluebells amidst ancient beech trees. These are subjects which generally cry out to be made in colour but what about in black and white? Well, with such a medium, contrast plays a significant role. What we may see as subtle shades of green and look very pleasing to the eye, in monochrome, they simply come out as grey tones. While out looking for such scenes, I'm drawn to backlight and close-ups and generally leave the more 'arty' images to when I have my digital camera and macro lens which permit extremely shallow depth of field and hand-holding the camera. With my Hasselblad, it's not so easy where even the 120mm Makro doesn't actually focus that close so I have to occasionally add an extension tube. Focusing takes time and in all but the brightest light, it is extremely difficult to hand-hold. So, I reserve the medium format film camera for scenes, textures and patterns and the DSLR for when I feel the need to shoot in colour and have the flexibility and freedom that such a system permits. For now, I'm enjoying making images in mono and not feeling compelled to shoot subjects that I have photographed countless times before in a similar vein. It's nice to just wander being aware of the camera's limitations which, in turn, forces me to focus on those subjects I can shoot and will benefit from such a medium and system. The drawback, however, is weight. With my DSLR I can get away with just a camera and two lenses, three at a push, with it weighing in the region of just 5 kilos. With the Hasselblad outfit, on the other hand, we're looking at around 12. Still, it keeps me fit and it's the price you pay!
You can see in the photograph below how contrast plays a major role in black and white and that if shot under overcast conditions would not have the same impact - or any! Black and white film (and colour negative) has no problem holding detail in the darkest and lightest areas. I metered for the tree (the darkest part of the scene) and then for the highlights, reduced the exposure by -1.5 stops to place the tree darker than middle tone which then placed the highlights within the film's dynamic range. If it went above the range I'd reduce development to hold the highlights, hence the saying "expose for the shadows and develop for the highlights". This largely applies to sheet film (5x4 and 10x8 for example) since you can develop each sheet individually but...
More in the full-length version...
The image below of wild garlic leaves is one that I am particularly fond of for it is an image I envisaged long before they appeared. I have always loved the patterns and tones of their leaves and knowing of a suitable location...
A few mornings of fog here in north Kent had me setting the alarm for 4.30 to be on site at dawn. Always the best time. No-one around and silence except for birdsong.
More...
I'm still photographing the grounds of Leeds Castle and the medium suited this particular morning, perfectly.
As with the wild garlic leaves, I am especially pleased with the image below....
Photographing bluebells
We conclude with some colour photographs of what is arguably Britains most loved flower. Here are some ideas which I hope will inspire you to get out and capture these beautiful flowers.
Remember, please stick to the paths and resist venturing in for that must-have composition or placing a small child or dog amongst them. Boy, that infuriates me - as I hope it does you! Nature is far more important than any picture and bluebells can take up to five years to re-emerge after under-foot crushing.
"Leave no trace"
Getting up early doesn't come easy to many of us but you reap the benefits if you can since not only is the light gorgeous at this time, the countryside is full of birdsong and less so of people and traffic. Even if you do it just once this season, you won't regret it. Trust me! :)
If mornings are out of the question, then how about evenings? Arriving a couple of hours before sunset will give you lots of time to wander and make pictures. Aside from wide-angle, en-mass photos look out for close-ups. I used a 200mm macro lens for the image below...
Enjoy the season everyone. May is my favourite month and from next weekend the weather's looking much more promising so do make the most of it. Don't feel pressured to rake photos. Sit on a stump or fallen tree and simply take in the sight and sounds of a woodland in spring. If the last year has taught us anything, it is not to take the smallest things for granted.
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