I've recently returned from leading a tour to Iceland's Snaefellsnes Peninsula, and rather than simply posting a trip report I thought I would display a selection I felt would work in black and white. Of course, not all are suitable for the transition from colour to mono so a little time was spent 'living' with each before I made the commitment. 
The first two were made the day prior to the group's arrival just a short drive from our hotel in Keflavik. The tide was out and the water still (very rare for iceland in winter!) and reminded me of Kent's saltmarshes.
As we drove, strong winds drifted snow across the road. It seemed an ideal time for a photo-stop! Tripods are completely out of the question in such instances and, in any case, it was so bright that there was simply no need for one. All the while your back was turned it wasn't much of an issue but as soon as you turned to go back across the road it was quite painful.
You often encounter extreme conditions along the peninsula's northern aspect, especially near the larva fields as it is so open with nothing to act as a wind-break. It was quite extraordinary. Snow drifting across a moon-like landscape, clouds 'bubbling' in the far distance and low sunshine backlighting the spin-drift. Wonderful!
As exhilarating as it is to be in and photograph such conditions it does make the process of photography rather problematic. The lens hood on the 18-35mm did little to protect the front element from the snow and with every picture it had to be wiped clean. A small price.
When either a tripod cannot be used or when conditions (rain and snow) don't make the use of filters a practical solution I often employ the technique of bracketing and then merge them later in Lightroom. It is so easy to do and has proved an invaluable means of producing images with a sufficient dynamic range. In the image below, for example, there was 4-stops difference between highlights and shadows. A 3-shot bracket (normal, +2, -2) handled the situation nicely.
There are few landscapes more minimal than Iceland's lava fields. I could spend all day in them!
Man-made objects in a wild landscape. Some photographers prefer to exclude but does this then give a false impression of the location? To me, photographically, they can help in producing bold compositions and are we not, anyway, part of that landscape?
A little further back...
So, we ask ourselves, does it really matter if there is a fence or does it, infact, enhance the photograph? Photography, of course, is subjective and so, ultimately, it doesn't really matter what anybody thinks other than the photographer him/herself. Interesting, I think, to pose the question, however. If you have any thoughts on this I'd be pleased to hear them.
