Take a View Landscape Photographer of the Year 2017 - Commended Image

You might have seen my earlier post saying I had been shortlisted in the Take a View Landscape Photographer of the Year. Well I'm pleased to say my image was Commended and I have been included in this years book which is out today. All the images from this year will be on display in London's Waterloo station from the 20th November until February 4th.

It's a picture that took a while to get. Most of my shots require a number of visits to a place to get the image I am looking for. This one is no exception; I took shots through Winter when the barley was just sprouting all the way through to Autumn when it had been harvested and the field was just stubble. In each one the light was different. I knew at the time I took it that it was a good one but I'm really pleased that the judges liked it too and that it's made it into this years collection.

If you'd like a print they will soon be available via my shop page (when I've built it!)

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An unlikely starting point

Occasionally people will ask where I started with photography. Assuming I took a course or some other structured path I "umm" and "errr" and end up settling on telling them I was self taught; it's true although of course I have been inspired by others along the way and had some tips here and there. The reason I hesitate is that it's hard to define a slow accumulation of skills (and kit) as years have gone by. When I think back to beginnings I have to give some credit to a humble device which played a big role in inspiring me to go further. The little red box pictured here is, on reflection, an important starting point in my adventures in photography. It wasn't my first camera and it certainly wasn't anything rare or special but it was a device that got me thinking and stimulated me creatively.

The memory is vague but I think I purchased it for around 20 pence at a car boot sale a good many years ago. Attracted by the promise of a Wide Pic using the Panoramic Lens (woo!) I put a film in it and got to shooting. With no batteries required or any means of focusing there isn't much to go wrong. On the back is a reminder to put the film in for processing labelled 'panoramic' to ensure it is processed correctly. The technology behind the magic is that it simply crops the top and bottom of the frame on 35mm film so the negatives appear as a strip of exposure in the middle of the cell. The lens is probably only around 24mm but the crop contributes to give the image that wide feel. What I got back from the chemist after putting them in for processing is a pretty poor quality 10"x4" print but I fell in love with the format and the washed out look of the prints.

I used this camera for a long while before I bought my first digital camera and always enjoyed the creative challenge although I never thought of it as that at the time. Composition is limited by the format and so it becomes an exercise to make a picture work within those restrictions. Photographers and other artists often talk about how getting back to basics; using equipment that reduces your options, is a good way to stimulate creativity and I realise now that using this little box was a good foundation for me in understanding composition and working with placing a subject within the frame. I often still crop at the same ratio and even now have greetings cards printed in this format so I guess the love has stayed with me.

A bit of googling and it turns out these cameras are available on ebay and in charity shops everywhere and even have quite a fan base! The dreamy nature of the prints is appealing to fans of the Lomo aesthetic. They were originally given away free to subscribers to the Readers Digest magazine. Get hold of one and run a film through if you like or, to recreate the shooting experience with your digital camera? You don't have to go as far as blocking off the top and bottom of the lens for the 'panoramic' effect but using a fixed focal length (prime) lens with nothing else in your bag is always a good place to start a creative journey.

Exciting news!

One of my images has been selected for the Take a View Landscape Photographer of the Year award in the Classic View class. Send good vibes to the judges to make the right decision! Results will be announced in the Autumn.

Long exposures and wet feet

We've been very lucky this Spring. At the moment I'm writing whilst rain falls outside but we've had some beautiful days recently. I've taken the opportunity when possible to get down to the sea and enjoy the sun and the water.

Sometimes it's nice just to go out, stand around in ankle deep water and take some really simple shots of the water doing it's thing. I've enjoyed a few hours spent this way in the last few weeks. To get this smooth effect with the water requires a bit of technique. Some of these were taken in bright sunshine where usually the shutter speed would be very fast. A neutral density filter helps cut the amount of light getting into the camera allowing longer shutter speeds without overexposing the shot. Slowing down the shutter speed smooths out the textures as the water washes in and out but leaves patterns behind. Each exposure is about 6 seconds long (longer on some of the shots taken later in the day) and each exposure can create it's own interesting effect. When I go out to take this type of shot, I often spend many minutes taking essentially the same shot but enjoying all the different effects each new wave can bring. As usual, I come back with a whole load of shots from this type of day so this little selection are the best from maybe 50 shots.

The first shot is taken from the beach at Newgale. If you look closely you can see a tanker on the horizon. St Brides Bay often becomes home to a few ships moored up waiting for their slot in the harbour at Milford Haven and they can be there for a few days or sometimes much more. I'm more of a landlubber myself so find it strange the life of the folk on those big boats. I find it odd to think of being out in all that space surrounded by water for weeks at a time but the captain of a tall ship once told me that was the appeal for him. I guess we all go and find that space somewhere although I suppose the motivation is more monetary for the folk aboard that tanker.

These were taken at Newgale, Marloes and Penycwm.

Spring sunshine in Bath

I grew up near to Bath but have rarely taken pictures there. I guess that's what happens when you feel so familiar with a place; you get used to the beauty of it and stop noticing. Last weekend I had an hour on my hands and with beautiful evening light I took the chance to have a wander around and take some pictures. I forget where I read the description of the local Bath stone 'glowing butterscotch in the evening sun' but the phrase always pops into my head when the light is like this.

Changing light at Druidston Bay

These are pretty much the same shot down at Druidston Bay the other night but I thought it was interesting to show how the light changed over the course of 20 minutes between the first and last shot here. With the sun still above the horizon, shades of gold light up the clouds and give the wet sand a metallic sheen. As the sun dropped below the horizon then the gold is replaced by softer shades of pink and blue before twilight means blue takes over completely. It's then a walk back up to the car as dusk precedes night.

It's always worth hanging around after the sun has left the sky. Quite often a skyscape is made up of different types of cloud that hang out at varying altitudes. As the light changes angles, the dropping sun can still illuminate the underside of the highest clouds even when it has dipped below the horizon. On the best days it can be kaleidoscopic as different layers are revealed and new parts of the clouds are illuminated as they scud and fragment across the sky.

Which one is your favourite? I like the pastel tones that remain after the sun has gone.