This year was the very first RHS Flower Show set in the beautiful grounds of Chatsworth House in Derbyshire. Paul Hervey-Brookes designed the Quarry Garden for the Institute of Quarrying, which celebrates it’s centenary this year.
The garden won a well deserved RHS Gold Medal and also won Best Show Garden & Best Construction. The commissioned “Passing Light” steel and stone wall was designed by Stroud based sculptor Ann Margreth Bohl.
Paul Hervey-Brookes, winning Gold & Best in Show, with Gareth Wilson with Best Construction award at RHS Chatsworth Flower Show.
The gardens influence was the life cycle of a quarry, with the owners having just built a modern house who are themselves influenced by Brutalist architecture.
The main water feature in the garden reminded me of visits to old quarries which were at one point an influence in my own landscape photography. The garden also made use of the sweeping Capability Brown landscape of Chatsworth House.
The rusted steel colours were picked up in the planting
and use of stone boulders in the design.
The garden was divided into different zones,
which worked well visually in such a large scale garden. It was truly a garden you could get lost in time watching the light bounce around during the days and seasons, especially from the hidden corners.
Paul’s planting palette was exquisite.
The trio of awards were well justified for a garden of such immense scale at the inaugural Chatsworth House RHS Flower Show.
Paul has also designed the Viking Cruises World of Discovery garden which can be seen at Hampton Court Flower Show, which runs from July 4th – 9th July 2017
It always amazes me when on travel and landscape photography shoots how people react to photographing a sunrise or sunset. At popular locations near these times the place can be really busy with excitable people. The main event happens and as soon as the last slither of the sun sets or first slither of the sun rising, the place becomes quiet and deserted as most people will have left rather quickly.
The after show is where the party is at for me. Once the sun has set, wait and watch the skies and the bounced around atmospheric light play on the landscape. A stillness seems to reappear that hasn`t been felt since dawn. This twilight can last for a while so patience is needed, a good tripod as exposures will be long and it is important to move your camera to manual focus.
The shot above was taken about half an hour after sunset in Germany with the Alps in the background at pretty much my default ISO of 100, when using my tripod. Aperture in this case was f11 with exposure @4 seconds and lens 35mm. I also used a 0.3 ND grad filter to bring the sky and lake together exposure wise. (In this case a 0.3 as sky and foreground were pretty well matched as the sun had set half an hour earlier)
There is also a pre-show event the time between night and sunrise. This one usually has far less attendees and has its own light and colours in the sky and play on the landscape and is generally much stiller and quieter.
Both need the same equipment and patience to photograph but they are equally a joy to photograph (though on cold mornings the pre-sunrise shoot can be tough to get up for!) The main pleasure at these times of day for me is in the sky lottery, what colours are going to be produced? how long will it last? is it going to completely cloud over? When the conditions all come together a joy fills the heart and you know instinctively that you have the shot and walk away with a spring in your step.
You will need a torch, to get you to your location pre sunrise or away post sunset, it also helps you with your camera dials in low level light conditions. A tripod and shutter release cable are needed and I always use mirror lock on my camera as exposures can be long and you don’t want camera shake. I use the cameras spirit level which helps me get those horizons straight. If you do use autofocus, move it to manual, as autofocus struggles to work in the darker conditions, I always shoot in RAW mode too.
Depending on where you are photographing on the planet determines the length of the after or pre show party. In the tropics you generally only get a maximum of half an hour pre sunrise or after sunset. The point from basically photographing in the dark as the shot below to sunrise daylight happens in about 15 minutes, so you have to be ready and quick to react to the fast changing light.
Cambodia: Angkor Wat sunrise. ISO 100 – f8 @ 30sec
I’m often asked whether I prefer sunrises or sunsets, I much prefer sunrises as the lazy photographers are not out of bed and it is always stiller, calmer, more peaceful and accompanied by the sound of birds waking up and filling the air with song. Which do you prefer?
Go out and enjoy these spectacular times of day, you will usually have them to yourself, they still the mind and fill the soul with joy.
I run travel and landscape photography holidays and tours in Burma, Cambodia, Vietnam and the USA.
I also run landscape photography workshops and weekends in the Gower, Wales and Bluebell woods photography workshops in Gloucestershire, please visit the website for full itineraries and information:www.digitalphotographyholidays.com
Newsletter subscribers receive special offers throughout the year on my travel photography holidays and landscape photography workshops, you can subscribe here
Spring is a fantastic time of year to get outdoors with your camera as nature is bursting with so much energy and colour. A walk in the woods in springtime will reveal a myriad of wild flowers, our gardens and parks will have plenty of subjects to photograph too.
Photograph from: The Medicine Garden: Author: Rachel Corby
With the advent of digital photography and phones with cameras we are all photographers, but what makes one photograph really stand out from the others? The answer to that is there is no single correct way to photograph flowers, however, certain elements do have to be taken into consideration to make a great shot.
Firstly before you start, in your cameras settings, select the highest possible resolution. This will give you clearer detail in your photographs, enabling the image to be used larger without signs of bluriness or noise. Time of day is an important consideration when taking your photographs, the early bird really does catch the worm! Harsh midday sun makes most subjects look unflattering. Early morning or late afternoon are the best times of day as the light is warmer, less harsh and the colours of the plants look richer. Mornings also tend to be more still, flowers are hard to photograph when they are moving around too much. Windy days are the toughest to photograph flowers on, unless you choose to use the blur creatively with a slower shutter speed.
Weather. Most people are surprised to hear that overcast days can be very beneficial for garden and flower photography. This is because clouds act as a perfect light diffuser, creating even lighting and saturation without the worry of harsh highlights or shadows.
Consider your subject before rushing to photograph it. Walk around and see what you are drawn to, see how the light plays on the flowers. Think about your composition, how is the subject going to fill the frame? Backlit flowers will always look good if the petals are transluscent as it accentuates the colours of the petals, giving off a luminesence and showing off the patterns. Don`t be afraid to try out different angles, getting down to the same height as a flower is very effective, or look up to flowers from below them.
The background of your photograph is very important as untidy, busy, cluttered backgrounds kill a shot as the viewers eye gets distracted away from the subject. If there are shadows use them to make the flower stand out, or move in closer to the subject.
For close ups I would always recommend the use of a tripod, they allow you to frame the flower perfectly and keep the image sharp. Also look at the flower to see it is free of blemishes or missing petals.
If you do hand hold your camera, as a very general rule of thumb with a standard lens 1/60th of a second is the minimum shutter speed to use, with longer lenses such as a 200mm look around 1/250th of a second to avoid camera shake. For checking correct exposure always check your histogram not the LCD preview.
Snowdrops: 1/60s f11
Finally break the rules, experiment and have fun, try out new angles and backgrounds, you might be surprised with the results you obtain.
Allium ‘Purple Sensation’ photographed against the sun, post processed in Lightroom.
Try out different processes such as black and white such as the photograph below of a tulip.
Homage to Edward Weston – 3rd place IGPOTY : Monochrome
When photographing wildflowers be careful not to tread on other flowers, leave them just as you found them for insects and others to enjoy.
I am running bluebell flower photography workshops in the Forest of Dean, Gloucestershire in May: further details can be found here: www.digitalphotographyholidays.com
When it snows it is a great time to go out with your camera and capture its pure white freshness, but how many times do your photos appear dull and grey and lacking that freshness and purity? When photographing snow scenes or ones that have lots of white in, be attentive to your meter readings, it’s very easy to underexpose a predominately white scene.Snow is much brighter than the 18% medium grey that your camera is averaged to expose for. Your camera is trying to capture the bright white scene as 18% grey which results in underexposed photos, making them look dull and grey like the one above.
So how do you make the image look bright and fresh whilst keeping detail?If your camera has an exposure compensation dial then you should dial in about 2 stops overexposure as a starting point. Exposure compensation is used to move the camera away from the cameras suggested exposure to brighter or darker ones. Look at the histogram and make sure the image preview isn`t blinking (indicating overexposed highlights). It takes a bit of practice but after a while you will be able to expose the shot perfectly. It is a good idea when practicing this technique to bracket the shot.
This scene below was a tough one to get right as the bud is against snow and the ice crystals on the bud I wanted to show with all their intricate detail.
As a starting point I added 2 stops overexposure in the exposure compensation dial, which gave a decent image with no highlights (snow & ice) overexposed. As the camera was on a tripod I then bracketed around this exposure for a perfectly exposed image which retained all the detail in the ice crystals.
On a photo shoot for Manfrotto in Svalbard this technique was essential as the whole place was covered in snow and ice at the time of year I was there. At -30C it was important to act quickly and know the way around the camera, as I had 3 pairs of gloves on, a thick outer extreme weather glove, then inside a woolen glove and a silk glove, this was a technique that Alan Hinkes told me about when I met him and asked his advice. I thought he should know, as he is the only British mountaineer to have climbed all 14 mountains with elevations greater than 8,000 metres and he also photographs his ascents. Basically you keep the 2 outer gloves on for as long as possible and for the shot remove the 2 outer gloves on the one hand leaving the silk glove when you are ready to take the photo.
For the shot below I dialled in 1 & 2/3rd stops overexposure in exposure compensation. This kept detail in the snow and also held detail in the blowing snow on the ground. The camera was mounted on a Manfrotto heavy duty 055 tripod as the strong wind blowing, nearly knocking me off my feet!
Again for the dog sledders below, overexposure was needed to keep the shot looking fresh, with full detail in the dogs and dog sledders.
Nowadays many people use their smartphones for blogging and for social media. In your phones camera settings there should be an exposure value / EV setting. Try shooting a snow scene without adjusting this and then shoot the same scene with it set to 1.5+ see those whites whiter, try moving it to 2+ brighter to see if this makes a difference, but be aware of over exposing the scene.
With this easy technique your snow will look snow white and not a dull flat grey. Have fun in the snow and keep warm!
This technique also works well with any scene that is predominantly white, such as with white flowers or buildings.
When you have finished photographing snow don`t forget to set exposure compensation back to 0
I run travel and landscape photography holidays and tours in Burma, Cambodia and Vietnam.
I also run landscape photography workshops and weekends in the Gower, Wales and Bluebell woods photography workshops in Gloucestershire, please visit the website for full itineraries and information:www.digitalphotographyholidays.com
Newsletter subscribers receive special offers throughout the year on my travel photography holidays and landscape photography workshops, you can subscribe here
I can remember in an art class at school when we developed a print from a black and white negative, that was my life changing moment, I was hooked, I knew what I wanted to be, a photographer. Printing was one of my passions when I was studying for my degree in photography and loved the whole process of developing the black and white film and then making the prints. I still miss this part of photography, but guess nowadays black and white photography is much easier with software and has reduced the use of toxic chemicals.
I am a freelance travel and garden photographer and also run photography holidays, and on these I always say to my guests “See in colour, think black and white”. Black and white can often work better for you on even dull days or misty ones, such as this misty morning on Ha Long Bay.
I liked the different tones in this scene and knew it would work well as a black and white image. Pre-visualising your result is important and having a knowledge of the zone system is also valuable.
To produce digital black and white images these are some of the steps I use.
When taking the photograph shoot in colour and in RAW mode, colour space Adobe RGB. You will have far more control over the finished result photographing in colour and then making a black & white conversion using image processing software on your computer.
It is best to shoot on the lowest ISO possible when photographing for black & white images. At high ISO`s, noise (grain) is more evident, the lower the ISO the less noise. If you want to make the final image more grainy then it is best to add this afterwards in post production software such as Lightroom.
Having first visited Bagan in Myanmar (Burma) over 10 years ago for a shoot for National Geographic I fell in love with the place and it still remains one of my favourite places on the planet. There are over 4,000 temples dotted on the plains and the whole area has an ethereal, timeless feeling. I have been returning to Bagan ever since my first visit and have been working on a series of black and white images. I had already pre-visualised the set of black and white images of the temples and for this series I shot the originals in colour and converted them to black & white in Lightroom.
When you wet processed black and white prints, each make of paper would have a certain quality, feel and tone to them. A favourite of mine used to be Kentmere Bromide paper, which had rich neutral blacks, a brilliant base white and superb tonal rendition. I used to use this paper for selenium toned prints to produce a warm feel. To replicate this feel, in the develop mode of Lightroom I use the split tone function.
I produced a set of photographs of Bagan that won an award in the travel category of the International Photography Awards. If you are producing a series of photographs that will be seen together it’s best to keep the same tone for each print so they work well together.
In the develop mode of Lightroom, in the ‘tone curve’ you can alter the contrast of the photograph, much as you could with processing prints through choice of paper and processing. For the photograph above I adjusted the tone curve until I got the desired effect.
I tend not to use the main develop functions when producing a black and white image, apart from possibly a little clarity:
On a shoot at the Grand Canyon the light was truly working for me early one morning as the sun rose above the horizon. The shafts of sunlight through the moody clouds was a photographers dream.
Grand Canyon: Canon 24-70mm lens f16 1/20th sec – ISO 100
I also thought this would make a lovely black and white. For this photograph I wanted a Kentmere Kentona photographic paper feel which featured a chloro-bromide emulsion to give warm deep rich blacks and a warm white base. For the image below I again converted it to B&W in Lightroom, altered the tone curves and split toned the image.
In Cambodia I was wandering around a rural village saying hello to people in the Khmer language, when I came across this lady. She spoke back to me in Khmer and I replied back, much to her amusement. She called out all her family and got me to speak to them. They all found it funny that I was speaking their language, as they spoke no English. I was invited to their house to drink sugar palm water with them, which is highly prized, it has a lovely sweet and very earthy taste to it.
I was just about to ask if I could take some photos, when the lady had already pointed at my camera and stood up, I always find it amazing that thought always seems to have no language barriers. I took some photos of her and when she looked at them on the back of the camera she gave me the seal of approval. It is these chance encounters that really make me buzz when I am on a travel photography assignment as I love meeting the people of the country.
I was pleased with the portrait and decided to convert the photograph to black & white in Lightroom and again split toned the image.
I wanted a black and white image that this time had an old Ilford Galerie photographic paper feel.
This was done by processing in Lightroom and using the tone curve and split toning to the desired effect. In this image note it has a cooler feel to it, with a little more blue hue in the shadows..
To recap, for black & white images, start thinking in black and white. Shoot in colour in RAW mode on the lowest ISO possible, then convert the final image in the post production software of your choice.
Next time you visit a photography exhibition or gallery that is displaying old wet process photographic prints take a close look at them and see the differing tones and contrasts, if you are lucky they will also display which paper they were printed on. You can use this feel of wet process photographic paper in your own digital prints.
Nowadays there are many different digital print papers on the market, these have different feels and tones too. Fine art digital printing is an art in itself, you really need a fully colour calibrated, controlled digital workflow to achieve the best results. Experiment, have fun and if you are producing black and whites for the web then try some of the techniques above, I’d love to see them.
I run travel and landscape photography holidays and tours in Burma, Cambodia and Vietnam.
I also run landscape photography workshops and weekends in the Gower, Wales and Bluebell woods photography workshops in Gloucestershire, please visit the website for full itineraries and information:www.digitalphotographyholidays.com
Newsletter subscribers receive special offers throughout the year on my travel photography holidays and landscape photography workshops, you can subscribe here
There is a time between night and actual sunrise that is really magical in photography. This time of day is my favourite, it has a unique light and colour and is generally still and quiet. You also get to witness the sky lottery; what colours are going to be produced, how long will it last, is it going to completely cloud over, which quite often happens. When the conditions all come together a joy fills the heart and you know instinctively that you have the photograph you came for.
Angkor Wat, before sunrise. Manfrotto tripod and head: Canon 6D, Canon 24-70mm lens: ISO 400 – 30 sec @f8 – 0.3ND soft grad filter
You will need a torch to get you to your location pre sunrise, it also helps you with setting your camera dials in low level light conditions. For the photograph above, the scene was really dark to the eye. I set my camera up on my tripod and used a remote release for mirror lock as exposures can be long and you don`t want camera shake. I took a test shot at an extremely high ISO to see whether I had focussed correctly with manual focus. If you use autofocus it is best to move it to manual focus as cameras find it hard to focus in very low light conditions. Once I knew the camera was focused I locked the focus and set my ISO to 400, which still gave a 30 second exposure at f8. I always photograph on manual mode and as the light changes quickly from near dark to sunrise don’t forget to keep adjusting your camera settings. I always have my camera set to RAW for high quality images. I used a 0.3ND soft grad filter to balance the sky with the foreground. I could of used a 0.6ND but wanted the water to be slightly darker than the sky.
Depending on where you are photographing on the planet determines the length of time before first light and sunrise, in the tropics you generally only have about half an hour pre-sunrise.
When it starts to get much lighter, be ready for the actual sunrise, which will give you a whole new feel to your scene. As you can see between the two photo’s the cloud had completely disappeared in the photograph below, which was taken 45 minutes after the photograph above. I had waited for the sun to rise to give me another saleable image from the same morning. Both images have been published in several travel magazines and books.
For the shot below, in my last blog post ‘How to Shoot into the Sun’, it explains how to achieve this effect in your photographs
Angkor Wat, sunrise: Manfrotto tripod and head; Canon 6D, Canon 24-70mm lens: ISO 100, f16 @ 1/500
Get out and enjoy this spectacular time of day, it stills the mind and fills the soul with joy!
I run photography holidays and tours to Burma, Cambodia, Vietnam and in the Gower, Wales, please visit the website for full itineraries and information:www.digitalphotographyholidays.com
Newsletter subscribers receive special offers throughout the year on my travel photography holidays and landscape photography workshops, you can subscribe here
This can be tough to get right, but I’ve found that the latest camera sensors seem to be dealing with this difficult lighting situation really well. Experiment with your camera to see how it copes and create beautiful dreamy images.
I am using this technique in both my travel and garden photography and clients do love the feel.
Here are a few tips for shooting into the sun.
Keep your lens clean.
Dust, grease and scratches increase the risk of getting distracting flare. If you have a lens protecting filter on, take it off as sunlight can bounce in between the filter and the lens.
Use manual mode.
Choose the ISO you want, shoot in RAW and manual focus. Choosing your own aperture and shutter speed gives you the desired control over the effect you are after. Underexposing the image will give you dark silhouettes,
Intha leg rowing fisherman sunrise, Myanmar
while overexposing gives detail in the subject and a more dreamy feel.
Intha leg rowing fisherman sunrise, Inle Lake, Myanmar
Tripods make life easier.
When shooting backlight with the camera on a tripod, it’s easier to move the camera angle to control any distracting flare.
Bagan sunrise, Myanmar
ND graduated filters.
These will help balance the exposure in your photograph. Remember to keep your filters clean.
Hide the sun behind an object.
Placing the sun behind an object gives you less chance of flare and can create a beautiful feel to your photograph.
Angkor Wat, Ta Prohm temple, Cambodia
Experiment.
One thing to take into consideration is that different camera models do act differently using this technique. Get to really know your camera model and what the sensor can deal with. Have fun and try out different apertures and lenses to see what effects they give. Once you’ve mastered the technique with a tripod you can use it in other styles of photography where a tripod can’t be used.
Kep crab market, Cambodia
Finally be careful, don’t look into the sun for too long as it can damage your eyes.
Newsletter subscribers receive special offers throughout the year on my travel photography holiday and landscape photography workshops, you can subscribe here
Snow is much brighter than the 18% medium grey that your camera is averaged to expose for. Your camera is trying to capture the bright white scene as 18% grey which results in underexposed photos, making them look dull and grey like the one above.
If your camera has an exposure compensation dial then you should dial in about 2 stops overexposure as a starting point. Exposure compensation is used to move the camera away from the cameras suggested exposure to brighter or darker ones. Look at the histogram and make sure the image preview isn`t blinking (indicating overexposed highlights). It takes a bit of practice but after a while you will be able to expose the shot perfectly. It is a good idea when practicing this technique to bracket the shot.
