Photography Essentials: Waiting for the Light

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Transcript of Photography Essentials: Waiting for the Light

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WAITINGFORTHELIGHTDAVIDNOTON

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ADAVID&CHARLESBOOK

Copyright©David&CharlesLimited2008

David&CharlesisanF+WPublicationsInc.company4700EastGalbraithRoadCincinnati,OH45236

FirstpublishedintheUKin2008

FirstpublishedintheUSin2008

Textcopyright©DavidNoton,2008

Imagescopyright©DavidNoton,2008

DavidNotonhasassertedhismoralrighttobeidentifiedasauthorsofthisworkinaccordancewiththeCopyright,Designsand

PatentsAct,1988.

Allrightsreserved.Nopartofthispublicationmaybereproduced,storedinaretrievalsystem,ortransmitted,inanyformorbyanymeans,electronic,mechanical,byphotocopying,recordingorotherwise,withoutthepriorpermissioninwritingfromthe

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Thepublisherhasmadeeveryreasonableefforttocontactthecopyrightholdersofimagesandtext.Iftherehavebeenanyomissions,however,David&Charleswillbepleasedtoinserttheappropriate

acknowledgementatasubsequentprinting.

AcataloguerecordforthisbookisavailablefromtheBritishLibrary.

ISBN-13:978-0-7153-2741-8(UKhardback)ISBN-10:0-7153-2741-0

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TomywifeWendy,forallthelove,lifeandlaughs,whilewaitingforthelight.

JettynearBrenzone,LakeGarda,Lombardy,Italy

Inthecoollightbeforedawnthecloudsarescuddingacrossthesky,drivenbyabriskwindfromtheeast.ThedistantbulkoftheDolomitestothenortheastiscappedbydark,angryskies,andthewatersofLakeGardaarechoppyandrestless.TherewillbenowarmMediterraneanlightthismorning.So,IpileoneveryneutraldensityfilterI’vegottoslowtheexposuredowntoatedioustenminutes,opentheshutterandwait.InfiveminutesI’lltakeanotherexposurereading,butfornowI’vejustgottoletallthatmovementintheimagedothejob.Iwouldturntocrimeforacaffelatterightnow.

•FujiGX617,90mmlens

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ContentsTheWaitingGame6

PartOne:Vision12

PartTwo:Environments44

PartThree:Gallery110

PartFour:Mechanics142

Acknowledgments158AbouttheAuthor158Index159

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CloudburstovertheIsleofHarrisfromNeistPoint,IsleofSkye,Scotland

I’mhuddlingontheclifftopsonthewesterntipoftheIsleofSkye,wind-battered,sodden,anddespondent,waitingforthelight.Willthesecloudseverpart?Lookslikeanotherfruitlessvigil.AfaintlighteningoftheskyfarouttoseaovertheIsleofHarrisrousesmefrommymusings.There’syetanotherdownpourrollinginofftheAtlantic,I’llgetanothersoaking,butbehinditthesunisthreateningtobreakthrough.I’mscrabblinginmybagtogetthefilteronmy70–200,fumblingwiththeadaptorringwithcoldfingers,glancingovermyshoulderattheevermoredramaticsky.Forjustsecondsaheavenlyshaftofsparklingnorthernlightbacklightstherain.Iexpose,doafewbrackets,andithasgone;ascenenevertoberepeated.

•NikonF5,70–200mmlens

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TheWaitingGameI’mstandingbymytripod,mydefaultsetting,waitingforthelight.WatchingthedawnbreakoveraRockyMountainlakeisanexperiencetostirthesoul.Mistseepsacrosstheflat,calmwaters,diffusingtheperfectreflectionsofthejaggedpeaks.Thecallofaloonechoes;abeaversurfacingbrieflyripplesthewater;thefirstlightofdayseepsthroughtheskytingeingthecloudsclingingtothemountainswithpink.Thisismyeighthmorningwaitingherebythetripodandfinallyalltheelementsarecomingtogether.Thislocationwasfoundonthefirstday;undergreyskieswithachillwindwhippingthewateritlookedaverydifferentscene,butthepotentialwasevident.Threemorningslater,afterseveralfruitlessdawnpatrols,thedaystartedcalmandclearwithstrongsunlightbut…notacloudinthesky–nomist,nodrama,nomood.So,westayedon,waitingforthelight.Now,aftereightdaysourpersistenceisrewardedwithcloudsdrapedoverMountRundleandalayerofmistoverthestillwatersofVermillionLake.Asalways,thisimageisafusionoftheelementsMotherNaturechoosestooffer–light,clouds,mist,reflectionsandthelandscapeitself–andmyinput;beingthere,pre-visualizinghowthescenecouldlookintherightconditions,persistenceandlastly,technique.Inshort,thispicturewasmadebyamarriageofnature’sperfectionandphotographicvision–thesearetheelementsthatarethemakingofaphotograph.Let’scuttoagrey,windyFebruaryday,1981.I’mupaladdercleaningthe

windowsofanofficeblockonatradingestateinWatford…soundstantalizingdoesn’tit?Photographyhasjusttakenovermylife,withmypayofffromtheMerchantNavyI’vejustboughtmyfirstSLRcameraandlifewillneverbethesameagain.InowknowIwanttobeaprofessionalphotographer,buthaven’tgotacluehowtoachievethat.AsIworkmysqueegeeI’mdreamingoffarhorizons,theHimalayasinparticular.MyfriendPedrohasjustreturnedfrombackpackingthroughNepalandI’msojealous.LastnightIwasdroolingoveratravelfeatureonAnnapurna.Surely,ifIcouldscrapetogetherthecashtogetthere,greatimageswouldjustfallinmylap,right?Wrong.It’sapopularmisconceptionthat’seasytofallinto–abeliefthatjust

turningupsomewhereepicwillbeenough,thatgreatshotsarejustthereforthetakinglikeripefruitoffatree.Butthereallyunique,striking,achinglysubtle,perceptiveimagesaremade,nottaken.Theyaretheproductofanidea,avisionbroughttorealitybypersistenceandsoundtechnique.Thisisthecrunch–thedifferencebetweenthe‘taking’and‘making’ofaphotograph.Thisbookisall

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differencebetweenthe‘taking’and‘making’ofaphotograph.Thisbookisallaboutthatdifference.There’stheartybit–thedevelopmentofaphotographicvision,andthepracticalbit–howtoworkinthefield,orupamountain,orinthejungle.Andintheprocesswe’regoingtoseetheworld.So,let’sgo.

ChâteauStUlrich,VosgesMountains,Alsace,France

Westartedtrudgingupthemountainbythelightofourheadtorchesthroughmist-shroudedwoods.Directlyoverheadthestarswerevisible,wejusthadtogetabovethelow-lyingcloud.Asthetwilighttonesspreadthroughtheskyfromtheeast,weemergedpantingfromtheswirlingfogstoourchosenviewpoint.Somesightsstaywithyouforever–thisisone.

•FujiGX617,105mmlens

HotWokExposuresSomeplacesareallaboutthebigviews,butforme,theessenceofSouthEastAsiacanbefoundinitsmarkets.Theyaresuchaculturaloverloadandariotofcolour–aworldawayfromsterilesupermarkets–thatit’sdifficulttoknowwheretolookfirst,ortotrainthelens.Theyarecrowdedandchaoticwithdifficultlightingbutinamongstthepilesofchilliesandlemongrasstherearestirfriedphotographstobemade–quick,instantandsizzlingstraightoutofthewok.

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Strawberriesonthemove,Hanoi,Vietnam

Thefishmarketatdawn,HoiAn,Vietnam

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AplatterofThaiingredientsatWatPharaSingh,ChiangMai,Thailand

Chillidealingattheflotingmarket,DamneonSaduak,Thailand

AyounggirlsellingvegetablesatamarketintheMekongdelta,Bentre,Vietnam

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CashbeingexchangedatWashmarket,ErHaiLake,nearDali,YunnanProvince,China

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PartOne:Vision

Beforeacameraiseventouchedmuchofthehardworkofphotographyisdone.Theelementsthatmakeaphotograph–thoseoflocationfinding,pre-visualizing,composingandplanning–allcomebeforealensisfitted.Theonlyequipmentneededforthesecrucialstepsareapairofphotographer’seyes.Trainingthoseeyestoseethepotentialinalocation,envisaginghowascenecouldlook,appreciatingthenuancesoflight,motion,colour,perspectiveandcomposition,iswhatphotographyisallabout.Developingthatvisionisajourneythatneverends.

LakePehoeandtheTorresdelPaine,Patagonia,Chile

•FujiGX617,105mmlens

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BeingThere

ChâteauleChenonceau,LoireValley,France

Underagreyskywiththewindwhippingthewaterthisscenelookedfairlysombre.Thekeywastoenvisagehowitcouldlookwiththefirstsoftlightofdayandperfectreflections.

•FujiGX617,105mmlens

Beingintherightplaceattherighttimeis,ofcourse,theprimeessentialofallphotography.‘BeingThere’isallaboutthefinding,visualizingandplanningofanimagebeforeshootingthepicture.Aseasonedprowillhaveanuncannyknackforit.Whateverthediscipline–sports,news,wildlife,fashionorlandscape–it’sthesameforallofus.Findingthatspecialplaceisthehardgrindofthisgame,it’swhattakesupthemosttimeandeffort,andiswithoutdoubtoneofthebigdifferencesbetweenmakingagreatshotandtakingasnap.Knowingwhattodoonceyouarethereisthesecondhalfoftheequationthatproducesstrongimages.So,wheretobegin?It’simportanttohaveastartingpoint,anideaofwhat

you’reafter,whetheryou’reintheRockyMountainsortheLoireValley.Aimlesslywanderingisrarelyproductive.Guidebooks,existingphotographs,othertravellersorlocalknowledgecanallbeuseful,butultimatelythere’snosubstituteforgettingthebootsonandeyeballingthelieoftheland.It’stimeconsumingandoftenfrustrating,butithastobedone.There’snothingworsethanbeingsomewheretantalizingwithgorgeouslightsplashingacrossthelandscapeandnotknowingwheretoheadtogettheshotasthesunstartstodrop.Justtogotowhereeveryoneelsehasbeen,tothewell-knownviewpoint,toreplicatewhathasbeendonecountlesstimesbefore,isnotanoption.That’sjusttakingasnap.Tomakesomethingspecialmeansgettingoutandlooking;

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justtakingasnap.Tomakesomethingspecialmeansgettingoutandlooking;usingyourmostimportantpieceofkit–youreyes.Oncethatmagicalspotisfoundthekeyistovisualizehowitcouldlookin

differentlightingconditionsatthebeginningorendoftheday,takingintoaccountwherethesunisrisingandsettinginrelationtothelieofthelandandseasonalfactors.Thisisaskillthatcomeshand-in-handwithafeelfornaturallightandiscrucialforalllocationwork.Itcan’treallybetaught,it’sacaseoflookingandlearning.Reallyuseyoureyestoanalyseeveryelementinthescene.Afterallthatitbecomesalogisticalexercise,planninghowandwhenyou’re

goingtobeinthechosenplaceattherighttime.Thatcanbeaseasyasadriveandastroll,orcanmeanseveralhourshikinginthedarkbeforedawn.Comparedtoallthat,shootingthepictureistheeasybit.

“Reallyuseyoureyestoanalyseeveryelementinthescene”

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TheFourSeasons,MilbornePort,Somerset-Dorsetborder,England

Iwantedtodoasetofimageswithidenticalcompositionstoillustratethepassageofthefourseasons.Findingalocationwithastrongcompositionthatwouldworkinthedifferentlightingconditionsoftheseasonswasthekey.IshotfromtheroofofmyLandRovertogetabovethelevelofthehedgerows.WinterwastheshotIwasmostworriedabout;snowyconditionswithcrispmorninglightareararityindeepestDorset.IshotthisatdawnwiththefirstlightcreepingoverthevillagefromthesoutheastandtheVicarlookingbemusedashewalkedhisdog.Springwasshotatdawnstraightintothelightbeforethesunpoppedoverthehorizon,withmistlyinginthefields.Ilovethesoftwatercolourfeelofthisone.SummerwasshotlateonaJuneeveningwiththelastsunsidelightingthevillagefromthenorthwest,andautumnfeaturedWendyonherbikeonanOctoberafternoon.Itiedamarkerinthehedgetomarkmyspotaftershootingwinter,butIguessacowmusthavemunchedit,becauseitwasn’tthereinspring.

•FujiGX617,180mmlens

TheOldManofStorr,IsleofSkye,ScotlandIt’swindy,it’swet,mycamerasareuntouched,theLandRoverisfullofsoggycampinggearandthemidgesareswarming–alltypicalconditionshereontheIsleofSkye.WiththefieryCuilinRidge,thematuredTrotternishandsaltycoastlinesallgarnishedwithdashesofnorthernlight,Skyeservesaheadyphotographicmenu.Thereis,however,onemajordrawback:theweather.Oh,andlet’snotforgetthemidges.We’vespentfourdayslocationsearching;now,wewait.

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midges.We’vespentfourdayslocationsearching;now,wewait.Dramaticsky,gorgeousdawnlighthighlightingthepinnaclesoftheOldManofStorr,theCuilinbeyondwithanendlesslyrecedingvistaofloch,mountainandsea–thisiswhatIrequire-Iwantitall.However,whatIrequireandwhatnaturedeignstoprovideareoftenpolesapart.I’vehadthisimageinthebackofmyheadnowfortenyears;itmayhavetowaitanotherten.Now,sippingTaliskerintheevening,I’mponderingthechancesof

gettingdawnlight.ThefrontsarepilinginofftheAtlanticwithrelentlessregularity,andanythingcouldhappen.Wehavetogoforit,soit’sa5amstartwithaone-hourclimbtobeinplacebysunrise.I’mconcernedaboutthesewindsthough;they’llgivemeproblems.Itdoesn’tmatterhowsturdymytripodis,galeforcewindsmakelifedifficult.At5am,Icanseestarsthroughbrokencloudcover.Upthehillwe

plod,wonderingifI’mtoooldforthis,lungspounding,Idon’twanttobelate.MaybeIshouldgobacktowindowcleaning.WendyisbehindwithanothertripodincaseIwanttodoubleupon35mm.Whatatrooper.Bigblackcloudsaresweepingovertheridgepromisingrain,butin-betweentherearecleargaps.Itcouldbegood;italldependsonthosecloudsmassedovertheTorridonstotheeast.Finally,we’reupthereinthehalf-lightofdawn.Thewindiswhistlingovermychosenmound,wecan’tevenstandstill,butImanagetofindaledgethatisreasonablyshelteredtuckedawayjustbelow

“WhatIrequireandwhatnaturedeignstoprovideareoftenpolesapart”

thesummit.Iwanttosetupthecameraandwaitbuteveryfewminutesthere’sashower,soIhavetokeepitinthebaguntilthelastmoment.I’musingmyFujiGX617witha90mmlens,220Velvia,nofancy

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I’musingmyFujiGX617witha90mmlens,220Velvia,nofancyfiltrationhere,justa0.9NDgradonthesky.I’llletthequalityoflightandcompositiontakecareoftherest.We’dbeenuphereafewdaysagotocheckitout.WhenthelightisgoodIneedtobeready,notstilldebatingmyoptions.Wendyiswatchingtheskytothenorth,lettingmeknowwhenlikely

breaksinthecloudswilloccur.Thesunisjustupbutobscuredbycloud,butI’mgettingincreasinglyoptimisticandexcited.Theskyisfantastic,asisoftenthecasebetweenshowers.Igothroughmyusualpre-shootingchecks,thendoitallagain.ThisisaroutineI’vebeenallthroughsomanytimes,butyoucannevertakeitforgranted.Outofnowhere,goldenlightexplodesontothescene,bathingthe

landscapeingorgeouscrystalclearlight…sheerabsoluteperfection.Thepressureisonnow,thismayonlylastafewseconds.Spotmeterreadingonthepinnacles,setaperture,shoot…1/3-stopbracketseitherside,theexposureischangingasI’mexposing.Eightframesgone,reload;withhighwindsandcoldhandsit’snotimetobemessingabout,thisneedsalltheefficiencyofaFerraripitstop.Igetoffafewmoreframesbeforethelightgoes.DidIgetit?Willwegetanotherchance?DidIgettheexposureright?IsthefilterOK?Anyrainonthelens?Alltheusualdoubts.Thesuncomesoutagainabout20minuteslater,butitdoesn’tquite

havethequalityofearlier.Ifloatbackdownthehillonair,buzzing,knowingwe’vewitnessedoneofthosespecialmoments.Whenit’sgood,Scotlandisvery,verygood.MaybeI’llputoffareturntowindowcleaningfornow.Afterthatmorningtheraincloudscloseinagain.WecrosstoHarris

butdon’tshootasinglepicture.So,twoweeks’workboilsdowntoatwo-minuteburstoflight.Butitwasworthit.

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Bluebellsinawood,Dorset,England

I’mkneelinginamongstthebluebellsonaspringeveningwithsoftlightfilteringthroughthetrees,gentlybacklightingthescene.HowdidIfindthisspot?Iwentforawalk.Locationfindingisn’trocketscience,it’sjustgettingmudonyourboots.

•CanonEOS-1DsMKII,70–200mmlens

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AutumncoloursatIsérablesabovetheRhoneValleynearSion,LeValais,Switzerland

ThelateafternoonlightcatchesthealpineautumncoloursabovetheRhoneValley.Thisisanimagethatcouldonlyworkinautumn.BeingThereisusuallydependentontheseasons.I’lloften‘bank’alocationwiththeideaofreturningwhentherightseasonalconditionsprevail–itcouldbemonthsoryearslater.Agoodideaforauniqueimageisavaluableasset.

•CanonEOS-1DsMKII,70–200mmlens

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Light

DawnatPolblueMarshes,BarringtonTops,NewSouthWales,Australia

Twokangaroosbounceoutofthemist,passingbetweenthetentandme.DidIjustseethat?Australiaissodifferent:thewildlife,vegetation,landscape,pubs…Iloveit.CampingoutinthebooniesinOzisoneoflife’sgreatestpleasures.ThismorningIhavetheluxuryofshootingwithinyardsofourcamp.Therisingsunbacklightsthemistlyingonthemarshes,silhouettingtheeucalyptustreesinliquidgold.

•FujiGX617,90mmlens

Lightisthemostfundamentalelementofphotography.Aphotographmadeinthewronglightisworthless,nomatterhowdramaticthesubject.Conversely,giventherightlightaphotographercanmakealumpofcoallookgood.Unlikestudiophotographersintheirwarmdrystudioswhocreatethelightingtosuit,wetroopsoutinthefieldhavetousewhatnatureprovides.Waitingforthelighttofilterthroughtheatmosphereisfrustratingandtime-consuming,butthesubtletiesareendlesslyvariable.Allphotographerscan,givenhalfachance,droneonadinfinitumaboutthequalityoflight.Therearesomanyvariablesthataffectit.IntruthafteraquarterofacenturyIfeelI’mstilljustscratchingthesurfaceofappreciatingthefinerpointsofusingnaturallight.Asamusician’searbecomes,withexperience,attunedtothesubtletiesofpitchandtonethattherestofuscan’thear,soaphotographer’seyepicksupthevariablesoflightthatmostdon’tnotice.Buttostarttoappreciatetheseaspectsoflightit’simportanttounderstandtwofundamentalsthatdetermineitscharacteristics–thedirectionalnatureandcolourtemperatureoflight.Naturallightcanbestrongdirectionalsunlight,orsoft,hazy,diffuse,overcast

oracombinationofallofthese.Basically,whatdeterminesthedirectional

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natureofthelightwereceivefromthesunistheatmosphereit’sshiningthroughandatwhatangle,i.e.thetimeofday.Clouds,haze,pollutionandtheweatherallhaveaneffect.ThecrisplightinNewZealandafteraweatherfronthaspassedthroughisverydifferentfromahumiddayinBangkok.Ontopofallthosevariableswehavereflected,artificialandambientlighttoconsider,andhowtheyallbalance.Intruth,beingaphotographermeanslivingyourwholelifesubconsciouslyconsideringthelight,butthereareworsethingstobeobsessedwith.

“Beingaphotographermeanslivingyourwholelifesubconsciouslyconsideringthelight”

EileanDonanCastle,LochAlsh,WesterRoss,Scotland

OnadullOctobermorningonthewestcoastofScotlandamomentaryburstoflightspotlightstheincomparablysituatedEileanDonanCastle.Aluckyshot?Youjustdon’tknowhowlongIwaitedforthis.AndofcourseBeingTherehasnothingtodowithluck.ThelightinScotlandatthistimeofyearistodiefor,butitoftentakessomewaitingfor.

•FujiGX617,180mmlens

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DawnlightonthesassiatMatera,Basilicata,Italy

IsawMaterafeaturedonaTVprogrammeandjusthadtocome.It’slikeasceneoutofbiblicaltimes.Rightupuntilthe1960speopleusedtoliveinthecaves,calledsassi,underthetown.YesterdayIdidmylocationsearchesandnowI’mhereatdawn,settingup,wrestlingwiththetripodlegs,waitingforthelight.Iseethefirstraysofthedaykissingthetopofthechurchtower,slowlycreepingdowntobathethetowninwarmth.There’sadramaticskybeautifullysidelitbytherisingsun.Ifonlyitwerealwayslikethis.

•CanonEOS-1DsMKII,17–40mmlens

OldSherborneCastleinthedawnmist,Dorset,England

I’mstandinginafieldsurroundedbycows,gatheredaroundlikeabunchofpaparazzi.I’mconcernedthatthey’regettingsoexcitedabouttheinterruptionofanotherroutinedaymunchinggrassthey’llpooinmyLowepro.OneseemsdeterminedtolickmyCanon.I’mnotsureit’sdesignedtostand

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suchtreatment.AcrossthevalleyOldSherborneCastleliesshroudedinmistearlyonasummer’smorning.TheartofBeingTherehasbeenenhancedonthisoccasionbylocalknowledge–thisismypatch,andIknowwhenandwheremistislikelytoliefrommanydawnpatrols.

•CanonEOS-1DsMKII,100–400mmlens

TheGrandCanyon,Arizona,USA

Waiting–it’sthenameofthegame.I’mstandingontherimoftheGrandCanyonatdawnperusingtheskylinetotheeast,wonderingifthecloudswillpart.Heavystormcloudsliebroodingoverthemassivegorge.Thenaheavenlyshaftoflightlastinglessthan30secondspaintsthelandscapemomentarilyandmakesthewholetripworthwhile.

•FujiGX617,105mmlens

Alllightsourceshaveacolourtemperature(CT),measuredindegreesKelvin.Themostdominantone,thesun,isreckonedtohaveaCTof5,500Katmidday–thisiswhatisdefinedaswhitelight.AtypicaldomesticlightbulbradiatesTungstenlight,whichis3,200K.It’sactuallyacoolerCT,butconfusinglylooksmoreorangethanwhitelight,sowecallitwarmer.ThesunlightatsunsetathasalowerCT,typicallyanythingdowntoabout2,000K,andlookswarmandgolden.Thisisbecausetherayshavetoslicethroughalargerlayerofatmospheretogettous;thedustintheairscattersthelongerwavelengths–theblueendofthespectrum–leavingtheorange,shorterwavelengthstotransmitthrough.Correspondingly,theambientlightleftbouncingaroundtheatmosphereafterthesunhassethasaveryhighCTinexcessof10,000K,andsolooksblue.Toreallyappreciatethis,standoutsideyourhouseatdusk,lookingin.Asitgetsdarkertheinteriorlightslookveryorangecomparedtothebluelightoutside.NormallyoureyesandbrainadjusttocompensatefortheCTofthedominantlightsourcetomakeitappearwhite,butseenthiswaywiththetwolightsourcesinjuxtapositiontheeffectisobvious.AlongwithBeingThere,afeelforlightisTheMostImportantElementof

Photography.Ifyou’reintherightplace,withtherightlightthenthemostimportantelementsinthemakingofaphotographareinplacebeforeacamerais

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importantelementsinthemakingofaphotographareinplacebeforeacameraiseventouched.It’swhyIspendfar,farmoretimewaitingforthelightthanIdobehindthecamera.Ithasaffectedmysanity,butlikelocationsearching,ithastobedone.

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ShapesPointandshoot–that’showmostpicturesaretaken.Look,raiseyourcamera,pointandshoot.Whatcouldbesimpler?Butweallknowthedifferencebetweenagrabshotandastrikingimageisdowntothecomposition.Giventhatyou’reintherightplaceattherighttime,theartybitisoftenhowthepictureiscomposed.Aneyeforthearrangementofshapeswithinaframeisoneofthedifferencesbetweenthetakingandmakingofaphotograph.Composition,ormoresimplywheretopointthecamera,isallaboutarranging

shapesintheframe.Ourfirstnaturalinstinctistoputthemainobjectofinterestinthecentre,pointandshoot,butabitofthoughtabouthowtoframeapicturecantransformasnapintoaworkofart.Thesimpleexpediencyofmovingthemainsubjectawayfromthecentreoftheframecanhaveadramaticeffectontheimpactofanimage.TheGoldenRuleofThirdsisacompositionaltoolthathasguidedartistsfor

centuries,possiblymillennia,maybeeversincemandaubedpicturesoncavewalls.Iftheareaofapictureisdividedupintothirds,thenstronglineswithinthecomposition–suchasthehorizonoraprominenttree–will

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PrayerwheelsatSwayambhunathTemple,Kathmandu,Nepal

ThefirstdirectraysofthedayeventuallypenetratethehazesittingoverKathmandu,lightingupthetempleofSwayambhunathonthehillabove.It’smylastdayinNepalandI’mtryingtosqueezeoutafewmoreshotsfromwhathasbeenamagicaltriptotheHimalayanKingdom.Thecountryisrapidlydescendingintochaos,strifeandguerrillawarfarebutfornowallispeaceandBuddhistharmonyasmonkscirculate,chantingandspinningtheprayerwheelsinthecrispdawnlight.Theintricatelycarvedwheelsandthewoodworkleadintotheshot,andIdropthebackgroundslightlyoutoffocustogiveasenseofplacewithoutdetractingfromtheforeground.Theverticallineofthetempleisaboutone-thirdinandthelineofwheelsone-thirdup,butit’snotaconsciousdecisiontousetheGoldenRule,moreoftenthannotitcomesnaturallybecauseitjustlooksright.

“Thebestcompositionsarealwaysthesimplest;thereshouldbenothingintheframethatdoesn’tdeservetobethere”

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PontAlexandreIII,HôteldesInvalidesandtheRiverSeineatnight,Paris,France

I’mstandingwaitingforthelightstocomeon,shufflingfromfoottofootinthecoldwinterwindblowingalongtheRiverSeine.There’salwaysthisdeadtimeofaboutanhourtowaitafterduskbeforeit’sdarkenoughtomakeanightimagebutatleastI’vehadplentyoftimetocomposethisshot.WiththePontAlexandreIIIleadingintotheframetowardstheHôteldesInvalidesit’saclassicadherencetotheGoldenRuleofThirds.ThetwolinesoftheembankmentandthetopsoftherowoflightsonthebridgeandLesInvalidesbisecttheimageareabyathirdhorizontally,whilethetwotowersattheendofthebridgeroughlydothesamevertically.It’snotanexactscienceandtherearediscrepancies,butasaruleofthumbforhowtopiecetogetheracompositionittakessomebeating.Eventuallythelightscomeonandtheskydarkensenoughformemakethisexposureandheadforwarmth.Parisissurelythemostbeautifullylitcityatnight.

•FujiGX617,180mmlens

givethemostpleasingarrangementiftheyarepositionedalongoneofthoselinesofthirds.It’satechniquethatisunfailinglyuseful,tosuchanextentthatmostpaintersandphotographers,indeedallartists,havedevelopeditasasubconsciouscompositionaldefaultsetting.InstinctivelyIwillpositionelementswithinaframealongthelinesofthirdswithouteverthinkingaboutit;infacttodootherwisetakesaconsciousdecisiontooverridetheGoldenRule.Itisunarguablytruethatphotographyistheartofknowingwhattoleaveout.

Mymother-in-law(blessher)whentakingasnapusuallymovesbackintotheadjacentcountyinorderto‘getitallin’.Theresultisacresofdeadareaasforegroundandamassofconfusion(thefamily)inthemiddledistance.Thebestcompositionsarealwaysthesimplest;thereshouldbenothingintheframethatdoesn’tdeservetobethere.Confusingdetailinthebackgroundkillsashot.Getitout;dropitoutoffocus,move,changecomposition,bendyourkneesorclimbatree,dowhateverittakes.Sweepyoureyefromcornertocorneroftheframeandconsidereveryelementintheshot,howcanthecompositionbeimproved,isthereanythingintheshotthatshouldn’tbe?Bebold,beexperimental,bearty,gethigh,orgetlow,whateverwillmakeforaboldercomposition.

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Detailofsaddleryofahuaso(Chileancowboy)atrodeo,SanFernando,CentralValley,Chile

Sometimescomposinganimagehastobealightningfastdecisionbasedonintuition.AtarodeoinChile’sCentralValleyI’mcirculatingamongstthehuasoswaitingtheirturntotameacalfinthedustyring.IknowthesortofshotIwant-highlightingtheintricaciesandelaboratecraftsmanshipoftheirequipment–butinevitablywhenthemomentcomesit’sfleeting.Iarrangethestrongshapesintheframe,sweepmyeyefromcornertocorneroftheeyepieceandshootaframe,adjusttheframingslightly,checkfocus,andexposetwomoreframesbeforethehuasospurshismountintoaction.

•NikonF5,70–200lens

Afeelforcompositionisallaboutthepositioningofstrongshapesinrelationtooneanother.AssuchIdon’tbelieveitcanbetaught;tomeit’sprettymuchinstinctive.AskwhyI’veplacedthatrockintheforegroundinthatcorneroftheframeandIcan’texplain,it’sjustamatterofharmony.It’sanotherskilltobe

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frameandIcan’texplain,it’sjustamatterofharmony.It’sanotherskilltobedevelopedandkeptinyourtoolboxtobeusedintandemwithalltheothersaspartofthephotographer’svisionthatstartstocreateaphotographbeforeacameraiseventouched.

Derwentwateratdawn,LakeDistrict,Cumbria,England

Dawnseepsthroughthesky,reflectinginthestillwaters.Alliscalm,tranquilandethereal.Iliveformomentslikethis.I’vebeenstandingbythetripodontheendofthepier,watchingasthedarknessbreaks,waitingforthelight.AstheflameredspreadsthroughtheskyfromtheeastItakeanexposurereadingandstarttoexpose.Allrulesaremadetobebroken,andhereI’mdeliberatelyfloutingtheGoldenRuleofThirdsbyplacingthepierslapbanginthemiddleoftheframe.Usuallythat’sadefiniteno-nobutthelinesleadingintotheframeherearesostrongitjusthastobedone.Imagessuchasthese,evokingpowerfulconceptsfortheviewertoconnectwith,arealwayswinners.Idobelievepicturescanbeoveranalysedbutitwouldn’ttakeahugeleapofimaginationtoconnectthisonewiththoughtsofdeparture,discoveryandnewbeginnings.IampayinglipservicetotheGoldenRulewiththewaterlinebeingone-thirddowntheframe.Cruciallythere’snothinganywhereintheframethatdistractsfromthesimplelinesofthecomposition.

•FujiGX617,90mmlens

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NewYearParade,Singapore

AtaNewYear’sceremonyinSingaporetheIndianwomenareintheirfinestsaris.ThisfleetingmomentcomesandgoesalmostbeforeIcanregisteritinmyeyepiece.Themechanicsoftakingapicture–theexposure,focusetc.–should,withpractice,becomesecondnature,leavingtheeyetoconcentrateonwhat’shappeninginfrontofthelens.Tomethisexquisitelypresentedladyrepresentsallthat’sexoticabouttheIndianculture.Thevibrantsarisandsharp,tropicallightgivinghighcontrastdictatethatthiscanonlybeaverycolourfulpicture.

•NikonF5,70–200mmlens

ColourIntermsofcolourtherearefiveoptions.Fullthrottlecolour:bright,bold,saturatedandfullon.Subduedcolour:muted,subtleandwashedout.Minimalcolour:sorestrainedyoudon’tevennoticeit.Monochromaticcolour:asmanyshadesasyoulikebutallofonecolour.Andmonochromaticcolourwithnocolour:blackandwhite.Howphotographersusecolourisusuallydependentonthenatureofthelight.

Bydefinition,amistydawnlandscapewillhavesoft,watercolour,mutedhues.

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Bydefinition,amistydawnlandscapewillhavesoft,watercolour,mutedhues.Thecoloursinascenelitbystrong,clear,directionallightwillbebrightandsaturated.Thecontrastandthecolourvibrancyofanimageareinextricablylinked;increasethecontrastinpost-productionandthecoloursaturationseemstoincrease,andviceversa.Inthefieldandinpost-productionthephotographerhastomakeadecisionwhethertoemphasizeorminimizethecolourcontentofanimage.Gotoofaronmaximizingcolourandtheresultlooksfalse,treaclyandtasteless…althoughcoloursthataretoorestrainedcanrobtheimageofitsimpact.Asusual,subtletyisthekey.Butcolourisalsoakeyconsiderationwhenpre-visualizingandcomposing

images.Usingjustonesplashofcolourinanotherwisemonochromaticsceneisaverypowerfultool,asisoffsettingprimarycoloursinsimple,bold,graphiccompositions.Andpre-visualizinghowascenecouldlooklitbythewidelyvaryingcolourtemperaturesofnaturallightatdifferenttimesofthedayisyetanotherkeypartofaphotographer’svision.

GannetcolonyatMurawi,NorthIsland,NewZealand

ThesunhassunkintoalayerofcloudovertheTasmanSeaandthecolourtemperatureoftheremainingambientlighttakesonacool,bluetone.I’vebeenshootingthesunsettingovertheseastacksandcarryonasourstardisappearsforthenight.Iuseaneutraldensityfiltertoprolongtheexposure,givingamilkyeffecttothemovementofthewater.Peoplewillthinktheblue,monochromatictonesaretheresultofafilter,butinfactit’salldowntothenatureofthelightatdusk.Oureyesandbrainsintandemdoasortof‘autowhitebalance’,meaningwedon’tusuallyregistertheseshiftsinthecolourtemperatureofthelight;butfilm,oradigitalsensor,does.

•FujiGX617,90mmlens

“Howphotographersusecolourisusuallydependentonthenatureofthelight.”

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BodiamCastleatdawn,EastSussex,England

AnothermistydawnatBodiam.Thesunisupbutissofarhavingtroubleslicingthroughsomuchmist,soI’vegotthemeresthintofdirectionallightstrikingtheleftwallofthecastle.Colourandcontrastusuallygohandinhand,andthisissuchalow-contrastscenethatthecolourisrestrainedtothepointthatthere’shardlyany.Itishowever,tomyeyes,abeautifullysubtlescene,andwouldbeaverydifferentpictureifshotinblackandwhite.

•FujiGX617,90mmlens

AmistydawnintheBlackmoreValefromBulbarrowHill,Dorset,England

WendyandIspendmuchoftheyearontheroad,livingoutofarucksackorthebackofacar.Itcanbeabitofarootlesslife,sosummerisusuallydevotedtoreconnectingwithhome.Workingmyhometurfgivesmetheadvantageoflocalknowledge.Withahigh-pressuresystemsatoverEngland,afterastillnightIknowmistisboundtobedrapedoverthepatchworkoffieldsintheBlackmoreVale.I’mstandingontheslopesofBulbarrowHill;it’shardlyaHimalayanpeakbutitdoesgivegreatviewsoverthegreenandpleasantlandofDorset.Withthelightofdawntingeingthemist,it’sasoft,low-contrastscenelikeawatercolour,withmuted,subduedcolours.

•CanonEOS-1DsMKII,70–200mmlens

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Montmartreatnight,Paris,France

Iamofthelastgenerationofphotographerswhoweretrainedinitiallyinblackandwhite.Inthefirsttermatcollegestandinginthedarkroom,watchingmyfirstprintappearinthedishofdeveloperinthegloomofthesafelights,Ithoughtitwasmagic.Istilldo.It’snotjustnostalgia;noonecandenythatblackandwhitehasauniquequality.Inthisdigital,full-colourageitseemstimeless.Sadly,Idon’tworkinmonoasmuchasI’dlikeanymore.MaybeIshould.Theysayyoucanalwaysconvertfromdigitalcolourimages,whichIknowistrue,butIthinkaphotographer’svisionneedstobetunedintodifferentwavelengthstoworkbestinmono.

•NikonF5,70–200mmlens

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HikersnearMountCook,AorakiNationalPark,SouthIsland,NewZealand

There’snobetterwaytogiveasenseofscalethantoincorporatehumanfiguresintotheshot.I’mshoutinginstructionsacrosstomywifeandbrother-in-lawtogetthemtoposeinasuitablyintrepidmanner.Thefirstsunlightofthedayisplayingacrossthesnow-cappedpeaksoftheSouthernAlps,silhouettingmyreluctantmodels.IfIweretomovebacktheperspectiveofthemountainswouldappearbiggerinrelationtothefigures,butIfeelWendyandSimonwouldbesomewhatlostintheimage,andthey’redoingasterlingjob.Crawlingoutofyoursleepingbagpre-dawnandhikingseveralmilestostandonahillocklookinginawewhilebeingshoutedatbyademandingphotographerbeforebreakfastisn’teveryone’sperfectwaytostarttheday.Funnythat.

•FujiGX617,180mmlens

DistanceIcouldcallthissection‘Howtomakethingslookbig’,aswe’retalkingallaboutscalehere.HowdoyouemphasizethesizeoftheHimalayas,forexample?Easy,showtheminrelationtosomethingrelativelysmallthatweallknow,likeatree.Fine.Butifyou’restandingatthefootofthetreewithitloomingoveryouitlooksmassiveevencomparedtothetoweringmountainsinthedistance.Takeafewstepsbackandtheeffectislessened.Comeback100feetandthetreeisstilllargebutnotasdominating.Comebackamileandthetreelooksdwarfedbythemountainsloomingoverit.It’sonlyfromthisdistantperspectivethatweseethingsattheirtruesizeinrelationtootherfeaturesaroundthem.Thetroubleis,bydefinition,wehavetobealongwayback.It’saviewontheworldphotographerscallalong-lensperspective,asthat’sthetoolweusetoemphasizeit.Anythinglongerthanabout100mm(in35mm-formatterms)doesthejob,butthelongerthelensthemorepronouncedtheeffect.

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Carcassonne,Languedoc,France

TheCitéofCarcassonneiseveryone’sfairytalecastlerealized.SituatedinoneofmyfavouritecornersofFrance,ittakessomebeating.Everyyearweseemtoendupdriftingthroughthispartoftheworldinahazeofcroissants,cassouletandcarafesduvin.I’veshottheCitéfromallangles,upcloseandpersonalandfromafar.Thiseveningwe’vedrivendownafarmer’strackandhavetheluxuryofworkingfromthetailgateoftheLandRoverwithabaguetteandfromageonthegotoeasethepassageoftimeaswewaitfortheeveninglight.Ispentallofthepreviousdaycyclingthroughthecountrysidesurroundingthetownlookingforthisviewpoint,ithastakensomefindingbutit’sworthit.I’mabouttwomilesawayworkingwitha400mmlenstoflattentheperspectiveoftheCitéandMontagneNoirebeyond.Thenarrowangleofviewalsohastheadvantageofenablingmetoexcludealltheclutterofthemoderntown,whichsprawlsaroundthebase.I’mworriedabouttheriskofwindcausinglensmovement,whichisalwaysanissuewhenworkingwithlonglenses,butit’sarelativelytranquilsummereveninginLanguedocsoIshouldbeOK.Asthesunsinksintothehazethelightlosessomeofitspunch,softeningitatouch,butalsogivingthewarmtoneI’vebeenwaitingfor.

•CanonEOS-1DsMKII,100–400mmlens

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TheRockefellerCenter,NewYorkCity,USA

Fromoneextremetoanother,fromaFrenchlonglensperspectivetoafisheyeinNewYork.I’mcrouchingbythetripodunderneathastatueattheRockefellerCenter,craningmynecktolookupthroughtheeyepiece.Theextremewide-angleperspectiveallowstheforegroundtodominate,withthecameralookingalmostverticallyupandthetowersleaningintotheshot.Usingtheunusualperspectiveofeitherlongorshortlensesisoftenaveryusefulwayofgettinganewslantonwell-knownvistas,particularlyincities.

•NikonF5,16mmfisheyelens

Ioftenusea400mmlenstoreallyflattentheperspective.Similarlytheup-closeviewwiththeeyedominatedbytheforegroundandthedistantobjectstinyinrelationwecallawide-angleperspective.Afocallengthshorterthan35mmgivesthisview,buttoreallyemphasizethiseffecttotheultimatedegreeIusea15mmfisheyelenswitha180-degreefieldofview.Withthisperspectiveeverythingfromafewinchesinfrontofthelenstothedistantmountainsneeds

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everythingfromafewinchesinfrontofthelenstothedistantmountainsneedstobesharp,soacorrespondinglysmallapertureformaximumdepthoffieldisusuallyprescribed.So,inthefield,trampingaroundintheheatoftheday,chasinglocations,

choosingviewpoints,itpaystobethinkingaboutperspective.It’sallabouttheforeground,doyouwantittodominateornot?Thosewildflowersbloominginanalpinepasture,howdoyouwanttofeaturethem?Getdownamongstthemwithafisheyelensandtheplantsvirtuallytouchingthefrontelement,inwhichcasethedistantmountainswillbebutpinpricksonthehorizon,orstandbackandhavetheflowersasacarpetofcolourinthebottomoftheframewiththepeaksrearingabove?Orsomethinginbetween?Thechoiceisyours.

RoussanouMonastery,Meteora,Greece

Strangepeople,monks.Theytendtositetheirmonasteriesinthemostinaccessibleplaces.Iguessthere’sareasonforthat,andnotjustforthebenefitoffuturephotographers.IsawthemonasteriesatMeteorainnorthernGreecefeaturedinaBondfilmyearsagoandtheystruckachord,sohereIam,scrabblingacrossrockyslopesinsearchofthedefinitiveangle.Withthesofteveninglightsidelightingthescene,Ishootwithalonglenstoisolatethemonasteryandcliffs.Thisperspectiveemphasizesthedramaticsightingofthemonasterydwarfedbythesurroundingrockypinnacles.

•NikonF5,70–200mmlens

“It’sonlyfromadistantperspectivethatweseethingsattheirtruesizeinrelationtootherfeaturesaroundthem”

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inrelationtootherfeaturesaroundthem”

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Time

AutumnintheSacoValley,WhiteMountains,NewHampshire,USA

Ispentallafternooninthisspot,usingthecrisp,low-angledlightofOctobertoinvestigateallthephotographicoptions.OftenI’mwaitingforthesuntodropneartothehorizon,buthereinmid-afternoonintheNewEnglandFallthelightwasperfect.Bythetimethesunwassetting,thetreesonthebankwerethrowinglongshadowsoverthewater.There’saperfecttimeforeveryshot,knowingwhenthatislikelytobeiswhatit’sallabout.

•FujiGX617,105mmlens

“Theperiodimmediatelybeforeandaftersunsetandsunriseishappyhour”

Aphotographer’slifeisdominatedbytheneedtobeintherightplacefordawnanddusk.Theperiodimmediatelybeforeandaftersunsetandsunriseishappyhour,whenthenaturallightgoesthroughsomewonderfultransformations.Ninetypercentofmyphotographyhappensaroundthesetimes.Thereareexceptionsofcourse;theseasonsandlatitudehaveahugebearingonmytimetable.ForexamplenorthoftheArcticCircleinsummerthesunjustbumpsaroundthehorizonallday,neversetting,andnevergettingthathigh.Thelightcanbefantasticall24hours,whichpresentssomethingofaprobleminknowingwhentotimeaneyelidinspection.UponCanada’sEllesmereIslandIwashappilyshootingawayinslantinggoldenlightat2am.IncompletecontrastasIsitwritingthisbookit’s12noonhereontheSeychellesislandofLaDigue,alittleparceloftropicalparadiseslapbanginthemiddleoftheIndianOceanjustsouthoftheequator.Thesunisverticallyoverhead,beatingdownwithatropicalferocitythatsendseventhemostfanaticalsunworshippersheadingfortheshade.Photographicallyit’sahard,high-contrast,unflatteringlight.Here,

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shade.Photographicallyit’sahard,high-contrast,unflatteringlight.Here,betweenthehoursof9amand5pmIwouldn’tdreamoftouchingacamera.Converselyconsiderawinter’sdayintheScottishHighlands.Thedaysareshortandthesunnevergetsveryhighinthesky,soifthesunappearsit’squitefeasibletobeshootingallday.Thekeyistheangleofthelight,low,slantingrayssidelightingtheworldarewhatwelike.Butthereareendlessvariationsthataphotographer’seyeneedstobetunedinto.

ROUNTTHEWORLDINSEARCHOFLIGHT

4amEypePoint,LymeRegis,Dorset,England

AfullmoonhangsovertheJurassicCoastcastingamoonshadowofmebythetripodovertherocks.ThefaintestlightisstartingtoseepthroughtheskyfromoverPortland,makingaphotographjustpossiblewithanultra-longexposureof15minutes.Thecolourtemperatureoftheambientlightgivesthewholesceneabluetinge,eyeautomaticallyadjustsforitbutthefilmdoesnot.It’ssodarkIbarelyseewhatI’mframingthroughtheeyepiece,butthelightstwinklinginthedistanceatleastgivemesomethingtofocuson.

•NikonF5,17–35mmlens

5.30amCapeBreton,NovaScotia,Canada

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AnothercoastlineontheothersideoftheAtlanticatdawn.Thesunisn’tyetupbutfromitslairjustbelowthehorizontotheeastit’sbottomlightingtheclouds,sendingstreaksofpinkandmauvethroughthesky.There’snodirectsunlightyetbutthediffuseglowisstartingtogivethefaintesttouchofsoft,low-contrastdirectionallightonthelandscape.It’sanotherlongexposure,andI’mcheckingandadjustingthetimingconstantlyasthelightlevelsincrease.

•FujiGX617,90mmlens

6.30am:TorresdelPaineNationalPark,Patagonia,Chile

ThesunpopsoverthehorizonandthefirstdirectraysofgoldpaintthehighestpeaksoftheTorresdelPaine.Thecloudsclingingtothemassifarelitupinthefierylightandit’soneofthosemomentsIknowwillstaywithmefortherestofmydays.Iworkmethodically,double-checkingtheexposure,filtration,focusandframing.We’vecomealong,longwayandcampedoutinhowlingwindsforaweekforthis…whatareward.

•FujiGX617,180mmlens

9am:TarnHows,Cumbria,England

OnanautumndayinCumbriathecloudspartandthesunsplashespatchesoflightacrosstheLakeDistrict,makingtherussettonesglowbeneaththeheavybroodingsky.AsusualwiththiscorneroftheBritishIsles,ithasbeenanexerciseinpatience,waitingforthelight.Thecloudscloseinagainandthesceneisbutamemory.Icouldhavealongwaituntilthenextopportunity.

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•CanonEOS-1DsMKII,24–70mmlens

10am:Locationsearching

Thesunishighintheskyandthelighthaslostallitssubtleappeal,soit’stimetogetoutlocationsearching–findingandplanningthenextfewdays’shoots,byfoot,cycle,carorboat,whateverittakes.Sometimesit’saseasyasgoingforapleasantstroll,othertimesit’satoilinvolvingmanymiles.Well,nooneeversaiditwaseasy.

2pm:Siesta

Thosedawnrisescatchupwithyousoonerorlater.

5pm:DunguaireCastle,CoGalway,Ireland

Thesunisdroppingfastoverthewestcoast.I’mcrouchingbythetripodtryingtogetthedefinitiveangleonthecastlewhenasliceoflightpiercesthestormycloudsrollingofftheocean.I’dbeeneyeingtheswanwithhercygnetsforsometime,hopingagainsthopethatshe’dstayinsitulongenoughtoprovideforegroundinterest.

•NikonF5,20–35mmlens

6.30pm:GrandCanyon,Arizona,USA

Thelastweaksunofthedayissidelightingthecanyon,pickingoutthereliefandtexturesofthegapingchasm.Thelightisfadingfastbutithasacertainsoftquality.JustasI’mcheckingmyexposureatouristappearsatmyelbow,wantingtotellmeallabouteverycamerahe’severowned.Thisisoneofthehazardsofthejob,particularlyinwell-knownspotslikethis.Inudgehimtohisfateovertherimoftheprecipice.Of

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courseI’mjoking,butIdidstronglyconsiderit.

•FujiGX617,105mmlens

8pm:TheTwelveApostles,GreatOceanRoad,Victoria,Australia

Thesunhassunkbelowthewesternhorizonandtheskyisstreakedwithpinky-orangeinacarboncopyinreverseoftheNovaScotiadawn,onlythistimeI’vegotthesilverycrescentofthemoonontonight’smenu.Fardownonthebeachaposseofpenguinswaddleashore.Whatabeautifuleveningonthetipofthisbeguilingcontinent.JustonepointI’dliketomentiontomyAussiefriends;thosestacks,theApostles?Someonecan’tcount.

•CanonEOS-1DsMKII,24–70mmlens

9pm:PiazzadelNettuno,Bologna,Emilia-Romagna,Italy

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It’sgettingdarknowandthelightsaroundthepiazzaarecomingon.There’sstilljustenoughlightintheskytobalanceperfectlywiththeartificiallighting.There’saperiodofabout10–15minuteswhenthebalanceisperfectfornightshots:leaveittoolateandtheskywillgoblack.Tomymindtheshadowofthestatueontherightmakestheshot.Igetsomefriendstobecreativeblursintheleftcorneroftheframeandwe’reaway.

•CanonEOS-1DsMKII,24mmshiftlens

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MotionLifeoftenseemsabitofablur.Muchaswe’dallliketoslowthingsdownnowandthenwe’reallwhizzingabout,andsoistheworldaroundus.Waveslap,treeslean,cloudsdrift,birdsflutter,leavesscatter,grasssways,waterripples,windgusts,sheepgraze,peoplestrideandthesunrises–theworldisabusyplace.Aphotographmustsomehowconveythatmotion,tonotdosousuallyresultsinasomewhatsteriletakeontheworld.Photographershaveachoice;toblurornottoblur,thatisthequestion.Using

fastshutterspeedswecanfreezeallmovement,orgoslowandeverythingbecomesabitfuzzy;lockthecameraoffonthetripodwhiletheworldswirlsaroundit,orhavethecameramovingaswell.Ifit’sthelatterthentheslowertheshutterspeedthemoresurreal,evenimpressionistic,theimagebecomes.Iusemotioninpicturestosuggestspeed,ortoemphasizethebustleofabusymarketorstreetscene.

“Toblurornottoblur,thatisthequestion”

Howmuchmotionisevokedisdependentontheshutterspeed,thevelocityatwhichthesubjectismovingandtheamountofpanning;it’sacomplexrelationshipthatisbestperfectedwithtrialanderror.Typically,foracyclistwhizzingpastalongaDutchcanalI’duseashutterspeedofabout1/8sec.Ofcourse,thebeautyofshootingdigitallyisyoucanfine-tunetheamountofmotionblurwithjustafewtestshots.Butwhether

DuskontheLizardPeninsula,Cornwall,England

It’slateonawinter’safternoonandI’mstandingcountingoffthetimeinthemiddleofaneight-minute

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exposurewiththewaveslappingaroundmyfeet.ThetideiscominginandafterthisexposureI’llhavetoupsticksandmoveupthebeachtoavoidasoggycamerasituation.It’sariskysetup;onelargewaveandseveralthousandpounds’worthofequipmentishistory.I’musinganeutraldensityfiltertoslowdowntheexposure.There’smovementinthewaterandintheskyasthecloudspileinofftheAtlantic.Thelighthasgotasteely,cold,greyquality,withthesettingsunweaklypiercingthecloudstothewesttogiveafewheavenlyshafts.Themovementintheseaandskyisemphasizedbythesharpdetailinthesculptedrocksandshiponthehorizon.Standinglookingatthisscenewiththenakedeyeitalllooksverydifferentfromhowthefinishedpicturewilllook;butthatisallpartofdevelopingaphotographer’svision.Andheavenlyshaftsalwayshelp.

•FujiGX617,90mmlens

Streetscene,Hanoi,Vietnam

ThealleysofHanoiareawhirlwindofunfeasiblyloadedbicycles,marketstallsandwomeninconicalhats–it’sintoxicating.Ispendseveraldaysengrossedinthemayhem,panningandworkingquicklyhandheld,revellinginthecultureshock.Thewomenwiththehatsandbasketsofproducearetheiconsthistime,andthebustleofHanoicanonlybeconveyedwithmotion.Inthiscaseeverythingismoving,theladieswiththeflowersandvegetables,thecameraandme.TheycomepastmeandIslotinbehindandupcloselongenoughtosqueezeoffafewframesbeforetheybecomeawareofmeandstopinbemusement.There’snothingsharp,buttheblurmakesforanalmostimpressionisticfeel.Herethebackgrounddistractionsarelostinawonderfulfudgyblur,andthat’sbeforeabeerortwo.

•NikonF517–35mmlens

usingfilmordigitalafewtrialrunspractisingthisusefultechniqueandnotingtheresultsincontrolledcircumstancesarewellworththetimeandeffort.Ninetimesoutoftenthere’ssomethingmovingsomewhereinmyframe,andIoftengotogreatlengthstoaccentuatethatmovement.Istopdowntotheminimumapertureanduseneutraldensityfilterstoslowtheexposureasmuchaspossible.I’vespentsignificanttractsofmylifewaitingforawaftofbreezetoswaythegrassintheforeground,ortheoneinahundredwavetocrashontherocks–

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grassintheforeground,ortheoneinahundredwavetocrashontherocks–morewaiting,asiftherewasn’tenoughalready.Inalandscape,movementcanaddmoodandinterest.Inastreetsceneitcandothesamewiththeaddedbonusofmaskingunsightlydetails;litterstrewnonstreetsbecomesbrightstreaksofcolour,asdogarishadvertisinghoardingsandalltheotherdetritusoflife.Emphasizingmotionisyetanothertoolinaphotographer’sarsenal,avitalelementinthemakingofapicture.

Passingcar,Havana,Cuba

AmongthemostvisibleiconsofCubaarethe1950scars.AnotheraspectofHavana’soldtownisthefadingeleganceofthecolonialarchitecture,slightlydecrepitbutatmosphericnonetheless,andIwanttocombinethesetwoelementsinanimagethatjustsays‘Cuba’.Thetroubleis,upclosealotofthedetailsofHabanaViejaarefairlygrotty–uglycabling,litter,mangydogsandlotsoftourists.Soit’sgoingtohavetobeapanningshot:themovementwillconveythebustleoftheplacewhilelosingsomeofthedistractingdetails.Findingtherightbackgroundwascritical.Itrudgedaroundthecityfendingoffthehustlersandhookerslookingfortherightbuildings,onesthatwouldlookgoodwithabitofblurandeveninglight.So,hereIamallsetwiththeoldBuickstrundlingpastandsoftgoldenraysbathingthebuildingsbehind.Gettingasmoothpanningactionisthekey–ittakessomepractice.

•NikonF5,24–70mmlens

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PartTwo:Environments

Eachdifferentenvironmentintroducesitsownchallengesforthephotographer,bothinthewayweuselightandconstructimagesandinhowwemanagetobeintherightplaceattherighttime.Thelightinarainforestisverydifferentfromthatofadesertdawn;eachparticularenvironmentwillpresentthephotographerwithuniqueopportunitiesandproblems.Butoftenthephotographycanseemtheeasybit;justgettingaroundandsustainingyourselfcanbethetoughesttask.Butwhenitallcomestogether,likewatchingthepinkraysofdawnkissthepeakofAnnapurnaastheshutterclicksopen,there’snothingbetter.

AlexandraFjord,EllesmereIsland,Nunavut,CanadianArctic

•FujiGX617,105mmlens

IntheFootstepsoftheIncaBythecoldlightofdawnIencounteredMarina,ayoungshepherdess,tendingherflockaloneonthepampas,highabovetheSacredValley.Wechattedaway,unhinderedbyourcompletelackofamutuallanguage.MySpanishisweak,butitwouldhavemadenodifference,forsheisQuechua,adirectdescendantoftheInca.Itwasoneofthoseencountersthatrefreshthesoul.MachuPicchu,Cusco,thesoaringAndes;allofthesemakethisabreathtakingexperience,butforme,MarinaisthefaceofPeru.

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MachuPicchu?

QuechuawomaninthemistnearMarras

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QuechuawomanatChincerromarket,nearCusco

Chincerromarket,nearCusco

Marina,aQuechuashepherdgirl

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FarmlandabovetheSacredValleynearsChincerro,nearsCusco

Children,Chincerro,nearsCusco

Chincerrofarmer

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QuechuawomanatChincerromarket,nearsCusco

Womenwithhatsanddoublepigtails,Chincerromarket,nearsCusco

Oldwomaninthesquare,Pisac,SacredValley

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FarmlandabovetheSacredValleywiththeUrubambaCordilleraoftheAndesbehind

Womantillingafieldwithbabyinthemorningmist,Pampasmojo,Marras

TheRoadtoZhongdianHowcanyoupossiblysumupChina,geographicallyhugeandpopulouslyvast?Workingthereischallenging,atonemomentexhilarating,thenextdepressing.Butthemenuforthephotographer’stake-awayisenticing:haunting,massive,variedlandscapes,bustlingstreets,franticmarkets,new-agecitiesandrusticvillages;andpeoplesofarichandvariedculture,despitetheyearsunderamonolithicgovernment.Afewtraveltips:don’tforgetyourthermals,takeabathplugandpreparetohaveallyourpreconceptionsshattered.

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Rickshawsinthesnow,Beijing

TheGreatWall

CyclistsinTian’anmenSquare,Beijing

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ImperialPalace(ForbiddenCity)inthesnow,Beijing

Childrenplayingamongdryingnoodles,YunnanProvince

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Wasemarket,ErHaiLake,nearDali,YunnanProvince

CobbledbridgeinLijiangatdusk,YunnanProvince

Baiwomenintraditionalcostume,Wasemarket,ErHaiLake,nearDali,YunnanProvince

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Naxiwoman,YunnanProvince

JietangSonglinMonasteryoutsideZhongdianwithprayerflags,YunnanProvince

LiRiver,nearYangshuo,GuangxiProvince

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Wasemarket,ErHaiLake,nearDali,YunnanProvince

DetailofBaiwoman’scostume,Wasemarket,ErHaiLake,nearDali,YunnanProvince

Farmer,LiValley,GuangxiProvince

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Baigirls,Dali,YunnanProvince

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RockThere’snodenyingit,allphotographersseemdrawntothemountains,unsurprisinglyastheyprovidesomeofthemostdramaticlandscapesontheplanet.Photographyaside,tostandonapeakatdawnlookingattheworldstretchedoutbeneathyouisoneofthoseexperiencestoconnectyouwiththeveryrootsofyoursoul.It’satoughenvironmenttoworkinthough.Gettingtowhereyouneedtobeforthatepicvistacanbesomewhattricky,to

saytheleast.Youcanusemountainroadsandcablecars,butdependingonhowfaryouwanttotakeit,soonerorlateryou’regoingtohavetogetyourbootsonandwalk.There’snogettingawayfromit.Lugginggearuphillsisjustpartofthejob.IwastwoinchestallerbeforeIwasaphotographer.Amountainphotographerwillfirstandforemosthavetobeamountaineer,willingandabletodealwithallextremesofweatherandterrain.Mountaineersthoughareobsessedwithonlyonething–TheRoute–whilewephotographersarefixatedsolelyonTheShot.Tobeintherightplaceattherighttimehighinthemountainsforthatultimateimagecanbeacomplexlogisticalchallengeinvolvingmanynightsspentcampinginthethinair.Toughchoicesaboutwhatcanbecarriedonthebackhavetobemade–anotherlensormorefood?InanidealworldIwouldhavethepanoramiccamerathereonaloftyridge

withboth90mmand180mmlenses,andalsomycompleteDSLRsystemwithlensesrangingfrom15mm

LagunaMiscantiandCerroMiñiques,TheAndes,Chile

We’recampingupatLagunaMiscanti,whichlieshighintheChileanAndesabovetheAtacamaDesert.Thesemountainsaredryasabone,thethinairequallyso,makingtheMilkyWaydisplayatnightthebestI’veeverseen.NormallyforashotlikethisI’duseapolarizertoaccentuatethebluesky,buttheairissoclearupherethere’snoneed.NormallyIhateuniformblueskies,devoidofany

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interest,butcloudsupherejustdon’thappen.It’saprettyelementalshot,entirelyinkeepingwiththeenvironment.

•FujiGX617,90mmlens

MontBlancinwinter,LeBrévent,aboveChamonix,Haute-Savoie,France

ThelastglimmeroflightfromthesettingsuncatchestheserratedridgeontheflanksofMontBlanconthiswinterevening.I’vecheatedforthisone:ratherthanhikinghere,IcaughtthecablecaruptoLeBréventtomakethemostoftheviewacrosstheFrenchAlps.

•NikonF5,70–200mmlens

TheAlpsfromAiguilleduMidi,MontBlanc,nearChamonix,Haute-Savoie,France

DowninChamonixthevalleyliesunderalayeroffog,butuphereattheAiguilleduMidiit’sapristine

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wintermorningwithviewsasfarastheMatterhorn.I’vebeenwaitingaweekforconditionslikethis.I’mwheezinginthecoldthinairwithastinkingcoldthatwillturntobronchitisafterthismountainforay.Butwhataview…

•FujiGX617,105mmlens

to400mm,butunlessIhaveasmallarmyofSherpasinsupportthat’sjustnotpractical.Allthatkitistwo,maybethree,fullloadsonverysweatybacks.IntheHimalayasIdouseporters,whichgivesmetheluxuryoftakingeverything,butusuallyworkinghighmeansworkinglight.Infacttakingtoomuchgearisamistake–eventuallyitwillweighyoudownphysicallyandmentally.Ithastobefun,ajoytobethereratherthanthedrudgeryofanendurancecourse.IfthelightandthelocationaredramaticenoughtheclassiccombinationofanSLRwithamid-rangezoomwillsuffice.Typically,Itakeacarbon-fibretripod,myDSLRbodyandjusttwolenses;a24–70mmand70–200mm,alongwiththeusualbitsandpieces:cablerelease,polarizerandNDgradfiltersand,crucially,sparebatteries.Uphigh,inthecold,withtheworldlaidoutbeneathyouisnotasituationtobeinwithflatbatteriesandnospares.Allofthatcanbecarriedwithonlyminordamagetothespineandknees,alongwiththeusualmountainnecessities:clothing,food,water,headtorchetc.Butofcourseallthisstuffissecondarytothereallyimportantgear,youreyes,which

“Amountainphotographerwillfirstandforemosthavetobeamountaineer,willingandabletodealwithallextremesofweatherandterrain”

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ValdiFassa,Dolomites,Trentino-AltoAdige,Italy

OnmyfirsttriptotheDolomitesIneversawthemountains,theyremainedobstinatelyshroudedinthicklowcloudandIretreatedintoAustriawithoutasinglepicturemade.Ithappens.Dealingwiththevagariesoftheweatherisoneofthemostfrustratingaspectsofthejob,andmountainclimatesarenotoriouslyfickle.OnthissecondvisittoItaly’smostdramaticmountainrangeI’mluckier,andadayspenttrekkingaroundtheValdiFassahasyieldedthissuperblocation.Persistencehasbeenrewarded.

•NikonF5,24–70mmlens

Lochannah-AchlaiseandtheBlackMount,RannochMoor,Highlands,Scotland

Intermsofheight,theScottishHighlandsdon’treallycutthemustardcomparedtotheHimalayas,Rockies,AlpsorAndes.Butsizeisn’teverything.Atmosphericallyspeaking,theCaledoniansaresecondto

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none.Thecombinationoflownorthernlight,dramaticweatherandanabundanceofmountainandsealochsmakeitaMeccaforlandscapephotographers,despitetheunpredictableclimate.It’swherethephotographicbugfirstbitme,changingmylifeforever.Patienceisamustwhenworkinghere;I’vehadmany,manyfruitlesstrips,campinginGlencoe,listeningtothesoundofrainlashingthetent.It’senoughtodriveyoutowhisky.

•FujiGX617,90mmlens

areconstantlysearching,lookingatthelight,consideringperspectives,pre-visualizinghowthosesoaringpeakscouldlookindifferentlightingconditions.Butmountainphotographydoesn’talwayshavetobesoextreme.ActuallyI

thinkthetopsofmountainsareoftenoverratedplaces;bleak,windsweptandshroudedincloud.Someofthebestalpineviewsareofthetoweringsnow-cappedpeaksrearingaboveverdantvalleys,thejuxtapositionofthetwoemphasizingthescaleofthemountains.Andnophotographercanresistrockysummitsreflectedinaglaciallake.MountainculturesaresomeofthemostvibrantandcolourfulI’vecomeacross.TrekkinginNepalisn’tjustaboutthehugevistas;thepeopleandtheirvillageslivingintheshadowoftheHimalayasmakeforaheadyphotogenicmix.AndthecoloursandfacesoftheQuechua,directdescendantsoftheIncaslivinghighintheAndes,havetobeseentobebelieved.

DawnatLakeMatheson,nearFoxGlacier,WestlandNationalPark,SouthIsland,NewZealand

Sometimesmountainsjustlooktheirbestfromafar.Atdawnontheshoresofthelake,theSouthernAlpsaremirroredinthestillwaters.I’mrevellinginnature’sharmony,untilaposseofboisterousbackpackersarrive,destroyingthemoodastheyshouttoeachotheracrossthelake.Heathens.

•FujiGX617,180mmlens

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Pokhara,NepalThepeaksoftheHimalayasriseabovethemistonthelakeshore,impossiblyhigh.Todaywe‘reoff,afterthejoysofKathmanduandafewdaysgettingorganizedit’stimetodowhatwe’vespenthourstalkingaboutinpubsinDorset,theAnnapurnatrek.YesterdaywemetLil,whoistobeourguideandporterforthenextfewweeks.IfeltatwingeofwesternguiltasIshowedhimtherucksackwehopehe’llcarryforus.Lilisjustover5ftandonlymarginallytallerthanourmonstroussackfullofdecadentpossessions,whichwe’reexpectinghimtolugfor$5aday.Hisownpossessionsconsistofabundlenobiggerthanmybumbag,allthathe’llneedforseveralweeksinthehighmountains.Severaldayslaterwe’retoilingupyetanothernever-endingascent.

TheHimalayasarebig.It’sadeeplyhumblingexperiencewhenalitheandsprightlybarefootoctogenarianskipspastasI

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puffandsweatupthethird1,500ftclimboftheday.NowondertheGurkhasaresofit.Ihaveallmyphotographicgearonmyback,WendyhasadaysackandLilhasthekitchensink.LilandIareplayingaconstantgameofguessinghowhighweare.Ihaveanaltimeterwatchandhe’sconvincedI’mcheating,butI’mnot,much.Theviewsdownthevalleytothesteepterracedhillsidesandvillagesperchedinludicrouslyinaccessiblespotsareabsolutelybreathtaking.RightnowthereisnowhereelseI’dratherbe.We’retoilingourwayuptoavillagecalledGhorepani,whereIthink

we’llbaseourselvesforacoupleofdaysasthevistasuptheresoundmostpromising.We’veleftroadsfarbehindbutit’squiteabusyplace,withaconstantstreamofporters,donkeytrainsandothertrekkersusingtheancientpathways.MygearforthistripconsistsoftwoSLRcamerabodiesandfour

lensesupto200mmplusthepanoramicbeastwitha105mmlens.It’sallcrammedintoaphotographicrucksackwithabackpackingharness,whichmakesallthedifferencewithsuchaheavyload.Acarbon-fibretripodisstrappedtotheback.It’sagoodlittle’podanddelightfullylight,butImisstheheightandstabilityofmyregularpiece.Butalltripodsarecompromises,andwhentheonlytransportsystemisyourownfeetyoucan’thaveitall.Hereinearlywinteratthisheightthetemperaturesatnightplummetandbatteryconsumptionisanissue.I’vegotlithiumsintheF5sandthespotmeterwithacoupleofsparesets.Noneofthesevillageshavemainspower.At5amthenextmorningwe’regoinguphillagain,thistimebythe

lightofourheadtorches.Mybreathinginthethinfreezingairisalittleeasier,asI’mgettingusedtoit.Totheeastthefirstglimmerofpinklightistingeingthesky.BehindusinthegloomI’mawareofthevastbulkofAnnapurna,oneoftheworld’sfew26,000ftpeaks.MypaceincreasesasIfeeltheexcitementandtensionofwhatmaybetheshotof

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increasesasIfeeltheexcitementandtensionofwhatmaybetheshotofthetripunfolding.UpontopofthehillIturnroundwithgaspinglungsandthereisAnnapurnarisingoutofthecloud,I’llneverforgetthissight.Ihaveafewsecondsgazinginawebeforebattlingwiththetripod.Withmycoldfingers,gettingthefilterringsonthelensthreadisafussandI’mawareofthebrighteningsky.Ihaven’tcomethisfarandclimbedthishightomissthesunrise.ThesunpeeksoverthefoothillsandpaintsthesnowyupperslopesofAnnapurna.Shoot.Windon.Checkeverything.Hell…thefilterhasmistedup.Wipeit.Takeanotherspotmeteroffthecloudaroundthemountain’sbase.Resetexposure,Wendyisonfilter-wipingdutyasthelensisconstantlymistingupbetweenframes.Shootmore,dobrackets,reload.Checkeverythingagain.Thecloudisnowobscuringthepeak.Thatwasit,alloverinmaybethreeminutes.Oneweeklaterandwe’reamblingdownthetrailbackfromthe

AnnapurnaBaseCamptowardsGhandrukwithacoupleofFrenchtrekkerstalkingaboutfood.Ithasbecomeanobsession,andourlittlePhotographicArmyofthreecertainlydoesmarchonitsstomach.TheNepaleseliveonDhalBhat,avegetablecurrywithHimalayan-sizemountainsofrice.It’sgoodhealthyswagbutIhavetosay,afterthreeweeksofitI’dsellmysoulforabaconsandwich.Nepalhasbeenaclassictrip.Photographicallyithasbeenfarmorethanjustmountainscenes;thepeopleandvillagelifeareunique.Lilisstillwithus–he’sarealstar,henevercomplains.

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SandTherearefewmoreelementalenvironmentsonthisplanetthandeserts,andphotographersfindthemirresistible.Theclassicsweepingsanddunelandscapeisthedefinitivedesertviewthattakessomebeating.Thecleanlinesandshadowedcurvesofaseaofdunesinthefirstorlastlightofdayarequitesimplyphotographicnirvana.Butthere’sfarmoretodesertsthansanddunes;thetexturesandpatternsofthedesertenvironmentinmicrocosmarefascinating.Tinysandsignaturesofallsortsofcreaturesletyouknowyouarenotalone.Ifyoulookhardenough,theplantsandwildlifeareexquisite,andleaveyouinaweoftheirpowersofsurvival.Eachtimeyougoback,youseemore;itisabewitchinglypureenvironment,dailyrefreshedbytheblowingsandserasingalltracesofpassing.Anddesertsarenotallsand,butoftentwistedrockylandscapesshapedbywindand,yes,water.

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AfisheyeviewoftheNamibDesert,Namibia

Ihavetobesocarefulnottogetmytripodlegsintheshothere.The180-degreefieldofviewemphasizestheripplesinthedunesintheforeground.Combinedwiththeextremebarreldistortionofthefisheyelensitcreatesagraphicimage.It’snotaneffectthatoftenworks,andcanbeeasilyoverdone,butit’sadelightfullytinylensI’dnotbewithout.

•NikonF5,16mmfisheyelens

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MonumentValley,Utah,USA

I’veonlyjustarrivedbutthisviewlookssofamiliarfromsomanywesterns.I’mhalfexpectingJohnWayneorClintEastwoodtoridethrough.ThelandscapesoftheAmericansouthwestareimpressivelydramatic,buthavebeenphotographedextensivelybylegionsofAnselAdamsdisciples.Itmakesitachallengetocomeupwithsomethingunique,butIshouldneverunderestimatethevarietyofMotherNature’sfare.SooftenIhavetowaitdaysorweeksfortherightlight,butonthisoccasionI’minluck.Alocalrainstormsweepsacrossthedesert,droppingabriefshoweronthebuttesofMonumentValleyandpresentingmewiththemostdramaticskyIcouldhavewishedfor.Sooftenaninterestingskycanmakealandscape.

•FujiGX617,105mmlens

IwasnoyoungsterwhenIsawmyfirstdesert,andnowIhavetosayI’mhooked.Ofcoursetheyarenoteasyplacestohangoutinforlong.Proximitytowaterdominateseverythingandeveryone,andnobodyintheirrightmindchoosestobeoutlonginthemiddaysun.Atalltimes,whetheronfoot,inacaroronacamel,carryplentyofwater.Peopledieasaresultofsomethingastrivialasapuncture.Hikingupdunesladenwithgearisseriouslyhardworkintheheat,andkeepingsandoutoftheequipmentisamajorbugbear.Hardasyoutry,particlesstartaccumulatinginthedepthsofthecamerabag.Afterweeksofdesertlife,thecarandallinsideitarecoatedinlayersofdust.

Eventuallythelensesstartmakinggruesomegrindingnoiseswhenfocused,asoundaswelcometophotographersasfingernailsonachalkboard.ButIneverlosesightofthefactthatthisiswhattheyarefor.Attachedasyoumaybetoyourgleamingopticstheyareultimatelyjusttools.Usethem,don’tgettoopreciousaboutthem,andjustresignyourselftohavingtosendthemforservicingonyourreturn.

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TheOlgas,KataTjuta,NorthernTerritory,Australia

Australia’sRedCentre:endlessdrybush,eucalyptustrees,bouncingJoeys,hugelumpsofredrock,ThornyDevilsandflies.Oh,theflies.ItisinconceivabletomehowthenativesoftheOutbacklivewiththem.Theytrytogetinyoureyes,nose,earsandmouth;Ihatethemwitheveryfibreofmybeing.AndIthinkthisismaybethehottestplaceI’veeverbeen.We’recampingnearby,notbychoicethistime.Muchaswelovetheoutdoorlife,aboltholeawayfromthefliesandheatwouldbewelcome,butallthelocalhotelsarefull,soit’stough.Butyouhavetosufferforyourart,anddespiteallofthatIwouldn’ttradethisexperiencefortheworld.

•FujiGX617,90mmlens

Thedesertisoneofnature’smostelementalenvironments.Photographicallydesertsareirresistible,largelybecauseofthefantastic,beautifulshapesthatwindandwaterhaveshapedthelandscapeinto,betheythesweepingdunesoftheNamibortherockformationsofUtah.Sometimesthesheeremptinessandabsenceofanythingcanbecompelling.Intheseflat,seeminglyfeaturelessexpansesnoobstructionsmaskthesun’sraysinthelastminutesbeforeitdropsbeneaththehorizon.Insuchlandscapesonelonefeature,suchasarock,atreeorevenaroad,can

becomeadramaticicon,emphasizingtheemptinessbeneathlimitlessskies.Insuchsituationslensesofextremefocallengthcanbepowerfultools,bothwideangleandsuper-telephotos,butformethedesertjustcriesoutforthepanoramicformat.

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Oryxvertebra,NamibDesert,Namibia

Theabsenceoftreesandotherfeaturestogivescaletothedesertmeanstheuseofhumanfigures,orinthiscaseanimalbones,isahandywayofgivingdepthtoanimage.Ijusthavetobevigilantnottowalkintomyownshot,besmirchingthepristinescenewithmyfootprints.

•NikonF5,20–35mmlens

“Onelonefeaturecanbecomeadramaticicon,emphasizingtheemptinessbeneathlimitlessskies”

NAMIBDESERT,NAMIBIA

3.30am:Wecrawloutofthetentinthepitchblack,blearilyregisteringthecarpetofstarshangingoverhead.Thefactthatthere’sacompletelyclearskyistakenforgranted,thereareseeminglyneveranycloudshere.

4am:We’retrundlingalongtherutteddirtroadinour4x4headingintothe

NamibDesertNationalPark,eyesoutonstalksforanywildlifestraying

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intoourpath.Theoddwreckedvehicleabandonedalongthewaytestifiestotherisks.It’sa90-minutedrivetotheBigDunes,andwe’lldothisroutefourtimestoday.

5.20am:Thelastsectionisstrictly4WDonly,andinthehalflightbeforedawn

theToyotaissquirminginthesoftsand,theengineworkinghardasweploughon.ThisisrealBoy’sOwnstuff,Iloveit.

5.40am:We’reonfootnow,toilingupamassivedune,tripodonmyshoulder.

Twostepsup,onestepback.Iseemtobemakinglittleheadwayastheskytotheeastisgettingrapidlylighter.

6am:Lungspumping,Icrestthedune.Infrontofmeliesaseaofdunesas

farasIcansee.Wewerehereyesterday,locationfinding,butinthefreshlightofdawnit’sanaltogethermoredramaticsight.InmyhasteIgrapplewiththetripodlegslikeadrunkenbagpiper,eventuallysubduingthem.Cameraontripod,frameshot,placefilter,attachcablerelease,setaperture,checkfocus,windonfilm,checkthecameraislevel,checkallistightonthetripod,takeapreliminaryspotmeterreadingoffthesand,setshutterspeed,glanceattheeasternsky.Thesunisnotupyetbutwillbeimminently.Checkeverythingagain.

6.20am:Fromourelevatedpositionwecanseethesunlightcreepingacross

thedesert,paintingthelandscape.Thisisit;thisisthemomentweworkfor.Takeanotherlightreadingandadjusttheshutterspeed,shoot.Windon,expose-1/3stop.Windon,expose+1/3.Doitallagain.Takeanotherlightreading;thelevelsareincreasingallthetime.Doitallagain,reload.Pause.Consider.HowcanIimprovethis?Asenseofscaleismissing.

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6.30am

Wendyslowlywalksintotheframe,takingonestepatatime,carefulnottotarnishhersolitaryfootprints.Withhersackonherbackshe’slookingsuitablyintrepid.Ibeckonforhertostopintheprimespot,givingahumanperspectivetothesweepingscene.Takeanotherexposurereading,expose.Bracketexposures.Doitallagain.Reload.Double-checkeverything.Exposeagain.

6.40am:Thepowerofthesunisnowburningthrough.Idosomealternativeson35mm,goingintightonmysupermodelwithalonglens.Itlooksgreat.

9am:Thelongdrivebacktothecampsiteseemsachoreinthemorning

heat.We’vegotnooption,stayingoutintheopendesertwouldbemadness.

11am:I’msittinginthepoolatthecampsite,notswimming,justwallowing

likeahippo,tryingtokeepcool.

2pm:I’dreallyliketosleep,butthere’snowheretoshelter.Thetentisa

furnace,soI’mstillinthepool,reading.

4pm:Atlast,we’recheckingourstuff,saddlingupfortheeveningshoot.

4.30pm:

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Drivingagain,thenoveltyofthisrouteisstartingtowearoff.

6pm:

I’mshootingasolitarystuntedtree,dwarfedbythesanddunebehind.Workingwitha300mmlensthetrueperspectiveisemphasized.It’sagraphiccomposition.Anoryxwanderspastinthedistance.Whatdotheyfindtoliveoff?

7.30pm:Backontheroadagain.Inthedusklightanostrichracesalongside

ourvehicle,leavingusstanding.Showoff.

9pm:Wendyiscookingpastabythetent,I’mclutchingacoolbeer,gazing

upatthestars,feelingtotallyandutterlycontent.Ithasbeenalongday,andtomorrowwillbetoo.

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IceWhereIliveinsouthwestEngland,ithastobesaid,wintersareasaddisappointment.Grey,windyandwet–they’llnevercatchon.IgrewupinCanada,andchildhoodmemoriesareofawinterwonderlandbetweenNovemberandApril.Imissthosecrispsnowydayswiththefreshsnowhangingfromthetreesinsparklingwinterlight–Ijustdon’tgetenoughofthemphotographically.ItookthemforgrantedbackinOntario;I’dgivemyeye-teethforafewofthemeverywinternow.So,theonlyansweristoheadnorth,orbacktoCanada.Ofcourselikeallenvironmentstherearesomeparticularchallengesto

workinginicyclimes.I’mnotyourgrandmothersoIwon’timploreyoutowrapupwarmly,butitgoeswithoutsayingthatifyou’renotpreparedthephotographywillsuffer.Thisgamecaninvolvelongperiodsofinactivitywaitingfortheperfectconditionsforexposure.Batteryconsumptioninthecoldisalsosomethingtobeawareof.It’sshockinghowquicklystandardalkalinebatterieswillrundowninsub-zerotemperatures.Tobeprecise,asetofalkalineAAswilllastforapproximately3,000picturesat20°C,at-10°Cyougetjust300.Iuselithiumbatteriesinwinter,whichwilllastmuchlonger.Alsoconsiderkeepingyourcamerabodyinsideyourjacketforwarmthwhilewaiting.That’snotreallyanoptionwiththepanoramicasit’saseriousbeastofacamera.Asit’stotallymanual,batteriesaren’ttheissuebutleafshuttersdon’tlikethecoldandcanstick.

BanffNationalPark,Alberta,Canada

We’respendingChristmasinBanff,excepttheunthinkablehashappened,there’snosnow!Largeareasofuglybrownstreakthehillsides,whatistheworldcomingto?Finally,uptheBowValleynearLakeLouiseI’vefoundapatchwherefreshsnowishangingfromthetrees.Exceptthismorningthewholeregionsitsunderabankofdense,lowcloud.I’mstandingwaitingforthelightwith

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frozentoes,wishingI’dboughtthethermalboots.FinallytherearetracesofblueaboveandtheRockiesjuststarttoappearthroughtheclearingmists.I’mbalancingtheexposurebetweenthesunlitmountainsandtheforegroundwitha0.9NDgraduatedfilterandformyexposurereadingsI’malternatingbetweenspotmeterreadingsofthesnowintheforegroundandthetreesinthemiddledistance.ForthesnowreadingsIopenup1½–2stopsontheindicatedexposure.ThetwodifferentmethodsseemtocorroborateeachothersoIcan’tbefarout.Eventuallythesunburnsoffallthecloud,butIsuspecttheshotswiththefirsthintsofthepeaksloomingthroughwillbesubtler.

•FujiGX617,90mmlens

Berctesgarten,BavarianAlps,Germany

I’vegotallhotandsweatytrudgingupthehill,mybootscrunchinginthesnow;nowI’mstanding,waitingforthelightandcoolingrapidly.ThepictureIhaveinmindisastraightforwardimage(thebestalwaysare)withthefirstlightofdaystrikingthepeaks.Calculatingyourexposureswithalotofsnowaroundcanbetricky,buttakingareadingfromamid-tonewillalwayswork.Thetrickistoknowwhatyourmid-toneis;inthiscaseItookaspotmeterreadingoffthetreesbytheAlpinechaletinmid-distance.

•FujiGX617,105mmlens

“Exposingforsnowisallaboutconsideringhowmuchtextureyouwantinthesurface”

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EileanDonanCastle,LochAlsh,Scotland

Onourlastnightthesnowfell,givingperfectconditionsovertheScottishHighlandsjustaswehavetoheadsouth.It’sadeeplypainfulexperience,havingtodriveawayfromherenow.I’mruingthedeadlinesandcommitmentsthatclutteruplife,makingthisdeparturenecessary.AswecrossthebridgefromSkyethefirstsunlightbeamsalongLochAlsh,takingourbreathaway.Afewminuteslaterwe’repassingEileanDonanCastle.Thisistoomuch.NotonlyistherefreshsnowbutperfectreflectionsforthisclassicScottishscene.Ijustcan’tresist–Ipullinanddiveformygear.Stuffthetimetable.

•NikonF5,17–35mmlens

Winterlightcanbesodramatic.Daysareshortandthesunnevergetsveryhighinthesky,meaningphotographyispossibleallofthedaylighthours.Makingexposureswithsomuchlightbouncingaround–offthesnow,iceorwater–canbetricky.Whatdoyouexposefor?Wherearethemid-tones?Exposingforsnowisallaboutconsideringhowmuchtextureyouwantinthesurface.Overexposeandthewhitesblowout,underexposeandthesnowlookslikeadirtygreymass.Ideally,everycrystalandrippleinthesnowwillbevisible.Howyoutacklethiswilldependalotonwhatkityou’reusing.Intheolddays,andstillnowwithmypanoramiccamera,Itakemultiplespotreadingsoffthesurfaceofthesnowwithahand-heldexposuremeterandopenupabout1½–2stopsontheindicatedreading.Shootingdigitallythebrightnesshistogramdisplaybecomesanespeciallyusefulaidafteratestexposureinthesesituations,toensurethathighlightsaren’tbeinglost.Buthereagain,aswithmostaspectsofphotography,experimentationisrewarded.Dotests,notewhatyou’redoingintermsofhowyou’reexposing,analysetheresultscarefully,learnfromyourmistakesand

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you’reexposing,analysetheresultscarefully,learnfromyourmistakesandenjoyawarmglowofsatisfactionfromthewinners.Withallthetechnologyintheworld,trialanderrorstillremainstheonlywaytoconsistentlyimproveyourphotography.Aswithdeserts,thecraftsmanshipofMotherNature’ssculpturesinsnowand

iceprovidesuswithendlessinspiration.Thebiggestchallengereallyofthistypeofworkisfindingthoseperfecticylandscapes–thecombinationoffreshsnowandsparklinglightisarareone.

ALEXANDRAFJORD,ELLESMEREISLAND,CANADIANARCTIC

27July:We’reonthefirstplaneintofog-boundResolutefortendays,embarkingonaseakayakingexpeditionintheCanadianArctic.There’sjustoneproblem;nokayaks.Apparentlythey’refollowingonanotherplane.So,wewait.

28July:We’restillawaitingthekayaks,sowe’resamplingthejoysof

Resolute.IfCanadahadpoliticalprisonersthisiswherethey’dbesent.ForgetanynotionsofpristineArcticlandscapes.Inthedensefogandbitingcoldthisisagrey,bleakdump;acollectionofpre-fabhutsthatisthejumpingoffpointformanypolarexplorations.Butwe’rebuzzingatthestartofourArcticAdventure.Afterallthebookswe’vereadonthequestfortheNorthwestPassagewe’rehere,onCornwallisIsland,andhopefullytomorrowwe’reheadingfurthernorth;totheveryedgeofthepermanentice-pack,toAlexandraFjordonEllesmereIsland,offthenorthshoreofGreenland,sofarnorthit’soffthetopofmostmaps.Maybe.NothingisforsureinthehighArctic.

29July:Thekayakshavearrived,andsowe’retakingoffinaTwinOtterwith

allourgearfortwoweeksatthetopoftheworld.Weflyfortwo-and-a-halfhoursinacompletewhiteoutbeforeburstingoutintothesunglintingofftheunspeakablyspectacularglaciers,peaks,baysandiceflowsofEllesmereIsland.ItissuchacontrasttoResolute.Landingonavaguelylevelandstraightstripoftundrawesetupcampontheedgeof

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abaycrammedwiththemostbeautifullyshapedice.Iwalkalongtheshoreintheevening;infactit’smorelikemidnight,butwith24-hourdaylightheretimebecomeselastic.

30July:Asweassembleourkayaks,I’mlookingattheamountofkitwe’ve

gottogetin.Itdoesn’tseempossible,evenbeforeIconsiderthephotographicstuff;afullNikon35mmsystem,tripod,andthepanoramiccamera.Noway!

31July:Finallywe’reready.Ourtwo-mankayaksarecrammedfullofall

we’llneedforafortnight–campingkit,foodandwater,allsealedinwaterproofsacks.Ihavenoideahowwe’vemanagedtocramitallin.We’rewearingtrendybrightyellowsurvivalsuitsincaseofimmersioninthefreezingwater,andontheforedeckofourvesselI’vegotmycamerakit.Andsofinallywe’reoff,paddlingdownAlexandraFjordonglassywatersamongsttheicefloes.Beardedsealoccasionallypopuptotrackourprogress.There’sawalrushauledoutontheiceaheadso

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wespend15minuteshiding;theyhavebeenknowntogetinquisitivewithkayaks,evenamorous.Beingtippedintotheseblackicywatersbyahumpingwalrusdoesn’treallyappeal.

1August:

Withthesunbehindthickcloudandawindblowingofftheicethetemperatureplummets,andwe’rewearingeverylayerwehave.ThisistheArcticsummer,whichlastsforafewweeksatmost.You’vegottowonderwhatthedarkwintersarelike.Ourcampisonanislandinthefjord;ourtentisdefinitelyaRoomwithaView.Sometimeintheafternoon/evening/night(whoknows)thewinddropsandthecloudspart,revealingthemostperfectsceneofArcticsplendour–flatcalmwatersmirroringtherippledclouds,floatingiceandthesweepofthefjordbeyond.Thistriphasbeeninthebackofmymindforsolong,apersonalambitionthathasfinallycometofruition.IfIdon’tmanagetoshootonemorepicturehereitwillhavebeenworthwhile,forthis.

3August:Anotherdayspentdodgingthewalrus.Thepackicehasclosedaheadandwehavetofindaspottocampbeforewe’restuck.We’rewellintoitnow,paddlingboldlyinthispristinewilderness.Mindyou,ashowerandamaltwhiskywouldbeverywelcome.Butthisisthebusiness,itisthewildest,mostremoteplaceIhaveeverbeen.

4August:I’monahilllookingdownonavistaoficeandrockstretchingto

infinity.Inthestillairthesoundofabarkingwalrusreverberatesover

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thepackice.Thelightfromthenorthernhorizonislowandgolden.Mywatchtellsmeit’s2amandIreallyshouldbegettingsomesleep,we’vegotanotherlongpaddletomorrow,butIjustcan’tpullmyselfawayfromthisscene.Inthebaybelowtherestofthecrewarehuddledintheirsleepingbags.ApartfromthemIdoubtthere’sasingleotherpersonforhundredsofmiles.CertainlyIknowIamthesolehumangazingoutatthissceneofuttertranquillity.It’salmostpossibletobelievealliswellwiththeworld.

5August:We’refloatingamongsttheiceonmirroredwaters.Dippingour

paddlesintotheperfectreflectionsseemsatravesty.I’mgrapplingwithmypaddle,tryingtogettomycameraswithoutdrippingsaltwateralloverthem.Kayaksaregreatwaysofgettingaroundthesepartsbutnotsogoodforphotographingfrom.IthinkI’vealreadylostalenstothesaltydrips.ButI’mnotlosingsleepaboutit.

6August:Alongday,greyandwindy.Thetentsareanchoreddownwithrocksandthesleepingbaghasneverbeensowelcoming.I’mcontemplatinghowthetripisgoingphotographically.Asusual,thewormofself-doubtturnsinmygut.HaveImadethemostofthisuniqueenvironment?We’veseensomeincrediblesightsonthewater,butshootingfromthecanoesisanightmare.Gettingtothecamerainahurryisimpossible,bythetimeIhaveitandhavesortedoutmycompositionwithoutourpaddlesintheshot,attachedafilterandexposedafewframestherestofthegrouparewayahead,leavingusadriftintheiceflow.Still,ifitwereeasyeveryonewouldbedoingit.

7August:We’retalkingtoResoluteontheradio,tryingtocoordinateourpick

upfromabaytoournorth.Butthereareproblems,theydon’tthinkaplanecangetinthere,sowe’llhavetoheadbacktoAlexandraFjord.

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9August:We’vebeencampingonaheadlandnorthofAlexandraFjordfortwo

days,waitingforthewindstodrop.Thepreviouslyflat,calmwatersarenowraginggreyseaswithwhitehorsesandspindrift.There’snowaywecancrossintheseconditions,sowewait,spendinglonghourshuddledinourtents.I’mreadingabookabouttheearlyArcticexplorersbeingforcedtospendwinterstrappedintheiceintheseveryparts.Hmmm.I’mnotsurewe’veenoughpeanutbutterforthat.Thebriefsummeriscomingtoaclose,thesunisbrieflydippingbelowthehorizonatnightandalayeroficeisvisibleonthewatersclosetoshore.Aplaneissupposedtobepickingusuptomorrowbutunlessthewindsdropitwon’thappen,andwhenonewillbeabletogetinafterthat,nooneknows.We’reallfeelingatouchexposed.

10August:Intheearlyhoursthewindsdropandwepackupforthecrossing.By

thetimewe’rereadythewindisbackatfullforce,butwedecidetogoforit.Launchingthekayaksovertheiceshelfintothechurningwatersis…challenging.Actually,we’reallterrified.Butbyhelpingtostabilizeeachother’skayakswegoforit,immediatelypointingthebowsintothe3ft-highwaves.Greyicywatersurgesoverthedeck.Oncewe’realllaunchedweploughacrossthefjord,paddlinglikewe’veneverdonebefore,fearbalancedbyexhilaration.Inthemiddleofthefjordthewinddropsandwe’repaddlingthroughthebizarreiceshapes,buzzingwithouradventure.Moodscanchangehereinseconds–frombleak,icydangertobenign,tranquilbeauty.Aswehaultheboatsoutforthefinaltimeonthesouthshoreitstartssnowing.

11August:Goodnews,aTwinOtterisonthewaytopickusup.Allourflight

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connectionsbacktotherealworldhavebeenmissed,butwhocares?Thefreshsnowonthemountainsbackdropstheapproachingplane,it’ssobeautiful–doIreallywanttoleave?ItseemsImaynothaveanoption.Thepilot’smoaningaboutourloadandsaysIhavetoleavemyphotographicgearforasubsequentplanetopickup.AsIsuspectthatmaynotbeuntilnextsummerIdigmyheelsin:ifitcan’tgo,neithercanI.Astandoffensues.EventuallymyCanadianfriendJimmanagestonegotiateanagreementandI’mallowedontheplaneclutchingmysalt-encrustedcameras.Theplanelaboursintotheair,headingsouth,aswepeeroutatthedramaticArcticwildernessweareleavingbehind.

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EarthAsa14-year-oldboyonourreturnfromCanada,IrememberlookingdownfromthecirclingJumboJetatthepatchworkoffieldsthatmakeupEngland’sgreenandpleasantland.ItseemedatoylandscapeincontrasttothehugeopenspacesofCanada.InEuropetherurallandscapeshavebeenshapedandmaintainedbymanforcenturies,evenmillennia,tosuchanextentthattheoldstonewalls,rusticbarnsandchurchsteeplesareasmuchpartoftheenvironmentasthetreesandhills.Agegenerallymellowsman’sinputandtheruralarchitectureofaregionbecomesdeeplyembeddedinitscharacterandculture.Forallthechallengesofdesertsandicecapssomeofmyfavouritetripshave

consistedofloadingupthemotoranddriftingthroughtheruralheartlandsofEurope.Onalonghaulflightdifficultcompromiseshavetobemadewithwhatcanbetaken,andIoftenopttotravellightwithjusttheDSLRsystem.Soontheseroadtripsit’ssucharelieftoloadupvirtuallyallthegearIown,includingtheheavyartillery.

SunrisenearCortonDenham,Somerset,England

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It’slateJune,about4.30amandI’minthemiddleofapoppyfieldwaitingforthelight.Beforethesunpopsoverthehillandboresintomylenscausingflare,Iexposewiththedawnskyandthepoppiesswayinginthebreeze.

•CanonEOS-1DsMKII,17–40mmlens

OlivegrovenearCazorla,Andalucia,Spain

We’vefoundthisspotinAndaluciathat’sprovingverydifficulttoleave.Withthewildspringflowersgrowinginamongtheolivegrovesit’saverdant,lushlandscapethatwe’recyclingthrougheverydayinsearchoflocations.IreckonI’vemadesomeworthwhileimagesandit’sprobablytimetomoveon,butsomehow,wejustcan’tseemto.

•FujiGX617,90mmlens

PoppiesnearSt-Rémy-de-Provence,Provence,France

Byoneofthosetypicaltree-linedroadsnearSt-Rémy-de-ProvenceIfindthisconcentrationofpoppies.They’reeverywhereinsouthernFranceinlateMay.Inevercanresistgettingtheminmyforeground.Well,Monetdid,sowhycan’tI?

•FujiGX617,90mmlens

I’vebeenweddedtothepanoramicformatforsome17years.Ifirsthiredapanoramiccameraontrialandwassobowledoverbytheimpactofthebig6x17cmtransparenciesforlandscapeworkthatIimmediatelyboughtone.Sincethenitanditssuccessorhavebeenroundtheworldmanytimes.Asyetthere’s

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thenitanditssuccessorhavebeenroundtheworldmanytimes.Asyetthere’snopracticaldigitalalternativetothebig‘pano’andIstilllovetheimpactandqualityoftheformat.Thecameraitselfisbigandbulky,butnotparticularlyheavy.It’salsodelightfullysimple,withnoelectronicsandnotmuchtogowrong.Havingsaidthatitdoesdemandadifferent,morerigidwayofworking,IhavetobemeticulousinthewayIputtogetheranimageandoperatethecamera.Istronglybelieveyouneedtobediligentwhatevercamerayou’reusing,butwiththepanoramicitdoestakeawhilelongertosetupanddeploy.Thiscanbeagoodthing,imposingamoredisciplinedregimeonthebusinessofmakinganimage,andwhenyouseeaprintfromthisformatenlargeduptoseveralfeetwideitmakesitallworthwhile.

“Locationsearchinginsuchregionscanandshouldbearealjoy”

Littondale,YorkshireDalesNationalPark,England

ThestonewallsandbarnsoftheYorkshireDalesareanationaltreasure.It’soneofmyfavouritepartsofEngland.It’sanearlysummerevening,about8.30pm,andfriendsarewaitingformeinthepubinKettlewell,butIjustcan’tcomeaway.It’stoughmaintainingasociallifewhenthedaysarelongandthelightisgood.

•FujiGX617,90mmlens

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DawnatComptonPauncefoot,Somerset,England

I’vecycledpastthisscenecountlesstimeswithoutitreallyregistering–it’sononeofmyregularroutesfromhome.Thenlasttimeitsuddenlystruckme;there’sashothere.WhyhadInotnoticeditbefore?EitherI’mjustauselessphotographerorthere’salessonhere;I’mnotsure.So,hereIamthenextmorning,shootinginthesoftlightofdawn,withtracesofpinkkissingthecloudsandthehedgerowfullofearlysummercolour.

•FujiGX617,90mmlens

InEuropetheclassicregionsofProvence,TuscanyandAndaluciatakesomebeating,butofcoursetherearemany,manyotherequallybucolicandenticingareas.Indeedpartoftheattractionofsuchtripsisgettingoffthebeatentrackanddiscoveringforyourselfruralbackwatersnotmentionedintheguidebooks.Bytheirverynaturetheseareenvironmentslackinginanyparticularchallengeofsurvivaloraccess.Asalways,locationfindingiscrucial.I’veoftenfoundmyselfinaregionIknowisattractive,withmuchphotographicpotential,butIcan’tseemtoexpressitinanimage.It’sextremelyfrustrating,andithappensalltoofrequently.Amentalblockcandevelop,theharderyoulook,thelessitallcomestogether.Butpersistenceusuallypaysoff.Thelocationsearchingitselfinsuchregionscanandshouldbearealjoy;ifitbecomesachorethensomethingisnotright.Cyclingandwalkingaremypreferredwaysoffindingmyspots;drivingisOKbutit’salltooeasytowhizzpastascenewithoutevennoticingit.Ijustcan’tworkoutthoughwhyalltherandonnéesseemtoincorporatelunchinasun-dappledsquare.Allinthenameoffamiliarization,ofcourse.

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ThevillageofEusperchedonahilltopwiththePicdeCanigoubeyond,thePyrenees,Languedoc-Roussillon,France

IthastakenmefourattemptstomakethisshotofthechurchwiththePicdeCanigoubeyond.I’vebeenbattlingwithindifferent,hazylight.I’mstillnotentirelyhappywithit;I’dlikemoredramainthesky.Butwe’vebeencampingnearbyatVernet-les-BainsinthePyreneesforfivedaysnowandit’stimetomoveon.

•CanonEOS-1DsMKII,24–70mmlens

ITALIANSUMMER

Day10:OurItalianCampaignisgoingwell.LiketheVandalsandVisigothswemarchedintoItalyviatheBrennerPassfromAustria.We’regivingsackingRomeamissthistimebutareblazingatrailofexposedimagesthroughthecountry,leavinginourwakevacatedcampsitesand

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decimatedpastadishes.We’veplunderedtheDolomites,LakeGardaandVeronaandarenowponderingournextconquests.Achangeofplanwasdecidedlastnightoverourvinorosso;we’reheadingontoTuscany.We’vebeenmanytimesbefore,butnowwe’rethisclose,wecan’tresistit.Ithasn’tgelledhereinEmilia-Romagnaandanotherwasteddaycouldresultinalossofmomentum,thatcuriousfusionofcircumstanceandframeofmindthatdeterminesjusthowproductiveatripis.AfterabriefvisittoMaranellowebombdowntheautostradaandsetupcampinChiantishire.TheentirepopulationoftheNetherlandsisonthecampsitewithusbutthisisgreat.Fromourtentwelookoveravalleywithvineyards,pointytreesandvillas,justbeyondtheGerman’scyclingshortsdryingontheline.

Days11–15:

Ourlocalvalleycollectsthemistatnight,soithasprovidedafewgooddawnsessions.IloveitwhenIcanjuststumbleoutofthetenttostandblearyeyedbythetripodwithouthavingtodriveformiles.I’vebeenworkingonvineyards,bothaspartofthelandscapeandclose-upsoftheripegrapesinthewarmeveningsun.They’realmostreadyforpickingandthesmellisintoxicating.TheancientvillageofBadiaaPassignanowasthesettingforaneveningshoot,withanolivegroveintheforeground.Gutlessskiesandhazehavecontinuedtobeaproblem,buthey,lifeisrarelyperfect.Therehavealsobeendetailsofwindows,doorwaysandmarketstoshootinthevillageslikeCastellinainChianti.

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Day16:

Thegrapepickersturningupforworkaregivingmewryandbemusedlooks.I’mstandingonthecustomizedphotographicroofplatformofourLandRoverparkedinamongstthevinesatdawn.IfthiswereBritainI’dnodoubthaveaniratefarmeronmyhandsbutnothere,noonecares.I’vegotthepanoramicGX617onthetripodupherewitha180mmlens,apolarizeranda0.9NDgrad.Thesuniscominguptomyleftgivingcrosslightingbutit’shavingtosliceitswaythroughaheavylayerofatmosphericmiasma,andtheskyisjusthopeless.Thiscouldbeastrongshotthough,andI’mnottooconcernedaboutthehaze.Itwillsoftenthelightatouch,whichintuitivelyIthinkmayhelpthisimage.Why?Idon’tknow,Ijustfeelit.I’mframingsothere’spreciouslittleskyintheshot,andthelinesofthevinesandtrackleadustothevillaandvalleybeyond.There’stheannoyingdetailofourcampsiteonthehillsidetotheright,I’lljusthavetoannihilateourtentandtheDutchcaravansinPhotoshoplater.

Day17:We’removingontoPugliatoday.AswedriveawayfromTuscanyI

seemoregreatlocationsandwishwehadmoretime.Well,we’lljusthavetocomeback–that’llbenohardship.

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DawnonthebeachatBamburghCastle,Northumbria,England

IreckonI’veseenmoresunrisesthanI’vehadhotdinners,butthisonetakesthebiscuit.Standingbythetripodatdawninthemiddleofatwo-minuteexposureI’mmarvellingatthecoloursripplingthroughtheskyandreflectingoffthewetsand.AsurfisrollinginofftheNorthSeaandBamburghCastlestandscommandinglyoverlookingthebeach,silhouettedbythefirstlightspreadingthroughthewispsofcloudinunbelievablehuesofpinkandpurple.Thenoveltyofthisexperienceneverwanes,evenafter25yearsofdawnpatrols.Lastnighthighwindsshatteredourtentandweendedupsharingwithcompletestrangersintheirs.TothemysterycouplefromYork,thanksverymuch;hopewedidn’twakeyouwhenwecreptoutat5amforthedawnlight.We’dconqueredthewildsofPatagoniabutcameunstuckinNorthumberland–allpartoflife’srichpageant.

•FujiGX617,90mmlens

WaterInavillageoutsideZhongdian,highontheTibetanplateauinChina’sYunnanProvince,thekidswereplayingupforthecamera.Theymayneverlayeyesonadistantocean.Formanyofusthatseemsinconceivable.Ourconnectionwiththeseaiswoundintoouridentityandpermeatesourlives.Weareallinescapablydrawntoit,forourleisure,ourwork,orjusttogazeendlesslyatitsever-changingmoods.Forusphotographersthatisdoublytrue.Thecoasthasaninescapabledraw.Photographicallythepossibilitiesareendless.Icouldspendmywholecareer

shootingthesea,quitehappily.What’smoreit’saccessible,atleastifyoudon’tliveinZhongdian.It’seasytostrollalongthecoastalpathandshootsomedramaticimages,right?It’ssafe,anyonecandoit.Well,inallmytravelstheonlytimesI’veeverbeeninperilhavebeenwhenI’vebeenafoolandunderestimatedthepoweroftheseeminglybenignsea.Icamewithinaninchof

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drowninginTahiti,tryingtowadebetweentwoislands.AFrenchjet-skierpickedmeup.I’vebeencaughtbythewavefromthePerfectStormonthenorthCornishcoast,pickedupandtossedwithallmygearontothe

AnseSevere,LaDigue,Seychelles

TofindtheperfectpalmtreestretchedacrosstheperfectwhitesandbeachIsearchedtropicalislandsrightaroundtheglobeinatwo-yearquest.Itwastoughbutsomeonehadtodoit.I’venevertakenthejoboflocationfindingtosuchextremes.IfoundmyHolyGrailhereonLaDigueintheSeychelles,whichispossiblyoneofthemostbeautifultropicalislandsintheworld,locatedinthemiddleoftheIndianOcean.I’mherenow,writingthisbookabouthalfamilefromthatbeach.ThetreeisnomoreI’mafraid,butatleastthatmeansthispicturecanneverberepeated.

•FujiGX617,105mmlens

SunriseatTeParePoint,nearHahei,CoromandelPeninsula,NorthIsland,NewZealand

There’sclaritytothelighthereinNewZealandthat’sunique.Perhapsit’sduetotheabsenceofanozonelayeroverAotearoa,butitmakesforsomesparklingphotographicconditions.We’vehadanother3.40amrisethismorning,a40-minutedrive,followedbyanhour’shike,ortrampastheysayintheseparts,andnowwe’reinpositionastherisingsunbathesthebaysandcliffsoftheCoromandelPeninsula.Wescoutedthislocationyesterdayandnowalltheelementshavecome

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togetherbeautifully–MotherNaturelikesusthismorning.I’mponderinghowI’mgoingtomakethisimage,bothhereandbackatbase.MyworkingmethodshaveevolvedoverthelastfewyearsasI’vepartiallyswitchedtoshootingdigitally,andthismorning’shigh-contrastscenewillrequirealltheflexibilitythenewmediumgivesme.Thesensitivityofthesensor,theexposurelatitudeoftheRAWfileandthescopeforskilledandsensitiveprocessingmakeadigitalcameraanincrediblyversatiletool.

•CanonEOS-1DsMKII,17–40mmlens

WearyBayatdawn,Queensland,Australia

TracingthenamesuptheeastcoastofAustralia,yougetagoodindicationofCaptainJamesCook’sstateofmindastheEndeavoursailednorthonhisvoyageofdiscoveryin1769.Justouttoseahere,offQueensland’sCapeTribulation,theystruckthecoralreefandalmostfoundered.AftertemporarilypluggingthebreachinthehullwithcanvasthecrewtowedthestrickenEndeavourwithoarpoweracrossthisbayinsearchofsheltertoeffectrepairs.Ilovesaltystorieslikethat,andhavetoadmitCookisaheroofmine.I’monthepierofarainforestlodgeatdawn,breakingallthecompositionalrulesagain.It’salongexposure,andImanagejustacoupleofbracketedexposureswhilethefireintheskylasts.It’sabeautifulsightinatranquillocation,butawormisturninginsideofme;I’mconcernedIhaven’tmadeenoughstrongimagesyetonthistrip.It’stheconstantphotographer’sangst,whichcanonlyberelievedtemporarilywithanotherproductivephotosession.Soonerratherthanlater,itreturns.

•NikonF5,17–35mmlens

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PortlandBillatdusk,Dorset,England

OffthispointistheRace,ameetingofcurrentscreatingsometrulyevilseas.Normallyinwinterthisspotisbeingbatteredbymonsterwaves:it’sthegraveyardofmanyshipsandcameras.Thisafternoontheseaislikeamillpondandtheskyaleadengrey;Ialmostabandonmywatch,butdecidetohangonabitlonger.SomanytimesI’vegivenupprematurelyandheadedfordinner,onlytocursemyselfbitterlyasafinalburstoflightofthedaytauntsme.I’mrewardedasaflickerofgoldignitestherocks.I’mscrabblingtotakeameterreadingandexposewhilethelightlasts.TheseaissocalmI’mconcernedthescenewilllacktheusualdramathislocationprovides,butthequalityofthelightmorethanmakesupforit.

•FujiGX617,90mmlens

rockslikeapieceofflotsam.Ithurt.AndI’vebeencutoffbythetideinScotland,onlytobesavedbyInternationalRescueintheformofmywifepaddlingouttoretrievemeinarowboatinthedark.IsuspectI’venotheardthelastofthatone.AndI’velostmanycamerasandlensestotheeffectsofsaltwater.Whydoesallthiskeephappening?Well,apartfrommebeinganidiotthere

aretwomitigatingcircumstances.Firstly,andI’msureit’strueforallofus,whenI’mworkingonanimageIgettotallyabsorbed,therestoftheworldceasestoexist.Timepasses;IoftenthinkI’vebeencrouchingbythetripodfortenminuteswhenitturnsouttobemorelikeanhour.Andsecondly,thebestimagesaremadewhenyougofortheboldestcomposition,andthatmeansgettingthetripodlegswet.You’renotgoingtomakeaknockoutpicturefromthecarpark.Keepingyourkitdryisoneofthebiggestchallengeshere,andthereare

waterproofcoversmadeforcameras,which,whilenotprotectingfromamonsterwave,willkeeptheworstofthesprayoff.Ofcoursethatdoesn’tactuallyincludethefrontlenselementorfilter,asthisbydefinitionmustbeexposed.Sobetweenexposuresasoft,drylensclothisneededtoremoveallthesaltymoisturesteadilyaddingdiffusiontoyourimage,whetheryouwantitornot.

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WildflowersonthecliffsoftheLizard,Cornwall,England

It’slatespringinCornwallandtheclifftopsontheLizardareburstingwithcolour.I’mfeelingalternativethismorningandmakeashotwithnosky,concentratingjustonthewildflowersandcraggycoast.MaybeI’mbiased,butIthinkwe’reluckyintheBritishIslestohavesomeofthemostvariedanddramaticcoastlinesanywhere.

•FujiGX617,90mmlens

Usinglongexposureswithmovingwaterishardlyanewidea,butit’sonewe’reallhookedon;itgivesadreamy,ethereallookandI’vespentmanyhoursstandingwithwaterlappingaroundmyfeetwaitingtofinishanothersix-minuteexposure.Toslowexposuresdownneutraldensityfiltersarecrucial:Iregularlyusea0.6or0.9ND,whichequatesto+2or3stopsofexposure.Onlargerformatcameraswithtinyminimumapertureslikef/45andslowISO50film,longexposuresarealmostobligatory,butwithdigitalcamerasit’softendifficulttoslowexposuresenough.WithdefaultsensitivitiesofISO100orfasterandminimumaperturesofonlyf/22,exposureslongerthanasecondcanbedifficulttoachieveevenwithNDfilters.Usingtwoinconjunctionhelps,buttheymustgoodfilters–bothopticallyandintermsofcolourquality–otherwisesharpnesswillsufferandgruesomecolourcastsbecomeapparent.IusetwoLee0.9NDglassfiltersmadeespeciallyfordigitalcameras.Theamountofmovementdesirableisforyoutodecide.Anexposureof1/2seconabreakingwavewillgiveapleasingblurrydrama,whileaneight-minuteexposureatdusktransformsthewaterintoaseaofmercury.Again,dotrials,experiment.Andaboveall,knowwhatthetideisdoing–isitebbingorflowing?Checkthetidetimes,wearwellies,andrinsethetripoddownwithfreshwaterafterwardstopreventitrustingandcloggingupwithsalt.

“Thebestimagesaremadewhenyougofortheboldestcomposition,andthatmeansgettingthetripodlegswet”

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Porthcurno,Cornwall,England

AsthesunrisesovertheLizardstreaksoffirearcthroughthedawnsky.A0.9graduatedneutraldensityfilterholdsbacktheexposureonthesky,whilsta0.9neutraldensityfilterallowsmetoslowtheexposureto25secondstorecordsomemotionblurofthewavesbreakingonthebeach.Iexposeatestframe,checkmyhighlightalertsandhistogram,dialin+0.3exposurecompensationwithapertureprioritymatrix-metering,andstartexposing.

•CanonEOS-1DsmkII,16–35mmlens)

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WoodTherainforest:adensegreenmassofvegetation,difficulttobein,evenhardertoworkin.Wheretostart?Surelyonepatchofjungleismuchlikeanyother?Everythingisupclose,inyourface,drippingandslimy,therearenosweepingviews,andthelightisawful.Butanyonewhohasspenttimeinrainforestsknowswhatfascinatingplacestheyare–fulloflife,thelungsoftheplanet:Ialwaysfeelprivilegedtobethere.It’sanenvironmentthatassaultsthesenses;thesoundsandsmellsofthejunglepermeatemysoul.Andtheyarealldifferent.Definitelydifficulttophotograph,butnooneeversaidthisgamewaseasy.

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MonteverdeCloudForestReserve,CostaRica

Withthelightlevelsfluctuatingwidelyasthecloudsfilteredthroughthetrees,exposingforthisshotwasmurder.Halfwaythroughafive-minuteexposurethesunpenetratedthemist,sendinglightlevelsandcontrastthroughtheroof.Iabortedtheexposureandstartedanother.Ishottworollsof220justtogetoneperfectexposure.

•FujiGX617,90mmlens

WaterfallwithwildBusyLizzies(Impatiens)nearAlajuela,CentralValley,CostaRica

It’softendifficultintherainforesttoseeanycolourotherthangreen.HerebythewaterfalltheseBusyLizziesgiveasplashofpinktooffsetthecoolbluesandgreensdeepinajunglevalley.

•FujiGX617,90mmlens

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MonteverdeCloudForestReserve,CostaRica

Themistspassingthroughtheforestgaveanetherealmoodandalovelylow-contrastlight,perfectforthisenvironment.Italsomeanteverythingwaspermanentlymoist,thevegetation,theair,thecameraandme.Keepingthedripsoffallthegearwasamajorundertaking.

•FujiGX617,180mmlens

“Lightlevelsareverylow,thinkintermsofexposuresofminutes,sodon’tevenconsidergoingwithoutatripod”

Asusual,locationsearchingisthekey,andthatmeansgettingthebootson.Findingastrongcompositionisthegoal;it’sacaseoftuningyourphotographicvisionintothefinedetailsoftherainforest.Ilookforvisuallystrongfeaturestobaseacompositionon,suchasroots,vines,streamsorsomegraphicdetail.Lightingistheotherbigissue,buthereunderthedensejunglecanopyallthepreviouslyheldnotionsofwhatlightIlikeforlandscapeworkareredundant.StrongdirectionalsunlightisdefinitelywhatIdonotneed:thecontrastgoesthroughtheroof,orrathercanopy,resultinginburnt-outhighlightsanddenseblackshadows.Leadengreyskiesgivingaflat,diffusetoplightingareperfect.Lightlevelsareverylow:thinkintermsofexposuresofminutes,sodon’tevenconsidergoingwithoutatripod.

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Giantcedartree,MearesIsland,ClayoquotSound,VancouverIsland,BritishColumbia,Canada

Notallrainforestsaretropical.HereonMearesIslandthegiantcedartreesthatusedtobefoundalloverVancouverIslandaretrulymajestic.Howcananyonecontemplatecuttingdownoneoftheseancientlivingentities?ThisonewouldhavebeenasaplingwhentheRomansruledsupreme.Ican’tincludetheentiretoweringgiantintheframesoIconcentrateonshowingitsgirthinrelationtothenewgrowtharoundit.

•FujiGX617,105mmlens

Buttressrootsontree,tropicalrainforest,Daintree,Queensland,Australia

TherootsofatreeinthetropicalrainforestremindedmeoftheflyingbuttressesonGloucesterCathedral.Isupposethey’resimilarlysupportiveinthethinsoil.

•FujiGX617,105mmlens/NikonF5,16mmfisheyelens

Fill-inflashcanbeeffectiveforlightingdetails.Andtakeanemptyfilmcanisterfullofsalt.It’sfortheleechesyousee:ifyoufindanyoftheseblood-suckersclingingtoyouranatomyjustpoursaltonandtheyshrivelanddropoff.Anumbrellaisalsousefulas,funnilyenough,itoftenrainsintropicalrainforests,andImeanseriouslyrains.It’sfartoohottowearajacketandunderanumbrellayoucancontinueshooting.BeingabitofacontrolfreakIusuallyresistbeingledanywherebythehand,butthere’snosubstituteforlocalknowledge,soaguidecanprovideafascinatinginsightintothecomplexecosystem.Aboveall,stop,lookandlisten.Letthejungleenvelopyouinitsmystery.It’sfartooeasytotrudgepastthingsofinterest.

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WestlandNationalPark,SouthIsland,NewZealand

AtthefootofFoxGlacierinNewZealand’sWestlandNationalParklietractsofdensetemperaterainforest.Itseemsabizarremix:iceanddensegreenery.Temperaterainforestshaveaverydifferentfeeltotheirtropicalcounterparts–they’remuchmoremossy.Infactthemoretimeyouspendinthewoodsthemoreyourealizeallforestsaredifferent.

•FujiGX617,90mmlens

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SantaElenaCloudForestReserve,CostaRicaThemudgetseverywhere.I’mwearingaplasticponcho,butit’shopeless;nothingstaysdryinhere.It’sanetherealplace,everythingis

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hopeless;nothingstaysdryinhere.It’sanetherealplace,everythingisdrapedinmoss,thecloudhangsamongstthetrees,it’sdark,dampandmuddy,andweloveit.Afterafewdaysofthiseverythingweowniscoveredinathinlayerofrainforestslime.Thedampmistsareswirlingallaroundus,theleavesareconstantlydripping,andaswebrushthroughtheundergrowththeyshedmoresoggydelightsonusjustforgoodmeasure.Thetrailisaslipperyquagmirethatwesloshandslidealonglikeinebriatediceskaters.WelcometothecloudforestsofCostaRica.ThespineofmountainsthattothenorthconstitutetheRockies,andto

thesouththeAndes,crossesthenarrowisthmusofCentralAmericaasa6,500ftjungle-cladridge.ThewarmairfromtheCaribbeanstreamsoverthisridgeenroutetothePacific,coolingasitdoesandformingdensedampcloudsfilteringthroughthewoods;thisisacloudforestandit’safirstforme.We’respendingfourdaysheretrampingtheforesttrailsinsearchofthedefinitiveimagesofthisuniqueecosystem,anddespitethegrimeit’sgreatfun.Photographingthecloudforestpresentssomeseriouschallenges.The

dampandthemudisaninconveniencetousbutifitgetsintomykitallsortsofbadthingswillhappen.Everydaywetrudgethoroughtheforestinsearchofstrongcompositionsamongtheseeminglyimpenetrablemassofvegetation.Asitturnsoutthere’sawealthofpotentialonceyougetyoureyetunedin.Themudsquelchesbeneathourfeet,Istopandlook.There’sashot

here.WendyreleasestheplasticsheetfromthebackofmyLoweproandlaysitinthemudforthebagtoreston.Ierectthetripod;WendythenholdsanumbrellaoverthebagasIrummageinside.Dripsrundownmyneckbutthe

“Everydaywetrudgethoroughtheforestinsearchofstrongcompositionsamongsttheseeminglyimpenetrablemassofvegetation.Asitturnsoutthere’sawealthofpotentialonceyougetyoureyetunedin”

kitisprotected.We’reworkingasawelloiledmachinenowafterdaysofthis.Itransferthecameratothetripodunderthebrolly;I’musingthepanoramiccameravertically.Ispotmeteroffaleafintheforeground,opentheshutterandstartthelongwait.Withapolarizerontosaturatethecoloursinthevegetation,atf/45theexposuretimeiseightminutes.Asthefeeblelightdoesitsworkonthesilverhalidecrystalswewatch

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Asthefeeblelightdoesitsworkonthesilverhalidecrystalswewatchthemistsswirlingthroughthelushcanopyabove–it’sincrediblyatmospheric.Thesoundsoftheforestenvelopeus,wearenotalone,that’sforsure.Ajaguarcouldbewithinspittingdistanceandwe’dneverknowit.AfterfourminutesItakeanotherreading.Thelightlevelsare

fluctuatingasthecloudblowsthroughthetrees;it’shalfastopbrighternow.Iendupgivingitsixminutesandstartanotherexposure,andsoon.Igetoffjusteightframesinanhour.Idon’tfeelit’senough,allowingforbracketedexposuresandthevaryingamountsofmist.Ireloadandstartonanotherexposure.Occasionallythesunbrieflypenetratesthemistsintheuppercanopy,sendingthecontrastskyhighandforcingmetoaborttheexposure.Generallythough,theflatlow-contrastlightpredominates.Trudgingback,bagheavyonmyback,muddy,soggy,exhausted.

Imageshavebeenmadethough,andthatalwaysengendersadeep-seatedfeelingofsatisfaction.Wedescendintothebrighttropicalsunshineoflateafternoon.BelowandtothewestliestheBayofNicoyaandthePacificcoast,ournextdestination:palmtrees,beachesandsunshine.

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WallStreet,NewYork,USA

EarlymorninglightbeamsdownWallStreethighlightingthetrudgetoworkinNewYork.

•NikonF5,17–35mmlens

ConcreteIntheurbanjunglethere’salwayssomethingtopointyourlensat,whateverthetimeorweather.Inthecountryside,days,evenweekscangobywaitingfortherightconditions,butafewdaysspentworkingthemeltingpotsofhumanitywillalwaysbeproductive.Poundingthepavementsoftheworld’sconurbationscanbedispiriting,butwhocanfailtobestimulatedbythevibrancyandvarietyofcitiestheworldover?Bangkok:it’snotaprettycity.OnmyfirstvisitIhatedthe

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citiestheworldover?Bangkok:it’snotaprettycity.OnmyfirstvisitIhatedthechokingfumesandoppressivesprawl.Now,aftercountlesspitstopsenroutetoexoticAsiandestinations,Iloveit:thetemples,tuktuks,monks,streetfood,thebustleandlife.Sydney:isthereabetter-sitedcapitalanywhereintheworld?Watchingthesunshiningdowntheharbourintheearlymorning,orcatchingtheOperaHouseandHarbourBridgeasjoggerstrotpast.Rome:allroadsleadtoit,whichiseasytobelievewatchingthetrafficchaosaroundthePantheon.AbowlofpastainthePiazzaNavonamaysetyoubackafewEuros,butwhenthelightscomeonintheEternalCityatduskit’sasettingnottobemissed.

CommuteronMillenniumBridgewithStPaul’sontheskylinebeyond,London,England

Thesteelylightofawinter’smorninginLondonlightstheelegantlinesoftheMillenniumBridgeovertheRiverThames,leadingtheeyetoStPaul’sCathedralasacommuterhurriestowork.It’saclassicexampleoftheuseofminimalcolour.

•CanonEOS-1DsMKII,17–40mmlens

Gondolasatdawn,PiazzaSanMarco,Venice,Italy

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EveryoneshouldseeVeniceatleastonceintheirlives.Itdoesn’tmatterhowmanytimesyou’veseenpicturesofit,thefirstimpressionsareasifyou’vesteppedontoanoperastage.IthasbeenaMeccaforartistsforcenturiesandisendlesslyinspiring.I’venowbeenfourtimes;maybeIshouldcallitadaybeforethenoveltyofshootingbobbinggondolaswearsoff.

•FujiGX617,105mmlens

Cityparksareoftenexquisitemini-landscapesintheheartofametropolis,andthentherearethepeopleinthem,jogging,walking,snoozing;theceremonies,themonuments,themarkets,cafés,barsandrestaurants–it’sendless.Andofcourse,thestreetlife.Photographyaside,people-watchingfromapavementcaféinthespringsunshineisanaddictivepastime.Photographically,withsomuchonoffer,thechallengeiswheretobegin.Allcitieswillhavetheirclassicviewsthathavebeenshotadinfinitum,socomingupwithsomethingnew,auniquetakeonawellknownsubject,isthenameofthegame.Compositionally,you’redoingexactlywhatyoudoinotherenvironments;arrangingshapes,bearinginmindtheGoldenRuleofThirds,lookingforforegroundinterestandconsideringunsightlydistractions.ButascitiesareallaboutpeopleIliketoincludethem,ifpossible.Afewblurryfiguresinthekeyspot,eveniftinyintheframe,canliftanimageandgiveasenseofperspectiveandplace.Andboldcompositionswithgraphicshapesfromunusualviewpointsaretheorderoftheday.Thinklaterally.Useyoureyes.Bendyourknees,ortalkyourwayontothatrooftopterrace.

FountaininTrafalgarSquarewithpigeons,London,England

ThelastofthesunlightbacklightsthefountaininTrafalgarSquare.ImanagedtosqueezethisoneoffbeforeIwasarrestedandsenttoaGulagbytheTripodPolice.

•NikonF5,80–200mmlens

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HorseridersinHydePark,London,England

It’scolouratfullthrottleforthisstudyinmotionoftheHouseholdCavalryexercisingtheirmountsinHydeParkearlyinthemorning.Springismyfavouritetimeforshootingcities;theparksareablazewithcolour.

•CanonEOS-1DsMKII,24–70mmlens

JoggeratMilsonsPoint,Sydney,NewSouthWales,Australia

EverywhereyougoaroundSydneyHarbourthey’rejogging,orrollerblading,orswimming;they’reafitbunchtheAussies.Isetthisshotupwithmycousin’sdaughtertrottingupanddownendlesslywhileIexperimentedwithdifferentshutterspeeds.Asalways,IthinkahumanelementliftsthewellknownviewoftheHarbourBridgeandskyline.

•CanonEOS-1DsMKII,17–40mmlens

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Menplayingpétanque,Barcelona,Spain

IntheparkinBarcelonatheoldboysgatherforboulesandachatinthespringsun.Seemslikeagoodwaytopassthedaytome.

•NikonF5,80–200mmlens

Salzburginthesnow,Austria

ThepreviouseveninginSalzburgI’dstruggledupthehillabovetheOldTownwithasprainedankleandacoldtoshoottheilluminatedcity.ThefloodlightsnevercameonandIretreatedtomyhotelroomfeelingsorryformyself.Thenextmorningthewholeworldlookedamuchbetterplaceasalightsprinklingofsnowdustedthecity.

•FujiGX617,105mmlens

ThehistoricalarchitectureoffamousEuropeancitiesjustshoutstobephotographed.Thebuildingsspeaktousofthepassingoftimeandareoftenbeautifullylitatnight.Eventhemostunappealingareabydaycanbetransformedwhenilluminatedintheevening.Gettingtoknowhowacityislitatnightispartoftheuniquechallengeofurbanlocationsearching.Makingnight

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nightispartoftheuniquechallengeofurbanlocationsearching.Makingnightimagesisallaboutplanningandtiming.Onceanimagehasbeenpre-visualizedandtheexactcompositionplanned,it’sacaseofsettingupasduskfallsandwaitingforthelightstocomeon.Thebestnightshotsarenotmadeinthedark;theidealtimeiswhentheskiesaredarkeningbutstillholdingenoughambientlighttogivearich,dark-bluetonetooffsetthewarmtonesofthelights.Shoottooearlyandtheeffectsoftheartificiallightsaren’tapparentenough,leaveittoolateandtheskiesblacken.There’susuallyawindowofaboutfivetotenminuteswhenthebalancebetweennightanddayisperfect.Citiesarehardwork,you’reonthegovirtuallyalldayandsomeofthenight.

Eveninbadweatherthereareshotstobemade,infactIoftenwishforraintoturnpavementsreflectiveatdusk.Aswellasthephotography,therearetheendlesslocationsearches,andstrugglingonandoffthemetroatrushhourwithamonstercamerabagandtripodinsearchofthenextlocationisexhausting.Sometimesit’snecessarytocarrythehugebag,butmoreoftenIknowwhatsortofimagesI’mafterandtaketheappropriatesetup.IfforexampleI’mworkinginabusy,crowdedmarketIhavejustabodyandtwolensesandnotripod.Fill-flashcanalsobeveryusefulhere.Ialsoloveusingafast85mmf/1.2lensforportraitsincrowdeddarkbazaars.ButtheonepieceofkitIwouldn’tbewithoutthoughforanycitytripismy24mmshiftlens.Makeapicturelookingupatanybuildingandwhatdoyousee?Convergingverticalsmakingitlookasifthebuildingisfallingoverbackwards.It’sactuallyhowweseeit,butinprintitjustlookswrong.Soarchitecturalphotographershavelongusedlarge-formatcameraswithmovementsenablingthemtocorrecttheverticalsandkeepeverythingstraightbyshiftingthelensaxisupordowntocontroltheangleofviewwhilekeepingtheimageplanevertical.On35mmordigitalSLRcameraswecanachievethesamebyusingashiftlens.They’reexpensive,butminehaspaidforitselfmany,manytimesover.

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CharlesBridgeatdawn,Prague,CzechRepublic

Thetowers,statuesandminaretsofPrague’sOldTowntakeusstraightbacktothedaysofMozartwithnomoderndistractionstodisrupttheskyline.OnagreyovercastmorningI’mstrugglingtomakesomethingoftheCharlesBridgeintheflatlight.JustasIswitchtoblackandwhiteacouplestrollspasthandinhandandIseizethemoment.

•NikonF5,80–200mmlens

AlonefigureonViaCardinalFerrariatnight,Parma,Emilia-Romagna,Italy

Idolikeabitofhumanblurinmynightshots,justintherightplace.Asusual,it’sWendyagainastheghostlyfigureinParma.

•CanonEOS-1DsMKII,24mmshiftlens

“Citiesarehardwork,you’reonthegovirtuallyalldayandsomeofthenight”

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OldcarpassingtheGranTeatroandCapitolio,HabanaVieja,Havana,Cuba

AlltheiconsofHavanainoneshot,theCapitol,Theatreandanoldcar.AllIneedisanoldmanwithacigar.

•NikonF5,17–35mmlens

Streetscene,Hanoi,Vietnam

Foralltheimpressivemonuments,it’sthehumaninterestthatdefinesacity.ThisstreetsceneofawomancarryingvegetablestypifiesHanoi.

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•NikonF5,80–200mmlens

Citiesdohavetheirdownsides.Somehow,atripodwhenerectedseemsamagnetforeverydrunk,stagnightgangandhustlerinthecity.Pickpocketsandthievesarealwaysinthebackofmymind.Anddon’tgetmeontothesubjectoftheTripodPolice.Theyareamodernphenomenon,gangsofjobsworthso-calledsecurityguardshiredspecificallytostopphotographerstakingpicturesfromselectedfamousspotsoftheirownnationalheritagewithoutapermitcostingafortuneappliedformonthsinadvance.Scaffoldingisanotherbugbear.OnonevisittoFlorence,greensheetingandscaffoldingwhererestorationworkwasunderwayblightedeveryshotItried.AndwhileI’matit,tryingtosleepinhotelroomsnotbigenoughtoswingacatinwiththenoiseoflatenightrevellersinthestreetoutsideandtheamorouscouplenextdoor.AndNewYorktaxidriverswhodon’tknowthewaytoBroadway…Butattheendofthedayallenvironmentshavetheirspecificchallenges,andcitiesprovidesuchrichpickingsthatthey’reworthtrudgingthestreetsfor.

Chillies,ChowKitmarket,KualaLumpur,Malaysia

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ThestallholdersinKualaLumpur’sChowKitmarketaresomewhatbemusedasIcrouchwithininchesoftheirdisplays,holdingthecamerawithonehandandaflashwiththeother.It’sacramped,swelteringrabbitwarrenofstallsdisplayingallthecolourfulingredientsofAsiancuisine;freshfish,chillies,vegetables,livechickens,lemongrass,spices…younameit.It’salsoahellholeofmixedlighting.Hardsunlightpiercesgapsintheawnings,tungstenbulbsmixwithfluorescentlights;hencethefill-inflash.

•NikonF5,17–35mmlens

PadThainoodlesbeingstirfriedontheKhaoSanRoad,Bangkok,Thailand

TheKhaoSanRoadinBangkokisaMeccaforallthebackpackersandtravellerspassingthroughthiscornerofAsia.PadThaihastobethebeststreetfoodintheworld.Ihadthecameravirtuallyinthewoktoshootthisasthechillisaucewentin,andbalancedtheambientlightwiththestreetlightsandadashoffill-inflash.

•CanonEOS-1DsMKII,24–70mmlens

ParisianWalkwaysI’vephotographedParismorethananyothercity.Ifinditan

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endlesslystimulatingsubject–everytimeIgoIgetfreshinspirationforthenexttime.Ideasarethekeytoavoidingjustrehashingthefamousviews.There’snogettingawayfromthefactthattheEiffelTowerisapotentsymbolofnotjustParisbutofallthingsFrench,butofcourseithasbeendonetodeath.ThereissimplynopointinshootingtheclassicviewfromthePalaisdeChaillotyetagain.However,foriconsasfamiliarastheEiffelTowerit’snotnecessarytoshowitall.Onelegofthefamousstructureamongstthefoliagebeneathisenough.Longlenses,fish-eyes,unusualviewpoints,blackandwhiteandinfraredfilm:they’reallusefultoolsinendeavouringtobringfreshperspectivestofamiliarsubjects.

Tricolourblowinginwindatdusk,ArcdeTriomphe,17tharrondissement

RiverSeineandEiffelToweratduskfromPontAlexandreIII,7tharrondissement

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TheCathedralofNotreDame,IledelaCitéandRiverSeineatnight,4tharrondissement

TheEiffelTowerandChampsdeMarsinspring,7tharrondissement

ArchedelaDéfense

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SkinMuchasIlovetoproduceepicpanoramasofsweepingvistasit’softenthepeoplewhobestcapturetheflavourofaplace.IdeallyIaimtoreturnfromatripwithacomprehensivecollectionofimagesrangingfromlandscapestostreetscenes,portraitsanddetails,whichwillformaphotoessayonmywebsiteandsupporteachotherasaset.Eachimageisstrongerasapartofthatsetthanitisonitsown,andtheportraitsandcandidimagesofpeopleintheirownenvironmentsareavitalelement.Everyphotographerhasastyleanduniquewayofworking.AsIseemto

spendhalfmylifestoodbesidemytripodwaitingfortheperfectlightformylandscapework,Iadoptacompletelyoppositeapproachwithmypeopleshots:opportunistic,spontaneousandimpulsive.Iliketoreacttowhat’sgoingonaroundmeratherthantomanipulateit;posedportraitsofpeoplestaringbalefullyatthecameraarenotforme.It’sallaboutobservation,interactionwiththesubjects,speedandmakingthemostoffleetingopportunities.

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Farmboy,nearChincerro,PeruThecompositionofaportraithastohappenalmostinstantaneously,butas

withallimagesthearrangementoftheshapeswithintheframeandtheabsenceofbackgroundclutterarecrucialfactors.UsuallyforportraitsIworkwiththelenswideopenatf/2.8todropthebackgroundoutoffocus,butIhavetobesoaccuratewiththefocusingatthatapertureandrange.Usually,theeyesarethefocusingpoint.Thecamera’sauto-focusdoesagoodjobnormally,butIhavetobeawareofwhatitisfocusingonandbereadytooverrideitquicklyifnecessary.•CanonEOS-1DsMKII,70–200mmlens

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Quechuawoman,Chincerromarket,nearCusco,PeruMarketsarealwaysagoodhuntinggroundforpeoplepictures.Herein

Chincherro,abovetheSacredValleyoftheIncas,thisQuechuawomanispossiblyadirectdescendantoftheIncas.ThecoloursandvibrantculturesofPeruareunique;therearen’tmanyplacesleftintheworldwheremostpeoplewearnativedress.•CanonEOS-1DsMKII,24–70mmlens

“It’sallaboutobservation,interactionwiththesubjects,speedandmakingthemostoffleetingopportunities”

Oldladiesinarickshaw,Hanoi,Vietnam

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YoutakeyourlifeintoyourhandscrossingthestreetinHanoi.Thereneverisabreakinthestreamofbleepingmotorbikesandbicycles.Youjusthavetotakealeapoffaithandstepoutintotheflow.I’mstandingwatchingtherushofhumanitypassunderaheavyleadengreysky.I’vebeenoutalldayshootingtherichpageantofVietnamesestreetlife.Arickshawapproaches,Idialin1/8secwithshutterpriorityexposure,panandshoot,fleetinglyawareofpiercingstaresboringintomylensastheypass.It’samomentthat’sgonebeforeIcanbarelyregisterit,adecisivemomentonlytoberecognizedonthecontactsheetamonthlater.•NikonF5,20–35mmlens

DoIalwaysaskpermission?No,forcandidshotsitdoesn’twork,themomenthaspassed,butsometimesitwouldberudenotto.Peopleoftenrefuse,manyatimeI’vetrudgedawayfromanabsoluteclassic,butwhatmorecanIdo?Refusalsusedtobearealsetback;I’dbroodonthemforhours.I’dseldomgetbackintothegrooveafteracoupleofbrusquerejections,butI’vebecomelesssensitiveandthicker-skinnedovertheyears.I’vehadfruitthrownatmeanddogssetonme,butit’smyjob,soIjustgetonwithit.I’mneverintrusivewithmyphotography,butthisgameisallaboutgettingstuckin,makingthemostofasituation,beingupclose,inthethickofit;sittingonthefringeswithalonglens

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situation,beingupclose,inthethickofit;sittingonthefringeswithalonglensafraidofupsettinganyonejustdoesn’twork.

MonkatWatPhraSingh,ChiangMai,Thailand

Wemakeagoodteam,WendyandI.Peopleoftenfreezeupwhenthecameraisraised,staringwoodenlyintothelens,bodytense;ittakessomeefforttoloosenthemup.HereinWatPhraSinghinChiangMai,Wendyisofftomyleft,chattingtothemonktodistracthimfromtheintrudingphotographer.ThenastheycontinuetotalkImoveinforastudyofhishandsclutchinghisscroll.

•NikonF5,17–35mmlens/NikonF5,28–70mmlens

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Lijiang,YunnanProvince,China

Thesunatthisaltitudebeamsdownwithsearingclarity.I’msittinginthesquarejustwatchingtheworldgopast,soakinguptheraysandtheatmosphere,feelinggood.Anoldboysitsonthewallnexttome;hisfaceislikeahistoricalmapofChina.Thelightistooharsh,butI’vegottotryforashot,whathaveIgottolose?Igesture,hegesturesback,Igestureagain;Ithinkit’sgameon.Withthe70–200mmf/2.8zoomsetatabout135mmIsqueezeoffafewframes.Westartcommunicatingagain,despitethetotallackofacommonlanguage.He’spointingatmyshadesonthetopofmyhead,hewantstotrythemon.Ipassthemoverandraisemycamera;compose,focus,expose…he’slovingit.There’saclutchofChinesetouristsnowtakingpicturesofthetwoofus,thequintessentialfaceofChinawearingOakleysandme,thewesternerwithabiglens.Hethenjumpsupandmakesasiftorunoffwithmysunglasseswithmeinmockpursuit,andthewholesquareeruptswithlaughter.It’sjustoneofthoseraremagicaltravelmomentsthatleaveawarmfeeling.Iheadformylunchtimenoodlesonahigh.

•NikonF5,70–200mmlens

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Asadfactoflifenowadaysisthatpeopleoftenwantmoneyforpictures.Shouldyoupay?It’satoughquestion.GenerallyspeakingI’dsayno,itjustruinsitforeverybodyelse,distortsthelocaleconomyandmakesthelocalsintophotographichustlers.InthePlazadeArmasinHavanathere’sablokewithawrinkledface,fulsomegreybeard,Guevaraberetandcigarwhomakesalivingchargingtourists$5perpicture.WhenIwasjudgingatravelphotographycompetitionrecentlyhismugpoppedupnumeroustimes,andhe’scurrentlystaringoutofthewindowofthelocalbookshopfromthecoverofaCubantravelguide.ImustadmitIshothimtoo,butasIwalkedawayfromthatencounterIfeltafraud.

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SemanaSantafiesta,Málaga,Spain

AtEasterthroughoutSpaintheSemanaSantaprocessionsparadethroughthestreetsinadisplayofreligiousdevotion.I’minMálagapushingmywaythroughthecrowds,tryingtogetanangleonitall.Theblokesinthetallpurplehatsandblackrobesinevitablydrawmyattention.Ididn’texpecttheSpanishInquisition.I’mtreadingonpeople’stoesasItrytogetthebestbackdropastheprocessionmarchespast;thecrowdsmakeitdifficultandthere’ssomuchgoingon.Achoirboyismomentarilybacklit,lookingsuitablydevoted.TheprocessionhaltsandIspotablack-cladwidowwithfeaturessoSpanishit’soutrageous.Imovearoundtoshoothercrosslitbytheeveningsun;it’sabitharshbutwhatcanIdo?Notphotographher?SheknowsI’mfocusedonherbutshelovesit,strikingnumerousnobleposesbeforetheymoveon.

•NikonF5,70–200mmlens

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Backwaterscenes,Kerala,India

FivedaysspentbeingpaddledalongthebackwatersofKeralaonahouseboathavegivenusauniqueviewpointonruralIndia.Ourmerrycrewconsistsoftwoboatmentopoleusalongandacooktofeedusunfeasibleamountsofcoconutcurry.WejustsitandwatchIndiadriftpast.It’snotagreattripforthefitness,thisone,butwe’recertainlywelloffthebeatentrackandthere’splentyoftimeforcontemplationandphotographicexperimentation.AcoupleofwomenintheirbrightsarisarewalkingalongthepathamongstthelushtropicalvegetationandImakeaslowpanningexposureofthem,blurringthemotiontoanoutrageousextent.Aseveningsettlesafarmertendshisflockofducksontheriver:howdoeshepossiblyremainbalancedinsuchatinycraft?

•NikonF5,80–200mmlens/NikonF5,300mmlens

Myshotwasundoubtedlynodifferentfromcountlessothers,aworthlessreinforcementofastereotypedcliché.IhavetobelievethatwhatI’mdoingisunique;otherwiseit’sjustarecord.Ofcourse,therearetimeswhensomeonehasgenuinelyputthemselvesoutforyouandinthosecasessomesortofdonationisreasonable.Usuallythefurtheryouareoffthebeatentrackthelessofanissuethisis.I’vehadpeoplethankingmefortakingtheirpictureinthebackwatersofKerala,andontheTibetanplateauthekidswerealmostfightingtobethesubjectofmylens.Butwherelegionsofcamera-clutchingpackagedtouristspredominate,thelocalswillmostlikelybeseeingdollarsignswhenacameraisfocused.

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Kathmandu,Nepal

It’sthelastdayoftheNepaltripandI’vetakenawalkjusttoseewhatIcomeacross.ThereareacoupleofsadhushangingoutinDurbarSquare,holymenlookinglikesomethingfrombiblicaltimes.Today,withnospecificlocationinmindI’mamblingwithabodyandjusttwolenses,a28–70mmand70–200mmf/2.8zoom.Ikneelnexttooneof

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lenses,a28–70mmand70–200mmf/2.8zoom.Ikneelnexttooneofthesadhusandwehaveahaltingconversation–myHindiislousy.I’mbuyingtimeandtryingtodevelopsomesortofrapportwhilecomposingtheshot,assessingthelightanddiallinginmycamerasettingswithoutbreakingeyecontact.Whenanopportunitypresentsitselfthere’snotimeforchanginglensesormessingaroundwithcameracontrols,soit’simportanttobetotallyfamiliarwithyourkit.Ifit’saclassicmediumtelephotoportraitsuchasthisI’llalmostalwaysbeworkingwiththelenswideopenatf/2.8sotheminimaldepthoffielddropsthebackgroundoutoffocus.Evenso,annoyingdetailsinthebackgroundcanruinashot.Ipointtomycamera,raisemyeyebrows…Yes!Isquatdown,movearoundtoisolatehisfaceagainstadarkbackground,raisethecamera,lightlydepresstheshutter,holdthefocusonhisrighteyeasIrecompose,shoot.ExposureOK?Notimetobracket:ataperturepriorityAEwith+0.3compensationdialledintocompensateforthebrightnessofhisbeardandfacepaint,I’mtrustingtolongexperienceofmycamera’smeteringtogetitright.Thelightoflateafternoonisstronganddirectional;ideallyI’dlikeitabitsofter,butthisistherealworld.Fiveframesexposed,Imovearoundforadifferentshot,buthe’shadenoughsoIstop.Namaste.Ibackawaywithaspringinmystep.

“Whenanopportunitypresentsitselfthere’snotimeforchanginglensesormessingaroundwithcameracontrols,soit’simportanttobetotallyfamiliarwithyourkit”

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PartThreeGallery

Ultimatelyapicturemuststandonitsownmerit.Alltheeffortthatwentintomakingit–thephotographictechniques,theequipmentusedandthelengthsthephotographerhadtogoto–isirrelevant.Somepicturescomeeasily,whenMotherNaturesmilesandalltheelementscometogetherseeminglyeffortlessly.Moreusuallythestrongestimagesrepresenttriumphsofperseverance,orfleetingmomentsofperfection.Sometimesafterwaitingforthelightforhoursorevendays,asplashof

lightpaintsthelandscapeforjust30seconds,andIonlymanagetoexposetwoorthreeframes.Asthecloudscloseinagain,Iamoftenleftwondering,didIgetit?Howweremyexposures?It’sgoodtobeyourownharshestcritic,tobeconstantlystrivingtoimprove,buttherealsocomesatimetotrustyourvisionandexperience,andmoveontothenextimage.

TrotternishPeninsula,IsleofSkye,Scotland

•FujiGX617,180mmlens

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DurdleDoor,Dorset,England

MygrandfatherusedtopatroltheseveryclifftopsintheHomeGuard.Atleastthat’swhathetoldus;mymotherreckonedtheyweremostlyinthepub.AfteralifetimeoftravelI’vereturnedtomyroots,hereinDorset.It’simportanttofeelyoucomefromsomewhere.Thisstretchofcoast,whichwe’vealwaysknownisspectacular,isnowaUNESCOWorldHeritageSite,theJurassicCoast,rankingalongsidetheGrandCanyonandtheGreatBarrierReef.Thisisoneofmymostpopularimages;ithassoldallovertheworld,andhangsovermanyfireplaces,which,consideringmyphotographycoversallfourcornersoftheglobe,sayssomething.

•FujiGX617,105mmlens

StMichael’sMount,Cornwall,England(DavidNoton/NationalTrust)

OverthecourseofthissummerI’vebecomealittlebitobsessedwithStMichael’sMount.I’vevisitedseveraltimestoshootindifferentcombinationsoftideandlight.Here,onalongeveninginJune,thesunissettingwaytothenorthwest,givingperfectcrosslighting.I’musinga0.9NDfiltertoslowdowntheexposureasmuchaspossible,inconjunctionwithanapertureoff/45,acentre-weighted0.3NDtoeventhecoverageofthiswideformatandISO50film,whichallcooksupanexposureofabout15minutes.Additionally,I’vegotyetanotherfilteron,a0.9NDgraduatetoholdbacktheexposureoftheskyinrelationtothewater.Thisismymostusedfilter;it’semployedonprobablytwo-thirdsofallmyshots.Thetideisgoingout,graduallyexposingthecauseway,leadingtheeyetowardsthemount.AsIidlethetimeawaywhiletheshutterisopen,I’mponderingallthesefactors:thedepthoffield,theexposure,thefiltration,thecolourtemperatureofthelightandthecomposition,whileweighingtheoverallimpactoftheimage.Themakingofaphotographisafusionofscienceandart.

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•FujiGX617,90mmlens

CoastalheathonthecliffsofHighveerPointaboveHeddon’sMouth,nearLynton,NorthDevon,England

InlatesummerontheNorthDevoncoastthecoloursareincredible.WhereExmoortumblesintotheseathecoastalpathisfringedwithdenseprofusionsofbellheather.I’vetimedmyvisittocoincidewiththisharvestofcolour,butphotographinganorthfacingEnglishcoastinSeptemberisnoteasy.Atthistimeofyear,thesunrisesexactlytotheeast,andsetsbangonduewest.So,onanorthfacingcoastatdawnandduskI’meithergoingtobeshootingstraightintothelightorhaveitcomingfromdirectlybehindme,andduringthedaythesunwillswingroundtothesouth,castingthecliffsinshadow.It’shardlyideal.PurelyintermsofthelighttheidealtimetophotographanorthfacingcoastisinlateJune,butthecoloursaren’tattheirbestthen.Foraphotographeritisvitaltoknowexactlywherethesunisgoingtoriseandsetandtheeffectoftheseasons.So,hereontheclifftopsinDevonthesunisdroppingandI’mshootingstraightintoit.It’sascenario

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besetwithproblems:flarefromthepowerofthesunboringstraightintothelensandbouncingaboutbetweentheelements,andthecontrastbetweenthelightreflectingoffthewaterandthedetailinthecliffs.Iwaituntilthesunisverylowandstartingtoloseitspunch,whichsolvestheflareproblem,butthecontrastissuecanonlyberesolvedbyshootingseveralexposuresforthehighlights,mid-tonesandshadowsandmergingthemlaterinthedigitaldarkroom.

•CanonEOS-1DsMKII,17–40mmlens

CroomePark,Worcestershire,England(DavidNoton/NationalTrust)

Withperfectreflections,adramaticskyandatraceofmistlyingonthelake,conditionsdon’treallygetanybetter.Thesunbeamsthroughthetrees;atmomentslikethistherearejusttoomanyoptions.IfIwereshootingfilmI’dbestrugglingtogetitthroughthecameraquicklyenough,wastingprecioustimedoingbracketedexposuresandreloadingjustwhenthelight’satitsbest.ButI’mnot,andshootingdigitallyinsituationslikethisreallypaysoff.Ishootoneframeandquicklycheckthemonitor.Ablinkingdisplayalertsmetosomelossofdetailwherethehighlightsareburningoutaroundthesun,Ire-adjustmyexposureby-2/3andshootanother,checkhighlightsandhistogram,it’sinthecan,orrather,onthecard.Justtwoexposures.Icannowmoveontoframingotherimages,makingthemostofthisbeautifulEnglishsceneatdawn.

•CanonEOS-1DsMKII,17–40mmlens

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Buttermere,LakeDistrict,Cumbria,England

It’soneofthosemorningswhenallmysensesseemalivetothepleasuresofautumnintheLakeDistrict.Thecoloursareattheirprime,givingthelandscapearussetgoldentinge.ThebirdsongreverberatesoverthestillnessofButtermere.There’sdampnessintheairyoucanalmosttouchandthewoodssmellofautumn.Thisisfamiliarstompinggroundformanyphotographers,forgoodreason.I’veworkedheremanytimes(Ifirstcamehereonacollegefieldtripasaphotographystudentbackin1983),butit’sinfinitelyvariableandI’llprobablybecomingbackwaypastmysell-bydate.Nowthefirstlightisslowlycreepingdownthefell,butithasgotawaytogoyet,soI’mstandingbythetripod,kickingmyheels,scanningtheskytotheeast,thinkingofmynextmeal,waitingforthelight.IthinkI’vespenthalfmylifeinthismode.

•FujiGX617,180mmlens

SalisburyCathedralatdawn,Wiltshire,England(DavidNoton/Britainonview.com)

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Iwaitedallsummerfortheseperfectconditions:thestill,settledconditionsofahighpressuresystemlayingmistoverthewatermeadowsaroundSalisburyCathedral.ThenoverthecourseoftwosubsequentdawnsIturnedouttodothejob.OnthefirstdawnIsawwherethemistwaslyingandmadesomereasonableimages,butIleftwithanaggingthoughtthatIhadn’tquitemadethemostofthesituation.Andsothefollowingmorning,asummerSundayat5am,Iwasthereagain.Pre-visualization,persistence,andBeingThere…itworks.

•CanonEOS1DsMkII,16–35mmlens

BamburghCastle,Northumberland,England

Northumberlandisabeautifulcounty:sweepingopenbeachesoverlookedbycastles,bigskiesandrollingcountryside.Ioftenchopandchangebetweenformatsdependingonmyvision.Somelocationsjustcryoutforapanoramicapproach,andthisisone.NowthoughI’mwindingtheexposed220filmthroughthepanoramiccamera,contemplatingmynextmove,asthebestofthepredawnglowisover.Asthesunpopsoverthehorizon,high-altitudecloudmasksitsdirectlight,butthiscloud,whichwaspreviously‘shepherd’sdelight’,isnowpartofamonochromaticmasterpieceoftonesandreflections.Withasolitaryfigure(youknowwhoagain)reflectedinjusttherightplaceintheframeIexposeasetwiththedigitalcamera.WiththesmallerformatIcanworkmuchfaster,bemorespontaneous,investigatemorealternativesanduseawiderrangeoflensesandperspectives.Thelargepanoramicformatrequiresamorepreconceived,consideredapproach.There’satimeandaplaceforboth.

•CanonEOS-1DsMKII,17–40mmlens

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Thefourseasons,Stourhead,Wiltshire,England

Theautumnimagecamefirst.Stourheadinthefallisglorious,andafteraparticularlygoodsessionherethefourseasonsideacametome.Thereafteritbecameanexerciseinpersistenceandplanning.Findingalocationthatwillworkinthedifferentlightofalltheseasonsisdifficult.IlostcountofhowmanytimesIvisitedinthemakingofthisset.Winterwasthetoughone;thankfullyIwasinthecountryforoneofthefewfrostyspellswehad.Thedirectionofthelightintheearlymorningfortheautumnandwintershotswasperfect,alowcrosslightfromthesoutheast.Springandsummerweremuchmoredifficult:withthesunrisingtothenortheastIhadtowaituntilmuchlater,aboutmid-morning,beforethesunhadswungaroundtothesoutheast.Tohaveshotearlierwouldhavegivenmeflatfrontallighting,whichIhate,butthiswaythesunwasmuchhigherthanIwouldnormallyprefer.Intheenditwasacompromise.Summercamelast,andwhenIfinallyprintedthesetsidebysideIgotabuzzofsatisfaction:ayear’sworkhadcometofruition.

•FujiGX617,180mmlens

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PoppiesandbarleyblowinginthewindwithlaCitéMédiévalebeyond,Carcassonne,Languedoc,France

EverytimeIcheckinforaflighttherulesaboutwhatcanbetakenandhowseemtohavechanged.It’sabigproblemforphotographers.Obviouslyit’sdesirabletotakeitallashandluggage,butthat’sjustnotpossiblewhentherearelonglenses,laptopsandpanoramicsystemstotake.Nottomentionalltheequipmentneededforlivingandcampinginthewilds.Ihatehavingtodebatewhethertotakemy400mmornot,andifit’sgoingtobeapanoramic-typetrip.WiththechangetodigitalInolongerhavetotravelwithhundredsofrollsoffilm,butthenumberofchargers,cablesandconnectorsInowneedhasmushroomed.Ourannualtimetableusuallyseesthewintermonthsdominatedbylong-hauljourneystothetropicsorsouthernhemisphere.InspringIoftenhaveablitzonEuropeancities.ByMayI’veusuallyhadmyfillofairportsandflightschedules.Sowhenit’stimeforanotherrovingtripthroughthelanesofFranceorItalyyoucanimaginewhatatreatitistobeabletoloadthecarwithwhatweneedandjustgo.We’vestayedinthisregionnearCarcassonneforoveraweek.That’sabitlongerthannormalbutthere’ssomuchpotentialaroundtheCanalduMidiI’mloathtomoveon.I’vegotagoodstockoflocationsscouted;somewillhavetowaituntilournextvisit.

•CanonEOS-1DsMKII,70–200mmlens

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Cordes-sur-Ciel,Midi-Pyrénées,France

Fromtheguidebooks,afriend’stestimonyandpicturesI’dseen,thebastidetownofCordes-sur-Cielseemedapromisinglocation.So,afterahalf-daydrivefromthePyreneeswe’resettingupcampjustdownthevalley.AfteracoupleofhourscyclingaroundtheperipheryofthetownI’vesortedmymorninglocation:anadjacenthilllookingbackatthequintessentialFrenchhilltoptown.Onmyfirstmorningthereareclearskiesapartfromarebellayerofcloudonthenortheasternhorizon,obstinatelyobscuringtherisingsun.Ihangaroundfruitlesslyforacoupleofhours,beforeheadingfortheboulangerie.Theseconddawnisclear,tooclear.Thelightislowanddirectional,slightlyhazy,andthere’snotacloudinthesky.Somehow,it’sjustnotcomingtogether–there’snodramatotheimage.Onthethirdmorningit’smostlyclearagain,withscatteredcloud–perfect–butbythetimeI’minpositionI’mstandingunderleadengreyskies.It’sanotherfruitlessvigilbeforeheadingforthecroissants.Onthefourthmorningthere’sbrokencloudat4amsohereIgoagain.There’salayerofmistlyinginthevalley.Astherisingsunstrugglestomakeanappearancewaftsofmistdrapethemselvesoverthetown.ThisisthesortofthingI’vebeenwaitingfor.Thesunlightisdesperatelyweakbutit’senough;themistmakesthedifference.

•CanonEOS-1DsMKII,70–200mmlens

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ThevillageofPreciinthemorningmistwithMontiSibilliniNationalParkbeyond,Umbria,Italy

Itisararebonuswhentheviewfromtheaccommodationturnsouttobeapeachofalocation,butsoitwashereonafarminUmbria.ThemorningafterourarrivalI’moutatdawn,lookingdownthevalleytowardsthemountainsofMontiSibilliniwiththevillageofPreciperchedimpossiblyonthehillside.ExceptIcan’tseethevillage:thewholevalleyisshroudedinmist.Itmayormaynotclear,butI’msetupwiththedigitalSLRandframingthescene,justincase,asthesubtletonesofdawnseepthroughthesky.Throughagapinthemistthevillageappearsfleetingly,longenoughformetomakeafewexposures,beforeitdisappearsbackintothemists.Ichecktheimageonthecameramonitor:itlooksOK,althoughverywashedout,andit’sabitflatwithalackofcontrastinthescene.IknowthoughthatlowcontrastisaproblemIcandosomethingaboutlater–ifalltheinformationisthereontheRAWfileIcanoptimizeitinpost-production.Cheating?Noway,I’mjustmakingthemostofwhatwasthereatthetime.It’snotasifI’mintroducinganyfalseelements;thisiswhatIsaw.Matchingthetonalrangeofthesubjecttothephotographicmedium,beitfilm,paperoradigitalimageiswhatphotographershavebeendoingsinceFoxTalbot’sday.

•CanonEOS-1DsMKII,70–200mmlens

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GondolasatSanMarcowithSanGiorgioMaggiorebeyond,Venice,Italy

BobbinggondolasarederigueurforegroundinterestforallphotographsofVenice.I’maware,standinghereatSanMarcolookingacrosstoSanGiorgioMaggiore,thatthisisoneofEurope’sclassicviews.Isuspectafewotherpeoplemayhavetakenpictureshere.SoifI’mgoingtodoit,andwhocanseriouslyresistit,IhavetomakesureI’mstampingmyowntakeonthistimelessscene.I’vespentseveralsessionsonthis,tryingtogetthecombinationofgondolasrightwiththewarmsidelightingoflateafternoon.I’musingjustatouchofdiffusiontosoftenthescene,combinedwithahintofwarming(an81Ctobeprecise).GenerallyspeakingIavoidcolourfiltration,Ialwayshearmyfirstyearcollegelecturer’sadvice:‘Ifyou’rethinkingofusingafilter,don’t.’Thatisoverstatingthecase,there’satimeandplace,butifusedfiltrationhastobesubtle.Ifitsuseisobvious,you’vefailed.Butwhat’sgoingtomakethisshotisthegondolas:howmuchmovementtouse,andtheiralignment.Gondolierskeepcomingandgoing,butjustasthelightisatitsbestImakethisarrangementwithonejustcomingintoberth.Ahalf-secondexposuregivesthedesiredamountofblur.

•FujiGX617,105mmlens

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Lonefigureonthedunes,NamibDesert,Namibia

Yes,it’smysupermodel,Wendy,treadingboldlyagain.IntheearlydaysItravelledmostlysolo,itwastheonlyoption,buttherewasnowaywecouldhavecarriedonthatwayindefinitely.AndsoWendystartedcomingonmoreandmoretrips.Nowwemakequiteateam.Havingsomeonetosharethedriving,helpestablishcampsandcarrykit,watchmybackandcruciallykeepmesanemakesahugedifference.Sharingthehighsandlowsmakestravelamuchmoreenjoyableventure.ShecanmagicamealoutofnothingwhilecampinginthesnowinPatagonia,isanursebytrade,andhasevolvedoverathousandusesforasarong.Beingaphotographer’spartnerisnoteasy:there’stheinterminablewaitingforthelightondraftyhilltopswhennormalpeoplearesittingdowntodinner,anddealingwithamonosyllabicphotographerwho’ssuicidalbecausehehasn’tmadeapictureinfivedays.Shethinksit’sentirelyreasonablethatallherhandluggageallocationistakenupwithphotographicgearwhenflying.And,ofcourse,shecontinuestobethelonefigureinthelandscape.

•NikonF5,80–200mmlens

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SwayambhunathTemple,Kathmandu,Nepal

Thebestshotsalwayscomefromplanning.I’dpre-visualizedthisimageafterourfirstvisitintheheatoftheday.Nowit’sjustacaseofspendingalonghourcraningupward,waitingforthepigeonstoflyintherightspotonalateafternoonatSwayambhunathTemple.They’reflutteringeverywherebutwhereIwantthem.Ikeepstampingandclapping,tryingtogetthemtosimultaneouslyburstforth.Therearemonkeysscamperingovertheroofofthetemple,eyeingmeupsuspiciously.Iguessthey’veseenitallbefore.Myneckandarmsarefeelingthestrainofpeeringupthroughthecamera.IthinkwistfullyofmyfirstSLR,adelightfullycompactandlightOlympus.Modernprocamerashavecertainlyputonweight:isthatprogress?

•NikonF5,17–35mmlens

AngkorWat,Cambodia

TherecomesatimeoneverytripwhenIquestionwhatonearthI’mdoinghere.At2amI’mlyingsleepless

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andsweatyinawindowlessprisoncellofaroominSiemRiep,swattingmosquitoes,jetlaggedandwithchurningbowels.AlltripshavetheirlowpointswhenallIwanttodoisheadforhome,andthisisonethem.Allsolotravellerswillknowthementalroller-coasterofthisgame,momentsofneardespairfollowedbypeaksofexhilaration.FortunatelyI’vebeenthroughsomanysuchlowpointsnowthatIknowthey’retransitory.Andsoitishere.ThenextdayI’mexposingthewarmeveningtropicallightofSoutheastAsiabathingtheancienttemplesofAngkorWat.

•FujiGX617,180mmlens

Teaplantation,Mataleregion,CentralHighlands,nearKandy,SriLanka

Elvisisourtaxidriver.He’sexplaininghistakeonsomeaspectsofhisBuddhistfaithashedrivesusatsomespeedupintothehills.Apparentlyitdoesn’tmatterwhatwedo,ourfatesarepreordained,sohowhedrivesaroundthisblindcornerisofnoconsequencebecauseofourkarma.Andanyway,we’reallgoingtobereincarnated.I’mstrugglingtoassimilatethisviewonlifeaswehurtleoveranotherbrow,dodgingcattle,smallchildrenandcyclists.ButclearlyitwasourkarmatoreachthisteaestatehighinthehillsofcentralSriLanka,asI’mnowlookingoutoverthisverdantgreenscene.It’sasifthelandscapeiscoatedinvelvet:lookcloserandthey’reteaplants,andinamongstthemarewomenwithbasketsontheirbacks,pickingtheleaves.Thelight’sdroppingandI’mbusywiththecamera.Awell-presentedmanapproachesandIinwardlybracefortrouble,toomanybrusheswiththeTripodPolicehaveleftmewary,butno,he’sthemanageroftheestatecometooffermeacupoftea.Laterwesitonourveranda,watchingthedusksettleovertherecedingplanesofthehillstothenorth,sensingtheheartbeatofAsia.SriLankagetsunderyourskin,givenhalfachance.

•FujiGX617,105mmlens

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Womeninapaddyfield,BenTreProvince,MekongDelta,Vietnam

Vietnam.Justthenamegivesmeabuzz.It’salwaysbeenamustseedestinationforme,andI’venotbeendisappointed.I’mintheMekongDelta,about60milessouthofHoChiMinhCity(Saigon).It’saregionofricepaddiesbisectedbyabewilderingnetworkoftributaries,flatasapancake,andisprettymuchuntouchedbytheoutsideworld.I’minseventhheaven,andstayingintheCommunistPartyhostelinBenTre,whichhasaslightlydifferentatmospheretoaBestWestern;picturesofHoChiMinhabound.Ialsohaveanentourage:myeffortstorentacarresultedinadriverandinterpreterbeingthrownin.We’reallcrammedintoatinyPeugeotdatingfromtheFrenchcolonialera.Ijustcan’tbelievehowgreenthericepaddiesare.Ishootthisimageofwomenpickingriceasmymerrybandsitsinafarmer’shutsippingMekongwhisky(onlymarginallypreferabletolighterfluid).I’mstandingwiththemuddywatertricklingoverthetopsofmybootsclutchingthecameraand70–200mmzoom,tryingtocoaxtheladiestoraisetheirheads.It’sastrangewaytoearnaliving.

•NikonF5,80–200mmlens

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KhoPhiPhi,Tiland

I’mstandingonthebeachat10.30am,thetimetheBigWavestruck,wonderingwhatI’ddointhecircumstances.Wheredoyougo?Rushforhighground?Therearesomelowhillsaboutamileinland,IguessatfullpeltIcouldgetthereinabout15minutes.Wouldithavebeenenough?Ihadtoreturnherepost-Tsunami.Somanyofmychoicesttravelmomentshavecomearoundtheedgeofthisnormallybalmyocean,incountlessbeachsidebarsandbungalowsinSriLanka,India,theMaldives,theSeychelles,MalaysiaandofcourseThailand.It’swhereIcutmyteethasatravelphotographer.

•FujiGX617,90mmlens

StiltfishermannearUnawatuna,SriLanka

Thetripodlegsareslowlysinkingintothesoftsand.Thesurfislappingaroundthem–it’snotthemoststableofsupportsrightnow.I’mnotsurethisisgoingtowork,butIhavetogiveitago.IneedthetripodbecauseI’musingaslowexposuretoaccentuatethemovementofthesurfbreakingbehindthefisherman.I’vegotthe300mmlensboltedon,whichisadifficultlenstokeepstillatthebestoftimes,letalonewhentheIndianOceanisbreakingaroundmyknees.Thesunissettingintothehazeinabigfieryball;it’sSriLankaatitsmostintoxicating.ThiscommunitywasdevastatedbytheTsunami;Ioftenwonderwhathappenedtothesefishermen.

•NikonF5,300mmlens

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ErodedcoastlineofPortCampbellNationalPark,GreatOceanRoad,Victoria,Australia

TheGreatCircleroutebetweentheCapeofGoodHopeandPortPhilliptakesyouwaydownsouth,intotheRoaringFortiesandbeyond.Allthewayasolitaryalbatrossfollowedus,skimmingthewaveswithapparentlyeffortlessease.Thefirstlandfallintwoweeksregisteredasafaintlineontheradar,thecoastofVictoria’sPortCampbellNationalPark.It’sasightlitteredwithshipwrecksfromthedaysofsail,whentryingtofindthesafetyofPortPhillipwasliketryingtothreadaneedleinthedark.NowI’mgazingouttoseafromthatverycoast,waitingforthedawnlight.Iusedtospendhourswatchingthatalbatrossfromthepoopdeck,contemplatingthemoodsoftheseangryseas.Thismorningit’smorebenign,there’sagentleswelllappingthebeachandthelightisgraduallyseepingthroughtheskygivingadiffusedashoftwilighttothestacksandcliffs.It’sauniquestretchofcoasthere,likenoneI’veeverseen.Imakemyexposuresinthelightjustbeforesunrise,shiveringintheunaccustomedchill.It’smid-summerinAustraliabuthere,now,youcansenseAntarcticafaroverthesouthernhorizon.

•FujiGX617,90mmlens

Uluru(AyersRock),NorthernTerritory,Australia

Itmaybetemptingleafingthroughthisbooktothinkaphotographer’slifeisonedramaticvistaafteranother.Itisn’t.It’softendays,evenweeks,ofwaiting,travellingandboredom,interspersedwithoccasionalandverybriefburstsofcreativity.We’ddrivendowntheStuartHighwayfromDarwin,arrivinginAliceSpringsafterweeksofoutbackcamping,readyforabriefpitstopforrestandreplenishment.Andthentheheavensopened.Itrainedfordays,anddays,anddays.AllroadsoutofAliceSpringswereclosed,andLakeEyrestartedtofillforthefirsttimeinacentury.Thelocalstoldushowluckyweweretoseetheserareconditions,butlookingatthegreyskiesandmudwestruggledtoseeitthatway.Tendayslaterwewerestillthere,maroonedinamotel

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roomwatchingtheweatherreports,wanderingaroundtheshoppingcentre,rapidlyexhaustingtheattractionsofAliceSprings.WehadplannedtoheadontoUluru,butthemeteronthistripwastickingandweweregettingnowhere.EventuallywemanagedtogetaflightouttoQueensland,andanopportunitytoregainthemomentumonthestalledtrip.LaterweextendedthejourneyandcamebacktoUlurutoconcludeourunfinishedbusiness.Afteralltherainsthedesertaroundthegiantmonolithwasaseaoffreshverdantgreengrowth,andthenweappreciatedourluck.Combinedwiththatsearinglycrispoutbacklightatdawnitwasamagicalsight,worththewait.

•FujiGX617,105mmlens

OponohuBay,Moorea,FrenchPolynesia

Atropicalparadiseisapopulardreamthat’sdifficulttofindinreality.I’mwadingalongtheshorelineofOponohuBayinthefirstlightofday,uptomyhipsinwarmwater,multi-colouredfishflittingaroundmyknees.I’mnottookeenontheideaofstumblingonthesubmergedrocks,asI’vegotthebagonmybackandthetripodonmyshoulder.I’vegotnochoicethough;thisistheonlywaytogettomychosenspot,foundafterseveraldaysofscramblingthroughthedensegrowthandwadingalongthisshore.Locationsearchinghas,asusual,beenthekey,IknewtheshotIwasafterbutfindingitproveddifficult.AfterseveralfruitlessdaysonMooreaIwasstartingtogettwitchy,hereIwasonanidyllicSouthPacificislandunabletomakeadecentpicture.Selfdoubtstartedtocreepin,maybeI’dlostit,ormaybeIneverhaditinthefirstplace…NowthoughI’mhappy,Iknowthisisagoodlocation,allIneedisthelight,whichhopefullyshouldbeabitmorepredictablethaninSnowdoniaatthistimeofyear.

•FujiGX617,105mmlens

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PeritoMorenoGlacier,Patagonia,Argentina

WeslippedintoArgentinafromChilebythebackdoor,drivingdownafarmer’stracktoaborderpostwhereaboredsoldierunlockedthegatetoletusin,notbeforestampingreamsofpaperwork.Itmustbesaidthedrivingherehasn’tbeenahighlight;long,lurchingjourneysdowndustyboulder-strewnroads,wonderingifourrentalsedanwillmakeitasyetanotherrockgougesapieceoutoftheundercarriage.WearrivedinElCalafatefeelinglikethemarrowhadbeenshakenoutofourbonesandourinternalorgansre-arranged.NextitemontheagendaofourSouthAmericanodysseyisPeritoMorenoGlacier,amassiveriveroficetumblingdownfromthePatagonianicecap,thelargestoutsideofthePolarRegions,andatrulyjaw-droppingsight.Hopefullynowthistwo-monthadventurewillstarttodevelopsomemomentum.It’sweird,sometimesontheselongtripsaweekcangobywithoutacamerabeingtouchedduetoacombinationoftravellingdaysandindifferentweather.Howcanthatbe?Igetdecidedlytwitchyuntilthenextdecentimageisexposed.Oneofthetoughestchallengesontheroadcanbemaintainingapositiveattitudewhenthingsarenotgoingwell,particularlywhentravellingsolo.

•FujiGX617,90mmlens

SolitaryfigureintheValledelaLunaatdawn,AtacamaDesert,Chile

TheAtacamaDesertisthedriestplaceonearth–aripplinglunarlandscapeofrockandsaltpans.It’sdawnandWendyistreadingboldlyuparockyridge,providingperspectiveagain.I’monaledgeabove,lookingdownonherdwarfedbytheharshfoldsoftheAtacama,stretchingtothevolcanicpeaksoftheAndesthatdominatethehorizontotheeast.Inthemiddaysunit’saboutasharshaplaceasyoucanimagine,butinthesoftlightofdawntheelementalshapesandtexturesofthedesertaresimplybeautifulandinspiring.Topofmyagendaatthismomentisabattlewithadisintegratingcablerelease.AnaccessorycostingnexttonothingisonitslastlegsandIhavenoreplacement–somethingofanoversight.OnlongtripsItrytocarrysparesofthebitsandpiecesthataresoimportant:filterringsandholders,grads,quickreleaseplatesetc.,butweightisalwaysanissueandtoughchoiceshavetobemade.ThesunpopsoverthehorizonandImaketheshot.I’mgettingabitcasualaboutthelight–it’ssopredictable.Everydayit’ssunnyfromdawntodusk,andcloudsarejustamemory.Itmustbesaidthelightdoesn’thavethesubtletyofanOctoberdayontheIsleofSkye,butstilltheluxuryofdependablerayseverydayisarelief.

•FujiGX617,180mmlens

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TheroadtoMarrasatdawn,Pampasmojo,nearCusco,Peru

Thesunisslowlypunchingholesinclouds.Justasthelightisbeginningtoliftthelandscapeintheforeground,afarmerdriveshisdonkeysdowntheroad,windingtheirwayintoframewiththeAndestoweringabove.Iusea0.9NDgraduatedfiltertoholdbacktheskyandwith+0.3exposurecompensationdialledinIexposeafewframes,revolvethecameraandmakeaverticalcomposition.Istheresuchathingasaluckyshot?Well,thedonkeysappearingattherighttimewasastrokeofluck,noquestion.ButI’vebeenhereondutybythetripodintheperfectspotattherighttimeofdayfortwomorningsnowandthatwasnoaccident.Astheysay,youmakeyourownluck.PhotographyisallaboutputtingyourselfinthesortofsituationswhereyoucanmakethemostofLadyLuckwhenshedoescomealong.

•CanonEOS-1DsMKII,70–200mmlens

TheKootenayRiverandRockies,KootenayNationalPark,BritishColumbia,Canada

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It’sthelastnightofthetrip,atwo-monthadventurewanderingthroughAlbertaandBritishColumbia.TomorrowwecatchaflighthomefromCalgary,sowe’reenjoyingourlastnightofcampingintheboonies,cookingoverafirewithjusttheriverandRockiesasabackdrop.Ilovethiscountry,withitshugelandscapes,easypeopleandsenseofspace.I’veknockedofffromdutyaftertwomonthsofdawnandduskshifts,andwe’rejustenjoyingbeinghere,butthelastlightonthemountainsisgorgeous.MaybeI’lljustseewhatIcanmakeofthis.Imovetowithinjustafewfeetofwherewe’recampingandfindaverdantclumpofwildflowerstouseasforegroundinterest.Therushingglacialwatersoftheriverarealightskyblue,andthelastlightofdayisjustcatchingthepeaks.ThehugecontrastrangebetweenthesunlitRockiesandtheforegroundcallsforsomecreativeuseofneutraldensitygradsandapolarizertobalanceitall.Imaketheexposuresandwanderbacktocamp,mentallydismissingtheimageI’vejustmade.Itmaynothaveworked,ifitdoesit’sabonus,butunlikelytorivalsomeoftheepicvistaswe’vehadonthistrip.Itturnsouttobethebestshotofthetripbyfar.

•FujiGX617,105mmlens

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PartFour:Mechanics

Andsotothenutsandboltsofthejob:thehardwareandsoftware.Theimportanceofphotographictoolsisusuallyoverestimated;neverthelesshowaphotographerpreparesandusesthoseimplementsiscrucial.Wearesurroundedbysomuchtechno-babble,especiallyintheworldofphotography,thatit’softendifficulttostripawayallthetechnicaldistractionsandirrelevanciestogettothenubofthetask:creatingstrongimages.SinceFoxTalbotfirstexposedhiscalotypesofLacockinthemid-19thcentury,themechanicsofthejobhavechangedimmeasurably,withthedigitalrevolutionofthelastdecadebeingthesinglebiggestupheavalsincehisday.Buttheessentialsremainthesame:alens,asensitizedsurfaceandameansofdevelopment.

CorfeCastleatdawn,Dorset,England

•FujiGX617,105mmlens

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Deadvlei,NamibDesert,Namibia

It’sanightmaretryingtoflywithallthekitweneedforatriplikethis–allthephotographicgear,thepanoramicand35mmsystems,plusallthecampingkit.Pullingtogetheradesertexpeditionisamajorlogisticalexercise,butwhenyou’rethere,campingunderthestars,plugginginthedawnpatrolsandmakingtheimages,there’snothingquitelikeit.

•FujiGX617,105mmlens

Preparation‘Don’tthinkaboutittoomuch;justgo,’isthebesttraveladviceI’veeverheard.DoIpractiseit?Well,sortof.Itispossibletobetoopedanticaboutresearchingandplanningeveryaspectofatrip,asfewplanssurvivetheirfirstcontactwithreality.Butgoodresearchandplanningcanhelpyougetthemostoutofadestination.Actuallydecidingwheretogoandforhowlongisthemostdifficultpart.ReadingbetweenthelinesofguidebooksandInternetsitestodeterminethephotographicpotentialofaspecificregionisablackart,andabithitandmiss.Picturescanhelpbuttheycanalsomislead.BeforeembarkingonarecenttriptoNewZealandIwasresearchingtheHokiangaregionoutofinterest.Icouldfindlittleonitandvirtuallynopicturesonanyofthemajorphoto-agencywebsites.Thatcouldhavemeantitwasaregionoflittleinterest,ortheoppositebutsooffthebeatentrackthatfewphotographershaveeverbeenthere,inwhichcaseitwoulddefinitelywarrantavisit.Intheeventwewent,anditwasmoody,wildanddramatic.Conversely,Ihavevisitedmanyareaswithglowingreportsinguidebooksonlytowonderwhatallthefussisabout.So,thekeyistohaveaplanbutbuildinsufficientflexibilitytoenabledecisionsabouthowlongtostaytobemadeonthehoof.IdeascomeasImovethroughacountrytalkingtothelocalsandothertravellers;consequentlyItrytoavoidbookingmorethanafew

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daysaheadunlessit’sabsolutelynecessary.Timeisthecurrencywe’reallshortofandit’stoughtodecidehowmuchtoallocateforeachphaseofajourney.AsaremarkablyfaithfulruleofthumbIhaveathree-dayrule;Ineverstayforless.That’sbecauseittakestimetofindlocationsthataren’tobvious,togetundertheskinofaplaceandmake

TheCompleteArsenal

OfcourseIwouldnevercarryallofthisonmybackatthesametime,butonalongtripwithnoairportrestrictionsthisisthekitItake.Weleftoutthekitchensink,andIneverreturnwithasmanylenscapsasIleftwith.

themostofitsphotographicpotential.Ifyou’removingoneverydayyou’retravellingfarbutseeinglittle,nevergettingbeyondasurfaceview.Ifindthedaysintransitarerarelyproductivephotographically,soIoftenstayformore–fivedays,aweek,sometimesmore.Bewaryoffirstimpressions–afteralong,tiringjourneytheycanbeverydeceptive.ManyatimeI’vebeenonthepointofskippingastopbasedonafleetingjudgement,onlytowonderfivedayslaterhowIcouldhavebeensowrong.

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PracticalconsiderationsBeyondthosefundamentalchoicesofwhereandwhen,themodesoftravel,accommodationandwhattotakewillvaryconsiderablydependingonthetypeoftrip.ThereasonweappreciateourannualEuropeanwanderingssomuchisthesimplicityofthem:wejustloadupandgo.We’vegotaroughplanbutnothingisfixed.Butwhereflightsandcarrentalareconcernedthat’sobviouslynotpractical.Infact,dealingwiththehasslesandrestrictionsofairtravelisthemajorbugbearofmyjob.PlanningatriptotheNamibDesertwasamajorlogisticalexercise.Ican’trememberhowweusedtodoitbeforetheInternet.Andonefinaltoptraveltip:neverreadthewarningsaboutthedangersof

variousdestinationsinthefrontoftravelguides,they’llputyouoffgoinganywhere.BearsinCanada,spidersinAustralia,thievesinPeru,malariainMalawi,MaoistsinNepal,time-sharetoutsinSpain,alloftherisksareoverstated.There’snothinglikeabitoflocalknowledgetosortthegrainfromthechaff.Justgo.

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Hadrian’sWall,Northumberland,England

Nothingbeatsabigpanoramic.Asyet,there’snodigitalalternative.Imagestitching?Fineifnothingismovingintheframewherethejoinsaremade.Troubleis,somethingusuallyis,especiallyalongHadrian’sWall;clouds,cows,Centurions,Picts…

•FujiGX617,90mmlens

EquipmentTheimportanceoftheequipmentinphotographyisusuallyoverestimated.Manypeoplearemoreinterestedinthegearandtechnologythantheactualimages.Tolistentosomeit’sasifthecameramadetheimage,andthephotographermerelyleantsupport.Let’sjustgetafewthingsstraight.Acameraisbutatool,uselessinthewronghands.Giveanexperiencedphotographerthecheapestcompactandanoviceatop-of-the-rangemodelandwhowillmakethebetterpictures?Aphotographstandsonitsown;itsworthdependssolelyontheimpressionitmakesontheviewer.Thecameraorlensthatwasusedtocreateitisirrelevant.Aphotographismadenotbyacamerabutwithaphotographer’svisionandcraftsmanship.Neverthelessthetoolsareimportant.

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MycamerasI’veusedandownedmanycamerasofallformatsovertheyears.Iwasweddedinitiallyintheearly1980stotheOlympusOMsystem,whichwasdelightfullycompactwithgreatlenses.WhenOlympusabandonedtheprofessionalmarketIswitchedtoNikon.FornineyearsmytwoNikonF5scircledtheworldwithme,nevermissingabeat.TheF5isinmyviewthebest35mmSLRfilmcameraevermadeandmanyoftheimagesinthisbookwereshotusingone.AbatteredF5bodynowsitsonmydeskasamementoalongsideanOM1frommystudentdays.IthinkithighlyunlikelyI’lleverusethesamecamerafornineyearsagain.

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AchoiceofformatsI’veownedvariousmedium-formatsystems–aHasslebladwasmyworkhorseforyearsofcommercialwork–butIneverreallygelledwiththesquareformat.Allphotographersaredifferent,andthere’snorightandwronghere;weusethesystemsthatbestsuitourapproaches.Formethat’sbeenacombinationofthe6x17cmpanoramicformatand35mm.Ifindthetwooffseteachotherwell.Thepanoramicformatdeliversincrediblequalityandallowsauniqueviewontheworld,particularlyforlandscapework.With90mmand180mmlenses,it’sarugged,simple

Buttermere,Cumbria,LakeDistrict,England

PerfectreflectionsonButtermere,shotwiththeCanonEOS-1DsMKIIwitha70–200mmf/2.8lenswithImageStabilization.IntheearlydaysIusedtolustafteropticssuchasthislensinthemistakenbeliefthattheirpossessionwouldimprovemyphotography.Itdoesn’t.Noequipmentdoes.

•CanonEOS-1DsMKII,70–200mmlens

andrelativelyportablesystem,butnotexactlycompact.And35mmhasprovidedtheflexibilityandspontaneity,withtheultimatechoiceoflenses.The5x4inlargeformatisnotforme;itdeliversimpressivequalitybutatthepriceofflexibility,butIrespectmyphoto-mateswhomakethisformatworkforthem.Aphotographer’schoiceofformatwillbeinextricablylinkedwiththeirvisionandwayofworking,and,ultimately,it’sthepicturesthatmatter.

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Thedigitalswitch-overNowit’sallchangewiththeswitchtodigitalcapture.Istillusethebigpanoramicfilmcamera,asthere’snodigitalalternativeforthatyet,butthe35mmNikonshavebeenreplacedwithdigitalCanons.IdefectedfromNikontoCanonbecauseofthefundamentallyimportantissueofsensorsizeandnowI’vegotanextensivesystembuiltaroundtwoCanonEOS-1DsMKIIbodieswithlensesrangingfromthe15mmfisheyeto400mm.Theset-upbackinthedigitaldarkroomisjustasimportant.TimewaswhenI

thoughtwewerehigh-techwithjustafaxmachine;nowwe’vean

DawnatSleepyBay,FreycinetPeninsula,

FreycinetNationalPark,Tasmania

Thebeautyofworkingon35mm,andnowwithafull-frameDSLR,istheoptionofusinglensesofextremefocallength.HereinTasmania,a15mmfisheyegivesa180-degreeviewofSleepyBay,withoutgettingthetripodlegsinshot.

•CanonEOS-1DsMKII,15mmfisheyelens

officestuffedwithcomputers,monitors,scanners,printers…andakettle.AlotofpeoplegetworkedupabouttheMacvPCdebate;personallyIdon’tbelieveitmakesmuchdifference.WeusePCs,threeofthemplusalaptop,withloadsofRAMforhandlinglargeimages.Whatareofcrucialimportancearethemonitors–youhavetobeabletotrustwhatyou’relookingat,sotheyhavetobecolourcalibrated.Myadviceistoignorethetechno-babble,andjustgoforthebestmonitoryoucanaffordwithadedicatedcolourcalibrationsystem.AllourPCsarenetworkedandeachhastwomonitors,oneLaCieforthecriticalcolourworkandasmalleroneforthetoolstabletswhenworkinginPhotoshop.AlsoinconstantuseisourImacon646forscanningbigtransparencies.Andbeingable

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constantuseisourImacon646forscanningbigtransparencies.AndbeingabletoproduceprofessionalartprintsnowwiththeEpson2100issucharewardingkick.Somewhatlessexcitingistheconstantnecessityofbackingupimages,bothRAWandprocessed.ForthatweuseacombinationofdedicatedharddrivesandtwoDVDlibraries,onestoredremotely.Othervitalbits?Well,agraphicstabletishandy…asisapacketofgingerbiscuits.

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RainbowoverStMichael’sMount,Cornwall,England(DavidNoton/NationalTrust)

Thepanoramiccameraislowtechandbasic,thecompleteoppositeofthestateoftheartCanon.

•FujiGX617,90mmlens

DigitalvFilmInMarch2005,Ihadamid-lifecrisis.Iterminatedalong-termrelationshipwithmyNikons,switchedtodigital,andranoffwithayoungercamerasystem.Likeallsuchmomentouschangesitwastraumaticandexpensive,butithadtobedone.Now,severalyearslaterI’mruminatingoverthechanges,weighinguptheprosandcons.WhatdoIloveaboutmynewlife?Freedom,flexibility,quality.WhatdoIhate?ThefactthatInowfeelweddedtoacomputer.Still,inallhonesty,I’vegotnoregrets–thetimingwasright.

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ThebigdebateI’mlookingbackatamagazinearticleIwrotefiveyearsago,whenthedebatebetweenfilmanddigitalwasinfullflow.Thedigitalrevolutionwasperhapsthebiggestseismicshiftinphotographysincetheevolutionofthenegative.Pixelswerereplacingthelight-sensitiveemulsion,andphotographerswerewonderingifandwhentomakethechange,andhowitwouldaffectthem.BackthenIdecidedtostickwithfilmoverissuessuchaspower,quality,andcompatibilitywithmyexistingsystem.Ifitworks,don’tfixitwasmyethos.ButthingsmovedonquicklyandjustayearlaterIcouldn’tignorethefactthatthelatestgenerationofdigitalSLRswereproducingimagesofsuperiorqualitytomy35mmfilmcameras.Ajumpinavailablequalitywasenticing,nottomentionalltheotheradvantagesofworkingdigitally.Therewas,though,abigproblemformeandmanyotherNikonusersdelayingmydecision:sensorsize.Nikon’sDSLRsuseahalfframesensor,suitableforpressworkmaybe,butnotmygame.ForafullframesensorI’dhavetoswitchtoCanonandchangemyentiresystem.Thiswasapainfuldecisiontomake,butthewritingwasonthewall.Nowthedebatehasmovedon,shootingdigitallyisthenormandmost

photographershaveafootatleastpartiallyinthepixelcamp.IhavetoadmitI’maconvert.Thedigitalrevolutionhasrungthedeathknellfor35mmfilm;thequalityandversatilityavailablefrommostDSLRsisfarsuperior.Asformediumformatit’satoughercall.I’vedonecomparisonsbetweenmyCanonandaMamiyaRZ67andnotonlyistheDSLRwaymoreflexibleandportable,itdeliverssuperiorimagequality.Surprised?SowasI,buttheEOS-1DsMKIIproducesacrisperimage.TheabilitytovarytheISOsettingtosuittheconditionsissouseful,nottomentionadigitalcamera’s

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MrsWendyNotononlocationintheAtacamaDesert,Chile

Marina,aQuechuashepherdgirl,Peru

flexibilitywhendealingwithmixedlighting.Beforethechange,amongathrongofswirlingdancersinavillagehallontheTibetanplateau,WendywasmakingimageswithherdigitalcompactthatIcouldn’t–thatsaiditall.

“Thedigitalrevolutionhasrungthedeathknellfor35mmfilm;thequalityandversatilityavailablefrommostDSLRsisfarsuperior”

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ApersonalchoiceStill,manywilldisagreewithme,andlet’sneverlosesightofthefactthatit’sthepicturesthatmatter.Ultimatelyinthisbigdebateintangiblescreepin.Aphotographerfriendofmineinsistsheprefersthefeeloffilm,hedoesn’tlike‘metallic’digitalimages,andanotherquestionstheirevennessoftone.Theseareissuesthatareimpossibletoquantify.Asktendifferentphotographerstheirfeelingsaboutaparticularfilmandyou’llgettendifferentopinions.IknowwhatIthinkthough:that’sallnonsense.Usingthosetwocrucialtoolswisely,theCurvesandLevelscontrolsattheRAWconversionandPhotoshopstages,Ihavefar,farmorecontroloverallaspectsofmyimagesthanIeverhavedone.Eachtotheirown,butIthinktheflexibilityofferedbyaDSLRsystemisapricelessassetthattranslatesintobetterpictures.

OutbackdrivingoffthebeatentrackintheFlindersRanges,SouthAustralia

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MaintainingdisciplineConversely,shootingdigitallycanfosteralooserapproach,amorelaissez-faireattitude;blastawayandsortitoutlater,ifyoushootenoughoneisboundtowork.Infact,IthinktogetthebestfrommyDSLRIneedtobeevenmoremeticulousbehindthecamera,butundoubtedlytheflexibilityofdigitalcaptureallowsmetoexploremoreoptions,toextractmorefromanyphotographicopportunity.ToavoidthatcondemningmetoendlesscomputerhoursIhavetohoneinonthebest.I’dratherproduceonegreatpicturethan50averageones.So,andhere’stherub,thegreatchallengeoftheswitchtodigitalhasbeenfirstlyensuringatight,disciplinedapproachtoshootingwhilemakingthemostofthepossibilitiesopenedupbytheflexibilityofthekit,andsecondlylearningawholenewwayofeditingtoavoidspendingtherestofmylifeinPhotoshop.Andlargeformat?Wellyoucan’tbeatabigpieceoffilm,whichiswhyIstill

usemy617panoramicmonster.Thatwillchangeeventuallywhendigitalalternativesevolve,butfornowIthinkI’vegotthebestofbothworlds,andI’mrevellinginit.

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Accessories

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TripodsYoucanspotseriousphotographersbytheirtripods.Itisthemostimportantpiecekityou’llpurchase.Perhapsnews,sportsandfashionphotographerswouldn’tagreewithme,butforthekindofimagesinthisbook,steadylegsforyourcameraarecrucial.I’malwaysamazedtoseesomeonewhohasspentafortuneonacameraandlensesusingacheapplastictripodthatwouldn’tkeepamobilephonecamerasteadyinagentlebreeze.Atripodisnotastantalizingapossessionasacamera,butit’safalseeconomytoskimponone.Aswithallgear,compromiseshavetobemade–rigidityversusportability,

it’satoughchoice.Allkithastobeportabletobepractical,butatripodalsohastobeabletosupportlonglenses,extenduptoheadheightandenableyoutogetdownlow.Inowuseacarbon-fibretripod,whichissignificantlylighterthanalloylegswithoutsacrificingrigidity.Theactualweightofthetripoddoescontributetoitsstability,butthiscanbeaidedbyhangingyourcamerabagfromtheundercarriage.Theheadisimportanttoo;allphotographershavetheirowntastesonthese.BallheadsarepopularbutIcan’tstandthem–Ipreferagearedheadforpreciseframingadjustments.

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CamerabagsWhenIfirststartedinthisgamedinosaursroamedtheplanet,legwarmerswerein,andtheoptionsforcarryingphotogearoverthehillsandfarawaywerelimited.Youcoulduseashoulderbagguaranteedtoinducenumerousvisitstotheosteopathandthatwasit.Iusedtowrapmylensesinsweatshirtsandstufftheminrucksacks.Nowthereisamultitudeofoptions,withphotographicrucksacksdevisedforeveryimaginablecombination.I’vegotaboutfive;infact,I’velostcount.OnebigsackthesizeofacoffinforwhenI’mcarryingvirtuallyeverything,thepanoandDSLRsystems.OneforwhenI’mjustworkingwiththeDSLR.OneforwhenIneedtoflywithalaptop.Onesmalloneforlightweightforaysintocrowdedmarkets,andoneforcarryingcamerakitandlunch,waterproofsetc.forday-longhikes.Ithinkthey’refantastic,withoneproviso,togettoyourcamerayouhavetoputthemdowninthemud,dustandgrot.ButIcan’timaginelifewithoutthem.

Tryingtokeepthefliesoff,theOutback,Australia

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FiltersTheimportanceoffilterscan’tbeoverstated.Theneedforcolourfiltrationwhenshootingdigitallyisobviated,butIwouldneverbewithoutasetofLeeneutraldensitygraduatesforholdingbacktheexposureonthesky,apolarizerforsaturatingthecoloursinvegetationanddeepeningtheblueinskies,andaneutraldensityforslowingdownexposurestooptimizethemotioninanimage.

Mid-exposureintherainforest,CostaRica

WinterbackpackingintheCairngorms,Scotland

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MiscellaneousitemsInthedepthsofmybagsallsortsofstufflingers.Theusualessentials:remoterelease,sparebatteries,filterholderandrings,aspotmeter,ahotshoemountedspiritlevel,anextensionringandmemorycards.Andotherstuff:toiletpaperandmatches,aSwissArmyknife,shadesforpeeringintothesun,andsometimesabookforthoseendlessvigils.OnmywristIhaveasolar-poweredwatchwithacompass.WheneverIcantakeit,themountainbikeissousefulforlocationsearchesandcollectingthebaguettes.AndontheroofofmyLandRoverIhaveaphotographicplatform,bigenoughtogetatripodupthereabovethelevelofthehedgerowsandlookdownontheworld.Boysandtheirtoys?Yeah,I’lladmitthatone.ButIcanvouchforthepracticalityofallofthem.

“Allkithastobeportabletobepractical”

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DunstanburghCastleandEmbletonBeachatdusk,Northumbria,England

Itryandgetasperfectashotin-cameraaspossible.I’mnotoneforcomplexmanipulationsanyway–thebestshotsarethesimplestandyoucan’timproveonnature.HereIgaveaslightlywarmertonetothereedsintheforegroundinpost-production.I’lloftentweakthecontrastorbrightnessofselectedpartsoftheimagesuchasthesky.Uppingthecontrastcanhavetheappearanceofaccentuatingthecolours,butitissoeasytogooverthetop.Subtletyisthekey.

•CanonEOS-1DsMKII,17–40mmlens

Post-ProductionSometimesinourofficeIsitbackandreflect.Thethreeofusarehere,tappingandclickingawayinfrontofourmonitors,dustbusting,tweakingCurves,attachingmetadata,convertingRAWfiles,copying,scanning,updatingthedatabase,backingupetc.etc.etc.…it’sendless.WendyandSharyn,ourofficemanager,arebeaveringaway;Ihaven’tacluewhatthey’redoing,isitanythingtodowithme?Theofficeisstuffedfullofcomputers,monitors,printersandscanners:howdidthishappen?Just12yearsagoIhadatypewriter,alightbox,afilingcabinetandafaxmachine,andthatwasaboutit.Thetrannieswouldcomebackfromthelab,they’dbeedited,mounted,captionedandsubmitted–adeliciouslysimpleworkflow.Granted,sendingoffpreciousoriginalswasalwaysaleapoffaith;thankfullythat’snotanissueanymore.Butwhatisanissueisthesheeramountoftimethatneedstobespentinpost-production.Shootingdigitallyit’seasytoexposealotofpixels,allofwhichneedsorting.Istillthinktheeditingprocesswasmuchbetterwithjustasheetoftranniesonalightbox,butthat’stough,I’vejustgottodealwithit.Fromashootofsay200imagesI’llgothroughandweedouttheobvious

also-rans,bringingitdowntomaybe40images.Whereashotobviouslyhas

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also-rans,bringingitdowntomaybe40images.Whereashotobviouslyhasworkedtherewillmostlikelybemultiplevariationsofit,andpickingthebestisn’talwaysstraightforward–oftenit’snecessarytoprocessseveraloftheoptionstochoosethebest.It’seasyheretogetsidetrackedintospendingalotoftimeonashotthatdoesn’twarrantit;therecomesatimewhenIhavetosayno,andhitthedeletebutton.TheflipsideofthecoinisthatsometimesanimagethatlookedlacklustrestraightoutofthecameracansparklewithjustafewbasicadjustmentsattheRAWconversionstage.Inanutshellafinebalancingactisneededtoavoidwastingtimeonthedrosswithoutmissingoutonthejewels.I’mstilllearningwiththis,buthopefullygettingbetterandquickerathominginonthewinners.Igroaninexasperationatonepopularmisconception–thenotionthat

shootingdigitallymeanslesswork.Ifonly.Infactthedigitalworkflowhasmeantthephotographer’sworkloadinpost-productionhasmushroomed.Forme,thisisthehugedownsideofthedigitalrevolution.Clients,publishers,agenciesandprintersallnowexpecttobesuppliedwithadigitalimagereadytogotoprint,websiteorrepro.Itwouldbeniceiftheimagethatcameoffthememorycardwasthefinishedarticlebutitisn’t.Evenifitwereitwouldstillneedtobecopied,backedup,storedinadatabase,submittedandtrackedinitsjourneys.Butbeforethatitneedstopassthroughthedigitaldarkroom.

BackingupimagesonacampsiteinLanguedoc,France

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ExposingRAWfilesWhenIexposeadigitalimagethepictureisjustabunchofinformationstillinthecameraasaRAWfile.Ithinkofitasasortofdigitalnegative,ameansofrecordinganimagethatneedsprocessingbeforeit’sofusetoanyone.Ifyou’reseriousaboutyourphotographythenshootingRAWistheonlywaytogo–forgetaboutTIFFsandJPEGs.Ifyouaren’tshootingRAWyou’relettingyourcamera’ssoftwaremakeimportantdecisionsaboutyourimagesthatithasnobusinessdoing,andyou’rethrowingawayinformationintheprocess.WhenIexposeadigitalimageIamtryingtomaximizetheamountofinformationrecorded,inparticulartherangeoftonesandcolours.Idon’twanthighlightsburningoutbutIdowantasmuchdetailintheshadowsaspossible,andaRAWfilehashugeexposurelatitudecomparedwithtransparencyfilm.ThathastwobigimplicationsforthewayIexposeinthefield.Firstly,bracketingexposuresisathingofthepast,whichsavesmuchtimeandallowsmetogetonwithmakingthemostofthesituation.Secondly,I’mtryingtogivethemaximumexposurepossiblewithoutlosinghighlightdetail,knownasexposingtotheright,referringtotheresultanthistogramdisplay.IfyoulookatthemonitordisplayandJPEGpreviewitmayappearthatIhaveanoverexposedimage,butbyexposingtotherightI’mmaximizingshadowdetailandminimizingnoise.Butbewareofthosehighlights–performapreliminarytestexposureandcheckthehighlightsalertandhistogramdisplayin-camera.Basically,I’mexposingaRAWfilenottogivemethebestdisplayonthecameramonitorbuttoproducethebest‘digitalnegative’,withthegreatestscopein-computerlater.

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HeatherliningthecoastalpathinlatesummerontheGreatHangman,NorthDevon,England(DavidNoton/NationalTrust)

TherangeoftonesfromtheskytotheforegrounddetailissohighherethatevenaRAWfilecouldn’tcope,soI’vemadethreedifferentexposuresandmergedthem.It’sahandytechnique,butdoesn’tworkifthere’sanythingmovingintheframewherethedifferentlayersmerge,whichiswhyIstillneedtocarryneutraldensitygraduatedfilters.

•CanonEOS-1DsMKII,17–40mmlens

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RAWconversionSo,we’rebackatbaseandhavecopiedtheRAWfilestoacomputerreadyforprocessing.ThenextstepistheRAWconversion.Todothisweneedspecialistsoftware.AdobeRAWisthemostcommon,butIusePhaseOneC1Pro.Atthisstage,importantdecisionsaboutcolourbalance,density,tonalrange,saturation,sharpeningandoutputaremade–indeedthewholelookoftheimagecanbefinalizedhere.IfyouunderstandnothingelseaboutthedigitaldarkroomthetwokeydisplaystounderstandaretheLevelshistogram,whichrepresentsthetonalrangeofanimage,andthecharacteristicCurve,whichcontrolsthedistributionofthosetones.It’sbeyondtheremitofthisbooktogointotoomuchdetail,butworkingwithLevelsandCurvesyoucancontrolthebrightness,tonalrangeandcontrastofanimage.ThisiswherewetakethatRAWfilewe‘exposedtotheright’in-cameraandpullbacktheLevelstogivethedensitywedesire.Theneteffectisanimagewithmoreshadowdetailthanifwe’d‘exposedtotheleft’.Thenweoutputtheimageasa16-bitTIFF,toholdontoasmuchinformationaspossiblethroughallthestagesofpost-production.

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TheBaptistry(1196),PiazzadelDuomo,Parma,Emilia-Romagna,Italy

Oftenapictureneedsminimalinput.Ifithasaperfectrangeoftonesanddensityitwillgostraightthroughthedigitaldarkroomwithnoalterations.IalwayschecktheLevelsandCurves,buttrytoavoidtweakingforthesakeofit.

•CanonEOS-1DsMKII,70–200mmlens

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VineyardsonthehillsideaboveSaillon,leValais,Switzerland

Thisonetookhours.Whenyou’restandingbythetripodmakingtheexposure,it’simportanttothinkthroughwhatisgoingtobenecessarytooptimizeanimage.HereinSwitzerland,Ishotthreeexposuresofthiscompositionwitha400mmlens,flatteningtheperspectiveofthevineyardsandmountains.Thetroublewasthedistantmountainslookedwashed-outinthehaze.IknewIcouldreintroducecontrastintothedistanceusingLevelsandCurves,butgettingajointhatwasn’tobviousbetweenthelayerstookhourswiththeErasertool.I’dmuchratherbeoutinthefield,butthat’slife.ForeveryhourIspendbehindthelensIspendthesameinthedigitaldarkroom.ItfeelsallwrongbutifI’vegonetoSwitzerland,gotupatdawnandspenthourswaitingforthelighttomakethisoneshotIhavetomakethemostofit,andthatmeanstimehunchedinfrontofthecomputer.

•CanonEOS-1DsMKII,100–400mmlens

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PhotoshopadjustmentsandarchivingThelaststageofpost-productionistoimporttheimageintoPhotoshopforitsfinaladjustments.There’snowayIcanevenstarttotalkaboutalltheoptionsforsorceryatthisstage.Quiteoften,Idonothing.Ifitworks,don’tfixit.SometimesIdocomplexcompositesmergingmultipleexposures.MostofteninPhotoshopwedust-busttheimage,checkingfortinyimperfectionsresultingfromgrotonthecamerasensorat100percentmagnification,andtakeoutcables,masts,peopleandaerialswherenecessary.WeroutinelydeprivewholetownsoftheirTVreceptionatthisstage.Isay‘we’becausenowthecreative

decisionsaboutanimagehavebeenmade,I’vehandeditovertothecrew.Captionandkeywordinformationisembeddedintheimage’smetadata,thefinishedimageisconvertedto8-bit,lowresJPEGcopiesaremadeforemailsandquicksearchesetc.,theimageisenteredintoourdatabase,copiedtoadedicatedharddriveandbackeduptwicetoDVDlibrariesbothon-andoff-site.Finally,theimageisdone;readyforsubmission,ordeletionif,ashappens,Isubsequentlydecideit’snogood.Ithinkwe’vegonefullcircle.Intheolddaysweshotandprocessedourown

blackandwhiteworkindarkstuffycornersofloftssmellingoffixer.Wemadedecisionsaboutexposurein-camerabasedonthecontrastinthesceneandhowweweregoingtodevelopthenegative,andthenweusedallsortsofruseswithourhandsandpaperundertheenlargertomaximizethetonalrangeandimpactofthefinalprint.Theanalogieswiththedigitaldarkroomareobvious.FordecadesIworkedpredominantlywithcolourtransparencyfilmwherewehadnosuchinput,itallhadtobedonein-camera.Now,again,we’recontrollingeveryaspectofanimage’sprocessingandfinalimpact.Iruethetimeitsoaksup,butrevelinhavingsuchcontrol.

MILFORDSOUND,NEWZEALAND

2am:Eightmetersofrainayear,andit’sallfallingonourtent.InowknowwhatitwouldbeliketocampatthebaseofVictoriaFalls.I’mnotsurewheretheOfficialWettestPlaceonEarthis,somewhereinIndia?ButMilfordSoundmustbeupthereintheTopThree–it’sseriouslysoggy.Ilieinthetentlisteningtothesheetsofwaterdelugingus,wondering

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howtheyoungGermanbackpackerinhisNZ$30supermarketspecialisfaring;thisreallycouldbethewinterofhisdiscounttent.NewZealand’sfjordlandisaspectacularcorneroftheworldwithfamouslyatrociousweather.Thecombinationofdeepfjords,jaggedmountainsandlushtemperaterainforestisinspirational,whenyoucanseeit.OnlytworockypromontoriesinterrupttheRoaringFortiestourofthesouthernlatitudes,thetipofSouthAmericaandhere,withpredictableresults.FromBritain,it’salongwaytocomeforafewsoddencampnights;IcandothatinNorthWales.

4am:Incredibly,we’vesleptwell.Iawaketoastrangesensation:silence.It

hasstoppedraining,andIcanseestarsthroughgapsinthecloud–gameon.Istillgetarealbuzzinthesesituations,there’sadistinctpossibilityofashothere,achanceIhadn’tdaredentertaininthepastfewdays.Wescrambledowntothefloodplainattheheadofthefjord,ourchosenlocation.ForthefirsttimeweseethefullsplendourofMilfordSound,uncloakedbyrainclouds.Thewallsofthefjordarealmostvertical,andthenight’sprecipitationiscascadingdownthecliffsinmultitudinouswaterfalls,asifthelandscapeisweeping–totallyepic.Theskyisstillheavywithrain,buttherearebreaksandthefirstindirectdusklightisjuststartingtofilterthrough.What’smorethere’snotasoularound,wehaveoneoftheworld’smostbeautifulviewsalltoourselves.

4.40am:I’mrunningnow,tryingtogettoapieceofdriftwoodlyingonthe

flatsforforegroundinterest.Tripodupwhilewewe’reonthemove,bagonarock,thedriestoption.Cameraonthequickreleasehead,compose,

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levelhorizon,cockshutter,focus,setaperture,cablereleasein,positiongrad.Doublecheckeverything,thenopentheshutter.ThenItakeanexposurereading,whileexposing.Iknowfromexperienceatthistimeofdaytheexposureisgoingtobemeasuredinminutes,soImightaswellstartonthefirstexposureimmediatelywhileI’mcalculatinghowlongit’sgoingtobe.Idon’twanttomissathing,allsortsofwonderfulthingscanhappentothelightatthistimeoftheday.

5am:Thefirstexposureisabout15minutes.Wendyservescoffeefroma

flaskaswecontemplatetheadvancingtide.Bytheendofthefirstexposurethetripodlegsareunderwaterandwe’reperchingonrocks,forcingaretreattodryground.Thisisgoingtobeaproblem.Iwanttheshorelineintheshot,thesemi-submergedrocksbreakingthereflectionsofthefjord,butthetideiscominginatsucharateIcanonlymakeoneframebeforehavingtomoveandre-compose.Also,withlongexposureslikethisthelightlevelsarechangingasI’mmakingtheexposure.Iopentheshutteraftertakingareadingthatgivesfourminutes:twominuteslaterthat’sdowntothreeminutes.Iendupexposingforaboutthreeminutes20seconds.HowdoIcometothatfigure?Acombinationofmentalarithmeticwithwetfeetandexperience.It’snotrocketsciencebutitworks.

5.30am:Thetwilightisspreadingapaletteofmauvesandhuesacrossthe

landscape,incrediblysubtleandfarmoreatmosphericthanaclearskyanddirectsunlight.Thesuniscominguptoourrear,givingdiffusefrontlightingtothescene.Ihardlyeverworkwithfrontlighting;generallyIprefersideorbacklighting.Inthiscasethoughit’sindirect,thefirsttonesofdawnstrikingthepregnantcloudsandreflectingdownintotheimage.Keepingaheadoftheadvancingtidewemoveupthefjord,exposingallthewaylikeretreatingskirmishers.Thedampatmospherekeepsfoggingthefilter,justanotherofnature’slittlereminders,andthesandfliesareontheirdawnmissions.Butthisisveryspecial.Ithasmadewaitingforthelightworthwhile.

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AbouttheAuthorDavidNotonwasbornin1957andsplithischildhoodbetweenEngland,CaliforniaandCanada.Afterleavingschoolin1976hespentfouryearsasadeckofficerintheMerchantNavy,beforetryinghishandanumberofdifferentprofessions,includingworkinginagluefactory,asamotorcyclecourier,awindowcleanerandagardener,beforefinallyreturningtocollegeinGloucesterin1982tostudyphotography.Graduatingin1985,Davidturnedfreelanceandhasconcentratedprimarilyon

landscape,natureandtravelphotographyeversince,winningthelandscapecategoryoftheBBCWildlifePhotographeroftheYearAwardin1985,1989and1990.HemarriedWendyin1987,andtogethertheyruntheirsuccessfulphotographybusinessfromMilbornePortnearSherborneontheSomerset-Dorsetborder,andtraveltheworldinsearchofpictureopportunities.TodayDavid’sworkispublishedaroundtheglobe.Everymonthhelicenses

inexcessof100imagestopublishing,advertisingandthenewsmedia.Duringthelast20yearshehasphotographedmuchoftheNationalTrust’slandscapeandcoastline,whichhasfeaturedinmanyhigh-profilepublicationsandseveralhighlyacclaimedphotographicexhibitions.Additionallyhesellsartprintsandwritesontravelandphotographythemesformagazinesworldwide,includingamonthlycolumninPracticalPhotography.Thisishisfirstbook.

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AcknowledgmentsManythankstothefollowingwhohave,inonewayoranother,influencedthisbook:Myfather,forhisforbearancewithaheadstrong20-something-year-oldsonwhoseemedintentonwastinghiseducationinsearchofadventure.SharynMeeks,ourstalwartofficemanager,whoholdsthefortwithsuch

reliableefficiencywhilewe’retreadingboldly.CharlieWaite,fellowphotographerandfriend,whoprovidedtheinitialadvice

andimpetustogettingthisprojectofftheground.Allmyphoto-mates,whodrinkmywhiskyeveryyear,butespeciallyPeter

Adams,JeremyWalkerandJonGooding;wekeepeachothervaguelyrationalwhilenavigatingourwaythroughthisstrangeprofession.FreyaDangerfield,EmilyPitcherandMartinSmithatDavid&Charles,and

editorAmeVerso,allwhohavebeensuchapleasuretoworkwithonthisbook.Mywife,Wendy.Wemakequiteateam.Icouldn’tdohalfofwhatIdo

withouther.

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INDEXNote:pagenumbersinboldrefertophotographsandcaptions

accessories150–1AdobeRAW154AiguilledeMidi56Alajuela86–7AlexandraFjord44–5,71–3AliceSprings135Andes49,54–5,58,138AngkorWat128–9Annapurna60–1,61AnseSevere81ArcdeTriomphe,Paris100Arctic38,44–5,71–3,71–3Argentina137Arizona25,41AsianTsunami132–3AtacamaDesert138,149Australia22,41,64,82,88–9,95,134–5Austria96autumn17,21,38,40,120–1AyersRock(Uluru)135

Badia78Baiwomen52,53BamburghCastle80–1,119BanffNationalPark68–9Bangkok92,99Baptistry,PiazzadelDuomo154Barcelona95barley122batteries56,61,68BavarianAlps68–9Beijing50–1Berctesgarden68–9birds31,127BlackMount58–9blackandwhiteimages30,33BlackmoreVale32–3bluebells20blur42–3,42–3BodiamCastle32

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Bologna41Buddhism26,130builtenvironment92–100,92–101castles23–4,32,40,70,80–1,119,142–3,152streetscenes33,43,50,52,92,94,97

busylizzies86–7Buttermere116–17,147

Caledonians59Cambodia128–9camerabags150Canada38,39,68,68–9,74,88,140–1CanadianArctic44–5,71–3,71–3CanonEOS-1DsMKIIcamera20–1,24,32–3,35,40–1,74–5,77,82,93,94–5,97,102–3,114–15,118–19,122–4,139,147–9,147,152–5CapeBreton39Capitolio,Havana98Carcassonne35,122castles23–4,32,40,70,80–1,119,142–3,152Cazorla74–5Cefalu85CerroMiniques54–5ChampsdeMar101CharlesBridge,Prague96–7ChateauChennonceau14–15ChateauStUlrich8–9ChiangMai11,104Chile12–13,28,40,54–5,138,149chillies99China11,50,50–3,80,105Chincerro47–9ChowKitmarket99coastlines18–19,18–19,31,39,41–2,80,80–5,112–14,117,132–4,136,147,148,152colour30–3,30–3colourtemperature23,25,31,39composition26–9,26–9,87,94ComptonPauncefoot76–7computers147contrast124,152Cook,CaptainJames82Cordes-sur-Ciel123CorfeCastle142–3CornwallisIsland71CortonDenham74–5CostaRica86–7,90–1,90–1CroomePark115Cuba43,98,106Cullin18,18–19Curves154

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CzechRepublic96–7

Daintree88–9DamneonSaduak11Deadvlei144Derwentwater29deserts62–4,62–5,66–7Atacama138,149Namib62,62,65,66–7,126,144,145

digitaldarkrooms147digitalnegatives153digitalphotography147–9,152–5distance34–6,34–7Dolomites4,56–7,78DunguaireCastle40DunstanburghCastle152DurdleDoor112dust-busting155

earth74–9,74–9EiffelTower,Paris100,100–1EileanDonanCastle23,70EllesmereIsland38,71EmbletonBeach152Endeavour(ship)82England16–17,20,24,29,32–3,39–40,42,74,74–7,80–1,83–4,93–4,112–21,142–3,146–8,152–3Epson147equipment145,146–7accessories150–1andflying122overload54–6,60–1usingincities97–8usingindeserts138usingnearwater83,84usinginrainforests90–1

Eus77exposure153forwaterscenes84forwinterscenes69,70

Eypepoint39

fill-inflashes89filters151neutraldensitygraduated19,31,84,113,151,153.polarizers151

fjords44–5,71–3,156–7,156–7flowers20,74–5,84,86–7,114,122,153flying122,145formats146–7

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fountains94framing26–9,26–9France14–15,27,33,35,55–6,75,77,122–3FrenchAlps55–6FrenchPolynesia136FujiGX617camera4,6–9,12–19,19,22–3,25,27,29,31–2,34,38–42,44–5,54–6,58–9,63,68–9,74–6,79,80–1,83–4,86–9,93,96,110–13,116–17,120–1,125,128–30,132,134–8,140–4,146,148

gannets31Germany68–9Ghorepani61giantcedartrees88glaciers137GoldenRuleofThirds26–8,26–7,29,94gondolas93,125GranTeatro,Havana98GrandCanyon25,41grapevines78–9,79GreatHangman153GreatWallofChina50Greece37Gurkhas61

Hadrian’sWall146Hanoi10,43,98,103Hassleblad146Havana43,98,106heather114,153HighveerPoint114Himalayas58,60–1,60–1HotellesInvalides,Paris27huasos(Chileancowboys)28HydePark,London94

ice,focuson68–73ImperialPalace,Beijing51Incapeople46,47–9,58India108Indianculture30IndianOcean81,133Ireland40Iserables21IsleofHarris4IsleofSkye18–19,18–19,110–11Italy24,41,56–7,78–9,78–9,93,97,124–5,154

JietangSonglinMonastery52JPEGs155

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Kathmandu109,109,127Kerala108KhoPhiPhi132KootenayRiverandRockies140–1KualaLumpur99

laCitéMédiévale122LaDefense,Paris101LaDigue38,81LagunaMiscanti54–5LakeGarda4,78LakeMathesson58–9LakePehoe12–13lakes/lochs4,6–7,12–13,23,29,40,54–5,58–9,70,78,115–17,128–9,147leBrevent55leeches89lenses24mmshift97fisheye36,36,62,147long67super-telephoto64wide-angle64

Levels154LiRiver53light22–5,38,156–7,157colourtemperature23,25direction23inrainforests87–9,91inwinter70

Lijiang52,105Littondale76LizardPeninsula42,84location(BeingThere)14–21,144–5LochAlsh23,70Lochannah-Achlaise58–9London93,94

MachuPicchu46Malaga106–7Malaysia99MamiyaRZ67148markets10,10–11,43,47–9,51–3,98–9,103Matera24MearesIsland88MekongDelta11,131MilbornePort16–17MilfordSound156–7,156–7MillenniumBridge,London93MilsonsPoint,Sydney95

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mistyconditions16,22,24,32–3,42,118,123–4,142–3monitors147monochromaticimagesblackandwhite30,33colour30,31,119

Montemartre,Paris33MonteverdeCloudForestReserve86–7MontiSibillini124MonumentValley63motionphotography42–3,42–3,84,84–5,94–5,103,108,127,151MountBlanc55–6MountCook34MountRundle6–7,7Murawai31

NamibDesert,Namibia62,62,65,66–7,126,144,145Naxiwomen52Nepal26,58,60–1,60–1,109,109,127neutraldensitygraduatedfilters19,31,84,113,151,153NewYork36,92NewZealand31,34,58–9,82,89,144,156–7,156–7Nikon147,148NikonF5camera4,26,28,31,33,36–7,39–40,43,55–7,62,70,82,85,89–90,92,94–6,103–5,108,126–7,131,133,146NorthSea80–1NotreDameCathedral101

OldManofStorr18–19,18–19OldSherborneCastle24Olgas,The64olivegroves74–5Olympus146OponohuBay136oryxvertebra65

PadThai99paddyfields131palmtrees81Pampasmojo49,139panoramiccameras70,75,79,91seealsoFujiGX617camera

panoramicformat64,75,119,146,146,148,149Paris27,33,100,100–1Parma97,154PeritoMorenoGlacier137perspective34–6,34–7long-lens34,35,37wide-angle36,36

Peru46,46–9,102–3,139,149

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PhaseOneC1Pro154Photoshop155,155PiazzadelDuomo,Parma154PiazzadellaSignoria,Bologna41PiazzaSanMarco,Venice93PicdeCanigou77Plazad’Armas,Havana106Pokhara60–1,60–1polarizers151PolblueMarshes22PontAlexandraIII27,100poppies74–5,122PortCampbellNationalPark134PortlandBill83portraits10–11,30,47–53,102–9,102–9,131,133,145,149,151,153post-production124,152–5Prague96–7prayerwheels26Preci124Pyrenees77

Quechapeople46,47–9,58,103,149

rain63rainbows148rainforests86–91,86–91RAWfiles124,147,152–4conversion154exposure153

Resolute71,73rivers13,27,38,53,100–1,140–1rock,focuson54–61,54–61RockefellerCentre36Rome92RoussanouMonastery37

SacoValley38saddlery28StMichael’sMount113,148StPaul’sCathedral93StRemydeProvence75SalisburyCathedral118Salzburg96SanGiorgioMaggiore125SanMarco,Venice125sand62–4,62–5,66–7,138sanddunes62–3,62,66,66,126SantaHelenaCloudForestReserve90–1,90–1scanners147

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Scotland18–19,18–19,23,38,58–9,70,83,110–11seasons16–17,120–1autumn17,21,38,40,120–1spring16–17,120summer16–17,120–1winter17,50–1,55–6,68–73,68–73,120–1,151

SeineRiver27,100–1SemanaSantafiesta106–7Seychelles38,81shapes26–9shutterspeed42Sicily85silhouettes34Singapore30SleepyBay147snowscenes17,50–1,55–6,68–73,120–1,151SouthEastAsia10,10–11SouthernAlps34,58–9Spain74–5,95,106–7SriLanka130,133stiltfishermen133stormclouds25Stourhead120–1streetscenes33,43,50,52,92,94,97sunlight25,38SwayambhunathTemple26,127Switzerland21,155Sydney92,95

Tahiti80TarnHows40TasmanSea31Tasmania147TeParePoint82teaplantations130Thailand11,99,104,132Tian’anmenSquare,Beijing51TIFFimages154time38–9,38–41TorresdelPaine12–13,40TrafalgarSquare,London94tripods61,98,150TrotternishPeninsula110–11Tuscany77,78–9,78–9TwelveApostles,The,Victoria41

Uluru(AyersRock)135UNESCOWorldHeritageSites112UnitedStates25,36,38,41,63,92

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Utah63

ValdelaLuna138ValdiFassa56–7Venice93,125VermillionLake6–7,7Verona78verticals,correction97ViaCardinalFerrari,Parma97Vietnam10,11,43,98,103,131vineyards155VosgesMountains8–9

WallSt,NewYork92Wasemarket11,51,52,53WatPhraSingh11,104waterfocuson80–4,80–5fountains94movement84,84–5rivers13,27,38,53,100–1,140–1waterfalls86–7seealsocoastlines;lakes/lochs

WearyBay82WestlandNationalPark89WhiteMountains38winter17,50–1,55–6,68–73,68–73,120–1,151wood86–91,86–91

Zhongdian80roadto50,50–3