What is landscape photography? 

Landscape photography is the art of capturing the natural scenery or landscape. Typically it depicts a wider, open space rather than small details. It can include people, animals or man-made structures, but the main focus of the image is always the great outdoors. It can be your way of showing how you see the world around you and capture the beauty of the environment.

Beautiful landscape at sunset, Londrangar, Snaefellsnes Peninsula, Iceland, Credit: Arctic Images, Getty Images

What kit do I need for landscape photography?

• A camera plus a lens that has a wide-angle view of 28mm or wider is a great place to start, but some will want an even wider view, so a 24mm or wider lens would be a good choice, particularly for capturing vast scenes and big open spaces. Find the best camera for landscapes, plus the best wide-angle lenses.
• A tripod will help, especially if you want to capture scenes with water, which are smoothed by longer exposures; or when you want to use a lower ISO speed for maximum image quality. Shutter speed is a lesser concern when your camera is stable and steady on a tripod.
• Filters – use a polariser if you want deeper blues and fewer reflections from leaves and water. Graduated filters are great for darkening the bright skies but leaving the rest of your image unaltered. If you want even longer exposures, then an ND filter will be needed.
• Clothing – weather appropriate apparel is just as essential as your camera, as you may spend hours walking around to find the best viewpoint or waiting for the light to hit your scene just the right way.

Camera settings for landscape photography

Landscape photography is all about light, location and composition. Where you place objects or how you frame the scene before you are key components, but also what camera settings you use, play an important part in getting a sharp, detailed shot.

Remember the elements that make up your exposure: aperture, shutter speed, and ISO speed, as there are some recommendations here that will help when shooting landscape photography. For a refresher, have a look at our guide to exposure.

Here are the 4 main camera settings to pay attention to in landscape photography:

• Aperture
• ISO speed
• Shutter speed
• Focus

Close-up of the lens, showing aperture blades. Credit: Dimitri Otis, Getty Images

Aperture and depth-of-field

Depth-of-field – to ensure a lot of the scene is in focus, with as much of it as possible sharp and in detail, you want to use a smaller aperture. Closing the lens aperture down to f/8 – f/16 will help you get more of the scene in focus from the front of the image (things close to you) to the back of the image (things furthest away). This is known as pan-focus (Canon), where everything in the image is in focus.

But beware of diffraction – if you stop the aperture down too far, such as f/18-f/22 or more you will suffer from diffraction, and get softer images. When diffraction becomes an issue depends on your camera sensor size – see our macro photography guide if you missed our definition of diffraction.

Side note: Diffraction tends to kick in at f/11 on Micro Four Thirds, f/16 on APS-C, and f/22 on Full-frame cameras.

ISO speed

As we’ve said previously, the lowest ISO speed available will give the best results (with the most detail, and lowest noise). However, be aware that the camera you use may have a different low ISO speed to another camera.

On most, the lowest ISO speed is ISO100, but on some the lowest is ISO200. If you are tempted to use a “LOW” or (L) ISO speed on your camera, be aware that this is often an “extended” ISO speed, and results in reduced dynamic range.

So check what your actual low ISO speed is on your camera, if you’re not sure where to find this information, have a look at our review of your camera as it will say what the standard ISO range is, and what the extended ISO range is. Normally you want to avoid using the extended ISO range.

On many Olympus and Panasonic cameras, the low ISO speed is ISO200, and ISO100 is extended, which is shown as “Low” or L.100. You’ll also need to check on Fujifilm cameras, as some of these have the lowest (native, non-extended) ISO speed as ISO160.

A slower shutter speed has helped smooth the waterfall in this scene, Gljufrabui waterfall, Iceland. Credit: (C) Marco Bottigelli, Getty Images

Shutter speed

With a tripod, you can use slower shutter speeds, and by using the self-timer you don’t need to worry about camera shake when pressing the shutter release button, alternatively you can connect your camera to your smartphone and use it as a remote control. Another thing to be aware of is your camera strap – if this is big, then this could cause the camera to move if it’s windy.

If you use slower shutter speeds, you can favourably blur the water, but any movement (in trees or scenery) will become blurred, too. To get really slow shutter speeds on brighter days, then you’ll need to use an ND filter.

Portugal, Azores archipelago, Flores island, hike to Poço da Ribeira do Ferreiro waterfalls (or Poço da Alagoinha or Lagoa das Patas) – This image shows the location in focus from the front to the back. Credit: Francesco Riccardo Locomino, Getty Images

Focus and front-to-back focus

To keep things simple, by using one focus point, you can control and know where you are focusing in your image. You will want to focus so that you can get as much as possible from the front of the image to the back of the image in focus. Newer cameras often include “focus peaking” a useful tool that shows which elements of your scene are in focus by highlighting the edges with a bright colour. Don’t worry too much if you don’t achieve perfection but try and focus on the main area of interest in the frame.

What makes for good landscape photography?

Light and location play a massive part in landscape photography, but are not the only aspects to think about when shooting landscapes. Breaking down what you include in your image can take your landscape photography from average to spectacular.

Here are 6 main things to consider when composing your shot:

1. Light (and weather)
2. Location
3. Points-of-interest
4. Leading lines
5. Level (Horizon)
6. Composition

Stob Ban in Glen Nevis taken from Sgurr a’Mhaim with mid-Autumn sun illuminating the glen below with layers of Glencoe mountains in the background. Credit: Scott Robertson, Getty Images

Light, weather

Shooting in the “golden hour” (the hour before sunset or dusk, and the first hour after sunrise, dawn) will give you a warm golden looking landscape, on the other hand “blue hour” after the sun has set or before the sun has risen, will give you images with a blue tone. Just before or just after sunrise or sunset is also a great time to shoot, as the sky changes different colours. For more examples have a look at our guide to outdoor light with David Noton.

Weather can dramatically change the light in the scene, as well as the look of a landscape image, so don’t be afraid of shooting when there is mist, fog, or even during or after a rain shower. A break in the clouds can turn a dull image into a striking image as can be seen in the example above. If your camera and lens are not weather-sealed, make sure you have a waterproof backpack or plastic bag to offer some protection for your kit in the worst of the weather.

…and Location

Shoot somewhere dull, and even with the best lighting possible, the best camera possible, and the best settings, you’ll still most likely end up with a dull photo. Landscape photography tends to include travel, and finding the most pleasant-looking locations and landscapes is part of the exciting appeal of landscape photography, whether that’s near you, or further away.

Check out some recommendations for the best landscape photography locations in the UK here.

Brecon Beacons national park, Wales, Credit: WLDavies, Getty Images

Points-of-interest

To include people or not? By including people you can give a sense of scale, as well as potentially date the photograph to a certain period – depending on how visible the subject’s clothing/style/fashion is. The same goes for any other man-made objects included, such as buildings or vehicles. By including a subject or a person in the shot you add an additional element and give a sense of balance to the image.

Neist Point Lighthouse, Isle of Skye, Glendale – June 9, 2019: The last sunbeam at Neist Point Lighthouse. Credit: Juan Maria Coy Vergara, Getty Images – Following the coastline your eye ends on the lighthouse.

Leading lines

If you think of the elements in an image as guiding the viewer through the frame, you can look for leading lines in your scene, such as a road leading towards an impressive mountain range, a river leading to a waterfall, or even the formation of rocks and land leading you through the image.

Lavender field in Valensole, Haute Provence, France. Credit: Matteo Colombo, Getty Images

On the level?

Watch for the horizon and keep the camera level – use the camera’s built-in axis or dual-axis level if it has this, or look for the spirit level built into your tripod. If you don’t have these features, then you could pick up a simple spirit-level hot-shoe attachment for not much money.

Alternatively, you can switch on an on-screen grid display if your camera has this feature. If you don’t manage to get it perfect in-camera, then you can always edit the image later to straighten up the image. Some modern cameras have a built-in horizon correction feature, so check your manual to see if yours has this.

Composition

All of these factors play a part in how you compose and frame your image, and how you place the elements in front of you into the photograph. If you’re just starting out in landscape photography, then using the “Rule of thirds” is a great place to start, but don’t be afraid to experiment with different framing. See our guide to the art of photography and composition for more ideas.

Other things to think about: You don’t always have to shoot vast landscapes. Instead you could zoom in to look at the finer detail, and this is where a macro or telephoto zoom lens could come in useful. If there is water in the scene, then look for reflections.

Aerial landscape photography: If you have access to a drone, then shooting from a high-angle can give a totally different look to your images. See our guide to aerial landscape photography for more information.

Intimate landscapes: Landscape photography doesn’t have to just be wide-angle, sweeping vistas. Try honing in on a smaller part of a scene for a more interesting alternative. See this guide to Intimate landscape photography.

Square landscapes: Landscape photos also do not have to be taken in landscape orientation. Changing to portrait or even square format can make an interesting composition. Transform your landscapes with square format here.

Editing Landscape images

It’s likely that you’ll need to (or want to) edit your photos to ensure you’re showing the landscape how you want to show it. Slight tweaks to contrast, saturation, and exposure to improve dynamic range in the image can make your images look better. You can also correct the image if it’s not entirely level.

Dynamic range – ensuring correct exposure, and correcting when the image is over-exposed. See our guide to dynamic range by James Paterson.

Expanding dynamic range – If you shoot using raw you have the ability to correct any errors in exposure or white balance. There is also the ability to expand the dynamic range in the image, which means you can recover shadows and dark areas in the image as well as recover highlights in the brighter areas.

Another option is to use exposure bracketing to help with this, but make sure you use a tripod so your images line up. Have a look at our guide to maximising dynamic range. Shooting raw also gives you the ability to tweak the sharpness and noise levels to get the very best out of the photo.

Landscape Photography Competitions

You can enter competitions to win prizes and recognition, as well as learn from others. Look out for landscape photography competitions such as the famous Landscape Photographer of the Year, and the landscape photography round of the Amateur Photographer of the Year Competition (APOY). Other general photography competitions feature Landscape categories, so have a look at our complete guide to the best photography competitions to enter.

More Landscape Photography Inspiration…

You’ll find a range of landscape photography articles here, and you can learn from professional photographers. We have articles from famous landscape photographers including Ansel Adams, William Garnett, Michael Kenna, Colin Prior, with AP contributors including Jeremy Walker, David Clapp, Verity Milligan, Rachael Talibart and Lizzie Shepherd to name a few. If you want to learn from the greats, make sure you have a look at their work.

For even more inspiration have a look at some of the landscape photography books available. You’ll find AP’s own book on “Landscapes” is a great resource for learning even more.

Bookazine – Improve Your Photography – Landscapes

Landscape photography holidays – try out your skills

Improve your landscape photography skills on one of our upcoming AP Photography Holidays! Experience the very best of what the UK and the rest of the world offer – from coastal landscapes to grand mountainscapes – with guidance from some of the best photographers in the world. See more Photography Holidays here.

Frequently asked questions (for reference)

What is RAW?

What is a raw image? Cameras will by default save images as JPEG files, which are processed by the camera to produce the best-looking image, but this results in less control to edit and adjust the image. Shooting in the raw file format, you are getting the “raw” (uncooked, unprocessed) image from the camera, and therefore can edit it to your own personal tastes, as well as recover shadow or highlight detail that might have otherwise been lost if you’d only taken a JPEG image.

What is exposure bracketing?

Exposure bracketing is when you take several different images, but at different exposures. Most mirrorless and DSLR cameras have this feature, and it lets you take the same shot at different exposures, so for example, you could take one at -1EV, one at the normal exposure, and one at +1EV, allowing you to capture the darker and brighter parts of the image with more detail. You can then combine these images later in a photo editing package for an extended dynamic range. However, to get the best results your camera needs to stay in the same position for every shot, which is why a tripod is extremely useful for this.

What is dynamic range?

Dynamic range in an image is the record of light levels from dark to light. The greater the dynamic range in an image, the more the camera has been able to capture the tones from dark black to bright white. In landscape photography, this becomes particularly important as there is often a big difference in light levels between the brightest area of the image (often the sun), and the darkest areas of the image.

AP Improve Your Photography Series

The AP Improve Your Photography Series – in partnership with MPB – This series is designed to take you from the beginnings of photography, introduce different shooting skills and styles, and teach you how to grow as a photographer, so you can enjoy producing amazing photography (and video), to take you to the next level, whether that’s making money or simply mastering your art form. Whether you’re a beginner or a professional, make sure you check out all the articles in this series.

• Part 1: Beginners guide to different camera types.
• Part 2: Beginners guide to different lens types.
• Part 3: Beginners guide to using a camera taking photos.
• Part 4: Beginners guide to Exposure, aperture, shutter, ISO, and metering.
• Part 5: How to get perfect colours – white balance explained
• Part 6: 10 essential cameras accessories for beginners
• Part 7: Beginners guide to the Art of photography and composition
• Part 8: Beginners guide to Photoshop Elements and editing photos
• Part 9: Complete guide to Portrait Photography
• Part 10: Complete guide to Macro Photography
• Part 11: Complete guide to Street Photography

Find the latest Improve Your Photography articles here.

Lead image credit: Stob Ban in Glen Nevis taken from Sgurr a’Mhaim with mid Autumn sun illuminating the glen below with layers of Glencoe mountains in the background. Scott Robertson, Getty Images

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Complete Guide to Landscape Photography appeared first on Amateur Photographer.

Landscape has always been one of the most popular genres of photography, and it’s easy to see why. A good landscape photograph can be, and encompass many things, as the books on our list demonstrate beautifully. Be it the celebration of a place or particular feature – a spectacular mountain or peaceful lake – or the evocation of a moment, like a pitch-perfect sunrise or sudden snowstorm. Rural, or urban – devoid of people, or full of them. The world is you oyster if you’re looking to improve your landscape photography.

A great source of inspiration to take more and better landscapes is to look at the work of others; hence, we’ve compiled this list of some of the best landscape photography books to have passed our desks in recent years. Some of these collections include the work of several photographers, while others are by just a single artist. It doesn’t matter really – we just love seeing great landscapes!

If all this inspires to do some shooting for yourself, check out our guide to the best lenses for landscape photography.

Featured image: St Michael’s Mount, Cornwall, England – from The Art of Landscape Photography

Best landscape photography books

Landscape by Jeremy Walker

2020, RRP £45, Self-published, hardback, 232 pages

Regular readers will already be aware of the stunning work of landscape pro Jeremy Walker. His debut book, published in 2020, takes a look at some of the UK’s lesser-known hidden gems found hidden away from the more obvious landscape destinations.

It also explores some of Britain’s sometimes rocky history, through the ruins of once-impressive castles and abbeys. Presented here are dramatic landscapes, atmospheric weather conditions and if nothing else, a checklist of potential getaway locations for your next photography trip. It’s also got a foreword by AP editor Nigel Atherton.

One of the stunning images from Jeremy Walker’s Landscape book

Landscape Photographer of the Year: Collection 15

2022, RRP £35, Ilex Press, hardback, 224 pages, ISBN: 9781781578650

The annual Landscape Photographer of the Year competition is one of the highlights of the photographer’s calendar, and the 2022 crop produced some absolutely spectacular imagery. The full collection from the competition’s 15th year would make a tasteful addition to any coffee table, and is the ideal source of inspiration for anyone looking to remind themselves of the incredible landscape possibilities in the UK alone.

The competition, founded by avid landscape shooter Charlie Waite, was won that year by first-time entrant Will Davies – a reminder that you don’t have to be a seasoned shooter to make a great showing in LPOTY. You can read our full interview with LPOTY winner Will Davies, and see a few of the winning 2022 LPOTY entries. But really, wouldn’t you rather have them in glorious printed form, to be admired and shared from the comfort of your sofa? So we thought…

Brecon In Winter. Location: Brecon Beacons National Park, Wales. Canon EOS 5DSR, EF 70-200mm f/4L. Photo credit: Will Davies

Chasing Light by Stefan Forster

2022, RRP £40, Teneues, hardback, 240 pages, ISBN: 9783961713837

For their sheer diversity of locations, pick up one of Stefan Forster’s books. Every year, the Swiss photographer spends six months travelling the world, and leading a number of workshops to the planet’s most beautiful and remote places. Much of the time he spends in Iceland, his adopted second home.

In Chasing Light, his latest volume, we can see some of Stefan’s most beautiful experiences to date, shown from a variety of impressive perspectives. This tome is a potential classic in the making and a masterclass in how straightforward landscape imagery should be done.

Namib Naukluft National Park, Namibia – from Chasing Light landscape photography books by Stefan Forster

The Art of Landscape Photography by Mark Bauer and Ross Hoddinott

2022, RRP $26.95 / £13.99, Ammonite Press, softback, 192 pages, ISBN 9781781454480

If you’re keen to learn more about great landscape photography, then you’ve got not one, but two industry pros on hand here to go beyond the basics and look at the heart and soul of landscape photography – composition and aesthetic design to convey meaning and emotion. With numerous examples, as well as in-depth technical detail, this is one to really pore over to improve your skills.

Stone Age: Ancient Castles of Europe by Frédéric Chaubin

2021, RRP £35.85, Taschen, hardback, 412 pages, ISBN: 9783836585019

Castles are a classic mainstay of landscape photography. If they’re your thing too, then this book – which spans Europe and includes more than 200 buildings in 21 countries – is likely to be manna from Heaven. What’s more, the images (like the one below) were shot on film with a Linhof view camera, so they’re not quite the same as your average picture-postcard travelogue. Again, you could quite easily use this as a checklist to help you plan your next landscape expedition.

Castles are a classic choice for landscape photographers

Don McCullin: The Landscape

2018, RRP $64 / £48, Jonathan Cape, hardback, 184 pages, ISBN: 9781787330429

While best known as a documentary photographer of some of the most harrowing conflicts of the post-war 20th century, Don McCullin is also an accomplished landscape shooter and darkroom master. In this inspiring collection he captures the dark, brooding mystery of the west country in winter, notably the Somerset Levels.

A tough Londoner by birth, McCullin’s country roots run deep – he first came to Somerset as an evacuee in the war and has lived near Bruton there for many years. There are also scenes from farther-flung locations, such as Syria and India. Wherever he shoots, McCullin’s composition is dramatic and arresting, and the darkroom toning utterly breathtaking.

Ansel Adams 400 Photographs

2007, RRP $29.99/£30, Little, Brown & Company, hardback, 432 pages, ISBN: 9780316117722

No collection of landscape photography books would be complete without a mention of the original master, Ansel Adams. This book from 2007 is a comprehensive overview of the legendary photographer’s stunning work, published in a beautiful volume. With an RRP of £30 (and generally available at a cheaper price) it’s an absolute bargain, and likely, if you buy just one book from our list – this should probably be it.

Sirens by Rachael Talibart

2018, prices vary, Triplekite Publishing, hardback, 64 pages, ISBN: 9780993258992

One of the best contemporary landscape photographers working today, you would be hard-pushed to find a brand new copy of any of Rachael Talibart’s books – which is a testament to how popular they are. You should be able to find second-hand copies of Sirens, however, which showcases her critically acclaimed seascape and wave work – the monstrous waves being named after mythological beings. Beautiful and considered work, this would be a fantastic addition to any budding landscape photographer’s shelf.

Landscape Photographer of the Year: Collection 14

2021, RRP $40/£30, Ilex Press, hardback, 224 pages, ISBN: 9781781578155

The Landscape Photographer of the Year competition has been running for a fair few iterations now, and if you’re looking for more landscape inspiration, the previous years’ collections are just as spectacular as the latest. The 2021 competition was the award’s 14th year – you can see all the 2021 LPOTY winners here – and includes some absolute gems.

The winner in 2021 was Mara Leite, whose image ‘Morning at Countryside’, taken in West Sussex, netted her a cool £10,000. If you fancy a shot at that, then picking up the collection is a great way to familiarise yourself with the kinds of images that impress Charlie Waite and the other competition judges.

This gorgeous image by Tomasz Rojek features in the LPOTY Collection 14 book.

Classic landscape photography books

Our recommended selection of definitive landscape books

Earth from Above by Yann Arthus-Bertrand

2017 (originally published in 1999), £58, Abrams, 440 pages, ISBN: 9781419722844

First published over 20 years ago, this gorgeous book has sold more than three million copies worldwide. Aerial images from multiple journeys across five continents and 60 countries provide a comprehensive survey of the Earth from a spectacular vantage point – and from a time before drones made it more commonplace. In the newer edition, over 100 new pictures are included, as well as essays from leading experts and environmentalists.

Land by Fay Godwin

1985, Prices vary, William Heinemann Ltd, 160 pages, ISBN: 9780434303052

Arguably one of the most essential purchases for anybody interested in British landscape photography, this beautiful collection of black & white imagery covers a good breadth of the country. The pictures are subtle and lovingly printed, and anybody who finds one second-hand is unlikely to be disappointed.

Light and the Art of Landscape Photography by Joe Cornish

2003, Amphoto, Prices vary, ISBN: 9780817441524

Joe Cornish is one of the UK’s most well-known and popular landscape photographers, and this almost 20-year-old book gives an insight into his creative genius. Featuring 150 fantastic images, alongside his valuable insights on how the picture came to be made, plus technical info and the thought processes and creative inspirations behind each image.

Cape Light: Photographs by Joel Meyerowitz

2015 (originally published 1979), Prices vary, Aperture, 112 pages, ISBN: 9781597113397

Although currently out of print, this exquisite selection of photographs is widely regarded as one of the most influential and popular photography books, particularly as it was unusual at the time for its use of colour. Whether you can get your hands on an original print, or the 2015 re-edition, you’ll find a masterful array of captivating shots.

Further reading:

Beginners guide to Landscape Photography – Get shooting!

Books from AP: Bookazine Improve Your Photography

See the best landscape photographs

Best Camera for Landscape Photography 2023

Best photography books of 2023

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post The best landscape photography books for inspiration appeared first on Amateur Photographer.

Professional landscape astrophotographer Josh Dury

Josh Dury Photo-Media is a recognised award-winning professional landscape astrophotographer, presenter, speaker and writer from the Mendip Hills in Somerset. His work is recognised by major publishing and media outlets, including the BBC, ITV and CNN amongst others. See more of his work at www.joshduryphoto-media.com

When planning to photograph the night sky, we first need to consider what is happening above our heads. The weather, as we know in the UK, can be unpredictable due to the jet stream and weather systems across the Atlantic Ocean. Therefore, we need to be prepared to photograph our subjects either in advance, or at the last minute.

It is always good to have a number of weather apps to obtain an average for what is happening in the night sky over the coming days and weeks. I tend to use the BBC Weather, Met Office and Ventusky apps.

I usually try to plan for a clear sky that avoids any chances of clouds obscuring my shots. It depends on the photographer as to what you capture, but at the same time, clouds can lend some perspective and dynamism to your images. It depends on the subject and narrative you want to achieve.

The Northern Lights from Tromso, Norway Sony A7S II, 14mm, 1.3sec at f/1.8, ISO 8000, Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/1s · 14mm · ISO8000

Light pollution and surrounds

Next, we consider the impact of light pollution from our nearby towns and cities. There are a number of good light pollution maps out there, which indicate the strength of light pollution from your location.

Light Pollution Map or LPM, is a good app for measuring the light pollution of your area and shows the effect of artificial light at night, both nationwide and globally. In astronomical terms, this is measured on the Bortle Scale – this is a numeric scale from 1 to 9, with (1) being measured as ‘dark skies’ and (9) as severely ‘light polluted’. Try to find a location which is as dark as possible so you can observe details of greater clarity within the night sky.

Owing to the nature of my work, light pollution has made me very aware of the environments I photograph. It’s made me consider the scale of the impact it has, and appreciate and protect the dark skies we have left. For example, the Mendip Hills have recently become a Super National Nature Reserve in The King’s Series and I have become a partner of The Mendip Hills AONB (Area of Outstanding Natural Beauty) to raise public awareness of dark skies.

Geminides meteor shover at Stonehenge. Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO2500

Celestial events

There are a number of different books and resources you can use to research and plan astronomical events throughout the year; from smartphone apps to online and physical resources. AuroraWatch, UK, the Aurora app, and Space Weather Live, are good apps for predicting the northern lights.

Since the age of seven, I have been able to navigate myself around the night sky. Therefore, I believe for astrophotography, it is really important to be connected with your subject, to understand what is happening in the environment around you and above our heads. Whether that be recognising the major stars and constellations, to locating the galactic core of the Milky Way.

We have a series of celestial events, including meteor showers, eclipses and potential comets on the horizon. So, it’s always good to plan ahead for these dynamic celestial events. Nowadays, it is even possible to predict when the northern lights or ‘aurora borealis’ is visible from the UK.

As we reach solar maximum by the year 2025, the sun will increase in activity and sightings of the northern lights are becoming more apparent and is worth looking ahead if skies remain clear.

Josh’s Top Tips for starry night astrophotography shots

New locations

Have a go at shooting different locations and see what the results yield. When photographing different areas, the contrast of the night sky is very noticeable. See what areas work best for you. You might be surprised that some of the most photographed locations are severely impacted by light pollution.

Stanton Drew Stone Circle with the Milky Way, Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO4000

Photographic techniques

You may wish to tell the narrative somewhat differently by deploying a series of astrophotographic techniques, including star trails. These often result in abstract, timeless images, which can complement lend itself with the backdrop of your subject matter and colours of distant starlight.

Ashton Windmill with star trails, Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO2000

What’s in the night sky?

The night sky is always changing so why not have a go trying to photograph different celestial targets throughout the year? The moon is always an enjoyable photographic target with its lunar phases changing every single day and make for some dramatic moonrises at the time of the full moon.

Glastonbury Tor and the Full Moon, Image: Josh Dury

Canon EOS 5D Mark III · f/11 · 1/4s · 1200mm · ISO400

Keep up to date

Technology has really expanded in the past few years for astrophotography. With the Sun reaching solar maximum in 2025, why not have a go trying to spot the northern lights? Use the latest apps to predict when aurora may be visible from the fringes of the United Kingdom.

Aurora from South England, Image: Josh Dury

iPhone 13 Pro Max · f/1.5 · 1/1s · 5.7mm · ISO6400

Enjoy the darkness

Most importantly, enjoy the dark sky places we have left. Luckily for astrophotographers, there are protected, designated areas and allow us to enjoy the true beauty of the night sky in all its entirety. But most importantly, this makes us appreciate the windows we have left on the open universe.

The Mendip tree with The Milky Way, Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO2500

Equipment set-up

Your equipment set-up is the most important element when taking photographs of the night sky and the battle with light pollution. Make sure you use a sturdy tripod. I often recommend an aluminium tripod because they are durable, yet lightweight and less susceptible to stronger wind conditions when shooting at night.

Also think about the compactness of your equipment. Think about when you travel out on a shoot, how much equipment do you want to take with you? How long does it take to walk to your location? Do you need to plan a route when walking through landscapes at night?

Personally, I like to shoot with as limited equipment as possible. Which makes my compact camera set-up of the Sony A7S II and Sigma 14mm Art lens beneficial when travelling on foot to my desired location.

Shooting with a remote shutter release cable also makes it beneficial to reduce any sudden camera shake when releasing your camera’s shutter. We need to preserve as many details as possible when it comes to photographing the stars, and so taking your images from a distance helps to minimise camera shake.

Cosmic Energy, Sony A7S II, 14mm, 8sec at f/1.8, ISO 640, Image: Josh Dury

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO6400

Trial and error

The most important advice I have been given is to embrace trial and error. Use the equipment you already have. Everyone’s photographic set-up is going to be different and so it’s important to become familiar with your camera and understand what you can achieve with different settings and adjustments.

This will push you to see how you can take it with your equipment. Sometimes, photographers are unsuccessful, and other times they are rewarded. The most important consideration is to persevere with your astro set-up and keep shooting.

On location, you may decide to shoot differently from what you initially intended. For example, you may wish to shoot portrait as opposed to landscape if the Milky Way feels more prominent.

At other times, weather conditions may change how you shoot. Instead of catching long exposures for star trails as an example, you may shoot for shorter periods of time when capturing details in the spiral arms of the Milky Way.

As you become more familiar with your set-up, your camera becomes an extension of you, and how you and your camera react to your subjects and environment as you become at one with the universe.

Nightscape image of The Milky Way above The Woollen Mill of Llandwyn Beach, Wales.

ILCE-7SM2 · f/1.8 · 1/0s · 14mm · ISO6400

10 simple steps for shooting astrophotography

1. Tripod: set up your tripod on level ground for sturdiness. Once your camera is attached, check the tripod adapter is tight to your camera to prevent it from sliding when capturing your images.

2. Torchlight: it is advised to use a red torch, not only to preserve your night vision but for ease of use when setting up your camera in dark environments.

3. Liveview: use the live view feature: on your camera, if it has one, and the tripod’s bubble level to aid composition. Don’t forget to zoom in to check for distractions, including along the edges of the frame.

4. Focus to infinity: To preserve as many foreground and background details in your shot as possible, set your focus to infinity to ensure stars are in focus.

5. Fine-tune: Sometimes, it might be necessary to fine-tune your focus using the live view function on your camera or by temporarily lighting up your subject.

6. White balance: set a neutral white balance in the region of 4000 to 5000 Kelvin; this may vary at the time of shooting depending on weather conditions and the phase of the moon.

7. File format: I tend to shoot raw files to obtain the highest data acquisition from my shots. It also means I have more scope in post-production for adjustments.

8. Interval shooting: when you are confident your subject is in focus and composed as you require, set your shutter release to take images at set intervals. A good starting point is an 8-second exposure.

9. Aperture: keep your aperture as wide as possible, f/4 or wider, and aim for an ISO value between 1600 and 5000. Experiment with your settings to suit your preference.

10. Shoot: You are ready to take a test exposure! Fire the shutter and see what your results are like. If required, make minor adjustments to your settings or composition as desired.

The Northern Lights from Glastonbury Tor, Sony A7S II, 14mm, 8sec at f/1.4, ISO 1600, Image: Josh Dury

Why this photo works

To witness the northern lights from the iconic landmark of Glastonbury Tor was something of a once-in-a-lifetime opportunity. Owing to the unpredictable nature of the aurora borealis, it was something of a rarity to be able to see it from the extremities of southern England, let alone photograph it.

In the build up to capturing this photo, a strong solar wind was predicted to hit climbing the tor at 3am on a Monday morning. When shooting at f/1.4, the passing clouds were lit up by the lights of Glastonbury below. This proved to be a challenging, yet evocative image, balancing the lightshow of mother nature and our own creation of artificial light at night.

Related reading

• Best cameras for astrophotography
• Best lenses for astrophotography
• Astrophotography in Tenerife

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Complete guide to Astrophotography – Window to the universe appeared first on Amateur Photographer.

James Abbott’s tips for using filters for long-exposure landscapes

Every landscape photographer strives to put their stamp on the locations they shoot, and while most are best shot at a specific time of day to take advantage of the best light possible, one way of finding your unique voice is to take control of exposure times using ND filters.

Lower-strength ND filters can be as simple to use as attaching them to your lens and shooting normally, while the more extreme filters ranging from 6-stops and above require a little more care and attention to ensure correct exposures. In this long-exposure masterclass, we’re going to take a closer look at long-exposure landscapes and how to successfully shoot them using ND filters to achieve a range of effects.

This image taken at Wastwater in the Lake District was shot using a 6-stop ND to smooth the choppy water and help to capture a reflection of the sky

Filter densities explained

Different filter manufacturers use several methods of displaying ND filter densities and these include how many stops of light the filter reduces, which is the easiest, optical density, and ND factor. Once you buy into a filter system, it pays to familiarise yourself with the method used so you can quickly identify filters.

Sony A7R III, 16-35mm, 1/10sec at f/13, ISO 100, Polariser

Sony A7R III, 16-35mm, 0.8sec at f/13, ISO 100, 3-stop ND filter

Sony A7R III, 16-35mm, 5sec at f/13, ISO 100, 6-stop ND filter

Sony A7R III, 16-35mm, 64sec at f/13, ISO 100, 10-stop ND filter

ND filters compared

ND filters come in a range of light-reducing densities, and with screw-in filters you can get variable ND filters with strengths ranging from around 1.5 stops to 8 stops. For ultimate flexibility and control, the four filters that you need to control overall exposure are a polarising filter, a 3-stop ND, a 6-stop ND and a 10-stop ND.

You can buy other densities, but with these four filters you’re covered for practically every eventuality. The four images here were shot in bright conditions so exposure times show a clearer progression of blur as filter strength is increased.

Polarising filter 1/10 sec: Polarisers are often used in combination with ND filters as they remove surface reflections from water and can deepen blue skies, but, with the ability to reduce exposure by up to 1.5 stops, can also be used as a weak ND filter.

3-stop ND 0.8 sec: The humble 3-stop ND filter is arguably the most versatile of all ND filters since it’s ideal for shooting in low light conditions and around golden hour when you wish to achieve a longer exposure but not one that’s several minutes long.

6-stop ND 5 seconds: 6-stop ND filters require exposure to be calculated, either by counting stops or using an exposure calculator app. This filter is best used when a 3-stop ND doesn’t extend exposure time enough, but a 10-stop filter makes exposure times unnecessarily long.

10-stop ND 1 minute: 10-stop NDs were the first ‘extreme’ ND filter to be released and provide the ability to shoot extremely long exposures in low light conditions, or even exposures that are 30 seconds or longer in bright and sunny conditions.

How to use extreme NDs

Learn how to correctly calculate exposure when using high-density ND filters that throw the standard rules of exposure out of the window

Extreme NDs, Big Stoppers and Little Stoppers are all names you’re likely to have heard of, and in a nutshell, these simply refer to ND filters that reduce light entering lenses by more than 4 stops. ND filters in this category can’t be used like lower-strength NDs where you simply attach them to the lens and shoot as normal; these filters require you to calculate exposure based on what the ‘standard’ exposure should be, then shoot in Bulb mode and manually time exposures if they’re longer than 30 seconds.

A 10-stop ND filter transformed what would have been a ¼sec exposure into an exposure that was over 4 minutes in duration to smooth the water and blur the clouds in the scene

Unfortunately, most cameras have a maximum shutter speed/exposure time of 30 seconds, which is often too short when using extreme NDs. Owners of higher-end Fujifilm cameras such as the X-T4, GFX100S and X100V can set exposure times up to 60 minutes in duration so you don’t have to shoot in Blub mode.

For everyone else though, Bulb mode is the key to long-exposure success. On a technical level, a long exposure is essentially any shutter speed that’s too slow for the camera to be handheld without causing camera shake. However, in terms of aesthetics in landscape photography, it’s often not until shutter speeds are around one second that photographers consider exposures to be long exposures.

Exposures up to 30 seconds using extreme NDs can be dealt with by the camera, but beyond this we have to manually time exposures and hold the shutter open in Blub mode, so let’s take a look at how it’s done.

How to calculate correct exposure times

1. Attach ND grads: Securely attach your camera to your tripod to ensure that it can’t move during the exposure and compose the shot. At this stage, attach a filter holder and any ND grads required to maintain sky detail. Manually focus 1/3 of the distance into the scene beyond the foreground for a large depth of field and to lock focus.

2. Identify ‘normal’ exposure: Select aperture priority mode at f/11 with ISO 100 and apply any exposure compensation as required for a correct exposure. The shutter speed here was coming in at 1/4sec, but if it was much slower than this it would have been beneficial to increase ISO to 200 to halve the exposure time.

3. Use a calculator app: Use a free exposure calculator such as the LEE Stopper app or NiSi Filters app. Both allow you to select which filter density you’re using, and you simply need to input the standard exposure time for the app to then give you the exact exposure time required. Both apps feature a timer.

4. Shoot the long exposure: Set the camera to manual mode and if the exposure is longer than 30 seconds, rotate the thumbwheel until Bulb is shown. Make sure aperture and ISO are the same as in step two, and you’ll need to use a shutter remote to release the shutter at the same time as starting the app timer.

5. Reattach filters and shoot: Attach your chosen ND filter and then the graduated ND if you used one. Release the shutter with the remote, at the same time as the app timer, and make sure it locks to hold the shutter open – depending on model. Press the shutter button to end the bulb exposure when the timer ends.

Approaches to long-exposure

All landscapes have moving elements, whether that’s grass, water or clouds etc. Many even have a combination of some or all of these factors, so there’s always a huge amount of potential for creative long exposures. The most dramatic, and often interesting, movement can be found in water and clouds, and exposure time itself can produce drastically different results depending on what you’re aiming for.

Midday long exposure 10-stop ND filters allow you to capture long exposures in even the brightest conditions. This 62-second exposure was taken around midday and was used to smooth the water and blur the clouds

Scenes with clouds in the sky look great when you use a long exposure to capture them streaking towards the camera, and depending on how fast the clouds are moving the exposure required could be anywhere from 30 seconds to several minutes. Whereas with water, exposures between 1 and 3 seconds provide the most texture and definition in the water, while exposures of 30 seconds and above create a silky water effect in waterfalls and the completely smooth water in lakes and the sea.

The latter is a popular approach when it comes to shooting minimalist images of a tree, for instance, surrounded by silky-smooth water.

Low-light long exposure. Not all long exposures require the use of filters; this image was taken before sunrise and the exposure time was 10 seconds. If you don’t have ND filters, aim to shoot before sunrise and after sunset for naturally long exposure times

Getting the look

One thing that will always make long exposures effective is a static visual element within the scene that remains pin-sharp. Not only does this contrast and accentuate the movement in the scene, it also acts as a visual anchor that avoids images becoming a pure blur and ultimately abstract.

Cloudscape This simple, almost abstract, image is all about the colourful sky. By using a 6-stop ND, it was possible to achieve a 25-second exposure to blur the clouds and water

Personal preference will often dictate which exposure time you opt for, but light levels can also be a factor; it’s easier to extend exposure time than reduce it, which is why it’s essential to carry several ND filters with you when shooting landscapes. For instance, when shooting waterfalls, you’ll often be in dark locations so a 3-stop ND filter may allow you to achieve exposure times of 1-15 seconds while shooting in the morning.

However, shooting in the afternoon might require a 6-stop or 10-stop ND to be used to achieve an exposure long enough to blur clouds.

Waterfall To achieve a 13-second exposure to blur the water in this stream, a 3-stop ND filter was perfect. Using a stronger density would create a longer exposure, but for no additional visual benefit

Fake the effect in Photoshop

You can fake the look of ND filters by shooting five to ten exposures of a subject with the camera on a tripod. You then need to sync the raw files in Lightroom before opening all the exposures as Layers in Photoshop. Next, go to Edit>Auto-Align Layers and leave the Projection set to Auto and hit OK.

On the Layers panel left mouse click on the top Layer, hold down Shift and click on the bottom Layer so all are selected, then right mouse click on the Layers and select Convert to Smart Object. Once the Smart Object has processed, go to Layers>Smart Objects>Stack Mode>Median. Once the mode has been applied the image will look like a long exposure.

Finally, flatten the image and crop the edges to remove space left after the image alignment.

James’ Kit list

Tripod
A tripod is essential for long-exposure photography because the camera must be kept completely still during exposures to avoid camera shake in areas of the scene that should be sharp.

Shutter remote
Using a shutter remote allows you to fire the shutter without touching the camera and causing camera shake. They’re also necessary for shooting in Bulb mode to manually hold the shutter open.

Exposure calculator apps
The LEE Stopper and NiSi Filters apps allow you to dial in the standard exposure and will calculate the exposure required for a variety of ND filters including 6, 10 and 15-stop NDs.

Filter holder
If you plan to combine ND filters with graduated ND filters to maintain sky detail, you’ll need a filter holder where 100mm filters slot in place and can be stacked according to requirements.

Variable ND filter
Variable ND filters are a budget option providing a variable density ranging from roughly 1.5 stops to 8 stops, which is controlled by rotating the front part of the filter.

James Abbott
James is a freelance photographer and photography journalist specialising in creating shooting and editing techniques that help photographers improve their skills. His first book, The Digital Darkroom: The Definitive Guide to Photo Editing in Adobe Photoshop and Affinity Photo, is on sale now. www.jamesaphoto.co.uk.

Guy Edwardes’ tips for creative long exposures in landscape photography

I think it’s important to start by stressing that I never use long exposures just for the sake of it! I always consider whether a long exposure is appropriate, as well as how long it should be. There are certainly times when a longer exposure can be beneficial, but also times when it could be detrimental. My incentive for using longer exposures is to help inject life and a sense of movement into otherwise still images of the landscape. The exact length of exposure required for this will vary and may depend upon several factors.

I always work in manual exposure mode when shooting long exposures. This allows me to choose the perfect aperture, ISO and exposure time, and to then use neutral density filters to control the brightness of my image. I also use manual focus, as stronger neutral density filters can cause the autofocus to hunt. In this article I will run through the three main reasons why I might consider the use of a long exposure in my own landscape photography.

Start Point Lighthouse at sunrise, South Hams, Devon, Canon EOS R5, 11-24mm, 60sec at f/16, ISO 100, Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/0s · 11mm · ISO100

Capturing cloud movement

Long exposures can add a dramatic effect to a landscape scene, especially when clouds are moving quickly and in the right direction! The best effect will be achieved when using a very wide-angle lens and when clouds are either moving towards the direction you’re photographing, or directly away from it. You may need to experiment a bit to find out exactly how long your exposure will need to be, as this will depend upon how quickly the clouds are moving. It could be anything from a few seconds to several minutes, and you would control this using neutral density filters. Whenever you shoot long exposures it’s worth taking several frames to choose from later, as the effect will be slightly different in each one.

Canary Island Pine Forest with clouds moving over the Atlantic during a long exposure, Teide National Park, Tenerife, Canary Islands. Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/5s · 120mm · ISO100

Creative control of water movement

For me the most effective use of long exposure times is to control the way moving water is recorded in my landscape images. In coastal locations I may be looking to smooth out the texture and contrast of ripples and waves to help emphasise features such as boulders, piers, sea stacks and rock arches. In poor light I often use very long exposure times, often of several minutes, to create minimalist seascapes by smoothing out the water to an almost glass-like state. A longer exposure time can also be used to create separation between the flowing water in a river and static rocks within the river and along the riverbank by reducing contrast and texture in the water. Using a fast shutter speed to capture landscape images that include moving water can result in a ‘frozen in time’ look that seems unnatural to my eye. To overcome this, I will decide upon an appropriate exposure time that I feel suitably captures the flowing nature of the river at the time.

Dail Beag beach, Isle of Lewis, Outer Hebrides, Canon EOS R5, 11-24mm, 2sec at f/14, ISO 100. Image: Guy Edwardes

Canon EOS R5 · f/14 · 1/1s · 11mm · ISO100

Working with the conditions

In windy weather when vegetation is blowing around, I often choose to work with the conditions, rather than fighting against them. The latter usually results in compromises to image quality from using high ISO settings and wider lens apertures to achieve a shutter speed fast enough to freeze wind movement.

Therefore, try sticking to a low ISO setting, along with the aperture you require for sufficient depth of field, and simply allow the vegetation to blur during the resulting long exposure. This approach can help to capture a more atmospheric result, indicative of the weather conditions at the time. It should be obvious that you deliberately intended to blur the vegetation, so a neutral density filter may be required to set a long enough exposure time, although in overcast light a polarising filter is normally sufficient.

Beech trees at Kingston Lacy, Dorset, Canon EOS 5D Mark IV, 100-400mm, 3.2sec at f/16, ISO 400, Variable ND filter, Image: Guy Edwardes

Canon EOS 5D Mark IV · f/32 · 1/0s · 286mm · ISO400

Problems to overcome

Always take the time to use neutral density filters to achieve your long exposure, rather than expanded low ISO settings or a very small lens aperture, both of which are detrimental to image quality. Remember to turn off in-camera and lens stabilisation when shooting long exposures, otherwise the stabiliser can blur the whole image. Long exposures cause the camera sensor to get hot, which in turn can lead to ‘hot pixels’ showing up in your image. For this reason, it’s best to turn your camera off whenever you’re not taking pictures to allow the sensor to cool. Some camera bodies include the menu function ‘pixel mapping’ to remove hot pixels – it is worth running this before taking any long exposures.

Sligachan, Isle of Skye, Scotland, Canon EOS R5, 11-24mm, 1 sec at f/16, ISO 100, 3-stop ND filter,      Image: Guy Edwardes

Canon EOS R5 · f/16 · 1/2000s · 19mm · ISO100

Another option is to use in-camera long exposure noise reduction, but this takes time and is therefore impractical when shooting very long exposures. Perhaps the best solution is to shoot a final long-exposure image with your lens cap on. This black frame will still show the hot pixels and can be used to perform a dark frame subtraction in Photoshop. Place the dark image as a new layer on top of the image you’re working on and change the blending mode to subtract. Most hot pixels will vanish, and the remainder can be removed using the spot healing tool.

There is certainly a degree of trial and error in long-exposure landscape photography, but as a creative technique it may help to elevate your landscape shots to the next level.

Benijo Beach and Roques de Anaga, Tenerife, Canary Islands, Canon EOS R5, 11-24mm, 1sec at f/11, ISO 250. Image: Guy Edwardes

Canon EOS R5 · f/11 · 1/1s · 13mm · ISO250

How to shoot moving water with long exposures in high-contrast lighting

1. High-contrast scenes require exposure bracketing and blending if you don’t use graduated ND filters. However this can cause problems when shooting long exposures with moving water, as the water effect will vary in each bracketed frame. I overcome this by using a variable neutral density filter (VND).

2. Choose the ideal camera settings for your shot. This would normally be a low ISO to minimise noise and a middle aperture for the best image quality. You can also set what you consider the perfect exposure time for the effect you’re trying to capture.

3. Turn the VND filter until the scene appears dark enough to capture plenty of detail in the brightest highlights. This can be judged by using the live histogram on your rear LCD screen. Note that if you have the sun in the frame this first image will be very dark indeed! Take the first image.

4. Without changing any camera settings, carefully turn the VND filter until 1-2 stops brighter. Take a second image. Repeat this process until you’ve captured a final image with plenty of detail in the darkest shadow areas. The number of images required will depend upon the contrast in the scene.

5. The water movement in each frame will be similar, as the exposure time remained the same. Therefore, the resulting set of images can be blended, in Adobe Lightroom (Merge to HDR) into a single DNG RAW file with expanded dynamic range. This can then be processed as normal, but with the increased capacity to recover highlight and shadow areas. If using an exposure time of only a few seconds, it may be necessary to refine the end result by blending the best single exposure for the water with the HDR file using layers and masks in Photoshop.

Why it Works

For this shot of Porth Nanven in Cornwall I used a very long exposure time of five minutes. This was achieved using a 15-stop neutral density filter. It is a single exposure at f/11 and ISO 100 to maximise image quality. I chose to use such a long exposure for two reasons. Firstly, as the clouds were moving directly towards me and I was using a 16mm wideangle lens, I knew that a long exposure would transform the clouds into streaks that would help to draw the viewer’s eye into the centre of my composition. Secondly, I wanted the nice smooth boulders to form a prominent and important element in the foreground. The water flowing around the boulders during the long exposure has helped to isolate individual boulders, as well as simplifying the overall composition by smoothing out the texture and contrast in the waves and ripples that would otherwise have made the image very busy.

Sunset from Porth Nanven, Cot Valley, St Just, Cornwall, Canon EOS 5DS R, 16-35mm, 339sec at f/11, ISO 100, Image: Guy Edwardes

Canon EOS 5DS R · f/11 · 1/0s · 16mm · ISO100

Guy’s Kit list

Wide-angle lens
Although lenses from wide-angle to telephoto can all be used successfully for shooting long exposures, ultra- wide-angles tend to produce the most dramatic effects if you’re trying to capture water or cloud movement. My Canon EF 11-24mm f/4L is my most-used lens when shooting long- exposure landscapes.

Tripod
A sturdy tripod and head are essential for long- exposure landscape photography. Spiked tripod feet and a weighted bungee cord can help improve stability, especially in windy conditions. I use a Sachtler Flowtech 75 video tripod and Really Right Stuff BH55LR ballhead.

Neutral density filters
I recommend having a minimum of 3-stop, 6-stop and 10-stop ND filters available. Even 15-stops can be useful in very bright conditions. I use a set of Breakthrough drop-in ND filters and variable ND filter via my Canon EF-RF drop-in filter adapter.

Remote release
For exposure times longer than 30 seconds you may need a remote release to use the bulb setting on your camera. However, many modern cameras allow bulb to function through the use of touch shutter, or the setting of longer exposure times directly.

Cauldron Force, West Burton, Yorkshire Dales National Park, North Yorkshire, Canon EOS 5DS R, 16-35mm, 10sec at f/22, ISO 250, Image: Guy Edwardes

Canon EOS 5DS R · f/22 · 1/0s · 29mm · ISO250

Guy Edwardes

Based in his home county of Dorset, Guy has been a professional landscape and nature photographer for almost 30 years. He is represented by major picture libraries, and he runs a series of photographic workshops and tours around the world. See his latest work and available workshops at www.guyedwardes.com.

Further reading:

• The top three filters you need for superb landscape shots
• Lee filters Super Stopper targets long-exposure photography
• Guide to fine art landscape photography
• Guide to Moonlight Landscape Photography

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Master long-exposure landscapes appeared first on Amateur Photographer.

After the sun has set and you’ve taken your final image during twilight, packing away and beginning the long trek back to your car is the typical order of events for landscape photographers. But once darkness has set in, depending on the moon phase and how clear the sky is, a whole new view of the world can reveal itself; one where nighttime scenes can be captured in such a way that they look as if they were taken in daylight. The main giveaway that something else is afoot is the stars nestled in the bright blue sky.

Shot under a full moon, this image is made up of a shorter exposure for the sky and a longer stopped-down exposure for the foreground Sony A7R III, 20mm f/1.8, 6sec at f/1.8, ISO 640 (sky); 5min at f/11, ISO 400 (foreground) Image: James Abbott

ILCE-7RM3 · f/11 · 1/0s · 20mm · ISO400

For this effect to work, you ideally need to shoot on or within a few days of a full moon. However, you can shoot during first quarter or third quarter moon phases (a half-illuminated moon as seen from Earth). The only downside here is that you have to roughly double the ISO compared to a full moon, but modern cameras, even entry-level models, are excellent performers up to ISO 1600 which is the highest setting you’ll ever need if you’re using the right type of lens. It’s a unique approach to night landscape photography, so let’s take a look at how it’s done…

Capturing images of this type is tricky, it can’t be denied. Not only do you have to shoot using standard astrophotography settings, which involves manually focusing on the stars, but you also need a bright enough moon, a mostly clear sky and a location that doesn’t suffer from too much light pollution. This doesn’t sound like much, but for these variables to fall into line you need a lot of luck alongside a solid shooting plan. And when they do, it’s always well worth the effort because the resulting images are unlike any other style of landscape photography.

Exposure considerations for moonlit landscapes

If you’d like to capture the best quality images, at the lowest ISO setting possible, you’ll need to shoot using a wideangle prime with a fast maximum aperture such as a 20mm, 24mm or 35mm f/1.8. If you have an f/1.4 or an f/1.2, even better. Then, before you begin shooting, you have to decide whether you’d like to shoot a single exposure that captures the stars and foreground subjects 20-30m away from the camera and beyond perfectly, or if you need to shoot a second longer exposure at a lower ISO setting and narrower aperture to make sure any closer foreground interest is sharp and in focus. These two exposures can then be merged in Photoshop for sharpness throughout the entire nighttime scene. This is a fairly simple process in editing terms, and the result is much closer to how the eye saw the scene except for the foreground and sky being captured almost as brightly as daylight.

This image of the iconic Dunstanburgh Castle was shot under a waxing gibbous moon with just a single wide aperture exposure because a large depth of field wasn’t required, Sony A7R III, 20mm f/1.8, 10sec at f/1.8, ISO 1600. Image: James Abbott

ILCE-7RM3 · f/1.8 · 1/0s · 20mm · ISO1600

Apps for planning your moonlight landscape shots

As with standard astrophotography, this is a technique where several variables need to align, so meticulous planning is essential. First and foremost, you need to know the moon phase, when it will rise and fall and where it will travel across the sky relative to your chosen location and shooting direction. Ideally, it needs to be to the side or behind you, but you do have to watch out for your own shadow creeping into the shot. The best app for planning most of this is PhotoPills. You also need a mostly clear sky, and Clear Outside provides detailed information about cloud cover.

Clear Outside App. Image: James Abbott

Moonlight Landscapes – Shooting Steps

1. Focus on the stars

Attach your camera to a tripod and compose the shot. Switch on live view and zoom in to the brightest star you can see in the frame. Set the lens to manual focus and rotate the focus ring until the star is at its smallest and sharpest. And if you’d like an additional focusing aid, switch on the focus peaking set to red to show a ring around the star when it’s in focus.

Image: James Abbott

ILCE-7C · f/4 · 1/8s · 70mm · ISO800

2. Expose for the stars

Exposure requires experimentation because it depends on the brightness of the moon and the maximum aperture of your lens. In manual mode, start at a shutter speed of 10 seconds with ISO set to 1000 and the lens at the maximum aperture – ideally f/1.8 or wider. Then adjust ISO and shutter speed as required, but ideally keep the shutter speed below 10 seconds.

Image: James Abbott

ILCE-7C · f/4 · 1/25s · 70mm · ISO800

3. Focus and expose for the ground

This step is only necessary if you’re shooting a scene where there’s foreground interest fairly close to the camera. For this, stay in manual mode with ISO at 400-800, aperture at f/11 and use Bulb mode to manually time an exposure of around 10 minutes. You’ll also need to refocus 1/3 of the distance into the scene beyond the foreground.

Image: James Abbott

ILCE-7C · f/4 · 1/30s · 70mm · ISO800

Moonlight Landscapes – Ensuring perfection

Sharpness is just as important for moonlit landscapes as it is any other, and the high ISO settings required can be ‘fixed’ in Lightroom during processing thanks to the amazing Denoise feature within the Enhance controls. So, as long as you’ve focused on the stars correctly and the exposure time is short enough to capture the stars as dots, everything will fall into place. This is important whether you’re shooting a single exposure or a dual exposure for blending, and there’s a simple way to guarantee pinpoint stars.

A different approach to this technique is to find a large and tall subject that can be shot against the sky to capture more stars behind the moonlit object. This is, of course, less of a moonlit landscape image and falls more into the realm of astrophotography, but the shooting technique is identical and it provides an alternative compositional approach that can produce interesting images Sony A6300, 20mm f/1.8, 10sec at f/1.8, ISO 500. Image: James Abbott

ILCE-6300 · f/1.8 · 1/0s · 20mm · ISO500

Without going into the 500 rule, which is a calculation that can be made to determine the longest exposure you can make, depending on the focal length of the lens used, before movement of the stars is captured, simply keep shutter speed below 15 seconds but ideally at 10 seconds or less. This will capture stars as dots rather than teardrops or worse, as trails. Of course, if you shoot a longer exposure for the foreground, this will capture star trails because of the long exposure time, but this isn’t a problem because the shorter, higher ISO/wide aperture exposure for the stars will be used for the sky.

Moonlight Landscapes – Adding light

Image: James Abbott

ILCE-7RM3 · f/1.8 · 1/0s · 20mm · ISO1600

The only time you’d ever need to add artificial light to a moonlit scene is if and when the moon is obscured by a cloud. This can be frustrating when the weather forecast has suggested a clear night, but it does unfortunately happen. In this situation, the best course of action is to shoot a single exposure with standard astro settings to capture the stars and use a torch or headtorch to illuminate the foreground interest. This is exactly what happened with this shot, and although the technique used is different from the one intended, it guarantees an image despite the less-than-ideal conditions.

Image: James Abbott

ILCE-7RM3 · f/1.8 · 1/0s · 20mm · ISO1600

Painting with light is always hit and miss, which means you have to shoot multiple frames where you adjust and refine your lighting technique to achieve the desired lighting effect. The two examples here were taken before the main image, with the left image being too bright in the foreground and the right image being too dark and unevenly lit.

Shot under the blue moon at the end of August 2023, the full moon was extremely bright and it perfectly illuminated this salt marsh scene Sony A7R III, 20mm f/1.8, 10sec at f/1.8, ISO 800 (sky); 10min at f/11, ISO 640 (foreground). Image: James Abbott

ILCE-7RM3 · f/11 · 1/0s · 20mm · ISO640

Moonlight Landscapes – Editing Steps

1. Apply basic adjustments

Process your f/1.8 exposure, or the first of the two exposures you took, as you would a standard landscape using the controls in the Basic tab, the Tone Curve and Lens Corrections. The latter is especially important for the shot taken at f/1.8 or wider to remove the inevitable vignette.

Image: James Abbott

2. Use localised adjustments

Lightroom’s Masking Tools are ideal for localised adjustments. Here, a Radial Gradient was applied and inverted for a subtle vignette. If you’re working with just an f/1.8 exposure, you could omit Lens Corrections in step one to maintain the vignette, but this is the best option for the dual-exposure approach.

Image: James Abbott

3. Denoise the image

For single f/1.8 exposures, this is the final step. In the Detail tab, click Denoise to open the Enhance dialogue. Select an area of stars and adjust the Amount so that noise is reduced but fainter stars aren’t lost. For this image, 40 worked perfectly. Click OK and then Sync all adjustments to the second exposure.

Image: James Abbott

4. Open images as Layers

Manually adjust Exposure in the second shot to match the first and apply the same Denoise settings. Next, with both exposures selected, right-click on the thumbnails and go to Edit In>Open as Layers in Photoshop. Select both layers, go to Edit>Auto Align Layers and then crop out any space at the image edges.

Image: James Abbott

5. Blend the two exposures

Select the top layer and go to Select>Sky. Add a mask and the area of ground in this layer will be hidden. The image layer at the top of the stack needs to be the exposure for the stars. If it’s the ground exposure you’ll need to press Ctrl/Cmd+I to invert the mask that will be active by default.

Image: James Abbott

6. Refine edges

The AI-powered sky selection may need some manual mask refinement. Parts of the boat and the jetty posts have ghosted. Carefully paint black over these edges to reveal the sharper bottom layer. Switch to white to paint out any mistakes. If you inverted the mask, use white to reveal and black to hide.

Image: James Abbott

Moonlight Landscapes – Kit List

Tripod

With exposures ranging from 5 seconds to more than 10 minutes, depending on your approach to this type of photography, a sturdy tripod, ideally not a travel model, is an absolute must to keep the camera still during long exposures.

Fast prime lens

Fast, wideangle prime lenses are the perfect option because they often provide better edge sharpness than zoom lenses and their fast maximum aperture of f/1.8, f/1.4 or f/1.2 is essential for astrophotography.

Shutter remote

A shutter remote is much quicker and more convenient for releasing the shutter than the camera’s self-timer. Plus, if you’re shooting one exposure for the sky and another longer exposure for the foreground, you’ll need a shutter remote to shoot in Bulb mode.

PhotoPills app

The PhotoPills app is one of the best smartphone apps available for planning landscape and astrophotography shoots. For this technique it’s particularly useful because it shows you when and where the moon will rise, travel and set.

Photo Pills App. Image: James Abbott

Headtorch

Headtorches are essential for landscape photographers because they leave your hands free for navigating to and from locations in the dark, as well as adjusting camera settings etc. Just make sure you switch it off during exposures.

Related reading:

• The best landscape photography books for inspiration
• The night sky: How to photograph stars and the Milky Way
• How to shoot star trails – in 6 easy steps
• Shooting the night sky: tips from Astronomy Photographer of the Year winners
• Best camera for astrophotography
• Best lenses for astrophotography

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Guide to Moonlight Landscape Photography appeared first on Amateur Photographer.

Why shoot landscapes in monochrome? It’s a simple enough question. Why not instead utilise the full ability of the modern sensor and shoot in glorious colour? To me, the answer is not a technical one. I find there is an undefinable quality about black and white images that I just don’t get from an image that was shot at sunrise or sunset and packed with super-juiced post production primary colours.

Before getting into the details, check out the guide to some of the best software for black and white editing. There is a new version of the Nik Collection from DxO, for instance, which includes some great improvements to the local adjustment tools. As I will discuss later, one of the best tools for black & white editing is Silver Efex.

15th century tower house in late autumn, Dumfries and Galloway. Leica M10-R, 1/30sec at f/8, ISO 100, Silver Efex Pro. Photo: Jeremy Walker

Black & white imagery is of course not for everyone, and I recently heard a client on a workshop say bluntly, ‘I don’t do black & white’, which is fair enough, but I feel they are missing out on an incredibly creative part of the photographic process. The days of starting your photographic career by mixing chemicals in the bathroom, sticking bin bags across the window to achieve blackout, an enlarger precariously perched on a stool and prints being washed in the bath probably just do not happen any more, but processing your own black & white negatives and then printing them really concentrated the creative mind.

You looked at the world in black & white, your whole photographic output was in mono and so you looked at the world in terms of shadows, tones, contrast and texture. Colour, unlike today, rarely came into the equation.

What is the best time and place for moody monochrome landscapes?

Shooting moody monochrome landscapes requires a great deal more effort than just getting up for a sunrise or sunset and then hitting the saturation slider in post production. Having found a location that will work well in mono is one thing; being there at the right time in the right conditions is another.

Cuillin Hills in winter, Isle of Skye. Nikon D810, 1/640sec at f/8, ISO 64. Three images stitched together in Photoshop. Converted to B+W in Silver Efex, Photo: Jeremy Walker

Weather forecasts showing the percentage of cloud and rain, wind speed and direction become critical. A forecast showing a 50% chance of rain with the wind at 15 to 20 miles an hour can be encouraging. Basically, look for sunny intervals with frequent showers.

Clearing (or approaching) storm clouds on a background of deep blue sky with dark patchy shadows scudding across the landscape are heaven for those photographers who want oodles of mood and drama, although there is a price to pay for such dramatic conditions. By the very nature of wanting storm clouds, the chances are you are going to get wet, cold, hit by hailstones or even snowed on, but trust me on this one, it will be worth it.

Hunkering down on a hillside, even well prepared and in the right outdoor kit, can seem slightly unpleasant at times but when the storm clears you are there, in place and ready to shoot. There is no getting out of the car, getting togged up and having to walk to the right spot; if you do this the chances are you will have missed the shot, that transient moment when all the elements have come together for just a split second.

Marlborough Downs in late summer, Wiltshire. Leica M10, 1/250sec at f/8, ISO 100, Silver Efex Pro, Photo: Jeremy Walker

Yes, you may have to suffer a cold waterdrop dribbling down your neck or a hard hailstone hitting home, but to be in the right place at the right time, ready and waiting and then getting the image, there is no better feeling, even after hours of discomfort. Thinking and shooting in mono also opens up the possibility of a larger, longer working window.

Sunrises and sunsets with their pretty pink skies come and go after about an hour but when you are shooting in mono there is often an opportunity to be shooting much longer into the day. Yes, the conditions and location will play a huge part in how long you can shoot for but even several hours after sunrise or before sunset you can often still use the light to your advantage.

Late autumn, winter and even early spring are great times to be thinking in terms of shooting mono as there is precious little colour in the landscape anyway and the sun is never going to climb too high in the sky.

How do I edit for moody monochrome landscapes?

When you are shooting moody monochrome landscapes, you should be aware of how you are going to process them and what sort of feel and look you are going to give your images. The doyen of many landscape photographers, Ansel Adams, always said to visualise the final print on the wall before you take the camera out of the bag, and this still holds true today.

Avebury stone circle in late winter, Wiltshire. Leica M10, 1/125sec at f/5.6, ISO 100, Silver Efex, Photo: Jeremy Walker

When you are on location you should know what look and feel your image will have and when you are sat in front of your computer you should know how to achieve the desired result. Creating moody monochrome landscapes is not just a case of pushing the saturation slider to the left in Photoshop, desaturating the image and hoping for the best. Contrast, clarity and colour channels can all come into play in creating the look and feel you want.

Possibly the best-known software for creating black & white images is the superb Nik Silver Efex. It is a very creative and powerful program with many presets but it too has its limitations. It can be a very aggressive piece of software so you need to check your images carefully for any deficiencies and imperfections that it may create.

In using software that has many presets you also risk having your images look like everyone else’s and so you must be very careful and selective in what you use. Look to create your own style, apply a pic ‘n’ mix type of approach to your selections so that hopefully no one else will have quite the same look and feel to their images.

Beech Trees, Marlborough Downs, Wiltshire. Leica M10, 1/250th at f/8, ISO 100, Silver Efex Pro, Photo: Jeremy Walker

You have visualised and shot your landscape as a black & white, but of course the camera chip is seeing colour (unless you have the stunning Leica M11 Monochrom) and the resultant raw file will contain all the colour information that was in front of you at the time of shooting. In converting the raw file to a black & white image the software is using the colour information and you can turn this to your advantage.

For instance, if you want dark black skies, make your blues as dark as possible, using a polariser or grad. Even when you are shooting for a black & white image you still must be aware of colour and how its conversion will affect the resultant image.

Just do it

Even if black & white photography is not for you, I urge you this winter to give it a go. Not just pleasant images with a wide tonal range and a well-balanced histogram, but images with solid blacks, and mood and drama by the bucket-load. Set your camera monitor to mono and visualise and explore a drama-filled world devoid of colour.

Why this image works

Before, Photo: Jeremy Walker

The ruins of Kilchurn Castle on the shores of Loch Awe are often photographed at sunrise with calm waters, reflections, snow on the hills and perhaps a thin layer of mist wafting by. I wanted to see what the castle was like late on a breezy, wet winter’s afternoon. My visit was more in hope than anticipation as it had rained all day. Scotland in winter is always a frustrating battle against the elements.

Storm clouds hung over the hills, the wind ruffled the water, and the sun was well hidden, not a promising start. However, just for a few minutes a beam of light pierced the gloom and illuminated the stark trees in the foreground, the castle being almost an afterthought in the distant background.

After, Photo: Jeremy Walker

I knew then with a bit of work in Photoshop and a black & white conversion in Silver Efex would have the moody and dramatic image that I had in my mind’s eye. Judging the scene when you shoot it and knowing your software are key to this type of image. At the time of shooting, you should have an idea of what your final image will look like, and how you are going to achieve it.

Jeremy’s top tips for moody monochrome landscapes

Follow the weather forecasts

Don’t be put off by warnings of showers or even storms. You want moody and atmospheric conditions, but you need to find a balance of showers, sunshine, and a strong breeze. Use at least three different forecasters to get a good cross-section of what is likely to happen.

Go prepared

There may be a great deal of hanging around waiting for the perfect conditions. Warm waterproof clothing and the correct footwear are the essentials but carrying a flask of coffee and some comfort snacks can be just as important. A soft waterproof cushion to sit on and protect you from cold and damp surfaces during a long vigil is also a must!

Make the best use of filters

Use grads, polarisers and any other filters that will have an impact on how a colour or hue will translate into black & white. It’s also important you get to know your software and how it works with and interprets your raw files. This comes with experience so don’t let one shoot put you off. The more you shoot and process, the better understanding you will gain.

Pick the best subject matter

Pick an appropriate subject matter for your moody monochrome landscapes, Photo: Jeremy Walker

Large, dark brooding skies work well over castles and ruins, less so over pretty rose-covered cottages. Try to choose a subject matter where the mood and drama help tell a story – ancient stone circles, Neolithic earthworks, and abandoned buildings like old churches can all look amazing with stormy skies and fleeting patches of light.

Perseverance

Photo: Jeremy Walker

Judging the conditions at any given location is never going to be easy. There will be a great deal of frustration when the elements do not come together, hours spent just waiting with nothing to show for it. But when the light, clouds and the landscape come together in harmony the struggles will be worth it.

Jeremy Walker

Jeremy, one of the UK’s leading landscape photographers, is known for his eye-catching panoramas and moody black & white landscapes. Landscape is his acclaimed first book and he is in much demand as a speaker, writer, and workshop leader. See www.jeremywalker.co.uk or follow him on Facebook or Instagram.

Further reading:

• The best cameras for black and white
• Guide to black and white fine art photography
• How to use filters for better landscapes
• Nik Collection 6 released
• Adobe Photoshop review
• Leica Monochrom M11 review

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post How to capture moody monochrome landscapes appeared first on Amateur Photographer.

Night landscape photography: Moon cycle and weather

The moon will have a dramatic effect on our images. A full moon will cut exposure times and make the sky appear more of a blue colour, almost like it’s daytime; however, it will also reduce the number of visible stars. The moon cycle along with the moonrise and set times can easily be found for most locations on the Internet. But you can also use apps like PhotoPills or SkyView Lite to determine the phase and position of the moon in the sky in your location.

The moon peeping through clouds creates a dramatic effect.

Also, keep an eye on the forecast. Clear skies work well for star trails but don’t ignore cloudy or partly cloudy nights. Add a fair amount of drama and a Halloween edge to your images by shooting when mist or fog sets in, it can transform a mundane scene in the day to a spine-chilling one at night, but be careful as water droplets can settle on the lens surface during long exposures and are very difficult to detect in the dark. A great example of night cityscape photography is Brassai’s series of Paris by Night which features a variety of scenes in thick fog and uses the streetlights to create stark contrasting black and white images.

Night landscape photography: Light pollution

While light pollution (brightening of the night sky caused by streetlights and other man-made light sources) can mean it’s harder to see as many stars, it can also add some much-needed colour to a sky. Light pollution will have the most dramatic effect on the sky when there is a new moon or the moon is yet to rise.

Using artificial lights can enhance an image by introducing more colours and complimenting the composition.

Take a spare torch and batteries

I often work in remote locations so I always carry a spare torch with me to find my way back to the car, particularly as my main rechargeable torch often runs out of power. I find a spare wind-up torch works well, as you are then not reliant on battery power. Long exposures can quickly drain camera batteries so make sure they are fully charged and that you have a spare. Also shooting at night means you will likely have to shoot with temperatures dipping below zero, in these conditions, it is not unusual for your batteries to last half as long as usual. To avoid the cold draining your batteries keep them close to your body, (inner pockets for example) to keep them warm, and make them last longer.

Night landscape photography: On the night

Step 1.  Choose your composition

Arrive at your location while it’s still fairly light to help you easily compose your images. When setting up your camera make sure that your tripod is placed on secure ground and ensure that it is not going to move during the long exposure.

Long exposure shot of architecture.

Step 2. Shoot RAW

By shooting your images in Raw format you will have more flexibility and be able to apply a wider range of changes to your images at the post-processing stage. Small adjustments to white balance, exposure and noise can all be applied when editing the Raw files.

Using car lights or lights from buildings is a great way to capture city nightscapes.

Step 3. Set up your camera

Attach your cable release, set your camera to bulb mode and select your aperture. Alternatively, If you don’t have a cable release you can set your camera’s self-timer with a few seconds delay to avoid camera shake or connect your camera to your smartphone and use that as a remote release. Finally, focus the lens on your subject, and once this is completed remember to switch to manual focusing so that the lens doesn’t start to hunt once it’s dark.

Step 4. Take a test shot

Once it’s dark, lock open the camera’s shutter using your remote release. Remember to take note of the total exposure time. If you would like to focus the attention to a certain part of your scene try illuminating your subject with a flash or torch light, again keep track of your exposure time and roughly the amount of light applied to your subject.

Step 5. Review your test shot

Review your test shot and work out what areas need more or less light, as getting the correct exposure involves a little bit of trial and error. Once you have decided on what exposure changes to make, simply re-take the shot and keep reviewing the images until you get a result you are happy with.

Night landscape photography: tips to help you take better night photos

Focus using a torch

To aid with focusing in the dark, shine a powerful torch on your chosen subject. Once your camera gets a focus lock, switch your lens to manual focus so that it doesn’t hunt when you press the shutter button.

Compose using high ISO

To compose your night landscape photography shots in the dark, change the ISO setting to your most sensitive available then take a test exposure and recompose as required. Remember to lower your ISO setting back to 100-200 once you’re done.

North star

Take a compass with you and work out the position of the North Star. As the Earth rotates the North Star will appear to stay fixed and the rest of the stars will appear to rotate around it. Sky.., app

Two’s company

Night photography can be quite spooky so having a friend with you will keep you company and make you feel safe, they can also help you with illuminating the scene from different angles, or you can ask them to stand in your composition and use their silhouette to indicate the scale in your image.

Dress warm

It can get very cold at night, particularly when standing around waiting for long exposures, so warm clothing is essential.

Noise reduction

If your camera has a noise reduction facility, turn it on for your final shot of the evening. Once the main exposure is completed you can pack away your camera while it’s still exposing for the dark frame. When you arrive home it’s exciting to view the completed image for the first time.

Submit your night photos to APOY!

Happy with your photos? Submit your night landscapes to our Amateur Photographer of the Year competition. The Low Light round is now open and closes 11:59pm on 13th November.

Further reading:

Fright Night: ghost camera takes spooky London Photowalk

Complete guide to outdoor light in photography

Art Wolfe on his approach to night photography

How to photograph low light urban landscapes

Essential guide to Astrophotography

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post A guide to night landscape photography appeared first on Amateur Photographer.

Once more, the iconic Landscape Photographer of the Year competition showcases and celebrates the truly magnificent and varied scenery found in and around the Great British Isles. Charlie Waite, the awards founder, says, ‘Over 16 years, Landscape Photographer of the Year has continued to bring some wonderfully talented photographers who often and with immense tenacity both discover, reveal and confirm so much of what the landscape of the UK offers to so many.’

This year, Mik Dogherty scoops the prestigious title of Overall Winner, as well as winning the Change in the Landscape Special Award, with his striking scene, ‘After the Fire’, of burnt gorse bushes and a lone tree as a result of a large heath fire in the New Forest National Park. He will receive the £10,000 top prize in this year’s competition.

The Young Landscape Photographer of the Year title goes to Aaron Northwood for his image ‘The Wishing Tree’ taken after heavy snowfall in Aston on Clun, Shropshire. Aaron wins £1,000 and will be joining the judging panel for the 2024 YLPOTY.

The number of entries this year was over 17,000, with the number of female entrants more than doubling over previous years and there was an increase in the number of entries to the Young Landscape Photographer of the Year too. Thrilled at just how much Great Britain’s landscape is adoringly photographed by all, Charlie Waite enthuses, ‘Photography has now become the people’s “new common language” with more people worldwide photographing than ever before. It is not merely the population of the UK who feels so strongly that we are almost blessed to have such a wonderfully diverse rural and urban landscape but many others from across the world confirm the same.’

This year photographers were able to enter images through a variety of categories and special awards. The six main categories include Classic View, Cityscapes, Black and White, Intimate View (macro and detail), Expression/Impressions of the Landscape and Bird’s Eye View (Drone). In addition to these, there were also three Special Awards to enter: Change in the Landscape, My Railway Adventure and Coast.

An exhibition of shortlisted and winning entries will premiere soon, so check the LPOTY website for details of dates and locations.

To see all the winners and awarded entries from this year’s Landscape Photographer of the Year competition, visit www.lpoty.co.uk.

Landscape Photographer of the Year 16 winning images

After the Fire, Mik Dogherty

Overall Landscape Photographer of the Year 16 Winner and Change in the Landscape Winner

Location: New Forest National Park, Hampshire

Fujifilm GFX 50S, Fujifilm GF100-200mm f/5.6 R, 1/15sec at f/9, ISO 100

© Mik Dogherty / Landscape Photographer of the Year

‘After a large heath fire near Beaulieu in the New Forest National Park, I recognised the potential for a picture to highlight the damage caused by the fire. I knew I would need to wait for a foggy or misty morning to hide the view of the large Fawley oil-refinery complex. With its large towers and chimney stacks, it is clearly visible in the background above the tree line, as it is from many parts of the National Park (much like the cement works in the Peak District).

‘Eventually, that morning came. There was low, thick mist and to add to the morning was a great sunrise. Six months or so later, most of the burnt remnants of wispy gorse bushes and the lone tree have gone (mostly devoured by the grazing New Forest ponies and cattle), so this picture no longer exists. However, the regeneration of the heathland has begun.

‘This panorama is made up of five shots, stitched and processed in Lightroom CC. Exposure was dropped by ½ stop and then a radial filter was used to highlight the sun to the tree. Negative dehaze was used to emphasise the misty morning and then detail recovered using small movements of the texture and clarity sliders.’

Mik’s top tips for award-winning landscapes:

1. Once you’ve found a great shot, it’s always worth considering not just the composition, but the atmospherics. Think about what the best weather conditions could be for that award-winning photograph. Whether it’s fog, a moody sky, sunrise, sunset, rain, snow, windy or calm conditions, diffused, strong or flat light, plan to come back at another time to shoot when the conditions are just right.
2. After you’ve been out on a shoot, take care of your kit so it’s ready to go for the next outing straight away (charge batteries, clean lenses, filters etc). The old phrase of ‘failure to prepare is preparing to fail’ comes to mind. Not much fun after a long hike to your next shoot if you don’t.

The Wishing Tree, Aaron Northwood

Overall Landscape Photographer of the Year 16 Youth Winner and Classic View (Youth) Winner

Location: Aston on Clun, Shropshire

Fujifilm X-S10, Fujifilm XF16-80mmF4 R OIS WR, 1/4000sec at f/4, ISO 800

© Aaron Northwood / Landscape Photographer of the Year

‘A day off work due to heavy snow meant I could get out with my camera and make the most of the weather conditions. I headed up a local lane to see what I could find, eventually spotting this lone tree on the horizon. I selected a 1:1 ratio as I wanted to create a simple scene; however, there were fences and gates below the tree that made the scene look messy. To get around this problem I positioned the camera in some snow on an old stump. I moved the camera so the bottom of the lens was hidden in the snow, hiding the cluttered foreground. I didn’t realise how well this had worked until I got back home, with the snow looking like fog below the tree.

‘This image looked fine straight out of the camera, so I didn’t have to do much. I brought the temperature down to emphasise the cold conditions on the day. I also added a vignette to draw the eye in towards the tree and reduced the dehaze slider to create a more misty, magical look.’

Aaron’s top tips for award-winning landscapes:

1. Use weather apps. By looking in advance you can predict roughly the conditions and find out the sunrise/sunset times and other conditions such as mist, which can completely change how an image looks.
2. Make the effort to get out with your camera as much as you can. I quite often come back with no images I like; however, getting out more increases your chances of capturing a good image, which makes it all worth it.

Celestial, Matt Menhenett

Commended, Bird’s Eye View

Location: Fistral Beach, Newquay, Cornwall

DJI Mavic Pro, 26.3mm f/2.2, 1/13sec at f/2.2, ISO 360

© Matt Menhenett / Landscape Photographer of the Year

‘Celestial is a strange photo because at a glance it seems like a fairly whimsical scene, but it’s probably either a seasonal parting of the ways or a paddle out (memorial) for a friend. This was from a carefully timed shoot, and it wasn’t what I intended to take photos of at all, but ultimately, it’s a much more beautiful moment, full of unexpected compassion in arguably the most constantly changing of landscapes. The sun setting over the cliffs that I had aimed to take photos of wouldn’t have been quite as emotive as this, which says a lot for planning, I guess.’

Matt’s top tips for award-winning landscapes:

1. If you take a good photo with inexpensive equipment, it’s still a good photo; don’t be pressured into expensive purchases. Just make sure your gear works the way you want it to, and it’ll still capture the moment. In fact, ‘working’ is just an opinion, it just needs to do what you want it to.
2. Don’t trust social media to validate your success as a photographer; it doesn’t mean anything, and the internet is fickle. The world doesn’t need another oversaturated sunset for easy internet points, but it does need your unique interpretation of a looming star boiling down onto a cold horizon. Believe in yourself.

Dales Mist, Martin Priestley

Highly Commended, Classic View

Location: Yorkshire Dales National Park, Yorkshire

Canon EOS R5, Canon RF100-400mm F5.6-8 IS USM, 1/8sec at f/13, ISO 100

© Martin Priestley / Landscape Photographer of the Year

‘This shot was taken on Beamsley Beacon, a hill overlooking Wharfedale in the Yorkshire Dales. Autumn is my favourite time of year for photography, as you get the wonderful colours in the trees, and mornings are often misty or frosty. I arrived on location well before dawn, knowing that such conditions can be fleeting.

However, on this occasion the mist hung around and I spent several happy hours taking shots. I noticed the rising sun was highlighting the buildings, and composed carefully, so none of the individual trees were too close to the edge. The walls made perfect leading lines. Moments after I took the shot, the mist shifted, and the scene vanished from view.’

Martin’s top tips for award-winning landscapes:

1. A wideangle lens might seem like the more obvious choice for landscape photography, but I recommend making space in your kitbag for a telephoto lens, too. This will afford you more choice in your compositions and allow you to pick out small details within the wider scene.
2. There’s nothing more frustrating than bagging a great shot, only to zoom in and find it isn’t sharp. A sturdy tripod, therefore, is a landscape essential. Inferior models, which flex or don’t hold their position, are pretty useless in my experience, so push your budget as much as possible. A quality tripod will last for decades.

Reflections in Floodgate Street, Damien Walmsley

Highly Commended, Cityscapes

Location: Digbeth, Birmingham

Apple iPhone 13 Pro, 1.57-9mm f/1.5-2.8, 1/50sec at f/1.8, ISO 800

© Damien Walmsley / Landscape Photographer of the Year

‘A classic picture of an early morning on Floodgate Street in Digbeth. Not many people are stirring at this time and the lights don’t turn off until 15 mins before sunrise. These old industrial buildings are a mixture of small businesses during the day and lively venues at night. The area is also well known for its street art and many artists have put up murals on the walls. I took advantage of the rainswept streets, which provided reflections of the old industrial buildings and street art.
I love the warm streetlights contrasting against the blue hour sky. ‘The street got its name from the use of two “floodgates” that were used to stop any flooding from the nearby river Rea. This area of Birmingham was known for its wells and springs, hence the street name.’

Damien’s top tips for award-winning landscapes:

1. Getting down low is always great advice; a smaller camera or phone allows you to do this. The low viewpoint with a slight upwards angle provides a different view of an everyday scene and gets the viewer’s attention. I will often sit down or kneel to see the viewfinder as phones and some older cameras do not have a tilt screen.
2. Reflections are always fascinating for the viewer. Look for windows, puddles, or shiny surfaces. Just after rainfall is a good time for mirrored views. However, combining both the low viewpoint and puddles may be challenging.

Elders, Edd Allen

Highly Commended, Black and White

Location: Newborough beach, Anglesey

Nikon D610, Zeiss Distagon 18mm F/3.5, 1/160sec at f/9, ISO 100

© Edd Allen / Landscape Photographer of the Year

‘The sand dunes on Newborough beach in Anglesey are a photographer’s playground. Running alongside the sandy coastline lives a seemingly endless stretch of Corsican pine trees. Some of them have been less fortunate than others, slowly decaying before eventually falling. This provides endless possibilities to make use of the variety of characters lining the shoreline. During a trip to Anglesey, a friend and I spent the whole morning walking through the skeletal remains, with the sun making the occasional appearance from behind the clouds, where I came across this group of trees sitting on top of a sand dune.’

Edd’s top tips for award-winning landscapes:

1. When shooting lone or small groups of trees, where possible I like to make sure I raise the majority of the subjects above the horizon. I try to ensure the lowest branch is sitting a little way above any background distractions, allowing most of the tree to stand proudly in the composition.
2. I shoot a lot of infrared images, and as with most types of photography, light can play a key role in capturing a successful image. I used to shy away from shooting in the middle of the day when the lighting was harsh, but these conditions can be fantastic for shooting in infrared.

Mudflats, James Abbott

Highly Commended, Change in the Landscape

Location: Snettisham Beach, Norfolk

Sony A7R III, Sony FE 16-35mm F2.8 GM, 1/8sec at f/11, ISO 100

© James Abbott / Landscape Photographer of the Year

‘This image shows the mudflats at Snettisham Beach (The Wash) on a summer’s evening at sunset. This was somewhere close to a year in the making; I first visited the location in early winter on a cold, dull and eventually rainy day that yielded nothing visual. But I almost immediately realised that with the right tide, a high enough temperature and great weather conditions, the soft, wet mud could look incredible if it hardened and cracked.

‘Mudflats was taken on my second visit where the difficult variables aligned by some miracle, and the most dramatic light occurred shortly before sunset. I was using a 3-stop Reverse GND, but the exposure contrast was so high that I still had to underexpose to maintain sky detail and pull the foreground back in post. I also focus stacked to ensure optimal sharpness throughout.’

James’s top tips for award-winning landscapes:

1. Planning can be an important part of landscape photography but knowing when to deviate from your vision of a scene is equally important. Respond to the conditions, always keep an eye on what’s happening behind you, and embrace fleeting moments and good luck when they come your way.
2. With social media being such a useful and addictive tool for photographers, it’s all too easy to be tempted to emulate landscape trends and aesthetics; whether that’s locations, compositions or editing styles. Doing so may get you more ‘likes’, but it can also dilute your true personal style.

Bladderwrack, Daniel Ward

Winner, Intimate View

Location: Ardnamurchan Peninsula, Scotland

Fujifilm X-T4, Lens: Fujifilm XF16-80mm F4 R OIS WR, Exposure: 1/30 sec at f/9, ISO 800

© Daniel Ward / Landscape Photographer of the Year

‘This image was pretty much the last I took at the end of a week-long stay on the beautiful Ardnamurchan Peninsula in west Scotland. All week I was blessed with some fantastic autumnal weather. Amazing rainbows over flat, calm lochs, dramatic light and colourful trees, but this image was my favourite from the whole trip, I think maybe because it was so unexpected and a little bit different from the usual. It was shot handheld over the side of a jetty. I love its simplicity; it looks a bit like a tree with its beautiful olive greens fading into golden yellows at the tips.’

Daniel’s top tips for award-winning landscapes:

1. If you are a handheld shooter who hikes in the mountains, I highly recommend the capture clip from Peak Design. It allows you quick access to your camera, so you can be reactive and get the shot if there’s a quick change in the weather or some sudden dramatic light.
2. When shooting landscapes, always check the edges of your frame to make sure there are no distractions such as tree branches poking in, rocks too close to the border or bright areas of cloud. Keep it clean and tidy.

Lines of Silver, Jeremy Walker

Commended, My Railway Adventure

Location: London Bridge Station, London

Leica M10-R, Lens: Leica Summicron-M 50mm f/2, 1/500 sec at f/4, ISO 100

© Jeremy Walker / Landscape Photographer of the Year

‘I had never been to the top of The Shard before but had heard about the fantastic views to be had. On arriving at the viewing platform, it wasn’t the magnificent vistas of London that caught my eye, but the view down onto the sweeping, snaking form of the silver-roofed railway station at London Bridge.

‘Patches of sunlight and the shadow of clouds swept across the city, momentarily highlighting, and illuminating the curves and texture of the architecture. I kept returning to the same spot, hoping, and waiting for the right moment.’

Jeremy’s top tips for award-winning landscapes:

1. Be aware of the light, it’s direction, colour and intensity. The quality of light will make or break an image and understanding how it works is fundamental to landscape shooting.
2. Return to a location time and again if conditions aren’t right. The ‘it will do, I’ll fix it in post-production’ attitude will not lead to great images. Okay, it’s not always possible to keep going back, but the more effort you put in, the greater the rewards.

Winter Content, Daniel Ruffles

Winner, Coast

Location: Aldeburgh, Suffolk

Fujifilm X-Pro 1, Fujifilm XF 35mm F2 R WR, 1/2200sec at f/2, ISO 200

© Daniel Ruffles / Landscape Photographer of the Year

‘Rarely do we see snow on the coast here in Suffolk; however, back in February 2021, we were greeted with the ‘Beast from the Baltic’. Seeing the snow falling fast from my window, I decided to head out on foot with my camera. I spent a good amount of time capturing various scenes in and around where I live in Aldeburgh and unearthed some new compositions among the elements. Despite this being a bit of a classic shot, the snow gave a completely different feel and created a timeless, painterly feeling to the image.’

Daniel’s top tips for award-winning landscapes:

1. I mostly like to shoot within the golden hour. In Suffolk, morning is best, mainly because of the sun’s positioning as it rises. Shoot in manual mode to allow full control over exposure and make use of soft graduated filters to balance the sky and the foreground.
2. When capturing seascapes, always check high and low tide times. I use an app called WillyWeather. This can give a rough idea of how
   I can then frame interest such as groynes and sea defences in my images. I often use a six-stop filter to capture subtle movement and drama from the sea.

Forteviot Ploughed Field, Geoff Williams

Commended, Black and White

Location: Forteviot, Scotland

Canon EOS 5DS, Canon EF14mm f/2.8L II USM, 1/250sec at f/11, ISO 800

© Geoff Williams / Landscape Photographer of the Year

‘On my way home, I passed this field being freshly ploughed for potatoes; the furrows are particularly high, deep and sculptural when fresh. I knew they’d look great in low sunlight as it would add dramatic texture to the fields. So I decided to go back with my camera that evening. I composed my shot so that the clouds mirrored the geometry of the field.’

Geoff’s top tips for award-winning landscapes:

1. Learn the local landscape. Amazing compositions can be local if you look hard enough. You don’t always have to drive to Skye!
2. Don’t settle for the right shot at the wrong time. Once you find a great composition, go back again and again if necessary.

Thurne Tranquility, Jay Birmingham

Commended, Classic View

Location: Thurne, Norfolk

DJI Mini 2, 24mm f/2.8, 1/640 sec at f/2.8, ISO 100

© Jay Birmingham / Landscape Photographer of the Year

‘The drainage mill at Thurne is one of my favourite places to take photographs and the morning I took this shot, it was looking as if there were going to be some wonderful conditions as mist was hanging over the landscape. I took a series of shots as the sun started to rise, but I realised the best viewpoint would
be from the other side of the bank. Fortunately, I had my Mavic Mini drone with me, and I hovered it over the waterway to capture the rising sun. It was such a peaceful morning and I was pleased that the image reflected this tranquility.’

Jay’s top tips for award-winning landscapes:

1. Have an idea of what you want to achieve but pay attention to what is going on around you. Be prepared to be flexible and adapt to the conditions on the day.
2. Get out early. Not only does it increase your chances for atmospheric conditions as the sun rises, but you are less likely to have people walking into your shots.

Blizzard London SE9, Terry Gibbins

Winner, Expression/Impressions of the Landscape

Location: London

Nikon D850, Nikon 24-70mm f/2.8, 1/8sec at f/5.6, ISO 400

© Terry Gibbins / Landscape Photographer of the Year

‘A freak snowstorm just before Christmas 2022 hit London late one evening. There were barely any vehicles on the road as I tentatively made my way through the back streets of south-east London, when a lone taxi came into sight.

‘I had been playing around with multiple exposures for a while without much success and had recently been experimenting with a camera mounted on the dashboard and a wireless trigger, shooting through wet windscreens at slow shutter speeds.

‘I found the best results were achieved at night, as the city lights refracted through random raindrops and dirt on the glass, to create distortions and pleasing bokeh. However, the results would often be chaotic and busy.

‘The uncluttered scene of a black cab, isolated against a snowy white background that presented itself that winter night, was a complete gift. I took shots in bursts of three and blended them as a multiple exposure in ACR. While this technique can be a bit hit and miss, I really enjoy the way it renders an artistic feel to the scene.’

Terry’s top tips for award-winning landscapes:

1. Leave your camera set up in your bag ready to shoot, so you can react quickly and never miss a shot. I recommend setting it to manual mode at 1/200sec, f/5.6 and in Auto ISO as I find this will cover most situations.
2. Don’t be afraid to shoot bracketed exposures handheld when arriving on location if you need to react quickly to a changing, high-contrast scene. Ideally three shots, two stops apart to blend later in Lightroom.

Forest Fantasy, Graham Macfarlane

Commended, Expression/Impressions of the Landscape

Location: Pollok Country Park, Glasgow, Scotland

Apple iPhone 11 Pro Max and Sony A7R, 1.54-6mm f/1.8-2.4, Two exposures merged

© Graham Macfarlane / Landscape Photographer of the Year

‘Covid marked a shift in my photography style. Gone were wide vistas of the Scottish Highlands and Islands. Intimate landscapes became the new norm from the permitted playground of forest trails, woodland and local parks. Traditional shots aside, I put my creative hat on, and several series were born, including “Forest Fantasies”.

‘Using intentional camera movement, multiple exposures or advanced post-processing I blended related elements of foreground and background. I wanted a “cleaner composition” as forest scenes can be incredibly busy and challenging. It took a lot of experimentation until I achieved the fine-art look I was after.’

Graham’s top tips for award-winning landscapes:

1. I recommend using the smartphone app what3words. When doing a recce, the photo mode feature allows you to take a reference photo matched up with its location to within 3m.
2. Don’t buy a new lens, get a dog. Aside being man’s best friend, the discipline of long walks brings with it more photographic opportunities. I used to be a ‘lazy lay-by’ photographer. Drive, park up, venture a few hundred yards and go home. But my portfolio is now growing by covering 10km-plus daily in nature. And once you’re feeling healthier and taking more photographs, you can treat yourself to a new lens.

Seven Sisters, Aiden Cheng

Commended, Coast (Youth)

Location: Seven Sisters Country Park, East Sussex

Olympus PEN E-PL8, Olympus M.Zuiko 14-42mm f/3.5-5.6, 1/1600sec at f/5.6, ISO 200

© Aiden Cheng / Landscape Photographer of the Year

‘I took this photo at the Seven Sisters Country Park, near Eastbourne, along the East Sussex coastline, in August 2022. It was during a trip to the south coast where I was taking pictures as part of my hobby. For the competition, I felt it represented the UK’s identity as an island, with the famous cliffs separating us and the channel into the horizon.’

Aiden’s top tips for award-winning landscapes:

1. Move around your chosen location and experiment with different angles and viewpoints to see what works the best with the weather and light conditions.
2. Looks for linear features such as telephone lines or trees. They add interest to the scene and can aid your composition to help lead the eye into the landscape.

Orange-tip in Summer Colour, Thomas Easterbrook

Highly Commended, Intimate View (Youth)

Location: Lundy Bay, Cornwall

Nikon D7500, Nikon 200-500mm f/5.6, 1/640sec at f/5.6, ISO 800

© Thomas Easterbrook / Landscape Photographer of the Year

‘I took this image on an idyllic summer’s evening at Lundy Bay, a sheltered valley of flower-rich meadows and wet grassland on the north coast of Cornwall. The golden sunlight at that time of the day created many opportunities for photos, but my favourite of those I took was this backlit shot of an orange-tip butterfly. Perching for just long enough for me to compose and snap the photo, it was an ideal subject. Its intricate green and white underwing markings show beautifully, and the meadow provides a perfect backdrop.’

Thomas’s top tips for award-winning landscapes:

1. When presented with a glorious landscape, it can be tempting to immediately go to the obvious shot. However, I find it can be more fruitful to try something different. Whether by playing with the lighting, or making an unexpected composition, creating a unique image is the most important thing.
2. It is the tiny details that turn a good photo into a great one. Although it’s important to see the bigger picture, it is these that will be the making of a good landscape photo.

York Minster, Isaac Savage

Winner, Cityscapes (Youth)

Location: York, North Yorkshire

Nikon D3300, Nikon 18-55mm f/3.5-5.6, 1/250sec at f/8, ISO 360

© Isaac Savage / Landscape Photographer of the Year

‘I took this photo of York Minster from Chapter House Street in the morning, early, before the streets were busy. I was attracted by the limited colours and interesting contrasts.’

Isaac’s top tips for award-winning landscapes:

1. I like to crouch down low for an unusual viewpoint. Here the cobbles in the foreground became an interesting feature that led on to the main subject. Crouching also helps to capture good reflections – even a small puddle can provide a great photo opportunity.
2. I enjoy looking for new ways to frame a subject. In this case between buildings at the end of a narrow street. I like to find unusual angles when taking a photo of an iconic landmark, such as York Minster, which has been photographed many times before.

Landscape Photographer of the Year: Collection 16. Published on 25 October 2023 by Octopus Publishing Group. Hardback. £35

See more of the best photography competitions to enter

AP Emerging Talent Award now open for entries!

APOY 2023 Wildlife winners revealed!

More news:

Endangered tigress portrait wins Mangrove Photography Awards

Weather Photographer of the Year 2023: see the winners!

International Landscape Photographer of the Year – call for entries!

Wildlife Photographer of the Year: see the amazing 2023 winners!

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Landscape Photographer of the Year 16: scorched New Forest scene takes top prize appeared first on Amateur Photographer.

Best autumn landscape locations in the UK

Suggestions from Ross Hoddinott

Golitha Falls, Bodmin Moor, Cornwall

Golitha Falls is a steep-sided wooded valley and a National Nature Reserve. It is located a short drive from the village of Minions with access to the reserve via minor roads from the A38, A30 and B3254. The car park is just north of Draynes Bridge and you can grab a drink or something to eat at nearby Inkie’s Smokehouse.

Once parked, follow the path along the River Fowey and you will discover various viewpoints of the river as it flows and cascades through the valley. The woodland is mostly beech and looks spectacular in late October and early November when autumnal colour is typically at its best.

A bright, but overcast day is best for shooting woodland interiors. Attach a polarising filter to reduce glare and reflections from shiny foliage. An exposure of roughly a second is a nice length for rivers and waterfalls – being long enough to create motion, while retaining texture and interest in the water. This is also a good spot for fungi, so take a close focusing lens and study the woodland floor for subjects.

Derwent Water, The Lake District, Cumbria

The Lake District is one of the most photogenic areas in Europe and is arguably at its best during autumn. Located close to Keswick (a great place to stay while exploring the area), Derwent Water is one of the area’s photographic highlights.

The east shore in particular is full of picture potential and is easily accessible. Park in the large Lakeside pay and display car park, walk past the Theatre By The Lake and explore the boat landings – a ‘classic’ Lake District scene.

There are photogenic wooden launches that you can use as foreground interest in your scenes, and attractive rowing boats grounded on the shore (during high season).

Cat Bells Mountain makes an impressive backdrop in wideangle views and during autumn the trees and mountainous backdrop are a blend of warm yellow and orange hues.

A short walk away at Crow Park, is a wooden gate and fence that provides good subject matter when partly submerged by high water. Walk to Friars Crag too and explore the views south to the jaws of Borrowdale. It is best to visit on a cool, misty autumnal morning, when mirror-like reflections provide added interest and symmetry… and there are also fewer people about getting in the way!

Bolderwood, New Forest, Hampshire

From late October until early November, leaves turn to gold and a wonderful array of fungi emerge on decaying tree stumps and fallen branches. Therefore, it’s worth carrying a versatile range of focal lengths, including a macro or close-up attachment.

One of my favourite spots is Bolderwood Arboretum Ornamental Drive, which leads from the A35 (Lyndhurst to Christchurch Road) past the Knightwood Oak to Bolderwood Deer Sanctuary, where there is a large car park and facilities. Dotted along this drive are other car parks.

Look for shapely, gnarled, and interesting-looking ancient trees that you can use to harness your composition. Early morning and late evening will often provide the most dramatic and warm light.

Bowerman’s Nose, Dartmoor National Park, Devon

A short distance from the B3387 that leads from Bovey Tracey to Widecombe-in-the-Moor is Bowerman’s Nose – one of Dartmoor’s most distinctive and photogenic outcrops. There are a few parking places along the minor road that runs from Houndtor to Langstone Cross in Manaton, close to the tor.

However, the road is narrow and rough in places. Instead, I suggest you park at Houndtor car park and walk to Bowerman’s Nose, which will take you approximately 30 minutes.

This location works well in autumn, when the bracken carpeting the surrounding moorland is golden brown. Warm, evening light is best at this time of year, together with a dramatic sky. A 24-70mm wideangle zoom is a great focal range for this location and a Cloudy white balance will help exaggerate those beautiful autumnal hues. Don’t forget your tripod!

Ross Hoddinott

Ross is one of the UK’s best-known professional landscape photographers, and the author of several best-selling landscape photography books, including The Art of Landscape Photography. He co-runs Dawn 2 Dusk Photography, which specialises in landscape photography workshops. Visit www.rosshoddinott.co.uk.

Jeremy Walker’s suggestions for autumn landscapes

Birks of Aberfeldy, Scotland

The small town of Aberfeldy sits on the banks of the River Tay, about 30 miles northwest of Perth. Just to the south of the town and within walking distance is the Birks of Aberfeldy, a steep gorge with a fast-flowing river surrounded by birch, ash, and oak trees. The golden hues and tones are perhaps best seen in late autumn, although this is of course dependent on Mother Nature.

There is a car park at the site, just off the A826 although there are no facilities, and a well-marked circular path follows the river. Caution should be taken in the autumn as fallen leaves can make the footpath slippery.

The Falls of Moness can be glimpsed through the undergrowth and you’ll find a bridge crosses over the top of the falls. Possibly not the easiest waterfall to shoot, with better views of the river available nearer to the car park.

Savernake Forest, Wiltshire

Savernake Forest is approximately 4,000 acres of mixed woodland dominated by broad leaf trees, perfect for autumnal colours. Situated south-east of Marlborough in Wiltshire, it is easily accessible by car with plenty of room for parking, especially along the Grand Avenue.

Public footpaths and bridleways criss-cross the Grand Avenue allowing for numerous routes of exploration and is an ideal starting point as there are views along the road (more of a gravel track really) as well as the paths and tracks running in all directions.

There are also some mature oaks, a few of which are over 1,000 years old. Because the forest contains a variety of species of tree it is good for autumnal colour right the way through the season, but the oaks will be some of the last trees to lose their colour. Misty mornings are the classic time to visit but late afternoon with the setting sun filtering through the canopy can also be a delight.

Coed-y-Brenin, North Wales

Five miles north of the town of Dolgellau lies the forest of Coed-y-Brenin, covering some 9,000 acres and encompassing the rivers Mawddach, Eden, Gain and Wen. There is a visitor centre where there is a charge for parking; but free parking with toilet facilities, some exceptionally large fir trees and access to the boulder-strewn river can be had if you turn off the A470 at Ty’n y Groes towards the river – parking is just over the bridge.

Although fir trees dominate the area there is plenty of colour with broad leaf trees scattered throughout the area and numerous paths lead into the woods. A mile east of Dolgellau there is a short walk called ‘The Torrent Walk’ and although not really part of the Coed-y-Brenin forest, is well worth a visit.

Waterfalls flow through deciduous woodland with a footpath on both sides of the valley, the south side giving better access to the river. Your best bet is to park in the layby on the B4416 just 100 yards south of the junior school. This whole area is best visited in mid-autumn before the trees become too bare.

Wareham Forest, Dorset

Wareham Forest consists of over 1,000 acres of heathland, marsh and forest. Although mostly consisting of pine woodland there are pockets of broad leaf trees scattered throughout the area but don’t let this lack of deciduous trees put you off.

On a frosty or damp morning mist can hang around in the sheltered heathland and forest for a considerable time. Beams of golden light filtering through at sunrise is a Wareham Forest classic.

The main areas to visit are Bloxworth Heath, Decoy Heath and Gore Heath, all with ample parking. Miles of public paths, forestry tracks and bridleways give easy access to the woods which are at their best in the early morning, veiled in a layer of mist or fog. Pine forests can be shot at any time of year, but autumn brings with it the added bonus of bracken, glowing gold in the morning light.

Jeremy Walker

Jeremy is one of the UK’s most respected landscape photographers and is known for his eye-catching panoramas, moody black & white landscapes and dark, dramatic images of castles and ruins. He is the author of Landscape, his highly acclaimed first book, and is in great demand as a speaker, writer, and workshop leader. www.jeremywalker.co.uk.

Justin Minns’ favourite UK autumn landscape locations

Lynford Stag, Thetford Forest, Norfolk

Thetford Forest is the largest man-made lowland forest in the UK and although it is predominantly Corsican pine, there are some beautiful areas of broad-leafed woodland scattered through the forest such as this one opposite Lynford Stag. A 70-200mm lens (or similar) works well in the forest.

The longer focal length serves to both compress the distance between trees, creating a wall of colour, but also makes it easier to avoid distracting bright areas of sky in the composition. It is all about the autumn colour here so try and visit when the colours are at their peak.

The timing varies but usually early November in the mild climate here. Lynford Stag is a parking area on the A134, 5 miles northwest of Thetford (postcode IP26 5DE). Cross the road at the northern end of the car park and wander into the beech trees just north of the track.

Wyming Brook, Peak District

Tumbling through a wooded gorge in a series of cascades, Wyming Brook is a great autumnal location, particularly the first section which flows through deciduous woodland. A circular polariser filter is invaluable here for reducing glare from the wet rocks and leaves, resulting in richer colours.

For silky-looking water, experiment with ND filters to slow the shutter speed, although with light levels low amongst the trees, the 1-2 stop reduction in light from the polariser may be all you need.

With white water flowing amongst dark rocks, contrast can be a problem so overcast days when the light is even are best especially in mid-autumn when there are plenty of leaves still on the trees with a good coating of fallen leaves adding colour on the ground.

Wyming Brook is 5 miles west of Sheffield. From the bottom of the car park on Redmires Road (postcode S10 4QX) go right down to the stream, cross using the stepping stones and head left alongside the stream. The path can be slippery so wear good boots.

Loughton Camp, Epping Forest, Essex

Loughton Camp is a tiny but attractive part of Epping Forest’s 6,000 acres of woodland. There are many interesting viewpoints among the slopes and embankments which are the remains of a 2,500-year-old Iron Age fort now populated with beech trees.

Use foreground trees to frame the view or shoot a panorama to take advantage of the compression effect of a longer focal length while capturing the full width of the scene. Beech trees are slow to turn so mid to late autumn is best, either an early misty morning or on a bright overcast day.

Epping Forest is just off junction 26 of the M25. From the Mount Pleasant car park on Epping New Road (IG10 1JD) follow the main path on the right for 650m then turn right at the yellow-arrowed marker post. The path isn’t clear but head west through the trees and after 100m you’ll arrive in an open area of beech trees.

Flatford, Suffolk

Flatford is a pretty hamlet by the River Stour, celebrated in the paintings of John Constable. But photogenic as this cluster of thatched cottages is, it is the river we are interested in here. Winding its way through cattle-grazed meadows, the river is dotted with old, twisted willows and oaks.

Isolating one or a group of these trees and building a composition around it can be effective, using reflections if it is calm or perhaps the receding curves of the river to add depth. Dawn is the best time to visit when the river and meadows are often shrouded by mist. It is these conditions as much as the changing colours of the trees that make this a great autumn location.

Flatford is 10 miles southwest of Ipswich. From the National Trust pay and display car park (postcode CO7 6UL), walk down the hill to the village, cross the bridge and turn right through the gate into the field and follow the path along the river.

Justin Minns

Justin is a professional landscape photographer best known for his atmospheric images of East Anglia. He runs landscape photography workshops both in East Anglia and around the UK. Author of the best-selling location guidebook Photographing East Anglia, Justin is currently working on a new guidebook, Photographing Essex. www.justinminns.co.uk.

David Nixon’s UK autumn landscape locations

Mourne Mountains

The Mourne Mountains sit 30 miles south of Belfast. This range of granite mountains contains the highest peak in Northern Ireland. There are many trails and tracks year-round that provide unlimited photographic opportunity.

For those not wishing to put on hiking boots, there’s still scope for picture taking and often spectacular sunrises can be enjoyed from Tyrella beach around the bay or closer by from Murlough Nature Reserve.

Access is easy and facilities are never very far away. The area has that ‘away from it all’ sensation no matter what season and in autumn the heather and russet tones of the undergrowth can be very attractive.

Glens of Antrim

Shaped by glaciers during the Ice Age, the nine glens are best reached by taking the spectacular Antrim Coast Road. Glenariff sits above Waterfoot. Within the 2,500 acres of the forest park lie several waterfalls which are at their best in autumn when the foliage turns golden.

Ess na Crub sits at the lower end of the park. Follow the riverside wooden walkway up along the gorge, pausing at the top to take in the view of the cascading Ess na Larach.

Tollymore Forest, Northern Ireland

Tollymore was the first state forest park in Northern Ireland. Covering 1,600 acres it lies at the foot of the Mourne Mountains just outside Newcastle, a seaside town 30 miles south of Belfast.

There’s plenty of space for camping, hiking, horse riding as well as photography. Over the recent years this area has become popular as a film location, notably featuring in episodes of Game of Thrones. But for photographers the forest comes alive in autumn.

Down along the Shimna River which runs through the centre of the park, particular highlights include the Hermitage, a stone-built room set high above the river; the stepping stones, a great spot when the river is in full flow and a number of stone bridges, some more than 200 years old. Being so densely wooded you can shoot all day, but ideally when overcast to reduce contrast.

Ards Peninsula and Strangford Lough

Viewed from Scrabo Tower, sitting on a volcanic plug at the head of the lough there are uninterrupted views to Scotland, the Isle of Man and the Mourne Mountains. Autumn brings increased chances of low-lying morning mist covering the peninsula and compensates for the energetic short walk from the car park.

A driving loop from Scrabo down the peninsula takes you past Greyabbey and its ruined 12th-century abbey, the National Trust’s Mount Stewart, on to Portaferry and a short ferry crossing to Strangford with Castle Ward set high up above the village.

David Nixon

David took up photography in his teens, teaching himself the dark arts of developing and printing in the chemical era. He specialises in landscape photography in Northern Ireland and is keen to promote the variety of stunning views in such a small area.

Further reading

Get great autumn wildlife shots

Guide to moody woodland landscape photography

Complete guide to outdoor light in photography

The best landscape photography books for inspiration

Transform landscapes with square format

Follow AP on Facebook, Twitter, Instagram, YouTube and TikTok.

The post Best UK locations for capturing Autumn landscapes appeared first on Amateur Photographer.

In this guide to the UK’s best landscape photography locations, expert professional guides provide a list of places in Scotland, Northern and Southeast England, the Midlands, East Anglia, and Wales, plus the the most photogenic locations in Northern Ireland, South and Southwest England.

If you want to jump to a specific area, simply click the links below:

• Scotland
• North England
• Midland and Wales
• East Anglia
• South East England
• South and South West England
• Northern Ireland

Best landscape photography locations in Scotland

1. Traigh Rosamol, Isle of Harris

A stunning place that’s easy to access and great to shoot all year round Nikon D850, Nikon 24-70mm, 30 sec at f/11, ISO 160, Polariser, LEE 0.3 ND Grad (Very Hard), LEE Little Stopper

Traigh Rosamol looks out over the Sound of Taransay and is situated on the north-western coast of South Harris in the Outer Hebrides. Access is easy from the car park just behind the beach. This view is from the north-eastern end of the beach just before dusk and I chose to exclude most of the sand as it was a mass of footprints from the day’s dog walkers.

I wanted to create a peaceful image with a serene, blue feel so elected to use a LEE Little Stopper, which allowed me to extend my shutter speed to 30 seconds. This has removed all texture from the water and added a soft appearance to the clouds above the North Harris mountains. This is truly one of the most beautiful places on the planet and will offer amazing images at any time of year.

2. Ben Loyal from Lochan Hakel, Scottish Highlands

The best time to photograph is early or late in the day and I recommend taking a selection of filters with you Nikon D850, 24-70mm, 0.4 sec at f/11, ISO 64. Polariser, LEE 0.9 ND Grad (Hard) and LEE 0.6 ND Grad (Very hard – inverted)

Situated on the north coast of Scotland near the village of Tongue, Ben Loyal is one of my favourite mountains to photograph. From this viewpoint, you are facing almost due south so timing is critical. In the middle of the day at any time of year the sun will be above the mountain creating a silhouette, so early and late in the day are best.

This image was made just after dawn and the clouds have helped with the contrast. Even so, I needed multiple graduated filters to allow me to capture detail in the mountain. To get to Lochan Hakel take the minor road south from the village of Tongue for a couple of miles and you will discover the Lochan on your left. I would advise a daylight recce before arriving in the dark for your first dawn shoot!

3. Rannoch Moor and Lochan Na h’Achlaise, Scottish West Highlands

This is a great location to visit during the winter months Nikon D850, 24-70mm, 1/5 sec at f/8, ISO 31, Polariser, LEE 0.3 ND Grad (Very Hard)

After travelling north through the Bridge of Orchy, the main A82 rises up via a series of sharp bends onto Rannoch Moor. The first Lochan you see on your left is Lochan Na h’Achlaise and the best views of the Black Mount complex are from the south-eastern shore about 100m from the road.

For me, this is always a winter location. At dawn, the sun rises behind you and at dusk (as in this image) it drops in front and to the left with the last light of the day catching the mountaintops. Many people make the mistake of photographing from the road, but a short walk to the water’s edge will reward you with multiple potential foregrounds. It can be a bit boggy though, so make sure you have your wellies!

Other locations in Scotland worth visiting

• Balnakeil Bay near Durness is a wild and remote location with an extensive dune system and miles of perfect sand and turquoise blue sea.
• Duncansby Head near John O’Groats in the far northeast offers amazing sea stacks and precipitous cliffs. A great dawn location in winter.
• Glen Affric near Inverness is considered by many people to be the most beautiful Glen in Scotland. It has to be visited in autumn for the spectacular colour.
• Stac Pollaidh, in Assynt near Ullapool, is another of my favourite mountains. Great views from the northeast shore of Loch Lurgainn.
• Glen Etive and the River Etive. Access from Glen Coe. Fantastic rock details particularly on a wet, miserable day!

Your guide: Phil Malpas

Phil Malpas

Phil is a freelance photographer based in Wiltshire. He leads photographic tours around the world for Light & Land. Visit Light and Land for more information.

Best landscape photography locations in Northern England

1. Wastwater, Lake District

Wastwater, Lake District

Wastwater is best reached from the A595 driving through Gosforth and continuing on this road for a few miles signed ‘to the Lake shore’, where there is plenty of parking. It’s the perfect late afternoon location owing to its position and great for that colourful sunset.

Autumn is the best time of year as the sun sets due west of the lake lighting up the whole image. Composition is important and this location delivers. You have Yewbarrow on the left, Wastwater Screes on the right and Great Gable and the Scafell range as the perfect backdrop. A wide-angle lens will be required. I took this rainbow with a 16-35mm lens on a full-frame camera, which perfectly delivered.

Read more on the best wide-angle lenses for landscape photography here.

2. Blackpool North Pier

Blackpool North Pier

Blackpool North Pier doesn’t sound like a must ‘go-to’ location but you can get some spectacular results at the right time of day and in the right season. There’s street parking just north of North Pier. It is a great structure for photography so couple this with a west coast sunset and you’re on to a winner.

The other photogenic aspect of the pier is that it’s home to thousands of starlings that roost here in late autumn and early winter. Position yourself so the setting sun is shining through the uprights, which will cast lovely shadows on the rippled sand. A sunburst will give an extra dimension too. Increase your ISO to enable you to shoot faster shutter speeds to avoid blurred starlings.

Check out this article for advice on how to shoot fast-moving birds.

3. Moonrise over Blea Tarn and the Langdales, Lake District

Blea Tarn is a hidden gem with a stunning backdrop of the Langdale Pikes Canon 5D Mark III, 24-105mm, 1/15 sec, f/11, ISO 100

From Little Langdale drive along Side Gates until you come to the Wrynose Pass junction. Keep right here for about a mile until you come to the National Trust parking at Blea Tarn. The tarn is a perfect early morning location with the impressive Langdale Pikes as your backdrop.

Early morning starts are best here as you want to get the Langdale Pikes showing some sunrise colour as well as some perfect reflections. Hopefully, you can get some mist dancing above the water, which is very common at this elevated location. Bring a medium focal length lens – typically 24-105mm as there are many items of foreground interest such as fences, stones, beautiful Larch trees and of course The Langdale Pikes.

Other locations in Northern England worth visiting

An atmospheric shot of Bamburgh Castle sunrise through the mist.

• Bamburgh Castle is located on the Northumberland coast. It’s worth a visit any time of year but I recommend early morning to get the sunrise and fog/mist. Time your visit for an outgoing tide, as you want those rocks to be wet, to add colour and drama. Look for compositions with slabs of rock that point to the castle for great lead-in lines. It’s the perfect destination to use a set of Graduated Neutral Density filters.
• The timeless, picturesque village of Staithes in North Yorkshire has higgledy-piggledy cottages and winding streets that lead down to the harbour. 
• Tewet Tarn in the Lake District is a hidden gem. Located near St. John’s in the Vale, it offers stunning views across to Blencathra and Skiddaw. It is a great location for taking panoramic images.
• Dubs Hut and Warnscale Head Bothy are two very photogenic slate huts high above Buttermere in the Lake District. Great Gable and Haystacks offer superb backdrops.
• Mary’s Shell, a beautiful sculpture on Cleveleys Beach in Lancashire, is a perfect location at sunset to try out your 10-stop Neutral Density Filter.
• Lindisfarne is a 16th-century castle situated on Holy Island, Northumberland. This location has numerous foreground-interest objects to create perfect compositions.

Your guide: Martin Lawrence

Martin Lawrence

Martin is a landscape photographer specialising in images of the Lake District and Scotland and offers photography workshops. He also writes photographic tutorials for magazines and websites. See here for more.

Best landscape photography locations in the Midlands and Wales

1. Padley Gorge, Peak District

Padley Gorge is a popular spot located near Grindleford in Derbyshire Canon EOS 5D Mark III, 17mm, 8 sec at f/11, ISO 100, Lee Polariser

Padley Gorge is somewhat of a mecca for photographers and suits both wide and telephoto lenses depending on your focus. There are several points of access: parking on the side of the B6521 (this can get very busy if you don’t arrive early), the car park at Grindleford, or the pay-and-display car park at Surprise View that involves walking down to the gorge through Bolehill Quarry (also very photogenic).

The gorge is at its most beautiful when autumn sets in and the rusty, warm colours prevail. The best time to visit is early morning, especially during autumn and winter when there is always the possibility of frosty and misty conditions. There are plenty of compositional opportunities all along the gorge so make sure you explore. It’s worth packing a circular polariser and an ND filter to create some long exposures of the water.

2. Chesterton Windmill, Warwickshire

Visible from the M40, this little windmill situated in Warwickshire is an attractive proposition for any photographer Canon EOS 5D Mark III, 24-70mm, 1/20 sec at f/16, ISO 100

As a photographer based in the Midlands, Chesterton Windmill has been on my radar for some time. It’s architecturally appealing with its unique circular design and archways. The windmill is accessible from the side of the road but the field in which it resides is in constant use so it’s worth paying attention to where you’re standing and being mindful of the crops.

The windmill itself stands on the top of the hill, which provides the opportunity to capture some vistas of the surrounding countryside. There’s no perfect time of day to capture the windmill, but I prefer it at sunset, or during stormy weather, which provides a dramatic backdrop. It’s worth bearing in mind that the crop is on rotation and this can make a more interesting tableau if you manage to catch the crop during a colourful year.

3. Three Cliffs Bay, The Gower

Three Cliffs Bay, South Wales Canon EOS 5D Mark IV, 16-35mm, 30 sec at f/16, ISO 100, Lee Circular Polariser and Big Stopper

Access to Three Cliffs Bay involves some scrabbling over sand dunes, but it’s worth it to get down onto the shoreline. You can park at the Gower Heritage Centre and walk down to the beach, but your return to the car park will be uphill. I recommend visiting when the tide is going out, which will open up access to some of the adjacent bays such as Pobbles, Tor and Oxwich.

As the tide recedes it provides some interesting wide-angle compositional opportunities including the cliffs themselves, especially when the light is low. Visiting at sunrise or sunset provides the best chance of getting some interesting conditions, especially during autumn and winter when the cliffs catch light from both the sunset and the sunrise. Use an ND filter of 6 or 10 stops to create some attractive long exposures.

Other locations in the Midlands and Wales worth visiting

The Tree on Llyn Padarn

• The Tree on Llyn Padarn has become one of the great photography clichés of Snowdonia. Access is via Padarn Country Park, and the tree itself is visible from the car park. The tree is most attractive during autumn and spring. For the best conditions in the surrounding scenery, shoot during the golden hour. During sunrise, there’s more chance of the lake being still and the possibility of ethereal conditions, but sunset can create some gorgeous light on surrounding mountains and in the sky. Using a wide-angle lens and a circular polariser will help bring out reflections.
• Penmon Point (Trwyn Du in Welsh) is an attractive lighthouse that sits on the northeastern corner of Anglesey in north Wales. From the shoreline, there is a view
  of both the lighthouse and Puffin Island in the distance, with views back across the Menai Straits.
• The Vale of Glamorgan harbours an intriguing coastline. Nash Point, with its epic rock formations, makes for a captivating composition, whatever the weather. 
• The relative flat of the Midlands is thankfully interrupted by the Malvern Hills in Worcestershire, which provides plentiful vistas of the surrounding countryside. This area is at its best in autumn, especially at sunrise.

Your guide: Verity Milligan

Verity Milligan

Verity is a professional urban/landscape photographer based in Birmingham. She has worked on campaigns for international organisations, leads workshops for Light & Land and is an ambassador for Zeiss. See here.

Best landscape photography locations in East Anglia

1. Thurne, Norfolk

St Benet’s mill reflected in the River Thurne on a calm, frosty morning, taken from the southern side of Thurne Dyke Canon EOS 5D Mark IV, 24-105mm, 1/8 sec at f/16, ISO 100, LEE Polariser, ND Grad (0.6)

Thurne is a classic Broads location with lazy rivers, whispering reedbeds and two windmills (or wind pumps to be precise), the gleaming white painted Thurne Windpump and the red brick St Benet’s. There are a handful of parking spaces beside Thurne Dyke (NR29 3BU) from where a path runs around the dyke and along the river.

Use a wide-angle or standard zoom lens and look for groups of reeds, boats or old jetties to use as foreground interest for shots of the windmills. A polariser will help to make the most of any reflections. There are opportunities in golden hour light at either end of the day here but Thurne is at its best early on a calm morning with crystal-clear reflections and mist swirling up from the river and marshes or a coating of frost on the reedbeds. Usually late autumn to early spring has the best conditions and less boat traffic.

2. Old Hunstanton, Norfolk

Looking south towards Hunstanton cliffs Canon EOS 5D Mark IV, 24-105mm, 1/8sec at f/16, ISO 100, LEE Polariser, ND Grad (0.6)

This beach is a vast swathe of golden sand beneath distinctive red and white striped cliffs. The unusual rock formations, which stretch out in lines below the cliffs, are fantastic for long exposures, so don’t forget your Big Stopper 10-stop filter.

Big wide-angle views can be found in all directions – looking out to sea at sunset, along the line of cliffs with the shipwreck in the foreground or back towards the cliffs, which look especially good when lit by low sidelight or reflected in one of the shallow pools left at low tide.

Check the tide before you visit – a receding tide is the safest and best for a footprint-free beach. There is a car park on the cliff top (PE36 6EL) and a footpath down to the beach. Turn left at the bottom for the cliffs; there are also dunes worth exploring to the right.

3. Shingle Street

Looking north along the shoreline to the cottages on the beach Canon EOS 5D Mark IV, 16-35mm, 114sec at f/11, ISO 100, LEE Big Stopper, Hard ND Grad (0.6)

At first glance, this remote shingle beach on the Suffolk coast looks like an unlikely place for landscape photography and it can be challenging to find the shot here but once you get ‘your eye in’ it can be amazing. The shoreline is constantly being re-moulded by the sea into sweeping curves and lagoons – and these shapes make fantastic leading lines while a couple of white cottages provide much-needed focal points.

Long exposures are very effective; the smoothed water simplifies the shapes of the shoreline. Monochrome also helps to contrast the tones and textures of the water and bright cottages against the dark shingle. Dramatic weather suits this beach but it’s not all doom and gloom: in spring the beach is alive with colourful wildflowers. There is a small car park on the left just before the houses (IP12 3BG), and from there, it is a short trudge across the shingle to the shore.

Other locations in East Anglia worth visiting

• Happisburgh Lighthouse is a beautiful red and white lighthouse set back from the clifftops. The beach below is littered with interesting old sea defences as well.
• Southwold has plenty of photographic spots on offer, from the quirky pier, and colourful beach huts in the dunes, to the ramshackle old harbour.
• Dovercourt lighthouse is a Victorian lighthouse resembling a moon landing craft that has landed in the sea off the Essex coast, fabulous for long exposures and sunrises alike.
• The stretch of the River Stour that meanders its way through the meadows between Flatford and Dedham in the heart of Constable Country is wonderful.

Your guide: Justin Minns

Justin Minns

Justin is a landscape photographer known for his atmospheric images of East Anglia. As well as running workshops in the region he is also the author of Photographing East Anglia, a photographers’ guidebook to the area. See here for more.

Best landscape photography locations in Southeast England

1. Church Norton, West Sussex

The flat, calm waters here act as great mirrors with colourful skies Nikon D810, 14-24mm, 1/6 sec at f/11, ISO 64

Best at very high tides at dawn, this discreet, spit-protected RSPB wetland location typically brims with flat, calm waters at the highest tides providing fabulous opportunities to use nature’s mirror to great effect.

This area often catches coastal mists too so that’s a real bonus. The little local church is very picturesque, nestling in its own well-kept space with no other buildings around it. You can also access a typically deserted shingle beach from here that delivers great low-tide dawn ops. Park up in St Wilfred’s Church parking lot (PO20 9DT) and follow the signs to the RSPB nature reserve.

2. West Wittering, West Sussex

Perfect for minimal seascapes with gentle, pastel-coloured skies. Nikon D810, 14-24mm, 0.4 sec at f/8, ISO 64

The location for my winning LPOTY image is best at low tides during sunset or dawn. An expansive sand shelf of a beach adjacent to the Chichester Channel with big tidal movements, this immersive location has spacious, uninterrupted westerly views. Perfect for both subtle, minimal shots and expansive, dramatic sunset scenes.

Avoid busy times, there’s nothing worse than hordes of people and packs of dogs leaving footprints gouged into your unblemished sandy foregrounds. Use a Tide Times app (and the Photographer’s Ephemeris) to plan your trip.

Often the parking lot here (PO20 8AJ) will be shut when you want to shoot, so park up outside and head down the long entrance driveway. You may have to park some distance away so allow 20-30 minutes for the walk to the water’s edge, especially if the tide is way out.

3. Aldwick Rocks, West Sussex

Aldwick Rocks are only revealed at low tide. Nikon D810, 50mm, 5 sec at f/11, ISO 64

These primaeval-looking humps of stone provide a foreground to midground visual punctuation and make great silhouettes when light levels are low, at sunset or dawn during low tide. There’s a beached decomposing wreck of a section of the WWII D-Day Mulberry Harbour nearby at this location, and that can make for an interesting subject when it’s semi-submerged at low tide.

There’s nothing to compare with having the beach all to yourself at 4 am, for example, under steadily evolving pre-dawn skies, with freshly laundered, brand new sand forms, varied tide pools after each turn of the waters and beautiful twilight colours bouncing off reflective expanses of damp beach and rock formations.

The most important thing with the coast is getting to know when the most favourable moments are for your visits. For this location, I recommend parking on Marine Parade (PO21 2QA) opposite Marine Park Gardens near the boat pound at the west end.

Other locations in Southeast England worth visiting

• Pagham Harbour/RSPB Pagham is one to visit at high tide during dawn or sunset. This location is great for both bird and landscaper photographers. Extended walks on pathways around the reserve provide views of the dynamic shapes in the reserve’s wetland mudflats and grasses. Park at the end of Church Lane (PO21 4NR) where the road stops and then follow the signs to the nature reserve. 
• Littlehampton is best to shoot at low tide during dawn or sunset. It’s a big sandy beach with interesting rockpools; it also has a wonderful skeletal timber pier formation at the estuary of the River Arun that makes for interesting long exposures. Go right down to the end of Rope Walk and park up in the pay and display area (BN17 5DL) The beach is over the ridge.

Your guide: Benjamin Graham

Benjamin Graham

Benjamin was the winner of LPOTY in 2017. He runs tours with Light & Land and teaches photography privately and at West Dean College. See his website, Twitter and Instagram for more.

Best landscape locations in South and Southwest England

1. Colmer’s Hill, Bridport, Dorset

Capture this iconic Dorset scene at sunrise. Canon EOS 5D Mark III, 70-300mm, 0.5 sec at f/11, ISO 100

The conical tree-clad Colmer’s Hill is an iconic landmark in West Dorset and a ‘must visit’ location if you’re in the area. Sunrise is undoubtedly the best time to photograph it and misty conditions are an added bonus. Parking is extremely limited beside the A35, so arrive early or be prepared for a long walk!

There are good vantage points from both Quarr Hill and Eype Down, with footpaths providing easy access. In good conditions, there can be many different compositions to try, mainly based on using Colmer’s Hill as a focal point within the wider landscape, or floating in a sea of mist!

2. Portland Bill, Dorset

Portland Bill Lighthouse and the Milky Way make a great combination. Canon EOS 5D Mark IV, 16-35mm, 10 sec at f/2.8, ISO 6400

The Isle of Portland offers much photographic potential, but the red and white lighthouse at Portland Bill is the highlight. It can be shot from either side with crashing waves in the foreground and at both sunrise and sunset. This is also one of the best locations along the south coast for astro-landscape photography, with very little light pollution when looking south towards the Milky Way.

Just below the lighthouse lies Pulpit Rock, another useful focal point for shots along the shoreline, particularly at sunset. Portland can be a great place for long exposures, so take your 10-stop ND filter. Dramatic scenes can be captured in stormy conditions, but take care as the waves can be large and powerful!

3. Rockford Common, New Forest National Park, Hampshire

Capture the purple heather-clad heathland in misty conditions at sunrise. Canon EOS 5D Mark III, 24-105mm, 4 sec at f/16, ISO 200

Rockford Common lies above a shallow valley on the western side of the New Forest. The classic viewpoint with a path leading through a colourful purple expanse of heather-clad heathland has become a popular spot, and rightly so. The valley is particularly prone to morning mists throughout the year, so sunrise tends to offer the best opportunities, although late afternoon also works well if the heather is in bloom.

Don’t restrict yourself to the one honeypot location though, because all of the surrounding heaths offer much potential and tend to be less busy into the bargain. There is scope for expansive wide-angle shots as well as for landscape details, layers and isolated trees.

Check out this list of the best wide-angle lenses for landscape photography. 

4. Glastonbury Tor, Somerset

Visit in mid-summer to capture the sun rising directly behind the Tor. Canon EOS 5DS R, 100-400mm, 1.4X III, 7 bracketed exposures from 1/4000 sec to 1/60 sec, ISO 100

The familiar outline of Glastonbury Tor can be seen from many places throughout the flat landscape of the Somerset Levels and from the surrounding hills. It can be used as a distant focal point, but there are also great shots to be had from the summit of the Tor itself.

One of the best spots from which to photograph The Tor surrounded by mist or set against the rising sun is Walton Hill just south of Street. From here a telephoto lens of 300 to 600mm is required. There is a convenient car park right at the best vantage point on the summit. To get the sun rising directly behind the Tor you’ll need to visit in mid-summer. Use an app such as TPE or PhotoPills to ensure you pick the best day!

5. St Michael’s Mount, West Cornwall

Early morning sunlight will illuminate the Mount, while the old causeway makes a great lead-in, directing the viewer’s eye toward the island. Nikon D800E, 16-35mm, 8 sec at f/14, ISO 100

Just a short drive from Penzance is one of Cornwall’s most recognisable and picturesque landmarks. St Michael’s Mount is a tidal island, which at low tide links to the parish of Marazion by a man-made cobbled causeway. A tide in the region of 2-3m is often a good height, revealing the causeway, which provides an obvious and attractive lead-in line toward the Mount in wide-angle compositions.

This is a location that can work well throughout the day, but at sunrise, the beach is quieter, cleaner and golden early morning sunlight will bathe the bay and island. At higher tides, much of the beach is submerged, but there are slipways and rock pools that provide foreground interest. Be prepared to regularly change viewpoint as the tide either rises or falls. Wear wellies to avoid getting wet feet!

A good range of lenses will be useful, but a wide-angle zoom – in the region of 16-35mm – is often a good choice, producing dynamic results with depth and interest. This can be a popular location, so arrive and set up early.

6. Hartland Quay, North Devon

This stretch of coastline offers photographers a wide choice of viewpoints. Nikon Z 7, 24-70mm, 131 sec at f/11, ISO 200

This stretch of north Devon coastline is among the most dramatic and spectacular you will find anywhere in South West England. Hartland Quay is on the edge of the Atlantic Ocean – it is a remote, wild and windswept place. From Clovelly Cross, take the B3248 to Hartland and continue to Stoke and past St Nectan’s church toward the coast. Drive down the narrow track toward the beach – there is plenty of parking near the Hartland Quay Hotel.

At high tide, explore the views from the cliff tops – in spring they are carpeted with sea pinks that add colour and interest to wide-angle vistas. You can walk to Speke’s Mill Mouth, which is also photogenic. At low water, explore the rocky beach, which is home to photogenic ledges and rockpools. This is a good location for evening light and sunset. It’s worth carrying a versatile range of focal lengths. A good sturdy tripod will be essential, particularly in windy, stormy conditions. The hotel is a great spot to shelter and have a pint after an evening’s shoot.

7. Great Staple Tor, Dartmoor, Devon

In winter, a dusting of snow will add a seasonal feel to your shots. Nikon D810, 17-35mm, 1/5sec at f/14, ISO 200

Dartmoor National Park is home to some extraordinary scenery. The landscape is wild, rugged and punctuated with large, imposing granite outcrops – or tors. This is not a landscape you want to shoot on a clear, sunny day. Instead, you want drama. Autumn and winter are ideal times of the year. During autumn, the bracken becomes golden and the light and skies tend to be more suited to landscapes.

This can be an unforgiving place, so wear water and windproof clothing. Great Staple Tor is one of many great tors to visit. It’s home to a couple of large granite pillars and there is no shortage of compositions to be found. There is a large car park at Pork Hill on the B3357, between Tavistock and Merrivale. Walk north up the slopes of Little Staple Tor and carry on to Greater Staple. The climb will take you about 30 minutes, but this is often a quiet location and well suited to a morning or evening light.

8. Trebarwith Strand, Cornwall

Trebarwith is a great spot to shoot, but it works particularly well when sunset coincides with high tide. Tread carefully as the rocks can be slippery. Nikon D800E, 16-35mm, 25 sec at f/16, ISO 100

Located about 2 miles south of Tintagel – home to the myth and legend of King Arthur – Trebarwith is a golden, sandy beach, popular with tourists and surfers. It can be busy in the summer months, so visit out of the holiday season and on a weekday to avoid the crowds and messy footprints. You can achieve good shots at either high or low water, but a mid-tide can prove more challenging. At high tide, the beach is completely submerged, and you can stand on the Strand and shoot out towards the sea with incoming waves rushing in either side of you.

But be wary of spring tides and big waves. For safety, always consult a good tide app, like AyeTides, before you visit. This is a great sunset location and Gull Rock on the horizon provides an obvious focal point. Take wide-angle lenses, ND filters and grads and also a lens cloth and wipes – sea spray can be a real issue here if there is onshore wind.

Other locations in South and Southwest England worth visiting

• Corton Denham is a classic rural village scene in south Somerset best viewed from Corton Hill. The lighting is best late in the afternoon between May and July.
• Knowlton Church is a ruined Norman church set within a Neolithic henge earthwork. Great at sunrise and sunset or for spooky night photography, as this is one of Dorset’s most haunted locations!
• Swyre Head, Worth Matravers in Dorset is one of the most impressive viewpoints along the Jurassic Coast World Heritage Site. Beautiful at any time but especially good at sunset.
• Bolderwood Ornamental Drive in the New Forest National Park, Hampshire, is an impressive mixture of trees, which makes this a great location for capturing autumn foliage.
• The Crowns Engine houses at Botallack in west Cornwall, perched above the sea, create an iconic shot. The ruined tin mines make a great long exposure subject.
• Bedruthan Steps are arguably Cornwall’s most impressive stretch of coast, home to large granite stacks – or steps. In spring, wildflowers carpet the cliff tops.
• The lighthouse at Trevose Head provides a great focal point in wideangle shots. Padstow Lifeboat Station is within walking distance and worth shooting too.
• Valley of Rocks, just north of Lynton in Devon, is an impressive dry valley and boasts incredible views and geology. It is one of Exmoor’s most scenic locations.
• Located on the south-western edge of Dartmoor, Shaugh Prior is home to boulder-strewn rivers, oak-woods and riverside walks. Best shot in spring or autumn after a little rainfall. There is a small National car park nearby.

Your guides:

Ross Hoddinott (left) and Guy Edwardes (right)

Ross Hoddinott
One of the UK’s top landscape photographers, Ross is the author of several best-selling photography books. He co-runs Dawn 2 Dusk Photography, which specialises in landscape photography workshops. See here for more.

Guy Edwardes
Based in his home county of Dorset, Guy has been a landscape and nature photographer for over 25 years. His work has been widely published and he runs a series of popular photographic workshops all over the world. See here for more.

Best landscape photography locations in Northern Ireland

1. Dunluce Castle, Co Antrim

Capture from sea level for the most dramatic view of the castle. Canon EOS 5D Mark II, 17-40mm, 1/6 sec at f/16, ISO 50

Approximately 20 minutes by car further along the coast from Ballintoy you’ll find Dunluce Castle. This location was used in Game of Thrones and is an impressive ruined castle that sits precariously on the edge of a cliff overlooking the sea.

You can shoot the castle from various angles, but the most dramatic images can be captured down below near the sea. Here you can use the waves and rocks as foreground interest with the castle looming above. It’s a bit of a steep scramble down and as always the sea must be treated with respect at this location.

I always try to capture the sun setting out to sea or going down just behind the castle as I have done here. As the castle sits so high in the frame, once you meter for the lighter areas, the castle will end up in silhouette, even if you’re using graduated filters. This might be what you want to achieve but for this image, I shot three bracketed exposures and blended them later, which meant that I was able to keep detail in the shadow areas.

2. The Hares Gap, Mournes, County Down

Capture this location at sunset and use the wall and stile as your main focal point. Canon EOS 5D Mark II, 17-40mm, 0.6 sec at f/22 ISO 100

In County Down, you’ll find the Mourne Mountains. If you love hiking and don’t mind an early start there are numerous dramatic images to be captured here on various peaks. This particular spot is called The Hares Gap and is a gentle hike compared to other spots in the Mournes. Starting near Tollymore Forest Park you walk up through the Valley along the Trassey River. Keep right along the hillside until you make it to the famous Mourne Wall.

If you time it right you can capture some stunning images back down the valley as the sun sets. Here I used the wall and stile as the main focal point with some wonderful light from the setting sun in the valley beyond and the river snaking off towards the horizon. I bracketed my exposures and blended them later. I also had some issues with flare so a small umbrella held just above the top of the lens was enough to eliminate it.

3. Ballintoy Harbour, County Antrim

The sea was crashing up through the horseshoe-shaped hole in the rocks. Canon EOS 5D Mark II, 17-40mm, 325 sec at f/11, ISO 250

Ballintoy Harbour was made famous by Game Of Thrones. They shot many scenes here and it’s easy to understand why. There are multiple points of interest in a very small area and it’s great for both sunrise and sunset shots. There is the harbour itself and various sea stacks, sea arches and beach coves; while a short walk will bring you to Elephant Rock, a lovely beach with a huge sea stack in the shape of an elephant complete with trunk.

Ballintoy can boast some dramatic waves, so be cautious when venturing near the edge of the rocks. For this scene I used a Big Stopper to produce a long exposure to smooth out the sea and clouds. This created the mood I was after and accentuated the shape and texture of the rocks.

Other locations in Northern Ireland worth visiting

• The Dark Hedges in Co Antrim is a beautiful avenue of beech trees. It’s best to get there early to avoid the tourists though as it is a very popular spot.
• Murlough Bay in Co Antrim
  is a bit off the beaten track but a wonderful view that’s best captured at sunrise in the summer.
• Giant’s Causeway, Co Antrim is a world-famous location. Again, an early start helps avoid the tourists.
• Tollymore Forest Park, Co Down, is a beautiful wood with rivers running through and looks spectacular in autumn.
• Ring Of Gullion in Co Armagh is an area with forests, lakes and ancient stones – certainly lots to explore.

Your guide: Gary McParland

Gary McParland

Gary McParland is an award-winning photographer based in Co Armagh in Northern Ireland. His photography has graced publications all around the world including a National Geographic Book. See more of his work here.

Further reading: 

• Guide to Landscape Photography
• Intimate Spring: landscape photography with a difference
• The top 24 best landscape photographs
• Best UK locations for a weekend break

Follow AP on Facebook, Twitter, Instagram, and YouTube

The post Best UK landscape photography locations appeared first on Amateur Photographer.