Oldshoremore is one of my favourite spots on the west coast of Scotland – a wonderfully remote and impressive beach. A huge sweep of sand curves to a fine-shaped rocky headland jutting out at one end, sawn off by the waves to form a small but dramatic cliff at the tip. All the ingredients for some great images, but, although I have visited many times I have failed to do the place justice.

Recently I was over west on a commission, shooting geological locations in the north-west Highlands. On finishing the final site, cloud was marching in from the east but there was enough of a gap on the western horizon to make dramatic late afternoon light a possibility. A chance to try for Oldshoremore Scotland again.

On arriving I wasn’t disappointed – low winter sunshine and huge Atlantic waves breaking on the bay leaving fascinating foam patterns where they finally came to a halt. As I wandered about trying out different ideas the sun sank behind the small cliffs on the headland and left a wonderful afterglow lingering for some time. After quite a bit of wave-dodging I headed for the car as the final colour faded to blue.

Here are a few of the highlights from a fantastic winter afternoon in the north-west Highlands:

Phil McDermott - Photographer and Blogger, Isle of Mull, Scotland

Low level photography is a perfect way to photograph many wildlife photography subjects. Selecting a low viewpoint enables you to photographing the subject from their eye level, this can bring a huge benefit to the nature image.

Low level photography – Barn swallow

Making eye to eye contact is aesthetically pleasing, yes it can be physically uncomfortable, often wet and tiring but certainly well worth the effort in the long run.

The benefits of Low Level Photography

1. A more pleasing viewpoint with less subject distortion.

2. The lower viewpoint increases the subject to background distance and therefore makes the background more diffused, less cluttered and unobtrusive even when using fairly small apertures.

3. Enables the camera / lens combination to be readily supported on the ground to increase its stability, using this technique with relatively static subjects it is possible to shoot as low as 1/30th second even with long telephoto lenses and still get sharper photos.

4. It is easier to remain concealed and blend in with the immediate habitat by keeping low, this gives less risk of disturbing or causing distress to your subject.

5. If there is water in the foreground (as in image 9) then the lower viewpoint will increase the length of the refection and therefore add greater impact and interest to the composition.

“With an eye made quiet by power of harmony, and the deep power of joy, we see into the life of things” ~ William Wordsworth.

This selection of bird images below were all taken on the Isle of Mull off the west coast of Scotland and hopefully illustrate the benefits of the eye to eye approach to low level photography of nature subjects. Whilst I have selected birds as the subject this low level photography technique works equally well with mammals, amphibians, flowers and fungi.

I would love to hear your thoughts and comments and would appreciate a retweet if you have enjoyed this selection.

Eider (Somateria mollissima)

Atlantic Puffin (Fratercula arctica)

Common Snipe (Gallinago gallinago)

Shag (Phalacrocorax aristotelis)

Oystercatcher (Haematopus ostralegus)

Robin (Erithacus rubecula)

Yellowhammer (Emberiza citrinella)

Eider (Somateria mollissima)

Short eared owl (Asio flammeus)

Phil McDermott - Photographer and Blogger, Isle of Mull, Scotland

I love being near to water and it plays an important part in much of my landscape photography work. Living on the Isle of Mull off west coast of Scotland I am never too far away from water, not only is Mull surrounded by water there are also many inland lochs that have much to offer.

Water is constantly moving and this movement can add real impact to landscape photography compositions. In the small selection of images showing the use of water in landscape photography there is water that is calm, rough and reflective, and with good camera technique this water can appear to be ‘frozen’ or with the use of a slow shutter speed it can become blurred to convey movement.

Water, water, everywhere,
And all the boards did shrink;
Water, water, everywhere,
Nor any drop to drink.
– Coleridge, The Rime of the Ancient Mariner, 1798

It is often a good idea to use a polarising filter to saturate the colours and reduce some of the reflection when creating images with water in the landscape. Artistically filters can have a great impact on your photography and the effect of a polarising filter is just about the only filter that cannot be recreated on the computer.

Loch Maree, Wester Ross

Loch na Keall at sunset, Isle of Mull

Loch Torridon from Red Point, Wester Ross

Loch Bearnach in winter sunset, Isle of Mull

Incoming tide, surf and seaweed

Toward the Isle of Skye at sunset from Red Point, Wester Ross

Rocks and surf

Tranquility at Loch Gairloch, Wester Ross

Loch Torridon, Wester Ross

As ever I am pleased to receive your comments and feedback on these water images, please share to social networks if you would like to spread the word.

Phil McDermott - Photographer and Blogger, Isle of Mull, Scotland

In this article I will describe the various choices I make when preparing for a landscape photography trip, from the initial preparation to taking the final image; some of the ideas may be obvious, others less so.

1. Landscape Photography – General Preparation

I start by selecting a landscape photography location, if this is a new area I like to study maps, guide books and normally contact the local Tourist Information Centres for leaflets, etc. I then use the 1:25000 Ordnance Survey map covering the proposed location to target a potential area for landscape photography. I check sunrise / sunset times and the suns position at sunrise, midday and sunset to decide when is the best time of day to be there. Also, if applicable, refer to the local tide table. It is always a good idea to inform someone of your intended route, destination and time frame. Record the Grid Reference for future use.

For this late summer afternoon landscape photography trip I chose the small village of Croggan on the Isle of Mull. Looking at the map I could see that the sun would set behind the mountains to the west at this time of the year and I could include part of the coastline with a rising tide to provide foreground interest and a lead in into the picture. Access to my chosen area was relatively easy only requiring a little walking from the road.

If your chosen landscape photography area is less accessible then it is essential further preparation is done, the decision to venture into remote areas requires fitness and additional skills, for example, the ability to map read and navigate.

It is always a good idea to check the weather forecast prior to setting off on a trip. Whilst an adverse weather forecast may not stop you from going at least you will be prepared. Local knowledge is a bonus; certainly here on Mull the weather can often vary from one end of the island to the other so local knowledge can be of enormous benefit.

2. Preparation of Kit & Equipment

The kit I choose for a landscape photography trip will depend on the chosen destination, is it easily accessible or is it remote. Typically for a full day of landscape photography work I would carry the following :

• Camerac rucsac
• 2 Camera bodies
• Wide angle zoom 17-40 mm lens
• Fixed 24 mm lens
• Mid range zoom 24 – 105 mm lens
• Short telephoto zoom 70-200 mm lens
• Hand held Sekonic lightmeter with a one degree spot
• Electronic Cable release
• Memory cards, spare batteries
• Polariser Filter
• Lee 1, 2 and 3 stop Neutral Density Graduated Filters
• Lee ‘Big Stopper’ 10 stop ND Filter
• Tripod, karabiner, canvas bag (to fill with stones for adding extra weight and stability to the tripod)
• Camera cleaning and minor repair kit
• GPS, compass, map and whistle
• Note book & pen or digital recorder
• First Aid Kit including Space Blanket
• Plastic bags for protecting gear etc in wet weather
• Waterproofs, hat and fingerless gloves
• Food and drink

3. On arrival at the location

I always plan to arrive at the my landscape photography location in plenty of time, then find somewhere safe and convenient to park giving due consideration to local residents, farmers etc.

4. Assessing the area visually – risk assessment

Before leaving the car I have a look around, make sure all is secure and nothing left behind sitting on the car roof for example. I know Croggan to be a very safe place to work, but other places are less so. Remember you are carrying expensive equipment. Having decided on the general area to do landscape photography I then do a more specific risk assessment, again this will vary depending on where you are but helps to concentrate the mind and making you more aware of your immediate surroundings. As Croggan is a coastal location with a very rocky coastline the obvious risks are slippy rocks, tidal water and its remoteness.

4. Assessing the scene visually – photographically

This is now a crucial moment as we now need to identify the exact position from where to compose our image. I take time to look around and visualise what I want to create. I use the camera to view the scene with different lenses from different angles, low down and high up, trying both vertical and horizontal formats. Doing it this way allows freedom of movement without the constraints of a tripod. Finally I decided on a spot a few metres from the waters edge with some prominent rocks in the foreground. With this combination of foreground rocks, setting sun and rising tide I am happy with my choice.

View across Loch Spelve at twilight

5. Composing the image and positioning tripod

Ensure that all the elements in your final view are what you want in the scene. Check all around the frame, it is surprising just how often something unwanted creeps into the image, remember that the coverage of most camera viewfinders is typically about 96% of the final image. Only when I have my preferred composition do I finally commit to placing the camera on the tripod. The location of the tripod is crucial, not only photographically but from a stability point of view; it needs to be positioned securely. In many situations I use a karabiner attached to the underside of the tripod to hang either my camera bag or a bag of stones collected from nearby.

6. Selecting the Aperture and setting Hyperfocal Distance

Hyperfocal Distance is point of focus needed to ensure sharpness from half that distance to infinity. It is determined by both aperture selection and the focal length of the lens. For the landscape photography image and composition I have in mind I decide to use a 24mm lens and aim to achieve maximum depth of field (depth of field is the distance from the nearest to furthest part of an image that appears to be sharply focused, it will change with lens selection and point of focus). Fixed focal length lenses have a usable hyperfocal scale on them whereas zoom lenses do not so referring to Hyperfocal & Depth of Field Tables is useful. To achieve the depth of sharpness I want I select an aperture of f11 which will ensure sharpness from 2.5m to infinity when set to focus at a Hyperfocal distance of about 5m (the minimum focus is always half of the Hyperfocal distance).

Having set the point of focus, looking through the viewfinder the image looks out of focus, to actually see what will appear in our image we need to use the Depth of Field preview. This takes a little getting used to as the preview with the lens stopped down to f11 will look very dark indeed. We need to be patient and allow our eye to adjust to the reduced light in the viewfinder. After time our eyes will adjust making the view appear brighter, then we can visually inspect and confirm that the f stop selected does actually provide the depth of field required.

View across Loch Spelve, a 30 second exposure

7. Setting exposure

I usually use the Evaluative metering mode setting on the camera. For the majority of instances this works just fine. However, there are times when a high contrast scene will require a little more effort and I will the use either the spot meter on the camera or a 1 degree hand held Sekonic Lightmeter to check the exposure difference between the highlight and shadow areas.

If the contrast difference exceeds 6 stops I will add a Neutral Density graduated filter to reduce the intensity of the highlights, the strength of filter required being determined by the amount of brightness above the acceptable 6 stop difference.

I may also add a polarising filter, I always use these filters with care, yes they help to increase saturation and reduce reflection but they can also darken skies too much. Using them with ultra wide angle lenses can cause a significant fall off in sky tone that I find unpleasant.

During this particular landscape photography shoot I had no need for a ND grad filter as the sun had set behind the horizon and the contrast range was less than 6 stops. However, I did add a polariser, in this instance to slightly reduce reflection on the water. It also had another benefit, a polarising filter set to maximum polarisation will darken the image by about 2 stops, so the shutter time needs to be lengthen by 2 stops. For this particular landscape photography image I wanted the incoming tide to appear silky as it flowed around the rocks, reducing the shutter speed ensured that this would indeed be the case.

8. Waiting for the ideal moment to take the photo

All that is needed now is the right moment, I waited for the afterglow of the sunset and combined this with an incoming wave to maximise the amount of moving water in the foreground. Before I took the shot I had quick final look around the viewfinder before tripping the shutter via the cable release.

9. Persistence – keep working the shot

Hopefully at this point the shot is in the bag but don’t relax just yet, use the opportunity available to seek out further images. A slight change in camera height, changing from a horizontal to a vertical composition (or vice versa) will all add variety and increase your photo opportunities. Only when you have exhausted the potential of an area can you confidently decide to call it a day.

10. Finally

Preparing for a Landscape Photography trip is always going to be beneficial. Enjoy your photography, have fun and be safe.

Phil McDermott - Photographer and Blogger, Isle of Mull, Scotland

Sunny days and photography go hand in hand, right! Well, not always, it really depends on the subject matter, but there is no reason to wait for sunny weather when you can embrace the drama and excitement of bad weather photography.

Bad weather photography – Lismore Lighthouse, Scotland

Though some photographers might dislike the thought of being out with their camera in bad weather, dull days certainly offer plenty of photo options.

So why not try some bad weather photography

Whilst finding suitable bad weather opportunities may need a little extra thought and effort the pictures are there for the taking even on the dullest of days.

 
I find that there is a certain beauty in these stormy skies, and the heavy drama of a storm can really add an imposing air to bad weather photography compositions.

Phil McDermott - Photographer and Blogger, Isle of Mull, Scotland