Hello and thanks for joining me onanother landscape photography outing.

Today I’d like to think about landscapephotography without an epic location and look at how we can capture interestingartwork just about anywhere and in just about any conditions. Today I’ve come down to my local waterfeature which you may have seen on my channel from time to time I live justover.

The far side my house faces approximately south-west so I tend toshoot.

From the other side whenever there’s a decent sunset and I’mconcentrating on the stand the reflections in the.

In to mychannel you’re expecting to find me in more interesting locations and that’sbecause I happen to live close by them.
So why wouldn’t I share them with youand encourage you to visit if you can.
Now many of you might say ‘yeah but lookyou’ve got this fabulous lake right on your doorstep’, well, yes, of course that’strue.
But I’d say that just about everyone has an.

Interesting landscapenot too far from where they live whether its water or woodland or even urbanparkland there are landscapes everywhere you turn so looking at thislocation you can see it’s a perfectly Pleasant spot.

For a quiet scenic strollbut it isn’t necessarily the first place that a photographer would think ofcoming the surrounds are a bit flat and boring and there’s no mountainousbackdrop like Dew and water for example or Snowden horse-shoe behind Clint ladoror interesting old jetties there.

Isn’t a single lone tree in sight or aninteresting little island to draw your attention you see most still water shotsreally needs something to focus on to draw your attention in if you.
Just shootthe water itself it’s probably not really going to be that.

Interesting as Isaid earlier I only use it as a device when.

I’m actually shoot in the sunsetnow let’s think about the conditions here it’s a pretty dull gray day andthere’s really not much going on but of course when you’re able to get out witha camera that could well also be the case we can’t always get out when.

Thelight is just perfect and that’s why I came out on a so-so sort of day to aho-hum sort of location so you can enjoy watching me struggle to find some imagesI’m gonna ever hunt about.

Or three images which I hope will showyou that.

You can get out and enjoy your landscape photography wherever youhappen to be and whatever the light is doingOh what caught my attention with this little cascade is at first glance you’dthink there’s not much to it but what I really like is the way thetrees in the background are reflected in the still water of the pool above theCascade so putting those three elements together with the Cascade at the bottomI think it makes for quite an interesting composition I’m not a bigfan of water that’s been completely smoothed out so it looks.

Like milk Istill want to be able to see some detail in it obviously.

I don’t want to freezeit solid so that quarter of a second should hopefully give me.

What I’mlooking for but as I said what I particularly like about this are thereflections behind the Cascade perhaps I was being a bit economicalwith the truth when I said we don’t have a derelict jetty because actually we dobut it’s hardly in the same league as Derwent water that said it’s still aninteresting subject I can’t get a standard wide open composition becausethe.

Banks are all completely overgrown so I’m forced.

To shoot with these leavesoverhanging and.

I’ve got a whole Bank of reedsbetween myself and the end of the jetty now that’s not necessarily a problem atall I’m taking a long exposure of this and I’m allowing the reeds and theleaves to move in the image.

And create that interesting motion but the cloudsand the water are getting smoothed out with this quite nice soft diffused lightthe only question I’m gonna have when I get it back in post.

Is whether I can doanything with colours or whether I’m going to need to make it monotone I’lltake a look at that later and make a.

Decision in the meantime what I’m doingis making sure I’ve got enough data to work with I can’t stress this enough forlandscape photography.

The opportunity where your subject is notmoving very fast you don’t need to grab a shot really quickly you can take yourtime and think about it and what this is allowing me to do is to try all.

Sorts ofdifferent focal lengths and different slightly different compositions to seewhich I prefer when I get it back onto my computer so make sure you’ve gotenough data on your card get the multiple exposures bracket if you needto meter for the foreground meter for the sky do all of those things so thatyou can.

Throw away 50 shots to get that one shot that really works for you I think.

The lesson I’m learning today isall about observation I’m having to work much harder to find something that’sgoing to create the interest that makes a good image now usually when I’m outand about in my epic locations it’s much easier to simply point your camera orwhatever’s giving you the wow.

Factor if I’m happy with any of the images that Iget today I think they’ll probably mean more to me than.

An easy win where Isimply point my camera at a golden sunset in Snowdonia on the subject of being observant notthat long ago I was walking with a fellow vlogger chap by the name.

Of PaulCompton you may have heard of him he’s an extremely good photographer by theway don’t be fooled by his exuberant vlogging style we were on our way to seean evening with Tom Heaton and I was looking at our surroundings.

As we werechatting and thinking oh this might.

Make a good composition that would be aninteresting subject and that exact moment Paul said do you know whatwhenever I’m out and about walking I’m always looking at stuff of it as ifit’s a potential image.

And I knew exactly what he meant you kind of getinto that mindset and coming to a place like this on a day like this.

And havingto really work at it kind of sharpens your skills so that the next time you’reout and you’ve got a great subject and great light you’re equipped to reallymake the most of it for this final image I’m shooting across this little Inletand it’s quite shallow so by using a polarizer I can see all the crap on thebottom and it looks fabulous it’s all dead stuff on a sort of sandy bottom andthen behind it I’ve got a really nice bed of bullrushes what I’ve done withthis one is I’ve put my Tokina.

Wide angle lens on so I’m shooting ultra wideabout 11 millimeters and it’s a perfect composition for that sort of wide angleone of the problems that I see with a lot of wide-angle.

You getreally interesting foreground but if you’ve got a.

Subject in the backgroundit gets completely lost some images that come to mind are things like bamburghcastle for example there’s some fabulous rocks and photographers are really keento feature those rocks but then the castle ends up as a teenytiny little aspect right in the far distance for me I.

Tend to try and avoidusing an ultra wide-angle lens unless the entire image is what I’mtrying to get into it so with this one I think the sort of composition that I’vecome up with hopefully will work quite well as far as my.

Settings are concernedwell again as I said earlier I’m doing all sorts of different exposures to seewhat I come up with so.

You’ll find to help what settings Isettled on when I show you the image shortly well I hope you’ve enjoyed thisone not my usual sort.

Of thing I’m usually about the epoch locations moreabout where to shoot than how to shoot I don’t normally get quite thisphilosophical but I thought I should come clean but I don’t always get upinto the mountains or down onto the coast and I hope it’s given you somefood for thought but you can get out and you can find some interesting.

Imageswherever you happen to live and when you do get the opportunity to travel to themore interesting locations that you’ll then be better equipped to make the mostof them so get out there and take some pictures so with that I’ll.

Say thank youever so much for watching I really appreciate your comments and yourencouragement and support oh by the way if you haven’t done it yet why notsubscribe now and join me next time.

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