A big part of my day job is about managing risk and while I’ve learned to bring a lot of that discipline to my photography, it hasn’t been without hard lessons along the way. This piece isn’t going to focus in on data backups because others have more than covered that off, this is about how and why I buy the kit I do and what can happen when you haven’t entirely thought it all through. The is actually my 100th blog post on this site and while I should probably use that opportunity to fanfare some images or something I’m going to use it instead to pass on what I feel is some pretty sage advice…
It’s 5am, dark, I haven’t eaten, it’s zero on the temperature gauge, even though it’s the middle of April there’s plenty of snow underfoot, the equivalent of a small child is clinging to my back (my camera gear, not Greg), head torches are an essential requirement and for some reason I’m scrambling up the base of a ridiculously steep hill in Snowdonia asking myself for all the world what on earth I’m doing there.
I’ve been asked for quite a few images from Amateur Photographer to date, most notably with my Wild Wood Feature last October (watch out for another coming up again soon) so I was pleased to be asked to supply an image which would be used to demonstrate how to “avoid the cliches” as part of their “12 New Year Projects” feature…
Following on from my five page Wild Wood feature in Amateur Photographer last week (4th October edition) it was great to get a further invite from the editor to contribute and play a small part in the special 130th Anniversary Issue with a nice corner on Chesterton Windmill in Warwickshire.
I wrote a blog post a couple of months back about the pain of seeing some of my favourite images from the last year get rejected at the first hurdle of Charlie Waite’s Landscape Photographer Of The Year competition. I wrote it despite the fact I ended up with a number of photographs being shortlisted because I wanted people to know how much time and effort went into each and every image and regardless of any perceived success that the sting of rejection was still real, whether they believed it or not. Each photograph is a labour of love for me, apart from the road miles, 3am alarm calls and physical effort to generally stumbling around carrying large amounts of kit, the meticulous post-processing and final presentation all adds up to a big personal investment in each frame.
Once again a real pleasure to be contacted by one of the popular newstand magazines, this time Advanced Photographer for a special 8 page feature on Long Exposures.
One of my images Discography was requested to appear in a new iPad magazine Photography Week from the same publishers of Digital Camera Magazine and N-Photo.
Tim Ashley has been kind enough to write about and ask me to contribute to a guest piece about my photography on his Blog. It’s always great to be asked to contribute to anything like this – there’s nothing I like more than sharing my views or some incite in how I approach my photography and Tim is a great wordsmith to boot.