Indholdsfortegnelse for Outdoor Photography (19th Edition) i Outdoor Photography (19th Edition)

Outdoor photography is one of the most rewarding yet challenging areas in which a photographer can specialise. Whether it’s cloudless skies or unpredictable animals; unexpected weather or tricky light conditions, this book is full of guides and projects to help you tackle every subject, from enhancing your landscape shots to improving your wildlife photos. There is an entire section dedicated to making sure you’re getting the basics right, including how to compose photos and take a panorama. Step-by-step tutorials will also show you advanced techniques for getting the most out of outdoor scenes, from seascapes to country gardens, standing stones to mountaintops. This practical guide also has useful tips for taking shots in all weather and around the clock. As you will need kit that can keep up with the…

Wide-angle lenses are extremely versatile and can be applied to a large number of genres. They have a wider view than the human eye, so scenes created with them are often quite striking and will capture more of the scene than our eyes can. One of their most distinctive characteristics is their tendency to skew and distort reality – although this distortion is frequently used for creative effect, it can also be undesirable if not used correctly. Landscape photographers often use wideangle lenses in order to emphasise the depth and distance in a scene. Their wider angle exaggerate the linear perspective, seeming to extend the distance between objects captured. This perspective means that objects closer to the lens will look far bigger than they are in real life and will…

STABILISE YOUR CAPTURES Camera shake is often more obvious in captures shot with a telephoto lens. Telephoto lenses often feature an Image Stabilisation (Vibration Reduction) option on the lens in order to compensate for movement, with the goal of producing a sharper image. In many newer lenses you’ll find two options. The ordinary Image Stabilisation will stabilise both up and down movement as well as side to side. However, Mode 2 stabilisation will stabilise vertical movements, but allow for a panning motion blur to occur – ideal for photographers who wish to capture moving subjects with a blurred background. In situations where you require more reach, a telephoto lens might just be the perfect choice. Telephoto lenses generally have a focal length longer than 50mm. They have a far narrower…

The rain is pouring against the windows… the world is bathed in grey and it’s drab. The weather forecast doesn’t seem too promising either. Some kind of frustration is slowly growing, especially if an expensive photo trip has fallen through because this kind of bad weather. Many photographers think in this way. But here you will learn how to handle such ‘bad’ conditions – perhaps even learn to love them. In our opinion there is only one kind of bad weather for landscape photography: an all-blue sky with harsh sunlight at lunchtime. But back to stormy and misty weather – your new favourite weather conditions for atmospheric pictures. To master truly dramatic landscapes, you have to understand that the weather is an important part of visual storytelling. When you have…

There is hardly anything as beautiful as fog floating in and rolling over the hills. For this kind of photography you need floating fog (normally high-inversion fog), a viewpoint that sticks out of the fog, and some knowledge of which direction the wind pushes the fog and the height it’s flowing at. It’s also good to know which elements of the surrounding landscape may affect the flow. Also the light is important: ‘blue hour’ shots are recommended, since the highlights of direct sunlight on the fog surface are often too bright for good results. If the fog is moving fast due to wind, a sturdy tripod is needed. The best opportunity to plan such shots is when the wind pushes low stratus clouds or fog against a mountain ridge and…

Let’s face it: panoramas are pretty impressive. There’s something awe-inspiring about seeing, in just one image, an expansive vista that we’d normally have to turn 180 degrees to fully take in with the naked eye. In this way, panoramas have a lot in common with macro images and split-second action-freezing shots; they show us something that’s completely real and accurate, but normally utterly imperceptible to us. Images that show us something that’s beyond the power of our eyes and brains to see have a power that is hard to overlook. What’s more, like macro images and split-second action-freezing shots, panoramas require you to take photographs in a way that’s unique and demands practice if you’ve not attempted them before. Over the next few pages, you’ll discover the secrets behind the…

1 White balance You can skip this step if you set your camera’swhite balance to daylight or cloudy, but if you used auto mode you’ll need to make sure that all your RAW files have the same white balance. Ensure that you synchronise any adjustments you make to any of the image settings across all of your individual frames. 2 Export When you’ve made any universal processing adjustments across your images, export them to a new folder that you can easily locate as 8-bit TIFF files. Remember that the Photomerge function in Photoshop requires a lot of CPU power, so you won’t want to work with 16-bit files when it comes to that stage. 3 Automated stitching Fortunately, Photoshop has a very handy built-in function for stitching together several frames into one…

The light in the middle of the day is the most challenging for landscape photography, so creating moody shots is difficult – high contrast and harsh shadows provide little textural relief or modelling of objects. However, although afternoon light lacks the drama of sunrise and sunset, with a little creativity, you can still shoot extremely interesting landscapes. Subject choice is important. Simple compositions based around strong shapes will look good, especially shot from low-angles, and scenes with man-made structures lend themselves well to harsh lighting. Try to shoot when there is some cloud in the sky – plain blue skies with nothing to break up the tone makes scenes look even more flat. Overcast skies can work quite well at midday, especially if there’s some layering or texture in the…

The only way to keep exposures short enough to avoid star movement is to increase your ISO. This basically makes the sensor more sensitive to light, enabling you to get correct exposure with shorter shutter speeds than is possible at low ISO settings. It sounds perfect, but of course, there’s no such thing as a free lunch, and the trade-off with pushing up ISO levels is increased image noise. Technology is improving all the time, however, and modern sensors are capable of remarkable results at high ISO. This means that shooting at ISO 3200 or even higher is rarely a problem these days, especially as noise reduction software is very good at reducing noise while preserving image detail. However, for the very best results you’ll need to shoot in RAW…

THE MISSION ■ Use a graduated filter for landscapes TIME NEEDED ■ 15 minutes  SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique  KIT NEEDED ■ CSC or DSLR ■ Graduated filters ■ Tripod QUICK TIP! Choose a filter system to match your largest lens, then get adaptor rings so it will fit your other lenses Do you struggle to get your skies to come out properly when you’re shooting landscapes? Finding the right vista can be the difference between a mediocre image and a masterpiece, but first you might have to overcome a serious, very common issue with the lighting. All too often, the sky is much brighter than the ground and you can’t find an exposure that makes them both come out well. Either the…

QUICK TIP! Visit the location in daylight hours to get an idea of the landscape, as everything becomes trickier at night THE MISSION ■ Capture landscapes under a full moon with a super-long exposure TIME NEEDED  ■ 60 minutes SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ Tripod ■ Cable release ■ Torch ■ Stopwatch When you’re shooting at a stunning location it’s easy to lose yourself in the moment and, before you know it, then light is fading. However, just because the sun goes down there’s no need to head home. If the moon is out and the skies are clear, you can continue shooting well into the night. To do so involves a fairly substantial long exposure. We’re not talking…

THE MISSION ■ Learn how and when to exaggerate the negative space in your photos TIME NEEDED  ■ One hour SKILL LEVEL  ■ Anyone can do it■ Some tricky aspects■ Advanced technique KIT NEEDED  ■ Tripod (optional)■ ND filters (optional) Your camera’s sensor is a blank canvas onto which you can place whatever you like in the frame. Within that 3-by-2 box there’s ample room for manoeuvre. The typical approach is to come in tight and cram the frame with detail, but sometimes it might be more effective to leave parts of the frame empty in order to create a different mood. We call the empty parts of a frame ‘negative space’. This is typically anywhere that is either lacking in detail, blurred or otherwise plain and unformed. By contrast, the…

READER 1 Chelsea Underhill CAMERAS: Canon EOS 750D LOCATION: Seaton BY night, Chelsea works for Tesco, but in her spare time she indulges her passion for photographing the natural world. She has access to a local patch of land where she can get close-ups of wild birds, and has even been known to shoot toadstool time-lapses in her spare room. Chelsea is also a keen motorsports photographer, and she’s often trackside with her Canon equipment. Although she only lives along the coast from Lyme Regis, she fancied the challenge of seeing a local spot with fresh eyes. www.darkfairyphotography.co.uk READER 2 Lynn Buckley CAMERA: Olympus OM-D E-M5 Mark II LOCATION: Newton Abbot A RETIRED staff training and development officer, Lynn has found that making the move to digital has released a…

There’s an immense amount of kit for all photographic disciplines designed to make taking your photos as effortless and efficient as possible. Landscape photography is no exception, and there’s an abundance of top tech, gadgets, gizmos and upgrades out there you can add to your camera backpack that will help you take better scenic shots. In this feature, we will cover the core kit you should consider if you want to take your landscape photography more seriously. This includes tripods and the heads that mount on top of them, which will help you set up a more considered composition, as well as enable long exposures to blur moving elements like clouds, people or water. Also, we’ll look at filters, which help you to get the shot right in-camera and enable…

There’s nothing quite like the great outdoors, so what better excuse to get out there and see it all than doing a spot of photography? Outdoor shooting umbrellas a selection of other genres, including landscape, wildlife, nature, macro and night photography, which is why it interests such a wide variety of photographers and outdoor enthusiasts. Also heightening its appeal is its ability to present enthusiasts with an opportunity to deviate from typical shooting patterns and experiment with new ideas. So, for example, a typical landscapelover, while out framing a cloud-dappled rolling vista, may come across a badger’s sett and be inspired to sample wildlife photography. One of the other great things about this genre is that it’s open to all and you don’t have to travel far to find a…

Although we have explored the benefits of having a wide angle of view, embracing a more true-to-life outlook can enable you to capture a huge variety of subjects in a far more realistic way, free from distortion. Prime lenses have a fixed focal length and are usually the favoured choice for professional shooters – they are available in a number of focal lengths with 35mm, 50mm and 85mm being extremely popular. They usually produce a higher quality of capture compared to cheaper standard zoom lenses. A prime lens consists of less internal elements than a zoom lens would, which means the optical performance is often far more superior. Prime lenses are also usually far lighter than zoom lenses because of the fewer elements. They often have a wider maximum aperture…

While you don’t necessarily need to understand the inner workings of your kit in order to take great photos, it can certainly help to have an appreciation of how your optics are constructed. Next time you’re reading a lens review or considering a purchase, this quick guide will help you understand the tech. LENS TRANSMITTANCE T-numbers are less familiar than F-numbers but useful to understand nonetheless F-numbers provide a fairly accurate change in the amount of light transmitted by a lens, but don’t take into account the light lost due to absorption and reflection, and so the T-number system was conceived as an alternative. Although principally adopted by the movie industry for recording a scene from different angles, or using different focal lengths, without revealing a difference in exposure, comparing…

Many of us know this situation: you’re driving down the highway during late afternoon, and it’s pouring down. Suddenly the rain stops and everything is bathed in golden light. But since it’s not a good idea to stop on the highway and most of the time there are no promising locations nearby, you just think what you could have done with the same conditions at your favourite location. Is there a way to plan for such conditions? Yes, if only to a certain extent. To be ready to capture these shots, you have to know from which direction the storm or rain is coming in, and how long it will last. The best way for this is to check a high-definition weather radar readout with a mobile app. There you…

Bad weather means muted conditions, muted light and muted colours. Therefore a main option is to focus on structures and patterns. Especially with some contrast enhancement, some foggy and misty photos are predestined for minimalist black and white photography. When the conditions are mostly the same for several hours a day, try to work conceptually and in a series. With frequently represented and characteristic elements of a certain landscape, this can be an interesting approach. Think of the various monochrome series you’ve seen of gnarly trees, hay barns and so on. Another option is to keep the same frame all the time – or just with a little variation – and to wait for changes in the structure of the clouds or fog. Perhaps it’s not the usual kind of…

Landscape is one of the most popular genres of photography. As with all types of photography, the key ingredient is light, but unlike studio photography, there’s very little you can do to control it. This means it’s important to understand how light at different times of day affects your results. It’s generally agreed that the most flattering light for landscape photography is the low, warm light in the half-hour either side of sunrise and sunset – the so-called golden hours. With these hours heralded as the absolute best for shooting landscapes, you’d be forgiven for thinking that it’s impossible to take stunning shots at any other time of day. Nothing could be further from the truth, however, and it’s perfectly possible to take breathtaking vistas throughout the day – and…

1 Pick a spot Choose a location that will work well in midday light. We've found bold subjects without clutter work best. 2 Compose Choose the best angle to minimise the impact of shadows and to give space to what’s important. Shape-based compositions work well. 3 Filter the light Midday light can produce strong colours, so use a polarising filter to boost the saturation. 4 Wait for the moment Don’t shoot the instant you’ve set up – wait for clouds to drift into the scene to help balance the composition and to soften the harsh shadows. KEY KIT: LENS HOOD Flare is a potential problem when shooting in strong midday light, as the light can reflect on the inside of your lens. Using a lens hood can reduce the chances…

THE MISSION ■ Shoot milky seascapes with long shutter speeds at dusk TIME NEEDED ■ 3 hours SKILL LEVEL  ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ CSC or DSLR ■ Tripod ■ ND filter ■ ND grad filter ■ Cable release ■ Lens cloth Timing is key to shooting great seascapes. You need to be there at the right time of day, but just as important is the timing of the exposure. For a raging, stormy sea, a fast shutter speed can be appropriate, but with calmer waters, the best approach is to take it slow. Very slow. Shutter speeds that are seconds long turn even the gentlest waters into a smooth, silky blur, and the expanse of water takes on a milky white appearance…

THE MISSION ■ Use a polariser TIME NEEDED  ■ 20 minutes SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED ■ CSC or SLR ■ Polarising filter ■ Sunny day! QUICK TIP! Use a polariser to make fluffy white clouds stand out against a blue sky Unlike most other filters you can buy for your camera, a polariser does things to the image that you simply can’t do in Photoshop. Screwing into the front of your lens, it has the power to make colours lookmore intense, to cut out unwanted reflections from glass and water and to remove the sheen on everything from painted doors torocky surfaces. A polarising filter is especially useful for landscape photography when you’re shooting scenes that include blue sky…

THE MISSION ■ Add dynamism to shots with this trick TIME NEEDED  ■ 10 minutes SKILL LEVEL  ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED  ■ Tripod Sharp imagery is the goal sought by most photographers, but a purposely blurred image can often look quite intriguing and be far more evocative. Shutter dragging is a technique that involves combining motion with a longer exposure. Wedding photographers use it all the time to capture more of the atmosphere of the first dance or the couple walking back down the aisle, but landscape and fine-art photographers can employ it for impressionistic effects. Find a scene with strong lines – either horizontal or vertical, both work well – and bold colours, then simply move the camera during…

READER 1 Navjit Bhamra CAMERA: Nikon D810 LOCATION: London A SALES, operations and planning lead for a software company, Navjit is mainly drawn to travel photography. He has been slowly building up a portfolio of London landmarks since recently returning from a stint in Singapore. So, when this month’s challenge came up, Navjit felt confident enough to join us and give it his best shot. He was also keen to spend a day with like minded photographers discussing all things photographic, from the latest kit to the dynamics of the photography market. www.facebook.com/darkcloudphoto READER 2 Leon Tyler CAMERA: Olympus OM-D E-M10 LOCATION: London CREATIVE technologist Leon was determined to explore his urban environment, despite the rain, the wind and a stinking cold. He also loves meeting and hanging out with…

READER 1 Glynis Shaw CAMERAS: Fujifilm X-T1, Pentax K-3 LOCATION: Berwick-upon-Tweed GLYNIS recently retired from her duties as a chief inspector with Hampshire Constabulary. She orignally trained as a photographer in the Women’s Royal Naval Service in the 1970s, and now offers a range of photographic services. She’s also won a number of awards for her work, including being highly commended in the 2013 British Wildlife Photography Awards. She planned to keep the Snowdonia trip a relatively lightweight one, packing her trusty Fujfilm X-T1 and 14mm lens, along with a Pentax K-3 and 18-55mm lens. www.glympspix.co.uk READER 2 David Handson CAMERAS: Canon EOS 450D LOCATION: Finghall, North Yorkshire DAVID is a chartered engineer and project manager for North Yorkshire County Council. He spends as much time as he can enjoying…

There’s a whole host of equipment and tools T designed to make your life easier when you’re out taking scenic shots. Here, we list our favourite gadgets and core kit that any budding landscape photographer should consider. Don’t worry if you’re on a super-tight budget; much of the equipment here is desirable but not essential. We’d recommend starting with an entry-level DSLR or mirrorless camera with a kit lens and an affordable tripod, though if your budget stretches it would be worth picking up a set of affordable filters, too. For tighter budgets, it’s worth noting that the second-hand market can be a great place to pick up a bargain and save some money on a camera body or lens, too. You can then slowly build up your landscapes kit…

Buying the best camera with the most impressive sensor will be a wasted endeavour if the lenses you use aren’t up to scratch, or if you don’t know how to get the best out of them. It is likely that you own a kit lens that came with your camera, but you will have quickly discovered the limitations that your standard zoom has. Lenses come in various sizes and qualities, so knowing what to go for is essential. Focal length, max aperture and whether to choose a zoom or prime lens all have a big impact on the quality of your shots. Before we go any further, it is important that we cover a few of the essentials first. Lenses fall into different categories; wide-angle, standard, zoom, prime and telephoto.…

While you need to know your lenses, it is also important that you know how to always get the best from your lenses. It is essential that you spend time experimenting with your lenses and get to know when they work the best. Often lenses have an aperture sweet point, and this is not always at the maximum aperture like you might assume. A lens with a max aperture of f1.8 might actually perform far better and suffer from fewer aberrations when it is used one or two stops down from max. This may mean that even if you don’t plan to use your lens at its max aperture, you might still benefit in investing in a faster lens to ensure your images are free from flaws. To get the…

For me, landscape photography is all about the emotion. It’s about creating atmosphere and interpreting how I feel about my subject using equipment and techniques that produce the finest quality I am capable of. It’s a weird synthesis of left and right brain thinking, where I get to problem-solve technical issues and logistical challenges (like getting to the location in the first place), and then hopefully create something magical as well. I am quite comfortable comparing my approach to landscape photography with producing a Hollywood feature film, where it’s all about visual storytelling and creating a cinematic experience. However, I imagine other landscape photographers would prefer their work to be compared perhaps with that seen on a BBC wildlife documentary, where production values are designed to produce a ‘genuine’ or…

Fog and mist can be key elements in visual storytelling. Painters have a canvas; landscape photographers have fog. It’s our white space where we are able to arrange the picture elements. But this also means that it’s important to find convincing compositions and know how to give a photo structure. Try to find the best angle of view to give every element enough space for taking effect. Work with intersections and staggered arrangements. Leading lines, structures and patterns are more important than colours – but during autumn, you can use autumnal leaves to catch the eye, though. It’s also important to look for the right subjects for fog photography. Since the background is often non-existent – just a grey or white surface – look for motifs that suit your current…

Look at any landscape photography competition and you’ll see how the right weather can bring drama to your photos. Winners of the £10,000 Take A View 2011 landscape photography awards, for example, captured storm waves exploding in a Guernsey bay, brooding thunderclouds over a Scottish salmon fishery, and a motorbike ride in glorious sunshine. But how do you shoot fleeting cloud formations, rough seas and violent storms while minimising long waits and wet equipment? The trick is to understand and predict the weather. Knowing how to find interesting clouds is a great way to liven up the skies in your photographs, and the first thing to know is that clouds form by three main processes. The first is simple convection, which creates fair-weather cumulus clouds and heavy summer showers. Cumulus…

1 On the level When shooting single frame images, you normally just worry about getting the camera itself level with the Earth’s true horizon but, when shooting a panorama, you need to ensure that the tripod itself is level. If your tripod doesn’t have a spirit level, use a hot shoe bubble level like this. 2 Portrait format Although not vital, it is probably best to set your camera up in portrait format. Although your finished panorama will consist of more individual frames than it would if you simply use the landscape format, the image quality will be improved by shooting in portrait format. 3 Pan lock One capability that you need your tripod head to have is a standalone pan motion that allows you to pan without having to…

Sunrise is the favourite time of day for many landscape photographers and it’s easy to see why – there are fewer people to get in the way of your composition, the air has great clarity and clouds can be lit from below, adding colour and drama to the scene. After a cool, clear, still night, there is also the possibility of mist, adding a touch of romance and simplifying the scene, encouraging you to seek out strong, bold shapes to base compositions around. The light changes rapidly at dawn, so planning and preparation are key. The most intense colour can start well before sunrise, so it’s best to arrive at a preselected spot at least 30 minutes beforehand with a clear idea of where the Sun will be rising, as…

Few photographers can resist shooting a colourful sunset – after all, it’s the day’s grand finale. But it’s not enough just to point the camera at the colour and hope to get a good result. In many ways, shooting at sunset is easier than dawn as you can set up while it’s light and see how the light is changing. Preparation is still important, so research your location and make sure you know where the Sun will be setting. Keep an eye on the weather forecast before setting out. The ideal conditions for sunset involve having cloud cover of around 50 to 70 per cent to pick up the colours of the setting Sun. However, don’t despair if it’s heavier than that – if there’s a break on the horizon,…

Night shots look best when everything is pin-sharp, which can be a problem when shooting longer exposures. There are a number of things you can do to maximise sharpness. The obvious things are to use a solid tripod and to shoot in conditions that are as still as possible. You should also use a remote or cable release to trip the shutter, as even the gentlest touch of the button can cause shake. In some instances, however, even this may not be enough. With SLRs, the mirror has to swing out of the way in order to take a shot, and this movement can cause vibration. How much depends on how well-damped the mechanism is, plus the size of the mirror – it’s more of a problem with full-frame DSLRs.…

THE MISSION ■ Capture a slow shutter speed shot of a waterfall TIME NEEDED ■ Half a day  SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique  KIT NEEDED ■ CSC or DSLR ■ Tripod ■ Cable release ■ ND filter (optional) Waterfalls are one of the most satisfying subjects you can shoot with your DSLR. However, the fast-moving water throws up some challenges for photographers. Often, people’s exposures end up being disappointing – they set the wrong shutter speed, so don’t get the traditional blurred-water effect. Andsometimes the exposure ends upbeing too dark or light, due to having to cope with the combination of dark rocks and bright, foamy water. One of the biggest attractions of waterfalls, rocky rapids and babbling brooks is that…

THE MISSION ■ To create a striking night shot TIME NEEDED  ■ 30 minutes SKILL LEVEL ■ Anyone can do it ■ Some tricky aspects ■ Advanced technique KIT NEEDED  ■ CSC or DSLR ■ Tripod ■ Torch ■ Remote release Even though there are fewer hours of daylight in winter, it doesn’t mean that you have to put your camera into hibernation. You just have to be a bit more creative to get great pictures. You could simply use the artificial light of towns, cities or traffic as a light source, or even shoot stars and other bodies in the night sky, but one of the most creative and unusual ways to illuminate your night shots is using a technique known as ‘painting with light’. This involves using a…

THE MISSION ■ Capture shallow depth-of-field scenic shots TIME NEEDED  ■ 45 minutes SKILL LEVEL  ■ Anyone can do it■ Some tricky aspects■ Advanced technique KIT NEEDED ■ Fast standard prime Traditional landscape and seaside shots are usually taken using a wide-angle focal length, such as 16mm (or 10mm on an APS-C sensor), and narrow aperture, such as f/16, so you can capture a large part of the vista, and ensure it’s sharp from the foreground to the horizon. In this project, however, we’re going to show you how creative your scenic shots can look if you do the opposite… We’ve come to Weston-super-Mare’s Grand Pier in Somerset as it offers a clear focal point with lots of sand for our foreground. We have timed our visit so that the tide…

READER 1 Geoff Stockton CAMERA: Canon EOS 700D LOCATION: Killay, Wales COMPANY director Geoff invested in his Canon EOS 700D a few months ago for work. But he’s found the upgrade from his point-and-shoot compact a bit of a challenge. Geoff is still trying to get his head around the basics of photography, but he has a creative eye and is full of ideas when it comes to shooting. Geoff lives in an iconic location and has numerous photographic vistas on his doorstep. As well as playing for the over-55 Wales football team, Geoff has appeared on many TV game shows, including Fifteen to One and The Weakest Link. READER 2 Carole Mortimer CAMERA: Canon EOS 70D LOCATION: Cotswolds FREELANCE equestrian journalist Carole Mortimer writes for the magazine Horse and…

READER 1 Jasmine Kamal-P asha CAMERA: Canon EOS 550D LOCATION: London JASMINE has recently graduated with a degree in photography from Kingston University. As a photography graduate, Jasmine is eager to forge a career as a photographer, so spending a day with like-minded people was the perfect opportunity for her to extend her skills. Combining her love of both fine-art and wildlife photography, this month’s Slimbridge Shootout was the ideal platform for Jasmine to flex her creative muscles. Bubbling with enthusiasm and energy, it’s clear that Jasmine is off to a good start. jasminekamalpasha.com READER 2 Mark Gawthorne CAMERA: Canon EOS 5D Mark III LOCATION: Exeter, Devon MARK’S been a full-time wedding photographer in Devon for more than 25 years. Despite shooting more than 80 weddings in 2015, Mark was…