A bare tree stands in a frosty landscape in Sutton Park. Credit: Verity Milligan<\/figcaption><\/figure>So often, the first few photos I capture when I arrive at a location turn out to be my favourites and this is a prime example. The mist was drifting across the clearing at Sutton Park, ensuring the two birch trees stand out from the frosty grass, seemingly existing in isolation.<\/p>
Camera and settings:<\/strong> <\/strong>Fujifilm X-T2 XF50\u2013140mm F2.8 R LM OIS WR @ 50mm telephoto lens. f\/6.4; 1\/150; ISO 320<\/em><\/p>Bewdley\u2019s Poppies, Worcestershire<\/h2>A brilliantly red sea of poppies, taken at sunrise near Bewdley in Worcestershire. Credit: Verity Milligan<\/figcaption><\/figure>Arriving at this field early on a June morning, I was in awe \u2013 this is one day I won\u2019t forget. Mist drifting through the valley and a sea of red poppies. The end result was almost surreal and resonated with people far and wide. I doubt I\u2019ll ever witness such a scene again.<\/p>
Camera and settings:<\/strong> Canon 5D Mk IV EF70-200mm f\/2.8L IS III USM @ 80mm telephoto lens. f\/11; 1\/80; ISO 100<\/em><\/p>Bluebells of Clent Hills, Worcestershire<\/h2>Beautiful bluebells carpet the woodland floor in Clent Hills, Worcestershire. Credit: Verity Milligan<\/figcaption><\/figure>What could be more quintessentially English than a woodland full of bluebells? Clent is one of my favourite local places for landscape photography, especially in spring. I loved the morning light finally breaking through the woodland and backlighting the myriad of bluebells as the pathway snaked upwards past stalwart trees.<\/p>
Camera and settings:<\/strong> Fujifilm X-T2 XF50\u2013140mm F2.8 R LM OIS WR @ 50mm telephoto lens. f\/6.4; 1\/40; ISO 500<\/em><\/p>Elgol, Isle of Skye<\/h2>The sun sets over the Cuillin mountain range, viewed from Elgol on the Isle of Skye. Credit: Verity Milligan<\/figcaption><\/figure>I had just spent a month in the Outer Hebrides and decided to pop to Skye on my way home. Although it was early March, the conditions were calm. I stood in the same place, taking in the grandeur of the Cuillin range as the sun set. It was a magical evening.<\/p>
Camera and settings:<\/strong> Canon R5 Zeiss Milvus 25mm @ 25mm wide-angle lens. f\/13; 1 sec; ISO 100<\/em><\/p>In Flight Over Derwentwater, Lake District<\/h2>Silhouetted birds fly low over misty Derwentwater in the Lake District. Credit: Verity Milligan<\/figcaption><\/figure>I can be very harsh about my own photography, but this image, taken nearly eight years ago, remains one of those I will always treasure. One of the first mornings I experienced such magical conditions and everything seemed to come together.<\/p>
Camera and settings:<\/strong> Canon 5D Mk III EF24\u201370mm f\/2.8L II USM @ 70mm lens. f\/11; 1\/200; ISO 320<\/em><\/p>Achmore Rainbow, Isle of Lewis<\/h2>A rainbow appears over the North Harris hills in the Outer Hebrides. Credit: Verity Milligan<\/figcaption><\/figure>One of those mornings I was driving without aim when this amazing rainbow appeared over the North Harris hills. Sunrise was happening, illuminating the clouds, and catching on the mist in the loch. The rainbow stuck around for a good 20 minutes as I ran up and down the road, jumping for joy.<\/p>
Camera and settings:<\/strong> Olympus E-M5 MarkII OLYMPUS M.40\u2013150mm F2.8 @ 40mm telephoto lens. f\/14; 1\/60; ISO 200<\/em><\/p>Heather Sunrise at Millstone Edge, Peak District<\/h2>A pink sky over heather moorland and a granite outcrop in the Peak District. Credit: Verity Milligan<\/figcaption><\/figure>Although it\u2019s tough, especially during summer, I try to get to a location an hour before sunrise. On this morning, low cloud drifted across the edges of the Peak District, catching the colour of the rising sun. Soon the cloud had consumed all the light, so this was my best shot of the day.<\/p>
Camera settings:<\/strong> Canon R5 EF16\u201335mm f\/2.8L III USM @ 21mm wide-angle lens. f\/11; 4\/5; ISO 100<\/em><\/p>Heather at Stanton Moor, Peak District<\/h2>Silver birch stands among heather on Stanton Moor in Derbyshire. Credit: Verity Milligan<\/figcaption><\/figure>This photo was taken the first time I discovered Stanton Moor. I was full of excitement when I happened across this scene. In late August, the Peak District is covered in heather and up on Stanton Moor, the low cloud can create atmospheric conditions among the birch trees.<\/p>
Camera settings:<\/strong> Canon 5D Mk III + EF24\u201370mm f\/2.8L II USM @ 61mm zoom lens. f\/13; 1\/8; ISO 100<\/em><\/p>Top five photography tips<\/h2>1 Sunrise and Sunset<\/h3> If you find that your images are a little lacklustre, try getting up earlier or staying out later. Often the best time for landscape photography is at either end of the day. At sunrise, there is always a possibility of ethereal conditions, as well as a light quality that isn\u2019t possible at any other time. The low light at sunset also lends itself to gorgeous photos.<\/p>
2 Return to Locations<\/h3> One of the greatest joys of landscape photography is that the light is never the same twice. I love returning to locations time and again. I don\u2019t think you can get the best out of a location on your first visit, and I like to take note of compositions that might work at a different time of day or a different season.<\/p>
3 Think outside the wide angle<\/h3> When I first got into landscape photography, a wide-angle lens was permanently attached to my camera. In hindsight, I would say that mastering the art of shooting wide-angle is one of the toughest tasks. Some of my favourite landscape images have been shot with telephoto lenses. Having the reach of a longer lens enables me to go deep into a composition and explore the smaller details that could otherwise have been missed if I was shooting with a wider lens. This kind of landscape photography can be difficult to master, but it offers up the opportunity to capture a scene from unexplored angles.<\/p>
4 Breaking the rules<\/h3> Rules, such as the rule of thirds, are there to be broken, particularly if you\u2019re photographing reflections. In this image (above right), it makes more sense \u2013 and it\u2019s more visually pleasing \u2013 to position the horizon in the middle of the image so you can maximise the impact of the reflection. This can be especially effective when capturing a body of water, especially in calm conditions.<\/p>
5 Consider filters<\/h3> Filters can be useful to enhance creativity. Graduated filters can ensure an even exposure through the image by darkening the sky so there are no blown highlights, and neutral density (ND) filters can extend the shutter speed to create a long exposure, which can be useful if you\u2019re shooting fast-moving clouds or the sea. Experiment with different types of ND filters (such as a six-stop or a 10-stop).<\/p>
The technical details explained<\/h2>F-stop<\/strong><\/h3>This is the aperture of the lens: f\/2.8 is a wide aperture allowing in more light (and a shallow depth of field), while f\/16 is narrow, allowing in less light (and a large depth of field).<\/p>
Shutter speed<\/strong><\/h3>This is the length of time the shutter is open, measured in fractions of a second. For example, 1\/4 means a quarter of a second and is a long shutter speed, while 1\/200 means 200th of a second. With a long shutter speed, moving objects will appear blurred.<\/p>
ISO<\/strong><\/h3>This refers to the sensitivity of the camera\u2019s sensor and controls exposure, along with the f\/stop and shutter speed. ISO originally referred to the light sensitivity of film \u2013 its \u201clight gathering\u201d ability. A low value, such as ISO 100, is best for a sunny outdoor shoot; at night or indoors with dim lighting, use an ISO of 1600 or higher.<\/p> <\/body><\/html>\n
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