This evening I decided to take myself out in the search of those gorgeous poppy fields!
My trip wasn’t as fruitful as I hoped but the poppy season has only just begun and runs through to September, sometimes early October if we are lucky. So there’s still plenty of time to see those fields of red emerge.
I haven’t practiced macro photography for a little while so it was good to get back into the swing of it! Although a little rusty might I add, it didn’t take long to get that photo snapping buzz and I was quite surprised with the results. Because the patch I visited wasn’t as full as I would have liked, I decided to focus on individual flowers and smaller denser patches. Seeing other wildflowers mixed in and the array of different colours was just stunning!
I’ll be keeping a keen eye as the season progresses for a field full of poppies, they really are just so beautiful!
On a wonderful sunny evening earlier this month, I had the absolute pleasure of photographing this beauty - a Subaru Impreza! This really was the owners pride and joy, so it was a challenge to make this look as stunning as it did in real life!
Now I’ll admit, cars are not really my thing, I couldn’t tell you much about them! So when I was asked to photograph this I had to do some homework, below are a few tips that I found really helpful!
1) Shoot at the Right Time of Day
Midday is not your friend for this type of photography and yet it’s a mistake that many make. The light is usually harsh, unflattering and just really not great! A few minutes after sunset or a few minutes before sunrise is your time to shine, the light will be soft and beautiful, almost capturing an ethereal effect.
You can shoot during the ‘golden hours’ (an hour or two before sunset or after sunrise) but the more direct lighting there is, the harder it is to create a flattering image.
2) Look Out For Reflections
If you’re after professional car photos, you must carefully control what reflects in the car. I think you’ll agree that one of the most important things you want to show off about the car is the design lines, but reflections can really spoil these! So before you start going trigger happy with your camera, take a look around you, then look closely at the car and see what reflects off its surface.
A car (especially a new, shiny one) is like a mirror, so if you shoot in a location with buildings or trees in front of the car, they’ll reflect off its surface and appear in your photos. The best solution is to aim to have an open space behind you, such as a field or open clear water.
However if you find yourself stuck in a location with busy surroundings, you can always try to change your perspective. Get down low, this can help to get rid of distractions and instead come away with a sky reflection in the car, which looks so much better.
One very useful tip: be very careful not to include your own reflection in the photo! I did this quite a few times, and didn’t realise until I was home and having a good look through all the photos. If you’re finding this a struggle, pop the camera on a tripod, set the self-timer or use a remote trigger, and move out of the shot.
3) The Colour of the Car is Important
Different types of paint react differently to changing light. Now, I know I said earlier that you should avoid direct sunlight, and it is true, but you’ll occasionally find colours that handle direct sunlight really well.
On this occasion because the Subaru was a nice glossy black, it photographed really well a few minutes after sunset. I did try a few test shots before as the sun was going down and because there wasn’t a cloud in sight, the light was still too harsh.
5) Choose Your Background Carefully
A beautiful clean background really sets your photos apart and adds that all important perfect finishing touch, while a bad and/or distracting background can instantly ruin the shot.
So, what counts as a good background? Well anything that isn’t a distraction. Ideally, it should emphasise and complement the car, and also suit the theme.
On the other hand, bad backgrounds are distracting. They draw the eye away from the main focus (the car!) and they tend not to mix well with the car’s colour, shape, and theme. For example, dustbins, power lines, and other cars can really spoil the image. Sometimes these can be removed in post production, but that can be very time consuming, so it’s best to avoid them in the first place.
For my first real go at photographing a car, I really enjoyed it and it was good to try something a little out of my comfort zone. But most importantly, it was a good learning experience and something I can’t wait to try again!
Darren Cole is crowned this years overall winner with his stunning image titled ‘Ice and Fire’ and I have to say this one is an absolute beauty. It really is a powerful and thought provoking image, showing the detrimental impact to our environment in such a clear way.
Darren said: “It was a real thrill to learn that I had won this year’s competition and I’m so grateful to the judges for choosing my image Ice and Fire, especially as it is the first time an image from the Environmental category has been chosen.
“As a seasoned landscape photographer, I’m used to spending hours walking on the beaches and mountainsides near my home on the Isle of Harris, looking for that elusive, perfect shot. So it was with some irony that the scene from which Ice and Fire was created, appeared by chance on my doorstep. Following reports of possible wildfires on the island and after several fire engines had raced past my house in north Harris, I opened the front door to be greeted by an Icelandic style scene of snowy mountains and raging fire. The juxtaposition of the dramatic white peaks and the red, rivers of fire below was truly spectacular and just begging to be photographed. With the snow-covered mountains reflecting what little daylight remained, the dark foreground allowed the fire to really pop, creating a stark and dramatic level of contrast in the scene. With the sky cloudless as well, there was little to detract from the almost Tolkienesque vista.
“A few days later, I discovered that the fire was started deliberately in order to burn the top layer of heather away allowing fresh vegetation to grow through, a process known as a muirburn.
“The image has always had pride of place on the wall of Hebscape, my gallery on the Isle of Harris and this award now makes the experience of creating this image even more special.”
Judge Kit Martin said: ”Ice and Fire is stunning. The competition was fierce in the Environmental category, but this stood out as a striking image telling a story without the need for words. It was unanimously decided on as the overall winner for its originality and visual impact. Muirburn is a controversial subject and one that is current and active, with passionate voices on both sides. Congratulations Darren!”
Another previous winner has made a comeback this year, Kaitlyn Clark (who also scooped the winners title in 2018) has entered ‘Peregrine Playtime’ and really shows us how agile and acrobatic these birds can be!
Kaitlyn said: “I couldn’t believe I won I was so happy! It filled me with confidence and makes me feel that I can accomplish more in the future. Due to a family health situation, we haven’t been able to get out as much as normal which made this experience all the more rewarding.
“This was taken near Inverness on a day out with my dad. We were super lucky to have a family of peregrines feeling comfortable enough near us that they started playing and practising for life - this picture I believe to be two youngsters playing with each other. It took me a bajillion attempts to catch anything like this never mind keeping it in frame with such a big lens.”
Judge Rebecca Nason said: “11-year-old Kaitlyn’s image of two immature peregrine falcons, jostling in mid-air was a wonderful entry, and a clear 1st place for the judges in the Junior category. Seeing such interesting, wild Scottish natural history behaviour is exciting in itself, but to be able to capture this fast, aerial playtime so expertly is quite another and Kaitlyn has clearly shown excellent technical photographic skill here to produce a high quality, well exposed, pin-sharp image.
“Wielding large telephoto lenses about is no easy task, requiring physical effort as well as concentration and precision, particularly when aiming skyward for difficult flight shots. Choosing a high ISO enabled a high shutter speed that froze the subjects well, the extra depth of field at f7.1 enabling sharpness where needed. Light was strong, contrasts high, but the exposure is just right for the situation, with good detail to the intricately patterned undersides of both birds. The clear, clean blue sky, with space around the birds, resisting the temptation many have to crop harshly, adds weight to the overall composition. The angles of the birds in the frame, one upside-down, fully engaging with the other, both with yellow talons out, all adds drama and impact appeal.
“A special image of a very special Scottish species, and one I would have been delighted to have taken. An inspiring shot from a young budding wildlife photographer.”
The Student winner this year is Murronrose Dunn with her portfolio titled ‘Passing Time’, and these set of three images are pretty spectacular.
Murronrose said: “My portfolio of images is titled Passing Time. The three images were shot during the restrictions last year, where the furthest I could travel was Glencoe. Landscapes were initially required for my course, however I enjoyed taking each image. They were also a moment to just connect with nature and step back from the world. Each image focuses heavily on water and freezing the motion to create a smoothed out milky effect. I used filters for each image. I felt that this milky effect helps to show the calming and dramatic atmosphere at each location. The series also goes from daylight to sunset, I wanted each image to look unique but as a set show the change from noon to dusk. The effect that the time of day had on each image is incredible, from the clouds preparing to burst in Glencoe to the cold blue sky in New Lanark.
“I am currently in my last year at New College Lanarkshire studying HND Photography. It all started with a simple night class in 2019 while I was in my last year of high school. After that I had caught the bug then continued to my NQ, and well the rest is history. Photography has always been an interest of mine, but my passion stems from my dad. He was always playing with an old point and shoot at events or occasions. When he bought a Nikon D3500, I was fascinated by it. Something about seeing the image immediately, the colours or the (accidental) Bokeh had me hooked. After three years, I have started to refine my speciality which is advertising photography. He has been with me to every landscape through rain or sun and I owe where I am today to my family and my college.”
Judge Niall Irvine said “Murronrose’s portfolio shows three very well considered images in different light conditions. They are fine examples of landscape photography. The successful use of long exposures in all three has given us a cohesive portfolio and a sense of motion in the water. Murronrose met the brief in every aspect - one to watch in the future.”
