The Impossible Shot?
Even without the perfect composition, a quiet evening at an unfamiliar waterfall sparked the beginning of a new creative project.
Sometimes the photographs you cannot take lead to the ideas that matter most.
The Start of a Mini Project
When cloud and rain roll in over Dartmoor, my creative options for photography often feel more limited. The tors come to life when light catches them, but under grey, overcast skies they lose a little of their magic.
I am currently in Scotland, where rain and cloud are even more frequent, but here that extra water opens up new opportunities. Waterfalls scattered across the landscape come into their own in these conditions. Even in winter, without foliage, there are still strong and interesting compositions to be found.
With that in mind, I set out one evening to visit a waterfall I had never seen before. I do not think I had even come across a photograph of it, but I had spotted it on the map and, with no other plans on a damp and overcast evening, it felt like the perfect excuse to explore.
On arrival, I was immediately drawn to the multiple streams cascading down the dark rock. It did not take long to realise that the surrounding landscape was adding nothing to the scene. This was going to be a tighter composition with a longer lens, and it was always going to be black and white. The contrast between the dark rock and the flowing white water felt like it would work beautifully.
There was just one problem. There was no clean shot.
The waterfall can only be viewed from a small, fenced viewpoint, which limits movement quite significantly. The fence is there for good reason, with a steep drop beyond it, so stepping over it was never really an option. Even if it had been, branches framed the scene in a way that would have crept into almost any composition.
It was one of those moments where a drone would have been ideal, allowing a clear view beyond the branches and a chance to capture the scene properly. From where I stood, though, that clean composition simply was not possible.
Despite that, the photographs I did take sparked an idea.
There are countless waterfalls in this area, and I found myself really enjoying the process of capturing these high contrast black and white images. It felt like the beginning of something, so I decided to turn it into a small project. Over the next couple of weeks, I plan to explore more of these locations and build a set of images around this theme.
The photograph I had in mind that evening may not have been possible, but the experience led to something just as valuable. No matter the conditions, it is always worth heading out with the camera. You never quite know where it might lead.
Inverlochy Waterfall, Argyll, Scotland - Nikon Z8 with Nikkor Z 24-120mm f/4 S at 120mm, f/8, 1.3 sec at ISO 64, Kase Filters CPL.
Bite-Size Blog Post #62 - Return to Kilchurn Castle
A walk to Kilchurn Castle turns into an unexpected battle with a bog, leaving me soaked, muddy, but still determined to get the shot.
Man vs Bog
Anyone who has photographed Kilchurn Castle will know that the most direct route from the layby down to the loch involves crossing a very boggy stretch of ground. It is a walk that really calls for welly boots, and I have often had a quiet chuckle watching tourists attempt it in bright white trainers.
The waterline on my trousers is how deep my legs went into the bog!
Despite my confidence and sense that I knew exactly what I was doing, I had a nasty surprise on the way down this morning. I knew the ground could feel unsteady in places, but what happened caught me completely off guard. Both legs suddenly sank deep into the bog, past my knees and nearly up to my waist. I stood there for a moment, stuck fast, wondering what on earth to do next.
Channeling my inner Bear Grylls, I resisted the urge to panic and came up with a plan. First, I carefully removed my camera backpack and set it aside. Then I leaned forward, stretched my arms out to find firmer ground, and with a fair bit of effort managed to drag myself free. By the time I escaped I was covered in mud, soaked through, and my boots were full of water. It probably should have been the moment to call it a day, but I still had photographs to take.
Round Two
As I mentioned in last week’s blog, I am staying near Loch Awe for a short while and I’m hoping to make regular visits to Kilchurn Castle. This was my second visit, and although I had not planned on battling a bog, it was good to be back.
With some recent snowfall, I thought there might be a chance to give the scene a slightly wintry feel, even if the calendar says otherwise. It did add something, and I opted for a slightly different composition this time, placing the horizon through the middle of the frame to make the most of the reflections. Even so, I feel like the image is still missing a touch of drama. Then again, perhaps I had already used up my share of that for the day.
While my photograph from the previous visit remains my favourite, I have no doubt there will be a round three.
Kilchurn Castle, Loch Awe, Scotland - Nikon Z8, Nikkor Z 24-120mm f/4 S at 43mm, f/11, 1/8th at ISO 64.
Bite-Size Blog Post #61 - Birch Tor, Dartmoor National Park
A return to Birch Tor turned into a battle with the rain, hail and snow but it was strong winds that killed my video. But I was still left with a photograph that made it all worth the effort.
Just recently on this blog I wrote about photographing Birch Tor for the first time, and how despite all my years exploring Dartmoor I had somehow overlooked this gem of a location. Not only is it a fantastic place to photograph, it also felt like the perfect setting for a YouTube video to share how I approach working somewhere new on Dartmoor.
It has been a while since I last published a Dartmoor photography video, so Birch Tor felt like the right place to start again. One of the main reasons for the gap has been the weather, but this time I was determined to get out and film regardless of the forecast.
It was not the light that concerned me. The cloud cover looked promising. What I failed to pay proper attention to was the wind. Arriving at Birch Tor, I was quickly reminded that wind speed and direction matter just as much as the clouds overhead.
Rain, snow, and hail all swept through within fifteen minutes, which I could handle. The wind was another matter entirely. It was relentless, cutting straight through me and making filming far more difficult than expected. Still, I was determined to continue.
Filming in those conditions comes with its own challenges. Even with protection on the microphone, I suspected the audio would struggle. I told myself it would be something I could fix later.
It was not.
I am no audio expert, but no amount of editing, filtering, or enhancement could rescue it. In the end, the footage had to be set aside.
Even so, I came away with what mattered most, the photograph itself. It is not too different from the composition I shared in my previous post, but that is no bad thing. Returning to a similar idea can often lead to something more refined.
Birch Tor, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 14-30mm f/4 S at 20mm, f/13, 1/15th at ISO 64.
As for the video, the idea still feels right. When the conditions and timing come together, I will be back to try again.
Dartmoor Tors Compendium 2nd Edition by Josephine Collingwood - On My Bookshelf S08E04
In this episode of On My Bookshelf I take a look at Dartmoor Tors Compendium, Second Edition by Josephine Collingwood.
Dartmoor Tors Compendium – Second Edition
Dartmoor Tors Compendium by Josephine Collingwood is a book that documents Dartmoor in remarkable detail. At 348 pages and containing 765 photographs, this substantial book documents every tor on Dartmoor named by Ordnance Survey and located on accessible land.
Each of the 160 tors is presented across a double page spread with photographs, factual information, and well researched text. Along the way the book also explores the wider Dartmoor landscape, covering geology, archaeology, mining heritage, and many other historical features you might encounter while exploring the moor.
I have owned the revised first edition for many years and it has guided me to countless new locations. The second edition builds on that with new tor listings, updated text, improved mapping, and additional photographs.
If you have an interest in Dartmoor, whether for photography, history, or simply exploring the landscape, this is an excellent reference book and one that I will return to again and again.
In this episode of On My Bookshelf I take a closer look at Dartmoor Tors Compendium 2nd Edition and explain why it remains such an important guide to the tors of Dartmoor.
You can buy Dartmoor Tors Compendium 2nd Edition by Josephine Collingwood directly from the author at https://www.tavicinitypublishing.co.uk/dartmoor-tors-compendium.html
Bite-Size Blog Post #60 - Kilchurn Castle, Scotland
A return to the west Highlands offers a familiar landscape, shifting light, and a reminder that the experience often matters more than the photograph.
1st Attempt of Many
It’s great to be back in the west Highlands of Scotland. My homeland. The place where I grew up.
I love it here as it holds so many memories. The places are familiar, and the unpredictable weather is strangely comforting. It’s also a wonderful opportunity to catch up with family. In fact, I’m writing this blog post on the train home from Glasgow after a lovely lunch with my sister, aunt and uncle.
Earlier in the day, though, I was up early, sneaking in a bit of photography at a place I’m very familiar with, Kilchurn Castle. It’s a castle I grew up with, as it’s only a few miles from the village where I was raised. I will actually pass it on the train home, but unfortunately it will be dark, so I won’t see it.
Not to worry though, as I spent a lovely hour there this morning, crossing fingers, saying prayers and doing strange Celtic dances in the hope I could will the morning light to break through the cloud.
I didn’t want the cloud to go completely. It was adding a great deal of atmosphere to the scene, but I needed just a little light to illuminate the hills or the castle so the photo had a bit more depth.
Alas, it wasn’t to be, but the experience of being there was amazing. Glassy reflections on the loch, cloud rolling over the nearby Munros, and the somewhat deafening sound of the geese with their morning song. It was one of those mornings where you leave feeling fulfilled, even though the photographs didn’t quite work out.
Not to worry though. I’m here for an extended period of time, and the castle is close by, so I’ll be sure to return again and again. And of course I have Glencoe just up the road. And what a place of photographic opportunity that is.
Kilchurn Castle, Loch Awe, Scotland - Nikon Z8, Nikkor Z 24-120mm f/4 S at 28mm, f/8, ¼ sec at ISO 64.
Discovering Dartmoor - Birch Tor
A training walk in thick fog leads to an unexpected discovery on Dartmoor. Birch Tor may not be the grandest tor, but its quiet character and rocky outcrops reveal surprising photographic potential.
Wandering Around in the Fog
I have been photographing Dartmoor for more than 15 years and during that time I have visited many of its most iconic tors and locations. Some of them I have photographed countless times, and for good reason. Others I have only photographed once or twice, also for good reason. While I have not photographed every significant tor on Dartmoor, there are more than 160 of them after all, I do feel that I have explored many of the best.
So imagine my surprise when, while out on a training walk for my Hill and Moorland Leader qualification, I came across a tor for the first time and it genuinely excited me.
I say came across because when I found Birch Tor it was hidden in thick fog.
I had been walking in the fog for a couple of hours, practising my map and navigation skills, when I decided to navigate to Birch Tor. I had never visited it before and the only reason I chose it was because it was somewhere unfamiliar that would test my navigation.
When I arrived, and I was quietly pleased that I had nailed the navigation, I could immediately see the potential of the location even in the mist. Birch Tor is not one of Dartmoor’s grandest tors, but it has a scattering of smaller rocky outcrops that I knew would photograph beautifully in the right conditions.
Birch Tor, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 14-30mm f/4 S at 16mm, f/13, 1/50 sec at ISO 400.
Out of the Fog and Into the Sun
Excited by this unexpected discovery, I returned a few days later in clearer conditions to see what Birch Tor really had to offer.
What I found genuinely surprised me.
Of course the good conditions helped, but I quickly discovered several compositions that suited my style of landscape photography perfectly. Rocky outcrops catching the light, gentle shapes and lines in the land, undulating ground leading towards distant hills, and wide Dartmoor skies. It is also perfect for my favourite orientation, vertical.
I had to work quickly as the sun was setting behind a large bank of cloud. With time against me I left the tripod in the bag and photographed everything handheld. That meant faster shutter speeds, a higher ISO, and image stabilisation switched on, but nothing the Nikon Z8 could not handle.
I am really excited about this location and I can already see plenty of potential here, especially as the seasons change.
I am planning to produce a video about Birch Tor so you can see the location the way I experienced it.
And while I am mentioning videos, apologies for the lack of on location videos recently. Winter has thrown a few challenges my way which have made filming difficult, but I will be back out on the moor with the camera very soon.
In the meantime, I hope you enjoy these first photographs from Birch Tor.
Ethereal By Mark Cornick and Published by Kozu Books - On My Bookshelf S08E03
In this episode of On My Bookshelf I take a look at Ethereal by Mark Cornick, a thoughtful collection of abstract coastal photographs inspired by Cornwall and West Wittering Beach.
Ethereal by Mark Cornick
In ththis episode of On My Bookshelf I take a look at Ethereal by Mark Cornick.
Ethereal is the result of an eight year exploration of abstract coastal photography using intentional camera movement. The book brings together two of Mark’s long term projects. Fathom, photographed on the far western coast of Cornwall, and Timeless Seas, created at West Wittering Beach.
A particularly engaging aspect of the book is the inclusion of Cornick’s field notes. Written while working on location, these short reflections provide context for the photographs and help build a stronger connection between the images and the coastal landscapes that inspired them.
The result is a thoughtful collection of abstract coastal photographs that encourages the reader to slow down and spend time with the work.
You can watch the full video below where I share a closer look at the book.
You can purchase Ethereal by Mark Cornick directly from Kozu Books - https://www.kozubooks.com/books-new/ethereal-by-mark-cornick
Immersive by Bill Ward and Published by Kozu Books - On My Bookshelf S08E02
In this episode of On My Bookshelf, I take a look at Immersive by award winning British photographer and actor Bill Ward.
Immersive – A Look at Bill Ward’s Ocean ICM Project
In the latest episode of On My Bookshelf, I take a look at Immersive by Bill Ward, a beautifully produced 88 page, casebound photography book published by Kozu Books.
Many will know Bill for his long acting career, including roles in Coronation Street and Emmerdale, but he has also built a strong reputation as an award winning landscape photographer and a leading voice in Intentional Camera Movement (ICM).
Immersive is Billl’s four year exploration of photographing from within the ocean itself. Wearing a wetsuit and using waterproof housing, Bill places himself in, on, and sometimes beneath breaking waves, creating long exposure ICM images that explore movement, light, texture and energy.
The book is divided into themed chapters including Roots, Crest, Search, Surge and Beneath, each reflecting a different aspect of his relationship with the sea. It is a compelling and thought provoking body of work, and in the video I share my thoughts on the book and why it resonated with me.
If you wish to purchase a copy of Immersive by Bill Ward, you can do so directly from Kozu Books - https://www.kozubooks.com/books-new/immersive-by-bill-ward/
Breathtaking Views from Yes Tor - Dartmoor National Park
A risky winter sunrise trip onto Dartmoor led me through thick cloud to the summit of Yes Tor, where brief, breathtaking glimpses above the cloud made the view unforgettable.
Top of the World
The weather here in the UK this winter has been miserable and has made my life as a landscape photographer a bit of a challenge! The longer the bad weather continued, the more risks I was willing to take on a weather forecast that would normally have me hitting the snooze button.
After what had seemed like weeks since I’d been out and captured a good photograph, I decided that the following morning’s weather forecast was worth a punt. Yes, there was lots of low-level cloud forecast, but the base of that cloud was very low (foggy) and there was no medium-level cloud forecast. Should I take a risk and see if I could get above it?
Getting above cloud on Dartmoor is tricky. Even its highest points are only around 600m above sea level, so the cloud level has to be very low and not too thick. Looking at my map, I decided to get up early and head to West Mill Tor. At 541m above sea level, it was a good balance between walking effort and the opportunity to get above the cloud.
Leaving Exeter, it was remarkably clear, but as I approached Okehampton, things got a little foggier. By the time I got to the parking area for West Mill Tor, I really didn’t hold out much hope.
As I stood on West Mill Tor questioning my life choices, I thought about whether it would be worth making the decision to continue my walk up to Yes Tor. At 619m it’s Dartmoor’s highest tor (if you don’t count High Willhays at 621m), so if there was any daylight to be found it would be there.
Was it worth the extra effort to get to Yes Tor? Well, yes and no. No in the sense that I never truly got out of the clouds and the photographs you see below are as clear as it got (but it was just enough to get a little light on the tor). But it wasn’t the photograph that made it worth the effort — it was the view. But Julian! You said it wasn’t clear? True, but there are times when even if you can’t make a great photograph, what you see can still take your breath away.
A Foggy Sunrise on Yes Tor #1, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 14-30mm f/4 S at 14mm, f/13, 1/50 sec at ISO 800.
The wind was blowing hard on the summit of Yes Tor, so the cloud was moving quickly. Every now and again you would get a tantalising glimpse of the surrounding view. Not only would I see the beautiful orange glow of the rising sun, but I would also see the top of the cloud bank that was covering the landscape. I couldn’t see any land, just cloud, and it looked spectacular. If only I had been a few metres higher, I probably would have had a constant view of the area.
It was like standing on top of a mountain looking down on a temperature inversion. It took my breath away. But the glimpses were brief and infrequent, so rather than desperately trying to make a photograph, I just stood there, freezing in the wind, waiting for a light break in the cloud. It was magical! I’d never seen anything like it on Dartmoor before and, given the set of circumstances where the base of the cloud is low enough but the height of the cloud is lower than Dartmoor’s highest point, I might never again.
It’s hard to convey what I was seeing and pictures don’t do it justice, but hopefully the small video clip will give you an impression of what it was like.
I’m glad I took the risk to go out, and then take a further risk to get myself up to Yes Tor, because sometimes the best things come to those who take a risk. Let me know in the comments below if you’ve had a similar experience.
A Foggy Sunrise on Yes Tor #2, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 14-30mm f/4 S at 14mm, f/13, 1/160 sec at ISO 800.
Bite-Size Blog Post #59 - Greator Rocks and Hound Tor - Dartmoor National Park
Revisiting Greator Rocks reminded me that some locations take time to reveal their potential, before finishing the walk at Hound Tor, a striking Dartmoor landmark perfect for studying light, shape and contrast.
Greator Rocks
For me, Greator Rocks is an odd location. Visually it’s striking and it stands out from the landscape, but I find it difficult to photograph. However, sometimes I need to remind myself to be patient and not write locations off after just one or two visits. So when I was in the area last weekend, I decided to give it another try.
The more I photograph it, the more I believe it has potential, and that the judgement I made on the first few visits was a bit premature. The composition below is one that I want to work on when spring comes around. It’s not just the clear blue sky in this shot that doesn’t appeal to me, but also the ground, which is messy with winter bracken. In spring, and with some morning light, I believe this is a composition that has some potential. Roll on spring!! It can’t come soon enough… I’m more than ready for winter to be over now!
Greator Rocks, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 14-30mm f/4 S at 20mm, f/13, 1/30 sec at ISO 800.
Hound Tor
One of the easiest routes to Greator Rocks is to walk via Hound Tor, one of Dartmoor’s most popular tors. So, while walking back from Greator Rocks, it was hard not to stop and get the camera out. The sun was well and truly up by the time I got there, so I was already thinking in black and white before I took the first photograph.
I find it a challenging location, despite its size and grandeur, but it provides lots of scope for training your compositional eye to look for shape, light, shadow and contrast.
Have you photographed Greator Rocks or Hound Tor before? Let me know what you think of these locations in the comments below.
A Foggy Sunrise on Yes Tor #1, Dartmoor National Park, Devon - Nikon Z8 with Nikkor Z 24-120mm f/4 S at 32mm, f/13, 1/125 sec at ISO 800.
Why PureRAW 6 Is the First Step in My Landscape Workflow
In this video I share how I use DxO PureRAW 6 as the first step in my landscape photography workflow. This is not a traditional feature review. Instead, I want to show you how PureRAW fits into the way I actually work. I have been using PureRAW since version 2, and over time it has become a consistent part of how I prepare my RAW files before I begin editing.
Getting More From My RAW Files with PureRAW 6
Over the past few years I have refined my landscape photography workflow in many small ways. But one of the most important things I have done is what I do with my raw files before I start editing.
I have been using PureRAW since version 2. What began as an experiment gradually became part of my normal process. These days most of my landscape images pass through PureRAW before I open them in Lightroom.
A raw file is not yet an image. It is sensor data that still needs to be interpreted. The way that data is processed has a direct impact on fine detail, shadow recovery, noise, and overall flexibility in the edit. For landscape photography, where textures, distant detail, and subtle tonal transitions matter, that starting point is important.
In this video I walk through exactly where PureRAW 6 fits into my workflow and why I continue to use it. This is not a feature by feature breakdown. It is a practical look at how I prepare my raw files and why that first step matters in landscape photography.
If you are interested in getting more from your raw files I hope the video gives you something useful to consider.
🛒 You can download a free trial or purchase a full/upgrade license directly from DXO - https://www.dxo.com/dxo-pureraw/
And use the discount code JulianBaird15 (new licenses only, sorry!)
Still: A Mindful Practice for Photographers by Paul Sanders - On My Bookshelf S08E01
In this episode of On My Bookshelf, I explore Still: A Mindful Practice for Photographers by Paul Sanders, a powerful book about mindfulness, creativity, and finding fulfilment in photography.
A Book That Feels at Home on Dartmoor
If you spend any time photographing Dartmoor, you’ll know it asks something different of you. It’s not always dramatic. It doesn’t always reward you with obvious compositions or spectacular light. Often, it asks for patience, stillness and observation.
That is why Still: A Mindful Practice for Photographers by Paul Sanders feels so relevant.
This isn’t a book about chasing conditions or building a portfolio. It is about slowing down enough to notice how the light moves across granite, how the light reshapes the land, and how your own state of mind influences what you see. Much of what Paul writes about mindfulness, gratitude, and letting go of outcomes.
In this episode of On My Bookshelf video, I talk about why this book resonated with me so strongly, and how its philosophy connects with the way I try to approach my own photography on the moor.
You can watch the full video below.
🛒 You can purchase Still by Paul Sanders here - https://amzn.to/3OKg3Uw
🛒 Signed copies can be purchased directly from Paul Sanders here - https://www.discoverstill.com/prints-books/p/a-mindful-practice-for-photographers-by-paul-sanders-signed