Equipment

For 40 years I shot monochrome and colour transparency film with formats ranging from 35mm to panoramic 66mm x 24mm, and medium format 60mm x 90mm.  I have extensively used film and digital versions of  Olympus, Ricoh, Fuji, Canon and Sony cameras.  I  now use a Sony A7R2 with Sony lenses covering 12-24mm, 24-105mm, 50mm, 90mm macro, and 100-400mm.  I use a Canon M3 and 11-22mm lens for more casual photography.  I have a Canon TSE 24mm tilt and shift lens which I can attach to both the Sony and the Canon.

I used to use Lee graduated filters regularly but with digital  imaging I find that I rarely need them.  Instead I use masks in Adobe Camera Raw and finish images in Photoshop - the same effects can be achieved using Lightroom.

For steadiness I use a Manfrotto tripod or monpod - both take the same quick release heads.  Since I damaged my back gardening I also use the monopod as a walking stick.  As I do a lot of walking and often carry considerable weight I use two LowePro camera rucsacs which have separate compartments for clothing and camera kit.  I use Op/Tech fixings so that I can clip cameras directly and safely to rucsac harnesses - as can be seen in this photograph.  I carry a portable umbrella that I can attach to rucsac straps for hands-free shooting in the rain.

I wear a variety of hats to shade my eyes from the glare of the sky. They cover all seasons and weathers and are in different styles, from mountain caps to Panamas.  Much of my outdoor clothing is from Paramo and Rohan, although I have accumulated jackets from North Face, Rab, Fjalraven and Montane.  For boots and approach shoes I find that Scarpa and La Sportiva fit best.

My Photographic Inspiration

This single iconic 1960 image by Bradford Washburn fuelled my teenage enthusiasm for both photography and mountaineering.  My interest in photography had been developing alongside hill walking and climbing because I was keen to capture something of the magnificent snow and rock scenery that I was beginning to encounter in the mountains.

When unable to escape to the countryside I began to work my way through the mountaineering and photography shelves of my local library.  And one day, I stumbled across Bradford Washburn's book of mountain photographs. I was immediately captivated by the sheer quality of the large format, monochrome aerial images and their dramatic contents. “After the Storm, Climbers on the Doldenhorn, Switzerland” was particularly breathtaking and became my firm favourite.  I later discovered that It was also a favourite of Bradford’s.  And since that moment when I discovered Bradford, I’ve found that we shared common sources of inspiration in mountaineering photographers.

If you would like to read my full article on Bradford Washburn you can access it by signing up for a free subscription at "on landscape" Issue 263.

Visual Stoppers

These are features placed at the edges of compositions to prevent the viewer's eye from drfting out of of the sides of the image.

They are often bushes or trees that project above the horizon but don't intrude noticeably.   I first came across this idea in the mid 1970s when I was President of Edinburgh University Photographic Society.  A much revered 1950s photograhper who was a guest critic raised the issue about one of the member's photographs.  I've not heard it mentioned or read about it since.

It can be very effective in containing and concentrating a composition within the frame.  It can have a similar psychological effect to that of a vignette but without the darkening.  In this image there is a stopper on the left horizon.  Arguably there is also one at the top right of the frame.

Distractors

These features tend to draw the eye away from the main focus of the photograph.  Often they are light coloured objects at the edges of photographs which can usually be reduced by cropping, burning-in or using a vignette, or a combination of these techniques.

In this example I deliberately included the lamp post and bus stop to the left of the Sage in Gateshead.  Looking at the photograph afresh I can't decide if that was a good idea - a visual tension - or just a distraction from the two figures approaching the Sage building.  I have experimented with four different crops.  The first is the full frame as taken.  The second removes the lamp post only.  The third removes the bus stop.  And the fourth cuts out both of these and reduces the sky, foreground and right hand side to concentrate on the core of the scene.  What do you think?

Distractors

These features tend to draw the eye away from the main focus of the photograph.  Often they are light coloured objects at the edges of photographs which can usually be reduced by cropping, burning-in or using a vignette, or a combination of these techniques.

In this example I deliberately included the lamp post and bus stop to the left of the Sage in Gateshead.  Looking at the photograph afresh I can't decide if that was a good idea - a visual tension - or just a distraction from the two figures approaching the Sage building.  I have experimented with four different crops.  The first is the full frame as taken.  The second removes the lamp post only.  The third removes the bus stop.  And the fourth cuts out both of these and reduces the sky, foreground and right hand side to concentrate on the core of the scene.

What do you think?