Equipment

For 40 years I shot monochrome and colour transparency film with formats ranging from 35mm to panoramic 66mm x 24mm, and 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 almost never use flash but have a range of reflectors and lights if I need them.

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.  As I do a lot of walking and often carry onsiderable weight I use LowePro camera rucsacs which have separate compartments for clothing as well as 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.

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.