Affordable Landscape Photography Accessories

Landscape photography can be an expensive way to spend your time, but is there a way you can do it cheaply without being “cheap”. But what items are there out there that will give you the best experience whilst ensuring you can still get great results and being confident that your kit is going to survive?

In this blog I am going to look at some of the items that are staples of many landscape photography setup and find you some back-pocket-friendly kit that won’t break the bank, or your camera.

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Getting into photography can be expensive, and that expense can be magnified if it’s something you don’t end up pursuing as much as you thought you would. No one wants hundreds, if not thousands of pounds worth of gear just sitting in cupboard, unused and gathering dust.

When you’re starting out in Landscape Photography, the amount of stuff you ‘need’ to buy can be overwhelming and some of the prices are absolutely eye watering. There are tripods that run into thousands of pounds, filters that cost hundreds and other accessories that you don’t even know if you need or not. I am going to try and demystify some of that, starting now!

Tripod

Do you need it? Yes.

This is probably one of two things on this list that I would say is an absolute must, the other being the camera bag. Most of the other stuff you can get by without, but I can’t think of many applications, other than perhaps street photography, where owning a decent tripod is worth its weight in gold. Maybe not so much if you’re run and gun street photography.

Like I said before, these can run into thousands, but that’s not what this blog about.

I’m going with K&F concept for this choice. Until I went down the road of the more expensive Benro Mach 3, this is what I used for everything. They’re strong and steady enough for most applications, are lightweight and this one comes with a ball head, so you’re not going to have the expense of shelling out for that too!

K&F Concept Tripod

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L-Bracket

Do You Need It? If you have a tripod, you will wish you had one of these!

This is one of the best photography purchases I ever made. An L-bracket is a piece of machined metal which attached to the bottom of your camera and fits ‘inside’ the ball head of your tripod and allows the two things to attached to each. Because of its shape, it allows you to switch between portrait and landscape orientations quickly without having to rely on the your ball head. It seems a bit of an odd thing to have/want given that one of the major functions of the ball head is to switch your camera’s position, but trust me when I say that having an L-bracket makes this process much more straightforward and when you need to switch quickly, you'll be really grateful you have one. You can pick one up for less than a tenner, but they do run into three figures. I paid £9 for mine 4 or 5 years ago and it’s still going strong.

Some options are designed for specific cameras and because they are made in much smaller numbers, the price is much higher, the universal ones tend to be much cheaper. Just make sure that you get something hat is compatible with your own camera. I’ve linked a really affordable universal one below for your so you can start exploring some options.

L Bracket

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Filters

Do you need them? Not necessarily, but they’re really useful!

This is going to depend on the types of shots you are aiming for, when you shoot and what kind of look you want to achieve in your photos. If you want to do long exposures when there is a lot of light, then you’re probably going to need some ND filters. If you’re shooting buildings with lots of glass, cars or bodies of water, then you’re probably going to want a polariser. Then there’s UV filters, colour filters, star filters and mist filters, as well as a bunch of others that I can’t/haven’t remembered.

Filters can also be crazy expensive and you get what you pay for, but as a starting point take a look at the range that K&F Concept offer.

K&F Concept Filters

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K&F Concept do a wide range of filters, but the ones in orange boxes are an affordable entry point, usually around £20, but this is going to depend on the size of your filter thread - look on the barrel of your lens or check your camera’s manual.

Strap/Cuff

Do you need it? Probably!

Your camera probably came supplied with one, and if you’re happy with it, stick with it. Some people like to change because they want something more comfortable around their neck. Some people prefer a cuff/hand grip instead of a neck strap because it suits their style of photography better and some people just want something a little less ‘obvious’ - it’s not always a great idea to have the make and model of your camera hanging round your next.

There are tons of options available, but some of them are borderline prohibitively expensive. The one I am suggesting for you is from PGY Tech and looks seriously like the Peak Design Slide Light and has a similar quick release system. Camera straps are a really personal choice, you might prefer a woven one, a leather or one that’s more rope like. Get something comfortable and something you trust!

PGY Tech Camera Strap

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Camera Bag

Do you need it? Yes.

You’re gear is the only gear you have, and you want to be able to move it around be that in the landscape, off to a location shoot, or just in the car to an event. You have spent good, hard earned money on investing in your new kit and you need to make sure it is safe and looked after.

Camera bags are essential, but also a minefield. If you search Amazon you will find page upon page of results, if you visit the major photography retailers you will find at least ten different brands, none of them especially cheap. The last time I visited a major camera retailer, I piked up a bag that caught my eye to have a look at and as soon as I saw the £400 price tag, it went straight on the shelf.

Depending on your kit (how much of it you have and how big it is), you might want to consider bags from well known manufacturers like LowePro,Think Tank and Peak Design, but expect to pay big(ger) money for these.

Like straps, these are a really personal choice, and unfortunately if you decide to stick with photography then this won’t be the last one you buy - none of them ever are. I have been doing this for years now and I still switch between a couple of bags depending on what I am doing. That said, when I first started, I was using the Lowepro Tahoe 150 for everything, and at £60 this is a really good option for the beginner photographer, it holds plenty, is comfortable, unobtrusive and isn’t a massive bag.

I’m also recommending the one I have linked on the card below, the Tarion 15L Waterproof backpack. I like the back opening on this one as well as the side access, which is great for when you need camera quicker than you thought you would! Oh, and it’s only £38!

Tarion 15L Waterproof Camera Bag

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RGB Light

Do you need it? It depends.

This is something that I have in my bag 90% of the time. When I was living in London and mostly shooting in low light, it was there 100% of the time and I’d have two of them. Landscape photography in the Lake District tends to call for their use a lot less, but I like to have options to light any macro opportunities a little more creatively if the light is a bit flat, or simply if there isn’t enough of it!

There are hundreds of these available on Amazon and they are not all made equal! I have a couple of Smallrig P96L (catchy, I know) RGB lights. They are small and light with decent colour accuracy, and best of all can be picked up for less than £40

Smallrig P96L RGB Light

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Remote Shutter Release

Do You Need It? Yes… If you’re shooting on a tripod.

This is something that I think is essential if you’re shooting on a tripod. The whole point of stabilising your camera is to limit or negate the amount of movement that you are introducing into your camera and lens. If you press the shutter button by hand, no matter how careful you are, you’re going to introduce movement, and if you’re shooting at longer focal lengths then you’re really going to notice it. Yes, there is an argument for using your camera’s self timer function, but there are some situations where you don’t want to rely on something happening in 2 or 10 seconds time. Sometimes you want full control over the moment of capture, and that’s where your remote shutter release comes in.

Be careful when you’re buying this - they’re more often than not brand specific, and in some cases even model specific so be sure to find one that works with your model and brand and camera.

Believe it or not (there’s a theme emerging here), there is a wide range of these on the market, some are really simple and some are more complicated and have extra features like interval timers and bracketing.

I’ve gone for something wireless, which pushes the price up a bit, but it’s always nice to have something without a cable that has the potential to move your camera. And again, don’t forget to check that you’re ordering something which is compatible with your camera!

Aodelan Remote Shutter Release

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In Conclusion…

Landscape photography is often associated with expensive cameras and specialist equipment, but the reality is that many of the tools that make the biggest difference are surprisingly affordable. Simple accessories such as a sturdy tripod, a polarising filter, or a remote shutter release can dramatically improve image quality and open up new creative possibilities.

What matters most is not having the most expensive gear, but having the right accessories that help you work more effectively in the landscape. A tripod allows you to shoot long exposures and keep your images sharp. Filters help control light and enhance colours. Small items such as spare batteries, memory cards, and a headlamp can make the difference between capturing a great shot and missing it entirely.

Many photographers gradually build their kit over time, adding accessories as they discover what they need most. Starting with a few well-chosen, budget-friendly items allows you to improve your photography without making a huge investment.

If you’re just getting started with landscape photography, these affordable accessories are some of the most useful additions you can make to your camera bag. They will help you shoot in more conditions, experiment with different techniques, and ultimately get more enjoyment from being out in the landscape with your camera.

Landscape photography is about patience, light, and being in the right place at the right time. The accessories listed in this guide simply help make that process easier, so you can focus on what really matters: capturing the beauty of the landscape.

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Landscape Photography Workshops in The Lake District

There is something different about learning landscape photography in the place that inspires it the most. For me, that’s the Lake District and I’m lucky enough to live in amongst the stunning surroundings that it offers.

But the Lake District isn’t just a beautiful backdrop and a gorgeous place to live, but it’s living, shifting environment. Light moves quickly and it is often fleeting - it’s gone just as soon as it has arrived. The cloud and contrast change by the minute and knowing how to respond is what separates a snapshot from a portfolio image.

That’s exactly what a well-run landscape photography workshop will help you to develop.

Why Choose a Landscape Photography Workshop?

You can learn settings from YouTube and you can read about composition in a book, but actually being in the landscape with someone guiding you and talking about the decisions available to you in real time… that’s something very different.

A workshop allows you to:

• Understand light direction and timing in real conditions

• Refine composition beyond the obvious viewpoint

• Learn how to work with weather rather than fight it

• Improve confidence using filters, tripods, and exposure techniques

• Develop a more consistent editing workflow

Most importantly, you learn how to see — not just how to shoot.

This variety makes it an exceptional classroom. You can practise:

• Long exposure techniques on moving water

• Foreground interest and depth

• Working in high-contrast mountain light

• Minimalist compositions in mist

• Seasonal colour control in autumn and winter

Every session is different because the landscape is never the same twice.

Click for Landscape Photography Workshops

What You Should Expect From a Professional Workshop

A good landscape photography workshop is not a “follow me and copy this shot” experience.

It should include:

Location Planning

Understanding why a location works at a particular time of day. Learning how to plan using light direction, season, and weather forecasts.

In-Field Technical Coaching

• Aperture, shutter speed, and ISO in context

• Histogram use

• Exposure bracketing

• Focus stacking

• Filter selection (ND and polariser)

Composition Development

Going beyond central framing and obvious angles. You’ll explore layering, leading lines, negative space, and visual balance.

Post-Processing Guidance

Capturing strong files is only part of the process. Editing is where you refine mood, contrast, and colour.

Whether you use Lightroom, Photoshop, or both, understanding why you edit — not just which sliders to move — is crucial.

Who Are Landscape Photography Workshops For?

They’re often assumed to be for beginners, but that’s not really the case.

Workshops can benefit:

• Complete beginners who want structure and clarity

• Enthusiasts stuck in a creative plateau

• Photographers transitioning to manual mode

• Professionals looking to refine their landscape portfolio

• Travellers wanting meaningful photography experiences

The key isn’t your level — it’s your willingness to learn and experiment.

Small Group vs One-to-One Workshops

Both formats have strengths.

Small Group Workshops

• Shared learning

• Broader discussion

• Social experience

• Cost-effective

One-to-One Workshops

• Tailored tuition

• Flexible locations

• Personalised feedback

• Faster technical progression

Choosing the right format depends on how you learn best.

What You’ll Really Take Away

Beyond sharper images and better compositions, most photographers leave with:

• Greater confidence in difficult lighting

• A clearer creative direction

• Improved understanding of workflow

• The ability to plan shoots independently

You move from reacting to conditions to anticipating them.

And that changes everything.

Why I Run Landscape Photography Workshops

I moved to Cumbria because landscape photography became more than just a hobby. It became how I see the world.

Spending hours exploring fells before sunrise or waiting for light to break through cloud teaches patience, observation, and decision-making.

Workshops allow me to share not just camera settings, but process:

• How I plan shoots

• How I adapt when conditions change

• How I build a consistent editing style

• How I approach landscape photography commercially

If you’re serious about improving your photography in the Lake District, a structured workshop accelerates your growth far more effectively than trial and error alone.

Final Thoughts

Landscape photography isn’t about chasing iconic viewpoints.

It’s about understanding light, timing, and intention.

A workshop won’t just give you better images from a single day — it will give you the skills to create stronger photographs long after the session ends.

If you’d like to explore the Lake District with guidance, structure, and practical field experience then get in touch. You can learn more about my Lake District Landscape Photography workshops here.

Thanks for reading - this has been a quick one today, but I hope you have found it useful. If you want more stuff like this as well all of the updates then sign up to my newsletter by clicking here.

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Focus Stacking: How to Get Sharp Images in Landscape Photography

Sharpness. It’s a hot topic in photography and it’s never going to of away. We all pixel peep whether we admit to it or not, and not just for our own photos.

However, there are limitations to our equipment, even the very best, most expensive lenses can only achieve so much sharpness - you can’t beat physics, you just have to adapt to it. You can come close. Coming close is expensive, and expensive will only get you most of the way. Sometimes we just have to work with what we’ve got and that usually involves using our computer and some editing software.

For this one, we’re going to be using Photoshop, as it’s the easiest and quickest way for us to get the results we want.

What is Focus Stacking?

A good starting point for this would be to look at my blog on exposure blending if you’re not sure about it and then come back and finish this off. If you’re already au-fait with exposure blending/stacking then read on!

Focus stacking helps us to ‘remove’ some of the limitations of our lenses. Even at their sharpest f/stop, there are parts of the image (often the corners), that aren’t as sharp as we would like them to be. With focus stacking, we can take several different exposures of the same subject, with different focus points, usually working from the front of the image to the back and then we can blend them together in Photoshop which creates one image which is sharp across its whole area.

How Do You Focus Stack?

The first thing you need to do is to take your images. I am going to use an example which I have taken in the studio, for the simple reason that this is the place that I have the most control over as much of the process as possible. I’m going to be shooting tethered using capture one, but the process you will go through will be exactly the same, be it in the studio or out in the field. The major difference is that when you/I are working out in the field, instead of being in the warmth of the studio and working on a nice big monitor, we’re often out in poor conditions and working on the ‘tiny’ screen on the back of the camera.

Essentially, what we’re going to do is take at least 3 different exposures. In the first image, we are going to make sure that our foreground, or the front of our object is in focus, in the second image, we are going to focus on the mid ground and then finally, we are going to focus on the back of the image; this will either be the back of your object in the studio, or on infinity if you are out in the field. I have tried to visualise this for you in the image below.

This image shows where your (minimum) 3 focus points will be when you are shooting images for an exposure stack.

How many shots you need is going to be influenced by what you are shooting and what you are shooting on, what f/stop you’re at and if there is any movement in your scene. Three exposures is a good rule of thumb for this type of photography, if you take too many images, this can start to complicate things in post processing and your image can end up looking strange, have weird artefacts in it when your exposures are blended or simply, it just won’t work!

The other thing to remember is that you need to keep your settings locked in. If you start to change the settings on your camera between each exposure, this can cause issues and slow down the process.

Finally, you need to (99.9%) of the time, do this on a tripod. You want your exposures to line up exactly between shots, if they don’t, guess what… more complications!

So you’re set up, you’ve got your shot framed and you’re ready to start shooting. The next phase of this is going to be dependent on the camera you have. A lot of newer Canon camera’s have a focus stacking setting built into them. You will need to consult your camera’s manual for instructions on how to do this, but you can tell it how many images you want in the stack and how much you want the focus to shift between each image. The other way of doing it, and the way I am going to describe in this blog (because my camera doesn’t have the focus stack function!) is manually, using either manual or autofocus.

This is fairly straightforward.

1) Frame up your shot and select your settings.

2) Focus on the foreground by either twisting your focus ring, or tapping the screen to select a focus area and half pressing the shutter button. Check the focus is sharp and capture your image.

3) Repeat step 2 for the midground.

4) Repeat step 2 for infinity/background.

I always find it useful to grab an exposure which has my hand in front of the lens after I have completed each ‘stack’.

You can take as many stacks as you like whilst you’re out and about, but keeping them organised whilst you are working and before you get into post will make your life a lot easier in the edit.

How to Create a Focus Stack in Lightroom and Photoshop.

I have shared a video below which explains this process in full, but the first thing you are going to want to do is import your images into Lightroom.

Once they are in Lightroom, edit your first image and get it looking the way you want it. Once you have done this, you want to copy the settings from you first image to the other two in you stack, so that they all have the same adjustments applied to them. I usually just make some global adjustments at this stage and do anything local on the image I get out of Photoshop. You can see this process in the video below. You can make your adjustments in Camera Raw in Photoshop, but I find the process of copy and pasting the adjustments in Lightroom much easier.

Once you’ve done this, you need to select your three images and then right click and ‘open as layers in Photoshop’. When you’ve done this, you can move on to the next stage.

Now your images are in Photoshop, the process is pretty straightforward; you’re going to shift click to select all three images, the in the edit menu, we’re going to select “auto align layers”. This will make sure that our images are neatly stacked on top of each other. Leave the ‘Auto’ option checked and click OK.

Once this has completed, make sure that the three layers are still selected, go back into the ‘edit’ menu and select “auto blend layers”. Make sure that “stack” is selected and then I always keep “seamless tones and colours” and “Content aware fill transparent areas” are checked. The latter will fill any transparent areas (usually around the edges) that have been created when your images were aligned.

Now that Photoshop has done it’s thing you will see that it has created masks on each of your layers, and if it’s worked well, you should see that the masks are broadly letting the focussed areas of each shot show through. If you need to fine tune these masks, you can do this using either a white or black brush and painting on the respective mask.

The final step is to check that you are happy with what you have, that it’s sharp where you want it to be, and that’s the process done!

All you need to do now is hit save, and if everything is working well, you should see it appear back in Lightroom as a .tiff file that you can now make some local edits on and get it looking exactly how you want it!

I have made a video of this whole process below, so you can see each step and hear some commentary that I hope you’re able to follow along with!

Step By Step Focus Stacking Video Tutorial

Check out my YouTube video on focus stacking - please head over to the channel and subscribe!

Original Images:

I set this up on the studio against a yellow backdrop and one light source (just a video light for this for the sake of speed), this is just three props I found amongst some old props in the studio - a lego mini-figure, a pocket watch and a Funko figure. I set these up in a line extending away from the camera. These images were shot at f/4, just to force the depth of field to clearly illustrate what I am trying to demonstrate. You should be able to see the three focus points by looking at which part of the image in focus, you should be able to see each subject in sharp focus as the focus point moves towards the back of the image.

Whilst I have done this in the studio to illustrate it, the process in the field is exactly the same. The only thing you might find is that when you’re not in a controlled environment, you’re much more likely to have changes in light and the position of your camera to deal with.

After following the process outlined above, all three images are combined to produce the final, stacked and fully focussed image you see below:

I hope that you have found this useful, I am trying to put some more of this type of content together and will eventually get them uploaded to my Chris Kendrick Photography YouTube Channel so you can digest them at your leisure.

If you have found this useful, I’d be grateful if you would like to support the blog and help me keep producing Lake District photography content, honest gear reviews and regular website updates, you can do so via my Buy Me a Coffee page. Keeping everything running smoothly takes time, and your support makes a real difference. Thank you.

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5 Beginner Lake District Landscape Photography Locations You Can Reach Without a Long Hike

Welcome back! I am going to keep this one as short as possible, but at the same time try to give you enough information in a short space of time so that you can get out and shoot.

What follows is a list of 5 places you can take incredible landscape photos in The Lake District, without having a massive hike to get there. These will be great if you’re short on time, or if you’re short on energy but still want to get out. Nothing in here has more than a 20 minute to reach a great spot and get some great photos in the bag.

Gummer’s How

This one is the one with longest and most demanding walk, which is saying something as this one is an easy trek, which should take no longer than 20 minutes from the car, has a bit of climbing but is rewarded with incredible views across Windermere and many of the Lake District fells.

There’s a free car park just off Fell Foot Brow, which is run by Forestry England. You can find it at ///rated.soup.looms on What Three Words.

From here, cross the road and follow the signs which will lead you along a short trail with a slight incline, and then you’ll be met by a short, but much steeper climb up to the top of the hill.

Walk towards Windermere (you will be able to see it) and you will be rewarded with some breath taking views. This is a great place for sunset and you’ll get some incredible shots if the weather is in your favour. I prefer a long lens here as it lets you pick some of the detail in the scene.

Don’t forget your head torch for the way back if you’re planning on staying late.

If you’re planning for sunset, then check out my sunrise and sunset photography in the Lake District blog.

Queen Adelaide’s Hill

This is another one which is a short walk from the car and rewards you with great views across Windermere, without the walk up Gummer’s How. There’s even a bench at the top if you’re feeling a little out of breath. This is another good one for sunset. You can park at at Rayrigg Meadow Car Park (What Three Words: ///magpie.permanent.agent).

The path to Queen Adelaides Hill is largely paved, but there is a small section which is through a bit of woodland that can be uneven underfoot and isn’t paved so make sure you have the right footwear on.

Arrive in plenty time if you’re going for sunset, as this car park allows motorhomes overnight and it fills up quickly. It’s also not cheap and is run by the council so there’s no discount/free parking with your National Trust Card.

Head towards ///waiters.risky.loudness and you will be in position for some great views.

Surprise View

We’re heading out of the Southern Lake District and up to Borrowdale for this one. You’ll find Surpise View at What3Words ///copying.shadowed.bounding , with parking really close by. I would estimate the walk from the car to the viewpoint to be around 30 seconds… This is the shortest ‘walk’ on the list! You have incredible views of Derwent Water and down into Keswick from up here, and it’s great for sunset shoots, and also looks great at Blue Hour.

Whilst you are here, you can also bag a Lake District classic and bag yourself a shot of the packhorse bridge at Ashnesss, What3Words ///pills.index.remarried. This is a great place to go and do some long exposure work! Check out my long exposure blog by clicking here.

Wastwater

Moving out into the Western Lake District now, and we’re headed to Wast Water. I am not going to include a what3words location for this one, because there are so many great places to shoot from here. You’ll end up on the north eastern shore of the lake (the opposite shore is inaccessible unless you fancy a swim across England’s deepest lake) when you arrived and there is lots of parking at the side of the road (stay out of the passing places and park respectfully, please!). Once you’re parked, you can walk along the side of the lake and scope out some of the compositions that are spread out in front of you. Explore and have fun. This is another one that is great at sunset.

Blea Tarn

This one takes a little more central and comes with a weather warning. If the weather is poor, don’t go - check before your travel. In the winter, the roads leading up here become treacherous and are impassable in bad weather. You have been warned!

That said, in the summer, whilst you need to be careful on the roads, many of which are single track, your patience (and careful driving) will be rewarded with an easy walk up shot at Blea Tarn.

You can park at the National Trust Car Park (free for members!) which you will find at What3Words ///destroyer.marked.groomed . Leave the car park via the entrance you got in through, cross the road and follow the path. From here, the tarn is on your right and you can walk down to it. Make sure you watch where you put your feet and take good shoes - it can be very boggy. There are great shots across towards the Langdale Pikes and you will see some interesting wildlife here if that’s your bag as well.

This one is a good sunrise spot, get here early to secure the best spots.

Bonus Hidden Gem

This one is often overlooked and is little known. It is called Kelly Hall Tarn, which is in a village called Torver on the way into Consiston. There is parking at What3Words ///backdrop.shelters.quitter. Once parked, take a walk towards the back of the car park and follow the path which will lead you to the Tarn. It’s about a five minute walk, which can be boggy after rain and also boggy when it hasn’t rained for days. Be prepared. This is a great sunset spot, and is super dark at night for you astro fans!

And that concludes the blog! If you try any of these locations, let me know how you get on. I’m always interested to hear where people head first, and what conditions they find when they get there. Keep an eye on the blog for more beginner-friendly Lake District photography guides.

These guides are all written from time spent out in the Lakes with a camera in hand. If you’ve found it useful, buying me a coffee is a great way to support the site. You can also join my newsletter for future guides, photography tips, and new content as it’s published.

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The Problem with Social Media and Photography.

Photography has never been more accessible — or more distracting. We’ve never shared so many images, yet spent so much time consuming other people’s.

Welcome to another blog post, can you believe it’s already Sunday evening again? Where on earth do the weekends get to?

Anyway…

I came up with this blog idea when I was writing my 10 Photobooks YOU Should Own Blog and I was typing about “On Photography” by Susan Sontag, a book in which she talks about the way in which we consume photography and how it could mean that we become desensitised to things such as the artrocities of war, how we could end up with a distorted view of the world around us. She explores the idea of control we have as photographers and also looks at how we can end up becoming people who consume life through photography instead of actually living our lives.

Strap in, I feel like this could end up becoming more of an essay than a blog entry, but we will see how we get on. I’m not even sure how long this one is going to take me to write (it’s currently 1 minute to midnight the night before the Amazon Black Friday Sale goes live and I am hoping to grab some bargain last minute Christmas gifts (EDIT: it’s now gone midnight and I was successful!), I have just finished and scheduled the photo books blog and I am trying to be productive instead of just sitting here scrolling. .

All of the things Sontag said resonated with me, especially that final point about consuming life through photographs (I’m going to include video in this as well). I think more so because I had myself just been consuming a couple of videos on YouTube about a couple of people who had brought “Brick” devices for their phones to limit the amount they are using them and to enable to break out of the cycle of doom scrolling.

This is a big bit of inspiration for this blog, alongside what I have read in Sontag’s book, coupled with some of my own experiences and those that have been shared with me by friends.

Social media is everywhere now, it has been for some time. It’s everywhere a lot of the time, because we take it with us. It’s on our phones, it’s in our pockets, it’s right in the palm of your hand, or at least within arms reach. And I’m not just talking about the obvious things such as Facebook, Instagram and X et al. I’m thinking about things like WhatsApp and Telegram, Discord and LinkedIn. I didn’t know until a few months ago when I was doing a digital marketing course that LinkedIn pre dated all of the things that I have just mentioned!

(Case in point… I finished writing the previous paragraph 15 minutes ago and that fifteen minutes has been lost because something popped up on my phone and I got stuck scrolling!)

The Internet Used to be a Place Where You Went.

When the internet first started to take off in the 90’s, it was clear it was going to be a big thing and that it was going to be important and was going to permeate every aspect of our lives. But back then, things were very different. Computers were huge, had massive CRT monitors, sat on big console style desks and took up a lot of room in the house.

At this point in time, mobile phones were similar… they were huge and didn’t do much other than make phone calls and there certainly wasn’t any internet on them.

But back to my original point about computers.They were so big that they didn’t move easily and the chances are that it was the only internet connected device in the house. It would be parked in a corner of a room, often a lounge, sometimes an office or a dining room. This meant that you had to move yourself to go the computer to access the internet… This meant that the internet was a place that you went.

There was almost a certain kind of ceremony to it - you’d log on and then have to connect to the internet through the phone line using your dial-up modem and if it connected first time then you had the world at your fingertips and a lot of what you could access was pretty basic! As Bo Burnham put it in “Welcome to The Internet”, it was a place of “catalogs, travel blogs, a chat room or two”. And as he goes on to say in the same song, these day’s it’s “a little bit of everything, all of the time”, and that can be quite distracting, especially as photographers when we are naturally predisposed to enjoy anything that is visual.

Now We Take The Internet Everywhere With Us.

And I mean everywhere. I think most people take their phone to the bathroom with them. Long gone are the days of reading the backs of the bottles of shampoo or a discarded copy of Take-a-Break. Now, we have the entire internet at our mercy, and social media is a huge part of the internet as we know it today. Facebook alone has over 3.07 billion active users. There are 8 billion people in the world so that’ almost 40% of the population, and that means there is an absolute ton of information being uploaded to it.

Then there’s YouTube. At the time of writing, you would need approximately 18,000 uninterrupted years (yes years) to watch all of the videos that exist on YouTube (you’d better have a premium account to ensure that you’re not wasting any of your 18,000 years watching adverts! (It was originally 17,000 year when I looked 3 weeks ago: the amount of content uploaded there is huge!)

And then there’s Instagram - the app that loves us to share our photos videos in the (often) vain hope that we will get our images seen by people other than our closest family and friends.

Oh, and TikTok… this can end up being a thief of life if you let it.

And let’s not forget X (formerly Twitter).

Now depending on the way you use social media and what you are looking/watching, how you consume it and what you’re into really affects this point that I am making:

I watch a lot of photography videos on YouTube (Nigel Danson, Thomas Heaton, Henry Turner, Peter McKinnon, James Popsys etc), I also watch a lot of popular science type content and I love watching ‘Kinging It’ doing up their “Scottage”! My other vice on here is fishing videos (something else I dabble in, but am not very good at). The first and last things in this are going to help me to make this point…

I love learning, I love getting better and I love cosuming this content and hearing the stories. But whilst I am watching YouTube and looking at other people doing it, I am not out there actually doing two of the things that I love. Sure, it’s great watching others and learning from them, but you can’t learn properly yourself without making your own mistakes. I work as a music teacher in “real life”, and I know that not one of my students would get better at playing the piano just by watching me and hearing how I corrected the mistakes. They need to make their own mistakes to be able to learn how to overcome them, and the same is true for us as photographers.

I have my own strategies for managing this; I tend to watch most of my YouTube when I am working in the studio (I am watching Henry Turner as I write this), it’s usually just on in the background and I will fully engage if something piques my interest.

I am on my phone too much, I know I am, mainly on Instagram for my sins. I upload my own content and consume that of others, but it still comes down to the same point; if I’m scrolling, I’m not shooting. If I’m not shooting, I’m not learning and if I’m not learning, I am most certainly not getting any better.

Making Comparisons

We all do this, we look at other people’s work and we compare our own work to theirs. This is great if you’re doing competitor analysis, but it can be harmful to your progress and growth, especially if you’re finding that people aren’t engaging with what you think is the best photograph you have ever taken!

Then, we fall into the trap of seeing an image we like and then going out and trying to take the same image. It’s probably one we have seen elsewhere before and this serves as a bit of a memory jog for us. When we stop scrolling and go out to take our own image, we don’t think it’s as good or we didn’t enjoy the experience, or when we got there, everyone else was there trying to take the same shot that they have also seen on Instagram and now yours is just going to get lost in amongst all of the others. Now, it’s overdone and no one is bothered any more. Social media is full of a lot of noise.

If you get stuck in a scrolling-cycle, you are becoming one of those people who is consuming life through photos and not enjoying life by living it. Be the person who people want to copy, get that original shot, find the new angle on an old favourite, but you aren’t going to do that sat on your bottom, in your lounge trying to get to the bottom of Instagram/YouTube/Facebook/etc/etc/etc.

So What Can You Do About It?

This is going to feel a little bit like a PSHE lesson, so prepare yourself…

Ultimately, this will be down to you and how you think you can manage it. I’ve already mentioned that I try to limit my YouTube consumption to times when I am working on stuff like this blog or when I am editing photos. I must admit though, I do still enjoy a bit of YouTube whilst I am eating!

Scrolling is a bit more of an issue for me, especially when I am sat in front of the TV. I have made it a bit of a mission for the new year to try and scroll less and to be more present, and it’s going to take a lot of discipline and/or will-power, but if it gets too much I might try one of those Brick devices that I mentioned at the start of this blog. All of these things will, if I do them, help me to be a little more present, and it might even help my sleep as I won’t be saturated with blue light before I try and get my head down.

Remember, social media isn’t always real. In fact, I would say that it’s largely not true to life, and this is even truer with the advent of AI and the bubble that is continuing to grow. I know I have been using some AI images in this blog, but I think these ones are particularly obvious, (although they do look a little bit like me). I do it because it’s easy and I can get exactly what I need, relatively quickly. There are some very good AI images and videos that have been made by people far better at it than I am, which are really convincing (maybe not the Coca-Cola Christmas advert though!), and you need to be on it if you want to spot them.

To add to this ‘lack of reality’ (or maybe it’s a lack of truth), people only tend to share the good stuff or the exciting stuff. You don’t see the less exciting stuff, you don’t see the events that have happened that are dull or maybe to private to warrant sharing online. Don’t be sucked into thinking that someone has a perfect life - they don’t. No one does. I think people are getting better at sharing more of the less perfect things, but there’s a long way to go with this.

Instagram has moved on a great deal since the days of people uploading pictures of their dinner and it’s not just about photos anymore, in fact, it’s probably less about photos at the present moment and is very much a video-first platform, because that’s what people are more likely to engage with. The sad reality is that if you want to grow and get yourself out there on most platforms these days, you need to be creating and sharing videos.

Get out there, live your life and don’t live yours through someone else’s experiences. You’ll thank yourself for it later.

Final Thoughts

Social media isn’t the enemy. It never really has been. It’s a tool, and like any tool, it’s all about how you use it. Used well, it can inspire you, connect you with like-minded people and help you learn. Used badly, it can quietly eat away at your time, your confidence and your motivation to actually go out and make photographs.

As photographers, we’re naturally drawn to visuals. That’s what makes social media so compelling for us, but it’s also what makes it so dangerous. It’s very easy to convince yourself that scrolling counts as learning, or that watching other people do the thing is the same as doing it yourself. It isn’t. You don’t get better at photography by consuming more photography. You get better by going out, making mistakes, missing shots and occasionally getting something right.

Try to be mindful of how and why you’re using these platforms. Notice when they’re helping and when they’re just filling time. And if you catch yourself stuck in that endless scroll, remember this: every minute spent watching someone else make photographs is a minute you could have spent making your own.

Get out there. Be present. Live the moments you want to photograph, don’t just consume them through a screen. Your photography — and probably your headspace — will be better for it.

If you’d like to support the blog and help me keep producing Lake District photography content, honest gear reviews and regular website updates, you can do so via my Buy Me a Coffee page. Keeping everything running smoothly takes time, and your support makes a real difference. Thank you.

Gear Review: Canon EF 2x Teleconverter MKII

This is a review I hadn’t planned on writing as this wasn’t a piece of kit I was planning on buying! I ended up with one of these teleconverters as at the same time I was buying my 16-35mm lens, I was also looking for a telephoto zoom lens, with the Sigma 150-600mm f/5.6 being at the top of my list.

Some quick maths made me rethink this - I knew I REALLY wanted the 16-35mm f/4L, but getting the 150-600 at the same time, financially, was going to be a bit of a push and after some consideration, I decided to plump for the teleconverter and see how I got on with it. On the front of my Canon 80D which has a crop sensor, paired with my 70-200 f/4L, I can expect to have a focal length around 224-600. (Here’s the maths… (70x2)x1.6 = 224 and (2—x2)x1.6 = 600)).

We can agree this is a whole lot of reach, which is going to be great for a having a go at some wildlife which has previously been out of the range of my 70-200. I will also be able to pick out things in a landscape which have previously been a mere pipe dream and hopefully bag some great shots of the low flying jets as they pass through The Lake District Valleys.

I got mine from MPB.COM, and it’s in “Like new” condition. It set me back £198.55, which is great compared to the in excess of £800 I was going to have shell out for the Sigma. Yes, I have had to sacrifice some reach, (on a crop sensor, 800mm looks like 960mm), but I want to see how this solution works first.

This isn’t the best looking piece of kit; it’s the same off white colour we expect to see long Canon lenses come in and without the lens caps on, it’s a truly odd looking accessory.

Mine has the EF mounting system, (remember, I am still shooting with a DSLR!), and the extender comes with a solid, metal mount which firmly attaches it to the front of the camera.

There is a trade-off to all of this extra reach, namely, attaching your lens to an extender reduces your maximum aperture by 2 stops. So in my case, the max aperture my f/4 lens is going to have is f/8. I don’t mind this for two reasons - 1) I am mainly going to be using this lens in brighter conditions, so will have plenty of light to work with and 2) This lens is really sharp at f/8 so this should translate to better sharpness in the images I produce. I will share some sample images throughout this blog so you can make up your own minds!

How does it work?

Extenders, which are also referred to as teleconverters, work by increasing the magnification of your lens, and then projecting this onto your sensor. A really crude way to think of is it’s like a magnifying glass for your lens.

They come in a limited range of magnifications, usually 1.4x and 2x, though I have seen Nikon ones which have a magnification factor of 1.7x. As you’ve probably worked out, the numbers are the factors your magnification is increased by, so a 100mm lens with a 1.4x teleconverter, will have a theoretical reach of 140mm, the same lens with a 2x teleconverter will have a reach of 200mm and so on. If you have a zoom lens then the whole range is magnified by the same factor. You get the idea.

These pieces of kit however, are not selective in what the magnify. They will magnify everything in your image, which includes any grain or ISO ‘noise’ captured in your image.

What should I consider?

You need to consider what the trade-offs are. Essentially, you will be decreasing your maximum aperture and you are going to sacrifice a bit of sharpness in your final images.

Because you are effectively losing light by having the smaller aperture, you are going to have to compensate by increasing your shutter speed or ISO. You’ll need to bear this in mind when setting up your shots and consider the exposure triangle to make sure you end up with an image, which is in exposure terms, balanced. You can read about this in my blog “A Beginner’s Guide to The Exposure Triangle”.

You might lose some auto-focus functionality by attaching the extender. This so far hasn’t been an issue for me, as I have been taking pictures of landscapes in which the subject is often the light hitting the side of a mountain. Mountain’s aren’t known for being fast moving (if one does start moving quickly, then I would suggest you do the same!), but if you’re using it to shoot sport or wildlife then the amount of images you get which are ‘keepers’ will probably see a reduction compared to shots taken without the teleconverter attached.

The image on the right was taken at 400mm (640mm on a crop sensor), has had noise reduction applied alongside exposure adjustments, masking and colour adjustments. Single exposure, not focused stacked —>

Finally, you should think about what the kit is doing - it is magnifying everything your lens sees and does, so if you have a lens which suffers from, for example, chromatic aberration, this is also going to be magnified and on top this, you are going to lose some contrast as well.

First Impressions of the Canon 2x extender II.

I’ve already taken this out and stretched its legs for half an hour, the first impressions are good but I have identified a couple of drawbacks, but at this stage, nothing bad enough for me to want to return it.

I also got lucky when I was out shooting and instead of just landscapes, I was fortunate enough to see an A400 Atlas flying low level through the Leven Estuary at Greenodd, presumably on it’s way to LFA 17 at Windermere.

One of the first things I noticed was just how much more of a challenge it is to find things in the viewfinder. Especially a moving object like the A400 I just mentioned. It took me a moment to locate it and then to lock focus. I eventually succeeded and have a bagged a couple of shots I am happy with, you can see one of them on the left.

Because it was a bright evening, I didn’t need to add lots of ISO to compensate for the lack of light in now my now f/8 lens. The shot I have ended up with is sharp and because it was shot at ISO 100, it isn’t loaded with image-ruining noise.

The second shoot I went on, saw me heading over to Walney Island for sunset on a very grey evening. Ambient light was not as abundant as I might have liked it to be. Plus, it was sunset, so I was losing light by the second. This resulted in me having to bump up the ISO on my camera to 400.

When I got back to the studio, I did notice the images I had shot using the teleconverter were suffering from more noise than the same images shot on their “native” counterparts. I will point out this wasn’t a lot of noise, but was still more than I could see on the non-extender version.

Prior to the advent of effective noise reduction software/algorithms, this would have been much more of a problem than it is in today’s post processing world. I used Lightroom’s noise reduction panel to get rid of some of this and it did a pretty good job. All of the above being said, the loss of saturation, whilst not catastrophic, did (in my opinion) make the raw files harder for me to edit effectively and I felt like I had lost some of the flexibility I would normally have.

Something else I noticed was having this lens on my camera made it much heavier, so much so, the ball-head on my tripod was really struggling - I would get a shot framed up and then tighten up the ball head, all for it to “drop” when I wasn’t supporting the weight of the camera/lens/extender combination. I have to admit, this could also be a limitation of my tripod and an unfair criticism of the extender, but I had no issues when I was using my 16-35mm or my 24-105. I am going to try a different ball-head before I reach the decision about how often I might want to shoot with it on a tripod, but if you’re using a longer lens which comes supplied with a collar, then using this is a must to help you to balance the weight of the camera against the lens/extender combination. I will update this entry if I manage to solve the problem.

Who is the Canon EF 2 extender for?

I would recommend this to anyone who is wanting to try shooting at much longer focal lengths, but who isn’t ready to spend the money on a good quality super-telephoto lens just yet. There is a big saving to be made if you buy second hand and it can be a good way into trying your hand at genres such as sports and wildlife.

Another thing I would say is this lens is for someone who already owns some good quality glass to put in front of it; if you’re shooting with a lens which you know has some serious flaws then the teleconverter isn’t just going to make your lens longer, it is also going to amplify the imperfections in your lens. These are going to be painfully obvious to whoever is looking at your image. I am lucky to have a full set of Canon L Series lenses which are really high quality, but I also know the characteristics of each of them meaning I know what to look out for when using the teleconverter and this can help me to mitigate any issues before they have a chance to become a problem in the edit.

Pros and Cons

Pros:

• Lightweight

• Small(ish) form factor means it’s likely to fit somewhere in your bag.

• A cost effective option for people who want to try shooting at longer lengths but who don’t want to shell out hundreds of pounds on a huge lens.

• On crop sensors, you end up with “extra” reach owing to your sensor’s crop factor.

Cons:

• Loss of stops of light owing to the max aperture of the lens caused by adding the extender.

• Amplifies everything, including grain and chromatic aberration.

• Some loss of contrast and sharpness in final images.

Summary

If you’re considering making your first foray into genres which require more reach, but don’t have the money to buy the long lens then this could potentially be a safe middle ground. If you’re really into low light photography then you might find the reduction in aperture to (in my case) f/8 to be too constraining. If you’re considering the purchase, then it’s helpful to start by having good lenses which you really understand as any imperfections created by the lens are going to be amplified by the converter.

I think this has been a good purchase for me, it’s opened a world of new compositions, particularly when I want to shoot things I can’t get close enough to in order to create my desired composition. It has given me some more flexibility, perhaps enough to get 2 or 3 extra compositions per location I visit, but I do think this means sacrificing some sharpness and saturation, but not so much to make the ‘project’ a write off.

Will I use this forever instead of buying a dedicated super-telephoto zoom lens (or if I’m feeling flush, a prime - £10,000 for the Canon EF 400mm f/2.8 prime anyone?), probably not. But I am happy enough with the results for the time being which means I am going to have a lot of fun creating something different to my normal shots for many months to come!

Lake District Photography Itinerary: The Best 3-Day Trip for Stunning Shots

Visits to The Lake District are often far more fleeting than you might want them to be, especially given that a lot of us are working full time and stays often last just a few days. I’ve been living here and photographing the eternal beauty of this place for over two years now and have used some of this time and the benefit of my experience to create a 3 day photography itinerary for this incredible part of the world, so that you can grab some social media worthy shots whilst exploring the dramatic landscape this place lays out right in front of us at every single turn.

I’ve worked this into a three day itinerary, but it doesn’t need to be done over the course of three consecutive days. You might want to cram all of these into one trip, but could just as easily spread these out over the course of a week, or over several visits, the choice is yours!

What I have tried to do here is to combine some easy what I like to call “walk up shots” where you can park up and walk the shortest of distances to the car, with some longer walks and more interesting terrain.

As with many of these blogs, it’s essential I give you some of the key safety information, especially if you’re travelling alone. Always make sure someone knows where you are, where you are going what time you expect to be back. Mobile phone and battery pack should be charged before you set off, your head torch should be charged and packed even if you think you might not need it - especially if you’re cutting it fine to get back before nightfall and if you’re out in the hills, you must have your map and compass with you. Appropriate footwear, clothing and enough water are also a must. If you’re trying to plan and you’re not sure where to start, my blog about Must Have Apps for Photographers will come in handy!

So what about the photos? What about the locations and what about the subjects? I’ve laid this out in 3 days below, do them in any order you like, do them in one weekend or one week or spread them out over the course of a few weeks or even across the year, the choice is yours.

Day One - Angles and Structure

Sunsrise: Derwentwater.

One of the smaller major lakes in the The Laker District, it’s in the northern part of the National Park and is really close to Keswick. Derwentwater is over looked by Catbnells and Skiddaw, and at just over 3 miles long, it provides homes to kingfishers and otters as well ospreys over the summer before they head south to overwinter.If you head into the surrounding woodlands, there’s a good chance of seeing a red squirrel or two. Sci-fi fans may recognise parts of the landscape from Start Wars - the scenes on Takodana were filmed at Derwentwater.

<— LEFT: The view from Surprise View, Keswick.

There are plenty of photo opportunities dotted around the lake, but head to The Theatre by The Lake for sunrise. From here you can shoot back towards Catbells. This is a popular spot amongst photographers shooting the sunrise, so get here early to secure a good spot! Head to Crow Park for this one, what3words //////driveways.trails.teachers will get you in the rough area, you’ll just need to fine tune a little bit when you arrive.

When you’ve captured your sunrise shot, there will be a bit of time to explore Kewsick, plenty of good places to eat and relax here, as well some great outdoor shops if that’s your thing. If you are looking for a spot for lunch, then The Round is fantastic - amazing burgers and cocktails (if you like them!), but you can’t book and just have to turn up - good luck!

During the Day: Around Keswick and Derwentwater.

Suitably refreshed, the next stop on your itinerary is Ashness Bridge (what3words ///nation.custard.reinvest), a short drive from where you were for sunrise. This is an iconic Lake District Location and is one of the most photographed packhorse bridges in the entire national park. These were built for horses carrying heavy loads to enable them to cross the water.

You might want your ND filters for this location, it looks great with some motion captured in the water, especially if the water levels are good following the rain (we get a lot of that up here)!

Once you’ve visited here, you should head up the road to Surprise View (what3words ///heartened.coconut.cork. - this will get you to the National Trust Car Park, the viewpoint is a 30 second walk from here) This is an incredible location over looking Derwentwater, with Bassenthwaite lake in the distance. The views over the Borrowdale are amazing, and were popular with the Victorians and the Romantic Poets. Take care, there isn’t a safety rail, but there is a huge steep drop.

Sunset: Friar’s Crag.

Once you’re done at Surprise View, you can start to think abuout sunset and I am recommending Friar’s Crag for this. You can find the location at ///itself.surcharge.truck. We’re headed back to The Theatre by The Lake for the start of this one, walk past with the theatre on your left, keep the lake on you right and head towards the end of the tarmacced road, when the tarmac runs out, follow the track until you reach the bench at the end and hopefully you’ll be rewarded with some amazing golden hour light as the sunsets and you look across the lake towards Catbells.

Top tips for day one:

Pack your ND filters to help manipulate your exposure times, especially at Ashness Bridge and make sure you have your polarisers to deal with the reflections coming off the water. You’re probably going to want a tripod and I’d recommend both a wide angle and a zoom lens so that you can experiment with as many compositions as you want.

Day 2 - Mountains and Panoramas.

Sunrise - Buttermere.

We’re heading southwest from day ones adventures and to the Beautiful Buttermere. There’s a bit more walking involved today, as the parking isn’t quite as handy, but the views are well and truly worth it. You’ll also need to cross your fingers for a calm morning. Buttermere on a still morning is renowned for its mirror-like reflections, which are a photographers dream.

Park at the National Trust Car Park (///promises.parsnips.smoker), and then it’s a bit of a walk down to the lakeshore. This should take you about fifteen minutes, some of which is on the road with limited footpaths so dress accordingly and make sure you can be seen.

Once you’re by the lake shore, the walk is very easy and nice and flat, if a little boggy underfoot at times. Head for the lone pine tree for a classic Lake District Composition with Fleetwith Pike in the Background. If you’re there in Spring/Summer then head for the bluebells for an extra pop of colour.

You’re surrounded by mountains at this location, with Haystacks, Fleetwith Pike, and High Stile all beautifully reflected in the water.

Once you’re by the lake shore, the walk is very easy and nice and flat, if a little boggy underfoot at times. Head for the lone pine tree for a classic Lake District Composition with Fleetwith Pike in the Background. If you’re there in Spring/Summer then head for the bluebells for an extra pop of colour.

Buttermere in the depths of Winter —>

You’re surrounded by mountains at this location, with Haystacks, Fleetwith Pike, and High Stile all beautifully reflected in the water.

Once you’re done with your sunrise shoot, circular walk around the lake is a lovely one to get under your belt before heading into the village for a cup of tea, or something stronger if that’s your thing (and you’re not driving!) and something to eat before you move on.

Daytime - Honister Pass.

A word of warning, that if you’re not a confident driver then this might not be for you. Some of the roads are very steep, very narrow and very windy. Pay attention to the weather forecast, if it’s snowy or particularly consider whether or not you actually need to drive along it - opportunities to take photos will be there tomorrow, make sure you are too! Take your time, drive within your limits and make sure you’re looking well ahead of you.

Now that the serious stuff is out of the way, this is a great road to take photos on - there are sweeping views across the Lake District Fells and valleys, and you can also spend some time at the Honister Slate Mine, learning about the rich history of slate mining in the area.

Having your long lens in this area is going to help you get some great compression and layers into your shots. There are places to stop and get out to shoot/walk to find compositions, but be considerate of other road users, your own safety and especially considerate of the farmers who work their sheep in these hills - don’t block their gates or the entrances.

You’ll see plenty of small, picturesque waterfalls as you drive along this picturesque mountain pass, if you’re stopping to take pictures then the above rules still apply.

Herdwick sheep roam freely in this area and they make great subjects, but they aren’t renowned for their knowledge of the green cross code, so make sure you’ve got your wits about you!

Sunset - Wastwater

England’s deepest lake, with an average depth of around 80 metres. It’s bordered by Scafell Pike, England’s highest mountain )at its northeastern end), but parts of the lake are below sea level - it’s got both extremes all in one beautiful location. The view is so beautiful that it won a public vote in 2007 to be named as Britain’s Best View.

You’re going to want to follow the road along the western shore of the lake, where you can scout for compositions. Favourites look towards the north with Scafell Pike looming large in the background, Great Gable being frame across the lake and the screes on the steep slopes, which have been formed by millions of years of geological activity.

You’ll usually find Wast Water much quieter than spots like Windermere and Derwentwater owing to its much more remote location.

Top tips for day two:

Check the weather to see if you’re in luck with a calm day at Buttermere, if not, pack your ND filters to try and smooth out some of that water and to get some movement in any clouds. Pack some variation in your lenses - wide angles to capture some stunning pano’s and dramatic shots and then something longer to get some compression in layers in the shots along Honister Pass.

I’d rely recommend doing the circular walk around Buttermere. The views are incredible and that walk is a great way to find more compositions and work up and appetite for some cake in the village!

Day Three

Morning - Rydal Water and Rydal Cave

Park in the village and follow the signs! The path to Rydal Cave is well way marked and provides great views over Grasmere, Rydal Water and Grasmere village.

This is not natural cave, but was made by quarrying in during the 19 Century and were part of the Loughrigg Fell Slate Quarry, which provided stone for building.

Inside the cave you’ll find a cathedral like structure which provides a home for bats, the water in the pool makes an idea home for frogs and newts if that’s your kind of thing.

The water inside the cave can be crossed by stepping stones, which create a great leading line, but if you want to shoot this, go off season or when you can see it isn’t busy. This cave is not a hidden gem, and as such it does get very busy, especially during peak tourist season.

Looking out of the cave, lots of the surrounding vistas can be framed in an almost window-like composition, using the cave entrance as a natural frame.

Once you’re done here, I would recommend heading down into Grasmere village and getting in the queue for gingerbread - I can almost guarantee it’s the best gingerbread you have ever tasted, all served by people in traditional costume!

Daytime - Tarn Hows

Once you’ve filled up on Gingerbread, hop in the car for a drive of around 20 minutes to Tarn Hows. The closest car park is at National Trust Tarn Hows. Free parking here if you’re a national trust member. There’s a lovely circular walk here and it looks amazing during the autumn. It’s about 1.5 hour walk around the water with compositions aplenty and some great reflections if you catch it in the right weather.

Once you’re done here, you can head back into Grasmere or can choose something different and head to Ullswater.

Sunset - Choose from Grasmere or Ullswater

Time to catch that final golden hour! Your choice here is between a 30 minute drive back to Grasmere or you can opt for a longer drive (around an hour) up to Ullswater at Pooley Bridge. My preference here is for Pooley Bridge, especially if you’re leaving the area to go home as it’s much close to the M6 and to the Rheghed Centre, where there is a place which sells the most incredible ice cream (the rhubarb and custard is my favourite, or if you’re feeling adventurous, how about brown bread and lemon curd?!).

The sunsets at Ullswater are incredible if the conditions are favourable, and stopping in Pooley Bridge puts you in amongst a lot of amenities, including pubs and restaurants as well as small number of other shops.

The famous composition here is The Duke of Portland’s Boathouse, it looks great in the golden hour light, but the views across the Far Eastern Fells (including Arthur’s Pike, Bonscale Pike, Loadpot Hill, Hallin Fell, and Place Fell) are fantastic and the people using the lake for paddle-boarding, swimming, boating etc. can provide a real sense of scale and drama in your images.

Once you’re finished shooting, I would say that after today, you have definitely earned a spot in one of the local hostelries (you’ll need this if it’s winter as it gets really cold!) and a bite to eat before you head home for the day.

<— Paddle-boarding at last light, Ullswater; this image is available to buy as a print in my shop

Final Words:

So there you have it, a 3 day photography itinerary for the Lake District, which you can complete all in one go, or split across several days or visit to The Lake District. I have listed some of my favourites in here, so I hope you have found this useful and that you enjoy making images in this incredible landscape just as much as I do.

Street vs. Landscape Photography: A Personal Perspective

Moving from London’s bustling streets to the peaceful landscapes of the Lake District transformed my approach to photography. In this guide, I share practical tips for making the shift from street photography to landscape photography, including composition techniques, gear recommendations, and how to work with natural light.

It’s been almost 2 years since I made the move from London to The Lake District, and in that time I’ve had to learn (and will continue to learn) a lot about landscape photography, what it is, what it means and how to capture successful images. In this blog, I am going to break down some of the things that I have learned, some of the stuff that I have changed and what has had to stay the same as I continue on this landscape photography path in The Lake District

One of the things that I have learned, is that I need(ed) to adapt what I was already doing. As with so many things, there are a lot techniques, “rules” and conventions that apply to the landscape photography I do now in Cumrbia, that were also important things to remember in street and cityscape photography.

I am aiming to break down some of these below; I hope you find it interesting and maybe learn something as you read!

This blog contains Amazon affiliate links and I may receive a small kickback if you decide to make a purchase using one of them. 

Light is Key - Lessons from The Lake District.

Yes, light is key to both styles of photography, but (in my opinion, and certainly in the way I work) you see it and use it differently. Perhaps, for me, a big part of this is that I shoot far less in low light now. There’s not a whole lot to photograph in the hills at night time unless you’re an astrophotographer (something I am yet to have a ‘proper’ go at), or you love super long exposures!

For me, the biggest difference in how I use light, is that when I am doing landscape photography in the Lake District, the light becomes the photograph, it is the subject and it is what generates a lot of the interest, especially when it’s dappled sunlight across the Fells. In my days shooting in the city, I used it in a different way, often finding interesting coloured lights and then using really wide apertures to force these out of focus to create wild bokeh style backgrounds, usually with interesting foreground texture (more on foreground later), often by the way of drain covers, or leading lines.

Golden hour, and blue hour, are important to both styles. Golden hour, the period before sunset and the period after sunrise, and blue hour, the period after sunset and before sunrise, often provide some of the ‘best’ light for both styles of imagery. In the city, I used it to photograph buildings, in the landscape, I use it to photograph entire scenes, or parts of them.

Many photographers see this as the ‘best’ light, but it does mean, especially as a landscape photographer that you are subjecting yourself to super early starts or late nights, waiting for it to arrive.

Harsh light, i.e. when the sun is high in a clear sky can make landscapes much more of challenge, whilst street photographers will likely see more opportunities with this kind of light, which creates strong, harsh shadows can make for some really interesting compositions, but because of the way that the landscape photography environment is made up, these opportunities are often fewer and further between.

Ultimately, and this feels like a bit of a cop-out, you have to be outside to experience any kind of light, you make your own opportunities, and you can’t shoot any images in good or bad light, if you’re sat in the house!

Composition in Landscape Photography vs Street Photography.

This could, and probably should be a blog all of its own, but I will ‘quickly’ touch on some of the similarities and differences that I have found whilst making the switch, this isn’t a ‘how to’ guide, but will look at some of the similarities and differences which have affected me as someone making the switch into predominantly landscape photography vs street photography.

There’s a lot of differences and a lot I have had to learn, change and adapt. I think that perhaps the biggest shift I have had to make is how to decide what to do with what’s in front of me. In the city, the environment is very much on top of you. In a city like London, where I did the majority of my photography, everything is close to you, if you walk through Canary Wharf or around parts of the City of London, then huge skyscrapers ascend above you and horizons can be non-existent. The environment limits how much you see and almost forces you into certain compositions in particular locations.

Contrast that with being out in wide open spaces, often on top of the highest point for miles around. This comes with its own set of challenges and of course, the temptation just to shoot the whole scene, or to photograph the whole of the sunset or sunrise over Derwentwater. This has been one of the hardest things for me to adapt to, especially when photographing in The Lake District, when there is a stunning vista laid out in front of me, with an amazing sunset kicking off in the background.

I have done a number of things to help me with this; I have looked at a lot of work by other photographers, (but have tried to avoid looking at other Lake District Photographers so that I don’t end up just taking everyone else’s photos), watched YouTube videos, practiced, and finally, have gone on shoots with just a longer focal length lens (usually my Canon EF 70-200mm f/4L), as this takes the wide shots out of play and makes me pick out what I think are interesting features in the landscape. It makes me look for different compositions, different subjects and more creative ways to work with the light that is in front of me.

I don't always go out with just one lens, I often take something which is a bit wider (like a 24-105mm) or sometimes, something super-wide (like my Canon EF 10-18mm F/4.5-5.6), but I do try to think more carefully about my composition when I am shooting with a wider lens, which leads me neatly onto my next point about foreground interest.

When I was shooting in the city, I would use foreground interest to force background lights out of focus to create bokeh, and this kind of foreground interest is something I am trying to include more of in my landscape photography.

I just have to look a bit harder for it, and I’m also not trying to force my images to have out of focus elements (more on focus stacking later). In the city, there are interesting textures, in convenient places, everywhere. There are tons of interesting textures in the country as well, but getting them in the right places, with the right background and a pleasing composition which leads the eye through it, is much more of a challenge, but foreground interest is often key to a successful image. It could be something as simple as a boulder or a patch of heather, but having it there makes a huge difference to your images.

Weather Conditions in Lake District Landscape Photography

No blog about UK landscape photography would be complete without a mention of the weather, but it is something that I have found impacts what I shoot, where I shoot and when I shoot it way more than it did when I lived in the city. When I lived in London, the weather was any combination of hot, dry, wet and/or humid. Occasionally it snowed. Going out to shoot in good weather was a no brainer, going out to shoot in the rain or just after it, was even more of a no brainer - cities look awesome in the rain and in low light - reflections, bright lights and extra textures. You were also never very far from the warm shelter or a shop or a tube station.

I’ve become a bit obsessed with the state of the weather since landscape photography became my biggest focus - will there be rain, how cold will it be, how bad is the wind when I get further up and into the hills? Is there any lightning forecast? What are the chances of a cloud inversion? Is there going to be mist?

The answers to all of the above will influence where I go and shoot and when I decide to go there. If you’re new to photographing in the Lake District, apps like Clear Outside, Ventusky, the BBC Weather App, and the Met Office Mountain Weather Forecast are essential for planning sunrise or sunset photography trips.

There’s some great apps to help you stay on top of this, don’t just rely on one, have a look at what they are all saying, some of my favourites are Clear Outside, Ventusky and the BBC Weather App. If you’re heading out into the hills, the you should always check the Met Office Mountain Weather Forecast. The last thing you want to be is stranded half way up or at the top of fell when the weather closes in, putting yourself and others who may have to come and fetch you down in danger.

Focus Stacking

This has been a real game changer for me, but it has taken some practice. Focus stacking is essentially a different version of exposure stacking, something which I had done in my city photographs to enhance the dynamic range. If you’re trying to achieve pin-sharp images of the fells from foreground to horizon, especially during golden hour, focus stacking is an essential technique for Lake District photography.

Focus stacking, on my camera at least, is a far more manual process. What focus stacking does is to combat some of the physical limitations of your lens and allows you to have all parts of your image either acceptably sharp or pin sharp. Essentially, you take several exposures of the same scene, with your camera mounted on a tripod (this is important, as if you move the camera, your attempts are over before the have even begun!), with each exposure focused on a different point. So, for example, you may focus on the foreground, take an image, then the mid ground and take another image, and then the horizon line and take another exposure. Three generally works well, you could do more, but this can make things more complicated in post production.

When you get back to your computer, you can do all of your light room edits etc. and then export the images to layers in Photoshop. Once in photoshop, you can ask it to automate this process for you, or you can use masks to have full control. It’s slightly more involved than that, and I will do a tutorial on this at some point in the future, but in the meantime, there are lots of tutorials on YouTube that will talk you through the process

I did far less focus stacking in the city than I do in the country, I think largely because my style has shifted and I want more of the scene in acceptable focus than I did in the city when the goal was often bokeh balls.

Slowing Down Your Process

This has been a big adjustment for me. In the city, everything moves a lot quicker, no one is taking their time. Opportunities for images can be fleeting, gone in seconds and won’t come back.

Thats’s not to say that things don’t change at all in the country, but there is more time to let a scene develop. You can stay in one spot and see various stages of light, see patterns change and wait for light to move to where you want it, especially if you’ve got some great dappled light illuminating the hills above Ullswater.

<— Not me in the image, I’ve used a stock image here!

When I was doing much more street photography, I always felt like I needed to be moving, whereas with landscape photography, you have time to slow down and take things in and wait for the opportunities to present themselves, photographing the scene in front of of you as it changes. The big difference is that sometimes, it can take a long time (and a lot of effort) to get to where you want to be. In the city, hop off the train or get out of the car, and generally you’re in amongst it. The country is often a lot more uphill and not as easy to access, but that’s all part of the fun!

You don’t limit yourself by staying in one place, you have time to explore what is in front of you and enjoy the way it changes - as the light moves, so will your eyes and you’ll notice things that you hadn’t thought about capturing only moments earlier.

Gear

This isn’t going to be a ‘does gear matter’ section, but a comment on the type of gear I’m using.

I used to rely heavily on fast lenses - I was using wide apertures for shallow depth of field and often needed the extra light for shooting in low light conditions. I have come to realise that I don’t need a plethora of fast lenses for what I am doing now. I am more concerned about image quality and sharpness, which helps with the cost of things as well - fast lenses are much more expensive. Take the Canon 16-35mm L series lens, there is a difference of almost £300 in the price of the F/4 version when compared to the latest version of the same lens with a maximum attitude of F/2.8. The F/4 versions are also a lot lighter, which is great in terms of carting it around with you all day.

I do still have a couple of fast lenses, namely an F/1.8 nifty fifty and an F/1.2L 85mm Prime. The 85 is a unit of a lens, weighs almost 2kg and is incredibly sharp. These two lenses also hardly ever come out with me unless its for a portrait session or I have a genuine use case for them in the field - 2KG is a lot to carry around all day and then not use! The 85mm was a staple of my bag in London, because of that shallow depth of field, and it was great in low light as the front element is like a bucket.

The lenses that tend to come out with me now are a 10-18mm EF, 16-35mm f/4L, 24-105mm F4/L and my 70-200mm F4/L. These save weight, cover the whole range of focal lengths and give me all the flexibility I could ever need.

Some things are a given for both styles - a sturdy tripod is a must, if it’s light weight, then even better, but expect to pay good money for the privilege. The other item that has been really useful is my Peak Design Camera Clip, which whilst a little pricey for its size, is a must have for when you are out walking, but you might want to get it back in your bag when the terrain starts to get a bit trickier. Better to break a tumble with your hands and not your camera and expensive lens!

What bag you put it all in is very much a personal choice, but for short walks, I like the LowePro Fast Pack , (you can read my review of the Lowepro Fastback here), and for longer walks I take the LowePro Protactic 450 AWII. The latter is a much bigger bag and it comes with hip straps, which make longer days much more comfortable, but it does lack space for your non-camera gear like a jacket or something to eat!

In Summary

I think it’s clear that there are a lot of similarities between the two different styles I have shot, but in short, we’re still taking photos, we’re still telling stories and we are still doing it using similar equipment. We are, to an extent very reliant on the weather but for different reasons.

For me, the biggest difference is the tempo that things move at in the landscape photography world, it’s slower and at times more methodical, with a greater need for focus stacking if you want that front to back sharpness in your images.

Which one would I choose? Well both of them. I still do some street photography and still really enjoy it; I enjoy the dynamism and the change of pace it offers from the much more pedestrian pace of landscape photography, but regardless of what I prefer, I just love being out with camera, taking images, sharing images and telling stories!

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