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.

Best Places for Sunrise and Sunset Photography in the Lake District - Updated for 2025 with map!

The Lake District wears light like nowhere else. At dawn, soft mists drift across valleys and still waters mirror pastel skies. By evening, the fells glow with the last fire of the day, their silhouettes falling into shadow.

Whether you’re planning a full day of shooting or just chasing that golden hour, here’s a guide to some of the best sunrise and sunset spots across the Lakes — grouped by region so you can plan your route.

I have also included a map at the very bottom of the page to help with route planning as well as a downloadable sunrise and sunset compass. The pins on the map will get you to an approximate location for each of the shots I have listed, but you will have to scout for the absolute best location for your shot depending on the local weather conditions and the time of the year.

This is by no means an exhaustive list of places to see the sunrise and sunset in The Lake District, there are hundreds, if not thousands of places you can seen these awesome feats of nature, these are just of my favourites, which are also some of the most easily accesible.

Sunrise Photography Locations

North – Keswick & Surrounds

• Latrigg – Wide views over Derwentwater and Borrowdale, often with morning mist.

• Castlerigg Stone Circle – Prehistoric stones silhouetted against pink skies over Blencathra.

• Friars Crag & Crow Park – Gentle lake scenes glowing with early light.

• Catbells Ridge – Sunrise washing the ridge with warm colour.

• Bassenthwaite Viewpoint – The sun edging around Ullock Pike, lighting the water below.

West – Buttermere, Crummock & Wasdale

• Buttermere (SE shore) – Reflections of Fleetwith Pike and Haystacks at first light.

• The Pines at Buttermere – An iconic dawn composition.

• Wast Water – Morning light catching the Screes in dramatic style.

Central – Langdale, Grasmere & Rydal

• Blea Tarn – A still tarn reflecting the Langdale Pikes in the soft morning glow.

• Loughrigg Fell – Overlooks Grasmere and Rydal with sweeping sunrise views.

• Rydal Water – Misty, atmospheric mornings.

• Elterwater & River Brathay – Meandering water leading the eye to the Pikes.

East – Ullswater & Helvellyn

• Ullswater (Glencoyne Bay) – Calm waters and pastel skies at dawn.

• Gowbarrow Fell – An accessible fell for broad sunrise panoramas.

• Helvellyn – Striking drama over Red Tarn and Striding Edge at daybreak.

South – Windermere & Coniston

• Orrest Head – A gentle climb with a classic view of Windermere at first light.

• Helsington Viewpoint – Sweeping southern panoramas at sunrise.

• Coniston Water (north end) – Morning sun spilling across the lake.

Sunset Photography Locations

North – Keswick & Surrounds

Surprise View & Ashness Jetty – Derwentwater glowing in evening light.

• Catbells – Looking west into the warm dusk sky.

• Bassenthwaite Viewpoint – Last light over Ullock Pike.

West – Buttermere & Wasdale

Buttermere (Gatesgarth side) – Evening alpenglow on Fleetwith Pike.

• Wast Water – Great Gable and the Scafells framed in fiery dusk light.

Central – Langdale, Grasmere & Rydal

• Blea Tarn – Sunset behind the Langdales, dramatic reflections and silhouettes.

• Rydal Water – Warm reflections as the day fades.

East – Ullswater & Helvellyn

• Pooley Bridge – Sunset stretching along Ullswater’s length.

• Helvellyn – High-level colour falling over Red Tarn at dusk.

South – Windermere & Coniston

• Gummer’s How – Big, open views down Windermere at sunset.

• Tarn Hows – Still waters glowing with evening light.

• Helsington Viewpoint – Wide skies as the sun dips towards Whitbarrow.

This map shows the locations which have been discussed in this blog. The locations are approximate, but will get you in the right area. Red pins represent sunrise and the blue ones represent sunset

Planning Tips for Photographers

• Keswick Sunrise Loop – Latrigg, Castlerigg, and Friars Crag make an easy trio for first light.

• Orientation Matters – East-facing tarns (like Blea Tarn or Ullswater) reward early risers, while west-facing valleys (Buttermere, Wast Water) shine at sunset.

• Quick Wins – If time is short, Surprise View or Ashness Jetty are drive-up classics for the evening.

Downloadable/Printable Sunrise and Sunset Compass.

This is only approximate guide to help you on location. To use it, orient the “compass” north/south and you will be able to see roughly where you can expect to see sunrise/sunset at your location. There will be some variation depending on the time of the month/year that you are using the compass and it is more accurate the closer you are to the central Lake District.

If you’re struggling to download the file, then you can right click and “download linked file” or whatever your chosen browser’s version of this is and this should enable you to download the file to a location of your choosing.

For accurate information about sunrise and sunset, you should consider using some of the apps in my essential apps for photographers blog.

Want more guides like this? Join my mailing list for photography tips, behind-the-scenes shoots, and exclusive print releases straight to your inbox. You’d also make my day if you could head over to Instagram and drop me a follow!

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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