My Photography Blog
Welcome to the Chris Kendrick Photography Blog, where I share the stories, challenges and inspirations behind shooting Lake District landscapes and working as a Cumbria-based photographer. Alongside behind-the-scenes reflections from the fells and lakes, you'll also find honest photography gear reviews, covering the cameras, lenses and accessories that genuinely perform in real Lake District conditions. Whether you’re passionate about landscape photography, exploring Cumbria’s scenery, building your kit, or simply curious about the craft, there’s something here for you.
Some posts include affiliate links; thank you if you choose to support the blog through a qualifying purchase. If there’s a topic or piece of gear you’d like me to cover, let me know. Enjoy exploring!
Enjoy!
Using Shutter Speed Technically and Creatively
Shutter speed is one of the most powerful tools in photography. In this guide, I break down how it works, when to use fast or slow settings, and how to use it both technically and creatively. From freezing action to capturing light trails and smooth water, this is a practical introduction to controlling motion in your images.
In this blog I am going to explore another area of the exposure triangle, namely shutter speed. I have already made a post all about the exposure triangle and how it works and there’s also one about why you shouldn’t stress about getting bokeh in your images. There’s even one about how to exposure bracket, but as of yet there, is nothing about shutter speed. That changes now.
I’ve made a quick exposure time calculator for astrophotography - there’s a link at the bottom of the page; bookmark it so you can find it easily again!
TL;DR
Shutter speed controls how motion appears in your images.
Fast shutter speeds freeze action and give sharp, technically accurate results.
Slow shutter speeds introduce motion blur for creative effects like light trails and smooth water.
There are no perfect settings. Use faster speeds for clarity, slower speeds for atmosphere.
Technical VS creative Creative Shutter Speed
When I talk about technical shutter speed, I am talking about the shutter speed that is needed to secure sharp, well exposed images that don’t have any motion blur. Think about for example taking documentary style landscape shots which are a true reflection of what you saw on the day, or commercial product shots where you are trying to show an image at its absolute best or even corporate headshots where if you deliver images which have motion blur in them or are too dark then you’re probably not getting booked again.
These are the types of shots where the images need to be as close to technical perfection as possible. You can combine it with focus stacking, like in the image above to produce sharp, properly exposed images.
On the other hand, we can use shutter speed creatively, and that might be intentional camera movement, capturing light trails, wire wool photography or even creative portraits, where we want to see some of the movement of the subject in our images. This is a slightly different scenario. I would like to explore both of these in this blog, and hopefully give you some ideas to take away to go an experiment with.
What is Shutter Speed?
Shutter speed is one of the three elements of the exposure triangle, alongside aperture and ISO.
It controls how long your camera’s sensor is exposed to light. The longer the shutter is open, the more light hits the sensor and the brighter your image becomes. The shorter the shutter speed, the darker the image.
Balance it with aperture and ISO, and you’ll achieve a properly exposed shot.
Freezing Motion vs Creating Motion Blur
As a general rule, fast shutter speeds freeze motion, and slower shutter speeds create motion blur. Remember though, this is all relative; shooting at 1/100 of a second might freeze some things in sharp focus, but try shooting a formula one car going at full speed, at this shutter speed and you will see that you need something much faster.
When it comes to slower shutter speeds, it isn’t cut and dried. If for example, you’re aiming for light trails, then 30 seconds will get you some great streaks, but they won’t have any trace of the vehicle, if you want to shoot the classic “blurry bus” then you’ll need a shorter long exposure, usually something around 3 seconds. Intentional camera movement will require various different, longer shutter speeds and you’re going to have to experiment.
There are no best settings (as with all other types of photography), but there are some approximations that will get you in the ball park of where you want to be. And you’ll also need to take into account weather and lighting conditions wherever you are on the world.
There’s a lot of experimentation involved, often with every single shot you take.
Technical Shutter Speed
This is the shutter speed that you need to capture an image which is technically correct, that is to say that it is properly exposed with the right aperture, the right ISO and the correct shutter speed. Sports photography is a good example to use for this - you want to capture the players in focus and they need to be sharp. No one is going to buy photos that are full of motion blur and where you can’t see what the players are doing, let alone who they are.
Another example, could be in landscape photography where you want to capture the scene as it exists in front of you - you want to freeze the clouds, you want to freeze the trees and you want to freeze the motion in water. In this case, you are going to want a faster shutter speed to make sure that everything is look crisp.
It can be handy in some situations to put your camera in shutter priority mode (Canon user, that’s the TV mode on your mode dial, it stands for Time Value), as this gives you full control over the shutter speed and the camera will select the ISO and aperture values for you. You can set the max ISO you want to use in your camera’s settings, but you will need to consult the manual for you specific model of camera for details about how to do this. This gives you less to think about and you can then focus on the things you need to do, such as getting the right shutter speed to capture the image that you want.
The above filters are ones which I recommend, I personally use K&F concept as they are at the best price point for me. If you're just starting out with filters then buying one to fit your largest lens and pairing them with the steup and down rings can be a money saver If you choose to purchase through these links, I may earn a small commission at no extra cost to you — it helps support the site and keeps content like this free.
Creative Shutter Speed
This is what I call it when you are using your shutter speed to directly and intentionally affect the image that you are producing. This where it gets fun!
There are tons of applications for this type of photography and these range from light trails, to bus trails, smoothing out water and capturing motion in moving water to wire wool photography of capturing the movement in the clouds.
Light trails and bus trails were two of my staples when I lived in London and I got really good at dialling in the settings.
Lets start with light trails…
You going to need to find a good location - this is key. Symmetry works well, as do roads that snake through the landscape as both of these create interest in your images. London was great for this, places like Holborn Underpass work really well for this. Another good location is motorway bridges (stay safe and don’t drop anything) as you’ve got traffic both sides of your image.
You’ll find that exposure times of around 10seconds plus work for this kind of shot and will give you lovely long light trails, but if you’re shooting a really long stretch of road then you will want a longer shutter speed otherwise the trails just stop abruptly and that doesn’t produce attractive images.
Bus Trails (also works with other kinds of vehicles)
I call them bus trails as when I lived in London, the busses had lights with a really cool colour temperature and they looked great in photos against the red of the busses.
Composition as ever is key, I used to find the shooting just prior to the vehicle entering the frame works well, and you’ll want an exposure time of around 3 seconds (but this is going to depend on the speed of the vehicle). This will leave you with some fab looking motion blur that you can have ton of fun with in post!
Smoothing Out Water…
Sometimes when we arrive at a landscape photography location, we find that the body of water we wanted to shoot is moving more than we wanted it to be because of the breeze - a long shutter speed will help you to smooth this out, but it does have a very specific effect and you’ll have to decide whether you want or if you want to come back another day.
One situation I have always works well for this technique is when you’re shooting the sea, especially if the conditions are moody and you’re after a minimalist look to your images - high key black and white edit anyone?
The longer your exposure time, the smoother the outcome - experiment, find out what works!
Don’t fall into the trap of thinking that this technique is going to allow you to preserve reflections that are being disrupted by motion in the water - it won’t! If the water is moving then so is the reflection - long exposures can help you to work with nature, but they won’t allow you to beat it!
Capturing Movement in Moving Water
When I am thinking about writing this, I have waterfalls at the forefront of my mind. Slow shutters can work really well with waterfall shots, but you have to be careful, it’s really easy to overcook these and you end up with water that looks like milk! Less is more here. If you want the full “milky” effect than fire out exposures at 30 seconds and you’re there in a (very long) heartbeat).
You’re going to have to be patient to get the shot you want, much like with anything that is moving, the optimum shutter speed is going to be determined by its speed. If you’re visiting a waterfall location there is going to be much more water falling than after a dry spell so you need to factor this into both your planning and your execution when you are out in the field.
Capturing Movement in Clouds.
This is great way to show the passage of time in an image. Using a long exposure on your landscape photography to shoe movement in clouds creates (for me at least), a much different feeling and effect in your photos to that which you get when you use long exposure to smooth out water.
Different exposure times will give you different results and the wind direction has an impact too. I like shots where the wind is blowing the clouds away from me (as though the wind is blowing from over my shoulder) as this creates a real depth to your image!
Intentional Camera Movement
This is exactly what it sounds like. For the initiated, this is a technique which uses longer shutter speeds, but often nothing much more than a second. You press the shutter, intentionally move the camera to create motion blur, rinse and repeat.
There are two parts to the word intentional in this context.
There is the intention to move the camera i.e. you mean to do it - it isn’t accidental and you have to be intentional when you make the movement, that is to say that you need to do it with purpose.
If you’re looking for dreamlike and/or abstract then trying some ICM could be for you!
Astro Photography
Whatever it is, the way you tell your story online can make all the difference.
I am no astrophotographer. Don’t get me wrong, it’s not because I don’t like doing it, it’s just that I don’t practice it enough, nor do I have the specialised equipment that you need to get some of the really dramatic and awe-inspiring shots that can be created. However, there is a great rule of thumb called “The 500 rule”.
This is a calculation that you can do quite quickly and it will work out the maximum shutter speed you can use to capture sharp stars without any star trails (these are created by the Earth’s rotation) so that you have clean shots of whatever it is you are trying to capture.
The 500 rule for astrophotography explained:
The rule is this… 500 ÷ Focal length = max shutter speed in seconds. You then need to adjust for crop sensors/micro four thirds cameras so the equation becomes 500 ÷ (Focal length x crop factor) = max shutter speed in seconds.
To help you with this, I have created this free astrophotography shutter speed calculator which allows you to plug in your settings and it will spit out the correct settings, enjoy!
Night Photography Shutter Calculator
In Conclusion
Shutter speed is one of the most powerful creative tools in photography. Whether you’re aiming for sharp, technically perfect images or experimenting with motion and atmosphere, understanding how to control it will completely change the way you shoot.
The best way to learn is simple: get out there and experiment.
Thanks for reading, I hope you found this useful/insightful! If you’d like to be the first hear about new blogs and reviews and to keep up to date with what I am doing and see my latest work, please consider signing up to the mailing list via the contact page.
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.
Image Credits - Milky Way Shot Pars Sahin @byadoniaa on Unsplash.com
Check out Some of My Previous Blog Posts Below:
Aperture in Landscape Photography - Should You Buy f/4 or f/2.8 lenses?
Choosing between f/2.8 and f/4 lenses can be confusing. This guide breaks down the real differences for landscape photographers, including cost, weight, sharpness, and low-light performance, to help you decide which option truly fits your shooting style.
Choosing the right lens is one of the most important decisions you’ll make as a landscape photographer. While your camera body is often the biggest single investment, the lenses you mount on the front of it arguably have an even greater impact on the final image.
Modern lenses offer an overwhelming number of choices: different brands, focal lengths, stabilisation options, generations, and feature sets. But one of the most common questions photographers face is far simpler.
This blog contains Amazon affiliate links and I may receive a small commission if you use one of these and make a qualifying purchase. This is a great way to support the blog and allows me to keep producing content like this. Thank you!
Should you choose an f/2.8 lens or an f/4 lens?
Most popular zoom lenses are available in both versions, and the price, size, weight, and performance differences can be significant. Fast lenses (with wider maximum apertures like f/2.8) promise better low-light performance and stronger background blur, while f/4 lenses are lighter, cheaper, and often more practical for landscape work.
In this article, I’ll break down the real-world differences between f/2.8 and f/4 lenses from a landscape photographer’s perspective, covering cost, weight, depth of field, low-light performance, and image quality, so you can decide which option genuinely makes sense for your style of photography.
Most lenses will be available in a variety of f/stops, most frequently, you will find the highest available iteration of a lens is f/4 and the lowest is f/1.8. You will find that as you start to look at longer lenses such as the Sigma 150-600, the widest aperture gets a lot smaller; this lens has a maximum aperture of f/5.0. You can get longer lenses with a wider maximum aperture such as the Canon EF/400, which has an f/2.8 aperture but will also set you back in the region of £11,000!
This is a good time to talk about our decision points.
TL;DR - f/2.8 vs f/4 lenses for landscape photography
Choose f/2.8 if you frequently shoot in very low light, do astrophotography, want strong background blur, or often shoot handheld.
Choose f/4 if you mainly shoot landscapes, use a tripod, value lighter gear, and want excellent image quality at a lower cost.
For most landscape photographers, f/4 lenses offer the best balance of sharpness, portability, and value.
f/2.8 lenses are excellent, but often unnecessary unless your work regularly demands the extra stop of light.
Cost
Lenses with wide maximum aperture, also known as fast lenses, are more expensive than ‘slower’ lenses.
A good example of this is the Canon EF/16-35mm. You can buy the f/4 version for £1349 whereas the f/2.8 version is going to set you back in excess of £2000.
The reason for this difference is because faster lenses are harder to design, engineer and build and they also require more elements (pieces of glass) and this high quality optical glass is expensive. Then you need think about the motors which need to be stronger to be able to handle the heavy pieces of glass and they need the tech to handle things such as chromatic aberration and incredibly tight engineering tolerances to ensure that your images are sharp at the widest aperture.
The final piece of this puzzle is that fast lenses are often manufactured in smaller quantities so this pushes up the cost of each individual lens.
Think of it a bit like buying a sports car versus a family car - both are going to do the same thing insomuch as they will get you from A-B, but the sports car is made from more expensive materials, tighter engineering tolerances, more testing and fewer of them are made therefore, it is far more expensive than a mass produced family runaround.
Weight
This one is fairly straightforward. Faster lenses are heavier and this is because they have more elements in them, and as a result have more motors to drive those elements.
If we look at the same comparison above and think about the Canon EF/16-35mm, there is a difference of nearly 200g between the heavier f/2.8 lens and its f/4 version. There is also a slight size difference in both length and the size of the front element with the faster lenses being larger.
Weight is going to be a consideration if you’re carrying lenses out on a hike or if you’re handholding for long periods. 200g doesn’t sound like a lot, but when you’ve got a number of fast lenses that you need to carry then that could be an extra kilo in your bag depending on what choices you have made.
Depth of Field
This is the big one. We all know that aperture affects depth of field. If you’re not sure about this, check out my beginner’s guide to the exposure triangle, this will help you to understand what I am talking about.
So we know that the wider the aperture, the shallower the depth of field. We also know that most lenses (and I am speaking very broadly) are at their sharpest at around f/8.
As landscape photographers we (and again, I am speaking generally) want our images to have corner to corner sharpness to really show off the beauty of what we are capturing but we also need the flexibility of wider apertures when it comes to shooting in low light.
This is where we need to consider the type of photography we are doing. If you are primarily shooting astro, then you are probably going to want to go for the faster lenses so that you are able to capture more light in your images in as shorter time as possible, especially if you’re shooting without a star tracker.
For most landscape purposes, I would argue that f/4.0 is more than enough. Yes, I do own some lenses which are faster than this, for example my 85mm prime, which is an f/1.2 version is huge and very heavy, the front element is like a bucket, but I rarely use this for landscapes as the focal length isn’t one that I like for this kind of work - it’s a banging portrait lens though, and if you’re into street photography, especially at night, then this is a great option.
In a nutshell, if you’re only shooting landscapes then I would go for the f/4 versions of the lenses that you are looking at, they’ll give you the sharpness you are looking for and are fine in low light, especially if you have IBIS and/or are using a tripod. If you’re looking at other styles of photography which are more handheld, or you if you prefer to shoot handheld as landscape photography then you might want to consider the faster lenses. For example if you’re into wide angle, then Canon 16-35mm f/4L is an excellent choice, I love this lens and your can read my review of it here.
Low Light Performance
This one is quite straightforward. Fast lenses offer better low light performance, larger apertures mean more light can come into the front element of your lens to hit the sensor.
I would say that with advances in ISO performance, IBIS (in body image stabilisation) and lens stabilisation, the advantage of buying a faster lens vs an f/4 lens is getting smaller. However, if you’re into astro landscape photography then you’re probably going to want to splash out on the f/2.8 or wider.
I am happy working on a tripod in low light, it’s a workflow and method that suits me, and forces me to slow down a bit so again, I am firmly in the f/4 camp.
Image Quality
Before you go out and spend any money on a lens, you should always do your research. Lenses aren’t cheap and they are certainly a bit of an investment in yourself/your profession/your hobby.
I am a big believer in the adage “buy cheap, buy twice” so I am happy to save money to buy something better rather than buying something cheap and then having to upgrade it. Unfortunately, this sometimes means we have to wait!
Part of your research should be to check the quality of the images that a lens can produce, and you can do this on a lot of review websites, but the images aren’t always there for you to see. When I review lenses, I always try to put some links to some downloadable raw files so that you can see exactly what the camera and lens I am shooting with will produce. I did this with my review of the Canon EF 16-35mm f/4L.
With fast lenses, shooting wide open can still produce really sharp images, but you might struggle with chromatic aberration at the wider apertures. This can be easily corrected in post, but if you have a lot to edit, this can end up taking more time than you want to.
If you frequently shoot wide open then you might prefer the faster lenses for you style, but for landscapes, we’re likely to be stopping down anyway, so the wider aperture probably isn’t always going to be worth the extra money.
In Summary
Landscape photography requires, for the most part, images which are sharp from corner to corner and front to back - we even use focus stacking to make sure that we can get all of the parts of our image in focus, so buying fast f/2.8 lenses isn’t the most cost effective decision if all you are shooting is landscapes. The amount of time that you will use these fast apertures can be few and far between.
If you’re someone who shoots in a range of styles and prefers to hand hold then I would suggest exploring some of the faster lenses, but make sure to check out some of the second hand websites, such as MPB so that you can really secure the best value for your money.
Don’t buy a lens that’s going to produce amazing bokeh at f/2.8 and gives you a super shallow depth of field when you’re never going to use it.
My landscape lenses are all f/4 and I haven’t yet found myself wishing I had a faster lens for anything I have worked on so far since I made the switch to primarily landscape photography in the Lake District. That said, when I was living in London, I frequently found I was crying out for faster lenses when I was working at night and trying to take street photos.
Which lenses could you choose?
I have picked some of my favourite lenses and linked them below, but these are all Canon lenses. I have never shot with anything else, other than my Sigma macros lens, but as that’s a bit more specialised, I am leaving it out of this collection of 8 lenses - if you want to read more about the sigma lens, then you can check out my review here.
If you've got budget and you’re really wanting that super-shallow depth of field, shoot in low light or just want to get that bokeh, then go for one of these fast lenses:
If on the other hand, you don’t need that super wide aperture that fast lenses provide, you want something that it’s a bit lighter on the pocket, or you’re concerned about the amount of weight that you’re carrying then you might want to for something along the lines of some of these f/4 lenses:
Canon 16-35mm f/4L
Final Thought
Today’s f/4 lenses are optically excellent, and unless you truly need the extra stop for light or blur, they often represent the best overall value — especially for landscapes, travel, and everyday shooting. But if your style thrives in challenging light or creative depth-of-field, f/2.8 remains something you should be considering.
This graphic summarises some of the key considerations you should make when consider f/2.8 vs f/f4 lenses.
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.
Check Out Some of My Other Blog Posts by Clicking the Links Below.
You Won’t Take Any Good Photos Today: Shifting Your Mindset in Landscape Photography.
“You won’t take any good photos today.” It’s a thought most landscape photographers have had at some point — often before the camera has even come out of the bag. This article explores how mindset, expectations, and pressure can quietly shape the way we shoot, and why chasing “good photos” can sometimes get in the way of meaningful photography.
Rather than focusing on locations, gear, or conditions, this piece looks at the mental side of landscape photography: learning to let go of outcomes, embracing imperfect days, and staying open to what the landscape offers. By shifting how you approach a shoot, you may find that creativity, enjoyment, and better images follow naturally — even on days that don’t look promising at first.
You won’t take any good photos today. Got it?
I normally try and take a positive tone in this blog, so this feels like a bit of a harsh way to start something off, but I promise I am going somewhere with this… bear with me.
If you know me, or you have been here before, you will know that my “real” job is working in a school, as Music teacher, who just happens to teach photography as well - the latter is definitely my favourite part of my role! One thing I am always talking to students about is adopting a “growth mindset”. This is about switching the way that we think, so instead of thinking “I’m not good at this”, we say “I can get better at this/I have room to grow/this is how I can better” and instead of “Other people are better than me” we might try thinking “Other people might be ahead now, and I can learn from them”.
So, to start writing this by saying “You won’t take any good photos today”, seems ostensibly negative and completely antithetical, but when we unpack it, it actually starts to take some of the pressure off of us as photographers. And it doesn’t have to be just applied to photography, you could switch this up to anything else that you do!
If we look at it again, saying that “You won’t take any good photos today” is very different to saying “You can’t take any good photos today”. We can all take good photos, we have the knowledge and the skills to do it. We just don’t always do it!
So when we say this, we’re not saying that we can’t do it, we’re saying that we won’t. This is isn’t about being negative, it’s about lowering our own expectations the amount of strong outcomes that we have when we’re getting the images out of the camera, and lets face it, we’ve all been disappointed at some point or other when we’ve been to a location we’ve been excited to get to and got home to find that the shot we wanted wasn’t quite right, the light didn’t help or whatever other reason it is that’s stopped us from being as successful as wanted. This is because, in our heads, we have built everything up so much, that we think we are coming home with a card full of bangers and then we don’t have a single one. It’s gruelling right? If this has never happened to you, please let me know what your secret is and well go into business together!
So what makes a good photo?
I refer you back to my to the opening of this blog: You won’t take any good photos today… If you know the definitive solution to this statement, let me know and we will go into business together and can retire at the start of next month.
This is one of the beautiful things about photography in that, it is so subjective that no one can give you the answer.
You could ask 100 photographers this question and I reckon that all of them would say something different, and they would all say “that’s a really tough question”.
Some people will mention sharpness, some will mention blur, some will mention expsosure and others will mention colour. Most of them will mention story in some form or other. A sharp photo isn’t always a good photo, a blurry photo isn’t always a bad photo, some photos will be way underexposed or over exposed and will still be good photos.
The answer to this isn’t a definitive one. That’s because (in my opinion) there are good photos and there are technically good photos.
By technically good, I mean that they are sharp where they need to be, they are well exposed and they have a balanced composition. Good photos don’t have to be technically good; if you think about intentional camera movement (ICM) then there isn’t much in this style of photography that is sharp: that’s the whole point of it!
If I’m taking pack shots, then there isn’t a story, they’re photos of objects which are intended to be honest. They need to be technically good so that they show the object/item off at it’s best and in a way which shows it for what it is; the client isn’t after creativity, they want the brief fulfilling and they want clear shots. These shots are technically good, but at the same time, they’re not going to win any awards. Such is the need for technical accuracy, that AI is starting to get involved with this in a big way.
So what makes a good image? For me, it’s one that makes you think, makes you stop and makes you ask questions. Not everyone will like all of your image, art is subjective and it’s divisive. One of the most expensive photos ever sold at auction (Andreas Gursky’s Rhein II) is one such photograph. It’s one of a series of photographs of the River Rhein, which flows through the centre of the frame with grass one either bank, an overcast sky and a path in the foreground. Everything runs horizontally. I think what I like about it is that you can view it top to bottom (like layers in cake), or from front to back link you are standing and looking at the scene. To some people, this will be a boring photo, but for me it’s not just a good photo, it’s a great photo… someone thought it was great to the tune of around $2.7million, but there are some people who won’t think it’s worth more than a tenner!
Your Camera
Better camera’s don’t take better photos. Read that again… Better camera’s don’t take better photos.
They might make higher resolution images in a way that makes the process easier, may be more intuitive and will make your life easier in post processing. If you’re a wildlife photographer, the better autofocus systems might give you more in focus shots. But they won’t help you to take ‘good’ images and they won’t make you a better photographer.
Think about some of the great photographers of the last 100 years. Ansell Adams, Henri Cartier-Bresson, Ernst Haas, Elliot Erwitt - the list could (and probably should) go on and one. But none of them used digital cameras. They didn’t have the autofocus systems that we have today, they probably didn’t have light meters in their cameras, they didn’t have the technology in their lenses that we have in the modern world but they still took great photographs.
When I got my first DSLR and took it out for the firs time, at night, in London I was set to come back with 100’s of photos that were going to blow people’s minds.
I did not.
I even thought that there was something wrong with the camera. There wasn’t, but there was a problem behind the camera, in someone who thought that the camera was going to do all of the heavy lifting. I had to spend time learning the theory and the technqiues and had to invest in a tripod. I even had to the read the camera manual… assisted by some demonstrations on YouTube.
But, telling myself that I might not take any good images made it even sweeter the first time came back and downloaded my card to find some images that I was pleased with and wanted to share with people.
Photography companies are great at making new cameras and they are just as good at marketing and making you think that you need the latest pieces of kit. You should only upgrade your kit when you’re need to, not just because the manufacturers told you that you should.
A few years ago, teaching photography I had a student with a Canon 5D Mark IV and a student with an entry level Canon, it was something like a 4000D. Guess who was taking the better photos… I’ll give you a clue; it wasn’t the person with the expensive camera.
Remember, the most important thing in photgraphy isn’t what taking the photos, it’s who’s taking the photos and the bit of electrified meat between their ears that is telling them how to take it.
So Why Aren’t You Going to Take Any Good Photos?
I mean, this a bit of a harsh question, you are going to take good photos, but if you can adjust your mindset and think that you’re not going to, you avoid the disappointment of having nothing you’re proud of, but you also have the joy of coming back to the edit and seeing that you have got more than you expected.
If you go out all the time thinking that you’re going to have endless good, usable photos on your memory card only to find that you don’t, you’re going to begin to fall out of love of with photography pretty quickly.
Even people who do landscape photography full time will go out and not come back with an image that they are happy with. They might have some technically excellent images, but nothing that they feel is ‘good’.
Remember
Photography is art, and as I have said, art is subjective.
Not everyone is going to like your photos, and that’s ok. Not all of your shots are going to be good, and that’s ok too. You won’t get banger after banger every time you go out to shoot, sometimes you will come back with a whole card of photos that you don’t like or you don’t think are any good, and guess what? That’s ok!
Thanks for reading, I hope you found this useful/insightful! If you’d like to be the first hear about new blogs and reviews and to keep up to date with what I am doing and see my latest work, please consider signing up to my newsletter.
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.
What Are The Best Camera Settings for Landscape Photography?
When photographers ask “what are the best settings for landscape photography?”, they’re often looking for a simple checklist. The reality is that there’s no single set of perfect settings that works for every landscape scene. Light, weather, subject movement, time of day, and creative intent all influence the choices we make behind the camera.
In this guide, I explain why fixed “best settings” don’t really exist, and instead break down the decision-making process photographers use when choosing aperture, shutter speed, ISO, and focus. By understanding how these elements interact with the scene in front of you, you’ll be able to confidently select the right settings for any landscape, rather than relying on guesswork or presets.
This is a question I get asked a lot, and I mean A LOT. Not just about landscape photography, but about all sorts of different photography - what are the best settings for portraits/ICM/product/wildlife… the list goes on.
The bad news for some people is that there is no ‘best’ settings for any of these types of photography. The best settings for the photo that you are taking are the ones that you need to be able to take the photo you want to take.
Let me unpack this a little…
For some situations, there are preferred settings. In a landscape shot, I am going to want use the sharpest part of my lens, and for the lenses that I have, that’s usually somewhere around the f/8 mark.
This is going, to some extent, dictate the rest of my settings as I am making the aperture smaller; other things are going to need to change in order to compensate. If you’re new to photography, then reading my blog about the exposure triangle, is going to help you to really understand what I am talking about in this entry.
Once I have set my aperture, I have a number of things I want to consider… do I want to freeze motion or do I want motion blur? Do I need to inject a ton of ISO into the image to get my desired exposure length? Does the ISO value I choose mean that I am going to be adding a load of noise/grain into my image that is going to ruin it?
Even though I want to use the f/8 aperture, this might not be possible and I may need to make some compromises.
It may even mean that to get my desired level of sharpness across the whole image, I need to consider focus stacking.
There’s a lot going on in just this one scenario.
Thinking again about the original question, “what are the best settings for landscape photography?”, we then need to remember that as landscape photographers, everything we do is at the mercy of that staple of British conversation, the weather. As a landscape photographer in The Lake District, I know only too well the perils of the changeable Lake District weather and understand that at certain times in the year, it isn’t uncommon to experience all four seasons in one day! However, the most common thing you are going to come across is changing light, no matter where you are.
Sometimes the light will be bright, you’ve got your camera settings dialled in and made your image. You want to take another couple of images at the same location, or of the same subject, but the light has changed, the clouds have positioned themselves firmly in front of the sun and everything that you have just done correctly to nail the first exposure, now needs to change. This is normal and for me, it’s one of the challenges that makes this pursuit so much fun!
But I’m Not a Landscape Photographer!
To be quite frank, this doesn’t matter. What I have just said can apply to all manner of photography genres, particularly those where you have little-to-no control over what the light is doing, because you are shooting outside and are at the mercy of Mother Nature.
To give another example…
I used to live in London and was used to shooting in low light - night photography was a real staple for me, as were shots of “bus trails” and light trails. For a time, I was obsessed with taking cityscape images, with long exposure times to get either light trails or capture the motion blur of a bus that was driving through my scene.
After much experimentation, I figured out that for me, on my camera with my lenses, the optimum exposure time for a perfectly (in my opinion!) blurry bus was around 0.3 seconds. Notice that I said “around” in the last sentence? This is because it wasn’t always 0.3 seconds, there are a lot variables at play, not least the speed of the bus that was driving through your scene. If it was going too fast for my settings I wouldn’t get what I wanted. If it was going to slowly for my settings, it wouldn’t make it out of my scene and I would end up with something that I didn’t want.
What about portraits?
Surely for portraits, what you need is a fast lens and then just to shoot everything at f/1.8 also that you get good bokeh? Not in my experience.
Bokeh is great, we all love the way it looks, be that light orbs in the background of our images, or a blurry background that makes your subject ‘pop’ and creates some separation from background.
The issue is the focus plane. I try to imagine the focus plane of my image as an invisible entity that stretches from the front to the back of my scene. The higher my f number, the deeper the depth of field and the more of the image will be in focus.
But when it comes to shooting portraits, you want to be sure that all of your subject is in focus. I have found in my experience, the shallower the depth of field, the less of my subject is in focus and by the time I have looked beyond the focus of someone’s nose, I am starting to see a fall off in sharpness and by the time I have moved along that invisible plain to their ears, I am really not seeing as much sharpness as I should.
In the portrait scenario, your settings are not only going to be dictated to you by the amount of light that you have available, but also by your distance from your subject, and further more, your subject’s distance from the background. You might need to adjust your settings, your positioning and your subject’s positioning to make sure you are getting the level of focus you want and the correct exposure that you need.
If you’re doing headshots in a controlled lighting environment, against a backdrop and you can have your subjects stood on a mark, then this is going to be a little bit easier to figure out and to maintain your settings.
But if, for example, you are trying to tell a story in your images, then you are going to want completely different settings. Let’s say for example you are taking a series of portraits of people that tell us about the job they do and you are taking a portrait of a fisherman who works on a boat. You’re shooting on location at a harbour and his boat is moored up.
In this setting, you could set your aperture to f/1.2 and have a really buttery-smooth, bokeh’d background. Or… you could stop down your aperture ring to give you more of the background in focus so that you can see the harbour and the boat behind the fishermen. All of a sudden you have gone from a photograph of man who looks and dresses a bit like a fisherman, to a man who is a fisherman, with his workplace and working environment behind him to really sell the concept and to help to tell the story. Context, sometimes, is everything.
How About In The Studio?
Again, it’s a similar story here, but you do have much more control. This is because in a studio, you have full control over the lights - if you have a decent set of lights/strobes/flashes etc then you can control the brightness/intensity of the light, how soft or hard the light is (with the use of modifiers), how long it lasts for, where it is coming from and its distance from your subject, the way the light is diffused, the colour of the light… the list could go on.
What this means is that you could set your camera up and change the lighting settings or you could adjust your camera to the lighting scenario depending on what it is you are going for, but generally, if you’re changing one setting, you are going to need change something else.
In the studio, there is not a single set of perfect settings, the settings you need are going to be dependent on the look you are going for, what you are shooting (shape, size, etc) and how you need to present the final images to the client.
We are however, always looking for an image that is sharp, so our aperture is likely to be the overriding factor in our decision making here.
There are preferred settings…
… but there are no best settings!
Your preferred settings are the ones that you prefer. It doesn’t mean that they are the best ones - they might not be someone else’s. Think of it like this: If there were a set of best settings for every scenario, someone would have written the book, we’d all have a copy and we’d all be shooting the same images in the same way.
We’d also all be reading the book and thinking to ourselves “well they’re not the best settings for that situation, because what about that photo of x that I took at y”.
There’d be umpteen YouTube videos on the topic of “why I disagree with the best settings manual and what I do instead”. You see my point? These are personal, artistic choices/decisions based on an infinite number of possible scenarios with an infinite number of desired outcomes.
As you have probably gathered by now, there isn’t one single set of best settings for each of the situations you are looking to shoot. The best settings are dictated by where you are, the time of the day, the weather, the kit that you are shooting with and what your final intentions are.
Some of this is also going to be dictated by personal taste, especially when it comes to the creative aspects of your own work (if you’re doing client work then a big part of the creativity is going to be dictated to you, but remember that you’ve been hired for the way that you shoot, so your creativity still plays a role).
The best way to ensure that you can get the correct settings for your intended outcome is to practice, learn your camera and what it can do, what it is capable of and how to make it do what you want it to and how to programme the settings effectively. Spend some time learning about lighting, experiment and always have a project on the go so that you’re actively creating.
Thanks for reading, I hope you found this useful/insightful! If you’d like to be the first hear about new blogs and reviews and to keep up to date with what I am doing and see my latest work, please consider spending a few moments signing up to my newsletter.
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.
Affordable Landscape Photography Accessories
Landscape photography doesn’t have to be expensive. In this guide, I share some of the best affordable accessories that can dramatically improve your landscape images. From sturdy budget tripods and essential filters to clever accessories that make shooting outdoors easier, these tools help you get professional-looking results without spending a fortune.
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.
This blog contains Amazon affiliate links. If you mae a purchase after clicking one of these links, I may receive a small commission at not cost to you. This is a great way to support the blog and allows me to continue writing posts like this, I really appreciate every purchase you make.
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!
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.
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 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!
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!
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
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!
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.
If you found this guide helpful and you enjoy learning more about landscape photography, consider joining my mailing list. I occasionally send out emails with photography tips, new blog posts, gear recommendations, and updates from my latest shoots in the Lake District. It’s a simple way to stay connected and make sure you don’t miss future guides designed to help you improve your photography.
If you’d like to support the work that goes into creating these guides, you can also buy me a coffee. It helps cover the time and effort involved in writing articles, testing gear, and maintaining the website. Your support genuinely makes a difference and helps me keep producing free photography content for the community.
5 Beginner Lake District Landscape Photography Locations You Can Reach Without a Long Hike
Short on time or energy but still want great Lake District landscape photos? These five locations offer incredible views with minimal walking, perfect for beginners, visitors, or quick photography trips.
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.
Check out some more of my latest blog posts below…
Gear Review: Godox X3 Pro Wireless Touchscreen TTL Flash Trigger.
The Godox X3 Pro is a compact, touchscreen flash trigger designed for Canon photographers who want fast, reliable control over off-camera lighting. In this review, I take a practical look at how the X3 Pro performs in real-world shooting, covering its radio triggering reliability, touchscreen workflow, TTL and High-Speed Sync support, and how it fits into a modern Godox lighting setup. If you’re considering upgrading your flash trigger or moving to a cleaner, more portable lighting workflow, this Godox X3 Pro review breaks down who it’s for, how it performs, and whether it’s worth adding to your kit.
Ahhh, flash triggers! For years (for me at least) these have been unnecessarily difficult to use bits of kit with complicated menus, too many buttons and some of the least intuitive things I have ever had in my photography set-up.
The Godox X3 Pro-C was launched in late 2025, with initial availability starting in September/October 2025 and changed that! It is something that I have been wishing someone would make for a number of years and finally something has come along that ticked a lot of the boxes I was hoping for.
I’ve had a number of different flashes and I still own some of them. One of the first sets was some Neewer off-camera flashes (the catchily titled Neewer NW-562 E-TTL Flash Speedlite), which came with their own triggers and a manual which contained some literal translations which were largely unhelpful. They were a lot of faffing, but once I got some settings dialled in for the transmitter and the receivers, I didn’t change them. I could just about work with the plethora of buttons and dials on the flash to change things like the output power and the zoom, and I did find it handy being able to reposition them. I still have them as they make useful lights that I can hide in scenes to light them more creatively.
I eventually upgraded to some more powerful strobes, this time from Godox and went for the Godox SK400III, which I paired with Godox XPRO-C TTL trigger. This was a real step-up from the previous trigger as now I could set up groups and store some different settings. Again however, I found this really complicated to use. The old style LCD screen was, I found, very confusing, difficult to use and to be quite honest, a bit of a pain. It did however give me some more flexibility and allowed me to do a little bit more. When I say ‘allowed’, what I mean is that I could control the strobes from the trigger rather than having to go and off fiddle with two set of buttons on two different flashes.
More recently, I have taken delivery of the Godox X3 Pro C Wireless Touchscreen TTL Flash Trigger. Yep, you guessed it, I got in the Black Friday sale last year, and I have had a couple of months to play with it before giving you my thoughts. One of my overriding thoughts is that they need to come up with some better names for these things!
This blog contains Amazon affiliate links and I may receive a small kick back if you make a qualifying purchase after you have clicked one of these links. This is a great way to support the blog, so a massive thank you goes to you if you choose to make a purchase, all of the money I make from this goes back into helping me to create reviews for the blog, it’t not a huge amount, but every little helps!
First Impressions:
This is much smaller than previous triggers that I have owned, yet you don’t lose any of the screen real estate that you want with a piece of gear like this. It’s light, which is a real bonus when you’re sticking it on the top of your camera via the hot shoe. One of the other things I like about it is that it has a built in rechargeable batter - HOORAY - no more faffing about with AA batteries which cost a fortune or rechargeable ones that never seem to last very long. The battery is rechargeable via a USB C cable which comes supplied.
It’s a lovely little object to hold, the plastics feel solid and the branding is fairly tame which means it looks quite subtle.
The touchscreen is bright and responsive. It’s also big enough that you’re not forever bumping icons you didn’t mean to and it’s not so sensitive that you’re accidentally changing your settings by just brushing against it.
There are 2 buttons on the right hand side, which give solid feedback when your press them (one of these will test fire the flash and the other is the power/menu button). Finally, on the same side, you have a multifunction wheel, which you can turn to navigate the menus and press to make selections, it has a reassuring click which lets you know you’ve made a selection. This might be handy if you’re working somewhere cold and are wearing gloves, or if you struggle to use your hands to make the changes via the touchscreen.
On the front of the unit there is an autofocus assist beam and at the bottom of it there is mechanical button which retracts a pin on the hot shoe to enable you to release it from the camera when you’re ready to pack down.
It came with about 60% charge already in the battery and to charge it to full took about 45 minutes. I don’t know what the full battery life is, but it’s been enough to get me through a full day’s shooting.
My Experience with The Trigger
I have really enjoyed using it so far. Once I had everything set up (which took no more than a few minutes after I had watched some YouTube videos), I was ready to go and shooting. I had someone booked in for some headshots not long after I took delivery of it and it got me through the whole session with no issues (I did have the old one on standby just incase I ran into any issues), I was able to make range of adjustments which synced to the strobes with no issue.
One thing I really like is that you can scan the 2.4ghz frequencies and the trigger will tell you which channels are the clearest ones for use in the environment you are, and then you can set this on the strobes and the trigger. I use each of my flashes in its own group and I don’t bother with the ID numbers as I am not often working in an environment which requires me to do this. I have however, messed around with creating different groups and using ID numbers for the purpose of this review, and have found that it’s a fairly straightforward process.
There is a slight lag from when you make changes on the trigger to them registering on the flash, whilst this hasn't been an issue for me, it’s something worth knowing. We're talking about delay of less than a second, but I know there are people who aren’t going to be into this.
What other features does it have?
One little ‘'bonus’ feature of this unit is that you can also use it as an intervalometer, but you will need to connect the trigger to the camera with 2.5mm TRS cable (male to male). These are less than a tenner for two if you click the link I have just posted, but a lot of you might find that you already have one of these knocking around at home somewhere, especially if you have purchased flash gear before.
One of the big plusses, for me at least, of this trigger is that it is a radio trigger so this does away with the need for line of sight to enable you to trigger the flash, which gives you some more flexibility on set/location and it saves the need for the use of optical slaves.
Switching between TTL and manual flash is straightforward, which is especially useful when working in changing light conditions.
The updatable firmware is also a huge bonus for lighting setups and products which are constantly evolving, and will reduce the need to keep spending money on buying new gear.
You can also change the trigger distance or range and you have two options here, 0-30 metres and 100m. I have found that when I am shooting in the studio, it’s much more reliable and has fewer misfires when working in the 0-30m setting. I haven’t used it outside yet, so can’t say if it works well up to 100m.
Finally, in the menus there is a function called ‘legacy’ which allows you to turn off all but one of the pins on the hotshot (the centre one), which means that it has greater functionality across a range of older camera bodies. You should be sure to check that your camera is compatible with the unit before you buy it.
Who is this for?
The Godox X3 Pro-C is ideal for photographers who want a compact, modern flash trigger without sacrificing control or reliability. It’s particularly well suited to Canon shooters who regularly work with off-camera flash and want a streamlined, clutter-free setup that travels easily. If you shoot on location, work with multiple light groups, or frequently switch between TTL and manual flash modes, the X3 Pro-C’s touchscreen interface and intuitive layout make lighting adjustments quick and efficient.
It’s also a strong choice for photographers moving away from optical triggering and into a radio-based workflow, offering dependable performance indoors and outdoors without line-of-sight limitations. Those who value portability, a clean camera setup, and fast access to lighting controls will appreciate what the X3 Pro-C offers.
However, photographers who prefer physical dials and buttons, work extensively in cold or wet conditions, or want interchangeable batteries may find a more traditional trigger a better fit.
Where Can I Buy One?
The easiest place to get one of these is on Amazon, where you will find it for around about £88. Make sure that you buy one which is compatible with your camera. There are a number of different versions, so don’t end up with something that you need to return! The ‘C’ in the name of this one stands for Canon, there is an ‘S’ for Sony and so on. They are clearly labelled with the camera brand on Amazon.
Pros and Cons
Pros
Bright touchscreen with intuitive navigation and operation.
Small profile makes it great for travelling and on location marking.
Supports Canon TTL metering and high speed sync
Uses the Godox X system which gives compatibility across a wide range of flashes/strobes
Built in USB C rechargeable battery negates the need for a high pile of AA batteries.
High speed sync speed up to 1/8000 if your camera supports it.
Cons
Touchscreen can be fiddly in cold and wet conditions
Not hot shoe pass through. Once it’s attached, there is no way to connect anything else, which could be a limiting factor in some setups.
More expensive than some other Godox triggers without much development around the core functionality.
Final Thoughts
The Godox X3 Pro-C is a strong choice for Canon photographers who want a modern, streamlined approach to off-camera flash control. It delivers reliable radio triggering, a clean and intuitive touchscreen interface, and a compact design that keeps camera setups lightweight and uncluttered. In real-world use, it offers all the core functionality most photographers need, from multi-group control and TTL support to High-Speed Sync for working in bright or fast-changing light.
While those who prefer physical buttons or interchangeable batteries may gravitate towards more traditional triggers, the X3 Pro-C excels in ease of use, portability and workflow efficiency. For photographers looking to simplify their lighting setup without compromising on control or performance, the Godox X3 Pro-C is a capable and well-designed trigger that fits comfortably into both studio and on-location workflows.
Technical Specifcations
Godox X3 Pro-C (Canon) – Specifications
Quick reference spec sheet
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.
The Problem with Social Media and Photography.
Social media has become deeply embedded in modern photography, but its influence is not always positive. From chasing likes and trends to comparing yourself endlessly with others, platforms can quietly shape how photographers create, edit and even value their own work. In this article, I explore the real problems social media introduces into photography, how it affects creativity and confidence, and why stepping back can sometimes help you reconnect with what matters most behind the camera.
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.
Christmas Gifts for Photographers, updated for 2025.
Struggling to find the perfect Christmas present for the photographer in your life? Whether they’re a seasoned professional or just starting their creative journey, this festive gift guide is packed with thoughtful ideas to suit every style and budget. From sturdy tripods for landscape adventures to elegant photo books that turn memories into art, we’ve rounded up gifts that will spark inspiration long after the decorations come down. Dive in for practical gear tips, creative alternatives, and insider advice on choosing something truly special this Christmas.
No matter how much you try to deny it, that time of the year is fast approaching. The mince pies have been in the shops since August, Mariah has been defrosting for months and the big guy is polishing his boots and picking up his red suit from the dry cleaners.
So what do you buy for the photographer in your life? Or, what are you treating yourself to? I’ve done some research and have compiled this list of my top 10 gifts for photographers 2025 so that you can navigate the photography shopping minefield effectively and get the reaction you hope for on Christmas Day.
As usual, I have broken this down into three price categories; £0-£50, £50-100 and £100 + and have included a bonus item at the end.
I hope that you find this useful and that I make your Christmas shopping just a little bit less stressful.
This blog post contains Amazon affiliate links, so if you make a qualifying purchase after clicking one of my links, I may revive a small commission/kickback.
£1-50
£7.53 on Amazon
This book is a must have and a must read for all photographers, and in it, Sontag explores the idea that constantly consuming photography makes us spectators of life, rather than participants in it. Something which I think is increasingly relevant given the online world in which we find ourselves.
It’s a quick read and will give every photographer some real food for thought; I certainly went away and scratched my head a bit considering some of the observations that are made in it and how I could apply these not only to my own workflow and the way that I make images but also thought about the way I consume photography every day.
A great stocking filler for any photographer!
£19.99 on Amazon
For me, this is another must have for photographers, keeping your kit clean and dust free is really important, and will help to preserve its resale value if you ever come to sell when you upgrade.
I own this particular kit, which contains a rocket blower, lens cleaner fluid, lens cloths and a lens cleaning tool. I really like it.
It’s compact enough to take out if I need to, but it does spend most of its time in the studio where I can clean things in a more predictable environment.
£47.99 on Amazon
Ok, so there are cheaper tech pouches on the market, but for me, you can’t beat the build quality and the design of this one by Peak Design.
Tech pouches/electronics, are a great addition to any photographer’s camera bag as they help to keep everything organised, in the right place and well looked after. I have one of these and its only a recent addition, but in spite of this, it’s one of the things in my bag I wish I had got hold of sooner - no more digging through my bag to find cables, memory cards or lens cloths; I just need to dig this pouch out and there they all are!
£50-100
Toshiba Canvio £64.99 ơn Amazon
Busy photographers never have enough storage and I’d be really chuffed to receive a hard drive for Christmas! I know that on the face of it, this isn’t the most exciting choice, but in terms of being useful, it’s way out there. There are tons to choose from and you will have to decide whether you go for solid state or mechanical. The one I have linked on here is the Canvio Partner from Toshiba and this is because it’s the one that I buy when I need some more space. It’s quick enough, works on Mac and PC and so far (touch wood) has never let me down.
Belkin BoostCharge £59.99 on Amazon
Another one which might not seem exciting on the face of things, but photographers always have something that needs charging, or will need charging soon. Again, plenty of options here, but I have gone for this one from Belkin as it’s got a decent capacity, small form factor and 4 charging ports. It will do 5 full phone charges from an overnight charge, which only takes about 6.5 hours, perfect for sticking on charge over night and having plenty of power on the go.
£69.99 on Amazon
This is something that I talk about A LOT. It’s hands down one of the best camera accessories I own. It’s a tidy looking piece of milled aluminium alloy, meaning it’s lightweight, durable and looks great.
You screw the plate into the 1/4” tripod mounting hole on the bottom of your camera and attach the clip to the shoulder strap on your camera bag, allowing you to keep your hands free when you are out walking, but at the same time, still have your camera readily available so that you don’t miss the shot when you see it.
In my opinion, this a fantastic little piece of kit and it’s something that I wouldn't be without.
The clip fits all cameras, so long as they have a tripod mount in the base.
£100+
£109.99 on Amazon
This is a bag that I own and that I love. It’s a great day bag as it has space to keep your camera gear well protected in the bottom section, and the top section is a great place to keep everything else you need for a day’s shooting, including a pack-down jacket, your laptop (I can fit a 16” MacBook Pro M4 in the laptop section) and it also has a well segmented section for storing all of the bits and pieces that photographers need to carry with them.
The bag is comfortable to wear, weather proof and also comes with a rain cover; just in case you get caught out in a nasty shower.
Tripods can be secured using the straps at the bottom and there’s also a handy side pouch for your water bottle.
DJI Osmo Pocket 3
£430 on Amazon
Okay, so this is pretty expensive piece of kit, and by far the most expensive thing on this list, but it’s also probably the most exciting.
The DJI Osmo Pocket 3 is a compact, high-performance gimbal camera which truly allows you to create on the go. It features a large 1″ CMOS sensor for improved low-light performance, alongside mechanical 3-axis stabilization that keeps shots smooth. Capable of capturing 4K video (up to 120 fps) and offering a rotatable 2″ touchscreen, it is great for both photo and video
It ticks several boxes: portability (it virtually disappears in a coat pocket), creative versatility (excellent for landscapes, travel, behind-the-scenes shooting or quick on-the-go captures), and premium performance that steps up from typical compact cameras or smartphone rigs. Whether it’s capturing family moments, field work, or spontaneous creative ideas, it offers real value and flexibility. For a photographer who already uses larger kit, this makes an excellent complementary “everyday” camera—one they will reach for when the big gear is too much.
£100 +
This one is going to require a bit of research, so if you’re looking for a surprise for someone, then this probably isn’t going to be it. You need to think about a lot of variables with a tripod (style of photography, current ecosystem etc) to make sure that you’re buying that they’re not going to be asking for the receipt so that they can return it and get something more suited to their style or their current setup.
The one that I have pictured here, and that is in the link is a Manfrotto one, but this might not be the one for your intended recipient. It’s a bit of a minefield buying tripods and heads, so work with the person you are buying it for to make sure that what you are buying is going to suit them and the way they work as well as the way they choose to attach their camera to the tripod!
Bonus Item
£12.99 on Amazon
It had to be didn’t it. Every photographer I know has one of these that’s been bought for them at some point. Many of us have more than one!
They’re fun, they’re cheap and they hold coffee. What’s not to like.
There’s also the added bonus of the packaging being the same shape and size as a 24-105mm lens which adds a bit of a troll-factor as well - I certainly got caught out when I was given one and was told before opening it “don’t get too excited”! (I still got excited).
Some final notes…
1. Check what they already use.
Start by finding out their camera brand, the type of tripod mount they have, or whether their gimbal is compatible with certain accessories. It sounds technical, but knowing their setup helps you avoid buying something that doesn’t fit — and they’ll appreciate the attention to detail.
2. Match the gift to their photography style.
A landscape photographer might value a sturdy tripod, while someone who travels light will prefer a compact gimbal or versatile camera clip. Studio photographers might love new lighting gear or a stylish backdrop.
3. Think beyond equipment.
If they already have every gadget under the sun, consider creative gifts instead — a high-quality photo book, fine-art printing paper, or a voucher for professional printing services. These add a personal touch and encourage them to showcase their work.
4. Gift cards are never boring.
A voucher for their favourite photo retailer or software subscription gives them flexibility to choose exactly what they need — a safe but thoughtful option.
5. Shop smart and local.
Check UK stock and shipping options to make sure delivery is quick and returns are straightforward. It’s also worth double-checking VAT and warranty coverage before you buy.
So there you have it, whether you’re shopping for a seasoned pro or an enthusiastic beginner, the key is to find something that inspires creativity and fits their unique shooting style. Thoughtful gifts don’t just add to a kit — they will give your loved one some inspiration and flexibility to improve their craft
If you found these tips helpful, explore more photography insights and gear guides over on my blog — and don’t forget to share this post with anyone hunting for the perfect gift for the photographer in their life!
All prices in this blog are correct as of 25/10/2025 and are subject to change.
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.
Things in my landscape photography bag that just make sense.
Packing for a photography trip isn’t just about cameras and lenses. In this post, I share 10 surprisingly useful non-photography items that I always carry when shooting landscapes. From head torches and waterproof maps to shower caps (yes, really), these practical extras can keep you comfortable, safe, and ready to capture the shot — whatever the conditions.
Welcome to another blog, which I think might end up being uncharacteristically short, but I want to talk about some of the things that are not strictly related to photography but (I think!) make sense.
This isn’t going to be a huge entry, it isn’t a massive list, but there are some things on here that I think are quite important to have with you, some of it straight forward, some of it a bit unusual, but I hope that its all helpful. Let’s jump in.
1) Head Torch
This is a vital piece of kit for shooting sunrise and sunsets, generally, it’s either dark when you get there or getting dark when you leave and you need this to be able to find your way back to the car.
It’s important that you know where it is, that it is bright, comfortable and is always fully charged or has some decent batteries in it - the torch on your phone ins’t going to do the job! The one I have is the Victoper Head Torch, which I got on Amazon. It has great battery life, charges quickly via USB and it’s bright enough that anyone walking towards you is going to think they’re heading towards a BMW. It also has a red light mode, which is great for all of the astro shooters amongst you. You can check it out by clicking this link.
2. Disposable Shower Caps.
Yes, you read that correctly, disposable shower caps. I always keep a stack of these in one of the pockets of my bag, and I have a bulk supply of them in the studio to replinish the ones I use. Why though? Quite simply, because they make great, cheap and lightweight rain covers for your camera. They slide over the top and across the back, the touchscreen still works and you can still work all of the buttons and see what you’re doing. These aren’t going to weather seal your camera, but they are great in a pinch when you caught in a brief shower but still need to get the shot. I got mine from Amazon, and there’s a hundred in the pack for less than a fiver!
3. Small Rig Camera Tool
Small but mighty is how I would describe this. It’s got all of the common attachments to do any of the jobs you might need to do to your camera/tripod/other when you’re out in the field. It’s great for tightening up L-Brackets, Arca Swiss plates, tripods… the list goes on. I like its versatility, small form factor and light weight. Definitely something you should pick up. You can get them here on Amazon.
4. Battery Packs
I have two of these, and they are both made by Belkin. I got them on a whim from Costco during a visit there as the price was too good for me to miss out on. There are two different sizes, one is 10k mAh and the other is 20k mAh. They are fairly lightweight and so far, they have proven to be rugged - I have dropped them more times that I can remember and they are still going strong. If I had one complaint about them, it’s that they take a long time to fully charge but if you leave them overnight, they are usually full by the morning. Having two sizes is good, as if I’m going somewhere overnight and won’t have access to power then I can take the larger one, saving the smaller one for shorter trips. I can’t find a link to the exact ones I have, but you can get a twin pack of the 20k ones by clicking here and heading to Amazon.
5. Pen/Sharpie/Notebook
I actually carry a pen and a notebook most of the time, so this one feels like a little bit of a cop-out, but suffice to say, these items always come with me on shoots.
Thank Peter McKinnon for this one, his use of journalling and carrying a notebook is a habit I have developed following his video about it.
I use a small field notes book, which I keep tidy in a leather sleeve, both of which came from Amazon. They’re handy to have with you when inspiration strikes and you need to make a quick note so you don’t forget that incredible idea that you’ve had. I also use mine for shots lists and general reminders as well. I use Pilot pens to write in them and I keep one of these with the notebook.
I like to have a sharpie with me, not entirely sure why, but the amount of times it’s come in handy is untold, and so it remains a part of the contents of my bag.
6. Cables
This could be an endless list, but generally I will have a USB cable, a USB C cable, a charging cable for an iPhone and probably a spare phone charging cable, just incase (those things never seem to be able to take much of a beating). These aren’t the most exciting things, but they are always useful, especially on longer walks/trips when it’s great to be able to charge things up when you’re taking a break or getting in your sleeping bag for the night.
7. Water Bottle
Probably an obvious one, but you should always have some water with you, especially if you’re going on a longer hike and if you’re not carrying a load of water then maybe some water purification tablets as well. We’re not short of flowing water in the Lake District, but you shouldn’t just be drinking it straight from the source! I like this Nalgene one as it's tough and fits neatly in the pouch on the side of my bag.
8. OS Map + Compass
This one is dependent on where I am going, and what I am doing. If I’m heading to the local nature reserve in the fog and walking around the nice safe, way-marked boardwalk, which is about a mile long, I’m not taking the map and compass. If I’m going out in the fells then these two things are definitely coming with me. I like the Ordnance Survey ‘Landranger’ series for walking, and I buy the waterproof ones, they’re a bit more pricey, but by the time you’ve ruined three maps in the rain, it makes them a sensible investment.
Please don’t just rely on the OS app and/or Google maps to get you home. You can’t guarantee your signal and you also can’t guarantee your phone won’t die. Always have a map with you.
For compasses, I have the Silva Ranger Compass, it’s well made and easy to read/use.
9. Toss Up! Game
This one is a bit of a left field choice, but sometimes, there is a lot of waiting around and if you have someone with you, or you’re out for the night then this can be a good way to pass some of the time, especially if you’re not out with another photographer who doesn’t enjoy your photography chat! It took me a long time to get hold of my copy of Toss Up!, but it was worth the wait, it’s fun, small, light and gets oddly competitve for a dice game. If you can’t get your hands on a copy of Toss Up! then a pack of cards is just as good but weighs about the same!
10. Money!
Fairly straightforward this one, but I always have my card with me, but also cash to around the value of £20. This can be handy for any number of things, but some places don’t accept cards and it’s also nice to support small businesses by paying with cash too! Just don’t blow it all at the start of your walk, you never know when you might need it!
Having cash hasn’t saved my life yet, but it has furnished me with numerous coffees and ice creams when I have ‘needed’ them!
Stock Image credits: Night sky head torch: @cikstefan (unsplash.com), sharpie: @charlesdeluvio (unsplash.com), map and compass: @henrikmorkel (unsplash.com)
10 Things I Wish I Knew When I Started Photography.
Beginner Photography Tips from Someone Who’s Been There
This blog contains Amazon affiliate links. As an Amazon affiliate, I earn from qualifying purchases. This is a great way for you to support me! Thanks!
I have been working on a lot of things for beginner photographers in the last few weeks and a few people have had a read of my blog from last week, Essential Photography Gear for Beginners: What You Really Need to Get Started. https://chriskendrickphoto.co.uk/blog/what-gear-do-you-need-as-a-beginner-photographer
To this end, I thought I would go one further and think more about beginner photography and this led me to think about the things I wish I knew when I started taking photos.
This turned into quite a long list (with some repetition!), which I have tried to distil into ten points below. I will try and keep it short and simple, but I do have habit of trying to share as much as possible - it’s all about helping each other. I’m not a gate keeper!
So let’s jump into 10 Things I Wish I Knew When I Started Photography…
1. You Don’t Need an Expensive Camera to Take Great Photos
This one kind of touches on the “Does Gear Matter Question”. The answer to that, as we know, is yes. But also a resounding no. But, it does a bit and “categorically no”.
Ultimately, what matters is that you have some gear AND you know how to use it. Some of the best time you can spend as a photographer is time getting to know your camera (or the camera app on your phone!), what the buttons do, and more importantly, where they are. You will miss shots if you’re spending ages trying to remember what the buttons do and where they are. Its also well worth learning your menus, where to find things and what they all do.
But this doesn’t answer the question. The main point in the previous paragraph is “that you have some gear”. It doesn’t matter what that gear is, as long as it works and you know what you’re doing with it.
You can take a great photo on any camera. It doesn’t matter whether its a Hasselblad X2D or an Canon R5 MKII. Breson didn’t have either of these. Gilden doesn’t use one. What they do know how to do is to frame a shot, when to take the shot and how to edit the shot to make it exactly what they want.
If you have camera that uses older tech, or you have a camera that is more basic, or you’re using your phone, you can take a great photo.
Good photos mean something. Good photos say something. Good photos tell a story. You achieve a photo that does all of these things with any camera, be that the latest offering from one of the big companies, or a 20 year old DSLR. What matters is what or who you are taking photos of.
This is one of the most important things I have learned. When I started out, I bought the best camera I could afford and paired it with a kit lens. I still have that camera now. I have added more lenses, but I still have that camera and use it most days.
Another way to think about this. In “real life” I am a teacher and I have taught photography at A-Level. The best photography student I ever had, the one who took the best images was the student who had the cheapest camera (not just in their class, but across all 4 classes I taught) and they created some images that were genuinely first rate images. I always remind myself of this when I am looking longingly through the window of my local camera shop.
2. Manual Mode Isn’t as Complicated as It Seems
It really isn’t. It might seem it, but it’s not. I promise. The thing you need to master is the exposure triangle. Conveniently, I have made a blog about the exposure triangle, which you can read here. https://chriskendrickphoto.co.uk/blog/a-beginner-photographers-guide-to-the-exposure-triangle
If you can master the basics of shutter speed, ISO and aperture. Get the hang of this, then you can start to think about white balance and picture profiles (if your camera supports them) and maybe go one step further and start to explore things like long exposure photography and ICM (Intentional Camera Movement).
You should also look into aperture and shutter priority on your camera and learn to use these too.
3. Light Is the Most Important Part of Any Photo
It’s the name of what we do… The word “Photography” is taken from two Ancient Greek words “Photos” meaning light and “graphé” meaning to draw or write. Photography literally means “writing or drawing with light”.
So yeah, light is kind of important! Without it, we can’t take images.
But then we have low light, good light, bad light, soft light, hard light, specular light… and many more.
A good space for us to start is Golden Hour. This is the light we have after sunrise and before sunset. The term Golden is a bit of a misnomer, it can be about an hour, it can be 15 minutes and it’s also really dependent on the weather and atmospheric conditions where you are taking photos. If you’re covered in thick grey cloud, you aren’t going to get amazing golden light, but you will have some lovely soft light to work with.
It doesn’t have to be soft light though. Hard shadows can work really well and add drama to your photos, just look at the work of someone like Fan Ho, for example. He used harsh shadows to great effect in a lot of his work (he also shot on a dual lens reflex camera, not a mirrorless or a DSLR, because they hadn’t even been thought of at this point!)
As you get more confident with your camera, you will find new ways to manipulate the light with long exposure and exposure stacking and this will produce you some awesome results!
Use your weather apps and maybe look at experimenting with apps like PhotoPills. They will help you to decide what the weather might be like at the location you are visiting and will tell you where the sun is going to be in the sky and this will enable you to pick the right place to make the most of the light.
I’m going to include reflections in here as well, because they’re made of light too, right? Reflections are some of my favourite things to include in my shots; I used to live for a good reflection when I lived in the city, and the same is true now I live out in the sticks, they just tend to be a bit bigger in the countryside that in the city. But you don’t need a tarn in the Lake District with the reflection of a mountain, a puddle and tree can work just as well!
4. Composition Can Instantly Improve Your Photos
This is one of the most important things and one of the easiest ways to improve your images, quickly and cheaply.
Composition as both a topic and a concept is HUGE. As a beginner, I didn’t know much about it, let alone the different types of composition. When I started out, I was just taking pictures of things I liked and sticking them in the middle of my frame.
Then I learned about the rule of thirds, leading lines and the golden ratio. There’s more than this, but these are the three that you will hear the most about. You should go and find out about them and start using them - the difference you will see is huge.
5. Editing Helps — But Subtlety Is Key
Editing is one of my favourite things to do. You need to know that it takes practice and you are constantly learning. You can never know everything about editing.
When you first start out, one thing you are likely to do (I know I certainly did!) is to find the saturation, virbance and clarity sliders in Lightroom and drag them all or most of the way towards the right hand send. This will make your colours unnatural and it’s not a desirable look for your photos.
Take your time, practice, look at other photorgapher’s work, watch YouTube videos to learn, but keep it subtle and let it look natural.
When it comes to editing, less is more. Just like this section of the blog!
6. You’ll Take a Lot of Bad Photos — and That’s Fine
Time for clichés.
We learn by making mistakes, so go out and make them. The only stupid mistakes you make are the ones that you don’t learn from (2 clichés already!).
But joking (and clichés ) aside, embrace your mistakes, establish why it’s a mistake and then go out and try again. Rinse and repeat.
(I’ve used stock images in this blog, but this one is mine, it was handheld and the exposure was too long for this method of taking the image, so it’s blurry and there’s camera movement!)
7. Stop Comparing Yourself to Everyone Else
“Be yourself, everyone else is already taken” Oscar Wilde.
This was on the wall in a school I used to work in and it’s stuck with me. It works for so many things in life, but in this instance, it works really well.
Don’t sit and compare your landscape shots to Ansell Adams’ work. Don’t compare your portraits to Annie Leibowitz and don’t compare your still like/commercial photos to Scott Choucino. These are well established professional photographers, have years of experience and have forgotten more about photography than most of us will ever know!
But aside from those I have mentioned above, don’t compare yourself to other photographers on social media. You’re not them and they are not you. Work on your own images and discover your own style!
8. Consistent Practice Beats Occasional Perfection
Use it or lose it. If you’ve ever played and instrument, you will know that you need to practise to get better. Stop practicing and it takes longer to learn the piece. If you’re a sports player and don’t train, you lose the skills you are developing and your fitness decreases and you don’t perform as well.
The same is true with photography. If I go out to shoot and haven’t done so for a couple of weeks, I really notice it and I find that it takes a while to get my eye in and I don’t always know where the camera controls are - this leads to missed shots and missed shot can’t be a good shot or a bad shot!
9. You’ll Start Noticing the World Differently
This sounds like a bit of a cop-out, but it’s true. You’ll notice leading lines, you will notice good light and you will notice that you don’t always have your camera with you when you wish you had - but we all have a camera in our pocket these days anyway, don’t we?
I have lost count of the number of times I have been driving home and have seen amazing light on the fells. The number of times I wish I had my camera with me or the the numbers of times I wished I wasn’t driving at 70mph watching the world zip by the car window is huge.
If you look hard enough, everything can be a photo and as you practice more, you will begin to see that you can find images where you might not have thought there could be one. Even in harsh sunlight (which isn’t always the photographer’s friend), you will see that you start to see shadows that will make a great image!
10. Enjoy the Process
What is the point in doing it if you don’t enjoy it? It’s probably going to be difficult at times, but what you experience in difficulty, you will more than make up for in sense of achievement.
Go out there and take lots of bad photos! Learn from the mistakes and use them to improve. Enjoy getting frustrated at the edits but having something beautiful at the end of it.
I’d also recommend getting your photos printed. I print my own images but if I’m not printing them to hang on the wall or want smaller images, I use services such as Free Prints and get a stack of 6x4s delivered direct to the door for about three quid! It completes the process and brings everything full circle from scouting to shooting to editing, to having those prints in your hand - it’s nice to have a tangible reward at the end!
Photography is great fun, if at times it can be challenging and occasionally frustrating. It can be your best friend and your sanctuary, and it can also, at times, be your worst enemy and some subjects will become your nemesis, but it wouldn’t be fun if it were easy, right?
Thanks for sticking with me through this post — I hope it’s helped you feel a little more confident on your photography journey. If it has, why not stay connected? You can follow me on Instagram and Facebook for regular tips, behind-the-scenes content, and new work. And if you’d like more beginner-friendly photography advice, early access to blog posts, and exclusive updates, make sure to sign up for my newsletter here. Let’s keep learning and creating together!