Photography News Issue 30

Photography News Issue 30 absolutephoto.com

34 Camera Club of the Year IN ASSOCIATIONWITH

Masterclass: the Power of Nature David Noton The Power of Nature is a challenging theme, so we asked Canon ambassador and ace landscape shooter David Noton how he would tackle the subject

David’s kit for tackling the elements

Canon EOS-1DX This pro-spec full-frame

DSLR has all the attributes for photographing in the toughest conditions with a body that is dust and moisture-sealed and the shutter is tested to last 400,000 actuations.

Mother Nature never fails to awe me; with her power, and her ever- changing moods, from the raw violent energy of surging oceans and screaming winds to the sublime tranquility of a still, misty morning. As a landscape, travel and nature photographer my relationship with Mother Nature is complex, and not without its difficulties. I find her fickle, unpredictable and unreliable, at times, but even when she is angry she is exquisitely beautiful, and the success or failure of my work is largely down to her. Expressing her power, as well as her more tranquil moments is a job of a lifetime for me. There are so many aspects of the theme I like to shoot. Once stood on the lip of Iguazu Falls in Argentina alone in the darkness before dawn, my heart was inmy mouth; the sheer force of rushing water all around me was intimidating. But that morning was one of the most exhilarating of my life. That’s the Power of Mother Nature for you; terrifying, yet utterly compelling and addictive. I’m inspired to try and capture the drama of being there in my photography. That’s not easy, as such moments are all about the assault on all our senses, and photography can only suggest the vision, but that’s the challenge. I would urge all readers to step back and consider how they can best convey the experience of being there in their images. That will often mean not trying to get it all in, but concentrating on one aspect of the scenewhichsaysitall.Forexampleon the black sand beach of Reynisfjara in Iceland huge waves driven by winter storms were crashing on the beach and all around the distinctive arches and rock columns in a frenzy of tormented seas. Just concentrating on the form of the waves was the approach I took to portray the Power of Mother Nature that morning.

CanonEF24-70mmf/2.8L II USM This top-end zoom offers a constant f/2.8 maximum aperture. Just as important are the first-class results it delivers at f/2.8 so there is no need to stop down unless it is for greater depth-of-field. The AF system is very responsive and super-quick, while the lens itself is sealed to keep out dust and moisture.

In respect of composition, I’d say keep it simple. That’s true for all photography, but when conveying thePowerofNaturecleanuncluttered compositions suggesting motion and energy will always work. Mother Nature at her angriest is not easy to be around; she tends to chuck water, wind, sand, snow, ice and untold elements around with abandon, which is hard on the photographer and the equipment. A pro-spec camera with good weather sealing and long-lasting batteries such as the Canon EOS-1D X will earn its keep in such situations. When conditions are really adverse just changing lenses can become a challenge; inwhich case being armed with just two such as the EF 24-

70mm f/2.8L II and EF 100-400mm f/4.5-5.5L IS II will cover me for most eventualities. Long lenses can be very useful for isolating the detail of one blowing tree or crashing wave. I’d use filters only if I had to, such as to slow exposures to portray a bit of motion blur, or to hold back the sky with a neutral density grad, or to saturate colours with a polariser. I always remember though the advice of my college lecturer from decades back; if you’re thinking of using a filter, don’t. I only use them to tackle a specific problem. Using filters is only one aspect of being creative so think deep and be imaginative and use whatever technique you feel best suits your subject. Sometimes black & white can be very powerful for evoking drama and removing the distraction of colour. Use motion, and use fast shutter speeds to show energy. And always remember that it’s often the worst weather that can result in the best pictures. Finally,don’tforgettheimportance of personal safety. I have been swept away by the seawhile shooting storm waves breaking on a headland in Cornwall. I lost a complete camera system but I know I’m lucky to be alive; it was touch and go. I have also been cut off by the rising tide; I’ve made all the mistakes. Now I practise what I preach; never, ever, underestimate the Power of Mother Nature. Always have an escape route, be prepared, and know that it only takes one rogue wave to end it all.

A practical and inspirational guide from behind the lens of an internationally recognised landscape and travel photographer, Photography in the Raw examines the fundamentals of how to improve as a Photography in the Rawby David Noton Above A couple dice with death while exploring the Cobb during a storm on the Jurassic Coast, Dorset. Shot with Canon EOS 5D Mark III and 70-200mm lens. Clean uncluttered compositions suggesting motion and energy will always work

EF 100-400mmf/4.5-5.5L IS II David uses the 100-40mm to isolate distant detail. As with its standard zoom brother, this telezoom is dust and moisture- protected so ideally equipped for use when the weather is against you. The integral IS system gives a 4EV benefit, which is really useful for a lens of this focal length. Another key benefit is its portability, making it well suited to travel and landscape work where weight could be an issue.

photographer; how to read the light, be in the right place at the right time and make the most of a situation to produce the best picture possible.

Above Spending the night at Iguazu with the falls raging all around was an experience I will never forget.

davidnoton.com