So, the battle lines have been drawn and like two peacocks proudly posturing, Canon and Nikon have both announced the latest additions to their flagship DSLR lines. It was last October when Canon heralded the imminent arrival of the 1DX and Nikon tried to trump them with the D4 in December.

Both are high end digital single lens reflex cameras, and perhaps it’s no surprise that with the London Olympics on the horizon both cameras are aimed squarely at the action photographer. There is one advantage to that though. Given the amount of relatively uninteresting TV that we get bombarded with during the Olympics it can often make for far better sport judging the ratio of Canon to Nikon shooters amongst the photographers present.

I won’t be the first to say that both of these cameras appear to be evolutionary rather than revolutionary. Both have full frame 16-18 mega pixel sensors, high ISO capability and better AF systems. Along with the usual lashings of HD video capability they both look pretty compelling. I’m sure that both will be equally impressive, and I’d have no hesitation in recommending either one of them if they happen to be your thing. For sports and wildlife photographers I’ve no doubt that they will both be the latest must have accessory. However, what about those of us that don’t need stratospheric ISOs or a million frames per second to shoot fornicating foxes or the up skirt shot of Maria Sharapova banging a volley down the line at Wimbledon?

At the moment Canon and Nikon both want you to believe that these cameras are the answer for all situations. But then they would, wouldn’t they? The answer for the landscape and studio shooter often lies in the subsequent DSLR releases. In the past Nikon have released high resolution ‘X’ versions of their flagship DSLR and Canon have similarly come to market with ‘S’ versions. What about this time though? Could it be that Nikon have stolen a march over Canon with the announcement of the D800? Or is it that they still believe their target market for this range is still sold purely on the promise of higher and higher mega pixels? Who knows? At this stage nobody knows I suppose, so the proof of the pudding, as they say, will be in the eating.

There’s no doubt that what Nikon have done with the D800 is spectacularly eye catching. 36.3 mega pixels on a full frame sensor with a 16:9 aspect ratio will seriously push the boundaries of current technology. Of particular interest will be the D800E that will follow a month after the ‘standard’ version. This is a special edition   designed for photographers who require the sharpest images possible (i.e. landscape and studio shooters). This is achieved by removing anti-aliasing properties from the optical filter. Rangefinder shooters among you will be more than familiar with this concept, Leica have been doing it successfully for years. The theory goes that removal of the anti alias filter will lead to increased moiré in images, which is why the likes of Canon and Nikon have shied away from doing this in the past. The success of the Leica M9 though is testament to the fact that this is rarely, if ever, an issue though. So if Nikon get this right they will have a real winner on their hands. I can’t help but wonder though if the extended ISO range of the D800 at 50-25600 is a touch ambitious. Most medium format users can only dream of useable ISO’s above 1000. Clearly, the sensor size and pixel count of a medium format digital back is significantly in excess of a full frame sensor (even the D800), so the pixel density is significantly lower on a medium format back. If they haven’t mastered high quality high ISO shooting yet it will be interesting to know how Nikon think they’ve been able to master this. Again, the proof of the pudding……..

This is of course all speculation, and with Canon still to announce the successor to the 5D mkII the picture is still not complete. Does it matter? No, not really. I’m not losing sleep over it. If you’re happy with your existing system, it won’t suddenly start taking rubbish pictures just because a new camera has been launched. You also have to ask yourself how big your biggest print is ever likely to be. I sell quite a lot of prints; the majority are at A4 size and are rarely bigger than A3+. The D800 will be capable of producing 30 inch x 20 inch prints at 240dpi without any interpolation or re-sizing! If the truth is told, and you never print larger than A4, a 6-9 mega-pixel camera will offer plenty of scope. For those that do print at wall filling size on a regular basis, they’re probably already using medium or large format cameras so this latest line of DSLRs will be of little interest to them anyway.

As I’ve said on a number of occasions before, camera bodies are all well and good, we all get drawn into the speculation and hype whether we like it or not. But they will hold their value as well as a ticket to the Olympic 100m final the day after the race. Spend your money on better lenses, you won’t be sorry. You’ll still have a new toy, and best of all you’ll probably get your money back and more decades later.

In the late eighties when my Father gifted me my first SLR, and I started reading every photography magazine and gear catalogue that I could get my hands on, it seemed pretty apparent that the quickest way to superb photos was to select and buy appropriate lenses and accessories for each and every situation. I honestly thought that the only choice I had to make was which system I was going to commit to, and given that the SLR Dad had given me was a Fuji, that decision was already made.

So I saved (very hard), and eventually I bought stuff. I had a prioritised hit list of gear and accessories to buy that would undoubtedly be enough to crown me as young photographer of the year. Every time I had a shiny new (often second hand, but new to me) piece of kit in my hands I set of into the wilderness with renewed vigour and enthusiasm that this was it, this was the thing that was going to be the turning point for me on my path to greatness. Even better than that though, what did I blame when things still weren’t quite right? No, you’re wrong. I didn’t blame the kit, I blamed myself, but for the wrong reasons. I blamed myself for not saving hard enough and settling for the basic or amateur ranges and not waiting a bit longer and committing to the professional equivalent of whatever item it was.

Even more incredibly, this went on for years, buying, selling, and repurchasing equipment. In fact, it’s probably still going on now to an extent, I’m still not completely immune! Back then though, my belief was that better gear led to richer more detailed and professional images, and the better I became as I photographer the longer my telephoto lenses would need to be and the wider my wide angles would become. I was completely sucked in by the marketing hype and spin that the major manufacturers churned out, that good photography came from buying as many different lenses as possible.

I can laugh about it now. Simply because I’d cry if I didn’t while thinking about the money that I’ve wasted over the years trying to spend my way to better images. Experience has shown me that it’s exactly the opposite that is true, great photography has nothing to do with the size of your camera bag and everything to do with thinking about your images (not the camera) before you press the shutter. In fact, as I grow older and less willing to carry to continent crossing backpacks, I have realised that my pictures have improved by carrying less. Equipment is a distraction that takes your mind of the most important thing, the image. It’s all about developing your vision, and making the most of the best optics available. The best thing is that we all have the best optics in the world, they came free at birth, and I am of course talking about your eyes. Develop your photographer’s eye, learn to see a great image, and once mastered you can shoot everything with one lens. Learning to see is the only thing that matters. Worrying about, or carrying, more gear only prevents you from ever taking the time to start concentrating on what matters, and that’s the basics of what makes a great picture.

Me, I’m not quite there yet. I’m still learning, and hopefully will never stop doing so. I still feel the need to carry a few lenses, but I am getting better. I tailor my kit for the day to what I will be shooting, and I know what I will need because I’ve researched my location well, and know exactly where I’m heading and what I want to shoot before even setting foot out of the door. Female photographers tend to get over equipment paralysis way before men do. It’s probably something to do with the fact that ‘bigger is better’ or ‘mine’s bigger than yours’ is engrained into the male psyche. The sooner you overcome this, the sooner you can start getting down to what really matters, which is seeing and thinking your way to better images.

I've been thinking about writing this mini lens review for a while, but kept putting it off. The problem is that this lens is perfect, and since there’s nothing wrong with it, I really couldn’t think of that much to say about it.

The simple fact of the matter is that this lens is perfect for everything, and there isn’t anything that it doesn’t do well. Owning this lens does create a problem though, you will be hard pushed to justify the necessity to buy any other lens ever again. As an all round take anywhere, do anything lens it is ideal. As a slightly wide ‘normal’ lens most point and shoot and fixed focal length cameras use 35mm because of its versatility and all round appeal. Whether I’m embarking upon a landscape photography shoot or working in my guise as a commercial photographer this is the lens that is permanently attached to my Leica M9, it is undoubtedly my ‘go-to’ lens, and the starting point for most of my work, particularly landscape photography.

I have to be careful here, because I'm at risk of being far too gushing about this lens, so I need to think of a downside quickly….erm….COST. The commercial and financial landscape being what it is at the moment at around £2,000 there is no doubt this is an expensive piece of glass and metal. It’s a Leica though, and no one buys Leica expecting bargain basement pricing. This lens will last a lifetime though, and like most other lenses it will hold its value over time and probably appreciate, so if you see it as an investment it’s actually not a bad deal. Other than that, just be careful if you shoot with an M3, you will need an external viewfinder to use this lens. Finally, I'm not a huge fan of the bokeh (character of the out of focus areas of an image) that this lens produces. However, even that’s not a major problem because at 35mm the short focal length means that not much is ever out of focus anyway.

Back to gushing….

The LEICA 35mm f/2 ASPH is about as close to perfect as you can get, it is ergonomically sound, optically exceptional and at only two inches wide takes minute 39mm filters. Focus and aperture can be adjusted by feel with fingertip precision, there is no visible distortion to worry about and lens fall-off (darkened corners) is so slight as to not be an issue, even at f/2.

This lens is razor sharp, absolutely silly sharp at any distance or aperture even in the corners. Maybe, just maybe there is a slight softening at f/2 when focused at infinity but this completely disappears by f/4. For both my commercial photography work and as a landscape photographer I tend to stick to F/8-F/11 and at these apertures I am consistently blown away by how good this lens is. I can’t hope to do it justice over the web no matter how many pictures I included in this review, so here’s one image with an enlargement from the corner at 100% just to give you a flavour of what perfection looks like.

Basically, everything should be made this well and be this good, but because some people consider price when shopping we sometimes end up with stuff that isn't up to the standard of this flag bearer! J If you’re thinking about buying this lens, whether it’s for landscape photography or street photography, or you are looking for the perfect one lens set up for your Leica, stop thinking, just buy it, you won’t regret it for a second.

At a recent Leica Experience Day Dr Kauffman didn’t make any announcements of new products – but he certainly whetted our appetite. He promised more than one surprise for next year, and also said that they haven’t been discussed or discovered by Leica Rumors or the Leica Forum…..yet.

It probably won’t come as a surprise to anyone if one of the new products next year arrives in the form of a replacement to the superb Leica M9, probably with an imaginative title along the lines of………Leica M10.

You don’t have to search very far to find that many people have already hypothesized, suggested, guessed, discussed, and even predicted what they think the Leica M10 will look like when it makes an appearance. Given that I don’t have the power of foresight, and haven’t got a secret camera positioned at the Leica factory in Solms I don’t pretend to be able to ‘predict’ anything. So, I suppose more than anything, this is a wish list of what I would like to see on the Leica M10.

It’s probably worth mentioning again that I’m not a Leica purist, which basically means that I own more than one lens, and in general I’ve got along fine with other Leica owners that I’ve met. Photographers are in general a great bunch of like minded people. But there are a band of individuals that believe that Leica ownership lifts them to a higher plain, a plain where perfection exists only for them, a plain where ‘chimping’ (image review on an LCD) should be a punishable crime, and where they’re able to eschew the benefits that the digital age has afforded the rest of us mortals. They know how to shoot. I generalise of course, however it’s this group that also want to see Leica regress rather than progress. A lens, a photo sensitive material, and a viewfinder are all they seem to need or want. This is great if you’re absolutely confident that you are really that good. Don’t get me wrong, I learned in the days of film, and absolutely agree that knowledge of exposure and composition are as important today as they have ever been, perhaps even more so. I have, however, embraced digital technology and don’t understand this desire to keep Leica in the dark ages. Perhaps it’s to ensure that Leica ownership remains an exclusive club, and won’t appeal to the masses, I’m not sure. One thing I am absolutely sure of though is that Leica’s pricing structure will ensure that Leica ownership remains the preserve of those with very deep pockets, or a real desire to own something very special, so they needn’t worry. The point of that little rant is simply to say that Leica have to realise that their success and profitability over recent years is partly attributable to the relative masses that have cast aside their DSLR’s in favour of M ownership (of which I am one) because it offers a perfect blend of what they need. A full frame sensor, unprecedented image quality with the right lenses and the benefits of digital, all wrapped up in a package half the size of an average full frame DSLR. So there you have it Leica, do the Leica M10 right and you'll find more new customers, and retain the converts, that will help to drive your renewed growth. But if you do it wrong, I think you're just playing to the relatively small but very vociferous minority that don’t want to see progression.

And now to move on to my wish list for the Leica M10. It probably goes without saying that Leica need to retain a number of things that make the Leica M9 a superb tool, namely the lens mount and lenses, the physical size of the camera, and their focus on quality and simplicity. Other than these things I’m hoping that Leica use the M10 to take them in a new direction.

Mainly I would like to see live view functionality in the new Leica M10, and all the benefits that come with it. GASP, I hear the purists cry, but for me as a landscape photographer live view would be a real boon to assist with the placement of neutral density graduated filters. The only footnote to this is that the optical viewfinder needs to be maintained too, there is no better way of maintaining spatial awareness when framing an image than by using an OVF. Other than that I don’t mind how they bring in the live view, directly onto the rear LCD is the obvious choice or perhaps a more elegant solution would be a hybrid viewfinder along the lines of the Fuji X100, but please no optional EVF that plugs into the hot shoe. The other benefits of introducing live view are that focus (while still manual) can be checked and confirmed via digital means, the realistic use of telephoto lenses beyond 90mm would be possible with live view being the main means of viewing, and tilt/shift lenses would suddenly become an option as well. If the introduction of live view was coupled with an improved LCD or EVF then Leica would really have moved things a step on. I’m not thinking of a massive leap in the LCD stakes, simply using the LCD that they have on the back of the Leica S2 or talking to Panasonic nicely and borrowing the LCD’s that sit on the back of the D-Lux line of compact cameras would be good enough for me.

Another rumour that I’ve seen banded about quite a bit is that the new Leica M10 may feature Kodak’s latest top of the line 29 megapixel full frame CCD sensor along with the MAESTRO processor from the Leica S2. Err, Wow, is all I can say to that, just imagine the resolving power! It’s a lovely thought, I’m not sure how realistic it is given that I thought that Leica were moving to Sony for their sensors, but being an interline transfer sensor it would certainly support the concept that live view is being developed. Equally though, any of Sony's high end CMOS sensors are just as compatible with live view and in these cases the MAESTRO processor would certainly be required to deliver the necessary processing oomph to deal with that amount of extra information as well.

So, that’s it really. It’s not a massive or extensive list, because I don’t want to turn the Leica M line into DSLR’s by a different format, I only want to augment and improve the brilliance that already exists. It’s simply a couple of enhancements that if done correctly would open up a wealth of new opportunities for Leica that to my mind would ensure their continued prosperity. Whatever happens, there’s no doubt that any one of these features represents a massive amount of technological hurdles for Leica, but these are hurdles that I’m sure the Leica gurus would love to try and leap, and I for one would be one of the first in the queue to upgrade when they get it right. Roll on Photokina 2012 and new announcements!

If I had a pound for every time I heard something along the lines of “If only I lived in the Lake District” or “I must book a holiday on the Northumberland coast, there must be great photos to be had there”, I would have been retired a long time ago. True, there are undoubtedly great images to be had in these locations, so if all you want to do is trot of an endless precession of the same clichéd images that we’ve all seen a thousand times over go ahead.

The thing is though, great images can happen anywhere you and your camera happen to be, and excuses like those above are a sure fire way to ensure that your eyes are closed to the creative possibilities wherever you may be. Closed eyes will certainly lead to dull photos even in the most inspiring of locations but opening your eyes even in what are perceived to be the worst of locations can lead to brilliant work – ask any documentary photographer or photo journalist.

Open your eyes. Be aware of the possibilities, we all overlook what we see everyday, we take it for granted. However, I guarantee that what’s dull to you will be interesting to someone else, and if it really is that grim and bleak, don’t complain, just take photos that illustrate it and even exaggerate how things really are.

Look for colour. Even the gloomiest of spots has colour somewhere. I love colour and thankfully it’s everywhere. It might be a street sign, graffiti, varied light sources, or even litter. Don’t be shy about going out in or after the rain, all the colours will take on new personalities as they reflect in puddles or sparkle on damp surfaces. At night or in the evening the colour is different again, so go out with your tripod and take long exposures, cameras are brilliant at picking up and accentuating colours in low light that our eyes can’t see.

What stands out? What catches your eye? Should it be there? Is it out of place? If so, why is it out of place? There are juxtapositions all around us, and if it catches your eye it will probably interest someone else too.

Details, details, details. Don’t always look for the big vista, look for details and abstract shots, but keep your composition simple and focussed (sorry). The images that shout loudest are the ones that have the least in them. Looking really closely with a pair of photographers eyes is what this is all about, there are images to be had everywhere.

Most of all though, enjoy it and let your creative juices flow. There are photo journalists that make a living out of shooting in dirtiest, dustiest, and most diseased of locations, and they never complain. Most of all though, enjoy it and let your creative juices flow. Experiment, try something new or different, get high, get low, use a long exposure, or get creative with depth of field. It may be a challenge but the rewards are definitely out there to be had.

Get the composition right, and regardless of the subject a more compelling image will almost certainly be the result. If you get it right in camera to start with, your time spent in front of the computer editing will be reduced, which means more time out there capturing great images, which in the end is where we all want to be.  

-       It’s an obvious and fundamental rule, and is as old as the hills. The Rule of Thirds. Split your image into thirds both horizontally and vertically (like placing a noughts and crosses grid over your image). Align your horizon with one of the horizontal lines and places focal points on one of the intersections, and the result will be a more dynamically composed image.

-       Lead in lines. Use something in the landscape to guide your viewer’s eye through the image, roads, rivers, rocks and waves are all good examples. Just be careful that your leading lines don’t lead your viewer off the edge of the image.

-       Foreground interest. Why doesn’t your image ever look as you remember it, why is it flat and two dimensional? Probably because there’s nothing present to give it the depth that it needs to successfully recreate the scene as you recall it. Make sure your foreground has interest, but make sure it’s in harmony with the rest of the image. No foreground at all, is better than a clichéd rock placed there for the sake of it!

-       Move your eye around frame. Take your time, and ensure that there are no distractions, such as stray branches or litter that can easily be moved before exposing the image.

-       Use your wide angle lenses with care. Wide angles are never for ‘getting it all in’. Used correctly they can deliver shots with incredible impact, but get it wrong and your foreground will be too dominant and the important focal point in the distance will be reduced to a mere dot on the horizon.

-       High or low? Look for alternatives to the eye level shot, and don’t be afraid of getting your knees or elbows dirty. Don’t forget your tripod though!

-       Using a small aperture will ensure the greatest depth of field, but once again don’t forget your tripod!

-       KISS (Keep It Simple Stupid!) – the most effective compositions are always the simplest ones. Pare your composition down to the bare essentials that are needed to convey your intent and you will have a stronger image.

These are simple guidelines that most of us already know, but it’s so easy to forget any one them in the heat of the moment as the wonderful light that you are trying to capture starts to rapidly fade. Don’t forget though that rules are there to be broken, and a more original image can often be created by side stepping the tried and tested methods, so break the rule of thirds or shoot wide open from time to time, but don’t forget to bag the image that adheres to the rules first.

As a final note. If you thought you recognised the image on the front cover of the November 2011 issue of Somerset Life, you did! The Burnham Lighthouse image has always been one of my most popular shots and I was really pleased to see it on the cover this month:

Can you keep track of all the latest camera releases from the major manufacturers? I certainly can’t. In some cases ‘new’ releases are being replaced within months. Take the Panasonic GF2 for example, 4 months is all it lasted before being replaced by the GF3. I can only assume that Panasonic knew they’d dropped the ball with the GF2 almost as soon as it was released. Most photographers realised that the GF2 was, in a lot of ways, a downgrade from the GF1. The GF1 was superb and moved mirrorless cameras forward a giant leap, unlike Nikon’s latest offerings the J1 and V1, which I am still trying to fathom.

Anyway, I’m wandering from my point. Once you’ve decided on your camera system, and whose stable to buy from whether that be Leica, Nikon, Canon, Sony, Lumix, or even Sigma, the main thing to spend that spare cash on that’s burning a hole in your pocket is lenses. This isn’t a secret, and most of you already know this, but the temptation to buy the new camera body for that new feature that most of us will probably never use, is often overwhelmingly powerful. Believe me, I know, I’m certainly not immune!

Good glass is the mainstay of any camera system, and lenses not bodies are what will help you expand your creative possibilities and give you a different look to your images. Contrary to popular belief a new camera does not a better photographer make! New lenses are an investment; while your digital camera body sheds its value more quickly than a dodgy stock market deal, good glass will not. In fact, if you buy well, a good lens will not only serve you for decades, you will have a far more versatile system, and it may well even make you some money when it finally comes time to part ways with it.

Honestly, do you have any idea how much your camera body is depreciating by? Do you realise that lenses often only go up in value? It really is daft to buy fancy cameras and skimp on lenses just to ensure you can afford the next body upgrade. Cameras come and go with astonishing regularity, especially digital which have around two years of model life, while good lenses bought today should still be making you great images 50 years from now. Money spent on digital bodies is money you'll never see again. It's gone in 18 months. Now consider lenses. Lenses you buy today will serve you well for decades to come, and because of this they also hold their value for decades to come and don't cost anywhere near as much as they appear, because you get your money out of them when you're done.

Ansel Adams wrote about this decades ago. Ansel wrote that a first-class lens always holds its value, so it really doesn't cost you anything after you've sold it. I agree: always buy the best lenses you can, and don't worry about the camera body.

Not only are good lenses the best investment financially; great lenses are also more important to making great images than cameras. Lenses rarely wear out. Get what you deserve today and enjoy.

There’s an ‘app for everything’, right? Well, almost everything. To save you the bother of sifting through all the rubbish (and there is some real rubbish out there) I’ve done the research for you, and found the diamonds in the rough. What follows is a list of what I believe to be the 5 most valuable iPhone/iTouch/iPad apps for landscape photographers.

-          The Photographers Ephemeris - £5.49, Crookneck Consulting LLC

Absolutely without question the most useful five quid you can spend. It gives you the direction and time of the sun and moon rise and set wherever you are in the world in an easy to use map format that will be instantly familiar to most people. It’s superbly designed and easy to use, and importantly allows you to plan your shoots before you set foot out the door. Don’t bother with similar apps that are available, get this one you won’t regret it if you’re serious about landscape photography.

-          World Tides 2011 - £1.19, Brainware

When undertaking coastal shoots, knowing the comings and goings of the water around our coast is essential. This app, especially when used in conjunction with The Photographers Ephemeris, is vital for planning shoots to ensure that you don’t arrive at a location to find vast expanses of sand and rock when you really needed crashing waves! There are free versions out there like Marine Day Tides that do the same job, but I like the interface that Brainware have put together for this app. The only let down is that you need to buy a new version every year.

-          Longtime Exposure Calculator - £FREE, HPR-Solutions

Forget manual calculations or walking around with tatty bits of paper with lots of numbers on, all you need to do to calculate your final exposure is punch in the shutter speed without filter, add the filter strength, and out pops the correct shutter speed. Since the introduction of the 10 stop filter by manufacturers like Lee or Heliopan or for anyone (like me) who still uses a handheld spot meter this app saves a lot of brain ache, and best of all it’s free!

-          Met Office Weather - £FREE, Met Office

No one likes getting wet, but sometimes venturing out in the rain is the way to better images. This app at least gives you a fighting chance of dodging the showers. It’s free, has a good interface, looks pretty and is produced by The Great Sage of all weather forecasting – the Met Office.

-          Photoshop Express - £FREE, Adobe

I don’t need to say a lot about this. It’s a baby version of Photoshop, don’t expect much in the way of tools or functionality after all, the app is free and the iPhone is certainly not the place for serious photo editing. But it is fun, and I’ve killed countless hours fiddling with it, while waiting for the light on the landscape to works its magic.

There are plenty of other useful and fun apps. For example iGeology from the BGS is really interesting, and the Flikr app is vital for keeping up to date on the move if you use Flikr, to name just two more (both are free). If you are aware of any other apps that you believe deserve a place on this list feel free to list them in the comments below. Thanks for reading.

In no particular order these are my top 10 tips for better landscape photography.

1)     Get up early and stay out late. Make use of the golden hour, just before and after sunrise or sunset. This is the best time for landscape photography; the low angle of the sun picks out shapes and reveals textures in the landscape.

2)     There are three golden rules that help when composing an image. Use the rule of thirds to aid the placement of major focal points, or the horizon in an image. If possible, include some foreground interest to give a sense of scale and depth. Look for leading lines that will guide your viewer through the image.

3)     Don’t be bound by the above three rules, and don’t be afraid to break them! A clichéd foreground rock or lines leading in the wrong direction (or even worse out of the frame) are best avoided.

4)     Use a tripod. It will slow down your pace of working, but that’s a good thing because it will ultimately lead to more considered and fewer shots. Only put your camera on the tripod when you actually have a shot worth taking it will give you more flexibility when looking for the best compositions.

5)     Try working at a fixed focal length for example 24 or 35mm. It will help refine your compositional skills, and make you consider what’s important in an image. It will also mean that you avoid zooming out – just to fit it all in. I work exclusively at 35 or 90mm and have never looked back.

6)     Work the whole composition, and don’t be in a hurry to move on to move on to the next location. Take multiple exposures of the same location as the light changes. If you go home with one good shot from a shoot it’s been worth it. Wouldn’t you rather catch one big fish, than a load of tiddlers?

7)     Spend more time looking, considering, and researching locations than taking pictures. Look for interesting and shapes, textures, colours, and forms. Don’t forget the smaller details as well as the grand vistas. Walking further doesn’t always guarantee a better location or picture.

8)     Get the image right in camera, don’t rely on post processing and editing to produce a workable image. Spend time nailing the exposure, and ‘expose for the right’ of the histogram (without losing highlight detail) to ensure the best details and lowest noise levels in the shadows. Break out the neutral density graduated filters to reign in the dynamic range of an image and help to ensure that you bag the image in one shot.

9)     Now the obvious ones! Use smaller apertures for greatest depth of field, focus using the hyperfocal distance (if possible) to get as much of the image sharp as possible, and always shoot using RAW if your camera has the capability.

10)  Develop your own style and vision. Look for non standard viewpoints. Although don’t be afraid to take cues from other photographers. When you do, ask yourself what it is that you like or dislike about an image, it will help you to develop your own way of thinking and viewing a scene.

I hope these are useful pointers. All of these points and a whole lot more are covered in greater detail as part of the Finch Photography landscape photography course . Thanks for reading, comments are always welcomed.

I set myself a challenge last weekend, to go out and shoot solely with my 90mm f/2.8 Tele-Elmarit. It’s a lens that I don’t use often enough, and I was so invigorated by the results that it spurred me on to write this mini review!

90mm is an excellent focal length for portraits, quasi-macro shooting (i.e. flowers), or even for landscapes, and despite its long (in rangefinder terms) focal length it makes for a very small setup, which has always been one of the primary reasons for me choosing to shoot with  a rangefinder over an SLR.

The ‘Tele’ moniker, or “Telephoto” simply means that the physical length is shorter than the focal length, the lens incorporates a “telephoto group” of glass elements that makes this possible.

The lens is very small and compact, and was either made in Canada (earlier models), or in Germany (later models). It only weighs 226 grams, gets smaller towards the front, and has no focusing tab. It uses tiny E39 (39mm) filters, which is important for me because it matches my 35mm f2 Summicron and means that I only need to carry one set of filters. The aperture adjustment ring clicks beautifully with finger tip precision in half-stops from f/2.8 to f/16.

The lens is optically a very simple design with a minimum focusing distance of around 1m. The construction is typical, all metal, Leica construction. When purchasing this lens used (which is the only way now, since production stopped in 1990!) make sure to check the rear elements for etching caused by moisture corroding the glass. If you see anything, walk on.

This LEICA 90mm Tele-Elmarit f/2.8 is sharp and contrasty, even at f/2.8, and produces superbly rendered, well saturated colours. In term of the bokeh, at f/2.8 everything is circular which makes for a good background for a portrait. At f/4 you can see the shape of the aperture generating shaped blur circles, and at f/5.6 the blades create a shape that certainly create interest in the out of focus parts of your image. The Tele-Elmarit is always sharp in the center. At f/2.8 and f/4 the corners are a little softer but it is no softer than a zoom. In my tests optimum sharpness is reached at f/5.6, with f/8 still being fine. I’m wary of the smaller apertures though because defraction does become an issue.

Conclusion: A well priced, well built, compact, 90mm lens offering excellent image quality.

I think it's fair to say that the weather has been somewhat indifferent of late, but as the forecast for Monday morning suggested clear skies and mist I thought it would be worth a shot. So, at 04:30am I dragged myself out of bed, and peeked bleary eyed through the curtains to be greeted with twinking stars and some very thin whisps of high level cloud - game on!

As I headed for the hills, for once the forecast was correct, there was certainly mist, a little too much of it. Still, beggars can't be choosers, so by 05:30 I could be found scrambling up the side of the Mendip Hills in the foggy darkness. I often wonder what I would actually do if I bumped into somebody else at this time in the morning, in these light levels, on the side of a pretty inhospitable hillside. Would I greet them with a cheery "hello" and carry on my way, or would I do my best to avoid them (possibly even diving into the nearest bush to remain undetected) because, after all, what sort of weirdo goes hill walking at this time in the morning? Oh yeh, me. If it ever happens I'll be sure to let you know.

The further I climbed the more the mist thinned and as I reached the summit the first light of the sunrise was just starting to glow on the eastern horizon. As I found my spot on Crook Peak, as if by magic and bang on cue, the mist settled into the valeys and low lying areas all around me. As the sun rose over the horizon it cast golden rays over the landscape and lit the top layers of the mist. The scene before me was transformed. Yes, maybe the mist was a bit too thick this morning, but it's times like this that are really worth living for. Wherever, I looked there was the potential for an image all I needed to swing the camera round a few degrees, and as the sun rose and started to burn into the mist in the valleys below a fresh set of opportunities presented themselves. There really was nowhere else I would rather have been........

Sorry  if this all sounds a little contrived. It's difficult not to when things just come together perfectly, it happens so rarely! The results can be seen here http://www.finchphotography.co.uk/Somerset-and-Bristol-Gallery(2385348).htm

Ask anyone who knows me and I would hope that they would tell you that I'm not a Leica snob. I state in my Leica M9 Review , I have no Leica history, I simply choose to use the system for it's unrivaled combination of size, image quality, and versatility (in my opinion).

However, when I first got wind that Ricoh were launching an M Mount module for their GXR system camera I may have been somewhat dismissive of it and was certainly at risk of sounding like your typical Leica bore or snob, and this troubled me. So I decided it was time to take a closer look. The problem for me was that the Micros Four Thirds crowd have had M Mounts available for a while now, but for a number of reasons these have always represented too much of a compromise for me.

But on closer inspection the Ricoh offering may be different:

Ricoh GXR Mount A12 specification highlights

• 12MP APS-C CMOS sensor with no anti-aliasing filter - this is good news. Not full frame unfortunately, but a proper sized sensor, and no AA filter is a brave move in an attempt to retain the detail that will be available from the lenses being stuck in front of it. We'll just have to wait and see how it deals with moire.
• ISO 200-3200 in 1/3EV increments - As a landscape photographer I don't care about high ISO, and in combination with fast apertures like f/2 ISO800-1000 is normally fast enough in most lighting conditions anyway. ISO200 is perhaps a bit fast for a base ISO, but it isn't uncommon these days and is only a third of stop faster than the M9's base ISO.
• Focus assist view for manual focusing - good, hope it handles well.
• 1/4000 - 180s shutter speed (1/8000th - 1s in electronic shutter mode) - good that 1/8000th will now be accessible (that's an extra stop compared to the M9), but 180s is not particularly versatile or long enough for long exposure work.
• 720p30 HD movie recording - not really interested in this. And I doubt it will be much use in combination with manual focus anyway.
• User-defined distortion, vignetting and corner color correction, recordable for multiple lenses - good, once set up if it works well, but if it doesn't it's all easily corrected in post processing anyway.

Other highlights include DNG Raw format, spot metering, and a 3 inch 920K LCD. For me though, the biggest benefit of a system like this will be the ability to use the quality available from M mount lenses in conjunction with a live view/EVF facility. As a rangefinder user with a primary interest in landscape photography the positioning of graduated filters, while possible, can be a real pain. Systems such as this will remove that issue and that has to be a good thing!

So in summary, the APS-C sensor in combination with live view, a good LCD, and the bravery behind dispensing with the AA filter potentially make this a compelling proposition. Cost wise it looks like the unit will cost around £400 with the body costing around £300. While expensive, these are not bank busting numbers and as a back up to my M9 will be worth serious consideration. Due for launch early September.

Those that know me are aware that I honestly believe that good landscape images can be found within a short trip of anyones front door regardless of where you live. It's sometimes just a case of looking at the smaller details or adapting your thinking a little. 

This is fantastic news for Leica M users if it happens and if the quality stacks up. The same ultra wide maximum aperture as the fabled Noctilux but should be at a fraction of the £7K price tag. Fingers crossed..........

To escape the Monday night TV scheduling nightmare that is back to back episodes of Coronation Street and Eastenders I took a quick trip up the road to Clevedon. The results of the trip can be viewed in the Somerset Gallery under 'Clevedon Pier' . For the most part it was uneventful trip but was brightened by the approach of a well meaning old gent whose arrival I could anticipate by the crunch crunch of his feet on the rocks and pebbles on the beach behind me. He had stopped to ask me a question about the pier, apparently because I was taking a photo of it I should also be the font of all knowledge pertaining to it. His arrival was timed to coincide with the mid point of a 50 second exposure, and he chose to stand so close to my tripod that the resulting mini landslide of stones and pebbles opended up a small hole on the beach into which one of the legs of my tripod then slowly descended, just stopping short of keeling over completely. Still, he was hugely apologetic and we could both see the funny side when viewing the rather distorted results.................