Landscape Photographer of the Year 2018

                          Commended in Landscape Photographer of the Year 2018

First off I’d just like to say a big congratulations to everyone else who was successful in this year’s competition. Some of the images I’ve seen have been world-class, and I’ve been getting a case of ‘imposter syndrome’ looking at them all.

I’ve been fortunate to have had a good amount of success in national photography competitions over the past few years, with multiple images awarded in the British Wildlife Photography Awards, the Scottish Landscape Photographer of the Year etc.

However up until this year I’ve never had any success with the Take a View Landscape Photographer of the Year competition. It is one of the most prestigious competitions of its kind in the world, and it gets tens of thousands of entries every year. It is brutally competitive, and every year there are many exceptionally fine images which don’t make the final cut. Indeed the chances of an image being successful are so low that I’ve only bothered entering perhaps 3 times. No matter how good your work is, it’s a lottery.

It was lovely to get the email letting me know one of my images had been Commended this year. It’s one of my favourite ever mountain images, and it holds some personal significance which I won’t bother going into just now. I also had another image shortlisted, even though in my opinion it was one of my weaker entries.

Photography competitions are funny things, and I sometimes find myself disliking them a fair amount. There’s a couple of things which don’t sit right with me with LPOTY, such as there never having been a female overall winner (!) I have specific qualms about most of the big national competitions, but I’m not going to go into details.

That having been said, in general I think they are a positive part of the photography world. I think the process of entering competitions can help you refine your work, and get a clearer idea of which of your images have immediate impact, and which are ‘growers’. From my own perspective, as someone who now makes most of their living from photography, success in competitions has helped me get here. My first Highly Commended image in the British Wildlife Photography Awards gave me a big confidence boost, and encouraged me to work harder at what I needed to.

It’s a slightly odd feeling, but success in LPOTY this year has been largely overshadowed by more exciting things currently happening in my photography world! More on this soon.

If you love photography I strongly encourage you to have a look at the winning and commended photographer’s images, there is some stunning work included. The book will be available soon.



Seven months ago I lost my dad to cancer. I’d had a while to try and prepare myself, to build emotional muscle for what we could see was probably coming. There were many reasons to be as strong as possible during it all, but of of course, the enormity of the change that came had a huge effect on me.

I made sure I did what everybody advised me to do – to allow myself to feel the things I needed to feel. Some days I was fine. Others not so much. One cold winter’s day, the sort when it never really gets light, I found myself starting to spiral rapidly downwards. Everything felt bleak.

Aimlessly driving around on country roads near my home, feeling like crying but oddly unable to, I had a random urge to visit a woodland I’d been meaning to explore for the previous few weeks. I pulled up and parked the car, automatically slinging my camera bag over my shoulder. Every so slowly, it started to snow.

Ten minutes later I was walking amongst one of the most beautiful ancient woodlands I’ve ever seen in Scotland. With hindsight, looking back on it after a few months, what happened for the next two hours is something of a surreal, blurred memory. I took out my camera and started shooting, in a way lacking in process or method that I can recognise. However silly it sounds, it feels like I entered an almost dream-like state.

I didn’t look at my images at the time. I spent the rest of the day, and most of the next day, hiding from the world in my bed. Two days later, however, I went back. And again a few days later. I couldn’t get the place out of my mind.

It took me a little while to realise, but in some way or another, letting myself loose in this wood with my camera was helping me to grieve. I’m still not really sure how it helped, or why, but it did. Perhaps it took me back to being 8 years old again, walking in the woods in Cambridgeshire with my dad as he taught me how to use a film SLR.

All the following images are taken from this woodland, over the space of a handful of days spread over several months. I’m not sure if they have any real photographic merit, but that it isn’t the point. It would be interesting to see what other people see in them, if anything.

Visiting the wood with my camera still helps me seven months on.

(All images taken on a Nikon D750, and 24mm 1.8, 50mm 1.8 and 85mm 1.8 lenses).

Time of plenty

The winter that has just ended has been very difficult for me on a personal level (more on that in a coming post). That aside, it has been a spectacular few months in the Highlands and in terms of photography it has been my most successful winter of the past decade. I spent many weeks guiding back-to-back photography workshops and was largely blessed with cold, snowy conditions both on the hills and in the glens.

When I wasn’t guiding I managed to sneak in some of the best winter days on the mountains I’ve ever had. The North West Highlands featured heavily in my winter, and for weeks the hills there were in the best condition I’ve seen for 5 years.

Here’s some of my favourite images from winter 2017/18. I have to pinch myself when I say many of these were taken whilst working, and I’m certainly counting my blessings.



The British Wildlife Photography Awards 2017

Last year I managed to sneak a landscape image into the British Wildlife Photography Awards exhibition and book. I was delighted, but this year I’m very pleased to have had an actual wildlife image Highly Commended.

‘Wave Break’ is probably my favourite wildlife image from the past few years. Nothing about it was planned or pre-visualised, it was entirely reactive to an opportunity that presented itself for a brief few seconds. It is the polar opposite of the kind of wildlife photography that has provided much of my income this year, which mainly involved long hours waiting for pine martens.

It was great to see lots of familiar faces at the awards event at the Mall Galleries in London, and like last year I was humbled by the quality of work on display. The book is a big, gorgeous, coffee-table style hardback, and it was great to see that my image had been given a double page spread near the front of the book.

I’m so impressed so many of the images that made it into the book that there’s far too many photographers for me to mention. However I must quickly mention –
– Ben Andrew for his winning series in the British Seasons category. Four exceptional blends of wildlife and landscape – just wow.
– Caron Steele for her winning gannet image – one to stare into for a while
– Robin Goodlad’s otter image is beautiful and hilarious in equal measure.
– Steve Palmer for his winning Botanical Britain image. Wonderfully effective.
– Alex Hyde for his vibrant, mind-expanding insight into a square inch from a garden pond.

Also great to catch up/talk with Anthony Spencer, Andy Howard, John Moncrieff, Matt Cattell, Duncan Eames and plenty of others, and see the variety of work they had contributed to the final cut.

A final congratulations to Daniel Trim for his worthy overall winning image.

A win in Scottish Landscape Photographer of the Year

Scottish Landscape Photographer of the Year – Four Seasons Award winner (Autumn)

Last October was a month I will remember with intense clarity. My dad was fighting an aggressive cancer, some big changes were happening in my work and social life, and I was in the depths of a fairly intense period of mental illness.

Everything felt to be crumbling, yet something new and good was stirring inside me. After a summer of commissioned photography work, I had a short few weeks free for some personal photography before the start of the winter wildlife guiding season. Perhaps it was inspiration born from a need to escape, but I found myself fixated with shape and form in a way that had never happened to me before. I shot almost everything on the same lens and for a short while everything seemed effortless, and October 2016 became the single most successful month of photography I’ve ever had. (Read more in this interview with TGO Magazine).

It also marks the point at which photography really started to become a major part of how I make my living, and consequently the start of a total change in how I perceive myself as a photographer.
Making the grade, paying my way

In all truth I can find working in photography immensely intimidating. There’s an endless number of brilliantly talented photographers out there, all now able to share their work far and wide every day via the internet. I often find myself swamped in self-doubt at my own abilities and wondering if I have any hope of keeping up. ‘Standing out from the crowd’ for me has now evolved from being a simple case of seeking recognition, to being a crucial part of sustaining my income.

We enter competitions in search of validation of our talents. I try not to take them too seriously, but they become just a little bit addictive once you’ve seen some success.

It was huge surprise when I got the email informing me that I was one of the category winners in Scottish Landscape Photographer of the Year. I’m honoured to have been chosen amongst an exceptionally talented collection of photographers. It isn’t my first success in a major national competition, but to echo something Lee Acaster said in his latest blog, there is something really special about seeing your images in the big coffee table books produced by these awards.

I have been overwhelmed by the response I’ve had to the image since the results were announced. In particular I’m delighted that so many people have said the image ‘draws you in’, as that was my intent. I was looking to convey seductive silence rather than vibrancy.

And now, a few weeks after the initial euphoria, what has come from this win? If anything it’s given me a renewed energy to try harder, keep on my toes, and make the absolute most of being able to follow a childhood dream.

Congratulations to all the other winners and commended photographers – particularly Nick Hanson, Christopher Swan, Dylan Nardini, Lizzie Shepherd and Greg Whitton, all of whose work I greatly admire, and fellow TGO Magazine contributors Dougie Cunningham, Damien Shields and Stewart Smith.
Image technical notes
Nikon D7200
Shot on the (ever wonderful) Nikon 50mm f/1.8g
1/40 sec at f/8
ISO 320

Black Isle Photography Hides Winter Tour 2017

Mountain hare

I’ve just finished a few days guiding for Black Isle Photography Hides Winter Tour 2017. Almost all of my work since the summer has been landscape based commissions for outdoors magazines, so I’d been looking forward to some wildlife guiding again for a while.

So far the defining this about this winter has been the lack of it. Snow has been largely non-existent in the Highlands apart from on the the highest ground. We knew this could be a bit of a disappointment for our group of 5 clients, and with this in mind it was our job to seek out the best possible light and conditions in which to photograph the target species.

Crested titA crested tit in exceptional light in the Black Isle woods

With the winds forecast to increase every day throughout the week, we started with the most difficult day first and headed up high into the Cairngorms to look for ptarmigan. The whole group did brilliantly and put in a determined effort in an environment outside of their comfort zone. A flock of around 30-40 ptarmigan was the reward, as well as being amongst the winter splendour of the mountains.

Black Isle Hides winter tour 2017The group in ptarmigan country.

Northern CorriesSome winter mountaineers on the ridge line

Mountain hares are always a highlight of a wildlife photography trip to the Highlands, so with the winds still looking reasonable on the hills we decided to head up high again the next day. Everyone had a superb day of photography, with the words ‘this is unbelievable’ being whispered more than a few times as memory cards were filled with hare portraits. A last-minute golden eagle was a bonus and a fiery sunset over the Beauly Firth rounded things off nicely.

Mountain hareMountain hares were a highlight of the week for the whole group. 

Mountain hare

Mountain hare

With the winds picking up we opted to stay low for the rest of the week and spend some time in the hides and forest sites on the Black Isle. Some very early starts allowed us close views of red squirrels in warm dawn light.

Red squirrel

Red squirrel

BullfinchWe had bonus views of bullfinches, buzzards and hundreds of pink-footed geese from the red squirrel hides.

In the afternoons we changed location to a different part of the forest in order to photograph crested tits. In the UK these tiny and charismatic birds are only found in the pinewoods of northern Scotland, with the Black Isle being one of their strongholds. They are an addictive species to photograph, especially in the exceptional light we were treated to on one of the evenings at the site. Good views of greater-spotted woodpeckers, ravens and bullfinches were an added bonus, and two of the group photographed red kites for the first time a few miles down the road.

Crested tit

Crested tit

Greater-spotted woodpecker

Crested tit photography

Black Isle woodlands

It is always a pleasure to share what we have in the Highlands with others. Thanks to Erica, Helen, John, Paul and Robin for being a pleasure to guide, the Priory Hotel in Beauly for their hospitality and to James Moore at Black Isle Hides for the work as usual.

We will be running another Winter Wildlife Tour in early 2018. For bookings and information, please visit

Black Isle Photography Hides runs wildlife photography tours, guiding and hide rental on the Black Isle, in the Cairngorms National Park and along the North Coast 500 route. 

The British Wildlife Photography Awards 2016

'Highly Commended' - British Wildlife Photography Awards 2016Highly Commended – British Wildlife Photography Awards 2016 (Wild Woods category)

As a pair of newly fledged winter climbers visiting the Cairngorms in 2007, Alex and I hadn’t intended to spend so much time looking at trees. We had got in one good day of climbing and it had been everything I’d hoped it would be, but a decline in the weather shut down any further attempts to get up into the mountains. Slightly dejected, we decided to go for a walk in the woods instead.

Contingency plans can be so underwhelming, but Rothiemurchus Forest had us enchanted. It was a winter landscape unlike anything we’d seen as teenagers growing up in East Anglia.  Every lochan we passed was frozen hard and sparkling white, and a light dusting of frost covered the endless ‘beards’ of lichen hanging from tree limbs all around us. There were scots pines as twisted and grand as the English oaks in the woods back home.

Half an hour into the walk, I set eyes on a view which seemed like the most perfect marriage of woodland and mountain. Caledonian pine forest stretched for miles towards the drama of the Lairig Ghru, before gently thinning into heather, and then the near-tundra of the plateau above. I didn’t know it at the time, but there are few other places in Scotland where forest and mountains flow into each other in such a way. In fact, one is often absent in the presence of the other. At the time I had little idea of the significance of this type of view in the UK, and what battle-grounds the subjects of land management, re-wilding, and National Parks were becoming in Scotland.

As my knowledge of these issues has grown over the past few years, I’ve thought repeatedly about that first glimpse and I’ve returned time and again in the winter months to that view. I wanted an image that showed the forest as part of the mountains, and vice versa – the way that it is in this place, but only just. I wanted heavy snow cover throughout, and for the clouds to be as much a part of the woods as they are the hills. For several years it was too much to ask, with one if not all of the elements missing whenever I visited the viewpoint.

When everything finally came together last winter I was surprised to say the least. I was delighted to see a mist layer there at all, but when it shifted slightly to reveal the patchy forest extending onto the hill on the right of the frame I was ecstatic. This image is intended to show how the Highland’s mountains and woodlands do not need to be separate entities, and how indeed they must not be if positive change is to come to upland land stewardship in Scotland.

I had four images short-listed in the British Wildlife Photography Awards this year, but I’m happy that it was this image of the Cairngorms that ended up in the book, the exhibition and the calendar. It shows a landscape that has become the focal point of some of the most pressing issues of the day for Scottish wildlife, wild land and the people that live and work in our upland areas.

British Wildlife Photography Awards 2016At the awards event at the Mall Galleries in London.

Below are the three other short-listed images.
For more images from the BWPA, info on the exhibition tour and buying the book, look here

Short-listed - British Wildlife Photography Awards 2016Short-listed – Wildlife Portrait category. A mountain hare at rest in flowering heather in the Monadhliath hills.

Short-listed - British Wildlife Photography Awards 2016Short-listed – Wildlife Behaviour category. An adult female bottlenose dolphin hunting Atlantic salmon in the Inner Moray Firth.

Short-listed - British Wildlife Photography Awards 2016Short-listed – Wild Woods category. Ancient oak woodland in Derbyshire, England.