A dif­fer­ent take on Ash­ness Land­ing

Digital Camera World - - SHOOTOUT -

The jetty at Ash­ness Land­ing – on the op­po­site side of Der­went­wa­ter to Hawes End – is one of the most iconic spots in the Lakes. A quick Google Images search rakes in thou­sands of images of the jetty taken in sub­lime con­di­tions. We didn’t hold out much hope as we made the drive around the lake, but af­ter we’d up for an­other greyed-out jetty shot, the warm evening sun sur­prised us by pierc­ing the clouds… but not for long. “It stopped rain­ing for what seemed like only sec­onds, then we had this mo­ment of light – hal­lelu­jah!” en­thuses Jen­nifer.

“I zoomed the lens out to 14mm to in­clude the whole scene. Shoot­ing hand­held, I took the shut­ter speed down as low as I dared, at 1/80 sec. I could have gone slower still with this wide lens, but I didn’t want any risk of cam­era shake spoil­ing a few pre­cious sec­onds of the sun’s ap­pear­ance.

“I set the aper­ture to f/9, as I wanted to cap­ture the shape and de­tails of the tree­line on the fells in the dis­tance. Us­ing a rel­a­tively small aper­ture also meant that I was re­warded with a sun star! I would have waited for the sun to sink lower in or­der to cap­ture the sun­set, but the clouds were hav­ing their way that day.”

Ex­pert opin­ion

Jen­nifer’s dark, dense treat­ment, along with that sun­burst, cap­tures how it felt on the spot on the day. But per­haps the fore­ground de­tail could have been brought out a touch more in post-pro­duc­tion.

With the chang­ing light of­fer­ing a brief op­por­tu­nity to cap­ture a more punchy im­age of Ash­ness Land­ing, ev­ery­one had to work quickly. Hav­ing shot this lo­ca­tion be­fore, David was quick to take ad­van­tage of the con­di­tions that the pre­vi­ous long spell of dry weather had cre­ated and took his Nikon D850 down to the (lower) wa­ter. “The low wa­ter level gave me my first-ever op­por­tu­nity to shoot from be­neath Ash­ness Land­ing’s jetty with­out get­ting soaked, and the sun­set added dra­matic light,” says David. “I wanted to em­pha­sise the end of the jetty and the wa­ter there, al­low­ing both the fore­ground and the far shore­line to fall out of fo­cus: a tech­nique that forces the eye to seek out the sharpest point, which is where I’m want­ing you to look.”

“I chose an aper­ture of f/2.8 for its shal­low depth of field, and com­bined this with a fast shut­ter speed, as I wanted no move­ment in the wa­ter. I needed to in­crease the ISO to make the most of the low light. Get­ting the cam­era only inches above the lake meant us­ing Live View, too.”

Ex­pert opin­ion

David’s done a ter­rific job of cap­tur­ing the mo­ment here, and his shot oozes mood. His choice to com­bine a low an­gle, a shal­low depth of field and se­lec­tive fo­cus­ing re­ally pulls us into the im­age, and the more un­usual view of such a well-doc­u­mented sub­ject makes this a mem­o­rable im­age.

Chal­lenge 2 Jen­nifer Berry

Chal­lenge 2 David Good­ier

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