Things you need to know
Britain’s foremost national park is a landscape photographer’s dream, but whether it’s on your doorstep or a once-in-a-lifetime trip, it pays to heed our advice before setting out
The Lake District offers a rich tapestry of natural beauty and diverse landscapes, providing a plethora of subjects for landscape photographers. Few destinations in the United Kingdom boast the convergence of stunning lakes, scenic valleys, verdant forests, impressive waterfalls, charming tarns, towering mountains, and even coastal beauty.
The area stands as a unique haven that encompasses all these elements, making it a photogenic hotspot for visitors eager to capture its diverse and alluring landscapes.
Introduction to Lake District photography
The majority of tourists capture a few snapshots as a keepsake of their visit. More committed photographers come with the sole purpose of delving into the region’s photographic possibilities. These enthusiasts rise early and extend their stay into the late hours, seizing those golden moments when the interplay of landscape and light converges to create a striking and dramatic effect. Getting the best out of surrounding scenery involves a combination of advanced planning, technical proficiency and creative approach. This, in practice, means researching chosen locations, identifying points of interest, checking the weather forecast to anticipate best lighting conditions and considering the application of different compositional techniques, which may sometimes also require minor refinements in post-processing.
Whether it’s your first trip to the Lake District or you are regular visitor, a beginner photographer or a seasoned pro, I will point you to some of the best locations and offer technical advice on how to best photograph them. Hopefully, this will inspire you to explore the limitless photographic possibilities of the compelling Cumbrian landscapes.
Best landscape photography locations
Numerous locations await exploration, revealing natural marvels and beauty at every twist and turn. For iconic lake vistas, Coniston Water and Windermere stand out – particularly during misty autumn mornings. If you are embarking on your
first fell walk, consider the Catbells or Latrigg Fell as ideal starting points. Renowned as among the Lake District’s favoured easy fells for beginners, both offer a mini-mountain experience with breathtaking views of the surrounding mountains and the picturesque lake of Derwentwater – but opt for an early start to avoid the crowds.
For an awe-inspiring waterfall experience, venture to Aira Force, nestled beside Ullswater. Cascading from beneath a stone arch bridge, the force plummets into a pool 20 metres below. With sunlight piercing through the tree canopy, you may even be fortunate enough to capture a rainbow in the magical mist at the fall’s base.
Heading off the beaten track for an adventure
If you’re feeling adventurous, you can also consider venturing beyond the well-trodden routes and build a more intimate connection with nature. While popular peaks like Skiddaw dominate the landscape, lesser-known fells offer a quieter, unspoiled connection with nature. At Side Pike and Raven Cragg, expansive vistas stretch far beyond the beaten paths. The reward for reaching these remote peaks is a host of panoramic views, offering photographers a unique perspective that captures the vastness of the Lake District.
With sunlight piercing through the tree canopy, you may even be fortunate enough to capture a rainbow in the mist
Venturing into uncharted territories in the Lake District demands a balance of knowledge and courage. If your intention is to photograph such landscapes, thorough preparation is crucial.
Having a car is essential, as relying on local public transport proves challenging at best, and seldom aligns with the optimal arrival times for capturing the best lighting conditions.
Scouting and planning your expedition
To start, consider whether you’re comfortable navigating alone or if a knowledgable guide is necessary. If driving independently, ensure your vehicle is reliable. While in the area, engage with locals for valuable insights – they can often offer indispensable tips. For extended hikes, carry ample food and water, accounting for additional days. If you’re travelling alone, inform someone of your plans. This precaution ensures swift action in case of any accident. If you’re embarking on multi-day journeys, good quality essentials like a backpack, mattress, tent and sleeping bag are imperative. The specific items you’ll need will depend on the location, duration and anticipated conditions.
When it comes to camera equipment, take a second camera body for back-up and convenience – dedicating one for wide-angle lenses, the other for telephotos. This eliminates the need for lens changes in potentially dusty environments.
What’s the weather doing? There’s an app for that
The weather, sun position and tidal changes are vital considerations. Use photo apps like Photopills (www.photopills.com) for planning journeys that account for where the sun will be at what time of day and for astrophotography on clear nights. Crossreference meteorological information with reliable sources. Try Accuweather (www.accuweather.com)
and the Met Office (www.metoffice.gov.uk) for a detailed breakdown of temperature, cloud cover, wind and visibility. There are several apps that offer tidal information and additional insights on moon phases, sunrise and sunset, and the tide times (www.tidetimes.org.uk) website is invaluable. With meticulous planning and the right resources, navigating the challenges of remote countryside photography becomes a rewarding endeavour.
Navigating the Lakes for the best landscapes
Local roads are generally well-maintained, but their narrow and winding nature requires caution. There are steep mountain passes, with Hardknott and Wrynose presenting the most challenging driving conditions – complete with hairpin bends, blind summits and steep inclines. Before beginning the journey to these regions, it is important to ensure your vehicle is in optimal condition.
A good rule for driving in the Lakes is to ‘expect the unexpected’. Weather conditions can change quickly and can rapidly render roads impassable – temporary flooding might close some minor routes and higher roads and mountain passes are often left untreated for days in the winter, so carry extra clothing, food and drink in case you get caught out.
This also applies to camping in the mountains – the weather in the hills, even in the summer, is dramatically different from the valleys. Always carry waterproofs, extra warm clothing, map, compass and a mobile phone. If you’re wild camping, the rule of thumb in the Lake District is that you can camp anywhere above the highest fell wall, leaving no sign of you having been there.
Capturing the essence of a season in the Lake District involves exploring the transformations in the landscape that occur during specific times of the year. This requires an understanding of the season’s unique characteristics, encompassing its weather, light, colour and demands on your camera skills. The approach to seasonal landscapes is a two-fold process, requiring both keen observation to appreciate what makes each season special and the knowledge of how to effectively document it with your camera.
Changing seasons and different challenges
Landscape photographers often engage in varied discussions about weather, and I firmly believe there’s no such thing as inherently good or bad weather. Each set of seasonal conditions presents distinct challenges and opportunities. However, it’s acknowledged that certain conditions can yield more dramatic captures, and the skill lies in recognizing and pursuing these opportunities as they unfold.
In autumn, Cumbrian weather tends to be variable, offering numerous fantastic opportunities. Cold nights can result in mist at dawn, particularly in areas overlooking valleys, rivers and lakes. Following stormy November weather that sweeps away the remnants of autumn colours, plunging temperatures coincide with misty inversions and air frosts, creating a picturesque coating of white on trees and shrubs that transforms the landscape. The enchantment continues into winter, where snow-covered vistas, bathed in the soft glow of low winter light, provide stunning visual experiences. With the arrival of
I want to highlight key factors that play a pivotal role in my personal approach to Cumbrian landscapes
spring, temperatures rise and nature begins to stir but occasional frosty mornings can still occur, much like in winter. It’s advisable to monitor high-pressure systems and temperature forecasts during this period. Summer often brings hazy, late afternoons that work with coastal landscapes. Wildflowers, such as thrift, for example, and heather, can add captivating foreground interest.
Master the art of composition
Well before delving into landscape photography, my passion was deeply rooted in painting landscapes. I’ve observed that both endeavours are guided by a shared set of universal principles pertaining to composition and its subsequent elements, such as colour, shape, space and light. While there is much to discuss about composition, I don’t aim to delve into every technique. Instead, I want to highlight key factors that play a pivotal role in my personal approach to Cumbrian landscapes.
In my view, the personality of any image is richly expressed through the interplay of colour, light and arrangement concerning the subject. When seeking compositions, I often try to adopt the mindset of a painter, shaping scenes, focusing on these elements.
Succeed with the ‘colour wheel’
Taking colour as an initial example, I draw principles from the ‘colour wheel’ to evoke the desired mood. For heightened drama, I explore contrasting colours, such as orange and purple, blue and yellow, or red and green. For a more subtle and delicate atmosphere, I seek arrangements of colours that result in low contrast, such as blue/purple and green, green and yellow, or red/orange and yellow. The intentional predominance of specific colours within my composition serves to accentuate a particular mood or highlight distinctive features.
Similarly, I actively seek the ‘right light’ to craft my compositions. Attention is dedicated to shadows and contrast, as they contribute to the perception of depth and shape. My landscapes often utilize unidirectional light from the side or behind, typically found during the golden hour. However, I’m open to experimenting with other light types, and a favourite is the soft, diffused light present during foggy conditions or the blue hour.
The choice of light direction holds significance, as it aids in achieving the desired mood. In the Lake District, I look for radiant light that aligns with a tranquil and uplifting atmosphere.
I have always held the belief that much like painters – who are recognized for their consistent tendencies, unique styles and brush strokes – landscape photographers can develop distinctive post-processing styles. Post-processing has no definitive right or wrong; it is shaped by your subjective vision and your skill in extracting the best from your image.
The elements of light and colour
Two initial elements that immediately capture my attention in any landscape image are light and colour. How these elements are manipulated defines one’s style and can result in either a successful shot or a poorly executed one. Light and colour play a pivotal role in breathing life into otherwise-dull scenes, allowing the photographer to capture the essential atmosphere crucial in any landscape photography.
In my personal approach to harnessing light and colour, I adopt a two-stage method. Initially, I contemplate which type of light would best convey my subject, and then I strategically choose the specific time and position to capture the desired composition. An early lesson I learned is that preconceived notions about optimal lighting conditions can sometimes hinder the perception and capture of the best possible image. Both light and colour serve as potent tools for communication, influencing mood and shaping compositions. The direction of light significantly affects how a composition is crafted and exposed, while the colour and its temperature play a pivotal role in determining the structure and mood of a scene.
Softly does it between highlights and shadows
The most favourable light isn’t always the most vibrant; at times, it’s the gentle, soft light that proves to be the most dramatic and effective. Soft light, with its ability to ‘wrap’ around the subject and illuminate shadows to a certain degree, presents distinct advantages. It produces diffused, gradual transitions between highlights and shadows, contributing to the shaping of the composition.
Soft light has a notable impact on colour perception, as colour is relative and dependent on its surroundings
Additionally, soft light has a notable impact on colour perception, as colour is relative and dependent on its surroundings. Golden hour light, for instance, often imparts a warm glow that I frequently employ in countryside photography, evoking feelings of happiness and comfort.
Harnessing dynamic range
In the realm of landscapes, especially during the golden hour, a valuable skill is the ability to overcome dynamic range issues. My personal preference involves the use of multiple exposures and subsequent treatment using luminosity masks. I blend no more than three exposures with a onestop difference between each image. This method enables me to create a faithful representation of the various tones, details and lighting observed on location. Luminosity masks, with their selffeathering quality, contribute to a smoother and more natural transition in blending.
Undoubtedly, luminosity masks stand apart from other methods of creating masks in Photoshop. Unlike selection tools that generate hard line selections, luminosity masks provide smooth, graduated transitions, allowing for adjustments without harsh contour lines.
Among my preferred luminosity masks is the manual ‘exposure blending’ technique. While similar to HDR (high dynamic range), exposure blending often produces more realistic-looking results. This method allows for the addition of significantly more detail in both highlights and shadows by combining multiple exposures. The process can be applied to a single Raw file, offering powerful ways to extract intricate details.
Keep it subtle… less is more
Establishing a post-processing workflow for images is a significant step towards the final output. I emphasize the principle that less is often more, and subtle changes can have a profound impact. Remember that not every image requires the same type of post-processing, and the final look of your image reflects how you captured it, composed it and processed it. Even the most adept postprocessing cannot rescue a weak composition, and vice versa. A successful landscape image is an amalgamation of all these elements.
Creating beautiful landscapes sometimes involves pushing the established norms and prevailing trends, even if it means defying conventional rules. Two distinctive techniques that can inspire creativity and yield original results are high-key and low-key photography. Both techniques are known to complement challenging weather conditions, offering the chance to experiment.
Overexpose for high-key images
When overcast conditions prevail with flat, grey light, uninspiring skies, snowy landscapes or foggy scenes, high-key photography can be a compelling choice. This style uses exceptionally bright lighting to diminish or entirely blow out dark shadows in the image, resulting in a positive and calming aesthetic. When shooting high key, camera settings should be configured to intentionally overexpose the scene.
Post-processing of high-key images can involve converting them to black and white initially to assess their potential. Adjustments to Lightroom or Adobe Camera Raw’s Exposure, Highlights, Whites and Contrast sliders are made to achieve the desired effect, pushing the histogram data to the right edge.
Darken it down for low-key photography
In contrast to high-key, low-key photography is characterized by darker tones, often featuring shadowed or black backgrounds. This style creates moody, mysterious, dark and dramatic photos, making it particularly effective in stormy weather. Low key is also frequently employed to emphasize texture in landscapes. This technique is well-suited for capturing subjects with substantial surface texture, such as dunes, rolling hills or mountains. Underexposing the image by adjusting shutter
speed or using ND filters to block light can achieve the desired low-key effect. In post-processing, a useful approach is to make the image entirely black and then gradually brighten it until the natural highlights emerge. Similarly, for shadows, start by making the image entirely white and then slowly reduce the exposure until shadows become visible. The objective is to give equal attention to shadows as to illuminated elements, using light to shape the darkness. Monochrome conversions, where light outlines shape and form, can produce impactful effects in low-key photography.