landscape & outdoor photographer
Editing and processing your photos is an important part of the image making process and one that you can’t ignore if you want to get the best from your photography. Choosing the best software for the job often comes down to two options: Adobe Photoshop or Affinity Photo. In my book The Digital Darkroom: The Definitive Guide to Photo Editing, I teach you everything you need to know about photo editing with both types of software through informative and easy-to-follow tutorials.
Middle Black Clough Waterfall in the Peak District is an amazing location for long exposure photography. And with interesting streams leading up to the falls, there are plenty of photo opportunities that could easily keep you busy for a day. The main falls themselves are in a small area, so you’ll need a wide-angle lens to fit everything in. Something like a 16-35mm on full-frame and 10-20mm on APS-C cameras is perfect.
Here’s my image The Fencer on the front cover of the German photography magazine ‘digit!’ at the end of 2012. This has been my most successful image to date, and it’s now available for licensing on 500px Prime. To see my 500px Prime gallery click here.
Synth Sense Perfect Symmetry album cover photography by James Abbott. A macro shot of a moth that has been mirrored to make it, you guessed, perfectly symmetrical.
When I first began working at Practical Photography magazine, I just couldn’t get my head around landscape photography. Portraiture, documentary and even motorsport were fine, but when it came to landscapes I was never happy with the results I produced.
In 2013 I was interviewed about my photo ‘The Fencer’ by the French photography magazine, ‘Savoir Tout Faire en Photographie’. Having interviewed many photographers in the past it was an interesting experience to be on the other side for a change. Here’s the interview in English:
Here’s my portrait of Berghaus sponsored climber Mick Fowler on the cover of February 2015 issue of Trail magazine. There’s an exclusive interview and additional photography inside. The portraits were shot in a small makeshift studio at Mick’s house using four lights, two strip softboxes, an octabox and a honeycomb grid. Fake snow was sprinkled over Mick to create the idea he had just stepped off a mountain with his briefcase.