A second visit to St Finian’s Bay in Kerry delivers unexpected results. Learn how long lens compression, timing, and patience helped capture surfers with the Skellig Islands in the background.
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Getting it right in camera is a core discipline in landscape photography. It is not about eliminating post-processing, nor is it about technical perfection. It is about intent. The aim is to capture a file that already represents the photograph you had in mind, so that editing becomes a controlled refinement rather than an attempt to repair fundamental problems.
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In this blog & video, I test a hybrid ND and polarising filter during a seascape shoot in Kerry. Using the same composition and light, I walk through how different shutter speeds affect wave motion and image balance, from 1/30 second through to four seconds. This is a practical, real-world look at how one filter can replace multiple ND filters, along with the limitations you need to be aware of when using a built-in polariser.
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In this video & Blog, Episode 2 of Volume 3 of Essential Landscape Photography Skills, I break down how a clear workflow supports landscape photography, from preparation and decision-making in the field to consistency over time.
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The shoot was built around using the Sigma 150–600mm and seeing what that focal range allows you to do along the coast. Instead of the islands sitting in the background as small shapes, the lens let me pull wave action right up against them through compression. That’s what made these images possible. Without that reach, the shots simply wouldn’t work.
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The book is finally at the printers. This week I headed to Dublin to film the final stages of COAST being produced, from the cover printing and silver foil being applied, to the machines that will print every page inside. It’s a behind-the-scenes look at the moment where the project stops being digital and starts becoming a real, finished book.
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Comparison influences the way we shoot without us always realising it, and why genuine progress in landscape photography happens far more slowly than most people expect. It comes through attention, repetition, time in the field, and learning to trust your own decisions.
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I finally stopped at a Connemara location I had ignored for years, and the results were stronger than expected. The forecast was flat, the sunrise didn’t appear, yet the scene offered more than enough to build a full set of images. In this new video, I walk through the shoot, the compositions, and the practical lessons from working in low light.
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2025 was a full year on the road, behind the camera, at workshops, and at a desk trying to turn ideas into finished projects.From the 32 Counties challenge, to workshops across Ireland, to launching my first printed book, a lot happened quietly in the background.I’ve put it all into one video. What worked, what nearly didn’t, and what’s coming next.
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If you enjoy seeing how photographs are made in real conditions, across landscapes and wildlife, these are five channels to check out in 2026.
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In this video, I take on a challenge that many photographers avoid — shooting in harsh midday light. Filmed in Killarney National Park on Ross Island, this session shows how to work with bright conditions, manage exposure, and still create strong woodland compositions. Follow along as I chase fleeting light through the forest and prove that good images can be made at any time of day.
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I experimented with the XPan panoramic style using my Canon EOS R in Killarney National Park. I tested how a wider aspect ratio could alter composition and bring fresh perspective to familiar landscapes.
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I return to one of the most interesting viewpoints in Killarney National Park. Peak autumn colour, fast-moving light and a waterfall that drops into a forest with clear views toward Carrauntoohil. This video covers the full session from arrival to final shots, including composition choices, dealing with limited space, working quickly as the light changes, and an unexpected moment when an eagle appeared across the valley. Join me for a detailed look at how I approach days like this in the field.
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I returned to Killarney National Park to photograph Ireland’s iconic Red Deer rut for the first time since 2022. The plan was simple: capture the drama of the stags during peak season.
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Join me on a climb to Ballydavid Head on Ireland’s Dingle Peninsula as I chase fleeting light across the Atlantic.
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The Countdown to the launch of my first printed book on Kickstarter has officially begun and I‘d love for you to be part of it. Here’s an insight into whats instore
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Sunrise on the Dingle Peninsula doesn’t always come easy, but when it does, it’s worth the effort. In this episode, I capture the morning light at Béal Bán Beach, where calm tidal pools reflected the sky in full colour.
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In this Blog/Video, I test Photrus, a weather prediction service built by photographer Christian Irmler. It’s designed to help landscape photographers know when their ideal conditions will occur.
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I’ve been using the Tree Root Tripod for the past three months, and a few people at recent workshops have asked me about it. So, I decided to make this video to go over its design, main features, and how it’s performed for me during that time.
This isn’t a stress test or a technical review — just my honest thoughts on what I like about it, where I think it could be improved, and how it fits into my regular landscape photography setup.
If you’ve been curious about the Tree Root Tripod or are considering something a bit different from a standard tripod, this should help give you a clearer idea of what it offers.
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In this blog, I break down the process of capturing sharp, detailed images of fungi and mushrooms during autumn. Photographing fungi can be challenging — low light, small subjects, and shallow depth of field all make it difficult to get the entire subject sharp.
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