20 25 May 2019 I http://www.amateurphotographer.co.uk I subscribe 0330 333 1113
Technique SEASCAPES
Weather
I often fi nd that my best work comes from rainy
days or changeable weather. The rule ‘interesting
weather leads to interesting images’ (not that I
believe in rules) applies here. Rain pouring from
the sky backlit makes for emotive images; long-
exposure coupled with rain lends a beautiful misty
softness to your images. If it rains, wait; watch the
clouds and keep your camera covered with a
chamois leather or umbrella until the weather
moves from over your head and fi lls the viewfi nder
with drama!Paul Sanders
Paul Sanders is a professional landscape
photographer based in Kent. Formerly picture editor
of The Times, he now specialises in mindful image
creation, workshops and exhibiting his work. Visit
http://www.paulsanders.biz.THE COAST has an incredible allure
for me – currently I am writing this
sitting inside my camper van on a
beach in Cornwall. I fi nd the rhythm
of the waves calming but exhilarating,
and I just can’t help but be inspired.
The distant horizon and quickly
changing light mesmerise me as I
wait, just wait for the moment when
the light, waves and my heart are in
total synchronisation; the spray on
my skin, tang of salt on my tongue
and roar of the waves all bring the
experience of photographing on the
coast to every sense I have.
For me it’s the space, light and time
that I try to capture in my images,
most of which are longish exposures.
When the camera is shooting I even
close my eyes and just listen, simply
feeling the location. For me that’s
what coastal photography is: feeling
and expressing the emotional reaction
that I have to the location around me.
It is a total immersion experience –
excuse the pun! Take your time
Rushing to a location, as the light is just right,
rarely results in successful images. I often arrive
hours before to get a feel for what’s in front of me
without prejudgement. When you take your time
you see more. Photographer Minor White said: ‘Be
still until the object of your attention affi rms your
presence’, so be patient and the pictures will come
to you. Don’t run up and down the beach like a
lunatic taking pictures of everything; concentrate
on one thing and when you have that in the bag
move on or just go home.Space and light
Give the coast room in pictures; I’m a huge fan of negative space. The waves need
room to move; that feeling of the horizon being miles away or even invisible requires
space. Space can make the smallest focal point speak louder than if you fi ll the frame
with something like a lighthouse, for example. Try to imagine how the object appears to
people at sea or what you are trying to say with the image. A lighthouse may be huge
to us but to a sailor it’s a tiny beacon, warning of danger or giving a little bit of hope in
the worst storms. So think about more than just the photograph – think about the
relationship the subject has with the coast.
It’s not just about water
Wonderful images can be made from
other areas of the beach: beach huts,
marram grasses, life-saving equipment,
old or even new boats. All these make
fantastic subjects should the light not be
falling on the main event. Often I’ll fi nd
myself entranced by bits of rope, lobster
pots or a lifebuoy, looking for rhythm and
patterns or just a moment of simplicity.
Flags blowing with the wind capture a
sense of place and weather, for instance.ALL PICTURES ON PAGES 20-21 © PAUL SANDERS