Storytelling Through Photography

Creating a set of images that tell a story

My September 2021 online photography talk was held recently, the subject this time Storytelling Through Photography. This is the art of creating a set of images that tell a story about an event, a place or a person, something that is very different from simply shooting high quality stand-alone images. When telling a story, the images must work together as a team, with no single image dominating the others and distracting attention away from the aim of the story.

The talk is now available on You Tube, and so can be watched here. Just click on the image below to launch the video.

The essentials of building a photographic story

The talk runs through a series of tips about how to go about storytelling through photography. These can be summarised as follows:

  • The aim is to create a set of photos that work together as a ‘team’, building the story and without any single photo dominating the collection;
  • Every story has a beginning, a middle and an end. Without these, it is just a collection of uncoordinated images;
  • The beginning should consist of a couple of images that set the scene – the type of environment or general location for instance;
  • The end should again consist of a couple of images that round off the story, giving a summary of what transpired or the end-result of whatever process is described in the story;
  • The middle is the main meat of the story and is the longest section, consisting of a string of images that describe the heart of the story, such as what is happening, arranged in a sequence that a viewer can follow;
  • Production of technical perfection and spectacular stand-out images is secondary: telling the story is paramount. Things often happen so quickly and unexpectedly in a story-telling situation that perfection has to take a back seat. However, if there is time to craft perfect images then so much the better;
  • Report and record what you see impartially – leave any preconceptions or prejudices behind and photograph what you actually see, not what you think you ought to see or what you would like to see. If you want to put a particular slant on a story, do this at the post-photography image editing phase, not during the actual photography.
Storytelling through photography: Philippine crocodile

Examples of storytelling through photography

To illustrate the process of storytelling through photography, the talk uses images from two of Nigel’s own stories: conservation work with the Philippine Crocodile and reindeer herding in Lapland, in the far north of Sweden. These can be summarised as follows:

1. Conservation work with the Philippine Crocodile: This is the world’s most endangererd crocodile, and the photography in this story illustrated the work of the Mabuwaya Foundation in rearing infant crocodiles in captivity and then releasing them back into the wild once they were large enough to fend off predators.

The photography started with a couple of images that set the scene, one showing the forest and lake habitat, another the team of workers involved. The main part of the story then illustrated the work in catching captively reared crocodiles, taking their vital statistics, transporting them into a nearby national park, and then releasing them into a lake. The final images rounded off the story by showing a crocodile being released and then swimming as a free, wild crocodile in the lake.

Storytelling through photography: Philippine crocodile

2. Reindeer herding in Lapland: Every autumn the Sami people in the far north of Sweden round up their reindeer from the mountains, bring them down to lower winter pastures, and temporarily corral them in order to mark out ownership of newborn deer and to kill some of the older males for winter meat.

The photography in this story illustrated the corralling process and the capturing of both young deer and mature males. The story begins with a couple of images that introduce the environment, showing the wild mountains where the reindeer spend the summer, photographed from a helicopter just as the first winter snows arrived. The images of the main story showed thousands of corralled reindeer, with the Sami people picking out and lassooing newborn animals and mature males. The story rounds off with a summary of the family nature of this process, with a picnic once the work is done, including the presence of the family’s pet albino reindeer.

Storytelling through photography: Reindeer herding

The importance of storytelling through photography

Most photographic tuition available in one form or another concentrates on teaching people how to create fantastic single standalone images, but don’t look at the storytelling process at all. This is a shame, since throughout its history telling stories has been one of the most important roles of photography. It is a skill worth cultivating. Hopefully, the tips in this talk will help give you some ideas about how to go about storytelling through photography.

Storytelling through photography: Reindeer herding

The next talk

The next online photography talk will be about macro photography, and will be held on Wednesday 20th October at 8pm (BST). It’s free to join, just click on the link below to fill in and submit the form. This will enable me to send you the link.

Back to top

Blurred Motion Photography

The art of deliberately blurring your subject in stills photography

My July online photography talk came at the end of the month, and this time covered blurred motion photography. This is, in other words, the art 0f deliberately blurring your subject to put over the sense of movement, energy and dynamism.

A recording of that talk is now available via You Tube, and you can watch it here. Just click on the image below and the talk will launch. I hope you enjoy it. If you have any queries or comments just get in touch.

The art of subject blurring

This talk, Blurred Motion Photography, covered a range of techniques and scenarios in which you would want to blur your subject to put over the sense of movement.

The technique is particularly associated with landscape photography, most especially in blurring the movement of water, whether that be the sea, with waves rolling into shore, or perhaps a fast-flowing river running over and round rocks.

Blurred motion photography is used not just in landscapes but also in wildlife, people and street life (particularly traffic after dark), where all kinds of activities can be blurred to give the sense of movement. So the beating wings of a bird, the movements of a working person and the colourful lines of traffic tail-lights are all great examples of commonly blurred moving subjects. Even a blurred background as the camera pans to keep up with a fast-moving object (such as a bird, a sportsman or traffic) is part of this technique.

Blurred Motion Photography: Botallack tin mines

The technique of blurred motion photography

In essence, it is a very simple thing to do. Just put the camera on a tripod and use a long exposure, thus ensuring that anything moving in the frame will be blurred.

Of course, this can only be achieved within the limits of how far the lens aperture can be stopped down. The narrower you have this (ie the higher the f-number) then the less light that is allowed through to the sensor, and hence the longer the shutter needs to be open to compensate. Of course, there is a limit to how narrow the aperture can be, and once you’ve reached that limit any attempt to make the exposure time longer will just allow in too much light and result in over-exposure.

So doing this in bright sunlight will often require you to add a neutral density filter to the front of the lens, thus cutting down the amount of light getting into the lens, and mimicking low-light conditions. This is particularly so for landscape photography. Things may still work well in bright sunlight, however, if you’re intending to blur the motion of something that is moving really quite fast, such as a fast-flying bird or free-flowing traffic.

Without filters, blurred motion photography still works well in dull, overcast conditions, at dusk, dawn and at night, any of which will yield great results.

Blurred Motion Photography: Seashore ice in Iceland

How much blur?

Just how much blur you need will depend on the effect you’re trying to generate and how fast your subject is moving. For example, when photographing surf rolling onto a beach, or a mountain stream babbling around rocks, an exposure of several seconds will result in the subject completely blurring out. A wave will become quite invisible in itself, replaced by a very soft, often white, smooth silken effect that, though still depicting movement, is actually very calming and which will serve to isolate a static object (such as a rock) from the rest of the view, and removing any clutter.

Replace that very long exposure with a rather faster one, say one-tenth of a second, and the blur will become rather jagged, producing what I call a ‘shards of glass’ effect, with sprays of water clearly visible. The effect now is very restless and dynamic, very different from the smooth ‘white-out’ of the long exposure.

It’s a similar thing with photography of evening traffic. How long the exposure needs to be depends very much on the amount of traffic and how fast it’s going. However, an exposure of several seconds will be enough for the individual vehicles to become quite invisible, replaced by colourful, continuous red tail-light lines. It’s a highly effective way of illustrating the evening life of any urban district. Using a shorter exposure – say one-tenth of a second – in this scenario is less effective, as the vehicles become visible and the tail-light streams become broken up into dashes that don’t link up into a continuous stream.

Blurred Motion Photography: the static subject

Blurred motion photography of static subjects

This may sound a little odd, but it is sometimes possible to give the sense of blurred motion to a static object. It works particularly well with evening lights, and is achieved by moving the camera during an exposure lasting a few seconds.

This movement may consist of moving the whole camera (while on a tripod), or of turning the zoom ring on a zoom lens, something that produces quite a dramatic and very dynamic effect.

Getting stuck in

Blurred motion photography is a technique that has very variable and unpredictable results. The only true way to really hone one’s skills in this is to get stuck in and just play! Enjoy it, and experiment as much as you can.

Blurred Motion Photography: the disco

Back to top

People Photography: capturing the life around us

Nigel’s June 2021 online photography talk

My June 2021 talk, called People Photography: capturing the life around us, has just been held, and now you can see the recording here. Although it’s true that I’m generally not recognised as a people photographer, in actual fact my travel and tourism work has entailed quite extensive work with people in a host of situations.

Little of my photography covers the classic posed studio portraiture so often associated with the term ‘people photography’. Instead, my photography covers people in their environment, often photographed doing what they do in their daily life. As such, this photography fits more into the genres of environmental portrait photography, street photography or documentary/journalistic photography.

So this talk covers many of the techniques I use in carrying out such people photography, and to watch it here just click on the image below to launch the You Tube file.

Thinking ahead: deciding on the kind of approach

Even before starting a shoot, it is important to have a plan for kind of photography you’re intending to do:

  • Will it be staged, posed photography, or rather more fluid, spontaneous shots of someone in action?
  • Do you intend to shoot portraiture concentrating on the subject’s face, with them looking at the camera? Or should the subject more or less ignore you, carrying on with work, for example, while you photograph what they do?
  • What kind of lenses should you use? Your decisions about the previous point will probably affect the type(s) of lens you choose to use: telephoto to concentrate on someone’s face, soften features and blur out the background. Or a wide-angle lens to increase depth of field and to make it possible to show a subject’s environment and their activity as well as their face.
  • What kind of light to use? More often than not, this kind of people photography uses only natural light, but its angle and intensity can have a big influence on the results of the photography. Flash is very rarely used as the main light source, its role (when used at all) mainly for fill-in, removing shadows created by awkward ambient light, for example. The use of fill-in flash can also make it possible to use a much slower shutter speed than would otherwise be possible, an important consideration when having to shoot with the camera hand-held.
People Photography: Capturing the life around us

Getting the light right

As already mentioned, the angle and intensity of the light can have a big impact on the resulting photos. Bright sunlight straight into or side-on to the face can give strong, saturated colours, but it will also put deep shadows and harsh highlights across the face. For example, deep-set eyes may be lost in shadow, a prominent nose will put a shadow across the face, a strong jaw will leave the entire neck in shadow, and may also result in bright highlights above the jaw. Such lighting is often acceptable if you’re trying to emphasise the ‘strength of character’ in a face, but it is rarely flattering.

A much more attractive result can be achieved by having soft, even light across the face. This will result in no dark shadows or harsh highlights, a softening of features and improvements to the appearance of skin. To achieve this, photography on a bright cloudy day is often a good solution, or if shooting on a sunny day have your subject in the shade or indoors.

An alternative approach is to shoot into the sunlight, with the sun shining from behind the subject. You generally need to use a telephoto lens for this to work, and to make sure the sun is not in the image frame. This approach ensures that the face is lit by flat even light, while the sunlight coming from behind lights up the hair beautiful. This is particularly effective on someone with blond hair. However, because the face is effectively in shadow it may come out in the photos a little dark. To overcome this, either use a reflector to bounce light back into their face, or a little fill-in flash, or simply over-expose the image a little.

People Photography: Capturing the life around us

Looking down, looking up

One of the biggest problems I often encounter when photographing people as they go about some activity is that they will almost inevitably be looking down a lot of the time, as they concentrate on their work.

In all people photography it is important to focus on the subject’s eyes, since that is what we, as humans, are hard-wired to look at when we see a face. Focussing on a subject’s eyes can be difficult when they are looking down. They certainly won’t be looking towards the camera, and sometimes it may even appear as though their eyes are closed, only the eyelids visible.

To overcome this you can try a number of potential solutions. If you’re photographing face-on to the subject, try moving so that you’re shooting side-on. Alternatively, try putting the camera lower, so you’re looking up into their face. If these don’t work, then often the only solution is to ask the subject to stop what they’re doing, hold a pose and look up into the camera for a few seconds.

With a cooperative subject this can work wonders, and create images where there is plenty of eye contact between the subject and the viewer. However, with a nervous subject it can cause them to freeze in a very tense posture, something that will be very visible in the photos.

People photography: capturing the life around us

Specialised people photos

Most of the time I photograph people in a way that shows them off quite clearly; well composed and lit to show up both the person and their activity. There are occasions, however, when I deliberately photograph in a slightly more abstract way: a silhouette is perhaps the most obvious example, but another that I commonly use is blurred motion. In this latter type of image part of, or sometimes even the whole person is blurred as they move about. The intention is to put over the sense of movement and energy, rather than to freeze an otherwise dynamic situation into something quite static. The subject of blurred motion photography is the topic for the July 2021 talk, to be held live online on 28th July at 8pm.

And finally…..

I hope you enjoy watching the video of my talk People Photography: capturing the life around us, and reading its summary here. If you have any queries or comments just get in touch. And if you’d like to join a future talk live, just click on the link below to register to be sent the talk’s link. All talks are held once a month, on a Wednesday evening at 8pm (BST).

People photography: capturing the life around us

See more

You can find out more about outdoor portrait photography in the blog that I wrote recently for Ripe Photography Insurance.

Back to top

Wildlife Photography: Mammals and Birds

My March online photography talk, Wildlife Photography: Mammals and Birds, went ahead on the 24th, and you can now watch a recording of the entire talk here.

To watch the talk just click on the screen below:

Preparing to succeed

In talking about Wildlife Photography: Mammals and Birds I first set out the fact that most of what goes into successfully capturing wildlife images has little to do with the equipment you use. Much of the success lies in the preparation, which includes such some of the following points:

  • Understand the behaviour of the animals you intend to photograph;
  • Know what are the best locations/habitats, times of day and times of year in which to find your subjects;
  • Learn how to stalk carefully, or how to use a hide;
  • Decide whether to work wholly with wild wildlife or accept the inclusion of captive animals;
  • When photographing wild wildlife, research locations where your subject wildlife has become used to the human presence, and so is more approachable than might usually be the case;
  • Have huge amounts of patience and persistence, coupled with an ability to act quickly but calmly and smoothly when things suddenly start to happen;
  • Have a willingness to get out of bed very early and/or stay out quite late, since most wildlife activity usually happens around dawn/sunrise and dusk/sunset.
Puffin in flight. Wildlife Photography: Mammals and Birds.

Deciding what to photograph

Why take wildlife photos? There are of course many reasons, including such ideas as:

  • Simply ticking species lists;
  • Capturing artistically and/or technically perfect images that individually showcase the beauty of the wildlife around us;
  • Putting together a set of images that collectively tell a story about some wildlife or perhaps a conservation programme.

Whatever the photographic motivation, I would always urge photographers not to blindly follow wildlife fads and fashions (of which there are many). You should always think laterally and shoot a wide range of species, not just the cute, cuddly and famous, but also the ignored, forgotten and ugly. They all deserve and often need to be photographed (for the conservation publicity), and not just because a magazine or TV documentary has popularised it.

Cheetahs on the lookout for breakfast. Wildlife Photography: Mammals and Birds.

Psychology and choice

In subconsciously empathising with wildlife, we are programmed to be more attracted to those animals that in some way look at least a little like us: in other words the higher mammals with flattish faces and forward-facing eyes (abbreviated to 4FE).

These encompass most especially the big cats and apes, but also monkeys, horses and dogs, plus a few others. Think meerkats, orangutans and lions as examples. On top of this, babies of almost any species trump just about everything – cute, cuddly and vulnerable, pleading eyes crying out for protection and care will sway human emotions every time.

Of course, birds rarely if ever fit the 4FE idea, but the cute baby consideration still applies, and the adults of a few species do just happen to have cute, appealing faces – think puffins for example.

So these subconscious considerations can have a major impact on what we choose to photograph. While it is inevitable that you will be drawn to photograph these much of the time, I would always advocate that lateral thinking mentioned above. With this, you can ensure you also include those animals that don’t fit those empathetic or cute criteria, but which nevertheless deserve to be photographed.

Grey Seal pup. Wildlife Photography: Mammals and Birds.

The equipment and how to use it

Once you’ve done all your preparation, you finally get to use the camera equipment. Camera equipment designed for wildlife photography can be hugely expensive, so don’t be too mesmerised by the glossy adverts for all the kit you ‘need’. Instead, follow these the important points:

  • The camera must be able to work well in poor light conditions typical at dusk and dawn. This essentially means being able to produce good images even when shooting with a high ISO (over 400);
  • Focussing (a combination of the lens and camera working together) needs to be fast, crisp and accurate, and be able to continue working well in low light conditions, when contrast between your subject and the background might well be quite low;
  • A telephoto lens will inevitably be needed, but not necessarily a massively powerful one. The bigger lenses can be very awkward to handle in the field, and it can be annoyingly difficult to find your subject in the camera’s viewfinder, let alone getting it to focus. A smaller lens may restrict certain types of photography, but it can make much of your life easier without cramping your photography overall;
  • Whatever type of lens you have, it must have good optics. Without this, even well-focussed images can come out not as sharp as you would like. This may not be as important if you’re photographing purely for your own enjoyment, but it is critical if you’re intending to get your work published;
  • Although a lot of wildlife photography is carried out with the camera hand-held, you still need to have a good, sturdy tripod, especially for when working in a hide;
  • A flashgun may not get used all that often, but it’s useful to have one to hand, for those occasions when you’re shooting in really poor light and your subject is within the firing range of the flash.
Flamingoes at Lak Nakuru National Park, Kenya. Wildlife Photography: Mammals and Birds.

The shoot itself

So, finally you get to take some photos, something that can be both exciting and frustrating. The latter results from the many photos you’ll inevitably get of disappearing backsides, tree branches where a fraction of a second before a bird had been sitting, or pictures that seem to be well composed but which are blurred due to a failure of focus. But the excitement and buzz that comes when everything works makes it all worthwhile!

Little tips to bear in mind include:

  • Do not disturb or frighten your subjects. Not only is the stress bad for the animals, but it will result in failure for your photography;
  • When photographing a portrait, try to shoot while the animal is looking at you, giving the sense of interaction;
  • Always focus on an animal’s eyes: we are programmed to look at these, so if they are even slightly blurred the image will not work;
  • Make sure the animal’s eyes are open in the final picture(s). Closed eyes (even if just in a blink) usually ruin a shot, so don’t be shy to take a series of shots in quick succession if necessary;
  • Ensure that your backgrounds are blurred so the animal will stand out clearly from that background – especially important when an animal is a similar colour to the background. This is usually easily achieved when shooting with a telephoto lens;
  • If photographing two or more animals interacting, carefully judge the moment(s) to shoot in order to make the most of the inter-animal interaction. Don’t be afraid to take a series of shots in quick succession;
  • When photographing movement/action make sure your lens is set to track the animal(s), continually adjusting focus. This is one area where lens quality is critical. You’ll often need to shoot with bursts of rapid continuous shooting.

Yet another list, but hopefully these pointers will set you on the road towards successful wildlife photography!

A wildlife photography course

I hope you have enjoyed reading this blog, and watching the recording of my talk, Wildlife Photography: Mammals and Birds. To learn more about how to actually do wildlife photography in a real life situation, you could join one of my wildlife photography courses. The next one is scheduled for 24th April 2021, and will take place on Exmoor, southwest England. Click on the link to find out more and to sign up.

Philippine Tarsier.

Back to top

March 2021 Nigel Hicks Photography News

Looking forward to a post-Covid world

March 2021 Nigel Hicks Photography News. Windsurfing at Bigbury-on-Sea, Devon.
Windsurfing at Bigbury-on-Sea, Devon, Great Britain.

Moving towards a better spring

Welcome to the March 2021 Nigel Hicks Photography news!

With an official roadmap now pointing a way out of Covid lockdown, coupled with the growing success of the vaccination programme, I’m ever more hopeful that my plans for most of what I intend to do this year will be possible.

Coupled with a lot of work online aimed at keeping things going despite lockdown, it has been quite a busy time here, ranging from my ongoing online talks to the development of a new online shop.

So I hope you’ll enjoy reading this newsletter. Below is a list of what you’ll find here this month. Click on any of them to go to the relevant section.

A new Farne Islands photo gallery

February’s talk: Low Light Photography, the recording

Upcoming March online talk: Wildlife Photography, Mammals and Birds

This spring’s photography courses

A tour to Iceland this autumn

Farne Islands: a new wildlife photo gallery

March 2021 Nigel Hicks Photography News. Puffins greeting, Farne Islands.

Back in the dim and distant past, namely the summer of 2019, I was able to undertake a great photo shoot in the Farne Islands, off Northumberland’s coast.

The visit coincided with the height of the breeding season, so the islands were a raucous scene of thousands of seabirds, ranging from kittiwakes to puffins to guillemots and razobills.

I finally processed the stills images from that trip during this lockdown, and there is now a gallery of sample images on the website. I’m hoping you might enjoy seeing this latest batch of wildlife photography. Just click on the link below to see the images.

The bulk of the photos are now making their way into a number of photo libraries. I’m also hoping to be able to use some of the images in a new book project in the next year or two.

Watch February’s talk online: Low Light Photography

March 2021 Nigel Hicks Photography news. Low Light Photography talk.

My February online talk about Low Light Photography, went ahead on the 24th, with an audience of over 40 people, and seemed to go down very well.

Not surprisingly, the talk covered photographic techniques primarily for shooting between sunset and sunrise: in other words, when the sun is very close to or below the horizon.

Subject matter ranged from landscape photography at dawn, sunrise, sunset and dusk, as well as photography of urban skylines at dusk, combining the ambient blue dusk light with the manmade warmer lighting.

Also covered was night sky photography, which included photography of the moon, the stars as either pinpricks of light or long-exposure trails, and the Northern Lights.

The talk can now be watched online on You Tube, on my website or on my blog. Click on any of the links below.

Wildlife Photography: Mammals and Birds

March’s online photography talk
March 2021 Nigel Hicks Photography news. Cheetahs in the Maasai Mara, Kenya.

This month’s online photography talk is already rushing up towards us, scheduled for:


Wed 24th March, 8pm


As you can see, I’ll be talking about wildlife photography, specifically as it relates to photography of mammals and birds; in other words the (mostly) relatively large stuff!

As usual, the talk is free to attend. You just need to register to be sent the link. Registration is open for this talk, as well as the subsequent three talks.

To get more details and to sign up, click on the link below, and then fill in and submit the short form.

You will see on the registration page that there is now a Donation button, so if you feel like making a contribution towards my costs for running these talks by all means feel free: it would be hugely appreciated.

I’ll look forward to seeing you online on 24th March!

Spring Workshops

Provided things continue to improve, then it looks very much as though only one of my spring photography workshops will have to be postponed. That fate belongs to the Low Light Photography course, scheduled originally for 21st March.

I’ve now postponed that event to 7th November, so there’ll be a lot more news on that much later!

So, my first workshop of 2021 will now be South Devon Coast Photography, scheduled for 17th April.

An outline of the planned list of spring workshops is shown below.

The cost for all courses this year is £95 per person, the same as for 2020.

Refunds and deferrments

Rest assured that, if you are booked onto a course that has to be postponed or cancelled, then as with last year, you will have a full range of options, namely:

  • To accept the new date (for a postponed course);
  • To transfer to another course of your choosing;
  • Simply to defer your booking to an as-yet undefined future event;
  • Have a full refund.

Hopefully, things won’t come to this, but I want to put your mind at rest, that you will not lose any money you’ve paid.

See an outline of this spring’s courses below.

South Devon Coast Photography

Bigbury, Burgh Island and Bantham

17th April 2021, 1.30-8.30pm

Photography of some of South Devon’s most beautiful coastline; the beaches, cliffs and river estuary of Bigbury, Burgh Island and Bantham.  Finishing at sunset

Wildlife Photography

Dunster and Lynmouth, Somerset and Devon

24th April 2021, 10am-5pm

A day of wildlife photography on Exmoor, stalking deer in countryside near Dunster, followed by Dippers at Lynmouth.

Travel and architectural photography

Bath

16th May 2021, 10am-5pm

A day spent photographing the magnificent Georgian architecture of Bath, in this combined architectural and travel photography course.

Exmoor in Spring

Tarr Steps, Winsford Hill and Valley of Rocks (Lynton)

22nd May 2021, 2-9pm

An afternoon and evening spent photographing some of the beautiful rivers, woodlands, moors and coastal views, along with one of Exmoor’s most famous prehistoric sites. Finishing with the coastal views at the Valley of Rocks, for a glorious sunset.

Dartmoor in Spring

Dartmeet and Bench Tor

29th May 2021, 1.30-8.30pm

An afternoon and evening spent doing landscape photography in the ancient woodlands along the banks of the River Dart, followed by the rocks and open moors of Bench Tor.

To get full details and to sign up for any of these courses, just click on the link below.

A special note about the Jurassic Coast course, scheduled for October: The first workshop in the autumn will be the Jurassic Coast course, in Lyme Regis and Charmouth. Originally scheduled for 2nd October, I’ve had to reschedule it for 9th October, due to a mistake I made with the tides!

March 2021 Nigel Hicks Photography news. A photography course on Burgh Island.

An autumn photography tour to Iceland

March 2021 Nigel Hicks Photography news. Iceland photography tour.

I’m still intending to run this autumn’s Iceland photography tour, unless Covid restrictions have other ideas!

The dates for the tour are;

18-24th Sept 2021


The itinerary is planned to cover mainly northern Iceland, taking in several major waterfalls, volcanoes and the central mountain ranges, as well as a whale-watching trip.

Admittedly, the way things stand at present the tour cannot happen, but if the roadmap works out well then things should change rapidly in the coming few months.

Already, Iceland (as with Cyprus) has lifted restrictions for arriving travellers who can prove they’ve been vaccinated. Further steps needed to make the trip viable include an increase in the number of flights running between Reykjavik and the UK, and relaxation of quarantine rules upon returning to the UK. I’m optimistic that these issues will improve over the summer.

So, if you fancy awarding yourself an overseas photography break to celebrate an escape from Covid, then of course I would love you to sign up. When making a booking the only payment you need to make at this stage is to pay a £100 deposit, returnable if the tour does have to be shelved.

For the full details, including itinerary and pricing click on the link below.

Books about southwest England

Our books about southwest England are of course still out there, still available. Click on the link below to find out more.

Books about southwest England

Back to top