"Which is better?": Split Testing in Photography

Let me start by asking you a question. Which photograph is better?

Let me ask another question, how did you feel about me asking you how you felt about choosing my preference for a photograph? Go on, let it out.

Let me tell you how I feel when I see questions like this.

"Why are you asking me this?"

It doesn't just sow a seed of doubt in my mind as to the artist's intention, it blows it wide open.

If you don't know how you feel about your work, how am I supposed to know how I feel about your work.

Don't get me wrong, there's much to be gained from mindful and deliberate consultation with peers and respected artists. But the decision about "what's better?" isn't something we can defer to them alone, and certainly not to social media followers.

Instead we might ask a select audience, "Which of these interpretations do you think best reflects the feelings of hope/despair/solitude/energy I am hoping to convey in this photograph? And why?"

I'm a pretty honest and open guy but as an artist I don't think that's a question you broadcast. I think it's one that you discuss behind closed doors. In my head I picture a smoky backroom, a couple of glasses of whisky on the table, a game of pool beyond. Or maybe that's just my preferred arena.

But that's not how or when the question is usually phrased. More often it's on Facebook, asking for help selecting the best photograph from a pair. Sometimes the difference in editing between the two is barely decipherable.

The problem with the question "which is better?" is that it shows plainly that you don't know yourself. It shows that you don't really know what you were hoping to do with the photograph beyond the very superficial. Moreover, it demonstrates that you're basing the future of your photograph on the views of others.

If photography is an art, and art is personal expression, how can the question "which is better?", aimed at a wide audience , offer an answer that is of meaningful help? It might inform us of what some - or most - people like, but it doesn't help inform us of what we like.

And that's the whole point right? If we're making photographs for ourselves then there is totally zero value in trying to work out what the masses want and refine it to their taste.

I recognise the eager student, keen to understand the magic of photography and learn the visual language; the one that I feel I've only just begun learning and know will take a lifetime. I mean no harm, indeed I hope to encourage you to see differently. To not worry about the crowd and what is accepted. To follow your own path and what excites you. To believe in yourself, in your photographs and trust your instincts.

On the other hand, if your objective is to refine your work for mass consumption (and I more than most appreciate the desire to be liked) then I'd suggest you need to approach the problem differently. The question "which is better?" makes me think the photographer doesn't really know what they're doing or talking about.

If you really need feedback, ask someone you respect or perhaps try posting the different versions of the photographs separately at different times, rather than together. In A-B testing, you typically show different versions to different groups rather than offering both to everyone. You see if A or B gets the best feedback but your users/viewers don't recognise they were subject to a test. So try posting version A at one time/platform, and B at another time/platform, and welcome feedback on both.

If your aim is to be a respected photographer then seeking reassurance from your followers is probably something you need to stamp out pretty quickly anyway; your followers are looking to you as a role model, an exemplar, a voice of confidence, a signpost in a mixed-up, noisy world.

If you start asking them how they should feel about your photographs, your illusion is revealed and they're going to be launching life-rafts and looking for another Boat of Confidence long before you've made your mind up.

Don't get me wrong. A bit of humility is essential, and we're all human. Listen to feedback, encourage feedback, look for it.

But I strongly believe that when you share your work that people want - need - to believe in it. If you ask for opinions, comparisons, or otherwise belittle or apologise for your work then that has a detrimental impact on the viewer and how the viewer perceives you and your work.

On the humility front, most of the time I hate - hate's not just used for emphasis, it's real! - my work. I pity myself, I castigate myself, I wonder why what I'm doing isn't better, why it's not meeting my vision (aka what I had in mind). But I still think those questions are for me.

I have to decide which is better or worse, or dump it altogether. Only I really know what I'm getting at. "Which is better" can only touch on the very superficial, "where should I put that line, that rock, is it too bright, too dark?" The context, the intention, I feel is everything. Only you know what you want to achieve, what feeling you want to excite and how you want your work to look.

So yes, get feedback - from good sources, not from random internet people - consider feedback, change things, choose your favourite picture of two on the back of it, but please always remember that your photography is your photography. The aim isn't to appeal to everyone, not the masses, nor the cliques. Just to yourself, and hopefully those that might like or at least respect that.

Asking the question "which is better?" defers the crucial question in your photography. It suggests that you're not sure what you're trying to achieve, that the views of a wider circle are more important than your own, and that you don't have the confidence to stand behind your own work.

So I say again, make the decision for yourself - choose A or B based on the vision, the idea, the image that you had in your head. Welcome feedback yes, but don't give them both options. Because some people choosing B is no more right than other people choosing A.

What you choose is the only thing that matters, and people will recognise and gravitate to that. Such choices will define you and your photography. Such choices, by the way, is where originality is born.

The Disappointment of Photography Competitions

Last night I attended the opening night and award ceremony of a local but well established, well run and decent sized arts' exhibition. I wasn't going to enter but with some encouragement I decided, as a relative unknown here, that it would help me continue to build my profile in the area. I then set to work on five pieces. Some I had already printed. Others I soft proofed, hard proofed, tried different papers, made sure I was 100% happy with them. Then I made a grave error. I got my hopes up.

Being a local show I wasn't "competing" with tens of thousands of other photographers as I had previously in Landscape Photographer of the Year (LPOTY), etc and so thought I must have a decent chance. If I didn't win, I reassured myself that at least I would place. So when someone won 3rd, someone else won 2nd and yet another stepped up for the 1st prize I'm pretty sure the disappointment was etched on my face as I graciously clapped the winners. I wonder if they heard my ego popping at the back? What a fool I felt for letting my imagination run away with me. Misguided? Complacent? Arrogant? Yes, no, maybe.

I have no intention of talking about the competition itself. I could debate the result. Of course I loved my pictures more. But it's a pointless debate. It is after all down to the subjective decision of a judge(s). If art is about personal expression and the artist has the right to create art they love, so the viewer has the right to like what they like. Trying to boil a competition down to whose picture is sharpest, etc seems to me a very bland alternative. So no quibbles, and this post isn't about the judge's decision.

Rather I wanted to talk about the effect of competition on me. Perhaps, other people feel the same (selfishly I hope I'm not alone, sorry!). I've long regarded competitions with some scepticism. How can you judge art? How can one photograph be better than another photograph? They can only be different. As I've just said, it is for the most part a subjective judgement by one person or a small panel of people. It doesn't necessarily reflect the quality of your work.

Whilst it is incumbent on a judge to recognise great work outside of their particular tastes, genre and experience, they are ultimately humans viewing a piece of art through their own lens of personal preference and experience. It goes without saying that you're not going to win over every judge.

The goal with our photographs is not to be all things to all people. Indeed, the lust for likes on social media has perhaps reduced a lot of photography to its lowest common denominator, a style of photography which regurgitates iconic places, compositions and processing styles ad nauseam.

Rather I think the goal is to express something of yourself in a photograph. Hopefully make a meaningful impact on one other person. A photograph that makes someone stop, consider, reflect, engage their emotions. Contrast with a photograph that picks up 10,000 likes as people flick through their Facebook feed whilst eating their morning cornflakes? I'll take just that one emotionally engaged person all day long. Ideally it will be more than one, but it's not ever going to be everyone, even if you did play to the audience.

I shouldn't expect a judge to like my work. And knowing that, every competition should probably be approached with a healthy dose of humility. Expect nothing, hope for something. Except it's so easy for that hope to become expectation, or perhaps even entitlement. To assume that our work should be, will be lauded.

Having had a bad run of competition entries - nothing in LPOTY last year, nothing in OPOTY, and now nothing in the LCACA Jubilee Exhibition - I should be getting used to competition failures. But how do you get used to it?

(I should thank SLPOTY/Stuart Low for tweeting to tell me how well received my two commended images have been received in the touring exhibition - a shot in the arm this morning!)

Of course, every judge is different. But each competition failure compounds the previous, forming a consensus in your head about your work. Given that confidence in your work is a perpetual battle of ebb and flow, up and down, of doom and gloom punctuated by seemingly the briefest moments of euphoria, it's easy to get a bit down on yourself. Add the negative judgement of a competition into the mix and you might just throw in the towel!

For a while now I had thought that, so long as you weren't targeting competition success with your photographs then competitions were largely benign. Shoot what you love, how you want to, stick it in a competition on a whim, who cares what happens to it. It seemed healthy enough.

Yet I can't help but feel that the drip-drip-drip of rejection - or perhaps even success - has an impact on even the most thick skinned person. It simply has to get under your skin and have an effect on us at some level. In turn that surely has to pervade our work. Perhaps it's not obvious in an individual photograph, but it may come across in how we feel about our work, how we approach it and how we present it. How can you not feel crap about your work when it is brushed aside? Work that you made with care, love, in hardship and discomfort, that you're emotionally attached to?

I am always so quick to remind others not to take competitions to heart, that it in no way reflects on the quality of their excellent work. Don't change tack. Don't give up. Ignore it. But I find myself unable to take my own advice and wonder what this all means for me and my work. Am I a failure?

And so I think it's time to remind myself that I will be the judge of my own work, not competitions. I'll make photographs that move me first, and maybe even last. I shall reflect of course, and consider where I might be falling short but I can't turn the tanker around. I am me, and I can but make photographs my way. Indeed my reflection so far is that I need to make the them even more my way, not less.

My photographic ambitions are relatively modest. I have no interest in being a rock star photographer, I just need enough to keep doing what I love. I often think photography competitions don't seem to feature on the radar of my photography idols. I'm not sure why I should give them so much of my own attention (which is not much, certainly compared to some).

So at time when International Landscape Photographer of the Year scores have just been announced and LPOTY submissions are due to close, now might be a good time for you too to re-evaluate how healthy your relationship is with competitions.

Sound familiar? Think I have deep seated problems? I'd love to hear your thoughts on competitions and the effect, subtle or otherwise, it has on your photography. Perhaps we can set-up a support network? :D

(I'm aware I've just committed one of those social/artist faux pas. Talking about a competition result. You always sound so bitter when you lose. "Sour grapes", they may cry. My frustrations here are squarely with myself, not the or any competition(s). I see competitions for what they are. Knowing that, I despair - no - I'm pissed off with myself for getting swept up in them and getting ahead of myself.

I may also have just committed professional suicide :). If my photographs don't win competitions, I must suck right? Well, I'm grateful for the support and encouragement of my peers whom I respect. That and the knowledge that those looking for a competition winner probably aren't part of my audience anyway. After all, I can't be all things to all people.)

Shot Planning for the Strawberry Moon

Last month I missed the full moon by a day. The following evening I watched it rise an hour after sunset into darkness. It was quite magical. I determined I would go out on the next full moon, rising mere minutes before sunset in the hope of something interesting.

June's full moon is called the Strawberry Moon. Not, as it happens, because it turns pink as many are led to believe. Rather it's the name given by Native American Indians because it marks the start of the strawberry picking season (see here or here).

I've spent a lot of time back on the beach at Angourie since that night, mostly around Mara Creek. My first inclination was to return to there. I have  something in mind for a rising full moon with the creek rippling in the foreground. Yet I was concerned that with so much time spent there recently I might end up making something derivative of the rest. I almost felt like I'd gone too far down a tunnel and might be becoming blind to other possibilities.

Deciding that a change is as good as a break, I chose to go to a different location. I say different but it still a familiar location as I tend to revisit the same half dozen places local to me that I've developed an affinity for.

I thought back to an image I made in March that I titled Eternity. This was made just a bit further north, on the rocks by what are known as the Blue Pools. The shot then was of a near new moon just before sunrise, sitting above the channel through the rocks. I wondered if I could use these rocks and that channel in a similar composition with the full moon rising. The key question of course was would the moon be in the right position this time around?

I like to use The Photographer's Ephemeris (http://photoephemeris.com/) on web and iOS to help me plan my photographic outings. However on anything but a grand scale the maps lack the resolution to see a particular composition. Typically I use TPE to give myself a high-level understanding of where the sun and moon will be, and so how it might interact with the landscape of a location.

Normally I know the location, and can fuse the knowledge from TPE with my experience of a place to reassure me of its potential. I think of myself as a 'finder'. By that I mean I like to go out and find things for myself. I find it can be difficult to repeat shots I've made before as so many elements tend to be different - light, weather, tide, my mind - and so try to find fresh things each time.

But on this occasion I wondered if I could improve on or, more accurately, create a complement to Eternity. I decided to use TPE to reverse engineer the photograph to see if a recreation might be possible. The photograph's metadata in Lightroom told me that I made that photograph at 06.14 on 19th March. TPE lets you see the sun/moon position for any time & date in the past or future, so I rewound the TPE clock back to 19th March. This told me that the moon was 90.1 degrees. Fast forward to Tuesday 2nd June, and the moon would be rising at 109.7 degrees - almost 20 degrees difference which I knew meant the same shot wasn't possible.

[A less instinct led and more scientific based approach would probably consider the angle of view (Aov) of the lens I was using (Zeiss 21mm) to determine quite where the full moon would be in relation. But remember, I'm a finder!]

As another check, I opened up another photograph from this spot, this time looking further south. In TPE I dropped the secondary pin on Angourie Headland which is visible on the horizon. TPE told me this was at 137.8 degrees. So the moon was going to rise towards the left hand side of this photograph. With the channel still prominent in the foreground here I was reassured that even if my initial idea wasn't going to work that I could make something of it.

My final part of planning was checking the tide. Whilst there are many possibilities in the rocks at this spot, given I was after a 'certain look' I wasn't sure I could fulfil my own brief. More importantly, these rocks are prone to getting battered by the sea and rogue waves occasionally wash right up the rock slabs. Angourie translates to "Noisy Ocean" and is a surf reserve for good reason! If the sea didn't behave, I might not be able to get to the rocks in question and even if I could I might not be able to move freely on them.

Comparing the tide tables for 19th March and 2nd June I could see that the tide would be lower and that I should be ok. I packed the car and drove the mere 5km down the road to Angourie.

Upon arrival, I noted a layer of cloud on the horizon that would assuredly block the moon's initial rise. Despite clear skies forecast and above me it's always what's on the distant horizon that catches you out.

I managed to get onto the rocks I wanted without problems, and started setting up. I checked out the channel and there were a few potential compositions as well as confirming that my original composition wouldn't work (using TPE on my phone I could see the moon would be out of shot).  I don't tend to get too fixated on a certain composition, set-up and wait. When photographing by the sea possibilities come and go by the minute and you may even find your position swamped by the time the 'big moment' arrives. I tend to spend time looking about to find different possibilities rather than fixating on one shot.

Part of my finder instinct is that if something catches my eye I go for it. Quite often I go out with one idea of what I'll photograph and return with something quite different. So it was here as I watched the big waves rolling in, the light of the setting sun catching their spray as it filtered through the palm trees behind me. I pulled out my 100-400mm lens and started adding to my series of "Waveforms", a combination of "short long exposures", panned and ICM wave portraits.

As the moment of moonrise approached, I switched back to the 24-70mm and started to re-check compositions along the edge of the channel, paying particular attention to the sea. The tide may have been further out but with a bigger swell than in March the waves were still coming some way up the rocks, ruling out some shots I had sighted close to the rock's seaward edge.

As the moon breached the distant blue cloud and moved into the pink sky, I took a few telephoto snapshots with my Fuji XT1 before returning to my Canon set-up on the tripod. I made a series of shots as I worked up and down the channel, until the sea pushed me back and the colour faded from the sky. The resultant shots were not quite what I had originally envisioned, but made for a worthwhile trip. I've fallen in love with moonrise, it feels like a truly magical moment. Next month I shall probably try my luck down at Mara Creek.

New England Tablelands Part 3: Gondwana

This post is the 3rd instalment from my trip to the New England Tablelands a few weeks ago. This time around I’m going to take you into New England National Park itself (link | brochure PDF).

The defining feature of New England National Park is the Great Escarpment - huge basalt cliffs - overlooking rainforest clad wilderness as far as the eye can see. The landscape has been forged by the lava flows of the massive Ebor Volcano over 18 million years ago.

Just below the escarpment are cold temperate rain forests, home to Antarctic Beech which are some of the oldest trees on earth. The name speaks to the history of these trees. Their pollen has been found in Antarctica and the distribution of the trees around the Southern Pacific Rim are proof that these trees were once widespread in rain forests across the ancient continent of Gondwana (modern day Australia, Antarctica and South America) when the dinosaurs roamed over 100 million years ago. As the Earth has warmed, these trees have sought sanctuary in the cooler upper climbs of the Tablelands here in Australia, and are protected by the Gondwana Rainforests of Australia World Heritage Area. You can read more about the Southern Beech, the genus to which the Antarctic belongs, here.

Point Lookout sits atop the Great Escarpment and, as for so many photographers before me, was where I went to take in sunrise, looking east over the wilderness. Well, that was the plan anyway. My headlights diffused through ever thicker patches of fog as I climbed Point Lookout Road. I walked the short distance to the viewpoint to be faced with the inevitable - thick cloud and fog as far as the eye could see. Which was about 3 metres.

At an elevation of 1,564m it’s not unusual to be stood in a cloud here, though on clearer days the view extending east towards the coast usually sees the fog nestled in the numerous valleys. I sat in the rain and the darkness waiting for the cloud to clear, knowing from past experience that it wasn’t going to happen. A hole into the landscape beyond offered hope for the briefest of moments before quickly shutting closed again.

So no glorious sunrise to speak of, but my main intention here was to explore the rainforest below which the weather was perfect for. The walk descriptions warned of unsteady and slippery terrain, so I decided to travel light. Given the fairly persistent rain I wanted to avoid lens changes too, so I took my Fujifilm XT-1 and XF18-135mm lens. This gave me a lightweight, flexible and weather sealed combination plus I’ve always liked how the Fuji renders trees.

Dropping below the escarpment and into the green gloom of the rainforest was like entering into another world, and given its age I suppose it was. It's difficult to quite put into words the feeling of being in this place. The vegetation was thick, vines and moss hanging from the trees, lichen crusted to the rocks and trunks. Precipitation fell from above, from the clouds or the trees I no longer knew.

Before arriving in Australia I had read and looked at the wild forests of Tasmania, and enjoyed Peter Dombrovskis’ beautiful work from there. The Gondwana rainforest I was now standing in evoked in me that same sense of ancient, primeval woodland. Here it was on my relative doorstep and I was in awe of it. The colours, the shapes, the sense of entaglement, the visceral experience all soaked into me as the rain.

Ordinarily when walking somewhere new I have an impulse to move too quickly, eager to overcome any obstacles earlier rather than later. This often impacts my photography, not allowing myself to dwell too long. Eager also to escape the rain, I would hasten along until the wild forest would give me pause, and then it begged me to stay a while longer until I lost all sense of time.

With so much potential it was easy to feel overwhelmed at times. Many of my images were shot handheld, relying on image stabilisation and higher ISO to get me sharp pictures in the murk. When surrounded by the confusion of branches, vines and mosses, looking through the viewfinder provided a welcome respite and it becomes easier to find compositions. The danger is that almost anything looks good through the viewfinder here. The challenge I find is to keep focused on strong shapes and contrasts to provide the viewer a clearer path through the undergrowth.

Once I found something I was happy with I would then use my tripod for a sharper result. However, as is so often the case, I came home really loving the 'sketch shots' (for want of a better word) I had made while exploring the forest. At high ISO (a couple are at 3200), relying on IS and without the finesse offered by careful composition on the tripod they lack technical perfection. Nonetheless I love them and for me they have captured the spirit of the place. Indeed, technical perfection in a place like this almost seems at odds with its wild nature, thought that does sound like I'm making excuses! I will quite happily print them, so it’s all good.

I’m returning to New England in a few weeks. With the benefit of a longer trip I'm hoping to go slower, work more deliberately, and lose myself - metaphorically rather than literally - in the forest for a while. I often find that first visits happen all too quickly, eager to see everything rather than enjoying the gifts to be found in what can be just a small area. It’s often in the return visits, after some reflection and with a slower pace that I find better images present themselves.

Finally let me leave you with Wright’s Lookout from where the featured image at the top was made. Wright’s is a couple of kilometres from the road through the forest, perched atop an ancient trachyte remnant of Ebor Volcano. From here the views back towards the basalt cliffs below Point Lookout and again east across the rainforest are quite remarkable.

The view stretches for mile upon mile over wooded mountains and valleys, the like of which I have never seen with my own eyes before. A real advantage to this 'lookout' is that it is a wide plateau. Due to the poor soil the vegetation is low lying heath. This means that there are many more views and compositions that can be made here than from most, manmade, lookouts.

I really loved my first visit to New England. I’m excited about returning and spending more time exploring the rainforests of Gondwana, with the hope of creating a new body of work that evokes at least some of its wonder.

New England Tablelands Part 2: Wollomombi Gorge

During my recent visit to the New England Tablelands (see Part 1 here) I travelled to Wollomombi Gorge. Within the Oxley Wild Rivers National Park and afforded World Heritage status, the Chandler and Wolomombi rivers plunge over the plateau into the deep and dramatic gorge below. The name Wollomombi is said to be derived from the Aboriginal word “Wollumbi”, which means “meeting of waters”. "Wollomombi". It's a wonderful word isn't it? I love place names, particularly non-English place names. In Scotland, Wales, Iceland, or here in Australia, the native names for places inspire in me a sense of adventure and fantasy, they spark my imagination. It also seems to me that the native names are part of the landscape. Not just a name to put on a map so that someone can find it, they are descriptive and evocative of the place itself. They almost sound like the landscape.

I’m minded, perhaps tangentially, of an article that appeared in the Guardian a few days ago by Robert Macfarlane talking about “rewilding our language of the landscape”. I think the language of a place helps our connection to it. It’s well worth a read and a think about (link).

Returning to Wollomombi, my goodness it is some sight. Being 4 hours away it’s not exactly on my doorstep but I never expected to have such a grand spectacle so close to me. From other photographs I’ve seen, it is particularly breathtaking after heavy rain where the rivers turn into huge torrents and the base of the falls obscured by the spray thrown up. The conditions I experienced were less dramatic, but nonetheless very beautiful.

I arrived about an hour before sunset hoping for some special light. As this was my first visit it was difficult to be certain where the light would be in this complex terrain just from looking at maps, Google Earth, TPE and other photographs. Conditions were pretty much as I expected however, the yellow sun catching the top of the gorge, deep blue shadow falling on the rocks below.

There are several lookouts as well as bush walks along the escarpment’s edge. As with Ebor in my previous post, most photographs of Wollomombi are taken from the couple of lookouts near to the car park. I started out with the ‘tourist’ shot but quickly switched to my 100-400mm lens to allow me to get closer to the falls and the gorge. As is often the case these detail shots were the most pleasing of my time there, though the stiff wind did its best to ruin a number of them with the lens fully extended to 400mm.

With the obvious lookout shots done, I decided to follow the well worn cliff top path towards Chandler’s Lookout. It sounds like it offers brilliant views but sadly it is closed, I believe due to erosion. Note to NPWS it would be great if you could put the ‘lookout closed’ sign at the start of the path rather than at the end of it!

One of the main things that makes the mountainous parts of Australia that I’ve experienced so far quite different to Scotland - other than that they have cattle ranches on top of them! - is that they are swathed in thick vegetation. For the most part British mountains have been denuded of their trees and vegetation, revealing their rugged rocky skeletons.

However in large parts of Australia, and certainly in the large and numerous National Parks, nature is left to its own devices and appears to conquer all. It is quite wonderful, and a real delight to spend time in this wild environment of rich biodiversity, some of which goes back to prehistoric times.

As a photographer it does present some difficulties though. With trees everywhere, if you want to photograph something that isn't a tree then you can have a bit of a tough time. There are few tracks through the wilderness, and ‘going bush’ is at best left to those with more experience of this terrain and at worst discouraged. Even if you were to brave it, with limited detail on topographic maps and little hope of actually finding a clearing where nature doesn’t dominate, it seems pretty unlikely that your time would pay off.

Contrast this with open access land in the UK, such as in the Peak District or the mountains of Scotland, where you can roam freely looking for something to take your fancy almost completely unimpeded (other than from the contours of the terrain itself). I remember wondering if, over the course of history, a human foot had trodden on every inch of land that I was looking at. Out here there is no doubt that nature dominates and man’s presence is very limited, albeit partly because a line has been drawn around it and the loggers haven’t moved in (yet?).

There is a huge irony here. I catch myself cursing that I can’t get a particular shot because the trees are in the way, because vegetation seems to infringe the frame on all sides. And yet, is it not this glorious expanse of nature-run wilderness that I/we should be celebrating?

As photographers I think we are too often guilty of wanting to tame the landscape, to turn it to our own advantage and a beautiful picture. Perhaps in many parts of the world, the landscape is willing - or has been bent too far - and photographs come more readily. Here though, on the fringes of man's domain, the natural landscape is less willing to pose brazenly for a photograph.

Here and there can be found lookouts. On the roadside, or at the end of long bush tracks, where the land rears up and has been partially cleared to offer a better look at the wilderness that we walk through. Wooden platforms with metal rails. I’ve always tried to avoid using them for photographs.

In most places with high visitor numbers, this is where a million photographs are made with naught but a few inches and a different time of day to pick between them. Laybys, lookouts and famous locations seem to me to be the least likely places to make compelling and emotive photographs. Yet here in this dense vegetation they provide the only respite from the claustrophobia one might feel spending hours walking alone in the company of trees and the strange sounds beyond them.

It’s a strange dichotomy indeed.

The walk above Wollomomibi was most lovely, yet the many trees continued to interfere with my photographic vision. As I walked, I would look for gaps through the foliage to the dramatic gorge and the snaking river below. Sadly few presented themselves.

At points I caught a glimpse of an opening and went off the path to take a look. But clearing one tree meant bringing in another couple. With the ground unstable and slippery, and a pretty big drop below, I decided that I would just have to make do as best as I could. I made a few shots that I was originally happy with, but my enduring feeling is that I have unfinished business here. I will return. And here I will learn to make the most of the wonders that nature presents me. I will worry less about simple, denuded compositions. I will instead use the trees as a more effective element in the photograph to tell a truer story of Nature's Domain.

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