Like rain, winds will, of course, vary in intensity; whether you are experiencing a gentle breeze or a full-blown hurricane, each reveal unique characteristics. As photographers we are capturing a brief moment in time and it is a matter of how we use that instant to capture the wind. Tony Worobiec, in his book Photographing Landscape Whatever the Weather, considers how to capture great images when the wind is blowing.
 
Technical issues
 
First, remember that you do have a variety of shutter speeds to play with. As wind is moving your choice of shutter speed is very important. Landscape workers often decide to use the AV rather than the TV option as they consider controlling the depth of field to be more important. While, in many situations, that is the right thing to do, when photographing in wind it often proves more useful to consider the shutter speed as your first priority. It could be that you want to photograph some object being blown in the wind, which requires a fast shutter speed. Alternatively, capturing the moving clouds might be another way of illustrating winds, which requires using a long shutter speed.
 
Sudden gusts of wind can pose a problem, particularly if you are using a tripod, so find a natural barrier. If that proves impossible then use your body as a shield by standing between the tripod and the prevailing wind. The weight of your tripod will have a bearing on its capacity to withstand wind (the heavier it is the better) but it should also be possible to anchor the tripod down by using your camera bag. Many tripods have a specially adapted hook for this.
 
Don’t overlook image stabilisation. Whether it is part of the lens or integrated into the body of the camera, make sure your image stabilisation is switched on as it can go a long way to countering the problem of a sudden gust of wind.
 
If you are hand-holding your camera be prepared to increase the ISO rating to overcome any camera shake caused by strong wind. You are particularly vulnerable when using a long lens. The general rule of thumb is to set the shutter speed no lower than the focal length of the lens so, if you are using a 100mm lens, set the shutter speed no less than 1/100th second. If, however, you are shooting in very gusty winds, be prepared to double that. This should significantly reduce unintentional camera shake.
 
Just occasionally a bit of deliberate ‘camera shake’ can enhance the image. By deciding to use a lower shutter speed and moving the camera during the exposure quite interesting effects can be achieved. If you decide on this option don’t be half-hearted or it could look like a mistake.
 
Some locations you might consider when looking for the effect of wind:

• Bushes and trees
• Grasses and cereal crops
• The beach
• The sea and waves
• Powdery snow
• Industry and billowing smoke

The use of form, line and texture has always been a good way to begin exploring subjects without colour. If you explore subjects in direct sunlight then the form, line and texture are accentuated - the textures introduced by the sunlight hitting the subject provide far more contrast, the light areas become lighter and the shadows cast are much darker.
 ​
If you first consider ‘Mesquite Sands, Death Valley’ you will be struck immediately by the strong foreground sand patterns and shapes that occupy a large portion of the image. I might have been tempted to make a more open view of the sands by using the camera in a landscape format (i.e., not having the camera set to vertical) and taking in more of the surroundings. However, on this occasion I knew that the strong, low and direct sunlight would accentuate the sand patterns and I selected this as the main part of the composition, with the distant sand dune shapes and textures occupying only ten per cent of the photograph. My camera was pointing down at a sharp angle so the patterns are exaggerated even though they were only a few centimetres deep and wide. Sometimes some shapes may be apparent and others may not and you have to allow your ‘mind’s eye’ to see what you can create in making an exposure.

Nikon D800e 24 mm PC-E lens, f13, 3rd sec, 0.6 Neutral Density Hard Graduated Filter
 
In woodland areas the exploration of form, line and texture can be taken to its limit. The reason for this is that trees present you with many intersecting lines, the bark of trees is full of texture and the overall form of trees is beautiful.

​The image ‘Beeches and Pine Plantation’ was not only an exploration of forms and lines, but also of the tonal contrasts that are always evident in woodland and which can sometimes be tricky to deal with. On this occasion I was firstly fascinated by the tonal differences between the almost white trunks of the beech trees set against the dark and dense pine plantation. After I established that I wanted to use this as part of my composition, all I needed to do was make some order out of the chaos of the woodland, which is often easier said than done. As I walked about I noticed that in one particular position in the woodland I was able to get a separation between the beech trees but also to place them against the darkest part of the pine plantation. To further accentuate the forms of the beech trees I placed them running vertically through the frame. Using forms, lines and textures in woodland often requires the photographer to be somewhat ruthless in making compositions. This is because the more of the beautiful environment that you leave out of the frame the more the finished photograph becomes understandable and digestible to the viewer.

Nikon D800e, 70-200mm lens, f16, 0.8 sec.

With so much emphasis placed on ‘bad weather’, one could easily imagine that bright sunny days have very little to offer. While colour pictures taken in these conditions might strike some as conventional and possibly boring, truly magnificent shots can be captured if you decide to shoot in infrared. There are three ways of achieving this:
 
1)If you are still using film, then Ilford produce a film called Ilford SFX. You will need to use a filter in order to achieve the maximum infrared effects, but the results can be stunning.

2)If you are a DSLR user, then you are able to shoot as normal without using any filter, but then you can use one of a variety of editing software to convert your RGB image into infrared.  In Photoshop this is normally done using Channels but there are various other options you may wish to consider such as Lightroom, Topaz or Nik Silver Efex Pro. If you want to achieve the effect in-camera, it is possible to attach a purpose made infrared filter over the lens, although they do cut out quite a lot of light and can prove difficult to use.
​
3)Finally, if you are a DSLR user and wish to explore the technique of infrared photography more fully, then you may want to consider having your camera converted to infrared. This is, of course, quite a drastic step as it will prevent you using that camera for more conventional photography. However as cameras have greatly improved in recent years, some enthusiasts have found themselves buying newer models and thus rendering their older cameras redundant. If so, a great way of bringing them back into use is to have them converted to infrared.
 
The hallmarks of an infrared image
 
Whether using film, or a converted DSLR, the infrared camera will have an extended red sensitivity, so that the skies will appear black while green vegetation appears almost white. Infrared can also be used to capture colour but, for aesthetic purposes, most photographers prefer to present their image in black and white. The captured images are both unusual and visually stunning; they look almost like a tonal inversion with the sky appearing much darker than the land. If you decide to have your camera converted to IR you can opt for various levels of sensitivity depending on the style of photography you wish to pursue but, irrespective of the camera’s sensitivity, all will work particularly well when the sun is shining and the results can appear especially graphic. If you consider photographing landscape on a sunny day is boring, then shoot in IR and think again!

An excerpt from our book Photographing Landscape Whatever the Weather by Tony Worobiec

​Now that spring has arrived in the northern hemisphere, and summer is not that far away, top photographer Tony Worobiec offers some thoughts and tips to help you get the best when photographing landscape in full sunshine.
 
It is easy to assume that photographing in full sunshine offers the best photographic opportunities. After all, look at the many glossy brochures illustrating blue skies and it is easy to believe we should be taking most of our landscapes in full sunshine but, of course, that is a gross simplification. In fact I might suggest the reverse; it is more difficult to communicate a sense of ‘mood’ when shooting under a clear blue sky, although to ignore the opportunity entirely seems perverse.
 
So, how do you induce mood when shooting a landscape under a blue sky? I suspect 95% of photographs of landscape are taken under a blue sky and for good reason. We associate it with warmth and summer, and seeing such images promotes a sense of wellbeing (i.e. a positive/happy mood). There are practical considerations too; no cold to endure, no risk of buffeting winds, no possibility that our shots will be ruined by droplets of rain. It is hardly surprising then that the majority of photographs are taken in full sunshine.
 
Which subjects work best under a deep blue sky?
 
Blue, of course, is a primary colour. Therefore if you want to make best use of this, select a landscape that has colours that compliment blue. The opposite colour to blue is orange; what this means is that orange is the colour most unlike blue. Therefore if you want to achieve maximum contrast, photograph a landscape that sets blue against orange.  This is, of course, why pictures of golden beaches are usually photographed under a blue sky; the visual contrast is immediate and appealing. There are countless other landscapes that can appear equally engaging. Whether they are coastal or in deserts, sand dunes appear fabulously dramatic when photographed under a blue sky and, on a similar tack, so does a golden field of wheat or a field of sunflowers.  By understanding that contrasts work best when photographed in full sunshine, other related colours to orange, such as red and yellow can also be used to similar effect. So, for example, a field of red poppies also looks stunning under a blue sky.
 
Technical tips
 
1. When photographing under a blue sky point your camera away from the sun. As you look at the sky you will notice it appears much paler in the direction of the sun. Moreover, when facing the sun, the contrast between the sky and the foreground is too great. If that was not bad enough, you will also encounter flare.
 
2. Even if you are facing away from the sun, a blue sky can appear insipid if you photograph it in the middle of the day. The sky appears much richer when photographed early in the morning or during the late afternoon.
 
3. A filter you may consider using is a polarising filter. This has the effect of dramatically darkening a blue sky while subtly saturating the colours in the foreground. The effects can be especially attractive if you have a smattering of white clouds in the sky. These filters work best when the camera is pointed at 90 degrees to the sun, although you can experience problems when using a wide-angle lens as it can exaggerate the contrast between the areas nearest and furthest from the sun.
 
4. Be aware of the shadows that are created when photographing in full sunshine. While they can sometimes help a picture, on other occasions they can prove a distraction.  Be aware that shadows shorten or lengthen depending on the time of day.
 
5. It may seem bizarre but, occasionally, it does help to use fill-in flash in strong sunlight. The contrast one experiences in full sunshine can sometimes leave certain parts of the image appearing to be too dark – for example, uprights often appear poorly illuminated relative to the sky.  Using a small amount of fill-in flash is one way of overcoming this.
 
6. A question I am frequently asked is where to place the horizon? A safe bet is to place it on the thirds, although you can be more imaginative than that. If the sky reveals a beautiful cloud formation, and the horizon is flat and featureless, why not bring the horizon down as low as you can. As I have frequently suggested, sometimes the sky is so impressive it can serve as the subject in its own right.
 
Now it’s time to grab your camera and get outside!
 
All this and more is available in Tony’s book Photographing Landscape Whatever the Weather available now in paperback or as an ebook.
 
More photographic tips and advice will be appearing here so please come back and check regularly.

​Paul Gallagher is an experienced and renowned photographer who specialises in black and white rather than colour imagery.
 
He explains the reasons for this choice.
 
‘It is fair to say that certain subjects, the beauty of followers for example, needs colour. That considered the same flowers photographed in black and white would convey a different message entirely and the experience for the viewer would also be different. Black and white is the true foundation of photography as all you are dealing with is light and nothing else. If you have not already tried to make images in black and white then it is worth the effort as the results can often be outstanding.’
 
Paul continues, ‘I think it is good for all photographers to try to ‘see’ things in tones of grey. The act of ‘seeing’ is not as simple as it sounds. It is hard work at first but the rewards can be huge. Black and white is different from colour because you are forced to look for rhythms, patterns and shapes. Also, shadows become more important as they add to the overall balance and tones in a photograph. Black and white photographs often add drama, but black and white photographs that display a simple ‘high-key’ tonality can also capture the eye. I often say to students and clients, ‘Go out and play with the light’. The reason for this is that light is the only thing you need to look for and, without colour, it is something that is both challenging and fascinating to do.’
 
To demonstrate the power and drama of black and white photography here is a sample from Paul’s portfolio taken from his book Exploring Black & White Photography: A Masterclass. Entitled ‘Low Sun, Glen Coe‘ it demonstrates how black and white photography is astonishingly effective at portraying drama.
 
Paul explains, ‘I was standing at the edge of Loch Achtriochan with a storm approaching from the upper part of Glen Coe and Rannoch Mor. As the building cloud modulated the light it sent shadows down the flanks of the mountains and lit the reeds at my feet. The play of light represented in a series of dark shadows and glistening light grey give the composition depth, and the structure of the clouds convey exactly what it was like when I was stood there with my camera. For me, it is a classic black and white situation to be in and conveys far more of the mood of the moment than a colour representation. Simplicity is also a powerful tool for black and white photographers to use at will.
 
‘What you can see from these images is that the variation of light and conditions can all be considered as contributing factors to making strong black and white photographs. You have seen mist, hazy sunlight and storms. With all of these conditions considered, you can venture out and embrace what the elements of nature are presenting to you, and the resulting photographs can convey these elements beautifully, without a single colour present.’

If this inspires you to venture forth and explore the art of black and white photography please share your images. We would love to post the best on our site!

​Developing a photographic style
 
‘Achieving a distinctive style is something to which we all aspire. Probably the greatest compliment we can receive is for someone to recognise an image as being ours.’
 
The words of David Penprase, a photographer who has created his own very distinctive style. This is revealed and explained in his book Developing a Photographic Style, where explores the concept in some depth, using many his own portfolio to investigate and demonstrate the meaning of style.
 
David’s view is that style comes from within. He cites the example of a well-respected musician who was asked at what point he started being successful. He replied ‘When I started writing songs for myself; and not for those I perceived to be my audience and their needs’. David says that to give your photography an edge it must come from within and your creative spirit must be allowed to evolve. In addition your work must be sincere or it is in danger of being rendered pretentious or irrelevant. Unique style comes from the soul and has conviction. It is very much about leaving something of yourself in the image.
 
Establishing a style is a holy grail for many photographers as it is with artists working in other media. It is about creating work that is recognisable – that is a Rembrandt; that is a Hockney; that is a Penprase. In creating that recognition David emphasises the importance immersing yourself in many forms of imagery as this intentionally or subliminally will provide influence and help the development of your own style.
 
He recommends that you find a way of working that suits you and then keep to it. This means knowing where the main road that represents your development as an artist lies and not deviating too far, despite the interesting by-ways that may be seen. As he comments, ‘Be true to your own beliefs. At the end of the day the images should be for you: if others appreciate them, then great, that’s the icing on the cake!’

​Most photography books assume the use of a DSLR or film camera and yet, the majority of us, are capturing images everyday on our phones. Instagram alone reckons that over 52,000,000 images are uploaded to its site everyday so just imagine how many pictures are taken every hour, every minute.
 
Top photographer and author Tony Worobiec recognises the power of smartphones and has included a chapter specifically on this topic in his recently published title Photographing Landscape Whatever the Weather.
 
Tony explains that the technology available in current smartphones enables high-quality imagery and the downloading and editing of pictures is easy and straightforward.
 
He highlights some of the advantages of a smartphone:

• Ease of use
• Manoeuvrability
• Excellent for close-up work
• Wide range of camera apps e.g. filters, special effects
• Spontaneity

 
It's the last point, spontaneity, that Tony emphasises. Most of us don’t leave home without our phone so we have the ability to capture interesting images and never miss that unexpected opportunity. Whether that be on a walk to the shops or a longer drive, the phone is there.

​This photo was captured on Tony's phone. He had stopped to take the picture when a police car drew up. Assuming initially he had parked irresponsibly he was relieved to see the policeman take out his iPhone and make the same shot!
 
The ability to use the smartphone camera in black and white mode also enables the possibility of capturing evocative landscape shots. In his book Exploring Black & White Photography: A Masterclass, the author Paul Gallagher provides superb imagery with all the advice you need to extend your skills in this medium, and a smartphone is ideal if you are starting out or have simply stepped out of the house minus your camera.

Nothing beats a good camera but you have a lot of photographic power inside the phone in your pocket.

Enjoy your photography and always know where your phone is, just in case. Then you have no excuse for missing that perfect moment!

​The weather. It’s a constant source of thought, conversation and cursing here in the UK. It’s the most likely subject to be brought up by any Brit when they’re in need of small talk and this is no surprise given the near constant changing weather that is the experience of anyone permanently or temporarily resident in the British Isles.
 
Despite the traditional stoic acceptance by the British of rain, sun, wind and snow, the weather can make photography, whether you are an amateur or professional, a challenge.
 
However the weather can also offer so much to enhance and expand the possibilities for artistry, particularly when photographing landscape. Dark clouds scudding across an evening sky; the gentle light after the storm has passed; the mysterious shadows and ghostly images glimpsed through mist.
 
Tony Worobiec is a celebrated landscape and travel photographer. He has spent much time making full use of all types of weather in order to bring additional feeling and provide a particular narrative to his photographs of landscapes both urban and rural.
 
In his recent book Photographing Landscape Whatever the Weather he explains how you can turn a perceived negative into a positive. Wind, rain and storms can provide superb pictorial opportunity. As Tony says in his introduction the tendency is to assume landscape conforms to a sun-kissed Caribbean beach or snow-capped Alpine mountain range when, in fact, landscape is what happens as you step out of your front door. The impact of different types of weather only enhances the possibilities for great photographs. And given the British experience of weather, always changing, but rarely extreme, any photographer in Britain has a great advantage.
 
Earlier this December The Royal Photographic Society‘s monthly journal highlighted ‘The year’s 10 best books. It's been a great 12 months for photography publications - so here's our Christmas wish list drawn from the last years Journal.’ Naturally we are delighted that one of those ten best books is Photographing Landscape Whatever the Weather. The RPS commented, ‘Required reading for all photographers who must endure the UK’s weather’.
  
Available already as an ebook and by print-on-demand we have reacted to this interest and are launching the paperback version so that it will be readily available through bookshops and online retailers such as Amazon.
 
Our dedicated web page has more information including how to order your copy.
 
Tony also runs many lectures and workshops across the country. To read more about these and find out more about Tony himself go to his website.

In my first blog post I included the quotation ‘Your first 10,000 photographs are your worst’ from Henri Cartier-Bresson (1908-2004). This reminded me of an article I read last year on the BBC website: ‘Can 10,000 hours of practice make you an expert?’ (by Ben Carter, BBC News 1 March 2014 http://www.bbc.co.uk/news/magazine-26384712 The original paper on which this theory is based can be found here: http://graphics8.nytimes.com/images/blogs/freakonomics/pdf/DeliberatePractice(PsychologicalReview).pdf) 

Thus, echoing the common exhortation that ‘practise makes perfect’, Cartier-Bresson would probably have been a fan of the 10,000 hours theory too. After all, his first 10,000 photographs may well have taken 10,000 hours as he worked with film cameras (see the photograph of his lovely Leica) and in the darkroom.

Of course these days, with digital cameras, you can take 10,000 photographs very quickly so, perhaps, it is the 10,000 hours that is actually more important than ever if you want to become a talented photographer. Modern DSLR cameras (and smartphones come to that) are brilliant pieces of technology that take much of the guesswork and technical variables (focus, exposure, etc.) out of taking photographs. Also, with sophisticated photo manipulation software, any glitches that do occur when the image is taken can now be ironed out on a computer. As Peter Cope says in his book Using Free Image Manipulation Software:
In fact, if you were to look back through photographic magazines of the 1970s and even the 1980s you would probably be a little surprised at the type of images that were considered acceptable. Some of those magazines’ most prominent photographs look positively mediocre today. Skilled photographers –and readers too – would accept that absolute perfection was a rarity and that a degree of compromise was often necessary.

So, really, a technically perfect photograph is not enough these days to identify a talented photographer. To create a really great image – an image that is truly beautiful, absorbing and that demonstrates a distinctive photographic style – you need something more and this ‘something’ cannot be provided by the computer in your camera or by the one on your desk. This ‘something’ is often called ‘genius’.

In 1903 (the words were formally attributed to Edison through publication in Harper's Monthly (September 1932) Thomas Edison said ‘Genius is one percent inspiration, ninety-nine percent perspiration’. So Edison was also a fan of the 10,000 hours theory as he went on to say, ‘Accordingly, a “genius” is often merely a talented person who has done all of his or her homework.’

Therefore, to make the difference between a technically ‘perfect’ image and a work of art, surely it is the ‘inspiration’, the ‘genius’, that is crucial? The origin of the word ‘genius’ is from ‘Late Middle English: from Latin, “attendant spirit present from one's birth, innate ability or inclination”, from the root of gignere “beget”. The original sense “spirit attendant on a person” gave rise to a sense “a person's characteristic disposition” (late 16th century), which led to a sense “a person's natural ability”, and finally “exceptional natural ability” (mid 17th century)’ (quoted from http://www.oxforddictionaries.com/definition/english/genius).

This definition is very depressing for those who aspire to become a talented photographer as it suggests that ‘genius’ is something you are born with. I am sure a lot of talented people like to believe this as it makes them ‘special’. However, while this may be true for a few ‘special’ people, I think that genuine in-born ‘genius’ is very rare and that most talent and expertise actually develops from a combination of two things – knowledge (that which you can learn) and experience (or practise). Knowledge and experience combined creates wisdom and it is the wise photographer who takes great photographs.

Our photography authors are very modest people and they certainly wouldn’t describe themselves as geniuses. However, they do take wonderful photographs that exhibit the characteristics of a wise photographer. For example, Tony Worobiec and Paul Gallagher began their careers studying art, graphic design and photography at college, thus gaining background knowledge and learning the artistic principles that underpin a great photograph (Tony’s book The Complete Guide to Photographic Composition is a brilliant guide to these artistic principles). David Penprase came to photography much later in life but it is very clear from Developing a Photographic Style that he has also developed great photographic wisdom and he also exhibits the characteristics of the artist craftsman with both vision (inspiration) and fantastic attention to detail (perspiration). Peter Cope is a very skilled technician and his wisdom is demonstrated in his ability to explain and teach photographic skills – as Tony describes in his Foreword to Using Free Image Manipulation Software:
Peter Cope is an accomplished writer and photographer who has established an admirable reputation as someone who has fully explored and understood the potential of digital photography. In addition to his many books, he is regularly invited to write articles for numerous national photographic magazines.  He enjoys a reputation of being able to engage with his readership, due in no small part to a very readable style of writing. So often books of this nature prove unappetisingly ‘techie’ and can so easily lose the reader’s attention. By way of contrast, Peter is a natural teacher who possesses the ability to explain issues from the point of view of the learner.

Of course, what all our authors have also done is to take the knowledge they have gained and put it into practice time and time again. Another indicator of a wise photographer is that they learn the ‘rules’ but, after much practise, they also know how to break the rules in order to give their photographs an extra edge and personal style. Their experience gives them the courage to do this with confidence.

The one key element of great photography that all of our authors (and other great photographers I have met) emphasise is taking your time. As one well-known photographer pointed out to me, just because your digital camera can take hundreds of photographs quickly doesn’t mean that you should take hundreds in the hope that one or two will be worth looking at. All our wise photographers probably take fewer photographs with their DSLRs than they did with their film cameras. Why? Well it is because the digital camera takes the technical vagaries out of photography, allowing the photographer to spend their time on the crucial factors that make a really great photograph - things like, for example, previsualisation, preparation, composition, creativity, patience and timing. So their photographs are better not because they are geniuses but because they are wise enough to spend their hours on those things that a digital camera can’t provide – those factors that their knowledge and experience have combined to form their innate photographic wisdom. Talented people are often able to do difficult things without thinking – a talented pianist doesn’t have to watch her fingers on the keyboard or read the score and an experienced surgeon doesn’t have to read a textbook in order to carry out brain surgery. Their wisdom has become a part of them through experience and practise – they weren’t born with it.

So, in conclusion, does all of this mean that you should be spending 10,000 hours taking even more photos because your digital camera allows you to do this? No. Instead, to become a talented photographer with your own distinctive style, you need to spend at least an hour (and probably much more) on each of your images. You do need to practise but you can spend some of your 10,000 hours on learning from those who have already done their 10,000 hours practise to develop photographic wisdom. That would be the wise and efficient thing to do. In our RHE Media Photography titles we offer you words of wisdom from those who have had both their one per cent inspiration and put in their ninety-nine per cent perspiration.

Is photographic talent 10,000 hours or 10,000 photographs? Both - it is a combination of the two. In fact, with digital cameras, it might be better to spend 10,000 hours on 5,000 photos and some background reading!

RHE Media is producing brand new photography books as ebooks. Why are we doing this and what are the benefits of photography ebooks for photographers? I believe there are eight key reasons why photography ebooks are better than print books:

• The reproduction of the photos is better. After all, you are seeing the photograph in the form in which most images are created today – digitally. There are no print quality issues.
• Our photography ebooks are fixed layout and specifically designed for ebook delivery. They are not poor quality conversions of existing print books and they don’t have the boring layout of a reflowable ebook.
• You can pinch and zoom images to focus in on particular details or to enlarge the image to get a better view.
• You get more photos for your money – photography ebooks are much better value for money because prices are lower and you get more high quality images. Our PhotoWise Masterclass title by David Penprase, Developing a Photographic Style, is a perfect example – you get a great deal of valuable advice on how to develop your photographic style plus a gallery of 81 images by a master craftsman all for about £9 inc. VAT or $10. A similar print book might set you back nearly £30/$40.
• It is easier to take a ‘How to’ photography ebook with you into the field on your phone or tablet, or to have it open beside you at your desk. Ebooks always lie flat and open at the right page! Peter Cope’s practical guide to free image manipulation software includes advice on basic image manipulation techniques. This is an ideal resource to have open beside you when you are exploring freeware such as Snapseed, Gimp or smart phone apps.
• Live links – our photography ebooks are interactive – we link our text out to a wide variety of online content, thus extending the range of information available.
• We can cover topics in our photography ebooks that many print publishers would not regard as viable commercial propositions.
  

We make no compromises with our photography ebooks – they are professionally edited and designed and they are written by fantastic photographers who are also experienced authors. We publish our own books but we are also happy to produce photography books for authors who want to self-publish. Contact us if you would like to discuss a self-publishing project.