Approaching a Scene with Nigel Danson - Landscape Photography Podcast

this week we're talking about approaching a scene with Nigel Danson and this is the landscape photography podcast all right so I'm sitting down with the one the only Nigel Danson how's it going it's fun to finally hang out with you yes is fantastic found a fairly few hectic few weeks actually but um yeah it's great it's great to chat to you Nick I've watched loads of your channel and seen some of your amazing photos so it's fantastic that we could hook up and have a chat I've watched tons of your videos as well and I'm always inspired by your work just because I don't know the way you you are able to convey your enthusiasm is is really nice on your YouTube channel if you're not already familiar with Nigel's YouTube channel I don't know where you've been but I think your channels up to how many subscribers do you have net these days Justin oh I don't tend to look at numbers because you just bothers a bit but I think it's over a hundred and forty something like that so yeah so it's it's crazy I can't believe it I can't believe that many people want to watch me running around the wilderness like a lunatic but but obviously they do which is really good and I try to be myself so that's that that's what's really really well I think and that's one of the things that I appreciate about Nigel's channel is he's not somebody that's gonna tell you to go out and buy every new piece of gear he's he's you're one of the good guys Nigel you're one of the good guys I mean IIIi don't think gear well gear matters doesn't it we all love gear let's face it I absolutely get so excited about getting a new camera and I always stupidly buy the latest equipment but it makes no difference to my photography the mostly anything it makes a difference to your photography is getting out and shooting so I tend not to talk about it a lot on my channel although I think I'm gonna be talking how to do this someday having said that so so video will have probably gone out with me talking about gear but very few videos are me talking about gear more it's more about composition and lighting and just getting out in nature really yeah and I think that's why it resonates with so many people is because we can all benefit from talking about position and how to approach a scene and on that note one of the questions that comes in pretty often on my channel or you know other places for the podcast is how do I approach a scene or how do I approach a new scene or new place that I've never been to before how do you scout it and that was thinking that'd be a fun thing to talk with you Nigel just because you know I think that you you talked about that quite a bit on your channel so why don't we start from the very beginning as far as like how do you decide what new place you want to go to what are some of the scouting tools and things that you do when you want to go somewhere new ok so the first thing probably before that is I don't tend to go to a lot of new play new places so I I enjoy going back to the same places and time and time again that's when I find that I get my best photography and not a travel photographer I don't go to lots of places all over the world and we are one of the recent places I've started to explore is the Faroe Islands and I think I've been there nine times now and there's lots of places I want to go but I feel that you know I should say that first because I think that more important than anything is going back to a place time and time again but when I do you know look a new location and maybe I'll look at you know if I'm going back to the Faroe Islands or Iceland places that I do go quite regularly or Scotland then I'll usually start with a map so so I'll usually sort of get a I usually use what we have in the UK if I'm going in the UK we have Ordnance Survey maps which are really good maps and they also have 3d elements to them I'll also supplement that with probably Google Maps as well Google Earth is amazing also in go Google Earth Pro I think it is that you can download to your computer you can you can look at the lighting on the landscape and you can see how that is affecting and impacting on the land and that's a really good way of finding new locations that maybe haven't been photographed before because I do quite I've hiked in as well so I can hike to a location found on a map and then check that out but once I found somewhere probably go back to it maybe 10 10 times or something before I get the perfect conditions I'm not really amazing III think you've got to be really lucky to get the perfect conditions the first time you go but you can you can improve your chances in that yeah that was one of the things that I was gonna say is that you know the likelihood of getting the kinds of conditions that you want in a perfect world the very first time you go somewhere is so remote that it's you know you have to be incredibly lucky but the way that you can increase your odds at getting those conditions is by continuing to go back and you know our styles of photography are very different I think you know I'm most inspired by interesting and kind of extreme weather I'm almost a weather photographer more than a landscape photographer and from for me I find that I get my best photos when I continue to return to a place if for no other reason than well first of all I know the location and I know the compositional possibilities at that location but also the likelihood of me getting good conditions goes way higher you know it's way more likely if I continue to go back then so yeah an excellent point on the importance of returning to a location just because you know that location better when you continue to go back yeah you know you better you feel a bit more familiar with it but there are other things that when you get to a location that are important as well um research in the location I would then probably go you know look on Instagram look on the web and just try and find other photos because you know if you if I haven't been somewhere then it's good to see what other photos are there well I find this really useful is is if you go into a location you haven't been before and you're looking at the current weather conditions or the current conditions of maybe a river or something like that instagrams fairly good because you can look at recent photos you have to be a little bit careful but if you look at the recent photos then that can give you a good idea of whether there might be a stream in flow or you know what color the trees are and and that can really help to educate you and an assist in decision making Pro process when you when you arrive at the location so are you somebody that you don't mind you know seeing what other people have done at a location does that not bother you or do you I know there's some photo photographers that don't like to have that you know that little seed put in their brain of compositional possibilities because they might end up just going there and copying them or emulating them exactly because that's all you can see after you've already seen what other people have shot does that not bother you no not really not at all because when I get somewhere then you know that the feeling of the place is what drives my photography not I forget those photos to be honest when it when it went off when I've looked all the photos so I'm not looking for photos that are particularly amazing I'm just looking at photos that represent the terrain and maybe the conditions you know if I'm looking at them quite close to a trip but but but I suppose you know that's a whole different yeah a whole different question of space isn't it because we're all influenced by photos even if we think we are or not every photo this Takens probably had a little bit of influence by some other but some others photo you know you you there's that much originality now I think it's just a mash together of lots of different styles of growing over the years yeah and I'm the same way like it doesn't bother me to see what's been done at a particular location because I know that I'm not going to just the last thing I want to do is just go and recreate work that's already been done and sometimes it's nice for me to see what's been done just so I can not do that there's I know when I went to Scotland and you know I'm driving through the Glencoe area I end up just like stopping at this place that I thought oh man this is so beautiful and I get out and I take photos and then I think I was Simon Baxter sent me a message on Instagram saying you realize that you're pretty much of the mesa arch of scotland because it's it was like you know where everybody stops to take photos and that's why it you know resonated with me but had i looked at photos of that particular area i wouldn't have just done what everybody else does so what i like to do is i like to look at photos that been taken in that area so i can get a feel for what most people are doing but then when i arrived at the location i try to like put that stuff aside i know what can be done but what else can be on because obviously you know if you get that one photogenic area a lot of times all the stuff off you know in the off to the right or off to the left or other areas they get neglected because everybody is just has you know they're like moth to a flame to that one for sure composition but there's all kinds of other compositions that can be made and often aren't just because everybody goes to the same spot yeah i understand that and i think that's a really good way of looking at it I suppose I don't care whether somebody's taken a photo before and I don't care if a fair if if I look back and I ended up getting the same photo as them so you know when I went to Yosemite and lived in San Francisco you Psicosis emiti I love taking the valley view shot because I could take in different conditions like you say different weather conditions I got that Shama I wanted a snowy condition I'm sure thousands of people taken that shot but but I don't care that a thousand people have taken that shot because for me it's the first time I've taken it and and that's what a lot of photographers feel as well that they want to get that shot that everybody has taken you know it's not all we don't have to be this crazy you know arty people that have to get original shots thankfully we'll be that person Nigel I am the are you making fun of me right now Nigel I get that and I think most most people that a professional probably think like that but I'm completely not like that I I just don't care what shots anybody else has got it just doesn't bother me in the slightest so I just care what I get and if I enjoy it and I like that photo that's all that bothers me and look it's always gonna be the same and it just doesn't so really what some is shot before doesn't really have a big influence on me and I don't care if I shoot exactly the same as what somebody's shot before I just don't doesn't bother me at all what I care about is getting the shot that I think reflects the emotion of that location because whether I'm the first there are the thousands there is still the first time for me if you see what I mean so that's that's what's important that's a much healthier mindset Nigel I suspect you're happier when you do photography than I am I'm like constantly like in this thing where I want to create something different and original and like I'm putting that pressure on myself and you're just taking photos for the enjoyment that's like that's baffling to me how's that worked obviously if I get a photo that everyone likes and says you know don't get me wrong if so many Pat's room in the back and says oh I've not seen that angle before I'm like that's great but I don't know I just I'm just not that bothered about it really just doesn't I I suppose when I went into doing this professionally a few years ago and I the number one priority for me was to enjoy what I did so I always want didn't want to put any pressure on myself to create any types of images share images that I enjoy and I don't care whether they're gonna win competitions or not win competitions or you know I just just I just don't care what it because things really I only care what I think and whether it makes me happy oh man I envy that that must be really nice because I'm pretty much the opposite I put way too much pressure on myself to I have to do I have to create amazing photography every time I go out otherwise I feel like a complete failure but that's just the difference in personality I'm the super competitive like got to be the best or else why do I even do it i person but yeah I understand that and I want to be good there's there's a difference between that yeah I really do I really want to produce and improve and get better and I want people to enjoy what I enjoy and I get really buzzed out of selling my fine art photos when people you know I think I've got three or four orders last week and I printed them this weekend and I was really proud of them because the things that really meant a lot to me these photos so thinking they're going to hang on somebody else's war is amazing so I really enjoy that somebody's getting enjoyment out of what I enjoy and that's definitely true let's say that we arrive at a particular place what are some of the techniques that you like to do to start to hone in on what it is that you want to photograph at a location let's say you arrive you're walking up with what does Nigel do when they when he first gets to a location so the first thing I do is put the camera down so I I'm always really keen on not exploring with my camera so I usually have a coffee have an apple just sit down take it in that just depend or sometimes if I arrive and the lights amazing then I'll run round like a headless chicken trying to find a place you don't really have the time in that Apple you don't have time to sit down and enjoy quite as much when you're late yeah or something happens and that happens relatively often to be honest but I'm like I've got a fan of composition because the lights amazing I'm sure everyone has done the same but but most of the time I arrive there in good time that's usually for a sunset or you know if it's a sunrise then I might have looked go and scattered the location the day before and also have a good idea of what I'm going to shoot so say it's a sunset I'll arrive there maybe I don't know four hours before sunset something like that so I'll have a good hour probably I've just been able to take in the location without getting my camera out then but what I do do is get my phone if anybody follows me on Instagram they'll see that I shoot a lot with my phone and I love I love shooting my phone when I teach workshops I always tell people to get the phone out to help them with compositions and the reason being is that when you've got a phone in your hands one all you're doing is just pressing one button on actors take a photo so you're not worrying about settings or anything like that and then to the screens amazing so the screen on this is so much better than the screen on the back of your camera so it means it's easier to compose some of them to look at it when you've composed it maybe do a quick edit on your phone and try and get in to enter that and you know to try and help you visualize what that end result of image is going to be because that's the thing that's important not to just take the shot but be able to visualize what what the resultant edited shot might look like because that might dictate some of the compositional changes you might make that mirrors what I do and what I recommend so closely that's it pretty much exactly what I do I try to you know get to a place and then just kind of look around and experience it a little bit yeah because as soon as you start pulling out cameras and tripods like your mind goes into this technical place where you're you know the technical stuff gets in the way of just creativity and and I do the exact same thing with my phone when I when I it the time comes to start experimenting with different compositional ideas and possibilities I like to do that with my phone as well because it's really quick and easy too and yeah very mobile you know you know you can see exactly what stuff looks like when you're close to the ground or way high up which is a vertical look like what does yeah and it's so much easier to go into that creative you know part of your brain rather than the technical side where you're fiddling with ball heads and tripod legs and that stuff gets in the way yeah I think that's really important I think what you said about just trying to get a sense of the location and yeah when you when you get there it's I always find that I get better shots if I just sit down and just take it in and just feel it a little bit better because you you also you start to spot things maybe it might be a texture of a rock or a texture of a tree or maybe the way that the color of a rock is is is you know looking in the reflected light or you know maybe the shadow area is different than the highlight area and you spot those sort of nuances that you just don't spot when you've got a camera in your head in your hand as you say and I think I think that's something that people really struggle with I certainly see all my workshops that people love to get the tripod out and I think if I'm honest you know I've I've done that a lot as well you know if I if I even if I go back probably three three years before I did this all the time I I would get my tripod out all the time I'll get my camera out in front of me all the time and it's it just it just never works so much so so that's that's the big big thing that helps you find a composition mm-hmm and one of the things that I find myself saying a lot on my workshops is that like I tell people to try to like take in the place and try to envision that you're going home and telling the story of this particular location let's pretend we're on a beach with some rocks and flowing water and then try to envision what would make it into the story of that place is it going to be the you know the sea stacks in the background probably is it going to be the flowing water most definitely is it going to be you know the the random little twigs entering your frame from the side probably not and so when you start to think about the story that you would tell about this place that starts to give you compositional elements that you want to include in your photo you know trying to simplify the story to just what matters and eliminate the stuff that doesn't that's kind of the whole art of composition right it's trying to get just the good stuff in the frame and so that's one of the things I'm often recommending and that's really good advice I think and and telling the story is ultimately what you're trying to do with composition isn't it so but I think removing elements is much better than trying to add elements so so so what what I always try and explain is that you know once you've got something is there anything in there that isn't adding to it and if if there is then remove it you know a lot of people like to know how to take really wide-angle shots is something that I really loved doing it was actually quite difficult to take you know 40 millimeter 50 millimeter 16 millimeter shots because obviously getting so much more in the frame so you've got to be very then more a lot more careful about how you frame that or compared with a long lens shot which is much easier to then pick out the things that that are important to that story so the other thing I'd say is maybe dose to hopefully the wide angle lens straightaway because it's it's the most difficult compositional tool you've got in your photography kit really yeah and what's funny like in my own progression with composition in my own photography is I've gotten really good at kind of isolating just just what I like but I've almost gotten to good where I feel like all my photos are like overly simple so one of the things that I find myself doing a lot is I I will hone in on that that story that I'm trying to tell and I'll get the you know the photo of let's say we're in a woodland and we have this one particular tree with lots of character you know I'll get that portrait of the tree but then I'll start to I'll work my way back out so I found my story and now I'm trying to include other elements that give it a sense of place so I start tight and then I start to shoot wider and wider and trying to compose it to where the story is still about that big beautiful tree in the background but now I'm starting to give it more of a sense of place and sense of depth so it's kind of funny like when you get to a place you're trying to hone in on what you like and eliminate all the things you don't but once you get that what I like to do is then start to like zoom out and and try to include a little bit more and get a more complex composition that is still a functional composition and that is really hard but that's just kind of where I'm at with my compositional stuff the things that I'm working on the photos that have that multi-dimensional element to them become really excellent only so it's not just amazing lie and a you know a great subject but you maybe have multiple subjects as well as they're all working well together as a composition but it is very difficult to do that yeah it takes a lot of time looking around and I suppose that comes to the other point in when you're at a location which is it's really important to know where to spend your time and I recently did a video on time management and and how important that is because you know quite often you can spend you know half an hour trying to get something to work that's never going to work and and what you should be doing is finding a composition that you know is going to be absolutely brilliant and then waiting with that one but that's a really tough skill to know how to do because in the back of your mind there's always something saying is there a better composition and so it's knowing when to stop and and and how you know and how you're then going to spend your time on or maybe one or two compositions rather than ten compositions and then you'll get one or two good ones rather than ten average ones something there Adam Gibbs is always talking about it one of the things that he's really good about is he will he will slowly hone in on a composition but then he will just continue to work that composition maybe one other but he doesn't he doesn't run around with a chicken like a chicken with his head cut off like I knew you know I'm I'm greedy and I'm trying to get everything but he's just trying to get one excellent photo and I think that's great advice for a lot of people if they do find that one subject that they know is working it's worth spending that time on but a lot of people will sit there and struggle and you know and really struggle with the composition that's just not working and it's exactly and it takes a little bit of experience to figure out what exactly those compositions are and how not to spend them on and it's kind of tricky it is and there's no real magic solution to that I think it is experience a little bit I I think I'm a bit more like you than Adam although I'm I think I'm getting a little bit better at that you know where I'm quite happy to come away from a location with maybe one amazing photo that could be a disaster rather than you know three average photos that probably going to be okay and and and I feel that when I've tried I've really tried hard this year to do that and I feel that I don't think I've got as many good photos this year as I did last year but I think I've got probably three that can think of now straight away that I think of just some of the best places I've ever taken and that's because I've really spent time on that one composition but it is very difficult to do that and and your heads always thinking god this lights just amazing I was in Sky recently and and the light was stunning it was that golden lie that comes through a storm cloud that just seems to make everything glow because everything is usually wet and it was just a stunning light and I I thought should I stay with this one or should I go and take all the shots I stuck with a composition and it works for me but it could it could have well have massively failed that because actually in the workshop there was four or five other people on the workshop and therefore people in the workshop and they didn't stick with the compositions they got all the ones and actually a look at some of their shots I think I love that we should have gone for that one man because we were all really round trying to help each other out and all sorts so it was it was fun yeah it's really challenging and I think it totally depends on where the person is with their own you know their own creative ruts and stuff some people they don't need any any encouragement to just stick with that one composition because I know a lot of my workshop participants they they can't help but just stick with that one composition their tripod will grow roots as I say other people you know they're there they're like a you know the dog that says squirrel and they see something they do Brent over and take it take it I think everybody is different in that way yeah I think so whatever you like I think the most important thing for people to take away is that you have to work on your weakness because everybody's weakness is a little bit different and if your tendency is to just hang out on one composition and then have regrets about not exploring a little bit you should work on exploring a little bit if your tendency is to run around with your head cut off try to slow down and fully work a composition before you move on I think that's the only way yeah it's really yeah it's really good advice one of the things that you touched on earlier that I want to go back to was the you know you're talking about how you'll sit there and you'll actually do a really quick edit on your phone about you know what you might do in in post and I think that shooting with post-processing in mind is such a valuable thing that a lot of people don't do in the beginning but the more experienced photographers are always kind of thinking about in the back of their heads as they're shooting so let's talk about shooting with post-processing in mind it's an interesting one this because she is about visualization and trying to visualize how that images is edited so I've recently been doing quite a lot of woodland photography and what I've developed is a set of presets that worked really well for me in Lightroom so I've got those presets in my Lightroom mobile and it means that when I shoot my images in Lightroom on my phone and apply those presets and I'm actually tweak them a little bit so they'll work quite well with my mobile you know what it looks like on my mobile then it gives me an impression of what that's going to look like and it's quite quite different because my my woodland shots you know I've got crush blacks that they tend to reduce the contrast in the mid-tones so there's quite a lot of things changed on I tend to warm the highlights and cool the shadows a little bit so so I've got a certain style a lot of people say when they look at my photos they're quite painterly you know it's sort of a watercolor style I suppose and it's quite good for me sometimes just to be able to apply that style really quickly and then maybe tweak it when that preset really quickly and then tweak it so I can then look and then think it sort of allows me to then visualize that composition you know in real time and and then try and think how I might change it because you know that what comes out of the of the phone is very is very different selling woodland as well where you've got the one thing woodland that I find is really difficult is is is is having points in the woodland that are distracting so maybe that might be a bright spot it might be you know sky I just hate sky in any of my woodland shots and if there is sky I've got to think how I'm going to work with that how am I going to tone that down you know you can't just you know fog helps but but there's there's there's things that you might have to cut out on it and be able to see how I might have edited there can then help can then help love that final composition it's like almost like when you get back to library if you look at it and you you sometimes disappointed with your photos when you're edited I mean you think if only I well you can do that live if you do it on your phone yeah I find that sometimes some scenes are so much more difficult to pre visualize on the back of your camera just because you're looking at you know you're looking at a completely unstyled version of what you're taking and for example if you know there's a lot of times where you might be taking a photo from a big Vista where you're looking through lots of atmosphere and you're shooting telephoto because you're shooting through so much atmosphere it's a very flat scene and if you're looking at a really flat picture profile on the back of your camera out of LAT scene it's hard to it's hard to feel very inspired by that and so kind of what you're doing is you're you're doing that pre editing on your phone just so you feel better about what you're about to take on your camera because you know that it's not gonna look like that on the back of your camera one of the things that I will do is for example if I'm shooting a really flat scene that needs lots of contrast and post and probably going to need some saturation in post I will actually change my picture style just you know on the back of my camera just so I feel a little bit better about what I'm taking and it doesn't it doesn't affect the raw file in any way as soon as you open it up in the develop module in Lightroom that's gonna go away and it's gonna go back to that flat picture style but what it does do is it makes me feel better about the composition I'm taking and keeps me in a yeah na I'm a good photographer mood where we're you know you're not being too hard on yourself because it's really hard on creativity to look at the back of your camera and just be like that looks terrible and it's hard to even visualize what it is that you're taking so I like to tweak my picture style based on the scene that I'm shooting if you know again if I'm shooting like into the Sun and it's a big bright sunset I like to decrease the contrast a lot just so I can see what's in my foreground it helps me compose and it kind of helps me pre visualize what I know I'm gonna do in post which would be lifting the shadows yeah that's such good advice that I think I on my Fuji I shoot with a Fuji on a Nikon and I'm a Fuji I love that the the Velvia them profile is just a just a lovely profile and it just certainly when you when you shoot in greens and things like that it just looks amazing so that's that gives you it's like you say this I've not really thought about it like that feelgood factor but that's exactly what it is it gives you that feel-good factor we should brilliant it's really hard on a person's creative you know mindset when you're not liking what you're seeing on the back your camera it's hard to continue to you know push through and be creative and if you're just feeling like oh all of these are terrible I hope I can save it and post it's nice if you can kind of pre process it even just with a little contrast and saturation on the back your camera or maybe it's tweaking the white balance because one of the things that I always encourage people to do on my workshops is to manually dial dial in their white balance because if you're shooting an auto white balance and you're photographing a sunset it's going to suck all of those beautiful warm magenta colors right out of that sky and you're gonna be photographing a grey sky instead of a big beautiful red sky so dialing in your white balance also helps with that I find - yeah I mean I I actually always shoot on cloudy so then if you're shooting some say it's gonna look pretty good well it's because you live in the UK and it's always cloudy exactly and then I go to Scotland and the Faroe Islands so is clearly wherever I go I rarely see the Sun so yes I I i did that i think also white balance is probably not a good idea i say change you all afterwards but then just seeing a variety of color tones when you're looking your images is not a good idea either and then if you I suppose what I do is I often see on cloudy but then if I'm shooting the Aurora or something like that then I'll obviously dial in a complete different white balance because otherwise it looks really weird and I think that we probably come from different different camps as far as like the amount of post-processing we do or the kinds of post-processing we do it like I'm a Photoshop guy and I'm always you know exposure blending and focus stacking and doing a lot of that luminosity mask type stuff and you know there's for me like knowing what I can do in post processing changes what it is that I shoot when I'm out in the field for example you know if if I have even the slightest question about whether I have enough dynamic range I'll quickly bracket my shots just to make sure that I do or if I even if there's any question then I have stuff from sharp from front to back I'll do quickly do a focus stack and I don't have to use those files but just knowing that I have them means that I have them available to me later on when I go to edit do you do any kind of like post-processing stuff like that where you have to think about it ahead of time while you're out in the field yeah do exactly what you sit there so I always focus that if I if I feel like I should and I always bracket my shots just I've got that data quite often I might only use one one image I tend to most my stuff in Lightroom but you can still stack images in Lightroom you can still you know blend things together in reasonably well in Lightroom and and occasionally go to photoshop as well I used to use Photoshop a huge amount and then I about probably around about six years ago something like that I started using just catalog in packages more and then Lightroom about five years ago I think I've had a few slightly for much more than five years so my father goes back down back to about 2004 so it must be about it must be about fourteen years so yeah yes I I I definitely do both of those things and I think I just did a video actually on filters and the only filters you need and I'm not great lover of filters but there are so you need an ND filter and a polarizer or two filters that are really important I think assert that they're the things that you can't do afterwards very easily we can't do afterwards so but hey graduated filters and a brother pretty virtual high five yeah yeah I mean a graduated filter just never it's so many people still use them when I was in Scotland I every single photographer that I saw was you had it was like almost like a badge of honor to have a graduated filter on and I just think and they've taken a photo of a mountain and I'm thinking how is that gonna work that's gonna be one dark mountain yeah it's because when you have people that are not comfortable with the post-processing side of things a graduated filter makes sense you know because you know if you can only get that dynamic range by darkening down the sky and the mountain that you have you they do what they have to do but you're so much better off to just exposure blend especially with the dynamic range of our cameras these days yeah very seldom a need for a graduated filter and you can't undo a graduated filter it's a destructive workflow and it's expensive and it's bulky and a lot of things yeah and you put something if anything every time you put a filter in front of here lens and you've got this really expensive lens that sound a lot of time and money spent on it's get brilliant optical quality and a filter which quite frankly has not had the same amount of time and money on it and put in front of it however a polarizing filters useful for woodland and you know shooting waterfalls and an ND filter you know it's occasionally useful for waterfalls as well or obviously seascapes and things as I'm sure you use them for but you know it's just one of those things I wish camera manufactures have built-in ND filters I think there's a few things that not many yeah there would be so many less problems if it was all back behind the lens or you could just dial in you know and get a really high quality variable nd back behind those that would be nice especially for all those big bulbous friend element users that'd be nice yeah yeah that's that that makes it difficult yeah yeah well this has been so much fun talking to you Nigel we need to do this more often yeah well I have to do something I'm trying to do more interviews on my channel so I'll have to do something and you have to come over and have a chat on my channel I would love to so wait wait exciting things do you have coming up what do you got any big trips or anything like that coming up soon I've got I'm going to Switzerland next week so I did this thing called the golden ticket in my calendars that I sold I put a golden ticket in the calendar I didn't know who these calendars were going to because they were they were shipped by shipping company so they I packed them and they put the labels on and so I put golden ticket in one in one calendar and I actually was worn by somebody in Switzerland in this amazing location it just looks so fixed so nobody's gonna believe me it could have been I was really worried you thought I was gonna be like somebody in Texas I thought I said I had to pay for them to come over here or I go to them and and and so this lady in Switzerland brunette and say I'm going to see her and the the the award was a one-to-one workshop with me said that's next week so that would be good I'm really excited about that and then I've got nothing else really I've got lots of videos I got to edit which is a big process as you know and then I'm going to Iceland and the Faroe Islands and Laufer turn in in the new year so lots of winter wonderlands really very nice I leave for Iceland this weekend so that's down and up and then yeah and then I've got a big big trip with some guys in January that'll be really fun but this has been awesome Nigel thank you for coming on and where can people where can people go see you work in and see a lot of things you're up to so if you just type my name into YouTube you'll you'll find it you'll find my channel and then on Instagram I post reasonable amount of stories on Instagram probably three or four a day so that's quite a good way of checking out what I'm going what's going on every day and that's Nigel Danson on Instagram and I post my photos on there as well awesome well thank you for coming on Nigel thank you guys for watching and listening and we'll see you in the next video or episode take it easy everybody yeah brilliant Thanks [Music] [Music]

Channel: Nick Page

Views: 25,543

Rating: 4.8970718 out of 5

Keywords: photography, landscape photography, nick page, travel, Nigel Danson, podcast, landscape photography podcast, compostion, approaching a scene, new locations, scouting, inspiration

Id: 4fvTgnSOgdM

Length: 40min 52sec (2452 seconds)

Published: Fri Nov 29 2019