I’ve thought about this trip for a long time, and finally getting the chance to head out to Inis Mór didn’t disappoint.
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This blog & video breaks down the key elements that influence sharpness and how to approach them in real conditions.
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Over the past few trips, I’ve been refining the campervan setup — not with big changes, but with small upgrades that have genuinely improved how I shoot and edit on the road.
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A first-hand account of chasing rare sunlight on the Dingle Peninsula after weeks of rain. Learn how to read conditions, choose the right lens, and capture powerful coastal images in unpredictable weather.
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SO is not simply a brightness slider. It is directly connected to image quality.
Keep it low when you can. Raise it when you must. Adjust it last in manual mode. Understand your camera’s native ISO. And know that some situations — like astrophotography — demand higher values.
Control comes from understanding.
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I’ve been testing Luminar Neo for the past few months to see if it can genuinely replace my Lightroom / Camera Raw workflow — without the ongoing subscription and without paying for features I don’t use.
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A new location above the Kerry Cliffs, a rainbow that appeared without warning, and a last-minute break in the cloud that changed everything
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There is a quiet assumption in landscape photography that more equipment equals better preparation. The fuller the bag, the safer you feel. It creates a sense of control, as though every possible lighting change, focal length requirement, or unexpected moment has already been accounted for. For years, I operated under that belief.
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A second visit to St Finian’s Bay in Kerry delivers unexpected results. Learn how long lens compression, timing, and patience helped capture surfers with the Skellig Islands in the background.
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Getting it right in camera is a core discipline in landscape photography. It is not about eliminating post-processing, nor is it about technical perfection. It is about intent. The aim is to capture a file that already represents the photograph you had in mind, so that editing becomes a controlled refinement rather than an attempt to repair fundamental problems.
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In this blog & video, I test a hybrid ND and polarising filter during a seascape shoot in Kerry. Using the same composition and light, I walk through how different shutter speeds affect wave motion and image balance, from 1/30 second through to four seconds. This is a practical, real-world look at how one filter can replace multiple ND filters, along with the limitations you need to be aware of when using a built-in polariser.
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In this video & Blog, Episode 2 of Volume 3 of Essential Landscape Photography Skills, I break down how a clear workflow supports landscape photography, from preparation and decision-making in the field to consistency over time.
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The shoot was built around using the Sigma 150–600mm and seeing what that focal range allows you to do along the coast. Instead of the islands sitting in the background as small shapes, the lens let me pull wave action right up against them through compression. That’s what made these images possible. Without that reach, the shots simply wouldn’t work.
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The book is finally at the printers. This week I headed to Dublin to film the final stages of COAST being produced, from the cover printing and silver foil being applied, to the machines that will print every page inside. It’s a behind-the-scenes look at the moment where the project stops being digital and starts becoming a real, finished book.
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Comparison influences the way we shoot without us always realising it, and why genuine progress in landscape photography happens far more slowly than most people expect. It comes through attention, repetition, time in the field, and learning to trust your own decisions.
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I finally stopped at a Connemara location I had ignored for years, and the results were stronger than expected. The forecast was flat, the sunrise didn’t appear, yet the scene offered more than enough to build a full set of images. In this new video, I walk through the shoot, the compositions, and the practical lessons from working in low light.
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2025 was a full year on the road, behind the camera, at workshops, and at a desk trying to turn ideas into finished projects.From the 32 Counties challenge, to workshops across Ireland, to launching my first printed book, a lot happened quietly in the background.I’ve put it all into one video. What worked, what nearly didn’t, and what’s coming next.
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If you enjoy seeing how photographs are made in real conditions, across landscapes and wildlife, these are five channels to check out in 2026.
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In this video, I take on a challenge that many photographers avoid — shooting in harsh midday light. Filmed in Killarney National Park on Ross Island, this session shows how to work with bright conditions, manage exposure, and still create strong woodland compositions. Follow along as I chase fleeting light through the forest and prove that good images can be made at any time of day.
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I experimented with the XPan panoramic style using my Canon EOS R in Killarney National Park. I tested how a wider aspect ratio could alter composition and bring fresh perspective to familiar landscapes.
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