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Trevor Sherwin 5/30/25 Trevor Sherwin 5/30/25

Venice in Solitude by Christopher Thomas | My Photo Bookshelf

A beautifully crafted book by Christopher Thomas, featuring 83 city portraits of Venice taken on Polaroid Type 55 film.

There’s something undeniably captivating about film photography, and even though I shoot digitally, I’ve always been drawn to its timeless quality. I follow the work of many photographers who shoot on film, and I find myself constantly inspired by the nostalgic mood it evokes. While I haven't yet explored film myself, I hope to one day have the time and patience to experiment with it. So, when I discovered Venice in Solitude by Christopher Thomas—a beautifully crafted book of black and white film photography capturing one of my favourite cities, it felt like a natural addition to my collection.

Synopsis

From the lonely, rain-swept piazzas to silent rows of empty gondolas, one of the world's busiest and most beautiful cities lies frozen in time in this stunningly illustrated book that captures the city without people. Whether you're a first-time tourist or seasoned traveler, it's virtually impossible to find yourself alone in Venice. The city's many architectural splendors, its winding canals, ancient piazzas and charming markets are marvelous to visit--and crowded with people in every season. In these hauntingly beautiful photographs, Crhistopher Thomas takes readers on a solitary tour of the city Lord Byron once called "the Most Serene Republic."

Venice in Solitude by Christopher Thomas

As he did with his previous volume, New York Sleeps, Thomas uses long-term exposures and a now discontinued large-format Polaroid film to capture places bereft of humans in the early hours of the day. Readers can almost feel the ghosts of Titian, Shakespeare, Vivaldi, and Henry James wandering these canals and cobblestones; and they can experience the city as it was intended to be: an ingeniously planned, aesthetically delightful oasis of beauty, light, shadows--and serenity.

My thoughts about the book

In 2010, Christopher Thomas temporarily set up home in Venice, embarking on a new photographic project, capturing 100 pictures using his large-format Linhof Technika camera, a selection of lenses, a tripod, a dark velvet cloth, and many boxes of Polaroid Type 55 film. This book features 83 of the photos Christopher made.

The book itself is beautifully produced, bound in linen with one of Christopher Thomas’s photographs—showing a row of gondolas—featured on the front cover. This image offers a fitting preview of the photographic style and atmosphere found throughout the book (more on that later). Inside, the book opens with another image leading into an introduction written by Ira Stehmann, an editor and co-editor of numerous fine-art photography books. In the introduction, Stehmann discusses Thomas’s background, his photographic approach, and the equipment used for the project. She also reflects on the work as a whole, exploring the choice of subjects and the feelings of enchantment and surrealism it evokes—sentiments I strongly share when viewing these images.

Accompanying the photographs is a collection of poems by Albert Ostermaier, a contemporary poet from Munich, Germany. I consider myself a novice when it comes to poetry, and while I found some of the pieces a little difficult to fully grasp, they add an intriguing and thoughtful layer to the book. Overall, the poems are a welcome addition, complementing the mood and tone of the photography effectively.

The images are presented almost exclusively one per spread, surrounded by generous white space, occasionally interrupted by a title or a poem. Second only to the photographs themselves is the way they are displayed—uncropped, with the rough, original film borders left intact. As someone once described it, “a perfect negative surrounded by an imperfect frame” (a line I’ll admit I borrowed from Wikipedia). I love this approach, as it lends a timeless quality to images of a timeless city.

While I admire every aspect of how this book is presented, it’s the work itself that truly matters—and it does not disappoint. These city portraits are wonderfully varied, ranging from classic views of Venice to hidden corners that would be difficult to find without a local’s knowledge. To capture the true essence of Venice in any medium, both the well-known landmarks and the lesser-seen places must be included, and I believe this body of work succeeds in doing exactly that.

If you love Venice, classical architecture, black and white imagery, and the unique character of film photography, this book delivers all of that and more. It’s a beautifully crafted tribute to one of the world’s most enchanting cities.

Book Details

Hardcover
Size: 300mm x 280mm
Pages: 160
Availability at the time of writing: Available from the author’s website here: https://www.christopher-thomas.de/product/venice-in-solitude

Until next time.

Trevor

Trevor Sherwin 5/22/25 Trevor Sherwin 5/22/25

Landscape Photography in Snowdonia

A landscape photography trip to Snowdonia/Eryri in north Wales in March 2025.

A few months ago, in late March, I spent several days in Snowdonia (Eryri) with my camera, exploring and photographing its strikingly rugged landscape. As with previous trips to North Wales, I had a few locations I wanted to visit, but I also left plenty of room in my plans for spontaneous detours, exploring areas I may not have been to (or even researched) before.

I set off early on the first day, arriving at the car park in the Ogwen Valley around lunchtime and not wanting to waste much time, I set off for a circular hike up and around the Glyders.

While most of the photos I took on this trip are in colour, there were moments when the subject and lighting naturally suited a monochrome treatment. I’ve chosen to group all the black and white images at the end of this post, not because they were an afterthought, but because I believe they work best when presented together, so stick around to the end of this blog to see them.

The view looking west toward Y Garn from the the Glyders in Snowdonia — *Fujifilm XT5 | XF10-24mm | 15mm | 1/125th Second | f/8 | ISO125*

From the path leading from Ogwen Cottage towards Llyn Idwal, I veered left midway along the Cwm Bochlwyd Path, past Llyn Bochlwyd and made my way up Y Gribin (The Ridge). The last section of Y Gribin was rather technical with some scrambling needed as I plotted my path up towards Bwlch y Ddwy Glyder (Pass of the Two Glyders), but once there, I was greeted with some cracking views towards Tryfan and across the Ogwen Valley.

Tryfan and the Ogwen Valley from the the Glyders in Snowdonia — *Fujifilm XT5 | XF10-24mm | 18mm | 1/100th Second | f/7.1 | ISO125*

As you can see from this view looking west toward Y Garn, the light was fairly flat that afternoon, which, in hindsight, summed up the tone of the entire trip. During my three days in Snowdonia, I can only recall one or two brief moments of direct sunlight. That wasn’t necessarily an issue for me, as I’m not a big believer in ‘bad’ or ‘wrong’ light; I just need to adapt and make the most of the conditions I’m given.

With distant views defused slightly by the haze, I chose to stick with my 10–24mm wide-angle lens and focus on the textures and forms of the rocks as the primary subject in this set of images. I also used my Kase circular polariser throughout the afternoon, which helped cut through some of the haze, adding a touch of clarity and a bit more punch to the final shots.

From Bwlch y Ddwy Glyder, I headed west toward Glyder Fawr, and as I climbed toward the summit, I came across this imposing jagged rock formation jutting up into the sky. Trying to capture some of the awe and dominance the structure was projecting as I stood beneath it, I moved in closer, staying low, and manoeuvred around until I landed on the composition you see here.

The rocky summit of Glyder Fawr up on the Glyders in Snowdonia — *Fujifilm XT5 | XF10-24mm | 19mm | 1/60th Second | f/8 | ISO125*

At just over 1,000 metres, Glyder Fawr is the highest peak in the Glyderau range and photographing the area around its peak was my favourite part of this walk around the Glyders. The rock formations appeared otherworldly and made for some interesting subjects to photograph. According to Sir Ifor Williams (a Welsh scholar), the word "Glyder" derives from the Welsh word "Gludair", meaning a heap of stones, and that’s a pretty accurate description of the landscape up there.

This location provided great views across the Nant Peris valley towards the Snowdon massif, and contrary to the flat, featureless clouds I had around me on the Glyderau massif, the clouds towards the south were a lot more dramatic, and none more so than in this photo below where the clouds seemed to converge directly above Snowdon. Composing so that the fractured stones in the foreground mirrored those interesting cloud formations in the sky, I took the photo below, which turned out to be my favourite of the day, maybe even my favourite of the entire trip to Snowdonia.

The rocky summit of Glyder Fawr looking towards Mount Snowdon from the Glyders in Snowdonia — *Fujifilm XT5 | XF10-24mm | 10mm | 1/60th Second | f/8 | ISO125*

As I explored the peak further, I looked for different ways to make interesting compositions of the incredible rock formations. After taking the photos below, I used some dodging and burning in post-processing to enhance the subtle light falling across the landscape. This helped to separate the various layers and added a stronger sense of depth as the rocks stretched out before me.

After spending some time on Glyder Fawr’s summit, it was time to make my way downhill towards Llyn Y Cwm (Lake of the Dogs) and over to Y Garn, the final peak I’d be summiting before making my way back down towards Llyn Idwal. The descent towards the small lake was tricky as it was steep with lots of loose scree, so I had to tread carefully as I made my way down.

After navigating that rather sketchy 250-metre descent, I arrived at the top of the Devil’s Kitchen and from here, I had some great views of Tryfan and the Ogwen valley. It was at this point that I felt “inspired” to take the selfie below. The views were stunning, but I wanted to demonstrate the scale of the landscape and placing myself in the scene was a way I could achieve that.

With the selfie taken, I made my way up to Y Garn and then back down the mountain to Llyn Idwal.

A selfie of Trevor Sherwin taken from the Glyders with Tryfan and the Ogwen Valley in Snowdonia — *Fujifilm XT5 | XF16-55mm | 43mm | 1/125th Second | f/9 | ISO125*

A small pool of water up on the Glyders in Snowdonia — *Fujifilm XT5 | XF10-24mm | 20mm | 1/60th Second | f/10 | ISO125*

While passing Llyn Idwal on my way back down, there was some nicely diffused light hitting the steep, rocky face of Glyder Fawr, and I thought it would round the hike off nicely to get a photo from ground level of the peak I’d not long been standing atop just an hour or two before.

This is a popular spot to photograph Cwm Idwal, but instead of trying to get the entire lake and valley in the frame, I decided on a vertical composition, which gave me the room needed to include more of the foreground rocks in the photo. It was a tricky one to compose as achieving a balanced feel depended on how the foreground was arranged, and with a little shuffling left and right, I landed on this composition here, which I think, to my eye at least, works well.

A photo of Cwm Idwal and the Glyders in the Ogwen Valley — *Fujifilm XT5 | XF10-24mm | 10mm | 0.8 Seconds | f/13 | ISO125*

The next and final stop of the day was over on the opposite side of the valley at this popular spot along Afon Lloer. It’s a popular location as this vantage point provides a fantastic view of Tryfan and the Glyderau Massif behind.

It’s a composition I’ve photographed on each of my previous visits to Snowdonia and feel I’ve never quite come away with a picture good enough to put the location to bed. There’s always something I’m not happy with, and with the clouds starting to thin and the sunlight hitting the landscape for the first time that day, maybe this would be the time I get “the shot”.

I mentioned previously that I had just one or two periods of direct sunlight on this entire trip, and this was one of them. Just as the sun was dipping, it illuminated the top half of Tryfan, and I had just enough time to fire off a few photos, with this one below being the best of those I took.

A view of Tryfan and the Glyders across the Ogwen Valley taken from Afon Lloer in Snowdonia — *Fujifilm XT5 | XF10-24mm | 10mm | 1/10th Second | f/8 | ISO125*

The next morning, I drove along the Nant Gwynant valley to photograph Snowdonia's second most famous lone tree. I like the way this old tree emerges from behind the rock with its branches reaching up into the sky, splitting the valley in the background and having seen it photographed a few times before, I decided to pop down to see what I could make of it.

A lone tree beside the lake in the Nant Gwynant valley, Snowdonia — *Fujifilm XT5 | XF10-24mm | 12mm | 1/100th Second | f/10 | ISO400*

Compositionally, the two most important factors for me were to ensure the tree was positioned correctly in the centre of the valley’s “V” shape and that my camera was close enough to the ground so that the lowest branch didn’t overlap and get lost in the background. I took a photo in both landscape and portrait orientations and feel the landscape version just about wins as the tree has more space around it, particularly on the right.

Although I had my drone with me throughout the trip, for various reasons I didn’t use it as much as I thought I would, but while standing next to the lake, I was curious to see how the valley would look from up high.

This would be the second and last time I would see the sun hitting the landscape during this trip. As the drone gained some altitude, the clouds briefly parted, illuminating the south-eastern side of the Snowdon Massif. The light didn’t last long, but I managed to take this aerial photo before it disappeared again.

An aerial photo of the Nant Gwynant valley taken with a drone in Snowdonia — *DJI Mini 3 Pro | 24mm (effective) | 1/640th Second | f/1.7 | ISO100*

One thing I wanted to achieve during this visit to Snowdonia was to explore new (to me) areas without researching any particular photo spots, enabling me to come away from the trip having photographed both well-known and lesser-known locations. This was the case on the previous day during my walk around the Glyders as although I had researched the route, I hadn’t researched any photographic compositions. With this in mind and once finished photographing beside the lake, I headed off on a small circular walk around the eastern side of the valley to gain a little elevation and explore this area further.

By this point, there was plenty of ambient light, but it was nicely defused by the clouds and not too long after leaving the side of the lake, I came across this small stone building nestled perfectly in the landscape. I continued past the cottage to get to a bit higher, and with the mountains providing a great backdrop, out came the camera, and I took this photo below.

A small farmhouse nestled in the hills in Snowdonia — *Fujifilm XT5 | XF16-55mm | 32mm | 1/25th Second | f/11 | ISO125*

With the lovely, defused light, this scene, with the traditional stone building set in the landscape, has a timeless, painterly feel, which I like a lot. However, in the spirit of staying transparent to those who read this blog, the building (which is actively used) has a modern solar panel on the side of the roof and it didn’t fit with the look and timeless feel I wanted to achieve with this picture, so I used some artistic license and cloned it out.

Working my way around this small circular walk in the Snowdonia hills, I came across this unassuming cascade of water tumbling down one of the hills. Ordinarily, I might have carried on walking, and I very nearly did, but I decided to stop and spent a few minutes composing this small scene nestled in the landscape. Using a combination of a circular polarising and 3-stop neutral density filters, I was able to slow the shutter speed and take some of the glare out of the scene.

A small cascading waterfall photographed in Snowdonia — *Fujifilm XT5 | XF10-24mm | 11mm | 0.8 Seconds | f/9 | ISO125*

Later that day, I made my way back across to the Ogwen Valley as I had some unfinished business with an elevated scene I’d attempted to photograph on my way back down from Y Garn on the previous day. On that previous attempt, the conditions weren’t great for photography as the light was flat and with so much distance between the camera and the subject, the hazy conditions left a lot to be desired.

Fast forward a day, and the conditions had improved. The sky offered more visual interest, and soft, dappled light was falling on the landscape, highlighting its contours and adding depth. It wasn’t perfect by any means, but it was certainly good enough to pull the camera out and start composing a few shots.

It’s a composition that unfortunately slices through Llyn Idwal, but necessary if I wanted to keep Tryfan fully in frame as a main focal point and after waiting a short while for some light to fall on Tryfan’s peak, I took the image below, had a snack and then made my way back down the slope.

A view of the Ogwen Valley and Tryfan in Snowdonia — *Fujifilm XT5 | XF16-55mm | 19mm | 1/60th Second | f/11 | ISO125*

I’m fascinated by the shapes, lines and textures on the rocky face of Glyder Fawr, and while passing by on my way back to the car park, I noticed some subtle light bouncing off it. Out came the camera once more, and composing a square crop to help with the balance, I took this photo below.

The rocky face of Glyder Fawr in Snowdonia — *Fujifilm XT5 | XF16-55mm | 27mm | 1/80th Second | f/8 | ISO125*

For the last stop of the day and with the clouds starting to clear, I wanted to get a view of the valley looking towards the west. I headed a couple of miles east along the A5 to an elevated spot along the path that takes you up to Ffynnon Llugwy, a mountain lake and the source of Afon Llugwy. I didn’t hike all the way up, just enough to get a better view of Tryfan and the Glyders behind.

I took a few photos with the telephoto lens but wasn’t really happy with what I was seeing. The scene was too busy and the light on the landscape wasn’t particularly great either. So, after some experimentation with focal lengths and with the afterglow of the sun casting some lovely pastel colours across the sky, I took this wider, silhouetted picture of the view in front of me. I like the abstract nature of this photo and feel the strong shapes of the mountains against the softly lit sky behind work well.

A silhouette of Mount Tryfan in the Ogwen Valley in Snowdonia — *Fujifilm XT5 | XF16-55mm | 32mm | 1/4 Second | f/11 | ISO125*

The forecast for the following morning called for low cloud cover and rain, so I opted against heading to any of the higher elevations where visibility would be severely limited. Instead, I began the day by revisiting the lone tree in the Nant Gwynant valley. With cloud levels expected to drop as low as 100–200 metres, I anticipated near-zero visibility, ideal conditions, I hoped, for capturing the tree as a minimalist subject, standing quietly in the misty, rain-soaked landscape.

As you can see, from this spot at least the rain had yet to start, and the clouds weren’t quite low enough. I took a couple more photos while I was there and headed back to the car.

Before travelling home later the same day, I’d planned a little time around Llanberis and the famous Dinorwig Slate Quarry. With low cloud and rainy conditions expected, I was hoping to use them to my advantage and capture some mist and mood in my photos, but before heading to the quarry, I made a quick stop at Dolbadarn Castle.

It’s a location I’d seen many times from afar but never actually visited, and I was keen to have a good look around, maybe take a picture or two while there. By the time I arrived, the rain was falling quite hard, and after having a look around, reading some of the information boards about the castle’s history, I composed this atmospheric photo below of the castle and partly obscured Snowdon range in the background.

Dolbadarn Castle in Snowdonia photographed in the rain — *Fujifilm XT5 | XF10-24mm | 14mm | 1/80th Second | f/8 | ISO125*

Leaving Dolbadarn Castle, I made my way up to Dinorwig Quarry. I wanted to have a good explore and photograph what caught my eye, and first up, as I made my way towards the Anglesey Barracks, these old trees grabbed my attention.

A woodland near the Anglesey Barracks in Snowdonia — *Fujifilm XT5 | XF16-55mm | 23mm | 0.6 Seconds | f/11 | ISO125*

As mentioned before, I don’t subscribe to the notion that there is good and bad light. In my opinion, different subjects work in different light, but if I’m being honest, the light I had to photograph both the trees above and the barracks below was flat and uninspiring. I was struggling a bit.

I don’t mind the composition I found of the Anglesey Barracks below as it provides a useful frame around the subject, and the picture feels a little painterly, which I also like. That being said, I feel that with more interesting sidelight or a little mist, both pictures could have been so much better. A location to return to, I think.

The Anglesey Barracks in Snowdonia — *Fujifilm XT5 | XF10-24mm | 14mm | 1/8th Second | f/10 | ISO125*

Dotted around the quarry are a few lone trees that seem to be growing out from the hills of slate, and I used this one below as a subject with a distant view of Dolbadarn Castle in the background. The rain in the air had defused the background, allowing the tree to stand out as the main subject, and I opted to zoom in a little to make the tree more of a feature, giving the image a slightly more intimate feel.

A lone tree growing from the slate rubble Dinorwig Slate Quarry, Snowdonia — *Fujifilm XT5 | XF50-140mm | 84mm | 1/50th Second | f/2.8 | ISO125*

Further up the hill, I found myself standing on the edge of a pool of water called Sinc Harriet. After heavy rain, the volume of water in this pit can rise rapidly, but I guess there hadn’t been too much rain before my visit, as the levels were quite low. So low in fact, the slate rubble beneath was visible, and with the wind creating some ripples on its surface, I spent some time creating some abstract images, all with a slight painterly feel thanks to the texture on the water.

Abstract images taken in Dinorwig Slate Quarry, Snowdonia

Moving on from Sinc Harriet, and with visibility on the low side, I set off along the path to capture some small, intimate views of the quarry. Although I’ve been a fan of the square crop for a while now, I’ve grown to appreciate how well it suits small scenes like this. With a square crop, I find it easier to achieve balance as no one side is dominant, and it allows me to be more creative with my compositions.

The walls of slate in the Dinorwig Slate Quarry, Snowdonia — *Fujifilm XT5 | XF16-55mm | 55mm | 1/200th Second | f/8 | ISO230*

My last stop before driving back to leafy Surrey was at the lone tree in Llanberis. In the photography community at least, it’s quite a popular scene and having visited once before in less than ideal conditions for my style of landscape photography, I decided to pop by to see what I could make of it this time.

Down by the lake, the visibility was better, but like it was up at Sinc Harriet, the water levels here were also low. Not to be deterred, I lowered the camera down, using the exposed rubble to build a bit of a foreground and making sure the tree was positioned correctly, centred in the distant valley, I took the photo.

The lone tree in Llanberis in Snowdonia — *Fujifilm XT5 | XF10-24mm | 12mm | 1/40th Second | f/10 | ISO125*

As I mentioned at the beginning of this post, I processed some of the photos I took on this trip in black and instead of injecting them in-line alongside the other photos, I wanted this collection to stand on its own as a black and white set.

Some of the pictures I’ve shared below are monochrome renderings of the same colour photos from above, but a few of them are unique to this set, consciously taken to be produced as black and white photos.

A black and white photo of a lone tree beside the lake in the Nant Gwynant valley, Snowdonia — *Fujifilm XT5 | XF10-24mm | 10mm | 1/100th Second | f/10 | ISO400*

A black and white photo of a tree in the woodland in Snowdonia — *Fujifilm XT5 | XF16-55mm | 35mm | 1/25th Second | f/16 | ISO400*

An aerial photo of the Snowdon Massif taken with a drone in Snowdonia — *DJI Mini 3 Pro | 24mm (effective) | 1/6400th Second | f/1.7 | ISO100*

A black and white photo of Dolbadarn Castle in Snowdonia photographed in the rain — *Fujifilm XT5 | XF10-24mm | 14mm | 1/80th Second | f/8 | ISO125*

A black and white photo of a lone tree in the Dinorwig Slate Quarry, Snowdonia — *Fujifilm XT5 | XF70-300mm | 300mm | 1/125th Second | f/8 | ISO400*

A black and white photo of the slate walls in the Dinorwig Slate Quarry, Snowdonia — *Fujifilm XT5 | XF16-55mm | 55mm | 1/200th Second | f/8 | ISO230*

*Fujifilm XT5 | XF16-55mm | 19mm | 1/40th Second | f/11 | ISO125*

A black and white photo of the lone tree in Llanberis in Snowdonia — *Fujifilm XT5 | XF10-24mm | 12mm | 1/40th Second | f/10 | ISO125*

That’s a wrap for another landscape photography trip to Snowdonia, but if you want to see more photos of this stunning landscape in North Wales, I’ve written some more blog posts and shared many more pictures, which you can find links to below.

On Location Photographing Snowdonia Part One

On Location Photographing Snowdonia Part Two

Photographing Snowdonia in Late Spring blog post

On Location | Photographing a Wintry Snowdonia

As ever, if you have any questions or suggestions, please leave a comment below. Otherwise, thanks for stopping by.

Until next time.

Trevor

Trevor Sherwin 5/2/25 Trevor Sherwin 5/2/25

How I Edit My Black and White Photos of London

My step-by-step process for editing this black and white photo of St Paul’s Cathedral in London

Every photographer has a different approach to editing. Some prefer a straight-out-of-camera (SOOC) image, letting the camera handle all the processing. Others work with raw files in editing programs like Adobe Lightroom or Capture One, taking the time to carefully refine each image and maintain full creative control.

There’s no right or wrong way to do it—whether you skip post-processing entirely or spend minutes (or even hours) perfecting a single photo, it all comes down to personal preference. As for me, I see post-processing as a vital part of my photographic workflow. I like having full control over how the raw file is developed, and it’s not out of the question for me to spend up to an hour fine-tuning just one image.

Okay, it’s pretty rare for me to spend an hour or more on a single photo. Most of the time, I wrap things up in about 10 to 20 minutes. That might still seem like a lot to some, but post-processing is a part of the process I genuinely enjoy. It’s a chance to unwind, maybe with a drink in hand and some background music playing, while I spend some quiet time with my images. It’s a way for me to stay connected to photography even when I can’t be out in the field with my camera.

So, when I’ve carved out a little time, poured myself a glass of whatever, and I’m ready to get to work on my most recent Timeless City images, what does my process typically look like?

In this post, I’ll walk you through the editing process I used for a photo I took of St Paul’s Cathedral, titled Dual Realms.

I’ll also include a few before-and-after photos as a little peek behind the curtain. A post-processing video might explain things better, but since I don’t make videos and prefer to write, this will have to do.

One last thing to note: there’s no right or wrong way to process your work. This is simply the method I use. I’m not claiming to be an expert—just sharing my approach in case it’s helpful or interesting to anyone. And if you have any tips or suggestions to improve the workflow, feel free to share them in the comments below!

Now, let’s get started.

The applications I use to process my raw images

I’ve been a subscriber to Adobe Cloud for a few years and predominantly use Lightroom Classic and Photoshop desktop versions to process my photos. If I were to hazard a guess, the ratio I use these two would be around 95% Lightroom and 5% Photoshop. Nearly all of the heavy lifting I do happens in Lightroom, and I’ll typically export to Photoshop just to apply some finishing touches or use features not available in Lightroom.

The raw file

This is the original file, freshly imported into Adobe Lightroom. It’s a 3:2 vertical image of St Paul’s Cathedral in London, taken during the winter months—which explains the bare trees. I took the photo in a vertical format to give myself more flexibility when cropping to a square. This way, I have extra space at the top and bottom to fine-tune the cathedral’s position in the frame, allowing for more precise control over how much sky or reflection to include.

Another important consideration for me is getting the verticals straight and keeping the camera level when taking the shot. It means less correction later in post and reflects my overall approach: to get as much right as possible in-camera from the start.

When importing to Lightroom, the default Adobe Colour profile was applied, and if you’re at all interested, the exif data of the photo is as follows: Fujifilm X-T50 | XF10-24mm Lens | 10mm | ISO125 | F/10 | 1/20th Second.

Cropping and straightening the image

The first step in my process is locking in the composition. As I mentioned earlier, shooting in a vertical orientation gave me the flexibility to decide how much sky and reflection to include. This helped me create what feels, at least to my eye, like a visually balanced image.

How i edit my black and white photos - the crop

In the previous section, I talked about making sure the photo is straight and level while in the field, but in the screenshot above, you can see I’ve made a slight rotation, which suggests it wasn’t perfectly straight. What I’ve found is that even when the camera is completely level at the time of capture, a photo can still appear slightly off if there’s no clear visual reference, like a straight horizon, to show what "level" actually looks like. In those situations, even if I know the shot was technically straight, I’ll sometimes make small adjustments to the crop, so the final image looks balanced to the eye.

Here’s the cropped image:

How i edit my black and white photos - after the crop

How I convert my photos to black and white

I don’t really feel this step needs its own section, as the process I use is so incredibly simple. When I’m ready to convert an image to black and white, I simply select the B&W option in Lightroom’s Basic Development Panel.

How i edit my black and white photos - converted to black and white

Once I’ve converted the image to black and white, I get stuck into the processing.

It’s worth saying at this point, the settings I apply are applicable to this photo and the final look I’m trying to achieve, and will not necessarily apply to your photos. The goal here is simply to show you my process and how I arrive at the finished result. The exact numbers aren’t all that important and likely won’t be useful beyond this specific example.

The Curves panel

With my limited experience of observing others process their photos, many will start from Lightroom’s Basic Development Panel and work their way down the options to adjust their photo. Maybe my brain’s wired slightly differently, but my approach is to first set a black/white point and add a little contrast if needed. This is what I’ve done for the image below to add a little punch and lift the black point, as the shadows were very dark.

How i edit my black and white photos - after the curves

Adding more drama to the sky (burning)

Although not too obvious in the original raw file but to the eye, there was much more interest in the sky when I took the photo, and this section is all about bringing that back while introducing a little more drama at the same time.

If I were to give anyone one piece of advice when it comes to post-processing their images, it is to make small, subtle changes and build them up over time. When changes are made using a single mask to the sky (for instance), and if those changes involve some significant slider action, this can often result in garish results and a halo around the subject. This could easily be the case in a scene like this due to the delicate masking needed around the trees and dome.

How i edit my black and white photos - the masks applied to the sky in Lightroom

I typically take photos of London for my Timeless City project when the sky is cloudy, as I prefer a more defused light across the scene rather than the high contrast look I get when the sun is out. By bringing back some of that contrast in the sky and lowering the exposure, it provides more drama and a natural-looking vignette around the top of the frame.

As you can see from the screen grab above, I’ve used multiple masks at different stages through the edit (hence the non-sequential numbering) to subtly bring back detail, reduce the exposure and increase the clarity in the clouds. You can see the results of these changes below.

How i edit my black and white photos - adding more drama to the sky

Increasing the exposure in the shadows (Dodging)

Next, I’ll be bringing a little life back into the darkest shadows. With the light well defused by the layer of cloud above, I could still see the details and textures in the darker areas while taking the photo and knowing that detail does exist in the raw file, I simply needed to increase the exposure.

For this step, I used the Radial Gradient mask. As with previous edits, I prefer to make several smaller, more precise selections rather than applying large, sweeping adjustments. For each of the masks shown below, I’ve increased the exposure by between 0.5 and 1 stop to achieve the desired effect more subtly.

Below, you can see the results of those adjustments. There’s a bit more detail in the foliage, though the effect is quite subtle. I’ll bring out even more detail from those areas a bit later in the process.

How i edit my black and white photos - increasing the exposure in the shadows

Making the reflections pop

This composition of St Paul’s Cathedral is all about the reflection, and to be sure it gets the right attention when viewing the image, it needs to stand out just a little more.

The first, larger mask shown in the screen grabs below was made with a Radial Gradient, and all I’ve done there is increase the exposure in the water by half a stop. Like before, it doesn’t need to be dramatic. Just subtle changes layering on top of each other to help gradually build towards the final result.

I used the second Linear Gradient mask above to gently lower the luminance at the very bottom of the frame. The increased exposure from the previous step extended a bit too close to the edge, and I wanted the area nearest to the camera to remain darker. You can see the results of this adjustment below.

How i edit my black and white photos - making the reflections pop

Applying some global edits using the Basic Develop Panel

By using masks to target specific areas, most of the work is now completed, but there are some small changes I wanted to make to the entire image using the Basic Develop settings. Specifically, I plan to lift the shadows a little and add some contrast back into the image.

The changes applied were Contrast +20, Shadows +30, Whites +13 and Blacks +16. Also, to soften the overall look and feel of the image and make it a little less “crunchy”, I will typically lower the Clarity and Dehaze sliders, and in this case, I lowered both by -10.

How i edit my black and white photos - applying global edits with the basic develop panel

Sharpening the image in Photoshop

A note on sharpening. Opinions vary as to when to apply it. During the edit, or only when the file is being exported for a particular use case, such as web, socials or print. This is just my approach. I will typically add some sharpening when editing, call it a “base sharpening” if you like. This is usually fine for all of my online needs, but if I feel I need to add any more sharpening for print, I will do so when preparing the file before sending it to the printer.

So far, all of the edits have been applied in Lightroom, but the next step is one made in Photoshop.

I’ve never really been a big fan of how Lightroom sharpens my raw files, and instead, I use the High Pass filter in Photoshop to sharpen my photos. It’s a great tool to detect the edges (or high contrast areas) in a frame, which, when combined with a contrast-boosting blending mode, sharpens the photo without affecting the areas with less contrast, such as the sky.

With the image exported from Lightroom to Photoshop, I create a duplicate layer and then, from the menu, select Filter - Other - High Pass. Next, I input the Radius amount, which determines how much sharpening will be added. Choosing the right number depends on the resolution of the file and how much sharpening you want to add, and I will typically stick to between 1-2 pixels at this stage, with the view that I can add more later if needed. For this image, I made the radius 2 pixels.

Next, I use the Overlay blending mode for the same layer. This blending mode will hide the grey areas and add contrast to the edges highlighted by the High Pass filter, resulting in a clean, sharper file. The image below is probably too small for you to see a difference, but trust me, it is sharper.

How i edit my black and white photos - how I sharpen my photos

Although for this image I used Photoshop for adding a little sharpening, as features are being added to Lightroom, my dependency on Photoshop continues to reduce, and these days I will typically use it to sharpen with the High Pass filter, the occasional Orton effect and for more complex cloning/distraction removal. Other than that, it all pretty much happens in Lightroom.

Boosting the whites

Once back into Lightroom, I have one last edit to make. I feel the whites in the sky and reflections could do with a boost, so I’ve added a mask for the sky and radial gradient for the reflection and boosted the whites by +21.

With the whites increased and both the sky and reflection getting a little more punch, that’s the last of the processing steps complete.

Below is the final image with all the edits applied. My goal during the processing was to bring the drama back to the sky, enhance the contrast in the reflections, and ensure that St Paul’s Cathedral stood out in the scene. I’m happy to say that I’ve achieved those objectives and am pleased with the final result.

How i edit my black and white photos - the final image

No two photos are ever the same, and each one requires its own unique approach to editing. However, I hope this article has given you a good overview of my general process and the tools I use when processing my black and white photos of London.

Below, you’ll find a few more before-and-after images that show the changes between the raw file and the final edit. It’s important to me that the cloudy skies retain as much detail as possible, so I typically expose for the sky and bring out the shadow details during the editing process.

Hopefully, you found this article useful and at the risk of repeating myself, I strongly believe there is no right or wrong in terms of how people choose to edit their photos, but if you have any comments or suggestions about my workflow, or have any questions for me to help you with yours, feel free to leave a comment below or contact me directly via my Contact Page.

Just one last point before I wrap up. The image I used for this article is part of my limited-edition Timeless City print collection and is available to buy from my store. There’s a link to the print store below.

TIMELESS CITY PRINT STORE

Feel free to follow the link above to browse my Timeless City print store.

Until next time.

Trevor

This Pleasant Land | My Photo Bookshelf

An exploration of Britain through a collection of photographic projects telling just a few of the many stories of what shapes this unique landscape.

Over time, I’ve found myself more and more drawn to the British landscape. At some point, I realised that no one person can truly see and photograph it all — at least not properly. And honestly, I’m okay with that. These days, I’m more than happy to explore this country I call home through the eyes of the many talented photographers who are just as passionate about capturing its beauty and diversity.

This Pleasant Land brings together 24 small photographic collections. Each one is different in subject, but they all share a common thread: every collection tells its own unique story about the British landscape in one way or another.

Synopsis

24 photographers capture Britain today.

The British Landscape is changing. Geographically, politically, even emotionally, the boundary lines of Britain - and what it means to be British - are in flux. This book looks at the new terrains, memories and myths of this contemporary landscape through the eyes of some of the world's most exciting photographers.

My thoughts about the book

The book, written by Rosalind Jana, an arts and culture writer based in London, starts with an interesting and insightful introduction, exploring the deeper meaning of photographing the British landscape. Referring to some of the projects that feature in the book, Rosalind talks about the many connections and motivations that inspire their creation, such as childhood memories, political context, and even those who simply want to represent the subject as a visual point of interest.

After the introduction, the first of the 24 projects begins, each one paired with a short piece of writing that adds a bit of context to the photos that follow. All the featured projects were shot within the last 20 years, making this book a contemporary, 21st-century snapshot of the British landscape.

Each project in the book tells a unique story — from the way humans shape the landscape and how natural and man-made elements interact, to a series of abstract cyanotype prints made along the Dumfriesshire coast. There’s a collection focused on seaside holiday resorts, and another featuring powerful portraits of female farmers working the land in Scotland. And that’s just scratching the surface. This book takes you on a photographic journey across Britain, weaving together stories of art, beauty, history, and politics.

If you’re someone who prefers a more traditionally picturesque view of the landscape, this book might not resonate as much as some of the others I’ve shared in the Photo Bookshelf series — and that’s totally okay. But if, like me, you’re drawn to the variety of projects, the stories behind them, and the motivations that drive them, then I’d definitely recommend picking up a copy for yourself.

Hoxton Mini Press is an independent book publisher based in London. Although this was the first book of theirs I purchased, I’ve since spent countless hours exploring their extensive catalogue. The book has a traditional, high-quality feel, and the combination of compelling writing and striking imagery made it an incredibly enjoyable read.

Book Details

Hardcover
Size: 237mm x 285mm
Pages: 224
Availability at the time of writing: Available from the Hoxton Mini Press website here: https://www.hoxtonminipress.com/products/this-pleasant-land

Until next time.

Trevor

Trevor Sherwin 3/30/25 Trevor Sherwin 3/30/25

Seascapes by Nigel Danson | My Photo Bookshelf

Nigel Danson's Seascapes, the third book in his series, beautifully captures the dynamic and ever-changing coastal landscapes through a stunning collection of photographs.

Following Vistas and Woodlands, Nigel Danson released Seascapes, the third and final book in his landscape photography collection. As a proud owner of the first two, I was eager to add this one to my photo bookshelf.

Author’s synopsis

Throughout this book you will see that I have tried to capture the essence of why I love being on the coast and by the sea. A massive part of that is how the sea interacts with the land. I am fascinated by this connection and how the sea has shaped the landscape through constant erosion and pounding of the rock, sand and salt water.

I share my favourite seascape images and talk about why I photographed them, how I composed them and the cameras and settings I shot them with.

Seascapes are the most dynamic of all forms of landscape photography. In this book I take you on a journey of discovery of coastal views, stunning beaches and epic waves. These images all hold a special place in my heart.

My thoughts about the book

Keeping the familiar design of the trilogy, Seascapes features the same cloth finish and foil lettering as Vistas and Woodlands, a detail I really appreciate. The book has a high-quality look and feel, perfectly complementing the photography inside.

The book opens with an introduction by Nigel, where he reflects on his connection to the sea and coast, shaped by childhood memories. This resonates with me, as much of my photography is driven by a deep sense of connection and nostalgia, and I can appreciate the desire to create work that goes beyond aesthetics and holds personal meaning. I guess there is a stronger authenticity to work created in such a way.

The book is divided into chapters: Coastal, A Wider View, Waves, and Abstract, and each starts with a brief paragraph in the way of a small introduction to the topic. As expected, the photography throughout is outstanding, showcasing a wide variety of work that makes for a compelling and diverse exploration of the book’s theme.

Nigel is one of the UK’s most highly regarded and accomplished landscape photographers, a reputation built not only on his exceptional skill and talent but also on his dedication to his craft. His success is not just a result of his ability behind the camera but also the time, effort, and passion he invests in projects like this book. His commitment to creating high-quality, thoughtful work is what truly sets him apart.

Book Details

Linen cloth Hardcover
Size: 300mm x 240mm
Pages: 128 litho printed pages on 200gsm silk art, FSC sustainably sourced paper
Availability at the time of writing: Limited edition still available from Nigel Danson’s website here: https://www.nigeldanson.com/products/p/seascapes

Links to my review of the other two books in the series can be found below:

Vistas - Landscape Photography by Nigel Danson

Until next time.

Trevor

Trevor Sherwin 3/17/25 Trevor Sherwin 3/17/25

New Photos | Winter 2024

A collection of photos taken during Winter 2024.

In keeping with the previous four seasonal photo updates, I’ve collected a few of my favourite photos taken during the winter months of 2024/2025. This is an opportunity for those visiting my site and reading my blog to see my latest work before it’s posted to social media in a format and style I want it to be presented in. There are no algorithms or preferential treatment here, meaning you get to see the photos I post in the way I want them viewed.

As ever, I welcome any feedback, comments or suggestions either by email, through my contact page or just as a comment at the end of this post.

Below are the previous four instalments of my “New Photos” series.

December 2024 to February 2025 - Winter 2024 collection.

In a change from the previous seasonal collections, I’ve started this one with a few photos I took of London during winter. It may not be apparent to everyone just how much the different seasons affects the photos I take in the city, and for sure, visually, the differences might be less obvious than other landscape photography subjects, but the time of year still makes a huge difference to how I go about taking cityscape photos in London.

The main seasonal factors that affect the photos I take are the weather conditions, the sun’s lower position during the day and where and when the sun rises and sets. I’ll expand on these as we go.

Photographing London

Although most of London requires you to obtain a permit(s), or at least formal permission to fly a drone, there are a few specific locations where my sub-250g drone can be flown freely and here, in front of the Isle of Dogs, is one of them. This photo I took of Canary Wharf highlights one of the key factors that affect my photos in London during the Winter….. the weather.

Blue sky days can be few and far between in the Winter, and the days are more likely to be cloudy like this. But to tell the truth, that’s how I like it. In the summer, I feel I am endlessly dodging the high contrast sunny conditions, which I don’t usually like to photograph in. Unless the light is amazing and the sunset/sunrise epic, I would much rather have an overcast, moody day to photograph the city.

A dronescape of London taken on a cloudy day by Trevor Sherwin

I’ve recently started to lean towards a vertical composition using the traditional 10x8 aspect ratio. I feel I can emphasise the height and scale of the city better in a vertical format, and cropping down to the 10x8 aspect ratio makes the overall composition look more balanced than the taller, native 3x2 my camera uses.

Another advantage of photographing London in the winter is being able to get to the city before sunrise and take some photos while it’s still dark. Of course, I could simply hang around after sunset in the evening, but the advantage of taking photos early in the morning is that it’s a lot quieter, and I don’t have to contend with so many people around me walking in and out of frame.

The last point I’ll make about photographing London at different times of the year is where the sun rises and sets. You should get to know what scenes work best at specific times of year to capture the best photos. The photo above taken from the Horizon 22 viewing platform is a good example as in the summer months, the son would be setting way off to the right and this view looking towards The Shard with the sun setting just off to the right would not be possible.

Ok, so this panoramic photo I took of Canary Wharf from across the Thames is proof that we still get some cloudless skies in the winter and the fact that the skies over London are always grey is a bit of a myth really.

A panoramic view of Canary Wharf in London taken by Trevor Sherwin Photography

The Winter Landscape

This winter, I didn’t get out into the landscape of woodlands as much as usual. Instead, I spent more time photographing London, taking photos for my Timeless City project. I guess some things always have to give.

I did, however, venture out into the wintry landscape a few times and have shared some of the photos I took along the way. All the photos in the landscape section of this post were taken during a handful of trips to a local forest in East Sussex. This is my go-to for woodland photography, but with lots of open heathland and the odd lookout point, it’s also great for a bit of landscape photography.

A wintry landscape scene in Sussex UK taken by Trevor Sherwin Photography

A Scots Pine tree in Sussex UK taken on a frosty winters day by Trevor Sherwin Photography

I’m really pleased with these close-up icy scenes I found next to a small waterfall in the forest. I took three compositions of the ice, and with lots of relative depth, each one needed to be photo stacked to get the image sharp from front to back. I’m really happy with the resulting triptych below.

I’ve also posted a photo I took of the wider scene underneath, and the small patch of ice on the bottom right of the frame is where I took these close-up images of the ice so you can see how tight I needed to get.

An close up view of ice taken by Trevor Sherwin Photography

A small waterfall with frozen ice taken by Trevor Sherwin Photography

An abstract view of ice taken by Trevor Sherwin Photography

Some birch trees in Sussex UK taken on a foggy winters day by Trevor Sherwin Photography

Photographing the woodland

Along with some misty woodland adventures I had during the winter months, I also took this first group of four photos shown below. Sometimes, the eye sees what the eye sees, and on this cold but mistless morning, I was drawn to the stronger shapes created by some of the more prominent trees in the scenes I came across.

For these to work, I had to find a strong woodland subject with some character, set against thicker foliage to help remove background distractions, and with the ambient light being dull and gloomy, the resulting collection of photos all have a dark, moody feel to them.

A dark woodland scene taken in Sussex by Trevor Sherwin Photography

A foggy woodland scene taken in Sussex during winter by Trevor Sherwin Photography

A frosty woodland scene taken in Sussex by Trevor Sherwin Photography

A closeup view of a tree trunk in a winters woodland taken by Trevor Sherwin Photography

A foggy woodland scene taken in Kent during winter by Trevor Sherwin Photography

A trip to the East Sussex Coast

Finally, a trip to the seaside. I decided to head down to the coast on a chilly February afternoon to revisit my favourite lighthouse at Beachy Head, followed by a few hours in Eastbourne to photograph some of the starling murmuration around the pier.

A photo of Beachy Head Lighthouse taken in Sussex by Trevor Sherwin Photography

The starling murmuration over Eastbourne Pier in Sussex taken by Trevor Sherwin Photography

Once the sun had just about set and the starlings safely nested under the pier, I took this last picture of what I think is the most picturesque pier along the Sussex Coast. I like the soft, blue tones across the scene, but that subtle belt of colour in the sky adds a touch of interest and is a welcome addition.

A blue-hour landscape photo of Eastbourne Pier in Sussex taken by Trevor Sherwin Photography

With the winter months behind me, it’s time to look forward to spring and the colour it brings to the landscape. I’ve got a few adventures planned and some new ideas for projects that will help me focus on photographing my local landscape more this year. Time will tell if that all works out as planned but if it does, you’ll see those photos here first.

As I mentioned before, feel free to drop a comment below as it’s always good to hear your thoughts about the pictures I take and how they might resonate with you.

Until next time,
Trevor

Trevor Sherwin 3/5/25 Trevor Sherwin 3/5/25

Land by Fay Godwin | My Photo Bookshelf

Land by Fay Godwin is the superb result of a decade-long photographic project to capture an unfiltered view of Britain’s diverse landscapes

As I delved deeper into the history of landscape photography, it was inevitable that I would come across some of the most well-known American photographers, such as Ansel Adams and Edward Weston. But what about the iconic British landscape photographers? Of course, we have David Ward, Charlie Waite, and my personal favourite, Joe Cornish—all still actively practicing landscape photography. However, in the same breath, one must also recognize Fay Godwin, one of the few professional landscape photographers of her time.

Fay Godwin travelled across the UK, documenting its landscapes through her lens. In 1985, she released Land, a book featuring photographs primarily taken in the preceding decade. This book and its accompanying exhibition cemented her status as one of the UK’s most treasured landscape photographers.

Author’s synopsis

This magnificent collection of photographs is a unique celebration of the British landscape by one of the finest landscape photographers of our day. Combining documentary realism with a poetic instinct, elemental forms with visual irony, Fay Godwin brings a distinct and individual vision to her work.

Paying tribute to the achievement of a ‘true artist’, the novelist John Fowles makes his own eloquent statement on art and the landscape in his penetrating essay.

My thoughts about the book

While researching Fay Godwin’s work, I came across the video I’ve linked to below, and one thing Fay talked about that stuck with me was her take on landscape photography and her dislike for the blue sky, green grass, “postcard” scenes. Fay tried to portray a “real” view of Britain’s landscape, sometimes picturesque, sometimes bleak, but always natural and always honest.

‘Land’ starts with a multi-page essay by John Fowles, followed by an introduction by Ian Jeffrey. From there, we get Fay’s photos. Taken over ten years, the pictures (kind of) flow geographically, starting up in Scotland, working down the UK, and ending with photos taken on England’s south coast. Along the way, Fay photographed various landscapes, some more picturesque than others, visiting locations such as the Scottish Highlands, Yorkshire, Wales, Wiltshire and Kent.

It’s evident from the photos included that Fay had a remarkable ability to find beauty in a wide range of subjects. Some are familiar, such as the sweeping natural vistas of Glencoe and the Lake District, while others are more unconventional, like a close-up of a cobbled road in Yorkshire or a rusted car partially submerged in water in Kent. This diverse subject matter reinforces my belief that Fay was less concerned with adhering to traditional landscape photography conventions and more focused on capturing an authentic, unfiltered view of Britain’s landscape, one she openly admitted to finding far more compelling to photograph.

With such varied subjects, one might expect the sequencing to feel disjointed, but impressively, that’s not the case. The images flow seamlessly, a testament to Fay’s careful attention to the book’s layout.

Fay Godwin (17 February 1931 – 27 May 2005) was a British photographer known for her black-and-white landscapes of the British countryside and coast.

Along with the video, this book has reminded me that landscape photography isn’t just about finding picturesque views of the world around me. It’s about capturing something I find interesting, regardless of social norms and by doing this, I can create a more honest and unique body of work.

Book Details

Softcover
Size: 260mm x 260mm
Pages: 160
Availability at the time of writing: Unavailable from the usual UK booksellers. Consider buying a used copy.

Trevor Sherwin 2/18/25 Trevor Sherwin 2/18/25

Wish You Were Here by Vanda Ralevska | My Photo Bookshelf

A companion book set created by Vanda Ralevska featuring a collection of photos of the iconic British seaside.

I’ve always loved spending time by the British seaside in the warmer months. I love the energy, the vibrancy and who doesn’t love eating a traditional fish and chips on a deck chair while staring out to sea? But, as I’ve grown a little older, I’ve started to visit the coast more often in the colder (and wetter) months. Nothing beats grabbing a hot coffee and having a relaxed wander along a quiet promenade with just the sound of the distant waves breaking on the beach.

So, when fellow photographer (and now friend) Vanda Ralevska released her Wish You Were Here book set featuring some outstanding photography of the British Seaside, I knew I had to purchase myself a copy.

Author’s synopsis

This companion book set explores the nostalgia of the English seaside throughout the seasons, from the sombre beauty of winter months to its restored splendour in the glorious days of summer.

There is a melancholy about the English seaside in winter. No matter what Mother Nature throws at it, there is a resilience that enables it to resurrect its full magnificence in summer months.

It goes into hibernation, it falls into slumber and sleeps dormant like a perennial plant, just to flourish when the sun and warmth come back.

Wish youy were here photo book by Vanda Ralevska

Like trees that are bare and stark in winter. But in the summer they become beautiful, vibrant and everything we love about them.

What started as a pure fascination and attraction turned into a lifelong passion. There isn't any other place I would rather be than a beach. Though I enjoy the peaceful and quiet wintertime most, I find the bright and sunny weather as captivating as the bleak and gloomy days. Therefore, I felt I needed to capture both sides of the English seaside and separate them into two books that complement each other.

My thoughts about the book

First things first, and I’m not just saying this, but I love these books. The photos included are well-crafted, and expertly composed, with subtle seaside humour and ironies implied throughout. As I mentioned in the intro, I love both sides of the seaside experience, from the fun, warm, summery days to the calmer but much colder days in the winter and this companion book set encapsulates those experiences perfectly.

Kis me quick photo book by Vanda Ralevska

The book set is comprised of two books. Kiss Me Quick is fun, vibrant, and full of photos of blue skies and seaside colours. The pictures included are colourful but well-controlled and have an aesthetically pleasing but subtle high-key processing applied to them. The photos are all in square format, which, as you may have read here, is one of my favourite aspect ratios and works incredibly well for this collection.

The image sequencing throughout is, in my opinion, a bit of a master class and taught me a thing or two about how well a book can be pulled together. There is a good mix of clever, humorous, and more subtle pairings. I know first-hand that Vanda invested a considerable amount of thought into sequencing the images for both books and the results speak for themselves.

The second book, in contrast to the first, represents a more subdued, desolate seaside experience and with the lack of blue skies and vibrant summer tones, Vanda chose to process this collection in monochrome, which suits the work well. Having recently embarked on my own black-and-white journey with my Timeless City project, I felt a deeper connection and was able to appreciate this collection of work far more than I might have before when processing predominantly colour work.

Individually, these books hold their own as separate collections of photographic work, but putting them together as a single book set was a master stroke by Vanda as together, they tell the complete seasonal story of the British seaside that most of us in the UK have experienced at some point in our lives.

Book Details

Hardcover
Size: 210mm x 230mm
Pages: 140 (Wish You Were Here)/124 (Kiss Me Quick)
Availability at the time of writing: Available directly from Vanda’s website here: https://mylenscapes.uk/wish-you-were-here/

Trevor Sherwin 2/12/25 Trevor Sherwin 2/12/25

Creating my limited edition Timeless City prints of London

Take a peak into the process I follow when choosing, printing and sending my limited edition, Timeless City, fine art prints of London.

Taking photos can be such a creative and fulfilling process and after capturing that epic vista at sunset or carefully crafted cityscape scene, for me, viewing work on a screen does not compare to the impact I get from holding a fine-art print in my hand or seeing it mounted, framed and hanging on the wall. A physical print can bring a photo to life and transport the viewer to another time and place, evoking all kinds of emotions and memories.

With so many photos observed on social media for just a few seconds before the inevitable swipe of the screen, the physical print invites viewers to slow down and engage deeply with the work. It’s a more intentional way of experiencing photography. As Ansel Adams famously said, "The negative is the equivalent of the composer's score, and the print is the performance.” Maybe, for the modern age, you could replace the negative with the digital raw, but you get the point.

Examples of limited edition prints of London hanging on the wall

Printing my Timeless City, black and white photos of London

When my Timeless City project started to gain a little momentum and a body of work was forming, I thought about ways I could transport the photos I’ve taken from the screen into print and one of the options I’ve decided to pursue is to offer fine-art prints for those who follow the project to own.

I wrote this blog post to accompany the new print store for two reasons.

To share the attention to detail and craftsmanship that goes into producing my high-quality, archival fine-art prints.
To help photographers who are starting their own printing journey by outlining my process.

Choosing the photos for the limited edition prints

Choosing the photos I want to include in a limited edition collection is an important and (to me at least) difficult decision. On the one hand, I’m including what I subjectively consider some of my very best work, which I hope will also appeal to a potential print-buying audience. On the other hand, I have to be comfortable with the fact that those images will be limited in number and once finished, never printed in the same way again.

Once shortlisted and to ensure quality, I printed the images at their intended sizes—7x7” and 10x10”. I printed the shortlisted photos at this early stage because I’m aware that not all images translate well from screen to paper, and this step helps eliminate any that don’t quite hit the bar. This step also helped me narrow the selection to an initial 12 prints I wanted to start with.

Choosing the right paper to print my photos

There are several things to consider when printing images and paper choice is arguably the most important decision I needed to make. In my mind, I have a particular look I want to achieve, one that I feel suits the work best and here’s a brief breakdown of the process I went through when choosing the right paper for this project.

Paper Size: I want the finished work to have a more intimate look and feel. There’s a quiet subtlety to my black and white photos of London and I don’t want the prints to overwhelm the space they are displayed. I think a smaller picture with a wide mount and subtle frame suits the work better. The other benefit of printing the photos in 7”x7” and 10”10” is that I can print, sign and send the work directly, meaning I can control the entire printing process and ensure a high degree of quality control.
Paper Type: By paper type, I mean choosing between normal, photo-quality paper or acid-free, archival paper. For limited-edition, fine-art prints that will appeal to both casual buyers who appreciate my work and the serious print collector, I feel there is only one option for this project and that is acid-free, archival paper.
Paper Finish: When testing the different papers from my preferred manufacturer (Fotospeed), I found they had a range of colour temperatures and finishes, from smooth to textured, from matt to glossy and from warm to cool. I already knew I wanted a cooler, non-textured, semi-gloss finish so I purchased a test pack of papers with various options that aligned with what I wanted and got busy testing.

After extensive testing and lots of printer ink used, I found Fotospeed’s Platinum Baryta 300gsm the best paper for the job. I love how my black-and-white cityscape work looks and with a throwback to the dark room look Baryta paper provides, there is a classic, even ‘timeless’ look to the final print. Here’s a description of the paper I pulled directly from Fotospeed’s website:

Platinum Baryta 300 is 100% acid-free, Fine Art paper with a smooth unglazed gloss surface. A natural white base and state of the art micro-porous ink receiving layer delivers a high D-MAX (2.99) and wide colour gamut. Platinum Baryta 300 reveals delicate highlights and smooth transitions to shadows for both colour and B&W printing. The paper is approved by the Fine Art Trade Guild and when used in conjunction with pigment inks will ensure a print life of more than 85 years.

The process I follow for printing my Timeless City photos

As I mentioned at the start of this post, the experience of viewing pictures on screen doesn’t come close to the feeling of holding a print in your hand, but it doesn’t stop there. To get the very best print possible, a few things need to be done to adapt the image so that how it looks on screen is as close as possible to how it looks on paper.

Preparing the image file for printing

There is a big difference between viewing an image on a backlit monitor to an image on paper with only reflective light available. Ultimately this means that if I don’t tweak the image first, it will likely print dark, soft and lack contrast. So these are the main things I change for each image before printing.

I will normally boost the brightness by half a stop or more, increase contrast, and sharpen the image. Alongside these standard tweaks, I will often selectively dodge and burn (decrease or increase brightness) in specific places to ensure those areas retain detail and contrast once on paper.

Although Platinum Baryta 300gsm is on the whiter end of the fine art paper spectrum, it still prints a little warm for the look I am after, so for every photo, I adjust the white balance slightly to cool the image down meaning the printed image will appear more neutral and not to warm. This is purely to taste and not a necessary step for everyone.

Using the correct printer settings

When sending the image to the printer, certain settings must be used. I won’t list them all, but two points I feel are incredibly important to get right are using the right profile for the paper and printer combination and setting the right paper type in the printer settings.

Using the correct ICC Profile: As I mentioned before, my paper is manufactured by Fotospeed and they provide standard ICC profiles (and instructions) for all papers when printed on a Canon or Epsom printer. All I had to do was download the right profile, install it and select that profile in the print options.

Setting the paper type: The second setting I always check is choosing the right paper type from within my Canon printer’s settings. Again, Fotospeed provides a handy table on their website which matches their paper to the options available in the printer settings. For example, to get the best results when printing on Platinum Baryta, I need to select “Photo Paper Pro Lustre” from the Canon printer settings. Without setting this, I won’t get the final look I want.

Hard-proofing to make sure the print looks right

With the image prepared and printer settings set, the only real way to know I’ve made the right choices is to start printing. This is called hard proofing (or hard-copy proof) and will typically consist of smaller versions of the image or just small cropped sections at 100%. This initial method helps to get a good idea of the tones, luminance and quality while preserving paper and ink.

Creating my Artist’s proof

With the smaller or partial version looking right, the last stage in the proofing process is to print the image on the right paper, at the final 7x7'“ and 10x10” sizes. Different photographers and artists will have various ways as to how they manage and even sell their artist proofs as they’re not included in the count of limited editions sold, but if you want to read a bit more on the Artist’s Proof, you can start here at Wikipedia.

Signing and certifying my limited edition prints of London

All of my limited edition prints are signed and numbered on the white border, underneath the picture. I sign close enough to the picture so that the collector can choose to show or hide my signature when the print is mounted and framed. With the Platinum Baryta being a semi-glossy paper, I need to sign with ink as a pencil won’t work and my pen of choice right now is the Faber-Castell Pitt Artist Pen Fineliner XS India ink pen. Whatever the pen you choose, the most important thing about choosing one to sign archival prints is that they should be waterproof, permanent, acid-free and pH neutral.

If selling my prints as limited editions is to be successful, I have to instil confidence in the buyer that the print run is truly limited and I will only sell the number of copies of a given print I say I will. Once advertised and the first in a limited edition run is sold, there is no going back and nor should there be. This is where the certificate of authenticity (COA) comes in. Alongside proving the work’s provenance and authenticity, the COA is my signed contract to the buyer on which I certify the image is a genuine limited edition.

The certificate I provide with every print includes the following information;

Logo and title
Statement of authenticity
Name of the print and edition number
Date the photo was taken and printed
Dimensions of the print and image of the artwork
Medium the image is printed on
My signature and date the certificate was signed

How I pack and ship my limited edition, fine art prints

As I researched how to package and send my prints, I had four key objectives.

Secure: The way I package the prints must be tough and secure as I don’t want the print to be damaged during transit.
Sustainable and environmentally friendly: The materials used to manufacture the packaging should be sustainably sourced with minimal plastic used, and fully recyclable.
Archival: To ensure longevity, any materials that come in contact with the print must be acid-free and pH-neutral.
Presentable: I want the end-to-end experience of buying a print to be one of quality and attention to detail, and that starts with how the print is received and opened so, alongside being secure and sustainable, the packaging has to look presentable too.

So with these four objectives in mind, here’s a quick breakdown of some of the key materials I use to package and ship my print:

Black presentation box: The presentation box I use looks good, keeps the print secure and is environmentally friendly. The boxes I use are biodegradable, made from recycled materials, sustainably sourced and fully recyclable. In addition, the A4-sized box I use is compostable.
Glassine Envelope: Each print is placed in an envelope before it goes into the presentation box. I opted for Glassine envelopes as they are recyclable, compostable, biodegradable and manufactured with renewable materials. Anything that comes in contact with the print must be archival, so the glassine envelope is also acid-free and pH-neutral.
It’s important to be as transparent as possible when discussing sustainability so it should be said that the manufacturing process of glassine envelopes is quite resource-intensive but this will be minimal compared to similar petrochemical & fossil-fuel-based materials such as plastic.
White card and envelope: I use a white card to print the certificate of authenticity and place it in a white envelope. I use a white card sheet to add rigidity to the print while in the glassine envelope. The card and envelopes I use are made from 100% recycled materials.
Mailing bags: Having had many deliveries left on my doorstep, exposed to the elements, I do not want to risk the same happening to one of my prints without being adequately protected, so unfortunately this is where I feel I am forced to use plastic packaging (for now at least). Although far from ideal, I have ensured the mailing bags I use are made from fully recycled plastic and code 4 LDPE, meaning they can be recycled using most standard domestic services. I will continue to seek alternatives and update the post when I have one. All suggestions are gratefully received.

Final thoughts

Hopefully, that provides a useful insight into the process and equipment I use when producing my limited-edition, fine art prints.

Whether you're a collector considering purchasing my work or a fellow photographer beginning your fine-art printing journey, I hope this article helps you appreciate the craftsmanship behind each print I make. If you have any questions about my Timeless City project, feel free to reach out to me via my contact page and if you are interested in owning your own limited edition print of London, visit my Timeless City store using the button below.

TIMELESS CITY PRINT STORE

Until next time.

Trevor

Trevor Sherwin 1/20/25 Trevor Sherwin 1/20/25

Journeys Into the Wild: The Photography of Peter Dombrovskis | My Photo Bookshelf

A book featuring the photographic work of the great conservationist, Peter Dombrovskis.

If one of my all-time favourite landscape photographers, Joe Cornish talks highly of any photographer, I take notice and after watching some videos a few years ago featuring Joe talking about the late Peter Dombrovskis and discussing his work, it quickly became apparent to me this was a photographer I needed to know more about.

Peter Dombrovskis was a landscape and conservation photographer known for taking pictures of Tasmanian wild places and was instrumental in preventing the damming of the Franklin River in the 1980s. Peter died in 1996 while photographing the Western Arthur Range in southwest Tasmania, but even now, 30 years later, he still has a strong following in the landscape photography community. After reading this book, I can see why.

Author’s synopsis

Journeys into the Wild is a poetic escape to a fragile and breathtaking wilderness, with celebrated photographer Peter Dombrovskis as your guide. Commentary and an extended introduction by Bob Brown allow readers to engage with the photographs on a deeper level.

Bob Brown and Peter Dombrovskis forged their friendship in the battle to save the Gordon and Franklin rivers. As a founder of the Wilderness Society, Bob organised the blockade of dam works on the Franklin, recruiting Peter and his iconic photography to make the case for conservation over profit.

Journeys Into the Wild - The Photography of Peter Dombrovskis

During the campaign, Bob accompanied Peter on one of his kayak trips down the Franklin and observed his process as a photographer. Peter would go on to take one of the most famous photographs in Australian history, Morning Mist, Rock Island Bend, Franklin River, an image that featured in calendars and diaries across Australia and that was integral to the success of the campaign. The two remained friends until Peter’s death in 1996.

My thoughts about the book

I’m so glad I purchased a copy of this book because it tells such a compelling story about the power of passion, perseverance and photography, and how, when used together, they can bring about meaningful change for the better.

Created by former Australian politician and environmentalist Bob Brown, Journeys into the Wild tells Peter Dombrovskis’ story, about his emigration from Latvia to Australia when young, his first camera, the friendships he made and how all of that forged a path for him to become one of the most influential conservation photographers of his time His work was used in a campaign to help protect thousands of square miles of unspoilt Tasmanian wilderness and for that story alone, it’s a book worth reading.

Dombrovskis was equally known for his large format, landscape photography and this book includes much of his work, with a particular focus on the National Parks of Tasmania. From wide, landscape vistas such as the peaks of Cradle Mountain to close-up, intimate compositions of a leaf’s skeleton at Mount Mulu, this book is a feast for anyone who appreciates natural landscape photography. The Tasmanian landscape is incredibly diverse and quite different to what I see photographed today. Dombrovskis was able to tune into the finer details and record them on film so future viewers of his work would get a glimpse into how the national parks of Tasmania looked many decades ago and as a result of the work he and Bob Brown undertook, how those national parks thankfully, still look today.

I know I’m a relative latecomer to Peter Dombrovskis’ photographic party, and many who read this will already be aware of his work or have a copy of one of his books. Still, none of that matters, as after finishing this book, it’s clear that like many of the landscape photography greats, his story and accompanying work has and will continue to stand the test of time for future generations to discover.

Book Details

Hardcover
Size: 280mm x 220mm
Pages: 200
Availability at the time of writing: Limited availability in Europe but there are some about. I purchased my copy from https://www.abebooks.co.uk/.

Trevor Sherwin 1/19/25 Trevor Sherwin 1/19/25

New Photos | Autumn 2024

A collection of photos taken during Autumn 2024.

This is now the fourth instalment of my “New Photos” series, a project conceived to ensure my photography is seen on my website and in my newsletter before being shared on social media. These aren’t portfolios showcasing my very best work, but more a snapshot of the share-worthy photos I made during those three months and if, during that time I manage to take just one or two portfolio images then I consider that a bonus.

Below are the previous three instalments of my “New Photos” series.

New landscape photography gallery | Winter 2023

New landscape photography gallery | Spring 2024

New landscape photography gallery | Summer 2024

September to November 2024 - Autumn 2024 collection.

One thing you might notice in this edition is just how few traditionally wide landscape photos I took during the autumn. For various reasons back in 2023, I didn’t have the time I wanted to photograph the changing colours in my local forest, so in 2024, I made a concerted effort to spend more of my photography time there and as a result, I had less time to photograph what would be considered traditional landscapes.

(You can click on the smaller photos to see a larger version)

Apart from the photo of Brighton’s West Pier below and London’s cityscapes further down, the only shareworthy landscape images I photographed were taken from the same spot. This viewpoint overlooks part of my local forest and is one I visit often before venturing off amongst the trees to photograph the woodland.

Landscape Photography

A photo of an autumnal landscape in sussex taken by Trevor Sherwin

I’ve spoken before about the West Pier along England’s south coast in Brighton and how I visit from time to time to photograph this composition, capturing its skeletal remains as it slowly gets taken by the sea. On this particular morning in early autumn, conditions weren’t great and I had no light to speak of, but I kept this photo because of the additional context it provided. The water was clear and for the first time in countless visits, I could see the scattered pieces of metal that had fallen into the sea when the pier collapsed, adding to the story of this cursed seaside structure.

A long exposure photo of the West Pier in Brighton, Sussex taken by Trevor Sherwin

Cityscape photography in London

These days, nearly all the time I have to photograph London is spent creating work for my Timeless City project. I tend not to share those photos here as I’m still building that body of work, adapting and learning as I go, but every so often, I’ll take a picture I feel should also be processed in colour. Alongside this, I feel that my shift to taking more black-and-white cityscape photos is now starting to influence my colour work, (for the better I hope). My colour photos are more muted with less busy compositions and a simpler colour pallet.

A photo of the London Eye along the Thames in London taken by Trevor Sherwin

A photo of the Shard from St Paul's Cathedral in London taken by Trevor Sherwin

A photo of the London Eye during sunrise in London taken by Trevor Sherwin

A photo of Tower Bridge in London taken by Trevor Sherwin

Photographing an autumnal woodland

As mentioned above, I spent a lot more time this year amongst the trees, photographing the colours as they changed from deep, late summer greens to vibrant oranges, yellows and finally the dull browns of late autumn. My ability to look closer at the woodland has slowly improved and as such I thoroughly enjoyed my time last year, stretching myself photographically, and finding new, intimate compositions while revisiting some old favourites along the way.

A woodland photo of trees in the woodland during autumn taken by Trevor Sherwin

Although I’m generally happy with the photos I took of the Autumnal woodland in 2024, particularly the tighter, intimate compositions, I still feel I lack the vision and awareness to spot the small scenes around my feet and as a result, I don’t take anywhere near as many photos of small scenes as I would like. I did manage to take a few, however. The green fern at the beginning of autumn and bookending the season, a collection of frosty fallen leaves towards the end of November.

A photograph of a green fern during autumn taken by Trevor Sherwin

Photographing the northern lights in Sussex

As I left work one evening in October, the socials were ablaze with aurora alerts for the south of England and having missed the opportunity to photograph the northern lights back in May, I quickly decided to head out of the city and into Sussex to try to capture them. I wrote more about this amazing evening of photography in the blog post below.

A photograph of the northern lights taken in Sussex over Bodiam Castle by Trevor Sherwin

Photographing the Brecon Beacons in Late Autumn

In mid-November, I made a late dash to the Brecon Beacons to photograph the waterfalls. Being so late in the season, nearly all the leaves had fallen, leaving very little foliage on the trees, but I dug deep, got creative and came away with a handful of photos I liked.

The Brecon Beacons waterfalls in late autumn. A blog post written by Trevor Sherwin Photography

Wow, that’s over 40 photos I’ve shared from my photo outings in Autumn. I’m pretty happy with that. As always, feel free to message me or leave a comment with any questions or feedback you may have.

Until next time,
Trevor

Trevor Sherwin 1/3/25 Trevor Sherwin 1/3/25

Outdoor Photogrphy Magazine Feature

I was featured in a recent edition of Outdoor Photography magazine. Read the article here.

After a very generous recommendation from the talented Vanda Ralevska, I was recently (and very kindly) asked by writer and author, Nick Smith, to be interviewed for a multi-page feature in the UK’s Outdoor Photography Magazine. We met one afternoon in London and talked about all things photography such as how I got started, why I enjoy photographing the London cityscape and the synergies between cityscape and woodland photography.

I was also given a PDF copy to share with viewers of my website. If you have a few minutes, I welcome you to have a read and as always, feel free to post any questions or feedback in the comments below.

Outdoor Photography Magazine Feature Page 1

Outdoor Photography Magazine Feature Page 2

Outdoor Photography Magazine Feature Page 3

Outdoor Photography Magazine Feature Page 4

Alternatively, you can read the article using this embedded version or download it directly here.

Until next time.
Trevor

Read More

BLOG ARCHIVE

Synopsis

My thoughts about the book

Book Details

The applications I use to process my raw images

The raw file

Cropping and straightening the image

How I convert my photos to black and white

The Curves panel

Adding more drama to the sky (burning)

Increasing the exposure in the shadows (Dodging)

Making the reflections pop

Applying some global edits using the Basic Develop Panel

Sharpening the image in Photoshop

Boosting the whites

Related Timeless City articles:

Synopsis

My thoughts about the book

Book Details

Author’s synopsis

My thoughts about the book

Book Details

December 2024 to February 2025 - Winter 2024 collection.

Photographing London

The Winter Landscape

Photographing the woodland

A trip to the East Sussex Coast

Author’s synopsis

My thoughts about the book

Book Details

Author’s synopsis

My thoughts about the book

Book Details

Printing my Timeless City, black and white photos of London

Choosing the photos for the limited edition prints

Choosing the right paper to print my photos

The process I follow for printing my Timeless City photos

Preparing the image file for printing

Using the correct printer settings

Hard-proofing to make sure the print looks right

Creating my Artist’s proof

Signing and certifying my limited edition prints of London

How I pack and ship my limited edition, fine art prints

Final thoughts

Author’s synopsis

My thoughts about the book

Book Details

September to November 2024 - Autumn 2024 collection.

Landscape Photography

Cityscape photography in London

Photographing an autumnal woodland

Photographing the northern lights in Sussex

Photographing the Brecon Beacons in Late Autumn