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Trevor Sherwin 2/14/26 Trevor Sherwin 2/14/26

Natural Landscape: Volume One | My Photo Bookshelf

The first edition of the Natural Landscape Photography Awards photobook presenting a curated collection of authentic landscape photography.

I’ve lost count of how many competition-based photo book series there are, and being someone whose mind is wired in such a way that I can’t buy just one book in a series, for the sake of my wallet — and the space on my bookshelf — I’ve typically chosen not to buy them… well, until now.

For the last few years, I’ve been watching the Natural Landscape Photography Awards from the sidelines. I’ve never been tempted to enter, but I have admired the way the competition is run, its underlying ethos and, equally important, the calibre of work from the photographers who take part. Then, some time in 2025, after the fourth competition closed and the book was released, I decided enough was enough. I bought the first four editions, with the fifth soon to be ordered.

Having now finished the first edition, and before I get started on the second, it felt like the right time to add it to my photo bookshelf.

Synopsis

To commemorate the success of our first year running the awards, we have created what we think is one of the finest compilations of landscape photography ever printed (we’re biased, sorry). This 220 page, large-format fine art book contains the work of over 120 artists. We have also commissioned four essays which are included in the book, discussing aspects of the eyewitness tradition of photography, the idea of representing the world around us with truth and honesty.

My thoughts about the book

I wanted to start by explaining a little about the Natural Landscape Photography Awards (NLPA) and why this book series is, in my opinion, something of a game-changer for photography competition books. Run by Tim Parkin and Matt Payne, the NLPA is a landscape photography competition that values realism and authentic representations of the natural world.

In a society seemingly dominated by over-processed and, more recently, AI-generated imagery, this competition places its emphasis firmly on the beauty of the real world, accepting only work that meets a particularly strict set of editing rules. For me, it’s these submission rules that set the competition apart and give future readers of this book series the confidence that the photography they are gazing upon is a genuine view witnessed by the photographer standing there as they clicked the shutter — something I feel will become increasingly important as we move further into the AI age.First impressions were extremely positive. This book feels well-made, has a good weight to it with a cloth-bound hardcover and satisfyingly thick paper throughout. The print quality is great, with well-defined details throughout and nice handling of colour, providing punch and subtlety as and when appropriate.

The book begins with a Preface written by Tim Parkin, which explains how and why the competition started. The photos are then organised into the original competition categories, such as the grand landscape, projects, typologies and so on. Amongst the work are four essays by Eric Bennett, Tim Parkin, Joe Cornish and William Neill — quite a lineup, and all complement the book nicely.

The book concludes with a section introducing the competition judges and organisers. I think that’s a nice touch, as it provides some background and transparency about who is responsible for selecting the work and the kind of photographers they are. It really does help with the overall credibility of the competition.

This is the first in the NLPA book series I’ve read, and I thoroughly enjoyed the entire experience. The quality of the book, the essays, and, of course, the collection of beautiful photography all play a crucial role in making it one of my favourite books on my photo bookshelf.

To wrap up, I wanted to make a final point, related to what I said earlier about how this competition — and specifically the resulting books — will become increasingly important in a world dominated by overly processed and manufactured imagery. We all have to accept the inevitable: the world of photography has changed, which means that when we seek authenticity in the landscape photography we enjoy, we have to question everything, as we can no longer take an image at face value.

So when a competition comes along that does all of that heavy lifting for us — checking the raw files and validating the authenticity — I see it as something more than just a competition. It’s a service to the craft, providing lovers of natural landscape photography with a haven where the default reaction when gazing upon something beautiful isn’t immediate suspicion.

Book Details

Hardcover
Size: 300mm x 280mm
Pages: 220 pages
Availability at the time of writing: All physical book editions are sold out, but an e-book edition is available for all competition books on the Natural Landscape website: https://naturallandscapeawards.com/product-category/fine-art-photography-books.

Until next time.
Trevor

Trevor Sherwin 1/26/26 Trevor Sherwin 1/26/26

Photographing my Local Forest in Autumn

Autumn in my local forest. A collection of photos taken while exploring the woodland and open heathland between September and November 2025.

A misty autumn landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF50-140mm | 134mm | 1/10th Second | f/10 | ISO125 (3-image pano)*

Like the start of spring, autumn marks one of the most noticeable shifts in the woodland, transforming my local forest—a mix of woodland and heathland—into something altogether different. The changes begin quietly, filtering down from the higher ground and gradually working their way into the valleys, until the landscape is immersed in amber, gold, and deep crimson tones.

From open heathland, where the last greens of summer still lingered, to more intimate woodland scenes with trees clinging to their final leaves, this collection of photographs was taken between September and November last year. Together, they document the evolving colours, textures, and subtle transitions of my local forest as autumn took hold.

A lone pine in a misty autumn landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 34mm | 1/3rd Second | f/9 | ISO125*

Unlike photo trips centred around a specific viewpoint or subject, my time in the forest is rarely planned. I tend to wander without any particular photograph in mind, allowing myself to slow down and become more attentive to the environment around me. If I’m lucky, a composition gradually reveals itself, and only then does the camera bag open and the tripod’s spikes press into the forest floor.

That said, I do like to revisit familiar scenes from time to time—places I’ve photographed before—to see how they’ve changed through the years or how they look in different seasons. These familiar subjects often help ease me into the process, and I’ve found that once the first image is made, others tend to follow more naturally. It’s usually enough to get the photographic gears turning.

I’m genuinely pleased with this collection, which balances new discoveries with revisited locations, featuring subjects that range from lone trees in open landscapes to richly textured woodland scenes filled with autumn colour.

With plenty of images to explore, I’ll keep this introduction brief. I would, however, recommend viewing the photographs on a larger screen for the best experience, and don’t forget that each image can be selected to view in full screen.

A clump of birch trees in a misty autumn landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF50-140mm | 61mm | 1/13th Second | f/11 | ISO125*

A small tree in a misty autumn landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF50-140mm | 66mm | 1/4 Second | f/11 | ISO125*

A clump of small pines taken during autumn by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 55mm | 1/2 Second | f/11 | ISO125*

The colours of autumn in the woodland taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 35mm | 1.3 Seconds | f/8 | ISO125*

A foggy autumn woodland taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 32mm | 4 Seconds | f/6.4 | ISO125*

A colourful autumn landscape scene taken by Trevor Sherwin — *Fujifilm XT5 | XF70-300mm | 73mm | 1/4 Second | f/10 | ISO125*

If you’ve made it this far, thanks for sticking with me. I hope you’ve enjoyed the photos I’ve shared, and if you have any comments or questions about this collection—or anything else—please feel free to leave a comment below or get in touch here.

Until next time.
Trevor

Trevor Sherwin 1/19/26 Trevor Sherwin 1/19/26

PhotoWork by Sasha Wolf | My Photo Bookshelf

PhotoWork: 40 Photographers on Process and Practice explores how established photographers share insights into their creative approach and the development of their photographic projects.

I discovered PhotoWork: 40 Photographers on Process and Practice some time ago, perhaps even a few years back. I’m not entirely sure who first introduced me to the book, but alongside my curiosity about how others approach their craft, I’ve found myself leaning more heavily towards photographing in projects and with project work being a key focal point of the book, I figured it was about time I finally picked up a copy.

Synopsis

PhotoWork is a collection of interviews by forty photographers about their approach to making photographs and, more importantly, a sustained body of work. Curator and lecturer Sasha Wolf was inspired to seek out and assemble responses to these questions after hearing from countless young photographers about how they often feel adrift in their own practice, wondering if they are doing it the “right” way. The responses, from both established and newly emerging photographers, reveal there is no single path. Their advice is wildly divergent, generous, and delightful: Justine Kurland discusses the importance of allowing a narrative to unravel; Doug DuBois reflects on the process of growing into one’s own work; Dawoud Bey evokes musicians such as Miles Davis as his inspiration for never wanting to become “my own oldies show.”

The book is structured through a Proust-like questionnaire, in which individuals are each asked the same set of questions, creating a typology of responses that allows for an intriguing compare and contrast.

My thoughts about the book

As the synopsis explains, the author, Sasha Wolf, has assembled responses to 12 specific questions sent to 40 established photographers. Coming from different backgrounds, with varying levels of experience, and practising across a range of photographic genres, the intention is to demonstrate to younger and/or less experienced photographers that there is no single way, no single approach, and most certainly no right or wrong when it comes to the craft of photography and choosing your own path.

The book opens with the list of the 12 questions asked of all the photographers, followed by an introduction from Sasha Wolf. Here, she talks about the story behind the project and her motivation to help younger, less established photographers who feel adrift in their own photographic journey. Each subsequent chapter then presents the questions alongside the responses from the 40 photographers featured in the book.

If you’re a regular reader of my Photo Bookshelf series, you’ll know that I try to inject some variety into the types of books I feature, but they typically align with my own interest in landscape photography. As a result, it may come as a slight surprise that this book is not about landscape photographers and instead leans more towards social documentary photography. That said, I feel that if you focus too much on the photographers featured and the types of images they usually make, you risk missing the entire point of the book.

Regardless of each creator’s artistic focus, this book is about how they approach their craft. It explores opinions on topics such as the single image versus a body of work, and how projects are born—whether from conceptual ideas or through inspiration drawn from existing work. It highlights the vast chasm of opinion that exists within the photographic world, and if the aim of the book is to encourage people, young and old, to understand that there are infinite paths and countless outcomes—and that, provided they remain true to their own artistic convictions, there is no right or wrong—then I think this book succeeds.

In a world where established YouTube creators with huge followings are often keen to tell us what is right and wrong, with headlines such as “pros do this” or “only amateurs do that”, it’s refreshing that this book attempts to send a different message. The message I take from it is to ignore those telling you what to do, listen instead to those who inspire you, and remember that the person with the vision—the person creating the work—is the only one who truly knows what is right for them. They just need to believe it.

Book Details

Softcover/Paperback
Size: 6x9 inches
Pages: 256 pages
Availability at the time of writing: Still in print and available from places such as Aperture’s website or by requesting a copy from your local independent bookshop.

Until next time.
Trevor

Trevor Sherwin 1/18/26 Trevor Sherwin 1/18/26

Snowdonia in Autumn | On Location

A three-day autumn journey through Snowdonia, capturing intimate woodland scenes, grand vistas, and fresh perspectives on this iconic landscape.

Snowdonia in autumn has been on my to-do list for a few years now. I’ve visited in both the colder and warmer months, but never in between. As is always the case when trying to photograph seasonal change, timing is everything. Arrive too early, and the landscape still feels like late summer; too late and much of the colour has already faded. Added to that is the challenge of localised change, where higher ground may be showing autumnal tones while the valleys below remain stubbornly green.

That uncertainty is manageable if you live nearby and can return regularly to see how the season is progressing, but when you’re a good five-hour drive away, it becomes far more of a gamble. It’s also one of the reasons I often talk about the value of photographing locally, where being able to respond quickly to subtle changes in light, weather, and season can make a real difference to the work you produce.

In the end, I settled on a mid-October weekend, booked a hotel with easy access to several areas I wanted to explore, and set off cross-country for a three-day landscape photography trip to Snowdonia.

A photo of an autumn woodland scene in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 55mm | 1/10th Second | f/11 | ISO125*

My first stop after arriving was to revisit the view of Llyn Gwynant. It’s a spot I’ve photographed a few times before, and while it requires a little more effort than the classic roadside viewpoints most people settle for, I think the extra hike is well worth it. On previous visits, I’d never been lucky enough to have favourable light, but this time, after a quick assessment of the conditions — including the sun’s position in the sky — I could see the potential, and I decided to make the short climb to the viewpoint.

One of my goals on this trip was to capture a mix of woodland scenes, intimate landscapes, and the grand vistas Snowdonia is famous for. Achieving that balance can be tricky, as it requires staying alert to opportunities even while making your way to a specific viewpoint. To give myself the best chance, I made a point of spending plenty of time at each location, slowing down, observing the environment, and letting the photos reveal themselves.

To reach the open ground above the hill, I passed through a small woodland filled with characterful trees, just starting to show the early signs of autumn. By taking my time and keeping my eyes open rather than marching head down, I was able to spot and compose the two woodland images shared above.

A small note for readers: for the best experience of these images, I recommend viewing this blog on a larger screen, as each photo can be selected to display a larger version, which doesn’t work quite as well on mobile devices.

A drone photo of me photographing the view of Llyn Gwynant in Snowdonia taken by Trevor Sherwin Photography — *DJI Mini 3 Pro | 24mm (effective) | 1/2500th Second | f/1.7 | ISO100*

An autumnal landscape photo of Llyn Gwynant in Snowdonia taken by Trevor Sherwin Photography — *Fujifilm XT5 | XF16-55mm | 20mm | 1/60th Second | f/11 | ISO125*

An autumnal landscape photo of Llyn Gwynant in Eryri taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 29mm | 1/60th Second | f/11 | ISO125*

Reaching the viewpoint high above the tree line, I found a spot with uninterrupted views of Llyn Gwynant and the majestic mountains beyond. By this time, it was just after midday, and although the sun had climbed as high as it would go, the October light still fell at a gentle angle—not as low as in winter, but enough to cast soft, dappled patterns across the landscape.

I spent some time capturing images with my main camera on its tripod, and in between shots, launched the drone to gain a higher perspective and manoeuvre around the scene. This vantage point allowed me to use the trees as the main focal point, with the lake and surrounding valley forming a dramatic, almost cinematic backdrop—arguably my favourite shot from this location.

An autumnal drone landscape photo of Llyn Gwynant in Snowdonia taken by Trevor Sherwin Photography — *DJI Mini 3 Pro | 24mm (effective) | 1/8000th Second | f/1.7 | ISO100*

After packing away the drone, I made my way back to the car, ready for the short drive over to the Ogwen Valley and keen to see what new compositions awaited me there.

Typically, when photographing in this area, I’ll hike up the north side of the valley along Afon Lloer to capture the classic view of Tryfan beside the cascades. This time, however, I wanted to explore a slightly different angle. The Ogwen Valley is such a popular spot for landscape photography in Snowdonia that truly unique compositions of the grand vistas are hard to come by. Still, I hoped that by climbing higher and keeping an open mind, I might uncover a fresh perspective—a more personal view of these familiar mountains. With that, I set off to see what the landscape would reveal.

A mountain landscape photo of Tryfan from Pen Yr Ole Wen in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 16mm | 1/640th Second | f/10 | ISO125*

It was getting on for late afternoon, and although the sunlight was still strong, I hadn’t seen anything worth photographing yet. I continued climbing the side of Pen Yr Ole Wen, thinking (or hoping) that the higher I got, the more chance I’d have of finding a good composition, and by then, the harsh light might have softened just a little more.

As I neared the top, the way the stone face of the mountain cut diagonally in front of Tryfan caught my attention. The light was softer now and still just enough to highlight the foreground. I wasn’t sure about the clouds on Tryfan’s peak as they were partly hiding the summit, but knowing how quickly conditions can change in Snowdonia, I set up the camera and took my first shot from this spot.

A drone landscape photo of Tryfan in Snowdonia taken by Trevor Sherwin — *DJI Mini 3 Pro | 24mm (effective) | 1/8000th Second | f/1.7 | ISO100*

I waited at this viewpoint for a while, hoping the light would continue to change. Eventually, the cloud atop Tryfan cleared just long enough for my vertical composition of the same scene, but before long, the cloud rolled back in and the light faded almost completely.

Before it disappeared entirely, I launched the drone. From a higher vantage point, away from Pen Yr Ole Wen, I was able to capture some central compositions of Tryfan, with Llyn Ogwen and the A5 snaking along the valley floor below.

As the cloud rolled in and the light faded, I began my descent. I considered trying the classic composition of the waterfall with Tryfan, but the valley was now shrouded in low cloud, obscuring the mountain tops. Instead, staying true to my goal of capturing more intimate and unique scenes, I focused on a few compositions of Afon Lloer as it tumbled down the hillside. The ambient light had cooled considerably, giving the photos a softer, more neutral tone. These two square compositions are my favourites from the shots I captured on the way back down to the car.

An intimate landscape photo of the cascades along Afon Lloer in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 10mm | 0.6 Seconds | f/9 | ISO125*

The next day, I returned to the Gwynant Valley, this time exploring further along at Llyn Dinas. There were a few spots near the lake I wanted to revisit in the hope of capturing some autumnal tones—though I think it’s fair to say I had mixed success.

My first stop on the morning hike was to revisit the lone tree by the water. It’s a subject I always enjoy photographing here, full of character and, when the conditions are right, framed beautifully by the surrounding mountains.

Once again, I wasn’t blessed with dramatic light, and overall, the conditions were rather flat. Yet the tree’s shape and form are strong enough that it still stands out against an otherwise plain sky. Clutching at straws? Perhaps. But even if I was a little early for autumn colour, I genuinely like this photo.

In my view, getting a low vantage point is essential. It ensures that the lowest branch on the right of the trunk doesn’t overlap the horizon, while also incorporating the shrubbery across the forest floor, which adds texture and depth to the foreground.

A photo of the lone tree besides Llyn Dinas in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 11mm | 1/20th Second | f/8 | ISO125*

Not far from the lake is a stone cottage I had discovered on a previous visit, and remember wondering back then how it might look in autumn. Being close by once again, I made a point of hiking to the spot to see for myself.

When I arrived, the light remained flat, and low cloud smothered the distant peaks. Thankfully, the landscape still offered plenty of warm, autumnal tones, so all was not lost. I set up my camera to frame the cottage at an angle, nestled into the hillside while still maintaining the valley views behind, and once satisfied with the composition, I captured the image below.

For transparency's sake, I should note that the cottage is regularly occupied and features a large solar panel on the roof. While this is great for the residents, it didn’t suit the tone I wanted to create, so—as I had done on a previous visit—I removed the panel in post-processing.

Before continuing my hike, I switched to my telephoto lens and focused on a smaller section of the landscape, highlighting some trees on the hillside adorned with subtle autumnal colour.

A stone cottage nestled in the autumn Snowdonia landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 34mm | 1/6th Second | f/10 | ISO125*

A hillside in the autumn Snowdonia landscape taken by Trevor Sherwin — *Fujifilm XT5 | XF70-300mm | 114mm | 1/4th Second | f/10 | ISO125*

Making my way back down from the higher, open ground, I passed through a small woodland. After experimenting with a few compositions that didn’t quite work, I stumbled across the ruins of an old stone building, hidden among the trees. The structure was heavily overgrown and brimming with character, so I spent a few minutes exploring slightly elevated ground to find the best perspective.

This shot was as much about what I left out as what I included. The area was busy, full of textures and features, and I wanted to ensure the stone building remained the focal point without being lost in the woodland. Once I found the ideal spot, I carefully composed the image, keeping enough of the surrounding environment to convey the building’s setting, while trying to avoid unnecessary clutter.

Ruins of an old stone building overgrown in the woodlands in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 27mm | 1/4th Second | f/10 | ISO125*

By now, it was around 11 am, and as I walked back alongside Llyn Dinas, the wind had dropped, allowing reflections to form on the calm surface of the lake. Passing the lone tree I’d photographed earlier that morning, I noticed how it seemed to hover gracefully over the water. The smooth, reflective surface provided a clean background, making the tree really stand out in the frame.

I can’t claim this composition has never been photographed before, but it was new to me. Once again, slowing down and taking the time to observe the environment paid off, resulting in what may well be my favourite image from the trip—a subtle reminder of why patience and attention to detail are so important when photographing the landscapes of Snowdonia.

Finishing up in the Gwynant Valley and before heading back over to the Ogwen Valley later that afternoon, I paid a relatively quick visit to Conwy Falls. It’s not a place I’d visited before, and being a sucker for a good waterfall, I made my way back through Betws-y-Coed to the car park at the Conwy Falls Cafe.

At this point, you might notice a distinct lack of waterfall photos here—and there’s a reason for that. Despite the falls being truly impressive, I struggled to find a composition that worked, so I took a step back, found a comfortable spot with my coffee, and simply enjoyed the view.

It wasn’t a total loss, though. While walking along the short path between the café and the falls, I spotted a couple of trees showing early autumn colour and managed to capture a few woodland shots I’m pleased with.

Even without the perfect waterfall images, I still highly recommend visiting Conwy Falls. They are easily accessible and make for an impressive spectacle, whether you’re photographing or just taking it all in.

Finishing my coffee by the falls and after a quick pit stop in Betws-y-Coed, I drove along the A5 to continue my day in the Ogwen Valley.

By now, it was getting close to mid-afternoon, and I had considered hiking the Glyderau Circular—much like on my previous trip. But, as time was getting on, I decided it was a bit too late to complete the full hike before dark without rushing my photography along the way, which, at the very least, would have made the experience stressful. Instead, I opted to hike up towards Y Garn, aiming to capture the valley from an elevated perspective.

As I set off from the car park, passing Llyn Idwal and climbing towards Y Garn, the weather was pleasant with a few broken clouds. But gradually, the clouds thickened, and before long I found myself walking in complete clag, with visibility reduced to barely ten metres.

I pressed on, hoping the cloud might clear and reveal the views again. And while it didn’t—at least initially—I was actually pleased. Higher up, the sky began to brighten, and within a few minutes, I broke through the cloud, greeted by one of the most incredible scenes I’ve ever witnessed.

Beneath me stretched a vast carpet of cloud, a vast cloud inversion, with only the tallest mountain peaks piercing through. For several minutes, I simply stood there, taking it all in, knowing I might never see such a sight again.

Eventually, I returned to photography mode, setting up my camera to capture the peaks that emerged above the clouds.

The photo here shows the view looking back down Y Garn towards the Ogwen Valley, highlighting the route I took up the mountain and the spot where I broke through the cloud. In the distance, the tips of Pen Yr Ole Wen and Carnedd Dafydd rise from the Carneddau range. I used the path along the ridge to lead the eye down towards the clouds below and the distant peaks—subtle, but hopefully effective.

A photo of the view looking down Y Garn in Snowdonia during a cloud inversion taken by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 17mm | 1/50th Second | f/11 | ISO125*

Alongside taking photos with my main camera, I also sent the drone up to take in the view from an even higher vantage point and managed to take a couple of photos while doing so. My favourite is the one shown below, as the sun is behind the drone, illuminating the scene in front of the camera. It’s amazing to think there is an entire world underneath that thick layer of cloud, all probably existing in dark and gloomy conditions, and oblivious to the spectacular views being observed by people like me above the clouds.

also turned the drone towards the Snowdon range to the south, but the harsh sunlight created too much contrast, and the drone struggled to capture it cleanly, so I chose not to keep any of those shots.

A drone photo looking down the Ogwen Valley during a cloud inversion in Snowdonia taken by Trevor Sherwin Photography — *DJI Mini 3 Pro | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100*

A photo of Tryfan's peak poking out of a cloud inversion in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 45mm | 1/50th Second | f/9 | ISO125*

A photo of Tryfan's peak and the Ogwen Valley during a cloud inversion in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 34mm | 1/80th Second | f/9 | ISO125*

A drone photo of Trevor Sherwin standing on Y Garn in Snowdonia during a cloud inversion — *DJI Mini 3 Pro | 24mm (effective) | 1/2000th Second | f/1.7 | ISO100*

The peaks of mountains exposed during a cloud inversion in Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 47mm | 1/50th Second | f/10 | ISO125*

After a truly memorable 90 minutes near the top of Y Garn, having experienced the best of the conditions up there, I packed my camera away and began the descent back towards Llyn Idwal. By now, the cloud had thickened considerably, and conditions down in the valley were gloomy. Even without dramatic light, I knew there was still the opportunity to create a few photos beside the lake, using the low cloud and cool tones to add atmosphere and mood.

For the shot below, I focused on making the large rocks a prominent foreground element, with the stone wall subtly leading the eye towards the mountainous walls of Cwm Idwal, forming a striking backdrop. I used an exposure of 0.8 seconds to introduce just a touch of movement in the flowing water, simplifying the areas between the rocks and helping them stand out. Overall, I’m really pleased with how this image turned out.

A landscape photo of Llyn Idwal in the Ogwen Valley taken in cloudy conditions by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 10mm | 0.8 Seconds | f/11 | ISO125*

On the way back from climbing Y Garn, and before taking the previous photo, I had spotted this collection of partly submerged stones in the water. They seemed to line up, potentially usable as foreground interest, helping to lead the eye out, towards the imposing mountain range across the lake.

I used my circular polarising filter (CPL) to take some of the glare off the rocks, revealing some of the textures under the water, and with the winds calm, there were some nice reflections of the mountains on the lake’s surface. It all seemed to come together for me in that moment. Given how many people visit this lake, I’m certain I’m not the only one to photograph this composition, but it was genuinely new to me, so I’m pleased to have spotted it.

The last stop of the day was close to the car park, where I paused briefly to photograph this section of Afon Idwal as it tumbled down the hill towards me. I know this is a well-photographed cascade, but it’s such an accessible and easy photo to take that I will typically take a photo whenever I pass.

Without the low cloud, this composition can offer slightly better views of the Glyderau in the background, but unfortunately not today; however, with some nice contrast between the dark rock and white water and with a little tweaking of the shutter speed to achieve this look in the water, I still walked away with a photo I like.

A photo of some partly submerged stones that lead the eye towards Llyn Idwal and up to Y Garn in the background. Taken in Snowdonia by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 10mm | 1/6th Second | f/10 | ISO125*

A photo of Llyn Idwal with rocks in the foreground looking towards the Devil's Kitchen in the Ogwen Valley, Snowdonia taken by Trevor Sherwin — *Fujifilm XT5 | XF10-24mm | 10mm | 0.8 Seconds | f/11 | ISO125*

The cascading water along Afon Idwal in the Ogwen Valley in Snowdonia — *Fujifilm XT5 | XF10-24mm | 13mm | 0.6 Seconds | f/8 | ISO400*

For the first stop on my third and final day in North Wales, I visited Ffos Anoddun—better known to most as Fairy Glen, near Betws-y-Coed. The Welsh name, Ffos Anoddun, translates as “Deep Ditch,” though the location is far more enchanting than the name suggests. Fairy Glen (as I’ll call it from here on) is a narrow, tree-lined ravine, with the River Conwy flowing gracefully through it. I first visited this spot in late summer 2024 and had always planned to return, hoping to capture it adorned with autumnal colour.

You can see the original, summertime version I took in a previous post here, and I liked that composition, so I tried to recreate it. For a place like this, that might sound easy. But for some reason, I struggled to find the spot I took the photo from, but after a little trial and error, I got there and had my composition lined up.

As with a few other locations on this trip, the autumn colour hadn’t fully arrived, though there were subtle hints of the seasonal transition along the edges of the ravine. Not quite what I had hoped for, but enough to work with.

The long exposure works particularly well in this spot, as the foam created by the water cascading over the rocks forms interesting lines and textures as it travels downstream. Once in position, I mounted my Kase neutral density filter (10 or 6-stop—I can’t remember exactly) and began capturing the scene.

In the final versions shared further below, I also included a shorter exposure. While I slightly prefer the creative effect of the long exposure, the quicker shutter speed produces a more realistic view, and both work well. Photography is subjective, after all—and that’s exactly how it should be.

A photo of Ffos Anoddun or Fairy Glen taken in Autumn by Trevor Sherwin — *Fujifilm XT5 | XF50-140mm | 50mm | 8 Seconds | f/10 | ISO125*

Having captured the composition I was after, I also experimented with a few different focal lengths. I’m particularly pleased with the result in the square crop below, where I went a little wider and arranged the river to flow diagonally through the frame, exiting towards the bottom right-hand corner. It’s a different take on this popular scene, and I’m quite pleased with the photo.

A photo of Fairy Glen and the River Conwy running through in Autumn taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 30mm | 8 Seconds | f/9 | ISO125*

A river side scene in Snowdonia during autumn taken by Trevor Sherwin — *Fujifilm XT5 | XF16-55mm | 43mm | 1/3rd Second | f/16 | ISO125*

Taking the slightly longer route along the river back to the car, I spotted this scene, which was interesting with the large rock, fallen tree and splash of seasonal colour in the trees.

I experimented with a few different focal lengths, taking in the wider scene as well as zooming in and isolating those autumnal colours with a closer crop. These were not necessarily up there with my favourite photos of the trip, but I still like them enough to share with you here.

My final stop of the day was at the Dinorwig Slate Quarry near Llanberis. I had planned to wander down to the Barics Dre Newydd (Anglesey Barracks), take a few photos there, and then explore the quarry before heading back to the car for the long drive home. However, the weather had other ideas.

The cloud cover that had been providing some soft, diffused light earlier quickly cleared after I arrived, leaving a bright, clear sky and harsh contrast—conditions that are far from ideal for the kind of photography I enjoy.

Before the cloud completely cleared, there were still occasional patches passing by, softening the light for brief moments. Wandering down the track towards the barracks, I noticed the trees showing much more autumnal colour than earlier, and I managed to stop and compose a couple of intimate woodland photos.

Once the sun broke through, I spent an hour or so exploring the quarry. It’s such an incredible place to roam, rich with history, and I thoroughly enjoyed my time there. Unfortunately, with the weather no longer cooperating, I didn’t take any more photos.

Overall, this was another successful trip, and I had an amazing time in such a stunningly epic landscape. Of course, things could have been better—more autumn colour on the trees, kinder light at Dinorwig Quarry, or improved conditions when photographing Tryfan on the first evening—but it would be unrealistic to expect everything to go perfectly. Let’s be honest, it could have been far worse; I could have battled strong winds and sideways rain, so I’m grateful for the conditions I did have.

As I mentioned at the start of this article, alongside revisiting some of my favourite spots in Snowdonia, my goal was to capture a mix of woodland, intimate landscapes, and wide vistas. To achieve this, I needed to slow down and give myself time to really observe the landscape and let the compositions reveal themselves. By doing so, I discovered some new, fresh perspectives and captured images I might have otherwise missed if I had been rushing around.

Thanks, as always, for sticking with these longer-form on-location articles. If you have any comments or questions, please feel free to leave them below.

Until next time,
Trevor

If you’ve enjoyed following this Snowdonia trip, you’ll find plenty more inspiration on my blog, where I share tips, insights, and photographs from across the region. From woodland scenes and intimate compositions to sweeping mountain vistas, it’s a celebration of the beauty and variety of landscape photography in Snowdonia.

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Chasing Awe with Gavin Hardcastle | My Photo Bookshelf

Chasing Awe by Gavin Hardcastle, a landscape photography book that blends stunning images and behind-the-scenes stories.

Gavin Hardcastle is a British landscape photographer based in Canada and someone I’ve been following on YouTube for a few years. He has a unique, fun approach to his videos with a great mix of landscape photography adventures and comedic sketches which provide a welcome alternative to some of the other, more serious videos on my watchlist.

Although known on YouTube for his fun and sometimes silly videos, Gavin is still primariily a serious landscape photogtraher and he consistetly shares some quite beautiful landscape photography during his videas and that appreciation for his work resulted in my purchasing a copy of Chasing Awe with Gavin Hardcastle for my bookshelf.

Synopsis

When I was just starting out in landscape photography, I read a lot of photography books. While many of them had beautiful images, I did feel somewhat disconnected from the authors because many of the accompanying stories lacked both a personal touch and offered no technical insights. With ‘Chasing Awe with Gavin Hardcastle‘, I wanted to break that format and offer you a front-row seat to the experience of being a professional landscape photographer – warts and all.

The life of a landscape photographer isn’t always filled with rainbows and unicorns, in fact, the reality is a lot less glamorous. This book takes you into the deep and murky waters of a challenging and often dangerous obsession with the more extreme moments that Mother Nature has to offer.

Chasing Awe with Gavin Hardcastle photography book

My thoughts about the book

Chasing Awe has a hard, glossy cover and a reassuringly tough feel to it, which it would need, judging by Gavin’s videos, where he takes a copy along on many of his adventures across a wide range of landscapes and conditions to promote it in his usual fun, light-hearted way. It makes a great first impression.

The book opens with a foreword by Gavin’s friend and fellow landscape photographer, Adam Gibbs. That connection feels particularly fitting for me, as it was through Adam’s YouTube videos that I was first introduced to Gavin, back when they regularly travelled and photographed together before Gavin moved across the country to Canada’s east coast. I certainly miss those collaborations. The foreword touches on how they originally connected, and their close friendship comes through clearly in Adam’s playful remarks — British mickey-taking humour at its best, and very much in keeping with the overall tone of the book.

Following Adam’s foreword is a brief introduction from Gavin himself before the book dives straight into the images. Each photograph is accompanied by a backstory, all written in Gavin’s familiar, approachable style. Photo books like this work particularly well for me, as I’m always drawn to the context and stories behind the image. In this case, Gavin’s ability to convey someone who is clearly serious about their craft through these entertaining, warts-and-all tales makes reading the book a genuinely enjoyable experience.

Throughout the book, Gavin shares the highs and lows of his adventures and, where appropriate, introduces some of the advanced techniques he used to capture the final images. Even with the technical information included, I feel the balance is just right, and there’s still plenty for readers who are less interested in the technical side of photography.

I particularly appreciate the variety of landscapes Gavin presents in the book. The images span locations all over the world, from picturesque cabins nestled in snowy forests to powerful waves crashing against rugged cliffs, and majestic Canadian mountains bathed in warm golden-hour light. With such diversity, there is genuinely something to enjoy on every page.

For anyone able to get hold of a copy, I would highly recommend doing so. While the physical edition is now sold out, Chasing Awe is still available as an ebook via Gavin’s website — the link is provided below.

Book Details

Hardback Foil Stamped Cover
Size: 10.5 x 10.5 inches
Pages: 120
Availability at the time of writing: All editions of the physical book are sold out, but an e-book edition is available from Gavin Hardcastle’s website https://www.fototripper.com/store/chasing-awe-with-gavin-hardcastle-photography-ebook/

Until next time.

Trevor