#landscapephotography
Photographing in Black and White: Seeing Beyond Color
By removing color, we change how the viewer’s eyes see the photograph. No longer dependent upon color cues, we must find our visual information in the physical characteristics of shape, form, texture, and lines.
In my presentations, I often ask why, if color photography were so wonderful, black and white was invented first. It is, of course, a joke. A little friendly rivalry. The truth is that I love color photographs. They can be meaningful and inspirational. I have the utmost respect for those who do it well. But I was never one of them.
I am not alone. There are many photographers who, like me, photograph almost exclusively in black and white. We are in the minority, however. There are even more who photograph in black and white part-time. We have each chosen to create and present some or all of our work this way, and we do so for our own reasons. Some are rebelling against the popularity of color photography and others have a love for what are considered traditional landscapes. But many, like me, simply don’t have a meaningful creative response to color.
In order to understand what black and white photography has to offer, we need to get some perspective. When we look at a color photograph, the first thing we mentally process is that the scene is depicted in color. Only after that do we begin to study the physical characteristics of the objects in the frame such as shapes, forms, textures, and lines.
These attributes, along with color, help define the look and feel of everything in front of our camera. When we remove the layer of color, either in the field or during processing, what remains are the four descriptive physical attributes. It is in the study and presentation of these – shape, form, texture, and line – in which black and white photography excels. I refer to it not as working without color but seeing beyond it.
So, how can we recognize and make use of these characteristics to improve our black and white photographs?
Forms
In art terminology, a form is simply an object that appears three-dimensional. Forms show a range of tones and represent their subject matter. A tree looks like a tree, a rock like a rock, and a platypus like a… well.. like a duck mixed with a beaver, but you get the point. They look what they are and what we expect them to be. Forms are what we most often see when we are looking at traditional landscape photographs.
The boulders, branches, and mountains in this scene all show three-dimensional characteristics; thus, would be considered artistic forms. | 24mm, f/8 @ 30 seconds, ISO100
Forms are easily recognized so people have little trouble in understanding what they are looking at. That accessibility brings the viewer into the scene, evoking feelings of inclusion, appreciation, and comfort.
Forms can be categorized as either geometric or organic. Geometric forms have regular, precise, structured outlines and often appear, even if natural, as being manmade. They include buildings, roads, telephone poles or automobiles. Naturally occurring objects such as crystals or basalt formations, with their straight edges and sharp angles, can also be considered geometric.
rganic forms such as a leaf, mountain range or meandering stream have irregular or wavy outlines and often appear to be from the natural world. As their outline is less mathematical than a geometric form, they have a softer, more relaxing presence in the photograph.
Shapes
Shapes are similar to forms but appear as two-dimensional and have little interior detail. For example, if a sphere were considered a form, then a simple, white circle would be considered a shape.
As with forms, shapes can be categorized as either geometric or organic. Due their precise structure, geometric shapes can be quite abstract and powerful. Organic shapes, because their outlines are more free form and less formulaic, are often less abstract but can still be a powerful compositional element, especially if juxtaposed against their geometric kin.
The organic shapes of the blown snow contrast with the decidedly geometric shapes of the parking lot lines. | 24mm, f/13 @ 1/60, ISO100
Of course, as with all things artistic, there is often no clear defining line between shapes and forms. Some elements, such as a smooth, dark tree trunk, might exhibit characteristics of both form and shape. The categorization, however, is not important. What is important is that we recognize the qualities of objects in our frame and what they add to or take away from our composition. Only then can we make smart and informed creative decisions while photographing and processing (printing).
Juxtaposing the accessibility of forms against the abstractness of shapes leads to unique and compelling compositions which will be sure to hold the viewer’s attention.
The uniformly spaced, rectangular windows against a dark background play against the haphazard brush marks on a bright white wall. | 45mm, f/8 @ 1/30, ISO100
Lines
When we think of lines, we often think of leading lines – roads, sunrays, fences, etc. – which orient us towards, and thus draw attention to, our main subject. But lines are much more. They are one of the most common elements in our compositions. Lines exist as individual objects which are often very strong and stark compositional elements, but also create the outlines and interiors of objects in our photograph and in this regard are often overlooked.
By getting a low angle, these wavy street lines become a strong focal point in an otherwise unremarkable scene. | 45mm, f/8 @ 1/60, ISO100 
This old grain elevator is, due to heavy post-processing, reduced almost entirely to a study of lines. | 85mm, f/5.6 @ 1/125, ISO100
Lines can be as straight as an arrow or curved like a bow. They can wind lazily, be sharply angular or even form a circle. Their orientation is important. Lines which are parallel or level with the frame appear static and dull, but lines which are angled up at to the right often appear dynamic and energetic (at least in Western cultures whose text reads from left to right).
The distant trees form lines which direct the viewer’s eye to the foreground evergreen which, in turn, points the eye towards the dynamic line at the top of the frame. | 24mm, f/11 @ 1/45, ISO100
Texture
Although not a stand-alone element like form, shape or line, texture plays a critical role in defining the visual characteristics of an object’s surface. Smooth objects such a birch tree or a patch of white snow on a cloudy day will show little texture, whereas rougher surfaces such as the trunk of an oak tree or a bale of hay may show rich texture.
The rough texture of these hay bales integrates with the rough textures of both the foreground grasses and the background saplings. | 50mm, f/11 @ 1 second, ISO100
Textures can also be manipulated by technique. A body of water on a windy day, photographed with a fast shutter speed, will emphasize details of the water’s surface (texture). That same body of water, photographed with a shutter speed measured in many seconds, appears smooth and silky. Either is a valid creative decision.
Texture is necessary to help define a form’s structure, and to give it a three-dimensional look. Without texture, objects appear flat, metallic, plastic or even glassy. That is why the heavily edited, overly smoothed faces of social media influencers look so phony to our eyes.
The visual impact of texture is highly dependent upon lighting and post-processing. It is essential to defining form so it is not something we can ignore. As with everything else in our frame, we need to be aware of the way it affects our composition. Too much texture may well be distracting. Go easy on that structure slider in Lightroom; likewise, too little may look odd.
Each of these four elements plays a critical role in black and white photography and is what the medium does best. It is our responsibility, as creative photographers, to not only recognize their presence and power, but to compose these various elements into a cohesive and compelling photograph.
The foreground lines and shapes direct the viewer’s eye to the start of the soft-textured, distant hills. | 120mm, f/11 @ 1/250, ISO100
P.S. -- There are some scenes – no matter how compelling the shapes, forms, textures or lines – in which color is important and so defining that the image fails without it. In that case, no matter the skill or talent of the dedicated black and white photographer, the fight was over before it even began. So if we can’t beat the color photographers we will, at least in these cases, join them.
The garish and contrasting colors of this room are vital to the identity of this image. If we remove these colors, this image is destined to fail. | 24mm, f/8 @ 1/6, ISO100
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
_About the author: Chuck Kimmerle is a U.S.-based, fine art landscape photographer who prefers to work in the reticent and quiet areas located in between the popular, overcrowded, and over photographed, destinations of grand beauty. While his style is rooted within the foundations of traditional landscape photography, his observations and interactions are both contemporary and introspective.
If you feel a connection to Chuck's work, please consider supporting him by purchasing one of his exquisitely crafted prints, or by simply sending a note of appreciation. _
#editorial #educational #blackandwhite #chuckkimmerle #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotography #techniques
Photographing Waves: One of The Most Rewarding Subjects
Waves are some of the most rewarding subjects for photography that I know. For starters, if you miss one, another will be along very soon! Of course, they are also unpredictable and can be dangerous. What is fascinating is that no single wave will be exactly the same as any other wave that has existed since the beginning of time. Mind-blowing stuff.
When you’re starting out in wave photography, it is helpful to have a rudimentary understanding of different types of waves and what you’re likely to encounter on different beaches. Wide beaches with shallow falls typically experience long, rolling breakers. These graceful waves are a pleasure to photograph. The curl of a rolling wave is attractive but this perspective can be elusive as the topography of the coast often fails to offer a side-on angle.
This story is brought to you byELEMENTS Magazine. ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials and fluid, clean design. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
Some photographers take to the water with waterproof camera housings and capture amazing moments within or even underneath waves (although not on the beaches where I make photos!). Obviously, this approach is for confident swimmers and, if you want to try it out, I strongly recommend that you first spend time getting to know your location and how to navigate the waves there safely. However, if it isn’t safe to swim or you’d simply prefer to stay on terra firma, don’t give up just because you can’t access the popular “curl.” A front-on perspective can also work; the moment a breaker starts to drop is often all that’s needed to break the line and add visual interest.
On steeper, narrower beaches, there may be backwash. This is when water that has travelled up the beach falls back with enough power that, when it meets another wave, the water is pushed upwards, creating a wall. This is a marvellous subject and you can go wide to show the impact in its setting or zoom in tight to explore the textures. “Clapotis” is a sort of backwash wave. This lovely French word describes the moment that a wave, having bounced off a quay or cliff, crashes into another wave. The shapes often seem to defy gravity. This sort of photography is more like sports or wildlife than landscape work. Fast shutter speeds, responsive focusing and quick reflexes are the order of the day. I suggest you use high-speed continuous or burst mode and run off 3 or four frames for each wave.
As with everything, it pays to know your location and to have done your research. For example, if the wind is blowing from the north, there’s little point in visiting a south-facing beach backed by cliffs. However, if the land behind the beach is flat, a strong offshore wind may be ideal as it will hold back the waves, making them pile higher, and you’ll get spindrift off the top. Equally, think about the tide and the light. There are usually fewer waves at low tide. Harsh midday sun is difficult, and you’ll likely need a polariser to mitigate the shiny patches of water whereas backlit waves can be gorgeous when the sun is low.
Point of view makes all the difference and there are so many variations on the standard, head-height position. If you can get low, your waves will stand proud of the horizon. Not every beach gets big waves, but they all get waves of some sort, even if just from the wake of passing vessels. If you lie on the beach, even small waves can look mighty.
Alternatively, try a higher point of view, a clifftop perhaps. Photos taken from above are no longer about the size of the waves. Instead, they make the pattern the star of the show. Waves leave in their wake wonderful shapes that we never see from beach level. Next time you watch the sea from a cliff, notice the beauty of a wave’s footprint.
The sea is always moving so shutter speed is probably your biggest decision; 1/800 or faster will freeze the waves, capturing all the detail. However, slower shutter speeds are also hugely enjoyable. I particularly like ¼” as it keeps the wave’s overall shape, but the details seem like brushstrokes. In my photos, “Theia” and “Twist,” the waves are the same basic shape, but one is caught at 1/800 and one at ¼”. While we’re experimenting, how about adding some intentional camera movement. I like shutter speeds close to 1” and subtle movement so that I can still see the idea of a wave within the blur. I prefer not to use a tripod for ICM. I’m not looking for perfection here – I want the result to look like a painting and paintings aren’t perfect, at least the good ones aren’t.
If you’ve ever tried to photograph waves and been disappointed, I suggest you try a longer focal length. It will suck the viewer into the action and the wave will almost certainly look more exciting. Most of my storm waves were captured using a 70-200mm lens. More recently, I’ve been using a 100-400mm. This is harder because, at 400mm, it’s difficult to see enough of the sea to find the best waves. I’m enjoying the challenge. Long focal lengths offer a way to create difference. The casual viewer will see the big scene, but they won’t notice the curious textures within a wave. For this kind of work, you have to compose like a photographer of abstracts, thinking only of shape and colour, rather than the subject as a whole.
So far, I’ve concentrated on waves alone but waves as they break against the shore also make exciting subjects, stirring our imagination with awe and even fear. As these photographs tend to reference scale and location, they are often more documentary in style; however, that’s not always the case. I happened to publish my photograph, “Face-of” during the voting for the U.S. presidential election. This was entirely coincidental (I’m British), but several people commented that the picture represented the clash of candidates and ideologies! People will always find metaphors in the sea.
I’ve outlined just a few of the possible ways to photograph waves. As with any subject, the best approach is to be open-minded and willing to experiment. Try everything and see what happens, then make changes based on your experience. Be prepared to make a lot of bad photos (remember, this is more like sports than landscape photography). Above all, make sure you take time to just watch and listen to the waves. The sea’s music is beautiful and inspiring and I firmly believe you will make better art if you let it into your soul.
Safety
I don’t want to spoil the flow of the article with a homily on safety but I feel it would be irresponsible not to mention it at all. Waves can be dangerous. It’s important that you know the relevant tides, wind direction and speed. Working on a falling tide is safest. If it’s not safe to get as close to the waves as you would like, come back another day with a longer lens. Trust your instincts – if you feel at risk, you probably are. Lens hoods are good for keeping spray off the lens and I recommend that you always wipe everything down with fresh water after you leave the beach.
**The article is courtesy ofELEMENTS Magazine. **ELEMENTS is the new monthly magazine dedicated to the finest landscape photography, insightful editorials, and fluid, clean design. Inside you will find exclusive and in-depth articles and imagery by the best landscape photographers in the world such as Freeman Patterson, Bruce Barnbaum, Rachael Talibart, Charles Cramer, Hans Strand, Erin Babnik, and Tony Hewitt, to name a few. Use the PETAPIXEL10 code for a 10% discount off the annual subscription.
About the author: Rachael Talibart is a professional seascape and coastal photographer. Her critically acclaimed photographs of the ocean and coast have been featured in the press all over the world. Rachael is represented by galleries in Europe and the USA, her work is frequently exhibited and her limited-edition prints are collected internationally. She is the author of three monographs, including ‘Sirens’ and, most recently, Tides and Tempests. Rachael owns f11 Workshops, providing location and online photography training and she leads international photography tours for Ocean Capture. You will find Rachael Talibart’s series “Oceans and Odysseys” in the ELEMENTS Magazine.
#editorial #tips #travel #abstractlandscapephotography #abstractlandscapes #elements #elementsmagazine #fineart #fineartlandscapephotography #fineartphotography #landscapephotographer #landscapephotography #oceans #rachaeltalibart #waves
6 Tips to Improve Your Black and White Landscape Photography | Digital Photography School
In this article, we share six easy-to-follow tips that’ll improve your black and white landscapes; we also share plenty of examples, so you can understand exactly what goes into a good black and white photo.
#photography #BlackAndWhitePhotography #LandscapePhotography
https://digital-photography-school.com/better-black-white-landscape-photos/
10 Summer Landscape Photography Tips (+ Examples) | Digital Photography School
Summer is a welcome period for landscape photography, as it offers fully-leafed vegetation, the prospect of warm, sunny days, fields carpeted with flowers, and the opportunity to capture dramatic images of our natural environment.
But how can you create beautiful summer landscape photos? That’s what this article is all about; in it, you’ll find plenty of tips, tricks, and secrets for amazing results.
So whether you’re new to landscape photography and are looking to do some fun summer shooting, or you’re an enthusiast aiming to improve your images, here are some tips and ideas to help you on your way!
#photography #PhotographyTutorial #LandscapePhotography
https://digital-photography-school.com/10-summer-landscape-photography-tips-examples/
Examining Social Media’s Impact on Landscape and Nature Photography
As a landscape and nature photographer with a Master’s Degree in Clinical Psychology, I often enjoy trying to blend the two disciplines to better understand the human experience as it relates to photography. One subject that particularly intrigues me is the impact of social media on photography and photographers.
My journey as a photographer began in 2008 just before the explosion of social media. This was the heyday of forums, blogs, and magazines; if you wanted to find great photography, you had to search for it.
Today, it’s everywhere. Photographers are faced with a problem: How do we stand out? One solution it seems can be found in post-processing. Many photographers chose to push their images to greater and greater extremes vying for the increasingly limited attention of their audiences.
Read more: When is Photography No Longer Photography?
What we have seen unfold in the past 10 years has been extraordinary. Photographs that were once lauded are now largely ignored by the masses in favor of digitally created spectacle. Realistic photographs of natural phenomena, incredible moments in time, or those representing exceptional experiences witnessed by the photographer, suddenly seem mundane.
Change Through Social Media
So how did we get here? In my opinion, this all began with the website 500px, which emerged in 2012. 500px, for those that are unfamiliar, possessed an algorithm they called “Pulse” which measured the popularity of the photograph based on likes, comments, views, and other metrics which then acted as a vehicle by which the photograph would make it onto their “Popular” page or even be selected as “Editor’s Choice.”
The images that were garnering the attention of the algorithm often possessed extraordinary qualities: splashy post-processing, composite elements, and saturated colors, all tied together in a near-perfect fantasy-like style. Photographers who had mastered various techniques in Photoshop such as compositing, warping, and sky-swapping were heavily rewarded with views, likes, and more attention on the platform. Indeed, groups of photographers quickly learned how the algorithm was tailored and banded together in social groups to game the algorithm and maximize the likelihood of making it onto the popular page. This solidified these images as representing the Zeitgeist of landscape photography.
It was obvious for any photographer paying attention that if you wanted to shoot to stardom between 2012 and 2016, your photographs needed to possess this dreamy, fantastical look.
Indeed, images became increasingly perfect by the day, with each group of photographs making it onto the popular page requiring more and more manipulation in the digital darkroom to attract attention. A post-processing arms race began and those photographers that presented nature as they actually experienced it were left behind. Extreme digital manipulation became the norm.
I, too, got swept up in this movement and began compositing images in the hopes they would get noticed. As Facebook, and later Instagram, arrived on the scene, so the trend accelerated. Monster moons, dropped in skies, auroras and Milky Ways, stretched mountains, composites of vastly different focal lengths, painted light rays -everything aimed at creating a perfect final product of nature that never has and never will exist.
On the positive side, these approaches have opened new avenues for artistic expression. It can even be argued that a new photographic genre has been created, valid in its own right. Many of the innovative post-processing techniques that have been developed in pursuing these extremes have become useful to photographers with more understated styles often helping them to present reality in an even more natural way. As a community, we’ve also developed a different understanding of light and color, and the qualities of a scene that transform it into the sublime. Like any disruptive artistic movement, a lot has been gained.
But if there are "losers," then they are those talented photographers who find nature to be sufficient without significant embellishment. Creating work primarily for yourself should be the goal of any artist, but for those working professionally, there is a stark reality that they must court popularity in order to survive -- or even enter the profession in the first place! When the viewer can’t distinguish between experiential scenes and digital fantasies, the latter will always become more popular. It’s a difficult conundrum to solve -- should they try to keep up or just accept their new normal and the potential downsides that come with it?
Why We Post on Social Media
What motivates photographers to post on social media to begin with? In a recent Medium article titled The Psychology of Social Sharing, the authors examined the psychological incentives for sharing content:
- Physiological needs: Sometimes we post to benefit the health or well-being of our friends and family.
- Safety: Physical, mental, and financial security are important for people when they choose to post some material on their social media. This certainly makes sense - photographers operating as business people have a vested interest in maximizing their income.
- Love & belonging: Users generally want to post to feel some kind of social acceptance from a group or a particular individual. I have found this particularly true of photographers who want to be accepted by their peers.
- Esteem: People want to satisfy the rewards-oriented parts of their brains, which helps explain why some people post “me-centric” content regularly.
- Self-actualization: This aspect of social media posting manifests when people share their successes -- selling a print, winning a photography competition, or completing a book, to name a few examples.
By examining these psychological incentives, one can begin to understand why landscape and nature photography has been pushed to such digitally-manipulated extremes: because in order to gain these benefits wholly and consistently, a photographer looking to gain the same benefits from social media is forced to edit their photographs in a way that garners the most attention.
To garner positive feedback, photographs must rise to popularity, which requires the photograph to compete with “best” at any given moment. One way to guarantee this is to make the “photograph” perfect in every possible way for the broadest possible audience. This is why we commonly see focal length blended foregrounds with stretched mountains combined with drone perspectives, all in one “photo.” The more extreme the better!
More directly, the quest for likes or follows on social media heavily influences why people post and why they create the “artwork” they do. The positive attention some users receive for posting inspires more and more social sharing in many users.
The Lure of Popularity
So why do we chase popularity as photographers? It is only natural to want people to like our artwork. The human brain is wired for it and social media is the powderkeg. Social media affects brain functions in unique ways - it contains combinations of stimuli that can trigger different reactions, and because of this, social media has numerous consequential effects on the brain.
Positive attention online has an acute effect on the brain. According to an article in Social Cognitive and Affective Neuroscience, accruing likes on Facebook, Twitter, or Instagram causes “activation in brain circuitry implicated in reward.” When social media users receive positive feedback (likes and comments), their brains fire off dopamine receptors, which are the same neurochemical receptors involved with sexual pleasure, enjoying a good meal, or using cocaine. Additionally, where researchers used MRIs to look at the brains of adolescents using Instagram, “viewing photos with many (compared with few) likes is associated with greater activity in neural regions implicated in reward processing, social cognition, imitation, and attention.” ( Psychological Science)
Social exclusion also plays a role. When we share our photographs online and they don’t receive the same amount of praise as others, we can feel excluded. A study observing brain activity published in Nature Communications found that parts of the brain that deal with emotional and sensory processing had a significant negative reaction to a sense of exclusion on social media.To avoid these experiences, some photographers conform to popular trends in order to avoid the negative emotions associated with exclusion.
None of this should come as a surprise. Social media companies have been clued into human psychology from the outset. Understanding and manipulating online viewers is a key means of business growth. Social media channels have even harnessed the psychology of gambling to increase our screen time through the addictive effects of variable rewards. Essentially, the fact that our photos are not rewarded with likes in a consistent way makes us even more prone to spend time on these sites. Well-established research has shown that rewards for behavior that are varied and random have a much more powerful influence on repeating said behavior. The purest example of this can be found in slot machines in casinos.
What’s Next?
What are we to do if we value both styles of landscape and nature photography (extremely digitally manipulated vs. more natural / representative of reality)? I believe there is room for both styles to exist simultaneously without the constant back and forth beating of the dead horse we constantly find ourselves engaging in.
First of all, we need to make some attempts to identify and separate these two approaches, though this will have to be done sensitively. Photographers preferring the truth-to-nature approach risk coming across as elitist if, for example, they start suggesting that their work is real, unlike those who “fake” their work.
Similarly, many photographers who prefer total freedom to manipulate a scene will be resistant to labeling their work as composites, or admitting that a scene never existed. The best we can hope for at this stage is increased openness from both "sides" and respect for their differing approaches.
Secondly, we need platforms, social circles, groups, and competitions that promote more understated photography for what it is so that this work isn’t totally drowned out by other, more hyper-realistic work. Not only would this help to level the playing field for current photographers, but it would also encourage new photographers to consider both approaches, not just the approach that garners the most attention.
With that in mind I, and three other photographers, have created a competition, the Natural Landscape Photography Awards, which will recognize, reward and promote the more natural eyewitness style. This entire article will now of course come across as an advertisement for our competition; however, this competition is born out of love and passion for this style of photography. It is our hope that the competition will be aspirational to those choosing to work in this way, but also for those new to landscape photography. We also hope to create an outstanding collection of work representing the best the landscape photography community has to offer through our panel of experienced judges. It’s not quite the seismic change that social media brought about, but it’s a small step in the right direction.
The opinions expressed in this article are solely those of the author.
_About the author: Matt Payne is a landscape photographer living in Durango, Colorado, USA. Much of his photography has focused on his life-long goal to climb the one-hundred highest mountains in Colorado which he completed in 2017. Matt is a co-founder of the Nature First Photography Alliance.
Matt hosts a weekly podcast dedicated to landscape photography called F-Stop Collaborate and Listen, where he has meaningful conversations with other landscape photographers all over the world._
#editorial #opinion #fineartlandscapephotography #landscape #landscapephotography #mattpayne #nature #naturephotography #oped
Gorgeous Photos of Socotra, The 'Most Alien-Looking Place on Earth' | PetaPixel
Located east of the Horn of Africa, Socotra was famously described by English anthropologist George Wynn Brereton Huntingford in 1980 as “the most alien-looking place on Earth.” Photographer Daniel Kordan visited the island and captured the otherworldly beauty of the landscapes, from the dragon blood trees to the white sand dunes.
#photography #LandscapePhotography #Africa #Yemen
https://petapixel.com/2021/06/19/gorgeous-photos-of-socotra-the-most-alien-looking-place-on-earth/
A view from Hound Tor, #Dartmoor, #Devon, #England
#travelling #travelphotos #landscapephotography #landscape #photography #myphoto #gplusrefugee
Autumn in England
#Autumn #autumncolors #england #nationaltrust #landscapephotography #landscape #landscapephoto #trees #treephotography