03 Shoot a storm
February is the perfect month to try storm-chasing. Some of the best light for photography occurs between heavy downpours, when the dark clouds part and golden light briefly floods the landscape.
Pro landscape photographer Adam Burton witnessed such a scene on a recent trip to the Isle of Skye. “Any kind of photo locations can work well in storm light, but I often find that wild and rugged locations look particularly dramatic in such weather conditions,” he says.
“After waiting for about 30 minutes for the sun to appear, I was eventually rewarded with five minutes of probably the best light I have ever witnessed, anywhere.”
Obviously wet and stormy conditions aren’t particularly kind to the delicate innards of digital cameras, so how does Adam protect his precious Nikon DSLRs?
“Whenever you head out in search of storm light, you have to be prepared to get a soaking! When heavy rain suddenly appears I quickly pack my gear up in my backpack, and then slip a rain cover over the bag to keep everything dry.
“If it looks like a passing shower, then I may just place a plastic bag over the camera and tripod, which means I can quickly remove it and continue shooting if the rain stops.
“I also carry a disposable shower cap, which can be a great way to keep your filters or the front element of your lens clear from rain spots, while still allowing you to compose shots.”
Get started today…
* Head out to the type of locations that are particularly suited to stormy conditions, such as rocky stretches of coast, moorland areas or mountains.
* Be prepared to revisit a location if the light doesn’t work out.
* Use a tripod that you can leave in position should you need to head for cover.
* Shoot in raw, so that you can fine-tune the warmth of a scene using white balance adjustments later.
PAGE 1: Shoot abstracts using colourful ink
PAGE 2: Shoot a winter infrared
PAGE 3: Shoot a storm
PAGE 4: Shoot in dreary weather
PAGE 5: Shoot snowdrops
PAGE 6: Shoot all four seasons
PAGE 7: Shoot a photo A-Z
PAGE 8: Shoot winter monochrome
PAGE 9: Shoot portraits without faces