Articles from Darren J. Spoonley

A photography workflow is simply a repeatable way of working. It covers how you prepare, how you shoot, and how you deal with your images afterward. In landscape photography, where light, weather, and access are often limited, having a workflow removes uncertainty and prevents small mistakes from becoming lost opportunities.

There is a habit many of us landscape photographers develop without realizing it. We drive past locations we know well, places we have seen dozens of times, and we tell ourselves we will stop another day. The light is not right. The weather is poor. We are on our way somewhere else. Over time, these familiar places become invisible. They are no longer considered options, only background. This is a mistake, and one that limits growth more than most of us care to admit.

Some ideas take years to resolve in photography—not because the location changes, but because your ability to translate what you see into an image takes time, experience, and sometimes the right tool.

It seems drones are all over the news recently—either new iterations of existing models promising to change your life, new entries to the market aiming to shake up the game, or even recent headlines suggesting that drones are “evil” and need to be banned. But what happens when a new kid on the block enters the race and suddenly makes a bit of sense?

It seems that there are new iterations of cameras released almost every second week—some new, and some with slight tweaks—but what happens when a camera system itself is unique? How can this be updated and improved from what is already quite niche? Let’s take a look.

Photography is often spoken about as if it were a competition, measured by likes, awards, or comparisons with others. Yet at its core, photography is a deeply personal practice. The way we see, decide, and capture moments is unique to each of us, shaped by our experiences, timing, and attention. Understanding this distinction is essential to sustaining a meaningful and fulfilling relationship with the creativity that photography allows.

There’s a lot of talk about the Hasselblad XPan, usually centered around the price and the mystique behind that panoramic format. The camera has earned its reputation, and the images it produces have a distinct character. But when you look closely at what makes XPan photographs stand out, it becomes clear that the look is not locked behind a rare film camera. The biggest element of the XPan aesthetic is the aspect ratio. However, it is something that any digital camera can replicate with careful planning in the field and some straightforward work in post. I set myself an experiment.

When it comes to filmmaking, being able to see what you are shooting clearly and accurately is important and will affect the output greatly. Trying to judge your work on a small screen on the back of the camera is not conducive to high-quality results. This is why additional monitors are a key component for many filmmakers. Controlling the action from these screens has not always been possible on all camera models.

Seven years ago, I made a decision that has shaped the way I photograph wildlife ever since I bought the Sigma 150-600mm lens. It was for one specific purpose: to finally get closer to the action during the annual red deer rut in Ireland. Does it still stack up?

If you have been a photographer for any period of time, then perhaps, like me, you have a hard drive or hard drives full of images that you’ve taken over the years. But I ask you, how often do they see the light of day? Can reviewing them help you improve your photography?

Some people might totally disagree with me on this one. Many photographers will say that upgrading your equipment, traveling farther, or chasing the perfect light is what pushes your work forward. I don’t believe that anymore. The biggest improvement in my photography didn’t come from buying new gear or visiting remote locations — it came from a simple habit: regularly returning to a familiar place to practice.

Every year when autumn arrives and the woodlands start to transform, I find myself turning my attention away from the sweeping landscapes and down to the forest floor. The change feels fitting — literally and figuratively — because photographing fungi is all about paying attention to the smallest details. It’s a slower, more deliberate process, where every small adjustment matters.

Understanding the histogram is essential for any landscape photographer who wants to master exposure and achieve their creative vision. The histogram provides a visual representation of the tonal range in your image, allowing you to make informed decisions in-camera and during post-processing.

For several years, I have been more and more conscious about what I eat and drink. Gone are the days when I could survive on many cans of fizzy drink, chocolate, and snacks to fuel my photography adventures. I simply can't put my body through it anymore, plus it was having a detrimental effect on my ability to stay sharp and focus on my tasks. Instead, I switched to having water as often as I can during each day, and despite the temptations of the colorful refrigerators in gas stations, I have managed so far to avoid the temptations. Has there been a change? Yes, I can keep going for longer, I don’t feel as bloated, and I have saved money in the long term. But I’ve often wondered if I could do even better.

After my previous experience with Reolink’s Go PT Ultra, which I reviewed here, I was curious to see how the company’s new Camovue Talon Pro would stack up in more realistic wildlife conditions. This time, it promised to be more purpose-built for the outdoors, with proper security features, solar charging, and app-based animal detection. Here’s what I found after three weeks of field testing in the Irish countryside.

The WANDRD PRVKE V4 has exploded on Kickstarter, hitting its funding goal in under 30 minutes and continuing to climb past expectations. With nearly half a million already pledged, it’s clear this isn’t just another camera bag launch. WANDRD’s latest update to their flagship bag has struck a chord with photographers, filmmakers, and everyday creatives alike. But what exactly makes the PRVKE V4 so appealing, and is it really worth the hype?

Landscape photography is often misled by a pervasive myth: that "perfect conditions" are a must for capturing great images. This belief has caused many photographers to wait for ideal weather or chase forecasts for the best light, missing out on incredible opportunities in the process. However, experienced photographers know that the best images can be captured under any conditions, and waiting for perfection can hold back both creativity and growth.

As landscape photographers, we have all been there—tried to get a shot on many occasions and failed for one reason or another. The most frequent reason is that the weather didn't play by the rules we had in mind; however, sometimes it does, and when it does, it makes it all worthwhile. This is my story about persistence and sticking to my guns to get the dream shot.

New camera iterations often offer incremental upgrades that don't always align with specific needs. Yet, some cameras break the mold, igniting a genuine sense of intrigue and the undeniable pull of Gear Acquisition Syndrome (G.A.S.). Enter the Sigma BF. This isn't just another camera; its promise of being uniquely good, undeniably quirky, and refreshingly different made it an instant standout.

Filters are tools that improve landscape photography by controlling light and enhancing details. They help balance exposure, reduce glare, and boost colors in ways cameras alone can’t. This video and article explain how to use graduated neutral density (ND) filters, polarizers, and UV filters effectively, with practical examples to show their impact.