Beacon Camera Club

I like this one better,perhaps take off some of the left hand side and bring out the highlights in the cloud, it looks a bit grey

Dark brooding image.
Foreground is completely black and everything else is shades of grey.
Telegraph wires and posts add some interest but don't lead to anything in particular, my eye drifts off and out to the right.
Some detail in the foreground might be beneficial.
Not sure what else was available without the cropping, perhaps lose some of the left side??
Keep them coming.

Well now... in my ever-so-humble opinion, there are two classes of photograph: Entertainment and documentary. If a picture fits the first description, one is enticed to linger and look deeper; it has interest of some form: humour maybe, and if the content/theme appeals to someone, it works for them. If the image has all of these things it will stand alone as a piece of art. The second type has more of a 'applied' purpose, where it might be part of a wider body of work, the whole of which is set up to provide a broad description of the subject matter, such as newspaper pictures, books, social commentary, etc..

Why do I say all this? Because I don't see this picture slipping into either slot, I'm afraid. I see no story in it; there is nothing of the photographer to be divined; there is no wider context to explain what is meant by it. Essentially is is a dark picture with a non-vertical electricity pole and wires. What is it trying to tell me? If I have to search my mind for some tenuous explanation, the picture has failed I fear. Now, if there was a flash of lightning hitting the mound in the mid-ground, that would be a bit different - the power of nature juxtaposed with the power of man, and so on.

Perhaps you can explain the reason for taking that image, Dylan?

Lots of question there, my thoughts are you need the light regardless of subject and you need to able to manipulate it to the image, could be strong and contrasty or soft diffused, in these type of shots you have to make the most of what nature throws at you and use compositional skills your camera and software to the best of your ability.

Next time you see a shot like this, tie the dog to a post and take a minute for yourself and ask what is it that I like about what I’m seeing, check composition, check what is happening with the light, check your camera settings take the picture.

On a more technical side stop taking 80% of pictures if they go in the bin. Better to spend time on getting a few good shots and working with them

dylane wrote:....At the moment I'm taking lots of photographs and almost hope I get a good image I can play with in Lightroom to improve it at home.
Have you got any advice for a beginner like myself on the soft skills of photography almost, rather than the technical skills? E.g. What's your aim when you go out with your camera? ....

'Hope' is OK, occasionally, especially where the subject matter is important/attractive and transient and you don't have much control over it. Ohterwise, it is not (or perhaps should not be) part of your arsenal as a landscape photographer. In my mind, the best landscape photographs are the result of planning, timing and patience. So, if I'm out in the landscape, these will have been my considerations (although these are hugely idiosyncratic and there are always exceptions!)....

1. Planning. Pick your spot carefully. Consult maps, tourist guides etc. and use a Photographer's Ephemeris app (Photopils = £10 is one such) and/or Google Earth (= free) in 3D mode - these give accurate information about sunrise/sunset angles and where on the landscape is best to be with your camera for this (Google allows you to move a time-slider and shows shadows on hills, etc - amazing stuff). Being one end of a beach will give different images to the other end - one will be better than the other, so these tools are paramount. Which day in the year you are on will matter also, in extreme cases. Be dressed according to the weather. Have anti-midge spray in your kit bag! Hip-flasks are a boon... ;->
2. Weather. Watch the forecast and act accordingly. HIgh pressure - I don't want clear blue skies. If the sky is blue, I want some covering of cloud. If 100% cloud cover, I want some motion and modelling in it. Overall rain is a no-no as this generally limits the depth of visibility but can be useful if distant and patchy. If I'm at the sea, I want the weather forecast to show low pressure with isobars like a venetian blind to give me a howling gale and big breaking waves - gentle trickles don't do it for me. Mist is good in moderation (usually in high pressure and cooler weather), but you still need to see the extent of what's in front of you - it's no good working in 20 yard visibility. Mist is good in forests, though again you do need sunbeams and a sensible amount of distance visibility.
3. Timing. It is said that landscapers do best in the golden hours - 30mins before and after sunrise/sunset. There's truth in this but I favour extending the hour backwards before sunset or onwards after sunset. Our digital cameras can accumulate photons in very dim light and most people will never have seen a landscape picture with a 5-10 minute exposure - they have a bewitching look and you won't believe the colours that you will capture! Early/late in the day is best, shadows are long and give marvellous depth information. I cannot say that I have EVER taken a good landscape picture at mid-day in the UK.
4. Patience. Sitting on your arse on a cold, sharp rock or a damp bit of grass for a couple of hours whilst waiting for that magical light is a skill in itself. Planning will lessen your discomfort! It's most important in my view to do your homework and work out where you need to be, then stick with it. Don't butterfly around a hill or a beach: you can guarantee that you won't be in the right place when the light hits the sweet spot that you've predicted! The sun comes up and goes down at an unexpected superfast rate when it's appearing or disappearing.
5. Attitude. Even if you're in a static spot for an hour, take plenty of shots with varying settings, especially regarding field of view (= range of focal lengths). Storage is cheap these days. Who cares if you throw 80% away (sorry Brian!). There may be some subtle nuance in a shot that you hadn't expected. Throw them away when you get home rather than not press the button when you are there.
6. Expectation. I am ecstatic if ONCE PER MONTH I can get ONE image that pleases me greatly. Keep your standards high and the output will get better and better. Keep asking opinions but always remember that (as you are a hobbyist) what YOU like matters most.
7. Hope? If you've done your planning, the only things you need to hope for is the lack of a downpour and for the light to be what you need! Otherwise, it doesn't belong in your kit bag.

That will have either confused or encouraged you - the latter I hope!