Landscape Photography Podcast / Youtube Interview

Listen to this and other episodes wherever you find your podcasts or on https://grantswinbournephotography.co... Or subscribe to his YouTube channel    / @grantswinbournephotography  

Alfonso Calero grew up in Manila with National Geographic on the coffee table and his father's camera in his hands. After moving to Australia at 15 and spending a year travelling Europe, he eventually turned a lifelong passion into a professional photography career at 30. The path there wound through hotel porter work and tour guiding across multiple languages, and it's that background in connecting with people and places that shapes everything he does.

Sado Island, Japan

His photo walks grew from a single Sydney outing into a national business now operating across six Australian cities and internationally in destinations including Tasmania, the Philippines, Japan, Spain and the Faroe Islands. In this episode Alfonso talks about using the camera to build empathy with local communities, the importance of returning to a location repeatedly to truly understand it, and the logistics of running photography experiences that work for complete beginners and experienced shooters alike. I hope you enjoy the show!

Port Stephens, NSW

Little People Smartphone Photography Project

Environmental Macro Shots (Outdoor)

For many years I have been collecting little figurines usually used for train sets. Below is a video which gives you an overview of the different types of miniature photography. There are five different types of macro photography and a digital camera or smartphone can be used for any. In this article I only focus on using a smartphone (Google Pixel 9 Pro) in portrait mode. The challenge is to find the narrative in context to the environment or objects used.

5 Types of Miniature Photography

1. Environmental Macro Shots (Outdoor)

2. Outdoor scene with household items (Indoor)

3. Neutral Background Macro Shots (Indoor)

4. Minimal Macro Shots (indoor/outdoor)

5. Complex background scene (indoor)

Below is a short video of world famous artist Tatsuya Tanaka and how his set up has evolved over the years to produce calendars and books.

Environmental Macro Shots (Outdoor)

Environmental Macro Shots (Outdoor)

Neutral Background Macro Shots (Indoor)

Neutral Background Macro Shots (Indoor)

Neutral Background Macro Shots (Indoor)

Environmental Macro Shots (Outdoor)

Environmental Macro Shots (Outdoor)

How to Play With Fire (Safely)

Often wondered how these rings of fire are done? They look spectacular but are they safe to make? Below are some tips on how to avoid accidental fires. Combined with a beautiful landscape at dusk or dawn you can capture similar images. All you need to do is look for the perfect location.  

What You Need

You won’t require a lot of expensive gear to photograph this spectacular light show.  Everything you require is pretty much in or around your home. You will need a metal whisk, steel wool (zero grade), a dog leash or similar (preferably about one meter long) and a 9-volt battery or gas lighter.

Camera Gear

Grab your DSLR camera and preferably a fast wide angle lens (somewhere between 16 and 24mm works well).  To keep your shots steady, use a sturdy tripod and a remote shutter release.  Since you  might be photographing at night or dawn you'll need a torch. A head lamp is ideal as it keeps your hands free to operate the camera.

Location, Location, Location

A beach is a good location for this kind of shoot as it's normally quite easy to find a place on the sand or rocks that's well away from anything flammable.

Safety

Before you do anything, talk to your local council and fire brigade and let them know what you are doing, when and where. They may be able to offer guidance on the best time and place to shoot and additional safety precautions. Safety is paramount. Wear protective clothing and find a location that's well away from other people, animals and potential fire hazards (eg. shrubs, trees, grass, leaves, etc...). Do not shoot in windy conditions and do not shoot if there are local fire warnings in place.

Camera Settings

Set your camera to manual mode and take a few shots to establish how bright any ambient light in the sky might be. Typically I set my camera to an ISO of 100 or 200, with an aperture of f/8 to f/11, and a shutter speed between 20 and 30 seconds. In the menu settings on your camera there should be an option to turn noise reduction (NR) off.  If NR is on it chews up lots of battery and takes double the time to review your photos. You're much better off shooting in raw mode and applying noise reduction in post-production. Shooting raw will also help you capture more detail and give you more flexibility to adjust variables such as white balance, exposure and contrast later on.

Start Shooting

Place the steel wool inside the metal whisk and gently spread it out. (By pulling the steel wool apart you maximize airflow and ensure a longer lasting effect.) Attach the whisk securely onto the long dog leash and hand it over to your trusty assistant. Remember, the person spinning the whisk must be wearing protective clothing. Dark colors are ideal as they will conceal the person spinning the whisk. Make sure that your subject is standing in a clear space and when you're ready have them light the steel wool, with the lighter or the 9-volt battery (rub the battery's contact points on the steel wool). Experiment with different spinning the whisk speeds, patterns and camera settings to get the effect you're looking for. In no time you will be capturing amazing light shows of your own.

Do you have any other suggestions? Do you have any similar photos you wish to share? Do you have any stories to tell about your experience doing a ring of fire?

5 Steps To Forest Photography

5 Steps To Forest Photography

Foggy Forest Blue Mts

Finding order in the chaos of a forest has always been a struggle but finally I have honed in on some simple steps to get me closer to finding the best shot. Without sounding too prescriptive, the method to my madness needs to be fluid and open to change. Sometimes adding constraints within a loose parameter, you can create something visually satisfying.

Forest Bathing 1

1. Lighting Conditions

Overcast days, fog and rain are my best friends in the forest. Walking to the edge of a forest where the light is coming from will help target a cluster of trees or a single beauty. An image will be more impactful if you avoid including the sky especially when blown out highlights appear. The viewers eyes are usually attracted to bright or white areas. When they appear on the edge of the frame and detract us from the dominant areas then our focal point can be lost in the sauce.

Forest Bathing 2

2. Composition

Repetition: Lines straight or curved are always a stand out in forest photography. Juxtaposition of those lines as a focal point are a key element to adding depth throughout the image. Always look behind the main subject and check if there are any conflicting lines.

Texture: the rough tactile nature of the forest shines brightly in its tree trunks most often. The smooth leaves and fog can also add a welcoming contrast to the weight of the image.

Contrast: The transitions in the light and dark and warm and cool temperatures can add mystery and drama to the image.

Forest Bathing 3

3. Gear

Tripod: Sturdy, Tall and Lightweight

Lens: 35-50 MM (F1.2)

Wet Weather: Golf Umbrella, Small Towel, Raincoat, Mr. Bushman (Leech Bite) or Salt, Spiked Water Proof Boots.

Forest Bathing 4

4. Camera Settings

ISO: 50 / Aperture: F11 / Shutter Speed: 3.2 seconds / Self TImer: 2 Secs / Auto White Balance

File Type: RAW / Focus Points: 3 areas ( Foreground, Mid-ground and Background)

Auto Exposure Bracketing: +/- 1 stop

Enable Touch Screen Focus & Shutter (Live View)

Forest Bathing 5

5. Editing

Software: Photoshop & Lightroom

H.D.R. Blend of best bracketed exposures in Lightroom

Focus Stack: Greater Depth of Field focus in Photoshop

Masking: Adobe Lightroom Brush Tool

Colour Grading: Split Toning

Forest Bathing 6

In this series of images I call “Forest Bathing” also known in Japanese as “Shinrin Yoku” I have found some peace and tranquility when spending time in the forest. Despite the occasional leech bite, the rewards far out weigh the scars.

All images for sale here: https://www.alfonso.com.au/art-shop

Wish to join me in 2026/2027 in Japan (Nov) NZ (Sept) NSW (July/Aug)

More info here: https://www.alfonso.com.au/photo-tours

Alfonso’s Photo Tours

Why are Japan's autumn colours different to other countries?

Japan is often cited as having some of the most vivid and diverse autumn colors (known as koyo) in the world. While North America is famous for its vast forests of red and gold, and Europe is known for its rolling yellow landscapes, Japan’s foliage is unique due to a combination of botany, climate, and geography.

Tohoku Region, Japana

1. Massive Species Diversity

Japan has an incredible variety of deciduous trees compared to other regions like Europe.  

**The "Momiji" (Japanese Maple): Japan is home to over 25 species of maple trees. The Japanese Maple (Acer palmatum) is genetically predisposed to turn a deep, brilliant crimson that is often more intense than the reds found in other parts of the world.  Mixed Forests: About 70% of Japan is mountainous and forested. These forests are a mix of broad-leaved deciduous trees (reds and yellows) and evergreens, which provides a high-contrast backdrop that makes the colors "pop" more than a monochrome forest.  

Kawaguchiko, Mt. Fuji

2. The "Perfect" Autumn Climate

The vibrancy of a leaf's color is determined by the synthesis of anthocyanins (red pigments). Japan’s climate is perfectly tuned for this. Sharp Temperature Spikes: For the best reds, you need warm, sunny days followed by crisp, cold nights (around 5°C to 7°C). Japan’s mountainous geography creates these dramatic daily temperature swings.

High Humidity and Rainfall: Japan’s rainy summers ensure trees are healthy and hydrated. If a region is too dry, leaves often turn brown and fall off early; in Japan, they stay on the branch longer, allowing the colors to fully saturate.

Goshiki-Numa Ponds, Fukushima

3. Geographical "Stretching"

Japan is a long, narrow archipelago stretching from North to South. This creates a "front" of autumn colors that moves slowly down the country over about 90 days.  Because of the varying altitudes and latitudes, you can find peak foliage somewhere in Japan from late September (in Hokkaido) all the way until early December (in Tokyo/Kyoto).  

Goshiki-Numa, Fukushima

4. Cultural Preservation and Curation

In Japan, autumn color is not just a biological event; it is a curated experience.  

Temple Landscapes: For centuries, monks and gardeners have strategically planted trees around temples and shrines to frame specific views. The juxtaposition of a neon-red maple against a dark wooden temple or a mossy green garden creates a visual intensity that you don't typically find in wild, unmanaged forests.  

Arashiyama, Kyoto

How To Shoot Delicious Food Photos (Smartphone Photography)

Whether you're photographing a restaurant dish or a delicious home-cooked meal, there are some simple tricks of the trade you can use to produce professional looking images, says Alfonso Calero. 

01 LIGHTING

While professional food photography is often done in studios with elaborate lighting set-ups, you can get some amazing results using diffuse natural daylight. Avoid direct sunlight and use a reflector to bounce light into the shadow areas of your dish. Pay close attention to detail especially in the shadow areas and be careful not to blow out your highlights – especially in the food itself. A simple piece of white paper can make for an inconspicuous reflector in a restaurant environment. If you have to shoot at night, try to avoid using on-camera flash if at all possible. A pocket-sized tripod can be used to keep the mobile camera stable.

02 WHICH LENS?

Most new mobile phone cameras have 2-3 lenses that are marked as 0.5 / 1x / 2x magnification. I would suggest you avoid the 0.5 unless you are after a slightly distorted and wide angle view. 1 or 2x magnification mimics closely a typically used 50mm lens. Avoid pinching and zooming past your longest lens as it will be a digital not optical zoom. Your image quality will be lessened greatly.

03 COMPOSITION

The expression 'keep it simple' is worth keeping in mind when it comes to composition. Try to avoid putting anything in the frame that distracts from the main subject. Move the camera angle up and down to find the perspective that makes the food look the most delicious. A top-down view can look great but a 45-degree angle tends to add a more dynamic feel. 

04 DEPTH OF FIELD

Using a wide aperture to produce a narrow depth of field can be a useful way to minimise background clutter and put the emphasis on the food. Be careful though to make sure that there is plenty of detail in the areas that matter. The portrait filter on your mobile camera throws on a shallow depth of field filter. I would suggest you use snapseed’s (editing tool) to have much more control of lens blur. Sometimes it will be good to blur the background to atrract the viewers eyes more to the main subject.

05 BACKGROUNDS

Clean white plates on clean white backgrounds have been popular in food photography for a while. It's a style I like, as you can see from the images that accompany this story, but it's not the only option. If you are going to include a background with some more detail try to include elements that expand on the story of the food. Developing your own signature style over time or curating backgrounds and props to suit the food more appropriately will help enhance the food experience. I would keep it simple have 3 foregrounds, 3 different types of plates and 3 backgrounds that way you chop and change to match the feel and colours and textures. of the food.

06 FOOD STYLING

This is a complete subject in its own right and the people who are good at it have been doing it for years. If you are arranging the food yourself make sure everything on the plate looks fresh and delicious. A chef mate once told me that placing all the food elements on a plate should not take more than five movements. The less you move the elements around, the more naturally they will fall into place. Try to include a mix of shapes, sizes, colours and textures on the plate.

07 EDITING

Once you have photographed your best images we will then open them up in a free app called snapseed. The most common tools to be used will be Tune Image, White Balance, Brush, Tonal Contrast and Lens Blur. The best approach to editing is to take a more local not global approach. Much like great food, marinating your images will also give you perspective over time.

Other Great Reference ideas to improve on food photography:

https://www.pinterest.com.au/phototours/food-art/

https://mylucie.com/2019/11/29/behind-the-scenes-with-useyournoodles/

Mastering Visual Communication in Photography

Tasman Glacier View, Mt. Cook Aoraki National Park, NZ

Image design is the "language" of photography. Think of the elements as your vocabulary (the building blocks) and the principles as your grammar (how you organise them). Even with the best gear, mastering these is what turns a standard photo into art.

Milford Souind, New Zealand

The Elements (The Components)

These are the physical objects and qualities you arrange within your frame:

Wanaka Tree, New Zealand

• Line: Marks that connect two points. They define shapes, create moods (called "character lines"), and lead the viewer’s eye.

  • Horizontal: Calm and restful.

  • Vertical: Strong; suggests height and stability.

  • Diagonal: Dynamic; suggests movement or tension.

  • Curvy/Jagged: Can express emotions like grace or anger.

Mt Cook Aoraki National Park, New Zealand

Shape: 2D areas created by lines or colour blocks.

Lenticular Cloud, Mt Cook Aoraki National Park, New Zealand

Form: 3D depth (real or implied).

Mt. Cook N.P.

Space: The area around or between subjects.

Grasses Mt Cook Aoraki National Park, New Zealand

Texture: The surface quality (rough, smooth, etc.).

Lake Tekapo, New Zealad

Tone: The range of light and dark (contrast)

Mt Cook Aoraki National Park, New Zealand

The Principles (The Structure)

These are the rules used to organise the elements. How you apply them determines the message and emotional impact of your work

Clay Cliffs, New Zealand

Balance

Balance is the distribution of "visual weight" (lines, shapes, and forms) to create equilibrium.

• Symmetrical: Identical forms on both sides of a central axis.

• Asymmetrical: Different objects arranged so their varying visual weights still feel balanced.

Repetition & Rhythm

These create a visual "beat" for the eyes to follow.

• Repetition: Using the same elements (shapes, colours, lines) multiple times.

• Rhythm: Organizing those repeated elements into a specific pattern or order.

Milford Sound, New Zealand

Dominance (Focal Point)

This makes one part of the image more important than the rest using size, colour, or position.

• Focus: It creates a center of interest where the eye naturally returns.

• The Rule of Three: Limit yourself to three (or fewer) dominant points to avoid confusing the viewer.

Contrast

Contrast is the "Yin & Yang" of design—using opposites to create interest.

• Examples: Light vs. dark, large vs. small, or rough vs. smooth.

• Proportion: The scale relationship between different elements helps establish this variety.

Mt Cook Aoraki National Park, New Zealand

Unity (Harmony)

Unity is the "glue" that pulls all elements together into a single, cohesive message or theme.

• Consistency: Each part must relate to the whole.

• Result: When nothing distracts from the overall purpose of the image, you have achieved harmony.

Clay Cliffs, NZ

Milford Sound

My Favourite Travel Caamera Bag

Marian Falls, Fjordland, New Zealand

My Favourite Travel Tripod

Twizel, New Zealand

The Secret Rhythm of Great Photos

Discover the 5 parallels between music and photography.

Tea District, Kanazawa

1. Rhythm: Visual Patterns and Musical Beats

The repetition of shapes and lines mirrors Rhythm and Pattern in audio.

​When you repeat an element in a photo, you are essentially creating a visual "beat.

Mt Fuji Forest Fog

2. Harmony: Color Balance and Chord Progressions

Musical harmony creates a unified sound. In photography, we achieve this through complimentary colors that blend well together.

3. Contrast & Tone: Light/Dark and Loud/Soft

Contrast is the engine of drama. In music, this is "dynamics". In photography, it is "chiaroscuro"—the stark transition between deep shadows and bright highlights like a dark or bright note on a piano.

Arashiyama, Kyoto

4. Repetition and Variation: Motifs and Themes

This involves taking a single element and repeating it with slight changes to keep the viewer or listener engaged.

Arashiyama, Kyoto

5.Texture in a singer’s voice could be a rough growl or smooth as silk. Texture in photography is the tactile nature of the subject or object. Just like the wet morning drops on a leaf or the rough and rusty metal on an old tin roof.

Treasure Hunt Color in Photography

Why not treasure hunt particular clusters of color ? The psychology of color in photography is all about how different hues trigger specific emotional responses and guide a viewer's eye through an image. Photographers use colour not just for realism, but as a tool to tell a story or set a specific mood. Below is a list of the positive effects that colours can have with certain emotions. I have also added some inspirational quotes for each colour.

"The Decisive Moment"

— Henri Cartier-Bresson

RED

• Energy • Warmth • Strength • Impulse • Dynamism.

• Activity. • Courage. • Excitement. • Love • Passion

• Dominance • Happiness

"When you laugh & cry with their laughter & tears, you will know you are on the right

track"

— Arthur Fellig

Yellow

• Cheer. • Hope. • Vitality. • Expansion. • Optimism.

• Philosophy. • Luminosity. • Enlightenment. • Communication

"One should really use the camera as though you'd be stricken blind"

— Dorothea Lange

ORANGE

• Energy. • Cheer • Activity

• Excitement. • Warmth. •Friendliness

"It's weird that photographers spend years or even a whole lifetime trying to capture

moments that added together don't even amount to a couple of hours"

— James Keivom

BROWN

• Nature. • Durability. • Reliability

• Realism. • Warmth. • Comfort. • Cozy

"The camera can photograph thought"

— Dirk Bogarde

BLACK

• Power. • Sophistication. • Sexuality

• The Unknown • The End of a Cycle

"Photography is an art of observation, I've found it has little to do with the things you see

and everything to do with the way you see them"

— Elliott Erwitt

GREY

• Neutrality. • Intelligence. • Futurism • Modesty • Technology • Secure

• Liberalism. • Tranquility • Cold. • Retirement. • Indifference

"Photography is an illusion of reality with which we create our private world"

— Arnold Newman

WHITE

• Purity. • Cleanliness. • Truth. • Innocence. • Chastity

• Spirituality. • Sophistication. • Refinement. • Newness

• Blandness. • Sterility

"I need to be an objective observer to maintain my sense of composition"

— Werner Bischof

GREEN

• Nature. • Growth. • Fruitfulness. • Renewal. • Freshness • Tranquility.

• Hope. • Youth. • Health. • Peace. • Good Luck • Coolness

"I wish more people felt that photography was an adventure the same as life itself and felt

that their individual feelings were worth expressing"

— Henry Gallahan

BLUE

• Spirituality • Trust. • Truth • Cleanliness • Tranquility

• Contentment • Passivity • Understanding • Conservatism. • Security

• Technology • Masculinity • Coolness & Cold. • Melancholy

"Photography is the art of subtraction. Subtracting any elements you don't want, less is

more."

— Alfonso Calero

PURPLE

• Spirituality • Mysticism • Magic. • Faith. • Unconscious

• Dignity. • Mystery. • Creativity. • Awareness. • Inspiration

• Passion • Imagination. • Sensitivity. • Aristocracy & Royalty

Japanese Perspective: Pink cherry blossoms are the beauty of impermanence & a fleeting moment

IN SUMMARY

Warm colors (red, orange, yellow) are stimulating and advance toward the viewer, evoking emotions like passion and joy. Cool colors (blue, green, purple) create a calming effect, receding into the background to provide depth.

5 Reasons To Shoot B&W Seascapes

Black and white seascape photography strips away the distraction of color, forcing both the photographer and the viewer to engage with the raw, elemental nature of the ocean.

Here are five reasons why this medium is so compelling:

Birrubi Beach, Port Stepens

1. Emphasis on Texture and Contrast

Without color to differentiate elements, the "feel" of the image takes center stage. You can emphasize the jagged, tactile surface of wet rocks against the soft, ethereal spray of crashing waves. The interplay between deep shadows and bright foam creates a l la range that feels more dramatic and powerful than a color equivalent.

2. Timelessness and Abstraction

Color often anchors a photo to a specific time of day or season (like the orange of a sunset). Black and white removes those chronological markers, lending the seascape a timeless, fine-art quality. It allows the viewer to focus on the ocean as a primal force rather than just a specific afternoon at a specific beach.

3. Masterful Use of Long Exposure

Seascapes are the perfect playground for long-exposure techniques. Converting these shots to monochrome highlights the tonal gradients created by moving water.

Mist-like water: Long exposures turn chaotic waves into a silky, fog-like texture.

Leading lines: Without color, the structural lines of a pier or a receding tide become much more prominent, guiding the eye through the composition.

4. Highlighting Form and Geometry

In monochrome, the composition relies heavily on shape and silhouette. The curve of a shoreline or the vertical starkness of an ocean pool becomes a structural element in a larger geometric puzzle. 

5. Evoking Mood and Atmosphere

Black and white excels at capturing the "soul" of the weather.

Melancholy: A grey, overcast day becomes a moody, contemplative study of solitude.

Power: A storm becomes a high-contrast battle between dark skies and white crests. It simplifies the emotional palette, allowing you to tell a clearer, more evocative story of the sea’s temperament