Articles written by Darren J. Spoonley

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.

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.

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.

Composition is one of the most talked-about aspects of landscape photography. You hear it everywhere: follow the rule of thirds, use leading lines, balance your frame. These principles are undeniably useful, but the problem is that they are often treated as absolutes rather than guidelines. The notion that there is a single "perfect" composition is one of the most pervasive myths in landscape photography, and today, we will break it down.

I’ve been watching YouTube for well over two decades now, and along the way, there are a few creators who’ve genuinely stood out—not just because of their content, but because of the consistency, the heart, and the effort they put into every upload. One of those creators is Luke from Outdoor Boys. If you’re reading this and you’re among the nearly 15 million people who’ve subscribed to his channel, then you already know the kind of energy and passion he brought to every single video.

Landscape photography often carries a widespread myth—the belief that bad light equals bad photos. Many photographers, especially those starting out, follow the conventional wisdom that only certain times of day, particularly golden hour, produce the best images. This belief has been perpetuated by social media, tutorials, and even some photography experts. But here’s the truth: the myth of “bad light” is limiting, and it’s holding you back from expanding your creative potential.

I’ve spent some time testing the Reolink Go PT Ultra to see if it’s a viable option for use as a remote wildlife camera, particularly in woodland areas. With 4K video, pan/tilt control, and 4G connectivity, it looked promising on paper. In practice, the footage quality is superb, but the battery performance in real-world conditions—especially shaded woodland—is a significant limiting factor.

In landscape photography, inspiration can come from many sources. Over the years, I’ve found that studying the work of other photographers—whether through social media, books, or in-person interactions—has been invaluable in refining my own style. But rather than passively consuming images, I approach them critically, dissecting what makes an image stand out and how I can apply similar principles in my own way.

Seascape photography isn’t just about showing up at the right location with good light—it’s about knowing exactly when to press the shutter. Capturing the ocean in a way that feels dynamic and intentional isn’t just about where you stand—it’s about when you click the shutter and how long you leave it open.