Since embarking on a full time career in photography in 1997 Clive Minnitt has established a reputation as one of the UK's leading landscape photographers.
He has completed commissions for a diverse range of clients including Sun Life Assurance, and the Bristol Cancer Help Centre. Both Fuji and Panasonic have used his images to advertise their own products and his work has been widely exhibited at a number of galleries including Christies and the Mall Galleries in London, and Cardiff's St. David's Hall.
He’s also well known for his wonderful travel images from around the globe, having travelled extensively under his own steam, while leading more than 60 photographic tours for Light & Land to locations including Cuba, Santorini, Slovenia, Sark, Venice, Maine & Vermont in the USA and soon, a new trip to Bhutan.
Many magazines and books have featured Clive's work including a 5-year column in Outdoor Photography magazine, called On Location.
Clive was also one of the first professional photographers to make the switch from full frame DSLR to CSC – in this case to the Panasonic Lumix CSC system. We asked Clive what led him to this decision and if it has worked out.
One of Clive’s specialist subjects is capturing the autumn colour - home and abroad - so as the UK starts to see the first glimpse of the trees turning colour, we thought it was the perfect time to catch up with Clive for his tips of capturing the best of the Autumn colour and take a look at some of his wonderful images.
1. Buttermere, Lake District,
CumbriaPanasonic Lumix DMC-G3, Panasonic
45-200mm lens, ISO 160, 1/10 sec at f11Look for autumn colours reflected in water.
When planning your adventure check the
weather forecast to enable you to coincide
your visit with as little wind as possible.
2. Buckholt Wood near Cranham, GloucestershirePanasonic Lumix DMC-LX5 compact, ISO 80,
1 sec at f6.3Fallen leaves make excellent subjects to photograph. Take care to check that your background adds to rather than detracts from
the image.
3. Bailey Pond near Marshfield, Vermont, USAPanasonic Lumix DMC-GF1, Panasonic 14-45mm lens, ISO 200, 1/25 sec at f10
An interesting sky can add another level of interest to your composition. Blue and yellow are complimentary colours and combinations of these, red and orange are usually pleasing to the eye.
4. Bailey Pond near Marshfield, Vermont, USACanon EOS 5D mk1, Canon100-400mm lens, ISO 50, 1/15 sec at F6.3
Think about your depth of field and point of focus. Your composition might benefit from some areas being out of focus.
5. St. Andrews Park, BristolCanon EOS 5D mk1, Canon100-400mm lens, ISO 200, 30 secs at F29
Woodland in windy conditions can be exhilarating. With your camera fixed to a sturdy tripod try using slow shutter speeds to generate movement in the image.
6. Near Owls's Head Overlook, Vermont. USA
Panasonic Lumix DMC-LX5 compact, ISO 80, 1/3 sec at f8
Wet conditions are amongst my favourite and ideal for visiting woodland particularly in the autumn. Try simplifying your compositions for greater effect.
We also wanted to quiz Clive on his early move to CSC as Clive was a very early adoptor of the Panasonic Lumix cameras – selling his full frame Canon DSLR system back in 2011 to move across to the Panasonic Micro 4/3 way of life.
What made you take that step from DSLR to 4/3rds?
During February 2011 I made the tumultuous decision to part company with my trusty Canon 35mm SLR equipment, digital & film, bodies and lenses. I hadn't used my EOS 5D Mk1 plus several top-of-the-range (and extremely heavy) lenses for over a year. After umming and ahing for a while, the final decision was taken when my gut feeling screamed'just do it!' It became almost as easy as the day I sold my vinyl LP collection. Mind you that's not to say I don't get a tad sentimental when I hear a favourite track from my dim and distant student days! I had become tired of lugging around a large camera bag full of heavy equipment. Having to put the bag down and open a multitude of zipped pockets and flaps each time I wanted to take photograph was making my hobby/profession far less enjoyable than it should have been. It was time for a change and to downsize.
How do you find the Panasonic Lumix system?
My new-found photographic weaponry is all about the 'P' word - Panasonic. Since the initial decision to change gear, I have enjoyed using the compact models LX3, LX5 and LX7, the latest of which goes with me almost everywhere. The macro facility on these cameras is particularly good. I have supplemented these with the micro 4/3 system models Panasonic Lumix DMC-GF1, GF2 and, more recently, the G3. The G3 has become my trusty workhorse and having a 16MP sensor is more than capable of producing good quality A3 images. The 3” articulated screen is ideal for my working style as I enjoy looking for interesting compositions from all angles.
The interchangeable lenses fit all the above 4/3 models. I use a wide range of zoom lenses, 7-14mm, 14-45mm, 45-200,mm and 100-300mm. The half-size sensors on these cameras means that you have to double the focal length of each lens to give the effective 35mm focal length.
All the above models (apart from the LX3) have four different aspect ratios (16-9, 3-2 4-3 and 1-1) and from shooting in 3-2 format for many years changing to composing square images meant I’m seeing things differently. To say I've been pleased with the results would be a gross understatement. I have been much more productive since changing equipment and I’m hugely enjoying my work again. Using this Panasonic kit is FUN and, for a non-techie like me, easy!
Do you find the Panasonic image quality as good as Canon full frame?
Of course nothing is perfect - the focussing occasionally struggles in very low light and using a high ISO setting produces too grainy an image for my liking – some may love this. I have no desire to produce images that sit proudly on advertising hoardings - I’m more than happy with the results. The images are entirely suitable for use in books, full-page magazine spreads and high quality greetings cards – what a coincidence, just what I do! Mr Happy or what!
Clevedon Pier – A celebration of England’s finest pier, published in 2008 with foreward by Griff Rhys Jones, who commented "What a lovely book - it was an honour to be involved even in such a minor way"
Ashton Court parkrun, (2014) The inaugural park run held in the grounds of Bristol’s beautiful Ashton Court was in April 2011. Photographer Clive Minnitt took part in the first few weekly events and felt inspired by the many people who, despite having had no previous running experience, walked, jogged or ran a hilly 5k route in a bid to better themselves. This book is a collection of Clive’s images which share the uplifting spirit and wonderful character of this parkrun event and the runners who participate.
Finally, we took a look at Clive’s impressive line up of books - including his critically acclaimed Clevedon Pier – A Celebration of England’s Finest Pier (a must read for all photographers who have fallen in love with a pier or jetty!) and his latest publication ‘parkrun’ which explores a project closer to home in Bristol.
The Gorillas have Landed, (2011) a colourful and lighthearted look at one of Bristol’s most popular street art exhibitions. Mark Carwardine, photographer and TV & radio presenter, commented, “Inspiring & brilliant photography! Clive has put a fresh spin on photographing inanimate objects,"Finding the Picture, co-written with fellow Light & Land' tour leader, Phil Malpas was published in October 2009. Designed to help photographers identify subject matter to photograph, the book is lavishly illustrated with fine-art colour photography.
Clive has published further books including, Bristol hot-air Balloons, Isle of Sark, Santorini, Folegandros and Myanmar.
Thank you Clive, a fascinating interview and a very interesting insight into the life of Mr Happy!
Since embarking on a full time career in photography in 1997 Clive Minnitt has established a reputation as one of the UK's leading landscape photographers.
