Neil Burnell is a multi-award-winning fine art landscape photographer based in Devon, South West England, and we’re proud to welcome him as a new South West Optics ambassador. With a background in graphic design and early training in art and photography during the 1990s, Neil has developed a distinctive style that captures the evocative, atmospheric essence of the natural world. From the fog-shrouded, mystical woodlands of Dartmoor to the dramatic long-exposure seascapes along the British coastline, his work is defined by immersive mood, painterly depth, and an instinctive sensitivity to light and texture. In this interview, Neil shares the philosophies, practices, and defining moments that shape his creative process. Offering a rare insight into how he sees, interprets, and emotionally connects with the landscapes he photographs.
1. Do you have a personal philosophy that guides your creative processes, perhaps in the field and in post-production?
My philosophy centres on embracing the challenge and therapeutic nature of woodland photography, prioritizing atmospheric, moody scenes over dramatic sunrises or sunsets. I believe in developing a personal statement through images that reflect how I see the environment, focusing on the unique character, poise, and soul of trees rather than just recording locations. In the field, this means immersing myself fully - tuning into the surroundings, soaking up the atmosphere, and allowing time and patience to reveal the essence. In post-production, it’s about experimenting freely to realize my vision, pushing colours, tones, and effects like added noise to enhance mood without over-restriction, drawing from years of self-taught techniques to create images that feel organic and immersive.
2. When approaching a new location, how do you decide which perspective or composition will best convey the essence of the environment?
I start by scouting locally and multiple times, traveling light with no expectations, and approaching from the outside looking in - working the edges first to spot compositions more easily. I walk slowly, attune my eye to the space and light, and look for focal points like isolated trees, unique shapes, or man-made elements that stand out. Mist or fog helps simplify busy scenes by isolating subjects and adding depth. I check various angles through the viewfinder, even if unsure, and prioritize perspectives that guide the viewer’s eye - using light paths, side light for texture, or telephoto lenses to abstract and compress elements, focusing on group interactions among trees rather than lone ones to evoke a sense of relationship and environment.
3. Some photographers struggle with expressing the feeling of a landscape into an image. How do you balance technical precision with emotional storytelling in your work?
I balance them by embracing imperfections over flawless sharpness - using wide-open apertures for shallow depth of field, higher ISOs for grain that adds mystery, and tools like tripods and polarizers for stability in low light without sacrificing mood. Emotional storytelling comes first through atmospheric elements like mist, soft blue-hour light, and textures that draw the viewer in, while technical choices support this, such as long exposures or creative blur to direct focus and evoke feeling. Post-processing enhances this with split toning, curves to flatten tones, and desaturation to emphasize mood, ensuring the image feels like my personal vision rather than a technically perfect but emotionless record.
4. Can you share a moment when patience, observation, or experimentation in the field led to a breakthrough image?
My first real breakthrough images in the Mystical series came one evening in late September, right after work. I’d seen mist forecast and rushed straight to Wistman’s Wood, jogging the path to beat the fading light - I knew I had less than an hour before it got too dark. From previous scouting visits, I already knew the exact compositions I wanted to capture. In that hurried, golden-hour rush, with the mist rolling in and the ancient oaks emerging like something from another world, I managed to shoot “Empire” - one of my absolute favourite images from the entire series. It perfectly captured that Dagobah-like, otherworldly feel of the moss-draped, twisted branches and roots in the fog. The shots from that single, intense session went viral, getting shared widely by outlets like Wired, Colossal, and BBC Earth, among others. That evening’s combination of prior observation, quick action, and perfect conditions marked a pivotal moment, proving how persistence in scouting and being ready when the elements align can lead to truly defining breakthroughs in the project.
5. How do you prefer to creatively harness natural light in shaping the mood of a woodland scene?
I favour the soft, muted light of blue hour combined with thick fog for an ethereal, immersive mood - this creates a calm, mysterious atmosphere that envelops the ancient oaks and moss-covered elements in a fairytale-like haze. The subtle, cool tones of blue hour enhance depth and tranquillity, especially when paired with dense mist that isolates subjects, softens details, and adds layers of otherworldly mystery. In these conditions, sidelight or diffused light from any direction gently reveals textures without harsh contrasts. Even in flat or low light, this approach helps compose for quiet, introspective mood over dramatic effects.
6. What obstacles have you faced and how did you continue to grow as a photographer?
Obstacles include the overwhelming chaos of dense woodlands, making it hard to find compositions at first, and the shift from simpler, minimalistic genres to the complexity of atmospheric woodlands. I started mainly with seascapes, focusing on fine art monochrome long exposures and black-and-white infrared for clean, minimalist results. I also experimented with other genres like macro and portrait work before settling more fully into landscape photography. Moving from that minimalistic fine art approach to woodland was the biggest challenge - going from simplicity to chaos took me a long time to get my head around, as the dense, busy scenes felt overwhelming compared to the clean lines and open spaces I was used to. I grew by embracing the challenge through patience and multiple visits, scouting to attune my vision, and pushing into new genres via competitions to expand skills. Experimenting with processing and shifting focus to atmospheric woodlands kept it enjoyable, turning restlessness into enthusiasm for local, personal visions.
7. What practices, observation, or insight would you insist that a progressing photographer should experience as a key lesson to transform how they see the world and improve their craft?
Scout locally and revisit spots multiple times with an open mind, lowering expectations to build a feel for the genre - stop, breathe, and soak in the atmosphere to notice light, shapes, and details. Experiment across styles and techniques, like competitions to push into new areas (e.g., portraits informing landscapes), and embrace imperfections for mood over perfection. Develop a personal vision by shooting what inspires you, using tools like telephotos for abstraction, and learn incrementally from videos or others’ work without overload. Prioritize enjoyment and safety in nature to sustain growth.
8. What are some of the most technically challenging situations you face in your photography and how do you manage them?
Low-light gloom in shaded forests requires longer exposures, managed with stable tripods (spiked feet, geared heads), cable releases to avoid shake, and higher ISOs (100-800) where I intentionally add noise for mood. Busy, chaotic scenes are simplified using mist for isolation or telephotos at wide apertures (f/2.8-f/4) for background softening. Wet surfaces causing highlights are controlled with polarizers. Infrared work needs sunny conditions and converted cameras for contrasts. Long exposures (e.g., 126sec with ND filters) demand careful planning for mist or storms.
9. Are there ways your engagement with the natural world - walking, observing wildlife, or even silence - directly informs your photographic vision?
Absolutely - early mornings in woodlands bring encounters with wildlife like deer, heightening immersion and informing moody captures. Walking and silence allow me to tune into the environment, habituating my eye to space, light, and constant flux of trees, leading to visions of them as unique beings with soul. Geography knowledge (e.g., mist in river bowls) predicts conditions, while hobbies like fishing introduced dawn light and coastal minimalism, blending with graphic design for atmospheric storytelling. This engagement shifts focus to personal, abstract interpretations over iconic spots, evoking memories through elements like mist and textures.
10. What question do you wish you had been asked but never have been, about your photographic journey, projects or any other topic?
“What do you see yourself doing next in your photography?” I love what I do and remain deeply passionate about atmospheric woodland work, but I’m now going back to basics in a meaningful way. I’ve recently purchased a Hasselblad 500C/M and have made the leap back to analogue film photography alongside my digital medium format setup (like the X2D II). Shooting 120 film in 6x6 square format reintroduces that intentionality I first felt at college - fewer frames, a slower pace, more deliberate process, and embracing the anticipation and imperfections of film. It’s a real homecoming for me, blending the soulful analogue capture with digital workflow for refinement, and I’m excited to explore this hybrid approach further while continuing to capture those quiet, ethereal landscapes.
As part of his field craft and commitment to producing precision-led woodland imagery, Neil relies on reliable, high-quality support systems. Below is a selection of the Leofoto equipment he regularly uses to help achieve his signature style:
SKU: LEO-G4PRO
Built for photographers who demand accuracy, the G4 Pro offers ultra-smooth geared movements, allowing Neil to make micro-adjustments with total confidence when refining complex woodland compositions.
SKU: LEO-BPA-35L-BL-B
A versatile and rugged backpack designed for demanding outdoor work. Its generous storage, modular insert, and comfortable carry system make it an ideal choice for long sessions in the woods, where Neil often spends hours waiting for the perfect atmospheric conditions.
SKU: LEO-YB-75MP
This levelling base provides fast, stable camera positioning, essential for Neil’s methodical shooting style. It ensures a rock-solid foundation when working with uneven woodland terrain.
SKU: LEO-LM-324CL
Designed for maximum height, stability, and rigidity, the LM-324CL is a core part of Neil’s setup when photographing deep within the forest. Its extra long legs provide elevated shooting positions, helping him work cleanly above undergrowth while maintaining absolute stability in challenging environments.
To see more of Neil Burnell’s award-winning woodland photography, fine art projects, workshops, and portfolio, visit his official website:
https://www.neilburnell.com/
