Sunflower Photography in Stonor Valley

Over the past few weeks, I’ve been experimenting with different types of photography, from black and white film to cityscapes and, of course, my beloved landscapes. But recently, I had the chance to photograph one of my local favourite seasonal subjects: the vibrant sunflower fields of the Stonor Valley, Oxfordshire, UK.

Each summer, one of the local farmers in the valley opens their fields, allowing visitors to enjoy the spectacular blooms and even pick sunflowers in support of charity. It’s the perfect opportunity for flower and landscape photographers alike. The added bonus is that there is also a vineyard and winery selling our Chilterns sparkling wines, which are now becoming very popular. So, after a walk through the sunflowers, it is a great idyllic location to sample some of their wares. (Link to the farm and winery at end)

Sunflowers in the Stonor Valley — *Stonor Valley at dawn*

Traditional Landscape Photography Setup

Dawn sunflowers in the valley — *Wating for the Sun*

When approaching a landscape scene, the classic method is to aim for maximum sharpness from front to back. Using a tripod and a smaller aperture (typically between f/11 and f/16), you can capture detail across the entire frame. Sometimes, I’ll even use focus stacking with a wide-angle lens to ensure every element is sharp.

The opening images from this shoot followed that exact approach. The sun was just below the horizon, bouncing light onto the clouds from below with the clouds hanging low over the hills, magically illuminated as if on fire. With those dramatic skies, a pin-sharp composition works beautifully. It is what we all want to see.

As usual at this time of the year, the sun is an early riser, and I need to get there an hour before. I am inevitably the lone viewer ready for the show of light that many never get up to see or have the time to sit and watch it unfold if they are commuting. (For good reason, as these scenes are never guaranteed – patience and disappointments are often a photographer’s companion on these mornings.)

For landscape photographers, there comes a point in the pre-dawn when the light becomes the most spectacular of the day. Reds and yellows dancing in the sky, creating texture and patterns of light and colour. Generally, if you are prepared, this can be an amazing and engrossing few minutes before the sun rises completely above the hill and the light show changes for the photographer into a battle with the sun streaming into the scene. This creates a new problem for the photographer who is now rapidly trying to tame the excessive dynamic range that will inevitably confuse the cameras exposure.

Why I Reached for the Canon RF 35mm f1.8 Macro

Canon RF 35mm 1.8 Macro STM — *I have no links or affiliations to Canon*

The real creative shift came when I switched to one of my favourite pieces of kit: the Canon RF 35mm f1.8 Macro IS STM lens.

This lens is a real gem. It’s lightweight, versatile, and incredibly affordable compared to Canon’s professional L-series lenses. What makes it special is its ability to cross genres:

· Street photography – discreet, fast and compact.

· Architecture - sharp and reliable, little to no distortion.

· Macro photography - perfect for close-up detail, but wide enough to get the landscape behind it, if you want it.

· Landscape photography - A great general focal length to cover most bases in any event.

If I were told only one lens was allowed in my life, this would be a close second to the Canon RF 24-105 f4 L lens.

To top this, the 35mm also works as my lens for scanning my analogue film negatives (more to follow in future blogs.)

Using Background Blur for Creative Impact

Once the light had become harsher, instead of sticking with the usual “everything sharp” method, I began using the shallow depth of field capabilities of the RF 35mm f1.8. Shooting wide open at f/2.8, and then often F4. I deliberately softened the background while keeping the main sunflower perfectly sharp. I do not often use the wide aperture of 1.8, because I want many aspects of the foreground in focus. However, because this lens allows you to get so close to the foreground subject, the view behind quickly becomes blurred. These semi-macro capabilities of the lens are what help create a shallow depth of field within a landscape environment. It is important to vary the aperture, and I generally work from f2.8 to f5.6 to make sure the foreground/subject element is pin sharp.

Why a blurred background?

· Draws the viewer’s eye directly to the subject.

· Adds atmosphere and mystery by hinting at, rather than revealing, the background.

· Creates a more artistic, dynamic image than a standard documentary-style shot.

· The human eye loves to fill in the missing information, and so will linger on and enjoy your image even more.

The result is a more engaging photograph where the viewer is invited to imagine the bigger picture while still appreciating the crisp details of the foreground bloom.

Fungi mushrooms in woodland — *Fungi in Chiltern Hills woodland, Oxfordshire*

Lens Features That Make a Difference

Lady bird insect on sunflower in England — *Ladybird Early Morning in Stonor Valley*

The Canon RF 35mm f1.8 Macro has several features that make it particularly strong for this type of photography:

· Macro capability - focus close to subjects for detail-rich flower photography.

· Image Stabilisation - up to 5 stops, combined with the Canon R5’s IBIS, gives nearly 8 to 10 stops of stabilisation.

· Lightweight design - easy to carry in your kit bag, even on long hikes.

· Affordable filters - its small front element means filter costs are lower. (But never buy cheap filters! You always get what you pay for.)

· Versatility - a great all-rounder lens for both creative and documentary work.

The image of the ladybird was taken in the same low light that morning. Impossible handheld with most of my past lenses. This image is handheld and pin-sharp.

Sunflowers with Canon RF 35mm 1.8 Macro lens — *The Hero Shot - 35mm Macro. Exposure 1/2500th second @f3.2, ISO 200*

Putting It Into Practice

During this shoot, I began with standard pin-sharp landscape compositions at sunrise, then transitioned into close-up and macro work as the light changed. By softening the fields of sunflowers into a blur, each sharp foreground bloom stood out dramatically. As the atmospherics changed and mist rolled in, I switched the 35mm to perform a landscape role and engaged the shallow depth of field of that lens to enhance the atmospherics in the background.

While some photographers prefer technical perfection, I’ve found that breaking the “sharp front-to-back” rule often results in more expressive, atmospheric photography. However, if you break the sharpness rule, you really need to break that rule properly so that it is obvious. This lens is the tool for that.

Link to the Stonor Valley Farm and shop

https://www.stonorvalleywinefarm.com/

Looking Ahead

With autumn just around the corner, I’ll soon be turning my attention back to woodland photography. If you’re interested in learning more about composition and creativity in the forest, my 140-page Woodland Photography eBook is now available on the shop page of this website.

I’ll also be running occasional photography workshops, including potential trips to Scotland. So get in touch if you’d like to join.

The next blog is likely to be about my black and white photography and how I compose and edit.

Sunflower Photography in Stonor Valley: Creative Background Blur with the Canon RF 35mm f1.8 Macro