&nbsp;As&nbsp;we drive along the twisting Exmoor road that leads down to Porlock Weir, Jeremy Walker explains why he has chosen this spot for our one-day shoot.&nbsp;&ldquo;I have been to Porlock Weir about three times before, and there are a couple of spots here that I still want to recce,&rdquo; he explains. &ldquo;This location is not as well-known as the Jurassic Coast, which I shoot a lot, but that is best photographed at a different time of year. Most of the cliffs and beaches are southfacing, so are in shade at sunset.&rdquo;&nbsp;&ldquo;The small harbour here is picturesque, and the pebble beach has some beautiful wooden groynes that suit Big Stopper long exposures. With the beach facing north-west, it is lit the whole day at this time of year. It is not overrun with tourists, even in the height of summer, which is another bonus.&rdquo;&nbsp;It is the tide times that are the most crucial for this location &ndash; this part of the Bristol Channel has one of the biggest differences between high and low tide in the world. We needed to be set up on the beach for the hour or two before high tide, which today was at 5.28pm. (Jeremy uses www.tidetimes.org. uk.) It was now 1pm, so we had plenty of time to talk technique, and explore. Sunset was not until 9.34pm &ndash; and as the previous evening had produced a spectacular sunset, we were hoping the today would produce more of the same.&nbsp;&ldquo;Professional landscape photographers have a reputation for just shooting at dusk and dawn, but as long as you avoid the middle of the day, you can still should be able to get good shots in the morning and afternoon,&rdquo; Jeremy says. But with a windless heatwave of a day supplying endless blue sky and no clouds, nothing was going to be easy.&nbsp;Although he&rsquo;s best-known for his landscapes, Jeremy has not always been a scenic specialist. Even today he has a regular gig shooting artist portraits for a magazine. After studying photography at Gloucester College of Art, he spent 10 years working in design studios in London and Northampton, with the aim of becoming an advertising photographer. The reality was that he ended up shooting commercial and industrial subjects. &ldquo;I shot lots of shoes, photographed plenty of college prospectuses, and toured the country photographing countless bus shelters,&rdquo; he reminisces.&nbsp;It was when Jeremy set up on his own that he diversified into shooting landscapes. &ldquo;When client work was quiet, I went out and shot stock &ndash; taking pictures of the power station at Nottingham or lorries on the motorway, for instance. It was still the golden era of stock photography &ndash; and I got my first library contract with the renowned Tony Stone agency, on the basis of three sunset images I had taken on holiday in California&rdquo;.&nbsp;<img src="http://magarticles.magzter.com/articles/2777/292853/5b5878848428b/1532524228090.jpg"" owidth=987 oheight=660" style="height:660px; width:987px" />One of his best-selling images was taken on a day trip with his mother &ndash; a shot of sillaging, with a red tractor with a yellow cutter creating diagonal lines across a green field of grass. Eventually stock became 80% of his income, so he moved back to the West Country, where he had grown up. &ldquo;Dorset is also a great place to do photographic workshops &ndash; but that was more luck than judgement!&rdquo; he laughs.<img src="http://magarticles.magzter.com/articles/2777/292853/5b5878848428b/1532524438_loc.jpg"" owidth=2313 oheight=1233" style="height:1233px; width:2313px" />Today stock just makes up a very small part of Jeremy&rsquo;s income. &ldquo;Well over 50% of my income now comes from workshops and private tuition,&rdquo; he explains. &ldquo;This is supplemented by private sales of prints and commissioned work.&rdquo; His latest venture is a book of images of ruined castles and other buildings shot within their landscape &ndash; it will combine around 100 old and new images, and will be published in early 2019.After a tour around the boats in the harbour, made possible by the low tide, and a check through everything in the shade of the local hostelry, it was time to head to the beach. Despite the heat, Jeremy recommended wearing walking boots to make it easier to walk across the large, click-clacking pebbles of Porlock Bay. Several lines of groynes make it possible to move from one set to the next as the tide comes in, covering one series of posts, and pushing up the stone bank to the next set of pillars.Using a medium-edged three-stop 0.9 graduated filter, as well as the 15-stop Super Stopper ND, each exposure took four minutes, allowing Jeremy to maximise the amount of blur he could get in the water, and from the occasional cloud. With in-camera noise reduction adding a further four minutes to the processing of the exposure, we had to move and recompose after every shot. After about two hours, Jeremy had perhaps shot a dozen shots &ndash; and high tide had by now been and gone.With another four hours until sunset, it was recce time. Jeremy had seen some dead trees standing in a salt marsh, which had been created when a winter storm had breached the shingle bank in 1996. But he had only seen them from a distance on the last visit, and wanted to take a closer a look. A mile&rsquo;s walk along the South West Coast Path brought us to the skeletal trees, which had been killed off by the sudden arrival of brakish&nbsp;water. With the architectural shapes of the branches, the lush marine vegetation, and the areas of parched earth, this new location was everything that Jeremy had hoped it would be. We decided that would would come back to the spot for sunset, with fingers crossed a spectacular sky.<img src="http://magarticles.magzter.com/articles/2777/292853/5b5878848428b/1532524472803.jpg"" owidth=1269 oheight=935" style="height:935px; width:1269px" />After yomping back to the village to pick up torches, we were back at the salt marsh with just under an hour to sundown. It was an anxious time &ndash; on several occasions we were certain that the sun would disappear behind a bank of cloud that was beginning to build on the horizon.At 9.15, however we got the first signs of a decent orange glow in the sky, and by 9.20pm things were richening up nicely. It felt like all our effort had been nicely rewarded &ndash; particularly as the cloud was blurring beautifully with the eight-minute exposures that Jeremy was setting up with the help of his Big Stopper.&nbsp;Time to pack up then&hellip; But just we were about to set off back to the car in the twilight, we noticed a new purple patch in the sky&hellip; And what&rsquo;s more, this colour was now being reflected in the clouds behind us.<img src="http://magarticles.magzter.com/articles/2777/292853/5b5878848428b/1532524472937.jpg"" owidth=664 oheight=697" style="height:697px; width:664px" />Jeremy scurried to get back in position, as the sky turned an amazing psychedelic mauve. No Big Stopper was needed now &ndash; just a 0.9 hard ND grad to ensure that there was still some detail in the marshy foreground as he shot.<img src="http://magarticles.magzter.com/articles/2777/292853/5b5878848428b/1532524472901.jpg"" owidth=569 oheight=560" style="height:560px; width:569px" />As we headed back up the country lane out of Porlock Weir, it was 11pm. But we had found a new location, and used it with great success, in the same summer&rsquo;s day. Result.

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