Capturing the charm of autumn from a fresh perspective

Unable to see his compositions in real-time, Theo relied on trial and error, but knew there were certain things he could do to improve his chances. "I always like to shoot in Aperture Priority mode, because I can trust that the camera is going to get the shutter speed right for me. It leaves me to play with the depth of field, which is important in landscape photography and when you want to capture a lot of details," he says.

"Underwater I didn't need a great depth of field, so I could keep the aperture wide open to allow in more light. The camera's autofocus was really reliable and an absolute must, and I learned to get as close to the subject as possible, especially when the water wasn't clear. I also learned that a wide angle lens would yield the strongest results."

For those unsure about taking the plunge, there is also plenty of potential above water to whet your autumnal appetite. "People are often looking for the epic landscapes, and they spend all their time waiting for the 'right' light, but I prefer to concentrate on details, which hold just as much, if not more interest," he says. Fallen leaves, acorns, brightly coloured berries and mushrooms are all ideal autumnal subjects, which are less dependent on great light or weather. "Just look to the ground and you'll soon discover many interesting things – with details your options are limitless."

The word 'details' may conjure up ideas of macro photography – and many compact cameras have very good macro capabilities – but Theo means simply focusing on some aspect of the scene in front of you, rather than the whole vista. "I like to use my Canon EF 70-200mm f/2.8L USM lens to focus on something, such as part of a tree, and I just zoom in and out to isolate what works for me," he says. "You can do exactly the same with a compact camera – just work with what you've got."

Working with what you've got seems to apply to the weather too, as Theo is far from a fair-weather shooter. He claims there is no such thing as bad weather in nature photography, only bad clothing (or lack of camera protection – not all cameras are equally weatherproof, so it can be wise to invest in an appropriate rain cover or lens hood). He says, "It's a good idea to check the forecast and plan ahead, but every kind of weather has its possibilities – you just need to think out of the box. After it rains, the colours are more intense. Windy weather can disrupt long exposures when you want to get sharp shots of leaves or other things that move, but you can turn it around and make more impressionistic images of them in motion. Foggy conditions create great atmosphere. And then there are those great mornings when you have fog and dew and dappled sunlight. I'm too impatient to wait for the 'right' light, so if the light isn't working for one thing, then I go and find something else to photograph."

As much as Theo is a fan of autumn, he says there's as much creativity to be had during the transition periods too. "Photograph things like summer flowers at the end of their lifecycle protruding through the fallen leaves, or keep an eye on the weather report for that first fall of snow, because when it settles amongst the existing autumn colours it creates a powerful mix of seasons," he says.

Theo's Autumn Leaves project has been widely published, and he even received a runner-up award in the Creative Visions category at the 2013 Wildlife Photographer of the Year competition for one of the images. But with as many photographers vying for attention on social platforms as leaves on the forest floor, he says finding a fresh perspective is the way to stand out. "You can travel to far-flung places, and make wonderful pictures, but most editors won't pay any attention to them unless they are really different in some way," he says. "Really think, 'What can I add to what's already out there?'"

Written by Natalie Denton