22/10/2012

Brooding Skye

The Isle of Skye is the largest of the Inner Hebrides and situated just off Scotland's north west coastline. The landscape and quality of light on the island is truly unique - it is one of my favourite places to photograph in the UK. I have been fortunate enough to visit Skye for the last three years. The reason for my latest sojourn was to tweak the structure of my five day photography workshop which is scheduled to run in Spring 2013. I wanted to re-visit some favourite locations such as the Trotternish Peninsula, Neist Point and the Cuillins. I was also looking forward to visiting Dunvegan Castle to see if it was worth adding to the 2013 timetable.

Ferry from Mallaig to Skye. iPhone 4

The journey from the Peak District up to Skye, in the car, is a long old trek (nine and a half hours) but well worth the effort when you finally arrive. I slightly reduced my SatNav arrival time by driving to the small fishing port of Mallaig and catching a ferry across to the island. I prefer this route as it is shorter and also gives you the chance for a proper leg stretch, whilst taking in the scenery. Accessing Skye via the bridge at Kyle of Lockalsh doesn't really give you that feeling of having arrived on an island, plus it takes a lot longer.
The boat crossing was a real treat. The ocean was calm and the weather conditions ideal for photography. I took the opportunity to document this short trip with the iPhone and was (as always) pleased with the results it produced.



Home from home. Glenbrittle campsite. iPhone 4

For the duration of my stay, on the island, I chose the campsite at Glen Brittle (a large glen in the south of the island) which has great views of the sea loch (Loch Brittle) in one direction and the Cuillin Hills in the other. After paying for my pitch, I very quickly threw the tent up and set out to explore the terrain leading up to Sgurr Dearg, one of the Cuillins menacing peaks. Dearg's highest point is the, aptly named, Inaccessible Pinnacle (In Pinn) which I have never conquered - you need tons of climbing gear for this and probably an experienced guide. On this occasion I was more than happy to photograph the mountains from lower down. My intention was to include some interesting foreground subject matter and have the foreboding hills in the background. I think I achieved this with the image below. All the scene lacks is a couple of hobbits running across the landscape.


Mountain stream and the Cuillins. Canon EOS 1D Mark III


Landscape photography has many potential pitfalls, adverse weather conditions topping the list. What I hadn't anticipated on this latest trip was the dreaded Scottish midge. I normally visit Skye in early spring before they've emerged. Whilst making the above exposure my face, hands and legs were literally covered by hundreds of the flying insects. Apparently it's the female of the species that is more deadly than the male - they gather in clouds and bite anything that is in close proximity to their breeding site. I survived the encounter with the help of Avon's skin so soft spray - THE best repellant against the midge.


Fishing trawler on the Sound of Raasay. Canon EOS 1D Mark III

Another location I was looking forward to photographing again was the Trotternish Peninsula. The area contains some remarkable rock formations and exceptional views of the Sound of Raasay and Loch Leathan. The following day I got up pretty early and drove north through Portree and then north east along the A855, finally reaching the car park opposite Loch Leathan just after sunrise. To get to the Storr you have to pass through a woodland that surrounds the car park. A woodland trail snakes in a westerly direction through the trees until it finally ends and you reach grassy upland. At this point you would normally be greeted with astonishing views of The Old Man but on this particular morning it was pretty foggy so I had to climb a bit higher to get a decent view. Eventually the rocky outcrop emerged, shrouded in mist, and I made some exposures using the iPhone and also the DSLR (tank mark III). Of all the shots I took the most atmospheric was the one below which I got with the smart phone.


The Old Man of Storr. iPhone 4

As the morning progressed the mist cleared and some sporadic sunlight shone through. I made my way right up to the Old Man of Storr and directly opposite was another rock formation that intrigued me, so I composed a shot that I thought had promise. After adding filters to the filter holder, recomposing and metering, the light changed and the scene lost its energy. An hour later, I was rooted to the same spot, soaked to the skin and still waiting! If you give up and move on the light will eventually hit the right mark and you'll have missed your shot. That's the thought that usually keeps me in situ. It's a constant struggle. I remained and eventually the sunlight rolled across the landscape until it finally illuminated the craggy rock face.



Rocky Outcrop, Trotternish Peninsula. Canon EOS 1D Mark III

The light moved across the scene pretty quickly and I only made the one exposure, so I was pleased that I managed to get the shot I wanted. With the shot bagged I moved east from the Old Man and climbed a ridge that gave some fantastic views of Loch Leathan and the wooded valley below. Again, the waiting game. I don't actually mind the waiting, if you're going to wait for something then this is the place to do it - it's not like waiting for an inner city bus. I didn't have too long to wait before everything fell into place and reminded me of why I love landscape photography so much. The low cloud was now beginning to break up, as it did so the sunlight illuminated the countryside below.


Loch Leathan. Canon EOS 1D Mark III

I made numerous shots of Loch Leathan and the surrounding landscape. After checking the image histogram data on the back of the cameras LCD screen, I was fairly confident that my exposures were accurate. Content, I began my descent in search of food and warmth.

Back in the car, I headed south down the A855 to Portree for a brief lunch before heading north west to Dunvegan castle. I had never visited the castle before and wanted to find out if it had enough subject matter to warrant inclusion on my Isle of Skye photography workshop. The weather had now cleared and by the time I arrived at Dunvegan the conditions were excellent. 



Woodland Garden, Dunvegan Castle. iPhone 4

The castle is well worth a visit. It is built on a rocky outcrop and was once entirely surrounded by the sea. Today it is only part encircled by the ocean, the rest of the grounds now contain five acres of formal gardens. The gardens are incredible. They include a woodland walk, a water garden, a walled garden, a woodland garden and a garden museum. All of the sections blew me away but it was the walled garden that really caught my eye. The volume of species coupled with the expert planting scheme made for a visual feast.


Walled Garden, Dunvegan Castle. Canon EOS 1D Mark III

Photography is not permitted within the castle's interior, which isn't really a problem for photographers as the view of the exterior is much more interesting. Near perfect conditions made for some decent images. Plenty of sunshine, blue sky and moving white cloud combined to help me out when photographing the castle. 


Dunvegan Castle. Canon EOS 1D Mark III

Visiting Dunvegan was definitely worth the effort and I have now added it as a location on my Skye photography workshop. With the research completed and plenty of daylight left I decided to make my way across to Neist Point to photograph it's impressive lighthouse.


Lighthouse at Neist Point. Canon EOS 1D Mark III 

Neist Point is situated on the north west of the island, in fact, it is the most westerly point on Skye. I know I keep harping on about the stunning views but this location is truly outstanding. The sea cliffs are unusually huge and have to be seen to be believed.
The quality of light at Neist Point on this occasion was fantastic, very similar to my visit in 2011, the only difference being that on this particular day there was hardly any wind. Last year the wind was so ferocious I had to fight to keep the tripod and camera vertical (and my gear's got some weight to it). Not so on this occasion, there was only a slight breeze. I made hundreds of exposures and felt completely and utterly in the zone. Days like this are to be cherished and if you're a photographer, recorded. I shot my last images as the sun set slowly in the distance over the Outer Hebrides. Joy.


The Outer Hebrides. Canon EOS 1D Mark III

For anyone interested in my Skye landscape photography workshop, it runs from April 28th - May 2nd 2013. Places are limited to five people. More details can be found by visiting my sister site: www.f22workshop.com

* All iPhone images were shot using the Hipstamatic camera application. Lens: Loftus, Film: DC.

07/09/2012

Uninhabited places

Had a fairly hectic August and what promises to be an equally busy September so just going to sneak this blog entry in whilst I've got a spare half hour.

I spent a fair proportion of last month running photography workshops as well as preparing for future courses which will take place next year. Having relocated to the edge of the Peak District a few months ago I am still getting used to the area. As already mentioned in the previous blog post Rockit my favourite area so far is the walk up to Kinder plateau. The route I take up to the tops is via the small village of Hayfield and provides a great deal of subject matter, so ideal for running photography workshop. I have now used this route several times whilst out on workshops and also when shooting my own personal work.





Quiet evening walks in such designated areas of outstanding natural beauty are something that I try to do as often as possible. The solitude found in such locations allows me to both relax and also contemplate future photographic projects. On one of these recent excursions I found myself asking more and more questions about what I was photographing and why? Most of the time I am trying to escape the influence of mankind and enjoy the unspoilt natural landscape. This is actually quite difficult to do as our imprint on the landscape is evident everywhere you look. Even in the aesthetically pleasing shot above, captured just before sunset, we can see the reflected water surface of Hayfield reservoir which was completed in 1911 for the sole purpose of supplying drinking water to Stockport. There's also a fair few vapour trails in the sky, this particular area is directly below the flight path for many commercial airlines. The patchwork countryside which occupies the mid ground, is an indicator of the enclosure act that was passed in the 18th Century.




I have started to make images that include traces of man's intervention within our rural landscape. At the moment I'm just experimenting with mini themes, so not a hundred percent which direction the project is heading but I'm currently enjoying finding my way with it.

I've also enjoyed taking a number of different people out on landscape photography workshops in the last four weeks. It's great to meet people who share my passion for photography and also the great British (rural) outdoors. All the people I have met have shown a genuine interest in the workshops and a real desire to improve their picture taking skills.


Workshops
Included below are a few image examples and reviews, from people who have attended some of my recent workshops.

Peak District Photography Workshop

© Mike Moore

Prior to the workshop with Neil all I produced was average images, Neil helped bring all I had read about in photographic books to understandable language and how to apply the techniques in the field to produce great images, would recommend a workshop especially if your a beginner like myself.
Mike Moore, Audenshaw


© Allen Davidson

I had a great day with Neil on the slopes below Kinder Scout, starting in Rosie’s café with examples of his own work and explanations of what works and what does not. We went up on the hill with variable lighting conditions to put the theory into practice. I learnt about composition, exposure and why filters are a must for landscape work. I had not used filters before and this was a big learning point that you have to see to understand. Perhaps the most valuable lesson came from seeing how a professional photographer would work a subject – totally different to my previous ‘snap, hope and move on’ method. Thank you Neil.
Allen Davidson, Wilmslow.

Malvern Hills Photography Workshop

© Justin Barrell

I thoroughly enjoyed my day out with Neil, he was quick to asses the gaps in my knowledge and figure out what I wanted (and more importantly what I needed!) from the day. I learnt a great deal with the technical aspects of Photography, so I can get much more from my gear and I also received some great advice on how to compose and capture much more aesthetically pleasing images. Clearly a very knowledgeable, passionate and experienced guy in the world of Photography and also a genuinely nice guy, I think anybody would benefit from one of his workshops.
Justin Barrell, Cheltenham.

03/08/2012

Bugs life

Haven't blogged for a while, so long overdue an entry. Life's been getting in the way a bit too much during the past two months and my creative juices have been stifled somewhat. 
During the summer months I like to shoot as much macro photography as possible. Sadly I haven't been able to do this as much in 2012.




Landscape workshops, poor weather and the move away from one of my favourite photography haunts (the Wyre forest) has seen my macro productivity suffer. I have managed a few gems this year though. The images contained in this post were all taken in France, during a week long break. 




All the work was shot using my Canon DSLR, a 180mm telephoto macro (one of my favourite lenses of all time, ever) and my trusty Gitzo tripod complete with a Wimberly sidekick for added sturdiness and flexibility. Although the 180mm macro is quite an old lens now and slow to (auto) focus, it consistently produces pin-sharp images and accurate colour rendition - all these images have had very little post production in photoshop.




I hope to add to my macro portfolio during August and September if the weather improves and I have a couple of free day's. In the meantime I am continuing to run landscape photography workshops on a one-to-one basis which are becoming increasingly popular, especially in the Peak District, Derbyshire. 




My next blog post will contain a selection of landscape images taken by my clients from these recent workshops. If you are interested in attending one of my workshop courses, then please contact me for availabilty on 07429 906922 or drop me an email.

29/05/2012

Rockit

Just a very brief entry regarding my current location. I'm temporarily based right on the edge of the Peak District in a place called Glossop, in the county of Derbyshire. Whenever I visit an area for more than a week I like to have a few excursions so that I can get my bearings.
In the past I have had some great experiences climbing mountains and peaks all over the U.K. Now residing at the foot of the Peak district's highest point, Kinder Scout, I was looking forward to adding this summit to my collection.





My first ascent began at Bowden Bridge car park in Hayfield and almost replicated the exact route taken by the members of the 'Mass Trespass' in 1932. During the protest working class ramblers from Sheffield, Manchester and the surrounding areas, defied private landowners and climbed the peak. Thanks to this group, of determined revolutionaries, the area was subsequently designated a national park, making it possible for future generations to explore.




The route to the top takes you past the impressive Hayfield reservoir, which looks stunning at first light. As the reservoir narrows, so does the pathway and the ascent becomes much steeper as you approach an area called 'William Clough'.  It's a pretty tough climb, especially when you have a dead weight on your back. I decided I would get the DSLR out of hibernation for this excursion. My rucksack contained the camera body, accompanying lenses, filters and the three pronged, sapper of energy that is my Gitzo tripod - of all the gear I have this is the most difficult to transport when climbing. Eventually the terrain levels out just before the signpost of 'Mill Hill', turn right here for the final steep ascent to 'Kinder Plateau'. This is the area I was most looking forward to visiting as I wanted to photograph some of the huge rock formations which are said to have influenced many artists, including the sculptor Henry Moore.




The further you walk across the plateau the more impressive the stonework. Huge boulders, carved by the elements over centuries, resemble distorted caricatures that appear to melt into the landscape.
Since my first visit I have returned to this spot several times, arriving from a variety of different routes. All of my excursions have been very early in the day (just after sunrise) and I've been fortunate enough to enjoy good lighting conditions. The mono images shown here were shot using a Canon EOS 1D mark III with a 17mm-40mm wide angle zoom fitted and a Hoya circular polarising filter attached. In post production I edited using Adobe CS Photoshop and Nik Silver Efex Pro software. I specifically went for high contrast images with deep, dark skies as the area is known as 'The Dark Peak'.




If you would like to visit this area and learn how to take better photographs, I am now offering a landscape photography workshop at this location. More details regarding course content can be found at f22workshop.com. For availability and bookings please email me or give me a call on 07429 906922

25/05/2012

HipCombo

This text is a follow up to my earlier post, Shooting with the Hip which I published on 01/04/2012. If you're not familiar with the Hipstamatic application I recommend you read that article first. In the post I stated that, 'I really had to make a concerted effort to shoot using Hipstamatic and not the iPhones regular camera'. This was partly due to the fact that the Hipstamatic 'camera' doesn't feature Auto Exposure/Auto Focus (AE/AF) lock which I found limiting. The other reason I struggled to embrace the app was because I couldn't find a film and lens combination that really impressed me. 
Shooting with the Hip wasn't exactly scathing in its assessment but, having re-read the article, my opinion of the app was lacklustre. Since then I have been shooting almost exclusively with Hipstamatic and my opinion has shifted somewhat. I shall now attempt to redress the balance.



With the recent release of the Wicker Park HipstaPak (more on this later) there are now 12 lenses and 14 film types available to Hipstamatic users (more if you have some of the earlier and now discontinued equipment). This gives a total of 168 possible film and lens combinations. 

I have now downloaded all the available HipstaPaks and have been experimenting with the many different lens and film combo's. Considering the choice is so extensive the number of partnerships I use regularly, seldom reaches double figures.


As previously stated Americana and John S lenses paired with Blanko, Blanko Freedom13 and BlacKeys SuperGrain films were my preferred choices. Of the new downloaded paks one, in particular, stood out  -  The Foodie SnapPak.




The Foodie SnapPak contains the Loftus lens, DC film and the Tasty Pop flash (I never use the flash). The blurb in the Hipstamatic field guide informs us that the lens was inspired by the food photographer David Loftus (he's the guy that shoots all the 'pukka' food for Jamie Oliver's books). The guide also gives the following information under the heading of lens qualities.
'Sharp in the centre, then goes blurry in the corners and edges like an old minuscule lens or a tilt shift lens. Colours are fairly vivid, without much of a colour shift.' This is an accurate description. The colours are a little over-saturated (which I like) and the cast is minimal, with an occasional bias towards magenta. 



Loftus lens, DC film, No flash


The pak's film, DC, continues the 'Foodie' theme and is named after Domenica Catelli, an American chef who has, 'influenced the way millions of (American) families eat with her tasty and healthy approach to cooking.' The film is a perfect companion for the Loftus lens. If shooting in colour this is my preferred partnership. Once again the Hip guide is spot on, describing DC's tones as 'delicious' with a 'slight gloss'. I love the fact that everything is enclosed by a thin black border, it reminds me of printing 120mm roll film from a filed down neg carrier (those who have printed in a 'wet' darkroom will appreciate this memory).


Loftus lens, DC film, No flash


The combination of Loftus lens and DC film are clearly geared to photographing food. However, the partnership is a solid all-rounder and copes admirably with a whole range of lighting conditions. I am especially fond of the subtle tones this combination reproduces when photographing muted colours.

Loftus lens, DC film, No flash

I do still use other combinations of film and lens depending on subject matter and lighting conditions. My preferred choice for shooting mono work is still BlacKeys SuperGrain film through the Americana lens. I have experimented using the same film with the Loftus and John S lenses and although I like all the combinations the Americana lens just edges it for me personally.

Americana lens, BlackKeys SuperGrain film, No flash

Even with so many different combinations of lens and film, I find myself willing the release of the next HipstaPak so that I can experiment further. This is possibly a tad obsessive and more than a little geeky but you've got to get your kicks where you can. Imagine my excitement at the release of the all new Wicker Park HipstaPak. The pak contains the Lucas AB2 Lens, the Jolly Rainbo 2X Flash and the Damen camera case. Rather disappointingly there was no film with the pak and as I don't tend to use the flash much, that just left the lens to test. The new case, however, looked lush with its antique wood and metallic body (bit strange describing something as lush when it only exists 'virtually', it's not like I could smell the 'oakiness' of the wood - it just looked good).


I was looking forward to testing out the new lens as I liked the sound of the field guides description; 'Dunked in a fine golden brown glow, the Lucas AB2 produces amazingly rich prints.' Initial tests and subsequent results didn't exactly bowl me over, so I persevered with several different film types. All the tests I shot with this lens using various films didn't look as good as my tried and tested favourite, Loftus with DC film. There is, undoubtedly, a richness to the finished print, predominantly in darker/foreground areas, but the lighter areas within the frame, such as blue sky/white clouds, look hugely under-exposed.

John S Lens, DC Film
Lucas AB2 Lens, Blanko Film

Personally I prefer good definition between white cloud and blue sky. The Lucas AB2 does not give you this, these areas get merged to produce a light, tea-stained brown. Even with interesting subject matter, great light and good composition skies can look washed out. If photographing scenes with hugely contrasting shades of brightness and darkness, certain lenses/films perform better than the AB2. In the images above the combination of John S lens and DC film manages to give an overall balanced exposure, whilst maintaining good definition in the sky. Compare that with the lack of definition in the image on the left, shot using the Lucas AB2.

Lucas AB2 Lens, Blanko Film

I have continued to use the Lucas AB2 and I make a point of switching back to it when using some of my favourite combinations, just to see what it can do under different lighting conditions. I have recently found that if you are shooting areas predominantly made up of sky, with the intention of rendering foreground subjects in silhouette, the lens produces some good results. You can be shooting at noon on a bright sunny day and the effect you achieve replicates a time later in the day (late afternoon/dusk). This can add atmosphere, as the frame below illustrates.

Lucas AB2 Lens, DC Film

Histamatic is a fantastic app but it does take a little getting used to. The key is to experiment with different film and lens partnerships until you find something that appeals to your own personal taste. My rather tepid opinion of the app in Shooting with the Hip was simply down to the fact that I had not found my own perfect combination. Once I did, I started using Hipstamatic more frequently. It has, subsequently, become my favourite iPhoneography app, with Loftus (lens) + DC (film) my preferred combination.

10/05/2012

Bird on a Wyre

The following post was written after my first few visits to Wyre forest. The aim of the original article was to provide the reader with information about Wyre and its diverse range of bird life.
My imminent move back to the north west of England means that this area will no longer be on my doorstep. I shall miss my frequent visits to the forest, especially during spring and summer, when it became my second home. I hope my fondness for this area is communicated through my images and also that they inspire some of you to visit this truly stunning location.


Tree canopy, Wyre Forest


One of the most outstanding areas of natural beauty in the West Midlands, if not the country, is The Wyre Forest. Situated one mile west of Bewdley, Worcestershire, the forest encompasses 6,000 acres of well established mixed woodland. Like so many of Britain's woodlands, Wyre was cultivated by the English gentry at the turn of the century for hunting purposes. The land is now managed as a nature reserve by a number of organisations including Forest Enterprise (FE), National Nature Reserve (NNR) and the Worcestershire Wildlife Trust (WWT).

For the naturalist the site is an Aladdin's cave, brimming with a diverse treasure of native species. On my first visit I chose to bypass the visitor centre and accessed the reserve via Dry Mill Lane, just off the B4190. At the end of the lane is a small car park, to guarantee a space, it is advisable to arrive early as overcrowding can be a problem.


From the moment you get out of your vehicle you are greeted with bird song. Robin, wren, chaffinch and the distinctive laugh of the green woodpecker can all be heard. Visit in early spring (late April - early May) and the native bird species are joined by the illustrious summer migrants, most notably the warblers. Whitethroats, chiff chaffs, blackcaps, wood and willow warblers all add beautiful song that reverberates around the forest.


Green woodpecker

It would be impossible for any 'twitcher' to cover all 2,400 hectares of the reserve in one day. A leisurely walk along Dowles Brook is a far better option and an excellent starting place if visiting for the first time.

From the car park you will see a stone railway bridge. Follow the old rail track, now a tarmac lane, to the bridge then make your way up the embankment. At the top, turn left and head north. After a few minutes you will see an old stone cottage and hear the trickle of Dowles Brook, which runs parallel to the house. Having made your way down to the waters edge, follow the path alongside the brook in a north-westerly direction for about a mile and three quarters.

Dowles brook

The calming trickle of Dowles brook is regularly broken by the piercing whistle of the magnificent kingfisher. Its scintillating hues of electric blue, turquoise and salmon-red, flash past at incredible speeds. Find a place at the waters edge, near overhanging branches, and sit quietly. If patient you will be rewarded with views of this exotic looking bird as it perches motionless, before diving for minnow.

Kingfisher

The tactic of sitting quietly in the same location can be very satisfying, especially on the banks of Dowles brook. I have regularly observed a pair of Mandarin ducks at close quarters. The male in particular is a delight to watch as it stands on the sandy bank preening its multi-coloured plumage.
Dippers are also widespread in this area, as are grey wagtails, the latter displaying great artistry as they deftly flit across the waters surface catching cranefly.

Mandarin duck (male)

For those visitors wishing to add to their species list, continue walking for approximately one mile. Immediately after you pass a white derelict house you will be able to cross the brook using a small iron footbridge. Head south up the plateau of mixed woodland. Once at the top, the assault on your senses continues. Take time to look back and admire the view. Lilac bluebells mixed with white wood anemones carpet the forest floor, yellow daubs of buttercup pepper the meadowland and the various hues of green that make up the woodland canopy all contribute to what looks like an impressionistic artwork.

Woodland floor, Wyre Forest

As you follow the woodland trail up the steep ascent goldcrest, greenfinch, blue, great, coal and long-tailed tits can all be seen and heard. It would be unusual if you didn't hear the drumming of the great-spotted woodpecker in this area too. Stop again for a period of time and the bird will inevitably move in to view.

Great-spotted woodpecker

At the top of the trail the path will again meet the old railway track. Turn left and follow the lane east, it will eventually lead you all the way back to the car park, approximately one and a quarter miles.
The bird species along the track is just as impressive. Many of the small passerines are present, highlights could include nuthatch, redstart and the elusive pied flycatcher.

Nuthatch

There is also a very good chance of seeing raptors along this track. Sparrowhawks are ever present and can be seen regularly, skimming the hedgerows in pursuit of small song birds. Look up to the sky and you will more than likely see buzzards gliding on the thermals, almost motionless, whilst mewing their distinctive cries.

Common buzzard

Returning to the car park you'll wish you had time to explore many more of Wyre's extensive woodland trails. It's a vast reserve, of stunning beauty, with a diverse collection of avifauna. A must for all ornithologists and naturalists.