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

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.

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. 

Tree of life

My fascination with iPhoneography continues. Over the past few weeks I have amassed a whole portfolio's worth of tree images. All frames have been shot using the iPhone 4 in conjunction with the hipstamatic camera app.
Whilst studying this new batch of 'prints' I found myself questioning the reason for my strong interest in photographing trees. One could argue that as a photographer and naturalist, trees would be an obvious choice of subject matter. They often sit, isolated on the horizon, breaking the void between land and sky. A single tree in isolation, with the right lighting conditions, can produce a powerful visual document. 

In an effort to understand my interest further, I began to trace the history of man's complex relationship with trees. I found an excellent piece of work written by, woodturning expert, Brian Clifford. In his article, Trees, wood and people, Brian offers a concise insight into this special relationship. The version reproduced here is a summary of a 5,750 word document. A link to the master version can be found at the end of this post.

Trees, wood and people

Introduction 

Since they evolved trees have had a great influence on the shaping of the ecology of our planet and in determining the present arrangements of life on earth. Of particular importance for us has been the role of trees in the evolution of mankind and the development of human cultures and communities.

The origins of man 

Some 65 million years ago, just after the demise of the dinosaurs, a small rat-like species of mammal (now known as a prosimian) left the ground and took to life in the trees. Eventually after 50 million years had passed, this creature returned to the ground as the ancestor of man. 

The period spent in the environment of the trees was of great formative importance because it promoted many physical changes. These changes included a massive increase in body size, the development of paws into hands and 3D colour vision. The physical changes were mapped by an increase in the size and the capability of the brain. Thus prosimian developed into simian.

The increase in stature led to changes in posture which enabled some simians to stand upright. Eventually one of these species was able to walk on two legs.

It was these changes which led to the descent from the trees and eventually to homo sapiens. So it can be seen that without trees the evolution of prosimian into man would never have taken place. Without trees we would not be here. 

The development of human civilisation 

The development of civilisation has been dependent on wood based technologies. Where would we be without such aspects of our culture as fire, agriculture, the wheel, the use of metals, spinning, weaving, water and land based transport, building, and printing? Our technological culture could not have developed without wood. 

The wonder and the mystery 

On many people trees exert a powerful emotional influence. To many of us a tree is a thing of spiritual sustenance and renewal. The tree is the embodiment of mankind's condition: birth, life, death, regeneration and rebirth. The rising sap is the spirit of life and seeds and fruit are the symbols of fertility. 

The importance of trees 

Trees are the largest and longest living organisms on earth. To grow tall the tree has become a miracle of engineering and a complex chemical factory. It is able to take water and salts out of the earth and lift them up to the leaves, sometimes over 400 ft above. By means of photosynthesis the leaves combine the water and salts with carbon dioxide from the air to produce the nutrients which feed the tree. In this process, as well as wood, trees create many chemicals, seeds and fruit of great utility to man. Trees also remove carbon dioxide, the main greenhouse gas, from the air.

Trees are of continued importance to the environment. Tropical rain forests have of particular significance; although they now occupy less than 6 per cent of the land surface of the earth they probably sustain more than half of the biological species on the planet.

Notwithstanding the debt we owe to trees, their emotive power, and their importance to other forms of life, the forested area of the earth is steadily being depleted. This is leading to the degradation of the environment and the extinction of many species. There is now a real danger that in the not very distant future man will destroy a large proportion of the present population of species on earth, create an uninhabitable environment, and then die out himself. If this happens it will not be the first time that a large proportion of the species on the earth have been extinguished.
© Brian Clifford

I would like to thank Brian Clifford for kindly allowing me to reproduce his work on this blog post. By my own admission I would have struggled to write such a concise article. It covers all the information and issues that I wanted to address and I am grateful for the collaboration. I recommend reading the article in full at: http://www.turningtools.co.uk/trees/treeart.html 

All images © Neil Atkinson.