Category Archives: landscape

Sometimes it’s worth turning around

The Kelpies

The Kelpies

These are magnificant stainless steel clad sculptures standing around 30 metres tall located by the Forth & Clyde canal at Falkirk. Since they were opened to the public in 2013 they have become a favourite subject for photographers. As you can tell, I am no exception. Mostly they are photographed in a couple of ways: relatively close up and showing their context beside the canal, and also at dusk or night when they are illuminated.

I’ve been a couple of times to take some photographs and have done the “usual” thing with them, so nothing too different really apart from a couple of very tight close-ups which show only parts of the sculptures. On one occasion, I had taken all the shots I wanted and was heading back to the car when I turned round and was met by this view. I immediately liked it. I was drawn to the way the fading light from the setting sun was lighting the Kelpies and how they were contrasted against the sky. I also really liked the dusting of snow on the Ochil Hills in the distance. There is something appealing in the contrast between the softness of the snow and the hardness of the steel Kelpies. I also liked that this view set them in a context not usually represented in photographs. It also felt like the one with its head down was grazing on the trees rising from just below the ridge. That seemed to me such a natural thing that it almost brought the Kelpies to life.

I’d been shooting on a tripod but this was such an opportunity in the fading light that I just went hand-held and aimed to get a shot before the light was gone. I was also cold and keen to be back in the car. For those interested in such things, this was shot at 1/1000sec at f8 on an ISO of 400 and at a focal length of 55mm (there must have been more light than I remember). The image was shot in RAW (as per usual) and initially processed (for all the usual things) in Lightroom. I then used Photoshop to remove some distractions which included power lines and some random birds which were really doing nothing to add to the image.

The Kelpies are well worth a visit. They were designed by sculptor Andy Scott and the name Kelpies was chosen by Scottish Canals. Kelpies come from Scottish myth and legend and are  said to be shape-changing spirits of waterways. There’s some thought that the name may come from the Scottish Gaelic words ‘cailpeach’ or ‘colpach’, meaning heifer or colt. Kelpies are said to haunt rivers and streams typically appearing in the shape of  horses. Of course, horses were also a feature of canals when they were used to pull barges. This makes these magnificent sculptures so appropriate to sit by the canal.

This image is available as a Fine Art print on my website along with another couple of more “usual” shots of the Kelpies.

 

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Spot the difference

Rannoch Station is one of the most remote railway stations in the UK. Here are two photographs of it. Can you spot the difference? You may need to enlarge the photos.

Rannoch Station

Rannoch Station

Rannoch Station

Rannoch Station

Did you spot it? There are no prizes (don’t stop reading though) for seeing that in the first shot there are wires leading down to the station building from the top left of frame whereas in the second shot they are absent.

The question is, was this worth about 45 minutes in Photoshop to take the wires out? It’s not so easy to answer and is really a matter of personal opinion.

Leaving the wires in is an honest reproduction of what was actually there and there are people who would argue for that level honesty in photography. The curious thing here is that at the time I took the photograph I really wasn’t aware of them. By the time I got round to processing the photo in Lightroom, I became increasingly aware of them. I felt they were detracting from the scene as I had originally enjoyed it. So there’s another little dimension on this minorly ethical matter. When we view any scene live – by actually being there – we tend to focus rather specifically on what we take in and our brains undertake some live editing and we simply filter out things that we’re not interested in. So, by taking the wires out in Photoshop was I being true to my own memory and perception but untrue to the actual reality?

It was a fiddly and time-consuming process to remove the wires but I felt that the scene was better without them. There was no longer competition to be the leading lines into the photo and I feel much happier without that competition going on. I think the composition is enhanced by removing the wires and therefore the effort was worth it.

In the end, I take the view that Photography, of this type is art. I think the debate becomes more pointed when we get into the realms of photojournalism or documentary genres where there is much more of an overriding need to present things honestly.

So, what do you think? I’d be fascinated to read any comments on this.

 

Tree of knowledge

Tree of Knowledge

Tree of Knowledge

There’s a story behind this one.

It begins in October 2014 when I visited Westonbirt, The National Arboretum in Gloucestershire. The plan was to get some photographs of trees in autumnal colours and during the visit I took a number of photographs, some of which were OK but none were real stand-outs. Some months later I was experimenting with masking in Photoshop and had the idea of shaping a tree in a human profile. Among the shots from Westonbirt was the one below.

Tree, leaves, shadows, bark, tree, textures, colours, nature

 

I felt this offered an opportunity to be creative with a profile mask so set about working in Photoshop with two profiles I had sourced. One was clearly male and the other clearly female. I tried edits with both and, for some reason, I found the female profile worked better in aligning with the tree. I worked with it and cropped in to make the effect more evident and saved the work in a folder along with other experiments gathering e-dust, you might say.

Recently I was working on some other creative effects and adaptations and recalled this one so was keen to revisit it. Coming back to it after a reasonably lengthy absence was quite refreshing and I decided that I rather liked it but felt it needed a title. As I’d shaped it into the profile of a human head I got to thinking about what we contain in there – everything we know, our feelings, thoughts and memories. I was leaning towards the title of Tree of Knowledge which, of course, has direct resonance in the story in Genesis: The Lord God took the man and put him in the garden of Eden to work it and keep it.  And the Lord God commanded the man, saying, “You may surely eat of every tree of the garden,  but of the tree of the knowledge of good and evil you shall not eat, for in the day that you eat of it you shall surely die.” Then later, So when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of its fruit and ate, and she also gave some to her husband who was with her, and he ate. At this point I found it curious that I had chosen the female silhouette for the profile shape as, in the Genesis story, it was the woman who first ate the fruit of the Tree of Knowledge of good and evil.

If there’s a moral to this little tale of mine it’s that we, as human beings, know the difference between good and evil and we have a choice as to how we behave in the light of that knowledge and that just about anything can be used for good or harm.

I find this image of the Tree of Knowledge, to be a reminder to use my photography for good.

If you wish, you can buy a print of the Tree of Knowledge here and have it on your wall as a reminder to yourself.

Thanks for reading and for following this blog.

Falls of Bruar

The Falls of Bruar, Perthshire

Falls of Bruar

Last week I was in Perthshire for a break featuring some rest and relaxation and time to read. Of course, a photographer is never really taking a break from capturing images but I was there with no fixed plan only my gear and a loose intention to get any images on an opportunistic basis. Most days were wet and more conducive to reading than photography.

On this day, however, my wife and I decided to head to Killicrankie where I thought I might get a shot or two, which I did. After that, however, we decided to head a little north to the House of Bruar for some refreshment. I remembered there were signs to the falls of Bruar so we set off up the path with the dog and I got a couple of images I like, including this one.

I know these long exposure shots of waterfalls are something of a cliché but what captured my attention here was the swirling water at the pool below the waterfall and I thought that might make for an interesting feature. The late autumn colours were vibrant and the very diffused daylight was giving them something of a gentle glow.

I chose to shoot this at f11 to provide a decent depth of field but stay close to the sweet spot of the lens. I wanted a long exposure, so from there I opted for an ISO of 100 and added an ND filter giving me a final exposure time of eight seconds. That’s been long enough to soften the cascade and capture the swirl in the lower pool. I’m pleased with the contrast between the softness of the water and the sharp detail in the rock. There’s also a glow in the water to the top of the pool which reveals the clear but peaty-brown nature of the water. I’m almost back there.

…and a tripod was pretty essential.

If you think this photo would brighten up a wall in your home or office it’s available as a fine art print from my website. Go on, treat yourself or someone else…

Thanks for reading – if you like this, please let me know.

Relaxing in to autumn

green cast iron seat covered in and surrounded by autumn leaves

Autumn seat

Autumn is my favourite season and this photo rather sums it up for me.

At this time of year as the sun sinks lower in the sky and the atmosphere cools the light becomes richer and the possibility of ethereal mists can add a dreamy quality to landscape scenes. This is the time of year to get out there with the camera and make the most of the conditions.

This photo was taken in the walled garden at Kellie Castle in Fife which is relatively local to me and was taken on a sunny autumn day when I simply decided to get out and about. It shows that we don’t need to go far to capture intriguing photos. I went out with no clear plan, other than a determination to capture some images. There is a walled garden at Kellie Castle and I went in there aware of the surrounding trees and hopeful of perhaps getting a shot of the castle surrounded by the colours of autumn. There were one or two options for that which, of course, I captured but as I then walked round the garden this seat caught my attention.

The colour of the seat stands out well against the backdrop of the leaves which offer up an impression of a soft patchwork blanket. The leaves on the seat also suggest a soft cushion contrasting with the hardness of the seat itself.

There is something about autumn which encourages me to slow down and relax into the season. I think this photo captures that sense of the desire to sit down and appreciate the beauty that is all around.

If you would like to keep a sense of the relaxation the autumn inspires why not hang a print of this image on your wall, at work or at home. You can buy a print here.

 

 

Estuary sunrise

sunrise over the Forth estuary

estuary sunrise

Another one from the archive, this was shot at 08:23 hrs on 08 December 2017 using my smart-phone. I really like the colours and simple composition of the open space and it was interesting to revisit the editing process so I thought I might share that and walk you through what I did with this one.

This was entirely processed in Lightroom Classic CC and typically of my work flow I started with lens corrections ticking on both:

  • Remove Chromatic Aberration, and
  • Enable Profile Corrections

Next stop in the process was the basic tab where I:

  • reduced the exposure very slightly (-0.12)
  • increased the contrast a little
  • dropped the highlights significantly (-75)
  • lightened the shadows significantly (+57)
  • moderately lightened the blacks (+31)
  • added clarity (+36)
  • increased vibrance (+26)

The next stop was the HSL tab. Given that the colours are important to this image I spent quite a time on these settings, making adjustments to each of hue, saturation and luminance. I should emphasise that the settings I am sharing are what I ended up with and the numbers are pretty much irrelevant other than to give you a sense of the relative amount of adjustment I was making. The process was very much one of observation, trial and error to get to what I felt looked good and close to what my eyes saw at the moment of taking the picture. So, to HSL.

  • Hue – I pulled back the hue settings on each of:
    • orange (-29)
    • yellow (-27)
    • purple (-22)
    • magenta (-27)
  • Saturation – I made the following adjustments:
    • red (+4)
    • orange (+20)
    • yellow (+16)
    • purple (+29)
    • magenta (+20)
  • Luminance – I made the following adjustments:
    • orange (-11)
    • yellow (+24)
    • purple (+42)
    • magenta (+27)

Finally, I sharpened using the Detail tab. I tend to go carefully here and use the masking slider to make sure I only sharpen what I want. Here’s a tip – if you hold the Alt key while adjusting the masking slider it shows you exactly what will be sharpened (only the white areas). With that in mind here are the final settings under detail:

  • amount (59)
  • radius (1)
  • detail (25)
  • masking (92)
  • luminance (36)
  • detail (50)
  • contrast (11)

And that’s it. Please note though, that interesting though this might be every image is different and when editing you need to be the one making the decisions based on how you want the final image to look. My aim in sharing the above is only to give you a sense of what I adjusted and, relatively, by how much. In working on photos I never look at the number values of the adjustments, only at the visual effect of what I’m doing,

Generally my editing is much lighter than the treatment this image got and for the most part, the accumulation of small adjustments is what makes the biggest difference.

One to go back to

rock, beach, water, calm, sky, low tide, ripples

Rock, water, sky

It was low tide this morning when walking the dog along the beach so we went a little further than usual to where I know there are rocks and pools. This mini scene caught my eye and I was struck by the calmness of the water in this extensive but shallow pool left by the receding tide. Immediately I was thinking about a possible photographic composition but this was no more than something I might end up noting for the future – potentially one to go back to with the proper gear. All I has was my ‘phone but it’s invaluable for recording possible compositions.

This one needed a good focal point and I thought the seaweed covered rock offered a decent subject reflecting gently in the water. I felt this needed a low angle of attack so I walked into the water and crouched as low as I could to get the foreground filled with the pool and the include the sky where the cloud offered a nice “sandwich” effect with the bright horizon more or less central.

Given that this was a “scouting” shot” you might ask if it’s worth doing any processing on the phone image – yes, absolutely it is because, for me at least, it helps me see more of the potential of the composition and what I might look for in going back. Of course, anything I later do will be different, because the conditions will be different but, having gone through the full process, I have a much better idea of the possibilities.

So, I thought I would take you through the editing adjustments I made to get the final “scouting” shot above. First of all, here’s a before and after comparison to show how the image looked straight out of the phone compared to the final result:

rock, beach, water, calm, sky, low tide, ripples

before and after

All the editing was done in Lightroom and the comparison above is taken from the Lightroom Before/After function. The red area in the “before” shot is showing up as I keep highlight and shadow clipping switched on, so this is showing areas of sky that are blown out. So, where did I begin and what adjustments did I make to end up with the final “after” image?

First of all, and I pretty much always do this, is I made lens corrections and ticked to remove chromatic aberrations. After that I went into the basic menu in Lightroom and selected the auto tone option. I don’t always do this, but on this occasion I felt it would give me a decent baseline to work from. Working sequentially, I then did the following:

Exposure – dropped by about half a stop

Contrast – reduced slightly

Highlights – to deal with the blown-out area I used a brush adjustment to localise the effect only where I wanted it – in specific areas of sky

Shadows – slightly lightened

Whites – slightly lightened apart from the sky where, as part of the brush adjustment, I also dropped the whites slightly darkened

Blacks – were slightly darkened

Clarity – go carefully with this, but increased it slightly

Dehaze – as with clarity (both of these affect contrast)

Vibrance – slightly increased

I then made some colour channel adjustments, increasing the saturation of green while also adjusting it’s hue. This was to help make the rock stand out a little more as the key subject. I also made some slight adjustments to purple and magenta (hue and saturation) to bring about the effect I wanted in the sky and the sand below the water.

Finally I added a slight vignette to draw the eye towards the centre of the composition.

Having done all of that I feel this is one I might return to with the full gear even though I know it will inevitably be different. Rehearsing the whole process has encouraged me to think there is some potential here.

It also occurs to me that this shows there is much more to photography than just “taking a snap”.