Tag Archives: landscape

I couldn’t leave empty-handed

The trouble with landscape photography is getting just the right conditions which  requires both planning and patience. Sometimes though, there just isn’t enough time left for the conditions to improve so you need to improvise a little or leave empty-handed.

recumbent stone circle

Tomnaverie Stone Circle

It was a grey, heavily overcast, drizzly evening when I visited Tomnaverie Stone Circle near Tarland in Aberdeenshire. The light was heavily diffused and refusing to do anything remotely interesting, making everything boring and flat when I’d hoped for the better conditions that had been forecast. My plan had been to build a composition that included the stone circle as a foreground with Lochnagar in the background. On this occasion, however, Lochnagar was not even visible in the low cloud. As I don’t like to leave empty-handed I scouted around for some other shooting opportunities.

By way of context, Tomnaverie is what’s called a recumbent stone circle as it features a large stone lying flat which is flanked by a pair of uprights. This type of stone circle is peculiar to north-east Scotland and typically the recumbent stone is on the south/south-west of the circle. The obvious shot would be to feature the recumbent stone, but as I walked round the circle my eye was taken by the cloud hanging low over a distant hilltop. I thought it might make for a dramatic scene with the low cloud cover leading over the stone circle towards the hill and the setting sun was casting some light into the scene. The difficulty in getting this shot was always going to be the exposure. I needed to feature the clouds but not lose the foreground of the stones and there was just too much of a difference in exposure between the sky and the land. What this was going to need was an HDR composite.

If you’re not sure what HDR is, it simply stands for High Dynamic Range and is achieved by shooting the same scene at different exposure settings, then blending them in post to achieve an HDR composite in which all elements are correctly exposed. It’s getting closer to how the eye sees the scene and the wonder of our eyesight is that it compensates beautifully (and automatically) for different brightnesses; something cameras just can’t do. There are some key points to keep in mind when shooting for an HDR:

  • use a good sturdy tripod. It’s so important that the camera doesn’t move at all between shots
  • settle on the aperture setting and ISO you want and only alter the shutter speed from shot to shot. This means you keep the depth of field and grain (“noise” for you digital freaks) consistent
  • use either a cable release or the short timer on camera to minimise any other source of shake

I opted for an ISO of 100 (to minimise grain) and an aperture of f11. Here are the three different exposures I took from which I created the final HDR image.

Using Lightroom, I first made lens corrections for each image then selecting all three asked Lightroom to merge them into an HDR. That’s an automated process and it does a pretty good job, but it still needed some more work to get the final kind of effect I was looking for. I made a slight cropping adjustment to change the format to 16×9 which I felt was more suited to the composition. I also applied a gradient filter to make some fine tuning adjustments to the cloudscape.

In the final image (top) the recumbent stone with the twin uprights can be seen in the middle-ground just left of centre.

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I had no idea…

Well, it’s been a busy week with all manner of boring (but necessary) admin tasks to attend to and yesterday evening I realised I didn’t have a subject when I intended to write a blog post today. I decided, therefore, to take the initiative and head out with my camera and no clear idea as to what I would shoot.

Inspired by some shots my family had taken on a trip to Elie in the East Neuk of Fife, and  only a short drive from home, I set out for there to see what might be on offer photographically. As I prepared to leave, the dog was giving me “the look” which was enough to persuade me to take her along. If nothing else, the evening air would be good for both of us.

I parked up near the Fife Coastal Path and headed out towards Elie Ness Lighthouse. There was nothing really catching my attention there so I carried on round to Lady’s Tower, an old stone edifice built in 1760 apparently as a changing room for Lady Anstruther who liked to bathe in the shelter of the rocks just below. It’s said that a bell would be rung to warn the locals to stay away while she was bathing.

The evening sun was getting a little lower in the sky, casting a warm glow on the stone of the tower and the rocks below. I tried a few shots around the tower before setting up with ND filters to get some soft water effects as the sea washed over the rocks. At the time, I wasn’t all that convinced that I was getting shots I would be happy with, but opening them up in Lightroom and doing some editing got better results than I had expected. I was by that time, however, thinking that my blog post would be about a forlon trip when nothing really presented itself as a pleasing image that would be “a keeper”. And that happens – often. Just like fishermen, photographers come home with tales of the one that got away, or the one that actually never was.

I was preparing to settle for this just being a nice time out with the dog, taking some photos and enjoying the sea air on a pleasant summer evening – not a bad outcome – and was thinking about stopping by a bench to pack my camera away when I spotted this….

grasses in the sunset

sunset grasses

This is actually the last of three shots that I took of this scene. What immediately attracted me was the warm glow of the sun which was casting a more diffused light having been partially obscured by clouds. It was the beautiful golden light that was capturing my imagination.

Shot 1 – was very bog standard – wide, capturing the whole scene and very much the typical sunset type of photograph. It was my shot in the can, if you like; something to have that could probably be worked on a little in post.

Shot 2 – was cropped in a little, by zooming to a longer focal length and focused on the background. I felt that was a better composition. With landscapes, it’s easy to stay with the grand vista, but there is often great merit in homing in on a specific feature, or aspect of the scene.

Shot 3 – the one above. This time I decided to keep the same basic framing as shot 2 but this time to focus on the grasses in the foreground and throw the wider “grand vista” out of focus. I’m pleased with it as the grasses make for a good point of interest, provide a leading line and frame the highlight on the water.

All of the processing was done in Lightroom with the intention of using as light a touch as possible, which consisted of a slight warming of the colour temperature and some minimal and local highlight dampening.

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Be inspired and keep those shutters firing.

The journey to the image

The journey to a final image has barely begun when the shutter is fired. There’s still work to be done in getting to the composition that the eye has seen and the imagination has worked with. I thought it might be worthwhile looking at that journey again with another example.

Unretouched view towards Edinburgh

Unretouched view across the Forth to Edinburgh

This is the original unretouched shot as it came out of the camera as a RAW file. I pretty much always shoot RAW so that I have the maximum data to work with in post. This was shot in the evening as dusk was falling. I shot it hand-held at 1/40 sec, ISO-200 at f/8. The reason I’m sharing those settings is that I want to explain how I was trying to find the right compromise to get a workable image. The available light was fading quite quickly as dusk fell and there was a natural haze to the light looking out across the water. I was using a focal length of 55mm so normally, to minimise camera shake, I’d want to use a shutter speed of at least 1/60 sec (the general rule of thumb is to sue a shutter speed at least as fast as the focal length – ie shooting at 30mm choose a shutter speed of at least 1/30 sec).  I was therefore shooting just a little slower than I ideally wanted and took the risk of minimal blurring from camera shake – but I thought I’d manage to be steady enough at 1/40 sec. I could have opted to widen the aperture to get a faster speed, but I wanted to have a reasonable depth of field for a landscape shot, so didn’t want to come lower than f/8. Then there was the question of ISO. I wanted to minimise grain (noise, if you prefer) so opted for ISO-200. I think I was pretty much pushing the boundaries here.

The initial RAW image (above) is rather washed-out and not as clear as it looked to the eye. My job in post was to try to get as close as possible to what I saw without making it look too heavy-handed. I did all the processing in Lightroom to end up with this:

Edinburgh from Fife

Across the Forth to Edinburgh

That’s much closer to how I saw the sky and the landscape of Edinburgh and the Pentland Hills. So, how did I get to this? Here’s a brief run down of the editing. First of all (and this is standard to my workflow) I made adjustments to the Lens Corrections and ticked to remove chromatic aberrations. I cooled the colour temperature just slightly to bring through some more of the natural blue tone. Then I added some dehaze, and clarity, trying not to overdo it. As both of those essentially affect contrast, I left the master contrast control alone. I also boosted the vibrance a little to enhance the colours and then made slight adjustments to the saturation of purple and aqua. That pretty much got me to where I wanted to be with it. Then, just to deal with the sky, I added a graduated filter and darkened it slightly. I wasn’t entirely happy with the landscape across the centre, so used a brush to add a little more dehaze to that central strand.

I envisaged this as amore cinematic shot, so cropped to a 16×9 ratio slightly recomposing to drop the horizon below the centre line. Finally, I added a slight vignette to help draw the eye in to the composition.

That, then, is how I went from the original shot to the final image. Is this a keeper? Probably not. If I go pixel-peeping, I can see some evidence of slight blurring which is probably the result of hand-holding at 1/40 sec. This wouldn’t really stand up to printing in any large scale, so I’ll put it down to a useful experiment. If I wanted to make something of this composition, I’d need to go back and re-shoot it using a tripod. Of course, whilst I could go back at the same time to the same location, the light won’t be the same and I will never be able to exactly reproduce this image. Such are the joys…

 

 

Something new

So, it’s been a little while since I last posted. What, you might ask, have I been up to?

Well, let me tell you.

rocky mountian peaks French Alps Chamonix

Alpine peaks

First of all, I was not away taking this photograph. It’s one from the archive, but it does feature in my new website as one of the images I now have for sale as a fine art print.

Perhaps you have now guessed – I have been busy building a new website to better reflect my business as a photographer. I have long wanted to sell prints and now have that opportunity through my new website where I will be adding to the range of images available for sale. For the moment, it’s landscapes but I think I will be adding at least one more category.

So, if you like my work and would be happy to see it on your wall, then go have a look at what’s currently available as landscapes within Fine Art Prints. All ordering and payments on my website is secure and payments are handled through PayPal – and there’s no need to have a PayPal account.

While you are there, feel free to browse my website and see what else I do.

I don’t promise that this will be my last sales pitch but I don’t anticipate any more any time soon and we’ll get back to blogging on photography more generally.

In the meantime, keep those shutters firing.

Making the most of it

I went to the seaside recently on what was a fairly calm but uninspiring day. I did have a definite plan, though. My aim was to shoot a minimalist seascape and see if I could make it interesting whilst lacking a major feature or subject within the frame.

This is what I ended up with.

beach sea and sky

deep blue

But it’s not how things began.

Here’s the original RAW file as it came out of the camera.

unedited seascape

seascape

I could see some potential in this, but as I’d been shooting towards the light, the colours are muted and the picture is pretty flat and lacking in contrast. I also felt that there are distractions here that would be better removed.

I liked the faint leading lines in the wet sand which are complemented by the small raised sandy patches helpfully pointing towards a vanishing point roughly mid-frame. Compositionally, I thought there was enough going on here to be interesting without a major subject. However, the small stalks of seaweed rising from the sand were a distraction was the drilling rig to the right of frame. I also wanted to remove the slight piece of lens flare to the left of frame. It was also clear that if this image was going to work, it needed to have a better colour treatment and some more contrast.

To achieve what I had in mind I was going to need me to work with both Lightroom and Photoshop. The danger I wanted to avoid was ending up with something that looked like it was on steroids – I wanted a natural look, so the job was more about recovering the image to something close to what I actually saw, whilst also getting rid of the distractions.

I started in Lightroom and, following my usual work flow, made the usual lens correction and ticked for removing chromatic aberration. After that I added a little dehaze to bring in some contrast before making a slight adjustment to the contrast setting itself. I find the dehaze feature more helpful with shots into the light. After that it was a case of reducing the highlights enough to prevent the left of frame area looking too thin and making a slight compensating adjustment to the overall exposure. That didn’t quite achieve what I wanted so I added a graduated filter running vertically and extending in from left of frame. Within that I made local adjustments (quite finely) for exposure and highlights.  I finished my work in Lightroom by adjusting the colour temperature to cool it a little and bring back some of the blue. I also slightly adjusted the saturation of blue and aqua in the HSL setting, adjusting for both hue and saturation. All of this with the lightest touch I felt I could get away with to achieve the effect I wanted.

Then it was over to Photoshop to deal with the distractions. After making a duplicate layer to work on, I removed the distractions I wanted by first using the content aware fill and then refining where necessary with a little cloning. Finally, I ran a high pass to sharpen the overall image.

In the end, I am happy with what I finally produced. I think I managed to achieve something very close to what I saw with my eyes on location. In short, I think I managed to make the most of it.

What lies beyond

It’s a grey, wet miserable day and I am not out shooting. So, by way of a break from the boring but necessary admin work, here’s one from the archive.

mountains, landscape, clouds, vista, valley

revelation

This is a favourite of my landscape shots and is one I keep returning to. I just love it. This was shot on 20 September 2008 during a special trip to the French Alps. It’s one of those completely serendipitous unplanned shots. My wife and I were returning to our hotel in Chamonix from a visit to Evian on the shore of Lake Geneva when we stopped for a break at a service station. I was aware that there was a degree of elevation where we were and headed, more in hope than expectation, between the parked-up lorries to see what kind of view might be on offer. At first, I was met with a very dull scene but, very quickly, the clouds started parting and the revelation was simply breathtaking.

I love the theatrical nature of this image, the clouds being drawn back like curtains to reveal the main attraction. Honestly, you could have sold tickets for this.

Apart from the memories this image evokes, I really like the composition of three main elements: the cold clear crispness of the mountains; the softness of the cloud  and the lush verdant valley below.

This image also works for me on a philosophical level and is a reminder that there is always something better lying beyond the clouds that face us at any given time.

 

Getting a bonus shot

Today I set out to explore the landscape on the Falkland Estate where I’d heard there was a waterfall you could actually walk behind.  Sure enough, after getting directions from an information point and a hike uphill, I found the Yad Waterfall.

waterfall, water, cascade, smooth, landscape, nature

The Yad Waterfall

This was too good to miss, so I was pleased to have taken the camera bag and tripod on what was just going to be a recce. It was very quiet and I had planned that if I found the waterfall I would go for a long exposure to soften the water. This was achieved using an ND filter and shooting on ISO 100 at f11. Some gentle editing in Lightroom gave me a couple of final images I am pleased with.

waterfall, water, landscape, nature, softened, smooth

Yad Waterfall

Feeling pleased with what looked like a potentially good outcome from this little trip, I headed back down to have some alfresco lunch at The Pillars of Hercules where I was joined by an unexpected guest.

robin, bird, nature, wildlife

Robin

This little robin was extremely bold and nearly got onto the plate with my toastie. Still, he made for a good model and a bonus shot for the day.