Caithness Holiday Day 3: Strathnaver and Strathmore are not Caithness

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As the weather dictated, a slight detour from the east coast away out to the centre and west of the top of Scotland. I explored the road down Strathnaver, starting with a small church at Syre (a distinctive tin-tab construction originally built by the Free Church of Scotland as a mission to nearby Sutherland estate, but now joined to the Church of Scotland since 1929):

Having been there last autumn, the view from the head of Loch Naver was just as compelling (and just as windy)

A wide-angle panorama from the head of Loch Naver

A few hundred yards north of Altnaharra a small road leads off through Strathmore, passing some beautiful landscape scenes of Ben Loyal across Loch Meadie:

Further along, I discovered a beautiful but thought-provoking view: at Allnabad, a former shepherd’s house, now ruined and roofless, looks out over a barren landscape over the length of Strath Coir an Easaidh to beautiful undulating mountains beyond. Unusually for me, I made quite significant changes to the scene – the real lighting was strongly blue-green (a very Fuji summer landscape colour palette) but it works better with hints of relative colour beneath a pale sepia wash for a classic old-time look. (I’ve also slightly moved the small pile of stones relative to the building.) The resultant photo is called “The Story”, partly as a homage to the Runrig song of the same name, partly because of the sense of time – evolution of the land on geological and sociological timescales.

Continuing north up Strathmore, I found the remains of the broch at Dun Dornaigil – conveniently built beside the road 😉 – on a lovely sunny day, just had to fly the drone up where a location a bit downstream made an excellent composition of river leading to the broch and Ben Hope in the distance.

From there we drove up to the far north coast and followed the A836 east, keeping an eye on the landscape to the south. Ben Loyal makes an unmistakable outline with its four peaks; somewhere nearer to Tongue there was a convenient layby giving a comparatively clear view across to the mountain.

Exploring Strathearn

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I spent a happy evening exploring the Quoig area in Strathearn – the floodplain of the river Earn between Comrie and Crieff, south of the A85. Disused railway line, Sir David Baird’s monument and a luscious sunset. Can’t complain 🙂

 

Focus-Stacking with the Fuji X-H1

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For years I’ve been a fan of superresolution – taking multiple images of a scene with subtle sub-pixel shifts and upscaling before blending to give a greater resolution photo than any one source.

One of the features I used occasionally on the Pentax K-1 was its pixel-shift, whereby the sensor moved four times around a 1px square; this gives an improved pixel-level resolution and full chroma detail at each point.

Having exchanged that for the Fuji X-H1, I still look to perform super-resolution one way or another. Hand-held HDR always works – in this case even better than either the K-1 or the X-T20 because the X-H1 permits 5 or 7 frames per bracket at ±2/3EV each, which is ideal.

But I thought I’d experiment with a different approach: focus-stacking. This way, the camera racks the focus from foreground to background in many fine steps. Keeping the focal-length the same, the effective zoom changes subtly between successive images. Essentially, where hand-held HDR varies the position stochastically in an X-Y plane, focus-stacking means pixels from the source frames track a predictable radial line in the superresolved image.

The X-H1 has focus-bracketing but leaves the blending up to the user in post. That’s OK.

First, an overview of the scene:

Scene overview: Fuji X-H1, 18-135mm lens at 127mm, f/8 narrow DoF

The X-H1 made 50 frames, focussing progressively from front to back. These were blended using enfuse:

time align_image_stack -a /tmp/aligned_ -d -i -x -y -z -C [A-Z]*.{tif,tiff,jpg,JPG,png}
time enfuse -o "fused_$base" /tmp/aligned_* -d 16 -l 29 --hard-mask --saturation-weight=0 --entropy-weight=0.4 --contrast-weight=1 --exposure-weight=0 --gray-projector=l-star --contrast-edge-scale=0.3

The results are a little strange to behold – while the effective DoF is much increased (the distant wood texture is clear) the rock detail is quite soft; I suspect some of the above numbers need tweaking.

However, with a bit of work – both enhancing the local contrast and using in-painting to tidy up the rock itself – a pleasant image emerges:

The final polished result: banded rock on wood, Fuji X-H1

A definite improvement. I may have to use it in my landscape work a bit 🙂

West Woods of Ethie

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It was one of those crazy late-spring days with a clear divide in the weather – everywhere north of the highland boundary fault was meant to get extreme precipitation, while Fife and Angus remained cool and dry. So we walked for a while in the West Woods of Ethie, admiring the lines and shapes of tall beech trees and subtle light and shade under the canopy.

Aberdeenshire Coast: Catterline

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I’d never really explored much of the Aberdeenshire coastline. On Saturday, however – feeling liberated from EV range anxiety – I discovered Catterline, just south of Fowlsheugh and Dunnottar. Towards the end of a beautiful sunny day, with just enough low golden light on the landscape… I had to fly the drone a bit, too.

The coast enjoys many large rocky outcrops (all conglomerate for a few miles around):

Perhaps my favourite shot is one of the more unusual by my standards: quite a thought-out composition of receding layers of rock, with the cliffs behind casting a huge shadow mid-way up one of the rocks, with Todhead Point lighthouse in the distance – near and far, light and dark, mankind and nature all rolled into one:

Todhead Point Lighthouse from Catterline Bay

Not bad going for the little Fuji camera; having set it to f/16 for depth of field, I’m surprised it chose exposures 1/52s and 1/26s at ISO 1600 and 1/60 at ISO 1000 for its HDR bracketing, but the results are excellent, no noise problems even in the shadows.

To finish, a simple statement of peace: nothing much, just sky above, a gentle disturbance in the sea below; all is calm, all is blue:

Peace: blue sky, blue sea

Birks of Aberfeldy

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A few weeks ago, I spent a happy Saturday afternoon strolling around the Birks of Aberfeldy, testing the newly acquired Fuji X-T20.

For context, a general landscape of the lower end of the gorge with the Moness water flowing around rocks and pebbles in the riverbed:

The Moness river flowing over rocks and pebbles

For consistency, everything else was shot coupled with the Helios 58mm f/2 lens using the Acros+Yellow black&white film emulation mode and ISO 200.

Some abstract tree foliage patterns:

Details of tiny flowers closeup:

Of all the mini-waterfalls up the left side of the gorge, I’m particularly fond of the way the water flows over the moss on this one:

Statue of Robert Burns sitting on a bench:

Scultpure of Robert Burns sitting on a bench at the Birks of Aberfeldy

Shortly after these photos were made, the heavens opened – a huge cumulonimbus cloud the shape of the Starship Enterprise disgorged itself over a lot of Highland Perthshire, flooding the roads in Aberfeldy itself; as I was walking down the north side of the gorge, it was quite disconcerting feeling the sandy gravel getting washed away in the channels underfoot. Fun fun!

Spittal of Glenshee

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I don’t remember much about the hotel in Spittal of Glenshee – I suspect I saw it a few times when passing by up the glen, but that’s about it. I didn’t have recourse or time to visit the area for a few years, during which time it burned down in 2014 – quite a transformation, leaving the land just fenced-off to decay.

Nice setting:

As an aside, a friend and I were recently nattering about the saturation slider and how there’s always a temptation to overdo it. I mentioned that some images seem to “resonate” at multiple spots across the saturation axis – maybe fully saturated like slide film of old, maybe flatter like colour neg film of old, maybe artistically desaturated, maybe full-on black&white. The above image seems to work at 3 degrees.

Funky ruins:

Around Bangour

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Situated outside Livingston, the psychiatric hospital at Bangour Village was founded in 1906 as Edinburgh District Asylum – one of the first in Scotland to be modelled on a village. In 1918 it housed up to 3000 patients. During the second World War, patients were transferred temporarily to Hartwoodhill Hospital. Around 1924-1930 it gained a multi-denominational church in the centre of the village.

These days the site consists of several listed buildings, most in increasing states of decay – ideal territory for urban exploration.

A few views from ground level:

And a handful of photos made with the drone:

Also see an aerial 360º drone panorama of Bangour I made using Hangar360.

 

The final ward closed in 2004 – worryingly one of those “in my lifetime” things…

The Far North

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The intended road from Rosal due east was closed for road-works; I took an incredibly long detour all the way to the far north coast of Scotland – next stop the Faroes and Greenland – and stopped at Portskerra to make a couple of long exposure landscapes as the light faded to dusk.

The coastal geology was impressive – alternating areas of gneiss and sandstone with clear strata in the rock.

Portskerra at dusk – a long exposure of waves lapping around rocks on the beach looking north – next stop Greenland…

Dounreay in the distance beyond the next headland

Around Rosal

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This was a strange place of varying thoughtfulness. Having previously visited Aoineadh Mor and found its handful of ruined crofts more thought-provoking, this was rather the opposite experience: having far more settlements dating back thousands of years including cairns, a souterrain and remains of crofts, with a history of particularly brutal evictions, there’s no real viewpoint from which one can see the extent of the clearing and experience all the time or place at once, so it lacks a certain atmosphere.

One thought, however. The Highland Clearances were mostly for the purposes of replacing crofting (seen as not cost-effective) with sheep farming (supposedly profitable). In practice, it’s a story about commercial failure: the sheep did not prove profitable, rendering the grassland barren; the monoculture spruce woodlands being farmed as the latest cash-crop are also barren, failing to nourish the land; the eviction of folks living a subsistence existence (which increasingly feels the innocent honest approach) was an offence against humanity – and yet the blasted sheep still remain.

The state of the Forestry Commission’s tourist information boards also being cast down on the ground, however, did provoke thought – is that sheer vandalism, an artistic statement about care and decay of property, or super-artistic irony that preservation itself should go the same way of all things?

 

The landscape did provide a few moments of beautiful contrast, illuminating the foreground trees against the shadowy dark might of Ben Loyal, however:

Ben Loyal from Rosal Clearance village

Ben Loyal from Rosal Clearance village

Lone Ash Tree, Glen Devon

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Thanks to my friends Fox in the Snow Photography over on Facebook for their permission to steal one of “their” favourite trees in Glen Devon as a photo location this past weekend. Less gratitude for the attendant weather, however!

On approach, leaving the car across the road, there was quite a white-out blizzard – snow blowing up the glen, everything shades of grey, low clouds. There’s a whole hillside lurking behind the tree here, not that you’d notice:

First things first, I established it’s an Ash, Fraxinus excelsior. That probably explains some of the funky characterful shapes.

I had a bit of fun exploring the various compositions around the tree. The obvious thing is to get the whole tree in the frame, from sufficiently low on the ground to obscure the road behind, letting the visible grass merge, flowing, into the background.

One idea I’d had was to emphasize the curve of the split trunk by using it to fill the frame, leaving the branches and twigs flying around in the wind during a long exposure, Medusa-style:

Fortunately the spooky mood didn’t last long, as the weather was coming and going in alternating waves of white-out cloud and brilliant sunshine flowing over the tree.

Devoid

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An exercise in uniformity: over the course of three days, I took the camera out for an hour’s walk, using the same settings (28mm f/3.5, auto-ISO, centre-zone auto-focussing) and took snaps – free-form composition, quickly grabbed, around the streets and countryside surrounding Auchterarder and in woodland outside Cambusbarron, Stirling. Every image was processed using the same settings in RawTherapee (with slight changes to exposure) and the same black+white sepia-toning.

From each day I chose the best 19 and averaged them with enfuse, slightly tweaked the contrast. Presented together they give an impression of abstract canvas texture with the merest hints of structure. 

Around Auchterarder

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I’m not entirely sure why, but I got it into my head to make a series of photos without reason or purpose so I spent a couple of lunchtimes walking around Auchterarder just snapping scenes. Very different to my usual contemplative landscape style – this is reactionary, street photography, with a consistent presentation style (sepia-toned monochrome). All images were shot on a Pentax 15-30mm f/2.8 lens at 30mm nearly wide-open at f/3.5 as well using a daylight whitebalance.

Funnily enough, reducing the variables by insisting on one focal-length and aperture and allowing automatic exposure left me free to think about composition – in such relatively alien territory, wave the lens around and see what looks good.

Around town:

I took the new-found constraints into the surrounding countryside:

Country 2:

All images processed using RawTherapee; uncropped, but exposures normalized and the consistency of toning arising from an orange pre-filtered black and white conversion with sepia toning to finish.