Sunrise at Kinnoull Hill

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Early one morning in August I set off up Kinnoull Hill in Perth; a 40-minute stroll through the woods and I arrived at the top just in time for sunrise.

There are a couple of classic viewpoints, although juggling foreground foliage is not the easiest. This is the view closer to the tower with a hint of sunlight behind the hill, a line of light streaking round to illuminate some of the yellow trees below:

Sunrise behind Kinnoull Hill, with the River Tay running along the Carse of Gowrie into the distance

And this is a little further back, the sun having risen illuminating the whole Carse of Gowrie and River Tay, sky still shades of yellow and pink:

A classic view of the tower and River Tay from Kinnoull Hill, Perth

Walking back through the woods was rather pleasant too – lots of dappled sunlight on the trees.

This was one of the first photo-sets I processed using Affinity Photo Pro on the iPad. Loving the colour and tone already!

Birnham Hill

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One of my favourite views is the Highland Boundary Fault running through the landscape, immediately in front of me standing at Stair Bridge Viewpoint part-way up Birnam Hill.

It looks particularly pleasant with light and cloud-shadows zipping over the trees too:

Photo-Walk 2017

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For several years, on and off, I’ve attended an annual Photo-Walk based in Inverary, Argyll. This year was no exception – always good to catch up with friends I’ve met on the walk previously.

As always, Argyll is a favoured place and Autumn a favoured season; the combination of light and landscape makes for enjoyable drives.

An auspicious viewpoint – right next to the public toilets on Inverary front – but it makes for a cracking view up the loch toward a spot of sunlight illuminating the hills around Ardkinglas.

This time the organizer, Richard, had brought a couple of props – most notably a bottle of Isle of Jura Superstition and I had one or two ideas in mind “just in case” we ended up at a particular favourite waterfall.

 

We made our way down the slippery embankment to the burn, where I set up tripod amongst the boulders to maximize the lead-in lines of water flowing around the rocks up to the waterfall – tripod placement was fairly tricky with a wide-angle (24mm) lens and the slippery lumpy terrain to negotiate – and then as the camera was busy taking 20s exposures (4x with pixel-shift) I trotted back and forth through the water firing a flash-gun down onto the bottle of whisky and surrounding rocks (manual triggering at 1/8 power with the diffuser out and reflector down to stop the light itself registering in the scene).

Product Placement
I quite like Isle of Jura whisky… not necessarily on the rocks though.

I had originally experimented focussing in on the bottle itself and using a wide aperture to restrict depth of field, but that did not fall naturally through the scene – the waterfall was still sharp behind – so I stopped-down to make everything in focus and relied on post-processing tricks in Affinity Photo to draw the eye onto the bottle differently instead – some Orton effect and various soft-light Gaussian blurs, masks and elliptical gradient fills to boost the saturation, make it all glow and still leave the bottle sharp and bright. The final toning came from Snapseed of all things.

I’ve done a little product-photography before but never tried blending [bad pun intended] it with landscape work, let alone pairing it with light-painting, but I think it worked – certainly compared to the straight shot, the bottle with its amber glow just makes it.

Morvern 5/4: The Road Back

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And so we come to the last post in the series, a set of photos not entirely in Morvern but more on the way back up the shores of Loch Sunart and Loch Linnhe to the Corran Ferry, across and down to Loch Leven at Ballachulish.

There’s something wonderfully uplifting about rattling along these wee roads on beautiful sunny days, admiring the light.

Morvern 4/4: The Viewpoint

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After the long drive, the walk in the woods, the angst of the cleared township, the second part of the walk resumes through the woodlands up hill to the viewpoint, looking out over Loch Doire nam Mart to the caves in craggy Beinn Uamh and beyond. On a sunny day with a few white clouds in a crystal-clear blue sky, it doesn’t get much nicer than this.

After a second walk through the woods around Aoineadh Mor, towards the top of the hill one comes across this beautiful view: conifer trees, Loch Doire nam Mart and more trees scattered on the slopes of craggy Beinn Uamh, all beneath a crystal clear blue sky.

Well, it does get a little better – Doglet had his dinner on the shores of the loch in amongst the rushes. Lucky chap.

Morvern 3/4: In Search of Purity

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Time to explain the motivation for this excursion to the Morvern peninsula.

A few months ago, I was exploring what Google Earth had to show for the West coast of Scotland. A lot of photographers gravitate toward the north-west, around Sutherland, and rightly so – the geography up there is impressive. However, coming a little south past Ardnamurchan, there is also epic geology – evidence of volcanoes, beautiful mountains, the works. And so I stumbled across this glen past Loch Arienas and Loch Doire nam Mart, thinking there might be a view to enjoy part-way along the glen up one of the mountains to the left, perhaps.

On a little research, I saw the OS map of the area showed Aoineadh Mor, a former township dissolved in the Highland Clearances. Interesting history. So I drove – about 4.5 hours from Perthshire out through Fort William around Loch Eil and down at some length on wiggly single-lane 60-limit roads – and arrived at the small roadside carpark about 4.30pm.

The walk through the woods was beautiful: birches and oak trees catching the low sunlight.

Now it gets real. On emerging from the woods, the first evidence of habitation one sees is this broken dry-stone wall:

The Perimeter is Breached

which shouts the beginning of the story loud and clear: a township left to ruin, increasingly taken over by nature.

From what I gather, up to the 18th Century, Aoineadh Mor [approximately pronounced, and sometimes spelled, Inniemore, although the Gaelic ao vowel sound is inimitable in English] was a thriving crofting community on the slopes of Sithean na Raplaich where the burn (Allt Aoineadh Mor) flows down to the lochs.

It is a wonderfully beautiful setting – the Allt Aoineadh Mor burn burbling down the hillside, through the former township of the same name.

In 1824, Christina Stewart, newly owner of the Glenmorvern estate, forcibly ejected the crofters in order to farm sheep on the land for supposed greater profit, as happened in many places during the Highland Clearances.

The names of two of the last crofters to leave, James and Mary, have been given to two paths through the surrounding forestry.

By 1930 the sheep were also no longer profitable and the area was planted with trees as the cash-crop of the time. After 60 years, in 1994, the Forestry Commission uncovered the township.

And so my history intersects with the place in 2017.
It is both quieting and disquieting simultaneously: quiet in that there is an open space, there are trees, light, water, all the elements of landscape we photographers like; yet disquieting in that the area is not really pure – on scratching beneath the surface, there seems to be a greater innocence in the subsistence existence of crofting, with subsequent industries of sheep farming and forestry tainted by crass desire for profit to varying extent. And so the hillside is not really wild but barren; the land not just beautiful but exploited.

Dust kicked-up by a passing logging lorry travelling a path through Forestry Commission conifer woods, taken from the former township of Aoineadh Mor.
http://scotland.forestry.gov.uk/activities/heritage/historic-townships/aoineadh-mor-inniemore/marys-story

These conflicting forces of land, money and habitation are summarized in this photo, where we have nature’s pine tree felled in the foreground, a generation of mankind’s ruined croft superseded by the unnatural choice of conifers blown in as seed on the wind, leading to blue skies beyond.

This used to be the township of Aoineadh Mor, a scattering of stone crofts on the braes beside a beautiful river surrounded by forest. 
Now the Forestry Commission has taken over, with several monoculture forests on the surrounding mountains, even wild-seeding into the former township.

For what it’s worth, a few more photos all taken around the township:

References:

As I walk along these shores
I am the history within
As I climb the mountainside
Breaking Eden again – Runrig, Proterra

Morvern 1/4: Approach

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The West coast of Scotland – Lochaber, Argyll and further north – is well known for its amazing scenery. Earlier in the year I had a look around on Google Earth and thought the landscape looked pretty impressive opposite Mull around the Ardtornish area on the Morvern peninsula.

It certainly did not disappoint. Even having just driven 4 hours all around Fort William, across and round Loch Eil at great length (single-track road with passing places and a 60 limit), I had to stop to admire the crystal clear blue sky and lines of mountains receding into the distance:

There followed a short drive down to Loch Arienas, which was also just beautiful – blue water reflecting blue sky:

Lady Mary’s Walk, Crieff

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Only catching up on photos taken at the end of April…

Lady Mary’s Walk runs West from Crieff along the side of the River Earn, mostly on the flat until one reaches the foot of Laggan Hill after a mile or so, where it forms a circular route back to MacRosty Park.

At the end of April I went for a stroll to hunt bluebells.

The path was particularly pleasant – quiet, leading on through the woods.

 
 
 

As an aside, I’m sure there never used to be such a profusion of wild garlic on these Perthshire woodland nature trails 10 years ago – I only first encountered the stuff whilst out in Galloway.

I was a bit early for optimum bluebell season, but did find a few areas of good blue ground coverage:

And at the western extremity of the route there is a ruined house – it could be quite eerie given the right lighting.

The Return of Serif

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It feels funny to think that back in the early 1990s Serif was known for PagePlus, in the days when such things were known as desktop publishing or DTP applications.

Recently, however, they’ve produced Affinity Photo for Mac, Windows and iPad. After one or two folks recommended it, I thought it was time to add another trick to the photo-publishing workflow and have a play. After all, if nothing else, having an iPad would solve my doubts with colour-management issues on Linux, wouldn’t it?

So I’ve spent a few weeks driving around hunting scenery and taking photos of it and gradually evolving a few routines: photos are still shot on the Pentax K-1; processed (variously pixel-shift or HDR) using dcraw on Linux, where I also run them through darktable for a lot of toning work; the results are then copied to an ownCloud folder which synchronizes automagically with the iPad; a bit of juggling with share-to-Affinity and share-to-Photos and share-to-ownCloud later and the results are copied back to the workstation for final organization, checks and publication.

Within Affinity, my workflow is to import an image and ensure it’s converted to 16-bit P3 colour-space – this is a bit wider than sRGB and native to the iPad’s display. I then run the Develop module which tweaks exposure, brightness and contrast, clarity, detail, colour-balance (not so much), lens distortions, etc. After that, I use layers to remove sensor-dust and other undesirable feature. Top tip, use a new pixel layer for the in-painting tool set to “this layer and below”; then all the in-paintings can be toggled on and off to see the effect; also use a brightness+contrast adjustment layer above that while you work, so the corrections will be even less visible when the contrast is reduced back to normal. If the image requires it, I’ll add one or two fill layers for gradients – better to use an elliptical gradient that can be moved around the scene than a vignette that only applies in the corners. Finally, I merge all the layers to a visible sum-of-all-below pixel layer,on which I run the Tonemapping persona; ignoring all the standard presets (which are awful), I have a couple of my own that make black-and-white in low- and high-key targets, in which I can balance local versus global contrast. If I produce a black&white image, it probably arises from this layer directly; sometimes, dropping the post-tonemapped layer into the luminosity channel makes for a better colour image as well (subject to opacity tweaking).

So, some results. It produces colour:

It produces black and white:

One final thing: I used to hate the process of adding metadata – titles and descriptions, slogging through all my tags for the most pertinent ones, etc. Because the ownCloud layer is so slow and clunky, it makes more sense to be more selective, choose fewer photos to go through it; if I also add metadata at this stage, I can concentrate on processing each image with particular goals in mind, knowing that all future versions will be annotated correctly in advance. Freedom!

Along the Oak Walk

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One of my favourite walks around the local area is the Oak Walk – running along the edge of a large field, it gets beautiful evening sunlight and has some characterful trees

One or two local folk have populated it with wooden sculptures, for amusement factor

And the surrounding paths are well populated with wild raspberries, brambles and even willowherb/fireherb looking pretty in the light.

Just One Photo

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Black Spout Waterfall, Pitlochry

Some days you only need to come away with one landscape image to justify an excursion.

On Saturday I set sail with Doglet and a friend and strolled through Black Spout Woods around Pitlochry, up to the viewpoint across the gorge where you can see the full height of the waterfall, and then round to the more accessible bit near the top of the falls, which still takes a fair amount of scrambling around on the river bank to get down to.

 

A nice stroll through the woods, a view across the gorge to the full height of the waterfall, some scrambling around on the banks to get down to this level (a small fraction of the total height down from the top) with friend and dog… A good way to spend an afternoon

Technicalities:

There are three conscious aspects to this shot:

Composition

I wanted to make the most of the 15-30mm lens, so with a bit of wiggling around at the scene I found a spot right in front of the cascades that would showcase the 16mm ultra-wide field of view with a strong foreground. Nothing clipped; there’s negligible cropping except for lens-correction. There’s something in each pair of corners: the strong diagonal line of the dead tree-trunk in the foreground is echoed by the three distant trees in the far top-left; the negative space of the burnt-out sky has an echo in the expanse of run-off water in the bottom; treated as three stripes, there’s a balance between the height of the frame given to the run-off, to the bright white cascades, and to the woods+sky at the top.

Sensor controls

I made 10 source images on the Pentax K-1, varying the exposure as follows:

f/13.0 1/50s; f/14.0 1/8s;
f/16.0 0.4s; f/16.0 0.5s
f/16.0 0.5s; f/16.0 0.8s
f/16.0 1/4s; f/16.0 1/8s
f/16.0 1/8s; f/18.0 1/6s

This set of exposures spans a large contrast range from bright grey sky down to dark shadows in the rocks; it varies the shutter speed so at least a few will make the water look like brushed cotton; it varies the aperture partly to cater for the range of shutter speeds, and partly so as much of the shot as possible has a frame with maximum detail before diffraction. Enough data that enfuse could find a good midtone maximizing local entropy (detail) at every pixel.

Each of the above had pixel-shift enabled for greater resolution, totalling 40 frames of 36MPel resolution. The shutter was open for a combined total of 12s.

Post-processing

I used my open-source Pentax K-1 pixel-shift workflow on each of the 10 images above, and then reused it again to blend all 10 together into a combined HDR average. Opening this in darktable, I proceeded to correct lens-distortion, finalize the crop (16:10 aspect-ratio, one of my favourites for landscape), set detail modules (no need for noise-reduction! some balancing of detail, local detail, equalizer modules though) and exposure, toning (including tonemapping and low-pass filter) and colour (Velvia). There are not many localized modifications, but there are significant grad-ND filters both down through the trees and, opposing that diagonally, up from the bottom of the frame, along with two instances of the vignetting filter (one significant, one just clipping the corners); there is also extra local contrasted masked into an area around the dead tree trunk. Finally I opened the image in The Gimp and ran the G’Mic filter suite including colour-grading twice (once conventionally, once with extra highlight/shadow duotone effects, blended together – this has the side-effect of changing the tonality in the green leaves to make it look brighter/sunnier than it actually was). A tweak to the curves to lift the overall gamma and then I overlaid my favourite texture image, a photo of a sheet of Hahnemuehle Photo-Rag paper, in soft-light mode to soften the contrast and add a small amount of texture into otherwise barren areas.

Why this Workflow?

Working this way hits a sweet-spot in terms of convenience and image-quality.

I did not fall in the river. That’s a good start.

With such a wide field of view, every centimeter counts when choosing the location. With the 15-30mm lens I was able to experiment, iteratively varying location and focal length, until an optimum position was found, all the while seeing exactly what the final composition would be in live-view.

Pixel-shift – moving the sensor around in a 1px square pattern – works as a great way to increase the resolution.
The alternative would be to shoot a panorama, but that would still require HDR blending of frames as well as risking motion-artifacts in the trees; with just HDR on its own, the ghosting of the leaves from averaging multiple frames is a more pleasant indication of movement rather than errors in stitching. Additionally, shooting a panorama would require just as much care over camera position but would not allow a preview of the composition.
As a hybrid option, with cameras that lack pixel-shift or equivalent technology, one could compose approximately and then vary the tripod position subtly to emulate hand-held camera-shake; this is almost identical to pixel-shift in terms of super-resolution, but varying the camera position risks introducing artifacts from lens-distortion and parallax between foreground and distant parts of the scene, that pixel-shift avoids.

Additionally, shooting every frame 4x over, automatically, increases the overall exposure time into multiple seconds, even in daylight, which avoids the need for Big Stopper-type filters (especially handy on a lens that would require a special holder for such).

Argyll Woodlands

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One of my favoured walks around Argyll is a couple of miles south of Taynuilt, the White Ant trail around Glen Nant.

Ben Cruachan dominates the surrounding landscape – especially on a cool winter’s day:

Last summer I was pleased to fulfil a client’s requests for several of my photographs; one of the black & white prints was originally made in Glen Nant, a little burn flowing gently amongst the green undergrowth. On revisiting it, I’d forgotten how the original had been made whilst lurking, troll-like, under a small wooden bridge:

A repeat of a photo made some years ago – I’d forgotten that I was actually hiding, troll-,like under a small bridge to make the original!

No trip to Argyll would be complete without visiting old friends in Inverawe. In particular, Old Friend, my favourite willow tree, is still standing as characterful and gnarly as ever.

And all is well with the world

The Dumpling

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Just to the south of Loch Lomond beside the village of Gatocharn lies Duncryne Hill – a positively cute protrusion consisting of sandstone and conglomerate from the Emsian era early in the Devonian Period, affectionately known as The Dumpling.

Having discovered it on Google Earth, thinking it might afford good views over Loch Lomond and the Highlands to the north, I visited it this past weekend.

I wasn’t disappointed.

Approaching The Dumpling

Some artwork – looking at Loch Lomond from the top of Duncryne Hill:

The Highland Boundary Fault runs from Arran to the south-west, cutting through Loch Lomond between Arden (west) to Balmaha (east), forming a clear escarpment along the side of Conic Hill.

 

The Highland Boundary Fault runs right through the middle of this photo – through Loch Lomond around Balmaha, causing the rising mountains to the right of the scene.

The clouds were fairly zipping along, obscuring and bathing the landscape in crepuscular rays, so I had to make a short timelapse video of the vista:

With such light and rain-clouds passing by, on returning to the top of the hill I was greeted by a dramatic full-on rainbow with complete primary and secondary bows and supernumaries glowing in super-saturated vibrant arcs over the trig-point.

And just to finish the day’s expedition, there was some beautiful early golden-hour evening sunlight back-lighting a group of trees outside Drymen.

A Day In Clouds

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That was 2017-06-20, that was. A beautiful blue sky with white fluffy wispy cirrus cloud catching the setting sun…

…followed by a noctilucent cloud display around 1am:

NLCs are the highest-flying clouds, occurring at altitudes up to 80km where the next highest type (cumulonimbus) only reaches 12km and most are lower still. Most typically they resemble a fine silver filigree of ice-cold pale blue, although more complex forms have been seen. First maybe-seen in 1885, they only really came to prominence since the 1980s, as a canary for changes in the upper atmosphere linked to climate change.

As I stood and watched the display, a patch of silver mist formed over Strathearn and made its way west along the A85 toward Crieff, so I made a little timelapse video – 17 minutes’ data compressed into 1: