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:

Noctilucent Clouds (NLCs) 2017-06-15

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It’s just a week off being the longest day, and it seems never to really get dark at night around here at the moment. Still. While that precludes shooting the aurora, instead it’s noctilucent cloud (NLC) season – just started in the past couple of days so I was very pleased to capture these last night / this morning around 1am.

Apart from being a canary for global warming, NLCs are a beautiful phenomenon, glowing cold bluey-white typically filament threads lighting up the sky. Or, if you leave the camera thinking for 2 minutes they blur nicely with the more mundane clouds:

Noctilucent Clouds, around 1am – Crieff across Strathearn from Auchterarder
A total 2 minutes of exposure to see what the NLCs and ordinary clouds would get up to over that kind of timescale.

And I made a short timelapse – 6 minutes compressed into an 11-second video:

Portknockie

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Continuing the mega road-trip drive from a day in April: having taken in Dunnottar castle I proceeded up to Portknockie on the north Moray coast. A well-known location with lots of scope to explore, sitting on a transition between red sandstone conglomerate and quartzite underlying rock.

 

Bow-Fiddle rock itself is situated just beyond the mouth of a cove with interesting caves to the north side:

The approach to Bow-Fiddle rock at Portknockie.
We’re heading down to that strip of a pebble beach…

There’s a classic composition to be had by heading down to the boulders just beyond the pebble beach, plonking one’s tripod on the rock and adding enough ND filters to make a long exposure. With the right light and the wind kicking-up choppy waves, it can make for pleasantly dramatic arty photos. And despite being a sunny day, having to lie down on the hard rock to keep my shadow out of the shot, it definitely didn’t disappoint…

Technical details:

Pentax K-1; Samyang 24mm f/1.4 lens at f/11; Nisi ND1000 (equivalent to a Big Stopper) and circular polariser filters; ISO 100; 30s exposure using pixel-shift for a total of 2 minutes’ exposure at high resolution.

Birnam Hill: Hunting the Highland Boundary Fault

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I’ve been to Birnam Hill and Duncan’s Hill area at least six times, so it made a good testing ground for the new Pentax K-1 camera.

It wasn’t the best of days for landscape photography – a bit early in the day for what little light there was to be really photogenic – but there was a moment when the sun broke through and illuminated some birch trees on top of Duncan’s Hill most beautifully:

For some years I’ve known the Highland Boundary Fault crosses the A9 around Dunkeld/Birnam area, but never really pinpointed the exact location.

On my first visit I walked around Duncan’s Hill through Birnam Wood and Rochanroy Wood: I observed a particular lump of rock exhibiting clear strata sticking out of the hillside:

As I passed the edge of the established woodland, there was a pronounced drop of about a metre to the level of the new conifer trees to the right. And I wondered if this was a particular noted geological formation.

Highland Boundary Fault, Birnam Hill

Three paths: this one leads down the line of the Highland Boundary Fault

On more recent visits I geotagged the location and compared with the British Geological Survey’s maps to see the rock types change either side of the dip – till, changing to slate and grit and then to psammite and semipelite typical of the Highlands.

On further investigation with Google Earth, the photo on the corner of the dip is right on the line of the Highland Boundary Fault itself, running up from Rohallion Loch through the lodge, round north-east turning easterly across the A9 south of Birnam.

My photo pinpointed right on top of the Highland Boundary Fault

The previous photo pinpointed right on top of the Highland Boundary Fault

Got it! Clear confirmation. Right on the money, first time 🙂

The path continues across a pronounced dip in the landscape before continuing up the other side to Stair Bridge Viewpoint and the King’s Seat on Birnam Hill.

Of course my favourite clear pure waterfall was still running:

The path affords some excellent views back of the Highland Boundary Fault cutting across the landscape:

Highland Boundary Fault to the east of Birnam

And finally, as far up the hills as I wanted to go that day, at Stair Bridge Viewpoint I was rewarded with a clear landscape vista over Rohallion Lodge to the Lowlands to the south:

View from Stair Bridge looking over Rohallion Lodge to the Lowlands to the south

In the Trossachs

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The Bracklinn Falls are an impressive waterfall, located in the Highland Boundary Fault zone just outside Callendar in the Trossachs. The prevailing rock is diamiction till, so not quite the psammit or semi-pelite characteristic of the Highlands, but close enough. The Keltie Water is responsible for eroding the rock into some chunky shapes.

Starting at the Falls, there is a loop walk of a few miles up the far side of the river, through artificial monoculture forest, and back along the road down to the carpark. On the way are two notable features: Eas na Callich[sic] gorge, a smaller waterfall upstream of Bracklinn

…and a wonderful view of distant mountains, mostly Meall Odhar, covered in snow:

To round off the day, I went for a further drive through the Trossachs, along the A821 (Duke’s Pass); on a corner of Loch Achray there was a lovely view of Ben Venue in the light across the water.

Not bad, as first real outing with new cameras go… 🙂