Chilling with the trees

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On the third day of my holiday last year, the weather took a turn for the worse and my chosen route for the day was closed until Spring, so I went for a walk around the Reelig Glen just outside Inverness.

To be more accurate, the first walk around the glen was favourably interrupted by a very friendly wee collie dog, so I did the whole route a second time with the camera…

It was beautifully relaxing, good for the soul. A place of shapes and light and more shapes and green and autumnal orange colour.

About half-way around the route, just round from crossing the bridge, is Dughall Mor – a Douglas Fir tree that at one time was the tallest in Britain. They do not put any signage by it, except for a very tiny mark on the bark, but I know which it is.

One of these trees used to be the tallest in Britain.
(I know which – they don’t advertise it for safety reasons, save for a very small mark.)

About six years ago, on my first visit to the glen, I also met a small dog and attendant human; the conversation has stuck in my mind, partly for the subject-matter but mostly because of its gentle and slightly surreal nature. A person who knows there’s nothing better to do than to sit on a bench watching the old dog play in the burn. At the time, I wrote about the encounter thus:

The Shadows of Importance

As I came nearer, crossed over a small bridge over a burn, I saw an elderly Westie playing, slowly investigating all around… with his also-eldery designated human sitting on this bench.
And we conversed.
About the important things.
Dogs, trees, and somewhere waaayy down the line, people.
We walked through the woods and he showed me a tree that once was tallest in Britain.
The world of bright city lights was gone, a garish cheapness for and of strangers, long forgotten, as though it never was.
And there was complete serenity.
Some days I’d post an admiration of the forest. Today you get the waypoint where Hamish played and Geoff sat.
Or maybe it’s still an admiration of the forest anyway…

Scene of an encounter

This time of making the circuit around the Reelig Glen, there was no sign of Geoff or Hamish – but I remembered them, and was grateful for all the dogs who love me.

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The light, when the clouds permitted, was glorious – illuminating the foliage beautifully.

Landscape and Geology – an NC500 road-trip

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Back last November I spent a very happy few days staying up North; the first day was spent in Glen Affric (sunrise, trees, water and light).

Photo Map

Photo Map – a long drive around Wester Ross

In the few years since I was last up there, there’s been a concerted push to market the road around the far north of Scotland as an “answer to Route 66” and thereby promote it as a tourist attraction.

The second day of my holiday saw lousy weather, completely overcast and foggy for much of the time. So I spent the day driving around Wester Ross wondering where the scenery had got to… trying not to think of it as the NC500 but actually enjoying several stops along the route that I’ve been to previously.

The first stop was the well-known view from a layby in Glen Dochart, above Kinlochewe to admire the sinuous road:

An obvious scene: the road wending through Glen Dochart toward Kinlochewe (not depicted: Kinlochewe, because of the mist).

Pity about the mist…

A little further along on the way through Kinlochewe are two mountains – Beinn Eighe to the left and Meallan Ghobhar and Coille na Dubh Chlaise to the right. We pulled off the A-road and Doglet had his breakfast more or less directly on the Loch Maree fault-line whilst admiring the quartzite rock strata.

There wasn’t much to be said for the views across Loch Maree, although the contrast of dull grey skies and warm autumnal orange and yellow colours was pleasant.

Some years ago, there was a TV documentary, a former politician’s search for the most natural woodland in the UK. After much searching around down south in the New Forest, he came north and explored Caledonian Forest remnants, finally finishing up on an island in Loch Maree – a rather bizarre arrangement of an island with a lochan with another island inside that – on which he stated the trees were least likely to have been touched by mankind. There is an obvious viewpoint, a small section of beach, at Slattadale toward the north-west end of Loch Maree, from which the group of islands can be seen.

Of all the photos I made during that day, this was perhaps the most classical landscape, in that I had the idea for these photos – the location, leading lines of foreground boulders, large expanse of silvery water and Slioch in the distance – planned in my mind for ages before revisiting the area.

What you don’t see is how, while I was making these photos (long exposures, totalling a minute’s exposure, focus-stacked) there was another photographer sitting 20yd away, cooking his morning breakfast – so the photos fail to include the clouds of fragrant bacon and fish smoke billowing past the camera…

Speaking of lunch, mine happened at Badachro, at the Inn. Highly recommended – everyone loved Doglet, which is a good start, and the burger was tasty as ever. Mostly the thing I like most is how the coastline is just like Plockton – west-coast rocky sea-lochs and seaweed – but without actually being Plockton that everyone else flocks to see.

And this is what it’s really like at Badachro:
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On a previous trip I had explored as far as Poolewe but not had a chance to go further; this time I stopped off at Loch Tollaidh to admire the rocky outcrops across the water (Lewisian Gneiss and other igneous rock).

Classic Wester Ross landscape – huge lumps of Lewisian gneiss, beside Loch Tullie

Signs of industry: on the shore of Loch Tollaidh is a small jetty, presumably a put-in for boats to go inspect the small salmon farm. That and the remains of a very dead boat, wood bleached inland, caught my attention:

On travelling up the coast to Mellon Udrigle (what a wonderful name!) I was struck by the view across the Wester Ross Marine Protected Area to the mountains on the horizon on the mainland. On the left, a bit of misty cloud drapes over the top of Beinn Ghobhlach; to the right, there’s more mist flowing over Sail Mhor but the huge bulk of An Teallach was completely hidden behind the cloud.

A wide-angle panorama: low-lying cloud (with a bit of precipitation) and mist flowing over Sail Mhor – the full bulk of An Teallach is completely hidden in the cloud beyond.
The mountain on the far left is Beinn Ghobhlach.

By the time I got back onto main roads, with a very long drive ahead, the light was fading fast toward dusk and the blue hour and clouds in front were thick and closing in fast, so I made one final photo for the day by the side of Little Loch Broom and scarpered fast.

Lots of mist in the distance, travelling the A832 past Beinn Ghobhlach.
I was rather glad to get back in the car and head off before the weather got really bad!

Winter along the Provost’s Walk

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This is fast becoming one of my favourite walks around town – not least because it’s less muddy than the other track out the back. Yesterday I awoke to find the world had turned white, complete with snow-drift piled-up on the front lawn by a passing snowplough. Naturally, over-inflated reports of traffic confusion abounded, although by the time I had to drive anywhere in the evening, the roads were as clear as a bell.

Anyway. I like this path. The Ruthven Water makes a great spot for the Doglet to paddle. All very relaxing and shiny in the white snow.

This is what it’s like around here…

Provost’s Walk:

Arty photos:

All shots taken on the Pentax K-1 using my new hand-held HDR workflow.

Pentax K-1: an open-source photo-processing workflow

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There is a trope that photography involves taking a single RAW image, hunching over the desktop poking sliders in Lightroom, and publishing one JPEG; if you want less noise you buy noise-reduction software; if you want larger images, you buy upscaling software. It’s not the way I work.

I prefer to make the most of the scene, capturing lots of real-world photons as a form of future-proofing. Hence I was pleased to be able to fulfil a print order last year that involved making a 34″-wide print from an image captured on an ancient Lumix GH2 many years ago. Accordingly, I’ve been blending multiple source images per output, simply varying one or two dimensions: simple stacking, stacking with sub-pixel super-resolution, HDR, panoramas and occasionally focus-stacking as the situation demands.

I do have a favoured approach, which is to compose the scene as closely as possible to the desired image, then shoot hand-held with HDR bracketing; this combines greater dynamic range, some noise-reduction and scope for super-resolution (upscaling).

I have also almost perfected a purely open-source workflow on Linux with scope for lots of automation – the only areas of manual intervention were setting the initial RAW conversion profile in RawTherapee and the collation of images into groups in order to run blending in batch.

After a while, inevitably, it was simply becoming too computationally intensive to be upscaling and blending images in post, so I bought an Olympus Pen-F with a view to using its high-resolution mode, pushing the sub-pixel realignment into hardware. That worked, and I could enjoy two custom setting presets (one for HDR and allowing walk-around shooting with upscaling, one for hi-res mode on a tripod), albeit with some limitations – no more than 8s base exposure (hence exposure times being quoted as “8x8s”), no smaller than f/8, no greater than ISO 1600. For landscape, this is not always ideal – what if 64s long exposure doesn’t give adequate cloud blur, or falls between one’s ND64 little- and ND1000 big-stopper filters? What if the focal length and subject distance require f/10 for DoF?

All that changed when I swapped all the Olympus gear for a Pentax K-1 a couple of weekends ago. Full-frame with beautiful tonality – smooth gradation and no noise. A quick test in the shop and I could enable both HDR and pixel-shift mode and save RAW files (.PEF or .DNG) and in the case of pixel-shift mode, was limited to 30s rather than 8s – no worse than regular manual mode before switching to bulb timing. And 36 megapixels for both single and multi-shot modes. Done deal.

One problem: I spent the first evening collecting data, er, taking photos at a well-known landscape scene, came home with a mixture of RAW files, some of which were 40-odd MB, some 130-odd MB; so obviously multiple frames’ data was being stored. However, using RawTherapee to open the images – either PEF or DNG – it didn’t seem like the exposures were as long as I expected from the JPEGs.

A lot of reviews of the K-1 concentrate on pixel-shift mode, saying how it has options to correct subject-motion or not, etc, and agonizing over how which commercial RAW-converter handles the motion. What they do not make clear is that the K-1 only performs any blend when outputting JPEGs, which is also used as the preview image embedded in the RAW file; the DNG or PEF files are simply concatenations of sub-frames with no processing applied in-camera.

On a simple test using pixel-shift mode with the camera pointing at the floor for the first two frames and to the ceiling for the latter two, it quickly becomes apparent that RawTherapee is only reading the first frame within a PEF or DNG file and ignoring the rest.

Disaster? End of the world? I think not.

If you use dcraw to probe the source files, you see things like:

zsh, rhyolite 12:43AM 20170204/ % dcraw -i -v IMGP0020.PEF

Filename: IMGP0020.PEF
Timestamp: Sat Feb  4 12:32:52 2017
Camera: Pentax K-1
ISO speed: 100
Shutter: 30.0 sec
Aperture: f/7.1
Focal length: 31.0 mm
Embedded ICC profile: no
Number of raw images: 4
Thumb size:  7360 x 4912
Full size:   7392 x 4950
Image size:  7392 x 4950
Output size: 7392 x 4950
Raw colors: 3
Filter pattern: RG/GB
Daylight multipliers: 1.000000 1.000000 1.000000
Camera multipliers: 18368.000000 8192.000000 12512.000000 8192.000000

On further inspection, both PEF and DNG formats are capable of storing multiple sub-frames.

After a bit of investigation, I came up with an optimal set of parameters to dcraw with which to extract all four images with predictable filenames, making the most of the image quality available:

dcraw -w +M -H 0 -o /usr/share/argyllcms/ref/ProPhotoLin.icm -p "/usr/share/rawtherapee/iccprofiles/input/Pentax K200D.icc" -j -W -s all -6 -T -q 2 -4 "$filename"

Explanation:

  • -w = use camera white-balance
  • +M = use the embedded colour matrix if possible
  • -H 0 = leave the highlights clipped, no rebuilding or blending
    (if I want to handle highlights, I’ll shoot HDR at the scene)
  • -o = use ProPhotoRGB-linear output profile
  • -p = use RawTherapee’s nearest input profile for the sensor (in this case, the K200D)
  • -j = don’t stretch or rotate pixels
  • -W = don’t automatically brighten the image
  • -s all = output all sub-frames
  • -6 = 16-bit output
  • -T = TIFF instead of PPM
  • -q 2 = use the PPG demosaicing algorithm
    (I compared all 4 options and this gave the biggest JPEG = hardest to compress = most image data)
  • -4 = Lienar 16-bit

At this point, I could hook in to the workflow I was using previously, but instead of worrying how to regroup multiple RAWs into one output, the camera has done that already and all we need do is retain the base filename whilst blending.

After a few hours’ hacking, I came up with this little zsh shell function that completely automates the RAW conversion process:

pic.2.raw () {
        for i in *.PEF *.DNG
        do
                echo "Converting $i"
                base="$i:r" 
                dcraw -w +M -H 0 -o /usr/share/argyllcms/ref/ProPhotoLin.icm -p "/usr/share/rawtherapee/iccprofiles/input/Pentax K200D.icc" -j -W -s all -6 -T -q 2 -4 "$i"
                mkdir -p converted
                exiftool -overwrite_original_in_place -tagsfromfile "$i" ${base}.tiff
                exiftool -overwrite_original_in_place -tagsfromfile "$i" ${base}_0.tiff
                mv ${base}.tiff converted 2> /dev/null
                mkdir -p coll-$base coll-$base-large
                echo "Upscaling"
                for f in ${base}_*.tiff
                do
                        convert -scale "133%" -sharpen 1.25x0.75 $f coll-${base}-large/${f:r}-large.tiff
                        exiftool -overwrite_original_in_place -tagsfromfile "$i" coll-${base}-large/${f:r}-large.tiff
                done
                mv ${base}_*tiff coll-$base 2> /dev/null
        done
        echo "Blending each directory"
        for i in coll-*
        do
          (cd $i && align_image_stack -a "temp_$i_" *.tif? && enfuse -o "fused_$i.tiff" temp_$base_*.tif \
           -d 16 \
           --saturation-weight=0.1 --entropy-weight=1 \
           --contrast-weight=0.1 --exposure-weight=1)
        done
        echo "Preparing processed versions"
        mkdir processed
        (
                cd processed && ln -s ../coll*/f*f . && ln -s ../converted/*f .
        )
        echo "All done"
}

Here’s how the results are organized:

  • we start from a directory with source PEF and/or DNG RAW files in it
  • for each RAW file found, we take the filename stem and call it $base
  • each RAW is converted into two directories, coll-$base/ consisting of the TIFF files and fused_$base.tiff, the results of aligning and enfuse-ing
  • for each coll-$base there is a corresponding coll-$base-large/ with all the TIFF images upscaled 1.33 (linear) times before align+enfusing
    This gives the perfect blend of super-resolution and HDR when shooting hand-held
    The sharpening coefficients given to ImageMagick’s convert(1) command have been chosen from a grid comparison; again the JPEG conversion is one of the largest showing greatest image detail.
  • In the case of RAW files only containing one frame, it is moved into converted/ instead for identification
  • All the processed outptus (single and fused) are collated into a ./processed/ subdirectory
  • EXIF data is explicitly maintained at all times.

The result is a directory of processed results with all the RAW conversion performed using consistent parameters (in particular, white-balance and exposure come entirely from the camera only) so, apart from correcting for lens aberrations, anything else is an artistic decision not a technical one. Point darktable at the processed/ directory and off you go.

All worries about how well “the camera” or “the RAW converter” handle motion in the subject in pixel-shift mode are irrelevant when you take explicit control over it yourself using enfuse.

Happy Conclusion: whether I’m shooting single frames in a social setting, or walking around doing hand-held HDR, or taking my time to use a tripod out in the landscape (each situation being a user preset on the camera), the same one command suffices to produce optimal RAW conversions.

 

digiKam showing a directory of K-1 RAW files ready to be converted

One of the intermediate directories, showing 1.33x upscaling and HDR blending

Results of converting all RAW files – now just add art!

The results of running darktable on all the processed TIFFs – custom profiles applied, some images converted to black+white, etc

One image was particularly outstanding so has been processed through LuminanceHDR and the Gimp as well

Meall Odhar from the Brackland Glen, Callander

Around Glen Affric 3: Morning Sunrise

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I first visited Glen Affric in September 2006, more or less 10 years ago. Not long after, I discovered the joy of standing at my favourite bench watching the sun rise behind the distant mountains, its light casting shadows of the trees on the mist. Since then I’ve been longing for a second chance at the same scene – and this year, with a bit of good timing, I think I managed it.

And another behind-the-scenes 360-pano selfie of what it’s like to be there…

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Around Glen Affric: Trees

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Having contemplated the role of water in the landscape, the second aspect by which to contemplate Glen Affric is the trees. Home to the largest Caledonian Forest reserve, the place boasts beautiful naturally-seeded old Scots Pine (Pinus sylvestris) trees, their orange-brown bark full of gnarly character; there are also birch and juniper to be seen.

The river walk forms a small circuit around an isthmus connecting Loch Affric and Loch Beainn a Mheadhoinn; it is best taken anticlockwise from the carpark, descending to the river and then returning back through the pine forest.

This particular morning I was pleasantly surprised by the beautiful autumn light, but also by how the snow on Sgurr na Lapaich melted in the less-than-an-hour it took to walk around.

Those are the official landscape photos – this is the immersive 360-degree panorama showing what it’s really like to be there:

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Driving away from the favoured river walk, I just had to stop to admire the birch trees by the roadside, glowing vibrant autumnal yellow gold and orange back-lit by the sun.

And just for amusement, a selfie from the Nice Place itself at the start of the river walk route:

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Around Glen Affric: water

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I had a short holiday at the start of last November, a few days spent in Glen Affric. There are several aspects why it’s my favourite part of the planet, but for the purposes of this post, we consider the role of water in shaping a landscape, eroding its way through rocks to form river, gorges and waterfalls.

First, the impressive 150-foot drop of Plodda Falls from the top:

Second, some of the cascades in the River Affric, part of the way around the River Walk, rich autumn colours glowing in the morning sunlight:

And finally, a couple of 360-degree panoramas, partly to offer a behind-the-scenes view – they take a little while to download once clicked:

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eBay + PayPal: Considered Harmful

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I forget exactly when I made my first purchase from eBay, but given how my PayPal account was registered in 2005, my usage of both sites certainly dates back over 10 years.

Most of my transactions were simple purchases – old-fashioned (M42-fit) lenses for various cameras, although there were a few sales (again, mostly old camera gear for which I had no use).

Over that time, as a humble consumer, I accumulated a 100% positive feedback score of 92.

Now this is the part where the story turns sad.

Offending lens

Last year, thinking to experiment with what it might do for my photography, I bought a 25mm f/0.95 lens. It arrived, perfectly functional; it was just that we didn’t really get along. The lens wasn’t particularly sharp – had glowing edge halos wide-open – and not even f/0.95 gives sufficiently narrow DoF to be interesting in the landscape – it just makes the whole thing look soft.

So I put the lens back on eBay. It sold first time, for a significant proportion of the initial cost. Bingo, I thought, wrapped it up and posted it off using eBay’s global shipping programme on its way to Germany.

Nearly a month later, however, the buyer opened a request to return the lens, claiming it was broken.

Well it wasn’t, when it left here, of that I’m certain; I just don’t have a photo to prove it, unfortunately. Either it was broken in transit or the buyer was clumsy with it himself.

Here’s where the problems start. eBay’s website is old and clunky. Every single email they sent with links to “see more details” were links to ebay.de, their German site, requiring me to enter my eBay login details on a page written in German. (“Einloggen!”) Pretty obviously, this was not going to happen – in equal parts, it looks like a phishing scam and I wouldn’t have the German with which to follow through even if I did log in.

Coupled with this, the buyer’s return request did not appear in eBay’s regular messaging system – it’s a semi-related sub-system of its own.

I requested what support I could find on eBay; a lady called me back within a couple of minutes and said it was up to me to try and sort matters directly with the buyer and then I wouldn’t be able to do anything for a fortnight when I could raise a case. I mentioned the language barrier, but subsequent emails persisted in sending me to ebay.de.

I never did get the chance to raise a case; with their language barriers, clunky old-fashioned website and “support” system that goes to extreme lengths to keep users locked in reading FAQs instead of establishing contact with a human, to all intents and purposes eBay denied me any right to reply.

During this time, Paypal adjusted the balance on my account – set it to -£286 when it had been at zero previously, citing the ongoing ebay dispute. I emphasize that this was before eBay had stated any resolution on the matter; they simply adjusted the balance out of the blue. During this time the website would not let me make any amendments to the account; given how this happened before resolution on eBay, I limited potential damages by pulling Paypal’s direct-debit mandates with my banks.

The buyer sent me a rude message demanding to know “what was wrong with me” that I would not reply to the return request. He then opened a case himself. Again, I had no right of reply due to the same language barriers.

After a mere 48 hours more, eBay claimed to have “made a final decision” and found in the buyer’s favour. At that point I managed to see the details of the case the buyer had raised; he had included a photo of the lens showing distorted shutter blades and a note from a local shop certifying it was broken. Of course that doesn’t prove anything; it just confirms it was broken and from what I can make out of the serial number, eliminates the chance of it being a scam to replace the lens.

Paypal claim to have “buyer protection” but say nothing about protecting sellers. There was nothing I could do apart from send Paypal a cheque for the outstanding amount and terminate both accounts as soon as possible.

Today I noticed eBay had allowed the buyer to leave me negative feedback – the first and only such event in over 11 years’ dealing with the site – while still denying me the opportunity to respond, only presenting the options to leave him positive feedback or “leave feedback later”.

Having trouble logging in? Not really, any more; no.

Unsurprisingly, I find this all horrendously unjust.

Closing both accounts has resulted in a veritable flurry of emails (19 today alone, at the last count) confirming removal of various bank accounts, credit cards and the termination of ongoing payment arrangements (Skype, two streaming music services, a grocery delivery company, two DNS registrars, Yahoo, Facebook and a few more).

I never made a profit selling goods on eBay – at best swapped objects for a fair consideration and often took a slight hit using better postage than required.

So what’s to be learned from the experience?

First, as a geek by trade, I look back a few years to a time when we were talking about Web-2.0 versus Web-1.0. eBay’s website is clearly a product of the Web-1.0 era, and not just with its layout: it uses whole-page impressions where AJAX would be more appropriate; with sub-systems for “returns” bolted-on to, yet incompatible with, the existing “messaging” system; with no single sign-on and nationality-specific sub-sites. It is an ghastly accident of feature-creep instead of design.

Second, as a human being, I’m deeply concerned by the faceless bureaucracy and lack of control. We get accustomed to “just stick it on eBay”, reliant on there always being someone who wants stuff. Contrarily, there are also local shops with whom one can come to part-exchange arrangements.

eBay and PayPal represent the first and largest and best-known steps towards a digital economy. It is easy to be suckered into thinking it necessary to have accounts with them for ease of shopping and transferring money around the place. However, when I see how unjust the systems are, stacked against honest sellers, I can have no further dealings with either site.

 

And the process of rejecting them both, of realising that my ebay feedback score is not a significant measure of life, is wonderfully liberating.

 

Update 2017-01-18: forgot to say that, on the original auction, I had checked the box saying my policy is “no returns”. Why do eBay allow that if they proceed to completely ignore it based on the buyer’s say-so?

Along Loch Tay

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It’s a classic viewpoint – at the head of Loch Tay standing on the shores at Kenmore, looking down the length of the loch past the Crannog and island to mountains in the distance. Even without dramatic contrasty sunlight, it didn’t disappoint.

For the record, these were both 8-second exposures, around f/4.5 and ISO 400 using a Nisi circular polariser filter to balance the light between sky and reflection. Both images are a pair stacked for noise-reduction.

Around the Black Mount

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Detail of blades of grass poking throuhg a frozen Lochan na h’Achlaise, Rannoch Moor.

At the end of November I spent a happy Saturday afternoon driving out to the Black Mount area in Rannoch Moor, with photos in mind.

Didn’t help that I left the main camera battery at home in the charger, so was limited to the spare. Well, it makes one think when even turning the camera on to compose through the EVF uses finite battery life, especially in the cold. Lots of “pre-visualising” going on to keep the film-throwback photographer purists happy.

There were plenty of cars zooming along the A82 but a little stroll out into the bogs resulted in some nice landscape.

The crowning joy of the photographic excursion, however, was the total cliche scene of the Buachaille from the River Coupall. It’s sufficiently well-known that folks groan when it appears in photo-club competitions. The composition is more or less fixed, with varying extremity of weather conditions providing the value-additions to the photo.

This time, I spotted a little wisp of mist coming up Glencoe as I turned off down Glen Etive. There were only two other folks at the location; they said it was their second attempt that day as, on the way down the glen, there had been 20-30 folk milling around.

Funny how such an iconic landscape location still has people who will shoot it in suboptimal light.

We took a few photos, and dusk fell, with glorious shades of warm purple tints and an orange sky.

My temporary companions departed, leaving just me – well into post-sunset dusk blue-hour – at which point the wisp of mist rounded the base of the mountain underlining it in white to match the waterfalls in the river. And that is the shot of the day.

Buachaille Etive Mor from the River Coupall, Glen Etive

Stob Dearg – Buachaille Etive Mor from the River Coupall, Glen Etive

Hogmanay 2016/2017

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Happy new year! I saw the year in from Blackford Hill looking at the fireworks over Edinburgh Castle.

Watching folks arrive was almost like a scene from Lord of the Rings – this line of torch lights processing along the hillside track, reminiscent of the last march of the Elves.

Wet Reflections

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Just a couple of photos from a stroll beside a burn down the bottom end of town today at lunchtime – not great light, in fact it was beginning to rain. But if looking up doesn’t work, look down and take abstract photos of trees reflected in the burn instead…