First Munro

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I’ve been over 3000′ twice before now – but for one I stopped short of the summit, and for the other we took the ski-lift up, so neither really counts as Munro-bagging.

In the Christmas/New-Year holiday week, friends and I spent a happy day climbing Schiehallion – a mountain we’ve known and photographed for a long time, but actually climbing it was a first, at least for some of us.

We couldn’t have asked for better conditions: fresh but basically dry, all the way up with mist blowing around the summit.

The top third is a tricky scramble over large boulders, but the view was totally worth it – my first Munro, my first glory and Brocken Spectre all in one.

Glory and Brocken Spectre, Schiehallion. Awesome!

On the way down we paused to admire the surroundings – an interplay of light, mist, undulating lochs and landscape and more mountains.


  • Views found whilst descending Schiehallion: abstract patterns of large white fluffy clouds catching the sunlight.
  • Hints of misty cloud blowing gently away across the landscape.
  • Views found whilst descending Schiehallion: abstract patterns of large white fluffy clouds catching the sunlight.
  • Sunlit Rockery
  • Views found whilst descending Schiehallion: abstract patterns of large white fluffy clouds catching the sunlight.
  • Views found whilst descending Schiehallion: abstract patterns of large white fluffy clouds catching the sunlight.

Bring on the mountains – I have climbing to be doing 🙂

Life in Shades of Green

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I used to make a point of closeup nature photos, simplifying the complexity of plant structure down to a few lines, in dull light. For the first time in ages, I spent most of yesterday afternoon with just the old Helios 58mm lens attached, walking around, seeing what could be seen.
Didn’t expect ladybirds to feature at this time of year.

  • Detail of broom seedpods
  • Tree structure
  • A cluster of ladybirds in a broom bush twig junction
  • Tree structure
  • Detail of broom seedpods

Lady Mary’s Walk, Crieff

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A few photos from an afternoon stroll around Lady Mary’s Walk outside Crieff, and up Laggan Hill.

River-bank shenanigins:

  • Views from the riverbank: washed-up plant matter dangling as light reflects across the water.
  • I’m pretty sure this is evidence of beavers on the River Earn – tree bark removed up to about 2.5′ above the ground with a fine repetitive chisel marking pattern remaining.
  • Sparseness: a few bright red berries remaining on bare twigs
  • I’m pretty sure this is evidence of beavers on the River Earn – tree bark removed up to about 2.5′ above the ground with a fine repetitive chisel marking pattern remaining.

Along an avenue of Beech trees

  • Details that catch one’s eye even in a well-known location: the avenue of beech trees along Lady Mary’s Walk outside Crieff
  • A well-known scene: the avenue of beech trees along Lady Mary’s Walk outside Crieff
  • A well-known scene: the avenue of beech trees along Lady Mary’s Walk outside Crieff
  • A simple silhouette: almost-bare beech tree branches and twigs, a filigree against the sky beyond.

And a favourite tree – always think it looks italicised, leaning at that angle.

One of my favourite trees up Laggan Hill – there’s something aesthetically pleasing about the way this old tree leans –

Autumn at the Hermitage

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I spent a happy several hours wandering around The Hermitage by Dunkeld over the weekend, taking in very much the end of nature’s autumn displays – tree foliage fallen and fading, the light dull overcast all afternoon (and mostly raining, at that).

First, a few conventional scenes beside the River Braan and the Black Linn waterfalls from the bridge, as one does:

From there I explored a new direction away from the river, up through the Craigvinean woods to the Pine Cone viewpoint. The weather descended – from bright sunshine strolling through the colourful larches, it turned completely dreich grey and mist arose from the trees reducing visibility to barely 50yd. Quite spooky 🙂

On the way back, a particular beech tree caught my attention; with a bit of work, the 18mm prime revealed a particularly strong composition, illustrating the tree’s curving trunk. An unusual use for focus-stacking, too: it was so dark when I started the sequence, the camera was at 30s, ISO 400 even at f/2.0; by the time I finished 8 minutes layer, it was completely pitch black night.

 

 

Autumn in Glen Lyon

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A few photos from a trip to Glen Lyon in autumn. An ideal route for an afternoon walk-with-Dog took in 3 distinct kinds of woodland: artificial monoculture (spruce etc, clear barren ground) (fortunately being felled with a view to replacement with native trees), some birch and oak, and (another artificial) an avenue of beech trees.

Anthropocene influence:

Very natural native flora basking in the golden light:

An avenue of beech trees looking quite spooky

Autumn Years: Abandoned A93 Road, Craighall Gorge

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On a recent excursion elsewhere, a friend tipped me off to the existence of the gorge at Craighall, through which runs the remains of the abandoned A93 road from Blairgowrie to Glenshee.

It’s funny to think that the bridge was constructed in 1994 and the road decommissioned in 2008, both of which are well within my lifetime – and given how I visited Glenshee several times in my early years having just moved up to Perth in 2004/5, it’s entirely possible I might have used the old road unawares.

These days it’s little more than a 40-minute saunter for dog walkers – almost like wandering through a woodland but with crash-barriers beside and the occasional painted stripe of a white line former road marking peeking through the inch-deep mud and moss.

With the leaves turning gold in autumn, it’s a post-urban delight in its own way.

Inverary: A Tale of Three Techniques

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In August I called in on an old friend in Inverary for a small guided tour around the local forests with camera in hand.

There was one particular photo I had in mind – ever since I first saw an old ruined barn with disused farm machinery, it was crying-out for the bokeh-panorama (aka Brenizer) technique – instead of one straight shot composed with the final focal-length in mind, one uses a longer lens (preferably a fast prime) and stitches the results into a panorama, to give an image with narrower DoF than was possible at the focal length in question.

Here’s the straight scene, taken on the Fuji X-H1 on the 16-50mm f/2.8 at 18mm – even wide open there’s no significant blurring in the background.

So here’s the stitched result, taken using a Helios 56mm f/2 wide open – drastic focus drop-off:

It took 100 frames at source – 2.4Gpx – but the result would be the equivalent of an 18mm lens at f/0.6. 

The second technique was keystone/perspective adjustment. On seeing a stone waterworks in the woods, my friend challenged me to get a view of it straight-on without using the drone. That’s simple enough – even though it’s several feet above head-height.

The third technique was simple long exposure: night had long fallen before I left the town but the clouds moving across Loch Fyne/Shira looked pleasantly ominous. Keeping base ISO, f/6.4 gave a 7s base exposure – with HDR 5*±2/3EV this became 7+18+30+27+10 = 92s combined total, retaining exposure from brightest point of clouds into shadowy areas in the mountainsides. (Contrast is not just a daytime problem!)

Several long exposures blended together into an HDR image of clouds and smooth water, Loch Shira from Inverary.

A Bit Damp

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Another Friday evening, another great way to end the week with a camera in hand. As I finished up work, wondering whether to mow the lawn, I looked out the window and saw awesome clouds zipping past.

Grab camera, grab Dog, go walkies and shoot whatever happens. There was rain. There was sun.

And after the rain, the sun illuminating the gently undulating crop fields contrasted amazingly with the remaining ominous clouds beyond.

Simple undulating rural countryside – with dramatic clouds above.

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 🙂

Gear Change Time

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Back in May I had a bit of a holiday. Figured the primary camera would be occupied taking timelapse video sequences for a couple of the evenings, and what happens if I find something else to take a photo of? So a friend suggested I get a Fuji X-T20.

Loved it.

Sold the K-1 dSLR and all the other Pentax kit, bought a Fuji X-H1 and some nice lenses to augment it.

Having spent all last Friday having the day off for the purposes of swapping the gear, I called in at Portknockie to make some photos of the well-known Bow Fiddle rock. The tide was low, requiring more care scrambling over the rocks.

Getting a bit more artistic, a long exposure view of the clouds passing by and a toned and tweaked edit:

The Zeiss 12mm f/2.8 Touit Fuji X-mount lens is a beauty. Being for APS-C crop-sensor only, it’s comparatively small, but elegantly formed with the curves flowing from lens-hood to body where the aperture and focus rings are smooth rubber perfectly integrated into the body.

I still maintain the most interesting views are to be found within the caves beside Bow Fiddle, not just staring at the lump itself. This is the first test image made with the Zeiss lens – sitting inside one of the caves, looking out, an HDR composite of 5 frames ±2/3EV each and even so it took a delicate touch getting the best RAW conversion and blend (haven’t used LuminanceHDR in ages!).

Testing my newly acquired Zeiss 12mm f/2.8 Touit lens – inside one of the caves looking out, of necessity a 5-shot HDR ±2/3EV. That lens is awesomely sharp, even with slightly elevated ISO around 640-1600.

Finally, one to relax with: the most serene simple composition of blue-grey sky with warm crepuscular rays spreading from behind a cloud. Light and sea, what more does one need?

Beautiful simplicity: a very cool blue-grey sky with orange crepuscular rays in the distance.