Sunday, 19 November 2017

Committed. I should be!

Saturday was the day of another big poultry show which I had foolishly agreed to take photos of the winning birds at. I had no idea what to expect in the way of facilities. As it turned out there were none. It was a case of photographing best in show and reserve champion. Both fowl being held by their proud owners. Flash on camera, set everything to automatic and job done.

Five minutes work after six hours wandering round the show and the adjoining auction with no inspiration at all. It really has become almost impossible to find new things to photograph or new ways to photograph the familiar.

Like a lot of photographers signage often catches my eye. Two signs for one event apparently directing people in opposite directions had to be photographed.


Elsewhere I made a feeble visual pun about chicken and chips. I'll get my coat....


Sometimes the play of light draws my eye even though I'm not all that good at making pictures of it. Maybe because I feel it's a bit of a cheap trick I don't make much of it? It can be all too easy to use lighting effects as a cop out. Some photographers have built careers on it!



One idea I did start to play around with, without too much success was to photograph through the pens. Most pens had back boards to them, so my opportunities were limited. And when people saw me pointing the camera through the pen they often jumped out of shot. Not always though.


I've tried this in the past but this time I stuck at it a bit longer. I spent more time than I usually do on a few ideas for pictures. I reckon that was because I had run out of steam. With nothing new to distract me I persevered with what little I had to work on.

Another departure from my standard practice was to put the camera in 'fast' mode and shoot bursts of up to five frames when I saw something occurring. Reviewing the results didn't seem to give me a better 'hit rate' though. Just more dross to delete.

It had been a long and chilly day in the show shed. When the door was opened at the close of play there was a mad rush of people carrying bird boxes out to the car park.


In the auction I suffered the same lack of inspiration/motivation having seen it all before. I was reduced to photographing 'characters'. A stack of pictures of unnamed people doing nothing doesn't really amount to much. Anonymous people are far more interesting to look at if they are doing something interesting.


There can still be vignettes found. But the pickings are slim and probably not worth the time expended in their getting.


Where next? When in doubt go to the sandplant! The continued attraction there is that it is never the same two visits running. Not having been for a look for some time I was surprised how much it's size has been reduced by. Work has been cracking on recently.


The graded sand piled up with tracks running through gives an appearance akin to a moonscape to my eyes. I didn't have long as I couldn't get out until late on, so didn't come away with many pictures. The overcast light worked well. There was just enough to provide subtle shadows to suggest form.


While still interesting the place has lost much of the character which I used to enjoy. It was much wilder, and also much more used as an unofficial amenity. That sounds contradictory, but that was how it felt. A sort of naturally rewilded adventure playground for people of all ages. Now it's more of a deserted desert.

Sunday, 12 November 2017

Snaps

There are lots of things I dislike about taking landscape photographs. The biggest being the walking involved! Thirty years ago it wouldn't have bothered me but these days after  a mile and a half of trudging  up fairly gentle inclines my joints start moaning. Never straying from the beaten path gives you the same pictures everyone else gets. No matter how much care you might take over the framing a few minutes on Google and almost identical snaps appear in droves. The lesson here is to stop photographing the obvious views and subjects.


That said, wandering up a valley in the AONB that I had never wandered up before was interesting. Once more I was in search of signs of human influence. And as with the previous valley visit it wasn't hard to find. Once the tarmac track runs out at the borehole a rough stone shooters track takes over. Not just shooters and game keepers drive their vehicles along the track, I had to move aside to allow an RSPB (spit) 4x4 to pass me on its descent. A much quieter valley, no doubt owing to the shorter length of tarmac. And even a mile from the road it felt as if it could have been twenty.

Another thing that bugs me about landscape photography is how much it relies on the light being not only of the 'right' quality but from certain directions. As I don't plan anything technical I rely on luck in this department. An earlier visit, or even better a different time of year, would probably be better for photographing the valley. But I timed it right for a photograph of the memorial below. Fitting to photograph it on Remembrance Sunday.


One bit of planning I had done was to consult maps. I wanted to see what the 'castle' actually looks like. Not very much as it happens. It's pretty much a stone barn with some fancy windows and door one one side. The door and windows are boarded and locked. Possibly that side is used as a shooting lodge. Sheep making use of the open parts for shelter. Again, a quick internet search shows that the building has been photographed many times from every angle.


After retracing my steps I set off to take the (very long) route home. The main reason for his was to avoid having to drive into the setting sun. Previous drives home from the AONB on bright afternoons had seen me dazzled and unable to see the twisting road in places.

The alternative route proved to be over pretty remote land. But land full of sheep. I stopped three times to see if I could get any sheepscapes. I wished I'd had a longer lens with me. Fell sheep are timid. As usual it proved impossible to get each sheep in a group to pose ideally. The late afternoon light was wonderful though and there was a bitter wind blowing, which had the benefit of moving clouds across the sky. Far better than a bald blue sky.

One point worth noting about photographing groups of animals, or anything else really, is that odd numbers make for better pictures. I don't know why this is. There's probably some deep psychological explanation. But I'm not the first to discover this compositional device works.


But sheep being sheep they don't always hang around in groups of three or five. Only children hang around with their mothers long after they've weaned. Although I wish mummy sheep had looked at the camera I like the gesture of the lamb (damn that rush stem though), the light, and the depth in the landscape beyond. There's a feeling of space to the picture. When Mrs Swaledale did raise her head it was as she ran away on noticing my presence. Bloody sheep.


Further along the road the light, or rather the shadow, on Ingleborough was fascinating. The cloud above it was equally interesting. I took a number of shots as the clouds moved and the light changed. So many it made deciding which worked best difficult. I'm still not sure the one below is the best of the mediocre set.


A little further on lay The Great Stone of Fourstones. Which is, obviously, the only stone for miles around! I don't think I could have time my unplanned visit better. The sun was beginning to set behind the stone. Better still I was the only person there, two others had just left. I did my backlit trick of stopping the lens right down, underexposing, and lining the sun up in such a way that it peeks through a small gap creating a starburst. It's not something that can be easily done using a tripod when the sun is setting quickly.


Walking round the other side of the stone and the low sun warmed the scene as well as showing the texture of the rock. careful framing kept a parked yellow car, the road and a fence out of frame giving the impression of remoteness. Photos don't lie. They just don't always tell the whole truth...


Sunday, 5 November 2017

The last chance saloon

Another sunny Sunday saw me heading, late again, for the AONB to try and find a photographic direction to approach it from. I'd chosen to take an indirect route and in so doing I would pass the Moorcock which I'd photographed the remains of recently. I was shocked to see there was next to nothing left of the old pub. Yet another reminder to photograph things before it's too late. After my previous visit I did some Googling and found that the Urbex crowd had been inside it. So it's final years have been recorded.




Reading between the on-line lines about the history of the Moorcock it strikes me that its failure was down to expansion of the property with exaggerated expectations for the business to be generated. They might have succeeded closer to a large urban area, or even in a more touristy localle. But half way up a bleak moor miles from the nearest town? The sun has finally set on The Moorcock Inn.


With little left except rubble there wasn't a lot of photographs to be made there, so I carried on to...


My intention was to head up the valley to see what there is to see. The the Ordnance Survey and Google maps suggested there might be some landscape features which would appeal to my aesthetic. Nonetheless with the sun bright on the fells I couldn't resist trying (and failing) to make a postcard picture. Even then I deliberately included the power lines.


Sure enough, further upstream it soon became obvious that this is an industrial landscape. Signs of tree felling and replanting are easy to spot, but hidden away, breaking surface fitfully, is the water pipeline. Much of the land in the AONB is owned by the water supply company. Most of the rest of it belongs to Mrs. E. Windsor or the 9th richest person in Britain (as of 2017). However there is a lot of it legally accessible these days, which I think might have pleased Fay Godwin.

While one of Godwin's themes was land ownership her concerns were with restrictions of public access and the despoiling of the landscape. I'm interested in land ownership and usage too, but not in a campaigning way. Unless it's pointing out the similarities between conservation organisations and sporting estates in keeping the riff-raff of their land!

Mostly I'm fascinated by the way man-made structures appear in the 'natural' environment. I don't see them as heroic or unsightly. The longer they are there the more they become part of the whole. We often overlook them, or take them for granted. Unlike some people I don't have a hierarchy of acceptable structures. The drystone walls and stone barns of the Yorkshire dales are thought to be picturesque. A cast iron pipe crossing a bracken covered clough is thought to be ugly. I can't see why.



My biggest failing when it comes to landscape pictures, of any sort, is impatience. I can't be bothered with the fuss of setting up a tripod, and even worse I can't be bothered waiting for the light to improve the pictures. More dedicated photographers than me will get into position early, set the tripod up, set the camera, then lounge around eating their snap until the light 'makes the picture'. I'd either fall asleep or wander off doing something else. Either way I'd end up missing the perfect light that lasted for a fleeting moment!

Whenever I have the work of Fay Godwin in mind I try making square, black and white, pictures of a landscape-ish sort.

For some reason bald skies seem to work better in black and white than in colour.


I liked the idea of the photo below of a blocked hogg hole that I briefly considered seeking more of these features out and making a series of similar shots. Then I remembered that I'd get bored doing that sort of typology project.


Up the valley I was wondering how it had got so late and why I was feeling knackered. Measuring the distance I'd walked using Google maps when I returned to civilisation I found the answer why. It was almost five miles. And still no closer to sorting out the project.


Saturday, 4 November 2017

Don't give up the day job

It was the big day today. The day when I had to take the 'official' photographs of prize winning poultry. Thank goodness I wasn't charging. Then again, if I had been doing it for money I might have taken more time and care over the job.

I suppose that for a first attempt it wasn't too bad, but the law of Sod dictated that the one bird which I messed up most with, for no reason I can fathom, was the overall champion. Why the judge had to pick a white call duck I really don't know. The only thing worse than all white or all black birds/animals to photograph are black and white creatures. So it could have been worse.

My improvised lighting worked as well as I could have hoped for. I knew the light wouldn't be soft enough and not being dimmable was  hindrance, but the basic idea was sound. Two lights on the background and flash on the camera. Then crop and edit the hell out of the files on the computer!


The 'studio' set-up could have been larger for some of the bigger fowl though...


The platform could be both wider and deeper, and the background taller. Being able to get the bird further away from the wall would help, and a higher background would be better for tall birds. Still, I work with what I'm given. There's no option. In a fortnight I have another 'gig', this time with no permanent 'studio' to use. I can't wait.

One of my more successful results

The down time was spent mostly drinking tea and eating. I did get one or two new pictures. Nothing startling but some ideas to work with next time.



Hoping to prove that my lighting set up would work with any camera that had a built in flash I had taken my fishing compact along. It's been playing up a bit recently, a bit temperamental. When I tried demonstrating it the flash it wouldn't play ball. It worked perfectly when I'd tried it a few minutes earlier. That bloody Sod and his law.

Because I have pretty much photographed myself out at these shows I played around using the compact to shoot some video. At first glance it looks quite good. But then I'm no expert and am just amazed that I managed anything watchable at all. If I can get my ancient PC to edit the clips I'll upload them.

I also played around using the compact as a stills camera with surprisng results. For someone like me the increased depth of field small sensor cameras turn out is a bonus rather than a hindrance. It's the noise being quite bad at anything over ISO 400 that I find frustrating, but at web sizes, and probably 5 x 7 inch print size, pictures look fine.



The biggest drawback with the compact is focus speed and shutter lag. Drives me mad and I can't think why it has to be that way. Probably just a consequence of tech that's a few years old. I'm considering selling my 'toy' cameras (I've been using them again of late and hating the experience). I might use the cash released to buy a more up to date small sensor compact with a fast zoom lens. Or I might not.

More from the day here.

Monday, 30 October 2017

Sheepscapes?

For what seems like the first time in months that bright thing in the sky has made an appearance recently. But afternoons are short, especially since the clocks went back. On Friday I only had three hours of light left by the time I was free to set out so I headed for the marsh. There were now sheep on both sides of the fence meaning I could walk round and get an angle where they were either side or front lit instead of the backlighting I'm usually faced with. The results were uninspiring but one frame illustrates the nature of the landscape.


It's not just sheep that I'm trying to photograph but their traces. So any remains of expired sheep are added to the archive in case they might add up to something eventually.


On my way home I noticed some sheep in a field of what looked like shallow water. With all teh rain there's been lately a flooded field was a possibility, but I'd have expected sheep to have been moved out of it. I wasn't going to stop to take any photographs because the lane is pretty much a single tracked but there was a pull-in by the field gate. The back lighting was making the field glisten and the sheep where silhouetted against this with that rimlight their fleeces give in such situations. All very picturesque. I pulled over and got the camera out. It wasn't water at all creating the effect. It was spider silk. Not only was it cloaking the grass it was in the hedges too.

With the sun setting fast the effect was soon lost but I managed two or three frames which are okay. Sheep never graze where you want them to for the composition you have in mind. Often the bleaters will be heading in the right direction and then turn round!


Sunday was predicted to be sunny all day, but I still didn't manage to get out until eleven intending to have another poke around in the area I have in mind for a project.


Quite what the project will be about if it happens I am trying to find out by taking photographs. Something sheep related, maybe a series of sheepscapes, is a possibility. Finding cooperative sheep being the biggest hurdle to overcome.


It would be an easier option to make a series of pictures of trees. All you have to concern yourself with there is the weather and the light. But looking through a book of photographs about a year in this area I realised there were next to no pictures of people in it. The great fall-back of photography is to photograph landscape and 'stuff'. Which was what I ended up doing.



One thing that a low winter sun does is make me look at light and colour more than I usually do. Good in some ways, but it all too easily becomes the subject. Which I find less than satisfying. There's no message intended in these sorts of pictures. The picture below is just a semi-abstract of a tree against a moorland backdrop. It's decorative.


This isn't as nicely lit, but as well as being a semi-abstract picture of a wall, fence and saplings, it is also about enclosure and land use. The land, originally walled to retain sheep, has fencing topping it off to keep deer out of an area now planted with trees for environmental reasons. To me that is a more satisfying picture to make.


But ideas don't have to be what might thought of as politically motivated, or 'heavy'. They can make a comment on an aspect of life in a more light-hearted way. As when I started taking pictures of abandoned balls I have lately started taking pictures of the farmer's friend - baler twine. The places I see it and the uses it gets put to.