Summer is on its way, though its hard to believe after several days of heavy rain here on Mull, so there is plenty to look forward to and can hardly wait to get back to flower photography.
These images below were taken last year in Torosay Gardens. I have done a lot of commercial work over the years at Torosay and revisited some of the images recently to create this small collection of monochrome studies.
Tags: flowers, monochrome, nature photography
It is sometimes a difficult choice to make, should a landscape image be black & white or colour. Clearly there is merit to be had in both renditions of the scene and there are times when certain views and compositions seem to shout out one way or the other.
However, with this particular image I am very much undecided. In a way I like both but if I had to choose which I prefer it would be very difficult.
Tags: landscape photography, monochrome
Harsh sunlight is not always suitable for some subjects, however, for creating abstract images from naturally occurring tidal sand patterns it can be just perfect though it is best if the sun is fairly low in the sky to elongate the shadows.
As seen in the small selection of images below taken on a beach near Knockvologen on the Isle of Mull the harshness of the light increases the contrast to show every small undulation in the sand. These patterns are all around, it is just a question of selecting a suitably pleasing and interesting composition.
In a couple of the images there is a buoy that had washed up on the beach, the ebbing tide has created additional, localised patterns around it that works nicely into the composition.
A landscape image needs to be more than just a record of a place visited, it is a combination of seeing, patience, light, technical competence and finally a little luck.
You are the creator, your composition is your personal vision of the world. It may be a sweeping landscape or simply a small element within it, you will decide to include or omit as much or as little of the scene as you choose. However, what we see outdoors and what ends up on our computer screen or in print may not necessarily be the same thing. The process of taking the image requires skill and an understanding of exposure to maximise its full potential.
Exposure is one of the most important aspects of photography and essential to the principle of photographic knowledge. We must move away from the auto settings on our camera if we want to really master exposure, exposure is controlled by 3 things – the relationship of ISO rating (sensor sensitivity), the aperture and the shutter speed. It is this relationship that controls the exposure.
Although simply a relationship it is the essence of photography and dedication to understanding the principles of exposure is time well spent. ‘Correct’ exposure is really a misnomer, we are aiming to record an exposure that accurately reflects what we see and feel. If it is darker or lighter than we intended it to be then we have failed to fully master exposure.
I do most of my landscape photography from a tripod, this holds the camera solid, ensures a considered composition and allows a small aperture to maximise depth of field to be used. As we are using a tripod we can use a slow ISO setting, say ISO 100 to produce an almost noiseless image. I would select this speed for 90% of my landscape work. With the ISO speed set we can now look at the relationship between the aperture and shutter speed. Remember changing one will necessitate changing the other to maintain this relationship.
Depending on the subject matter there are choices to make. If we want pin sharp from foreground to infinity we will need a small aperture, a large f stop number. If the converse applies and we want to isolate a tree in the foreground and render the remainder of the image out of focus we need to select a large aperture, small f stop number. These examples are extremes at either end of the f stop scale, reality states that we should use the most suitable f stop to record the image as we wish.
By selecting Aperture Priority on the camera controls we are allowing the camera to select the shutter speed to match our preferred f stop. We can of course over-ride this by adding or subtracting light via the use of exposure compensation to make the image lighter or darker. This is entirely under our control, the camera nothing more than a tool to complete the job in hand.
Our cameras digital sensor can record up to 6 to 7 stops of contrast (dynamic) range whereas our eyes can distinguish a contrast range of about 14-16 stops of light, more than twice that which our digital sensor can record. It is important therefore to ensure that the scene is contained within the contrast range of the camera. If it cannot then we run the risk of either blowing out the highlight detail or blocking up the shadow detail. With this in mind we need to try and visualise a scene the way our camera will record it. If your camera has a built in spot meter or you have a hand held spot meter then it can be used to measure the extremes from light to dark (IMPORTANT : NEVER POINT YOUR CAMERA DIRECTLY AT THE SUN – IT WILL BLIND YOU IN AN INSTANT – YOU HAVE BEEN WARNED!).
If the contrast range exceeds 6 stops we can either use a neutral density graduated filter to lower the contrast of the sky or alternatively we can blend two differently exposed images in Photoshop.
Phil offers Landscape Photography workshops, these are primarily field based and aimed at beginners and improvers who are looking to enhance their skill and technique. If you require further information please visit Isle of Mull Photogrphy Workshops
Tobermory, founded in 1788 is the capital of Mull, it is located on a sheltered bay in the north east of the island. The town’s name means Mary’s Well which is derived from its Gaelic name Tobar Mhoire where “Tobar” means well and “Mhoire” Mary.
It is a popular tourist destination with brightly coloured rows of houses and shops lining the graceful curve of Tobermory Bay, just perfect for a summer evening stroll.
I hope these few Tobermory images give a flavour of the area.
Tobermory in summer sunshine
Whisky window
Fishing boats moored in Tobermory Bay
Late summer reflection, across Tobermory Bay
Night lights of Tobermory
Tags: isle of mull, photography, tobermory
Winter returned to the Isle of Mull yesterday, with more high winds and heavy snow.
I was prompted to put together this selection of winter images after a really horrendous return journey late last night from the Ross of Mull. We had been on the Ross for most of the day, had a really interesting commercial photo job to do followed by a successful client meeting and to complete the day a lovely evening meal with friends.
It had rained throughout the day on the Ross and only when driving home and had passed through Pennyghael did we hit snow. The drive through Glen More was really tough, even though the snow plough had been through a little earlier, the snow was being blown horizontal and the Land Rover buffeted by the high wind. Throughout the hour long trip we did not see another car and only when we started to come out of Glen More did the snow turn to rain making the final few miles a little easier.
These images show much ‘kinder’ winter conditions than we experienced last night, hope you enjoy them.
Ben More
Ben Talaidh abstract
Loch Sguabain
Loch an Eilein
Loch Spelve
Ben More
Torness and Ben Talaidh
Sgurr Dearg at daybreak
Dun da Ghaoithe and Sgurr Dearg
Loch Spelve
Tags: isle of mull, landscape photography, winter
With high wind and heavy wintry showers today you would never guess that spring and summer are not too far away.
With this in mind I decided to revisit some of the images taken last year on the Isle of Mull of butterflies, moths and dragonflies and put together this small selection.
Large Heath (Coenonympha tullia)
Transparent Burnet (Zygaena purpuralis)
Small Pearl-Bordered Fritillary (Boloria selene)
Golden-ringed Dragonfly (Cordulegaster boltonii)
Poplar Hawk-moth (Laothoe populi)
Tags: insects, nature, nature photography
One of the best places to start bird photography is on your doorstep, gardens make for some great photo opportunities. Many garden birds are readily attracted to food placed out for them so you can place your feeding station in a suitable position to give an uncluttered background.
This small collection of images where all taken in our garden here on the Isle of Mull including the pied wagtail which although not drawn specifically to the food are nonetheless fairly frequent visitors to the garden.
If you enjoy these photos please add your comment or retweet, always interested to hear your thoughts.
Siskin (Carduelis spinus)
Pied Wagtail (Motacilla alba)
Chaffinch (Fringilla coelebs)
Robin (Erithacus rubecula)
Blue Tit (Parus caeruleus)
Collared Dove (Streptopelia decaocto)
Yellowhammer (Emberiza citrinella)
Tags: birds, isle of mull, photography
Contre jour, a French word literally meaning “against daylight” and it is possible to take stunning photographs when shooting into the light. Whilst this may contradict advice given to beginners to always shoot with the light coming from behind the camera the art of contre jour or backlighting in photography is a technique that can produce wonderful images.
However, many photographers are intimidated by the idea of pointing the camera towards the light and shy away from some of the photo opportunities.
There is much to consider when using this backlighting or contre jour technique if disappointment is to be avoided. Once mastered however, there is little doubt that backlighting can be magical and will add drama and visual impact to your photographic portfolio. There are many subjects to try, some of my favourites are flowers and foliage or trying to catch the rim lighting around animals and birds. Mist, rain and haze will be enhanced by backlighting adding creativity and atmosphere to landscape images.
” The two most challenging aspects of photographing contre jour subjects are to adequately eliminate flare and ensure correct exposure. These concerns can be allayed with a little practice, good technique and an understanding of the exposure process. “
Flare gives rise to a loss of definition and is probably the most significant area within contre jour pohotography that requires attention, so a measured and methodical approach is needed. Flare is produced when intense rays of light hit the front element of the lens causing lens refraction, leading to specula highlights, image softening and a loss of definition. There are several ways to overcome this undesirable effect in our contre jour photography.
Lenses show individual characteristics but in general the more lens elements used in their construction the more vulnerable they will be to flare. So zoom lenses are more likely to be flare susceptible that prime fixed focal length lenses. Lens coatings also have an impact on flare, modern multi coated lenses consistently outperform earlier models and this alone can significantly reduce most potential flare problems.
In many backlighting situations using a designated lens hood will greatly improve the chances of eliminating flare by keeping stray light from striking the front element of the lens. Indeed, the use of a good quality lens hood can improve saturation in contre jour subjects and is genearally beneficial to all images.
Having taken the above precautions a final visual inspection of the image through the viewfinder, preferably with the lens stopped down, will show any remaining areas of softness or highlights resulting from flare and may only require a slight repositioning of the camera to eliminate.
The other challenge in photographing backlit or contre jour subjects is how best to handle exposure. Underexposure is a common problem in backlighting, as the brightly lit background will overly influence the camera’s meter; this will turn the subject very dark, indeed almost silhouette like.
Exposure compensation is the answer and it is best to give between one and two stops extra exposure from the exposure suggested by the camera. Alternatively, take a spot meter reading from the shadow area and expose at the camera’s reading this should require no compensation. As exposure for contre jour subjects is tricky it is best to practice various exposure metering patterns and overrides until you are comfortable in approaching various back lighting opportunities as they present themselves.
So there really is little excuse for not getting out there and giving it a go, there are plenty of contre jour opportunities waiting to be found and with care they can become some of the most creative and satisfying images in your photo portfolio.
Tags: backlighting, contre-jour, photography
One from a couple of weeks ago taken during a calm sunny spell when these two Oystercatchers presented themselves and were too good a photo opportunity to miss.
The reflection completes the composition, adding interest to what would have been an otherwise blank area of water. I like that they are facing each other, and to me there is a feeling of both individuality and unity between them.
If you have enjoyed this image please retweet or leave a comment.
Tags: birds, isle of mull, oystercatcher
