I have recently started up a magazine about our woods. Entitled “Woodland Beauty” it contains a lot of photographs and articles about our woods, and also about photography. It is available as a free ebook from the iTunes store (a search for Alvecote Wood will find it if you want to download to iPhone), and also via Blurb as an ePub for Kindle and other devices. If you are interested, please take a look!
I’ve only ever had sight of a kingfisher as a brief flash of blue. Today, we set out for a gentle amble. I was not expecting to take any bird photos, and took a different lens for my camera to try out. We reached the bottom of Betty’s Wood and sat on the bench, when a flash of blue caught Stephen’s eye. A kingfisher! The first ever sighting at our woods, and a wonderful sight to behold. It stayed for almost one hour, feeding on three of our ponds and in the ditch. It seemed to be feeding on larvae or possibly small newts – difficult to tell at a distance.
So I apologise for a VERY bad picture. This is a 100% crop from a totally unsuitable lens. But it proves that if you build it, they will come. One of the best days ever in Betty’s Wood!
Yesterday was Armistice Day. The day the guns fell silent at the 11th hour of the 11th day of the 11th month, and we fall silent in order to remember the victims of war, and the people who served in the military. I headed to the woods.
The beautiful old oak trees in our woods have seen a lot. The very oldest saw the rise of Napoleon and his march across Europe, his retreat from Moscow, and the Battle of Waterloo. Most of our trees witnessed the rise of the canals and railways, and the might of the industrial revolution. They were present as young trees when the American Civil War was in full swing, and when the British invented concentration camps in the Boer War. They saw the rise of the British Empire, and the Raj in India. I’m sure some were cut down to provide pit props for the local coal mines, and sleepers for the railways.
Some of the trees were already quite old when a totally preventable war started in 1914, when some of my great uncles never came home from France, or from Iraq, or fell victim to zeppelin raids in London. And from that preventable war came another one – the rise of the Nazis in Europe. For it was the punitive settlement visited upon Germany at the end of the first war that led to the conditions in which the tyrant could rise to power. The trees saw it all.
In our woods we have a mysterious bunker lined and topped with concrete slabs – we think this was probably a weapons cache for the British Resistance, to be used in the case of an invasion. It makes the whole thing real. The trees were there when that pit was dug, the weapons cached and finally removed.
So I sat quietly under the tree and remembered. And I thought that the problem with the way we remember is our memories are too short. We remember only the soldiers who died, not the reasons why they went to war in the first place. We fail to learn from the same mistakes made time and time again. We fail to learn that if you leave people powerless, poor, disenfranchised and disillusions, you will create the conditions in which tyranny can take seed, grow and develop into a tree of its own. We fail to see that it is possible to have a win-win – that you don’t always have to have a competition in which there must be losers. We fail to control the grab for resources and grab for power. So we forget, and send more generations to war.
Remembrance is about much more than standing quietly, much more than the armed forces, much more than the victims of war. It is about making sure that war does not happen again. We forget that bit, and allow tyranny to rise by allowing people to be forgotten, their views to be ignored, and tyrants to take advantage of their dissatisfaction. We do a disservice to those who fought and died, and the civilians slaughtered in their millions, if we fail to learn, and forget the minute the poppy comes off our coat for another year. We talk about heroism all the time, but we forget why it was needed. We allow it to be needed again and again.
The trees have seen it all, the endless cycle repeating and repeating over and over. We have to take the long view, have to be more like the trees, and have to really remember. But we don’t. We never do.
I often see people post images “straight out of the camera”. But what does this actually mean?
In the days when film cameras were the only option, images may well have seemed to come “straight out of the camera”, particularly if the photographer relied on the local chemist or sent them off in an envelope to be processed. You shot the film, trying to get the exposure correct, put it in an envelope, wrote out a cheque (remember them?) and sent it off. The prints (or slide film) came back and the images seemed to come straight out of the camera. You had to get as much as possible right in the camera because you didn’t have any control over what happened once it was in the envelope, or the hands of the lady at Boots.
However if, like me, you had neither the money to keep getting films processed, nor any confidence that Boots would actually get it right, some photographers processed their own films. This opened up a world of creative possibilities. You could “push” the film, making it grainy, but allowing a higher ISO to be used – up to 800 or even 1600 if you were lucky. You could cross-process the film, giving it an interesting tone since you were using a process designed for one film type on a different type of film. You could then produce your own prints – using the enlarger as a creative tool. You could “dodge” out the bits that looked a bit pale on the negative, and “burn in” the bits that looked a bit dark – usually the sky needed a bit longer onto the paper before you processed it. You cut a “mask” out of ordinary card to allow you to mask off bits you didn’t want to expose any more on the paper. You could add toners to your prints to give them sepia, blue or other tints. You could even airbrush small imperfections out.
In short, you did an awful lot of manipulation to get the perfect look for your photograph. But here’s the thing – so did Boots! Their print-making machines looked at the density of the negative and calculated exposure onto the paper taking account of this to produce a pleasing, if rather bland, image. In doing so they often managed to correct a negative that was actually pretty poor, but in many cases, unless we looked at the negatives, we had no idea they had done anything at all to it.
The difference between the manipulation the photographer who self-processed did and the machine at Boots did was that the photographer had a vision of what the final result should look like (often before even putting the film in the camera), whereas Boots produced something that worked pretty well most of the time for the average set of holiday snaps.
Roll on 40 years or so, and we have very good digital cameras. Instead of film, light triggers an electronic response on a sensor, which is converted into raw data – a series of 0s and 1s – which can be reconstituted as an image in a format that computers and other devices can read and display – usually a jpeg file.
But how does it get to be a jpeg file, when it starts off as a series of numbers? There are essentially two methods of achieving this – you can let the camera do it for you, or you can do it for yourself after retrieving the raw data from the camera. These are the modern-day equivalent of sending it to Boots, or doing a bit of creative work in the darkroom, but without the inconvenience of putting up black curtains and working in a very dim red light (or dark green for slide film) with smelly chemicals and your Mum shouting at you because she needed to use the loo (my darkroom was in the bathroom most of the time).
Cameras have some element of control over what the jpeg looks like – you can usually set some pre-sets which control things like contrast and saturation of colour, and some cameras have creative modes which add things like black and white or sepia filters, or soft focus, or whatever. But you have to take what the camera manufacturer says you should have – a sort of Boots-plus. You get a particular landscape look, night-time look, portrait look, black and white look and that is it.
Or you can do your own processing, just like in the old days of curtains, chemicals and frustrated family members queueing outside the bathroom. Like when you used chemicals and paper, this requires some creative thought right at the moment you take the photograph. You need to get it right so that you can produce the result you want to at the end of the process. This may require you to under or over-expose the image a bit (or a lot), shoot with a different white-balance, or use graduated, polarizing or neutral density filters, just as you did in the old days. Then, when you have the raw file, you use some software to produce the image you want to.
It is possible to completely alter the colour, feel and mood of the image by doing this. It is also possible, as it was in the days of film, to add and remove things that weren’t or were there – to produce a composite. But you have a lot more control over the creative process. Your black and white images will have the feel you want, not the feel that the camera says you should have. If to your eye, it was the greens, or yellows in a landscape that stood out, then you can emphasize these. If your sky needs burning in, just like in the old days with cardboard masks and an enlarger, you can do this. It is a bit easier, a bit more comfortable, a bit less smelly and a bit less inconvenient.
Now to me, the processing is at least half of the creative process involved in taking a photograph. The camera can do a great job a lot of the time. However everybody sees a different scene differently – this is because our eyes are not cameras, but what we see is a result of the processing done by our brains. The camera cannot do the same processing – it does the processing that seems right in the eyes of the people who wrote the software in the camera, just as the machine at Boots produced images according to the software in the processing machine. If you want it to look like you saw it, or imagined it, or it made you feel at the time, you have to do some of that yourself. You have to think, feel, imagine, and develop the technical skills to ensure that the final image is just the way you want it.
It is nice to see “straight out of the camera” images, particularly when a new model of camera comes out, and you want to see the sort of thing it can do without heavy interpretation by a photographer. However, posting “straight out of the camera” can simply be used as an excuse for not thinking about your photography. You spend a lot of time and money getting a good camera, a sharp lens, getting the right exposure, and the focus sharp – and then that is it. You leave it up to the digital equivalent of Boots to produce the final image. All “straight out of the camera” images are processed, it is just that the photographer doesn’t do the processing, the camera does.
As I have always done, I process my images. I correct the exposure (which you could do with prints), apply digital sharpening (the camera automatically does that with raw images but you can decide how much to apply if you do it yourself), adjust the contrast, apply some toning (like you could in the old days using chemicals and cross-processing), convert to black and white using colour balance to get the right feel for the image, soften the image or add clarity, adjust the saturation and sometimes crop the image (you could do that if you made your own prints). In this way I manage to produce an image that is what I imagined when I pressed the shutter, not how Canon or Olympus or Nikon or Sony imagined I would want it to look.
This does not mean that you don’t have to think about what you do when you push the shutter – you perhaps have to think even harder when you are also thinking about post processing, because this will influence how you take the image. You do try and get the exposure right, the focus sharp, the lighting right and so on. But it means you also use the skills and imagination you have to produce the image you saw in your head when you pushed the button.
To some people this is cheating – in which case I have been cheating all my life since I used to process my own films and make my own prints. To me, leaving it all up to the camera feels a bit lazy – like sending it off to Boots. The pictures I post are genuine – I don’t add things that weren’t there or take anything away that was there – but the are the product of my imagination, and I use a camera and the other tools at my disposal (Lightroom, Photoshop, Topaz Labs and so on) to convey my imagination to the rest of the world through these images. They are not “straight out of the camera” – a lot more thought goes into them than that.
Don’t get me wrong – I love my full-frame Canon SLR, and for many applications, nothing can touch the quality. But…
The fact is that a big SLR weighs a lot, and the lenses even more. Lugging this lot around is often very impractical, particularly for somebody like me who has problems with my lungs. On good days, and over short distances, the big kit is fine, but on bad days or longer distances, there is a real need for a lightweight kit that can do a very good job.
I first encountered Olympus Micro Four Thirds (MFT) cameras on a photography workshop, when I was exceedingly impressed by the technical quality of the photos from a camera that a student brought with her. I’d tried the Canon mirrorless system, but found it a bit slow, and I have a smaller cropped-frame SLR which I loan out to students who are doing my photo workshops. It is nice, but still a bit large, and the problem remains that if you want good quality glass, it is still heavy.
So I recently decided to try Olympus MFT as a secondary system, attracted by the ability to use not just Olympus, but also Lumix and Leica lenses. Something that will get good results when I’m carrying it around, and which I can keep in my handbag for those opportunities that come along when you haven’t got the full kit. It can also replace the heavy kit on long walks and when my breathing is having a bad spell.
Having traded in some lenses I rarely use, I first bought an Olympus OMD EM-10 Mark ii. I was expecting to be very impressed, but I was disappointed in the image quality. A few test shots later, and it turned out that it was likely the package had been damaged in transit, as both the lenses included were badly out of alignment. Fortunately the dealer (Wex photographic) replaced the kit without question, and the second set of lenses were much, much better. The retro-styled camera body is a thing of beauty, particularly to somebody who grew up using a traditional manual film SLR – it has dials where you would expect them for aperture and shutter speed, and exposure compensation. However it also has useful features such as 5-axis image stabilisation, and touch screen point focusing. And it is very, very good for most things except wildlife and sports – the autofocus is good, but not good enough, taking too long to acquire the target when it is moving. As a handbag camera, though, it is streets ahead of anything I’ve had before. The lenses that came with the camera are pretty good too, although because I like backlit imagery, I found purple-fringing to be troublesome. They (Lumix 14-45 and Olympus 40-150 which on a half-frame camera have a combined equivalent of 28-300 in 35mm focal length) do however, perform admirably.
I have also recently acquired a secondhand OMD EM-1 body and some Pro lenses. Now this is a very good camera indeed. The autofocus is excellent and fast and good. The ability to easily switch the dials to control one or other function of the camera is also excellent – you can customise which dials do what. The 5-axis image stabilisation works very well indeed. The pro lenses (Olympus Pro 12-42 and 40-150 – both f2.8) are excellent bits of glass, and there is no purple fringing and admirable sharpness right out to the edge of the frame. They are both solid and weather-sealed, and have a lovely clutch mechanism to engage and disengage the autofocus for fine tuning. There is in particular something about black and white images from this combination that looks stunning. I am also impressed at the lack of noise at low ISO, given the small size of the sensor – better than a larger APS-C sensor camera that I own!
I had not intended to use the EM-1 camera for birds or wildlife, but I recently gave it a trial, and it exceeded expectations, giving sharp and crisp results, and catching the birds most of the time. A 60mm macro lens was also acquired secondhand at a good price (shabby outside, good inside), and again, I was really impressed with the results – sharp, good bokeh, and tiny compared to Canon’s offering. The 40-150 should also be a good dragonfly lens, as it focuses down to 70cm, and a teleconverter can be added to catch the dragonflies as they perch over the water.
The fact is that when I’m taking a walk around places now I usually take the Olympus. It has a permanent place in my handbag. It will not replace the big Canon. The tiny body, with the sensor close to the lens means even at f2.8, you don’t get the separation from the background that you can get with a bigger camera, particularly in Macro work. My big Canon bird lens (100-400 Mark II) is better for wildlife – no getting away from it. The autofocus is better on the Canon – faster, and more controllable. And there is something of the feel of a full-frame shot that really can’t be beaten.
However, the best camera is the one you have with you. If you don’t or can’t carry it, then you can’t take the photos. The mirrorless Olympus is impressive, and it is likely to be “the camera I have with me” quite a lot of the time.
Winter has a reputation for being long, dark and wet, but to my mind it is one of the most photogenic times of year. In winter you can see every detail of the tree canopy. The fractal beauty is outstanding, and completely obscured during the summer.
Then there is the winter light. It has a lovely watery quality, a cool beauty. It comes in from a low angle all through the day. Like a perpetual sunrise or sunset, it illuminates the tree trunks and branches with a stark contrast to bring out the true structure of the tree, branches, bark and twigs.
Even in the rain, and in dull weather, there is beauty in the hazy wetness of the woods, a lovely softness that you get at no other time of year.
The woods in winter have a true grandeur that is hidden in summer. They are definitely worth a visit.
As the seasons change, autumn brings not just a change in colour, but also a change in the quality of the light. Summer light is bright and harsh, and the golden hour is either very early in the day or very late. As winter approaches it changes completely – now the sun is low all the time, with long shadows and a wonderful pastel, watery quality. The golden hour is at a civilised hour. The weather is interesting too – storms, clouds racing across the sky, and by way of contrast, perfectly still mornings and evenings with frost on the grass and mist rising in the river valley.
Don’t get me wrong – I love all the seasons, including summer – but winter light is probably the most photogenic.
These are just a few shots of the woods in winter light – low light through the trees, mist, stormy skies and mist rising at sunset. Perfect!
I keep going on about Autumn, but I make no apology for it. It is my favourite time of year. The spring flowers are magical, and the Summer meadows glorious, but there is nothing quite like the fungal smell of autumn in the woods. What I particularly like is how oak trees don’t “shout” about autumn like many other species. Maple and cherry have been particularly loud this year – flaming orange and yellow, and stunning reds lighting up the trees along the roadside. Almost all the trees in the ancient part of our woods are oak, which takes a more restrained approach.
Some are still quite green right now, others have a gentle yellow tinge, and others simply go brown at the edges and fall. Against this restrained backdrop, the yellow of field maple, willow and hazel, and the shocking reds of spindle, cherry and some rowan leaves, as well as a gentle pinks and purples of elder can stand out. Betty’s wood in particular with its greater variety of young saplings shines out in orange, red and yellow against the darkness of the old oak trees. Oak provides a pastel and gentle canvas against which the other species can stand out.
On the forest floor, things are changing too. It hasn’t been very wet this year and the fungi are yet to get going, but we have seen some amazing hyphae on one of our fallen logs.
The lichens are also coming into their own, forming a miniature forest with the various species of moss, topped off by the fallen leaves covered in dew in the early morning. The grass also shines with dew, giving the woods an autumnal feel, and a softness that is missing at other times of the year.
The leaves are gently falling now and autumn is in full swing. There is no sadness – nature is beautiful all year round. Winter is round the corner, and with it the milky low sunshine and stark beauty and form of our lovely trees. The turn of the seasons is something I really treasure. For now, I will enjoy the restrained beauty of an oak woodland in the fall.
English bluebells. To me the are the English countryside in spring. We are so very fortunate to have a lot of English bluebells at our woods, concentrated in two main areas, but with patches scattered throughout the whole woodland.
This week they have really started to come into flower, just a little bit early this year thanks to the mild March and April that we have had. There are two main areas – an area we call The Plantation because of larch that was planted there, and the bottom part of the woods. Both of these areas have bluebells with bracken developing later in the year.
Over the last two years, the exceptionally mild winters have meant we had no frost under the trees, and this has led to brambles taking over, particularly in the Plantation area, because they have not been killed off by the frost. Letting them get a head start in the spring means that they dominate the bluebells, and last year the display suffered. This year we have cut back the bramble to allow the bluebells to recover.
We have not been disappointed by the display!
Our woods are probably at their most beautiful during the spring. This week we welcomed the Royal Forestry Society here on a visit, and I filmed some video as we went round, adding some stills and a commentary afterwards. This really gives you a feel for the woods and their wildlife. It lasts about 11 minutes, but in reality it takes about an hour to walk round.