Showing posts with label comment. Show all posts
Showing posts with label comment. Show all posts

Friday, 8 July 2016

The nadir of the landscape photography calender

Mid summer is the nadir for my inspiration to photograph the landscape. The window of quality light at dawn and dusk is all too brief, foliage is an unphotogenic drab green, haze and humidity reduce visibility and the dispiriting activity of clegs, mosquitos and midges make standing in one place an ordeal.

Prime Cleg territory

This year the weather has appeared optimal for grass growth or parasition by Hay Rattle has declined or some other factor(s), whatever the reasons, compositions of wild flowers have been compromised by the vigorous grass growth.

Wildflowers


 Recent trips have instead been confined to exploring landscapes with an eye on late summer and autumn.

A scene scouted for autumnal potential

Hill walks have been unproductive and the glimmer of hope is that this may be a good year for heather moorland and plans put in place to take advantage of a weather window.

Heather moorland

Friday, 15 April 2016

Toxic brands

After graduating I worked in the Chemical Industry for 10 years and gained an insight into the hazardous nature of man made chemicals. That knowledge has consciously shaped my consumer habits and I avoid some products/brands, preferring instead the less fashionable brands that value the environment. In recent years environmental campaigners have been raising concern on hazardous chemicals associated with textiles and naming those brands who take a responsible approach to the environment and highlighting the brands that need to adopt a responsible approach to the environment.


I suspect that many outdoors enthusiasts, including landscape photographers, may be unaware that their purchasing decisions on outdoor clothing can have profound impacts on the environment and a recent grough article provides some background info on Waterproofing . It is worth noting that other clothing and footwear may also contain man made chemicals that contaminate the environment.

Greenpeace have two reports that are worth reading for identifying the brands that could improve their enthusiasm for the environment by using safer chemicals Leaving TracesThe hidden hazardous chemicals in outdoor gear Greenpeace product test 2016 and a Technical Report

There is a campaign website and petition at http://detox-outdoor.org/en/ that you can register your support for eliminating toxic chemicals from the environment.

Sunday, 20 March 2016

Lord of the Flies


I was researching the impact of landscape photography on the environment and a google search result was a blog post from a workshop/tuition provider and also the founder of the Scottish Landscape Photographer of the Year competition, Stuart Low. It certainly didn't read like one of those sanctimonious marketing fluff articles written for the landscape photography media. It made for dispiriting viewing of the videos documenting the poached ground and vandalism to trees, that can only be due to photographers. What made for uncomfortable reading was the candid report on the dysfunctional behaviour and culpability of some famous, brand name and copycat landscape photographers. An extract from the blog post :
'We witnessed one tour leader who arrived late at the location and bullied his way to the front where he ordered his group to set up in front of everyone else. Others threw stones in the still water and others simply stuck their cameras in front of someone’s lens to take hand-held shots.  
Matters aren’t helped by “brand name” photographers taking large groups to the area either. They typically pack in 12-15 photographers per workshop, charge ridiculously high fees and go to the same tourist locations as everyone else. And to put things in to perspective, one famous landscape photographer presented to 50 photographers in the Ballachuillish hotel only last week. This greed fuels copycat tours.  
The brand photographers obviously can’t be blamed for copycat workshops, but they can be blamed for what they teach – because it fuels the behaviour of others. For example, the same famous photographer above held a lecture in Edinburgh last week where he gave some appalling advice to his audience. He told them it was bad form to rearrange pebbles on a beach yet he described at length how he cut through a canopy of trees to capture a shot. Is it any wonder other photographers copy this type of vandalism?  
Indeed, some “famous” landscape photographers believe they are above everyone else and hold rank in the landscape. For example, one particular hypocrite individual claims there are too many photographers in the landscape yet he runs workshops with 15 students. This same individual wrote that the blowing down of the dead tree on Rannoch Moor was “fortunate for landscape photography” – yet the same tree adorns the front cover of his book! It’s egotistical attitudes like this that feed into the psyche of others.'
A new google search to see how widespread this dysfunctional behaviour is amongst supposed professionals, resulted in a blog from a female landscape photography workshop/tuition provider, that charts some allegedly reprehensible professional behaviour. It is only one side of the story, even so it  really doesn't reflect well on the Yorkshire professional landscape photographers implicated. An extract from her post on Professional behaviour in landscape photography :
'I’ve noticed for some time now that the landscape photography workshop arena is getting quite vicious.
The landscape photography workshop business is in the leisure industry, a supposedly happy industry not one that harasses and tries to shut down competitors to such an extent that here I am standing on a cliff, on my birthday after hearing my websites could be shut down ie all my online presence gone
if it wasn’t for my 4 legged friend I wouldn’t be writing this. I am still feeling pretty shitty, still don’t know what to do, this was the proverbial last straw.'
It would be bad enough if the above referenced were the only posts online from landscape photography workshop/tuition providers highlighting their concerns of dysfunctional behaviour from their supposed peers, sadly there are more.

The word professional for some landscape photographers apparently applies only to the capacity to make money, the responsibilities of professional behaviour and standards, appear alien concepts.

Thursday, 18 February 2016

The challenges of landscape photography in an Oceanic climate

The Mountain Forecast  provides an excellent insight into the weather of the world's mountains and it makes for some interesting comparisons.

Grand Casse is in the Graian Alps and at 3,852m is the highest summit in the Vanoise massif and in a Humid Continental climate.

 3852m from www.mountain-forecast.com

and lower down
1000m from www.mountain-forecast.com
Store Lenangstind, 1624m is a mountain in the Lyngen Alps, Troms, Norway and subject to a subarctic / subpolar oceanic climate.

1624m from www.mountain-forecast.com


0m from www.mountain-forecast.com


Now a look at the forecast for Ben More Assynt, in the NW Highlands of Scotland at just under a 1000m in height at the summit and in an Oceanic climate

998m from www.mountain-forecast.com

At 0m

 0m from www.mountain-forecast.com


With a weather forecast for the UK it really does pay to consult as many forecasts as possible, if everyone is singing from the same songsheet there's a good probability of increased accuracy




The Met Office Mountain Weather Forecast makes equally grim reading

Met Office Mountain Weather Forecast


and the detail

Met Office Mountain Weather Forecast


If the weather forecast for the summit of Grande Casse appeared on a UK Mountain Weather Forecast, there would be a lot of outdoor enthusiasts planning trips, albeit packing extra warm clothing, the weather forecast for Store Lenangstind, not so good and Ben More Assynt not unusual, it doesn't even rate having a storm name and it is worth noting that the highest forecast winds at 3852m on Grand Casse are less than the forecast sea level winds for the NW Highlands of Scotland.  I'll concede that the the wind chill temperatures forecast for Grand Casse are pretty grim, but note the forecast wind chill on Ben More Assynt, 2,864m lower than Grand Casse and with rain in the forecast too. The windchill at sea level in the NW Highlands is similar to the windchill at sea level inside the Arctic Circle and a reason why UK Coroner's verdicts of death by fatal hypothermia are issued for ill fated outdoor enthusiasts. Even at lower elevations the winds in the UK have a severely limiting effect on what can be photographed.



Rolling the Weather Dice in an Oceanic climate

The UK is affected by the following air streams, that in addition to the vigour of the Jet Stream, will have a profound influence on what the landscape photographer will attempt to photograph.
  1. Polar Maritime 
  2. Returning Polar Maritime
  3. Arctic Maritime 
  4. Polar Continental
  5. Tropical Continental
  6. Tropical Maritime 
The weather dice are loaded though and a betting shop would offer a spread of odds on an air stream at certain times of the year and that's where climate maps are a useful source of info in planning a landscape photography trip. The climate maps produced by the Met Office provide a visual indication of the UK's climate and breakdowns are available by season, month and year.

source http://www.metoffice.gov.uk/public/weather/climate/


source http://www.metoffice.gov.uk/public/weather/climate/


source http://www.metoffice.gov.uk/public/weather/climate/

Add caption

I'll post a future article with some thoughts on how to mitigate some of the challenges posed by an Oceanic climate. It also makes for an interesting analysis of the enthusiasms and appetite of the UK's landscape photography community, when climate, road atlases and topographic maps of the UK are compared with portfolios and galleries.

Monday, 15 February 2016

The mission creep of Mountain Rescue Teams

Thankfully I have never had to trouble the Emergency Services and call out a Mountain Rescue Team (MRT) for assistance. The few MRT members I have met, have all been volunteers and most if not all will concede how easy it is to be in the wrong place at the wrong time whilst out climbing or walking in the hills. There are fine margins for error in some hill environments, that can have serious consequences and probably, very few individuals who can say that they haven't experienced a near miss whilst out in the hills at some point. I have great respect for MRT's and their attitude in undertaking what is at times; dangerous, challenging and frustrating rescues.

The online magazine that I read for outdoor news is Grough and it is noticeable that in recent years the coverage has highlighted the mission creep of Mountain Rescue Teams activities, which reads more like Search and Rescue.

cyclist, pet dog, kayaker,  feckless off road motorists, flooding and feckless off road motorcyclists.

Which contributed to record years in 2015 for some MRT's e.g Coniston, Kendal and the nature of call outs illustrated by the Brecon MRT. The problem is that their skills are transferrable from the hill environments to other areas. I'll emphasise the point again, these are all volunteers.

From mid 2015 to 2017 the duties of Royal Air Force SAR helicopter services were handed over to a private company. When the UK Government announced the plans to privatise the SAR helicopter service, there were genuine concerns raised from MRT members, that commercial helicopter pilots might not be as enthusiastic or have a similar appetite for adventure as their RAF predecessors and Mountain Rescue Team volunteers would be faced with more time consuming rescues evacuating the injured from difficult terrain in challenging weather conditions and placing additional strain on already stretched resources.

The Statistics presented at the Scottish Mountain Rescue meeting in March 2015 give a breakdown of call incidents and hours of Mountaineering and non-Mountaineering incidents It appears that strain is beginning to tell as in early February 3 Scottish Mountain Rescue Teams were reported as considering leaving the umbrella organisation Scottish Mountain Rescue.  I can't say I blame them.

Wednesday, 27 January 2016

Native Scots Pines - colonisation, refugia, genes and paradigms


The Scots Pine reaches its most north-west oceanic limit in the Scotland and scientific investigation has attempted to answer some key questions on the native Pinewoods, notably the former extent, colonisation history from the last glaciation, climatic impacts, human impacts, regeneration and more beside. Radiocarbon dating of organic remains, palynology, dendrochronology and DNA analysis are just some of the techniques that science has applied to native Scots Pine populations. There have been some surprising insights, not least on scientific paradigms, methodology and assumptions.
Native Scots Pinewood

Those who follow Quaternary research, will be aware that there are concerns that some paradigms on glaciation, climate models and palaeoecology, might require revision or some caveats applied. I'll highlight some of the 'discussion' points.

Pollen analysis is apparently a time consuming activity and palynologists have devised some guidelines to reduce the tedium and speed things along, notably sampling frequencies and critical pollen thresholds. Scots Pine produces abundant pollen and less than 20% in a pollen assemblage was treated by pollen analysts as a cut off point for the presence of pine at a site. From the mid 1990's it was proposed that the presence of pine stomata in a sample was considered a fairly good indication of the physical presence of a tree near to the sample site, pine needles aren't carried so far on the wind compared to pollen. In 2005 Cindy Froyd had the wit to look more carefully for the presence of pine stomata in loch sediments in Scotland and published a paper Fossil stomata reveal early pine presence in Scotland: Implications for postglacial colonization analyses. Despite the low % pollen counts for Scots pine, the presence of stomata placed its appearance 1,600 years earlier than the woodland history generated by standard pollen analysis at one study site.

Black Mount ~ 2010

1,360 m above sea level on Mt Ă…reskutan in Sweden, tree remains (macro fossils) were sampled by Leif Kullman and radiocarbon dated. A Scots Pine was dated at 11,700 years before present (BP), Norway Spruce 11,400 years BP and Birch 14,000 years BP.  Leif Kullman published the findings which raised some inconvenient points. In a reply to the paper it was pointed out that that climate models didn't support the dates, pollen analysis detected no presence for the trees and glaciologists had modelled the area covered by glacial ice when trees were growing there. Leif Kullman provided an insightful and entertaining reply in the Journal of Biogeography.

Refugium from grazing herbivores, Assynt ~ 2008
In 1986 a Forestry research paper titled Caledonian Scots Pine : Origin and genetic structure  stated that Scotland's Scots Pines were genetically distinct from the European population and showed a high degree of genetic heterogeneity within the native pinewoods. Whilst acknowledging the climate models and glacial iee models, a compelling case was made against colonisation from the continent and instead for glacial refugia on mountain tops and/or near to Scotland. Of interest are the results of the forestry trials conducted between WWI and WWII and at Glen Trool.

A paper published in Nature in 1998 determined that the genetic variation for maternally inherited mitochondrial DNA (mtDNA) in populations of native Scots Pines showed a distinct geographical genetic diversity amongst the pinewoods. The mtDNA in Scots Pines of Wester Ross point at colonisation after the last Ice age from the west, indicating a refugia or refugium on the continental shelf or a nunatak from glacial ice.

In 2013 another paper was published titled Among population differentiation at nuclear genes in native Scots pine (Pinus sylvestris L.) in Scotland that again reported that the latest colonisation of native pines in Scotland from Europe was unlikely.

Holocene pine stumps, Kintail ~ 2013

The following text is taken from Quaternary of Scotland Geoconservation Review Site - Lochan an Druim.
Highlights 
The pollen and plant macro-fossils preserved in the sediments which infill the basin at Lochan an Druim provide an important record of vegetational history and environmental changes during the Lateglacial and Holocene in the extreme north-west of Scotland. 
 Description 
The vegetational history of the site has been studied in detail by Birks (1984 and unpublished data; pollen diagram in Birks, 1980).
Interpretation  
There is no evidence from the pollen stratigraphy at this site to suggest that pine or oak ever grew this far north (Birks, 1977, 1989), even though pine stumps occur locally in the Eriboll area.
The site is of national importance because of its detailed and well-dated Lateglacial and Holocene pollen stratigraphy and for the co-ordinated study of pollen and plant macrofossils in the Lateglacial. These palaeoecological data provide important insights into the Lateglacial environment at low altitudes in the extreme north-west of Scotland; there is no other site that has been studied in such detail from this part of Scotland. These insights are as follows: ... (4) The Holocene vegetational history from Lochan an Druim is particularly important because of the apparent lack of pine and oak. Its pollen record is thus intermediate between sites further south in western Scotland (Birks, 1980) ... Lochan an Druim thus represents a uniquely important site for the reconstruction of Quaternary vegetational history and past environments. 
Conclusions 
Pollen and plant remains in the sediments from Lochan an Druim provide a record of the environmental history of the far north-west of Scotland during the Lateglacial and Holocene (approximately the last 12,500 years). They show that conditions remained extreme even during the relative climatic warming in the Lateglacial Interstadial. Later, during the Holocene, birch and hazel woodland developed, but oak did not extend this far north and pine was probably only locally present. Lochan an Druim provides valuable comparisons with other areas and is important as part of the network of sites that show the wider geographical variations in the patterns of vegetation development since the end of the last ice age.

Part of the the Loch an Druim Pollen Profile illustrating the low Pinus Sylvestris pollen percentage 
I have visited this area of the Highlands on a few occasions and have seen enough stumps and roots exposed in peat cuttings, eroding blanket peat and stream sides, to form an opinion that at some stage in the past Scots Pine seemed more widespread than just local to Loch Eriboll.

Scots Pine, Mar Forest ~ 2014
In 2008, Andrew Moir, a PhD research student, published a thesis 'The dendroclimatology of Modern and Neolithic Scots pine (Pinus sylvestris L.) in the peatlands of northern Scotland' samples were obtained from pine stumps exposed in blanket peat, the sites appeared to have been visible from the car as they are all close to the roadside.

The sites were described thus
An Dubh-loch lies just off the A838, 5 km north-west of Tongue, 6 km south of the northern coast of Scotland. This lowland site (140m) is very exposed and treeless today. During site reconnaissance in September 2001, the valley side mire found at the southern end of the loch was found to contain some pine stumps. These appear to have become exposed through peat cutting. The majority of stumps contained insufficient rings, but three suitable samples were collected and the site assigned the code DUBH
Loch Crocach lies 5 km east of Tongue, 5 km south of the northern coast of Scotland. During site reconnaissance in September 2001, a cutting was located through a valleyside mire at this site. A dense layer of pine stumps had been apparently excavated and subsequently used to form a sculpture. A number of pine stump sections had been discarded during the operation and four suitable samples were collected and the site assigned the code CROC. The site is well exposed and treeless today
Polla on Loch Eriboll - This sample site lies 12 km south of the town on Durness which lies on the north coast of Scotland. This treeless vallyside mire spreads just south-west of the A838, at the southern end of Loch Eribol. Two levels of pine stumps were observed. Peat cutting was clearly evident in the area.
Loch na Thull lies 25 km south-west of Durness, 5 km inland from the west coast of Scotland This treeless valleyside mire site is located between the road to Skerricha and Loch na Thull end. A scattered single layer of pine-stumps appear to have become exposed through peat cutting
Skerricha lies 25 km south-west of Durness, 5 km inland from the west coast of Scotland. This valleyside mire site is located at the north end of the loch. The site is treeless. A single layer of pine-stumps exposed through peat cutting was identified at this site.
Loch na Druim is about 8 km south of Durness on the edge of a sea loch at Eriboll. The Polla sample site is local to Loch na Druim, the other sites sampled for Holocene pine are further north and east or further south and west of, but in the same region. There were other sites too further south in Wester Ross and also further inland to the east of Sutherland, where Holocene pine was exposed in peat cuttings and sampled as part of the research.

The thesis reported on a number of interesting findings, one of which was that about 3,200 BC the climate was optimal for a large area of blanket peat in NW Sutherland to be rapidly colonised by Scots Pines. Tree ring growth rates indicate growing conditions deteriorated leading to episodes of Scots Pine mortality, although one of the trees lived for over 350 years. There was also good correlation of tree rings and tree ring chronological sequences proposed. The evidence for two layers of stumps suggests that on two occasions the climate was optimal at some sites for Scots Pines to colonise blanket. Although many sampling sites had minerogenic soils nearby, the thesis paid heed to the low pollen profile for Scots Pine in the region and to overcome the low distance for seed dispersal from Scot's Pines, typically 10's of metres and a maximum of 2 Km. An imaginative scenario was envisaged in the thesis of seed dispersal from a high mountain during an extreme wind gust. The radial growth on the in situ stumps indicated that the prevailing wind direction whilst the Scots Pines were growing on the blanket peat, was from the North.

To my mind the research into holocene pine stumps in blanket peat has identified a significant ecological event(s) and climate change, it raises some profound questions on how the nationally important Loch an Druim pollen stratigraphy actually is for Quaternary studies in the North of Scotalnd.

Holocene Scots Pine stumps, Rannoch Moor - 2008
The history of Scotland's native Pines, their genes and physical presence of mega and macro fossils does present problems to some paradigms of the Quaternary, notably the extent and coverage of glacial ice, colonisation history, palaeoclimate models and palaeoecology. The dating of Scots Pine and other tree remains over 11,000 years ago, high on a Swedish mountain, also challenges some Quaternary paradigms.

It is a fundamental problem with Science, the reputations, research funds, careers, legacy, egos and hubris, that have so often, stifled progress. The field of Archaeology is a perfect example of the need for accurate indicators of past climates and environments, to interpret and place sites and artefacts into context.

Thursday, 31 December 2015

3 predictions for 2016

A gaze into the crystal ball for 2016

A Hollywood influence on Landscape photography aesthetics?

In January a film will be released in the UK that might influence how some photographers photograph the landscape. The film is Alejandro IĂ±Ă¡rritu's, The Revenant. I was first aware of The Revenant from reports of delays and cost overruns of filming, due to it being filmed entirely in natural light, which is capricious by nature at best. I saw a trailer for the film at the cinema in November and it was refreshingly visually distinct from the CGI/artificial lighting evident in the other film trailers, or at least I thought so, but that may be just my confirmation bias.



Hopefully the cinematic 'look' of natural lighting with the grand landscapes, will be picked up on by other cinematographers and in due course filter down to the more creative members of the landscape photography community, where some digital artists may have an epiphany and be inspired to investigate the virtues of natural light and colour. Digital artist that frequent 500px, may believe composited and manipulated lighting in post processing may qualify as 'fine art', but it falls short by some margin as a landscape photograph.

A controversy free WPP awards?

The photography competition I hold in highest regard for its commitment to image integrity and photographic values, is the World Press Photo awards and the November announcement of new rules and guidance to entrants, should eliminate any doubt as to the veracity of the award images.

Handheld landscape photography

Small apertures, low ISO speeds and resulting long exposure times, necessitated a tripod in times past. Digital technology has moved the goalposts and digital camera sensors with high dynamic range performance, high iso capability, camera/lens stabilisation tech and improved optical lens designs, makes hand holding in low light levels eminently achievable. So, in theory, the ballast, bulk and awkwardness of the tripod can finally be dispensed with. It will come as no surprise to witness a bandwagon effect of manufacturers ambassadors, artisans and celebrity landscape photographers affiliated with certain manufacturers/retailers/workshops/commercial websites, start extolling the paradigm shift/awesomeness/amazingness/wowza/life changing virtues of handheld landscape photography and the monkey see, monkey do not-so-confident photographers start banging the drum for handholding too. It would be refreshing though, to also read of the potential pitfalls of hand holding and consequences of leaving the tripod out of the kit, as that would demonstrate some integrity.

Monday, 21 December 2015

The wisdom of Internet photography forums and the Leica SL release - a follow up

The digital photography marketplace is by most observers reckoning a mature one, all the current manufacturers of digital camera have products available that deliver sufficient image quality for a very high percentage of photographers requirements. Camera choice ultimately comes down to personal preference and the availability of native/adapted lens options. Personally, I have no issue with photographers preferring a particular brand or brands and not other brands, it makes for a diverse marketplace and should in theory keep everyone happy. What I do find tedious are individuals who boorishly bang the drum for the brand they love use, at every given opportunity. The causation of this behaviour may be unrequited fanboy devotion, religious fervour or more worryingly the suspicion of paid shills. The small consolation for the neutral observer is the inevitable schadenfreude when the fanboys brand is demonstrated to have some deficiencies and faced with the prospect of having to eat crow their reaction is to throw the toys out of the pram. A prime case of schadenfreude was when the photographer, Ming Thein, reviewed a much hyped camera and reported on some positive and not quite so positive features of his experience. He also made the following observations :
This is not a review in the genre the internet has come to expect – a series of gushing observations after a company-sponsored junked, replete with mediocre SOOC snapshots. Instead, it’s both a series of observations from a working pro after two weeks of use, and a rational analysis of whether it merits a place in the bag or not – and more importantly, why
Having said all of that, there are quite a few reasons one buys an A7RII (trumpeting its virtues on the internet for money or worshipping it as your messiah until the Mark III do not count).
Bad news spreads quickly on the internet and to say the toys were thrown out of the pram as a reaction to his review, would be an understatement. A guest article written by a psychologist titled the pathology of 'fanboyism' was subsequently published, where lizard brain behaviour apparently was to some degree responsible and also marketing departments :
The manufacturers are also equally culpable. What is extremely concerning is the illusion of independence combined with extreme enthusiasm: this stimulates herd mentality in the no-so-confident, itself probably the desired outcome so long as it results in an immediate purchase.
What the psychologist didn't elaborate fully upon are the commercial photography sites and forums, that create grooming havens to exploit  insulated, safe environment for the not-so-confident photographers and those sites are characterised by the following generic traits :
  • Extreme enthusiasm for a brand or product.
  • No shortage of affiliate purchasing links to facilitate impulsive purchases.
  • On product announcement thread/news items there will be PREORDER affiliate links in a prominent position, to ensure the not-so-confidents can preorder without having to wait for months/years for production to finally meet the anticipated tsunami of demand and revel with everyone else in the community in photography nirvana with their new product. 
  • Threads on sales/price reductions with affiliate purchasing links. 
  • Threads/Posts on good purchasing experience from affiliate retailers.
  • Threads/Posts on poor purchasing experiences from non affiliate retailers.
  • Light touch moderation on posts disparaging and vilifying other brands, websites, reviewers.
  • Not so good news and inconvenient facts about the communities own brand are downplayed, ignored, given a positive spin or moderated out. 
  • Frequent self congratulatory comments on how the website/forum/community is the greatest, fairest, knowledgeable, friendliest photography community on the planet.
A happy and contented community of not-so-confident photographers appears to equate to a welcome stream of affiliate linked sales commissions for the website owner and judging from some speculation, websites are also being rewarded for favourable gear endorsements, welcome PR, marketing and sales.

The psychologists comments on 'fanboyism' also seem to be backed up from the comments posted to some of Roger Cicala blog posts on the findings of equipment teardowns, measurements of lens resolution tests made at infinity and lens variance. A lensrentals blog post with a large number of comments usually indicates that the findings of an examination or testing of photography gear conflicts with the expectations created by marketing departments and by those 'trumpeting its virtues on the internet for money or worshipping it'. Coincidentally, some brands appear more culpable than others in creating expectations that exceed the actual capabilities, which is fine until Ming Thein or Roger Cicala point out the not quite so good stuff and fanboys get all emotional.

I don't profess to follow many discussions on new or even existing photography equipment from manufacturers as 99% of photography gear is simply not on my radar, the Leica SL 601 is for some of its reported features. For insight on the camera on photography fora there was much speculation but little of substance, though perhaps to be expected in view of Ming Thein and Roger Cicala's posts, there was a surprising number of positive posts about other brands, the very same brands who attract more than their fair share of not-so-confident and lizard brained photographers and shills who feel passionate about their chosen camera and lens brands.

It may be worth visiting the definitions of a shill  from wiki ;
In online discussion media, satisfied consumers or "innocent" parties may express specific opinions in order to further the interests of an organization in which they have an interest, such as a commercial vendor or special interest group.
In marketing, shills are often employed to assume the air of satisfied customers and give testimonials to the merits of a given product.
Bearing in mind the psychologists prognosis of Lizard brain behaviour in not-so-confident photographers and wiki's definition of a shill, what follows is only a very small random sampling of the posts cut and pasted from photography forum threads discussing the Leica SL601.

FredMiranda http://www.fredmiranda.com/forum/topic/1393428/0
You have to be wary of generalizing about 'what the market wants' as it is not an single entity - every product manager knows it is all done by niches, from cars and fridges to phones...and cameras. One very clear and strong market sentiment is *small, light and functional*. Why carry lead in your saddlebags? Leica might rewrite the Meatloaf song to 'one out of three ain't bad', but not many would agree. Even at say, $4000, this lemon would not move in substantial numbers. Its lenses are laughably huge, and the kit zoom on it takes the weight to 2000 grams (4.4 pounds). Here is an alternative view on the matter from a senior Sony exec : "Size. It’s all about size – it’s smaller and lighter. That’s the main reason of choosing our products. If you don’t mind the feel of a camera that’s bigger and heavier please carry on. If you want to take a lighter and smaller camera, the Sony Alpha 7-series might be preferred. As long as the quality is the same, smaller and lighter is better I think. That is our policy." Some lenses are trending towards heavy and large - right now you can buy any just released heavyweight Milvus lens from B&H, but their sales managers are trying to work with the six month delays for the hugely back-ordered 335 gram Batis 25 and the 475 gram Batis 85. The same occurred with Loxia lenses to a lesser extent - despite no AF. Obviously neither Zeiss nor Leica have yet fully seen the light, and it is hard to turn an ocean liner around on a dime.
What to do....one Leica SL or getting two Sony A7R II cameras..... Interesting that Leica needed to copy the mistake from Sony to make big lenses for mirrorless cameras. Looks like a collector item to me for some very few, very likely not a big seller.
I'll play with it this week, but color me initially disappointed. Huge camera, giant lenses and a price tag that is simply absurd. For the price of the body only you can get an A7R II with Batis 25, Sony/Zeiss 55/1.8 and Batis 85/1.8. Who will honestly buy this?
Regarding adopting R glass to this body, I fail to see what advantage it will have over adapting the same lenses to a Sony. They will still need an adapter and there would appear to be no advantage sensor compatibility wise (unlike with M wides). On the other hand, using R glass on recent Sony bodies allows the use of IBIS, which nets a significant advantage to the Sony quite apart from arguably superior sensor options in resolution and high ISO performance. What am I missing?
I think what everyone wanted was basically a Kolari-modded A7ii --- a camera that would allow usage of all the M lenses with an adapter, while we waited for native AF glass. All they had to do was add a decent grip and maybe 4K to the highly-touted Q, take the 28mm lens off and make it a T-mount, price it at around $3,500-$4,000, and call it a day. It would have been perfect with IBIS, great ergonomics, and a small size --- a true threat to the A7 series. But no, they had to screw it all up by making a behemoth that costs $7,450. What a poor poor business decision.
To be correct, Sony has fixed the lossy RAW compression issue on the A7RII, the 2.0 firmware with the fix came out Monday.
I am still not to happy about the price or the fact that the camera is only 24 MP instead of 36. I do not think that the files will equal those from my A7r.
DPReview http://www.dpreview.com/articles/7448206943/a-lot-to-leica-hands-on-with-the-leica-sl-typ-601 
It's a bloated, overpriced, underfeatured trophy camera for insecure photographers more interested in their image than the image. You can almost justify the camera price but $5k for a 24-90 zoom??? Does anyone in their right mind think they'll see any difference between this and a typical high end zoom from the competition for 1/3 - 1/4 the price??? The Sony a7rII beats this in every way.
How un-Leica like. An experiment I feel is doomed to failure, I just can't see where the market is for this camera. The M has a huge appeal despite the high price because of the small rangefinder experience in a reasonably small package, this new system is bonkers.
So, $11,000 for a pimped out Sony with variable aperture lens.... right. I guess Seal is looking to update his camera. It's a bit of a paradox isn't it, that if you're smart enough to make enough disposable income (cause this isn't a pro's working camera) to afford this, that you'd be foolish to spend money on this. It has serious features. But applied in a non-serious way. It's a boutique camera with a laundry list of pro specs. For the weight and price you're better off with a Pentax 645z.
It weighs over 4 pounds with the lens -- too big!!!
Even die hard Leicaphiles will be hard pressed to say anything nice about this camera... Its specs are nothing to write home about, it is BIG and it is positively ugly, not to mention that it carries the usual absurd Leica price tag... What is there to like? What does it do over and above the competition to warrant a premium? What a pity that such a historic mark is fast becoming obsolete...
I just love watching the few die hard Leica fans mindlessly trying to defend this abomination of a camera...
Don’t reply to these guys. 90% of the comments here are from career trolls who have been trained like dogs to hate Leica.
This is most probably the biggest missunseratanding in the hostory of photography. This camera is ugly, bulky, outdated and expensive. I just cannot inagine that there is foing to be a single customer to want to get it.
Seriously, is this a joke? $10,000 for a mirrorless camera that's bigger and heavier than a medium format camera and is one of the ugliest beasts to be made in years? I know everyone bands on about the cost of Leicas and I have no problem with charging a premium for their cameras given the build quality, images, heritage, lenses, kudos etc. And their cameras are generally small and practical. But this is pathetic. Why would n't you get a D810 or a 5DS? You'd probably get better image quality, have a ton of change and you wouldn't have a hernia. Or get a Pentax MF? Or basically anything else. A fool and their money are easily parted as they say.
GetDPI http://www.getdpi.com/forum/leica/56286-leica-sl-601-oct-20th.html
Not a plug or anything like that but a fact. The new A7rII is a completely different and far better cam than the A7,A7r,A7II so if you had those previously I would not compare it to the new SL at all, not even close to what the new cam is and its new features and such. Seriously for your own comparison completely ignore those older models they truly do not represent Sony at this point. I know some gave up with those models and frankly I completely understand the reasons, it bugged me too. Not now though as the new body is a completely different beast and it works it's fixed its better and it actually performs as expected. I just noticed a lot of folks are comparing older models and that's just not a comparison to making a good buying decision. Carry on Popcorn is still cooking. Now my only other bitch in life has always been Leicas slowness to bring lenses to market. Now with there move to there bigger facility I hope that has changed for the better. I do hope so. 
It looks about like a rebadged Sony A7R2 without 42MP, IBIS, and tilt screen.
This appears to be a Sony A7 body with a Leica T mount and the Q internals for a mere $6,900 Euros. The lenses do not appear to have a manual aperture ring and do appear to be huge. I agree with others that this is one camera Leica is not likely to have to worry about demand exceeding production. Even if they had done the Q body with the T mount and a couple of primes they would have had a better market prospect. Frankly, I don't care what the reviewers say about it I would not pay over $10K for this camera with a lens. Thank goodness Leica didn't price the Q as badly. Bottom line this is not a Q killer (I know they would not want to kill the Q) nor is it a Sony A7RII killer.
Presumably you are referring to me as well, but I have been a Leica shooter long before I was a Sony shooter, and I haven't completely converted. I used to shoot with a M8/M8.2/M9/M240 and recently switched to the A7 series, but I still have my M lenses and a Leica Q. This product pisses me off because it wasn't a ILC version of the Leica Q like it was hyped to be. That is what I wanted. Nothing more nothing less
Not that this is getting ugly it's not but just remember to keep it friendly . Thanks
If nothing more than an improved EVF, then Leica has just put sales $ into Sony's hands, handsdown. One would expect much more than that for around $7k versus the improved A7R2 for around $3k. Anyway you hack it that is double the price for what-better EVF, lower MP sensor, better menu perhaps, maybe better ergonomics, greater ISO-unknown as yet, faster AF-unknown as yet, high priced zoom lenses and an Otus sized 50/1.4. In today's world with Zeiss bringing out superb FE lenses, Leica's quality edge had been diminished if not forgotten by many. I do hope reviewers have something phenomenal up their sleeves because this could be embarrassing. I know many tout the S-007, but after a years wait that is also too little too late and with that being the flagship model every other Leica has to have a sensor way lower than the S's lame 37.5 MP, ergo 24MP. I like most agreed with the MP mantra until I got the 645Z.
I just don't get the value proposition for a professional. My niece got married on Saturday. The professional was toting a bog standard Nikon pro body and had a smaller spare (probably a D610 or similar). Her main lens was obviously a 24-70 type zoom (a Sigma from the look of it) and she had what looked like the monster Nikon WA zoom for group shots. Unless my maths is wrong the total of her kit including strobe is probably equal to, or even less than the SL+24-90. What Wedding Pro except those doing the top end weddings is going to be able to afford two SLs (for safety) and two lenses? Then there is the disaster recovery issue. If her camera had failed on the day then she had a cheaper similar body for backup but with an equally good sensor. If her camera had failed before the wedding she could hire a body for the day/weekend which will be compatible with her bog-standard lens collection. So, I can only assume the SL is aimed at wannabe professionals and not real professionals. Actually, thinking about it I'd modify that and say it probably does have a place for videographers with deep pockets. But it is competing with the Panasonic GH-4 'whatever' which professionals I have talked to use as the 4K standard, some use the Sony A7S which has the iso sensitivity advantage and just got a whole lot better in the M2 version, so again why buy a £10K system - what on earth would be the ROI? There is nothing I can see in this system which would compete with or replace the value proposition of my Sony kit at the best mirrorless ILC on the market. There is the Leica build and ergonomics but the premium is ridiculously high. The strangest contradiction in product management terms is that the Leica Q which is by comparison a third of the price but has the same sensor would probably make a good second camera for a wedding pro for reportage and grab shots. I have an order in for one (no deposit, so no pressure) but I'm now seriously thinking of getting the Sony RX1R mk2 instead. Sony is basically thrashing Leica and I seem to meet some of my Leica forum chums here at GetDPI who can no longer justify the benefits of a Leica system over the value proposition of Sony - especially as each iteration of their body/sensor works better and better with legacy Leica glass. Anyway, if a pro out there can explain the value proposition I am genuinely interested and not just trolling. Just my two cents!
I can see where Sony's rapid upgrade path causes a great deal of frustration. However, I went from the A7 to the A7r2 and feel very little overlap in their functionality. I also cannot see where this giant camera that lacks IBIS, low light capabilities, PDAF, canon lens compatibility, a significant native AF lens availability, Eye Tracking AF, a tilting screen, high resolution, any semblance of affordability and more can be flatly called a better all-around solution. For me, it would represent a giant leap backwards from either my A7r2 or my Samsung NX1. But, for the well-heeled Leica specific crowd, especially those that don't mind a large camera body, it looks like an interesting choice. I would particularly like to see a Sony body with a high frame rate and a deeper buffer and more responsiveness in every day usage. Hopefully, these strengths of the Leica are praised so widely that Sony begins to feel the heat. Otherwise, I hope that Canon or Nikon makes a mirrorless with those features. Or, I would love to see Samsung wake from its long slumber and invest in the NX1 system with more great lenses. Or release their own insanely spec'd FF body. Or maybe the rumored November Sony camera body already incorporates those features.
Luminous Landscape
http://forum.luminous-landscape.com/index.php?topic=104826.0
http://forum.luminous-landscape.com/index.php?topic=104801.0
More toys for old rich people who still think about Cartier-Bresson. I think they should make a platinum model that gives you massages. Sony A7 is a very durable exceptionally well made device and probably about the price of Leica lens cap. My Nikon D800 is made very well too, and with a small ergonomic body. With either of these cameras, at a really fair and sellable price, you can put excellent glass on them and you have an excellent camera for just about any purpose. By the time they wear out we will be shooting 200 mp cameras, or at the very least 100 mp. and all of this stuff Leica is selling now will look like an iPhone 3c.
Ming Thein has a review up. Not nearly as negative as you guys. Fast and responsive with some quirks. Ok battery life. Good EVF.
I'd like to compare viewfinders, multi-shot file quality, shutter vibration, responsiveness and a few other features before drawing any conclusions. My a7II's viewfinder, while much preferable to the D800 (IMHO), leaves a lot to be desired and the loss of bit depth when using multi-shot mode and lossy compression compromise the RAW file quality. The a7II's EFC feature makes the camera more responsive and quieter but with adapted lenses it's useless at shutter speeds faster than 1/1000 sec and switching EVC on or off requires menu diving. There's a lot of room for improvement in the a7-series.
Looking at the specs, the 24-90 is almost f4 at 50mm! That is ridiculous for a $5000 lens! You may as well shoot medium format for that size, spec and price. This is not a professional spec 35mm system lens, it's an oversized, over priced, slow as hell, amateur spec lens. Given the size of it, it means there will never be a constant 2.8 zoom lens for this system, ever. Who in their right mind would buy this at over $5000? In professional situations it's only really usable at f4 because if you set up your lighting and exposure for 2.8 and then zoom, you have to change your lights or be a stop under exposed. There are no other other lenses available at launch. Just this one, expensive, slow, enormous, limited zoom. This is going to flop hard.
No more personal attacks, please.
Leica S user: small user group to start with - leica S user who wants to add an SL to his kit: even smaller user group - Leica S user who also has an SL who ALSO needs a Sinar view camera where he must use the S lenses with full electronic communication (which doesn't exist and has not even been rumored, but for your sake let's pretend it does): positively tiny user group that makes the Phase One install base look like that of Canon's.
Exactly. Who is going to make these Leica chips? Who cares about the Leica name. You can put these old Leica lenses on the Sony and use manually. Who needs Leica. Photography as we knew it is over. This is ALL about consumer electronics now, and may the best chip win. Zeiss will make great lenses for all of them. They are a company that will survive. Hasselblad's days are numbered as well. People are sick and tired of paying three or four times more for a damn name. That's over.
Congratulations! Leica has made the perfect ecosystem for all 7 of you around the globe! Increase the rose tint of your glasses by another 15% and we can even see them offer multishot, which makes it perfect for ONE person in the world! P.s. Regarding the "Many pros are switching from MFDB to Leica" statement, I would like to see some numbers Instead of hot air. BC is the only top commercial and conceptual shooter for example that I can think of who is consistently working with an S system. Names like Drew Gardner, Miss Aniela, Joey L, Benjamin Von Wong, Frank Doorhof are all still happily using MFDB. It's fine if one is a fan of a niche system. No, really. But to bend all logic to suit your narrative about them, dude. Take a few breaths.

In a future blog post I'll comment on how the camera has been performing in the hands of actual photographers.

Saturday, 19 December 2015

Google trends - Landscape photography

The annual doom and gloom forecasts and navel gazing articles are appearing online, predicting the death of stills photography and that the future of photography instead will be the cameraphone or stills grabbed from video, drones, gopro footage etc. So I wondered what Google Trends would show if I trended 'landscape photography' and assume that interest in a topic/subject would be be represented by google searches.



Globally there seems to be a consistent level of interest for landscape photography for a few years now

The United Kingdom also mirrors the global trend. I did wonder if the searches may have also included the words 'demise' or 'declining interest in'. So I searched on a couple of items of gear associated with landscape photography




The google trends for camera tripod, wide angle lens, landscape lens and photography backpack,all appear to correlate with the consistently level trend for landscape photography. What about other photography genres though? There are reported decline in some genres and rise in other genres and the google trends do appear to correlate with reports.











The reported decline in photography workshop attendances and rise in spats on facebook/twitter between competing photography workshop providers seems to be bornes out by a google trend too.

There does appear to be at least a superficial correlation between Google Trends and the reported rise and decline of interest in some photographic genres. The Google Trends for photography manufacturers and gear also appears to correlate with reported market trends and financial reports.

Wednesday, 16 December 2015

Landscape photography - conveying 3 dimensions in 2 dimensions

I was going to write a scathing post about a landscape photographer X Y who has written, not guidelines, nor suggestion or even a 'here's one approach', but a definitive article on landscape photograph compositions. After a google search it appears landscape photographer X Y is not the only one, who has written a definitive article(s) on composition and very generic they are too, candidates for a bullshit bingo card containing :
  • Pithy quote(s) from Weston, White, Adams, Stieglitz et al
  • The wistful comment on viewing an upside down image on ground glass or peering down at a Hasselblad viewfinder.
  • The requirement to study the works of great artists.
  • The number of books owned/read by Weston, White, Adams, Stieglitz et al
  • Images illustrated with lines, curves, zig zags and arrows
  • The article containing a combination of some or all of the following words - tension points, dynamic composition, perspective, convergence, asymmetric balance, leading lines, simplification, synergy, organic flow, parallelism,  extraneous, distillation ...
  • Aspect ratio  
  • Rule of 1/3's, Golden rule, Golden ratio 
  • Link to book/workshop dates/donate button
The issue I have with definitive articles on composition is there is hardly ever a mention that the fundamental precept of a landscape image is to successfully convey 3 dimensions in 2 dimensions. I know that viewing images is subjective and some compositions may have 'subtle nuances' not appreciated at web display sizes, but there are some feted landscape photographers who have demonstrated to my eyes, a failure to translate 3 dimensional views into 2 dimensions. No amount of foreground interest, camera movements, leading lines or tension points can give depth to a two dimensional image.

Friday, 4 December 2015

Declining fortunes and interest

I was surprised to discover that Luminous Landscape had announced and transitioned to a subscription model in response to a falling revenue from advertising and merchandise. The site was once a primary landscape photography resource on the internet, but that was a long time ago when competition wasn't around and it is now a shadow of its former self, the number of inspiring articles and images, have declined steadily over time. IF adequate subscription revenues are raised and reinvested to commission quality landscape photography articles, LL might regain its mojo again, but the haste with which the move to a subscription model has been implemented suggests a different agenda.
My experiences with subscription websites has not been a positive one, a few year back I subscribed to three websites, all of which were subsequently unsubscribed from. Diglloyd, Reidreviews and Onlandscape magazine, each also gave access to an archive, which merely confirmed that inspiring and interesting articles were the exception, rather than the rule. In each case I reached the point of not even bothering to read articles well before the subscription expired. The problem for commercial photography websites is that the information is out there on photography forums, communities, vlogs and blogs. After the disappointment of subscription websites, I do make a point of donating to websites when their material provides genuine interest, it is telling that Luminous Landscape didn't employ a donate button, before transitioning to the subscription model.

Saturday, 14 November 2015

On average a hectare of woodland produces 5 tonnes of organic debris per annum.

I asked myself the simple question - What is the weight of leaf litter produced by deciduous woodland? An almost unhealthy amount of google searches later and I am still none the wiser, there is no simple answer it seems.
Coarse woody debris

In the course of my search I did come across numbers for the organic debris generated by broadleaf woodland. Again there's no specific number, it depends on the nature of the woodland, the age of trees and a multitude of other factors. Organic debris encompasses the shedding of overtopped branches, leaf fall, seed casings, wind thrown branches, fallen trees, snags etc. There are figures published for the organic debris produced annually for a hectare of woodland ranging from a high of 25 t/yr down to a low of 2 t/yr, several sources settle on a hectare of broadleaved woodland producing 5 t/yr as a reasonable average figure for the organic debris produced.

Black bulgar (bulgaria inquinans)

I also discovered the ecological importance of organic debris in providing a habitat for a surprisingly large number of invertebrates, bryophytes and fungi, in short the biodiversity of a wood is proportional to the quantity of organic debris, age of the wood and trees within it. Veteran trees with their associated deadwood play host to a number of rare species,

Sunday, 1 November 2015

A different view of the woods

This year has been a vintage year for bracken growth in the Forest of Dean, in some parts the bracken stands well over head height, so without a step ladder and access to a 10' high tripod, the height of the bracken has proved compositionally challenging. It is also a mast year for acorns from some oaks and the resident wild boar population have 'ploughed' the woodland floor foraging for acorns, posing another compositional problem.
Taking a pragmatic approach, it seems sensible to eliminate the woodland floor entirely and use the topography to concentrate on perspectives of the woodland canopy.  It is reasonable to suggest that a woodland canopy is a visually complex environment, the architecture of the tree crowns, leaf densities and colours are the elements to draw inspiration from.

The tree crowns reveals the intense competition for access to sunlight and ultimately survival of the tree. The contrast between pure oak stands and mixed oak/beech trees, illustrates why planting beech with oak is desirable for premium grade timber. The time honoured approach of planting beech and oak in the ratio of 2:1 by the Deans foresters, was ignored by the early 19th C foresters who replanted the Dean, who employed a new approach for raising an oak forest covering ~11,000 acres and millions of trees. It was one of the more significant mistakes made in that exercise.