Showing posts with label opinion. Show all posts
Showing posts with label opinion. 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

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.

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 Åreskutan 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.

Monday, 4 January 2016

Auteur landscape photographers

France is a country noted for idealism and perhaps unsurprisingly where the concept of an auteur (author) director in film making, was first proposed by French film critics. Film directors deemed to be auteurs, were those individuals who imparted a distinctive quality on a film and also wrote the screenplay or worked closely with the screenwriter of the film. The author of a film could be also attributed to the screenwriter or as a collaborative effort. The concept of a film auteur was elaborated in auteur theory and auteur study now receives some emphasis in film studies. There are numerous interpretations on auteur theory and counterarguments, not unsurprisingly from producers, cinematographers, actors etc

I quite like the analogy between the film making roles and responsibilities of location scout,  cinematographer, screenwriter and film director and the authorship of images by a landscape photographer. The proposal for auteur landscape photographers would not be a universally popular one, especially in certain landscape photography media, cliques and communities. Auteur theory and study can highlight inconvenient truths.

Nonetheless, an auteur designation in landscape photography would differentiate auteurs from landscape photographers who appear content to make derivative photographs of iconic views and other tripod holed ground locations and also those who consciously plagiarise other photographers work. The attraction of auteurism might be the impetus needed to lift landscape photography out of its current malaise and stagnation.

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 Iñárritu'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.

Wednesday, 21 October 2015

Internet forums and the Leica SL release

Lensrentals Roger Cicala pretty much covered gear forums with this parody of the Hammer Forum and the 300+ readers comments cover just about all the remaining aspects.  Roger Cicala then summed up perfectly the reaction of photography forums to a new product announcement with this graphic in a post on Roger's Law of New Product Introduction
Copyright Roger Cicala, Lensrentals, http://www.lensrentals.com/blog/2013/01/rogers-law-of-new-product-introduction

It is fair to suggest that internet forums are the peanut galleries of the online world and some are more febrile than others. A new product release from Leica is akin to the proverbial red rag to a bull for photography forums, it seems to be an opportunity for some forum posters to vent their spleen and no doubt provide fruitful material for a group of psychologists to analyse.

Leica have announced the FF Mirrorless  SL Type 601 and a trawl through the usual suspects gives some insight into Leica's capacity to stir the emotions in the peanut galleries

GetDPI
http://www.getdpi.com/forum/leica/56286-leica-sl-601-oct-20th.html

Leica camera user forum
http://www.l-camera-forum.com/topic/251840-leica-sl-typ-601-mirrorless-system-camera-without-compromise/

Luminous Landscape
http://forum.luminous-landscape.com/index.php?topic=104826.0
http://forum.luminous-landscape.com/index.php?topic=104801.0

FredMiranda
http://www.fredmiranda.com/forum/topic/1393428/0

DPReview
http://www.dpreview.com/articles/7448206943/a-lot-to-leica-hands-on-with-the-leica-sl-typ-601 

I'm a member of Fredmiranda.com and the one benefit of membership is you have an option to Hide posters, I exercise this option for posters who either, have strong opinions on photographic matters but demonstrate no evidence for actually taking photographs and/or display the unhealthy traits of religous fanboys. Which means threads such as the Leica SL reveal only a couple of posts on some pages and unsurprisingly it appears Sony A7 series owners are the most vocal.

My interest in the SL, is that I own legacy R lenses mounted via Leitax adapters on an approaching 8 yr old Canon 1Ds3. Canon discontinued the 1Ds series and every DSLR they've released since hasn't really compelled me to upgrade. Now the newly announced SL can mount R and M lenses via adapters, which also opens the way to some high quality M lenses. It will be interesting to see user reports on R and M lens performance on SL sensor. IF optical performance is uncompromised, I will certainly be very interested.

Monday, 21 September 2015

Contemporary landscape photography

Some recent research into the originality of landscape photography has produced a rich vein of material to comment on and one development is the popularity of contemporary landscape photography. I had always thought this was the New Topographics territory, but it is is now a genre apparently dedicated to the application of 'creative or artistic effects' to landscape scenery and we're not talking tilted focal planes or tobacco filters. Nope, it is more the combination of intentional camera movements, long exposures and blending of multiple exposures, the resulting images have a definite look to them and the keepers are the ones that aesthetically evoke a positive emotional response from the hundreds/thousands of images taken. It is fair to suggest that the optical performance of the lens is a minor consideration.

Being kind, I'll speculate that photographers who gravitate to the contemporary landscape photography community have tried conventional landscape photography and found it not to their liking. The toll on the spirit of early mornings and late nights, schlepping the gear, the travelling, rocking up at an iconic landscape to find it saturated with workshop clients, the weather lottery, all that effort and oftentimes so little reward. Happily, social media favs and likes for images are easily at hand with the contemporary landscape photography meme, it is marketed as photography for creatively artistic people and these people have plenty of time to engage on social media, which they do, prolifically. This application of creative effects to landscape scenery doesn't require a tripod, although there are heated debates on this, as some feel it isn't proper landscape photography without a tripod, whilst others insist breaking the link between the camera and tripod frees up artistic energy.  It has the dubious appeal of taking 1,000's upon 1,000's of images, the photographic equivalence of the Infinite Monkey Theorem and can be combined with 10 stop or 16 stop filters, awesome! Aside from the Shakespeare's Monkey appeal, the deal sealer is that it is fairly weather resilient, even high wind and leaden overcast skies are ok and any bland bit of countryside or seashore will do, which there's no shortage of near many urban population centres, throw in a 'loose' photographic technique and it's no surprise to witness the popularity of this contemporary landscape photography meme.

Digital cameras even facilitate the new genre with in camera blending/exposures modes too, so the 'art' can be accomplished in camera, in the field and in a delicious twist of irony, the creative contemporary landscape photographer can take the moral high ground and berate the digital fine art landscape photographers, who have to resort to photoshop manipulation for their creative vision. As the imagery has a definite modern look, the serious creative contemporary landscape photography artist can use the images to hang on almost any concept e.g deconstructivism, nihilism, political statements, poetry, folklore, environmentalism, eroticism .. the list is seemingly endless.

Despite being the proverbial 'low hanging fruit' of landscape photography, lower even than minimalist long exposure seascapes, the contemporary landscape photography meme offers a new market to exploit. So the media have put aside any principles and cashed in on the punters embraced it with articles, how to videos etc to boost flagging sales, click bait and landscape photography competitions have even allowed contemporary landscape images, no doubt as a cherry to attract new punters, keep the sponsors happy and most importantly of all, the filthy lucre rolling in. It will come as no surprise that that there are contemporary landscape photography workshops.

It's a funny old world.

Wednesday, 16 September 2015

The health of the landscape photography market

I haven't succumbed to the delights of facebook, twitter or any other social media circus, long since unsubscribed from any photography magazine and only pick up on the more visible news, so I'd rather lost touch with what is happening in the landscape photography world. I was aware of the 2015 French government report into the state of its professional photography industry* which made for grim reading and I recalled a candid article by Ming Thein, titled The future of photography lies in education which wasn't very positive either. My blog posts on originality in landscape photography required some research to get an overview for who is photographing what and where, which necessitated a trawl through magazine articles, photo sharing community galleries and individual portfolios. The activity also provided an insight into the respective health of the amateur and professional photography markets.

The good news is that the amatuer landscape community appears in rude health, with large and active communities posting images and compared to 2005 there are now relatively affordable mature digital camera systems capable of delivering professional image quality. Many amateurs are monetising their images by selling prints, merchandise and submitting images to photo stock agencies. In 2008 the stock photo agency Getty formed a partnership with Flickr for access to the sites global photography community and their video/stills images. Amateurs don't have to incorporate the costs associated with running a profitable business in their selling price and there are a large number of amateurs across the globe now supplying the global demand for stock photography to global photo stock agencies.

The not so good news is with the professional photography community. It appears that stock photography once underpinned a large majority of professional photographers careers and in the golden age of professional photography the time and effort invested in compiling a large stock image library would pay off in later years with a steady income stream and the photographer was then at leisure to pick and choose commercial work, concentrate on personal photography projects, publish a book etc. The figures banded about for stock image sales range from 60% to 80% of business income for an average sized stock image library, those figures were before the digital revolution disrupted the market. A google archive search will reveal that back in the early noughties as digital photography and the internet started to gain momentum there were predictions made for the demise of the stock photography industry. Those pundits blessed with foresight and common sense, observed that analogue capture didn't quite fit in with the new digital world and scanned film was no substitute for pure digital capture. Predictably their sage advice was flamed in online photography forums and the online forums did what they do best with innumerable posts, long threads, heated discussions and ad hominem attacks on why film was better than digital and vice versa. The astute commercially minded photographers took the opportunity to invest in digital, create a new all digital stock library and reap the rewards until the herd changed direction.

The stock photography industry had already witnessed the impact of digital on the analogue systems of filing, searching, indexing etc and a brief history of the stock image industry is outlined in this 2015 article from Alamy. To illustrate the effect of stock photography incomes and market pressure, it is worth reading this article published in 2006 by www.luminous-landscape.com titled Micro Payment Agencies at the end of the article was a short bio of the author

'George Munday graduated from the Birmingham (England) School of Photography in 1975. After leaving college he became a photo – journalist for four years, before moving to Ireland to become a business partner in an advertising and commercial studio, later becoming a stock photography agency. 

 Last year he set up Copper Coast Workshops which offers residential, weekend workshops for digital photograpers. Apart from the workshops, he supplies stock photography to various stock agencies, writes and photographs features about Ireland and Irish Gardens, and will soon be teaching photography in the local college. He’s always happy to talk endlessly about photography and give participants at the workshops advice about shooting stock, shooting commercially and any other aspects of photography that he has garnered during his 30 years as a photographer.'

As an aside, no-one in the early noughties predicted that mobile phones would one day have cameras and stills/video capabilities, with Apps and internet connectivity to upload online within seconds of the image/recording being made.

The Financial crisis of 2007-2008  according to the International Monetary Fund initiated the worst global recession since World War II an event that even disturbed the rarefied high end photography market which was evidenced by the sudden appearance in the photography media of photographers whose commercial work activities in London had concluded (cough) and announced they were now focusing again on their true passion of landscape/travel photography. I'm sure a lot of people reading the articles said 'Who?' The global recession combined with falling stock image incomes forced professional landscape photographers to further diversify and/or concentrate their endeavours on profitable income streams. The problem was that not just professional landscape photographers have been affected by recent events, it is market wide and that means professional photographers of all 'genres' are looking to diversify their revenue streams.  Where professionals websites were once  'genre specific photographer' they now encompass several genres of photography, I guess to cover all the bases. The achilles heel for professional landscape photographers is that - as was stated in a South Korean court - 'anyone can take a photograph of a landscape' and indeed they do.


The above video was uploaded to youtube in 2009 and has received over 2,000,000 views and over 250.000 subscribers to date. If only 0.5% of those viewers bought DVD's, signed up for workshops or purchased other merchandise that is over 10,000 customers. The photographer is clearly not a 'landscape' photographer, but kudos to him, as he effectively demonstrated and communicated some salient principles of landscape photography. There are professional landscape photographers who have failed miserably to effectively convey those same salient points across a variety of media.

The one area where professional landscape photographers can capitalise on their awards, media presence, celebrity experience is tuition aka training workshop/ adventure/ expedition/ social piss up  tour or education merchandise DVD's, books etc. I have yet to find a professional landscape photographer not invested in the phenomenon of the photography workshop or tuition. The A list names command premium prices and group sizes, then lower down the food chain, are workshops where prices reflect group sizes, destination, duration, luxuriousness or not of accommodation and competition. As a barometer of the health of the landscape photography market; workshops and tuition are currently taking up a high proportion of many photographers calendars. What has happened and is happening in the UK is mirrored across the globe and almost every article in the popular media not associated with gear reviews, seems to be masquerading as PR and marketing for the authors media presence and running workshops, educational material or photography services and desperate drivel stuff it is too.

The conventional wisdom expressed at the time of the financial crisis was to ride out the storm and reap the rewards when the storm blew over. Disruptive events have a nasty habit of obsoleting products, markets and careers, I suspect no one at the time took into account the combination of
  • Disruptive technology of digital capture
  • The popularity of digital photography across the globe
  • Amateurs able to compete on a professional level and facilitated by the stock photography agencies
  • The price of stock images could fall to such low levels 
  • Smartphones, display sizes and social media
  • The extent and duration of the global financial crisis
I have my doubts on whether conventional landscape photography workshops are a sustainable business model, but at the moment it seems to be one of the few profitable areas and is underpinning the global landscape photography industry. I should mention that even amateurs are now offering workshops and 1-2-1 tuition too.

* The French Government report into the professional photography industry can be downloaded after some rigmarole in English. However there is a link at the bottom of the Petapixel article to the Hyperallergic website where an article highlights some trends and numbers. I thought these statements from the article of interest :
Some 6,000 of France’s roughly 25,000 professional photographers — working in every field, from fashion and photojournalism to fine art and corporate photography — were surveyed for the study, which was conducted between December 2013 and December 2014 by the Ministry of Culture and Communication and its Department of Studies, Probability, and Statistics.
  • Between 1995 and 2010 the number of French people identifying as professional artists of any kind increased by 16%, but the number of photographers increased by 37% over the same period
  • Between 1995 and 2010 the number of men photographers increased by 25% while the number of women photographers increased by 85%.
  • 58% of respondents had other jobs before becoming professional photographers, 40% of them in a related field (graphic or web design, public relations, animation, etc.).
  • 40% of respondents said portraits are the most important type of image they produce; 17% said landscapes; 13% said photojournalism.
  • Eight out of ten respondents make money from multiple sectors of the photography market; the most popular revenue stream is corporate photography (executive portraits, event photography, conference materials, annual reports, etc.).

Thursday, 20 August 2015

Originality in Landscape photography

Here is a take on the iconic view of Liathach from the littoral of Loch Clair, at dawn. It wasn't quite the weather I'd been hoping for after several very wet days and whilst it wasn't from the 'classic' viewpoint, it is still very recognisable as the view of Liathach from Glen Torridon, not very far from the road. The view has been and will continue to be heavily photographed, which means that by any measure of originality, this image falls well short and in hindsight, I really should have made more of an effort and headed elsewhere, alas I took the easy option, lesson learned.

Iconic landscape ~ Loch Clair littoral and Liathach, Glen Torridon

A popular definition of originality is

noun 

the ability to think independently and creatively.

the quality of being novel or unusual.

I value highly the originality of a landscape photographer, it shows that someone has left a comfort zone and applied their vision to making landscape images that fail to satisfy Edward Weston's criteria of a photogenic landscape. My definition of originality isn't whether a 10 or 16 stop filter or how many ND Grads have been used, nor how many vertical images were stitched with a 200mm prime lens or even how many images were taken to get the necessary focus stack. Neither do I define originality as the clever compositional play of lead in lines, curves, zig zags, symmetry, asymmetry, juxtaposition of elements, if the view is of an iconic landscape. Nor is originality conferred on an iconic landscape view that fulfils to artistic perfection the core conceptual expression of a photographers philosophical framework and has been photographed with 16"x20" LF,  printed on the Turin Shroud and framed using relict pieces of Noah's Ark. Even if an iconic location is photographed and events at the time 'brought tears of joy' to the photographer or will 'elicit a sublime connection of natures beauty with the viewer', sadly it will not and never will be an original landscape photograph, imho.

In simple terms, originality means an image of landscape scenery that is not usually photographed and since even a blind squirrel occasionally finds an acorn, originality should be demonstrated for a number of locations. The adage that 'every image tells a story' has some truth to it, as it reveals something about the landscape photographers preference with location choice and weather. So a landscape photographers portfolio or image galleries are better indicators for defining a landscape photographers comfort zone with weather and location. A portfolio and galleries of  iconic views and subjects, with fair weather, suggests to me a tightly constrained comfort zone, whilst at the other extreme are the elevated and remote locations in adverse weather at the ends of the day/night which suggests an altogether different philosophy and motivation for photographing the landscape. The landscape views away from the comfort and shelter of the car, require a certain philosophical outlook to accept the disappointments and on the more rewarding trips, mindfulness of the fickle nature of good fortune.

An iconic landscape location 
Elgol, Skye
Credit - Google 
How important originality is perceived for a landscape photographers work, can be demonstrated by Michael Kenna claiming copyright infringement against Korean Air's use of a landscape photograph, an image taken by an amateur no less, in an advertising campaign. Though having seen Kenna's image and the Korean Air image, I do wonder if court proceedings were instigated as of result of Korean Air employing the defence of Arkell v Pressdram 1971 to Kenna's initial enquiry for damages.

Nonetheless, “It is most disturbing to me and profoundly disappointing,” Kenna told The Korea Herald. “A company of the stature of Korean Airlines should set a standard for others and support originality.” He also said, “It greatly surprises me that instead of using my original art work, somebody from Korean Airlines chose a derivative image.” emphasis added, as Kenna seems to think that originality is an desirable quality for a landscape photograph and the use of the word derivative, implies a lesser image.

Regrettably and as is so commonly the case with acclaimed landscape photographers, there is 'talking the talk' and a failure of 'walking the walk' as in a report of the court proceedings -
"Korean Air cited the concept of fair use in arguing that anyone can take landscape photos and that Kenna has no right to claim a copyright, as many people had taken pictures of the pine tree island before him. Lawyers for Korean Air presented Kenna with dozens of photographs that came up on an Internet portal site through a search for “pine tree island” and asked him to select those that he thought infringed his copyright. Kenna called it a “hypothetical question” and declined to answer. "

Some have noted that Kenna was wise to decline answering in court, as the photographs presented by Korean Air defence team, may well have all been taken before Kenna's image in 2007.

Attraction of roads and derivative images by landscape photographers
Kenna lost the case and then lost the appeal too. After winning the appeal, Korean Air were reported as considering suing for defamation.

But aside from the schadenfreude, some other pertinent points from the court case were :
  • I'm incredulous that a landscape photographer could believe that a photogenic grove of trees would not have been photographed before, especially so when there was a road nearby and that road leads from a major highway to a beach. 
  • After the announcement of the copyright litigation, there was hardly any reporting or commentary on the court case in the landscape photography media, which is odd when one of the acclaimed 'elite' was in a court to 'set a standard for others and support originality'. It raised questions in my mind of the landscape photography media closing ranks and actually who are the landscape photography media that report the news and frame the agenda.


An iconic landscape location.
Durdle Door, Dorset
Credt - Google 

To bring myself up to speed with the current status of originality in landscape views, I have recently looked at the landscape portfolios of professionals, enthusiasts, amateurs and browsed the landscape groups on photo sharing communities. There is compelling evidence as of August 2015, to suggest that most landscape photographers do not photograph locations that require walking any distance from the car and that iconic landscapes are mostly photographed. Which is not to denigrate photographing the iconic landscape locations, they are very popular destinations for good reasons - aesthetically photogenic, weather resilient and convenient to the car. It seems apparent that to gain recognition in the popular landscape media and photography competitions, it is de rigueur to submit images of iconic landscape views or iconic subjects.

Edward Weston's quote might very well have to be amended to "anything less than 500 yards from the car, just isn't original".