Alpkit Compact Ultra II Walking Poles

I remember the first time I saw photographs of mountaineers in the Himalaya using ski sticks to aid walking. Jump forward 30 odd years and we now see them being used to aid walking along the streets in Lake District towns. They have become an almost essential ingredient in the ‘fashionable walking holiday wardrobe’. I was ‘anti poles’ initially and still believe that to some extent we are better to manage our own balance when on difficult terrain. I first began to take note however when older mountaineers expressed the view that the use of walking poles reduced the stress on their knees and hips when descending. As we age and our leg joints wear and this seemed a reasonable response. One might extend the knee support argument further and postulate that perhaps the use of poles might also reduce the wear and tear in joints if used before they become ‘needed’. The research carried out certainly suggests that this is the case. Views and perspectives change over time and from being anti poles, I am now a frequent user and especially so in the case of photography in the mountains. I’m much more likely to use poles when photographing as my pack weight is likely to be substantially greater than any normal day sack weight. I also find them to be enormously helpful when wading out into flowing water (even if less deep than the height of my wellies) for that perfect spot from which to photograph. Finally given the value of the contents of a photo backpack, I find them a reassuring support when crossing fast flowing water by wading or stepping from rock to rock. There is a bewildering choice of poles out there at a huge range of prices and including esoteric materials such as carbon fibre. After trying and using a number of options from familiar brands, I settled on the subject of this review, the Alpkit Compact Ultra II folding poles. The route to this choice was relatively straightforward although it took some years to navigate. There are essentially only a few choices to make:

• Budget - This ranges from about £5 per pole to well over £100 per pair.

• Twist lock or snap lock

• Sliding (telescopic) or folding

• Material / weight - usually ranging from alloy to carbon fibre.

• Shock absorption - some poles have an internal spring section to reduce impact shock.

• Grip style these vary from a simple foam cylinder grip to carefully moulded anatomical grips.

My own reasoning was as follows. I don't like things sticking up over the top of a rucksack so the two/three section sliding poles are usually too tall even when stowed. This is particularly relevant when negotiating  woodland with poles strapped on to your pack. Anything that reaches above the bag can and will get caught on branches.I find that twist lock poles become much harder to tighten and loosen when they and hands are wet and (from the samples I’ve tried) are prone to being jammed completely by ice in winter. I find the folding snap lock system quicker and easier. I’ll pay the cost to obtain the performance I want but don't choose to ‘over cook’ the specification. The weight saving from alloy to carbon fibre doesn't seem worthwhile to me (unlike with tripods for instance).I also have a leaning towards new agile small companies trying to do things right and in a good way. Alpkit have a very sound ethical approach and I believe such ethics should be supported. Combining all the above I bought a pair of Alpkit Compact Ultra II poles and have never looked back. The poles, sold individually or as a pair, weigh in at a quoted 275g each. My pair weighed 500g.The only change to the quoted spec is that I don't carry the point protectors. These are too easily lost in my opinion and best left at home.  When stowed they are delightfully compact and measure no more than 38cm. To save having to readjust for working length each time they are used, I leave mine ready set at my normal length while stowed and this results in a slightly longer packed size of 51cm. When packed at minimum size, not only will they stow neatly on the outside of a rucksack, they will fit inside even some very small 10L day sacks.This model represents an improved version of the original on which the hand loops were a little undersized. On these, the loops are sufficient for all users. There are poles with better adjusters and those with worse, these are about the middle in terms of smoothness or difficulty of adjustment. The grips are lightly contoured foam and are both comfortable and offer good grip in use. I was a little suspicious of the locking mechanism for the bottom section when I bought the poles. This is a spring loaded ball which pushes through a hole in the leg. Despite my concern the mechanism might clog with dirt,  has been flawless for the year that I’ve owned the set.If you walk the hills and tracks, I’d recommend that you consider a set of walking poles. If you are a photographer, carrying a heavy photo backpack and working in wild terrain, I’d recommend the investigation still further. In my case not only is stability increased and knee/hip pain reduced but I feel less tired after a long day on the hill than without them. If you decide that poles are for you, I’d recommend these Alpkit poles without the slightest reservation.

A hierarchy of Landscape Photography

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A number of posts on Twitter this week have set me thinking. There are many ways in which we as landscape photographers may choose to describe our work.We may seek to produce entirely representational 'forensic records' of a scene we witness. We might give the viewer an amended version that seeks to relate what we saw and  perhaps more importantly felt at that moment. We might create a piece of art by manipulating the forms that were present by combining multiple exposures or using Intentional Camera Movement. We may engage in entirely conceptual or abstract responses delivered via the medium of photography. If we pursue the clasifications we may eliminate or embrace the use of filters in camera, we may adopt or abhore the use of processing with software and we may chose to make our images digitally or with film. We may choose a high technology photography instrument or a pinhole camera or even no camera at all.These and all manner of alternatives seem entirely laudable and in their own measure satisfying or mystifying. What is however abhorrent and the most fruitless waste of time and endeavour is when photographers or critcs seek to create a hierarchy out of the above and to arrange them into some nebulous set of stepping stones across which any aspirant photographer must pass and will inevitably be judged based on how many steps have been completed.To suggest to any artist that the only way in which they can achive work of quality is by leaping from one of these stepping stones to the next is not only arrogant but a complete failure to understand the essential personal nature of any artistic process. Denigrating the work and efforts of others is a very poor alternative to gaining satisfaction from your own work.Enjoy what you do, respond to rather than judge the work of others and encourage all to enjoy and achieve fulfillment from what they do. Of all these, simply showing kindness instead of point scoring is not a bad place to start.Rant over.... 

Why don't you come on over Vallerret?

Vallerret are a young Norwegian company trying to conquer a niche market. Their core product is an insulated glove with up to two fingertips that can be slipped back to allow fingertips to more easily operate camera controls. There are two gloves and one mitt in the range along with some inners. Refreshingly they offer a women’s specific glove but sadly not alternatives to every model. In every case the hinged fingertip can be secured out of the way by use of sewn in magnets. Having found the perfect glove setup as described here, it was with much interest that I decided to investigate these specialist gloves from Vallerret. I’m fussy if not obsessive about gloves and as the years go by this seems to be increasing. Increasing partly because I see no justification for accepting anything less than the best I can manage and increasing because I seem to feel the cold more and more. I’m also fussy about the fit of gloves and so waited until The Photography Show, last April,  so as to be able to try them out under a number of permutations with various liners. The model I was interested in was the iPsoot, their premium glove. This is their top of the range glove, designed for deep winter. It uses a combination of Merino wool as a lining and Thinsulate as the primary insulation. Thinsulate has been a round for a considerable length of time but has been very low profile for many years as advances and advertising have driven a search for more down like synthetics. The glove is advertised as being suitable for the addition of a liner glove but oddly the sizing guidelines suggest that no size adjustment is needed to accommodate such a liner. I was a little nervous from the outset as the advertising equated ‘deep winter conditions’ with deep powder snow and we know that for those of us who are UK based,  deep winter usually means low temperatures but accompanied by wind and wet. Two very different scenarios and a thoughtful purchaser should note that these gloves are not sold as waterproof, it isn't even hinted at. If the buyer is considering using these in the mountains the presence of magnets should also be noted. They hold the fingertips back nicely but also wreak havoc with compasses. The first note of caution is in the sizing as thought has to be given to the balance between length and breadth. I preferred an XL for the relaxed fit and space for a decent liner but in XL, the fingers were so long that when the tip was peeled back, my own finger didn't reach out of the end.  Delivery was very swift as promised but a large stock shipment had just come in to the warehouse, I’ve noticed a regular set of ‘out of stock’ notes over the time I’ve been looking. First impressions at the show were very good. A high quality product, well made and thoughtfully designed.The stitching and assembly were neat and well finished. Unfortunately the show had been a great success for Vallerret and they had run out of stock in many sizes. Having tried on demo models, I had to pay and wait for delivery.My own hand measurements are Length 19cm Girth 21.5, they equates to a size Large as detailed above.  I struggled to get a good fit as the XL size was better around the palm but the fingers were so long that my finger didn't even reach the peel back flap.In use there are issues with which to contend. As mentioned above the gloves are not waterproof in any useful way. Few gloves are, even among those that claim to be, these don't make any such claim. This is not a failing of the glove of course, it simply means the information needs to be read carefully before purchase and our typical winters taken into account along with a realistic set of expectations. I don't knock any points off for waterproofing as the description is accurate and honest. We therefore have a product that has had substantial design work done, high quality materials and as far as I can see very good workmanship. They look superb. However the biggest issue that I have with the gloves is the substantial lack of dexterity that results from their thickness and lack of flexibility. This came as a bit or a surprise having tried them on at the show and the only reasonable explanation that I can come up with is that the gloves were warm. In normal cold outdoor use I found them to be unusable for my purposes, destroying any real dexterity when trying to handle camera, lenses, filters or other smaller items. Although very personal, I also didn't find them nearly warm enough for the advertised deep winter conditions. As a comparison, the Rab baltoro Glove  is much, much more flexible for a similar if not better warmth and allows small items to be handed precisely and confidently. Finally and of course it is a highly personal perception, I didn't' find them nearly warm enough for use when there was snow lying on the ground. Adding a liner increased warmth but reduced dexterity still further. I liked these gloves as  a piece of thinking and design but could see no reason to keep them and they have now moved off to the well known auction site. I'm much, much happier with my existing MacWet/Montane combination and so far have found nothing that improves upon it. I do see that Vallerret now offer a zipped mitt with a primaloft lining which will probably tempt me to investigate a little more closely. I am also mulling over the Heat Company's Heat 3 Smart Mitt which may also offer an interesting alternative. 

A week with the Nikon Z7

Nikon Z7 ReviewI’ve owned this camera for a week now, supplied with excellent customer care by www.fixationuk.com  While I’ve no claim to be a super user nor have any overly technical insight, I do have a week’s worth of getting to know this new camera in situations that are common to most landscape photographers working in our typical wet, windy conditions. (I’m also keen to point out that I’m not trying to demonstrate mastery nor make any statements about my own competence. I’m simply trying to share experience in the hope that someone else may gain from it.)  A little background perhaps. From the day I bought a Fuji X-Pro, I’d wished Nikon had made a Mirrorless camera . From the moment, I first heard about the current model, I’d assumed it would fit in and complement my D810. I’d seen it as a lightweight alternative. However during the time it took Nikon to produce the Z7, the world changed. I’m not convinced even they knew the route they were following and suspect that the camera ended up higher in their catalogue than was originally intended. Life with the Z7 has been a mixture of close to perfect and  irritatingly  bad. Image quality, build quality and ergonomics are excellent which to be honest is 95% of the camera. The devil however is, as they say, in the detail. As a tool it feels good in the hand, solid without being too heavy. Compact without being miniaturised. I suspect use is easier if already a Nikon user but each control feels exactly right and seem to follow a largely logical layout. This is a very, very fine camera indeed, my D810 is gathering dust and my old  Fuji X-T2 is not being missed in the slightest. Given that the image output is essentially much the same as a D850 the key decisions as users are three fold:

• Does the weight and size saving justify the size for me?

• Does it matter that the DSLR line now has a limited and defined life? Would I rather invest in technology that is developing rather than being abandoned?

• Does the EVF offer enough advantages to justify the pain of the camera purchase and then subsequent lens purchases.

Nikon z7 Review Virtual Horizon level

Nikon Z7 Review cable release

Nikon Z7 Review with 85mm f1.8 AF-S G Sycamore Leaves

For me, the answers were straightforward, this is getting closer and closer to an almost perfect camera. The first and most important step to take is to fully read the manuals especially those parts that relate to customising the functions attached to the various buttons. This at least allows some of the more glaring oddities to be corrected. ViewfinderThis EVF is perfect, I’ve no idea how it could be improved upon. It's like looking through a straight optical path but better. It’s so good, you just forget all about it. Even allowing for the fact that at heart Nikon is an optical company rather than an electronic one, there is some magic at work. ShutterI’m an advocate of quiet photography, working along, taking time and spending some quiet time in the place that you are making photographs. There are times when even the sound of the shutter and mirror of a DSLR can grate and spoil the moment. The Z7 is delightfully quiet and can even be used in silent mode.PlaybackI like to review images through the viewfinder. In standard form this means removing my left hand from supporting the camera and pressing the Play button. This is, in my opinion, much better achieved by configuring either of the Fn buttons to playback Review can then be achieved without moving the camera from the eye.During review, the + button can be used to zoom in on the image and the edges of the command pad used to navigate. Pressing the centre of the command pad immediately zooms in to 100% This would be much better if Nikon adopted the Fuji method. Use one command dial to zoom, one to scroll to next image. GridWhy not provide a choice of grid line arrangements? At least a thirds grid.LevelI wish Nikon would provide a more subtle level indicator that can be viewed while composing. The fighter pilot sight one is just about OK if you are working from a tripod but you need to be able to see the level and the full composition screen if you are handholding. Silly example of poor design and the tiny indicators at the edges of the D810 finder are much, much better. ConfigurationI’d like Nikon to take away as many restrictions as possible when assigning functions to buttons, let the user customise their camera. Fully customise menus and features also. Let me remove menu items completely. The iMenu is a good start but more could be done.Cards /Card SlotsI had two corrupt files on the first time one card was used. Since then nothing, it’s a worry but provided there is no repeat, I can live with it. I’ve been mulling over the whole aspect and am generally OK with a single card slot. I’m not clear about the technological hurdles but a direct Wi-Fi link to an external hard Disk like the WD MyNotebook would be a great alternative. It may be simply too demanding on battery power. FTZ AdapterYou wonder whether anyone in the Nikon design team actually use their cameras? If so do any of them every use an Arca plate? Every plate I own, even the smallest almost square one, fouls the camera if fitted to the FTZ, meaning you’d have to fit and remove it every time you wanted to fit or remove the adapter. I’ve ordered what I hope is an even tinier one, designed for compact cameras, I'll see if it works out. AdobeACR opens the lossless compressed files but doesn't seem to open uncompressed. I’ve always used the lossless compressed so not an issue here. There is  a lens profile included for the 24-7mm f4, as with the Fuji’s, the profile is applied automatically. It looks as though the Adobe support is in an interim version so I suspect import settings will evolve over time. . Long exposuresGiven that Nikon had time to learn from Fuji, I am surprised that the longest shutter speed they give us is 30s. It took nearly 6 years before Fuji finally gave in and added longer exposures in manual but now the wait begins again. If Nikon gave us 1/2/4 minutes, it would make a huge difference to normal use. If we could see those in manual and auto settings life would be better. One of the benefits I’ve appreciated over the years from mirrorless is being able to ‘see’ though heavy ND filters and I can confirm that it is possible to see well enough to compose and focus on at least easy subjects through a 10 stop filter. It’d be an improvement if there was a timer visible on the rear screen during B/T exposures. Interestingly LE NR is now switched off by default, first recent Nikon I’ve noticed that with. Use with 24mm F2.8 PC-e lensThis works like a dream, no fouling of controls and the focus peaking is life changing. Works like a dream. One can almost ‘see’ the inclined plane of focus and where vertical objects intersect it causing the peaking to show. No personal information on 45/85mm but presume same applies. Use with manual Focus lensesIn addition to my Tilt Shift lens, I also have a set of old AI Nikkors. We get two benefits with these. Firstly we have focus peaking which is especially useful with the large aperture lenses such as the 50mm f1.2. Secondly we get image stabilisation even with 40 yr old lenses. Nikon quote 3 stops with adapted lenses and while having no way of measuring, such a figure feels about right. That really is backwards compatibility. For anyone (shame on you) who hadn’t realised the joy of older Nikkors, ‘tis is definitely the time to investigate. There are some peaches (and a few lemons), more of that in the next instalment. Remote CableThis continues to irritate. The best I’ve managed so far is with a Meike Cable via Ebay that has a 90 degree plug so helps keep things bit more compact and also much less prone to being hit in passing.  I can’t believe Nikon offer this setup as a real life solution, it takes a high end product and makes it low rent. When combined with the PromediaGear L bracket it is functional but the end plate from the bracket has to be removed to attach or detach the cable. Currently PMG are the only vendors of a bracket that will work. They, RRS, Kirk, 3Lt and others have L brackets on the way but we’ll see if any of them work well or not. Battery LifeThe battery lasts less well than a D810/D850. I used to carry 5 spare batteries with the Fuji but I’ve not had to change more than one so far in a day with the Z7. This is to be expected as it is doing more work with the same battery. It’s still OK however, for me.AutofocusDespite the entire world telling photographers that they must use manual settings, I tend to use autofocus and Aperture priority whenever possible. The use of autofocus obviously requires the focus point to be placed exactly where you need it. The combination of the tiny spot focus point on the Z7 together with the ability to place it ANYWHERE in the frame makes this process perfect. FilesGiven that one of the major drivers in moving from Fuji was to produce files with which I felt more comfortable, the outcome has been completely successful. The files produced by the Z7 are beautiful and seem to be able to absorb any amount of manipulation without complaint. The level of detail is exceptional and ‘grain’ size and structure are both exactly to my taste.BandingAnother Nikon, another banding panic. I’m no expert here but it does ‘seem’ that, in some cases at least, those who are experiencing patterns are generally trying to extract impossible amounts of detail from impossibly deep shadows. Looking at some of the files circulating the writers need to ask whether the shadows might just be too dark and whether any other camera would do better. I’m a great believer in letting shadows be the dark places they are meant to be. In day to day use, where I’m trying to get exposure right, there are no nasty patterns of any sort. I’ve loved using the Z7 this week and am looking forward to getting to know it more depth over the coming months and years. I’m wishing for a healthy development through firmware updates but not holding my breath. Nikon will have to learn some new skills of listening to users and responding for that to happen. In the final part of this Blog, to be published next week, I’m going to share a few thoughts on lenses old and new that might be found on the front of this fine camera. For a variety of reasons the list is highly unlikely to mirror the established hierarchy as purveyed by DxO and the like.

Nikon Z7 First Impressions

I hate being an early adopter. I never buy stuff on the first day. I resent being an unpaid beta tester. I’d much rather wait until the teething problems have been sorted. Until now….My Nikon Z7 arrived this morning. Without wishing to rehash my leaving Fuji post, I’ve just sold all my Fuji kit and invested in Nikon’s brand new full frame mirrorless offering. I’m looking forward to getting to know this camera. There are already issues of course, as I realised there would be from the very outset. Jumping early always involves some pain, my intent is to get that pain out of the way as quickly as possible. It’s worth bearing a few of points in mind:

• I didn’t buy this camera to make my photographs better and I remain very pleased with the output of my D810 in every way. I’m not looking for dramatic obvious improvements.

• The initial rationale for this purchase was to replace the Fuji with another lightweight camera for longer walks, higher fells. The fact that Nikon have produced such a well specified camera opens the probability that it will replace rather than complement the D810.

• I’m a pony with a limited number of tricks. I’m not trying to review this camera, just share how it works for me. I’m not interested in superfast autofocusing, ultra high ISO use or overall speed of use. I work slowly and methodically and don't photography people, animals, stars, pets, sports, weddings etc.

First ImpressionsThis is a lovely camera that feels just right in the hand. Start up time is plenty quick enough for me. The EVF is the best I’ve seen and a step up even from the more than decent Fuji X series. Part of my reason for the move was to leave optical and use an EVF both to make viewing though ND filters easier and to include a Histogram in the viewfinder while composing. I also like being able to review through the viewfinder as it avoids the need to use glasses or a loupe. As a long term Nikon user, pretty much everything falls straight to hand and the interface is self explanatory by and large. The camera is small and light without stepping into insubstantial or ‘fine for small hands’ territory. There are so far, no hidden surprises and the cameras been a pleasure to use out in the field today. It feels small but solid and resilient. Image quality seems as one would expect and the 24-70mm lens seems to be very good though perhaps not as  outstanding as has been suggested. Much more remains to be seen on that front. Specific ObservationsUnboxingI’m unable to get excited over the whole ‘unboxing’ phenomenon however the departure from the Nikon Gold boxes is a shame. Slightly more of a shame is the extremely ‘low rent’ box and packaging. You may have just spent £4K on a camera but you wouldn’t know it from the boxes. Remote CableNikon have abandoned their proprietary 10 pin round (pro) connector for their own equally proprietary push in (consumer) rectangular plug. Although over priced, Nikon’s MC remotes have always been well made. They currently offer no replacement for the MC-36A and so any wish for a remote with a timer built in has to go to the aftermarket suppliers. Not a problem in itself but choice is restricted. This also has a knock on effect with the use of L brackets. I assume this is part of a planned move to leave wired connection behind and perhaps we’re not at fruition yet. I’d hoped that SnapBridge might provide a solution of sorts but it seems there is currently no way to set a timed exposure of say 2mins/3 min etc. We may of course see some aftermarket activity in this sector. I tried using SnapBridge as a remote this afternoon, but abandoned to re-visit the manual as it seems a long winded process. I tried it because the remote cable provision is awful. Even without an L bracket the straight plug cable sticks out a long way and is very prone to getting knocked. I can see the socket being equally prone to damage. With the L bracket, although the cable just about fits, it’s not a happy fit and again I can see damage resulting. There are two aftermarket remotes currently doing the rounds on Ebay etc which have right angle plugs. This is an infinitely better design except that the plugs bend the wrong way and make the cable foul the bracket. I’m currently working on modifying one to see if an improvement can be made. Most of the problem could have been avoided if they’d used a micro USB. This,  for me, is the only really disappointing aspect of the camera.L Bracket useSeeing Arca fit  L brackets in use so often by landscape photographers probably gives rise to a view that they are a commonly used accessory.This clearly isn’t the case or manufacturers might be more helpful in the placement of remote connections. I’m an L bracket addict and find it hard to work without one.Two problems emerge using one with the Z (as they did with the Fuji X-T1/2). The upright part of some brackets foul the cable access points for remotes. If you find a bracket that allows access, the exiting cable prevents the attachment of the L bracket to Arca fit tripod head in the portrait orientation. I solved this for the Fuji by using a ProMedia gear universal bracket which allows the vertical section to be moved away from the side of the camera by two sliding rails. This will also work for the Z. However for this workaround  solution to work really well requires a cable with a right angle connector. The L bracket I have used is the Promedia Gear PLX3xhttps://www.promediagear.com/PLX3x-L-Bracket-Universal-3-inch-Arca-Swiss-Type-L-Plate-Designed-for-DSLR-without-Grip-or-Short-Bodies_p_134.htmlThere are already well documented issues with L brackets and Arca plates fouling the tripod mount on the FTZ adapter, preventing fitting and removal. This PromediaGear L bracket does NOT impede the FTZ in any way. It also leaves the rear screen free to move. I’ve not come across any other L bracket that currently works. Battery LifeI suspect the days of getting an entire day’s shooting from one battery may have gone. I hope I’m being pessimistic but certainly the use of the EVF must draw more than the DSLR’s draw. Opinions seems mixed from the early hands on reports so fingers crossed. I shot on and off for four hours this afternoon and had plenty of juice left by the end. I am going to disable the rear monitor screen as I prefer using the viewfinder. This should also save battery power. Use with FTZWhile Nikon’s own online chat support weren’t able to help, this one item where a read of the instruction book is a good idea. There is a weight limit on using lenses with the FTZ. If using a lens that weighs over 1300g, you are advised to support the lens or use the tripod mount on the adapter if on tripod. If the lens has its own tripod mount that is first choice. The instructions suggest you add lens and adapter in two operations rather than leaving the adapter attached to the lens. I used the FTZ today with the 70-300mm AF-P and the 85mm f1.8 AF-s and both performed flawlessly. AF Fine TuneI’m still confused as to why a mirrorless camera still has an AF Fine tune setting since the focusing is managed right on the sensor. Suggestions gratefully received.Use with Ais lensesThe use with AIs lenses seems to work very well, I’d assumed that the camera would default straight to manual focus (I’d chosen to enable focus peaking) but it seems that I have to manually choose manual focus from the menu. I might be missing something there. Exposure is bang on and focusing very good. There’s no indication of aperture in the viewfinder however.  Viewfinder levelSo far I can't find a quick way to enable this. I’d hoped to tie it to one of the Fn buttons but that doesn’t seem to be an option. The old, more subtle and better level indications at the top, bottom and edges of the screen that were so useful on the D810 have gone. There now seems to be only the huge virtual horizon indicator that looks like a aircraft head up display. This is a pity in my opinion. Viewfinder RotationI’d hoped that having seen the Fuji implementation, that Nikon would have given us a rotating display for portrait orientation. Sadly not,  but one for the firmware Wishlist.Image size displayOne of the reasons I’d wanted an EVF was to achieve an exact viewfinder blackout surrounding different image aspect ratios. For the first time ever, I can now see 5:4 perfectly represented in the viewfinder. NEF FilesI was slightly surprised to see that Adobe ACR, recognised and opened the NFE files without a hitch. I was expecting to have to wait for an update. Another review suggested the lens profiles wasn't there but it shows on my version and is applied automatically rather than having to check the boxInitial perceptions after 8 hours of ownershipI really like this camera, and am looking forward to using it tomorrow. The files look great, the handling is excellent and it is a pleasure to use. The remote cable is less good and the lack of a subtle level indicator is a pity. I’d ask for that in a firmware update along with a rotation of the display in the viewfinder when in portrait mode. I’ll add to these early thoughts and correct any errors in a second instalment in a day or so.

Some hours in a hole in the ground

I have a bit of a mantra that I trot out on 1:1 ‘s or in conversations, debates etc. I’m happy to share a perspective and share my approach. I’m never an advocate of expressing a view that this or that is the ‘right way’ or ‘best way’ of approaching any aspect of what we do. A little non harmful anarchy can be a good thing. I’m not an evangelist for any approach, philosophy, technique or piece of equipment. The only situation where I’ll take a firm stance is on an approach to avoiding damaging the very beauty we come to look at or photograph.Many landscape photographers have bucket lists, I seem to have a few vague ideas kicking around rather than a hit list of places I must see. Most of the places that feature frequently on the bucket lists of others don’t excite me - I’m not being critical of them or of those who add them, many of them simply don't ring my idiosyncratic bell. There is also an often observed practice of ticking locations off and collecting them like stamps. This leads to some high speed driving and a schedule of collecting multiple locations in a day. This isn’t wrong, it’s just not my way. I like returning to familiar places and I like spending time in one place. The last two trips I’ve made to Skye (despite a 7 hr journey) have resulted in time spent in just a single location, Elgol. I’d rather spend three days just being there than collecting locations across the island. Last week I managed to spend a day in North Wales and as is my way, devoted the whole time to just one location.Within that general location, I made all my photographs in just one spot and of just two trees. I didn’t make an enormous number of exposures but I did spend a significant amount of time there. As usual, I generally wander about a bit and spend a substantial amount of time just sitting. I am a great believer in spending time being still, sitting is a comfortable way of achieving this for me. The longer you sit the more you notice and the physical or apparent size of what you notice diminishes. You start to see, hear, feel and generally be aware of more. Sometimes I close my eyes and just listen or notice the scents of trees, plants etc.Of the two trees, one composition came immediately and it was just a question of getting up and across the fallen boulders to find a spot where I could bring it to fruition. I shot a couple of variations but there only ever one that was going to be right.The other tree, was much more interesting (in terms of challenge)  and presented many more questions. It was a little ‘odd’ shooting it from below the horizontal but it was the only way to gain some separation for the lower branches from the boulder on the right and the pile of stones on the left. The need for that separation was instinctive and no alternative was given any significant consideration. To the left and below the tree is a tunnel opening, I found it distracting and so all compositions eliminated it. My portrait format is always 5:4 but landscape can be anything from 3:2 to 18:6. Square is also always possible .The aspects that first impinged upon me were the bright greens of the tree and the dark blues of the wall behind. I knew immediately that this contrast was key and would need to be exaggerated beyond a ‘forensic’ record shot. This then led to the obvious decisions about:

• How much space to leave around/above/below the tree

• Vertical and horizontal placement of the tree

Final Choice

To slim this post down to a manageable length, this led to the following choices. Tree low in frame or tree lower centre in height. Tree far left/ far right and tree central. A consideration was also made between how much importance was given to the ‘tongue’ of rock and grass leading down from the tree and the large expanse of wall behind. Finally there were some interesting colours in the wall behind that could be used to set against the colours in the tree. The thoughts below are brief but represent what went through my mind at the time of making the images. The picture at the top was the 'final' choice and currently remains my favourite.The version where the tree is placed to the right has a relative balance. The main feature being offset is usually pleasing on the eye and in this case, the tree is balanced by the substantial collapse feature on the wall to the left. I dont like the way the green tongue disappears out of the bottom of the frame and also feel that the tree feels a little compressed by the lack of space around it.  With the tree to the left the 'balance is brough to some extent by the remains of the blast hut partially hidden under the overhang at far right. Allowing the tongue to finish however causes the upper part of the frame to be compressed.  This was a more successful composition for me using my most comfortable 5:4 ratio and allowing the tongue to lead out through a favoured frame corner. There was just enough wall at the top aided by the light to give a little space above the tree. Although I am partial to a square, this composition seemed very cramped and I couldn't make a variation with more space without also including an unacceptable level of peripheral distraction. I very much wanted this variation to work as I felt the entire scene was about the relationship between the tree and the huge quarry wall behind. In my heart it still works but in order to include the wall a decision had to be made about where to crop the bottom part of the frame. Cropping any lower, and including any more of the feature on which the tree stands, included far too many distractions. The crop at the base of the tree, as it stands, seems much too abrupt to me at the moment. This is one I'll return to at some point to see if a re-working might improve things. The final choice, as featured larger at the top of the post is currently my favourite. (Give me six months and I'll hate it...) Most 'guidelines' for composition warn against a central placement for the key element however for me, it works best here. It both emphasizes the fine tree, lit from above and seems to best set that tree off against the wall behind. It allows some sense of scale to the wall and finally allows the best compromise (that I managed to find) between giving space around the tree and excluding distractions. The processing of all is pretty straightforward being mostly a case of a little vignette around the tree, some split toning to emphasis the blue of the slate and a curves adjustment to darken down the wall behind.

So long and thanks for all the fish

It’s so long Fuji and thanks for all the fish. (Google if not Douglas Adams fan).It’s been a pretty happy 6 years with Fuji since my original X-Pro1 arrived. I thought the original concept was brilliant and they sustained that throughout. I’ve been impressed with the cameras, the lenses and immensely appreciative of the regular firmware updates. Despite liking the “Leica influenced’ look of the X-Pro, I was much happier with the X-T1 and then the X-T2. Both superbly well designed cameras and an absolute joy to use. The combination of small size, low weight and high quality was perfect for me. The lenses I owned were excellent by and large with some rising to outstanding such as the 56mm f1.2 and 50-140mm f2.8, the 23mm f1.4 and the 90mm f2 and the wonderful little 14mm. Others were a tad underwhelming such as the 55-200mm which was great until you looked closely. I had two similar samples, others may have been luckier. The 18-55mm kit lens batted way above it place and was responsible for a high percentage of keepers from the cameras. I was hooked on the EVF from day one and always missed it when using the Nikon. I used the Fuji wherever weight mattered, the fells, longs walks, overseas travel or just when I wanted to grab a light bag. It fulfilled those requirements perfectly.From day one it would have been more convenient to have a lightweight camera that shared a mount with the bigger Nikon. Not least of which to take as a backup camera on trips. When heading for Harris for example, I always had to take two entire systems to insure against breakage or malfunction. I dipped a toe into the DX Nikon range for a while but found it too frustrating.  The straw that broke the camel’s back however was the instability of the files. A perfect exposure under perfect conditions resulted in a pretty good file if treated correctly. If however the file needed a degree of work in Photoshop, I found them to be fragile and smooth gradation between different tones could disappear quickly. I also found the propensity for the ‘grains’ in the image to form elongated shapes unattractive. Many authors reported on the dreaded Fuji ‘worms’. I never found these particular problematic as they seemed to appear if too much sharpening was applied. Many other photographers evolved specific workflows using software from other companies to arrive at their optimum files. I’m quite happy to admit that the problems I experienced were due to poor technique on my part, a lack of expertise or a lack of subtlety. However I didn’t find any such issues with Nikon and I didn’t want to have to evolve a complex process to edit raw files, I just wanted to operate in the same way as I had always done.My ideal would have been a Nikon sensor in a Fuji X camera. A really interesting development might be a new series of sensors in the Fuji or perhaps a revised in camera software or processing engine.Arguably the thing I may miss most about Fuji was the sense that one was part of a project to move on and develop. There was always a very strong sense that Fuji listened to users, listened to wishes and listened to criticism (lesson for Nikon here). Their regular Firmware releases showed this very clearly and they generously rewarded loyalty by improving the camera, at no cost, from the one you originally bought. I’m sorry to be going, I really am. I may well return at one point but for now it’s off to pastures new and in the next Blog entry I’ll discuss what steps I’ve taken to replace the role of the Fuji X-T2.

New Fotospeed Papers

I recently received two boxes of paper sent by Fotospeed for me to try and then review. Given the vagaries of colour perception, lighting, compression and variations in monitors ( not to mention different printer outputs) , it seems pointless to waste time and space showing heavily compressed jpegs that concentrate on colour reproduction. I plan therefore to concentrate on other properties of these papers. I bought my first Nikon in the early 80’s. At the time it had a great deal to do with the fact that not only did Don McCullin use Nikon but that his life had been saved by his Nikon F when it was hit by a bullet that was meant for him.Our choices are often influenced by the famous and the lauded: these two papers are ‘signed’ by two of the giants of our world, Doug Chinnery and Joe Cornish. I use the term ‘signed’ to emphasise the fact that these papers are not merely ‘endorsed’ (which can mean anything or nothing) but have been designed in conjunction and are genuinely used by the named photographer. These two names are more than enough to cause serious consideration of these papers. If I have an anxiety about Fotospeed, it is that they make a bewildering array of papers through which one has to navigate in order to reach a choice. When I started printing in the early 80’s we simply picked a brand and then chose a gloss or Matt finish, possibly a silk if feeling giddy. Knowledge and technology now require more of us. The important factors which define these two papers are:

• Weight

• Surface texture

• Base colour /use or otherwise of OBA.

• Archival stability (including base material)

Both papers are made from Cotton giving grater archival stability; this is enhanced by both being acid free. Both are 305 gsm in weight so feeling like a thin card rather than a paper. Both are matt finish though one(The Etching)  is much more textured. Both papers have a less than 'Persil White' appearance with the OBA free Platinum Cotton being the less white of the two.Cotton Etching 305 is a 100% cotton Acid Free Fine Art paper with a white base. The surface has an etching texture which helps accentuate detail and gives a depth to you image. Cotton Etching 305 uses the latest coating technology resulting in a wide colour gamut and pin sharp detail. Platinum Cotton 305 is a 100% cotton, Acid & OBA free Fine Art paper with a smooth natural white surface. Platinum Cotton 305 use the latest coating technology resulting in a wide colour gamut and again, pin sharp detail. Comparing the two descriptions (from Fotospeed) we see that they are both heavyweight papers, both matt (though one smooth and one textured) and both acid free for stability. the remaining stand out difference is that the Platinum Cotton is OBA free. This latter is important for two reasons. Firstly the inclusion of OBA (Optical Brightening Agent) gives the paper a 'whiter than white' finish. this does however gradually fade with time. Most OBA free papers seem to have to sacrifice initial whiteness in order to achieve this stability but technology moves on and this new paper makes less of a sacrifice than most. Both papers are however less than the 'whitest white'. the image below shows a comparison between the two papers and a sheet of premium photocopy paper. However your monitor is set up, the comparison will still hold good in relative terms.In order, the whitest is the photocopy paper, followed by the Cotton Etching and finally the Platinum. Many users prefer the softer white of the mid point here others the warmth of the OBA free and others still demand the whitest white. Tastes change; 40 years ago I loved the almost green warmth of Agfa Portriga paper, today I tend to prefer my whites as white as possible.Part of the joy of a print is in looking at a tangible image and how the light reflects off it, another part however is to be able to hold the physical image in your hand. The weight and finish of both papers is truly superb, they both feel like premium offerings destined for large prints on gallery walls.  The pronounced texture of the Cotton Etching is reminiscent of my once favourite Hahnemuhle Etching. My current choice would however be the smoother finish of the Platinum Cotton. All personal taste of course but at some point I find myself looking at the texture rather than the image and for that reason prefer a less visually obvious finish.Personally I am delighted with the output on both papers in terms of colour and resolution of detail. I found that to my eye the smoother finish of the Platinum Cotton helped both the resolve more detail and also to better handle the subtle gradations in a monochrome  print.In the example below, I found this image, filled with closely packed mid tones, was better presented (to my eye) by the Platinum Cotton than it was by the Cotton Etching.As stated above, by the time this has been compressed and displayed on another monitor the accuracy will be lost but the comparison again holds good. Both the subtle tones and the fine detail of the leaves are better represented to my eye.Beauty is of course in the eye of the beholder and our concepts of beauty change over time. these are both beautiful papers of exceptional quality. My current preference is for a very bright white and a smooth (or often pearl) texture. When I used to print in the darkroom, my preferred finish was always that of an unglazed gloss paper. The strength of the Fotospeed range is that whatever one seeks in terms of a printer paper, they almost certainly provide it and of very high quality.Are these papers for you?If you are seeking acid free papers of high quality, yes.If you are looking for a neutral OBA free paper, yes.If you are looking for a high quality matt paper with a smooth or textured finish, yes.These papers were supplied free by Fotospeed but there was no pressure or suggestion that a positive review was expected. https://www.fotospeed.com/   

A Fuji Wishlist

Fuji are one of the few camera makes who do just occasionally give the impression that they are prepared to react to customers' wishes. I thought I'd offer my wishlist in the full knowledge that it will have zero effect. It does however provide a context in which I can focus my own thoughts.  First please note the title is ‘Wishlist’ not ‘Which items should Fuji produce which will be the most successful and bring the most financial gain....’.

We’re clearly going to get another X camera soon, probably at about 28mp and placed to sit above the XT-2 which it will replace and the X-H1 alongside (but slightly above) which it will sit. What would I wish for in the new camera:

• Longer battery life - I hardly use the LCD and yet still carry 5 spares, this is a tad ridiculous. I could use a battery grip but part of the appeal of the system is the smaller size and I've never liked screw on battery grips as they introduce a second potential plane of movement between the sensor and a tripod head. Not only is there the possibility of movement between camera and grip but the grips themselves can distort and allow movement.

• Add 5:4 to the range of image sizes so I can preview accurately in viewfinder.

• Increase the maximum shutter speed to 1, 2, 4 or even 8 minutes (or longer , the OM2 did better than the XT-2 40 years ago…). Available though aperture priority. (manual greatfully received in firmware update.)

• Re-site connection points for cables esp cable release to make it easier to use when in portrait orientation on an L bracket.

• Give us a much lower base ISO, 64, 50 or even 25.

• Allow full menu and button configuration, let the user define and organise their own menus and buttons without restriction.

Lenses General

• Offer an Arca Swiss foot for those lenses with tripod collars

• Understand that some users will trade light gathering power for a smaller size but still want the highest optical standards. Modest apertures with high level performance.

Lenses Specific:

• Revamp the 14mm, 35mm f1.4, 18mm f2 and the 60mm f2.4 to give us WR and improved optical performance (in 18mm esp.)

• Something round about 16-55 f4 with the performance of the 2.8 but in a smaller lighter package.

• 50-140mm f4 as above

• Tilt and shift at about 16mm

That's it, not too much to wish for but probably an awful lot to hope for. What it does show, in my opinion, is quite how quickly the Fuji X System has matured into a fine photographic tool.

Which lenses for Venice?

Which lenses for Venice?

This is  a question that is often asked and even more frequently ruminated upon by those heading off to Venice for the first time. Experience generally informs subsequent trips but only if honest reflection is undertaken and heads lead rather than hearts.  There are questions to be answered first of course -  relating to the kind of subject matter and images we wish to create. Those indulging in street photography will in all likelihood use the same selection as in any city. Others may revel in picking out the details from a distance and so take along a longer lens. My answers usually follow from the premise that, for me, the landscape of Venice is the main subject. A second and in some ways bigger question is to do with the degree to which we are prepared to compromise the enjoyment of the city by carrying too much weight. Photographing Venice involves a lot of walking and every kg seems to weigh double as the day goes on. For many people the iconic images of Venice are long exposures and in order to achieve this even more extra weight has to be carried in the form of tripod, ND filters, remote release etc. I recently analysed all my ‘keepers’ from Venice and tabulated them according to number of images for each focal length. I rounded all intermediate focal lengths to the nearest ‘recognisable’ prime equivalent. Note needs to be taken that the graph represents focal lengths and not specific lenses. The 85mm length equates to 55mm on my Fuji X cameras. In my analysis this includes the 18-55mm @55mm, the 55-200mm@ 55mm and the 56mm f1.2. The outcome surprised me slightly and is of course influenced by personal style, conditions, time of year etc. It is  probably also influenced by whim to at least some extent. The key findings as may be seen from the table is that very wide angle only accounts for 10% of the mages and effectively less than 2% of images are from focal lengths that exceed 85mm. 75% of all the images were, or could have been made with a 28-85mm(FF) or 18-55mm (APS-C).

The information can be used to plan which lenses to carry. An 18-55 (28-80 FF) and something wider would account for 98% of all my keepers. Adding a telephoto as the third lens brings this to 100%. A future blog post will concern itself with a detailed analysis of exactly what equipment I personally carry when visiting Venice. The problem we all face is a perennial one, that of being prepared for the once in a lifetime image that is beyond the popular range of focal lengths. Everyone finds their own resolution to this question but I would prefer to enjoy the days rather than carry too much. A further consideration becoming every greater is that of transporting the relevant equipment by aircraft. The information above refers to my own favourite images from Venice over the past five years. These are partly represented by the Venice Gallery on my website. My solution so far has been twofold. The first part is the use of Fuji X series cameras and the second to beruthless on lens choice, drawing from my own data rather than my heart. The next blog post will be concerned with an analysis of all the equipment that I would usually take on such a trip. This will include my solutions for managing a balance between photography and airline luggage restrictions. If  you would like to photograph this beautiful city and improve your own photography, I will be leading a workshop in April 2019 for Aspect2i. The workshop details may be viewed below.http://www.aspect2i.co.uk/intermediate-level-photograph-venice-italy-ID130.html

Breakthrough X4 77mm ND64 Filter Review - Part 1

Breakthrough X4 77mm ND Filter Review - Part One.There’s more to life than looks of course but it is difficult to avoid forming a first impression. From the moment I opened the box, this filter created two impressions. It looked like a high end piece of engineering and it stood apart from the crowd. Such an attention to detail by a manufacturer sends an instant message. ‘We know what we’re doing and we believe it is important to do it right’. As soon as the box is opened two practical aspects make themselves known. After countless years, a manufacturer has finally included a sufficiently 'grippable' edge to transform the process of mounting and removing. At best we’ve been given a knurled edge or often a smooth edge with a lightly knurled front. The X4 starts from a more functional approach and gives an edge that is more scalloped than knurled and provides an infinitely better grip. Even with gloves this is a breeze to remove and no more need for filter removal tools for overtightened items. Secondly, although in principle  the engineering of threads is relatively straightforward, there is a world of difference between the individual variations of a so called standard pitch. Some are simply cut to poor tolerances, others while accurate are left with edges sharp enough to cut skin. Poorly cut threads are a potentially expensive accident waiting to happen. From the moment you first offer up a filter you know instantly how good the thread is, some fight and others work with you. The Breakthrough, almost threads itself. The frame is CNC machined from Brass and oozes quality. The same attention to detail is also paid to the glass, Schott B270 in this case. Secondly a 16 layer multi coating is applied ( 8 layer to each face)  and finally a nano coating which both serves to bead water droplets and make it easier to clean off any marks.Optical performanceBreakthrough make a number of significant claims for the filters including a completely neutral colour, class leading sharpness and great resistance to marks and moisture.Colour: It is certainly the most neutral 6 stop filter that I’ve ever used. In my view, the sample I have, is not quite completely neutral, there is a very, very slight blue cast. Nothing however that cannot easily be removed. Sharpness: I cannot fault the optical sharpness of the filter, more attention will be paid to this is part 2 but for now, it seems flawless.Finally the Nano coating succeeds in two ways. After multiple days in the field, the filter remains unmarked. In light rain the filter resists the water and drips quickly bead and run off. This is a high end product at a high end price but it is easy to see what value has been added. There is a certain pleasure to be derived from anything that is done well and this is a beautiful piece of engineering. Unique in my experience is the presence of an individual serial number for each filter. This enables the similarly unique offer of a 25 year guarantee to be claimed. Although a full comparison with other industry leaders will form the basis of the second part of the review, I currently would have no reason not to make this my first choice for a screw in ND64 filter.

Every step you take, every move you make

I hope the length of this piece doesn't imply it is anything more than it is. In the same way that language enables thinking, for me, writing enables me to organise my thoughts. I’ve just been having a bit of a think, nothing more. Two major outcomes have emerged in the past 20 years for Landscape Photography, largely I would suggest, as a direct result of the emergence of the internet, the growth of Social Media and the advent of Digital Photography.

• There has been a dramatic increase in the number of people enjoying the process of making Landscape (as opposed to holiday) Images.

• It has become substantially easier to discover locations in which such images can be made.

(I think that a third outcome probably exists which is to do with the speed of growth and coherence of ‘fashions’ in Landscape Photography. This aspect will form the subject of a future set of musings.)There are many outcomes from these changes not least of which (in my opinion) a positive development in the art of landscape photography. However one unarguable change is a dramatic increase in the number of people making landscape photographs and their tendency to be drawn to a number of iconic sites. Whether this is good or bad for photography is the subject of yet another future article. What is inescapable is that they are causing damage to those very beautiful locations. In many ways such Photographers are no different from the millions of tourists who are loving the world’s beautiful places to death. This damage falls into three categories:

• Accidental - resulting simply from erosion damage that exceeds the speed of recovery of the local ground.

• Careless - Accidental damage beyond merely footfall. Damage to soil structures or scratches to delicate rock structures caused by tripod spikes. Stream banks are frequently damaged by careless access to the water.

• Wilful - Photographers breaking off branches, pulling up saplings that impede their view.

Stuart Low wrote a very depressing piece about the new Massacre of Glencoe here.http://www.stuartlowphotography.co.uk/photographers-massacre-of-glencoe/Stuart lays the blame for a great deal of damage at the feet of photographers and while we as a community are not blameless, I do feel that the presence of fires, bottles and cans hints at the increasing taste in some parts of society for ‘pop up parties’. We see the evidence for theses all across our wild areas, the pattern is almost always the same. A relatively secluded area, fires are lit, wood both collected and sawn off purposefully off living trees, trees cut down, wilful damage to the local environment, alcohol containers, abandoned folding chairs and tents. I think these are nihilistic party goers rather than photographers. If we view a specific site such as the waterfall view of Buachaille Etive Mor from the Coupall, we can consider the likely narrative for the consequences.

• It is ‘possible’ that the fashion for landscape photography has peaked and the issues may largely rectify themselves. Sales of cameras are certainly diminishing, though this may however be far from a guide to the numbers of people visiting iconic locations.

• If no effective actions are developed, the damage will increase both in depth and spread. We know that as access is limited by difficulty, the line of approach will deviate to the next easiest route and spreading the problem further.

• Our erosion may serve to permanently disfigure the very subject of our visits.

• The land owners will feel moved to take some sort of action whether driven by fear of litigation (resulting from slip or fall injuries) or genuine care for the local environment.

• Local councils may seek to limit the possibility of any suitable local parking. In my experience, many people will not walk for more than 10 minutes.

What then are the most likely outcomes? The least expensive is of course allowing the local site to become irrevocably damaged. In some locations I would suggest that the landowners are likely to amend access by the use of purpose built path or walkways. For a site such as the Coupall, my instinct is that this would eventually lead to a stable viewing platform with ‘sturdy guard rails’ all around and appropriate warning signs about proceeding beyond. Access to Blea Tarn has already been upgraded to allow a route for those with limited mobility, I suspect it is only a matter of time before a path is created down to the water’s edge. I have heard many an established photographer complaining about numbers and seemingly suggesting that newer entrants to the field should have to find alternative locations. This is a selfish view in my opinion and has all the hallmarks of pulling the ladder up after us.  Such a view should certainly never be espoused by anyone who has an image from these locations in their back catalogue.Given that appealing to the better nature of the general public is likely to have little effect what other steps might be taken to attempt to limit or even reverse this damage?

• There is never any harm in appealing and hoping, such a process works to some extent in respect to climbing and environmental; damage/ protection of nesting birds etc. I’m not sure how effectively it works but anything is better than nothing.

• As a community we could draw up a set of voluntary guidelines to educate individual photographers with regard to the damage they are causing. We could circulate this and hope. Individual photographers could publicly sign up to such a code.

• We could attempt to create a voluntary code of practice or standard for organized groups and those who bring groups to such places.

• We might appeal for those providing workshops both to follow such a code and also to ensure that environmental impact be an element of their syllabus.

• As a community, we might seek to raise the profile of such places with landowners and look for ways to encourage them to to improve access. The most effective way of encouraging is usually financial but there may be other quid pro quo alternatives.

There are considerations to do with the sharing or attempted concealment of locations. I think there’s a real conflict here for many photographers but for different reasons. The selfish or perhaps reasonably protectionist ones seek to protect their business by trying the limit the supply of images from a particular location. Although I don’t fit in this category I do have substantial sympathy for someone who has found a genuinely un-photographed location after hours of research, map study and hard miles. They may not feel like simply giving this away. There are others, of which I am one, who struggle to reconcile the fact that we find quiet or unspoiled places and then contribute to their destruction by publicising them. Once upon a time you might photograph, print and exhibit without having any effect on visitor numbers. Today a single image, widely shared can lead to a devastating effect.One a quick and unsophisticated Twitter poll this week encouraged 88 people  to respond either via the poll or directly. The question asked ‘ Do you share location details from your photographs?The results were as below when additional answers were included.Freely 69%No, I made the effort (others can do the same) 10%No (Due to) protecting my business 5%No to (reduce footfall) and protect (local environment) from damage 16% A number of qualifications were added, these being:Sharing locations with friends but not the general publicSharing rough area but not precise detailsThere was a substantial view that as the photographer had made a significant investment of time and effort, there were not just going to give it away freely.This was a very ‘Raw’ poll and made no attempt to differentiate between those making a living from Landscape Photography and hobbyists brand new to the activity. It does present a very positive view in terms of generosity and also perhaps serves to explain why the dissemination of location information is so widespread. I would suggest that the following conclusions may be drawn overall.

• As people who photograph the Landscape, we ourselves are the cause of the majority of the problems. There is no honesty in pointing the finger of blame at any sub groups.

• As our numbers are comparatively small and usage intense our damage is not addressed in the same way as, for instance, Lakeland footpaths where there are both government funded and charity funded organisations working tirelessly to repair erosion damage.

• The solutions to wilful and careless damage may come partly from education and codes of conduct at group and individual level.

• The solution to damage resulting simply from footfall is likely to be complex. It will probably entail a blend both of on site footpath creation and an integrated parking plan. As we have seen at the Fairy Pools, building car parks isn’t enough unless it is accompanied by a strategy to limit reckless parking on nearby verges.

I’m not sure what else can be done apart from sitting back and watching the destruction of the very thing we love. If people have comments, please feel add via Facebook.(And, yes...that is my image at the to made in 2012 so I've done my bit to ruin this beautiful place. )

Icons

Landscape Photographic icons - should we follow the tracks or should we avoid them?The first and most pertinent answer in my opinion is that we ought first remove the use of the word 'should'. The photographic 'written word, whether it be books, blogs, forum posts, is far too full of advice telling us what we 'should' or 'shouldn't' do.Landscape photography is, for so many people, an escape. An escape from cities, from jobs, from stress, from illness or other life factors. It can also be an escape from 'shoulds'. When photographers are in the wild, providing they are not causing damage, they can be free of any pressure to conform. Any adherence rules can be chosen not enforced. I have often expressed the view that the development of photographic skills can be likened to learning a musical instrument. An understanding of the basic principles is needed, the level of practice is often reflected in proficiency and the learning of test pieces often forms a precursor to personal composition. The performance of the test piece does two things, it first (and foremost) brings the player pleasure and secondly it forms the structure for the acquisition of skills. There is no suggestion that they are immediately adding a new gem to the cornucopia of world music. There will always be those artists who somehow manage to shortcut stages and emerge 'fully formed' but for the majority, let them make their own versions of iconic images. A significant subset of the criticism I see levelled on those who 'dare' to set up their tripods at the Buachaille, or Blea Tarn or Crow Park in Keswick, comes from well known and established photographers. When I read such criticism, I tend to visit Google and their websites and so often find their own early images of the 'standards'. Much of what is written might be better if worded to avoid telling beginners what they should do and adjusted to emphasise that their enjoyment of what they are doing is key.With this post is an iconic image, the famous shed and bicycle in Glen Etive, it features somewhere in many a fine photographer's back or current catalogue. I've never been moved to photograph it before but on learning of the partial collapse of the structure, it suddenly became something of which I wanted to have my own record. The picture was a quick snap on the phone in the pouring rain. I suspect there won't by much still standing when I next return. I won't be sharing it as an example of creativity, mastery or even record. I am however pleased to have an image to call my own.One or two readers have asked about comments. I'm struggling to both allow comments and yet filter the colossal amount of spam that was arriving. If I can solve it in a manageable way, I'll reinstate comments. In the meantime, please feel free to provide counter arguments via Facebook or Twitter.