Picture Editing - Philosophy and Workflow

There are some people who suggest that anyone who uses Photoshop (or equivalent) to process their photos is cheating in some way. What you can't forget though is that the jpeg straight out of the camera has already been processed - by the camera. If you compare a RAW photo OOC with the corresponding jpeg (if you shoot this way), the former will look drab, maybe a bit skewed and with colours which don't really match the original. This is because every camera has a built-in RAW processor which interprets the RAW based on pre-ordained settings, pre-ordained either by the camera on its own or by certain criteria that you have determined.

Spotlight on the Cinque Torri - Final Photo

Saying then that any post-processing is cheating is akin to saying that anyone who bakes a cake from scratch rather than using a pre-assembled baking mix is cheating. Actually, all that you're doing is giving away some of the creative control in the process to the camera. I suspect (correct me if I'm wrong) that a lot of people who are strongly anti-processing are simply baffled by the process and think that it's unfair that others can do it.

The original RAW image converted to jpeg

"The aim of post-processing is to convey to the viewer the impression the photographer had when they viewed the scene."

But how much is too much? Most of the photographers that I follow essentially use the same principle when it comes to post-processing. Their aim with a photo is to convey to the viewer the impression they had when they viewed the scene. I like this principle, it gives both leeway and limits. It allows correction and enhancement but veers away from embelishment.

There is a certain legitimacy to this approach; as good as modern cameras are, they still don't have the dynamic range of the human eye; the eye is still able to perceive a greater difference between the brightest part of a scene and the darkest significantly beyond the ability of any present camera.

Of course at the end of the day this can only ever be a philosophical question, a question of style or preference or choice, one of artistic licence, but it's never a moral issue as some would seem to suggest. If you enter a photo into a competition which includes in its conditions that no composite images are permitted but submit just such a photo, then the moral issue is not how much digital manipulation has occurred, but whether or not you misrepresented your photograph, stating that it complied with the rules when it did not.

So, philosophical questions aside, how do I go about processing my images? Over the last few years I've developed (see what I did there?) a system. It was originally based on a very helpful eBook by Ken DuFault called "The Ultimate Guide to Fundamental Editing", which does an excellent job of explaining the basic steps involved in processing an image as a whole (in comparison to local adjustments). Although based on Photoshop and Lightroom, the principles of cropping, white balance, white and black points, contrast and saturation are universal to all common processing software.

When I upgraded from the Lumix FZ1000 to an Olympus mirrorless SLR in early 2019, of course the first thing I had to update was the photo editing software I was using at the time since the RAW converter - the filter that is able to interpret the Raw data from your camera into a usable image - was no longer current. Each camera or camera system essentially has its own format. In light of the Ken DuFault's book I looked long and hard at Lightroom, but like many was put off by the fact that it is no longer (easily) possible to buy a copy of the software but are forced into a monthly subscription to be able to use it.

Opening the image on ON1 Photo Raw 2020

Looking around at alternatives, my attention was caught by the relatively new ON1 Photo Raw, once a Photoshop plug-in and now a standalone product. Rather than go into the various pros and cons of the software, it'll be simpler to just walk you through my present practice step by step.

The first I do when I get back from a photo excursion is to download the images to the camera and sort through them. I look through them all in the ON1 browser and use the rating system to mark which images I'm going to actually edit. For me this tends to be about a 75% cull out of the box. ON1 (like Lightroom) allows you to generate so-called 'presets' - a set of standard modifications that you find yourself making to every image you process. To generate one of these you need to have edited a few photos first in order to see for yourself which steps you are regularly employing.

Still in the browser module I apply my standard preset(s) to all of the selected images - I say presets because I have a different one for each of my three lenses, each including a separate lens correction to the image. 

Presets are en vogue at the moment, with lots of photographers selling their own - mostly for Lightroom - in order to allow others to reproduce their particular editing style on their own photos. These presets can go for serious money. The whole process is anethema to me. Yes, the learning curves in these photo editing programmes can be very steep, but at the end of the day, I want my photo to be recognised as a Mike Page original, and not confused with someone elses style. I could only ever envisage buying someone else's preset in order to work out how they achieve a particular effect, not to 'mask' my own photos.

Coming back to the photo, it's a question of applying a series of adjustments in order to render the RAW image into a closer approximation of that which I saw on the day, to convey the impression I had of a scene to a third person. Before I start working, it's important for me to have an end-point in mind. How do I want the image to look? If I don't have a clear idea where I'm going, there's a very real danger that I just keep correcting and tinkering until I wreck it. A light touch is important, and ON1 makes it easy to 'paint in' adjustments with a relatively soft touch.

A lot of my present workflow I attribute to the wonderful Robin Whalley of Lenscraft Photography, who not only put out a great Essential Filters tutorial on how to use Tone Enhance and Colo(u)r Enhance to really subtly strengthen an image, he gave me some valuable feedback on the following photo, some of which I'll use to illustrate the steps below (although the global edits are a legacy from my previous work flow). The difference between the images at each step can be rather subtle, and that's intended, but comparing the end points reveals the overall effect. 

Cropping

One of the first steps I perform with any image is a crop to try to communicate the aspect of the image that caught my attention. Here I'm not too interested in the immediate foreground or the upper sky. The attention should be on the tower of rock in the sun in the context of the moody mountains in the background. I could have cropped in even tighter, but I liked the overbearing feel of the Tofana in the background and I wanted to use the clouds to convey our impression of the weather on that day, going from bright sunshine (top left and tower) through to the dramatic cloudburst top right. My standard crops tend to be 5:4 or, like here, 16:9. Occasionally I'll use a square crop if I think it helps the image.

The Cropped Image

Global Edit (Develop Tab)

Global edits include adjustments to overall Exposure, which I try not to change too much, Highlights and Shadows, which let me bring more visible details into the brightest and darkest parts of the image, White Balance, Saturation and Vibrance. My current workflow doesn't change these settings too much.

Something which I do always apply is the lens correction tool. This automatically corrects any lens-created distortion, chromatic aberration or possible darkening of the image towards the corners. The reason that I have three basic presets is that I have three lenses. In the browser module I'll allocate a specific colour tag to the images according to which lens was used and then use the tag colour as a filter to select which images each preset is allocated to.

Global edit complete

Effects (Effects Tab)

There are five effects that I have pre-loaded in my preset. Two are always on, namely Vignette (big softy, set to about 50% opacity) and Curves (unmodified but ready to be applied) and three are present but deactivated; Dynamic Contrast, Tone Enhancer and Colo(u)r Enhancer.

One of the great things about ON1 is that you can choose which elements of a given image the effects filter is applied to and by how much. By default, the filter is applied to the whole image, but you can elect to 'paint' the filter in (or out) using the brush tool, apply one of a number of gradients or apply it to particular aspects of the image (the brightest parts, for example, or to a particular hue).

Dynamic Contrast is great for adding detail to particular parts of an image, such as rock faces or places that I want to enhance the texture of. Here I used it judiciously on the Cinque Torri and the Tofana, but avoided applying it to the clouds or foreground.

Dynamic Contrast to add detail to the rock faces

The Tone Enhancer lets me control what happens to the light at various intensities or luminosities and I often use it to tone down the highlights or lighten up the shadows.

Using the Tone Enhancer to add some detail to the forest

The Colo(u)r Enhancer lets me control how individual colours appear in a scene. I can elect to make my greens duller, for example, or push them further towards yellow.

Lastly, I sometimes employ a Glow filter or a Sunshine filter to enhance the quality of the light in the image.

One of the most tricky aspects of this picture was getting the dark forest light enough and with sufficient detail that it wasn't a black splodge without taking away from the drama of the image. In the end I acchieved this with a Tone Enhance filter.

Lastly, I applied a Colo(u)r Enhancer to the foreground to warm the image up a little without affecting the sky too much (thanks Robin!).

With some warmth added

Local Edits (Local Tab)

I tend to use local edits to subtly brighten or darken smaller parts of the image that need it. Other aspects that can be applied here include changing the colour intensity or enhancing details. Care needs to be taken on how they're applied, otherwise they can result in unsightly edges or borders in the image.

Here I used a drop down darken filter to put a bit more shade on the Tofana in the background.

And that's about it. The signature is added as I save the final image to jpeg format (the Export function in ON1), leaving the original Raw file unchanged. All the steps I applied to the image are stored as a set of instructions in a separate linked file, ready for me to return to at any time.

What are your thoughts and experiences on photo editing? 

Shooting On The Doorstep

Where do you take the majority of your photographs? If you're anything like me, most of your photos will be from vacations or excursions. I think that most of us started photography as a way of documenting what we were seeing away from home so that we could (a) share our impressions with friends and family when we returned, and (b) have something to remember those trips by. We didn't need to record everyday objects because our community knew what they were and we had them as daily reminders all around.

Sitting on the Dock of the Bay - Boys at the Local Lake || f7.1, 1/50 s, ISO 100

Most of my photos are still taken on trips to the mountains or visits to my parents back in the UK. What I am noticing, however, is that unless I'm really lucky the first time I go to a new location, I'm getting the better shots on my second and third visits. I've seen first hand what did and didn't work, I've spotted where a composition could have been improved with different light or conditions and I can plan my trip accordingly. A good example of this was our recent trip to Cortina. We had three and a half days to take photos and we knew roughly what the weather was going to be doing on each of those days. I knew I wanted clear skies for the Lago di Croda so that we could see across the deep valley and I knew that a few clouds and some mountain mist wouldn't hurt on our trek round the Tre Cime. I also had a much better idea about what time of day I wanted to be where (and roughly how long it would take to get there). So it often pays to be familiar with the area that we're shooting.

Lago Federa || f8, 1/100 s, ISO 200

Knowing where the sweet spot was on the slope above Lago Federa (above) helped me set up this shot. I would have preferred it if the larches were yellowing more, but that was my take home message this time; early October is still too early, plus I learned that the Rifugio is open until the end of October. Lessons for next time.

Similarly, I knew from experience that it was best to avoid direct midday sunlight on the north-facing Tre Cime and so we planned the circumnavigation for a day when we knew there would be at least some cloud cover.

Classic Tre Cime || f9, 1/200 s, ISO 200

I've recently taken to regular trips to the local woods with my camera in various conditions, most commonly on quiet Sunday mornings to see what I can spot. As I discover new tricks and techniques, I can practice them here so that when I am 'in the field' those things will seem like second nature. It also stops me from getting rusty between trips.

Wood Sorrel in Bloom || f4.5, 1/80 s, ISO 1600

Not only that, but every photo I take helps train my composition skills and brings me closer to finding the right aperture for each shot. I'm still working on which f-stop I need for close-up work to get the optimal depth of field. Believe me, there's a lot of trial and error in that process. Normally I end up opening up too much and ending up with a focal depth you could balance a knife on. Apparently, you can have too much of a good thing.

The garden is another super place to practice close-up shots (I hesitate to use the word macro because I know it has a very specific technical meaning). Perhaps detail shots is another way of expressing it to distinguish it from other landscape shots. We have a relatively extensive (actually too extensive) garden in rural Bavaria, about 30 miles west of Munich. Over the last 18 years we've turned it into a cottage garden oasis, a kind of home-from-home. As well as cherry and pear blossom in the spring, I've planted some snakes-head fritillaries and buddleia and we have some beautiful iris with their fine-veined flowers:

Garden Iris || f4, 1/500 s, ISO 200

I'm really looking forward to spring this year. In autumn I was given some cultivated lady's slipper rhizomes which were duly planted. They should produce some beautiful specimins to shoot (no pun intended). All this flower and nature photography on the doorstep also gives me a badly needed oportunity to practice my post-processing skills.

The other local spot for me is the Ammersee, a local lake that's popular with photographers. From the northern end you can usually see the Alps in the far distance which provides a great backdrop, depending on the focal length being used. And once the sun's down and you're sure there's not going to be an explosion of colour in the blue-hour, there's always time for an Aperol Spritz in the Strandbar at Stegen!

What's SUP? Sunset at the Ammersee || f7.1, 1/125 s, ISO 100

Taking photos on the doorstep also gives you freedom to experiment and fail. You don't want to take the risk of screwing up photos from a once-in-a-lifetime holiday and you might not have the time to practice the more technical arts such as HDR images, focus-stacking or astro photography. What about panning or zoom photos? High-key or low-key shots? All techniques you can safely practice within a few kilometres of home and if you muck it up, well there's always tomorrow!

So, don't leave your camera(s) in the bag when you're at home - get out into your local countriside (assuming you have some) or town and practice those skills.

Where are your favourite local spots?

Chasing the Light: Where Matthias and I Spur One Another On

Some time last autumn, I spotted a photo of one of my local sites (not really a surprise, I live about 15 min from one of Bavaria's most photographed lakes) in one of the Olympus User FB groups and I got to chatting with the photographer, a young German guy living up near the Czech border. We seemed to have quite a bit in common in terms of the style of photography we were interested in and so I suggested that we should get together for an afternoon if he was ever in the neighbourhood.

Mill Race at the Pöllat Gorge || f5.6, 1/2 s, ISO 64

Towards the end of September he was travelling back home through Munich and so we arranged to meet up for an afternoon photoshoot at the Ammersee, a local lake with a few great spots for late light photos. We had a great afternoon, chatting about favourite YouTube photographers and filling in gaps in the other's education as we hiked up to Kloster Andechs, taking the occasional snap in the autumn woodland.

Autumn at the Ammersee || f8, 1/800 s, ISO 200

I left Matthias to shoot the sunset at the lake alone with the promise that I'd be in touch later in the autumn to show him a couple of my favourite local spots, the Pöllat Gorge at Füssen and the Stuiben Falls just round the corner in Reutte.

Now I'm not a great fan of my own company and so when Sharon planned a weekend visit to our kids who are both studying in the UK it seemed like a golden opportunity. I'm not usually one for sunrise shots, but somehow Matthias pursuaded me that it would be cool to catch the sun coming up down at lake Hopfensee, so we were out of the house by 5.30 on Saturday morning, chasing the light down to Füssen.

Hopfensee Google Maps

QUICK SUMMARY

Best Conditions	sunrise or sunset, pretty much any time of the year
Challenges	avoid windy conditions, also, as mentioned below
Parking	all along the promenade (ticket required) or at the far end of Hopfen am See (limited parking)
Where to Stop	any of the cafes or restaurants along the promenade
Links	-

Sunrise at the Hopfensee || f7.1, 1/2000 s, ISO 200

We parked the car at the end of the village whilst still in the blue hour. Normally, the northern shore is lined with jetties poking out into the lake and providing photogenic leading lines into the water and on to the mountains. Apparently, they take the jetties in for the winter, leaving only a couple for us to scrabble over. Not only that but the lake was far from still as were struck with a warm south wind, the dreaded Föhn.

So it was tripods and filters at dawn, playing around with long exposures and bracketing, things that I knew about in theory but little hands on experience with. Even though he's quite a few years younger than me, Matthias is a lot more experienced than me with these technical aspects of photography and it was good to have him on side with tips and advice.

Early Morning Light at the Hopfensee || f9, 1/60 s, ISO 200

With dawn wrapped up we headed back to Füssen to tackle the Pöllat gorge under Neuschwanstein. 

Pöllat Gorge Google Maps

QUICK SUMMARY

Best Conditions	essentially any, can get busy in the summer / carry on to the Marienbrücke with a view out over the castle
Challenges	only open in summer / avoid direct sunlight
Parking	€7 in Schwangau (10 min walk), €1/h at the Tegelberg cable-car (20 min)
Where to Stop	any of the places along the Alpseestrasse, our go-to restaurant has been the Alpenstuben
Links	Pöllatschlucht (German), Schwangau Website (German)

I'm sure there used to be a small car park at the beginning of the Pöllat gorge for hikers (as distinct from the mere tourists flocking to castle Neuschwanstein), but not any more. These days you're funnelled into the €7 mega carparks. From there you have to follow Pöllatweg along the bottom of the hill to get to the beginning of the gorge. Do check whether the gorge is open before you go. Unfortunately this isn't shown on the Pöllatschlucht website, but you can find the information by searching the (German) website for Schwangau, which caught us out. The gorge really is worth a visit, but we got to the gate only to find it closed for the winter.

Closed for the Winter

We were about to give up and head off to our next location, but the bottom of the gorge is always worth spending a few minutes on. First and foremost there's the wooden mill race that leads to the sawmill by the Gippsmühle. I personally find this channel extremely photogenic and always worth building into a composition, either as the main element or a clear leading line. Even as a backdrop, the trestled trough is interesting, partly because it's not completely water-tight and is always dripping. But there's also something very special about the water and rocks here in the eastern Allgäu. Due to the minerals in the ground, the water has a distinct green cast, something that you'll see even more clearly in the photos taken at the Stuiben falls.

Green on Gold || f14, 1 s, ISO 200

Here at the mouth of the Pöllat gorge there was also a pool at the bottom of the last falls. Unfortunately, there were no clean shots to be had from our side of the river, partly due to the mill race. Matthias ended up soaked because he squeezed through under the leaking trestles. I ended up soaked as I had chosen to go the long way round and cross lower down. The rocks were predictably slippery and I ended up on my ass in the water.

One of the things that more experienced photographers always say when you're concentrating on a composition is: "turn round" - don't be so focussed on what's in front of you that you forget your surroundings. I'm so glad that I bore this advice in mind as I was looking for my shots, in the branches above us there was this verdant scene: 

Green on Green || f7.1, 1/50, ISO 1600

There was a particular image I had in mind and was keeping my eye out for; gyrating autumn leaves in a waterfall pool. The beech forest was particularly generous with the leaves at this time of year and I found a suitable pool, but to the naked eye, the leaves were not really moving much. Fortunately we both had our filters and tripods with us (yes, this time even I resorted to a tripod). A 10 s exposure with the Panasonic Leica f2.8 8-18 mm revealed that not only were the leaves gyrating, there was a double-centred flow and I ended up with an image that I was really happy with.

Orange on Green || f14, 1 s, ISO 200

Stuiben Falls Google Maps

QUICK SUMMARY

Best Conditions	all year
Challenges	avoid direct sunlight
Parking	free at the Wanderparkplatz E-Werk
Where to Stop	-
Links	Stuiben Falls hike suggestion

We grabbed a quick lunch in Schwangau before driving round the corner to the Stuiben Falls. I never knew this place existed even though I've lived nearby for over 15 years, but last year I happened on the website of a local photographer who was showcasing some images of the location. Even knowing where they are, it's extremely difficult to find the falls, but utterly worth it. The road to the parking spot feels like you're driving through a factory premises and even when you do find where to leave the car, it's not immediately obvious where the falls are. Once you've been there once it's relatively easy, but finding it the first time is a complete pig. The crazy thing is, once you've found them, you realise they're only 5 min from the road. Talk about easy access!

Upper Falls || f22, 5 s, ISO 64

Whilst not particularly high or spectacular, the falls are an absolute delight to shoot because of the colouring. The rock is light and varies from grey dolomite to golden where it's been in the water and the water is properly emerald green - no tone enhancement necessary! The gorge is deep enough to cut out direct sunlight for most of the day but open enough to catch plenty of light. We started at the upper falls, a short 5 min up the trail, and worked our way down from there.

Middle Falls || f10, 2 s, ISO 200

Middle Falls Detail || f20, 5 s, ISO 200

There are a couple of spots where it's worth crossing the river (provided you can do so safely), so bring wellies or river shoes, depending on the season. Working our way down from the top, we got a handful of solid images. There's a viewing platform for the bottom falls, but you have to be extremely careful shooting from here with a tripod if there are other people around as every footstep shakes the platform. The very best angle means placing the tripod the other side of the fence so it's balanced on the rocks, but make sure it's tethered somehow so you don't lose your gear into the pool below.

The Lower Pools || f16, 5 s, ISO 200

Matthias Making the Ultimate Sacrifice

At the very bottom, it's worth crossing the river again for close ups of the bottom falls, but be aware that you won't be able to catch the main flow from here unless you're prepared to take some crazy steps:

Lower Falls Detail || f20, 5 s, ISO 200

Hopfen am See Revisited

The light looked like it was closing down on us as we finished up at the falls. Not only that but we were tired - we'd been up since the wee hours and shooting all day. The forecast was inconclusive. Should we or shouldn't we swing by the Hopfensee to catch the sunset? We decided that we'd take the detour and keep our options open. The closer we got, the more interesting the sky was looking and whilst we didn't necessarily get the colours we were hoping for, there was definitely some magic in the sky. We piled out of the car with all our gear, eager to set up again at the head of one of the few remaining jetties only to find a photography workshop in residence. Each of the pontoons already had a cluster of eager photographers crowding for the optimal spot. We finally walked far enough that the crowds petered out and found ourselves a little jetty almost to ourselves. Several curious passers by asked what was going on, whether there was a special event that they weren't aware of? After carefully explaining that we were there to see the volcano erruption (oh yes I did!), they mostly scurried off on their evening perambulations, leaving us to shoot in peace.

The Competition Hogging the Jetties

Elusive Jetty || f20, 15 s, ISO 64

My usual photography style is to vaguely plan a day out and take the camera along to spontaneously catch the good views as they come. I think most people are like this because for most of us, our photography started as a way of documenting where we'd been. This day out with Matthias was very different, the first time I'd ever been out where everything was planned around the photography. Having another more experienced photographer to hand was great in terms of learning some new tricks. We also spot different compositions, which is mutually beneficial. The day out stretched me technically and was a great learning experience. I'd definintely recommend going out on a shoot with a fellow photographer as a way of continuing your mastery of the art.

What experience have you had shooting with another photographer? Leave your comments below.

Christmas in the Heimat

Heimat is the German word for homeland or home-region and we spent Christmas with my parents in Somerset after picking the kids up en route. Although I've chosen to live in Bavaria and have lived here longer than I ever did in the UK (approx. 30:20 years), I still feel a deep connection to rural Britain. There's something in the rocks and countriside that just resonates with my soul and I find it relatively easy to find images when I'm walking around. I've discovered over the last few years that particularly the semi-managed wooded gardens of National Trust properties can provide some great pictures, depending on the season.

Surf at Sunset, Lyme Regis // f22, 1/2 s, ISO 64

Photographing on the coast is also very therapeutic, it's like watching a fire - you never have the same scene twice when you're shooting the sea. Whether you're looking at the tidal state, the clouds or the waves, every few seconds the composition changes. Again, Olympus IBIS for the win, I could easily shoot 1 s exposures free standing and didn't need to resort to a cumbersome tripod. It's so much fun. Throw a low-speed continuous capture mode into the ring and we're dancing!

Tarr Steps Google Maps

The Saturday before Christmas took us to Tarr Steps on Exmoor. There are some great images to be had here and being able to take slower exposures without the tripod was as good as a home run, except I didn't come away with an image that I was 100% happy with. Once again I made the mistake of checking the kids' Instagram feeds after we got home only to see that they'd got better compositions than I had. There's a gimme shot of the slab bridge leading up to Tarr Steps Farm (WELL worth checking out for food and drink!) but I screwed it up by taking it straight on.

In the end I opted for one black and white and one partially desaturated image of the steps:

Mixed Textures at Tarr Steps // f11, 1/2 s, ISO 200

Tarr Steps // f16, 1/2 s, ISO 200

The second image was my favourite from the set, but I should have had a lower perspective to let the bridge head into infintiy. I was particularly happy with the ON1 monochrome conversion of the first picture though. Previously I've found the ON1 black and whites too muddy, but there's a contrast and coarseness here that really fits the complex textures. Here's my son's take on the bridge and pub. I've got a similar one, but the bridge is straight on. Joshua's diagnonal makes it a much more interesting image. I was too focussed on the length of exposure, correct framing and cropping out the construction crane on top of the pub.

Lyme Regis Google Maps

Lyme Regis is our default beach when we're back in the UK. It's probably the closest bit of coast to my parents in central Somerset, it's picturesque, has a thriving art scene, a fantastic second-hand book shop that'd justify its own post and the best clotted cream teas. Given a high-ish tide and any moderate sea state and you get some great wave action on The Cobb, Lyme's tiny protected harbour.

It had just finished raining as we arrived  and it showed up beautifully against the dark clouds as we walked along the pastel beach huts - just visible on the left here.

Rainbow over Lyme Regis // f8, 1/200 s, ISO 640

The sea defences are regularly closed if the waves get too strong as they can be extremely dangerous.

These photos were taken just below the castle. The low sunlight and grey clouds gave these next two images almost a monochrome flavour without any tinkering.

f22, 1/2 s, ISO 100

f22, 1/2 s, ISO 80

By this time, the sky was developing a bit of colour and the spume was beginning to break over The Cobb so we headed back to see what we could catch. It's thrilling to see the waves crashing over the sea defences. Swapping the exposure from 1/2 s for the surf to 1/250 s to freeze the wave action was the right call and I was able to catch a series of waves crashing into The Cobb. The best of the series was this shot where the wave bouncing off The Cobb back into an incoming wave.

Backwash at The Cobb // f4.5, 1/250 s, ISO 200

We also managed to catch the last rays of the sun for the day, shining through the clouds as they departed. The golden light is real. I caught a couple with the spray shooting up the rocks, but this was my favourite with the gull just crossing the light.

Sunset on The Cobb // f8, 1/250 s, ISO 200

Into the Blue: Gorge Excursion

Breitach Detail // f16, 1/2 s, ISO 200

QUICK SUMMARY

Best Conditions	Winter for the icicles, early summer for snow-melt
Challenges	Tripod inadvisable due to narrow walkways / avoid midday sun in summer / check opening times (link below)
Parking	€2 at Gasthaus Breitachklamm
Where to Stop	Gasthaus Breitachklamm (traditional German food) or Waldhaus (rustic; approx. 40 min up from the top of the gorge, follow the river)
Links	Breitachklamm

Our first winter excursion to the Breitach Gorge [Google Maps] was in 2012. We'd had a snap freeze in February and the car thermometer was showing about - 20°C on the way down. There was snow on the fields all the way from home. We'd set off early enough that we saw a fox on his morning return commute back to his den. It was so cold that I had to keep my camera under my jacket to preserve the battery and could only take my gloves off to shoot for a few seconds at a time. It was so cold that there was ice on the stones of the river bed with the water flowing over it. I'm told that the water has to be about -10°C for this to happen.

The Breitach anno 2012 during a cold snap

This year it was only just below freezing at home, so I was expecting about -5°C inside the gorge. I wasn't sure how much ice we'd be seeing. I certainly wasn't expecting the ice curtains we'd seen 8 years before. But this time I had a secret weapon with me: my Olympus EM-1 Mk II has 6-stop image stabilisation on board, 7 when it's synchronised with the Zuiko 12-100 mm f4 telephoto. It really is difficult to believe, but I can get pin-sharp 2 s hand-held exposures using this combo and I've read reports of people claiming the same for 7 s exposures. And I don't have the steadiest of hands.

Black/Blue/Grey // f5.6, 1/2 s, ISO 200

So, winter conditions and the possibility of multi second sharp pictures: bring it on! Normally, using a tripod in the narrow gorge, especially in the middle of the day at the weekend would have been extremely antisocial towards the other visitors and so heavy IBIS (in body image stabilisation) is the best way to get those juicy silky flowing water shots.

There was no snow on the ground this time, but there was still a significant frost on the ground as we entered the gorge and we were soon rewarded with out first icicle pipe-organs.

Icicles in the Gorge // f8, 1/8 s, ISO 1600

Gorges are funny things, they're never the same twice, I learned this the hard way the first time I walked through the Partnach gorge in Garmisch. Towards the end there was a waterfall with a wonderful rainbow. There were too many people standing around and so I thought I'd catch it on the way back. Coming out into the sunshine at the end, we sat down to a comfortable lunch on the river bank. Forty-five minutes later we headed back. To my dismay, in that time the sun had moved completely and the rainbow was nowhere to be seen (duh!). Walking back through a gorge is always worth it though, because there are always angles that you missed the first time round. The Breitach was no exception and as we made our way back down, we were met with the sun shining down through a gap in the rocks above.

Hole in the Roof // f5.6, 0.8 s, ISO 1600

Towards the end of the gorge, there's a mossy waterfall falling down the southern bank of the Breitach. There's a reason why I love the Zuiko f4 12-100 mm (24-200 mm FF equivalent) and why probably more than 95% of my photos are shot with this lens. Apart from the optical quality, weatherproofing and image stabilisation and a closest focal distance of 12 cm, the 12-100 mm range is perfect for most of what I want to catch. Unless I'm going for wildlife or need my ultra-wide Panasonic Leica 8-18 mm (also a lens with exceptional IQ), it lets me take the bigger picture or zoom in here to a detail of a waterfall across the narrow valley. 

Frozen Christmas Trees // f22, 1 s, ISO 160

Not an ideal perspective on this shot (tricky without a rope and harness in this case), I thought this showcased the water colour and flow nicely. I also enjoyed the opportunity for an unconventional crop. Most of my images end up at a 5:4 or 16:9 crop, but a 1:1 can also be powerful. Micro 4/3rds cameras have a native crop of 4:3.

Gorge Detail // f9, 1/2 s, ISO 200

Sometimes, a human figure in the scene puts everything into perspective like here. Many of the icicles were at least as long as Sharon.

Enough Icicles for You? || f8, 1/2 s, ISO 1600

Photography Goals for 2020

Looking back at 2019, I've come a long way in my photography. In preparation for a landscape photography workshop in the spring of last year, I upgraded my whole system, changing from a high-end bridge camera (that I had actually been quite happy with) to an Olympus mirrorless system camera. There was a new camera environment to learn. Not only that, I had some serious post-processing learning curves to climb. 2018 had been my year for getting to grips with Photoshop Elements. 2019 saw me jumping into ON1 Photo Raw and learning a completely new bag of tricks.

Images for the 2020 Calendar

So what are my goals for 2020? I've put a family photo calendar together for the last 10 years or so and 2019 was no different, except that instead of it being a mix of family and landscape photos, the 2020 calendar was going to be without the family photos so that I could peddle it outside the immediate family. Struggling to know how to select from the thousands of images I took last year, I was finding that many of the pictures that I was most happy with were turning out to be abstracts, and so that's what the calendar turned out being; 12 abstract nature images, ranging from the side of a Swiss wooden chalet to a field of underwater corals.

Solitary Tree at Dusk // f8, 1/6 s, ISO 200

Over New Years we went down to Austria to spend time with friends in the mountains. I'd spotted a couple of details that I thought would make good abstract subjects and was reasonably happy with how they turned out, but flicking through my daughter's Instagram feed at the end of the day I noticed that she'd taken similar photos, but with a subtle difference. Where my snow crystals and ice bubbles were isolated, her photos put the same elements into their environmental context. All of a sudden, the subject had a lot more impact.

Snow Crystals // f7.1, 1/2000 s, ISO 200

 I was quite happy with this image until I saw Rhiannon's take on the same scene on her Instagram stream:

How it could have looked

Much more effective. You still have the detail of the beautiful crystals, but it puts them into context.
How much more effective would the bubbles in the next shot have been if I'd gone down lower and included some of the background scenery? Again what learned, as the Germans say...

Frozen Bubbles //f8, 1/60 s, ISO 1600

Catkins with Hoarfrost // f8, 1/200 s, ISO 1250

With the red-tinged catkins I find that the isolation works and I was really happy with this image, especially in the square crop. So sometimes isolation is great, other times a hint of context strengthens the image.

One of the need-to-work-on skills that has been percolating away at the back of my mind is finding decent foreground interest when using my UWA Leica 8-18 mm (16-36 mm FF equivalent). But what if I turn that on its head and try instead to find decent background interest for my details? I'm already good at finding those detail images, what if I work on embedding them in their wider environment? Sometimes out of focus is going to work, otherwise I might have to work on my focus-stacking skills.

So that's my photography goal for 2020. Working on providing environmental context for my detail shots. Oh, and finally getting a decent shot of the Milky Way.

What about you? What are your photographic goals for 2020?