Well, it’s been a while since I posted. Lots of things have happened and there have been many ups and downs in life. Work has taken me to new places, and life changes, choices, and chance meetings have lead to my moving to Edinburgh just over a week ago.
After five months, I now have a home office space again, broadband that actually means I can upload photos and keep in touch with you all, and access to my iMac for processing images.
Over the next few months I shall be exploring my new home, and bringing you some of the images that I am shooting.
So, without further ado, may I present you with the first blog entry in this series:
Edinburgh : Royal Botanic Gardens
The gardens were founded in the 17th Century as a centre for science, both research and education, and this continues today. Technically, the gardens are actually in four sites and hold the second richest collection of plant species in the world. At the Edinburgh location they hold the rock garden, peat and woodland gardens, ten greenhouses, and the specialists collections which include the Chinese Hillside.
The gardens are open to public year round with free entry, but you do have to pay to get into the greenhouses. To fully explore all the gardens would take several days so on this trip we concentrated on the greenhouses and the more exotic plants contained therein.
Current admission, at the time of writing, is £6.50 for adults including an optional donation (£5.85 standard admission) with reductions for concessions, groups, and free admission for those under 15 or essential carers.
As well as having lots of plants and trees to look at, there are installations of art around the gardens at various points as well as many architectural features which are, in themselves, interesting.
The gardens also boast the ‘best view of Edinburgh without climbing Arthur’s Seat’ evidently…
There are also several well located toilets plus three places to grab a coffee or a meal and these serve everything from tea and cakes to a proper Sunday roast.
Whilst you are allowed to take photographs, you need a permit for a tripod, and images cannot be sold or used for commercial purposes without the proper licence. As this blog is editorial by nature, unsponsored, and the images are not being made available for sale I am quite happy to show you my best shots of the day in the hope of encouraging you to also visit one of Edinburgh’s prime attractions.
For more information about the gardens please visit their website www.rbge.org.uk
Please note I have watermarked the images to prevent them for being used without permission elsewhere. Please respect this as I don’t want to get into trouble with the RBGE either. Thank you.
The day had started off quite promising, but the wind strengthened and turned to the north west. It got progressively stronger and progressively colder on the Moray coast as the weather poured in, threatening us with more gales, more sleet, more ice, and (potentially) even some more snow. The sky was pretty boring, and mainly shades of steel, and the light was fading faster than anyone wanted. But…if you’re a photographer, in Scotland of all places, you should be able to cope with a little unfavourable light and some generally unpleasant weather.
Did we turn for home? Did we heck!
That dull, boring, grey sky created a diffused light perfect for capturing details – shapes, shadows, colours, textures – these are the things you shoot on dull grey days with steel skies.
The secret is too pick the location, pick the subjects well, and exclude those skies from your compositions.
Look for natural colours and amazing (and sometimes even odd) details. Choose your location based on the potential for natural colours and irregular textures, and you can’t go wrong. There will always be something to photograph!
With modern cameras you don’t need to be afraid of the ISO, just use a standard lens, a standard zoom, or a macro, or anything you like really, because your equipment isn’t as important as your ability to see images in front of you.
Use a tripod to get the balance between slow shutter speeds and reasonable apertures, remembering that water moves, and make the most of the abilities of your camera to record details.
Look for odd things in the natural environment, the way that sand and rocks have moved and are being eroded, or how sand is left in ruts and turns or on rocks.
It’s all about excluding the bland and focussing on the details of the subject, which is, what grey dull light is really great for.
I know, I know, you don’t have to remind me. Yes, I said I was done with the Isle of Skye. Too many tourists, too many photographers, too many images splashed about all over the internet. Done to death…or so I thought.
But sometimes you get an invitation you just cannot resist…
I have never been one for following the crowd like sheep, although for some reason I frequently find them endearingly photogenic. It is very true that I had indeed had quite enough of Skye after my fifth visit of 2017; jostling with the tourists, and swearing loudly as they, in the main, continue to demonstrate that they have no idea how to drive on a single track road, or deal with the said sheep.
(Helpful tip – just drive at them, they move)
I had got this chance to see a part of Skye that, aside from one particular lighthouse, is not really part of the tourist trail. It is too far for the casual tourist, doesn’t attract the serious hillwalkers or climbers, and from initial inspection of an OS map doesn’t appear to hold anything that might attract the photographer either.
But, my invitation wasn’t to Blythe the photographer, or Blythe the writer, but to Blythe the soul within. Photography was just a bonus and so, from that point of view, I had no expectations or pre-planned desires. I was, an open book, waiting for something to fill the pages.
The weather was what you’d expect from Skye in winter – it was cold, wet, snowing in the mountains, and just…well…fairly crap everywhere else.
Although it did give us a rainbow or two, from the warmth of the cottage.
I first went out to Skye before the New Year, on one of those non-days that occur between the festivities of Christmas and the celebrations that greeted the start of 2018.
It was completely unexpected, but quite delightful, and although I only stayed the one night (having been partially rescued from the icy roads, and having abandoned, ie. safely parked in a bay) my car near the Sligachan Inn, the trip provided me with a view of Skye I had not seen before. It also provided me with delightful company, and the invitation to return for the Hogmanay.
The weather at home was a passable coldness, with light snow and nothing to worry about, the weather at the remote NW of Skye was equally even handed, but the weather in the middle of the two was ice and snow, and many degrees below freezing. I had planned to stay at the Cluanie Inn on that first night, but it was shut and I was faced with the (to be honest not very) difficult choice of a night away or a potentially hazardous journey after dark. Sometimes you just have to go with your gut instincts.
I was supposed to travel back again on the 31st but would I make it? The forecast was for more snow, more ice, more very low below freezing temperatures, and you only get one shot every 12 months to start a New Year. There was only one thing for it, to return on the 30th, a day early. I made it in before the snow came down in the heavy falls that beset the roads again, driving with the snow chasing my tail all the way from Drumnadrochit to the Skye Bridge.
Folk think when they reach the bridge they are best part there, but in truth Skye is a bigger island that many give credit for, and it can take the same time again to reach your final destination. From Broadford the weather sort of improved; from the cold ice and snow to a cold rain and hail. I took the Slig’ turning for Dunvegan and moved westwards to find, thankfully, much less snow and ice than had caught me out on the preceding Wednesday.
On reaching Dunvegan I was then back to that unloved single track for the last of the stretch through Glendale and onto the wee township of Milovaig (upper, lower and what is just Milovaig – although could be called middle). I still haven’t completely worked out which is which, or when exactly each one becomes the other. That’s Skye all over…lowers are physically higher than uppers, middles don’t seem to have “middle” names, and house numbers don’t even always run in the same direction! Not that anyone puts a number on their door to give you a clue anyway…
The roads are broken and potholed on much of Skye and the damage done on my first trip, with a stone chip to my windscreen, had expanded under the heat of the car to a two foot crack across the bottom of my windscreen. Not to worry, its not in the line of sight and it can be replaced, at the end of winter, when the chance of repeating the process lessens a little. Be warned, there are stones flying on Skye right now…oh, and take your wellies, the burns are in spate and walking boots are useless.
The wonder of winter on Skye is the ever changing light. You can watch unimaginable combinations of colours and see the light pick out contours you cannot normally see. Contours that unless you frequently walk the hills, the mountains, the glens, and the steep sea cliffs you might not appreciate even by looking at the map.
In winter the air clears, and as it bites into your flesh, you can see for miles; to the neighbouring island of Harris, with its mountains clad in fresh white coats of snow, and the lower hills of the long island chain of the Uists. From there, it is ocean until you reach the coast of the USA. The Atlantic, stretches across this part of the planet and brings you weather into the North and Western straths of Skye that creates a microclimate that can be radically different from the rest of the island. Although, I would add, that I did take thermals…
It can be much, much, windier, but it can also be quite a bit warmer than even ten miles to the east or the mainland of Western Scotland. It is also, frequently wetter, and wet was a constant companion on every day of the trip. But it also brought with in the light, the wonderful soft, pastels and deep infused colours.
Walking down to the pier in the morning you could watch the sun rise and the light play across the landscape, ever changing the colours of the heather clad hills, the rocks of the cliffs, and the clouds dancing above. No two mornings, in fact no two moments, were ever the same. You couldn’t just the potential of a day from looking out the window, as it would change in a heart beat or just a few miles.
As the light constantly changed, it was a landscape photographers delight and nightmare in one gift. You have to watch and wait, but not too long or you will miss the moment, you have to prepare but no so long you get cold or soaked, you have to accept the cold, the wind, the rain, and the mud. But the rewards for doing so are worth the moments of discomfort (and the laundry).
Whatever you wear it will not be enough – the rain will find the way around the neck of that waterproof, the burns will come atop your boots, the wind will bite into your hands, nose, and without a decent your ears.
I stayed from the 30th until the morning of the 4th, experienced a wonderful New Year’s eve and took off out to photograph aspects of Skye on all of the first three days of 2018.
I got to see some entertaining and amusing sights, spent the 2nd of January in a largely closed Portree with only a bookshop and the Co-op open for company.
I got to see the light poke it’s slender fingers through the sky to mock the ocean by Neist Point, and to return to the Fairy Glen (near Uig) and try, once again, to capture the wonders of the landscape with only a short day and a limited amount of light.
Because of the high side to the glen the sun disappears right behind it a good hour before it goes from the rest of the sky. It plunges you into gloom before you can barely find your best spots. You have to be ready, for the moments of light will not last long, and the land is camouflaged in colour, one conical hill against another, so that although it is quite marvellous it is very hard to do it justice.
It is very popular with visitors, at all times of the year, and you either wait for (sometimes) hours for them to all remove themselves from your shot, or just use them in your images to convey the sense of scale and go with the flow.
The Fairy Glen has been the stuff of legend for millennia, and whilst the workings within are more than likely those of man and woman, it is hard not to see why and how the place got its name.
Could I fall in love with Skye all over again? Maybe.
Maybe like any long term relationship there are moments where you question what you are doing together before you reach into your hearts and find the things that hold you together are stronger than the things that are pulling you apart.
2018 got off to a wonderful start, for many reasons. Long may the passions continue, the senses be stirred, and may my love affair with Skye be have been rekindled once again.
Whilst most people are watching bad films or falling asleep in front of bad films having eaten far too much dinner, I have spent Christmas adding new stuff to my website.
So, if like me you’re not thinking about another turkey sandwich but about getting outside and experiencing the world around you, possibly with your camera, and possibly even with new bits of kit (if Santa was kind), then you might want to take a look and what I’ve been up to and, you never know, you might even be inspired.
Click on the image below to be taken to my image website
Getting to Aviemore wasn’t the level of difficulty I was expecting. The roads were well gritted and quite fine to drive on at a decent speed, even in the darker and colder spots. The problem was that not everyone seemed to realise this, and so I spent the whole the journey in a convoy of trucks doing no more than 40mph. It was almost as bad on the way home.
The side roads, and the minor roads, were still covered in snow and underneath was a lethal layer of ice, but if you kept to those that were gritted and most well used it was easy to travel. Getting on and off of the car parks was a bit more interesting, but the main road in and out of Aviemore from the North was fine. There was no point in rushing though as there was no way to overtake the convoy.
I got there around 11am, desperate for tea and a pee, to be stung for £4.80 for a cup of Earl Grey and a small piece of cake, and that’s on top of £1 to park the car to eat it.
I moved on from Glenmore Forest Visitors Centre, the culprits of this high charged refreshments, and then parked on the verge, thankfully knowing where the parking spots are under the snow and ice and where it was safest to do so. One pound for an hour parking? It’s as bad as parking in the city.
There were a few people out, and everyone of them seemed to be carrying a tripod. I had hardly had an original idea.
I got to work quickly because although the light was just what I wanted I knew it would be disappearing all too soon.
As we approach the Winter Solstice the working day for photography in the Highlands and North East of Scotland is really quite short. It has its advantages because you don’t need to get up at some ungodly hour to catch the sunrise, or the best of the light. The sun is never that high in the sky to remove all the shadow and spoilt the points of interest, and being weak it is often a warm light. Unlike your feet and hands if you stand too still for too long.
The ducks on Loch Morlich are a wise and talkative bunch; no sooner had a photographer appeared and the host flew over to demand feeding. Disappointed. they would then return to the unfrozen shallows in the sheltered part of the loch and await their next hope.
Loch Morlich overlooks the Northern Corries of Cairngorm, including the ski-centre, and the snow was majestic. The sunlight on it was lighting up the slopes and defining the shapes in the faces of the mountains, which the darkness of the rock usually obscures. Given the light, I shot with a view to capturing the scene in colour but when I got home I realised it would look good in mono’. The advantage of shooting Raw is that you retain this choice, and I have processed images as both.
At the moment it is taking me quite a bit longer to process my images, as I struggle to get to grips with Affinity Photos after the simplicity of Lightroom. I miss being able to get a light-box display of all the images in the folder and then easily moving from one to another. In Affinity Photo I have to individually open each file into Develop, then from the processed Raw move into the main image processing space. At least Adobe make Bridge free now and this enables me to see large enough previews of the image to determine the keepers. I hope that Affinity will come up with something like Lightroom as their Photo app is more akin with Photoshop itself, but with additions normally associated with Lightroom.
I was really happy with the 3 Legged Thing Punks Billy, which is easy to operate even with winter gloves on. I use Sealskinz gloves, which I find warm enough without being bulky. Although having leather palms they aren’t perhaps the most environmentally friendly, they do grip well even in the cold and wet.
This outing was the first since I replaced my Nikon D600 with the D800. I had had some issues with oil and dust which meant I had spent a lot more time retouching dust spots from images than I would have liked. I returned my D600 under it’s used warranty and replaced it with an almost mint Nikon D800.
The D800, purchased used from Ffordes, was great. Having the larger pixel count meant that I was able to then crop images much more radically than before.
Even using just half the original image frame, I still had an final image with sufficient information, and pixel resolution, to print to a decent size. The image above was shot in portrait and cropped pretty much across the middle, leaving this the top half. I initially thought I wanted the grass in the foreground but decided against it, and I didn’t take a lens long enough to capture just the area of the frozen loch that I envisaged in the final image.
I was also amazed by the level of detail and the way the ice crystals sparkle towards the top of the frame. I am also impressed with the lack of noice even at high resolution. Earlier this week I had been out as the sun dropped and captured an image using ISO3200 which I would never have thought of as more than a record shot before. It is perfectly useable and appears on my Instagram and Twitter feeds as well as my Facebook page, but I think I could probably get away with printing it to A4 at least if not A3.
As can be expected at this time of year in the mountains the light faded quickly, and my idea to go to more than one location was written off. The sun rapidly sank behind the hills and the (photographic) day was pretty much over.
One last shot and it was time to head home and in another long, slow, crawl behind more lorries and nervous car drivers.
I understand that it snowed later that evening, and the temperatures plummeted further below freezing. It had not got above -4C all day, but this is nothing compared to the winters past where temperatures like this would last for weeks on end.
It is quite funny that many of Scotlands ski centres have just taken delivery of snow making machines that they are struggling to get into position, because of the snow…
The last time we had a white Christmas, and a long period of snow, was the winter of 2009/10, one which holds some very precious (and highly entertaining) memories for me. Perhaps this year will see a repeat of those conditions?
But this time I hope I don’t get snowed out for three whole weeks!!
Well I did it. I cancelled my Adobe Photographer’s package subscription at the point of renewal. As I mentioned in a previous post, I am not happy to work from the cloud because it simply isn’t practical in the Highlands of Scotland where we struggle to get a mobile signal let alone wifi.
I have not been a fan of the subscription model, and being tied into a monthly contract for 12 months, ever since it was launched. Whilst I do appreciate it spreads the cost, you are then tied to it. I also resented being tied to Photoshop when I only need Lightroom, which was always the much cheaper free standing package.
So, what will I be using? Affinity Photo.
I have this on my iPad Pro and it’s superb. It almost makes me want a bigger iPad, as in one with more storage, so that I can use the pencil features. The desktop version I will have to get used to, and after over 25 years with Adobe it will be a big shift.
I might regret it, or it might be liberating. If I regret it then I can always take a new subscription with Adobe in due course, but at least I would do so knowing that I had given it a go without.
I have to say that after a couple of days processing two shoots (from Raw) with Affinity it is a good replacement for Photoshop but it doesn’t replace Lightroom. It is very difficult to accurately assess images without opening each one individually as it has no catalogue feature. I have downloaded Adobe Bridge, which is free, but it feels like too much of a compromise and increase in workflow.
I also find Affinity is very power hungry on the computing front and this means I have to wait for transitions to take place more than I did with Lightroom.
It has slowed my workflow down, and sometimes I am not noticing things until well into the edit which I would have seen immediately and corrected (like minor lens distortions). It probably doesn’t help that I have just moved to the D800 and am dealing with bigger files with more definition.
I have now downloaded a trial of On1 Photo Raw 2018 for 30 days to see if this is better suited. I still like Affinity on the iPad Pro, and I can see uses for it, but more for Photoshop than Lightroom type edits. I, as an ‘right in-camera’ type shooter that doesn’t use special effects, don’t really use Photoshop that much, it was Lightroom that I used most so I feel there is more work to be done.
3 Legged Thing are a British company that designs tripods with a very different attitude. They design a tripod as a modular concept so that it does more than just holds your camera. For information on that I would definitely recommend visiting their website because they will explain it far better than I can, and I don’t expect to use all the possible features or configurations.
They also design them to be a bit sexy…
Anyway, this is my initial few thoughts on the Punks Billy – currently the only Carbon Fibre tripod in the Punks range. I would like to say that I purchased the Billy with my own money from Jack the Hat, and that neither 3 Legged Thing or Jack the Hat have paid me to write this and all opinions contained within are my own.
The reason I purchased from Jack the Hat and not directly from 3 Legged Thing was the delivery service. Jack the Hat delivers to the Highlands and Islands postcodes of Scotland without any fuss and even next day using Royal Mail Special Delivery by 1pm. Sadly, 3 Legged Thing does not, and I wasn’t in a position to wait for a courier to sit on my delivery for an extra day just because they don’t like my postcode (even though I’m about a minute from the main Inverness-Aberdeen road which they drive along more frequently).
In this review I am not going to write about the specifications for the tripod because you can get them direct from 3 Legged Thing’s website here. What I am going to write about is how the tripod shapes up in actual use.
When it first arrived it was in a very funky box, and struck me as being very well engineered, with excellent accessories, but sadly not including spikes as standard. It is possible to buy more feet, and three different ones for different terrain are offered, but this does then increase the overall cost. Given that two of their main competitors; Benro and MeFoto, both send their tripods out with a set of spikes included it is a bit disappointing. It should be said that you do generally pay quite a bit more for many of the similarly specified Benro tripods so it could be argued that you’re paying for them anyway.
When I put Billy up to his full height, I thought he was less stiff that I had expected. To be honest, I was a bit disappointed at the time, and somehow I needed up with a very odd angled image of it in the kitchen.
Billy (and Travis) are two of the taller tripods and as an added bonus for me, being only 5ft 3″ that means that without the centre column the camera is still at veryclose to beingeye level. I like removing centre columns as it allows a tripod to go much lower, reduces carry weight, and so I feel it gives me more flexibility. The image above shows it with the centre column but I then took this out (very simple to do) for the shot below, and used it without the column for my first outing.
As it was blowing a hoolie as we say up here in Scotland. I took it to the beach on the north sea coast to see how it would cope. Putting the camera on it actually made it much more stable, and even having the legs at almost their full extensions and splayed to the middle of the three leg positions, I was not more impressed.
The leg with the orange band at the top unscrews to become a monopod which is part of the modular design of the tripod, although I am not a great user of monopods it might prove handy.
Carrying it on my rucksack was a doddle and I didn’t notice it was there as its weight is very minimal for the support offered. It does fold like a travel tripod; the legs go fully up the other way to that show in the image, so the head sits between them, but when on my tripod this configuration works better for me.
I really liked the big chunky grips on it as the air temperature was barely above freezing and the windchill was making it considerably below. I was using fairly thick gloves for every moment except the final shooting, and it operated fearlessly with my gloves on. In Scotland this is very important. Big grips and larger knobs are very useful.
Carbon Fibre comes into it’s own in the cold. It is way nicer to handle that Aluminium and I was actually glad the Travis (Billy’s non-carbon twin brother) was out of stock. Billy is basically the same as Travis but being carbon is around 220g lighter whilst, evidently, being stronger for it too. It would have been nicer still if one leg had a leg warmer, but rubber please not foam as the foam ones soak up water. A couple of strips of the same rubber as is on the leg adjusters would be nice. It would give you more grip in the wet too.
Using the centre column enables you to use the ‘Toolz’ carabiner to attach a weight, such as a water bottle, to the bottom of the centre column via its hook. This also can aid stability although I didn’t find it necessary even in the gale force winds I experienced.
Having removed the centre column you loose that attachment point but you still have the three eyelets on the head attachment plate which you can now use for the same purpose amongst others. This would place the weight very slightly off centre in its attachment but if it’s handing this should still be ok.
I have constructed a three way sling using three accessory carabiners and a piece of cord which I can rest bottle or even rocks in. One carabiner into each hole on the plate and the cord suspends between them. I didn’t use it on this outing, and it may just live in my bag unused. I wouldn’t be out in conditions much more difficult that I encountered today so this was a fairly good forward looking test.
I started off on the beach getting shots of the crashing waves and I was very pleased with the results (see above). The tripod held my Nikon D600 with Nikkor 14-24/f2.8 lens (which is not light) very securely, much more so than my MeFoto Roadtrip does. Already Billy was proving he was worth the money.
I moved on from the beach at Kingston (sadly not Jamaica) to the sea wall at Portgordon, and the variable leg angles proved very useful. My MeFoto Roadtrip annoyed me a lot by having less positions, but the Billy has three very useful angles and so I could actually have each leg at a different angle to take into account the terrain. Billy had one leg set short and at the most extreme angle sticking onto on the sea wall (which I was hiding behind), one leg in the middle position on the rocks to my left side, and one leg in the most upright position and on the debris and pebbles to my right (seaward) side.
The wind was seriously strong and I was struggling to stand up in the gusts, which shows what Billy is capable of standing in.
Using this configuration meant that I personally was being bent over a bit more than I would have liked and I actually wished that I had brought the centre column with me. I would also have like a bit more height from an aesthetic point of view, to get higher up onto the waves and to capture the swirling seas coming into the harbour. You live and learn, and I have already put his column back in for the next trip. Removing it is simple and it can always live in my rucksack if needed. It really doesn’t weigh enough to make a substantial difference.
After not being initially confident in the stability, and having a concern about the tripod being so light it wouldn’t stand up to wind, I was really pleased with the performance so far. Admittedly I did find as much shelter as I could in my shooting positions but that was more to do with my staying warmer, and reducing spray, as it was giving Billy the best the chance.
As the hail started to fall I had moved along the coast again to Strathlene near Buckie, and took temporary residence inside a beach shelter.
I could work with Billy at full height (minus the column), using my heaviest lens, without any issues at all. I was out of much of the wind, although the hail was finding every conceivable gap.
As the quick release plate is compatible with Peak Design products, so I was able to use my hand strap and the tripod at the same time. This was great security for when I released the camera from the tripod, and convenient. There is no safety mechanism on the release of the camera quick release from the head; you absolutely must have a good hold of the camera before you loosen it. I know some reviewers have moaned about this, but it’s just a case of forming a working practice (or habit) to get around it. I don’t see it as a problem because, to be honest, you should have a good hold of the camera at this point in proceedings anyway.
The hail continued but I still managed to get some decent shots:
Having frozen my arse off for a couple of hours I decided to make a break for a cafe to warm up, and the public car park proved to be both my undoing and Billy’s.
The public toilets were closed but they didn’t let you know that until you’d gone up the chequer plated slope to the door, which meant you then had to come down again. I hadn’t realised that the chequer plate slope would be colder than the surrounding ground, and with the previous rain combined with spray coming off the sea, it was covered in a thin layer of invisible ice. The car park itself had some puddle but these weren’t properly frozen so I hadn’t worried.
Completely unprepared, I slipped on the ice and was airborne from the top of the slop, for a few milliseconds, before crashing onto the tarmac of the carpark at the end of the slope.
Poor Billy got a few war wounds in the process, but at least it will give him some genuine Punk character I guess. I was bloody annoyed at the time. First outing too.
My left knee and my left hand didn’t come off too well either…
…I guess I won’t be playing Twister for a few days.
My camera equipment, cosy within the Lowepro heavy duty padding and armoury of my Whistler 350AW was absolutely fine. Thankfully.
Although one trip, two if you count falling over, really isn’t enough to make a full review or judgement on Billy, I have to say that over all I am, so far, I am impressed. I would have liked slightly thicker legs, but that’s probably more for my confidence than because I feel they’re actually needed. I come from the old heavy tripod is good school, although I detest carrying them.
I am delighted by the three position legs, and the removable centre column. I love the weight and ease of carrying. I love the chunky grips and the smooth running head, although I would have really liked the head from the more expensive range with its built in panoramic bit.
Had I the requisite £400 then I might have gone for the Albert to gain some extra height but that’s because I spent a lot of time on the side of lochs and I do like to put the legs in the water, and so its feet are often a foot or more below my feet, but given the price difference and the colour way (which is way more me), I am very happy so far.
Because I like to put the legs in water, I also like tripods which you can easily take apart and clean or dry out. 3 Legged Thing make lots of the tripod user serviceable and there are great how-to videos and exactly what you need to do available on their website and YouTube channel.
I would like an L plate thing because I’m a landscape photographer and lazy, but then would it interfere with my use of the Peak Design hand strap?
I would like a set of free spikes included, and as it stands that adds to my cost, and so does adding the panoramic bit for the head which is also available as an extra. The Punks range is the cheaper range of the two 3 Legged Thing offer, but don’t let that fool you, these are not cut price or cheap tripods. For the money, I have to say it is one of the best I’ve every seen and knocks spots of other similarly, and many more expensively priced, tripods.
No, it’s not a Gitzo. But then neither is Gitzo anymore (it’s a rebranded Manfrotto by the look of it and not the same quality as the original).
The Billy and the Travis are the most conventional designs from 3 Legged Thing, and I like them all the more for it. I’m not big on centre columns as you can tell, and I remain unconvinced about telescopic ones.
I anticipate that Billy and I will have a long relationship, although possibly not leading to marriage, and I will update again in due course with some longer term observations. Until then, enjoy my site and please take time to comment, like, and share as it does my Google rating no end of good. You never know, one day I might even make some money at this, and if you want to buy me a cup of tea in the meantime, there is a link on the menu to Paypal Me. Thanks for reading.
There is an old saying that something is only worth what someone else is willing to pay for it. Sadly, in the age of digital photography that means nobody is willing to pay what you think it’s worth. Rarely now will they even pay you what it cost you to take the photo.
Let me give you an example:
I have some images from a recent trip on Shutterstock. They have sold quite well so far and I have amassed the grand sum of $2.25 for them. Yes, you read that correctly, I have sold my images and received $2.25. Now, how much of a loss am I at here? Well, petrol is the equivalent of $6.67 a gallon for starters.
Let’s say the trip consisted of 300miles at 54mpg (the average I get from my VW Polo), then I used 5.56 gallons at a total cost of $37.08. Without accommodation, food, or any other expenses (camera costs, insurance, or my time of course) then I am already facing the prospect of at least another 16months of consistent sales to break even on fuel alone.
Shutterstock, and they are just one drop in the competing ocean, pay just $0.25 per image sale on subscribers downloads until you get reasonably well known.
For many people this is a non-starter: Sure, over the years you might see a return on your money, and if you have several thousand images on several sites you might see a profit, in time. But, what you live off in the meantime and how you fund trips and creating new images is another matter.
What about selling your images as fine art prints? Well, you have the initial outlay of the print, framing, and then finding someone to sell it for you in a shop or gallery. You then you have to hope it sells and you get your money back plus a little profit, and after you’ve paid the commission to the gallery. You also need somewhere as storage to put them, between displays, if they don’t all sell. Which they won’t.
For many people this is a non-starter: Again there is the investment need, you have to spend to accumulate is the old saying, but where do you accumulate in order to spend?
So, what can you do to sell your images or make money from your photography in the 21th Century when everyone has a camera? I honestly don’t have the answer, but I do know that the number of people making a sustainable living is ever decreasing. Look in any magazine and you will see the same faces, and very frequently the same rehashed articles – if you want an example take a look at the excellent photos from Fukushima.
This is now the third magazine I’ve seen them in. They’re good, but I am not buying yet another magazine with them in so I missed buying this edition. You can’t blame the photographer for spreading them thinly to get a return on their investment, and you can’t blame an editor for wanting to use good images.
Getting in with magazines requires you to be able to write now as well as take excellent photographs, with the odd exception of art or photography magazines which will take your images only. But even then, often now you get a ‘gift’ instead of money – a camera rucksack for publishing your portfolio anyone? Not me, got one, and I can’t bank another rucksack. I could sell it on eBay I suppose but that won’t bring me a return anything like what it costs me to get those images.
What about getting your work noticed in the first place? Exposure, that fateful word…the one that to 99% of outlets means they ain’t going to pay you a dime. Have you tried to get a plumber to work for ‘exposure’? Have you tried to buy your lunch with ‘exposure’? Art industries are the only industries where ‘we’ (and not me actually) accept exposure as an excuse or licence for not paying a fair price, or even any price.
What does that say about how we value our own work? Aren’t we making a rod for our own backs? If I, we, are going to accept $0.25 an image what are we telling people we are worth? If some of us are happy to see our name in lights (or rather print) and have a swanky new camera bag in return for our hard won images what are we saying about the value we place on our images and our industry?
But, and here is the but, what choices do we have? The answer is very little because if we don’t then we don’t get a look in anymore. Unless you are already well known and established then I fear that the days of the full time photographer are sadly numbered, and even the most well known and respected professionals are diversifying and now make as much money (if not more) from teaching other photographers, either one-to-one or on group workshops and holidays as they do from selling the actual images they shoot. The best of the best – National Geographic – has shed staff and freelancers since the buy out by the horrible Murdoch lead group. Most newspapers now buy in images from freelancers and don’t employ their own photographers anymore.
We are bombarded with visual content, and for every images you have to pay for your can find a dozen that are almost as good for free, or for very little. Photography is now becoming a race to the bottom, and an industry that many dream of entering either as students or dream of turning hobbies into their living. Want my advice? Don’t do it.
There was an interview on my local news station the other day with a retired press photographer and he was asked what advice he would give budding photojournalists today. He said; ‘buy a guitar, there’s not money in photography anymore’.
Is there a future for photographers? I guess we wait and see. We continue to try to elevate our work to the highest standard, we continue to push new markets and new directions, we try to get our work noticed by those who still value the craft and the art of photography and we do so with thousands snapping at our heels who are happy with $0.25 an image or working for ‘exposure’ that they hope will lead to bigger things but usually just leads you to more payment free job opportunities or being passed over for the next hopeful.
Following on from a number of requests for greetings cards from my most popular images I have now produced a range of cards which are available in gift shops across the north of Scotland and online via my Etsy shop.
At the moment I am only posting to the UK because the cost of sending outside of the UK is more than the cost of the card itself! However, if there is enough interest in buying cards in packs of five, or even 10, then I will consider it. Let me know if you would be interested by commenting or sending me a personal message.
All cards are sized 5″ x 7″ and printed on quality 300gsm card, supplied blank inside for your own message, and come with an envelope.
At the moment there are 11 designs for sale online and 11 cards plus five (different) designs of postcards in the shops.