Shooting with Fujifilm ACROS, or any other monochromatic setting for that matter.

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There is a lot of debate about RAW and JPEG, and also about excessive use of Photoshop at the moment. I have always believed in getting it right in-camera, but I also believe that Photoshop, or at least Lightroom, can be used in a way that is really no different from using a traditional darkroom (and we cheated in there too…)

I also believe that the biggest part of the decision on what is manipulation and what is simply development of the raw image lies more in the question of what the intended outcome is designed to achieve. If you are shooting news then in my opinion you should not be manipulating the image at all. You should process only to achieve the technical best in the image so that it is reproduced correctly during print or online production – compensate for limitation of the sensor in exposure etc., but do not add or remove artefacts, or anything else for that matter. Yes McCurry, I am looking at you…

This is a similar although not the same debate as that of staging photos. Let us be honest now and say that this is something that news photographers have been doing for many, many, years. Sometime you miss a shot and so you might be tempted to pop your hand in your pocket and get the protagonists to re-stage it. Trust my four years in the national news media to tell you that it happened a lot more often than people care to admit. It also has been happening since we had war artists, let alone war photographers!

Re-staging is not that different from selecting the viewpoint or lens to deliver the narrative required – look at the photos of Britain’s 2017 election involving Teresa May’s campaigning and you’ll soon get what I mean. Choosing the viewpoint, choosing the lens, and even choosing the film stock back in the days of film, all contributed to choosing the narrative or matching the image to the narrative. We were always selective, and we will always be. The direction of the editorial and the newspaper itself have always changed the focus and the narrative if the images. When we had proper employment and dedicated single paper photographers, they shot for their paper. They made decisions, even in their subconscious, about how best to capture the scene in a way that would fit with the text and context of their news team. Now, because nobody has a one paper job anymore, but is a freelance the changes are that shoots are done with a keen eye on what can be done post production as much to tailor the image to a narrative, as what used to be done to fit that narrative at the time of the shoot.

Because the viewer is getting bombarded with images via the online feeds and social media outlets, and because everyone takes photos with their phone, they are getting wiser to what can be done to images. The result of this is a growing interest in delivery of photos direct from camera, without any app or image manipulation software at all. We are going back to the time when image buyers want be more reliant on the skills of the photographer and not on the computer skills of the retoucher again.

I get this, it’s going back to the ethos of film in a way. Of course, there is then the whole argument of colour or black and white. If you are shooting in monochrome then you are already choosing to make a significant difference to the image from the reality. You can call this manipulation, processing, or just a choice in the narrative, it really doesn’t matter. All art is subjective, and everyone of us will view an image in a different way. We bring our social background, our perceptions, our interpretations, our experience, our moral and social values, and our politics to every image we see. Our brains make millions of decisions about an image in milliseconds, bringing all of our context to its content and its context.

Then there is the greater debate about inclusion, or not, at both shooting and processing stages. Is the way we crop something likely to alter its narrative? Of course it is! That is why we crop the darned thing in the first place! That or simply for aesthetics. But what about removing or adding artefacts in post production? That is another debate that will also rage on. At the end of the day, what do YOU want from your image? What is YOUR narrative? And, importantly, where are you going to use it, and how?

With all of this in mind, I have started to use the ACROS setting on my Fujifilm XT-2 quite a lot recently. To my mind it produces a very good rendition of film, although personally I preferred Ilfords’ emulsions. I’d love to see some of those resurrected as presets, but I digress.

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Shooting in black and white using the ACROS setting means that the view you get from the electronic viewfinder and the screen show you what you will get as an ACROS in-camera JPEG which means you can see what you’re getting before you press the shutter button. This is a real advantage over the DSLR viewfinder and even over film cameras where you would wait until development. If you set the camera to shoot RAW and JPEG then you still have the raw images, which will be in sRGB or AdobeRGB, to do other things with it later.

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Shooting in black and white, and seeing in black in white, make you consider shapes and forms, patterns and textures, contrasts, as well as composition in much more detail. In monochrome or even in a limited palate you cannot afford to have an image that is too busy: When shooting in colour then the colours will define and break up a busy image, in monochrome then as many colours are rendered very similarly, it become confusing to see the subject of the shot and the narrative can become lost in a hatch-potch of other distractions.

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If you look at the image above which was shot in colour and then using layers changed into monochrome before being joined back together, the light green pencil and the orange pencil contrast beautifully, but when rendered in monochrome they are almost identical. Shooting in monochrome will force you to change the way you view the world, and that will also change the way you shoot.

Fujifilm has more than one monochrome setting so why ACROS? Well, that is actually a very personal choice and again subject to the narrative of the image you are trying to capture. There is absolutely nothing wrong with the other black and white settings, and if you shoot with the X-Pro1 or XT-1, as I did, then ACROS is not available to you anyway. Shooting Monochrome with a Yellow filter is just as good for experimenting with, and whilst I like the Monochrome with a Red filter setting, personally, many people find the contrast too harsh. Again, think about the subject and the intent of the image before making a decision.

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All the images up until this point where shoot in-camera using ACROS, except for the pencils of course which were shot in colour (and actually on a Canon EOS50D back in 2013!).

I like the range of tones that ACROS produces. Often I deliberately shoot monochrome during dull days where colour isn’t really an option. During those conditions I am not shooting the sky at all, but deliberately looking for textures, things with contrast that look good in isolation, and making very intentional decisions on composition. It is not that I don’t consider carefully composition at all times, but that monochrome composition is so immediate you cannot escape it.

Monochrome encourages you to really look at what you include and what you leave out of your composition, which is why it was always taught first in art schools and colleges. It was often commented that it was taught first because the processing was easier (it isn’t) or cheaper (not true either), but the truth was that shooting in monochrome cannot be lazy and so the immediacy of it in the curriculum was used to make you learn to look properly.

This is also why you would be encouraged to learn to draw before you learn to paint. Learning to create anything in art is learning to see before you learn how to render that in any media. You learn to see light and shade, form and texture, shapes, and so forth. You stop the natural habit of labelling things, and seeing in different terms. You also learn to see what to leave in, and what to leave out. In some ways it teaches you composition almost by default.

If you want to get to grips with your photography, or just take it in a new direction, then shooting in black and white will help you. And, when you do go back to colour you will be surprised how much those images also improve by the semi-automatic, or subconscious, application of the decision making processes you learned in black and white.

 

You will see from my site that I am a great fan of monochrome or limited palettes. I even specialised in shooting in a black and white documentary style as a wedding photographer.

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Nikon D200 18-70 (2008)

I continue to use it today in my portraits, because anyone can take a selfie and capture a likeness of their physical selves, but when I take a portrait I want to capture the essence of the person rather than make a direct pictorial representation. Frequently I don’t event concentrate on capturing the face in great detail but in capturing that person’s character and personality. I try to create an image that speaks of the person to those who know them and informs even the casual viewer about this person rather than asking them to make a judgement about their mere countenance.

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Fuji X-Pro 1, XF35mm/1.4
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Fuji X-Pro 1, XF35mm/1.4

A word of caution here though; ACROS is not always the best setting for portraits because it can increase the contrast just a little too much thus creating issues for any hint of an imperfect skin, and face it (pun intended) who doesn’t have some imperfections. Again, it is a choice as part of the narrative as to what and how we portray this.

One of the difficulties of digital monochrome, compared to traditional monochrome films, is the lack of grain. This does mean that if you truly want it to look like film you might find yourself adding a little, but if you’re shooting in low light at the higher ISO settings this will add some for you without too much trouble. Whilst Fujifilm’s excellent high ISO capability is a bonus for much of a photographers work, it does mean that we are left devoid of some of those film characteristics which even their own film types once made attractive. Noise in colour is bad, but noise in monochrome can be a benefit. It gives us back that pushed film qualities and high contrast monochrome film grains we have otherwise lost. There are now a number of presets to create film realistic noise in our digital images, which is quite ironic given the huge sums Fuji-film, Nikon, and the other manufacturers have spent in the past twenty years trying to eliminate it.

Our love affair with different film emulsions has never gone away, at least not for those old enough to remember film emulsions that is. Photography, film, media, and art students now are hungrily buying up film cameras, and seeing for themselves what they are missing in this great digital age. Fujifilm have lovingly attempted to, and been largely successful at, creating film replication settings in-camera and many others have got in on the act with apps and presets, but noise and grain are not quite the same.

Film isn’t dead, it just isn’t necessarily an emulsion based physical artefact anymore when a digital artefact can do a decent job to replicate it. ACROS gives us another way into this without post production – and time with your camera is always preferable to time with your computer if you’re a true photographer.

Long live Black & White photography – in whatever form.

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Isle of Skye; the return

I admit it, I have a slight obsession with the Isle of Skye. But, once you’ve experienced the joys and variety of this island then you would understand.

Having enjoyed the last three day trip, but been foiled by a lack of nerves on the Quiriang, in the dark, and foiled by having too good weather, I decided to return for another three day trip. Where, I was spoiled, and yet again largely foiled, but yet more unseasonably good weather!

Having received the Cokin Z-Pro filters on the Thursday I was keen get out and try them, especially after the test shots from my last blog post. These were just what I needed to make the most of the Skye landscape.

Friday dawned cold, dull, grey, and very windy, again and I headed out to repeat the route of the previous trip and get some of the shots that I felt that I had missed previously.

I got a decent enough shot of Beinn Eighe, this time around, although I still wasn’t happy with it to publish it. I think the majestic mountains of the Torridon area of the Scottish Highlands could become my new muse, if I ever tire of Skye.

Hoping the dull day would give better lighting to the Fairy Glen, near Uig, I wasn’t too dismayed by the weather and hoped for the best. I think the more even light, coupled with arriving a wee bit earlier so I had longer to explore, certainly gave a more accurate rendition of the landscape and better results:

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Fairy Glen, Uig, under tumultuous skies

Having spent the day travelling I was delighted to reach the accommodation for the next two nights at Whitewave, just four miles to the north of Uig on the Trotternish peninsular to the northern most end of Skye.

Settling into the pod, with a salad and a pint of Skye Red, to watch one of Skye’s highlights, the sunset, was a beautiful end to the day.

The colours reflected beautifully in the patio doors of the deluxe en-suite pod:

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My en-suite pod or ‘wigwam’ at Whitewave

Finally, as the sun set, the light fooling the camera’s exposure meter, where I gave it a stop less to deepen those colours and stop the sun from blowing it’s highlights. Tomorrow was going to be a good day. You know what they say about a red sky at night being tomorrow’s delight:

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Sunset Friday night – red sky at night

The morning broke early, far too early for me to get up onto the ridge for the sunrise this time. The difference a few weeks can make to the time of sunrise in Scotland is not to be underestimated. In summer, this far north, we have light well beyond bedtime (that is after 11pm) whilst in winter we see very little (11am-3pm being and optimistic “best” of it). Of course, it is worst still for our more northern friends on Shetland, for whom it barely, if at all, gets light in the winter, or conversely, dark in the summer.

For me, I am back to being a sunset photographer by the end of march. I am not a morning person. But next morning the sun was up, and Patches was enjoying the view from the pod:

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Patches appreciating the view

The plan for Saturday was to avoid the crowds, and the scary path, by heading into the Quiriang from the Flodigarry path.

It was impossible to get a decent mobile signal, and there was no wifi, which is a dream in some respects, but a nightmare in others. Whilst I was happy to be largely out of contact with the outside world, I missed being able to get a weather report for the day.

The weather can change on Skye in moments, and you can have every season in one day, although this morning was sunny and wall to wall blue I hoped it wouldn’t be another ‘chocolate box’ day.

There was nothing for it anyway, that is the joy of being a landscape photographer, making the most of what you get.

And so, we headed off…

It always seems slightly criminal to complain about the weather being too good, but for a photographer, a blue cloudless sky can spell disaster. If nothing else, we would have a good walk and view it as a recce for the future. The route from Flodigarry appears on the map to be quite easy, but it is in fact a hard uphill slog, especially into a strong relentless head wind, that goes on for miles and incorporates two stiles, one of which is clearly now so eroded at the base to the extent that anyone under six foot will find it ‘interesting’.

The vertiginous drops of the easier, more level, route I had wished to avoid are not avoided at all, and by adding erosion, water courses, and mud, lots of mud, I think the route chosen may have actually been the more difficult of the two. The uncoordinated mountain goat aspect of my persona came to the fore, and I cannot say I was graceful on much of the expedition, least of all that stile, but thankfully at least using the quiet path meant that I didn’t have an audience.

I had hoped this route would afford different perspectives on the Quiriang, but as it turns out you join the same path as the popular route before reaching the most interesting bits. Combined with the blue, blue, sky, it was a case of make the best of what you have.

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Standing in the right spot

Sometimes it is literally a case of finding the right spot, and as the sun was still not completely overhead and the shadows still impenetrably deep in places, finding that spot was quite easy. With plenty of thank you, excuse me, smiles and waves, you navigate the single track walkway without passing places in the same way as you navigate many of Skye’s roads; with patient and polite Britishness.

With not a cloud in the sky in any direction, and therefore no hope of an interesting back drop, I decided to concentrate on the formations rather than their larger situation and went in close wth a slight telephoto to capture the majestic details:

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The Needle

I also wanted to shoot from below to emphasise the size of the formations and that they do tower above you on the paths below. The Needle is more traditionally photographed from it’s back side towards Staffin, but this shot taken from the path, actually shows what the majority if visitors see.

Having crossed paths with at least five nationalities, it was time for a quick lunch and then returning to the car the way we had come. I had scratched the itch from last time, reaffirmed my assumption that I was close but not close enough for the sunrise last time, and we had enjoyed a good walk.

We reached the dreaded stile, just as five chaps, backpacking the length of the ridge, came to it from the other direction. The only other people seen on the entire Flodigarry route would provide the audience from my descent of the 3.5ft precipice from the leg of the stile into the mud below. With some self depreciating humour I bested the said stile with as much panache as I could muster, my knees thanking me later, for both the long down hill, the rough path, the muddy slides, and patches of deep sucking gunk.

Talking of Patches of deep sucking gunk, he was in his element, knee then almost groin deep in the stuff, and loving every minute of it. My car will smell lovely, I thought.

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The mainland of Western Highland Scotland from Flodigarry, Skye

Returning this way does deliver a fabulous view to the mountains of the Western Highlands on the mainland, with their snow dusted peaks glistening in the distance.

Having reached the car and driving down through Staffin on to Portree to get something for dinner, the smells emanating from Patches in the back of the car was not as bad as I had imagined.

The ‘two pot’ master camper’s casserole was on the menu for evening (one pot tinned beef stew with added tinned carrots, one pot boiled tinned potatoes), accompanied, perhaps by now unsurprisingly, with Skye Red beer. You can’t be driving though Uig past the brewery without some, surely.

It was a good walk, and a good sleepy dog, tired legs, and some decent shots in the bag, in spite of the ridiculously good March weather.

Sunday came by too quickly and it was time to leave for home. As you will know if you follow me, this wasn’t going to be the direct route home and I wanted to explore one last bit of Skye before I went.

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Blaven or Bla Bheinn to give it the Sunday name

The road to Elgol takes you past the wonder of Bla Bheinn, or Blaven, an outlier of the Black Cuillin of Skye. Composed of black gabbo it towers behind Loch Slapin and can been clearly seen from Torrin and Kilbride. The wee house gives you an idea of it’s scale, please forgive the unobliging sheep’s bottom, she was obviously camera shy.

After many a wave and an excuse me, you finally arrive at the end of the single track road (yes, another one) and to discover the full horseshoe of the Cuillin spread before you, across Loch Scavaig.

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Cuillin from Elgol

Arguably the best place to view the almost entire range, with most of it’s twelve Munros (aside from Blaven) available to be seen in one single image.

The filters I had even wanting to try were deployed, whilst attempting to keep the reality of the view as the eye saw it. It was a clear enough day not to require a polariser, something I don’t yet have in the 100mm size, and just a 2-stop soft grad was all that was needed to create the shot above.

Elgol is still a very active crofting and fishing village, with creel pots lined up at the pier, a cafe (not open Sundays), a church, and the most beautiful cottages. I could live here, if I had a 4×4 to ensure I could get back out of there again.

As well as the landscape, which created my favourite shot of the trip, there is also the opportunity to get some nature studies:

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Nature study

And also to experiment with black and white on the older pier and surrounding buildings.

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Pier building at Elgol

This one is ideally suited to the new Acros Fuji film replication setting.

It was great to return to my favourite island of Skye again, especially before the midges are about, and also to find a new place to stay. It is one which I will certainly use again. I was pleased with the results from using the Cokin Z-Pro filters, although I will have to invest in a polariser at some point. My Gitzo Mountaineer provided excellent stability once again, although spiked feet are still on the wish list to provide even more stability on softer soils and sand.

Elgol provides a bed of slippery sea weed and care must be taken when crossing the beach to get your shot. The slippery sea weed is also rotting, and therefore smelly, and Patches delighted in laying in it, and then stinking out the back of my car all the way home for emphasise.

I was sad to leave Skye after just three days but it does leave me wanting to go back, perhaps the weather won’t be quite too nice next time…

I used:

Fujifilm XT-2 body with Fuji 16-55/2.8 lens
Cokin Z-pro series filters and holder with 77mm adapter ring
Gitzo Mountaineer carbon fibre tripod with Manfrotto magnesium head
Lowepro BP350AW Whistler camera rucksack
Lexar 16GB and 32GB x1000 speed memory cards (16GB for in-camera Jpegs and 32GB for raw)

I stayed with:

Whitewave

3 Days of Skye – Day 3

The sky on Skye is wonderful this morning, which is typical when it’s time to go home. Of course, there is no need to go straight home, or even via a remotely direct route, as part of the fun of any adventure is the travelling.

So, this morning, after more kippers, I am off to Dunvegan Castle, or I would be, if it wasn’t shut for winter. Scotland, which is very reliant on tourism, is still stuck in the age when winter was winter and nobody came. In the Skye Brewing Company, yesterday, they were commenting they hadn’t ever seen a February so busy, and they are not alone. Closed castles, closed hostels, closed pubs, closed hotels, and lots of tourists. The things that are open are reaping the rewards! Welcome to the 21st Century Scotland!

For me, I have spent two days wishing for a dramatic light, and today I am getting it. Of course, I am heading in the wrong direction and constantly shooting into the sun, but then that is the nature of having to stick to moving in certain ways, on certain days.

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The Cuillin

I love the new ACROS setting that is available with the Fujifilm XT-2, the X-Pro 2, and the soon to be available XT-20. It is a shame it cannot be retrospectively applied to XT-1 shots though.

Moving further down the road, I wanted to get a sort of Canadian feel to a shot and include some trees, something that is actually quite scarce on Skye.

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The Cuillin from Caiplach Forest

The light was coming in shafts that appeared to set the landscape on fire, and the building bulk of the clouds was creating thick shafts of light with definite edges. The effect was stunning and as brutally hard to capture as it was threatening. Clouds building ominously over the top of the mountains were also making me happy not to be up there. People who think we have small mountains in Scotland which are easily tamed should remember this is still the training ground for the Royal Marines, saw the birth of the Commando units of WWII, and still breaks many international mountaineers even to this day.

The Caiplach Forest shot required a lot of in-camera, or on-camera, filtration using ND grads and a polariser. The sun was just to the left of the shot meaning flare was a huge issue, and I must have been quite entertaining to watch as I wafted my map book between camera and sun to prevent lens flare. Without the filters I could have used the lens hood, but then I would have lost the drama of the sky and mountains. The shafts of light were really ‘thick’ and whilst I wanted to loose some of the general haze, I was desperate to keep the shafts visible to add to the drama. The light on the grasses and heather was so stunning that even just stood watching it around my feet made me feel like any moment my boots would catch fire.

It was really difficult to capture what I wanted in the second-by-second changing light, to stand in the wind, keep everything steady, and to time it just so that the big cloud sat in the right place over the Cuillin.

With all this drama surrounding me, I was tempted to stay for another night on Skye, perhaps moving to the Broadford, or Sleat, areas. Sadly, budget constraints, balanced with the forecaster promise of just waking up to wet, dull, and more wet and dull, wasn’t appealing.

As the weather closed in, it was time to go. I was to head not directly for home, or as directly as I can going via Inverness, but to go down and then across via Spean Bridge, then into the Cairngorms, to Aviemore, and then finally to home on the Moray coast.

So, although this blog series is called 3 Days of Skye, there is quite a bit of not Skye today too (but it’s all related).

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Skye Bridge, Kyle of Lochalsh, and the Lochalsh Hotel

Passing by three sets of locked toilets, and wondering if the second dose of kippers wasn’t agreeing with me, I finally found myself at the Kyle of Lochalsh and happy to pay my 20p to pee.

As I sat and drank some water, in the warm sunshine, without need of a jacket, I could watch the weather on Skye take a rapid turn for the worse. I sat at the pier-side and looked back to the changes on Skye then took a brief walk in the warm sun.

I had left the hotel by 9am, but it was still lunchtime before I was off of Skye. I knew I had a good 2/3rd of the journey home still to do, and with stops I anticipated getting home well into the evening. Time to get going.

Of course, if you are heading from the Kyle either to Inverness or to Fort William, you have to pass the monster of Eilean Donan Castle. It is probably the most photographed castle in Scotland, and quite possibly also one of the most photographed castles in the world. It owes it’s modern day fame to the 1986 film Highlander, and possibly a little bit to an earlier James Bond.

Ancestral home of the MacRae’s, not the MacLeods (see yesterdays entry), the Chief of the MacRae’s still resides (at least for some of the time) within its walls. It also provides wonderful tours, and has an excellent gift shop, like most respectable castles in Scotland, well, at least those with intact walls of roofs of course.

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Eilean Donan Castle

Normally, I seem to time this very badly and get to the castle when the tide is almost right out, and the infestation of midges at it’s very worse. The castle stands on Loch Duich, and this is a tidal sea loch. Luckily for me, today at last I had timed it well, and although the reflection could have been better if the wind had dropped, it was nice not to dance about being bitten to death. I swear the highland midge is the originator of the highland fling and it hasn’t anything to do with music…

As I reflected on the number of times I have stood in this, and similar, spots and the events in my life surrounding the times I have passed this castle, and the people I have been there with, the light burst through the clouds to catch the stonework which improved this image and created a warmth to the granite.

Travelling on, initially signed for Inverness and Fort William, I was to take the A87 turn to Invergarry, and then on to Spean Bridge where between there and Fort William, I would then take the turn signed towards the Cairngorms National Park.

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Gairich and Sgurr Moor from above Loch Quoich

The last photo of the day was taken in strange place not far from a lay-by on the A87. The OS map shows the word Cairn, indicating a burial or memorial cairn, but it seems that this little spot, and it’s spectacular view, has become something more significant than that. Whilst carefully picking my way from 10″ cairn to 10″ cairn, edging towards the point I took my shot, I counted over 20 memorials. I stopped to read the plaques where they existed. I am stood carefully by one to a chap called Mike at the time of taking the photo.

There were the little cairns with no markers, some with little slate plaques, two with iron crosses (made of iron, not in the unfortunate Germanic sense), and one clearly Jewish memorial. It was quite moving. Obviously, these people must be either lovers of the mountains and thus their loved ones have held this spot dear, their friends and families have found something here that speaks to them.

I hope it continues, in the same, carefully un-arranged, not becoming a clinical, official, or uniform manner. I hope their souls gather to admire the view and trade tales, and so, at the end of their tales, it is also the end of mine.

I hope you have enjoyed my wee trip through the Highlands to Skye. I have made many trips like this over the years, and it will always remain one of my favourite places, in spite of the tourist take-over, and the weather, and the midges.

If you enjoyed this, please share it, and if you didn’t, then how the hell did you get through three other sections to part four?

Enjoy the mountains, leave nothing by footprint, and take only photos away with you.

  • I stayed at the Uig Hotel, Uig, Isle of Skye 
  • I booked through hotels.com
  • I shot this with a Fujifilm XT-2, Fuji 16-55/2.8 XF lens, using a Gitzo Mountaineer Series 3 tripod with Manfrotto Magnesium head, SRB and Cokin P series filters (which are too small and soon to replaced), and I carried my gear in a Lowepro Whistler BP350AW. 

I was powered by Lucozade and Chocolate Mini-Rolls, mostly plus copious amounts of tea.

All photography and copy is the exclusive right of Blythe Storm, Copyright 2017, ALL RIGHTS RESERVED, contact me for details. I AM NOT SPONSORED, although I am open to offers, bought all my own gear, and paid for all my accommodation and refreshments.

Map of Skye reproduced with permission, and much thanks, to isleofskye.com – a great source of information about the island.

If you have joined us at the end of the trip you can find the links to the previous entries below:

Day 1

Day 2 (Part 1)

Day 2 (Part 2)

 

3 Days of Skye – Day 1

As I live in the Moray coast, any trip to the Isle of Skye results in a choice of routes through the Highlands, and with check-in at the hotel in Uig not anticipated until at least 4pm, I had spent a couple of days working out the most photographically productive route.

With snow on the tops, and a promise that there might be some lower down, it was a calculated risk to take the longest route possible through Torridon where I hoped to photograph mighty Liathach.

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Liathach, meaning ‘the Grey One’

The weather was almost perfect, clouds with plenty of movement, and breaks for the sun to come through and highlight areas of the landscape. Almost perfect; of course lots of movement actually means that it was also blowing a hoolie so much that you could be taking off your feet by the gusts and the windchill was well, well, below freezing.

Armed with the new Fujifilm XT-2 I was delighted to have the luxury of dual card slots, so I was shooting RAW files to Slot 1, and in-camera jpegs to Slot 2. This would provide a back-up and also access to immediate files en-route for posting to my Facebook, Twitter, and Instagram accounts, hopefully from the hotel, without having to try and process raw files on an 11″ MacBook Air monitor. Whilst compact and handy, the screen is too small for proper editing.

Although I really liked the convenience of this idea, and of having the reassurance of a back-up image, the raw files still carry noticeably more detail and, to me, an improved dynamic range. I am impressed with the quality of the in-camera jpegs, but sometimes you don’t have the time to adjust all the settings, or want to review a decision later when you come to use the images, and raw will always give you the options to change things that would degrade the image if you did it with the jpeg. Shooting in jpeg is rather like shooting film, you get what you shot, which is no bad discipline and I am all for getting it right at the time, but then if digital gives you an advantage of being able to change your mind later…then why not use it? I might shoot in colour and then decide to print in B&W or vice-versa. I might want to tweak the white balance, and I might need to rescue areas that fell outside of the dynamic range of the in-camera processing. Get it as right as possible at the time of shooting, but allow yourself the latter options in processing, just as you did with film/darkroom processes.

The clouds popped on and off the top of the wind blasted snow topped mountain, every few moments, for me. Judging by the number of cars in the parking areas, there were some seriously hardy souls climbing today (probably on their hands and knees if the wind was anything to go by).

I had taken the Ullapool road (A835) from north of Inverness, turning just after Garve towards Achnasheen, then towards Kinlochewe, taking the turn for Shieldaig (A896). This route took me just shy of the village of Torridon itself.

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Torridon village nestles against the shores of Upper Loch Torridon

The wind kept up it’s ferociousness, which meant hanging my Lowepro Whistler BP350AW camera bag from the hook on the column of my Gitzo Mountaineer, and certainly not extending any more height than absolutely necessary.

Although the Gitzo extends to be taller than I am, I don’t like shooting even at my 5′ 4″ standing height anyway. The loss of the reflections on the water, again due to the wind, were the only disappointment.

I stopped at the Lochcarron Golf Club & Tea Room, known as the Tee-Off cafe, which was one of the few things open in my journey at this time of year. Not only was the lemon drizzle cake to die for, but the tea was served in a generous two cup pot, and the view was just spectacular. I whole heartedly recommend it!

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Five Sisters of Kintail – Winter Whites

Cresting the top of the A890 from Lochcarron to where it joins the main A87 heading for Kyle of Lochalsh and the Skye bridge, you are suddenly presented with the Five Sisters of Kintail, on this occasion in their wonderful winter whites.

After many different attempts to get the best final image, I have settled on the new Fujifilm ACROS setting to bring out the shape of the Sisters. Even this required me to burn in the Sisters whilst holding back the centre ground hill.

From the generous viewpoint it is a drop down and into the Kyle of Lochalsh. This is where you really feel like you’re almost there as Skye appears before you. Of course, Skye is a large island and so unless you’re staying in Broadford or Kyleakin then you’ll probably have another hour, at least, to go on your journey.

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Map courtesy of IsleofSkye.com

The, no longer quite so controversial, Skye bridge takes you from the Kyle of Lochalsh to the north of the township of Kyleakin. By now it was around 1pm and I wanted to photograph the Cuillin mountain range from Sligachan, before taking the road into Portree (Skye’s ‘capital’). The “Slig” as it is commonly abbreviated to, is a famous hotel situated aside the road which also has a campsite, both were closed. I have only been there once, when it was open, and the midges were so bad I didn’t get out the car! In winter, the midges are not a problem as it’s too cold, and frequently far too windy.

The sun was the problem on this occasion because, it was of course in the wrong place, and I was presented with a bright cloudless (and therefore boring) blue sky, masses of contrast, plus I would be shooting into directly into the sun. I noted a need to re-time my return journey, if possible, and carried on to Portree.

Stopping to visit the town centre and a stretch of the legs, I was surprised to see several buildings closed, but heartened to see refurbishments taking place. There was also a lot more ‘tourist’ orientated shops than I remembered. I found a newsagents to get a drink, and admired some very nice (£35) hand painted mugs in another shop as I wandered about. I admired them through the window only, it should be said. You’d nae want to use them at that price!

The main road from Portree to Uig is a delight compared to many islands (Arran, I am looking at you here). Reaching Uig, just as the school delivered out the double figure age kids, I had a little time to visit the Fairy Glen slightly inland of the port township. I don’t know if the Fairies have anything to do with it, but a lot of kids around the same age seem to live up in the glen because they were happily wandering about the paths making their ways home.

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Fairy Glen, Uig, Isle of Skye

I had been intrigued by the photos that I had seen of the landscape here, and I was not disappointed. The top peninsular, is Totternish, and if you have been around or just viewed pictures of the Totternish ridge then the Fairy Glen is very familiar, but on a considerably reduced scale. As the sun was going down behind the mountain, there wasn’t much time for wandering about and I didn’t get to visit the waterfall.

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Fairy Glen, Uig, Isle of Skye and the road through it

The sun was dipping fast, and the light was about to go. The temperature, which had been approaching double figures, was dropping like a stone with it. Back on with the hat, gloves, duvet jacket, and wishing for some thermal underwear again. I make a hasty retreat by the last of the light back to Uig (pronounced “oo’ig” by the way).

It was time to sample the delights of my hotel, and plan Day 2.

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Uig harbour from my hotel window.

To read about Day 2, click HERE