Assignment 1: the season. The final selection.

I can't believe that when I was taking photographs for my first assignment we were in the depths of winter and, although it has been a dry and mild one, in February we had deep snow, freezing temperatures and fog. Even three weeks ago the countryside was very wintry, but over the last three weeks spring has arrived and I have begun capturing and filing images of this new season for my portfolio. As mentioned in my last blog I opted to use my local area of the North Lincolnshire Wolds and coast for this assignment and also for the portfolio as I was very familiar with the area and the quick and easy access meant that I could reach any location within half an hour.

In my last blog I listed and discussed the images that I had in my short list. I have now made my final selection from that list and they are included below. Although they have been taken over a period of a couple of months during January and February, I have arranged them as if they had been taken during the course of one winter's day from sunrise to sunset.

I took this first image at Messingham Sand Quarry, a local wildlife trust nature reserve that I visit regularly in the summer for butterfly and, especially, dragonfly photography. I know the reserve well and thought that it would provide images that typify winter with the abundance of reeds which at this time of year are brown and dead looking. Unfortunately on this morning it was not cold enough for ice. I chose this shot because I love the colours in the winter sky as the sun is rising and am pleased with the reflection of the sky in the lake. I saw my first ever otter playing in the lake shortly after taking the shot. I think that the tall reeds in the left foreground complement the higher tree line to the right on the horizon.This is also a sunrise image taken at nearby Worlaby. I had taken photographs from this spot before and knew that it had potential for mist in the valley, a spot I visit regularly to photograph the short eared owls that gather there during the winter. I had been keeping my eye on the weather forecast and selected a morning when clear skies and mist were predicted. I framed the shot so that the church occupied the intersection of thirds and I placed the horizon a third of the way down. I made the sky area smaller than the land as the interest is in the church and the misty valley.
Early in the morning after one of the February snow falls I went out into the Lincolnshire Wolds a short distance from home to take snow pictures for project 25 and also hoping to secure winter images for this assignment. I selected this shot as I felt that it had a cold wintry feel to it especially as there is a grey rather than a clear blue sky. I framed the shot so that the hedge began in the bottom right and then snaked in a pleasing s-shape, hopefully leading the eye into the shot to the wood and distant hill on the horizon. The hedge also provides good perspective.

I chose this shot as the strong side lighting gave texture to the snow, emphasising it's banked nature. I also liked the dark brooding sky.

One morning whilst we had snow, we also woke to thick fog. Thinking that this would provide more and different winter pictures, I visited a local wooded parkland area. I had photographed this scene a few weeks before but, although in the middle of winter, the bright late afternoon light and leaves still clinging to the beech trees didn't provide a wintry enough atmosphere. This morning was different, however, snow and fog providing the missing ingredients. I chose this particular avenue of trees as I felt that, as they disappeared down the hill, they provided perspective despite the fog. I think the fact the we cannot see the far distance because of the fog lends a sense of mystery to the shot.

All of the above shots are morning images but now we move onto mid afternoon. This picture is taken at another local nature reserve close to the Humber Bridge, a location I also know well from my nature photography. I chose this shot as it conveys a feel of winter: bright, cold winter sky; dead, winter reeds and ice and snow covered water. I like the way the s-shaped curving pattern of snow on the left of the ice and the curve of the reeds leads the eye to the pond dipping platform on the opposite side of the pond. Bare trees emphasise the wintry feel.
A mid afternoon shot of pilings from the old cement works jetty on the Humber Bank with the bridge in the distance. Again a cold clear sky and snow on the pilings tell us that it is winter. I like the fact that I have been able to include the moon in the shot. I carefully framed the image so that I didn't obscure the bridge pillar to the right.
Another image of the Humber Bridge with a wintery feel. I took the picture because the lines in the snow reflect the direction of the bridge and the post, which I have placed on a third, mirrors the bridge pillars. Perspective is provided by the bridge.

A late winter afternoon shot here, again with snow, so obviously winter. I framed the image so that the hedge leads the eye to the wood which occupies the top right of the picture and also provides linear perspective. I placed the solitary tree to the left on an intersection of thirds.Another late afternoon shot, this time taken on the coastal marsh. The dead reeds and dry, dead grasses tell us this is winter. I have included this picture because, to me, it typifies the Lincolnshire coastal marsh: big skies, flat countryside and long straight drains. I am particularly pleased with the sky and like the way the drain provides perspective. I am also pleased with the reflection of the sky in the still water.A shot taken just before sunset late on a January afternoon. It had been rather a dull afternoon and uninteresting in the way of light but, as often happens towards sunset the sky began to clear and the sun put in a late appearance. This is one of my favourite views of a local valley, Irby Dales, just outside Grimsby. The bare trees give a wintry feel and I like the way that they snake towards the wood on the opposite hill side.
Finally a typical Lincolnshire sunset. To me Lincolnshire means big skies so I have included a lot of sky in this image to emphasise the wonderful clouds. I have placed the horizon low in the picture as the foreground is silhouetted but I have included the silhouettes of the skeletal winter trees.

Assignment 1: the season. First Thoughts.

For this assignment I decided to use my local area, restricting myself to an area that I could reach within half an hour so that I could visit and revisit conveniently at will in order to catch different weather and lighting. I am also conscious that I will need easy access to my chosen location in order to shoot images at different seasons for my portfolio. I have chosen the northern Lincolnshire Wolds and Coastal strip close to my home in Grimsby. I also am a firm believer in the fact that the more familiar we are with a location the better will be the images produced. I would love to emulate Galen Rowell's images in Yosemite and the Californian Sierra but that was his local patch and it took a lifetime for him to gain his deep knowledge of the area.

I include below my short list of images that I have chosen from three months of winter photography and my thoughts about each one. From this short list I shall select my final 12 photographs to represent the season of winter. I have tried to include a variety of lighting, weather and image format.

This is a typical Lincolnshire winter sunset. I deliberately exposed for the sky in order to produce a horizon of winter tree silhouettes. I have place the horizon low to make the most of the dramatic sky.
This image was taken in my local churchyard. I placed the camera on a tripod reduced to it's lowest height in order to be on the same level as the flowers. I used a wide angle lens and a small aperture so that everything would be as sharp as possible. Although I took this shot in February (very definitely winter still) and as much as I like it, I may not include it in this assignment as I feel that it smacks too much of spring. If I do not use it now, it will very definitely be a candidate for my portfolio.
This is an image I had been wanting to take for some time. The church is in the village of Worlaby on the scarp slope of the Wolds and the view is across the valley of the River Ancholme looking across to the limestone Lincoln Edge just north of the steel town of Scunthorpe. I had been waiting for a weather forecast that gave early morning mist in order to get a temperature inversion. It is taken at sunrise, Galen Rowell's magic hour. I place the horizon and the church on thirds.
I took this image at sunrise on a visit to the local nature reserve of Messingham Sand Quarry. This is a place I know well from my wildlife photography and I hoped that the early morning light would provide some pleasing winter images.
Another early morning shot at Messingham. I like the way the sun just catches the far reeds. I think it has a real winter feel to it with the leafless trees and dead reed stems. It will look very different here in a few weeks. The swans add interest but they are rather obscured by the reeds.
Again this will look very different in a few weeks as the new reeds grow through and the flag irises and ragged robin appear. I am pleased with the reflection and like the way the ditch leeds the eye into the frame.
Another winter sunset, this time on the Lincolnshire coast. The drain leads they eye into the shot. It would have been nice if the sun had been slightly to the left. I'm not sure about the flare in this shot.
Very typical scenery on the Lincolnshire coastal marsh. I like the way the drain leads they eye into the shot. I have placed the horizon low in the frame to emphasize the big Lincolnshire sky. Pleasing reflections in the water. I have selected a portrait format here to enhance the straight narrow channel. To my mind a real winter feel to the scene with the bleached dry grass and dead reed stems.
I like the linear perspective here with the trees diminishing in the distance. The hedge and tractor lines lead the eye into the frame. I'm not sure about the heavy shadow in the foreground. A real winter feel to the shot though - again bleached dead grass and leafless winter trees.
I am pleased with the curved line of trees in the valley leading the eye to the winter tree silhouettes on the horizon.
Another image taken at a local reserve that regularly visit for wildlife photography. Dead reed stems, leafless trees and ice and snow on the pond all give a good feel of winter.

The above two shots are of the Humber Bridge with snow on the ground and a cold blue winter sky with a foggy high pressure haze over the horizon. In the first shot I have managed to include the moon out during the late afternoon. In the second I included the post to provide a point of focus in the foreground and to mirror the bridge uprights. The channels in the mud that are picked out by the snow mirror the direction of the road platform on the bridge.
A simple image of snow here with side lighting bring out form in the bank of snow. The hedge line provides linear perspective enhanced by the vertical format.
Another simple snow scene with the hedge line leading the eye into the picture.
Rolling Lincolnshire Wolds scenery with the hedge leading the eye to the winter wood on the horizon. The other three hedge lines lead towards the wood as well and I managed to place the small isolated tree on an intersection of thirds. Pleasing side lighting brings out form and detail with some interesting shadows.
The snow here says winter but so does the cold blue of the sky and the blue shadow of the tree. I carefully framed the church in the arch of the tree branch. I used a similar image for project for project 5: interacting subjects but in this picture I wasn't constrained by focal length and could include more of the tree.
Another rolling Lincolnshire landscape with linear perspective and snow. A real winter feel.
The above and the next three images were taken on a foggy morning while we still had snow. I have already used this shot to illustrate Project 7: figures in a landscape so may not use it for the assignment. Also I am not sure about mixing panoramas with '35mm format' shots. This image, like the one below had a bluish cast which I have corrected but I am not sure which version I prefer.


I am pleased with the linear perspective in both of the above shots. They both are good examples of the use of soft muted colours as in Project 10. The fog lends an air of mystery.
This shot is taken on the edge of a local Wolds beech woodland. I like the shapes of the trees and the shadows they cast but I am not sure that the warm late afternoon light and the fact that there are still autumn leaves clinging to the trees makes it wintry enough.

Mountain Light - Galen Rowell

For anyone interested in mountains and photography, this book is a must read. It comprises seven chapters in which Galen Rowell describes different aspects of his work, his philosophy and what motivates him.

In chapter 1, Still Vision, he gives some ideas behind his methods and explains why he feels there is a place for still photography in this age of film and television. He suggests that the roots of style are to be found in personal vision rather than in technique. He says that he finds the process of photography expressed in technique unintelligible even though he is familiar with and practised in it. He says that vision is as much the work of the mind as it is of the eye and that the best photographs inspire us because they convey the excitement experienced by the photographer. He says that fine photographers do not just look, they see. He goes on to say that he is intent on preserving the integrity of still photography. He is passionate about wanting his subject matter to be part of a genuine experience rather than a scene created for the camera or taken out of context. He gives some timely advice when he admits that he has missed many shots by being too lazy to stop and take out his camera - I think we have all been there.

In Chapter 2, Mountain Vision, Galen expands on how his life became shaped by a love of mountains. His parents introduced him to the mountain environment through their membership of the Sierra Club of California whose meets they took him to. During his early years he developed a love of rock climbing, pushing himself to his physical limits as a means of becoming 'one' with the mountains. He later became one of America's top mountaineers both on Yosemite rock and in the Himalayas. Initially at the instigation of his parents he followed an academic career but, finding he was not fulfilled, he dropped out of university to found a car repair business. He was influenced by men who lived their lives through the mountains and wilderness areas and fighting for their conservation through their writings, legal battling and, crucially, in the case of Ansel Adams, photography. At the end of the chapter he says "Here were things that touched my soul, images that I wanted to share, but didn't know how."

The path to becoming a wilderness photojournalist was set.

In Chapter 3, Integrated Vision, Rowell explains how he gradually, by practise and reflection, learned to produce images that mirrored what he was seeing on the hill. He begins by explaining how he was disappointed with the results from his first SLR. He disliked the 'washed out' results in his first attempts and by trial and error discovered that he liked the saturated colours that he obtained by rating Kodachrome 64 at 80 ASA and Kodachrome II at 40 in much the same way that today I regularly dial in a slight minus exposure compensation. I wish I had read this book when I was taking transparencies and often disappointed with my results in the same way. He also learned how to deal with the exceptions to this rule in much the same way as today I dial in positive exposure compensation when photographing a bird in flight against the sky. He also relates how he learned to work with light. Instead of looking at the natural world for objects to photograph in colour, he began to look for light. When he found magical light he sought out something earthbound to match with it. He says that when the light is right his camera is already out before he has found anything to photograph. He finishes the chapter, however, by reminding us that technical competence is only half of the equation. The best images come from a blend of technical expertise and creative thought.

In Chapter 4 Galen explores what it is about a photograph that attracts viewers to it. He suggests that " our appreciation has little to do with how faithfully an images reproduces nature. Our eyes wander around looking for a purpose or point of interest, and these rarely occur in an image simply by chance." He goes on to argue that, when an image appeals to us we are responding to the "selective vision" of the photographer rather than how accurately it reflects a landscape. He suggests that, in the infancy of photography, the emphasis was on the development of the technology and fairly quickly images became as sharp and reproductions as faithful as they are today. As photographers developed as artists, he says, "funny things began to happen. Compromises in quality became acceptable."

He goes on to say that without compromise decisive moments are missed. He argues that if we become too hung up by equipment we can miss the shot. Good composition is vital and is one of the few parts of photography that has defied automation. He feels that, although the rules of composition are important, in the end it comes down to what is pleasing to the eye. Rather than stick rigidly to the compositional rules he adjusts the framing and his physical position until all the elements achieve a pleasing balance. I would argue that, more often than not, his "pleasing balance" intuitively fits the rules of composition unless he purposefully chooses to break them. Another 'home grown technique' that Rowell employs is that of "visual sea level", which involves including a visual reference point for a viewer to identify with in an otherwise difficult image to interpret. This might be a small part of the horizon, a tree or a figure. The most common example of this, he says, is a person but it is also one of the most difficult. Too small and it's effect is lost, too large and it becomes a portrait. This fits perfectly with project 7 in our course and he devotes a whole section of images to the subject. He also excludes anything from the periphery of his images that might distract the viewer's eye.

He discusses depth of field in this chapter and refers the reader to the DOF scale on lens barrels that we no longer have. He also talks about circle of confusion in this context in a way that I found easier to understand here than in other, more complicated, dissertations. I use the technique of using a small aperture f16 or f22 (bearing in mind that quality can degrade at too small apertures), combined with a tripod to account for slow shutter speeds and focus 1/3 of the way into the scene.

He concludes the chapter by writing, "All of the techniques, compromises and intuitive decisions I have discussed have a single purpose: they enable me to photograph in wild places with a minimum of baggage - both physical and mental. Because I wanted to record the full range of my experiences - landscapes, interplays of light, wild animals, plant life and people out there doing things - my methods have to be second nature, thereby providing the freedom of mind needed to explore the selective visions that make an image far more interesting than a single attempt to duplicate reality."

At the beginning of Chapter 5, Extraordinary Vision, Rowell discusses and explains atmospheric phenomena such as brocken spectres, rainbows, haloes and glories and then moves on to the colours at sunset and during the alpenglow. Interestingly (for me anyway) my brother has just emailed me some images he took while walking the Glyders in North Wales. He was fortunate to have a cloud inversion all day and managed to take photograph including an amazing brocken spectre of himself.

Following this introduction Rowell goes on to explain how he searches out images that show the borders of transmitted and scattered light which can turn a bland landscape into an intersection of ruby and sapphire hues. He goes on to say that often he is not able to wait for light and form to work together but by understanding how the balance of warm and cool light works when the balance is not readily apparent he is often able to elevate his photos above the commonplace in quite ordinary light.

I found one particularly interesting fact when he writes about our perception of colour. He describes a trip to the Himalayas during which he lived in a world of whites, greys and blues for three months. He sees the first green meadows as vivid intense colours. When he viewed the resulting transparencies back home he was disappointed to find the greens muted and grey. He later relates an experience where he did shoot a vivid green but then couldn't manage to replicate it. He comes to the conclusion that the intensity of colour is related to the colours adjacent. The darker the surroundings, the richer and more saturated the adjoining colour appears.

Galen goes on to list the categories into which all extraordinary visual events fit: 1) real phenomena that appear on film much as they do to the eye eg. rainbows; 2) real phenomena that appear differently on film eg. beams of light or 'god beams' which cam appear more intense on film; 3) psychological phenomena that cannot be photographed eg. the green meadow in the Himalayas; 4) psychological illusions that can be photographed eg. perspective distortion.

He concludes the chapter by discussing sun-stars and how to photograph them successfully.

Chapter 6, Operative Vision, sees Galen Rowell taking us on an expedition to the Karakoram Himalaya. During the chapter he describes the expedition but concentrates on relating to us the equipment he uses, his selection for different aspects of the shoot and his reasoning behind taking the pictures. The idea behind the chapter is to try to get us into his head during a shoot. It makes me wince to think of the weight of those 1980s Nikons and associated lenses and the 200 rolls of film - Kodachrome 64 and Kodachrome II - that he takes with him.

In the final chapter, Dynamic Vision, Galen Rowell tells us about the last weapon in his armoury: luck. He says that three components that need to come together to make a truly fine photograph are technical proficiency, personal vision and light and luck has a hand in each one of them. He says photographers who are consistently lucky put in a tremendous amount of work into acquiring knowledge of their field. Luck is with them because they have made themselves open and receptive to it and their style allows it to be part of their plan. As Arnold Palmer said 2 The more I practice, the luckier I get." I have wildlife photography friends who take amazing images and it is tempting to think that you could have done that if you were there - the thing is they were, you weren't. They made their own luck by putting in the time. From my own experience I have benefited from the luck factor. I wanted a particular image at sunrise from Higger Tor in Derbyshire - I had to visit 5 times before I had the magic light that Galen Rowell sought. I made my own luck.

The images in the book are wonderful. They are divided into eight sections:

• The Magic Hour - that special light that occurs around sunrise and sunset;
• Backlight
• Soft light - many of the images in this section would fit perfectly into Project 10 of the course on the use of soft muted colours. In this section Rowell explains how he works when the cloudy sky acts as a giant soft box diffuser. Then he concentrates on people and the more intimate side of mountains such as forests and flowers when he feels their colours "come alive". These images remind me of a quote I once read: 2There is no such thing as good light or bad light; just light." Mind I have also heard it said that "good light is everything." It certainly is if dramatic light is required. It is in these soft light situations that the subject becomes more important than the light;
• Sundown to sunrise - images taken during the hours of dark. I shall make use of the ideas in this section when it comes to the relevant projects later in the course;
• Artist's light - painterly images;
• Figures in a landscape - applicable to Project 7;
• Light against light - these images represent mountain light rather than mountain scenes. They have one main element in common: different colours and intensities of light are used to emphasize natural forms;
• Unexpected convergence - most of these images appear as if Rowell happened to be in the right place at the right time which is what he was attempting to achieve. He says that he starts with an unusual condition (cloud, light, rainbow etc.) and then uses thought and action to make it look as if he just happened to be there - far from the case.

I think my favourite images from the book are in the first section on the Magic Hour. I love the dramatic lighting and rich saturated colours. I particularly like the images from the Sierra of bristlecone pines.

A wonderfully inspiring book.

Project 10: soft colours revisited

Hoping to be able to capture some more images for winter I set out into the Lincolnshire Wolds for a favourite walk. Disappointingly the bright morning turned into an overcast late afternoon with dull flat lighting. I did think though that in the Valley Wood the conditions would be ideal to capture some shots to further illustrate Project 10. The overcast even lighting meant that there were no dark and difficult shadows and the fallen leaves and winter trees took on soft and muted tones. The last image I have included has two figures which also tie the afternoon into Project 7: figures in the landscape.

Ins and Outs, Guardian Weekend, 25.02.12

In this article Robert Macfarlane marvels at Michael Marten's photographs of British beaches at high and low tide. This project was made possible by the fact that in this country we have extremely wide tidal ranges: up to 15 metres in the Bristol Channel rather than centimetres in the Mediterranean. Marten made himself an expert on tide tables and the timings of the biggest spring tides and he travelled all over the country capturing the difference between high and low tides and the litteral zone in between.

The results are remarkable. By means of his side-by-side time-lapse technique, Marten makes visible to us landscape contrasts that would otherwise go unperceived. The chromatic range of his work is distinctive: this is a realm of muted russets and browns, silvers and blues, greys and soft greens. Against these natural hues, the colours of human presence stand cheerily bright: candy striped windbreaks and swimming costumes, plastic buckets and spade'. This fits in absolutely perfect with the subject of Project 10.

Exhibition Visit: A Sense of Time, Ropewalk, Barton-on-Humber, North Lincolnshire

This exhibition was curated by Hull photographer Chris Harland, who himself takes stunning images of the local area, his ones of the Humber Bridge coming to mind. The images selected were all chosen as they represented different interpretations of the 'time' theme. Ranging from long exposure photographic captures portraying movement and the passage of time to simple, classic images which illustrate those moments we all experience when time seems to stand still for a moment giving us cause to pause and reflect - Chris Harland.

I like an image my Keith Britton entitled Rush. It is taken at Spurn Head and features the iconic lighthouse and a very dramatic sky (HDR?). In the foreground is the remains of an old groyne, the main part of which mirrors the lighthouse and has been carefully placed on the intersection of thirds. This is a long exposure so the rushing waves are blurred, thus contributing to a sense of time. I like this shot as Spurn is always somewhere that I have intended to visit and hope to do so to capture images for Project 6. Kelsey Evans 'A Second of Stillness' and Neo Heny's 'Frosty Tree on a Derbyshire Hilltop' attract me as they remind me of the fog images I took at a nearbye location during the recent snow. Whereas Kelsey has placed her tree on a third Neo's is in the centre of the image projecting up from the horizon line which is approximately 1/3 of the way down the image. I am also attracted to local artist Pete Roger's images of 'A bend in the River' and 'River of Sand'. A Bend in the River is a magnificent sunset image of the River Humber and River of Sand is a simple image taken on a sandy beach of a stone which is placed on intersecting thirds and has patterns in the sand leading diagonally into the picture. Low side lighting has created lovely shadows to give form to the image.

There are many other excellent photographs in the exhibition but the ones above are my favourites.

Reflections: 3

As I have now completed most of the course work and have a large portfolio of images to select from for my first assignment, it is time to reflect on how I feel I am progressing - although to a certain extent I shall have more of a feel for this when I receive comments on my first assignment from my tutor. I have to say that I am thoroughly enjoying the course so far and I am enjoying making landscape images as a change from my normal wildlife work, although I am also keeping my hand in here too. There is a link to my own website and also my flickr page in the about me section should anyone wish to view my wildlife work.

Project 1:

I found this project straightforward. I always keep in my mind to place the horizon in an pleasing way depending on the interest in sky and foreground. However it is surprising how often I look at an image on the computer and find that I have inadvertently placed the horizon in the centre of the picture. I know that on occasions it is good to break the rules, but only if that is the intention. I need to remember to spend a little more time when framing the shot to ensure that I have placed the horizon where I really want it.

Project 2:

I find that I have a leaning towards the vertical format when shooting most subjects, including landscapes. I usually shoot both formats and make a selection later. It is interesting how this preference is very subjective when showing images to others.

Project 3 and 4:

I enjoyed this and also project 4 where I stitched images together to make panoramas. I did find the post processing problematic though and I must make time to practise this technique more.

Project 5:

Another enjoyable project , but one where it came home to me how lazy we become with zoom lenses. When using a fixed focus lens it it vital to ensure correct positioning of oneself in order to achieve the desired framing. In one image from this exercise I realised too late that I would have framed the image better if I had moved forward a few feet. I could have cropped in Lightroom but decided to leave it as I shot it to maintain the authenticity of the exercise and to remind myself to be more careful in future.

Project 6:

I must remember to complete this exercise.

Project 7:

I think that placing a figure in a landscape image can often enhance the shot. I feel that this is the case in at least two of the images that I have taken. The one in the fog is one such case. The two figures give scale, perspective and context. In a similar way the shot of my brother on a pinnacle in Mallorca gives scale to the surrounding mountains. If the aim were to take images for an interest magazine, the inclusion of people would be essential.

Project 8:

Linear perspective is by far the easiest to employ and in my area of Lincolnshire, where I have decided to shoot images for both assignment 1 and my portfolio, there are many opportunities and in order to inject variety into my photography I need to look for every chance to employ other methods to give my pictures depth.

Project 9:

I have yet to complete this exercise. Winter makes it very difficult to show a wide range of greens. I have, though, identified several locations where this should be possible in the summer months.

Project 10:

The foggy weather we enjoyed (endured?) during the recent snow gave ample opportunity to record pictures with a muted palette. As well as the two shots from my archives that I included in the project, I recently went out on an overcast day with disappointingly flat light. I took some photographs in a local woodland and the light and late winter colours provided just the opportunity to record soft muted colours and I have now included these in my blog write up. Interestingly, instead of holding his hands up in horror on a day of flat misty lighting, Galen Rowell would rub his hands with glee as it allowed him to take shots that he wanted that were impossible in more dramatic lighting conditions. It brings to mind a quote I once read (although I cannot remember the source), that there is no such thing as good light and bad light - just light. Mind I have also heard it said that good light is everything. I certainly find dramatic lighting more exciting to work with. Having said that, when photographing flowers overcast lighting is more sympathetic the who;le sky acting as a giant soft box, again to quote Galen Rowell.

I have now reached the point where I need to organise and edit the potential images for my first assignment. I was conscious that, when I started the course in January, I only had half of the winter to work with, although I had been taking some shots in December knowing what was coming up. I worried that with the mild winter Spring would overtake me. I am pleased to say that not only did I have ample time to secure the shots we also had snow which added to the drama of winter and also allowed me to complete Project 25. I find editing my pictures one of the greatest challenges in photography. In order to help with the process I shall print a series of A5s of the potential shots on draft paper and leave them spread out to mull over and move around. Then I shall print the final selection at A4.

Having watched Jose's videos on image submissions on the student website I have endeavoured to make sure that my prints are of a high quality. I intend to use high quality pearl paper and I have invested in a Spyder and calibrated my monitor. I also intend to acquire the printer profiles for the paper I use. I am not sure how this is going to go - there may well yet be a cry for help!!!

During the last few weeks I have also enjoyed getting to grips with the work of some of the featured photographers for Assignment 4: Ansel Adams, Fay Godwin and Galen Rowell. I thoroughly enjoyed Godwin's book Land and also the exhibition at the National Media Museum 'Land Revisited' which I went to last year. I am currently reading Galen Rowell's 'Mountain Light'. As a lover of mountains and an avid mountain walker and one time (long ago) rock climber, his work is particularly attractive to me. Although only part way through I love his images taken during the golden hours just after sunrise and before sunset.

I have been fortunate to visit a photography exhibition at The Ropewalk in Barton-on-Humber entitled 'A Sense of Time'. Whilst some images were not landscapes others were and all were fascinating. I have made notes on this elsewhere in my blog.

We take the Saturday Guardian every week and this is always a mine of good photography. Each week are featured readers' pictures, the current week's being the theme of Transport. Also in the current week's magazine there is an article entitled 'Ins and Outs' in which Robert Macfarlane marvels at Michael Marten's photographs of British beaches at high and low tide.

All in all a satisfying start to this module.