photography – Tales from Wild Wales

After all these years…….

We moved to our present house about 17 years ago. It is high on an east/west ridge with excellent visibility in all directions and I knew it should be a great place to see the northern lights. In fact, prior to moving here I lived in a village a few miles away and drove up here to search for the aurora if it was predicted. I never succeeded. And for various reasons (frequent cloud, entertaining visitors, the sofa being too comfortable etc) I continued to fail to photograph the aurora for many years even after moving up here (see also this post) . It also took me years to realise that the camera can see what the naked eye cannot. It is sometimes said that the camera accentuates the colours of the aurora but in fact it is actually the eye which diminishes them. Let me explain.

The retina contains two types of light sensors, known as rods and cones. Rods are sensitive to light in a more general, black-and-white sense, while cones are sensitive to colour. It is thought that a black-and-white view of the world was useful in terms of our survival as individuals in a dangerous world, while the addition of colour was rather frivolous. Who needs to know what colour that predator is as it creeps around in the shadows? So the cones are less sensitive than the rods, and at low light intensities we see very little colour. Digital sensors (or film) are more objective about our surroundings at low light levels.

Last night the prediction was for a massive and “extreme” solar storm with the aurora likely to be visible all over the UK. I gradually prepared myself and waited until the last of the day’s light disappeared. It seemed to take forever! There was still a hint of daylight in the northern sky at 10.30pm when the camera showed the first greenish glow. It was another fourty minutes before any colour other than green appeared – in this case red – but from then on it was pretty spectacular. The aurora’s darker colours – blue, purple and various reds – were barely visible to the naked eye but the camera showed much of the sky to be full of colour. The display was right overhead for much of the time and could also be seen to the east, west and even the south. I used the minor road running up past the house as a solid base for the tripod. A steady stream of cars coming up from town (and then returning) suggested that news of this massive lightshow had reached the lowlands and people were heading for the hills to see it. It was quite frustrating at times especially when someone parked in a nearby passing place and left the car lights on!

A few words about the photography. At first I blundered around in the dark not knowing if I was coming or going. I settled on an ISO of 1600 and an aperture of f4. I used the camera’s exposure values and underexposed by about one stop. Shutter speeds were in the region of 2 to 8 seconds. The RAW files were, as expected, in need of some tweaking but no more than I would expect a normal landscape image to require. In most cases the black and white sliders in Lightroom were all I used. And here I have to hand it to Adobe…… the noise reduction/sharpening now built into Lightroom does a fantastic job. At ISO 1600 my Olympus m4/3 files of the night sky were really pretty grainy but they cleaned up beautifully in Lightroom.

Now for the negatives. There’s only one……. none of them are sharp. None of them. At first I couldn’t understand why; there is no sign of camera shake or depth of field problems. My little brain must have been turning it over while I slept because in the early hours I woke with the answer. I hadn’t switched the image stabilisation off when I mounted the camera on the tripod. I’ve pondered over this for years and have had long exposures ruined on other occasions. Some claim you can just leave IS switched on at all times, even when using a tripod. Now I’ve learned the lesson the hard way (again) that this is definitely not the case.

Many of the images are useable unless you enlarge them too far, especially where the foreground is of interest. But would it be too much to ask for another display tonight? And would I remember to switch the IS off? And if I did would I remember to switch it back on again afterwards?

Edit: It clouded over so there was no second chance.

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Golden Hour at the Steel Works.

Family duties took me down to Swansea at the end of March, which gave me the opportunity to spend a day around Port Talbot and its steel works. It seemed like eighteen months since I had last been there (see this post) but on checking my files I discovered that it was three and a half years ago! “Doesn’t time fly” doesn’t really do that justice……

If you live in Wales you will probably have heard the steel works is threatened with closure, yet again, and this time it looks final. Its owners – the Indian multinational Tata – say that the plant loses over £1m a day, and if that is true who can blame them. But it is by far the biggest employer in the area and some 2800 jobs are likely to be lost, while there must be countless other local businesses whose survival depends indirectly on it. It is also the biggest single polluter in Wales, and is responsible for 2% of the UK’s total carbon emissions. Tata say that once the plant is levelled, they will build an electric arc furnace to recycle scrap steel into new steel. This process emits less carbon dioxide but is also less labour-intensive than making virgin steel in a blast furnace. Many jobs will still be lost, and, to be honest , Port Talbot and its environs are already pretty run down. Such are the dilemmas involved in reducing our dependence on fossil fuels.

I had been studying the OS 1:25000 map of the area in great detail before my visit, and had identified some potential new viewpoints. But my first location was the one I discovered on my previous visit, on the hillside directly above Port Talbot town centre. From there one looks south-eastwards towards the works, the nearest point of which is more than a mile away. I was going to need my long lens and a tripod.

Over a period of an hour or so I took a range of images at focal lengths from 250mm – 300mm , that’s x10 to x12 magnification. Weather conditions were quite atmospheric; dry and mostly cloudy with little wind, lending an almost monochromatic air with very subtle colouration to the photographs (see above). It was a good start. I then moved further uphill, but found the visual impact of the works was less powerful the higher I got. My second location involved an steep drive on a minor road above the works and then an easy walk. I was higher still here and even more disappointed. From this height the works had a toytown feel to it. It just didn’t hit home at all.

Driving back through the backstreets of Port Talbot I took a left turn on a hunch and was soon confronted by a colourful mural on two walls of a garage. A man was fixing his car nearby so I went over for a quick chat. It turned out that this garage wall was the exact location of the “Port Talbot Banksy” which suddenly appeared in December 2018. It had been bought by an art dealer and removed for safe-keeping, but remained on display in the town until 2022. The mural that I came across, purely by chance, by the street artist Steve Jenks, has none of the subtlety of the original. But the works features prominently on it, which adds another layer of human connection with the steel industry in Port Talbot.

It was late afternoon by now and I could see a slot in the clouds close to the horizon in the western sky. It looked like I might get some golden hour light on the works if I was patient. I returned to my original viewpoint, and the sun crept slowly towards the slot. When it did finally emerge the steel complex was bathed in golden light. Right on cue a thick cloud of orange-brown smoke belched out from the centre of the complex and dissipated into the air above it. It was an exciting moment but………..

……………it felt almost indecent to photograph this filth in such gorgeous conditions. Does the landscape photographer have a responsibility to be honest about their subject matter, or to portray it in the best conditions possible? My day’s photography had asked more questions than it had provided answers. But I’m going to go out on a limb here: this is one of the best photographic locations in Wales.

For now.

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Postcard talk.

*M327 – Snowdon from the Cob, Porthmadog*

Earlier in my career as a photographer I had a whole range of activities which each brought in a certain amount of dosh. Examples include exhibition rental, print sales, calendar sales, book production and sales, and commissioned work. For a number of years I freelanced for the Wales Tourist Board, which was the closest I ever had to a money spinner. But it was a soul-less activity and I felt just like a cog in a machine. Throughout all this time my bread and butter income was through the sale of postcards. But I always felt that with a growing track record like mine I would be able to drop the postcards and work on bigger projects for prestigious clients.

How wrong I was! The bigger projects dropped away for all sorts of reasons and with some minor exceptions all I’m left with is postcard sales. Sales are nothing like they were at their peak say 15 years ago (about 30%) but they do seem to have bottomed out in recent years. There is a whole host of reasons for this – like the use of mobile phones, the ridiculous cost of postage, and shop closures. For example, in the last 18 months three of my very few outlets in south Pembrokeshire have closed; one is now a cafe, one a toy shop and another sells secondhand books. None are interested in postcards. And yes, you do have to develop a very thick skin……

I’m not sure how many people understand how postcards are printed. To cut a long story short, commercial litho printing involves pulling a large sheet of paper/card through a machine. In the case of my postcards, and depending on the machine, the sheet holds 16 or 32 different designs. For the lowest unit price the sheet needs to be full. The drawback is that you end up with the same number of each individual design. And of course some postcards sell much better than others. There are always difficult decisions to be made.

I had been using the same printer for a number of years and their machine held 32 designs. But I began to get frustrated by some aspects of dealing with them and sometimes with the actual printing quality. I decided to look around for another printer last summer. The company I eventually settled on had a machine which used a sheet holding sixteen designs. I didn’t realise at the time that my main competitor had used them as well, but I suppose that is a kind of recommendation. Anyway, the printing went well, and if anything the print quality was better. Things were looking up! I contacted them over the winter to discuss another order.

There had been changes. They had disposed of their litho machine and installed a digital printer. My experience of commercial digital printing had been very poor but I was reassured that this was not your typical digital machine. Some samples were printed for me from the files that had been used for my last job and they were virtually identical. I couldn’t fault them. The biggest advantage was that it is now possible to have any number of each design printed. So if I needed 1000 of one design and 400 of another that was absolutely fine. The unit cost depended only on the total number of cards printed. So I decided to take a punt.

The cards are absolutely fine. Printing quality seems to be as good as the litho printer, and I’m able to tailor the order more closely to what I think will sell. I can’t help wishing these machines had been available many years ago.

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Wild goose chase numbers 1 and 2…….

The coming of some sunnier weather last week had me chomping at the bit to do some photography. I have never seen an eagle in Wales but a shower of records and photographs on Facebook suggested that the first-winter white-tailed eagle was still in the Llanuwchlyn area (near Bala) on the Sunday. I contacted my friend Jonathan and we decided to meet up there on Monday morning. A car-load of birders confirmed that I was indeed in the correct area – a tributary of the Lliw valley about three miles north-west of the village. It was a cold but sunny day with a smattering of snow on the ground. I had a an “interesting” time turning the van round on a steep, narrow and icy single track lane with few passing places but having done that it was time to go for a walk. By early afternoon it became apparent that the eagle hunt was a lost cause. There was no sign of it and I returned home disappointed. A post on Facebook during the evening showed that it had been seen at 9 a.m. that day about four miles to the east.

Chores kept me at home for a couple of days but on Thursday what did I do? Set off on another wild goose chase, of course! Four waxwings had been reported on the Teifi Marshes near Cardigan. I was determined to travel down by public transport this time but by 8.30 there had been no sign of the 8.15 bus so it was back to the van. It didn’t take me long to find the waxwings and I watched them on and off until mid-afternoon. They remained within a short section of overgrown hedgerow bordering the old railway track, which is now a foot- and cycle-path. A knowledgeable local birder said it was now their eleventh day on the reserve.

My only previous sighting of waxwings had been at Machynlleth in 2012. A large flock was frantically feeding on ornamental rowan berries outside the library on the main street. Perhaps on that occasion they had recently arrived in the UK after an energy-sapping journey across the North Sea. In contrast the Teifi Marshes birds were very relaxed. Now and again one would half-heartedly pull a desiccated hawthorn berry off a twig but it didn’t seem too concerned if it fell to the ground. In an unusually informative description the Collins Bird Guide states :

“In winter can eat frostbitten and semi-fermented berries, which may intoxicate the bird and render it temporarily incapable of flight”

While they were capable of preening and spent some time doing so, perhaps they were otherwise too sloshed to move! They did, however, fly off as a group just before I left for home. It also was evident that they had no fear of humans or dogs, either, so perhaps they had no previous contact with people in their home in the Scandinavian (or Russian) taiga.

I was pleasantly surprised at the quality of the pictures I managed to come back with. The light was variable, from dark and gloomy to bright sunshine. Fortunately there were some periods of bright sunlight obscured by thin cloud. These conditions produced the best results as no harsh shadows were created and reasonably short shutter speeds could be used..

I also dipped in and out of several hides and had particularly good views of a snipe, while one or more water rails caused momentary excitement. But boy…. do they move fast! One of these days I’ll get a good picture of a water rail.

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A picture around every corner.

The view of Yr Wyddfa (Snowdon) from the Cob, near Porthmadog, is one of the iconic landscapes in Wales. For many years I have been trying to capture it to perfection. I had another attempt last week but I’m still not sure I’ve achieved it. I was in position at the south-eastern end of the Cob long before sunrise and had a long wait before I managed to get a few results I was reasonably happy with.

From here one is very close to the Boston Lodge HQ of the Ffestiniog and Welsh Highland Railways. Steam engines are prepared here every morning for service on the lines to Blaenau Ffestiniog and Caernarfon. By now the sun was strong and the activities around the engine sheds were either in deep shadow or strongly backlit. This made some powerful images possible as the trains were put together and then headed off to Porthmadog Harbour station ready to pick up passengers. I love the black-and-white look for steam railways: it reminds me of the last years of steam on British Rail in the 1960’s, when the railway magazines I read were still mostly in b&w.

By this time I was in need of a coffee so I headed off to Porthmadog. Take-away in hand I rushed back to the station just in time to catch one of the morning trains heading off towards Tan-y-bwlch. A strong wind blew a plume of steam across the saltmarshes.

On the nameplate of one of the engines was engraved “Built in 1879”. I told the driver how amazing it was that a machine built almost 150 years ago could still be in operation. He rather burst my bubble by saying that the name plate was probably the only part remaining from the original locomotive. The whole thing has – in effect – been rebuilt around it. The motto of the Ffestiniog could be “re-use, rebuild and recycle”.

I have already written (here) that Llyn Dinas is one of my favourite photo locations in the whole of Wales. On this by now wonderful day for the landscape photographer how could I resist the temptation to drive the ten miles to the lake and see what conditions were like there? I couldn’t and I wasn’t disappointed.

The lake was perfectly still with mirror-like reflections. Birch trees on the far side of the lake had lost some of their leaves, revealing purple twigs and silver trunks and branches. The remaining leaves were in a range of yellows and greens. Between the trees lay dark shadows. It was such a simple photograph to take, but it works so well. The tiny gate on the right-hand side (and its reflection) seem critical to the composition, and the whole thing has a hypnotic, mandala-like effect on me. I could disappear into it.

On such a day it seemed like there was a picture around every corner. But a bank of high cloud was relentlessly moving in from the west and by mid-afternoon it had more or less clouded over completely. Anticipating this I had moved on to the well-wooded Capel Curig area where there are also a number of waterfalls. This kind of subject matter is at its best under light cloud and I found what I was looking for in the village alongside the main A5. These falls are not publicly accessible but a quick hop over a wall gives access to them. Unlike the previous picture this needed very precise attention to detail.

It would be nice to be able to recount how I then retraced my steps back to Llyn Mymbyr where a stunning sunset over Yr Wyddfa awaited me. That would indeed have been the end of a perfect day but it was just too much to ask.

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A little light relief.

It’s usually easier to talk about the weather in the UK than just about anything else. There always seems to be something to say about it. So after the difficult subject I tackled last time, it’s time for some light relief.

It was inevitable that there would be a down side to all the glorious sunshine we had in June (not that relentless blue skies are the photographer’s friend). A cool and changeable July followed, but changeable can be good for the photographer, if it involves cloud, rain and bright sunny days. That for me would be the definition of changeable. July consisted mainly of rain followed by cloud and then more rain. At least there was a chance – dictated by the law of averages – that August would be better. Here we are on the 22nd and how true has that been? Not true at all. At the beginning of the month, the forecasters teased us with talk of an improvement by mid-month, and yes, this time last week warmth and sunshine made an appearance. It lasted less than two days.

I made a decision to “go for it” even though I knew my trip would only be a short one. I headed up to north Wales for some landscape photography. On these trips I nearly always end up at Llyn Dinas (near Beddgelert) but this time I made the decision to search out some new locations. And where did I end up? You’ve guessed it….. Llyn Dinas. And while I was there I realised why: it is one of the very best locations in Wales for the landscaper – and for several reasons. The lake and its surroundings are perhaps as close to “the sublime” as it is possible to find in Wales. More practically, it is very close to the road – always handy for dawn visits; there are fairly secluded parking areas (for the camper van) nearby- ditto; and surrounded by mountains, its waters have a tendency to be still early on sunny mornings; and finally, it is also prone to valley fog. Last Thursday was one such morning.

The top photo was taken as soon as I arrived and shows the lake just post-sunrise. The second shows Llyn Dinas at its idyllic best, about three-quarters of an hour later. The sense of calm that the image suggests is slightly misleading, however, as some voracious midges were making life very difficult for the photographer and it felt far from idyllic! I feel that the warmth from the sunlight on the trees adds an extra dimension that is missing in the earlier photo. After a session here I motored the short distance up to Llyn Gwynant by which time the fog was thinning and lifting quickly. I think some lake-side trees have been removed here, opening up a new vista across the water. I took another series of images with a very different feel, including the third one above.

That was almost it for the day, really. I’ve often wondered what other landscape photographers do during the main part of a summer day. So many are only active during the “golden hour” around dawn and dusk. How do they wile away the many hours with the sun high in the sky? Apart from catching up on sleep, that is….. . During the afternoon I walked up the lower section of the Watkin Path into Cwm Llan. It was more of a recce really, but I did come across a charming little “Andy Goldsworthy” style sculpture. Unlike a Goldsworthy, I suspect this one will have involved quantities of industrial strength adhesive to maintain it’s structure. Otherwise the walk was mainly an exercise in avoiding families with noisy children!

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You may have heard about Happisburgh…..

If you follow environment issues in the media you’ll probably have noticed that this Norfolk village is currently the go-to location for items about sea-level rise and coastal erosion. Like other communities on the East Anglian coast it has been threatened by the sea for hundreds of years. Some – like the nearby Whimpwell and the better-known Dunwich – have long since disappeared beneath the waves. Jane and I had booked a week’s holiday in the Norfolk Broads for the first week in May, and I noticed that Happisburgh was only a few miles away. I thought the village might provide some interesting subject matter for the photographer.

I had no idea what to expect visually other than the “Road Closed” sign that features in all the media. Arriving late in the morning I clambered across a pile of earth blocking an old field gateway to reach the cliff top. Directly below me a flock of sand martins were excitedly excavating nesting burrows in the sandy escarpment facing the sea. They barely noticed me at all and only made themselves scarce when a kestrel cruised by. This photo-op felt like a real bonus; the only drawback being the strong and distracting shadows of the birds created by the sun beating down from a clear blue sky. The sand martins were frantically landing and taking off again; you could see tiny showers of sand falling from burrow entrances, and a close examination of the photographs shows a pattern of scrape marks made by their claws on the cliff-face.

By the time I got down to the beach it was about 1pm. and the sun was high in the sky, creating some very harsh light: definitely not the time of day for the landscape photographer to be at work! All sorts of debris lay on the sand; bits of tarmac complete with double-yellow lines, a manhole with the cover missing, sections of brick wall and reinforced concrete. Electric cables trailed from the cliff top and pipework stuck out at strange angles. A brick septic tank was perched precariously close to the cliff top. And it all looked rather disappointing in the unforgiving light.

But a short distance further on – wow! Here were the skeletons of sea defences and two large rectangular concrete blocks resting on metal girders that emerged from the sand. I had no idea what they were but they looked bizarre; and wispy cirrus clouds in a deep blue sky added to the surreal nature of the scene. Normally successful landscape photography requires shadows to help give a three-dimensional quality to a scene. But here the almost complete lack of them seemed to add to the dreamlike quality of my surroundings. It was a one day in a hundred day.

Returning to the village I had a chat with the ladies at the “Sarnies by the Sea” sandwich shack. I said I had heard of Happisburgh for all the wrong reasons, but how did they feel? One said that she felt very bitter that the authorities were happy to let her village fall into the sea “like all the others”. This was the reaction of most of those I talked to, and you have to sympathise with them. One resident’s house had been valued in 2008 at less than the cost of a loaf of bread. Another villager explained that the concrete blocks are the foundations for a metal staircase which ran from the cliff-top down to the beach. It opened in 2003. The extraordinary speed with which the coastline is retreating, and the very low-lying nature of its hinterland, explains why official policy for this stretch of coast is “managed retreat”.

Unfortunately by this time the sand martins were nowhere to be seen. Perhaps nest-burrowing is a morning only job for them? I did find their activities illuminating, though. If a fragile creature like a sand martin can burrow into the cliffs using only their tiny claws what chance does the land have against such a formidable opponent, fuelled by climate change, as the North Sea?

NB : For more details about Happisburgh and coastal erosion there see the comprehensive Village website.

/http://happisburgh.org.uk/

The photograph on its homepage is worth studying. I’m not sure when it was taken but since then the caravan site on the far left-hand side has been relocated completely and I estimate that land equivalent to the outermost three rows of caravans has now disappeared.

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Not too choosy……

Following on from my last post about birds in the landscape, here’s another example. One day recently I stopped in my local village for some diesel. As I opened the van door I heard a collared dove calling overhead. It was in a bucket under the petrol station canopy. Wow! I excitedly told the petrol station staff who were a bit non-plussed. Hadn’t I noticed before?

It turned out that the dove had tried to nest in a pot-hole on the ground last year, and then transferred its attentions to the top of the sign – without the bucket. The twigs it brought in for the nest just blew away. The garage owners took pity on the poor thing and strapped a wooden base to the top of the sign and then balanced the bucket of sand on top of that. The doves took to it immediately. Last year it raised a youngster and apparently this year it has already reared one young. On my last visit, it called, and its mate called back from a nearby garden.

They obviously don’t waste any time, these collared doves, and they’re not too choosy either.

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Software pros and cons.

*Feral pigeons, Aberystwyth : noise reduction and sharpening in DXO Photolab*

For many years – from v3.1 to v6.14 – I was a 100% Lightroom man. I had begun my digital photography life with Paintshop Pro (I think it was) before graduating to Photoshop and then fairly soon afterwards to Lightroom. My digression into Photoshop was an expensive mistake because I found it unintuitive and difficult to use. Lightroom was a whole lot better. Then Adobe moved Lightroom into a subscription only package with Photoshop, and by 2017 it became impossible to update the software without signing up to a subscription. I stuck with the final outright purchase version (LR6.14) despite its slowly developing shortcomings. For a longer version of this process, see this post.

It seemed that Lightroom could do everything that I needed a software package to do. But slowly I became aware that other companies were producing alternatives to it, particularly in the realms of sharpening and noise reduction. Once Adobe’s subscription model became set in stone, there was an additional impetus for software developers to produce real, genuine, “Lightroom alternatives” that could be purchased once and updated once every year or two (at a price, of course) if the user wished. Capture One was long-established, but it was joined by DXO PhotoLab, On1, Luminar, and others, and Topaz was developing some excellent NR and sharpening tools.

My move from full-frame Canon to micro four-thirds format Olympus proved a bit of a turning point. Because of its small sensor size m4/3 has limitations, particularly at higher ISO’s; digital noise can become obtrusive. At long focal lengths, correct focusing has always been a difficult skill to master. The bird photographer is always likely to be pushing the boundaries of their equipment and I’m no exception. But I noticed some strange “clumping” of detail in wide-angle landscape images taken at the Olympus’ “base” ISO of 200. I thought it must have been the lens or the sensor, or user error of some sort. After a while I decided to take the plunge with Topaz Denoise AI, specialist denoising software which sharpens images as well. After processing an image in Lightroom you send it to Topaz which successfully cleans it up.

My go-to camera for almost three years – the Olympus EM1 mk2 – was fully supported by Lightroom v6.14, but I knew that once I upgraded it I would no longer be able to use that software. In preparation for that day I invested in DXO Photolab, software which claimed to be a fully featured Lightroom alternative. It seemed at the time to be the most “grown-up” of the new-kids-on-the-block – it didn’t, for example, make it any easier to replace skies, which is anathema to me. There was always going to be a learning curve with new software but I fairly quickly found it was lacking several features I was used to having. You couldn’t combine different files to create panoramic images, or blend a number of files at different exposures to overcome high levels of contrast. And bizarrely, once you have processed a file and closed down Photolab, your processing history is lost. You can’t go back to it.

Eventually I set the software up to only pre-process selected files, and then exported them back to Lightroom for further processing. In fact I’m using it in the same way as DXO’s PureRaw software, which had I known then what I know now, would have been a better choice in the first place. Potentially this works really well – the sharpening and noise-reduction is excellent, and you get a lovely clean file to work with. In extreme cases, it is possible to add even more sharpening in Lightroom because DXO’s NR is so good. The clumping of detail which I mentioned in the third paragraph just doesn’t happen. Its main drawback seems to be that it also adds contrast, which you don’t necessary want in bird photography, and the colour balance can be altered on export. Perhaps there are workarounds for this, though.

In the years after Lightroom became subscription-only Adobe continued to develop it. I heard of its new masking tools which enable the user to select specific sections of an image and work specifically on those. My purchase of an Olympus OM1 (the company’s new flagship model) in summer 2022 made life more difficult for me again. I was either going to have to jump ship from Lightroom entirely, or return to it completely by enrolling in the subscription programme. I decided to swallow my pride and do the latter. To be honest, I’m glad that I did.

While the cost of a standard subscription is £9.98 a month, if you pay in advance and buy from Amazon on Prime Day or Black Friday, that figure is reduced to £6 p.m. I’d say that is a pretty good deal and you still have Photoshop sitting on your hard drive if you want it. It is now easy to roughly select an “object” in Lightroom and software will outline it accurately. It also very easy to select the sky. In fact I worry that processing a file is now almost too easy! Fortunately or otherwise LR’s “content-aware healing” doesn’t work very well in my experience so far, so there’s still difficulties to overcome. Thank goodness for that!

Nothing ever seems to be straightforward, though. As mentioned above I’m using Photolab to pre-process certain files before returning them to Lightroom. I’ve come across a fairly serious problem in that more recently in many cases the export back to LR doesn’t take place successfully. It either fails completely or returns a corrupted file that has a regular pattern of coloured lines running across it. PureRaw doesn’t work either. I’ve taken this up with DXO technical support but they have not yet come up with a solution. In fact they seem to have forgotten about it altogether. Meanwhile someone on the DXO user forum has suggested that it is actually a Windows problem and suggested an easy fix. I’ve followed his instructions and my fingers are well and truly crossed.

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Two nights in a quiet place.

If I am in the Porthmadog area I have a favourite place to park the van overnight. It is a delightful spot on the banks of the estuary, overhung by oak trees, and no ………. I’m not going to tell you where it is! From there it is a short drive to the Cob, the causeway that runs across the Glaslyn estuary just south of Porthmadog, from which one can look inland to the Snowdon massif. This is surely one of the most iconic landscapes in the whole of Wales but strangely enough not a big seller as far as postcards are concerned. I’ve always wondered why: perhaps people just don’t notice it as they hurry along the main road across the causeway.

I’ve spent two nights at this quiet spot in recent weeks. One morning at the end of August I woke early, had a very quick breakfast, and drove straight to the Cob. I’m sure that one of these mornings I will catch the view from there to Yr Wyddfa in perfect conditions, probably with a low fog across the marshes in the foreground, but this was not going to be it. A bank of high cloud obscured the rising sun. After a short wait I drove on to Borth-y-gest, a village set around a small harbour just west of Porthmadog.

Arriving at the main car park about 8 a.m., and the only vehicle there, I put my head back against the headrest and promptly fell asleep. About ten minutes later I woke up and was aghast to find a parking ticket attached to my windscreen! The parking warden could easily have tapped on my window and asked me to leave; instead he must have crept silently up to the van, stuck down the ticket and made a quick getaway. Talk about a hit and run incident……..

Well, Borth-y-gest is an idyllic little place so after the initial shock had worn off I decided to make the most of a now sunny morning. I need to do a new postcard of the area so set off downstream along the banks of the estuary to see what I could find. The tide was high but receding and the best photograph of the morning came on my return to the harbour (above). It’s a classic “picture-postcard” image, perfectly lit, with good colour saturation; it won’t win any prizes but it will suit my purposes perfectly.

I spent another night at my secret place last week. Not so secret, I now realise: I’ve never had to share it but this time found a rather large motor-home already in occupation. Acorns falling onto the van roof and rolling groundwards woke me several times during the night and I was surprised to also hear light rain falling. I hoped that did not bode ill for the following day.

In fact it was still raining on and off at dawn but it looked like the sun was about to rise into a clear blue sky. These looked fantastic conditions for the photographer and I didn’t even bother with breakfast. There was nothing doing at the Cob (again) so headed straight for Borth-y-gest. Parking more carefully this time, I walked along the coastal footpath overlooking some tiny beaches and the still (but rising) waters of the estuary to the mountains beyond. A rainbow appeared out to the west, but it wasn’t until I began my walk back to the village that the most spectacular conditions were revealed. Brilliant “Godbeams” could be seen across the estuary as intermittent rain and cloud drifted seawards. They were even reflected in the waters of the estuary (See main pic).

It has been suggested that these were “crepuscular rays”; but strictly speaking this term refers to a similar phenomenon that occurs close to sunrise and sunset. Not wishing to split hairs, though, they are formed in the same way. I have always believed that if you follow the path of these rays upwards they will converge at the actual position of the sun, and this shows quite clearly in the photograph. And yet the sun is actually so far away (93,000,000 miles) that its rays on reaching us are virtually parallel. This appears to be an anomaly, to say the least. One website suggests –

“Next time you see sunrays, imagine them for what they really are, miles long columns of sparkling sunlit air highlighted by the darkness of adjacent unlit voids. Let the mind fly around and through them to give them solid form that replaces the flattish way we normally see the sky”

I still can’t get my head around it so if anyone can explain it in plain English, please feel free!

Later in the day I made for the hills above Harlech on the south side of the estuary. By mid-afternoon the atmosphere had completely cleared and the light was crisp and transparent. I took a series of images back towards Porthmadog and Moel Hebog (above). My quiet place is there, somewhere…….

Postscript : I successfully challenged my parking ticket.

The quote is from : https://atoptics.co.uk/atoptics/rayform.htm

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