Climbing Pico mountain, Azores

This year I had a special birthday (the 50th), atop Portugal’s highest point, the mountain of Pico, in the Azores island of the same name. At 2351m above sea-level, the volcano rises majestically from the ocean, being the third highest in the Atlantic to rise from the ocean bottom. The idea to go up the mountain was my wife’s, and I am grateful to her for such an incredible experience.

We planned everything in due time, since July is a busy month in the Azores. We wanted the event to be a family one, so my son and daughter also went with us. After some research, we decided to book with Tripix, a recently established adventure company. Everything went smoothly, the guide was very good and knowledgeable. The company is also ecologically sound, as it provides wooden poles, not metal tipped ones; the latter end up eroding the lava rocks, which is bad, especially with the increasing number of trekkers. We went up on the afternoon of the 19th, camped inside the crater, and came down the following morning.

The climb is not a technically difficult one, but it still requires relatively good physical shape, due to steep inclines, and some loose ground near the top. Our group consisted of 8 people, plus the guide. The Pico volcano is integrated in a natural reserve, and provides amazing views over the central group of islands of the Azores archipelago, like Faial and São Jorge. It took us about 5 hours to climb up from the starting point at 1200m altitude, and about 3 hours to come down the following day.

Of course I wanted to do some photography, and it is always a challenge to decide what to take on the backpack; especially when also carrying a tent, sleeping bag, food, and some extra clothing for the colder night. In the end, I decided to carry my two Sony A7 cameras, one with the Zeiss Batis 25mm lens, and the other with the Sony 55 lens. Plus, a small but robust Manfrotto table top tripod for long exposures at night. This light kit fitted nicely inside a small 22 litre backpack.

It just happened that the night of the 19th was a full moon, which was a good opportunity to photograph under special conditions at night; also, the weather was clear during the sunset and the sunrise, so I managed to get some interesting shots of the moonset and the shadow of the volcano. We stopped a few times going up, which allowed for some picture taking time of the great views. In the morning of the 20th, we woke up at 4am to climb the Piquinho, the small volcanic cone created by the last eruption in the year 1718. From there, we watched the blue hour developing, and after that the sunrise. The volcano is still active, with some fumaroles smoking through the vents.

In the end, this was a memorable experience, that my family enjoyed very much. And I came away with some unique photos for my portfolio too. The Sony kit performed really well, never missing a beat.

Piquinho under full moon
Piquinho under full moon
Sunrise
Sunrise over Pico and Faial islands
From the top, looking over Faial island
From the top, looking over the crater and Faial island
Moonset over Pico shadow
Moonset over Pico shadow
Pico volcano panorama
Pico volcano panorama at sunrise

 

Some black and white images from Oman

This post is more or less a continuation of the last one, in the sense that the photos were taken during the same trip to Muscat, Oman. However, this time I want to describe how I came about making these images, and how they ended up like this, in black and white.

The first two photos were taken just outside my hotel, in a seaside walk that is flanked by some trees. On a late night walk, I noticed that some trees were in bloom (the frangipanis), and I imagined that they would make some interesting subjects at dawn. So I planned accordingly, and the next morning I woke up early and went out shooting. As a bonus, the sky was stormy and the light soft, providing and interesting background. I immediately thought that I had good material for black and white images. I ended up with a composition showing the whole tree, and another one showing branches “reaching” into the sky, and into each other. Some quick adjustments in Silver Effex, and all was done.

For the next pair, the story was different. These were taken in Wadi Bani Kharus, during a geological field trip in the mountains. I was excited to be back in an area that I know very well, having lived in Oman for 7 years. In terms of landscape, the Oman Mountains provide some of the most picturesque and rough scenery, almost primeval in character. It was late afternoon when we parked our vehicles near a small village. The houses hugging the mountainside, and the ridges against the sky, made for a very typical shot. On the way out, we caught the last rays of sunshine filtering through the haze, and silhouetting the ridges; to somehow enhance the primeval feel of the instant, I opted for an antique plate effect for the black and white conversion.

Looking at the images, they remind me of what it felt like taking that morning stroll, or being inside the mountain range.

The tree
The tree

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Village
Village
Ridges
Ridges

 

ZEISS Batis 25 and 85 lenses – some landscapes from SW Portugal

For this first post of 2016, I want to share some photos taken in one of my favourite places, the Brejo Largo beach, in Portugal’s southwest Vicentina Coast. One can reach it by walking (my favourite way) or via 4WD through off-road tracks. I have photographed in this beach for about 20 years, and it never disappoints me: the beach profile is always changing, due to the action of wind and sea, and the light is different through the seasons.

Winter light, on cold and stormy days, is particularly attractive, with the low sun providing long shadows and some warmth. Couple this with low tide near sunset, and the result is wonderful. This is what happened during this visit, where I have used my ZEISS Batis 25 and Batis 85 lenses, to shoot some seascapes. This focal length duo has long been a favourite of mine, with the 25mm providing wide vistas, and the 85mm allowing for some tighter compositions.

In my opinion, ZEISS has some real winners in these lenses, they are really good and a joy to use in the field. Performance with smoothness, I would say. I also continue to experiment with the Big Stopper filter from Lee Filters, which allows the use of several minutes’ exposures, rendering the sea and sky in special ways. One has to try several times, in order to achieve the intended result, as the result changes constantly, with the sea and clouds always moving.

I wish all a Happy 2016.

Brejo Largo beach - general view
Brejo Largo beach – general view
Moving elements
Moving elements
Winter warmth
Winter warmth
On the dunes
On the dunes
Low tide reflection
Low tide reflection
Twilight
Twilight

In the countryside

Notice your surroundings. This may seem obvious, but how many times, as photographers, we do not pay enough attention to our environs? Even when you do not have a camera, take mental, or written note, of potential places to photograph.

This is what I did recently, when travelling by coach between Lisbon and Milfontes, on Portugal’s southwest coast. The driver took a different than normal route, and I was soon noticing some interesting places before arriving at the village of Cercal: there were the typical rolling hills of Alentejo, golden from the summer, with plenty of majestic “sobreiros” (the tree from which bark cork is made), small farms with hay bales, and even abandoned schools. I took note, and in a late summer afternoon last August, I drove there to explore the area.

Cercal is just about 20 km from the coast, but the feel is of a true “interior” village, making a living from farming and agriculture. From there, is a short drive to the even smaller villages of Espadanal and Fornalhas, with many interesting stops along the way. I took photos of characterful trees, abandoned farm houses and schools, empty roads, and hay bales in the hills.

The light was a bit challenging, with the late afternoon sun playing hide-and-seek… but the clouds made for some interesting long-exposure shots.

Of course the coast and the beaches beckon, but if you visit the region, make an effort to stop and appreciate the countryside also, it is well worth your time.

On the road
On the road
Old school
Old school
Old school
Old school
Old tree
Old tree
Old tree
Old tree
Old farm house
Old farm house
Fields
Fields

Early morning at Pessegueiro Island

This past August in the Alentejo coast has been characterized by somewhat cool and misty mornings, and breezy afternoons. Not so good for beach goers, but wonderful for photographers. One of the mandatory spots in this region is the Ilha do Pessegueiro, located just slightly south of the well-known village of Porto Covo.

This island is the result of the last post-glaciation sea-level rise, about 18,000 years ago; at the time, a vast sand dune complex was developed. These dunes are now consolidated, of course, and make an important geologic formation in the area. The Romans established a post on the island (for salt trade), and much later on (around the 18th century), the Portuguese built two forts, one on the island, one onshore. These were built to defend the area against the North African pirates.

Trusting in the weather forecast, I planned for a visit in the early morning, to take some photos of the island and beach in the mist. Indeed I was not disappointed, as the fog/mist was abundant, but for short periods it was possible to see the island.

All in all, a very pleasant morning and photographic session. This was also one of my first outings using the Sony FE 70-200 f4 lens, a focal length range that I always found very useful for landscape photography. This lens is, in my opinion, a must have for users of this system.

 

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The island in the mist
The island in the mist

Almograve beach summer sunrise

Today I just to post some images I made recently in a place that I love: Almograve beach, in Portugal’s southwest coast. I have known this region for almost 40 years, but it always seems new and fresh to me. When I was a kid, I used to dive from some of these rocks. Today, that is not possible during the summer, because the life-guards will not allow it.

The rocks have been eroded for sure, but at our human scale and time frame, we cannot spot the difference. What we can appreciate is the change in the beach profile, which changes every year, as the sands are shifted along the shore. This year is one of high sand content, and many rocks are buried under it.

One morning, very early, even before sunrise, I went out to photograph the beach at low tide. This is in August, so one has to go really early to catch the best light, and to avoid the high number of people that flock to the beach. The weather was cloudy, which is good for photography, but bad for beach goers… Lucky me, I managed to get some nice images, with interesting sky and clouds.

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Low tide and sunrise
Low tide and sunrise

Spring in Odemira, southwest Portugal

The region of Odemira, in southwest Portugal, is full of interesting places and things to photograph. In one of my previous posts, I wrote about the town market and the town itself, which in its laid back ways is quite nice.

Recently I was driving nearby in the early morning when I noticed a nearby hill covered with yellow flowers, and some sobreiro (cork) trees, a trademark of the region. The hill was facing west, so I knew I had to go back in the late afternoon to do some photography.

The results are below, a mix of various attempts of exploring different viewpoints, focusing distances, depth-of-field, and some black-and-white conversion. Again, I took these with the Sony A7II and Zeiss C Sonnar 50mm lens, which is proving to be a fantastic combination to use. odemira_3_4_15_10_net odemira_3_4_15_11_net odemira_3_4_15_12_net odemira_3_4_15_6_net odemira_3_4_15_10_bw_net

Carcavelos beach at dawn

I live close to Carcavelos beach, west of Lisbon, so when I can I just take the opportunity to go and make some photos. I like it very much especially off-season and early in the morning, when I almost have the place to myself. The beach is big, with many photo opportunities, provided by the sand, sea, sky, and the fort at its eastern tip.

This particular time, I was trying to come up with different photos, trying long exposures, abstracts, to convey the feeling of “being there”.

Photos were taken with the Sony A7II plus the Zeiss Sonnar 50. Sometimes slowing down with just one normal lens is really great.

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The Vasco da Gama Bridge, Lisbon

The Vasco da Gama Bridge, inaugurated in 1998 for the Lisbon Expo, is one of the places to visit and photograph in Lisbon; preferably at dawn, when the light is more interesting. There are several photographic opportunities, from the typical wide angle shots that include the bridge and the river, to the more unusual viewpoints, such as right underneath it.

So pack a tripod and your wide angle lens, and explore the area, as there are many more interesting structures to photograph. These shots were taken with the Canon EOS 6D and the EF 16-35 f4 L lens.

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Two similar images, different interpretations

Today I want to share a couple of photos that I took recently, as an example of how just a small difference in viewpoint  can have a large impact on the final result. I was driving to the town of Odemira, in Alentejo Province (South Portugal) (subject of my previous post) in the early morning, when I noticed the landscape by the side of the road. What caught my attention was that with the arrival of Spring, the fields are getting some more colour, in this case reds and greens. Together with the blue sky and some wispy clouds, the colour palette was simple and nice.

So I stopped the car and walked into the field, trying to look for interesting framings. Photo #1 is probably a type of photo that most would click: colourful field, typical house farm against the sky, classic Alentejo image. I then started thinking about something different, exploring different viewpoints. Hence photo #2; as it turned out, I just rotated my angle of view to the right of the previous framing, basically eliminating the farm house.

To me, photo #2 is more about the idea of Spring, just the open fields, colours, and the sky. It could have been taken anywhere, as there is no more a cultural or geographical registration or identity. This is a type of photography that is less immediate, and a bit more challenging.

So, when out an about looking to photograph familiar places under a different interpretation, think about this example, hope it helps.

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