Black and white photography is as old as photography itself. With the advent of digital photography, it is increasingly easy to produce black and white images using various types of software. In my opinion what makes a good black and white photograph still has to do with light and subject. Sometimes colour can be a distraction, so by eliminating it, we can focus the attention on textural details, shapes, moods, and feelings.
On one of my recent trails in the Rota Vicentina of southwest Portugal, I made a series of photos of the rural landscape. You can read about it here:
The weather was very nice, with plenty of sunshine and white clouds. Some of the cork oak trees are very old in this region, and they make for interesting shapes against the sky and surrounding landscape. Some of the houses were also interesting, with the typical strong blue and white colours of the Alentejo province. In several photos, I used a polarizer to enhance the richness of the colours even more.
Even though I was quite happy with the colour photos I made on that trip, I thought that some of them might also work in black and white. So, when working on the Raw files, I tried several types of conversions. There are many ways to convert from colour to black and white, but I wanted to keep things simple. In this case, I used the Fujifilm presets inside Lightroom, deciding on either the Acros or Monochrome presets, with a touch of red filter to darken the sky and enhance contrast.
Following are some photographs that I converted and am happy with. Next time you are out photographing, keep an eye for interesting subjects that might be suitable for good black and white images.
I recently wrote about the latest iteration of the X100 series of cameras in the article below.
I have been using the camera whenever the opportunity arises, in short walks, or even on long trails. One of these recent short walks in the beach near my house, Carcavelos. Since June I have been working under a mixed regime, one week in the office, one week at home. Thanks SARS-COV-2… anyway, one of these afternoons, after work, I went for a sunset stroll on the beach. The little Fuji X100V is a perfect companion for such occasions, so I took it along.
The weather forecast included some rain showers and clouds, courtesy of storm Alex, so things were looking promising in terms of potential photographic interest. Looking through the window, there were indeed some clouds, but also occasional sunshine. Upon arriving at the beach, the weather was great, with golden light that with time turned to the typical post-sunset blue hour. I simply walked along the surf, making some photos here and there.
There were several surf schools operating at the time, and they always signal their position with flags. One of the attractions of the X100V is the fast f/2.0 lens, so I tried a close shot of one flag with the lens wide open, so the background would melt away. It’s nice to have these options in a small camera. This camera is small but quite responsive, so this type of unplanned photography on the go is easy to do. The fact that the X100V looks like some old film camera also helps in being unobstrusive when among people.
I stayed in the beach until after sunset, as the sky started to show magnificent colours. I did not have a tripod with me, so I had to raise the ISO more than I am used to, but even so, the quality of the RAW files was quite good. At the end of the day, it was an enjoyable and relaxing walk, and I was able to make some interesting photos with this nice Fujifilm camera.
Next time I will write about my experience with it when hiking on a trail along the Vicentina route in southwest Portugal.
Every landscape photographer knows that one of the best times to include the Moon in landscape photos is one day before the full Moon. On that day, the Moon rises around the same time as the Sun sets; this results in a nice light balance during golden to blue hour transition, because as our satellite rises, the landscape is still illuminated by the fading light of the sunset. As a bonus, the following morning the Moon will set around sunrise time, again providing an excellent opportunity for a good light balance. On the day of the actual full Moon, it rises after sunset, which means the landscape will be darker.
During my recent vacation time in the southwest coast of Alentejo, Portugal, I had the opportunity to photograph during the full Moon, so I made plans to choose a nice setting for such. Being familiar with the area, I chose to photograph the Moon rise in Odemira, and the Moon set in Milfontes. In Odemira I set up near the local windmill, which in itself is an interesting subject. By being located in an elevated area, I would see the Moon rising over the surrounding hills. Then, in the ensuing morning I would go to Milfontes to photograph the Moon setting over the river Mira estuary. I have already shared some photos taken during such sessions in my previous essay.
All the best plans can be laid to waste if weather does not cooperate. Fortunately, I was lucky, as the weather cooperated. I drove to Odemira about one hour before sunset, to take some photos of this nice village. The winding road twists and turns as it descends towards the Mira valley, with some good view points along the way.
I spent several minutes photographing the windmill and the village during the sunset. It is a nice spot that affords a 360 degree view, from the village proper to the rising heights towards the South, that culminate in the Monchique mountain at 900m of altitude.
Once I saw the Moon rising over the hills in the East, I started photographing it, with the camera firmly mounted on the tripod. I was glad to have a telephoto zoom with me, to provide compositional flexibility from my fixed location. Light levels go down very quickly, so keeping an eye on the exposure histogram is very important. Also relevant is to avoid exposure times that would blur the Moon, which actually moves quickly in the viewfinder!
During this period, I kept an eye on what was happening behind me, as dusk was coming over the village. I made some interesting photos of the windmill and the day-to-night transition.
After this good photo session, I called it a day and drove back home for dinner. Next step: wake up before sunrise to photograph the Moon setting in Milfontes. The following morning the coastal area was partially covered in fog. I wanted to photograph from the bridge over the river, as it provides an excellent view of the estuary and the village. Fortunately, the area over the river was not completely covered in fog, and the setting Moon was visible. I set up my camera on the tripod in record time, and started to shoot.
Towards the East, the river was still under the foggy shade of the mountains, enhancing the quietness of the place at this early hour.
After such a good outing, I returned home for a well deserved breakfast. No matter how many times I photograph in this region, I never get tired of it. There is always something new, due to the changing light and the time of the year. Following the Moon in about a 12 hour period was a great way of showing the character of this singular region, from the interior to the coast.
Summer in the southwest Alentejo natural park is usually a very busy season, with a large number of people choosing the area for vacation. The main attraction are the many pristine beaches that exist along the coastline and that allow a well deserved rest in a natural and quiet setting. This bit of coastline is probably one of the last “wild” ones in Europe.
I spent a short vacation in the region last week, and noticed that this year the number of visitors had dropped considerably. No doubt the result of the ongoing pandemic crisis. The impact on the local economy will be significant, as in many parts of the World where tourism is a large part of the local income.
For this trip I had no definite plans concerning particular photographic endeavours. Weather permitting, I was hoping to spot comet Neowise after sunset, and go out to photograph the rural fields dotted with the typical hay bales. One of the things I like best about this area is the sea versus land dicotomy that is always present: only a couple of kilometres inland from the coast, the landscape is dominated by rolling hills and rural farmland. If it weren’t for the sea breeze, one might be well within the interior of the country. A true surf ´turf of geographic and climatic nature.
I had previously spotted a few places with abundant hay bales, but I wanted to find a location where they would be complemented by the native cork oak tree, to add a bit more of interest and context to my photos. I found such a place near the island of Pessegueiro, between Milfontes and Porto Covo. After parking the car, I started to walk around looking for potential frames in my mind. I had about 1 hour before sunset, so I was in no rush to start shooting. I normally take my time before setting up the tripod, just familiarizing myself with the surroundings and the light.
The light had a nice golden quality to it, thanks to the approaching sunset; shadows from the bales were long, complemented by some soft wispy clouds. For some photos I used a polarizer filter to enhance the sky and define the clouds a bit more. I kept moving around and trying different angles, to include the farm houses, the trees, the distant hills and some wind turbines.
Besides using a wide angle lens for greater depth and context, I also used a telephoto lens to isolate the subjects a bit more. Like in the previous photo, and the following ones.
What about the comet? I went to a dark area after dinner, at around 10.30 pm. I knew it would be visible to the northwest, just below the Big Dipper. It was actually easy to find with the naked eye, and it was a great experience seeing it with binoculars. I set up the camera on the tripod and took a few shots, testing the shutter speed to avoid star trailing. There was some atmospheric haze (the day had been very hot) that affected the visibility, as the comet is not very high above the horizon. But overall I am happy with the results, and above all I felt privileged for being able to witness such a spectacular visitor.
I was glad I went out for the comet that night, because for the next 2 days the entire coast was covered in fog!
As mentioned in my previous article, today I will write about a unique species of white storks in Portugal’s southwest Alentejo and Vicentina coast. Between Vila Nova de Milfontes and Sagres, this beautiful and still wild coastal region hides another interesting “secret”: it is home to only species of white storks in the world that nest in the coastal cliffs.
Since the 1980’s biologists have been studying and monitoring these colonies of birds. Today, there are over 40 occupied nests. One of the best locations to observe them is in the cliffs near Cabo Sardão. From the car park beside the lighthouse building, it is only a short walk to the edge of the cliffs. There is one nest right in front of the lighhouse´s direction, and another one just a bit towards the south.
Scientists have concluded that most of the couples are still migratory, returning at the end of the Winter. Often the nests are very damaged, and the birds spend a lot of time repairing them. They have to do so in preparation for the birthing of the younger ones in the spring and Summer. Observing these unique birds (plus many other species, of course, like the rare coastal eagles) is a great experience, particularly for the beautiful surrounding seascape.
The best times to observe the storks are during the early morning and late afternoon, when there is more activity relatedto finding food and bringing it to the young ones in the nests. I prefer observing them in the late afternoon, close to sunset, when the light has a magical golden quality. The photos below were taken during a couple of recent visits. A tripod and a telephoto zoom are recommended, for some more close-up compositions and more stability of the gear in windy days.
For sure I will return to observe these unique birds. Like them, it would be great to be able to fly and soar above these seascapes.
During a recent weekend trip to the southwest Portuguese coast, I had the chance to photograph in the Cabo Sardão area. This is one of my often photographed locations, so it is a challenge to come out with something new, or a different approach. In this occasion, I have planned to tackle two different obiectives. The first one was to photograph the white stork species that lives in the area: this is a unique species of stork, because it nests in the coastal cliffs, and will be the subject for a future essay.
The second objective was to make a few panoramas by shooting a series of photos for later stitching in the computer. There are many sweeping coastal vistas in the area, and sometimes a wide angle lens is not wide enough to encompass the entire scene. For creating panoramas I have been using Panorama Factory, a software that does the job very well.
The first image is a set of 3 photos taken with my Fujinon 16mm f/1.4. The image shows the coast at low tide a short distance away from the Cabo Sardão lighthouse. The hour was close to sunset, so the scene was illuminated with golden light.
Next is the classic view of the precipitous cliffs with the lighthouse in the top. This is an assemby of 6 photos, as above taken with the 16mm lens, spanning a large angle of view; larger than what would have been achievable with only a single shot from my wide angle lens.
For the third and final image I waited for the full Moon to rise beside the lighthouse. Again, it would have been difficult to get the image with a single shot. This is an assembly of 9 photos taken with the Fujinon 50-140mm f/2.8 telephoto zoom. I like the result because the lighthouse is also lit, as the Sun had just set behind me.
This was an excellent occasion to dust off my panorama abilities, but honestly, these days it is really easy to achieve good results with just a bit of care in the field. For these photos I used a tripod, but this was dictated by the low ISO and concurrent slow shutter speeds. The key concern is to have sufficient overlap between the successive shots, so the software can stitch them correctly.
current health crisis, many governments have implemented states of emergency,
where confining people to their houses to break the infection chain was
required. In Portugal that state of emergency lasted for 6 weeks, from
mid-March to end of April. Thanks to this, we had success in curtailing the
spreading of the infection and are since 4th of May slowly reopening
some economic activities.
March, just before the lockdown was put in place, I managed to make a short
trip to my house in the southwest coast, in Longueira. I wrote about it in this
months, and with the lifting of restrictions, I was able to return with my wife
to Longueira for a weekend. The local municipality, Odemira, has only 5
reported cases as I write this. This is not strange, because Odemira is the
largest municipality in area, and the one with the lowest population density.
This is a trait common to the entire province of Alentejo, where social
distancing is already the norm, due to the large distances between villages.
It was good
to go back and travel a bit in the area; all the restaurants and small cafes
are still close (they will reopen 0n May 18th), and there was hardly
anyone on the streets. But at least it
was possible to enjoy this “new freedom” while admiring the views in Milfontes,
Almograve, and Cabo Sardão, for example. After being at home for 2 months, it
was great to be out in one of my favorite places.
I took my photo backpack with me, ready to go on a photo walk, should the
opportunity present itself. That was the case one afternoon, where I spent a
few hours near Cabo Sardão. I have photographed this area so many times, it has
become a challenge to obtain different photographs. This afternoon, the weather
was quite unstable, with many showers and the occasional sunshine spell. I
parked the car at the end of a dirt track, near the cliffs, and just admired
the view and the feel of the place. I was thankful for my family being healthy
and felt blessed for being able to be back here, enjoying the salty wind in my
face and the crashing of the waves below. I could not think of a better place
minutes of simply “being there”, I started walking along the coastal trail,
paying close attention to potential photographic subjects and elements. We are
in the middle of Spring now, so there are many flowers around, some of them
quite small, others clinging to the rock fissures, all buffeted by the strong
winds. These winds keep shaping the consolidated and rusty colored sand dunes
into small canyons and plateaus, where rounded pebbles have found their resting
place. The surrounding landscape seems to strike a balance between the erosional
forces of the sea, wind and rain, and the resilience of the rock cliffs.
In my pursuit of finding new angles for familiar subjects, I often ended up lying flat on the ground photographing small flowers, sometimes isolated, other times as foregrounds for the receding cliffs and sea. I have also tried several long exposures, with the idea of conveying this feeling of perpetual change, showing the relationship between the natural elements of water, wind, and rock formations. During the afternoon there were a few showers, but even then, they helped to keep the atmosphere clear and bright. I kept shooting until sunset time, simply enjoying being out in such beautiful surroundings. Hopefully, this health crisis will pass sooner than later, and we will emerge from it stronger and better human beings.
Here in Portugal, as in many other countries, we are under a “state of emergency” to combat the pandemic. This means that all non essential personnel was sent home. Some manage to keep working from home, and all schooling is also home based. People can only go out for specific reasons: work, groceries, pharmacy, and local walks. Always keeping a safe distance and avoiding gatherings. So far, after 1 month, the results are encouraging.
Of course, one of the things that I miss is going out and making photos, so I thought about planning a few outings within a reasonable walking distance of my house. I live very close to the beach in Carcavelos, one of the most popular ones on the coast near Lisbon. It is a place I regularly visit to photograph all year round, especially at sunrise. But, as part of the current measures, all beaches and walkways have been closed. My first planned outing was to Carcavelos beach, but this time I would have to choose a different viewpoint; I normally would go to the beach proper at low tide to make photos, which was impossible now. The path that exists along the beach front is also closed.
I then decided to try and scout a few places and viewpoints on the sea side of the road, especially over the rocky outcrops that exist along the coastline. These are quite safe to walk on, and before sunrise, I was sure of not finding anyone else, so all was fine. With this plan in mind, I left the house about 1 hour before sunrise, with my photo backpack and small tripod.
Weather was good, with a few clouds and the Moon still high. My first stop was near a cross that exists by the side of the road, on a dangerous curve of the road, where many accidents used to happen in the past. Today, a traffic radar and lights moderate driver’s speed. I managed to make a photo of the cross with the Moon in the background, under the predawn light. I actually made a few more photos around this location, some long exposures of the sea and waves hitting the shore. Some of the rocks resembled ramparts and castles in my imagination.
After getting some interesting photos in this spot, I walked back towards the beach. I decided to try a few shots and compositions from various places, including the nearby rocks descending into the sea, the fort in the distance, and the interesting sky. It was around 7 am by then, and even this early, normally Carcavelos is already busy with surfers and joggers (I usually jog in the beach). Since the beach is closed, there was an eerie feeling over the area. Below are some of the photos that have resulted from this session. As you can see, the light was changing fast, and I had to work quickly. The colours were transitioning between the blues typical of pre-sunrise, to the warmer pinks and yellows of sunrise.
In the coming weeks, my idea is to continue to explore these beaches around my house, from a less conventional perspective. Always abiding to the safety measures, of course. As an hobbyist landscape photographer, I am used to be out of the house when most people are sleeping, so from this angle, things have not changed (much).
Finding myself on vacation in Longueira, 10 km south of Milfontes, I managed to convince my wife to enter 2020 on the beach, while admiring the fireworks display planned for midnight. This was a challenge, because it meant leaving the warm house and venturing into a cold night. In the end, it payed off with a nice show over the river Mira estuary.
I wanted to make some photos, of course, so I packed my camera and lens (Fujifilm XH-1 and 16-55 f/2.8 lens), plus the tripod. I had a fully charged battery in the camera, and another one in my pocket, just in case. I was going to use longer than usual exposure times, between 2 seconds and 20 seconds, experimenting a bit. Photographing fireworks is always a trial and error exercise; registering one or more bursts can result in interesting results.
We chose to go to the south side of the river, opposite the fireworks launching area. This side of the river would be less crowded, and we would be able to see some good reflections on the water. After arriving, I set up the gear on the tripod, and did a few test shots; the view towards Milfontes is actually quite nice from this river bank: the old castle and houses were illuminated, with the light reflected on the water.
At midnight, on time, the fireworks started, and lasted for 10 minutes. That kept me busy changing exposure times and focal lengths, trying to register different bursts and colours. I managed to do so, and was happy with the results I got.
Going back to the same place as the seasons change can be rewarding and an interesting experience. In the last few years I have driven across this farmhouse many times, normally on my way to Santa Clara a Velha damn, near Odemira, in the Alentejo province of Portugal. The land inside this farm is cultivated for cattle feed and has some excellent examples of the typical cork oak tree dotting the landscape.
There are several interesting compositions and framings, but the one that has attracted me the most in this place is placing a tree in the foreground, and the house at the top of the hill in the background. The two can then be connected visually by the farmland in the middle, which makes for a natural link between them.
I have now photographed this place in Spring, Summer, Autumn and Winter. This small project has happened subconsciously, and only recently have I realized that I had collected a seasonal portfolio of this location. What changes the most in the land, whilst the tree and the house remain as more fixed elements in the landscape. During Springtime, the land is lush with greenery and flowers, which wane and dry out in golden hues come the Summertime. During Autumn and Winter, the fields are cultivated again, thus initiating a new cycle.
I like how these changes mark the passage of time, while the old trees are almost like guardians of the land, witnessing the endless seasonal cycle of life. Seasons come and go, but some things never change, which is comforting. So, give it a try, and run your own small project like this one, documenting the seasonality of a landscape or other theme that attracts you. Results and images are bound to be interesting and rewarding.