<![CDATA[kevin arrowsmith photography - Blog]]>Fri, 16 Nov 2018 19:37:21 +0000Weebly<![CDATA[When the weather is wet and windy]]>Wed, 24 Oct 2018 10:59:39 GMThttp://kevinarrowsmith.com/blog/when-the-weather-is-wet-and-windyWe've had a week and maybe more of incredibly wet and windy weather here in Durness. Extreme weather can offer some great photographic opportunities with dark skies and sudden shaft of light creating amazing drama in such places as Loch Eriboll or the mountains of Assynt. However, when it's almost impossible to stand up against the wind and the rain is horizontal, it's sensible to realise what is and isn't possible.

No excuse then to stay indoors and catch up with some of those outstanding jobs. Reviewing images captured earlier in the year but never published, and filling those gaps on the gallery walls.

The first image I've been working on is a composition I've had in mind for so long but only managed to capture in March. It's no secret that Beinn Spionnaidh is one of my favourite mountains in the area and in late afternoon the winter light, often highlights features on it's slopes with swirling cloud adding to the drama. The remaining snow in this instance adds a little something extra.

In the frame

Having printed an image, choosing a suitable frame is the next task. It's important that the mount and frame compliments the photograph rather than attracting the viewer away from it. The benefit of framing my own work is that I can choose from a range of mouldings and size the complete frame appropriately. This in contrast to buying ready made frames which most often turn out to be a compromise.

For this print of the 'second beach' at Balnakeil,  I decided upon a simple black frame which compliments the dark tones and deep contrasts of the image. Mounting the print with a 'deep bevel' mount adds a little extra depth to the framing. This involves a lot more time and materials and is reserved for occasional products with a slightly more premium finish.

This particular print is a 'C type' print on gloss paper, using a process most similar to the traditional chemical process. I chose this paper to emphasise the intense colours in the sunset and the sharpness from the sand in the foreground to the mountains in the background.

Framed size approx 84cm x 61cm
​Price £160 
I'm really pleased with this recent long exposure image captured at Cassely Falls near Rosehall and have been keen to frame it and get it into the gallery.

For this print, I chose a natural oak finish which compliments tones within the image. Again, a deep bevel mount adds a little more of a premium finish and helps direct the viewer's eyes inward towards the image and the smooth highlights of the flowing water

​Framed Size approx 64cm x 48cm
​Price £95

​Gaps on the wall now filled, it only remains now to keep an eye on the weather forecast. There's talk of snow on the hills this weekend so fingers crossed . . .
<![CDATA[Go do something different]]>Fri, 23 Mar 2018 09:57:15 GMThttp://kevinarrowsmith.com/blog/go-do-something-different
In 1979 a friend an I walked the Coast to Coast long distance route from St.Bees on the west coast to Robin Hood's Bay on the east coast. Described in a book by the famous Arthur Wainwright, the route passed through some of the most picturesque and diverse landscape. There were no signposts or waymarkers, no badge on completion, and walkers were encouraged to take variations in the route if they wished. During the ten days it took us to complete the walk, we probably only encountered a handful of others walking the route. 
Needless to say, we had a fantastic adventure and we arrived at Robin Hood's Bay with an incredible sense of achievement.

​It seems unbelievable now but back then not many people in our neighbourhood had a family car. Jump nearly forty years and our roads are congested but the car gives us the ability to escape and explore new places. 

Enter the North Coast 500™️ (wouldn't want to get sued!) and each year we experience thousands of people exploring the least populated and least spoiled areas in the UK, a long distance route - in a car. Following a prescribed route, the majority drive the same roads, see the same sights, and take the same photographs as everybody else who have travelled the route. That's fine, the consensus is that it's a fantastic holiday and many strike up new friendships and vow to return again. 

This is an amazing place to live and work but with the benefit of time, and exploring off the beaten path, the real amazement starts. You don't have to climb mountains or disappear into the wilderness (although that's easy to do!) within a mile or two of the village can be found places which are simply jaw dropping in their beauty. Away from the roads and the traffic, these places can be enjoyed in complete peace and quiet.
I discovered this place just a couple of hundred of metres from the main road in one of the many small areas of woodland between Durness and Tongue. That's a couple of hundred metres off the NC500™️ route. I had no idea what I would find, I was simply wandering, exploring. 
What I did discover was a complete joy. A small burn wandered through a birch wood, the gentle sound of running water negotiating and tumbling over rocks, I could have been miles away from civilisation. Following the burn, I unexpectedly came across a series of small waterfalls, each really pleasing in their own way. This one stopped me in my tracks. The water plunged into a pool from a height. A collection of birch leaves swirled around in circles in the current in a never ending journey, each following it's neighbour on a preset path. Accompanied by the gentle sound of the falls, I sat in what would otherwise be complete silence and simply took it all in. I'm not a particularly religious person but this place just seemed special in a spiritual way, this was one of those moments when  you wonder if anybody else had ever experienced this place.
It's great to see so many new visitors come and experience the 'Far North' - afterall, for years businesses, Community Councils and various community groups wondered how to attract more visitors. What I would suggest though is that visitors take time to really experience what's beyond the windscreen. Don't be like those birch leaves in the pool, spend a few days in a handful of key places and discover your own secret falls.
<![CDATA[In search of the perfect  camera backpack]]>Fri, 02 Mar 2018 19:28:42 GMThttp://kevinarrowsmith.com/blog/in-search-of-the-perfect-camera-backpackAlthough my 'Pro' camera gear is insured to the hilt, I still like to look after it and make sure it's safe when I'm out and about. Over the years I've searched for a backpack specifically designed for photographers but which would also be as comfortable and robust as possible for my treks in the wilderness in all four seasons. That has proven more difficult than you might think.
For easier days at low levels and around town, I bought what I thought was going to be just the thing. I've used Lowepro products for decades and always found them to be of great quality and good design. Their ''Photohatchback' offered enough storage for my equipment and extra space for a few extra items such as waterproofs, snacks etc. However, there was no means of attaching a tripod and I was soon to discover that this was the most uncomfortable backpack I'd ever carried. With just a simple waist strap, most of the weight is carried on the shoulders. The chest strap was attached to a sliding rail affair. I use the past tense as it was only a couple of months before one half of it became detached and was lost forever. (I understand that a later version has a redesigned chest strap)
Photo enthusiasts are often surprised that I have always restricted myself to one SLR and 3 lenses. This is because I'm often walking a reasonable distance and climbing high. In addition to camera gear, on some winter ventures I'm often carrying crampons, ice axe, and winter survival gear. This is why I decided that what I needed was a 'fit for purpose' mountain grade photo backpack.

I researched all the major manufacturers but found that most backpacks looked like suitcases with shoulder straps. 
The nearest contender was another Lowepro product, the Photosport 300. What looks like a much better harness and dedicated compartment for camera gear, it looks the best of a limited bunch. However, it's just too small, and £181?

Time to think again.
At last I've come to realise the best solution for my needs.
A backpack which has the most comfortable harness I've ever worn. Simple access to waterproofs etc, snacks, and all my essential photographic kit. Accommodates my 'mid-size' tripod either inside or outside and raincover for additional protection. What product is this? The backpack I already have!
The Lowe Alpine Aeon 35 is my 'go-to' sack for day walks and short wild camps. Unlike dedicated camera backpacks, it has no specific photographic credentials but It's designed to be comfortable to carry and . . . it is! It's extremely lightweight and has attachments for my winter gear (crampons, ice axe etc)

My equipment is further protected by a range of Lowepro products - my camera in it's Toploader 50 Zoom holster, wide angle lens in a Lens Exchange Case 100, and filters in a Filter Pouch 100. More weight you might ask? well, I feel these items (all weather protected) offer more protection than any dedicated backpack I've seen in addition to the extra protection provided by the backpack itself. 
It also means that once on location, I can fit each of these items on an accessory belt for easy access.

Why go to such trouble, afterall I've never had a camera damaged on the hill yet? Well, when carrying £3,000+ of the tools of my trade, I don't like to take chances. After all, I've never been in a serious car accident (thank goodness) but I still wear a seatbelt!
Just incase you were wondering, I have no commercial relationship with either Lowe Alpine or Lowepro. Perhaps I should!
<![CDATA[Cairn House Gallery visits Duniya (The World of)]]>Wed, 13 Dec 2017 17:38:30 GMThttp://kevinarrowsmith.com/blog/cairn-house-gallery-visits-duniya-the-world-ofDuniya (The World of) is a community social enterprise based in Muret, just outside Toulouse in South West France. The group’s mission is to promote art, creativity and personal development through contemporary art exhibitions, workshops, science talks, cultural evenings, and a variety of events bringing people together to share and learn.

As part of their monthly international-themed events the group will be organising a Burns’ lunch on Sunday 28 January and I'm really excited to have been invited to exhibit a collection of 20 prints of my landscape photography from NW Sutherland. 

​The exhibition will open on Sunday 28 January and continue until Sunday 11 February and 
I'll be visiting Duniya in advance to prepare the exhibition and look forward to seeing the highlights of Muret.
An opportunity not to be missed!
​Muret is on the doorstep to the Pyrenees, and the opportunity for an adventure is too tempting to ignore. The loose plan at the moment is to spend a couple of days 'up high' and to extend my collection of alpine 'adventure' photography started in the Chamonix valley a couple of years ago. This is in preparation for an exhibition of this work later in 2018.

​What is Duniya?
Duniya is originally an Arabic word that has passed to many other Asian languages. It derives from the root word “dana” that means to bring near, so duniya is “what is brought near”, more colloquially “in the world of”. The group chose the word as it suggests the idea of sharing and learning – two essential principles of our group. The Panjabi version of this word (as seen in their logo) reflects the background of their co-founder and Chair.
The exhibition space at Duniya (The World of)
<![CDATA[In the frame]]>Fri, 14 Jul 2017 19:03:54 GMThttp://kevinarrowsmith.com/blog/in-the-frameI've always framed my own work. Why? Well, the idea of having complete control of my work from pressing the shutter, printing the image, and mounting and framing the final product appeals to me. It allows me to ensure that the work I sell is always presented to a high standard. 

I also offer a framing service to individuals and other local artists working to the same high standards. I thought a short article on what to consider when having an item framed, or when buying ready framed artwork might be useful

The Frame
My frames are made from lengths of wood (moulding) in various finishes from natural timbers to black, silver and more specialised finishes. Wherever possible, I source moulding which is 'Forestry Stewardship Council' ™ certified. The frame should be chosen to compliment the artwork and not distract the viewer away from it. It should be also be of a width which doesn't 'overcrowd'  the image. 
What to look out for:
  • Ask if the frame is glued and underpinned
  • Are the corners tight with no gaps
  • The 'proportions' should look 'just right'
The Matte
The matte (window mount) is a piece of mountboard with a 'window' cut into it which sits on top of the artwork and ensures that the glass isn't in contact with it. This needs to be cut with precision such that the space at the top and sides of the frame are equal, and the space at the bottom of the frame slightly larger. If you see artwork with wider spacing at the sides than the top, then the frame probably wasn't made specifically for that artwork.
There are different grades of mountboard and if the artwork is of value, you may wish to insist on the use of conservation grade materials.
What to look out for:
  • Once again, the 'proportions' should look 'just right' - side and top borders should be the same measurement
  • Look out for 'overcuts' at the corners where the cutter has travelled too far
  • The edges of the 'window' should be perfectly straight (not cut by hand with a craft knife!)

The Glazing
With the exception of some original work on canvas, to protect the artwork, it should be under glass. Cheaper frames often use acrylic (basically perspex). I exclusively use glass in my framing work. I find that acrylic attracts dust which can make the task of excluding dust in the framing process difficult. Cleaning acrylic is problematic too - the more you wipe it with a cloth, the more static it builds up and the more dust it attracts, a vicious circle. Acrylic is also of course more prone to scratching. Finally (and perhaps surprisingly) acrylic tends to have a higher gloss than glass and so can lead to more reflections interfering with the viewing of the artwork.
What to look out for:
  • Has glass or acrylic been used?
  • Are there any scratches visible?
The only time I would use acrylic is when artwork is to be hung in a children's room for purely safety reasons

Finishing touches
The completed frame should be sealed with tape. This was once done with pre-gummed brown tape but self adhesive tapes are now more popular. This final seal allows the contents of the frame to be protected from the outside atmosphere (dampness in the air, chemical traces from carpets etc) and also stops those annoying little harvest bugs from getting in there.
The frame should be fitted with a hanging arrangement suitable for the size of frame. Cord or wire may be used but this must be capable of carrying the weight of the complete frame.
What to look out for:
  • Has the frame been sealed with tape?
  • Has backing board been used?
A completed frame

Note how brown backing board has been used, not offcuts of mountboard. 

The whole frame is sealed with a tape manufactured for this purpose, this should not be parcel tape!

A hanging cord, the ends concealed in a plastic sheath makes for a tidy finish. 

​Note the corner 'bumpers' - these allow air to circulate behind the frame when hung on your wall
A holiday momento
A customer brought a set of three beautiful needlework art cards by Durness artist, Sarah Fuller into the gallery for framing. Together we choose a suitable frame which wouldn't 'over-power' the artwork. A colour for the frame was chosen which complimented some of the materials used. This ensures that the viewer can appreciate the artwork without being distracted by the frame. Finally (although it's difficult to illustrate here) the work is mounted such that it appears to be 'floating' and most importantly, without the glass touching it.
The economics of it all
What does all this cost? Well, the cost of materials often isn't huge, the choice of frame (moulding) will have the greatest influence on cost. However, picture framing is hugely time consuming, particularly if something bespoke (like floating frames, Football shirts etc) is involved. As a guideline, it will usually take me two hours (excluding drying time) to mount and frame artwork in a simple frame. 

A typical A3+ double mounted, framed print in the Cairn House Gallery typically costs £80. This is approximately what it would cost for the framing alone in your local city framing shop.

Original artwork, displayed in a bespoke frame which will protect it for a lifetime, I can't help think that's good value?

Interested in learning more?
If you live in Sutherland or Caithness and have something which you might like framing, no matter how unusual, please get in touch. If you are a local artist or craftsperson, I would be happy to discuss wholesale pricing for multiple orders. 
<![CDATA[Into the wilderness]]>Wed, 05 Jul 2017 10:05:23 GMThttp://kevinarrowsmith.com/blog/into-the-wilderness
Following seemingly weeks of weather more suited to November than June or July, a forecast of still and bright days is enough to tempt me once again off the beaten track. The exertion of getting up high and experiencing some of the most unusual landscape in the UK is like a drug.

During my time registering a community interest in land at Cape Wrath, a comment was made online that there are no areas of true wilderness in the UK. I beg to differ. I planned a short-ish walk to visit Creag Riabhach on the edge of the 'Pharph' and taking in Meall na Mòine on my return. Having negotiated miles of the obligatory bog and peat hags, the sheer expanse of lonely wild land opened up before me. Apart from distant radio towers, there was no sign of human activity as far as the eye could see. 

These journeys are to explore prospects for new work, seeking out interesting views of familiar landmarks, or often compositions with their own merit. The above panorama (a combination of a dozen portrait shots) shows Fashven in the far distance and the coast towards Sandwood Bay. You could explore this area for days on end without encountering another soul. If this is not wilderness then what is?

On these trips I tend to travel light with my EOS 100D and a single lens which limits the possibilities somewhat but gives me an idea of what might be possible.
Foinaven shrouded in cloud. This small lochan provided some foreground interest. A possible return visit?
Some interesting outcrops of rock along the summit ridge of Creag Riabhach added a little relief from the dampness underfoot! Views of Sandwood Bay in the distance.

A client on one of my recent 'Learning in the Landscape' courses commented that some of the features we had visited within a couple of miles of the car would have been the highlight of a long days walking in the Lake District or somewhere similar. Whilst I love the Lake District, I can't disagree with that sentiment.
<![CDATA[Is it Spring yet?]]>Thu, 13 Apr 2017 11:48:43 GMThttp://kevinarrowsmith.com/blog/is-it-spring-yetPicture
Just when it was starting to look like Spring was with us, we've had 24 hour periods of rain and wind. However, ever optimistic, the days are gradually growing longer, even here at 58 degrees North.

I've been reviewing my list of locations to revisit. Places where I've been but didn't have the right kit with me (shame on you I hear you say), the light wasn't quite right, or perhaps just one of those days when it just didn't come together.

Towards the top of the list is Fyrish Monument. This curious structure can be seen from the A9 high on the skyline above Evanton. I have a monochrome print of this in the gallery and it's a frequent topic of conversation with visitors. The monument was built (or rather commissioned) in 1783 by Sir Hector Munro who had been commander of British Forces in India. On his return to the Highlands the 'Clearances' were underway and many people were starving. He decided that the building a replica of 'The Gates of Negapatam', a relic which he had come across on his travels, would be a good job creation scheme for local people in an effort to help them avoid destitution. 

Looking through the files from my last visit, I remember not quite being able to achieve the composition I was wanting and then having to descend before it became dark!

What better time to revisit now that I have a new lens to play with. More Canon 'L' Series glass to my collection, the Canon EF 17-40 mm f/4.0 L USM Ultra-Wide Angle Canon EF Zoom Lens might just do the job.

So, I'm keeping my fingers crossed for some decent weather and a good day on the hill doing what I enjoy most.

<![CDATA[Have you 'photoshopped' that?]]>Tue, 21 Feb 2017 19:20:09 GMThttp://kevinarrowsmith.com/blog/have-you-photoshopped-that“Have you done something to this in Photoshop?” is a question I’m occasionally asked in the gallery.

In the days of film, photographers had their own favourite film(s) for the type of photography they undertook. For landscape, names like Velvia and Ektar will bring back memories for some and I must say I’ve spent a not inconsiderable amount of hard earned cash on both over the years. What has this got to do with Photoshop? Well, these films had their own characteristics resulting in very different results. Darkroom addicts would further process prints using techniques with curious terms like ‘dodging’ and ‘burning’ in order to achieve the results they wanted. So, photographers have ‘tweaked’ their photographs for time immemorial.

Nowadays, I shoot entirely digital and in a format called RAW. In shooting RAW (and in contrast to JPEG), the camera stores the image onto the memory card with the very minimum of manipulation. Having downloaded the images to a computer, the RAW image then needs to be processed in software to produce the required image. Typically, colour balance, saturation, and sharpness, are adjusted to produce a pleasing image. So, when does this ‘processing’ become manipulation? Does it matter?

Photographic magazines are packed every month with articles on how to transpose the sky from one photograph onto another. How to take a photograph of the moon, enlarge it and transpose it to another photograph for dramatic effect. Different photographers have different views on this. My own view is that the important thing is transparency (no pun intended!) so I believe these type of images should be clearly identified as 'composite images' or something similar. It's not wrong, it's just not my type of photography. 

What is my type of photography? In the same way that a painter paints a subject in their own personal style, my photography is not a clinical, forensic science, it is a creative art. I will apply sensitive adjustments to an image which might involve reducing or increasing the ‘brightness’, or saturation, of selected areas of an image using similar techniques to those adopted in the darkroom. My ultimate objective is to recreate the scene I witnessed from the RAW file but often and more importantly, to attempt to evoke an emotion in the viewer. Any less subtle treatments will be obvious such as this image entitled ‘Homecoming’.
By 'selectively retaining the colour in the roof only, and presenting this as a rather dark image, this is the most radical I am likely to be and the intention was to add a sense of drama. But the strange thing is . . . . I don't use Photoshop - at all!
<![CDATA[Silence is golden]]>Thu, 01 Dec 2016 18:33:41 GMThttp://kevinarrowsmith.com/blog/silence-is-golden
The Sutherland light is so dramatic this time of year. On Sunday the weather improved throughout the day ending with the most beautiful golden light. I had remembered from the approach to our earlier Foinaven climb some potential compositions and today the conditions would be just perfect.

Not a breath of wind and slowly meandering clouds around the summit made for prefect conditions for some long exposures. For the uninitiated, the NiSi 10 stop filter can basically be regarded as sunglasses for cameras. It reduces the amount of light reaching the sensor meaning that to capture a properly exposed image, you must leave the shutter open for much, much longer - 25 seconds in this particular case. Keeping the camera completely still throughout is vital. The result is the soft blending of the water which was flowing towards a burn bottom right, and the mirror like surface of the loch.

Having taken approximately 10 shots from different positions and as the light faded I sat and took in the scene. In the distance, the bellowing of stags could be heard in the otherwise deadly silence. The temperature dropping as quickly as the light. Time for home.
<![CDATA[Time for some pruning]]>Wed, 02 Nov 2016 18:30:57 GMThttp://kevinarrowsmith.com/blog/time-for-some-pruning

Applecross, 2004​

“it’s been a great summer Kevin, hope you’ve managed to get some good photographs?”

Long days, sunshine (well some days) and blue skies. How could it get any better? It surprises most people who ask that my answer to the question above is no. Well, a qualified no.

Don’t get me wrong, there’s endless possibilities out there and for a few months, the Sutherland landscape turns from russet browns to a patchwork of greens. But high summer is not my chosen season. So for me, much of the summer is spent in the gallery and workshop keeping a good selection of framed prints on the wall and meeting some really interesting visitors. Another task has been on the ‘to-do’ list for too long however,  a thorough ‘pruning’ of my image collection.

A print seen displayed in the gallery is often the result of many visits to a location and usually dozens of variations shot experimenting with different compositions and different settings. Due to my enthusiasm to review the results, this often leads to these images remaining in place on my computer, even the ones which didn’t quite work out - yes there are many of those!

So I’ve just come to the end of the process which I started at the start of the summer of reviewing approximately 13,000 images dating back more than ten years. It’s always a good feeling to have a clear out of any sort but in this case, a further bonus was the opportunity to revisit some long forgotten images. The overall result, a catalogue of just over 3,000 images and somewhat increased storage!

So, it’s now time to get out with the camera and make the most of the dramatic skies, hoar frost, temperature inversions, maybe some snow . . . .  adding lots of new growth for next year’s pruning or thinning out as I go?