My thoughts on my photography and what I'm doing, photographically.

  • The map showing sites I'd like to check out IF i
  • Bird Shot Comparison
  • The Tasman Bridge done red for Dark Mofo's 2015 theme of paint the town red.
  • Aurora Australia from Trial Bay, Tasmania, 19 March 2015
  • 6 shot portrait format pano
  • The old bakery at the complex
  • Wild Oats XI powering in towards Opossum bay before turning for the run to the finish line.
  • lake pano sun snowy_edited-1

Latest

The American Solar Eclipse, 21 August 2017

Well, wouldn’t I love to visit the US for this. I can dream, you understand, to do it in reality is probably out of my financial reach.

I could start up in Washington where Warwick has relatives, hire a camper van, drive down to SC (Hello Scott Mitchell) where totality is, then I’d love to wind my way up via Denver at least (always wanted to see it) to Seattle (Hello Maribeth Culpepper), turn in camper van, maybe squeeze in some visiting in Canada and fly home.
I sure wouldn’t be able to see everything but there has to be some nice scenery along the way.
I will start looking into what I can sell. My body won’t do it, all those 5cent bits would weigh too much on the plane.

See the EclipseWise page for all about the eclipse and an interactive map

So, where are all my US friends located?  Working from north to south and east to west.

Jessica Lear Russell is in Maine.

Warwick’s rellies are near Washington

Scott Mitchell is in Georgia

The eclipse is not too far from him, totality in Tennessee is not far to the north – by our Aussie standards of distance, anyway. I am looking at small places, Spring City looks well located as does Sweetwater, Tellico Plains and Andrews – all on or close to the line of totality.  I’d plan to get to the area a couple of days before and suss out the best spot.  The map below shows possible places – the green GE marker is Greatest Eclipse, the red ones are the general area I’d consider.  I will avoid that as many people go there to try and get ‘perfect’ oval shapes for the eclipse sun, I’m not that fussy and quieter sots are best, IMHO!

The map showing sites I'd like to check out IF i

The map showing sites I’d like to check out IF i

It’s a pity it falls right in summer, accommodation wise, but good weather wise.  It looks as though most Tennessee schools are back by mid-August, though, that’s a relief.

Maribeth Culpepper is way over the other side in Seattle – I plan to end up there, but it could turn round and start put there.  Will depend on fares etc and, of course, finances overall.

The ole buckaroos are the big problem, naturally, as they are to us all,  We’re on a fixed income, so I’ll have to devise some means of money making.  Any and all suggestions very welcome!

“It’s Been Photoshopped” – or, more properly, Issues Affecting Image Appearance on Electronic Devices.

This article is a response to the familiar cry of “it must have been photoshopped” that we see so often on the social media sites.  There are a huge number of factors  affecting the way we see colours and the image editing software – the digital darkroom (see my earlier article here) – the artist uses is pretty far down the queue!

And there are a huge range of high end programs such as like Paintshop Pro, Corel, Photoshop, Iridient Developer, Affinity Photo etc.  Many artists don’t use Photoshop per se.  And in the photography field, any artist worth his salt shoots in RAW format which makes the use of a digital darkroom essential.  I’m sure no photographer ever offered raw, undeveloped film to a viewer and said “look at mu terrific image”!  It had to be processed in a (wet) darkroom first.

No two of us see colours in the same way, and while the extreme end of this is colour blindness, there are far more subtle gradations.  My partner sees green as more blue than I do, he’ll call a colour aqua when to me it is clearly green.  No one knows how much individual vision varies as how do you test objectively for it.  Even a machine has to be programmed to recognise things in order to set a benchmark, so it comes back to the person doing the programming.  There is a free colour test here which tests how subtle your colour vision is and it’s an interesting exercise to do, you get better as you retry.

Factor One is the image type.  The identical image will look very different if you line up a screen version, a printed image on paper, one on canvas, and one on with a metallic finish.

Factor Two is colour temperature – both of the image and of the viewing light.  Sunlight or warm artificial light will make something look much warmer and the colours more intense than cool, wintry light.  Things like the type of paper or material an image is presented on can make vast differences.  The hardness of the photographic paper’s grade was one way photographers made their prints differ in the days before digital darkrooms.

Then there are all the factors that affect Image Quality itself – see this Wiki article where there is a good list.

And a few points are solely effective on electronic images.  How many people have ordered items online only yo be unpleasantly surprised to open the package to discover the item they purchased is a different colour to the one shown on the screen?

Which brings us to Factor Three, monitor type and quality.

We’ve all been to an electronics shop with rows of televisions or computer monitors, all displaying ‘identical’ images.  But as you look down the rows, the colors can be noticeably different, in tone, light/dark and clarity.

Computer monitors will show different colours if hooked up to computers with different video cards.

Screens contain phosphors which cause colours to change as the screen gets older. They also have varying ability to display colours with some showing many more tones. Resolution also affects the color issue because higher resolution means clearer and more accurate images.

The easiest way to fix this problem is to calibrate monitors to display more accurately.  All monitors should be calibrated, BUT – remember the eyesight of the person calibrating will affect the result, along with the light of the room where they are doing it, and screens change over time and they need to be re-calibrated on an occasional basis for the best results.

And Factor Four is the artist’s bugbear –  image compression.  A typical image from a high end digital camera, when processed in a high end program is large, they can easily go 17 to 15 Mb.  That’s far too large to go on the web so the file will be saved in a lossy format file such as jpeg, and made smaller both in size and resolution so it can be posted on the internet.  Then programs like FaceBook do their own compression on the image, over which the artist has NO control whatsoever, and often, this final compression will make an image look very different indeed to the original.

So please don’t be so quick next time with the “it’s been photoshopped” mantra – have a think about the processes involved and ask the original poster what’s been done.

Straight out of Camera versus Editing in the digital darkroom

In the last couple of years I’ve seen a lot on Facebbok and various forums regarding straight out of camera (SOOC) images and their merits as opposed to images that have been adjusted in a digital package (such as Lightroon, Photoshop, etc).  The SOOC folk seem to think there are some great merits to not having ‘done anything’ to their images, which means they have, in their not so humble opinions, got it ‘right’ in camera.  There are even Facebook groups devoted to SOOC images!

What many of them overlook is the fact that those jpegs they’re posting (they’re always jpegs as otherwise they’ve processed them) HAVE been processed – by the in camera algorithm of the company that makes the camera.

My take on editing treats digital ‘straight out of camera’ (SOOC) images I treat as negatives.  When I shot film (and I shot film for around 50 years) I wouldn’t show the negatives to someone and ask them didn’t they think it was a great shot.  I’d print it, or get it printed.  A process involves a lot of decisions and does involve editing.

So I don’t think the much touted ‘SOOC’ has any great merits.  I prefer to shoot raw (I always shoot Raw or Raw + Jpeg) and edit in my digital darkroom.  I do like to get it as ‘right’ as I can, so the editing I have to do is minimal, but I have absolutely no problem in adjusting colour balance, saturation, brightness and contrast in my digital darkroom – those are things we did in the wet darkroom, too.  Colour balance was achieved by the inserting of filters into the enlarger head, saturation and brightness by the timing of the exposure in the enlarger, and the enlarging lens settings, and contrast the grade of paper chosen, soft to hard. So there is no way a print from a negative is straight out of camera.

Here’s a recent image – the SOOC jpeg and the raw edited to bring it up to a better result.  I’ve only done exactly what I would have done in the darkroom – lightened the shadows a bit (done by dodging and burning in the wet darkroom), and adjusting white balance and levels.  SOOC is on the right – and it’s certainly a usable image, but the edited version on the left is far better.  You can see the settings I used in ACR (Adobe Camera Raw) before opening in Photoshop and resizing to ‘print’ standard for the web.  As I only managed 2 frames of this bird before he flew off, I didn’t have time for a lot of in camera adjustments.  This is the strength of digital, we can save much more marginal images than was possible in film.

Bird Shot Comparison

I love digital.  I embraced it as early as I was able to afford it, and love the freedom it gives me to shoot as many angles and exposure combinations as I desire of a chosen subject.  The very fact that I DON’T have to make such critical decisions on the fly and in the field are, to me, digital’s huge strength and advantage.  Why limit yourself when it is not necessary?

And in digital you can make these fine adjustments yourself, so the result reflects YOUR taste and vision, not that of a technician in a photo lab somewhere.  No matter how good a photo lab, what they duo is filtered through your instructions of what you want to achieve and their interpretation of those instructions.  It introduces levels of misunderstanding that don’t happen when you do the work yourself.

In the film days, not may people had access to, or the high level skills to use, the resources of a full colour wet lab.  So we were reliant on the skills of this technicians,  I know I suffered some disappointments in when what I envisaged came back from the lab, and the results were somewhat short, and often very different.  Indeed, some of those images I have had scanned and adjusted in the digital darkroom, and I like my results much better.

So, for me, it’s digital all the way, and I embrace the width and depth of the editing possibilities available.  I even like to do montages, although I always state that they are composed using more than one frame, and I call them images, rather than photos.  And yes, you could do those in your wet darkroom too, although it took a lot of skills and a painstaking level of fine finagling to get them right.  Digital is MUCH easier!

Naturally, not everyone will agree, that’s what makes our photography such an interesting job/hobby/past-time.

Hobart’s DARK MOFO Winter Festival

Images from my visits to this year’s DARK MOFO Festival. I’ll add to these as I go. The first two are from the first evening of the event, the Entitle ones are from a mid week visit to town, and on the evening of 19 June I met up with friends in town and we had a wander.
The Night ship was also shot on 19 June, prior to the meet up, but I made a bad choice of location, there were far too many lights behind it. Try again today or tomorrow.
The Theme this year is paint the town red, and the Tasman Bridge and some buildings have embraced the theme and gone red.
The Tasman Bridge done red for Dark Mofo's 2015 theme of paint the town red.

The Tasman Bridge done red for Dark Mofo’s 2015 theme of paint the town red.

The Grand Chancellor Hotel has joined in the 'red' theme for Dark Mofo

The Grand Chancellor Hotel has joined in the ‘red’ theme for Dark Mofo

Pulse/Spectra beam: A powerful light shining straight up from the city beats in time with the pulse of a person touching a special sensor.
The Pulse beam from the South Arm.  It is widely visible from Hobart's outlying suburbs.

The Pulse beam from the South Arm. It is widely visible from Hobart’s outlying suburbs.

The Night Ship and the Pulse beam against a backdrop of Hobart's waterfront

The Night Ship and the Pulse beam against a backdrop of Hobart’s waterfront

Anthony McCall’s Night Ship:

“A dark ship sails nightly from Tinderbox to Mona via the city’s harbour. At regular intervals, a powerful pencil-slim searchlight radiates from the vessel to illuminate the adjacent shore. Anchors away; you’ll hear it coming.”

The Night Ship coming up the Derwent.  Pity about the other boat!  It also has a low, mournful horn blasting at intervals

The Night Ship coming up the Derwent. Pity about the other boat! It also has a low, mournful horn blasting at intervals

And the Waterfront

The Pulse beam id located in the old Mercury building in the city and has a long line of punters waiting every evening to have the light pulse to their heartbeat.

The Pulse beam id located in the old Mercury building in the city and has a long line of punters waiting every evening to have the light pulse to their heartbeat.

Waterfront and Pulse beam

Waterfront and Pulse beam

Amanda Parer’s ‘Entitle’

Launceston artist Amanda Parer's 'Entitle' installation

Launceston artist Amanda Parer’s ‘Entitle’ installation

Close up of Launceston artist Amanda Parer's 'Entitle' installation

Close up of Launceston artist Amanda Parer’s ‘Entitle’ installation

Close up of Launceston artist Amanda Parer's 'Entitle' installation

Close up of Launceston artist Amanda Parer’s ‘Entitle’ installation

Artist statement for Launceston artist Amanda Parer's 'Entitle' installation

Artist statement for Launceston artist Amanda Parer’s ‘Entitle’ installation

Bastiaan Maris’ Fire Organ installation:

“This massive structure of old steel tubing drones and hums at low frequencies beneath harmonically tuned flame-throwers blasting fire and heat into the night sky.”  Dark Mofo handout info.

Fire Organ.  Gouts of flame break off and briery float away before disintegrating.  You can see one to the left of it here.

Fire Organ. Gouts of flame break off and briefly float away before disintegrating. You can see one to the left of it here.

The Fire Organ #2

The Fire Organ #2

SO enter the date into your diaries, folk, DARK MOFO is really worth a visit, make your plans for next year NOW.  Accommodation books out very fast.

You might like to consider our garden cabin, available at $45 per night, or a little less if you have your own bedding and linen.  See the Cabin on Elanore website.

Always wanted to shoot the Aurora? Come to Tasmania.

Have you always longed to photograph the aurora? You don’t have to go to the northern hemisphere to do it. This image was taken from Trial bay near Kettering (where the Bruny ferry departs) on 19 March this year (2015).

Aurora Australia from Trial Bay, Tasmania, 19 March 2015

Aurora Australis from Trial Bay, Tasmania, 19 March 2015

If you’d like to try your hand, we have our cabin in the garden (also on Facebook) available for $40 per night, and I will guide people to a good spot – we can confer and decide beforehand – and assist with setup etc for $50 per person per session. After the first session, you should be fine to manage exposures and settings for subsequent attempts.

You need to have your own vehicle as I do not have a vehicle to carry passengers.

Of course, you need to bear in mind that you can come to Tasmania for a week or even two, and the auroral gods many decide they are not going to play along. Currently we’ve had a long ‘dry’ spell, but it can fire up anytime. You are also dependent on the vagaries of the weather, if it is overcast there can be a terrific aurora happening, while we gnash our teeth at home in deep frustration.  But Tasmania is a beautiful place to photograph during the daylight hours, too, and you will have a lot of wonderful images to take home with you.

Of course, the weather will clear beautifully the day you go home!

You need a camera that will shoot exposures up to 30 seconds length, has a shutter delay (self-timer) or a remote or cable release, a sturdy tripod, and a wide (20mm or less) and fast (min 3.5) f stop – f2.8 or f2 is even better.

However, if you are interested, contact me through the cabin email at the website or PM me here.

A few more images from the night below.

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

Aurora Australia, Trial bay, Tas, 19/03/2015

An Early Morning Outing

Woke up nice and early – never a problem – but actually managed to motivate myself out of the house! And I was rewarded by a fine sunrise. Initially went round to Saunderlands Rd to opposite the zinc works hoping for those lovely plumes of smoke/steam I have seen, but the woind was so fierce I didn’t bpother, as there was just one thin little stream.
On the way back stopped where the turnoff is, though, and shot a few looking north to the Bowen Bridge, hoping for nice cloudscapes. Not too bad, more experimentation needed.
Then went on to Granton and stopped opposite the pub near the old railway station, for a very nice cloudscape for sunrise.
I have played a bit for different effects with the colour balance and tint.
All Fuji X-M1 and Samyang 12mm f2, except the panorama wich is Fuji X-T1 and 14-55 lens
6 shot portrait format pano

6 shot portrait format pano

DSCF3520

Bowen Bridge from the start of Saunderson Rd

 

DSCF3522

Bowen Bridge from the start of Saunderson Rd #2

DSCF3526

DSCF3527

DSCF3530

 

DSCF3545

DSCF3548

SOME CHANGES TO MY GEAR

Due to age and infirmity, I can no longer carry my big heavy cameras, so am moving to the Fuji X system, the mirror less camera.  I chose Fuji because I liked the feel of it and the layout, and I got my first one at half price from a FB contact.

So I now have the Fuji X-T1 and X-M1, with Fujinon XF 18-55 mm, XC 16-50 and 50-230mm, and a Samyang 12mm f2 for astrophotography and wide landscape shots.

It’s been a steep learning curve but I’m pretty happy with the gear so far.

A few shots from a peregrination round the Derwent Valley with a friend, taking in the Salmon Ponds at Plenty and the Text Kiln complex at Bushy Park.

All with Fuji X-T1 and X-M1, with Fujinon XF 18-55 mm unless stated.

Platypus at the Salmon Poinds at Plenty, Tasmania.  There are 3 that I know of there, and they are totally unafraid.  Our first viewing of this young one, we could have touched it, we were so close.

Platypus at the Salmon Poinds at Plenty, Tasmania. There are 3 that I know of there, and they are totally unafraid. Our first viewing of this young one, we could have touched it, we were so close.

Poised on the piece of wood round the pond, scratching his ear!

Poised on the piece of wood round the pond, scratching his ear!

Hopping over for a swim

Hopping over for a swim

Off he goes!  I like that you can see his flippers/feet going like crazy under the water

Off he goes! I like that you can see his flippers/feet going like crazy under the water

Popped out onto the bank for another scratch

Popped out onto the bank for another scratch

Popped out onto the bank for another scratch #2

Popped out onto the bank for another scratch #2

Swimming about

Swimming about

 

We then went off through the beautiful Derwent Valley to Bushy park, down the 10 acre lane to the Text Kiln complex, one of my favourite places in all Tasmania.  There are platypus here too, but they are shyer than the Salmon Ponds ones.  My friend Karen caught a quick glimpse of one rootling about in the reeds but it disappeared after that.  There is a lot more growth in the water and it is easy for them to remain unseen.

The old bakery at the complex

The old bakery at the complex

The Text Kiln (end on)

The Text Kiln (end on)

Another of the many kilns/oast hoses at the site, reflected in the trout pond

Another of the many kilns/oast hoses at the site, reflected in the trout pond

Backlit trees by the pond

Backlit trees by the pond

Then we came home via the Lyell Hwy, stopping for sunset at my favourite lookout on the Gordon River Rd at Macquarie Fields.  This shot with X-M1 and Samyang 12mm f2

Bushy Park and the road to Mt Field and Lake Pedder & Strathgordon

Bushy Park and the road to Mt Field and Lake Pedder & Strathgordon

 

 

Sydney to Hobart fun!

wild oats & boatdsIMG_7815 As Sunday was such a beautiful day, I thought I’d trot down the the shoreline of the Derwent somewhere and get some photos of the winning yachts coming in.  After a fair bit of driving around to find a good spot which was not totally ‘parked out’ I ended up on the beach at Opossum Bay.  I set up with my milk crate, cushion and iPad tuned to the Roles Sydney to Hobart yacht tracker and waited.  It turned out to be a fantastic spot, as the yachts tacked right in towards us, and with the Canon 60D and Sigma 150-500 lens combination, I was able to catch some terrific action. But those so and so spectator boats – I would happily bazooka the buggers. Nearly impossible to get a shot of the hull and the crew. However, I hope you all enjoy these. I was amazed at the sheer size of the boats compared to the ones all round them, they’re not called super maxis for nothing.  First round the point at the southern end of our beach was Wild oats XI, she came in almost 50 mins ahead of the runner up Commanche, with the rest of the fleet about 11 hours behind. WILD OATS XI – Line Honours victor for the 8th time.

Wild Oats XI powering in towards Opossum bay before turning for the run to the finish line.

Wild Oats XI powering in towards Opossum bay before turning for the run to the finish line

wild oats IMG_7826_edited-1 WILD OATS IMG_7876_edited-2 WILD OATS IMG_7880_edited-1 WILD OATS IMG_7887_edited-1 COMMANCHE – Runner up for Line Honours COMMANCHE IMG_8054_edited-1 COMMANCHE IMG_8081_edited-1 COMMANCHE IMG_8070_edited-1 COMMANCHE IMG_8094

Yacht descriptions from the Rolex Race site –

Wild Oats XI is the most successful yacht in the 70-year history of the Rolex Sydney Hobart race. She secured her seventh line honours victory under the guidance of Mark Richards in last year’s race. In 2012 she broke her own race record, which now stands at 1 day, 18 hours, 23 minutes 12 seconds, and won the race overall. It was the second time the supermaxi had achieved this historic treble, and the only boat to do so twice in the race’s history.

Once again, Wild Oats XI has been modified for the Rolex Sydney Hobart. Her bow has been streamlined, she will carry a new hydrofoil wing, and will be fitted with two new high-tech sails – a mainsail and a ‘code zero’ headsail. These modifications are aimed at keeping the nine-year-old yacht competitive against more recent designs. Richards and the crew now affectionately refer to their charge as the ‘Swiss Army Knife’, because of the number of appendages she boasts: a hydrofoil wing, a retractable forward centreboard, two retractable daggerboards, a canting keel, and the conventional rudder at the stern.

Wild Oats XI still holds the record for the most consecutive line honours wins – four – from 2005 to 2008, surpassing Morna’s record of three in a row achieved from 1946 to 1948. She also holds the race record for the CYCA’s Sydney Gold Coast Yacht Race (22 hours, 3 minutes, 46 seconds, set in 2012) and the CYCA’s Cabbage Tree Island Race (12 hours, 15 minutes, 55 seconds, set in 2012). Richards and his crew will need to muster all their resources this year as four other supremely competitive supermaxis and their crews – including the new Comanche 100-footer from America – will be vying for a line honours win. Wild Oats XI’s navigator, Juan Vila, was navigator for the victorious Alinghi crew in the 2007 America’s Cup match.

Owner: Robert Oatley.  Wild Oats Xi is 30.48m long, with a beam of 5.1m and a draft of 5.9m

Commanche

This is possibly one of the most talked about entries for this 70th Anniversary Race. This new 100-foot supermaxi is designed by Verdier Yacht Design & Vplp to push the boundaries of technology with the ultimate goal of taking line honours this year. The boat is the culmination of a two-year project. Built at Hodgdon Yachts in Maine, Comanche was sailed for the first time on October 13 and will be spiced with Australian flavour partly because her co-owner is Kristy Hinze-Clark, a former supermodel from Australia married to Jim Clark. Her mainsail also reflects Comanche’s Australian connection, as does Aussie crew; boat captain Casey Smith, Ryan Godrey in the pit and Chris Maxted “floating”.

Other big names are Stan Honey (navigator) and New Zealand’s Kevin Halrap on tactics. Comanche is skippered by renowned US sailor Ken Read with 21 international crew. Jim Clark, an American entrepreneur and computer scientist, founded several prominent Silicon Valley technology companies, such as Silicon Graphics Inc. and Netscape Communications Corporation.

Owners: Jim Clark & Kristy Hinze Clark  Commanche is 30.48m long, with a beam of 6.8m and a draft of 6.8m

A meander in the Tasmanian midlands and Cradle Mountain

I have just completed a 4 day photo trip. Starting on Sunday 26 october, I went to Waddamanna for the Hydro 100 yr anniversary.  The day was very well conducted and the Power Station Museum was very interesting.  You can guarantee getting excited as they have an Exciter.  If it doesn’t so the trick, then I’m sorry, you must be dead :) .  And the Caledonian Pipe band played wonderfully ALL day! exciter DSCF1359 cooker DSCF1372 pipe band DSCF1392 great lake DSCF1397         Then I travelled along Highland Lakes Rd (my first ever ‘A’ class road with long stretches of gravel – its quite a shock), spending my first night at an absolute gem of a caravan park I discovered via the internet – the Quamby Corner Caravan Park at Golden Valley.  Great cooking and ablution facilities, cheap accommodation, and so pretty.  Only $16 for a powered site for one person, $25 for 2 people. DSCF1418 DSCF1420 DSCF1422 DSCF1423 DSCF1426 DSCF1427 DSCF1428 DSCF1429 DSCF1430 DSCF1431               Monday 27 October I travelled on to Cradle Mountain via Deloraine, Sheffield &Moina. Mt Roland is truly impressive and reminded me of the Lord of the Rings country in NZ, it’s all granite fissures and changing clouds. mt roland fuji DSCF1444mt roland #2 DSCF1447 I had 2 nights at Discovery Holiday Parks – Cradle Mountain.  The weather was wild and woolly for the whole time at Cradle, but the kitchen/rec room has 2 lovely big open fires.  On Monday I arrived early afternoon, and drove down to to Dove Lake about 3.30 pm. spending just on 2 hours.  The weather went from rain to patches of sun and then granular snow and back again.  The wind was gusting ferociously the whole time and the lake surface was all little white caps.  I walked around to the boat house and back- with photo taking the ’10 min walk’ took me over an hour.  With my bad ankle and knee (opposite legs, of course!) I have to be super careful not to fall. 1Ds pano 1 DOVE LAKE 2 DSCF1491_edited-1 Day 2 was even more extreme, heavy snow gusts then some brightening patches.  I had a look at the Waldheim site (hopefully staying in the Waldheim cabins next time).  It snowed heavily, with big flakes, while i was there, so heavily I debated going back and not proceeding to Dove lake, but I did go on as the shuttle buses were still doing so. At times you couldn’t see your hand held up in front of your face, and I wore what my partner warwick calls my hobbit cloak (because it is green and has a hood), it may not look very glam but it’s (a) warm, (b) fairly waterproof and (c) I can hold the cameras under it, keeping them warm and dry.  I walked around to the big rock as I wanted to get the boat house from across the lake to give a ‘dwarfed by the mountains’ feel to it.  I shot quite a few macro shots of the flora too, on the walk.  This was prompted by a comment from a fellow walker that it was all so dull.  Dull!  I think she wanted bunting and flags.  Again, the 10 min walk took me about an hour!  I contemplated the climb up the rock but my ankle was singing ‘Oh Susannah!’ by that time so I decided discretion etc was wise. _I7U3399 _I7U3436 _I7U3445 _I7U3493 _I7U3498 _I7U3504 _I7U3507 _I7U3511 _I7U3519 _I7U3524 lake pano sun snowy_edited-1 Home via Mole Creek and along the other side of Mt Roland, just as impressive as the initial impression, then to Deloraine, and across back roads, all tarred and good surfaces (except 8 kmns of dirt on the last leg, but good surface), Osmaston, Bracknell, Cressy and Macquarie Rd to Ross (where diesel was just 153c p/l!).  I must say I was not over impressed with Ross (I probably just committed Tasmanian tourism heresy).  I drove to the town map, as I was hanging out for some food and a coffee.  It showed a lovely riverside spot and seats for picnicking.  Drove there, and thou go round the corner to the river to be greeted by a very unfriendly (and inaccurate) Keep Out – caravan park patrons only.  The caravan park actually didn’t start til the end of the road, but I went anyway, and sat by the river. It was so windy there that I had to eat in the car, when I tried the picnic table my lunch blew off! When I ducked in for a quick look at Oatlands it was far more friendly, and down by Lake Dulverton, near the historic mill, there is even an lovely FREE area for caravans and motorhomes to park for the night. More photos to come as I edit

A big Thank You!

to the lovely person purchased a Large (568mm x 407mm) Framed Print of “Cascade Brewery, Hobart” via RedBubble.  Quite made my day to wake up to that news.  I love to think of my work hanging on a wall somewhere.  I know there’s a framed print of one of my Queenstown (NZ) images in Texas, and I wonder where this one is going?
RedBubble link

cascadeframed

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