British Camp, Malvern Hills

click photo to enlarge
Many years ago I came across a second-hand copy of "The Relative Hills of Britain" by Alan Dawson. The premise of this fairly slim volume is simple but interesting. It lists all of our island's hills that are high relative to the surrounding land - the qualification for inclusion in the book is that there must be a drop of 150 metres (492 feet) or more on all sides of the summit. Britain doesn't have particularly high mountains - Ben Nevis at 4,409 feet (1,344 metres) is the tallest. Nonetheless, there are many British so-called "walking enthusiasts" who consider it beneath them to climb anything below 2,000 feet (610 metres), the height at which a hill becomes a mountain. What this book helpfully does is list the "relative hills" on a regional basis and directs the attention of walkers to many "lesser" peaks that are significant and worth climbing.

I was reminded of this on a recent visit to Herefordshire as we walked up Black Hill, Pinnacle Hill and Jubilee Hill, three of the "saw tooth" peaks of the Malvern Hills, a low range that features in its pages. As we did so we looked back at Herefordshire Beacon, another of the "teeth", that is topped by the Iron Age hill fort called British Camp. The September sun was picking out the detail of the earthworks, paths and a couple of people on the grass-clad summit above the tree-line. We have walked to the top of the Beacon a couple of times and I've posted photographs I've taken from the top. On this occasion we were looking for different views over the surrounding countryside and more distant prospects of the ancient earthworks.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 150mm (300mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/1000 sec
ISO:200
Exposure Compensation: 0
Image Stabilisation: On

Mist, photo cropping and relativity

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I've been using my relatively small DSLR body (Nikon D5300) and one relatively light and small lens (AF-S Nikkor 18-140mm 1:3.5-5.6G ED) as my walking camera for several months now. I'm relatively happy with the combination's relatively low weight, relatively high quality and relatively wide zoom range. If that makes me sound relatively unenthusiastic, I'm not. Bear in mind that I was raised in Yorkshire, a county where the compliment, "Not bad", is high praise indeed. Seriously, I'm very happy with the results I'm getting: the technical qualities of the sensor, camera controls and lens are very good.

However, the 1.5 crop factor (relative to 35mm) means that the lens' range is 27-210mm and that's not quite wide enough or long enough for me. Better would be 24mm-300mm. However, such a lens would be bigger, heavier, probably not as bright, and probably not as sharp. All equipment involves compromises and my reluctance to carry the Canon 5D2, 24-105mm and 70-300mm (which clearly does cover my desired focal lengths) means that sometimes - maybe 5% of the time - I can't get the shot I want using the Nikon. But, one of the benefits of a good 24 megapixel sensor is the ability to crop the image and simulate a longer focal length, so one of the shortcomings can be addressed.

I took today's photograph with a heavy crop in mind so I ensured the camera was well stabilised. I estimate that I'd have needed a 400mm (equivalent) lens to secure this shot. Yet, cropping has left me with a file that is perfectly usable for most purposes. It shows a view from near Herefordshire Beacon in the Malverns, looking across the low hills around the Severn valley. On our recent walk in that area the mist was clearing when we arrived but started to thicken again as we departed. I liked the colours and gradations in this composition, as well as the detail of the trees and the plumes of smoke. It reminded me of traditional Chinese ink and wash paintings.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 140mm (210mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/320 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On

People and landscapes

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It's my impression that most contemporary landscape photographers prefer to exclude people from their views. I struggle to find any that routinely - and deliberately - include the human form. So, in that respect, if I'm right in my judgement, I am in a minority because I often strive to include people.

Most English landscape painters of the eighteenth and nineteenth century considered their landscapes to be incomplete if there wasn't a figure or two somewhere to be found. Where people are absent an animal, domestic or wild, is used instead. Such inclusions are there as an area of focus in the composition; often a starting point for the eye's journey through the painted world the artist has laid out for the viewer. They also provide a sense of scale. And, for many artists, they say something about Nature and man's relationship to it. This is particularly so in the case of the painters of the Romantic Movement where the awe and majesty of a scene often towers over the diminutive people.

What these painters knew, and what many photographers also realise, is that the human eye and brain are adept at finding people in a landscape, whether the view is a real one or one in painted form This is probably an evolutionary trait: for millennia individuals and groups needed to be aware of other people as a potential danger and seeing them early increased their safety. Eyes became attuned to spotting the human form, and this is a trait that we still have today.

The photograph above features the view from near Hereford beacon across the nearby lowlands that includes the valley of the River Severn. As I was composing my shot I noticed a dog walker on a hill below me. When he stopped to admire the mist clearing from the patchwork of fields I seized the moment and composed my shot around him.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 105mm (157mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/200 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Morning on the southern Malverns

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On one of our regular visits to Herefordshire we stopped off at a spot that I've long intended to visit. The Malverns is a chain of low hills that rise up from a lower, slightly undulating area near the Severn valley. They appear higher than they are, and they have a pleasantly ragged summit line. At the southern end a road takes advantage of a low point to cross the range and it was at this point we stopped to visit an Iron Age hill camp near the summit known as Herefordshire Beacon.

It's my experience that many of life's pleasures are serendipitous, and all the more satisfying for being unexpected. The weather forecast predicted that early fog would be driven off later in the morning by sun. When we arrived at our parking spot, however, it appeared that sun had the ascendancy and mist was in short supply. But, the story from the summit told a different story. Whilst the low ground in our immediate neighbourhood was virtually mist-free, farther away it was still plentiful and made for a magnificent sight with several prominences raising their heads above the white blanket. The fine autumn scene was enhance by the remaining leaves on the trees and the shadows thrown by the low sun. A group of three walkers, also enjoying the morning's pleasures, gave me a further compositional element and added a sense of scale to the grandeur on display.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 80mm (120mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/160 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On