Lines in the landscape revisited

click photo to enlarge
It crossed my mind recently that it's been a while since I added a photograph to my "lines in the landscape" collection. I started this series of images a few years ago on the back of a growing fascination with the tracks that agricultural vehicles leave behind them when they work the Lincolnshire land. One of the minimalist shots I blogged used that particular post title. Each year I've added one or two more shots involving barley, wheat and wires, wobbly lines, Nottinghamshire lines, water-filled lines and many other variations on the theme. Moreover, when I was looking through some of my older photographs I discovered that my interest in these lines pre-dates my move to the very agricultural county where I now live.

It was with all this in mind, as well as the fact that I haven't taken such a shot this year, that I kept an eye out for lines as I drove between Louth and Horncastle the other day. Driving over the undulating road that traverses the Lincolnshire Wolds I went round a sweeping corner and was presented with the fine specimens in today's photograph. The thin soil overlaying the chalk beneath made a pale hillside against which the parallel tracks left by the tractor stood out as bold, dark, slightly serpentine lines. The random details of the blue sky and fragmentary clouds made a good foil for the ordered land below, so I drew over to the side of the road and took a few shots. What I didn't notice with my naked eye, or through the viewfinder at the time, were the slender rods, each with a thin, coloured ribbon that mark the centre of the spaces between the lines. Look carefully and you'll see them with their shadows. I don't know their precise purpose but I intend to find it out.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 105mm
F No: f7.1
Shutter Speed: 1/800 sec
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Tractor lines and wheat

click photo to enlarge

I've lived in Lincolnshire for five years and during that time I've taken an interest in the agriculture that is to be found here. Cereals and vegetables prevail, especially on the Fens and the better land. Beef and dairy cattle are also reasonably common though there is much less than in the west of Britain. Sheep can also be seen though again in smaller numbers than in the west. What is very noticeable is the way that the land is intensively cultivated with a view to maximizing production and profit. This is most obvious in vegetable production, but it can be seen with cereals too.

I read that the UK produces more wheat than it consumes. However, though some wheat is exported, there is also importation of wheat varieties that can't be grown in our climate. All this is good for the balance of payments, seems to produce a good income for farmers (with the help of the EU farm policy), and provides for the country's food needs in flour and animal feed. Over the past few years I've watched the cycle of the local winter wheat production. The activities are roughly as follows, modified, of course, by the weather: September - land ploughed and prepared for sowing; October - seed sown (drilled); November - herbicide application to control weeds; December - young wheat left to grow; January - as for previous month; February - fertiliser applied; March - fertiliser applied; April - nitrogen fertiliser applied; May - nitrogen fertiliser applied; June - fungicide application applied; July - wheat left to grow; August - wheat harvested. As you can see there is very little respite for the land, and the wheat fields' contribution to feeding wildlife, which was formerly significant, has been reduced to virtually zero.

On a recent outing to photograph "lines in the landscape" I saw many fields with flourishing wheat, some with patches where recent strong winds and rain had flattened the crop, and more than I've seen before with puddles of water in the tractor lines. The example above is not untypical. It will be something of a nuisance for a farmer, but for a passing photographer it's a very useful piece of foreground interest!

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 24mm
F No: f8
Shutter Speed: 1/250 sec
ISO: 100
Exposure Compensation:  -1.33 EV
Image Stabilisation: On

Simple pleasures

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Simple pleasures are always, without exception, the best pleasures. Watching your children's first encounters with what we take for granted is an experience that's hard to beat. I remember my first-born sitting in his pushchair and laughing uncontrollably at a donkey, the first he'd ever seen, that put its head through a fence to look at him. Simpler still, isn't a cool glass of water on a hot day a drink unsurpassed by any man-made mixture? Or what about the view at the end of a strenuous climb to the summit of a mountain? Isn't it just the perfect reward for your effort?

And then there's clouds. I take almost daily pleasure in looking at clouds. Formations that I've seen countless times still attract my eye and instill the same awe that I must have felt the first time I saw them. New and different takes on common configurations also draw my attention. The other evening I was out and about looking for a few "lines in the landscape" to add to my collection. The tracks left by farm vehicles as they traverse crops have a fascination for me, and when I saw the examples in the photograph above I was pleased to see the clouds overhead. Those straight flicks of cirrus looked like they were painted on to the blue sky with a lightly laden brush. The effect of the wide angle lens at 17mm was to make them converge towards a vanishing point and introduced a linear quality that echoed the lines below. It was enough to make me take a shot that gives the sky more emphasis than the land below.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 17mm
F No: f7.1
Shutter Speed: 1/250 sec
ISO: 100
Exposure Compensation:  0 EV
Image Stabilisation: On

Hornsea beach tracks

click photo to enlarge

It occurred to me the other day that during my life I've flip-flopped from one side of the country to the other. I was born in Westmorland (now Cumbria) and raised in the western Yorkshire Dales, moved to the city of Hull for a while, then went back to north-west England for many years, and latterly re-located to Lincolnshire. During all but my early life I was a keen photographer, never specialising in anything in particular, but rather dipping my toe into many of the recognised genres. I suppose that architecture, landscape and natural history have figured large in my output, and of course, down the years I've shot many thousands of family snaps.

In the past decade, as I've spent more time with my camera, I've deliberately selected a few specific subjects and begun building collections of images. Examples of this include spiral staircases, motion blur, and the subject of today's photograph, tracks in the landscape. Lincolnshire's man-made landscape is the place where I began to notice these man-made intrusions, and where the sinuous, sometimes semi-abstract quality, that they impart first impacted on me.

Wheatfields and barley fields offer good opportunities for this kind of photography. The former sometimes provide intriguing examples that appear to have no beginning. But pasture can have good tracks too, and land freshly prepared for a salad crop offered one of the craziest examples I've come across. I've also photographed these tracks on sandy beaches where they temporarily hold a record of cleaning vehicles or the launching of boats. Today's photograph is an example of the latter that I took on a recent visit to Hornsea in East Yorkshire. This seaside resort on a long, sandy coastline, has a small fishing fleet that specialises in brown crabs and lobsters. The boats are launched and brought in by tractor, and this recovery offered an opportunity to add another shot to my "tracks" collection.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 24mm
F No: f7.1
Shutter Speed: 1/640 sec
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Guardians of the countryside?

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I remember hearing, many years ago, a representative of the National Farmers Union (NFU) being interviewed on the radio. He was defending the actions of his members against criticism that their practices were largely responsible for the massive reduction, during the past fifty years, in farmland bird species and wild flowers. He argued, very cogently, that farmers had responded to the demand by retailers and consumers for cheaper food, and that lower prices had come about by increased efficiency, including mechanization, a smaller workforce, and larger farms and fields. And, whilst he acknowledged that this had changed the character of farms, and to some extent, the appearance of the countryside, he was at pains to point out that the landscape was something farmers cared about and conserved. He felt it was wrong to characterise them as destructive. However, he then went on to describe his members as "guardians of the countryside", a description that I felt was more than a little flattering.

I have come across, and known, farmers who thoroughly deserve this title, people who do farm with landscape and wildlife as more than an afterthought: clearly there are many such people. Unfortunately, there are also those who pay no regard to biodiversity, who see wild flora and fauna as competitors to their main business, and seem to conduct a campaign of despoilation in the search for ever higher yields. A few days cycling in the Nottinghamshire countryside have recently highlighted one of these practices. We passed mile after mile of hedgerows that had been smashed ("cut" does describe the way they were savaged), often with a powered grass flail rather than a purpose-built hedge trimmer. A farmer, still busy in the distance pulverizing the hedges, had littered the verge and road we were navigating with splintered hawthorn debris. But then, by way of pleasant contrast, we came across hedges that had been sensitively cut, at a time of year that didn't destroy nests, and fields such as the one in today's photograph, where oak trees had been left to grow despite the inconvenience that they must present to tractors, ploughs and combine harvesters. We were left to wonder what made farmers act in such clearly different ways?

Our time away coincided with some unsettled weather, and this image was taken as we pedalled home in the knowledge that rain was imminent. The lone trees, tractor lines and the brooding clouds made for a simple landscape that appealed to me, and I used the LX3's 16:9 format to capture the sweeping undulations of the stubble covered field.

photograph and text (c) T. Boughen

Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 9.3mm (44mm/35mm equiv.)
F No: f5
Shutter Speed: 1/500
ISO: 80
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Wheat, wires and Large Whites

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Over the summer I've gradually got the impression that this year is a good one for butterflies. So, I did a bit of online research and ended up at the website of Butterfly Conservation. Here I read this by their Surveys Manager, Richard Fox: "The picture for native British butterflies remains mixed. Numbers appear to be up on the previous two summers, which were extremely wet and dire for butterflies. This summer has been better so far, in spite of the recent showers. If the wet summers had continued some endangered species such as the Heath Fritillary were vulnerable to extinction. The good news is the Heath Fritillary appears to have rallied and is having a good year. But numbers overall are still well down on a decade ago." So it seems that 2009 is a better year relatively speaking.

As I write my lavender is besieged by Large Whites, Painted Ladies, Peacocks, Common Walls and Small Tortoiseshells. The Painted Ladies have been particularly noticeable this year, but I was amazed to read that this migratory species may be represented by 1 billion specimens in the UK at the moment! The other species that have been much more numerous are the Small and Large Whites. Our cabbages have been receiving their eggs (soon to be caterpillars) despite us offering the compensating attractions of buddleia and lavender.

On a visit to Sempringham church (click link then scroll down for links) the other day I noticed an opportunity to add to my collection of images of tractor tracks (click link then scroll down for links). The additional interest offered by these particular tracks, in a field of very ripe wheat, was the telegraph pole and wires that stretched across the sky. As I stood, considering my shot, listening to the crackle of the ripe seed heads, I noticed Large White butterflies crossing the field. I quickly composed this shot that includes one of them on the right, hoping that it was sufficiently near to be recognisable for what it was.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 16mm (32mm/35mm equiv.)
F No: f6.3
Shutter Speed: 1/1250
ISO: 100
Exposure Compensation: -1.0 EV
Image Stabilisation: On

Go your own way

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After I'd given a title to today's photograph of tractor tracks wandering drunkenly across a perfectly prepared and planted field on the Lincolnshire Fens I began a Wikipedia peregrination. The words I chose - Go Your Own Way - seemed apposite, but I also knew them to be the title of a song by Fleetwood Mac.

A quick search of Wikipedia using the title revealed that it was a song about the break up of the relationship between the band's two U.S. members. A quick look at Songfacts confirmed that and added a few other details. From there I went to the Wikipedia page about the album on which the song is featured, Rumours. Here I noticed that this particular Fleetwood Mac album is the 10th best-selling album of all time, so I went to the page that showed the full list of the best-selling albums of all time. It was then that I started to get a little depressed and somewhat concerned. Now there's no good reason why I should worry about the type of music that is bought in the largest numbers: I'm happy with the music I like, and I should be happy that others have found the music that they enjoy. But when that music is by the likes of AC/DC, Meatloaf, Celine Dion, Whitney Houston, the Bee Gees, Abba, Mariah Carey, Cher, Bon Jovi, The Spice Girls, Tina Turner..., I could go on, then I'm not only depressed but concerned. I'm depressed if people who bought this stuff have listened to the best that recorded music has to offer, rejected it, and then made these choices. I'm concerned if they haven't heard any of the finest music made by mankind, but feel they've acquired it through these albums. I won't list the music that I think surpasses most of what's listed on this Wikipedia page, but I will say that it includes classics of the rock and pop canon, but also features blues, jazz, folk and classical, and it isn't confined to the output of the last fifty years.

What's obvious when you look at this list is that it reflects the artists who were most popular at the time when recordings on vinyl and CD were at their sales peak. That said, it wouldn't change dramatically, I think, if downloads were added to the mix. Increasing population and increasing sales to a predominantly younger audience who buy, in the main, recent recordings of recently written music is responsible for this ranking. But it doesn't have to be so. As my oldest son once said, "Recorded music has been around for a century yet most people buy it on the assumption that the most recent music is the best. Why on earth should it be?" I think, as far as music goes I'll continue to ignore the top selling albums and "go my own way!"

Incidentally, I don't know how or why these wiggly tracks appeared on this blemish-free patch of agricultural land, but in the early evening light they stood out like the proverbial sore thumb, and invited a photograph that gives me cause to wonder at the event(s) that might have led to them.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 150mm (300mm/35mm equiv.)
F No: f8
Shutter Speed: 1/160 seconds
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Energy, turbines and magic

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It's nothing short of remarkable how, in the past couple of hundred years, mankind's use of energy has grown from a barely measurable amount to 500 Exajoules (2005).

Before, say, 1700 most energy came from man and animal power, from burning wood and some coal, and from wind and water. And, in most cases it was consumed at the place where it was generated. Today, in the form of coal, gas and oil, energy is often transported across the world before consumption, just like many other traded commodities. And even when it is generated in the country in which it is used, electrical energy is transmitted to centres of population and industries by a grid of wires. In the past the windmill's power was used where the windmill stood - either for grinding corn that was brought to it, pumping water that was immediately adjacent, or sawing wood from nearby trees, and most were in or near settlements. In contrast the windmills of today, the 100m high wind turbines that generate electricity, are often sited where there are few people - on hills, offshore, or as with those in today's photograph, in a sparsely populated agricultural area - in this case the Fenland of Lincolnshire.

One could wish that energy generation was less intrusive upon the landscape: nuclear and coal fired plants are big eyesores, and many find wind turbines just as objectionable. However, just as there are people who are capable of appreciating the looming bulk and man-made clouds of cooling towers, so too are there those who see beauty in the wind turbines. To walk around these otherworldy creatures under a blue sky flecked with cloud, the swish of the blades and the flicker of their giant shadows the only disturbance to a beautiful summer afternoon is not an unpleasant experience. In many ways a wind farm becomes more appealing the closer you get to it, and what can appear to be a blot on the horizon transforms into something with a hint of magic about it when you stand among them.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 15mm (30mm/35mm equiv.)
F No: f7.1
Shutter Speed: 1/500 seconds
ISO: 100
Exposure Compensation: -0.7 EV
Image Stabilisation: On

Lines in the landscape

click photo to enlarge

This year I've made quite a few images of tractor lines in cereal fields. I've posted a couple of examples here and here, but I've taken many more. I'm not absolutely sure why this interest has arisen. I think it's something to do with the temporary superimposition of the marks of man on the perfect surface of the field. The fact that the lines are parallel, and that each pair of tracks is, except for those near the field boundaries, the same distance from the next pair, gives them an interesting regularity.

Another reason for my fascination is to do with how you can see the world through a camera. The narrower field of view of a longer focal length lens allows the photographer to isolate part of what is seen. This presents a number of opportunities. It can be a device to concentrate the viewer's attention on to something. It also allows, by the exclusion of surrounding distractions, the composition of a simplified image. And it enables you to create odd looking images from familiar scenes and objects. The lines in the landscape in today's image combines the last two of these.

Thinking further about the photograph, I probably wouldn't have taken the shot if the lines didn't appear to start in the middle of the field, and if they hadn't begun with that small wiggle! So here's a "thank you" to the tractor driver on the rolling hills of Lincolnshire whose slightly wandering attention produced these slightly wandering lines!

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 43mm (86mm/35mm equiv.)
F No: f11
Shutter Speed: 1/250
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On