Photographing The Lake District (book preview)

Photographing

The Lake District A guide to the most beautiful places Stuart Holmes

Photographing THE LAKE DISTRICT

by Stuart Holmes First published in the United Kingdom in 2014 by fotoVUE. www.fotovue.com

Copyright © fotoVUE Limited 2014.

Text and Photography: Copyright © Stuart Holmes 2014.

Foreword Copyright © Richard Leafe 2014.

Stuart Holmes has asserted his right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work.

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without the written permission of the publisher, except for the use of brief quotations in a book review.

TRADEMARKS: fotoVUE and the fotoVUE wordmark are the registered trademarks of fotoVUE Ltd. Edited by Michael Ryan, fotoVUE Ltd. Designed at Mountain Creative. www.mountaincreative.co.uk All maps within this publication were produced by fotoVUE.

Maps contain Ordnance Survey data © Crown copyright and database right 2014.

A CIP catalogue record for this book is available from the British Library.

ISBN 978-0-9929051-0-1 10 9 8 7 6 5 4 3 2 1 The author, publisher and others involved in the design and publication of this guide book accept no responsibility for any loss or damage users may suffer as a result of using this book. Users of this book are responsible for their own safety and use the information herein at their own risk. Users should always be aware of weather forecasts, conditions, time of day and their own ability before venturing out.

Front cover: Late October at Blea Tarn, Little Langdale. Side Pike and the Langdale Pikes painted with evening sunshine. (page 112)

Canon 5D MkIII, 24-105 at 35mm, ISO 100, 1/60 sec at f/10 Rear cover: Left: Friars Crag and Derwentwater. (page 206) Top: Wasdale and Wastwater from the slopes of Great Gable. (page 150) Bottom: Sunset reflections at Castlerigg Stone Circle, Keswick. (page 194) Printed and bound in China by Latitude Press Ltd.

‘Such as spend their lives in cities, and their time in crowds, will here meet with objects that will enlarge the mind, by contemplation, and raise it from nature to nature’s first cause.

Whoever takes a walk into these scenes, must return penetrated with a sense of the Creator’s power, in heaping mountains upon mountains, and enthroning rocks upon rocks.

Such exhibitions of sublime and beautiful objects cannot but excite at once both rapture and reverence.’ from ‘A Guide to the Lakes’ by Thomas West in 1778.

CONTENTS

Acknowledgements

7

CENTRAL LAKES

Forword by Richard Leafe,

8

Ambleside, Grasmere & Langdale Introduction and Area Map

64

1

Ambleside Town

68

1 Wrynose & Hardknott Passes

122

2

Stock Ghyll Force

72

2

Hardknott Roman Fort

126

3

Under Loughrigg

76

3

Duddon Valley

128

4

Loughrigg Brow

78

5

Clappersgate Bridge

80

4 Ravenglass & Eskdale Railway

132

6

William Wordsworth at Rydal

5

Stanley Ghyll Force

134

82

6

138

7

Rydal Water

86

Birker Fell & Devoke Water

8

Loughrigg Terrace

92

7

Wasdale West & Screes

142

9

White Moss

94

8

10 Alcock Tarn

96

Wastwater – Britain’s Favourite View

144

9

Wasdale Head

146

10 Wasdale from Great Gable

150

Chief Executive of the Lake District National Park

Introduction

10

Getting to and around the Lake District

14

Lake District Seasonal Highlights 16 Lake District Weather

18

The Locations

24

Locations Overview

26

SOUTH EAST LAKES Windermere & Coniston Introduction and Area Map

28

1

Orrest Head

32

2

Queen Adelaide Hill

33

3

Brant Fell

36

4

Storrs Hall

38

5

Fell Foot Park

39

SOUTH WEST LAKES

11 Skelwith Force & Woods 12 Elter Water 13 Loughrigg Tarn

98 100

104

14 Elterwater Village

106

15 Langdale Boulders

107

16 Side Pike

108

17 Blea Tarn

112

18 Little Langdale

116

Wasdale & Eskdale Introduction and Area Map

118

NORTH WEST LAKES Buttermere & Ennerdale Introduction and Area Map

152

1

Buttermere

158 162

6

Gummers How

40

7

Scout Scar

42

8

Whitbarrow

46

9

Latterbarrow

48

2

Scale Force

10 Tarn Hows

52

3

Rannerdale Bluebells

166

11 High Bank Ground

54

4

Crummock Water

170

12 Coniston East Shore

58

5

Low Fell

174

13 Brock Barrow

60

14 Kelly Hall Tarn

62

6 Loweswater & Holme Force

178

7

184

6

Ennerdale

NORTH LAKES Keswick & Borrowdale Introduction and Area Map

186

1

Thirlmere

190

2

Castlerigg Stone Circle

3

Tewet Tarn

198

4

Latrigg

200

5

Castlehead

202

6

Keswick Boat Landings & Friars Crag

206

7

Derwentwater by Boat & Foot

208

8

Lodore Falls

9

Ashness, Surprise View & Watendlath

10 Castle Crag

196

212

11 Catbells 12 Bassenthwaite Lake

214

NORTH EAST LAKES

TECHNIQUE SECTION

Ullswater & Haweswater 230 Introduction and Area Map

Camera Choice

272

Lens Choice

274

1

Duke of Portland 234 Boathouse & Pooley Bridge

2

Aira Force

238

3

Glencoyne

242

4

Lanty’s Tarn & Keldas

244

5

Silver Point

6

Brother’s Water & Hartsop

7 8

246

Exposure & Histograms

280

HDR & Exposure Blending

284

Depth of Field

288

Filters 290 Macro & Close Up

292

Panoramic Photography

294

Hallin Fell & Martindale 254

Sunrise & Sunset

296

Haweswater

Night Photography

298

Catch a Rainbow

302

Mountain Photography

306

Photographing Waterfalls

308

Waterfalls list

310

250

258

CULTURAL LOCATIONS Traditional Lakeland Villages

262

224

Shows & Events

264

228

Historic Houses, Castles & Gardens

266

220

Composition 276

LOCATION SUMMARY TABLE Summary Tables

314

About FotoVUE

318

7

Introduction The publication of Thomas West’s ‘Guide to the Lake District’ in 1778 can be seen as the beginning of the tourism industry in the Lake District. Previously, the perception of the Lakes was one of a brutal and savage place. In 1724 Daniel Defoe had described the area as the ‘wildest, the most barren and frightful’ place he had ever seen. West was one of the first to challenge this idea.

After extensive travel abroad, West recognised that the scenic elements that made the Alps or Apennines popular were present in this part of the UK. In his Guide he included various ‘stations’ or viewpoints where tourists were encouraged to appreciate the natural beauty of the views. The best preserved of these is at Claife Heights on the west shore of Windermere where visitors took the view through different coloured glass windows representing the different seasons.

In the early 19th century the area and hills were becoming more popular, perhaps most notably with Samuel Taylor Coleridge’s first recorded ascent of Broad Stand on Scafell in 1802 when he made what is regarded as the first recreational rock climb. In 1822 Dorothy Wordsworth, sister of poet William, also climbed and wrote about Scafell Pike.

By 1912 renowned Keswick photographer Ashley P. Abraham described the Lake District as containing ‘more natural beauty, more literary associations and more diversity of charm than any other similar area of the whole of the Earth’s surface.’

Today around 15 million people visit the Lake District every year.

They come to enjoy one of the most beautifully scenic areas in the world. The geology, climate and man’s influence on the landscape over the years have crafted a stunning compact juxtaposition of mountain, valley, lake, river, fell and forest. Not forgetting the cultural aspect of the area with its white painted cottages and stone built hill farmhouses, stone arch bridges and dry stone walls.

Most people who come here carry a camera and will at some point grab a few snaps as a memento of their visit. More dedicated photographers come with the sole purpose of exploring the photographic potential of the area, getting up early and staying out late to catch those golden moments when landscape and light combine to dramatic effect.

If it’s your first visit or you are a regular Lake District visitor, beginner photographer or a pro, this book will point you to some of the best locations and hopefully inspire you to explore the limitless photographic possibilities of this unique area.

High Rigg and Helvellyn from below Castlerigg Stone Circle in November.

Canon 5D MkIII, 70-300 at 221mm, ISO 100, 1/60 sec at f/6.3. (p.196)

8

Lake District Weather ‘It’s always perfect weather to shoot something’ - J. David Andrews It would be fair to say the Lake District has a reputation for its weather, at least certain forms of it! The variability over a relatively short time period is often striking too; a local saying goes: ‘if you don’t like the weather, wait a minute!’

Weather is definitely good. Can you imagine how monotonous photos would be if the sun shone and the sky was blue every day? Indeed it is often when the weather is in its most changeable state that we get the most dramatic conditions for photography.

Michael Fish Having a basic understanding of the weather could make the difference between packing up and going home frustrated or waiting for that storm to pass over to catch a brilliant rainbow. See page 302.

Being a weather geek really helps being able to predict dramatic lighting and favourable conditions for

photography. The local BBC forecast is a good starting point for a general idea of what to expect. My photography is almost entirely guided by the weather and I will chose a location depending on expected conditions.

When is the best time to visit the Lakes?

Historically the driest months are April and May and the wettest is December. This however is of no practical use to you as you shelter from the pouring rain in late spring.

Long term averages are meaningless on a day to day basis.

There is one generalisation that may help avoiding the worst of any weather. With the prevailing south westerlies, the further east you go the more chance you will have of escaping the rain and finding some sun.

Likewise if the wind is from the east, go west to get the rain shadow effect and find the best weather.

There is huge variability and predictions are only good for a few days in advance. It’s important to check the forecast the night before you venture out.

Preparing for the weather Most people will only get their cameras out when conditions are fine. But the most striking images often occur when you least want to photograph.

Protect your camera For your camera it may be enough to keep it under your jacket and whip it out to take the odd photo. A dry bag is a good option but the nuisance factor of getting your camera out each time is not conducive to taking photos.

A large see through plastic bag and gaffer tape works.

You can buy all manner of rain covers and protective cases for cameras ranging from expensive dedicated camera housings for SLRs to simple transparent ziplock camera bags that are essentially technical plastic bags.

Protect yourself The outdoor shops tell us ‘there is no such thing as bad weather, only bad clothing.’ To a degree they are right in that you will remain comfortable for longer in bad weather if you have the right clothing. If you don’t have it already, the Lake District has countless outdoor shops ready to equip you for any conditions.

Two essential bits of kit in my armoury are wellies and a good brolly. The brolly is not much use if it’s windy.

Big sky. A spectacular sunset at Castlerigg Stone Circle. Taken from a low position lying in the grass. Image scanned from 35mm slide.

10

What to photograph?

Clouds From dense and menacing cumulonimbus to light and feathery cirrus, landscapes would be dull without clouds.

Making the most of clouds can be tricky as there is often a large difference in brightness between the sky and ground. The various ways of overcoming this are covered in the Exposure and Light section. See page 284.

Become a cloud watcher, if the clouds look interesting find a suitable foreground subject but make the sky the main point of interest. Think about composition, is it time to forget the thirds rule to give more emphasis to the sky? See page 276.

Fat raindrops make big splashes at the boat landings in Keswick.

Canon 5D MkII, 24-105 ay 73mm, ISO 1000, 1/160 sec at f/5.6

Try not to blow the highlights of a cloudscape,look at the histogram and expose to the right. See page 280.

For a surreal effect use a strong neutral density filter to blur cloud movement. A 10 stop ND filter will lengthen exposure by 1000 times. See page 290.

The Lake District gets a lot of air traffic meaning there will often be vapour trails crossing the sky. In some conditions these can dissipate quite quickly but other times the trails linger and spread out. It’s unusual to have a contrail-free sky.

A polarising filter reduces glare and increases definition of clouds. This works best when shooting 90 degrees to the sun.

Above: Castlerigg Stone Circle . A day in early May with lots of weather. 3 shot pano.

Canon 5D MkII, 24-105 ay 45mm, ISO 320, 1/250 sec at f/20

With an approaching weather front the thin wispy cirrus or cirro-stratus can yield some unusual effects around the sun like halos and sun dogs. Never look directly at the sun but you can compose your photo using the live view.

Better to use your hand or some other object to block the direct sunlight.

Rain The biggest problem in rain is usually a motivational one - actually forcing yourself outside in wet weather. But you shouldn’t worry too much, as a local farmer once pointed out to me, ‘it’ll stop at t’skin.’

Whilst it’s hard to capture rain itself, it’s easy to find subjects where the effect is evident - in puddles, lakes, swollen streams and waterfalls. Immediately after rain is a good time when trees and leaves are still dripping and colours are saturated.

In stormy conditions go for the wide picture to capture a dramatic sky with some foreground interest or concentrate on details like the wind whipping up the surface of a lake.

Snow and frost The Lake District gets some snow every year but how much, how low it falls and how long it stays is the random part. In good snow years valley snow can last for weeks and the lakes freeze over creating a winter wonderland. In other years you have to go into the hills to get your snow fix.

It’s a good time to get into the hills for some dramatic mountain scenery but make sure you are well prepared and remember to pack spare camera batteries, the cold really saps power.

12

weather

Rime frost Our typically moist air mass has a dramatic effect in the mountains in winter. Water vapour carried on the wind freezes directly onto blades of grass, wire fences, rocks, etc. to build up into spectacular thick accumulations of rime ice. This grows out into the direction of the wind creating some fantastic surreal photo opportunities.

Wind The summer months are the least windy of the year with autumn, winter and early spring being most prone to gales. It’s important to remember in any season that wind speed increases with altitude. Even seemingly gentle winds at valley level can translate into dangerously strong gales on the fells that can lift you off your feet.

When very strong winds blow onto the lakes the resultant waves and spray can be spectacular. The wind passing over the mountains and through the valleys creates eddies that can pick up water off the lake surface to form mini water spouts.

In lighter winds look for the effects on vegetation, grass, leaves or reeds blowing in the wind: use a slow shutter speed to create movement blur.

Fog and inversions There are three main types of fog that, from a photographer’s point of view, can produce interesting effects in the landscape: 1. Radiation fog can form in the cooler months, typically September to April, when it’s calm and clear. The air close to the surface cools in the night allowing

Lingering mist and crepuscular rays in the woods below Catbells.

Canon 5D MkII, 400mm, ISO 100, 1/200 sec at f/8, tripod

condensation and fog to occur. This is the type of fog that forms over low lying areas and usually clears quite quickly in the morning once the sun reappears. It’s a great time to be in and around trees, as the sun burns off the mist you can get fantastic shadows, crepuscular rays and steaming branches.

2. Valley fog forms when dense cold air sinks to the valley bottoms cooling and condensing and forming fog.

In the winter it can linger for days with cold or even sub zero air below but crystal clear and warmer air above (a temperature inversion). This can get quite thick meaning you need to get up high to get above it. The effects from the fells are spectacular with the hills poking out of a sea of cloud below you.

Crepuscular rays again as the sun bursts through.

Canon 60D, 70-300 at 124mm, ISO 250, 1/800 sec at f/10

3. Hill fog is not so good for photography; it can completely obliterate any views from the valley bottom to above the felltops so check the local mountain forecast.

So when the forecast has predicted cold and clear and you wake up to fog, think inversion. It’s possible you can get above the cloud for some amazing scenes. Some good places to go are Latrigg (p. 200), Catbells (p. 224), Loughrigg Fell (p. 78 and p. 92) and Brant Fell (p. 36).

Memorial on the wall of the Langstrath Hotel in Borrowdale

Left: Rime frost on old fence posts, mid March on Grisedale Pike.

Canon 5D MkIII, 17-40 at 17mm, ISO 100, 1/1000 sec at f/8 lake district weather

13

Locations Overview SOUTH EAST LAKES Windermere & Coniston

28

SOUTH WEST LAKES Wasdale & Eskdale

118

1

Orrest Head

32

1

Wrynose & Hardknott Passes

122

2

Queen Adelaide Hill

33

2

Hardknott Roman Fort

126

3

Brant Fell

36

3

Duddon Valley

128

4

Storrs Hall

38

4

L’aal Ratty

132

5

Fell Foot Park

39

5

Stanley Ghyll Force

134

6

Gummers How

40

6

Birker Fell & Devoke Water

138

7

Scout Scar

42

7

Wastwater West & Screes

142

8

Whitbarrow Scar

46

8

Wastwater View

144

9

Latterbarrow

48

9

Wasdale Head

146

10

Tarn Hows

52

10

Wasdale from Gable

150

11

High Bank Grounds

54

12

Coniston East Shore

58

Brock Barrow

60

NORTH WEST LAKES Buttermere & Ennerdale

152

13 14

Kelly Hall Tarn

62

1

Buttermere

158

2

Scale Force

162

3

Rannerdale Bluebells

166

CENTRAL LAKES Ambleside, Grasmere & Langdale

64

4

Crummock Water

170

1

Ambleside Town

68

5

Low Fell

174

2

Stock Ghyll Force

72

6

Loweswater & Holme Force

178

7

Ennerdale

184

3

Under Loughrigg

76

4

Loughrigg Brow

78

5

Clappersgate Bridge

80

William Wordsworth at Rydal

82

NORTH LAKES Keswick & Borrowdale

186

6 7

Rydal Water

86

1

Thirlmere

190

8

Loughrigg Terrace

92

2

Castlerigg Stone Circle

194

9

White Moss

94

3

Tewet Tarn

198

10

Alcock Tarn

96

4

Latrigg

200

11

Skelwith Force & Woods

98

5

Castlehead

202

12

Elter Water

100

6

Keswick Boat Landings

206

13

Loughrigg Tarn

104

7

Derwentwater tour

208

14

Elterwater Village

106

8

Lodore Falls

212

Ashness Bridge

214

15

Langdale Boulders

107

9

16

Side Pike

108

10

Castle Crag

220

Catbells

224

Bassenthwaite Lake

228

17

Blea Tarn

112

11

18

Little Langdale

116

12

14

the locations

A6

M6

Maryport A595 A596

41

Bassenthwaite Lake Skiddaw 931m/3,118ft

Cockermouth A66

Workington

A686

A591

A594

PENRITH Blencathra

A66

40

A66

A595

KESWICK

Loweswater

A591 Glenridding

ale

Patterdale

Helvellyn 950m/3118 ft

Thirlmere

wa te r

erd

West Coast Main Line

ter wa

Buttermere

Buttermere

Enn

Pooley Bridge

Ulls

Crummock Water

Whitehaven

A592

Shap

Ha we s

A5086

Derwent water

A5091

Wa ter

39

A592 Wasdale Head

Scafell Pike 978m/3,209 ft

er at W st

A595

Grasmere

Rydal Water A6

Langdale

a W

Tebay

AMBLESIDE

38

A593 Hawkshead

Eskdale Green

A593 Broughton -in-Furness

A595 Cumbrian Coast Line

Elterwater

ere

Ulpha

Sawrey

Winde rm

ton Con is

Ravenglass

IRISH SEA

Coniston

Duddon Valley

A591

A591

A5074

Newby Bridge

A65

Grange -over-Sands

A590

above 900m 300m to 600m

Dalton-inFurness

100m to 300m

A5087

M6

A590

Ulverston

Milnthorpe

36

A65 Arnside

A6 A6070

Furness Line

MORECAMBE BAY

Barrow-in-Furness

37

A684

A595

Millom

A685

KENDAL

BOWNESS -on-Windermere

A590

0 - 150m

Staveley Lakes Line

WINDERMERE

Carnforth

Kirkby Lonsdale

35

A683 Morecambe

0

5 miles

Heysham

NORTH EAST LAKES Ullswater & Haweswater

230

1

Boathouse & Pooley Bridge

234

2

Aira Force

238

3

Glencoyne

242

4

Lanty's Tarn & Keldas

244

LANCASTER

5

Silver Point

246

6

Brothers Water & Hartsop

250

7

Hallin Fell & Martindale

254

8

Haweswater

258 the locations

15

Tarn Hows in early autumn.

Canon 5D MkIII, 24-105 at 35mm, ISO 100, 1/80th sec, f/8

Tarn Hows Tarn Hows is a beautiful area of woodland with a tarn set in a shallow valley ringed by low hills.

The name is derived from the Norse words – tjorn meaning teardrop and haugr meaning hill.

One of the most visited spots in the Lakes, it’s a popular subject for both photographers and artists.

Tarn Hows was created by James Garth Marshall in 1865 by building a small dam to merge three small lakes and planting exotic coniferous and deciduous trees. In 1930 Beatrix Potter bought 4000 acres of local estate including Tarn Hows. She sold half of the land including the tarn to the National Trust and later bequeathed the rest in her will.

Tom Heights

The walk around Tarn Hows (clockwise) Tom Ghyll falls to Yew Tree Tarn

Rose Castle

The Tarns

High Panoramic Viewpoints

What To Shoot and Viewpoints The Walk Around The Tarn The walk around the tarn is about a mile and a half on a well maintained footpath. From the National Trust car park walk across the road and downhill slightly, immediately there is a good viewpoint on the small rise where the paths split. Walking in a clock-wise direction the path passes through trees but there are many small trails leading off to the lakeshore for close up views of the tarn and its tree covered islands.

At the north end of the tarn before crossing the bridge there are good views down the tarn. Look for branches and trees to frame your shot and get low to make the most of reflections on a still day. There are tree roots, lily pads, rocks and flowers on the shore for foreground interest.

500m after the bridge on the east side of the tarn where the upper and lower paths meet there is another path leading back down towards the lakeshore. If you wander off the track a short way down the grass you get a great

wheelchair access to Coniston 2.6 miles

High Wood N

High Viewpoint 0

metres

400

Contains Ordnance Survey data © Crown Copyright and database right (2014)

view of the pine trees and a copper beech tree on the island reflected in the lake with Coniston Old Man behind. There is also a grove of Giant Redwood trees here.

Continuing back towards the south end on the lower path there are more close views of the islands and peninsulas and on a windless day some amazing reflections. The upper path gives more open views including the backdrop of rugged mountains to the west.

4 photo stitched panorama.

Canon 5D MkIII, 24-105mm at 24mm, ISO 100, 1/125 sec at f/10

18

SOUTH EAST: tarn hows

High Viewpoint The most accessible high vantage point is just above the National Trust car park on a small hill. Either walk through the woods from the car park or go up the road a short way then follow a grass path on the right through the bracken to the little summit. You will be photographing towards the north east towards the tarn, its variety of trees, low hills, with the fells of Helvellyn, Fairfield and Red Screes behind.

High panoramic overlook Starting from the upper (disabled) car park, go through the gate along the Rose Castle track. Almost immediately turn right up another track and follow this upwards then across the fields towards an impressive hawthorn tree.

Near the tree you get a fine overlook encompassing Tarn Hows and it’s magnificent setting with the Langdale Pikes, Coniston Old Man and the western fells behind.

Tom Ghyll falls and Yew Tree Tarn Tom Ghyll, which drains Tarn Hows, can be accessed from the tarn’s dam in the south west corner of the lake. A footpath follows the stream down through Glen Mary, the name bestowed upon it by the poet, artist and critic John Ruskin, who felt Tom Ghyll needed a more picturesque name. It’s a steep and rocky descent passing a number of waterfalls and cascades, the highest of which drops 40ft. The combination of woodland, water, ferns, flowers and rocks makes for some fine compositions. Best on an overcast day to reduce contrast and give some longer shutter speeds to blur the water.

The path continues down to the lovely Yew Tree Tarn.

Thorn tree above Tarn Hows.

Canon 5D MkIII, 24-105mm at 24mm, ISO 100, 1/200 sec at f/10

How To Get Here

Accessibility

From Coniston village take the B5285 Hawkshead Road out of the village to the north end of the lake. Pass the right turn to Bramhope and continue for 1.5 miles miles to a left turn at Hawkshead Hill which is signposted Tarn Hows, 1 mile. Turn left at the next junction which leads to the main car park at Tarn Hows. The car park is free for National Trust members, £4 for non-members.

The main footpaths here including the lakeshore path are wheelchair-friendly although there are some gradients where help may be required.

From Ambleside take the A593 for half a mile to Clappersgate then turn left over Brathay Bridge onto the B5286. Continue for 3.5 miles then turn right on to the B5285 High Cross Road. Follow this for half a mile to a right turn through Hawkshead Hill. Continue straight along this road to the National Trust pay and display car park at Tarn Hows.

Parking grid ref:

OS SD 325 995

Parking postcode:

LA21 8DP

Map:

OS Explorer Map OL7 (1:25 000) The English Lakes south-east area

Best Time of Year/Day Avoid daytime in the summer if you want to escape crowds.

Autumn is colourful, spring and summer are very green and winter can be magical when snowy or frosty. The classic shot is taken from the hill on the east of the tarn shooting with your back to the rising sun which will light up the distant Langdales, Coniston Old Man and Wetherlam – or if late in the day, shooting toward the sunset.

Generally morning and evening are the best. In mid summer cotton grass and wild irises are commonly found around the tarn.

Useful Techniques Composition: page 276 Panoramic Photography:

page 284

SOUTH EAST: tarn hows

19

Grasmere from Loughrigg Terrace in late May. Canon 5D MkIII, 17-40mm at 17mm, ISO 100, 1/100 sec at f/13

place

Loughrigg Terrace Despite being only 335m or 1099ft high Loughrigg Fell is surprisingly complex offering some of the best views from its flanks. The view from Loughrigg Terrace of Grasmere and a collection of shapely fells combines all that is best of a classic Lakeland view: meadows, woodlands, drystone walls, farmhouses, a sweep of fells and in this instance the glacial sweep of Dunmail Raise which really makes this view so special and worth seeking out at any time.

once at the top of the short rise turn left and you are on Loughrigg Terrace.

Viewpoint 3 – Panoramic Grasmere Walk along the broad but sometimes rocky path and the best places to set up your tripod become obvious as you approach the woods and the head of Grasmere.

Panoramas work well from here catching the great sweep of landscape in front of you.

Viewpoint 4 – Woodland wall

This location includes White Moss Woods, Loughrigg Terrace and Loughrigg summit. From White Moss car parks walk into White Moss woods on the south side of the road.

At the end of Loughrigg Terrace the path splits. Continue straight on into the woods and through a gate to find a wall with some unusual holy slates supporting fence posts. This is an interesting 5 minute detour before returning along the terrace or turning up to tackle the climb to the top of Loughrigg.

Viewpoint 1 – River Rothay

Climbing Loughrigg Fell

What To Shoot and Viewpoints

The River Rothay is just a short walk away. On the riverside there is good composition potential with river, trees and if you are lucky some bird life. Herons are often seen here.

Are you feeling energetic? Take the steep path just before you reach the wall and wood. This often stepped path leads upwards to increasingly stunning views. There are solitary trees for foreground interest.

Viewpoint 2 – Footbridge

Viewpoint 5 – Skyline views

Walk upstream and then cross the river using the footbridge. The wooden footbridge itself makes a good subject. Try crouching at either end and taking an image of the converging lines of the rails. Good if you have a friend with you to pose on the bridge as you take a distant shot.

Once on the other side of the bridge go straight ahead, not right, through the woodland which leads to Loughrigg Terrace. Go up through the woodland to a kissing gate that leads to open fellside, turn right and

Unusual dry stone wall at Viewpoint 4.

Canon 5D MkIII, 24-105mm at 24mm, ISO 250, 1/20 sec at f/5.6, hand held

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central: loughrigg terrace

Once at the skyline you are not quite at the summit. The views from here however are tremendous and allow you to get the whole of Grasmere lake into the picture. There are interesting piles of stones to add foreground interest for a wide angle shot taking in the whole scene.

Viewpoint 6 – To the summit Continue on the path to the highest point with a stone trig point on top. You’ve made it, this is a fabulous place and the views are great in all directions. Use your wide-angle lens to capture the breadth of the view or a telephoto to zoom in to parts of it.

Bracken detail with a 105mm macro lens.

Bottom Right: Waterfall in a wall.

Bluebells on Loughrigg Terrace at the end of May. Canon 5D MkIII, 24-105 at 50mm, ISO 100, 1/80 sec f/11, hand held

How To Get Here Located a mile from Grasmere or 2.5 miles from Ambleside, at White Moss there are car parks on either side of the A591. It is a National Park pay and display car park with a minimum charge of ÂŁ2.

Parking grid ref:

OS NY 350 065

Parking postcode:

LA22 9SE

Map:

OS Explorer Map OL7 (1:25 000) The English Lakes south-east area

Accessibility This is a moderate length walk with no end of places to stop and take in the view. The paths are generally good but are not suitable for wheelchairs. The walk to the top of Loughrigg is quite steep on a rocky footpath, expect to take around an hour from the car park to the summit without stopping.

Best Time of Year/Day This is a beautiful location at any time of day or year with lots to photograph from macro subjects to wide open vistas. The most dramatic times for photography however are down to light or weather conditions. Try early morning in autumn or winter when there may be a cloud inversion in the valley bottom. There can be carpets of bluebells from mid May depending on the severity of the winter.

Useful Techniques Composition:

page 276

Lens Choice:

page 274

Depth of Field:

page 288

Macro & Close Ups:

page 292

23

Great Gable around midday in late November from the fields near Viewpoint 1.

Canon 5D MkIII, 70-300mm at 176mm, ISO 100, 1/160 sec at f/10

Wasdale West Wasdale is arguably the most dramatic of the Lake District valleys, its deep profile carved by the movement of ice flowing from the highest peaks at the head of the valley down towards the sea. The views from the west combine spectacular scree slopes plunging into the inky depths of England’s deepest lake and classic mountain scenery of the high Lakeland peaks.

Here we describe a short walk at the west end of the lake and suggest a few viewpoints along the way.

What To Shoot and Viewpoints Viewpoint 1 - Great Gable view From Santon Bridge after around 1.2 miles, the road goes over the brow of a hill and suddenly you are treated to an amazing view of Great Gable and upper Wasdale with some fine Scots pines in the fields below. There are a couple of footpaths leading off to the right of the road giving different views across the fields with the pines and mountains behind. You can park up and explore the potential here from a car park just after the next bridge on the left.

Wastwater west lakeshore Walk back along the road just a few hundred metres to Woodhow and a path leading down across the field to the river The riverside footpath arrives at the stone arch of Lund bridge crossing the river Irt. Continue over the bridge towards the screes to reach viewpoints 2, 3 and 4 or turn left through a gate and follow the low path to viewpoints 5 and 6.

November sunset from Viewpoint 6.

Canon 5D MkIII, 24-105mm at 24mm, ISO 100, 2 sec at f/22, 2 stop ND, tripod

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SOUTH west: Wasdale west

Viewpoint 2 - Riverside path The riverside path offers opportunities for combinations of gate, fence, trees and bridge.

Viewpoint 3 - Boathouse From the bend in the river before you get to the lake walk to the riverside for compositions using the trees and boathouse on one side and the steep slopes of Whin Rigg on the other. This part of the water is relatively sheltered so you can get some great reflections of Great Gable, Kirk Fell and Yewbarrow.

Viewpoint 4 - Scree path Walk past the stone building to find the path leading to the screes. Follow the good footpath above the lake and below the crags with some interesting gnarled thorn trees adding foreground interest. The shot here is of the dramatic and chaotic steep rocky boulder slope plunging into the relatively calm lake with Yewbarrow and Great Gable beyond.

The nice grassy footpath turns into a loose and rocky scramble at the scree slope but continues along the side of the valley to the end of the lake. Be aware the rocky slopes here are unstable and extreme care should be taken if you decide to traverse any scree.

Back at Lund bridge, go through the kissing gate into Low Wood and follow the right fork to take you along the river towards the lake shore.

Viewpoint 5 - Boathouse and Great Gable From the riverside path looking upstream towards the boathouse with Great Gable poking its head above. This is especially dramatic with the bracken and trees in autumn colour.

November sunset from Viewpoint 3.

Canon 5D MkIII, 24-105mm at 47mm, ISO 100, 1.3 sec at f/22, tripod

Viewpoint 6: Yewbarrow and Great Gable in late November.

Canon 5D MkIII, 24-105mm at 24mm, ISO 100, 2 sec at f/22, 2 stop ND, tripod

Viewpoint 6 - Lakeshore views The footpath follows the lakeshore with beautiful views framed by trees and branches straight down the lake to Yewbarrow, Kirk Fell and Great Gable.

Just after a gate the footpath passes below a sloping field, climb to the top of this slope to get a view of the lake perfectly framed with mountains above and trees and grass below, truly stunning in autumn.

Continue along this path turning up left towards the YHA then follow the road back to the car.

How To Get Here Accessed via Santon Bridge to the west of Wasdale, see map p.121.

See next location for Santon Bridge access. Take the road towards Nether Wasdale with dramatic views looking across the fields through the Scots pines to the Great Gable and the crags and gullies of Whin Rigg (Viewpoint 1).

Viewpoints 2-6. 1.8 miles from Santon Bridge the road goes over the River Irt flowing out of Wastwater. Turn right after the bridge and continue for 1 mile to a small lay-by on the right side of the road, 100m before the Lodge at the entrance gateway to the YHA. Parking grid ref:

OS NY 143 043 (Wasdale YHA)

Parking postcode:

CA20 1ET

Map:

OS Explorer Map OL6 (1:25 000) English Lakes south-west area.

Accessibility This circular walk is 4.5km or 2.8 miles typically on reasonable and fairly level footpaths; there are no large climbs. There are however stiles to cross and narrow and rocky sections that would best suit sturdy walking boots. It’s not recommended to traverse the screes due to its loose and unstable nature.

Best Time of Year/Day These viewpoints are generally looking east so make good sunrise locations. From here Great Gable and the other peaks catch the setting sunlight. With the lake in front, this is a fantastic spot to watch the sunset. Any time of year is good but autumn and winter are probably the most spectacular.

Useful Techniques A dull day on Wasdale screes converted to black and white.

Canon 5D MkIII, 24-105mm at 28mm, ISO 100, 1/13 sec at f/22, tripod

HDR & Exposure Blending:

page 284

Filters:

page 290

Sunrise & Sunsets:

page 296

SOUTH wesT: wasdale west

27

Buttermere: A calm November morning from near Crag Wood headland.

Canon 5D Mk III, 24-105mm at 50mm, ISO 100, 1/80 sec at f/5.6

Buttermere Circuit The five mile path around Buttermere lakeshore has been a classic since Victorian times and ranks as one of the most beautiful walks anywhere. The Fish Inn at Buttermere was the home of Mary Robinson, a local girl who unwittingly became a tourist attraction due to the mention of her beauty in one of the first Lake District tourist guides at the turn of the 19th century. Her story has most recently been re-told by Lord Melvyn Bragg in his book ‘The Maid of Buttermere’.

What To Shoot and Viewpoints Viewpoint 1 - Foot of Newlands Pass At the foot of Newlands Pass there is a great shot of the old black and white striped Buttermere signpost with a backdrop of Sour Milk Ghyll cascading down from the combe (hanging valley) between Red Pike and High Stile.

Use a long lens from further back to capture the sign with just a backdrop of the stream and trees in autumn colour. Another option is to frame your photo to include picturesque St James’ Church, inside of which there is a memorial to Alfred Wainwright.

Lakeshore Walk. The viewpoints below are described in a clockwise direction around the lake starting from

Buttermere village at the north west end. Follow the track by the side of the Fish Inn leading to the lakeshore.

Viewpoint 2 - North western lakeshore From the western end of the lakeshore you get tremendous views up the lake towards Fleetwith Pike and Warnscale Bottom. Look for rocks, reeds or a fence-line to add interest to the foreground. A great place for a panorama of a mirror-like lake with almost symmetrical hills on either side.

Turn left at the lakeshore and go through a gate along a permitted footpath.

Viewpoint 3 - The tree - north west A short walk along the path takes you to what is probably the most photographed tree in the Lake District. Try entering ‘Buttermere tree’ into an internet search engine to get an idea. This lonely little birch tree seems too delicate and frail to exist in such an exposed spot amongst these wild and rugged hills. To emphasise the tree, get low and frame carefully so the branches are against the sky. A low sun in winter is ideal for silhouetting the tree against a side-lit Fleetwith Pike. Still mornings are best here.

Go right through a kissing gate and follow the path above the lakeshore.

Haystacks, High Crag and High Stile stitched panorama from Viewpoint 5.

Canon 5D Mk III, 17-40mm at 17mm, ISO 100, 1/30 sec at f/14

Viewpoint 3: THE Buttermere tree, 9am in early October.

Canon 5D Mk III, 24-105mm at 24mm, ISO 100, 1/100 sec at f/22

Buttermere pines from the shore near Crag Wood.

Canon 5D Mk III, 70-300mm at 135mm, ISO 100, 1/125 sec at f/10

Viewpoint 4 - Dalegarth - north shore

Viewpoint 5 - Buttermere Pines - south east

Just before Dalegarth; a guesthouse and campsite above the shore, the path emerges from the trees and crosses a flat field area with scattered trees and a bench on the lakeshore. There are superb views looking towards the pines at the far end of the lake with Haystacks behind.

Use a long lens from here to isolate the pines and the white lakeshore bothy with the cascades of Warnscale Beck behind.

Just before the path meets the road you will see the classic view of the Buttermere pines. A successful photo here, like anywhere, depends on the light, there is no golden formula for success. The most dramatic times generally happen in mixed weather when shafts of sunlight penetrate holes in the clouds. Go when the sun is low for long shadows. Get low to the water on perfectly still days to get the best reflections. Zoom in and out to get more or less of the background depending on the light. Is the sky worthy of inclusion?

After rain the waterfalls in Warnscale Beck come alive.

Shortly after this the path goes through the rock tunnel at Hassness. Depending on the time of year the beach at Hassness is a great spot for a sunset looking back towards Mellbreak. Crag Wood headland has some impressive pines on the lakeshore and a beautiful pebble spit. Walk a short way up the field for a good composition along the length of the wall to the tree on the shore with the lake and High Crag, Eagle Crag and Comb Beck waterfall behind.

The footpath follows the road for 500m to Gatesgarth Farm where a footpath goes off right after the bridge.

Follow the path across the fields at the end of the lake.

Left: From viewpoint 1 looking across to Sour Milk Ghyll in autumn.

Canon 5D Mk III, 70-300mm at 160mm, ISO 100, 1/100 sec at f/5 north west: buttermere

31

The view east from the western lakeshore to Fleetwith Pike, midday in December. Stitched panorama.

Canon 5D Mk I, 24-105mm at 24mm, ISO 100, 1/40 sec at f/20, tripod

Viewpoint 6 - Warnscale Bottom - south east Along the path and at Peggy’s Bridge look east up the Warnscale Valley. There are good views looking into Warnscale Bottom towards the patch of dark pines and isolated trees with the waterfall and crags behind.

Looking west the stream leads the eye to the lake and down to Mellbreak, remember that often ‘less is more’.

It’s tempting to try to get everything in the shot but it may be better here to use a long lens to cut out the sky to accentuate the scale of the dark crags. The whitewashed bothy on the lakeshore contrasts beautifully with the dark slopes of Mellbreak behind and catches the sun on this side until midday.

Viewpoint 7 - Fleetwith Pike view - south shore Just after the waterfalls of Comb Beck you pass through a gate. This makes a lovely image with the view up valley framed by the tree branches and your eye being lead into the scene along the footpath and through the gate.

Continue along the path back to the Fish Inn or the Bridge Hotel for a cream tea or pint. Or, if the cafe at Sykes Farm is still open, their homemade ice cream is probably the best in the Lakes!

Viewpoint 6 from Peggy’s Bridge Canon 5D Mk I, 70-300mm at 93mm, ISO 100, 1/250 sec at f/7.1

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north west: buttermere

Looking into Warnscale Bottom on a very wild day in late October.

Canon 5D Mk III, 70-300 at 200mm, ISO 1600, 1/200 sec at f/5

How To Get Here

Accessibility

The viewpoints described can be linked by a circular walk around the lake starting from either end. There are car parks at both ends. For Viewpoints 1,2 and 3 use the LDNPA car park in Buttermere Village.

For Viewpoints 4,5,6 and 7 it’s easier to start from Gatesgarth car park at the SE end of the lake.

This fairly level walk around the lake is around 4.5 miles or 7km on mostly good footpaths with just a short section on the road to Gatesgarth Farm. Allow 2.5 to 3 hours without stops to walk around.

The whole of the south shore starting from either end is on wide gravel path that is OK for wheelchairs, keep in mind there are a few inclines. The north shore footpath (on the road side of the lake) is not suitable for wheelchairs being narrow in places with rocky steps and tree roots.

By car: Buttermere Village is 8.5 miles from Keswick via Braithwaite and Newlands Pass. The road is spectacular and there are many photo opportunities along the way. At the top of the pass there is a small path leading to Moss Force Waterfall. Just above the village at the foot of the pass there is some roadside parking. Alternatively continue down past the Bridge Hotel to the LDNPA pay and display car park behind the Fish Inn. For the Buttermere pines, Viewpoint 5, it’s best to park at Gatesgarth Farm and walk along the road for less than a kilometer.

By bus: The Honister Rambler bus goes from Keswick bus station over Honister and stops at both Gatesgarth and Buttermere which means if you only fancy half the lake circuit walk you can get the bus back.

Parking grid ref:

OS NY 173 169 (Fish Inn)

Parking postcode:

CA13 9XA

Map:

OS Explorer Map OL4 (1:25 000) English Lakes north-west area

Best Time of Year/Day Buttermere is superbly photogenic in most conditions at any time of the day or year. In autumn the brown bracken on the slopes and varicoloured tree foliage is quite special. Winter can be spectacular with snow on the hills and lake mist on frosty mornings. Refer to the sun position compass to see where the sun will rise and set on any particular day.

north west: buttermere

33

Shows and Events Most counties have traditional agricultural or local shows. Cumbria is no exception but brings its own twist to the genre. For instance have you ever had your beard or boots judged?

Don’t know what stick dressing is? Have you ever witnessed terrier racing or duckling herding? These shows are a perfect place to fill a memory card with candids, caricatures and local character.

Some quick tips for photographing at shows.

Each show format is slightly different with a range of attractions that may include any of the following: local crafts including stick dressing, hound trails, fell races, Cumberland wrestling, sheep dog trials, vintage vehicles and machinery, carriage driving, sheep, cattle, dogs and poultry, falconry, tug of war, trade stands, beer tent, Wasdale has a best beard and best shepherd’s boots competition, sheep shearing, terrier racing and duck herding.

• Less is more, use longer focal lengths to get in close to the action or subject rather than trying to capture the whole venue.

Below is a non exhaustive list of some large and small local shows. Check local information centres for exact dates and other shows.

• Check the event programme to see what is happening when and get to the location early or you may be fighting to get a good viewpoint.

• Keep in mind where the sun will be, it’s better to have your subject nicely lit rather than struggling to photograph into the sun.

• Isolate the subject by using a wide aperture and narrow depth of field.

• Don’t hesitate to use the Auto or ‘P’ Program camera setting for grab shots - better to get the shot than miss it whilst fiddling with settings.

• Set the scene, look for compositions or subjects that identify the event.

Penrith Show – July

www.penrithshow.co.uk

Coniston Country Fair – July

www.conistoncountryfair.co.uk

Langdale Gala – July

www.langdale-gala.co.uk

Ambleside Sports – Last Thursday in July

www.amblesidesports.co.uk

Rydal Show – Early August

www.rydalshow.co.uk

Hawkshead Show – August

www.hawksheadshow.co.uk

Millom and Broughton Show – August

www.millomandbroughtonshow.co.uk

Cockermouth and District Agricultural Show – August

www.cockermouthshow.co.uk

Grasmere Sports – Late August Bank Holiday

www.grasmeresports.com

Lakeland Country Fair, Torver, Coniston – August

www.lakelandcountryfair.co.uk

Black Combe Country Fair – August

www.blackcombecountryfair.co.uk

Ennerdale Show – Late August

www.ennerdaleshow.co.uk

Loweswater Agricultural Show – September

www.loweswatershow.com

Borrowdale Shepherd’s Meet – 3rd Sunday in September

www.borrowdaleshow.org.uk

Westmorland County Show – 2nd Thursday in September www.westmorlandshow.co.uk Eskdale Show – September

www.eskdale.info/show.html

Wasdale Head Show and Shepherd’s Meet – October

www.wasdaleheadshow.co.uk

World’s Biggest Liar – November

www.santonbridgeinn.com/liar

Sheep judging in Wasdale

Cumberland wrestling in Borrowdale

Hound trails in Loweswater

Shepherd’s crook winners in Wasdale

Vintage tractors in Wasdale

The very competitive start of the Junior fell race in Borrowdale

Some fine examples of dressed sticks in Loweswater

Duckling herding in Borrowdale shows and events

35

Depth of Field Depth of field is a term that often causes confusion with those new to photography as well as some who have been taking photos for some time. The concept is not too complex but understanding the technique will raise the standard of your photography tremendously.

The definition of Depth of Field is ‘The distance between the nearest and farthest objects in a scene that appear sharp.’

Going to extremes

Front to back sharp focus with a small aperture.

Canon 5D MkIII, 17-40mm at 17mm, ISO 200, 1/125 sec at f/13

Very narrow depth of field, long lens and wide aperture.

Canon 5D MkIII,70-300mm at 269mm, ISO 200, 1/320 sec at f/5.6

Four things that affect depth of field (DOF) Lens aperture The smaller the aperture (larger f number), the greater the depth of field. The larger the aperture (smaller f number), the narrower the depth of field.

Lens focal length The shorter the focal length of the lens the greater the depth of field. This means it’s easier to keep everything in focus with a wide angle lens than a telephoto.

Focusing distance The closer you are to the in-focus subject, the less depth of field you get.

Subject to background distance The greater the distance between subject and background, the harder it is to keep both in focus. This is good if you want to isolate a subject from the background but not so good if you want to have everything in focus.

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technique: depth of field

Compare the examples below illustrating the extremes of large (or wide) and small ( or narrow) depth of field. The photo of lily pads on a calm Watendlath was taken with a small aperture and a wide angle lens to keep as much in focus as possible. In the picture of the small ferns on the boathouse at Devoke water, a long lens and wide aperture was used close up to keep focus as narrow as possible to blur everything but the plants.

How much DOF is best?

It’s clear that depth of field is a useful compositional technique but whether you narrow it or widen it depends on your subject or creative intentions. A narrow depth of field is best used to isolate a subject in a landscape to draw attention to it. This works well for people, flowers or wildlife.

For landscapes you will typically want the greatest depth of field to get as much in focus as possible. You can achieve this by using a wide angle lens and a small aperture (typically f/11 to f/22). f/11 to f/16 is considered to be the optimal aperture for maximum sharpness. The smallest apertures suffer from an optical effect called diffraction softening the image.

Hyperfocal distance The way to maximise the front to back sharpness is to focus at what is known as the hyperfocal distance.

What exactly is hyperfocal distance?

When you focus on a subject you get a zone in front and behind the subject that is also in focus. The size of which is determined by the lens focal length and aperture used.

If you focus on infinity, the in-focus zone extends back towards you but also beyond infinity and is wasted. By focussing closer, the whole in-focus zone moves back

towards the camera increasing the depth of field.

The hyperfocal distance is the closest focussing point that allows objects at infinity to remain sharp.

How do I achieve this?

You can do this by trial and error by focusing somewhere closer than infinity and checking the focus of near and far objects on your screen then making focus adjustments. Some lenses have depth of field scale markings making it easy to line up the infinity mark with the aperture used to get the hyperfocal distance.

There are charts and apps available showing the hyperfocal distance taking into account lens focal length and aperture.

Rules of thumb I personally can’t be bothered with charts and apps out in the field so I tend to use rules of thumb. Firstly, assuming it’s bright enough, I try to use an aperture of around f/11, then use one of two methods: 1. Many people use the ‘Focus to a Third’ rule which means you focus at a point one third up from the bottom of your scene.

2. A better rule of thumb is to focus at twice the distance of your foreground subject. So if your foreground rock is 1m away, focus at 2m. This may take some practice but pretty soon you will get used to what is possible.

Focus bracketing If your desired image requires a depth of field that goes beyond what is possible with the camera and lens set up used, with your camera on a tripod you can take a number of images focussing on points throughout the scene to later combine in editing software.

Cotton grass near Rydal Water. Even with a small aperture the long lens and close subject resulted in a shallow depth of field. (p. 86) Canon 5D MkIII, 70-300 at 221mm, ISO 100, 1/160 sec at f/14

Langdale Pikes from Blea Tarn. With a wide angle lens you can get sharp images using medium apertures. (p. 112) Canon 5D MkIII,14mm, ISO 200, 1/60 sec at f/10

Bluebells in Rannerdale. A long lens and wide aperture reduces the depth of field to a narrow strip for creative effect. (p. 166) Canon 5D MkIII, 70-300 at 188mm, ISO 100, 1/800 sec at f/5 technique: depth of field

37

Derwentwater. The first launch of the day approaches Brandlehow, taken from Castle Head (p. 202).

Canon 5D MkIII, 400mm, ISO 100, 1/500 sec at f/5.6.