SOMERSET LEVELS PICTURE GALLERY 6 – POSTS 51-60

SOMERSET LEVELS PICTURE GALLERIES

I’m currently posting images from my large archive of photos from the Somerset Levels, an area not far from where I grew up that holds particular meaning and attraction for me.  These photos are being posted singly, with full text.

To make viewing of these images easier for those with little time to spare, I’m also posting groups of these images with minimal titles.  This is the 6th gallery – you can find the earlier galleries here: 1 2 3 4 5. 

Clicking onto each image will open a larger version in a separate window: doing this often enhances the image.

51: Water Lilies in the North Drain, Tealham Moor; 2009.

52: Sunrise, Totney Drove; 2018.

53: Early morning, Ash Moor; 2019.

54: Looking south, Tadham Moor; 2019.

55: The poplars at Godney; 2018.

56: In the undergrowth, Swanshard Lane; 2019.

57: Teasel along Tripps Drove; 2012.

58: The road south across Tealham Moor; 2014.

59: Trees in mist, Tadham Moor; 2011.

60: Sugar cubes in Baillies’ Cafe, Burnham-On-Sea; 2012.

ARCHIVE: LEVELS 74 – MISTS RISING, QUEEN’S SEDGE MOOR (MONO)

This image is best viewed enlarged: click onto it to open a larger version in a separate window – recommended.

With these spring mornings getting light earlier and earlier, I left home at an even more gruelling(!) hour and, hammering steadily but speedily down almost empty main roads, was soon up on the top of the Mendip Hills – very much the uplands of my childhood – and looking down on the Somerset Levels laid out flat as a pancake far below.  The sun was already up and, although sunshine bathed most of the flatlands, there were still pools of mist lingering here and there.  I thought how wonderful it would be to get into one of those mist pools but, far away and far below as they were, I wasn’t able to identify any of their locations exactly, so I just put my foot down and hurtled onwards >>> lol! onwards and downwards!!! >>> towards the diminutive city of Wells, one of the many gateways to this flat and wet countryside.

So, through Wells and immediately out onto the Levels, heading for the truly long, Long Drove, a single track, tarmac lane that cuts right out across the middle of Queen’s Sedge Moor.

I reached the junction, turned left off the main A39 road onto Long Drove and, really, was just smacked – visually – right across the face!  I just couldn’t believe it, I just gaped.  For there was the long, dead straight drove, arrowing out ahead of me, but mist was rising from the water-filled ditch (the rhyne) on its left, and this narrow ribbon of slowly rising vapour was bring caught by the rays of the still low sun.

And thence to dangerous comedy >>> pulling over wildly over onto the narrow lane’s precarious grass verge and feeling the car slide and tilt ominously.  Then, camera in hand, tumbling out of the car and running out in front of it, to get a view looking straight up the ditch – and almost sliding into the ditch’s chill embrace in the process – there are times when I think I’m getting too old for all this!!! 

And then, having just managed to stay safe, I came to a feature of the new camera which is really starting to get to me – the work literally of a second to convert the 300mm reach (= x6 magnification) of my telezoom to 450mm (= x9 mag), and I was suddenly looking up the rhyne at x9 magnification and, quite simply, gasping.

And so to taking pictures, followed by another few, high speed moments on the car to reach another promising viewpoint, and more pictures – and the mist was gone, dissolved in an instant by the sun’s slight warmth.  And the time between my first seeing this mist and its almost instantaneous disappearance???  Well, at most 10 minutes.  Quite simply, an incredible visual adventure.

Technique: Z 6 with 70-300 Nikkor lens used in DX (= APS-C) format to give 450mm; 250 ISO; Lightroom, using the Camera Neutral V2 picture control; Silver Efex Pro 2, starting at the High Contrast Orange Filter, and adding a light coffee tone; looking eastwards along Long Drove, on Queen’s Sedge Moor, south of Wells; 26 Apr 2019.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE STILL LIFE PICTURE GALLERY 2 : POSTS 11-20

ARCHIVE STILL LIFE PICTURE GALLERIES

I’m currently posting images from my large archive of (loosely defined!) still life photos.  These photos are being posted singly, with full text.

To make viewing of these images easier for those with little time to spare, I’m also posting groups of these images with minimal titles.  This is the second gallery – you can find the earlier galleries here: 1 .

Clicking onto each image will open a larger version in a separate window: doing this often enhances the image.

Looking down onto the shadow of a footbridge; 2014.

Dustbin and blue cord, in a churchyard; 2014.

The upper deck of a bus, on a sunny day; 2017.

My wife’s glass of wine, in a Bristol pub, on a sweaty afternoon; 2016.

Looking into a building at night; 2016.

Teasels, in the valley of the River Chew; 2013.

Seascape, Lizard Point, Cornwall; 2016.

Public seating; 2016.

Small tree, on the Mendip Hills; 2018.

Advertisement, a little the worse for wear; 2017.

ARCHIVE: LEVELS 72 – THE VIEW SOUTHWEST FROM WHITELAKE BRIDGE (MONO)

Looking out over the Whitelake River and Hearty Moor, with the landmark of Glastonbury Tor, topped by its ruined church, in the distance.  Large masses of flowering Blackthorn on the left.

Click onto the image to open a larger version in a separate window – recommended.

Technique: Z 6 with 70-300 Nikkor lens at 70mm; 1600 ISO; Lightroom, using the Camera Neutral V2 Picture Control; Silver Efex Pro 2, starting at the High Contrast Red Filter preset and adding a light coffee tone; Whitelake Bridge, northeast of Glastonbury, on the Somerset Levels; 5 Apr 2019.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE: LEVELS 71 – THE BRIDGE OVER THE NORTH DRAIN (MONO + COLOUR)

 

The bridge over the North Drain, on Tealham Moor; 30 Oct 2014.

The little bridge on Tealham Moor, with its guard rails hanging on for dear life.  The area is below sea level, this bridge is the “highest” thing around – and the little, single track roadway of Jack’s Drove hurries us on northwards towards the safety of the higher ground up ahead, the low hills of the Wedmore ridge. 

Click onto the image to open a larger version in a separate window – recommended.

Technique: D700 with 12-24 Sigma lens at 12mm; 800 ISO; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset and selectively restoring colour.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE: LEVELS 68 – HILLSIDE WITH SHEEP AND TREE (MONO)

The eastern slopes of Barrow Hill, Panborough, to the north of Godney Moor; 11 May 2015.

A Minimal image, with little detail; and almost entirely – apart from that woolly beast –  a silhouette.  And did I imagine it ending up this way when I took it?  Yes, that it might look like this did come to mind.

Click onto the image to open a larger version in a separate window.

Technique: D700 with 70-300 Nikkor lens at 300mm; 800 ISO; Silver Efex Pro 2, starting at the Strong Infrared Low Contrast preset; further processing with Capture NX2.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE: LEVELS 66 – THE NORTH DRAIN, LOOKING WEST

Using a very wide angle lens to see a wider angle of view – sharply –  than the unaided human eye ever can: the manmade North Drain flows off slowly towards the horizon, removing water from the often sodden, flat peatlands around it.  Surface water can be seen lying on these rough pastures, but they are not yet actually flooded.  Above, during a period of numerous storms, the tranquil sky of a brief interlude of high atmospheric pressure.

Click onto the image to open an enlarged version in a separate window – certainly recommended.

Technique: X-T2 with 10-24 Fujinon lens at 15mm (equiv); 200 ISO; jpeg created and processed in-camera from a raw file, using the Velvia/VIVID film simulation; no further processing; the North Drain, on Tealham Moor, on the Somerset Levels southwest of Wedmore; 14 Feb 2020.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

ARCHIVE STILL LIFE PICTURE GALLERY 1 : POSTS 1-10

 

ARCHIVE STILL LIFE PICTURE GALLERIES

I’m currently posting images from my large archive of (loosely defined!) still life photos.  These photos are being posted singly, with full text.

To make viewing of these images easier for those with little time to spare, I’m also posting groups of these images with minimal titles.  This is the first of these galleries.

Clicking onto each image will open a larger version in a separate window: doing this often enhances the image.

 

1: Artificial flower

2: City life

3: Megalith

4: Three herons

5: Phone box

6: Four chairs below a table

7: Chair behind dirty window

8: Tag on the wall of a bar, Little King Street

9: Lunchtime drink

10: Early morning, in the park

ARCHIVE: LEVELS 64 – FROSTY ROAD (MONO)

Kid Gate Drove, Tealham Moor, before sunrise on a frosty morning.

Thick frost, bitter cold and the bare landscape of winter; I’m looking back up the road I’ve driven down, some of the tyre marks are mine.

Technique: strongly converging lines draw the eye into the image, all the way up the road to those dark trees, and in particular to that tall tree – which (as open happens) reminds me of a bursting artillery shell or bomb.  And the backdrop, behind those roadside trees, is faded, ill-defined and grey, with thin, dark mist drifting like smoke overhead.  The use of a slightly bluish Selenium tone hopefully(!) adds to the image’s cold feel.

Click onto the image to open another version in a separate window – recommended.

Technique: X-T2 with 55-200 Fujinon lens at 84mm (equiv); 12,800 ISO; Lightroom; Silver Efex Pro 2, starting at the Full Dynamic Harsh preset and adding a moderate Selenium tone; 27 Jan 2017.

SOMERSET LEVELS: SOME KEYWORDS

And finally – some keywords that will often be mentioned in this archive series:

Droves:  to avoid crossing other peoples’ land when accessing their own, the farmers constructed a series of tracks, known as droves, between the fields. Some of these droves are now metalled roads and many persist as open tracks – all of which allow wonderfully open access to this countryside.

Rhynes: the fields are bounded by water-filled ditches – which both drain the ground and act as stock barriers. Hence strange landscapes – where fields appear quite unbounded, except for a gate with a short length of fencing on either side of it, where a bridge crosses the water-filled boundary ditch to provide access the field.  These small wet ditches communicate with larger rhynes (“reen” as in Doreen), which in turn flow into larger drains, e.g. the North and South Drains in the Brue Valley. All of these waterways are manmade and, by intricate series of pumping stations and flood gates, all of them have their water levels controlled by local farmers, internal drainage boards or the Environment Agency.

Pollarded Willows: the banks of the rhynes were often planted with Willow trees, both to help strengthen the banks and also to show the courses of roads and tracks during floods. These Willows are often pollarded, i.e. their upper branches are cut off, which results in distinctively broad and dense heads to the trees. Pollarding keeps trees to a required height, while ensuring a steady supply of wood – more important in the past than now – for fires, thatching spars, fencing and so on.

SOMERSET LEVELS PICTURE GALLERY 5 – POSTS 41-50

SOMERSET LEVELS PICTURE GALLERIES

I’m currently posting images from my large archive of photos from the Somerset Levels, an area not far from where I grew up that holds particular meaning and attraction for me.  These photos are being posted singly, with full text.

To make viewing of these images easier for those with little time to spare, I’m also posting groups of these images with minimal titles.  This is the fifth gallery – you can find the earlier galleries here: 1 2 3 4 .

Clicking onto each image will open a larger version in a separate window: doing this often enhances the image.

41: As the rain poured down, the view through my car window, towards a nearby tree; Tadham Moor 2013.

42: Skylark in songflight; Tadham Moor 2013.

43: A little piece of magic: charms over running water at Whitelake Bridge; 2019.

44: Godney Moor; 2014.

45: The shadow of The FATman, as he looks at the world through a fisheye; Tadham Moor, 2013.

46: New fence, rotated, or three people in a procession, however you see it; Westhay Garden Centre, 2005.

47: Looking into the distance as a day begins; Hay Moor, 2019.

48: The first shafts of sunlight light up the mists of early morning; Swanshard Lane, 2019.

49: Crow on fallen tree; Tadham Moor, 2014.

50: Sunrise, Glastonbury Tor, 2012.