Photographing Vimy Ridge Canadian Memorial

When John and I started planning our trip during Easter break, he told me that he would like to visit the Canadian Memorials for the First and Second World War located in France. We first stopped at Juno Beach on the Normandy where Canadians have had a crucial participation on the D Day. On the next day we drove to the Arras area to Vimy Ridge where the Canadian memorial is dedicated for the brave men that fought the World War One and have no known grave. 

John has both of his grandparents as veterans. We agreed that this was a way that we could pay our respect and thank so many brave men and women that fought and still fight everyday for our freedom. 

Image 1 - Twin pylons represent France and Canada partners in arms  

Vimy Ridge is an impressive memorial. The two towers constructed on the top of the hill can be seen from a distance. The construction took 11 years, and was finished in 1936. The design is the work of the late Canadian sculptor and architect Walter Seymour Allward. The restoration of the site was finalized in 2007. 

Each sculpture has a meaning, and they are beautifully executed. It has been an honor for me to experience this location. 

Image 2 - Mourning Parents: the female

Image 3 - Mourning Parents: the male

Image 4 - Vimy Ridge Memorial

Image 5 - Detail of the grieving expression of the sculpture

Overlooking the battlefield is the largest of the sculptures, a young female called Mother Canada, which is the representation of the young nation mourning her dead.  

Image 6 - Mother Canada mourning her dead

Image 7 - Mother Canada with the stone sarcophagus representing Canada's war dead.

Image 8 - Sympathy of the Canadians for the helpless

While we were there, 2 army planes flew by in some sort of exercise. I got a close up shot of them, but then I tripped going backwards on the hill. Luckily, John was around and captured the planes with the pylons. 

Image 9 - Army planes

Image 10 - John Hewitt's image of the army planes with the pylons

The memorial has a large green area for a walk. However, visitors have to stay in the trails well marked and secured by electric fences. The reason for all this security is the undetonated explosives that are still present from the battle on the fields. 

Image 11 - Security signs 

After the memorial, we have visited two other locations on site, the Cemetery and the Trenches that have been preserved in concrete. The cemetery provides many photo opportunities, especially since it is not as much visited as the trenches. We took our time walking around the rows of grave stones and noticing the very few names or infantry identifications. Many of the soldiers buried there couldn't even have their company's identified. That's the reason in the memorial the walls carry the name of these brave souls.

Image 12 - Canadian Cemetery front gate

Image 13 - Unknown soldier grave stone

Image 14 - Rows of grave stones

While in the cemetery, I have noticed the patters and graphic lines. It was a moment of reflection, grieving and also honouring those that give their lives to make ours better. 

Image 15 - Row of grave stones with Canadian Flags

Image 16 - A moment of reflection, grieving and respect

I am grateful to each individual and their families for their unselfish and brave behaviour. They deserve my utmost respect and admiration. Thank you!    

Photographers are complainers!

Photographers are complainers!!! 

Yeah, yeah, yeah, we are!!!

If you don't agree with me, just keep reading and I am pretty sure you will be changing your mind by the end of this post.


Let's start with the most common complain, the weather. Have you ever seen a photographer 100% satisfied with the weather condition? If it is sunny, well, then there is no clouds in the sky to reflect the light. If it is cold, then the batteries will run out faster. 


The second most common complain is the light. We all agree that the sunrise and sunset are the best times of the day to photograph, but is it worth complaining that the light is too harsh mid day? Guess what, that's exactly what we do instead of looking for alternatives such as shooting inside or focusing on other subjects that do not including the sky. Another alternative is to process images, write a blog post or take a nap!


Third on my list of complains is the weight that we carry. It is that simple, do you want to have a 500mm 2.8f/stop lenses? Then you have to carry the monstrosity with its own tripod in any of your hikes! I can't stand carrying my tripod but I know it is for the greater good!  


Fourth type of complain is how early sunrise is during summer. Yes, if you leave on the extremity of the hemispheres you will have variation on the duration of the day. If that's such a big deal for you, just move closer to the Equator where the days are generally the same length throughout the year. 


You are still not convinced that we are complainers? My fifth one is how about the amount you spend in photography during the year? I hear so many, "Wow, this year I went over-budget with my equipment purchases" and in combination with this complain comes how much photographers make with their image. Yes, it is very low, close to nothing... if you actually make anything out of it besides the friends and family compliments.


Belive me, I am a complainer myself, but  I would not change a minute anything. I love photographing each day more and more. It does not mean that I will stop complaining, but I just want to make sure that we all come to an agreement that complaining is part of the day to day work of a photographer.

What are your complaints? 

Photographing Etretat, France

Etretat is a small village in the Normandy, coast of France surrounded by high cliffs.

These cliffs have conic and arch formats creating an unique and picturesque scenario, perfect for photographers. I had planned to arrive mid afternoon in the village to have enough time to hike the cliff for a good sunset position. Unfortunately, I did not stick to the plan, so I only stayed on the bay area of Etretat.

If you arrive with enough time and the tide is low, there is a hiking trail up the main cliff and down on the other side where the sun illuminates the main conic and arch formation during sunset. Another option, if the tide is not low enough, which you can check on the outside of the tourist information office, is to photograph the formation from the top of the cliff.


A third option and the one that I have taken is to stay on the beach area. The problem with this option is that the cliff is backlit, making it hard to properly expose. Some photoshop processing is required to maximize the beauty of the location. 

Image 1 - Etretat main arch from beach

Image 2 - Etretat main arch and cone formation from beach area

If the tide is low, take advantage of the rocks and algae for the foreground and also some close up. The texture and colours are enhanced by the side light of the sunset. 

Image 3 - Low tide photo opportunity

Image 4 - Rocks and algae on Etretat beach area

I made sure to look to the other corner of the beach where a smaller arch formation exists. Since I was on the beach, the sunset light was absolutely perfect for that location, radiating the reds and oranges hues. I moved around the beach area to capture different foregrounds.

Image 5 - Right cliff of Etretat

Image 6 - Sunset colours reflected from cliff

Moving around also allows different angles of the left cliff. The center of the beach provides a better view of the conic formation behind the arch. 

Image 7 - Arch during sunset without conic formation

Image 8 - Moving closer to the center of the beach allows the conic formation to be visible

Last but not least, the cliffs are illuminated at night. I went for dinner at the local casino and after ordering I went back out for some final images of the cliffs this time artificially illuminated but still with some sunset colour in the sky. 

Image 9 - Cliffs illuminated at night

Image 10 - Cliffs illuminated at night still with colour in the sky

Photo Tip - Circular Polarizer

After my post about Neutral Density Gradient filter, I had someone ask me what other filters I carry on my camera bag. The truth is beside the NDG I just have one another filter, a circular polarizer. This filter saturates the colours, which results in darker images.

The 3 most common situations that I use circular polarizer are:

1 – To enhance vibrancy of colours


Together with neutral density gradient, circular polarizer is landscape photographers best friend. The saturation of the colours will generate more vibrancy, which translates for instance into a darker shade of blue for the sky or more intense fall coulour.

Image 1 - Fall colours intensified

Image 2 - Darker shade of blue in the sky

2 – To slow the speed


Since the polarizer blocks part of the light reflected to the lenses, hence darker objects, there is a need to compensate the exposure normally for about 2 f/stops, if you are shooting in manual mode. This is a big watch out when photographing without a tripod. However, the slower speed sometimes can be desired, for example, when trying to capture the moving water in that pleasant, soft, almost milky looking way, there is a need for a longer exposure. During the day, the sun might be high up and even on the lowest ISO possible, the speed is just too fast for the effect, the polarizer will help to solve this issue.

 

Image 3 - Milky looking water

Image 4 - Milky looking water

3 – To reduce reflection of surfaces

The polarizer reduces glare from non-metallic surfaces such as water and glasses. When trying to capture the content of this old shop in Killarney at the end of the day, the polarizer helped reduce the glare and reflections on the window to better show the content of the inside of the shop. Also, lake surfaces can be used as mirrors of the surrounding subject without reflecting the glare of the light source. 

Image 5 - Reduction of window glare

Image 6 - Water surface free of glare

Sometimes, I combine both the polarizer with the neutral density gradient. But I try to avoid this practice because the result of more layers in front of the lenses is an image with less definition and quality.

Trail Talk

I have been photographing alone for a while now, and even though I really enjoy my friends company on photo shoots, there is something about the quietness and the freedom that being alone gives you. I can decide where to go, at what time, and for how long I want to stay. But I do miss the photo interaction that you have with a photo bud, such as the development of the itinerary for the day, pointing out something extraordinary that you have seen, and sharing images during breakfast after a sunrise shooting. 


In summary, I do enjoy the freedom of being by myself because I can change plans on the spot, but I also enjoy the planning when going out with someone else. They are polar opposite experiences and each have its advantages and disadvantages.


Now, my biggest issue is with random trail talks. Believe me, I have no problem in stopping and talking briefly with locals, exchanging some information with other photographers on location, or taking a picture for a couple that would like for a change to be in a photo together. The key word here is BRIEFLY! 


For those that know me well, you are probably thinking that I am going crazy, because I am quite the social butterfly and the chatter, but when I am photographing I am in my own zone. I am concentrated, looking around to see things, scouting for a better foreground for a landscape image, or searching for unique angles. Photographer friends are doing the same thing, so you exchange a couple of sentences here and there and move back to your own vibe again.


The biggest issue with random trail talk, is that you are trying to capture something in a moment and someone sees your camera and tripod, and a torrent of questions start. I don't like being impolite, so I normally take the time to answer all the questions, giving my undivided attention for the talker, and then the moment is gone! 


The worst was the other day on a very secluded trail where I was trying to photograph some birds that kept coming back to the same location and this lady stopped by and stood there chatting for over half an hour. My short attention span was gone by the time that she left... even the birds got bored! I am not sure what to do in a situation like this. I stayed there interacting with her, even though my body language was clearly telling her I was not interested. I don't feel comfortable ignoring the person and going back to my equipment, I think it would just be rude. 


So, the moment was lost, I was frustrated, the birds abandoned the location in total boredom, but I guess at least I made the day of that lady. Not everything was lost after all. 

What is your most creative way of getting away from random talkers?

Photographing Zermatt

I have been reluctant in writing about Zermatt. Despite the fact that I have been to Zermatt twice, I don't think I have experienced it well enough yet to give all the best tips.

Trip 1 -

I left Lausanne on a Tuesday morning with the first rays of sunshine. The sky looked promising and I was really excited about the prospect of seeing Switzerland best known mountain, the Matterhorn with some great light. When I arrived in Visp for a train connection, it had started to rain. On the train ascend to Zermatt the rain turned into flurries and the higher up we went, the more intense the snow storm became.
When I arrived in Zermatt, the visibility was close to zero. I had a really hard time to orienting myself since I could barely see the other side of the street to try to find my hotel. The snow continued in spite of the temperature of 5 degrees Celsius. I waited for a couple of hours and the visibility improved a little. However, there was no chance at all of seeing the Matterhorn this time. Since I am not one of giving up, I decided to go out to capture at least the trail up to the peak. The snow and high temperature combination had transformed the trail into a thick icy muddy puddle. With wet feet and a slippery walk, I decided to turn my lenses to the traditional Swiss Chalets (not the saucy Canadian type!) around the area.

Image 1 - Traditional Swiss Chalet on a snowy day

Image 2 - Trail from Tasch to Zermatt 

 A traditional Alpine chalet was built elevated from the ground with wooden walls and the roofs of a local stone called 'Lauze', which is similar to slate but thicker. The stones were used mainly due to the shortage of wood and for its insulation capability. In addition, the stones are resistant to fire and have longevity.

In the southern village of Tasch, the last drivable place before Zermatt, which is accessed by train only, there is trail that take you up to Zermatt if you prefer instead of the train ride. In this trail there are many abandoned traditional chalets. What it is interesting to notice is that the same chalet style and from the same construction period that are located in Zermatt are still in use! Even with the wholes in the wooden walls and the gaps on the doors and windows. Zermatt is a small touristic village with high real state prices.



Image 3 - Abandoned chalet

 

Image 4 - train from Tasch to Zermatt

Trip 2 –


A week later and with my fingers crossed for better weather, I have made my way back up the mountains to Zermatt in the quest of Matterhorn. I took the train all the way from Visp. If you do the same as me, make sure to sit at the very last car on the left side of the train. On the ride, you will be able to register nice views of the Alps including or not the train. The speed is low enough that a hand-help picture will not be shaky. In addition, the windows of the trains open allowing a reflex free picture.

Image 5 - Train ride from Visp to Zermatt

When you arrive at the Zermatt village, last stop of the train, you should exit the train station and turn right or simply follow the huddle of skiers. Don’t expect to see Matterhorn just yet, but in a couple of minutes you will see the triangular peak, which is said to have inspired the Toblerone chocolate.

From the village, the best view of Matterhorn is from the bridge right in front of Matterhorn Hostel. It is an unobtrusive view that can be enhanced by incorporating some of the village’s chalets and the creek. During the high season, you might have to wait in line to take a picture or have your picture taken in this location. 

Image 6 - Matterhornview from Zermatt village

If you don’t want to walk, you can get one of the taxis that circulate on the village. All vehicles are left behind in Tasch. In Zermatt only the mini electric cars are permitted, even for emergency cars. Some hotels also offer more traditional shuttle services, on horse and carriage.

Image 7 - Mini electric cars

Image 8 - Hotel alternative shuttle

From the end of Zermatt’s village, there are two ways to get closer to Matterhorn: a cable car to Furi and Schwarzsee or a hiking trail up hill. If you have read my previous post, you should know by now that I am scared of cable cars. The Matterhorn seemed so close to the village that I have decided to follow the trail. After 45 minutes and lots of unnecessary sweat I gave up. The sky indicated that it would not be a beautiful sunset and I would have to climb down the trail by myself on the dark afterwards.

Image 9 - Cable car 

Image 10 - On my way up on the Matterhorn hiking trail

Instead I have settled for a location off the main Matterhorn trail, where there are various Swiss chalets. The trail does not have many nice views of the mountain, at least not the 45 minutes that I have gone. So, I climbed down almost all the way back to the village where I could integrate other elements on the foreground, or isolate the Matterhorn with my zoom lenses.

Image 11 - Matterhorn in the background with traditional Swiss chalets in the foreground 

Image 12 - Matterhorn in the background with traditional Swiss chalet in the foreground

When I stop at a location, I make sure to look 360 degrees, to see what else is around. From this location, I also had a very nice view of the Zermatt village in the back and a few of the solitary chalets on the high hills. In addition, the Glacier Express train passes by on the opposite side of the mountain. It was hard to resist registering the moment that the train made its way up slowly through the bridge balanced against the Alps.

Image 13 - Zermatt village

Image 14 - Isolated Chalets

Image 15 - Glacier Express train

At last, it was time for Sunset, but as predicted it was cloudless and the position of the sun at this time of the year did not illuminate the Matterhorn the way I had imagined, I was a little disappointed but it seems to be turning into a tradition… Zermatt and the Matterhorn have made to my list of places to return. I will even venture myself on the cable car… maybe if I get some company I will be a little bit braver. Third time is the charm…

Image 16 - Matterhorn at dusk

Image 17 - Matterhorn at sunset

Expanding scope

I have great news, the scope of the blog is being expanded! Hooray! 

When I first decided to start this informational blog, my objective was to share with other photographers my knowledge of places to photograph in Switzerland. Then, after some posts, I have decided to include some photo tips. These are learnings that I've had in the past couple of years photographing as an enthusiastic around the world. I don't claim to be an expert, I still have lots and lots to learn, that's why I always recommend joining local photo clubs. Other photographers, speakers, and image critiquing are the best way of learning. Off topic, I just decided to reorganize my flickr account and was able to review the evolution of the quality of my images during the past 4 years, it is an experience that puts into perspective where you were and where you are going with your work.


Okay, back to topic! After the tips, I have started writing some short stories that are somehow related to photography or to my adventures while photographing.

Now comes the news, for 3 weeks - from mid April to beginning of May - I will be traveling and photographing other parts of Europe. Hooray again! 

I will be traveling for 10 days with John and our dog Scarlett through south Germany and parts of France. Even though it is a trip focused on relaxing as a family, I know I will get some photography time. I always find a way - even if it means waking up for sunrise while the two get their beauty sleep! Then, John and Scarlett will come back to Lausanne, while I drive through Belgium to meet up with my great friend and exceptional photographer Kat Lovasi in the Netherlands. We have so many places that we want to hit in the area that we will probably not sleep at all. 


From the Netherlands we drive back to Switzerland where we will together explore some of the places that I have already been and some new ones as well. Until we leave for Paris for a mix of photo and relaxing trip. 


Wow! It will be a busy period! Trying to keep up with photographing, image processing, text writing, relaxing, and still enjoying each location. I am sure I can handle it all! It is a nice problem to have in hand, right?


So, I will have to ask you to be patient. The posts might slow down a little for the next 3 weeks. I will try my best to keep up with posting in between locations. The main issue is processing all the images that I am sure will be way too many. We are so excited about this trip. I am sure that we will visit some very nice locations. Oh, I will try to convince Kat to be my guest blogger as well. Her images are fantastic and if her writing is as good as her story telling while we get lost getting to places, you will all have a blast!


Stay tuned for the upcoming adventures.

Photo Tip - Panoramic

Panorama from the Greek means 'all sight'. And that's exactly what a panoramic image does, it gives the viewer an unbroken sight of an area surroundings by a succession of continuous images.


Nowadays, photographers can create their own size of panoramic images in Photoshop, but for film and printing purpose the most common size is the 6cm x 17cm. In general the ratio, should be 1:3, meaning the width is normally 3 times bigger than the height. 

This tip is not on how to stitch the images when post processing them, but it is an easy check list of a couple of steps that I do when actually taking the images on the field.

Image 1 - Death Valley morning light panoramic

When I find a subject that offers the potential to a panoramic image, I proceed with the following steps:


1 - I normally position my camera on my tripod in the portrait position. This step will give me more information on the top and the bottom of the picture to discard once the images are stitched together on the post-processing phase. 


2 - I try to use a zoom in my lenses closer or higher than 50mm to avoid lenses distortion, which can make it more difficult to stitch an image together. 


3 - I compose the image with enough extra space on the top and the bottom to facilitate the cropping in photoshop once all images are stitched together.


4 - I do a dry run of the frames to photograph and check for any object mainly in the foreground that will appear distort, and to plan for anything that might need to appear in just one frame. Avoid compositions with people or moving objects such as rivers and waterfalls, unless the subject can be placed in its totality in just one frame.


5 - During the dry run, I also try out the exposure in each frame before setting my final one with my camera on manual mode. Always use manual mode when doing a panorama to avoid changes in the exposure from one frame to another. (If your image is a landscape remember to use an f/stop of 11 or higher to optimize the depth of field).


6 - I focus, using either manual mode or autofocus, around 1/3 inside the image. If I am using autofocus, I change it to manual to ensure all frames will have the same focus.  


7 - This next step is very important! It sounds silly, but this is the only way I have found to be able to mark the sequence of images for a panorama among all the other images on the disk. After composing the first frame, I place my hand in front of the lenses holding 1 finger up. Once I finish the image sequence, I place my hand in front of the lenses again, only this time holding 2 fingers up. When, rating and sorting the images later in the computer, it is extremely easy to spot the beginning and ending of the panoramic sequence.

Image 2 - Panoramic Sequence of Images of Matterhorn

8 - I shoot the sequence of frames overlapping 1/3 of the previous image on the following image. I move the camera around as fast as possible to avoid change in light intensity.  


Then, it is time to let photoshop do all the hard work for you. Once the layers are merged, and the image is cropped to cut the excesses, I process it the same way I do all other images.

Image 3 - Post-processed Panorama of Matterhorn