Last month, much of the UK was under a blanket of snow and here in the southeast was no exception. It's such a rare occurrence for us that the mere mention of the 'white stuff' sends photographers into a frenzy! Where to go, what to photograph? Wildlife or landscapes? There was a time when such conditions would remain for several weeks on end affording photographers the opportunity to consider and explore. Those days, sadly, seem to be long gone so now we have to be content with whatever amount of snowfall we get.
However, the days leading up to it were very cold with some nice, sharp frosts so before we get into the snow pictures, here's a few from a local woodland.
As is the case recently, all were taken on film using the Hasselblad and in the image above and below with the superb 120 Makro. Yes, that's macro with a K!
I love working on subjects such as this for it requires a methodical and considered approach. Upon arrival to a likely spot, I put the equipment down and search. Sometimes I see a potential photo and other times I don't. Just because there are frost-covered leaves and ferns around doesn't necessarily mean there is sure to be a pleasing composition. It's then a matter of carefully positioning the tripod and in the case of these two, aligning the camera for maximum depth of field since it rapidly diminishes at such close quarters.
Ilford FP4 (rated at box speed) was used for all three and subsequently hand developed by yours truly in Rodinal at 1:50 dilution.
In parts of the wood there were extensive patches of frost surrounded by frost-free bramble. At first, I began looking for close-ups but then I stood back and realised that actually the picture, all along, was of the 'pathway' itself.
I used a relatively wide aperture of f/5.6 for shallow depth of field so the attention was primarily on the centre as opposed to the foreground. The dark bramble gives the impression that I applied a vignette but I can assure you it's entirely natural.
It's unfortunate, really, that I feel the need to even have mentioned it, but it seems very much the 'thing' these days (with woodland photography, in particular), to heavily process and add a heavy vignette in an attempt to elevate a mediocre image into something far more Instagrammy, and I often wonder how the image would stand up if just a modicum of processing were applied. I dare say it wouldn't get half as many likes, love hearts, and thumbs-up! It's akin to the mindset that if it doesn't work in colour, turn it into black and white! We're all guilty of it, myself included. Don't get me wrong, I'm not adverse, myself, to adding the occasional vignette though I do try to do it in such a subtle way that others would have a job noticing. For me, it's all about subtlety and gently leading the viewer into and through the frame.
Now, onto the snow...
Thinking of somewhere nearby, with the first significant snowfall, I headed to a local park and adjoining cemetery. Not usually the kind of place I would go to make images but I reasoned that such was the weather's unpredictability that anything was better than nothing and for all I knew it could be gone in a day or two. It was actually rather nice for the wind was blowing hard resulting in snow coating the sides of the trees and tombstones creating a nice contrast between elements. I took the Hasselblad along with 50 and 120mm lenses. Leaving the tripod at home I uprated Ilford HP5 from 400 to 800 which gave me a decent shutter speed/aperture combination of around 1/125 f8. I guess I could have gone down to 1/60 (keeping in line with the rule of thumb of not shooting at a slower speed than the focal length you're using) but the 'blad' is a heavy beast and there was no point in taking chances.
As far as settings are concerned, metering in overcast lighting is relatively straightforward where with textured snow falling onto Zone 8 (Z0 = black and Z10 = white) I merely metered directly from the snow then increased the exposure by +3 stops which also resulted in plenty of detail in the shadows. This applies to black and white emulsion and not to colour transparency and digital where you run the risk of seriously overexposing the scene. I subsequently developed the film in Microphen at stock (neat) solution which I re-use for up to 10 rolls, and which gives very nice results.
The following day, and with the same kit (again, without a tripod), I took a circular route which included a small orchard with some amazing old cherry trees.
Having lived here my whole life I have some wonderful childhood memories of accompanying my mum in this same orchard as she climbed up and down tall ladders picking the fruit and attending the village primary school which sat adjacent. Her birthday was just a few days previous and having said goodbye to her back in August 2019 I reflected both with a smile and sadness.
From here I made my way to the school's playing field (it seemed much bigger all those years ago!) and onto the exposed. snowy high ground of open fields. I made a few images of the electric poles (I loved their odd angles and minimalism) and as the sun appeared I had just enough time to take a photo of this row of trees punctuated by a single pole which brightened the snow and emphasised the dark, brooding sky. Of course, just prior to this moment I came to the end of the roll and appreciated the difficulty of changing medium format roll film in blowing snow!
A couple of days later, and with further fresh snow laid, I headed for a small woodland (this time with a tripod) that I have been photographing within for more than 30 years. From late morning the forecast was for clear skies and so I set off on the 2-mile walk, at dawn, ensuring I arrive in plenty of time and could capture the wood both under overcast and blue skies. Throughout the night more snow had fallen and so the walk (with pack and tripod), although a little on the tiring side, was extremely enjoyable. The soft crunch of snow with every footstep and not a soul to be seen. One of life's simple pleasures.
Fortunately, there was sufficient cloud for the sun to only appear intermittently meaning my subject selection wasn't being dictated too much by one or the other. One moment I could shoot images of the sun entering the wood, and the next of teasel and fallen branches. It was a wonderful few hours and as always when absorbed in photography (particularly in these conditions and environment), time simply flies by.
