Although the loch is a short drive from my home, it is situated in the shadow of the Black and Red Cuillin, and consequently is part of a microclimate that can serve up quite different and constantly changing weather. This, of course, is part of its charm and fascination that has led me to return day after day, week after week and month after month. I have photographed the reeds in all seasons and all weathers, and in a manner of different moods.
As I track the edge of the loch, I realise that while I have used multiple exposure techniques and slow shutter speeds to capture the mood and spirit of the reeds, I have rarely used intentional camera movement. I check the images as I begin to move my camera, carefully controlling shutter speed and experimenting with the extent and direction of the movement. There are various parts of the loch where the sun lights up the reeds or the tops of their stems which offers a glimpse of the spring shoots, fresh from hibernation below the water’s surface.
The time goes quickly as I become more confident and absorbed in my work. The light on the water changes minute by minute and I capture images quite different in colour and tone although the combination of blue and gold predominates.
The results have a painterly aesthetic, and some give the impression of water colour and oil paintings. This effect is caused by the ripples of the calm water combined with the camera movement.
Others capture the ethereal stature of the reeds. The images below, provide a glimpse, an ephemeral moment in time when the being of the stems is revealed.
I am very pleased with these images. Although I have been photographing the same subject at the same loch for a number of years, these images do capture the spirit and nature of the shape, form and patterns of the reeds and the surface of the water.