It is bitterly cold this morning. There is a biting north wind across Lochan Dubha, a location I have not visited for a while. My supervisors had enjoyed the work I did recently that they said was almost like calligraphy, and so I decide to work on some similar images, but with no pressure, only to enjoy being out on a crisp spring day.
I wait for sunrise not just for the light to rise over the loch but also to give me some warmth on my back as I work.
The emergence of the reeds and other water-based plants on Lochan Dubha seems slow this year, not surprising given the faltering weather. A benefit of the wind and cold though, is that there are no midges. I take a high vantage point rather than clambering down to the edge of the bog, as the reflections and patterns are more prominent. I recall that this location is difficult, as there is a lot of vegetation around the loch and a limited amount of open water to get the angle I need.
I work on multiple exposures, hoping to gain some luminosity and depth to my images. Occasionally, a glint of sun on the surface of the water, or an insight to what lies below the surface leads me to press the shutter. The movement of the water is vigorous for the most part, but occasionally steadies to a gentle roll. I use combinations of slow shutter speeds to create a milky and ethereal moment on the water. I also use intentional camera movement with a few shots.
I am keen not to put too much pressure on myself and so enjoy the morning and working with my camera. The images below, I think, give a sense of a photographer at peace with the world and one who is not desperate to bag the shot. I should learn something from this, perhaps, and enjoy my work rather than being focused on particular outcomes – after all, I am trying to attenuate my conscious mind and elevate the non-conscious!