Nutmeg - the spice of life.

The nutmeg fruit; photographed in Fiji.

A little over a year ago my wife and I embarked on a remarkable cruise which was an amazing adventure.  We visited many exotic locations, Fiji being one of them.  While there we explored a wonderful farm appropriately called a spice garden.  As you can imagine, there was a large variety of plants.  We were fortunate in that many of them were fruit-bearing at the time and ready to be harvested.

One that particularly caught my eye was the nutmeg fruit.  The outer flesh is edible and may be used to produce jams and chutneys.  The inner seed contains the main commercial interest though.  It has three distinctive layers.  The outer layer is a vibrant red and is used to make mace.  The shell lies beneath that which contains the seed; it is the source of the spice nutmeg.

Nutmeg was originally cultivated in the Spice Islands and was kept under strict management to facilitate a monopoly.  The entire seed was popular in Europe and England for both its flavour and many of the mystic properties it allegedly held.  Some of beliefs included its ability to attract admirers, increase virility, ward off evil, and protect against a host of ailments.  With so many benefits and such limited stock the spice became very expensive; a pound of it could buy several beasts of burden.  At one point it was more valuable than gold.

Today we value the spice itself and the mace which encases the nutmeg's shell.  Not only are they popular in culinary circles, they both are important components of stomach and intestinal medicines and are used to treat a host of other medical conditions ranging from insomnia to cancer.  

It is clear that, both historically and currently, that the nutmeg plant produces a valuable commodity with remarkable properties.  Nutmeg truly is the spice of life.

Thanks for reading.   www.ericspix.com

Depth of field is affected by image size.

As an image gets larger, out of focus areas become more apparent.

Depth of field is a cardinal concept in photography.  The main aspects of controlling depth of field include focal length, aperture, and point of focus.  An often overlooked aspect relates to the size that the image is to be viewed at. 

Consider this scenario.  You are photographing something and check the image on your rear LCD display to make sure it looks good.  Yes, everything seems great, including the focus.  All the stuff you wanted to be in focus seems to be.  You take the image home and view your creation on the computer.  The now much larger image wasn't what you expected.  There are blurry areas before and after the subject.  Zoom in a bit and it gets even worse!  How could you have missed that?

It happened because depth of field is based on a number of criteria, including size of the final image.  As the photograph gets larger areas that originally appeared in focus become progressively more blurry.  This seems like an enormous problem, but only counts based on another factor; proximity of viewer.

Have a look at the images above.  The top one seems fine with everything nicely in focus.  It would have looked fine on the camera's LCD screen.  As you view following enlargements it becomes apparent that the focus wasn't quite what it could have been.  However, an important consideration has been overlooked. 

Move further away from your viewing surface, whether it is laptop, desktop monitor, cellphone, or tablet.  As you get farther away the enlarged components of the photo see less blurry than they were.  This is why you can enlarge a photo to fit a highway billboard sign and it seem all in focus.  Chances are that, as you get closer to it, parts of it may start to look a little fuzzy.

Enlargement size and viewing distance go hand in hand.  It turns out the real factor affecting whether something is in focus or not is based upon the image falling upon your retina.  By managing the amount of enlargement, including cropping, and the viewing distance, you can alter depth of field to some extent.  It is not the main method of course, but it is something to consider.

Thanks for reading.   www.ericspix.com

Reflection on a pond, compensating in manual exposure mode.

Reflection of the shoreline on a pond; exposure was way off.

Although I am a big fan of aperture priority exposure mode (the "A" selection in the PSAM group) for many of the situations I find myself in, my second most common choice is manual.  In this mode the camera reads light coming into the camera and compares it to the current exposure and ISO settings.  If everything is bang-on, the meter will show that a "correct exposure" is possible in the viewfinder and/or on other camera mounted LCD displays. 

The reason "correct exposure" is in quotation marks is because the camera may just be mistaken.  In the situation above, my first image proved to be an overexposure.  It turns out there are a lot of dark areas in the scene.  The camera's meter read the situation as there wasn't too much light available and so suggested a longer shutter speed.  The resulting image was clearly off by quite a bit.  My solution was to change the shutter speed by letting less light in than what the camera suggested.

In an automatic mode this is done by using either exposure compensation or exposure lock.  In manual mode the command dial controlling shutter speed is rotated.  Alternatively, you can also change the aperture value, the ISO, or a combination of all three.  For the most part though I opt to change shutter speed as I want depth of field to remained unchanged.  With vibration control technology being so common and good, this often is not an issue.  In this case it was even less so, because I actually had to increase the shutter speed to let less light in.

I decreased the light by 4/3 of a stop (1.3 stops for those with a fraction phobia) and shot again.  The result was much better, rendering the dark areas dark and the bright areas properly exposed.  The nice thing about shooting in manual exposure mode is that, once you have figured out the correct settings, you can continue to use them if the light remains the same.  Areas of shadow and backlighting may occur, but I find previously used manual exposure settings will often be correct.

I used a polarizer in this situation as well which helped remove unwanted glare from the water and deepened the already very blue sky.  The shutter speed was 1/50th of a second at an ISO of 200 and an aperture of f/7.1.  I used a 28 mm focal length on a full-frame camera.

Thanks for reading.   www.ericspix.com

The Railway Trail, Hayward Lake, near Mission, BC.

The piles making up an old trestle along Hayward Lake.

We owe much to our forefathers, the pioneers of old, that built our country one mile at a time.  Many of the routes they constructed were the life-blood of civilization.  These byways still exist, although  they would not be recognized today by those original travelers that meandered along them.  Simple farm trails have become major thoroughfares, used by thousands of commuters each day.  Other paths have been abandoned and fallen into disuse and disrepair.

A common history has befallen many a rail line.  The reasons for them being forsaken varies.  Shorter routes, exhausted resources, better grades, or simple economics all have spelled their doom.  Fortunately, many of these have been revitalized.  No longer facilitating the passage of giant iron beasts, these woodland lines now allow the easy flow of people searching for a quiet path to free their thoughts. 

The Railway Trail (click here), as the south path around Hayward Lake is called, boasts stunning views of the lake with the remains of trestles periodically dotting the trek.  I was out on this path Sunday afternoon with a friend.  The walk was peaceful and easy; one of the benefits of using a railbed as a pathway.  Modest elevation changes exist along its length, especially if you start out at the south end.  We hiked the northern part from the park to a point midway to the other end.  We saw other hikers, many walking their dogs, who seemed to appreciate the trail as much as we did.

Thanks to my friend, Bert, who phoned me up and asked if I wanted to go for a walk.  I did, and I thoroughly enjoyed it.

Thanks for reading.   www.ericspix.com

Moraine Lake, Banff.

Moraine Lake in the morning.

One of the most remarkable sites I have had the pleasure to see is Moraine Lake in Banff National Park.  Its pristine turquoise waters contrast against the grey limestone peaks in the background with talus slopes testifying to the age of the vista.  On a clear day, the azure sky adds to the scenescape producing a true national treasure.

The moment I was there, photographing in awe all that was before me, did not prognosticate what my daughter would later do with the image.  The shot above, and another like it, is being used by her in a quest to find subjects to paint. 

After taking art classes for many a year, she found herself in a conflict of sorts.  The problem lay with where she was getting the material from.  Books, works of art, and other people's images were the inspiration for what she put upon canvas.  It was all copyrighted; protected from being duplicated without permission or recompense.  After some discussion with her family, she decided to use the images I had created over time.  She would peruse through many hundreds of images cached in my hard drives and find one which suited her creative desire.

Her current project is to paint the above photograph, on an especially large canvas.  She wants to use it to cover the television which will eventually be mounted on the wall in her newly fabricated suite.  I don't always get to see my photos used, and it nice to see that something wonderful will come of a joint project between my daughter and I.  It makes the majesty of the scene all the more poignant.

Thanks for reading.   www.ericspix.com

St. Kitts: There's no place like home.

A shanty located in St. Kitts.

It is easy to look at this and feel bad for the inhabitants; they don't have any of the basics which we take for granted.  No power, no running water, and a home that is more hovel than hotel.  How is it that they could live in such poverty?  It must be terrible for them.  Or is it?

The truth is dependent upon what you are used to.  Most of us North Americans would be uncomfortable here.  Our "quality of living" standards would take an enormous hit, and it wouldn't be long before we were in a desperate state.  There are many in the world, however, that would look upon this as an upgrade.  Its got a roof, a beautiful view, and it is dry.

There are some things going on here though which need a closer look.  Notice that there is no garbage, debris, or other wastes hanging about.  The area is relatively free of weeds.  It is built on a bit of a knoll so that the substrate is dry.  Even though the structure is built out of salvaged bits and pieces, they are assembled in a way that makes them relatively solid and keeps the elements out.  There is a safe place for kids to play.  In short, the occupants take pride in their dwelling.

The reality is that we don't need much to survive.  Shelter, food and water, and a way to deal with wastes fit the bill.  The question becomes less about what you have and more about how well you care for it and the people who live there.  If there is one standard we were to look at, it should not be where you live, the size of your house or the kinds of cars you own.  It should be how well you look after the things in your care.  That is the measure of success, and the only real way to make a place your home.

Othello Tunnels - different exposure methods.

A nested series of the Othello Tunnels.

If you happen to be spending time around Hope, BC, you may want to consider checking out the Othello Tunnels.  Once a railway line, the defunct route has been converted to a pedestrian and bike trail.  The tunnels themselves are impressive but not too long; walking through any one of them takes only a short period of time.

I photographed the above shot using manual exposure mode on my camera, although an automatic mode with exposure lock would have worked equally well.  In order to get the correct settings, I established my aperture and shutter speed outside under full outdoor light.  It was important not to trust the camera's meter inside the tunnel as the dark edges may have caused the central image to be overexposed.  By metering outside and using those settings inside I ensured a correct exposure.  The inside of the tunnel would be black, but that in itself is great for framing purposes.

If I had been using an automatic setting I would have selected a scene without any backlighting or other lighting issue and then pressed the AE-L button on my camera (Canon cameras use the button marked with an asterisk (*)).  Then, going into the cavern, I would frame the shot and take the photo.  The disadvantage of using exposure lock is that, once you take your photo, the camera resets to its default settings and you have to repeat the process if you want to take another. 

There is a way to do this without moving, but it requires a little more effort.  You have to zoom your camera in to frame the outside area without the dark perimeter.  Move the camera about until you get the exposure you want and press the exposure lock button.  Zoom out to your desired focal length, reframe and shoot.  I have used this procedure when I cannot effectively use manual mode and can't get out into the zone where the exposure will be based.  It is not my first choice, but it works in a pinch.

For those of you who want to use an automatic mode but not lock the settings, you can always try bracketing.  This would involve either exposure compensation (+/- button) or turn on the automatic bracketing feature.  Three photos at 0, -1, and -2 would probably suffice.  You want to underexpose from the suggested setting as the dark values would cause the camera to let in more light than what is actually required.

Thanks for reading.   www.ericspix.com

A fumarole in Rotorua.

A large singular fumarole located near Rotorua, New Zealand.

Fumarole; that's a new one.  What is it, and what does the photo of a large mud puddle have to do with anything?  A fumarole is a vent that allows hot gases to escape from underground volcanic activity.  The mud pit above is an example of one, although there is less gas and more liquid. 

Beneath the surface of the earth we walk on, many miles below us, temperatures and pressures increase to incredible values.  Water, which finds its way down through percolation and cracks in the rock, becomes superheated.  Water turns into steam and expands; the hot gases then rise.  In some situations, the water itself may well up to produce hot springs or bubbling mud pits. 

The barren land around the fumarole is a testament to the heat and noxious gases associated with this geothermal activity.  Although there is plenty of water, light, and nutrients, plants cannot tolerate the conditions nearby.  Certain species have adapted to the conditions though and thrive; tea trees are one of them.

Often when photographing such scenes I have the sky represent only a small portion of the scene, often representing part of the upper third in the photo.  I used a polarizer filter when creating this shot, and the clouds responded nicely with the sky deepened to a deep azure blue.  The contrast between cloud and sky complimented the stark landscape.  The polarizer also removed the strong blue hues associated with such a day and rendered the colours of the land in their natural tones.

This is all part of the reason I enjoy traveling; seeing new sights and being able to photograph them while enjoying the awe of the moment.  There is so much more to do and see! 

Thanks for reading.   www.ericspix.com

Do you know what type of dogs these are?

Unknown dogs on deck.

I came across these dogs while staying in Salmon Arm this summer.  We attended a local flea market, which thankfully didn't sell fleas, and these two large beasts were resting themselves very comfortably on a nearby deck.  I especially liked the one that is resting its face on the ironwork of the enclosure.  They both seemed very passive, although I wouldn't have wanted to get on their wrong side.

 I went to a website that tells you the kind of dog something is when you paste its picture (go to https://www.bing.com/visualsearch/Microsoft/WhatDog).  It suggested these guys were aikidos, although I wasn't so sure.  With their large sizes, I thought maybe they were mastiffs, but some research rejected that notion.  However, if they are the result of the breeding between two separate breeds then all bets are off.  

Take a look at the whatdog website, its kind of neat.  Also, if you happen to know what these beasts are, let me know.

Thanks for reading.   www.ericspix.com

Shooting in the fog at Cape Lookout.

Cape Lookout on a foggy day.

The modern digital camera is designed to read reflected light coming off a scene and estimate an appropriate exposure based on that information and its current settings.  The process has come a long way from the days of selenium based light meters.  Today cameras use multiple light readings from an image and process that information by an onboard computer chip.  The end result requires less interpretation to get the correct exposure than in days of yore. 

I typically shoot in RAW mode because it has such wide latitude and is very forgiving when the correct exposure isn't used.  Having said that, you always want to capture the best image possible, which means using the right exposure amongst other things.  This is where it becomes important to consider the exposure settings the camera is making as a suggestion or starting point, not the ultimate values in capturing the moment.  This is especially true in lighting situations that are somewhat extreme in nature.  Common themes include strong backlighting, and places boasting significant amounts of sand, snow, or fog. 

My friend and I were exploring the hiking path of Cape Lookout while we were camping at Pacific City in Oregon this summer.  It was still relatively early in the day when we hit the trail, and it wasn't long before it disappeared into fog.  When shooting in such circumstances I generally do two things.  The first is to keep my camera's lens protected to keep water droplets from settling onto the front element.  The second is to use exposure compensation to adjust for the brighter background usually associated with fog.

How much exposure compensation depends upon the amount of fog, how much skyline is present, and how close my subjets are.  I usually find that I need somewhere between +1 to +2 stops of correction.  The next time you are in fog, or even snow or on a sandy beach, give this a try.  A sure-fire way to get the correct exposure is to bracket.  Bracketing is where you take several shots of the same scene, but vary the exposure in each one.  For the above situation I would recommend shooting three images; one at the given setting, one at +1 and the last at +2.  Take a look at the shots afterward.  If you understand histograms, have a look at them too.  It is highly likely that one of the three will be better than the other two.

The great thing about bracketing in this way is that you learn something each time.  After a while, you will find that you can estimate what corrections you need to make before taking the shot and get away with only one image instead of three or more.  Of course, the advantage of several photos bracketed over a wide range is that you can combine the images using HDR software.  That is another story, however.

Thanks for reading.   www.ericspix.com

Surfing at Pacific City, Oregon.

Surfing at the beach in Pacific City; Haystack Rock is in the background.

The word "surfing" makes me think of the iconic images related to the sport.  You know the ones, a young person is on a freshly waxed board hanging 10 inside a large curling wave.  The truth is that most people that surf will never experience the thrill of that moment.  The idea equates somewhat to heliskiing, base jumping in a flight suit, or cave diving.  All these require nerves of steel and extreme confidence and skill.  Anything less than this and you are asking for an early grave.

There is an important thought here.  It is the idea that participating and enjoying the experience is often enough.  You don't have to do more than what your comfort level dictates.  I am all for being safe and enjoying things without putting myself at risk.  People who ski are usually content with working the regular slopes and not having to hit the double black diamond runs to feel they accomplished something.  Flying in a glider harnessed to a trained guide can itself be the thrill of a lifetime.  For surfers, the three-foot swells are often enough to satisfy the need to engage them.

I will never accomplish anything at the extreme level.  All my activities, including my photography, are done with the idea in mind of getting out and enjoying the world around me.  I don't have to be the best, or even excellent.  I just have to be there and have fun.  Its what most of us do in reality.  And really, that is enough.

Thanks for reading.   www.ericspix.com

Reflection Lake, Golden, BC.

Kayaking on Reflection Lake, just outside of Golden, BC.

It was a glorious day when I decided to take my kayak to the lake I had seen just outside of Golden.  I like to go early in the morning for a number of reasons.  First off, there is the low angle of the sun which produces long shadows which still retain details.  Then there is the general absence of people.  I do not mind sharing the world with others, but they can royally foul up a scene when they are there milling about.  Finally, I am an early riser anyway and would rather do something useful with my time.

Getting into the lake was difficult.  I visited the lake the day before looking for put-in locations.  There really was only one, and it either had not been used much or not used at all.  The access was narrow and the entrance to the lake was thick with cattails.  Once my boat was in the water I had to "paddle" through the choking weeds.  By "paddle" I really mean pole because the only way I was getting through all that vegetation was to pry myself forward.  It took ten minutes of forceful muck shoving before I hit open water.

Once I was free and clear of the thick ring of bullrushes encircling the lake I found myself to be in a magical world.  There were lots of birds including trumpeter swans, yellow-headed blackbirds, and ruddy ducks.  The Purcell Mountains were spectacular and the clear blue sky was broken only by the occasional cloud.  Best of all though it was quiet, with only the sounds of nature to lure my mind away from the glory before me.

I took the above shot with my full frame camera using a 28-300 mm lens set at its lowest focal length.  I had a polarizer filter on which helped enhance the blue skies and took some of the colour cast away from the vegetation, which is why it looks so wonderfully green.  I keep my gear stored in watertight bags until I am safely floating on quiet waters.  I keep them handy on my lap on top of the drybags in case a shot suddenly presents itself.  I have never had a problem doing this.

Once I had finished exploring I returned to the weed-choked place I had put in and pried my way back.  It was more difficult getting in because I had to guess at where the best path lay; it was clearer on entering.  After fifteen minutes of struggling I managed to land and quickly had everything loaded up.  I was tired, but it was worth every bit of energy I had expended.

Thanks for reading.   www.ericspix.com

Rotorua Museum, New Zealand

The Museum in Rotorua, New Zealand.  

Rotorua is a magical place.  Besides culture, iconic scenery, and great places to visit, it has a great deal of surface geothermal activity.  We were there about 10 months ago, and I wish we could have stayed longer.  Although our time was short, we were constantly amazed by the wonderful vistas laid out before us.  It was a feast for the eyes, as well as the heart.

The above photo was taken with a full frame DSLR utilizing a polarizer filter.  Even though the sun is directly in front of me when shooting (notice direction of light pole shadows) I managed to get a good exposure.  The polarizer managed to prevent much of the reflected blue sky from altering the colour of the photo.  Also, shooting in raw allowed me to post process the image to improve the details in the shadows resulting from the backlighting. 

I like this photograph because of the contrast between the horizontal lines (the museum in the background) and the vertical lines (trees, light posts, and sidewalk).  The lines of the walkway also draw your eye into the photo making it even more compelling.  I had to make sure the foilage of the trees did not interfere with the roofline.  Too close and the trees would be cropped, too far and the roofline would be compromised.

Even though photos can be captured in the blink of an eye, it generally takes time to get the image exactly the way you want it.  Time of day, position of camera, the presence or absence of people, and the various camera and lens settings all require attention.  I find a lot of joy in exploring an environment with my camera; walking away with some wonderful shots is just icing on the cake.

Thanks for reading.   www.ericspix.com

A million ways to frame.

Framing a landscape using land - Pitt Polder Dike

Many of my framing attempts are done using wispy vegetation.  While usually effective, I often look elsewhere for framing opportunities.  The body of water above is a good example.  At first glance, it may seem that it is a pond independent of other nearby watercourses, but further study (far mid-right) would prove otherwise.  Furthermore, the water's path continues bottom left, although it can't be clearly seen.

In order to get the shot, I had to crouch low to the ground.  This facilitated two things.  First was the closed frame-like appearance of the surrounding land; the second was the reflection of the clouds.

I just love clear reflective surfaces when shooting landscapes.  I find water bodies are more likely to be cooperative early in the morning.  The low angle of the sun helps but the biggest credit goes to the lack of wind at that time.  A mostly clear day with modest scattered cloud is always appreciated.  The area I was shooting in happened to be in shadow at the time, allowing the background to reflect off the water strongly.

I cheated a bit in that I applied a graduated filter in the editor which darkened the upper half of the image.  It helped to tone down the slight overexposure which resulted when shooting for the foreground.  Overall I like the shot; it is not fantastic but I find it casually appealing.

Thanks for reading.   www.ericspix.com

Framing and the art of pointing.

Looking at Burrard Inlet from Rocky Point Park

This is my first blog after being away for the summer.  I was out on a walk on Tuesday with a friend and we hiked around the east end of Burrard Inlet from Rocky Point Park to the old mill site.  There was a good collection of water birds, although the high tide meant that little of the intertidal zone was exposed.  Shorebirds were not to be seen.  I did get some good images of a great blue heron extracting a fish from the water after a lightning lunge though.

Framing and pointing are two techniques I favour when shooting landscapes.  The above shot utilizes a gap in the vegetation to frame the far shoreline.  It is amazing to see how framing will take a relatively mundane image and transform it into something more appealing.  I prefer to use mild, wispy edges instead of hard ones, although I have had success with both.  Framing works because it draws the eye into the scene.

Drawing the eye is an important part of what makes a photograph attractive.  Another way to do this is through pointing.  All kinds of things can be used to point, but in general, they have to be long rather than wide or elliptical in nature.  The path of the partly fallen tree moves from the outside inwards towards the central part of the image.  If you pay attention to how you look at the image you will notice that your eye tends to follow up its length.  Not all the time, of course, but it does lend itself towards that idea of drawing your eye.

I have hundreds of shots from my time away and will be sharing many of these photos with you throughout the year.  I am looking forward to returning to my blogging.  I just hope that you enjoy them. 

Thanks for reading.  www.ericspix.com

A bell that tolls no more.

An old church and bell near Astoria, Oregon.

You see them in little towns and alone on the prairies.  They are a testament to distant times when the community would unite in faith, in hope, and in times of despair.  As a legacy, all that remains is a stain upon the landscape.  The parishioners have long since vanished, being survived by a new generation which has forgotten their value.

The country church is what I am speaking of.  In many ways, they share the heritage of grain elevators and one room school houses.  A part of our history, vital then to the life of the population; now it stands idly by, waiting for rust and rot to finish the desecration beset upon it.  What has happened that this, the once lifeblood of society, has crumbled into its decayed state?

The answer is multifaceted, as time has changed the land and the people with it.  Populations become less rural and move to urban centers.  Farming has changed from many members driving horses to a few large landowners driving massive farm vehicles.  The protestant immigrants of the day have been usurped by multiculturalism; many faiths with diverse needs have rendered these edifices moot.  Then too there is the gradual erosion of faith.  With each successive generation, there is a decrease in the portion that believes in the God that created them.  All together these events have decreed their sentence and past judgment.

Yet, the history remains.  It is because the founding fathers had faith, they built the churches.  These buildings helped the communities they were a part of, bringing people together who needed their faith as much as they needed each other.  These buildings still stand proud, in spite of their impending doom, because of the contribution they have made.  Yes, ours would have been a totally different country if their silhouettes had not been so prominent.  Although their bells are silent now, the gongs of the past resonate with present and future generations for the foundations that were laid. 

Expressing character.

An old truck, barn, and silo near Chehalis, Washington.

Sometimes you just have to pull over.  That was the sentiment on my mind as I was driving back from the airport yesterday when I saw the old truck, barn, and silo just off the road we were on.  I had driven into Portland to pick up my travel companion and we were returning to our campsite.  The scene was idyllic, photographically speaking, because of the character of what I was seeing.  Old and weathered, overflowing in details, the components were breath-taking symbols of historic rural Americana. 

I pulled over to the side of the road and retrieved my camera.  There were no fences and the buildings were near where I had parked, so I meandered about capturing what I saw from different angles.  This was the shot I liked the best.  The lighting was nice; soft cloud cover which allowed some sun through but not so much that details were lost in the shadows.  The sun’s angle allowed me to shoot the truck and barn without them being backlit.  The proximity of the pieces was also good.  Too close together would lose the independence of each piece, and too far apart would have rendered their relationship moot.

The way I framed this scene plays a big part in why I like this image.  I use a number of compositional techniques in my shots, ranging from rule of thirds, framing, lines and other things which draw your eye, depth of field, and so on.  The rule of thirds and the use of lines are clearly utilized here.  The silo with its ladder and rust-stained stripes fill the upper right quadrant, which would otherwise be empty.  The truck’s side window lines up with the silo; the door resides solidly on two of the third’s lines.  The barn window opposes the truck’s and its wooden facia draws the eye upwards.  Meanwhile, the roofline brings the viewer’s gaze back to the silo.

I find that the rule of thirds works really well when your eye cycles within an image; physical lines and boundaries often facilitate this.  It is the character of each item in the shot though that causes you to pause as you scrutinize details.  This is where an image really proves itself.  Nicely positioned items have a lot of value, but when those items themselves have real character and are genuinely interesting, it takes the image up to the next level.

A good photograph has many devices working for it.  Most onlookers are not even aware of them, yet they are drawn into it because of some unspoken attraction.  You may not be able to say why you like something, but it just appeals to you on some level.  Maybe it just has character.

Shooting in context.

The fountain and neighbouring library in Chehalis, Washington.

While visiting Chehalis, Washington the other day, we came across a decorative fountain.  As fountains go, it was pleasant enough, but it lacked anything especially appealing.  Photographing it from a variety of viewpoints did not add much to its allure, but it became something very different when shot with its neighbouring library in the background.  Suddenly, it became much more provocative; in fact, it makes the shot.

That is the thing about subjects.  They may be able to stand alone but often are improved by including their surroundings.  The important thing in this thought is to understand that not just any surroundings will do.  It is well worth your time to look around and consider just how you want to capture something.  Context is everything.

In literature, context is often associated with the meaning of a word.  A single word, such as dove, will mean different things depending upon its use.  For example, it could be a bird, such as, “The white dove flew away.”  It could also be an action, as in, “The plane dove towards the ground.”  The word is defined by other words around it.  In a similar way, the subject in a photograph is defined through the relationship it has with its surroundings.

Now, this analogy only goes so far, as all do.  The premise remains the same though; find a subject you like and photograph it relative to its surroundings in such a way as to maximize its value.  This is true with people, things, events, and so on.  It is not just the subject which tells the story or gives value to the image; it is the way it is used in context to its surroundings.  

Like I said, context is everything.

Hope Slide

The debris field from Hope Slide - you can see the slip face in the background.

The word "slide" has many different connotations; depending on who you are the term will elicit many different meanings.  A child would think of playground equipment, a musician of a trombone.  A mechanic may visualize the greased movement of a piston while a geologist cogitates on mass movement.  It is this last one which I have in my thoughts today.

A landslide is a terrifying event to behold.  Mass movement, also called mass wasting, of any kind, is natures way of leveling the playing field, literally.  What is up comes down.  As I live in BC we hear about these all the time in the form of avalanches.  Made of snow, trees, and some rock, they are a terrible threat to any who might be in their path.  Mud flows are another form, as are slumps and a few other geological oddities.  It is the landslide though that really holds destructive power.

Landslides occur here frequently, most of them relatively small.  Have a look at this website which mentions twelve local recent ones that have affected humans.  Large ones are relatively rare though.  There are two significant ones which have occurred in Western Canada in the last 125 years.  The largest of these is Hope Slide, which took place in 1965, and Frank Slide, which predates it by 62 years.  Both were devastating.  Washington state had a landslide occur on Mount St. Helens in 1980 releasing a pyroclastic explosion estimated to be equivalent to 15,000 Hiroshima bombs.  Explore the volcanic eruption in this video.

A landslide can be caused by a large number of factors.  Human activities including building mines, roads, and dams all increase the chance of inducing one.  Stimuli in nature include massive rainfall, earthquakes, and weathering.  Hope slide may have been caused by natural faults and expansion related to freezing in the exposed sections.  Two minor earthquakes occurred in the area as well, although seismologists aren't sure if they precipitated the mass movement or if they were forebearers of things to come. 

Fifty million tons of rock slipped from the mountainside into the valley below.  A lake was completely inundated; you can see on the opposite side of the valley the place where the lake waters tsunamied into the forest.  Four people were killed, and the rebuilt highway sits some 55 meters above the previous one.  The rock, once it starts moving, builds up a pressure wave of air underneath it which allows the material to travel far further and faster than what may be expected.  If you are in the path of a landslide of epic proportions, there is no escaping it.

Thanks for reading.   www.ericspix.com

Golden Ears- Foreground detail with background vistas.

The rule of thirds on a perfect evening.

Most of my landscape photos are done using a wide-angle lens of some form.  Relative to a full frame digital camera, a 35 mm focal length is very mild while a 15 mm is often far too wide.  Remember, this is relative to a full frame camera, so an APS crop-sensor camera would use 23 mm and 10 mm respectively.  I tend to use values between 20 to 30 mm relative, but much of that really depends on what exactly is being photographed.

The above shot is a good example.  I was using an APS-C sensor camera with a 53 mm focal length, which works out to about 80 mm relative.  It is a far cry from the values previously cited, but I wanted to capture the details in the post while not diminishing the beauty of the background.  That is why using a wide angle for landscapes doesn't always work well.  If I used a 40 mm lens (relative) and got the fence post the same size as above, the mountains in the background would only be half as big.  The shot would be completely different.  At 28 mm, the mountains would be about a third of the size.

When shooting landscapes, I often have my 20-35 mm lens on my full frame camera, but keep my 28-300 around just in case I need to zoom in a bit.  The ultra wide-angle lens works most of the time, but not always.  A standard kit lens (18-55 mm or 28-80 relative) will do quite a lot for you.  If you are looking for a good ultra wide-angle lens, there are many third-party manufacturers out there which produce zooms like 10-20 mm, 11-18 mm, or even an 8-16 mm for reasonable prices.  Go to this website if you want to see what is available.

A big reason I use the wide and ultrawide angle focal lengths is because of the great depth of field they give you.  Lower focal lengths give you more depth of field at any given aperture.  I usually also choose a higher f/number such as f/11 or f/16 and am careful about my point of focus to get as much in focus as possible.  The above shot was done at f/13 and my point of focus would have been somewhere behind the fence post.  The beautiful thing about digital cameras is the fact you can check your shot afterward and tinker with the various settings as desire or necessity dictate.

Go somewhere local with attractive scenery and play with foreground and background relationships.  Try different focal lengths, keep apertures relative small and check your shots afterward for quality and focus.  Remember the rule of thirds; don't let the foreground overwhelm the background or be overwhelmed by the background.  Zooming in and out and changing your position will go a long way towards allowing you to find the right balance.  Most importantly though, have fun.

Thanks for reading.   www.ericspix.com

Maple Ridge Dikes

A family of cyclists enjoying time together on Maple Ridge Dikes.

My daughter once told me she had to write a 1000 word essay.  I asked her why not submit a picture instead.  We know where this idea comes from, the adage is familiar to us all, but the sentiment it carries is true.  Pictures carry visual information far better than words and can do so in considerably less time.

A photograph should convey information, and a good photograph should do it convincingly or with strong aesthetic qualities.  National Geographic is famous for its photos because they often achieve one or both simultaneously.  Few of my images would fall into that category.  I do aspire to capture such photos though, and I occasionally succeed.

I like the above photo because it tells a story.  I do not know the people involved; in fact, I don't even recall ever seeing them.  The number of bikes (2 large and three smaller) and their proximity suggest a family.  The fact they have been abandoned connotates a care-free disposition and that they are nearby exploring what the area has to offer.  It is not too difficult to come to that conclusion.

I also like how the elements of the photo relate to one another.  The rule of thirds, the use of lines drawing the eye, the familiar background with Thornhill's silhouette establishing the location, and even the bikes' shadows pointing towards the family's likely location all add to its appeal.  The thing I like most about it though is that it represents one of the great features offered by our area and reminds me of the many occasions I have partaken of its revitalizing essence.  I could look at this photo forty years from now and be brought back home in my mind immediately.  Perhaps it is not a great shot, but I love it for those reasons.

Motor home away from home. The saga (part II)

Why I go camping:  It takes me to places where the photos are.

Continued from yesterday's blog.

Now that I was out of 3/4 inch oak, I had a new (and better?) idea.  I would use veneer oak plywood.  In case you are not familiar with it, veneer is a thin slice of wood, peeled off a tree as it is turned.  This veneer happens to be 1/16th of an inch thick.  I cut it to the right size (6x9 inches this time) and went through the rounding and sanding process.  Since my scroll saw was sans blades, I decided to go with the reciprocating saw again, only more carefully than before.

Unfortunately, the properties of the oak did not change, in spite of the thinner material, and it flew apart in two separate pieces.  I glued it back together.  It was time to turn in, a euphemism for throwing my hands up in the air and grieving my series of disastrous efforts.

The next day I was looking at my gluing job and an even better idea came to mind.  I didn't need a frame for it, I could mount it in front of the gaping hole in my dash, which would act as a cooling and venting area.  Too bad this idea hadn't come to mind earlier.  It turns out the oak wood previously discarded was perfect for this new vision.  I sanded the piece, drilled holes, and mounted it just below the void.  The monitor fit upon it perfectly.  Success was mine, nothing could stop me now.

I consider myself modestly handy with wiring.  I have installed quite a few car stereos over the years; this would not be too different.  Although the device has a plethora of wires emitting from its base, the only ones I needed to worry about was the red and black ones.  Now, this sounds simpler than it really was because it took me a great deal of reading the manual and playing with a battery and hookups before I came to that conclusion.  However, it was now very straight forward.  My confidence bolstered, I saw fit to actually hook it all up.

Solderless connections in hand with wire strippers, plyers, and electrician's tape, I used the power supply from the old unit.  I even had a voltmeter handy to be sure positive and negative lines were as I surmized.  Correct lines joined, connectors connected, and even the old camera feeds repurposed to carry voltage to the new cameras.  It was brilliant, OK, it was fine, but I felt good.  Now I had to power it all on.

I turned on the chassis power supply and the unit started beeping in an uncharacteristic manner.  Clearly, it was getting power, but somewhere I muffed up.  I pulled it all apart, that old feeling that things were not going to go my way was regaining its grip on me, and checked all the voltages again.  No, I had done it right.  I determined (again after a few "breaks" and much soul searching) that the culprit lay in the kind of voltage being supplied.  I don't have an oscilloscope, but there must be something odd about the nature of this source.  Maybe AC, maybe square waves - who knows - but I needed a new power source.

My neighbour (thanks Clint) suggested I pull power off the cigarette lighter.  An excellent idea.  And so I pulled it out and redid all my connections again.  A large pile of spent blue solderless connectors was growing as my various attempts were consecutively being thwarted.  However, this must work.  So, once again I hooked everything up, using the new power source, and did all my connections as before.  Cut, strip, merge, twist, connect, repeat.  Done.  Finally.  Finished.  Complete.  Success.  So I powered it all on.  NOTHING.

Maybe the line was switched through the ignition.  No, that wasn't it.  Maybe the engine had to actually be running.  No.  Voltmeter out and guess what.  The cigarette lighter circuit was dead.  I trailed the wire back, took apart the fuse panel, prayed and covered myself with ashes (an exaggeration, but you get the idea).  I would have fasted for a month if that helped, but there was no making this thing fly.  Now I had a problem.  Where was I going to get a power source?

I decided to use an empty slot on the fuse panel.  I went to Lordco and bought, for a measly $17, the necessary wire and fuse holder to make it work.  I ran the wire through the rig and came up underneath the dash.  I used a ground wire from earlier and the voltage checked out.  Taking it apart and reconnecting it, the blue wasted connectors now threatening to bury me, I completed the job once again.  Power on - wait for it - success!

I hooked up a camera to the rear feed and it worked too.  Amazing!  On one attempt.  At this juncture, I did not even think that possible.  No blood, no agonizing, no pain.  At last, I was done - well, for the moment.  You see, I now have to drill holes in the back of my RV, hook up the connectors through them, waterproof the access points, somehow get those wires to the power supply back there, tie them together with more blue connectors, and hope it all works.  What could go wrong?

Motor home away from home. The Saga (Part I).

A trial before hitting the trail.

It was time.  The backup camera in the rig bestowed to us by my dad was in need of replacing.  I was available as I have just recently retired, and I felt up to the challenge.  So, I got onto Amazon and ordered a 7" monitor which operates up to four cameras - I ordered three.  They came quickly as we are Prime members and I began what was to be the ordeal of a lifetime.

The first problem was to remove the old camera and monitor.  Easy enough, I thought, but that proved not to be the case.  The camera had no attachment mechanism other than the sealant on the outside, and it was not visible on the inside.  I opened a panel hidden inside a top cabinet and found the access port.  It was small and the distance between that wall and the camera on the outside wall was at least 12 inches.  No matter how hard I tried, I couldn't quite reach it.

After some uncertainty, I decided to use a reciprocal saw and cut out a larger access port.  Now I could get a light in there and get my tools in to remove the hardware.  I had earlier cut the sealant around the housing and it came free, although, in complete disclosure, I was guessing that this was the right thing to do.  I detached the wire from the camera and put it aside; I would later use it to power my new ones.

Now I had to remove the monitor.  The small screen monitor was a CRT device; it was mounted in my dash near the steering wheel.  I pulled open a few access ports and lay on my back with my head stuck upwards at an awkward angle trying to see how to pull this tiny behemoth out.  There - two screws that I can see.  Another pair on the other side probably.  I managed to get my hands in, every joint bending at some angle which it was not designed to function at.  I have to give praise here to the mechanics of the land, whose hands (no doubt larger than mine), have to go through such exercises every day.  I did not know being a contortionist was a requirement of the position.

With the four bolts removed I then turned my attention to pulling the device out from its snug nest.  To say that it was a tight fit would be underemphasizing the truth.  It was as if the Hulk was holding it in place.  I don't know why they bothered with bolts; this thing wasn't going to budge.  I pulled, pushed, levered, wobbled, and pried to no avail.  After further inspection, I discovered rubber rings inserted in the unit's sides.  Their removal facilitated success.

A break was needed to linger on the small triumph achieved; that and I was physically exhausted from the ordeal.  Then I was onto the next part - mounting the new screen.  This was going to be a breeze, although I was beginning to have misgivings about what I had gotten myself into.  Nothing was simple to this point.  The monitor itself was awesome; I powered it up directly to a battery and found it worked as advertised.  I also powered a camera and yes, it did work wirelessly.  Synching the devices was easy.

The trouble began right after placing the new display in front of the gaping hole now in my dash.  Exactly how was I going to mount it?  I noticed it fit within the void well, and decided I would use a 6x9 inch oak board as a frame.  Oak made sense because of the RV's interior decor, and I had removed an oak table earlier with the same stain colour.  I cut it out using a band saw then used a sander to finish the edges, complete with rounded corners.  I marked the outside shape on the back of the board and took it over to a scroll saw where I would, with great precision, extract the extraneous material.

Did you know that 3/4 inch solid oak is very hard?  I drilled a hole to get the blade in so I could cut out the center and discovered that the thin blades were not up to the assigned challenge. I destroyed three of them before admitting defeat.  It was time to fire up my reciprocating saw again.  It would not be thwarted.  Indeed, it did cut through the board with ease, although it took a lot of force to make it work.

Did you know that 3/4 inch solid oak is very brittle?  It cracks easily and the violent undulations tore my almost complete project in two.  Frustrated, but not beaten, I revisited the project by starting on a new piece.  Cut, sand, drill, saw the middle, and all ready to go.  Except that I cut it 6x8 instead of 6x9, so it was too small.  Rats; there is enough wood left to give it one more try.

Now, you would think that an almost 60 year old math teacher could use a measuring tape properly, but you would be wrong.  I managed to cut my last bit of wood into another 6x8 section.  OK, now my sense of humour was taking a beating.  I was done for the day and needed a good long break to reset my attitude and revitalize my sagging spirits.

Part II tomorrow.

Hayward Lake - Using HDR

Bracketed photographs merged using Photomatix HDR software

HDR stands for high dynamic range.  It is a method of getting more latitude out of a scene than would otherwise be possible using conventional techniques.

A digital sensor has about 8 stops of latitude when shooting jpegs.  This means that the light coming from a dark area and the light coming from a bright area can be no more than 256 times brighter or darker than the other before details become lost.  Anything darker than this level of shadow appears black and anything whiter than this level of highlight is perfectly white.  Essentially what this means is that, in a high contrast scene, dark areas would be black with no details and bright areas would be white with no details.

If you shoot in raw mode, you can get around 12 stops of latitude, which gives a difference of over four thousand times between extreme dark and light where details can be distinguished.  This is much better for shooting in high contrast situations, and one of the main reasons why most advanced photographers opt for this capture mode.

If you need more latitude than this, or if you want to play with the range of highlights and shadows in a different manner than what a normal jpeg or ram image will allow, there is HDR.  I want to point out that many cameras come with an HDR feature, or you can use a program like Photoshop that has HDR ability.  My experience has shown both of these avenues generate less than great images in general.  I use a program created by Photomatix which allows me to produce an HDR image from multiple bracketed files or even from a single raw image.

The process is easy.  Shoot a number of images of your scene with your camera on a tripod.  Bracket (take several pictures with each one being overexposed, properly exposed, or underexposed) widely; I often do seven photos with exposure compensation values set to +3, +2, +1, 0, -1, -2, and -3.  I combine the images together into a single picture using the software and then make adjustments as necessary to obtain the effect I want.

You can also use only a single raw image.  Shoot the image the way you normally would then, in Photoshop, enter the raw processor and save the image several times, each time altering the exposure value of the program.  Again I will use 5 to 7 variations.  Plug them into the HDR software and off you go.  The advantage of using a single file to create an HDR photograph instead of many is that everything is in exactly the same place.  People, cars, wind blown flowers, and so or are each in the same position for every shot.  You will not likely be so lucky with a bracketed set.

It takes a modest amount of time and, if you take multiple photos, a large amount of memory, to do this.  If you are planning to make many HDR pics, bring extra batteries and memory cards because you will use up the existing ones quickly.

Where's Bear?

Can you find Bear in this picture?

I have a collection of stuffies.  Mind you, this is not an admission of guilt or shame, it is just a fact.  I can utter those six incriminating words with impunity because I have a daughter, who at one time, had more stuffies than a shark has teeth.  As she grew up the population was culled to the point where she can count the number using only one hand.  Many of those furry inanimate organisms found new homes through garage sales, donations, or a conveniently located "dust bin", as the British call it.  I happened to procure the odd one for memory's sake.

Not that I obtained all my furry friends this way.  Admittedly I have purchased some for my own purposes.  Some of the pack, those that were more photogenic, have appeared in images I have created to fulfill some benevolent aspiration.  I use them in stories, photo assignments, fulfilling ambitions in a moment of silliness, demonstrating some photography principle, and in "Find the _____" shots, as the above picture illustrates.  I cannot say that my relationship runs deeper than that with them, although some may venture to offer an alternative hypothesis.  For the record, they all live in the same room where I keep my snake, which happens to be real and eats mice on a regular basis.

Consider this an idea for people who want to get kids involved with photography.  Have them take a stuffy and hide it somewhere in an area and photograph it in such a way that one would have to search for it in the picture to find it.  They will not get the technique right away but, with a little encouragement, will eventually develop a sound methodology.  Consider making the following suggestions:

1.  Do not put the subject in the center each time, although an occasional basis is fine.  This helps them work with the idea of composition.
2.  Find new places to put the stuffie, not using the same location each time.  This also helps them work with variables such as lighting and different exposure settings.
3.  Keep the critter small enough in the picture to make you search but not so small that it is impossible to find it.  The physical size is not that important, although a small stuffie will mean using a smaller area to search in.  A toy the size of an orange can be adequately hidden in an area the size of a table top, while a large toy the size of your head will need the space of a whole room.  This helps with creativity and planning concepts.
4.  If you go somewhere - mall, vacation, grandma's, outdoors - have them bring their subject and help them negotiate the complexities of that environment.  Get them to ask for permission, to be on the lookout for a special place, and so on.
5.  After they have made a collection of shots, say 10, present their work for the family to enjoy.  Each child could have their own set of pictures.  Give positive comments and encourage them to improve.

The great thing about this is that adults can do this too.  I know, because I do!

Why camping is wonderful.

A family camping - let the good times roll.

The best thing about camping is that it brings people together.  The nature of your shelter doesn't really matter.  Although nice weather is preferred, it is amazing what fun you can have when it is wet, cold, or even both.  With homework and household chores being forgotten, there is time to engage in other activities.  And there is nothing like exploring a new area together where the adventures are a shared pleasure.

Outdoor living encourages even the pickiest eaters to clean up their plates.  An afternoon of frolicking will whip up anyone's appetite.  A young person who may reject certain foods at home is much more likely to ravenously consume them when camping.  Besides, stores are typically limited and the nearest fast foodery is typically a few hours drive away.  Going hungry when there is so much to experience is just not an option. 

Then there is the typical freedom from homework and household chores.  No piano to practice, no baths to take, and no bedroom to keep clean.  There is just so much time to do other things, like go on social media - wait - what do you mean there is no internet?  OH NO!  There is also no power, no electronics, no giant TV screen.  What are we going to do?

Isn't it wonderful how camping allows a family to spend time together?  Board and card games mean face time - in the real way.  Hiking, swimming, bike riding, and campfires, all with the family, together, in one place.  Connecting and reconnecting.  Memories of good times and unusual events. 

Another advantage is the relatively low cost.  Compared to a trip to Disneyland or Mexico, camping is a bargain.  A tent and some sleeping bags represent the main capital expenses.  Camping fees can be pricey, but there are also many places where the cost is low or altogether absent.  Of course, you can go in style with an RV of some sort, but the expense is prohibitive for many.  A used tent trailer may be just the ticket for those who want to sleep off the ground and want shelter that is a little more substantive than a tent.

I like the image I chose for this blog.  It tells a story about a family who has just spent a tremendous amount of time together doing wonderful things.  Their absence from the shot is also suggestive of their current status - busy doing something - together.  That's the beauty of camping.


 I have camped in lean-tos, tents, among the stars, tent trailers, travel trailers, and motor homes. 

Kayaking Wigeon Creek

Using pointing as a way to draw your eye into a photo.

Photography is about capturing a moment in time - freezing the present for the future.  A photograph should say something, whether describing something or telling a story about an event.  A single image has the capacity to transport the viewer to the eyes behind the camera. 

Any photograph will do this, of course.  The challenge becomes not just in capturing the image but doing it in such a way as to make it appealing.  The above picture is a case in point.  Wigeon Creek is a favourite destination of many because of the peaceful waters and stunning scenery.  It also offers paddlers opportunities to camp, hike, and photograph many wonderful natural vistas.  The fact that beauty abounds makes it easy to take appealing shots, but it is always nice to do the best you can.

I like the above photo for a couple of reasons.  The kayak in the foreground with the undulating hills behind tells the story.  But, like any good story, it is the way that it is told that makes the difference.  There are the standard things going on which improves a photograph like using the rule of thirds.  The green shoreline cuts across the image at the top third and the bright red pad on deck across the bottom third.  What really sets the image apart though is the use of lines and pointing.

Lines are always present; the trick with them is to use them to your advantage.  They can set something apart, point at something, or be used in framing.  The tapered bow of the kayak acts as a natural arrow, drawing your eye into the image.  The two flanking pumps and the previously mentioned pad, with its long blue webbing, all point towards an important part of the image; the wile reflection of the twin knolls in the distance. 

It is important at this point to mention that this was set up this way on purpose.  I used a 24 mm lens on a full frame camera to get the wide field of view.  An aperture of f/13 was used to promote depth of field, and the focus point was just beyond the tip of the kayak to take advantage of hyper-focal focusing.  I made sure I was there ahead of the others in my party so no waves would be present; the early morning time meant there would be little wind, thus producing the glass-like surface of the water.  Then there was the waiting.

Even though the surface was smooth, the water undulated enough to produce strange reflections like what you may experience in a funhouse with curved mirrors.  I waited until the ethereal moment when the knolls' water apparition was just right.  The point of the kayak goes directly to that place, and the lines further draw your eye to it.  If you notice, the kayak was barely moving (see beside the kayak; the ripples of the boat are hardly present).  I had only a few seconds to get the shot.  Had I missed the moment my comrades would have caught up and the opportunity squandered.

I am always thankful for the opportunity to do two of my favourite things; kayak and photograph.  It was a great way to spend the day.

A strange plant, and the hunt was on.

What plant is this?

On my travels, I will come across something which piques my curiosity.  I do not have much of an interest in plants as a generally true statement, but occasionally my neglect of them is thwarted by an interesting specimen.  While visiting Vancouver Island I came across an odd herbaceous plant.  I did what anyone with a query normally does these days; I searched the internet.

It is not an overstatement to say that I spent two hours plying every trick I know in an attempt to uncover the identity of this peculiar plant.  I used Google, of course, as my search engine of choice and started out with simple search terms.  The meaning of the word "useless" became clear in my mind as the returns were exactly that.  Undaunted by such drivel, I was inspired to use more precise language.

Still, there was nothing.  A short break was needed to give my strained eyes and nerves a rest, then it was back to the fray.  I have often been successful with quotations in my more challenging searches, so short phrases such as "rocky outcrop" and "Pacific Northwest" were liberally used.  I included the unique leaf colours, descriptive terms such as creeping and "ground cover", all to no avail.  I found some remarkable sites though, with lots of plant pictures and some great information, but nothing to satiate my quest for an answer.  I was in a funk.

A new idea, why not use the Google image search engine by submitting a picture?  This must work, as there are not too many plants that look like this one.  Yet, it too was a bust.  My enthusiasm was running out.

Another break was needed.

It was time to re-engage with the hunt.  It was at this point that the big guns came out.  I looked up the email for a UBC botanist.  Surely such a specimen could be recognized by someone who took plants more seriously than I did.  I fired off an email with an attached image; hope refilling my renewed aspirations.  I have used this technique before.  A friend sent me a photo of a remarkable fungus which had stymied both of us.  I found the name of a renowned expert overseas and decided there was nothing to lose.  The fungologist (funny word, don't you think?) got back to me very quickly and identified the mycelium.  It could work again.

However, it was late in the day and who knows what that person was doing.  I may hear from them tomorrow or maybe never, but I wasn't about to wait.  No, an exercise in page turning was clearly warranted.  It was time to open a book.

I have quite a few identification guides, and brought out my copy of "Plants of Coastal British Columbia."  It is a great book and is filled with a lot of sage (excuse the pun) knowledge and information on local botany.  It took a mere five minutes for me to discover the identity of the unknown vegetation.

Broad-leafed stonecrop.  "Eureka!", I cried, with less importance to the expression than Archimedes' original use.  My quest was successful, and it was using the centuries-old, tried but true, method of flipping through a book.  Instantly I typed in the name into my computer and got this hit.  Great information, and local too.

I also learned that the yellow flowers in my shot are the actual flowers of the plant; I had thought they were some other plant just jockeying for position in the photo.  You learn something new every day; in this case, two things.

There's GOLD in them thar hills!

Sam Mah with a large rock rich in gold.

Gold is an amazing metal.  We all understand that it is valuable, and most of us will have something made of gold, even if it's not 24 karats (pure gold, not a gold alloy).  But few, relatively speaking, understand exactly why gold is considered valuable, or what some of its more important physical and chemical characteristics are.  Consider the following:

Gold does not react with much.  There are a few things that do combine with gold in nature, such as tellurium and pure halogens (fluorine and chlorine).  In small scale mining operations mercury is added to crushed ore where it forms an amalgam with the metals, including any gold.  It is recovered later by heating (video here).  This is why gold is found in pure form, it generally doesn't combine with anything.  It will not react with acids (except for aqua regia - a concentrated mixture of nitric and hydrochloric acid), bases, water, sulfur compounds, and the list goes on.

Gold is heavy for its size; this is called density.  Gold, in fact, is about 19.3 times heavier than water for its voluem.  Why is this important?  If you have a liter of water, it weighs 1000 grams, 1 kg, or about 2.2 pounds.  One liter of gold weights 19,300 grams, 19.3 kg, or about 42.5 pounds.  It is this high density which allows one to extract gold from stream beds by panning.  It goes to the bottom and stays there.  If gold is present in an area where a stream cuts through it will erode away with neighbouring bedrock and end up in the riverbed.  It is so dense that it does not move as far as other rocks do over time and you can pan for it; it will be modestly close to whatever the source was.

The density of gold brings up an important movie consideration.  Think of thieves taking a box of gold.  Let's say the box has a capacity of 1080 cubic inches (18" x 10" x 6").  That converts to 17,712 ml, which is 17.7 liters of volume.  Remember the density of gold?  That box would weigh 342 kilograms or about 752 pounds.  You, me,  and all of our immediate neighbours would have a hard time lifting that box together, little lone one bad guy in a hurry.  But it makes a good visual presentation, even if the science is way off.

Gold is perhaps the most malleable metal on the planet.  Malleability is being able to pound a substance into a sheet.  Hit charcoal with a hammer and it shatters.  Zero malleability.  Hit playdough with the same tool and it squashes nicely.  Gold is more like that.  It doesn't even have to be hot like iron does if you want to work it.  Hit a pure gold ball and it gets a bit flatter.  Repeat and it continues getting thinner and thinner.  In fact, gold is so malleable that you can create a sheet of it only 400 atoms thick.  One ounce of gold can be flattened into a sheet over 9 square meters (almost 100 square feet) in size.  This is what the scientist Rutherford used in his experiment to hypothesize that the center of an atom was small and dense.  An atom, as it turns out, is mostly empty space.

How much gold is there in the world?  It turns out gold is a fairly rare metal.  You could fill an Olympic sized swimming pool with every gram of gold ever found, and still have room left over.   Have a look at this website; I found it fascinating. 

OK - last thought.  On top of all the other amazing properties of gold, here is another one.  Gold is one of the best conductors of electricity in the world.  Although copper and silver also rate very high, gold's resistance to tarnishing makes it valuable in certain electronics.  Your cell phones and computer motherboards all likely have gold in them.  Lots of devices do.  This is one of the reasons why it is important to recycle them.  There are other metals too, including some heavy metals which are bad for the environment.  Have a look at this article on gold recycling.

Thanks for reading.