Is it a bird, is it a drone … ?

Commando Memorial two views Gary Eason

Two views of the memorial © Gary Eason

Colchester, 29 August 2017

A very well known statue, this: the Commando Memorial just outside Spean Bridge in the Highlands of Scotland. 

Three giant commando soldiers look out over the landscape that was their training ground in WWII.

The statue, created by the Scottish sculptor Scott Sutherland (1910 – 1984) using actual former commandos as the models, was unveiled in 1951.

An earlier photograph of mine created in 2010 is one of my best selling pictures. But the location is one I pass regularly on my forays into the far north and in sunnier weather four years later I made a few more photographs there. 

Striking though the location is, the sheer monumentality of the bronze on its plinth, at 17ft (5.2m) high and on an elevated paving platform, means that unless you stand a long way off then the view of it is very much looking upwards. 

I also wanted to try to get a more eye-to-eye depiction, which resulted in the second of the photographs at the top of this page. 

There are very many photographs of this statue but mine is the only one I have come across that offers this perspective on it. Here's how it was done.

I was on this trip to make landscape photographs so I had not taken along my monopod, but I did have my lovely Giotto GTMTL9271B tripod (which was stolen a couple of weeks later when my car window was smashed).

Onto that went the D700 with 24-70mm zoom set at 24mm, on its side, and the whole package was hoisted at arm's length into the air to get the shot, framed using live view on the rear LCD screen.

Screen Shot 2017-08-29 at 16.04.08
Easier said than done. The camera, lens and tripod combination came to well over 5kg in itself. But this is a very exposed location at the best of times, and what you cannot tell from the sunny aspect is that it was blowing a hooley at this particular time. So hoisting the rig was one thing but holding it steady up there was quite impossible.

Incidentally, if you are thinking a drone would have made easy work of this job, there are two problems with that: I doubt it could have been launched that day because of the wind strength; secondly – I don't have one! 

Screen Shot 2017-08-29 at 15.18.20
So it was a grab: I set the self-timer for 5 seconds, made ready, and hoisted just as it was about to fire. ISO 100, f8, 1/350. I got everything nicely framed and exposed, as the sun dodged in and out behind the clouds, on the fourth attempt, which felt like good going in the circumstances.

Finally however, if you compare the shot and published versions shown here, you can see that I tweaked the lens distortion, warmed up the colour balance – and removed the distracting vehicles from the background. 

For this portrait-shaped view I kept in the remembrance wreaths at the base of the plinth. There is also a wide version where the statue itself dominates the scene. 

I hope you like them. 

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 TO BUY PRINTS  of any of my landscape works please visit the Places galleries on my website.

To get in touch visit the Contact page. Find Gary Eason Photography on Facebook, and on Instagram @gary.eason.

Continue ReadingIs it a bird, is it a drone … ?

Dambusters Lancasters practising … in Essex?

Dambusters Abberton crop Gary Eason

Dambusters rehearsing at Abberton Reservoir © Gary Eason / Flight Artworks

Colchester, 17 November 2015

One of the delights of this part of the world is the number of nature reserves within a short distance of my office.

Among them is the Essex Wildlife Trust haven at Abberton Water, a reservoir – recently expanded – that is a specially protected, internationally important wetland because of its resident and transient wildfowl populations. 

In spring 1943, when the reservoir was only a few years old, it was visited by a flock of altogether more sinister 'birds': the specially adapted Avro Lancaster bombers of 617 Squadron – who in May that year would undertake an extraordinarily daring raid against dams deep in Germany and in so doing acquire their famous nickname, the Dambusters.

It is fairly common knowledge, thanks in no small part to the celebrated 1955 film about the operation, that the aircrews trained for it in the Derwent Valley in Derbyshire, at Howden and Derwent Dams.

Less well known is that they also tested their extremely low-level precision attack at Eyebrook Reservoir, near Uppingham on the Leicestershire-Rutland border – and here, at Abberton.

Topography

Remarkably, in their final rehearsals, Abberton was the stand-in for the Edersee. I remark on it because the landscape through which the Eder reservoir twists is picturesque, steep-sided wooded valleys. I have been there (in the pouring rain); it is pretty, green countryside as you can see from my photo.

Below the Eder by Gary Eason

The narrow, steep-sided valley below the Eder dam

The terrain at Abberton, on the other hand, is rather flat and largely featureless. To the casual observer the two locations could hardly be more different.

It has been suggested that they look similar from the air. Well, no they don't – and in any case, the Lancasters of 617 Squadron were not exactly going to be approaching "from the air", they were tree hopping.

It seems more likely that it provided a useful navigation exercise: Abberton is about the same bearing from the Eyebrook as the Eder is from the primary target that night at the Möhne – albeit nearly twice as far.

Even weirder, you might think: the Derwent Dam with its distinctive towers was the stand-in for the Sorpe, which has a totally different construction and no towers, and was hit along its length rather than at right angles – by the Upkeep dropped by bomb-aimer George Johnson, now the last British survivor from those who took part. 

Full dress rehearsal?

The squadron's official historian, Dr Robert Owen, told me: "Somewhere in the Lake District, such as Ullswater, would have been a better representation if a realistic rehearsal for the attack on the Eder were intended.  

"This perhaps reinforces the view that Abberton was used rather because it was a large stretch of water at a location that was conveniently placed in relation to the cross country routes, rather than for its physical characteristics of the target."

At any rate the squadron's leader, Wing Commander Guy Gibson, recorded in his flying log book that a "full dress rehearsal" was carried out at "Uppingham Lake and Colchester Res."  (his terms for the Eyebrook and Abberton) on the night of 14 May 1943, two days before Operation Chastise itself. He added: "Completely successfull [sic]".

Now, I have been involved with a fair bit of theatre over the years, and the point of a "full dress rehearsal" is to run the whole show as if it were the real thing.

What is the single most defining characteristic of the dams attack? Surely the extraordinary sight of those huge, revolving, 4.6-ton cylindrical depth charges bouncing across the water after being released at a precise speed, height above the surface and distance from the target.

Steep climb-out

Of course in a rehearsal they were not actually going to let off these massive weapons – the only live test of one had taken place many miles off the Kent coast. But the description "full dress rehearsal" does suggest they did spin up inert ones and sling them across the water to test all other elements of what was to unfold – no? 

"The aircraft did not drop any weapon, and it is unlikely that they even carried an inert Upkeep on these runs," Dr Owen said.

"The aircraft ran in across the lake, using their spotlights to achieve the correct height, fired a red Very light [pistol flare] as they crossed the dam, then climbed steeply away (possibly to simulate the manoeuvre required for the exit from an attack on the Eder dam)," he said.

This steep exit was necessary because the bluff beyond the dam rises to almost 1,400ft (425m) within about half a mile, the river valley turning sharp right.

You might recall that the 1955 film The Dam Busters does show 617's Lancasters dropping small practice bombs near a floating target buoy at the Derwent. Never happened, apparently, not on any British reservoir. This aspect of the training was done on the Wainfleet range on the Lincolnshire coast.

Which brings me back to my picture, depicting the special Type 464 (Provisioning) Lancasters running across the water at 60ft as determined by their spotlight altimeters — but not carrying any weapons.

What prompted me to double check all the details was that a big framed print of this is going to be hanging in the Layer Fox pub near Abberton reservoir, and I promised to write an extended caption to accompany it. Look out for it if you're having a pint.

Cheers!

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To buy prints of any of my works please visit www.flightartworks.com.

I do private commissions, for individual aircraft or bigger scenes.  To get in touch visit the Contact page on my website. Find Flight Artworks on Facebook, on Twitter @flightartworks, and on on Instagram @flight.artworks.

Continue ReadingDambusters Lancasters practising … in Essex?

Aerial views

Action on 31 August 1940 flat4_pr_blog

Battle of Britain dogfight, featuring F/O Harold Bird-Wilson in his Mk 1 Hurricane

High Wycombe, 27 Sep 2012

Alongside my regular photography, taking in trips to the North East, the sailing Olympics in Weymouth and the Edinburgh Fringe, I've recently been putting a lot of effort into my new aviation project, Flight Artworks.

It is currently hosted on my main photography website but my intention is to spin it out into a separate venture with its own clear identity.

One of the responses to the pictures on my Facebook page asked,"Is this a Photograph or computer art?"  Well, given that I shoot and process digitally, you could say everything I make is "computer art".

But I know what he meant. In that sense – no, it isn't. All the elements of the pictures are photographic. They are then combined on a computer, and adapted to a greater or lesser extent as the scenario demands. So in that sense – yes, I suppose so. However I still need the photographs to work from.That picture of the Kent landscape? I took it from an aeroplane over Kent!

Hats off to those clever people who understand 3D software and can carve aircraft out of a block of digits entirely on the computer. But there's more to it than that. Almost all the purely digital creations that I've seen look like what they are. You can just tell. So it does please me when people look at mine and ask, "How has he done that?"

Spitfire Vb in progress_blog

Spitfire Vb in progress

I think a crucial aspect of this is my photographic background. Any photographer is a student of light. Light, not the camera, is the primary tool. What makes a thing look real is the play of light on its surfaces. The corollary being that an unrealistic play of light will make the whole look unreal.

When I think of a scenario I immediately think about how I can find and combine the elements that would be needed to real-ise it. In fact it can work the other way round: having the elements to hand suggests a scene that I might portray.

Half the fun is then in the research. As an aside, although I'm modelling virtually it turns out I have a lot in common with those who work in plastic to recreate past events – who do seem to exhibit a  passion for getting the minutiae correct.

I have also learnt just how easy it is to get it wrong. Spitfire wings? Don't get me started.  Ironically, often the wonderful old aircraft that are still flying around today, thanks to the tireless efforts of those who restore and preserve them, are not at all what they appear to be. 

But that's where the computer art takes over – and makes it possible to recreate them as they were in their heydays.

Everything from changing code letters and registration numbers, to bigger elements such as the cannon and wheel blisters on the wings, armament, props and exhausts – even the shape and size of the nose and cowling.  And in the case of a Type 464 Lancaster (for the Dambusters series), the bomb bay and mid-upper gun turret as well as numerous details such as fuselage windows, exhaust shrouds, aerials and pitot tubes.

I use primarily Photoshop. So, for those familiar with how it works, I typically would have dozens of separate layers going on which makes it easy to tweak various aspects or indeed re-use parts and change the coding or the extent of weathering or whether the guns have been fired and so on. 

 

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