Meanwhile, Out On The Moors...
It's been almost a month since my last excursion onto the moors, so my fitness is currently in the toilet and I've missed some of the spring / summer highlights such as the cotton grass doing its thing. Still, it was nice to be back up there on this somewhat warm evening, even if it seemed like hard work as I made my way up the modest few hundred feet of ascent from White Coppice onto the moors.
As I'm somewhat out of condition and it was a bit warmer than I'd have liked, I brought a reduced kit featuring just the Nikon Z7 + 24-70 f/2.8S and my CPL. Having the X-H2 along for the ride with a longer lens would have been nice, but I just couldn't face carrying an extra body, besides, it was hard work just dragging my chunkier than ideal frame up there on its own.
All images taken handheld and processed from single raw files in Capture One Pro 23, except for the sunset shot which is a blended 3 shot bracket.
1. The Goit
The Goit is a canal that connects the Roddlesworth reservoir chain to the Rivington chain at Anglezarke. This was taken from the small bridge that leads from White Coppice cricket ground to White Coppice itself and the mine ruins around Black Brook. It's always a pretty scene and seemed particularly nice on this occasion with the strong side light breaking through the trees. Unfortunately, in my hurry to get out onto the moors I've slipped up slightly and highlights on the trees are slightly clipped. Really, I should have bracketed down from this exposure, although the results are kind of nice as it is, so I think I got away with it, albeit barely.
2. Heapey
Having wheezed my way up to the top of the Black Coppice quarries, this is the view that presented itself to me. Here, I'm looking across the fields of Heapey towards the Mormon temple at the North of Chorley (the steeple can be seen dead centre near the horizon).
3. Not A Cloud In The Sky
The fence bounding the upper reaches of the Black Coppice quarry is currently down, making access to this potentially deadly location readily accessible to any idiot daft enough to wander in. Naturally, I took this opportunity to wander in and walk along the top of the quarry (maintaining a respectful distance from the edge as I'm not that much of an idiot and having once fallen into a gulley due to the path collapsing under my feet, it's not an experience I'm in a hurry to repeat any time soon, particularly over a much higher precipice. Anyway, I digress...) to a point where I could line up this picture of the only cloud in the sky above the isolated copse in the field. This has been cropped at the sides, mostly to reduce the amount of empty sky and the sun just poking into the picture on the left.
4. Drinkwater's
As I haven't been out on the moors in the best part of the month, I didn't feel quite up to going all the way up to the summit of Great Hill, so having followed Black Brook up on to the moors I left the gently flowing stream at the point where it runs past Drinkwater's and exited towards the remains of the farm.
5. Heapey Moor On The Cusp of Sunset
As I walked back along the main moorland path I was treated to this view looking back across Heapey Moor towards Coppice Stile, with the tree lined Healy Nab half heartedly looming in the distance. At this time of the year the sun sets way off to right of this picture, making it difficult to meaningfully include in pictures of these moors, but it does cast some nice soft light when the conditions are right and I particularly liked the way it picked out the colours of the moors in this occasion.
6. Coppice Stile
The enigmatic Hawthorn tree stands sentinel over the heaped remains of Coppice Stile house.
7. Sunset
Taken as I stood at the top of the steep and treacherous path leading down from White Coppice to the abandoned workings around Black Brook. Given I wasn't expecting much from sunset on this occasion due to the lack of clouds, this was an unexpected bonus, even if the foreground is a bit nondescript. Despite being a merged three shot bracket (0,-1,-2). I think my correct exposure shot was a touch underexposed as there's not an awful lot of detail lurking in that shadowy foreground.