Monday, 19 September 2016

Kim Ayres - Colourful Kimonos

When I started my photography career, I concentrated on moody black and white portraits. I've always loved the landscape of the face but, if truth be told, black and white was a practical choice as much as an aesthetic one. The reality is, colour scared me. There were just too many variations and combinations that might not work, and I didn't feel comfortable enough in my own skill to navigate the multicoloured ocean of possibilities.

Eventually I began dipping my toe in, and it wasn't long before I started to delight in the expanded colour palette. And these days its not unknown for me to use coloured gels with my lighting to get particular splashes of colour when needed.

Possibly one of my most colourful photo shoots came out of a collaboration with Morag Macpherson - a textile pattern designer based in Kirkcudbright.

Among her many creations are some amazing kimonos. The shape and cut are based on the Japanese robes, but the patterns and designs are completely Morag's.

We'd been talking for some time about doing a photo shoot, but finding the combination of the right time, the right models and the right idea proved elusive. It wasn't that we were short of ideas - if anything the problem was too many and trying to narrow it down.

The Yellow Door is a gallery in Dumfries, occupied and run by a collection of artists, with ever changing exhibitions and displays. And last autumn, the room at the back had been done out like a boudoir, which tied in to one of the ideas we'd been discussing.

Morag's friend, Jessica, was coming down from Glasgow for a weekend and would be available for a shoot. But Morag had also been talking about this captivating lass she'd often seen on the bus from Kirkcudbright. As she described her, I suddenly realised she meant Alamnesh, the daughter of a friend of mine. A few more calls and texts and we had both models lined up.

As photo shoots go, this had a lot going for it. Not only did I have wonderful models in amazing kimonos in a great location, but the owner, Luke, had been running a breakfast event before we arrived and there was plenty of food left over which we tucked into when we had a break.

Additionally, he gave us the run of the building, which included a run down, decaying attic space that has yet to be done up. This meant we could do a second, very different style of shoot. From sumptuous boudoir to urban decay - showing how the kimonos could be used in a variety of settings.

I should also mention, the cushions in the boudoir shots are also Morag's creations.

Below are a few of the photos from the shoot, but click through to my Facebook album (you don't need to be a member to access it) to see the full set.

Kim Ayres

Monday, 12 September 2016

Roger Lever - The Art of Mono

Most people will be familiar with black and white photographs but one doesn’t see them quite as often these days since colour became the norm. If you look back in the history of photography from the early 1800’s onwards and at some of the images produced by famous master photographers such as Ansel Adams and David Bailey, it is very difficult not to marvel at those images which were taken on black and white film developed using liquid chemicals and then printed in a traditional dark room using photographic paper and more chemicals.

The computer has become our modern dark room. Today's photographers both amateur and professional cannot but admire these wonderful works of art some of which are worth considerable amounts of money today.

Photography then was very much a highly skilled art expression. Despite all the ultramodern high tech equipment available to today's photographers those images are hard to beat. A lot of time was spent preparing the shots and the lighting before the camera trigger was ever released AND they were all Black and White or Sepia.

My own photography especially portraiture is becoming more focused on the black and white image. Even some of my wedding photographs I am converting to black and white with some very pleasing results.

Modern DSLR cameras give you the opportunity of shooting in black and white so that you can see the image on the rear viewer of the camera as soon as you have taken it. More often however it is a case of shooting in colour and then converting your image to black and white afterwards. There are several ways of doing this in today's post production software but this would take much too long to explain in this article.

Roger Lever

Monday, 5 September 2016

David Moses - A Point of View

"Life on our planet has been a constant series of cataclysmic events, and we are more suitable for extinction than a trilobite or a reptile. So we will vanish. There's no doubt in my heart."
Werner Herzog

On the face of it, Herzog's assessment is a fairly pessimistic one. It implies that there is no meaning and that everything is ultimately pointless. But what really interests me about that perspective is how we respond to it. Do we wallow in our transience, or do we create meaning in it’s spite?

I was thinking about this on holiday, away from the bustle of street photography, with it's focus on people, the everyday, the routines. We were on a hillside in Wales, no people around so I was shooting in unfamiliar territory in every sense. But I realised that I could take my modus operandi and apply to this context too.

Whilst working, I always try to have a hook. Some way of approaching my photographs that offers me purpose and direction. It does not do to wander about aimlessly, just taking random pictures. Although to watch me at work, you might say that is exactly what I doing, in reality I am looking for scenes that offer me a certain feeling, that resonate in a particular way. This is really, really important because over time it will create repetition in your work. And repetition is meaning.

So I began to look for compositions that allowed the setting to impose itself on the viewer, vignettes that imply vulnerability in the face of external forces, of being shaped by our environment. I found that I could take those feelings away from street photography and apply them to these images (landscapes I suppose).

I also used another technique from street photography and shot from one place, working the scene. Each image in this little mini series was shot within 10ft of each other - about 50ft from the door of the cottage we stayed in. That’s an oft overlooked point - work the scene and come back often and shoot wherever you are. Try different times of day, different conditions, different directions, same location.

But most importantly, always shoot with a point of view.

David Moses

Monday, 29 August 2016

Viridian Skies - Moonscapes on the Isle of Skye

by Jesse Beaman

I've just returned from a wild camping expedition to the Isle of Skye with my partner Helen and my brother and sister. The trip was a birthday celebration for Helen, but I also used it as a chance to get some classic landscape shots with a twist - moonlight. We picked some beautiful spots but the most spectacular was Loch Slapin, near Torrin.

Inspired by the beauty of our first camp spot, we couldn’t resist a swim in Loch Slapin before the tide receded. When the waters lowered and the beach was exposed, the photographic potential increased and I fetched my tripod as the moon ascended.

I love working with moonlight; the ethereal glow of a waxing, full or waning moon is enough to counteract many technical issues associated with low light photography. At the same time the light is gentle enough to allow for long exposures, enabling the capture of movement in clouds, water, people and more.

Helen, Anieka, myself and Jacob relaxing around the campfire under the constellations Ursa Major and Bootes. The brightest star is Arcturus, meaning ‘guardian of the plough.’ The plough is the famous part of Ursa Major sometimes known as the ‘Big Dipper.’

All in all it’s a great middle ground between day photography and dark sky photography. During my photography workshops I encourage people with entry level DSLR’s to get out under the moonlight. Whilst these cameras often lack a full frame and the ISO capabilities required for dark sky photography, they can obtain some great results under moonlight. For beginner astrophotographers there’s nothing like a moonlit shoot to get your foot in the door, especially as it’s much easier to see what you’re doing and compose an image - not so easy under starlight!

Helen and Anieka watching the embers glow under the rising moon.

The moon will also wash away detail in the night sky, but it carries it’s own beauty nonetheless. For example these ‘moon dogs’ or ‘paraselene’ (meaning beside the moon) occur when the moon has a halo. Moonlight is refracted by hexagonal shaped flat ice crystals in the high atmosphere - specifically in cirrus or cirrostratus clouds. An Otter fishing in the moons' dancing reflection in the Loch added to the magic of the celestial display of the moon dogs. We don’t have a word for the road like river of light when the moon shines on water, but the Swedish call it MÃ¥ngata (moh-angata). I doubt even the Swedish have a word for what happens when there’s an Otter fishing in the reflection, but it was beautiful!

Ice crystals in high atmosphere clouds refract moonlight. As the light from our largest natural satellite is split, curved rainbows appear along the lunar halo.

When the tide had lowered enough for me to get level with the foot of the mountains, I ventured out onto the beach, pausing to notice some delicious looking mussels hiding amongst the seaweed (we foraged and cooked some shortly after). Seeing one sky reflected underneath the other is mesmerising, and I’ve tried to do the view from that night justice in this final image.

A calm Loch Slapin mirrors the mountains and Ursa Major.

Viridian Skies

Monday, 22 August 2016

Tom Langlands - Three Hours on Lunga

Back in July I headed off with fellow Galloway Photographic Collective photographers - Roger Lever and Allan Wright - for a planned few days on the Treshnish Islands. This group of islands lies off the west coast of Mull with the largest of the group being the island of Lunga. The idea was to camp for a couple of nights and photograph the landscape, flora and fauna of this very special place. Unfortunately, after we pitched tents for an overnight stay on Mull, the vagaries of the Scottish weather presented us with a night of torrential rain. This was followed by one reasonable day of weather and then a further forecast of more heavy rain. We changed our plans and opted for a short three hour stay on Lunga and a visit to Fingal's Cave on Staffa.

As a wildlife photographer I like to explore areas in advance and although I had been to Lunga once before I couldn't be sure what to expect by way of bird life. This combined with the fact that the previous night of rain had left much of the island soaking wet with slippery paths didn't help the available options.

On the boat trip to Lunga I decided that rather than try to cover too many options I would opt for a small area of the island where I knew that there were accessible cliffs. It was a forty-five minute walk there and back and which left me with a little over two short hours to see what I could do. On this occasion there wasn't enough time to study flight directions, animal behaviour or sit and wait for 'something to happen'. This wasn't an ideal situation but I called upon my reserves of knowledge to concentrate on a couple of species and two specific locations. The main thing I wanted, was to get clean backgrounds in order to show off the birds in the images. My first shot was a statuesque shag with the distant backdrop of clear blue water.

Because the light was quite harsh at times I sought out a shaded area of cliffs with almost black backgrounds. This was to be my location for some kittiwake photography. It proved to be the best fun of the short time I had but also the most challenging. I opted for some adult bird shots, some juveniles from this year's brood and also some in-flight photography. The black backgrounds and the white of the birds made for some tricky exposures but I like to think that I got there in the end.

In next to no time we had to head back to the boat and I finished the trip off with a couple of puffin shots. With the bright summer, afternoon light I opted to get down very low and shoot through the yellow, flowering heads of the plants along the clifftops. It was a momentary glimpse of summer in what was a very wet few days.

Tom Langlands

Monday, 15 August 2016

Allan Wright - New material from The Capital City

Recently I set myself to work on new stuff for various Edinburgh projects due for an image refresh. I enjoy city/street work more & more these days and fortunately I never seem to tire of trying to suss out new angles on familiar places, I try to be always ready for the chance encounter I guess I sort of treat it as sport.

The National Monument Calton Hill.

Early start on Salisbury Crags, nothing dramatic going on but noted the warm, low directional light hitting the pillars. I grew more interested in the potential on noting the placid surface water on the Forth & steaming condensation rising from an industrial zone on South Fife. I like it when there is an element of juxtaposition and or “contra” subject matter within an image.

Musselburgh Esplanade

Having gently cycled round from Portobello I was struggling to catch any significant architectural forms to work with so took a moment to chill in a beachfront park area and glanced back towards the city. A partially silhouetted public art curiosity comes to life with some theatrical cloud action and heavenly rays exploding behind it.

The Edinburgh Trams

Some alert jay-walking was required to catch the Edinburgh Trams presence. Their quiet smooth trajectory adds grace to the night scene here on Princes Street.

The Meadows

Always enjoy a stroll through this chilled out zone here in the heart of this elegant city. Its location is a complex crossroads of pedestrian routes and recreational action. Never looks the same it always delivers people watching material in abundance, it’s all going on, all the time.

Fettes College

A bit of a legend for different reasons, its turrets are loaded with pictorial power, gaining notoriety in a scene set in one or other Harry Potter films. Arguably now rather infamous, being the seat of learning for our disgraced ex PM Tony Blair, the stripey red blazers are a conspicuous symbol of privilege especially as more egalitarian principles are hopefully being embraced, at least in Scotland that is. It’s graduates also include Christian Salvesen and perhaps more comfortably on the conscience, it also delivered Tilda Swinson.

Scottish National Gallery of Modern Art

An impressive venue for its illustrious collection I particularly like this bizarre but engaging neon lit statement shouting out from the wooded grounds. A message worth bearing in mind.

Allan Wright

Monday, 8 August 2016

Laura Hudson Mackay - Darkroom Masterclass

Film photography is making a comeback and I’m excited. For a good number of years film has been threatened due to the transition into the world of digital photography but like the recent vinyl record boom, enthusiasm for using film is growing again at a steady pace.

As a photographic artist who works almost exclusively in black and white, film photography, processing and hand crafting images offers many interesting and creative opportunities. Spending time in the darkroom enables a wide range of interpretations, emotions and possibilities and for me, can also be a relaxing and meditative place to work.

It is a good thing as an artist to continually train, push forward, develop and improve, so I set myself a challenge to book a course with an Ilford Master Printer. Dave Butcher, who is based in Derbyshire, worked for Ilford Photo for 21 years, including running the photographic printing department and more recently has become a genius teacher.

The course was split over two full days and time was spent working from my own medium format 6x6 negatives and included using all four different enlargers in the darkroom. The experience of using this range of equipment, although confusing at first, was invaluable. 

During the course, I learnt the technique of Split Grade printing, probably the most useful and powerful method of darkroom printing. It is the technique used by Ilford printers for pretty much all hand prints. Once mastered it considerably reduces the amount of dodging and burning adjustments. It involves using both low and high contrast exposure instead of the usual single exposure.

On the final day I left bursting with ideas and inspiration and with a head full of new skills and top tips that Dave had imparted, along with a number of hand printed (by me!) large prints ready to frame and exhibit.

Now it is time to put all I’ve learnt into practice and disappear back into my own darkroom enlightened and much improved.

If you have any unwanted darkroom or film photography equipment you no longer have a use for, please get in touch as I can find a new home for it/pass onto someone who will make good use of it. Please email me at info @ and if you are in Dumfries and Galloway, I’ll happily come and collect.

Monday, 1 August 2016

Holly Burns - 8 Things You Should Never Say To A Photographer

As a professional photographer, I have experienced a variety of odd requests and comments which would suggest that the art of photography is often overlooked as a creative and technical skill. In our efforts to promote ourselves and expand our existing portfolio, we can often be undervalued by our existing and potential customers.

I have compiled a list of 8 common comments that are sure to irk any photographer.

1. “That’s a great picture! You must have a fantastic camera...”

This is possibly the most irritating thing a photographer can hear. It’s like going to a high end restaurant and saying “What a lovely meal, you must have a great oven.” Sounds ridiculous and insulting doesn't it! Yet I hear this often from well meaning people. A great photograph is very much more than the components of a camera. It is the culmination of many processes and skills undertaken by the photographer themselves that creates a successful image.

2. “Give me a free photo shoot and I will promote you”

Again, this is a very common request and indeed an opportunistic one at that. It is like going into a supermarket and asking for a free loaf of bread and telling them that you will tell all your friends how lovely it was. Again, sounds absurd doesn't it. Don't get me wrong, there may be times that this scenario may prove mutually beneficial, however, generally selling photographs and photo shoots are a photographer's full time job and it is this what puts food on the table, try not to take advantage of them.

3. “Can’t you just Photoshop that out?”

Yes, technically a photographer can Photoshop things out of an image, however this can take a lot of extra time when if they were provided with the time to get it right in camera it would no longer be an issue. Photoshop should always be used creatively and not depended upon to fix mistakes that could have been avoided with a little more patience. It is important to understand that a photographers process involves setting up, test shots and tweaking light in order to make a client look their best.

4. “Can you Photoshop me thinner?”

Again, yes, technically we can do this however, a lot of photographers are reluctant to alter or adapt a clients appearance too much. Retaining a level of authenticity is important. We want you to look like you! We prefer to work with a client and get the best body posing and flattering light to suit their body type.

5. “I love this photographer, can you do it just like that?”

We all make stylistic choices based on what inspires us. For example, we furnish and decorate our home, often after looking through magazines and visiting different stores in order to come up with our own style and direction. We would never just walk into someones home, decide we love it and replicate it exactly in our own home! That would be crazy!

Photography is a creative medium in which the outcome is based primarily on the photographer's style. Its good to have inspiration in mind or even a mood board to work from, but it is very difficult for any artist to replicate another’s exact style without getting some of their own in there as well. It is much easier to book a photographer because you like their specific style rather than another’s.

6. “I’m so glad you can come to my event! Bring your camera!”

Basically when this is said, a photographer hears “I don't actually care if you come and enjoy the event, I just want free professional photographs.” I would never ask a waitress to my party and then tell her to fetch my drinks all night! It is always best to be clear from the offset if you want someone to work at your event rather than have them think they are a guest. By doing so, the photographer will bring their A game and you will get the best photographs they can produce.

7. “Can I have the reject photos please?”

This will always be a clear and resounding ‘no.’ This is because all of the pictures where you are yawning, blinking or chewing food are not attractive, to anyone, therefore it is not worth the time to edit them. Making the vitoed photographs available for public viewing can also give the photographer a bad reputation as our portfolio is only as strong as our weakest photos.

But don't worry, a photographer will never be holding back that one gem of a photograph that tops all the ones that have already been given to you. We cull to save unnecessary editing time so we can put more time and effort in the best of the bunch.

8. “Anyone can be a photographer, it’s just pushing a button.”

Well that’s like saying I can be an architect because I know how to draw straight lines! There is a reason why we go and study for several years to learn our craft. There is a difference between taking a photo with a camera that does all the work for you and gives you no creative control and how a photographer is able to hone their talents to create something substantial. If photography was as easy as clicking a button there wouldn't be an industry at all.

Don’t worry too much though, us photographers don't take these comments too personally. We will always try to accommodate your requests and when we cant we will explain fully why and what can be achieved to get the photographs you desire.

Holly Burns

Monday, 25 July 2016

Kim Ayres - A Mad Hatter's Tea Party

Each year, Castle Douglas High School final year pupils have the chance to be part of an Enterprise Group, where they design and create products, which they then have to market and sell.

This past year's group called themselves High Tea and created, among other things, cake stands from recycled vintage china. They went on to win the regional Young Enterprise Award for South West Scotland, ahead of 10 other schools, which took them into the Scottish finals last month. Although they just missed taking the overall winner, they still came away with the Marketing Star Award and the Best Trade Stand Award.

High Tea's Trade Stand - awarded best stand in both the regional and Scottish finals

Rewind to late last Autumn, and I'd been asked by Andrea Thompson, commissioning editor of Dumfries and Galloway Life magazine, if I would take some photos they could use for publicity and she could put in a magazine article about the group.

A Mad Hatter's Tea Party theme was decided on and I met up with a few of the group for a hot chocolate to discuss ideas, strategies and potential venues for the shoot. A little over a week later we all met up at Cally Palace Hotel in Gatehouse of Fleet, with the full team in action. It was like one of those high production shoots with lots of different people in charge of hair, makeup, props and outfits, and there were even a couple of them recording the experience with cameras and video.

I have to say I was extremely impressed with the level of organisation and cooperation, which meant the shoot ran much smoother than some I've been involved in.

And this was reflected in the result. Because I was able to focus my time and energy into getting the lighting and composition right, rather than having to chase everyone and see they were all doing their jobs correctly, I was able to get some great pictures.

However, the point I go click is only one step on the journey to the final images. Once I have the photos on the computer there are a thousand directions I can go in.

In this instance I decided to try and create an illustrated feel by creating an effect so as the image moves out towards the edges it becomes increasingly like a drawing. This has the effect of the characters coming to life out of the pages of a storybook, which I felt tied in with the whole Alice in Wonderland theme.

I then gave the whole thing a slightly desaturated, sepia tone, which creates the look of old hand-tinted photographs. This, I felt, tied in with the Victorian/Edwardian setting of the Lewis Carroll story and the retro crockery used for the cake stands - harking back to days gone by.

Here are a few of the final pics, but you can find the full set on my Facebook page here

Mad Hatter's Tea Party, with emphasis on the cake stands


The Queen of Hearts

The White Rabbit

The Mad Hatter

A couple of weeks later I got a call from Andrea asking if I had a version of one of the photos that wasn't faded at the edges. She wasn't promising, but there was the possibility it might appear on the front cover of the January edition of Dumfries and Galloway Life, and they needed a version that would allow for writing to show up on top of it.

Fortunately I had a cleaned up, edited version that I hadn't done the final illustrated effect to, as that had been a key stage before trying out different post-production techniques. I sent it straight over to her.

When the January edition hit the shelves, we were delighted to discover we had indeed made the front cover!

Front cover for January 2016 edition of D&G Life

A few weeks later, a couple of the High Tea students edited together a video of the photo shoot. It gives a real sense of everything that went into the shoot, and reinforces the idea that great photos rarely happen by accident.

Kim Ayres

Monday, 18 July 2016

Roger Lever - One Night Stand

My previous visits to Skye have often proved rather dismal due to inclement weather conditions.

Spring this year (2016) however Skye enjoyed some of the best weather in the country with temperatures into the mid 20’s. Driving to the Isle of Raasay from Dalbeattie usually takes about 7 hours on a good run but on this day a rather tragic accident had blocked the road just north of Broadford. The road system on Skye does not allow any alternative route north so it was a case of sitting it out until the police decided it was ok to allow traffic to move.

We arrived at the boat terminal at Sconser just in time to catch the last ferry to Raasay. The short 20 minute crossing has been a relatively new route created by CalMac since Raasay House Hotel opened on the Island in 2013. Raasay House has undergone a complete renovation following a fire which gutted it in 2009. The setting, the friendly atmosphere and the good food all make this a must go to hotel next time you plan a trip to Skye. This day however that was not our destination.

View from the front of the Hotel overlooking the ferry Terminal with the Cuillin Hills behind.

About half way along the island on the one track road there is a path leading to the summit of Dun Caan, a distinctive upturned bucket shaped mountain which can be seen from miles around.

It is a while since my friend Joe and I had camped at the summit of a Scottish Mountain but something we have longed to do again since camping on Suilven more than 10 years ago.

Whilst Joe remains as fit as ever I have suffered serious back and knee problems which have restricted most of my sporting activities in recent years, so carrying a heavy backpack proved quite a challenge for the one and a half hour climb. With lots of huffing and puffing and groaning I did make the summit.

I had done this once previously with my wife Judy 2 months prior to this trip but without the heavy rucksack. It was somewhat easier then but the weather was more arctic like. The views however from the summit were spectacular.

From Dun Can.

With snow still on the mountains it is important to take a number off different exposures so you have a choice when it comes to editing. It can then be possible to combine more than one image for best results. With that and a little giggery pokery on photoshop CC I managed to create the feel of the place. It was cold, with snow flurries but we still had a magnificent panoramic vista in front of us. In these situations a dedicated panoramic camera such as the Fuji 645 Rangefinder (used by Colin Prior in the old days) would give phenomenal results. This image of course is cropped from my Nikon D800 NEF image.

Having rested and admired the 360 panoramic views Joe and I had to find a suitable place for the tent, preferably sheltered from the then cold northerly wind. There was only one such spot which proved to be perfectly adequate.

We were bother ready for food after pitching the tent. Our previous attempts at preparing a meal on another trek had failed miserably when the few matches we did take along proved too damp and our fry up never happened. Guess what, the same thing happened again. I didn’t see the look on Joes face but i am sure it must have been one of “oh God No, not again, disgust, what a plonker etc. etc.” What I hadn’t told him was that I had slipped a lighter into my pack at the last minute before leaving home. After about 10 minutes going through about twenty damp useless matches finally piped up ‘Oh, I’ve just remembered something” and proceeded to lift the lighter from its hiding place.

The look of relief on Joe’s face was choice. We proceeded to enjoy our unartistic mix of bacon, egg, black pudding fry up and a cup of weak tea followed by a couple of mints. Anything on the top of a mountain in these conditions tastes absolutely wonderful.

With the light and the temperature dropping rapidly I grasped my camera for a tour of the flat peak of the mountain. The sun was beginning to set over Skye to our West with the light changing by the minute. Here are just a few of the shots I took.

In this shot the tent is blocking out most of the harsh light from the sun but in doing so it also allows the colours in the sky to be more visible as the tent remains in silhouette. Adding a little on camera flash exposes the tent just a little and lights up the reflectors.

Taking shots into the setting sun can be rewarding or darn right disappointing. Again it is important to take variable exposures once you have picked your position. Sometimes a graduated filter can help to get a balance of exposure between the relative underexposure of the foreground and overexposure of the sun.

We both slept well even though there was a continuous cold wind flapping the tent about for most of the night.
By morning the wind had eased and as luck would have it I stepped out to relieve myself just as the sun was rising over the Scottish mainland.

In this shot I had to drag out some of the detail in what was underexposed foreground. The sea was relatively calm but creates an interesting pattern on this exposure taken on a tripod.

Turning the camera round the little bit of sun from behind me in the East was creating some nice highlights on the Cuillin mountains. Again it was a case of dragging out some of the detail in the foreground and getting more definition and drama by making it into an HD image.

I dived back into the tent for my camera, donned a few extra layers and waited for the display. Unfortunately the sunrise wasn’t that amazing as there was much more in the way of cloud cover. Shafts of light moved along the Eastern horizon creating an ever changing pattern of light. Even though I was shivering I managed to grasp a few shots as the scene changed. Resting the camera on large boulders acts as a very suitable tripod in these situations. With a little editing I was well satisfied with some of my images and well worth the effort to climb that wonderful little mountain.

A well earned rest and just a little indulging in a special brew.

We had a very enjoyable real meal at the hotel before catching the next boat back to Sconser and home.

Roger Lever