And so, they ski

A fresh and fluffy mountain coating, where before stood grassland, invites those that like the more powdery tree lines, away from the official slopes.

Clambin, Verbier, Valais, Suisse

November, 2024

Overlooking

Some people walk steadily, some run as fast as they can. Each one has his/her own goals, but one is shared among all.

Dent de Vaulion, Vallorbe, Vaud, Suisse

October, 2024

Trail hunters

A meeting point, a crossroad, a gathering of trails and those who take them.

Lac Bleu, Evoléne, Valais, Suisse

September 2024

Nature is doing her best…

Let’s hope she doesn’t go for her worst.

Glengarriff, Co. Cork, Ireland

August, 2020

You have arrived at your destination

So, I moved to Ireland, for professional reasons. I spent the night in a cheap hotel near Dublin's Airport. Found out that it wasn't really a single room. Or it was but had company with me. Found a friendly Irish spider doing its thing on the ceiling. Definitely, this "added bonus" was not listed in booking. This is my first photo in Ireland. Technically, not a good one (ISO way beyond camera's usable sensitivity) but I want to keep it as a reminder that, whatever you want it or not, Nature is always around us and we are part of it. Well, I love it!

Spider (unknown species)

Dublin, Ireland
2017, September

Mountain shelters ( Abrigos de Montanha )

Shelters are reminiscent of harder times, when shepherds where kept away from their homes and forced to stay in mountains attending their herds. Mountain shelters have taken many forms, from rudimentary caves below piled up boulders to small houses built with the surrounding materials. Some are privately owned (or are in privately owned lands), others have simply become forsaken. While these could still serve mountaineers or anyone seeking a temporary shelter for a night over in the region, many of them can be found in an appalling state: some are nothing more than ruins; others are decayed, flooded or vandalised.
Yet, they were not forgotten. Recently, local municipalities, like Vieira do Minho Municipality, or even groups of individuals that simply aim at preserving the cultural heritage of these sites have taken efforts in rebuilding some of these shelters and restoring them to usability. Now, maintaining them in proper condition, e.g. clean, is far more dependent on civilized use than in weathering.
However, other attempts at restoring mountain shelters have bumped into bureaucratic and even legal bumps. National authorities like ICNF seem to disdain people’s voluntary efforts in restoring and maintaining these shelters and basically rule for abandonment and decay. Why? I speculate that some ICNF’s representatives carry an older (I was going to write obsolete) and very basic mentality. Other more plausible reason might be the lack of means, i.e. manpower, to supervise their correct usage. In either possibilities, there is an absurd lack of trust towards mountaineers and nature enthusiasts: those that would preserve and give shelters their proper use: sheltering.

Os abrigos de montanha são monumentos (não reconhecidos) remanescentes de outros tempos, próprios de vidas mais difíceis, de quando era necessário permanecer na montanha para o pastoreio. Os abrigos tomaram muitas formas, desde uma simples caverna debaixo de um penedo a casas rudimentares, construídas com os materiais locais. Uns são propriedade privada ou estão em propriedades privadas, outros foram simplesmente abandonados. Estes poderiam servir os montanheiros ou qualquer pessoa que procurasse um abrigo temporário ou passar uma noite em contexto de montanha. No entanto, muitos deles encontram-se num estado deplorável: uns nada mais são que ruínas; outros estão a decair, inundados ou simplesmente vandalizados.
Por um lado, os abrigos de montanha não foram esquecidos. Algumas autarquias locais, como o Município de Vieira do Minho, ou mesmo grupos de indivíduos que simplesmente ambicionam preservar a herança cultural destes sítios, tomaram esforços em recuperar alguns destes abrigos e restaurar-lhes a usabilidade. Agora, mantê-los em condições próprias é bem mais dependente do civismo que quem os visita do que da exposição ao clima.
No entanto, algumas tentativas de recuperar abrigos de montanha embateram em processos burocráticos e mesmo impedimentos legais. Autoridades nacionais como o ICNF preterem os esforços voluntários de cidadãos em restaurar e manter estes abrigos em prol do abandonamento e consequente ruína. Apenas posso especular que alguns representantes do ICNF simplesmente arrastam consigo uma mentalidade antiga e muito básica. Um outro motivo, plausível, é a falta de meios humanos para uma fiscalização própria do uso dos abrigos. No entanto, ambos os motivos partilham uma total falta de confiança nos montanheiros ou de qualquer verdeiro entusiasta da Natureza: aqueles que saberiam preservar e dariam o melhor uso aos abrigos de montanha: abrigo.

Serra da Cabreira, Portugal
2017, February

Drave, God (and Man) forsaken place

Drave is a village stuck in a cove between Freita, Saint Macário and Arada Mountain Ranges. It has been abandoned, years ago. The village blends with the mountains, with its perfectly stacked shale stone houses. Only the church, painted in white, contrasts with the surroundings. Spending time and walking through this village, in a cold and stormy day, is a unique experience. At a glance, it seems that time has stood still. The village still retains its aura of human existence, as common households, farming tools and whine barrels have been left behind. Water still flows through the river mills. Even an old stone press, with its rusting mechanism, seems to be waiting for olives to produce oil once again. Yet, goats graze where people lived and farmed. Silence is interrupted by rotten wood cracking beneath the heavy stone structures. A stone saddle granary has tumbled with the winds. Everywhere, decay has settled. Nature, slow but undeterred, regains its space and claims dominance once again. Moss overlaps stones. Their gaps filled with wild flowers and all sorts of grasses. Even where ceilings have fallen to the ground, trees emerge from within the houses, rising above its walls. Small animals can be seen lurking as its inhabitants. Curiously, the absence of mankind’s permanent presence has led to the emergence of all sorts of life.

Drave é uma aldeia enfiada numa cova entre as Serras de Freita, São Macário e Arada. Abandonada há anos, a aldeia disfarça-se nas montanhas, com as suas casas de xisto, perfeitamente empilhado. Só a igreja, pintada de branco, contrasta com os arredores. Passar algum tempo nesta aldeia, caminhar através dela, é uma experiência única. À primeira vista, parece que o tempo simplesmente parou. A aldeia ainda retém uma aura de presença humana, emanada dos utensílios, ferramentas agrícolas e até barricas de vinho deixadas para trás. A ribeira ainda atravessa os moinhos de água. Até um antigo lagar de pedra, com os seus mecanismos enferrujados, parece apenas aguardar as azeitonas para voltar a produzir azeite. No entanto, as cabras pastam onde as pessoas moravam. O silêncio é interrompido pelo estalar da madeira podre sob o peso das pesadas estruturas de pedra. Um canastro tombou com os ventos. Por todo o lado, a decadência instalou-se. A Natureza, lenta mas implacável, retoma os seus espaços e procura novamente o domínio. O musgo sobrepõe-se à pedra. As flores silvestres e ervas preenchem os espaços. Até onde os tectos desabaram, as árvores emergem por dentro das casas, subindo acima das suas paredes. Pequenos animais podem ser vistos como os novos habitantes desta aldeia. Curiosamente, a ausência permanente da humanidade deu origem à emergência de toda uma nova vida.

Drave, Portugal
2016, Abril

Anta de Adrenunes

In the northern exposed hills of Sintra, a pile of monoliths emerges above the landscape, forming what is believed to be a colective necropolis. Anta de Adrenunes is one of the ancient and somewhat magical places where Sintra gains its mystic.

After some trekking in a narrow track and totally enclosed by bushes, one last turn emerged me dramatically from the wild and I stood in front of the spot. I was immediately crushed by the magnitude of the monoliths, naturally there but some with an evident staking up by human hand. Wind and eagles squeals where the only soundtrack on what as becoming an immense personal experience.

After some exploration, I climbed by the southern side of the Anta and managed to get on top, where a cylindrical milestone was erected in modern ages. I was overwhelmed by the scenery, where Nature merges perfectly with humanized landscapes all around. I immediately thought on giving it a tribute with a panorama.

Light was fading but sunrays managed to shine through the clouds. I knew that, if the weather permitted, the landscape would gain those warm sunset colors. But I only had a couple of minutes. I used the sacrilegious milestone as a tripod stand, mounted the camera and a 50mm lens. And when I was about to start, warm light filled the scenery. I took the shots, while “walking” around the milestone, in an exercise of body balance in steep ground while trying to maintain the horizon in the composition through the viewfinder. When I just finished, light faded and the scenery gained greyish tones. I was happy (and alive).

Soon after this moment, a combination of twilight and city lights woken and a new display was available for me to gaze upon.

In this panorama I used 17 shots in a 360º view. The highest point is Ermida Santuary, while Palácio da Pena, left to it, stands small in a distant hill. Cabo da Roca lighthouse stands towards the sunset and every bit of shoreline from there to Berlengas is visible. Curiously, from the top of the Anta, Pedra da Ursa peaks from the narrow valley that accesses the beach that bears its name. Magical… everything!

Nas colinas expostas a Norte de Sintra, uma pilha de monólitos emerge sobre a paisagem, formando aquilo que se acredita ser uma necrópole colectiva. A Anta de Adrenunes é um daqueles sítios antigos e algo sítios onde Sintra afirma a sua mística.

Depois de uma caminhada por um estreito caminho, totalmente enclausurado pela vegetação, uma última curva emerge-me dramaticamente em frente do lugar. Fiquei, imediatamente, esmagado pela magnitude dos calhaus, que naturalmente lá jaziam mas alguns, de forma evidente, empilhados pela mão humana. O som do vento e dos guinchos das águias formavam a única banda sonora naquilo que se estava a transformar numa imensa experiência pessoal.

Depois de alguma exploração, trepei pelo lado Sul da Anta e consegui alcançar o topo, onde foi eregido um marco cilíndro em épocas actuais. Fiquei banzado pelo cenário, onde a Natureza se funde de forma perfeita com paisagens humanas. De imediato, pensei que o melhor tributo àquela vista seria um panorama.

A luz desvanecia mas alguns raios de Sol conseguiam espreitar pelas nuvens. Sabia que, se o tempo permitisse, a paisagem iria ser enriquecida pelos tons quentes do Pôr-do-Sol. Mas só teria uns minutos. Usei o sacrilégico marco como base para o tripé e montei a câmara com uma objectiva de 50mm. Assim que estava pronto a começar, a luz, quente, encheu o cenário. Tirei as fotos, “andando” à volta do marco, naquilo que foi um exercício de equilíbrio enquanto tentava manter o horizonte na composição. Mal terminei, a luz desvaneceu em tons cinzentos, aborrecendo a paisagem. Estava feliz (e vivo!).

Pouco depois deste momento, uma combinação de crepúsculo com o acordar das luzes das povoações deram-me um novo espectáculo para apreciar.

Neste panorama, recorri a 17 fotografias numa vista de 360º. O ponto mais alto é o Santuário da Ermida, enquanto que o Palácio da Pena mantém-se distante à sua esquerda. O Farol do Cabo da Roca ergue-se na direcção do Pôr-do-Sol e toda a costa é observável até às Berlengas. Curiosamente, do topo da Anta, a Pedra da Ursa espreita visível pelo estreito vale que dá acesso à praia que detém o seu nome. Mágico... tudo!

Sintra, Portugal

2013, Março

Let there be light... and bytes!

I never had a blog. I always believed that the purpose of a blog was to contribute and never felt I had something that people would be interested in. And “showing” is not really my style.

My friend and fellow (free-time) nature photographer Tiago Pereira is in a constant dispute with me about this. “Make a blog” he says, “what for?” I reply. Thank you for being enough annoying!

So, the main point for this (besides of someone else looking* at my work) is actually the exercise of motivating me to take even more photographs and, mainly, working on them. The purpose is to create a drive for me to get better at doing something that I love: Nature Photography and meeting new spots where you can stop your mind and open it just to embrace and admire life.

Finally, in a quick insight, I believe my photographer profile is as follows:

• Photography has always been part of my life and is my way to keep memories alive;
• Photography has been put aside for too many times in my life. Seems that life keeps overburdening me with things that seem to be more important;
• I am a late DSLR starter (photographic stuff is way too expensive): by early 2009, I put aside my old 35mm film camera and went berserk on digital full frame. Miss the chemical scents of the lab, though;
•  Everything is interesting to shoot for me. Finding how you can make an interesting photograph out of anything is a quite a challenging task;
•  I shoot to kill*… I mean, for me, the camera is a sniper rifle, not a machine gun. This might be a habit inherited of shooting film. Expensive 36 round cartridges made me disciplined on pressing the shutter button. Shooting should be, in some bizarre way, an elegant and effective exercise;
•  I keep pressing the “delete” button on camera. Never satisfied. Actually, I might have missed some good opportunities because I was too busy deleting photos in-field;
•  Looking at my storage media, most of my photographs are as they were shot. Somehow, I like the “raw” about RAW-format. Maybe that’s my biggest flaw as photographer;
•  Anyway, my goal, when capturing and editing a digital photograph is a mean to make it represent the subject I’ve seen with my eyes as accurately as possible. Even when pushing the boundaries of reality to create some additional impact, it typically falls short on showing the beauty of some of these spots. A photographic frame is just that: a short representation of a memory in some moment in time. And a shareable memory!

* About copyright: I value a lot the time I invest in things and I do not tolerate someone else taking credit (in any form) from my work. Enough said.

 ** By the way... I'm incapable of killing. I respect life, any form of it. On the other end, I don't respect those (humans) that don't respect and abuse from it.