On 6th July 2021, I slipped on some wet rocks at Ardtoe, dislocating my knee and tearing my patellar tendon in two. Following an operation to repair the damage, I found myself immobilised and in a knee brace until early November and unable to get out and do any photography.
 
While laid up in the brace, I set myself the target of getting back out with the camera by the start of 2022 and the objective of taking 5 or 6 images each month that captured the varying landscape and moods of the Peninsula throughout the year.
 
With limited mobility, especially at the start of the year, I had to think carefully about locations I could safely go that would provide me with opportunities to take the photographs that I had in mind. This was a bit of a challenge at first, but I found that this limitation helped me with my creativity.
 
By the end of the year, I had visited enough locations and taken enough photographs to enable me to create a collection of 72 images, or six for each month to reasonably portray the Peninsula over the course of 2022. Twelve of these images, one for each month, are presented in this blog and I plan to share the rest of them over the course of the coming year in a new section on this website titled “A Year on the Peninsula”.
 
As well as the collection of images, the project provided me with the motivation to get “out there” and get back into my photography and aid my recovery. When pulling these images together, I was certainly reminded of how far I have come since that day in January when I gingerly made my way down the jetty at Salen with the help of a crutch to take the first photograph in this collection. I still have a number of months left in my 18-24 month long recovery period and hopefully, as my ability to walk on uneven ground and also downhill improves, I’ll be able to range further afield and photograph locations that I have not been able to get to since that fateful day in July 2021.

​The image above was captured from the upper slopes of Meall Mor, a small peak that sits on the western flank of Ben Resipole. I have been up there many times because it is only a short distance from my house and the modest climb is rewarded with stunning views westwards over Loch Sunart to the Isle of Carna and the hills of Morvern beyond.
 
While taking this photograph, I saw something that I hadn’t noticed before. A small promontory sitting in front of the silhouette of the Isle of Carna, which only caught my eye because it was lit up by rays of light that had broken through the clouds.
 
Curious as to what it was, I did a bit of research when I returned home to find out that this knoll was both the site of a small Iron Age fort called Dùn Ghallain (Fort of the Storm) and the setting of ‘The Swan of Salen’, a mythical tale that seeks to explain why no swans are found on Loch Sunart.
 
It tells of a Chieftain who fell in love with a maiden of low social status. The Chieftain’s mother disapproved of the match and turned the maiden into a swan. The Chieftain, not knowing this, killed the swan while out hunting and was heartbroken to see the swan’s body take the form of his love as it died. Inconsolable, he fell on his own sword, and the bodies of the two are said to lie beneath Dùn Ghallain to this day. It is said that this is why there are no swans on Loch Sunart, making it the perfect example of a tale to explain the unexplainable.
 
If you travel a few miles east from there, you can find a location whose name is linked to a legend that warns you away from danger. It is Lochan nan Dunaich, the ‘Little Loch of Sadness’, where young children were supposedly lured into its waters by a Kelpie and never seen again. 

​Kelpies are said to be water spirits that inhabit many of the rivers and lochs of Scotland. Although usually appearing in the form of a horse, they are capable of shape-shifting and can take human-form. When in horse form a kelpie will often stand near the edge of a river or loch waiting for its prey, which will often be young children. Kelpies have magically adhesive bodies, meaning that should a child choose to clap the supposed horse, they will become attached, allowing the Kelpie to drag its victim into the water and drown them.
 
It is also said that they can stretch the length of their backs to carry several children to their death at once. One tale involves a group of children, where all but one climbed onto the kelpie’s back while the last child stayed on the shore. This child petted the kelpie’s neck only to have their hand become attached to it. They freed themselves by cutting off the hand only to then watch their friends, who were stuck to the kelpie’s back, being dragged down into the depths of the water where they were devoured, and their entrails thrown to the water’s edge.
 
When you look at Lochan nan Dunaich, a deep and dark pool of water with fallen trees around its boggy edges, you can well understand the need to warn children away from straying too close to it and with such gruesome tales about Kelpies, you can well understand how the local legend would have been to this effect. So, if you find yourself there, tread carefully, very carefully indeed.

​In Celtic folklore, bluebells have a strong association with spirits and faeries. They are often called faerie flowers and their small bell-shaped flowers are believed summon the faeries when rung.  This is not necessarily a good thing because faeries are believed to hang their spells on the bluebells to dry and disturbing them may unleash wild magic upon you, leaving you dazed by enchantment and unable to find your way out of the woods. It can be even more serious for children who pick bluebells because it is believed that they could be snatched away by the faerie folk, never to be seen again.
 
So, if you do visit a bluebell wood, just remember to stay on the path and to not pick or disturb any of the flowers. Besides risking the wrath of the faeries, another good reason to avoid disturbing them is that they are poisonous, and this might be the reason why there are so many old tales and legends warning people away from them.
 
However, these beautiful little flowers have also been valued for their useful properties and have been used over the centuries by herbalists to prevent nightmares and to treat leprosy, spider bites and tuberculosis. They contain at least 15 biologically active compounds that provide them with protection against insect and animal pests and in recent years, some of these compounds have been investigated as possible treatments for HIV infection and cancer.
 
Bluebells have practical uses as well. They produce an exceptionally sticky sap which was used by our Bronze Age ancestors to make a glue that they use for attaching flights of feathers to their arrows. This glue has also been used for several centuries by bookbinders to make and repair books, while in Tudor times, starch was extracted from crushed bluebell roots and used to stiffen the ruff collars that were very much the fashion back then.
 
Finally, some bluebell folklore gives a positive impression of this beautiful little flower. For example, some believe that by wearing a wreath made of the flowers, the wearer can be compelled to speak only truth while others believe that if you can turn one of the flowers inside out without tearing it, you will eventually win the one you love.

​Scientific researchers have found that the peak sunset season is from November through to February and that this is down to a combination three things. These are the type and quantity of the cloud cover, cooler air temperatures and how the Earth is tilted towards the sun at this time of the year.
 
Contrary to what you might think, we need clouds for a good sunset and they have to be the right kind of clouds. If they are too low down on the horizon, they will block out the Sun’s rays and prevent a sunset. Instead, we need mid to high level clouds that will refract the sunlight and give us those beautiful sunset colours. This happens more in autumn and winter because the weather patterns we get then tend to bring mid and high-level altocumulus, altostratus and cirrus clouds.

​The cooler temperatures mean that the air is less humid and that there is less water vapour to capture dust particles that are in the air and create the haze which is often a feature of the summer months. When present, this haze scatters sunlight and reduces its intensity. So, in autumn and winter, the lower humidity means that the air is clearer and we see the colours produced by the setting sun in all their intensity.
 
Finally, as we approach the winter solstice, the North Pole gets tilted further away from the sun, lengthening the time taken for the sun to set. This, in turn, means that the sunset colours last longer than at the equinoxes, for example, when the sun sinks very quickly towards the horizon at a 90-degree angle. The result is that we have more time to enjoy the sunset colours and the sunset colours have more time to make an impact on us.

​Despite all of these variables, predicting sunsets doesn’t have to be hard. All you need to do is keep an eye out for the following key indicators:
 
Mid to high-level clouds (2km and above)
Cloud coverage - 30 to 70 percent
Humidity - low but not too low
Clean air
Prior rainfall - no less than 2 to 6 hours before
Wind speed - low or non-existent
 
There are many online forecasts for these weather conditions and the one I refer to most is windy.com. So why don’t you have a go at predicting a sunset and head west at what you think might be a good time. You never know, you may be well rewarded for your efforts!

Most people know that the Sun rises in the east and sets in the west, but they may not realise that this is quite a generalisation. In fact, the Sun only rises due east and only sets due west on two days of the year; the days of the Spring Equinox and the Autumnal Equinox which, for 2021, are March 20 and September 22. To illustrate this, Figures 1 and 2 show the location of the rising and setting sun at the Spring Equinox and Autumnal Equinox, respectively.

​Once it has risen due east and set due west at the Autumnal Equinox (Figure 2), the Sun rises and sets a tiny bit further south each day until the Winter Solstice, the day on which it rises as far to the southeast as it ever does and sets as far to the southwest as it ever does (See Figure 4). It then changes direction and begins moving north each day, eventually rising due east and setting due west on the Spring Equinox (Figure 1) before continuing northwards until the Summer Solstice, when it rises as far to the northeast as it ever does and sets as far to the northwest as it ever does (Figure 3).

​Once it has risen due east and set due west at the Autumnal Equinox (Figure 2), the Sun rises and sets a tiny bit further south each day until the Winter Solstice, the day on which it rises as far to the southeast as it ever does and sets as far to the southwest as it ever does (See Figure 4). It then changes direction and begins moving north each day, eventually rising due east and setting due west on the Spring Equinox (Figure 1) before continuing northwards until the Summer Solstice, when it rises as far to the northeast as it ever does and sets as far to the northwest as it ever does (Figure 3).

​Image 1, at the top of this blog, was taken at Resipole during sunset on the day after the Autumnal Equinox of 2019, with the camera facing southwest down Loch Sunart towards the Isle of Carna and the hills of Morvern.  If you look closely, you can see a patch of intense colour behind the wooded hillside on the right-hand side of the image. This was the spot where the sun was setting due west and for me, such a sight is one of the most welcome of the year because it marks the return of spectacular sunsets to this part of the Loch.

​With the passing of the autumn months and the movement of the setting sun towards the south, these sunsets become more and more intense. They are something that I’ll never tire of photographing even though I have taken countless photos of them from this spot. I can honestly say that I’ve never seen the same mix of colours twice. Each sunset is different because of the varying position of the sun and the infinite range of possible cloud formations that reflect the light from the sun and produce the kaleidoscope of colours.
 
The Autumnal Equinox also paves the way for increased chances to see aurora borealis displays. According to NASA, the equinoxes are prime time for Northern Lights, because the geomagnetic activity that causes them is more likely to take place in the spring and autumn than in the summer or winter. In addition, we tend to have more clear nights in spring and autumn so this, combined with more geomagnetic activity, may be the reason why I tend to have captured most of my Northern Light images in September/October and March/April. 

Image 2 above was taken 4 days after the Autumnal Equinox of 2019, when I had a client out with me for some night photography tuition. We had spent the first part of the night preparing for and taking photographs of the Milky Way rising above Loch Sunart and while we were doing this a very high Aurora Alert came through on my phone. We quickly packed up our camera gear and headed up to Acharacle and set it up again on the jetty there is on Loch Shiel. It is a perfect spot to look for and photograph the Aurora Borealis because it faces directly towards northern horizon that has only a few distant and low-lying hills on it, meaning that the view north is clear of any obstructions. We had a very productive time there and also at another couple of locations nearby and came away with some great shots of the “Merry Dancers”.
​
Finally, although the equinox referred to as a day by many people, it is actually the exact moment in time when the tilt of the Earth’s axis and Earth’s orbit around the sun combine in such a way that the axis is inclined neither away from nor toward the sun. For 2021, the Autumnal Equinox will be at 8:21 pm on Wednesday 22 September and the Spring Equinox was at 9:37 am on Saturday 20 March.

As my fourth Spring of living here on the Peninsulas comes to an end and we move towards Summer, I find myself reflecting on a sight that never ceases to mesmerise me during April and May. It is the sight of delicate Bluebells creating intense blankets of colour in the woodlands, on the hillsides and along the verges throughout the length and breadth of the peninsulas. However, things might not be as they seem. Are these really bluebells that I am seeing in this incredible wildflower spectacle?

There are many legends and much folklore associated with both the English Bluebell (Hyacinth) and the Scottish Bluebell (Harebell). Over the years, both have been referred to as the same thing, so it is often difficult to decide what tales apply to which flower. 
​
However, it would appear that many of the English Bluebell tales involve dark fairy magic with bluebell woods being portrayed as scary, forbidding places that should be avoided. They say that if you do enter, you should never pick or step on a bluebell. This is because the faeries hang their spells on the bluebell flowers and if you break their spells, they get extremely upset and seek you out. It is believed that once visited by an upset faerie, you will be led astray and find yourself wandering lost in the woods for evermore.

Legend and folklore say that you need to be equally careful with the Scottish Bluebell as its alternative name, Harebell, has its roots in magic. As well as being called the Harebell, the Scottish Bluebell is also referred to as Witch's Thimbles, Witch Bells, Fairies’ Thimbles, Dead Man’s Bells, Aul’ Man's Bells, the Devil’s Bells, and Milk-ort to name but a few. 

Some would argue that Harebell was the name given to the flower because witches would turn themselves into hares and hide among them. This may also be the reason why the names Witch's Thimbles and Witch Bells were used.

Fairies' Thimbles was given to it because it was widely thought that fairies live among the flowers, while Dead Man's Bells arose from the belief that fairies cast lethal spells on those who would dare to trample on or pick the delicate blooms. 

“Aul’ Man” is an old Scottish nickname for the Devil himself and was used as a way of naming the Devil without invoking him by speaking his name.  So Aul’ Man's Bells and the Devil’s Bells were used as some thought that if the flowers were disturbed, they would ring and this would attract evil spirits, including the Devil himself.

Finally, Milk-ort (meaning "milk herb), was sometimes used because Harebells (Scottish Bluebells) produce a white milky sap which was thought to be an element in the hallucinogenic “flying ointments” used by some witches. 

So there you have it. Hyacinths or Harebells? English Bluebells and Scottish Bluebells? What’s in a name?
​
I’m left thinking it doesn’t really matter because, as the wonderful carpets of English Bluebells in our damp and shady woodlands begin to fade, I’m looking forward to a second coming of blue as the Scottish Bluebells emerge from the dry, grassy places that fringe our sandy beaches.

If lockdown allows, I’ll venture to these beaches out to the west of me to capture their delicate papery flowers nodding in the sea breeze, all the while taking care not to summon the faeries, the witches or indeed the Aul’ Man himself.

What’s in a Name?

​If you take a walk through Ariundle Oakwood, you’ll see a woodland floor covered with hundreds of moss-covered boulders which, with a little bit of imagination, could be mistaken for mounds that are home to the mythological sídhe, a supernatural race comparable to the faeries or elves. Indeed, the nearby village of Strontian got its name because of the faeries. In Scottish Gaelic, it is called Sròn an t-Sìthein, which translates as the ‘nose of the fairy hill’ and means a knoll or low round hill inhabited by the sídhe. ​