Workflow – Step 3 – EXIF information

Capture06Once the scanning process has delivered a 200+Mb file, it’s time to implant EXIF information. If it’s done now, before importing into LR or PS etc, it will be there forever (so to speak) and continue on in any of the forms of output.

I have found ExifTool with ExifToolGUI as the best way forward with this task. I can save a few version of a Workspace which declares certain repetitive EXIF properties and assign these default properties with one click. Then it’s only a matter of setting the Dates, FNumber, ExposureTime and saving the file. I source the latter from my film logs.

I have a Workspace version for each of my two lenses and as time goes on, I may have additional files. When I do a batch scanning of my Minolta slides, I can have a workspace for this setup.

See Workflow – Step 4 – Post Process

Workflow – Step 2 – Scanning my 4×5″ film

The scanning process has been the most frustrating aspect of my workflow. It’s not just a matter of buying a scanner and clicking the scan button. The permutations surrounding the available scanner controls is already enormous. The variety of opinions found on the internet as to what settings to use and the sequence of workflow is overwhelming.

I couldn’t find a second hand or refurbished scanner, certainly not in a price range that suggested a saving over a brand new one, so I have purchased a new Epson Perfection V800 scanner. I did this before I spend any money on outsourcing any scanning and I’m hoping that I will never need to pay for a drum scan for the workflow I want to concentrate on. I see myself only ever wanting to print 20×30″ prints from scans of my 4×5″ negatives/transparencies.

The film holders for the scanner have four height adjusters. I’ve tried the minimum, maximum and central position. I cannot tell any difference. Someone has said the scanner actually has focus adjustment, some have said the scanner has autofocus. Page 16 of this paper at Luminous Landscape has argued for different heights for different media. Again, I cannot tell any difference at all.

The scanner came with Epson Scan software as well as SilverFast 8.0 SE. So that was the first choice. I tested and tested and tested some more, based on all the youtube videos I could find. I’ve concluded that Silverfast is my choice. The settings for the software are documented here. Capture01Firstly, I choose Transparency (some people even use Reflective for their negatives – I can’t see the reasoning).  Then I choose Negative which provides the NegaFix dialog – see below. I select 48-24bit colour even though I am using B&W negatives, why? Well, if I were going only as far as the scan output, I would choose 16-8bit B&W, but since my workflow continues into Lightroom, I am convinced by others that it’s best to start the next step with as much information in the scan as possible. So I select colour output. I can select ‘Slide 4×5″ Holder for Frame but someone has commented that the standard frame includes areas outside the negative exposure and this effects the scan exposure. So it’s probably better to use Custom frame and make sure the red frame line is actually fully on the negative. This results in input dimensions for the frame at about 4.63 x 3.59″. We can’t expose the full 4×5″ film negative since some of it is hidden behind the film holder guides.

Capture02

I spent a lot of time on the Scan dimensions. Bottom line: TIFF is lossless compression so if you continue on into LR or PS etc, you need to continue with all the scan information and not a subset of it like JPG. There is strong debate over whether the scanner can really deliver 6400. It actually allows selection of 12800ppi. But 6400ppi creates a file size of approx 1Gb. This might be good but it really slows down Lightroom during development. Finally, there is no need to scan at anything higher than 2400ppi since I wish only to print to 20×30″ and this is more than enough information to produce a downsized final export for my printer service. The filesize at 2400ppi is under 300Mb and this is reasonably fast to work with for spot removal etc.

IndexTabI have a naming convention for my exports which corresponds with my film logs. I use the very handy little film holder index tabs which imprint the negative to ensure I match the negative with my logs.

See Step 3- Setting EXIF information

Capture03Next, I leave the Densitometer in default, it’s only there to inspect the prescan, and doesn’t make any scan modifications. It’s possible to make inspections and modify the Picture settings prior to scanning but so too, with the Picture Settings, I will take the scan into Lightroom and not use any adjustments here.

I set the Negafix to my film type and ISO. I do see a lot of benefit in using the Automatic Orange mask Expansion. I notice a definite improvement in sharpness without loss of definintion. I also leave Color Cast Removal ticked. But I do not adjust Exposure or Tolerance here.

Capture05The Unsharp Masking also delivers good results. I have seen improvement but sometimes increasing the level from the default. But I certainly include this process in the scan by having the dialog open.

 

 

Capture04Finally, the histogram dialog. I include this in my dialogs but I have not had reason to use it yet. If the histogram showed any large areas being outside the range I would probably drag the left/right selectors back in towards the edges of the graph.

The use of iSRD (Dust Removal) in Silverfast is useless on B&W negatives, so don’t go there. I’m a bit puzzled why the software removes iSRD as an option if you already select B&W negative. But upon further reading I see people using so many alternative methods of scanning negatives and prints that it’s possible someone wants to scan a colour negative/transparency as if it’s B&W, in which case iSRD might work.

 

 

See Workflow – Step 3 – Exif Information

Workflow – Step 1 – Camera, Equipment and Development

My Cameras

ShenHao02Most of the recent photos on this site have been taken with my Nikon D700, I now use a FujiFilm X-Pro2. Earlier photos are scanned from a Minolta XGM, Leica Minilux, Nikon F4 and Nikon F5. My most recent adventure in large format is taking place with a Shen Hao 4×5″ camera pictured.

I have a Fujinon f5.6/180mm, a Fujinon f5.6 90mm and a Fujinon f5.6/65mm lens. I’m not sure how the 65mm lens will go but I’m going to make my photography suit it’s capability with regard to field of view and focus.

Update: I have now installed a fresnel screen ‘correctly’ into the camera. Instead of being on the ‘eye’ side of the ground glass (GG), it is on the lens side of the GG. There is a small recess in the camera back allowing a fresnel to sit whilst not lifting the GG out of it’s focus plane. I’ve had to shave off the fresnel slightly to sit inside this lip but the difference in brightness of the screen is really impressive. The fresnel is installed ribs to the eye to create a collimator as per FresnelTech data.

I use the word ‘correctly’ loosely. It’s debatable.

The paper from Fresneltech, above, describes Positive/Collector, Positive/Collimator and Negative/Diverger
I know my fresnel is positive because I can see it under my loupe. I can’t actually believe that someone would use a negative fresnel in any of the positions I mention below so I assume negative fresnels aren’t supplied to LF cameras at all. By all means demonstrate an error in my thinking here.

I don’t know if the Maxwell fresnel is positive or negative but Alan Brock’s video shows dramatic fall off when you are not viewing in the sweet spot. He also documents that the ribs are placed pointing to the lens. This suggests to me that the Maxwell is positive and being used as a collector. Alan also comments that the focusing task with the Shen Hao fresnel is hampered by the ribs. I can testify that when the ribs are against the GG, their tops are more in focus and therefore more visible. If the ribs point to the lens, the ribs are not as visible during focus but the brightness almost ‘switches off’ as you move your eye from centre spot. This also goes to confirm in my tests that if you prefer less of this immediate switch-off, and you can tolerate the ribs being more visible to the focus task, then you place the ribs pointing to the eye. If you wish to remove the hard rib lines from the focus task (they are softer when pointing to the lens side), and you don’t mind the light switching off a lot when you eye moves from the centre, you can place the fresnel with ribs to the lens.

Either way, in my tests, as long as the GG is constantly in the same place, focusing still takes place on the GG and focus does not change with or without fresnel in place.

CaptureFresnelI think for people who don’t understand I am enclosing a photo of my Shen Hao back showing the ledge for the GG and the fresnel on its own ledge under the GG.

You can also place the fresnel on the eye side of the GG. It makes a difference in (improves) brightness but no where near as much an improvement as it does on the lens side of the GG. And, if the fresnel is on the eye side of the GG, you can probably, on some cameras, more easily remove and replace it. But not on my camera. It’s the same screws.

This probably all explains why some camera manufacturers place it on top, some below, some ribs in, some ribs out. All the positions have some merit and some trade-off. You choose what’s best for your taste. I can at least say that I now understand the trade-offs and can choose which way I prefer.

For the moment, I’m leaving it lens side, ribs pointing to the eye. Maybe I’ll report back sometime if I decide to change that setup and the reasons why.

Calumet04
Calumet Roll Film Holder

I have a Calumet roll film holder back for this camera so I can shoot medium format 6×7 as both a test vehicle and as might be required for using the 65mm lens.

Update: Well the roll holder has a light leak on the hinge side so I have to try some tape inside the trap and over the hinge to see if it can be fixed this way. Seems the original has felt in some of the light trap which is missing in my eBay purchase. I can fix this but other things have taken over. See below.

Fujinon180mm
Fujinon f5.6 180mm

Fujinon65mm01
Fujinon f5.6 65mm
Fujinon90mm01

Fujinon f5.6 90mm

My Darkroom

I’m going to process B&W film myself using the Stand Method (see below) and so I have a Photoflex Change Room (tent) a Paterson Multi Reel 3 tank and an Ilford-Paterson MOD54 for my 4×5″ sheet.

pfcr pat335 Ilfordmod54-02

Update:  Well I’m happy with all this gear. The change tent is fine – just big enough for 4×5″ equipment. I can confirm that if you were thinking of 8×10″ gear, you’d need a larger tent. The tank is perfect to do roll film as well as the MOD54. I made my first processing and was left with tooth marks on 3 negatives which meant they weren’t developed. I was sure I loaded the film correctly but two more loadings and I am sure now that I must have loaded the film emulsion side out instead of emulation side in. The next two processes worked fine. See below.

My Development Procedure (B&W)

EliteHolders03

I’ve read up on all the Stand Development techniques suggested by numerous people on the web and I’ve boiled it down the following process which I’ll try to maintain as consistently as possible.

For 4×5″ sheets, I use the Lisco Elite Mark II holders (pictured). These Mark II units have the little safety button to prevent you pulling the dark slide out unless it’s held in by either the camera body or your finger. Hopefully this saves me from losing some film by mistake.

Stand Development – Rodinal + Ilford Rapid Fixer
Assumes film is loaded in the tank – All temps 20°C unless otherwise noted

Update: Well, I can’t be more impressed with this procedure. Not only does it answer my desire to be expedient but it delivers something I was not expecting. The dynamic range of exposure provided by this method is quite surprising. It’s almost as if you could just guess the exposure setting (aperture and shutter speed) and let the development process do the rest. I’ll never go back to the old method of development. I see no need to consider the zone method or the ‘beyond-the-zone-method’ of exposure and development. At least with HP5Plus 400 film, things are looking all very good.

First Preparation

  • Prepare esky/cooler bath to below the height of 120 reel (in my case 6cm) or 4×5″ film rack (in my case 11.5cm) and include the tank in the cooling process. At this point only the film is in the tank after being loaded in the change room.
  • Prepare filtered prewash water, 500ml or 1000ml to 18°C.
  • Pre-soak the film for 4 minutes and leave tank in the bath while it’s soaking
  • Mix the Rodinal Developer: 4ml per 500ml in distilled water – to cover 4×5″ film 1050ml

Develop

  • Empty the tank of pre-wash and fill it with developer solution
  • 8ml+1000ml of R09 (slightly less concentrated), I shall invert, very gently at the start and every 2 minutes for the first 16 minutes (8 inversions), then again at 30 minutes, and let stand for a complete 2 hours. It’s important to invert at 30 minutes so the bottom half of the developer does not remain so stale as to make the bottom half of the negative darker than the top half.
  • Place in esky/cooler bath for 2 hours.
  • See below for a full history of how this method has evolved.

Second Preparation

  • Mix 1000ml of fixer at 1+4 at tap water temp – filtered water.

After 2 hours

  • Pour out the developer.
  • Fill the tank with tap water, agitate 5 times (roll over end for end slowly), pour out the water, fill again, and agitate 10 times (roll over end for end slowly). Fill one last time and agitate 20 times (roll over end for end slowly), and then empty.
  • Fix for 4 minutes – agitate (roll over end for end slowly) every minute.
  • Empty Fixer solution into water bottle for re-use.

Wash

  • Fill the tank with tap water, agitate 5 times, and empty it. Then, fill it again and agitate 10 times, then empty it again. Refill and agitate 20 times, then empty again.
  • Fill the tank with the water and a squirt of washing up liquid made earlier. Agitate 40 times and empty the tank. Unscrew the top of your tank, take the negatives off your reel, and “squeegee” by putting the film in between your two fingers, and pulling them down to removing the bubbles. Afterwards, simply hang the negatives to dry with a weight on the bottom so they don’t go curly.
  • Once dry, do whatever you please with them.

Development Summary

  1. Pre-wash – 4 minutes
  2. Develop – 30 secs of gentle inversions followed by 1 x gentle inversion every 2 minutes for 16 minutes (8 inversions), then one gentle inversion at 30 minutes, 1 hour, 1.5 hours and let stand for total 2 hours.
  3. Wash – Inversions – 5, 10, 20
  4. Fix – 4 minutes, 5 inversions each minute
  5. Post-Wash – 5, 10, 20 (with detergent)
  6. Squeegy and hang to dry

Materials

  • Funnel, 500ml water bottle for Fixer
  • Syringes for 5ml measures
  • Measuring jug
  • Plastic Mixer Spoon for mixing

Scanning/Printing Colour

I’m still investigating scanning for B&W. I can either buy a scanner or have some scanned by a service to about 20Mb which would suffice as both a test scan and website publication.

Update: See Workflow – Step 2 – Scanning

At the time of writing this, the costs for printing was like this, based on VisionImageLab Pricelist:
For 4×5 film:

  • Develop 4×5 E6 transparency: $8:05 ea
  • Print from developed film using Durst Epsilon Printer at 30 x 40in (max for 4×5): $155.40
  • Scanned image of same for sale at $42. If you want the scan. If not, you can have a re-print within 2 months at $123.90

For 220 film:

  • Develop 220 roll E6 transparency: $18.50
  • Print from developed film using Durst Epsilon Printer at 16 x 20in (max for 6×7): $60.90
  • Scanned image of same for sale at $42. If you want the scan. If not, you can have a re-print within 2 months at $42.00

After 2 months – buy the scan on disk as above or lose it.

The Stand Development Puzzle

Standard recommendations for the stand development process have proven unreliable for a lot of people. Forum messages are plentiful on Flickr, Photo.net and LargeFormat Photography about the results of the method and how negatives are tainted with drag marks and uneven development. I’d like to show my progress in removing these issues.

Image 318
Outcome of Popular Stand Development Process – note right hand (top) edge of scan

Image 347
Outcome of modified Stand Development Process

The raw scans shown here are examples of the popular Stand Development Process and the modified Process I shall describe below. The final published version of these shots can be seen here: Trenerry Reserve which required a graduated filter on the right hand side and here: Skate Park which required no such graduated filter.

The popular process typically involves a solution of 1:100 of your favourite developer. The developer is placed into the tank and the tank receives a minimal amount of agitation (inversions), tapping, to the remove air bubbles and then just letting the tank stand for 1 hour.

For 35mm film and 120 film, the outcome is often declared acceptable. But some just ignore the issue and leave it for others to solve or tolerate. The relative ease of the process, the economical use of developer concentrate and the surprisingly robust (dynamic range) negative appears to be satisfying. Perhaps more people than we know move away from the method but we never hear about that.

But the shortcomings frequently cited, include ‘drag marks’ from the film sprocket holes and or over-developed edges to the negative as seen in the first raw scan here.

Some operators have recommended better temperature control to avoid convection currents within the tank, some argue about bromide ions, some recommend longer stand times with lower concentrations and yet others recommend semi-stand methods which include greater levels of agitation.

My experience was similar but my research continued because I’m just plain tenacious. Another article caused some further re-thinking.

Tank Currents

The temperature control and convection current arguments centred around my, now mistaken, assumption that higher temperatures generated by the development process (reaction) caused a current which logic would suggest was an upward current in the tank. This, however, contradicts drag marks which appear to be going downwards on the film or away from the sprocket holes.

So I had the idea that I would sacrifice a piece of film by placing it in a transparent measuring jug with the measured solution of developer and watch what happens (with no agitation at all). What was immediately interesting was the appearance, after only a relatively short time, of brown stained developer, moving down the emulsion side of the film and settling on the bottom of the jug. On the bottom of the jug was a thin but rather dark layer of this brown stain.

As a consequence of this movement, at the top of the jug, was a very definite layer of very clear developer about 1cm high. This all occurred within 30 minutes of the starting the process. After an hour, however, the development solution was quite homogeneous again and light brown throughout. In other words, after an hour the current downward had continued until all areas of the solution were equally ‘contaminated’ with emulsion residue.

My conclusion from this observation was that the development reaction was taking place on the vertical face of the film, causing a denser liquid to fall to the bottom of the jug. This movement subsequently caused displacement of the fresh, un-exhausted solution to rise to the top of the tank and replace the 1cm against the film with clear. developer. This was the cause of the film in the tank to be over-developed (darker negative, lighter positive) along this top edge.

Possible Solutions

The possible solutions were narrowed by the unavoidable need to agitate, as gently as possible, during at least the first 30 minutes to avoid this congregation of fresh developer against the top edge of the film. But increased agitation risked going against the accepted logical relationship between agitation and over-development.

Return to AddictedLight’s article of semi stand development.

Instead of 1 hour stand time, Addicted Light used a much weaker solution and a 2hour stand time. But he recommend agitation during first 30 seconds and again at 60 minutes. This obviously would not avoid the convection effect described above.

So I decided to try the weaker solution, and the longer stand time to counterbalance the weaker solution, but to see just how much agitation I could introduce without over-developing the entire negative. I had to start somewhere, but watching my measuring jug test, I got the gut feeling that as a basic requirement, it would need to be gentle inversions for at least the first 15 minutes.

The second raw scan above is the result of this process. In fact the entire batch of 6 pieces of film in the Paterson Super System 4 Tank + MOD54 has delivered the exact same outcome. Significantly improved evenness of negative density.

So for anyone wanting to give this method another go or for those who haven’t yet tried it but are still deciding, I recommend you at least try this method and see for yourself. I’m sold and all future processing will be done with this method.

The gentle inversions I use, can be described as one slow and gentle turn-over of the tank with a slight side roll. The a couple of taps and the tank is returned to the temperature bath.

Nepal to China

After my trekking spirit is all depleted and out of my system and a visit to Chitwan or Bardia is complete, it’s time to move onto China via Tibet.

To Llasa

I’m looking forward to the T28 train to Xi An.

Chitwan, Bardia & Lumbini

There are several national parks in southern and western Nepal. Chitwan is the most famous. Bardia is much harder to get to but may be attractive since far fewer tourists take advantage of it and it apparently has much better wildlife populations. Lumbini is the official birthplace of Buddha.

Chitwan National Park, Lumbini and Bardia National Park

After some R&R in Pokhara, a visit to Chitwan and/or Bardia may be nice. A return to Kathmandu would be needed if an exit to Tibet from Nepal is planned.

TitleDescriptionLink

Chitwan National Park

A 4-6 hour bus trip from Pokhara – Greenline US$17-20 to Sauhara is probably why Chitwan is popular.

Sounds like accommodation at Chitwan Gaida Lodge would be a good choice. Refer to The Longest Way Home guides for more information.

Ox cart tours, private elephant trek (1.5hours) & 3 day jeep jungle package.

The direct return is 5 hour by bus to Kathmandu.

Bardia National Park

Alternatively, a trip to Bardia National Park if the 12 hour bus trip is tempting. This may include a tourist bus from Pokhara to Bhairhawa (7-8 hours) and change to Ambassa (7 hours). 2 hours longer but one half is on a better bus and you get a break halfway. You get off at the gate at Ambassa and hopefully get picked up by your accommodation. It’s another 13km to the accommodation areas near Bardia. The Forest Hideaway Hotel and Cottages sounds like a good bet for a stay.

Lumbini

The official birthplace of Buddha. It’s not far (30 minutes) from Bhairahawa, but Bhairahawa is at least 7-8 hours from Pokhara. It could be a good way to break the journey from Pokhara to Bardia which would be a 12-14 hour bus in one hit via Butwal.

Lumbini is nearly 8sq km of gardens and temples. Not sure if that is too much temple for me.

Upper Mustang

The people of Upper Mustang are mainly Tibetan. The area was heavily restricted until 1992. You need a permit and a guide to enter.

Plan – to be updated

Trek Masterplan

This trek is in a restricted area but is much easier to access now than it was 30 years ago. It starts for me in Kagbeni – Altitude: 2,800m/9,186ft. I intend to join the trekking party here rather than start it with the main group in Kathmandu. The group or at least one person must be accompanied by a guide.

Day 01:
Trek to Chele
Altitude: 3,050m/10,006ft.
Day 07:
Trek to Ghiling
Altitude: 3806m/12,484ft.
Day 02:
Trek to Geling
Altitude: 3,440m/11,286ft.
Day 08:
Trek to Chele
Altitude: 3050m/10,004ft. Time Travel: 5 to 6 hours Walk
Day 03:
Trek to Charang
Altitude: 3,490m/11,450ft.
Day 09:
Trek to Jomson
Altitude: 2700/8,856ft. Time Travel: 6 to 7 hours Walk
Day 04:
Trek to Lo-Manthang
Altitude: 3,730m/12,237ft.
Continue on the Around Annapurna Trek to Birethani

Day 05:
Explore Lo-Manthang
Day 06:
Trek to Ghar Gumpa. Time Travel: 4 to 5 hours Walk

The map below is interactive.  Manang, Thorung High Camp, Kagbeni, Lo-Manthang, Poon Hill and Birethani are clearly marked. Links on the maps take you to other posts relevant to the this or other treks.

TitleDescriptionLink
From here, it’s back to Pokhara via Jomson and Poon Hill

Around Annapurna Highlights

Curiosity

This trek has been the mainstay attraction for trekkers to Nepal for many years. But road development has seen the trek shortened and high volumes of trekkers has seen the accommodation standard improve considerably. There’s still good reason to enjoy this trek though.

Some observations from being twice around the Annapurna Circuit 15 years apart

Trek Masterplan

A masterplan for trekking in Nepal is posted here.

Reference Photos:

In this post: Syange, The Cut, Lake Tilicho, Manang, Thorung Phedi, Muktinath

In 1984, the Around Annapurna Trek started at Dumre. You got off the bus from Kathmandu, crossed the footbridge and started walking straight away. By 2000, the bridge at Dumre had been completed and buses drove straight through to Besisahar. This shortened the trek by some 4 days. Some people were silly enough to fly into Pisang and avoid the natural aclimatisation process you go through as you trek up the valley.

By 2000, the Gangapurna glacier had retreated significantly. I recall quite clearly that in 1984, the glacier finished very close to Manang, almost where the lake is now in the photo shown here.

Of course the glacier at Thorung Las has also retreated. In 1984, we trekked across the glacier. In 2000, we trekked down into and up out of the glacial trough.

The Paungda Danda rock face (Oble Dome) at the eastern end of the Pisang valley is an example of a glacial cirque. There was obviously a glacier residing in the part of the valley as well a long time ago.

Gangapurna from Manang


Syange

I’d like to re-visit Syange and take a third shot int his series below. The first shot was taken in 1984 and the second in 2000. The bridge has been replaced with a nice steel walkway. Some building has taken place and I think a road now passes by the village. This was the site of a bad egg for dinner in 1984. I departed the next morning feeling quite ill. I lost a lot of weight over the following week.

Syange 2000

Syange 1984


In both 1984 and 2000, for different reasons, I ended up flying back to Pokhara from Jomson. In 1984, the general opinion of this leg of the trek was that the tea houses and food were luxurious by comparison to the Manang side. I’m sure they were even better in 2000. But now, a trafficable road has been completed all the way to Jomson. This makes trekking less than completely pleasant unless you are walking away from the traffic. The second half of the trek this side, via Poon Hill is still walkers only. And the view from Poon Hill of the Annapurna range is quite spectacular at dawn. When you fly from Jomson, leaving on the first flight in the morning, the plane flies directly over Poon Hill and you can almost reach out and slap hands with the trekkers as you fly past them on Poon Hill.

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See also the Around Manaslu trek and map

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The Cut

The Cut Construction - 1984

Shortcut - 2000

Just before Paugnda Danda rock face (or Oble Dome), there is a cut in the rock face which saves a very long walk across the river and back. In 1984 it was being constructed. In 2000, this cut shortened the walk by more than an hour.

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Lake Tilicho

Lake Tilicho Panorama

A side trip which was not possible in 1984 because the area was restricted to mountain climbing permits, was a visit to Lake Tilicho. In 2000, this trip was available to anyone wishing to make the detour. Lake Tilicho is the highest lake on the planet and at 4,919m, it compares with Larkya La (Around Manaslu) at 5,135m and Thurong La at 5,416m.

The trek divides into a high route with spectacular views and the low route which is easier in one respect but requires navigation across a pretty scary scree slope. You can make out the walking track through the scree. With each footstep, you would send a stream of small pebbles down the slope below you. The river below was several hundred metres away.

Tilicho Scree

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Manang

Leaving Manang

Leaving Manang

In 1984, winter had started early in September. Manang was bitterly cold. In 2000, the walk up the valley was very pleasant. The photos above are both looking east down the valley toward Paugnda Danda and it is possible to see Himalchulli in the far distance.

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Thorung Phedi

Base Camp

Top Camp

In 1984, there was no high camp, only a small building at Thorung Phedi. Many people just jammed themselves into this building sleeping side to side, head to toe before a very early morning start. You can now finish the day by trekking to the high camp. It’s a tough walk at the end of the day but makes the next day that much easier. Today you also have a tea house at Thorung La. This was not there in 2000.

The sky is a very dark blue when you walk over the pass. In 1984 I found the breathing very laboured. Walking in Dunlop Volley sandshoes through the snow was a case of always treading into the footsteps made before me. One porter suffered frostbite to his fingers and probably lost them. There was no snow in 2000.

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Muktinath

Another comparison is the descent into Muktinath from Thorung La. I manufactured a shot in 2000 similar to the one in 1984. There has been substantial erosion on the valley floor in the intervening period but more local rains in the immediate period has resulted in more trees on the plateaus.

Descent to Muktinath - 2000

Descent to Muktinath - 1984

From here, it’s on the Kagbeni and Upper Mustang

Around Manaslu

The new Around Annapurna Trek. The restrictions have been lifted slightly but this trek still offers conditions similar to those found on the Around Annapurna trek of some 25 years ago.

Plan – to be updated

Trek Masterplan

This trek is in a restricted area but is much easier to access now than it was 30 years ago. It starts in Arughat – Altitude: 550m/1,804ft.

Day 01:
Trek to Liding
Altitude: 860m/2820ft. Time Travel: 5 to 6 hrs Walk
Day 07:
Trek to Samagaon
Altitude: 3,450m/11316ft. Time Travel: 5 to 6 hours Walk
Day 02:
Trek to Khorlabesi
Altitude: 970m/3181ft. Time Travel: 5 to 6 hrs Walk
Day 08:
Acclimatization day at Samagaon
Day 03:
Trek to Salleri
Altitude: 1,360m/4460ft. Time Travel: 5 to 6 hrs Walk
Day 09:
Trek to Samdo
Altitude: 3,860m/12660ft. Time Travel: 3 to 4 hours Walk
Day 04:
Trek to Deng
Altitude: 1,860m/6100ft. Time Travel: 6 to 7 hours Walk
Day 10:
Trek to Larkya Phedi
Altitude: 4,460m/14628ft Time Travel: 3 to 4 hours Walk
Day 05:
Trek to Ghap
Altitude: 2,380m/7806ft. Time Travel: 3 to 4 hours Walk
Day 11:
Cross the Larkya La , trek to Bimthang
Altitude: 5,135m/19842ft. to 3,590m/11811ft. Time Travel: 7 to 8 hours Walk
Day 06:
Trek to Lho
Altitude: 3,180m/10430ft. Time Travel: 4 to 5 hours Walk
Day 12:
Trek to Tilije
Stay overnight before the detour to Syange

The map below is interactive and Arughat, Samdo, Samagoan and Syange are clearly marked. Links on the maps take you to other posts relevant to the this or other treks.

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From here, it’s a backtrack to Syange and on to Manang

Nagarkot & Bhaktapur Visit

Bhaktapur is an ancient city in the Kathmandu valley about 16km from the capital. The Newar people were the original inhabitants of the valley and Bhaktapur was their capital, or one of them. The calendar of the Newar people is something special. The year of origin is 56 years prior to the Gregorian Calendar, but there is another calendar which places their origin some 2,000 years before that. I shall research this some more. The locals are rightly very proud of the history and architecture. Nagarkot is a small hill top village a little further out in the same direction. It’s a popular spot for a day or overnight visit. If you’re lucky you get early morning views of Mt Everest.

Bhaktapur

Quake-hit Bhaktapur

I’ve been to Bhaktapur a couple of times. I recall that the people who live there have a unique calendar which places their believed origins well before the egyptians. The multi-storey buildings in the old city have doorways which have very low heads and floor to floor heights which betray the size of the inhabitants during construction. The recent earthquakes (2015) would no doubt have caused significant damage.

But I haven’t been to Nagarkot. It will be a pleasant diversion while I wait for trekking permits. I’ll make a 2 day visit to Nagarkot followed by a visit to Bhaktapur on the way back to Kathmandu.

Drying Grain

Swing

Country House

In 1984, the trip to Bhaktapur was easy on a bicycle. It was like riding along country roads. I remember stopping several times along the way to look at pottery and children playing on swings. In 2000, I wouldn’t have dreamt of it. The traffic was far too dangerous.

Nagarkot

The bus to Nagarkot is supposed to get out there before the accommodation runs out. Some people make it a one day trip but I think an overnight stop is more relaxing.

Nagarkot is only 32 kilometres away from Kathmandu with regular buses. If the weather is good, there are views of Everest in the early morning.

It’s also quite possible to trek back to Bhaktapur in the morning before a bus trip back to the Kathmandu.

 

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South East Asia

It would be nice to retrace my steps of a trip in 1984 which started in Bali. I spent 2 months in Indonesia, then Singapore, Malaysia, Thailand, Burma, India and Nepal for a total of about 7 months.

Retrace My Steps from 1984

Some of the main stops along the way out of Australia are shown below. Bascially, a flight to Denpasar followed by a bus to Singaraja got me out of the main tourist areas straight away.
A ferry to Java and bus to Mount Bromo and Yogyakarta was the main stops on the main island.

Move the map down to see points of interest in Nepal.

The ferry to Padang from Jakarta and the boat trip from Pekanbaru to Batam were quite memorable. I stopped on the cost at Padang and experienced an earthquake there before moving on to Bukittinggi. The bus to Lake Toba was almost unbearable but the stay on Lake Toba was very pleasant. Residents of Lake Toba are christians guarded by a ‘mote’.

The boat trip from Pekenbaru to Batam and Singapore was a major highlight. The people on the boat were really nice, the food stops were great and the scenery was spectacular. The let down was arriving in Singapore and being met by really officious customs officials.

Singapore offered a nice respite with good food. Thailand was very easy to travel around. A river boat trip from Thaton to Mae Sai was another highlight.

A short trip to Myanmar (Burma) to see Inle Lake and Bagan (I was sure it used to be Pagan). and then on to Nepal via Calcutta. Darjeeling is a nice stop on the way to Kathmandu.

The trekking posts provide some highlights of the trip through Nepal.