Tuesday, January 16, 2018
I'm feeding on scraps this afternoon, there is so little good light available. In fact, by the time I arrive at the beach it has started to rain. I do get a sliver or two of sunlight, but by and large it's of little use.
It isn't until I begin to pack up my gear that I glance towards the local pier and think: hmmm... monochrome! I take two frames, both near identical, and head for home.
Some judicial burning-in of the image, plus some added grain to accentuate the grittiness of a winter's afternoon, and the job's done. I even blue toned it for good measure.
12-24mm f/4 AF-S Nikkor. 1/50 second at f/6.3. Matrix metering. - 0.33 EV compensation. ISO 400
Monday, January 15, 2018
I nearly didn't bother with today, but the concrete skies of the past week gave way to some stunning late afternoon light, and I wasn't going to let it all go to waste.
The rainbow appeared minutes after I arrived on my local pier, and it is always gratifying to get something in the can early on. After waiting for the shower to pass, it was down to the water's edge for some more snapping. It can be frustrating for the photographer when unwanted elements enter the frame, but this time I decided to use the man with the metal detector as part of the composition.
12-24mm f/4 AF-S Nikkor.
Top: 1/250 second at f/8. Matrix metering. ISO 100
Below: 1/320 second at f/8. Matrix metering. + 1 stop EV compensation. ISO 100
Thursday, January 04, 2018
Terence Donavon, the 1960s fashion photographer, once went on record saying: "The problem for the amateur photographer is that he/she has no reason to take a photograph."
So, self indulgence it is, then (insert winking emoji here).
12-24mm f/4 AF-S Nikkor. 30 seconds at f/11. Tripod and remote release. ISO 100
Monday, January 01, 2018
For the second day running I get a boot full of water whilst shooting by the sea, and on both occasions it's the left one. Hmm... just a coincidence? Yes, it is, but wearing rubber wellington boots - or wellies in the vernacular - for this sort of work is invaluable to the photographer shooting along the shoreline.
Of course, you can get over confident when looking for a better angle, as my left foot will attest, but for the most part they are a perspective changer.
12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 100
Sunday, December 31, 2017
Okay, so I lied about the pier photographs... but hear me out. My original intention was to take some long exposure shots underneath the pier. You know the type of thing; all hard angles and milky seas, and I did just that. Possibly even a monochrome conversion.
But, once all of the above started happening during what had been a mainly stormy day, I wasn't going to waste the opportunity.
12-24mm f/4 AF-S Nikkor. 6 seconds at f/11. Matrix metering. 10x ND filter. Tripod and remote release. ISO 100
Friday, December 29, 2017
I have an hour or so this afternoon to take some photographs, and since the weather is constantly changing, I head to the beach. The idea is to take some images using long exposures, but I am three quarters of the way to my chosen location when it suddenly occurs to me that my 10x ND filter - vital for what I have in mind - is in a different camera bag to the one I'm using.
No point in going home to collect it, I conclude, as the light will have changed by the time I get back, and I may miss the best of it. Besides, it will take too long. So, I watch a passing cloud crawl across the horizon (above), and take a number of exposures when I deem the waves pattern on the shore to be right. Then I call it a day. Nothing special in the can, but at least I was out shooting.
It wasn't until I got home and unpacked my gear that I espied the missing filter, nestling in an internal accessory pocket of the camera bag. I had it with me all along, yet I never bothered to look.
You'd think a photographer would be good at that, wouldn't you?
12-24mm f/4 AF-S Nikkor. 1/125 second at f/11. Matrix metering. Tripod and remote release. ISO 100
Wednesday, December 20, 2017
Okay, the last one of the local pier - for this year at least - but the monochrome conversion turned out to be too much to resist.
12-24mm f/4 Nikkor. 10 seconds at f/8. Matrix metering. 10x ND filter. Tripod and remote release. ISO 100. Monochrome conversion in Silver FX Pro 2