Friday, August 16, 2019
The British summer appears to have abandoned us over the past week, with wind and rain dominating the weather. Not that such conditions deter me when I feel the need to shoot - I just have to choose the right subject.
The Twin Sails lifting bridge that spans the Backwater Channel in Poole harbour, Dorset, is currently out of comission due to a mechanical fault. As a result the bridge is closed to traffic and the two bascules are set in the "up" position to allow the free movement of boats. Until repairs are effected I exploit the opportunity to explore various angles, without the risk of being knocked down by impatient motorists.
Olympus OM-D EM-10 Mk III with 14-42mm f/3.5 - 5.6 Pancake lens. 1/60 second at f/16. -⅓ EV compensation. ISO 200. Mono conversion and toning in Silver Efex Pro 2
Tuesday, August 13, 2019
The freedom of choice to reinterpret images is what the black and white darkroom was all about. Many a photographer - this one included - would occasionally labour once again under the red glow of the safe light in an attempt to draw that last bit of information from a favourite negative.
In this case, I decided to reshoot entirely to get nearer to what I envisaged when I first chose this subject, some ten years ago.
Honouring the courage of all those lost at sea when trying to save the lives of others, this memorial stands outside the RNLI headquarters, Poole. Originally containing the names of the 778 who had died as a volunteer since 1855, a further 28 were discovered through research, and added three years after the memorial was unveiled in 2009.
Olympus OM-D EM-10 MkIII with 14-42mm f/3.5 - 5.6 Pancake lens. 1/125 second at f/11. ISO 200. Mono conversion in Silver Effex Pro 2
Monday, August 12, 2019
Houns-tout and Chapman's Poole from Emmetts Hill, Jurassic Coast, Dorset
12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. 0.9 grey grad filter. ISO 100. Mono conversion in Silver Efex Pro 2.
Wednesday, August 07, 2019
British landscape photographer Fay Godwin (1931 - 2005), was once criticised in her later work for including such things as telegraph poles and electricity pylons in some of her more rural images. She defended this by saying that if that is what is there, then why not?
I agree. Although it's sometimes possible to find a viewpoint to hide such peculiarities to create a more pleasing rustic scene, there are times when honesty is the best policy. With the photo above I made no attempt to disguise what isn't nature, nor considered the use of the clone tool in post processing.
Olympus OM-D EM-10 Mk III with 14-42mm f/3.5 - 5.6 pancake lens. 1/500 second at f/8. ISO 200
Tuesday, August 06, 2019
Farm building window #2 - Throop, Dorset.
Olympus OM-D EM-10 MkIII. 40-150mm f/4 - 5.6 R Zuiko. 1/160 second at f/8. - ⅓ EV compensation. ISO 200. Mono conversion in Silver Efex Pro 2
Wednesday, July 31, 2019
I must have passed this farm building dozens of time, yet never saw the potential for a photograph until today.
Olympus OM-D EM-10 MkIII with 14-42mm f/3.5-5.6 Pancake lens. 1/125 second at f/10. ESP metering. Mono conversion in Silver Efex Pro 2. ISO 250
Monday, July 29, 2019
I've got to the point in the year where I'm impatiently tapping my fingers, waiting for autumn. The recent record breaking temperatures have done me no favours, and more than one day's plans were scotched because it was just too uncomfortable to be out in the landscape.
However, now that my location searches are complete for the coming winter months, I'm whiling away the time photographing the local countryside just to keep active.
Olympus OM-D EM-10 Mk III with 14-42mm f/3.5-5.6 Pancake lens. 1/160 second at f/8. ESP metering. - ⅔ EV compensation. ISO 100