Night lights...

Basing today's plans on yesterday's weather forecast turned out to be a mistake (so what's new?) and I postpone my trip for some photography on the Isle of Purbeck, Dorset. However, not being deterred by the Met Office's unspecified grey cloud that blankets the area, I get on my bike, camera over my shoulder, and ride the seafront of Poole bay in search of alternative subjects.

I make a number of attempts at photographing ducks and geese in Poole Park, shooting by holding the camera at ground level and essentially shooting blind. Always a hit or miss technique, and on this occasion the latter prevails and I get nothing of any value: only out of focus images of very poorly framed birds.

It's on my way home that I arrive at the approach to Bournemouth pier, and initially attracted to the fairground lights reflected in the old Waterfront building, but finally opt for photographing one of the rides in operation. There is still enough light to give the sky some detail, but it is essentially a hand-held night shot. Because of this I am forced to shoot with the lens wide open and a higher ISO than I would have liked, but timing the swing of the ride and shooting when it is at its highest helps to keep things sharp.

24-70mm f/2.8G AF-S Nikkor. 1/125 second at f/2.8. - 0.67 EV compensation. ISO 1600


© 2011

Can you see a difference?

Whilst out shooting yesterday afternoon, I had the presence of mind to take a couple of comparison shots of a scene I was working on with my mobile phone camera. I've never done this before, but wanted to know how the results would compare to that of professional camera equipment.

Now, I wouldn't be surprised if my phone camera had all sorts of exposure and zoom capabilities built in, but since I don't intend to use it in any serious capacity I've not bothered to find out what these are (if any). In this respect it is not a fair comparison as the focal lengths are not the same (nor the resolutions in the way of a pixel count) - and heaven knows what the focal length of the tiny piece of glass(?) and sensor dimensions are - but I just wanted to find out what sort of quality I could expect.

I gave the original file a tweak in Adobe Photoshop before resizing it to be used here, and although the native file would only print at 8.5 x 6.5 inches (21.6 x 16.5 cm) compared to the 18 x 12 inch (45.7 x 30.5 cm) RAW file of my Nikon body, I find the phone to be a useful tool as a photographic notebook.

I have no doubt the phone camera images print well in the sizes it is intended for, and reproduces well enough on a web site such as this, but since I carry it with me everywhere I go it may well prove it's worth one day. After all: an image is better than no image.

(no metadata available)


© 2011

Here come ol' flat top...

It's way past noon and I'm still indoors, having a chat with my best friend about photography and the possibilities of what to photograph. The agreed theme for the afternoon's shoot eventually becomes "take a photo of nothing". Almost as soon as it is agreed I have at least one idea enter my head as to what that might be. The final outcome is anything but.

The exercise is to have a walking meditation with a camera over my shoulder, although I bend the rules a bit (well, quite a bit, actually) and take my bike instead. I did stick to the other part of the deal, however, and took just a single prime lens for the afternoon's shoot.

I start in a local park, photographing pine cones and fallen leaves on the grass, but soon find myself on the cliff top of Poole Bay, Dorset, and become fascinated with a distant storm cloud, seen here apparently positioned over the Isle of Wight on the horizon. The warm air rising in the cloud eventually creates the characteristic flat top, which can be estimated at around 36,000 feet  (7 miles/11km), as it reaches the tropopause, between the stratosphere and the colder air of the troposphere. There, I said it.


50mm f/1.8 AF Nikkor. 1/125 second at f/11. - 0.67 EV compensation. ISO 200


© 2011

Blue skies and sooty-grey...

After last night's strong winds and heavy rain the day breaks clear and calm, and I have the idea to visit a location that I've not been to for over a year for some waterfowl photography. My camera bag is already loaded with a super-telephoto lens and body, so it's just a case of dressing appropriately (thermal everything) and get into the car and drive.

As I head to Eyeworth Pond in the New Forest it occurs to me that this is probably the first time I've driven anywhere since October, as I mainly use a bicycle to get to the nearer destinations, these days. It starts to rain on the way, but it's only showers and I remain confident of getting something useful.

Upon arrival I find I have the place to myself, but as I start to set up my gear I discover that in my haste to leave home I've forgotten an important part of my photographic kit: the quick release plate for the ball and socket head on my monopod. It normally remains permanently attached to the foot of my 300mm lens, but I removed it in favour of the geared tripod head when shooting the moon last week, and never replaced it. Of course it won't mount and I have no option but to hand hold the camera. This is only a problem during extended shoots due to the weight, but the light is good and the sky is blue, so I just stand and wait.

There is the usual selection of ducks and drakes on the pond, as well as a cormorant, much to my surprise, but it's the coots, with their red eyes and distinctive white shield that get my attention on this visit. Although they appear black at first glance their plumage is in fact a sooty-grey, that can be seen in the photograph. The water ripples catch the sunlight and add some fill-in light to the feathers, highlighting their true colour.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1250 second at f/4.5. - 0.33 EV compensation. ISO 500


© 2011

Full, but not eclipsed...

As mentioned in yesterday's post, tonight it is full moon. Not only that, but there is a total eclipse of the Moon, although unless you live in the Shetland Islands in the UK it would not have been visible as such.

As it is, I'm thwarted by cloud cover by early evening from a photographic standpoint, and I resign myself to getting no shots of even a partially eclipsed disc in the sky.

I'm chatting with a friend on Skype in the late afternoon and making regular checks of the sky in the hope that something may appear. It's during one such visit outdoors that I see the cloud has broken sufficiently to get something on camera, so I hastily set up on a tripod and start making exposures.

Unlike yesterday, when I was able to expose solely for the Moon's disc, this time I have to compromise detail if I want to record the amazing cloud formation that contributes so much to the image. It's just not possible to record both within the latitude of a digital sensor or film. Something had to go.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/80 second at f/5. ISO 400. Tripod and remote release. Mirror lockup. Time: 17.26


© 2011

I see the Moon...

Over the past month or so I've freely given out information on Facebook and via Skype, to those that have asked, of how to photograph the Moon. I start with all the usual advice of: use a tripod, a remote release (or the camera's self timer) and to focus and expose manually, but it occurred to me, as I stepped out of the house and spied Earth's satellite: damn it, man, can you actually do it yourself?

It's been some time since I've made any serious attempt so I thought it was about time I brushed up on the technique. Now, the moon is brighter than most people think, especially now that it is nearly full (that occurs tomorrow) so pretty fast shutter speeds can be employed to help capture sharp images under high magnifications.

One other invaluable tip I can offer is to use the mirror lockup feature if your camera has one (we are generally talking SLR bodies, here). Once that is up and out of the way a few moments can be allowed for all vibrations to die down before the shutter is fired. Despite advanced damping engineered into modern camera bodies, the mirror is still capable of taking the edge off images such as these as it clatters up before the shutter blinds open. Some camera bodies also cause the mirror to be locked up when the self timer is activated, but I prefer to judge the exact moment of exposure myself.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/6.3. ISO 320. Tripod and remote release. Mirror locked up. Time: 16.46 GMT


© 2011

Cloud shadows...

At one time I would have set the alarm clock for early starts, but these days I appear to leave it purely to chance that I will wake up before dawn to go out for some early morning shooting. Mind you, there haven't been too may good opportunities for good light of late, so I don't feel I have missed anything.

This morning it is cold. Cold enough to wear thermal underwear, but I don't. I'm only intending to stay until the sun breaks the horizon, but a distant cloud bank scuppers that idea. Even so, I needed those thermals.

I spend around 50 minutes shooting aircraft contrails, dog walkers and passing birds as the light becomes more and more interesting. The sun rose at 7.56am, but it's some 30 minutes later before I shoot the image of shadows cast upon the sky by the clouds.

I do wish I had worn those thermals.

70-200mmf/2.8 Apo Sigma lens. 1/5000 second at f/5.6. ISO 640


© 2011

Silver sea...

The weather forecast for today was way off. Overcast with some rain was predicted, but by early morning the clouds had rolled away and blue skies prevailed.

It was mid afternoon before I ventured out with a camera, and once again I chose the seaside for my shooting location. I could have (and did) make all the usual shots of walkers on the surf line, or cloud formations, but just before the sun dipped down behind a cloud bank to the West, I took a series of photographs which I knew I would convert to black and white as I fired the shutter. Pointing the lens into the light produced a high contrast mono image. Just the way I like 'em.

70-200mm f/2.8 Apo Sigma lens. 1/800 second at f/8. + 1 stop EV compensation. ISO 400


© 2011

December dawn...

A pre-dawn inspection of the sky from my bedroom window confirms yesterday's weather forecast: it's clear. It takes me just a few moments to pack my camera bag with two lenses, have breakfast and cycle to the beach at Southbourne, Bournemouth, and photograph the sunrise.

Conditions are near perfect and couldn't be more different to the corresponding day last year at the same location. The sun rises at 7.47am and I start making photographs. I'm lucky this morning as the cloud bank near the horizon allows me to shoot the sun as it appears over the sea, then shortly after gives me a sunburst from behind the cloud while it is still low in the sky.


70-200mm f/2.8 Apo Sigma lens. 1/200 second at f/11. + 0.33 EV compensation. ISO 400

© 2011

Kites and herring gulls...

The heavy cloud of early morning gives way to blue skies and crisp autumn weather. A brisk westerly wind is blowing, and I know conditions are right for the kite surfing enthusiast, so I pack my longest lens and cycle to Sandbanks, on the southern shore of Poole Harbour. Despite the fact that I'm already shooting with a tele-converter attached to a 300mm lens the surfers themselves are too far from the shore to get frame filling images, so I opt to shoot the kites themselves (above).

Having stood for more than an hour in one spot the wind chill gets the better of me and I decide to head home - a bit of exercise will soon warm me up. As the sun sinks low on the horizon I come across a herring gull perched on a groyne head.

Normal procedure in this scenario is: I edge carefully towards my subject, making no sudden moves, slowly and quietly unpack my camera with telephoto lens attached, fix the assembly to the monopod and begin to frame the subject... at which point it flies off before I can make an exposure. Except in this case it didn't happen. The gull was more than happy (it seems) to be photographed on Bournemouth beach in the late afternoon sun.


Both images: 300mm f/2.8 AF-S VR Nikkor with TC-14E converter.

Top: 1/1000 second at f/8. - 0.33 EV compensation.
Below: 1/800 second at f/4.5
ISO 400

© 2011

Arctic Sunrise...

I have a feeling the mild weather we have been experiencing in the South West of the UK is about to depart for cooler conditions, although the wind chill factor from a stiff south-westerly no doubt played a part, today.

I cycled to Poole Harbour, mainly for the exercise, but as always, I had my camera with me. Upon arrival at Sandbanks I was aware of the Greenpeace ship Arctic Sunrise leaving port, and I had to race it to the harbour entrance to get into position to photograph the vessel as it passed before Brownsea Island (photo). I had no inkling that the ship was in port, but obviously others did as there were more photographers than usual toting cameras in the area.

70-200mm f/2.8 AF Apo Sigma lens. 1/500 second at f/5.6. - 0.33 EV compensation. ISO 400


© 2011

Rim light and motion blur...

The relatively mild weather of southwest England continues, and according to one dog walker I spoke to on Stanpit Marsh, Dorset, it's set to continue until at least the end of the month. I had arrived on the marsh during mid afternoon with my longest lens, but no real idea of what I intended to shoot. I took a number of "warm-up" shots before coming across the same chap who I bumped into a couple of weeks ago, counting the ponies. I ask him if he is still to arrive at a consistent count, but he tells me that he counts them every Saturday. He also tells me that a Glossy Ibis is still on the marsh and directs me to the general area.

He is, of course, right, but the bird remains tantalisingly out of range of my longest lens, even with a teleconverter attached. It's while I wait for the ibis to move closer (it never does) I turn and see a lone marsh pony - rim lit, along with the reeds - against the setting sun.

Once the sun dips below the horizon I decide to call it a day. I chat for a while with someone out walking and taking the crisp evening air, but it is just as we are both about to leave that a skein of Canada Geese appear from the North. I instinctively raise the camera to my eye and make a number of exposures as I follow their flight. In my haste I failed to make appropriate camera settings, and shot hand held with a shutter speed that was far too low to get sharp images. Not deterred, I open the files on my computer and find that some of these images have a pleasing blur, giving the feeling of movement to the photograph. Sometimes an error can still produce a useable photograph.

Both images:
300mm f/2.8 AF-S VR Nikkor with TC-14E converter.
Top: 1/500 second at f/5. + 0.67 EV compensation. ISO 400
Bottom: 1/60 second at f/4.5. + 1 stop EV compensation. ISO 400


© 2011

Green light...

Often seen, but never photographed by me, today I was lucky enough to witness military training at Sandbanks, Dorset. I first spotted the Lockheed C-130 Hercules transport plane circling overhead from Bournemouth pier as I was out for an afternoon ride. I took a few token shots from a distance, and without a second thought carried on my way west. It wasn't until I arrived at the western end of Poole bay some 20 minutes later that I realised the aircraft was still in the area; still circling.

I began to make a series of photographs as the plane made a number of passes in the hope that its contents were still onboard, but despite the aircraft's main door being open there was nothing forthcoming. Finally, the Hercules disappeared into the distance, so I spent time making attempts to photograph gulls in flight.

Around 35 minutes later, to my surprise, it returned and continued the same flight pattern that I had witnessed earlier. Nevertheless, I kept a watchful eye on the plane, and was eventually rewarded with what I had been waiting for. The photograph shows a number of British Army Marines on a training exercise, jumping from the rear of the aircraft and parachuting into the sea near Old Harry Rocks on the Dorset coast.



300mm f/2.8 AF-S VR Nikkor with TC-14E converter. 1/2000 second at f/8. - 0.33 EV compensation. ISO 400

© 2011

Unseasonably warm...

It remains unseasonably warm in the south west of the UK, and following orders I get myself out of the house with a camera and two lenses - both zooms (the lenses were my decision) - and go for an 18 mile bike ride. It was never my intention to ride that distance, but it was easy riding and the weather was good. It just happened.

I rode the full length of Poole Bay, Dorset, to start with, taking a number of images of Hengistbury Head at the Eastern end to get me started. There was a good deal of haze and that, mixed with the autumn light, produced the top image. In essence I photographed the light, not the subject.

Upon reaching the Sandbanks end of the bay I was attracted by a variety of gulls, squabbling over scraps of bread being fed to them. Their behaviour is predictable in this activity as they wheel overhead, waiting for their opportunity to swoop and grab what they can. This is where the telephoto zoom shines, as I can constantly reframe as the birds approach my position, shooting when they have in a good orientation to the camera. Prime lenses restrict this, often forcing me to shoot before the subject fills the frame, or sometimes too late, and part of the bird is lost out of frame.

Both photos: 70-200mm f/2.8 Apo Sigma lens.
           
         Top: 1/400 second at f/8. ISO 500. Polarising filter
         Below: 1/2000 second at f/5.6. ISO 400


© 2011

Lucky break...

The weather has been typical for the time of year over the past week or so, with grey skies and light rain. However, today the clouds cleared long enough for some late afternoon sunshine. On the bike with two lenses in the bag, and heading for the shore.

Although very mild for the time of year, there were very few people taking advantage of the sea air. I'm shooting mainly cloud formations, lit by the setting sun, but two dog walkers time it perfectly and stroll into the frame as the sun breaks through the cloud bank to the West. There were no other people on the beach itself. Piece of luck.




70-200mm f/2.8 Apo Sigma lens. 1/1250 second at f/6.3. +1 stop EV compensation. ISO 400

© 2011

The Daily Grind rides again...

Earlier in the week I had taken the decision to no longer continue with this blog, and left a post saying as much. What I didn't anticipate was the startling public reaction to the termination, and two comments from readers flooded in in protest, and to express their sorrow - and one of those is from someone whom I know.

So, as a gesture to the heartfelt outcry I agree to continue this blog, and post today's photograph of Stanpit Marsh ponies, with Christchurch Priory in the distance.


24-70mm f/2.8G AF-S Nikkor. 1/160 second at f/9. + 0.67 EV compensation. ISO 400. Polariser

© 2011

Marsh pony...

I change my initial plans at the last minute, and visit Stanpit Marsh in Christchurch Harbour, Dorset, instead of a local nature reserve. It's the first time I've been there this year, and as last year, it is host to Glossy Ibis, except this time there are (apparently) three. I only see one.

No, it's the ponies that live on the marsh that get my attention this time around. I come across an official-looking chap, complete with binoculars and clip board, mumbling out loud and waving his biro around in a broad arc in an effort to count the number of the aforementioned creatures spread out before us. He is becoming exasperated by the fact they are continually on the move and they are mostly all the same colour. He makes four counts while I'm stood with him, but he can't decide whether the tally is 14 or 15. I count 15 twice, which is enough to convince me I was right the first time, and tell him so. We eventually concur, and he writes the figure in one of the columns on a form attached to his clip board.

"How many should there be?" I ask him.
"I don't know" comes his reply.

70-200mm f/2.8 Apo Sigma lens. 1/1600 second at f/5.6. - 0.67 EV compensation. ISO 400

© 2011

The Twin Sails Bridge...

The Indian summer experienced by most of the UK at the beginning of the month has long gone, but in some parts of the South, at least, we are still getting relatively good weather with temperatures remaining in the high teens Celsius: still bike weather.

Yesterday, whilst out riding, I unexpectedly happened upon the construction of a new lifting bridge being built in Poole, Dorset. I knew construction was underway and had made loose plans to photograph the process, but what with one thing and another it had slipped my mind. As a result the camera lens I was carrying was totally unsuitable for the job.

Today started clear and sunny, so I took the opportunity to return to the site, this time tooled-up with the right glass. The two 65 tonne leaves of the Twin Sails Bridge, each operated by two hydraulic rams, are not quite identical at this point, but the bridge is not scheduled to be opened until January of next year. When operational, the bridge will take two minutes to open, with a planned 3,500 lifts a year.

12-24mm f/4 Nikkor. 1/500 second at f/11. ISO 200

© 2011

...to leave the world behind

Red sky at night, as the old saying goes, usually means fine weather the following day, so I pack my camera bag with three lenses the night before and set the alarm clock for 6.00am. I’m up before the alarm goes off, and a quick look out of the window suggests I might be lucky. A swift breakfast, then on the bike and pedalling into a stiff(ish) breeze. By 7.00 am I’m stood on the beach at Canford Cliffs, Poole Bay, facing East and wait for nature to do its stuff. It doesn’t. 

The time of sunrise comes...and passes, and nothing spectacular happens; it’s all grey cloud and the camera remains idle. Instead, I choose that moment to deliver a message to a distant friend. A cormorant flies low across the waves, and I suddenly become aware of a song that has surfaced of its own accord and is playing through my head.  At this instant the sun illuminates the broken cloud and I make the shot. 

Magic can happen.

24-70mm f/2.8G AF-S Nikkor. 1/400 second at f/8. - 0.33 EV compensation.ISO 400

© 2011

New post; no photo...

A (very) rare post of text only, but it is to draw your attention to the Links section of this page (right), and in particular the heading:
Richard Brewer: Photography - an occasional series.

This is a new feature to the blog and it will contain images only, principally operating as a gallery of subject-related themes.

The first in the series is British Birds and Waterfowl, and features some of my favourite photographs taken since 2008.

Flight Lieutenant's memorial...

It was recently announced by Bournemouth Council that a permanent memorial will be dedicated to Red Arrows pilot Flt. Lt. Jon Egging, who died shortly after a display over the sea front in August when his Hawk jet crashed into fields near the local airport. At the time of writing no firm decision has been made as to what form it will take, but the townspeople are being invited to add their input. It is hoped the tribute will be in position for the start of next year's air festival.

Whilst researching the subject I came across a seemingly little-known story of another pilot who also lost his life during an air display at the Dorset (then Hampshire) town, and today I was able to locate his memorial on Bournemouth's East Cliff and photograph it. 

The small plate, set into stone, has the inscription:

                                         
In memory of

Flt/Lt John Henry Green DFC, a Canadian wartime pilot with the RAF. Lost his life on 17th September 1947 when his Spitfire crashed into the sea between Boscombe and Bournemouth piers during a flying display in aid of the RAF benevolent fund, and to mark the anniversary of the Battle of Britain.

24-70mm f/2.8G AF-S Nikkor. 1/250 second at f/11. - 0.33EV compensation. ISO 400

© 2011

Heave ho, me hearties!

As predicted last week, the UK appears to be experiencing an Indian summer, with sunshine and temperatures of up to 28º C - 15º above normal for the time of year - and expected to last until early October. After a cloudy start to the day the clouds roll away and I ride to Poole harbour to shoot with a fast telephoto.

The idea is to concentrate on detail in the landscape; preferably something out of the ordinary, and it's a weather vane on top of a house in Sandbanks that catches my eye. The figure is of the fictional pirate Captain Pugwash: the main character of a British children's comic strip and TV show originating in the 1950s. He's seen here brandishing a cutlass to lay claim to a treasure chest on a tropical island; his ship Black Pig in the distance. The title of this post is one of his (many) catch phrases.


300mm f/2.8 AF-S VR Nikkor. 1/3200 second at f/5.6. -0.33 EV compensation. ISO 400

© 2011

Adobe Photoshop and the digital age...

Over the past month or so I've had several discussions (and disagreements) with another photographer as to whether or not digital photography takes away the soul of an image, and whether or not it's the best thing since sliced bread: he maintains it is not. I don't care.

Today, digital imaging proved its worth from my perspective, as it enabled me to produce a useable photograph using the wrong lens for the job. The paddle steamer PS Waverley made its final appearance at Bournemouth during the South Coast excursion season, and by way of a change I opted to get some shots from a higher angle than sea level, using a super-telephoto lens to record the ship's arrival at 1.00pm. Unfortunately, local atmospheric conditions - the bane of long focal length optics - were producing images with poor resolution and weak colours: I needed to shoot when my subject was much closer than intended.

From my vantage point on the West Cliff of Bournemouth I was unable to accommodate the full length of the Waverley with a 300mm lens once it tied-up along side the pier: I was just too close. I could have moved back the distance required, but as the stop-over was for a mere 15 minutes I had precious little time to re-locate and reframe... so I shot a panoramic.

I alway shoot in the RAW format, but for this technique I switched the camera to its fine jpeg setting, purely to keep the final file size down to something manageable. I needed to make all the exposures identical, so I switched the camera to manual and shot the sequence in portrait format (upright), overlapping each exposure by roughly 30%. Once opened on my computer I had seven frames that needed to be stitched together by software (Adobe Photoshop) - the results of which can be see in the first photograph. After that I processed the image as I normally would, but in this case I cloned-in a bit of sea at the bottom of the picture and cropped out the bent horizon and sky (below).

The process produced a final image 70cm wide with a file size of 116mb, and the detail in the original is such that when zoomed in I can clearly identify individual passengers waiting to embark from the pier.

300mm f/2.8 AF-S VR Nikkor. 1/400 second at f/11. - 0.33 EV compensation. ISO 400. Monopod.

© 2011

Well, it surprised me...

Having drawn a blank in photographing the PS Waverley on Sunday, the weather conspires once again the day after, and sailings are cancelled. Time is running out as tomorrow is the last day of the South Coast excursions. Not only that, but I understand that future visits are doubtful due to operating costs; this may be my last chance.

Having checked the Waverley's web site yesterday I deduce that my last (and only) chance for some images now is on Thursday - no sailings, today -  although the weather forecast doesn't look too promising. It's in the lap of the gods.

Despite a brisk westerly wind I decide to take a mid-day bike ride along the sea front of Poole Bay, Dorset; camera bag loaded for the first time in weeks, but nothing in mind to shoot... when I come upon the scene above. To my total surprise the aforementioned steamer is pulling up along side Bournemouth Pier as I arrive, shortly before 1pm. The light at this time of day is too brutal to get anything moody or pleasing, but I make a number of photographs as insurance against tomorrow's possibility of a no-show because of weather.

In this instance I use the RNLI lifeguard station and its attendant quad bike to add some interest and compensate for the less-than-photogenic lighting. I was also informed by a fellow photographer, whom I struck up a conversation with on the beach, that the Waverley was scheduled for a visit today; it was advertised it on its web site.

Missed that one!


24-70mm f/2.8G AF-S Nikkor. 1/320 second at f/11. - 0.33 EV Compensation. ISO 320. Polariser

© 2011

I see no ships...

It is at this time of year - and this week in particular - that the PS Waverley, the only seagoing paddle steamer in the world, makes several excursions along the South coast. Time for some shots.

Having missed the departure from Bournemouth pier this morning (it was raining), I elect to do some early evening photography as the ship returns. It will be better light, anyway.

Once the excursions are underway all details are removed from the sailing schedule on its web site, so I'm forced into guessing what time this will be. Experience tells me roughly 6 - 6.30pm, so I'm cycling along the seafront at this time from Bournemouth to Sandbanks, keeping an eye out for the Waverley to hove into view on the horizon...but it doesn't happen.

Eventually I check the departure and arrival times at the entrance to the pier, and a notice informs me that today's sailing had been cancelled due to bad weather. Okay, it did rain and there were winds of up to 25mph along the coast, but surely it wasn't that bad? Still, better safe than sorry; I'll try again tomorrow (weather permitting). Oh yes, the photograph is a token shot whilst waiting on the beach at Canford Cliffs, Poole.


24-70mm f/2.8G AF-S Nikkor. 1/200 second at f/11. -0.33 EV compensation. ISO 320. Polariser

© 2011

Seasonal Limbo...

As mentioned in my last post, summer officially came to an end on 31st August. With the autumn equinox nearly upon us next week, it leaves me wondering what these three weeks of seasonal Limbo might be called.

Having ridden out the remnants of Hurricane Irene, which manifested itself only as brisk winds in the South, I return to Throop, Dorset, for some casual photography. Today's photograph was taken from the footbridge of the weir that crosses the Stour at this point, and I make no attempt to conceal the electricity pylons that straddle the landscape, using them as part of the composition.

As with the nearby millpond in my last post, the river itself has also been allowed to return to a more natural state, with far more weed and reeds evident than in all the years I've been going to the spot. I'm sure there is a good reason for deliberately letting the waterway get to this condition, but everyone I speak to locally is as mystified as I am.


24-70mm f/2.8G AF-S Nikkor. 1/125 second at f/11. - 0.67 EV compensation. ISO 250. Polariser.


© 2011

Carpeted swans...

Although I heard someone on the radio mention the other day that the end of August is the end of summer, the beginning of September belies that statement. Clear skies and temperatures reaching 23˚C are the order of the day, and I'm not going to waste it. I've spent too many days inside recently, pursuing other creative interests; it's time to get out.

Packing my longest lens I jump (figuratively speaking) on my bike and head for the countryside, and specifically Throop Mill, Dorset. Although I have waterfowl in mind I'm not intending to shoot anything serious, as it's the middle of the day and the sun is high overhead: not the best light.

For reasons best known to those who manage the area, the millpond has been allowed to become carpeted with (duck?) weed, which at first glance makes it look as if it has been grassed-over; the surface looks solid enough to walk on. It's not, of course, born out by two mute swans paddling their way across. It's obviously harder work for them to move, but they seem to be quite adaptive to the situation.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1250 sec at f/11. -0.67 EV compensation. Monopod. ISO 400.

© 2011

Tributes...

Photographed today, these are some of the floral and written tributes being left for Flight Lieutenant Jon Egging (Red 4) of The Red Arrows, at Bournemouth town hall.

The Facebook page set up to inform the local council of the townspeople's wishes to have a permanent memorial erected for the pilot appears to have had good effect, and they have responded positively. However, nothing will be decided upon until the council have consulted with the family and the RAF.



24-70mm f/2.8 AF-S Nikkor.

© 2011

Bournemouth Air Festival, 2011: Day 4...

The final day of the Bournemouth Air festival, and despite the excellent weather the crowds are noticeably thinner than during the past two days. This is undoubtably due to the absence of The Red Arrows, such is their pulling power, grounded for the time being until investigators can determine the cause of yesterday's tragic accident.

As full a program as was possible took place after pilots and the RAF expressed a wish to continue, but rather than post photographs of today's displays, I include photographs taken over the 3 days of flying.

The Breitling Wingwalkers, Friday. The only formation wingwalking team in the world.

  One of (the four) Blades, Sunday

 The Tigers Parachute Display Team, Saturday.

De havilland Sea Vixen, Sunday, with undercarriage retracting and arrester hook deployed.

  Tornado GR-4, Sunday.

De havilland Sea Vixen and Hawker Hunter (aka Miss Demeanour), Sunday, flying in formation.

Although the fourth Bournemouth Air Festival can be considered a success - it is already set again for 2012 - events were overshadowed by the crash of The Red Arrows' Red 4 and the death of Flight Lieutenant Jon (Eggman) Egging, shortly after displaying in front of an estimated crowd of 300,000.  There was a minute of silence at 1pm on the seafront before today's events started, followed by a spontaneous round of applause from the spectators.

All images: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter.

© 2011

Red 4...

In memory of Flight Lieutenant Jon Egging - Red 4 (bottom aircraft) flying in the group known as "The Enid".                                                                                 

20th August, 2011 - Bournemouth Air Festival.

© 2011

Bournemouth Air Festival 2011...

Yesterday was a non-starter: a total wash-out due to atrocious weather conditions and flooding. Today, the second of four, was very different and normal flying was possible without interruption. Although sunshine brought back the multitudes (as well as the aircraft) there were several notable omissions from the usual lineup of crowd pleasers - the Avro Vulcan being the most notable - grounded for the time being due to a leaking fuel tank. Also missing this year was the Eurofighter Typhoon, currently flight restricted due to a spares shortage, but the Battle of Britain flypast comprising an Avro Lancaster escorted by a Hawker Hurricane and Vickers-Supermarine Spitfire helped to make up for missing displays.

There was, of course, the public's favourite - the Red Arrows (pictured) - this time able to give a full display (the first of 3 over the weekend) as opposed to last year's truncated performances, again marred by poor weather.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2500 second at f/9.  -0.33 EV compensation. ISO 640.


© 2011

It's been quite a while...

It's been quite a while since I've posted on my blog, essentially because I've not taken a photograph since May! Other considerations - some unavoidable; some pressing; some not so -  have taken precedence over the past 5 weeks or so, and to be honest summertime is not my favourite season for shooting, anyway.

Anyway, to (hopefully) get things back on track, I include an early morning image taken on Bournemouth seafront.


24-70 f/2.8G AF-S Nikkor. 1/500 second at f/8. -0.33 EV compensation. ISO 200

© 2011

Blue boat...

Although not exactly first light, today's photography was taken during early morning at Sandbanks, Poole Harbour, Dorset. Arriving just as the sun began to burn off the dawn mist, I'm drawn by the reflection and emerging blue sky - effectively cutting the scene in half - and highlighting the boat at low tide.


24-70mm f/2.8G AF-S Nikkor. 1/640 second at f/11.  -0.33 EV compensation. ISO 200

© 2011

Under mother's wing...

Getting successful wildlife images often requires the photographer to have (at the very least) a basic understanding of the behaviour of the animal in question, as well as anticipating the moment a good image will present itself.

This particularly applied to today's photograph of a Greylag gosling under its mother's wing. Possibly one of the same family I photographed last week - there are several in the same area -  a parent bird sat by the waterside with its wings partially extended, offering its young a protective wing.
Several took up the option, and it was just a matter of time before one would poke its head through the plumage as it became more crowded below. All I had to do was to wait for the right moment to shoot.

The photograph also benefits from being made with the subject in open shade, which helps to saturate colours and allow more detail to be shown. Direct sunlight would have drastically lessened the quality of the picture.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/400 second at f/8.  -0.67 EV compensation. ISO 640

© 2011

One of nine...

Today's photograph is of a Greylag gosling (Anser anser) - the ancestor of most domestic geese -  and is the largest wild goose native to the UK.  Although common in lowland areas all year round, they can sometimes be seen in suburban parks such as this one at Poole, Dorset. This particular gosling has 8 siblings

300mm f/2.8 AF-S VR Nikkor lens with TC-14EII converter. 1/1000 second at f/5.6. - 0.33 EV compensation. ISO 400

© 2011

Spring at its best...

Two years ago, I stumbled upon Brenscombe wood, Isle of Purbeck, Dorset, when it was at its finest: light green foliage, and carpeted with bluebells. Last year I returned to the same spot for more images, but was a week or so too early for the full display. I made the mental note to return during the following weeks, but for some reason or other, I never made it.

This year I had the timing; the weather; the full display...only to find the area has now been fenced-off from the public! The well-worn footpath that still crosses the wood is now out of bounds, and a barbed wire fence makes sure of it.

Not to be deterred (I had, after all, cycled thirteen miles to get there) I soon found that suitable angles were still available for some photography. In fact, those responsible for erecting the wire fence provided some convenient supports (fence posts) to steady the camera - an absolute boon in the low light levels - as shutter speeds were slow and apertures were small.


24-70mm f/2.8G AF-S Nikkor. 1/30 second at f/11. - 0.33 V compensation. ISO 500

© 2011

Rather them than me...

I've not take a single photograph that I've been pleased with for a fortnight. It's not for the want of trying, it's just that nothing has inspired me. The creative person goes through these droughts from time to time, and I usually just ride them out...something will always come along (eventually).

I started the day with my first trip this year to Purbeck, Dorset, with the intention of photographing the bluebells in Brenscombe wood, but a rear tyre puncture put the dampers on the shoot before I got there.
Yes, I do carry spare inner tubes, patches, tyre levers and all that is necessary to effect a repair, but when the bike pump fails it can render it all useless, as it did today. Fortunately, a passing cyclist lent me her pump to inflate the patched-up leak, but after this setback I decided on damage limitation, and return home (and to buy a replacement pump). The bluebells will have to wait.

It's not until shortly after sunset that I come across a reverse (or catapult) bungee jump attraction in the lower pleasure gardens, near Bournemouth pier. The passenger cage is suspended with elastic ropes between two telescopic towers, and is held down by an electro-magnet. Once released, the sphere (containing two passengers) rises vertically with a g-force between 3-5, and can reach heights of between 50 to 80 metres (165-262 feet).

Not for the feint-hearted.

70-200mm f/2.8D Apo Sigma lens. 1/400 second at f/4. -0.33 EV compensation. ISO 1000

© 2011

The Lady Wimborne Bridge...

More good weather, plus the spirit of adventure, and I find myself riding the Castleman Trailway in Dorset.  This 16½ mile route follows the old Southampton to Dorchester railway (closed by Dr. Beeching in 1964) and is named after Charles Castleman, a Wimborne solicitor who is largely responsible for the railway. The first trains ran on 1st June 1847.

The most impressive feature along the route - so far as I saw on today's 50 mile ride - is the Lady Wimborne Bridge (photo) that spans the Canford House main drive. One of the most ornately carved bridges in the country, this Grade II listed building was opened on 14th February 1876, and the last train across it before the line closed, was on 3rd May 1976 - almost a hundred years to the day of its building.


24-70mm f/2.8G AF-S Nikkor. 1/320 second at f/11. - 0.33 EV compensation. ISO 320

© 2011

Too hot to handle...

With temperatures expected to reach 18˚C, I opt to spend the day at the Stour Valley Nature Reserve, Dorset, with a super-telephoto lens, photographing nature. There have been numerous reports of otter activity along the river banks, and I continually keep a watchful eye for such an appearance, but it's a Grey Heron that give me the best shot of the week.

This resident adult bird was moving from rock to rock in mid-river, searching for its next meal. I watched for around half an hour while it made several attempts at a catch, when it suddenly bit off more that it could chew and pulled a perch from the water (photograph). Although it had a secure grip (and very possibly punctured the fish with its bill), it soon became obvious that it was too large and heavy to handle, let alone swallow, and allowed the fortunate fish to fall back into the river.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2000 second at f/6.3. - 1 stop EV compensation. Monopod. ISO 400

© 2011

Rear derailleurs and fertility rites...

Whoever promotes cycling as a cheap mode of transport has got it all wrong. Since buying a mountain bike almost two years ago, it has cost over half as much again of the initial cost with upgrades and parts replacement. Only yesterday the rear derailleur failed on a ride, leaving me with only one gear to limp home on.

Today, I fit a replacement and set off to the local river for a test ride and some spring shooting. Glorious spring weather continues and the trees are beginning to acquire pale green foliage. The hawthorne  (Crataegus oxyacantha) is in flower (photograph).

At one time thought to have magical properties, hawthorne flowers were once used to decorate May poles, the centrepiece of ritualistic fertility dances.


24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/11. - 0.67 EV compensation. ISO200

© 2011