Watery, winter sun...

Not much to say to round the year off, to be honest, but the current series of storms to hit the UK in recent weeks have taken the afternoon off and I am able to do a bit of shooting before we slide kicking and screaming into the next year.

I'm at the beach with my camera by mid-afternoon; the sky a featureless grey; the tide falling. It all looks pretty hopeless but for the fact that the wind is brisk. This gives me hope, as I know from experience that the light can change quickly and suddenly as a result... and I am right. For a brief moment the clouds part and a watery, winter sun stabs through the gloom to create the image here. I like ephemeral moments like this, and the drama it creates, but you have to be quick or you miss it.

As I write I can hear the wind picking-up again outside, and the next weather front sweeps in from the south west. I make the mental note to check the clocks on my cameras.

Happy New Year.



24-70mm f/2.8G AF-S Nikkor. 1/250 second at f/8. ISO 200



© 2013

'twixt the waves...

Overnight strong winds and rain quickly give way to bright sunshine by mid morning, and having taken care of the day's business early on I decide it's time for some photography. Conditions seem about right for kite surfing, so I pack a long lens and set off for the beach for some action shots. All too often I have the wrong lenses with me when these people are zipping about 'twixt the waves, so this time I feel I have all bases covered. The only thing stopping me is the total absence of any kite surfers whatsoever. Well, the was one that had been out there, doing it, but he was now in the process of packing up and no use to me at all. Very unusual, for the conditions. Perhaps they are all still at work.

I eventually find three canopies bobbing around in the distance - each one denoting a surfer somewhere beneath - and I get some shots before the light goes. Not quite what I was hoping for, but better than drawing a blank.


300mm f/4 AF-S Nikkor with TC-14EII converter.  1/640 second at f/6.3. ISO 640



© 2013

No bluebirds in sight...

Another splendid Christmas with Nic comes and goes (thank you, once again), as does the stormy weather the UK is currently experiencing, and it is only on Boxing Day that settled conditions make it realistic to spend an afternoon outdoors.

We decide on Samphire Hoe; a place created from the spoils of digging the channel tunnel (from England to France), and it is the famous White Cliffs of Dover that dominate the skyline in the photograph. As is traditional, many people emerge from the excess of the Yuletide season today in an attempt to burn-off all those extra calories (you wish), and the car park is almost full upon our arrival. Despite this, the area is large enough to absorb the multitudes effectively enough to keep them out of shot, and preserve the wild and desolate feel of the place.

Amongst other things that Nic gave me for Christmas, were two books; both featuring photographers known for their black and white images. Shadow and Light by Bill Brandt, and the other titled: Ansel Adams - 400 Photographs. Just the thing to stir those creative juices, and getting myself inspired during the long winter nights.


24-70mm f/2.8G AF-S Nikkor. 1/800 second at f/5.6. ISO 320



© 2013

11/12/13...

The last of the consecutive dates of the century - you had yours a month ago, America - and I plan to shoot something to mark the occasion. I had planned to take a photograph at nine minutes past ten this morning, but that idea fizzled-out shortly after I woke, purely because I had no location in mind.

Instead, I set off to the river with a selection of lenses to see if anything suggested itself as a subject. I stopped at a pond that I used a year ago to take images of leaves, and made a number of exposures before deciding to move on and try my luck further upstream.

As I'm riding towards a local weir on the Dorset Stour I am inspired by an idea that comes out of nowhere; to photograph a heron with a long exposure. It had not, for one second, ever occurred to me that a strong ND filter would be of any use for wildlife shooting, but the possibilities of how it could be achieved soon became all to obvious to me. All I needed was the subject.

I am gladdened by the sight of said heron as I approach my chosen spot that runs adjacent to a golf course, and hope that it doesn't fly off the moment I arrive. It doesn't, but merely stands patiently awaiting its next meal. I have time to set up my tripod; frame; focus; note the exposure value and apply the filter factor to compensate for the loss of light; screw the filter on to the front of the lens and fire the shutter. Frankly, I can't believe my luck with it all; being able to get the images I had in mind within five minutes of my arrival.

The bird does move position several times, but I am able to reframe and shoot as it feeds, making a good many exposures to be sure I get what I'm after. The fact that a heron will stay motionless for long periods of time whilst it eyes-up its prey is the key factor for getting shots like these, as the slightest movement ruins the image. I am more than pleased with the purchase of the filter, and wish I had bought one a year ago when I first thought about it. So many missed photographs; so many to come.


300mm f/4D AF-S Nikkor. 2 seconds at f/8. ND 1000 filter. Tripod and remote release. Mirror lock up. ISO 400



© 2013

Having fun...

No doubt about it. This new filter is giving my photography a much needed boost and I'm having a lot of fun with it in the process. I never have been a big user of filters for photography, apart from the occasional grey graduated or polariser, but for this one I make the exception. I am hooked.


I am on a local beach during late afternoon, and the sea and sky are exactly what I wanted: calm and cloudless respectively. I make a number of long exposures as the sun dips to the horizon, but it is after it has disappeared altogether that I start to make the photographs I am here for.

I have always been struck by the colour contrasts of the sky and water once the sun has set, and I use this to great effect to produce a simple, yet striking, image.


24-70mm f/2.8G AF-S Nikkor. 80 seconds at f/11. ND 1000 filter. Tripod and remote release. ISO 200



© 2013

Two bridges...

I'm going to have to watch myself with this new filter, as it might quickly become overdone. However, for the time being it will get as much use as I can put it to, so you will have to indulge me for a while yet.

All too often I bemoan the lack of good light when I want to shoot, but this filter has the opposite effect on me. I find myself hoping for grey, dull days and low light levels, so I can use long shutter speeds in the middle of the day, and not have to worry about stopping the lens down too much to help things along.

Today, I choose two local bridges as a subject. Both span the Dorset Stour at Iford; are 80 yards (73 metres) apart, and situated roughly three miles upstream before the river meets the Dorset Avon. Both rivers then empty into Christchurch harbour, and finally the sea. The old bridge is downstream from its more modern counterpart, and is a Grade II listed building. Originally built on the site of the fording point of the river, it dates from 1784 and built from Purbeck stone. The newer bridge carries the A35, and was opened in 1932.



12-24mm f/4G AF-S Nikkor.

Top: 50 seconds at f/11
Below: 45 seconds at f/11

ISO 200. ND 1000 filter. Tripod and remote release.



© 2013

Afterglow after sunset...

The storm that hit the northern parts of the UK didn't make it as far south as the forecasters said it would, although there was widespread flooding in low-lying areas due to the high tides that coincided with the storm front. Although the waters were higher than the storm of 1953 - which claimed hundreds of lives through drowning - the improved sea defences (as a result of the disaster), did their job admirably.

It was not clear if travel was going to be a good idea for my return trip, today, but the high winds never materialised in the southern counties, and the drive back to Dorset was not in any way a risk.

The sky looked good once I arrived home, and having checked the tide tables (a low one was due for early evening), I decide that an hour or so of late afternoon photography would be a nice way to round-off a very pleasant stay with Nic. The predicted low tide will occur in darkness, so I know I won't get the full effect, but all the same I hold off from making photographs until the sun has set. Once again the 10 stop ND filter is being used to create long shutter speeds, which makes the most of the afterglow. It only lasts for a few minutes, but I feel that I have what I came for. Lucky me.


12-24mm f/4G AF-S Nikkor. 60 seconds at f/11. ND1000 filter. Tripod and remote release.



© 2013

This time, Oare next...

I'm spending the week in Kent with Nic; drinking tea; eating cake and taking photographs. The UK is forecast to have storm conditions in the next 24 hours or so, with severe risk of flooding due to a coincidental tide surge, so we make the most of it while we can.

It has been overcast all day, but the cloud is expected to break during late afternoon. So, before we visit Oare Marshes for a photo shoot, we visit nearby Faversham for some of the aforementioned tea and cake (we had coffee, but it doesn't quite have the same ring).

The weather does its stuff as forecast (well done, The Met Office), and we are treated to beautiful light and a spectacular sunset across the marsh. There is plenty to point a lens at on the marshes, and one of these days I will make more of the numerous wrecks that litter Oare creek (below), but as they are unaccessible on foot due to the mud flats it will have to wait until I am carrying much longer lenses and a tripod.

Maybe next time.

                                                                                

12-24mm f/4G AF-S Nikkor

Top: 1/250 second at f/8. + 0.33 EV compensation. ISO 400

Below: 1/160 second at f/8. + 0.67 EV compensation. ISO 400

© 2013

The big stopper...

Every once in a while a photographer will add something to the arsenal of gadgets and lenses that takes image making to another level for him or her. It is almost a year to the day that I first thought about buying a "big stopper": a ND1000 neutral density filter and actually getting one. I'm glad I did.

Such filters are almost opaque, and they prevent 10 stops of light from getting through the lens and on to the sensor. Quite why anyone would want that might be a mystery to some. After all, it's all about the light, isn't it? Well, yes, but being able to control the amount to such a degree opens up all sorts of creative possibilities.
So, armed with this new gadget I set off to the local pier to learn how to use it.

It is a grey day - ideal for what I have in mind - although the leaden sky does break as soon as I arrive, but no matter. It will all add to the effect. It is very time consuming to shoot with such a device on the front of the lens since once it is attached nothing can be seen through the viewfinder, and I have to unscrew it every time I change composition. Still, no bad thing as it slows me down and allows me to work in a more thoughtful way. Of course, a tripod is a must with this type of shooting.

Everything has to be done in manual mode - from meter reading to focusing - then the necessary filter factor applied to get a good exposure. Despite all that light being prevented from getting into the lens I am still forced to stop down the lens much further than I would like, due to diffraction, but for today's purposes I will let it go.

For a first attempt I was rather pleased with the results, and coupled with my renewed interest in monochrome imaging it has opened up new horizons for my photography. Which, let's face it, can be no bad thing.


12-24mm f/4G AF-S Nikkor.

Top: 16 seconds at f/22. ISO 160
Right: 50 seconds at f/22. ISO 200

Manual focus and metering. Exposures timed by my watch. Tripod and remote release. Mirror lockup in bulb mode.



© 2013

Seasonal work...

With the daylight hours diminishing rapidly, and with more dim and dismal days than bright ones, weather wise, I am returning to some images shot over a year ago to give them the monochrome treatment. Hey, after all, image making is image making in my book, and if I can't be out with a camera then this is the next best thing.

At one time, darkroom work was considered a seasonal activity by many amateur shooters. It was looked upon as the norm to spend the summer months taking the shots and the winter ones being locked away with foul-smelling chemicals; hunched over an enlarger making contact prints, and making enlargements in the dim red glow of the safe light. Of course it is far easier to keep up with it all these days, but what better way to spend an afternoon creating at least something if I insist on staying indoors.

Top: Christurch priory, Dorset

Below: Autumn Gold

© 2013

Lightroom and mono conversions...

What I really like about modern photography -  and digital capture in particular - is the freedom of what I can do with the image once the shutter has been fired, and the ease of how I can achieve it. One thing that stands out is the ability to dodge and burn-in in colour (try doing that with wet prints); the ability to increase / decrease contrast or saturation locally within the image, or a whole host of treatments that can be applied to a digital file.

Of course, [ideally] all this has to be done so that the viewer is not consciously aware of any manipulation, but the real freedom comes with black and white photography, where the subject really is open to the interpretation of the photographer. Rather than an old fashioned approach, monochrome is more popular than ever, and I am having a great deal of fun watching online tutorials; learning new tricks and techniques, and rummaging through the archives for suitable images.

The photo of Boscombe pier was made yesterday afternoon, shortly before sunset.





24-70mm f/2.8G AF-S Nikkor. 1/200 second at f/11. ISO 400. Monopod. Converted in Adobe Lightroom.



© 2013

Shooting instinctively...

It is a clear, crisp day bordering on winter, yet because of the sun reflecting off the sea it is still relatively mild; warm, even. I'm wandering the seafront, shooting seascape images exclusively, until I come across this scene. Instinctively raising the camera to my eye I fire off a single frame - the only one that is different from all the rest - and knew as I pressed the shutter button it would make a good black and white image.

What intrigued me, having opened the photograph on my computer for post processing, is the way the man's shadow seems to have a ghost-like quality about it; completely detached from its creator. To me, it makes the shot, and the original colour version does not have the same effect.


24-70mm f/2.8G AF-S Nikkor. 1/4000 second at f/5.6. - 0.33 EV compensation. ISO 320



© 2013

Low tide; low sun...

An early start was considered for today since the sky was going to clear during the night, and I thought some dawn shots on the beach might be a good idea. However, it was something of a half-hearted attempt, in part because I was up late the night before watching TV, and partly because the temperatures were forecast to plummet as a result. In the event didn't happen, nor was it as cold as I expected.

It did stay bright all day though, and timing my visit with low tide, I once again go to the beach in the hope of something good. It really does depend on how far the tide drops as to what I get in the way of tide pools, and although it is not the lowest tide of the month I do find suitable reflections and textures to use in compositions.

There is something about winter sunsets that I like. Possibly because where I am it happens over the sea, but more likely that it happens so much earlier in the day, with the full evening yet to come. It's always such a rush in the summer months to get everything uploaded and edited if I stay out shooting late; recharging batteries when necessary; preparing for the next day - especially if I have an early session planned - as well as getting watered and fed. It may be colder, but this time of year is far more relaxed.


12-24mm f/4G AF-S Nikkor. 1/400 second at f/11. ISO 400



© 2013

One dog a-leaping...

It's a dull sort of day, weather-wise; no wind and very mild for the time of year, but there is a low tide and the sheen on the newly exposed sand attracts my attention, as ever. The only problem is that there is nothing else of interest to make a photograph, so I stand motionless for around 15 minutes near the water's edge in the hope that the sky will do something spectacular. It doesn't; it's not that sort of sky.

I am about to give up when a man exercising his dog comes along, hitting a tennis ball along the beach for it to chase, and I see my chance. I make two short bursts with the camera - the only opportunity I get - and hope for the best.



24-70mm f/2.8G AF-S Nikkor. 1/2500 second at f/4. ISO 500



© 2013

Autumn skies...

First of all I would like to thank Nic, Spanner and Dave for their supportive comments on the previous post, and my photography in general. It is all too easy to get yourself in a rut, and this can often come about with the expectation to shoot something specific, yet not have that subject available.

I have, during the past few weeks, set my mind on  skies and seascapes as a subject, and although this time of year in the Northern Hemisphere is right up my alley, photographically speaking, it just wasn't happening on the Dorset coast.

Until today, that is. I leave it until late afternoon before I leave the house, and the constantly changing light looked promising so I visited the beach in hope. The reality was that all I had to do was wait and let nature perform, firing the shutter when inspired to do so.

I shall say no more.


27-70mm f/2.8G AF-S and 12-24mm f/4G AF-S Nikkor lenses.



© 2013

Boring...

There is no doubt about it: I'm bored with photography. Stuck in a rut and bored with it all.


















Some lens or other (a wide angle).



© 2013

Hey, St Jude...

The storm that didn't really happen as predicted - at least where I am - came and went overnight, and although nowhere near as intense as "the big one of 1987", it did kill four people. There has been localised flash-flooding, and the winds did reach 99 mph (159 km/h) at the Old Battery on the Isle of Wight, but damage this time was kept to a minimum. As I said, the main body swept in off the Atlantic during the hours of darkness, so I wasn't able to get out with my camera to take some shots.

Shooting in such conditions can be a challenge - if not dangerous - so maybe it was for the best that I eventually ventured out in the early afternoon to see what was left of Storm Jude. It is not the done thing to name storms as such; something that is the sole reserve of hurricanes, but since it happened on the day of the feast of St Jude, the media has taken the epithet and run with it. However, there is no mention of the other fourteen saints that also share this day for a spot of feasting. I hope they don't mind.

The remnants of Jude are still in evidence,  and whilst the rest of it has swiftly moved on to northern Europe - such is its strength - there is still enough in the tail to produce some dramatic skies as the sun sets over Poole bay, Dorset.



24-70mm f/2.8G AF-S Nikkor. 1/1000 second at f/8. ISO 400



© 2013

Easy drama...

At last I am given a bit of drama. It has either been overcast and raining, or sunshine and blue skies over the past week or so, and although I subscribe to the maxim: 'there is no such thing as bad light for photography', I have been itching to shoot something moody, even if it isn't mean.

The seascape idea is very much on the top of my list at the moment, so once the forecast showery weather started rolling in off the Atlantic I am down on the local beaches as soon as the sun is low enough in the sky.

The tide is also falling during late afternoon, so I walk along the low water line, making photographs as I go. I decide to convert the images to mono whilst shooting as I find the monochrome combination of waves and clouds appealing. However, I go one step further at the processing stage and selenium tone the finished image (above).

Some images are made; some are waited for, and some are walked into, as with the backlit photo of two kite surfers on Boscombe beach. I simply strolled along behind one coming out of the water, and as he set the kite onto the sand and began to dismantle his rig, I took a sequence of images before the sun disappeared behind the cloud bank.

Easy





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

Top: 1/8000 second at f/8.  - 1.33 EV compensation. ISO 400
Right: 1/3200 second at f/8  -0.37 EV compensation. ISO 400



© 2013

Leaves on the trees, and a marble count...

It is ridiculously warm, today, and it's set to get warmer as the week progresses. I had intended to shoot the fallen leaves of autumn, but because of the good summer it seems that the trees are hanging on to them for longer. Certainly more so than this time last year. I do get one or two pleasing images, such as the back-lit leaf (above), but soon give up and decide to head for the beach.



It's as I arrive there that the temperature soars, no doubt due to the clear sky and the sun reflecting off of the sea. By the time I reach the beach itself it is so warm I am down to shirt sleeves. There are people sun bathing, and two people can be seen swimming in the sea. Mind you, the water is still relatively warm - having not had time to cool down since the summer - so their quantity of marbles does not come into question just yet. I think we have the makings of an Indian summer.



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

Top: 1/1000 second at f/7.1. - 0.33 EV compensation. ISO 400
Below: 1/800 seconf at f/11 + 0.33 EV compensation. ISO 200



© 2013

At a later date...

It's autumn at its best as the weather changes from day to day. Yesterday, warm sunshine; today, wind and rain. Either suits me for picture taking.

The beach of Poole bay is deserted for the greater part of my walk, this afternoon. Now and then a cyclist appears out of the rain and darts by, and one or two others join me on the promenade at various intervals, but otherwise there is little human presence. Even the ubiquitous gulls are notably absent.

I always admire those that wrap-up and get outdoors for the fun of it in such weather, but what does puzzle me is the clothing they tend to favour in the rain. Typically, a waterproof top and jeans; the latter being a bad idea when it's wet as they take so long to dry once the rain stops. Why do they go to the trouble and expense of keeping the upper half dry, yet neglect the lower half? Curious, indeed. Perhaps they are intending to add waterproof trousers at a later date, or when finances allow. Maybe they just don't care. I have no idea. I also saw two people dressed in shorts, despite the coldness of the day. Hardy souls, indeed.

Today's image is of a sticker on a glass window in the windbreak on Boscombe pier. The fan-shaped background is part of the awning on the other side; there to keep the rain off of me - and others - should they be intent on being outside on such a day.


50mm f/1.8 AF Nikkor. 1/100 second at f/7.1. + 0.33 EV compensation.  - 0.7 stop fill-in flash. ISO 200.



© 2013

Unidentified Flying Object...

They said it would be cooler today, and they were right. Not as cold as they predicted, mind, and I soon discovered I was overdressed; and overheating, wrapped-up in fleeces and a woolly hat during a walk along the beach. It is a beautiful autumn day, with blue skies and warm sunshine, and I am shooting with a big lens. Nothing particular in mind; just lugging the thing about for the sake of it.

A sudden disturbance in bushes flushes-out three birds: a robin and two others, all three are small. The robin is defending territory but has its work cut out as no sooner does it chase one interloper away, the other takes its place. I stop and start making photographs; gradually moving closer, and to get better angles.

During this time a man passes me; stops, and says:"Go on then, impress me with what that is", pointing at the bird in the photograph. "I've no idea", I replied. "I'll have to look it up when I get home". I think that he thought I was some knowledgeable bird buff, but I'm not. I just appreciate their beauty.

So, back home; images uploaded... and then the problem begins. I can't find the species on any of the online bird identifier web sites. I tick various boxes that supposedly will tell me what I have here: beak size; body size; plumage colour, and numerous other characteristics that should reveal all... but nothing.

My friend Nic joins the hunt online. She is confident that she will find out what it is, and after twenty minutes or so of searching, she does. It's a Stonechat. When I told the man I had no idea what the bird was, it very nearly remained that way. Thank you, Nic.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2000 second at f/5.6. - 0.33 EV compensation. ISO 400. Monopod


© 2013

Walk the line...

It is a perfect autumn day, here in Dorset: above average temperatures, and just the right amount of cloud in the sky to keep things very pleasant. I also have spring tides at the beach during late afternoon.

At low water I am shooting from a local pier, absolutely determined to make the most of the warm colours of nearby buildings reflected in the exposed wet sand. What I need is someone or something to enter the area to give a focal point to a photograph, but it doesn't happen. Not for a good while, anyway. There are numerous near-misses, but they all miss the mark and the shot doesn't work. Now, if I wanted people to stay out of frame I would have had an endless procession of walkers coming into the picture...  It can be very frustrating at times, which ever way you look at it. Eventually, an obliging paddler ambles along the water line; shoes in hand, and I get something useable. She even has the courtesy to walk back in the opposite direction a few minutes later, but I think I'll stick with this one.


70-200mm f/2.8D Apo Sigma lens. 1/1600 second at f/5.6. - 0.33 EV compensation. ISO 400



© 2013

Drama, and a sense of scale...

The forecast stormy weather this week never materialised in the south. Instead of strong winds and rain I actually got sunshine and a brisk breeze. It is said that it is necessary to check at least three different weather forecasts, and if they are more or less in agreement then what they predict will actually happen: in other words, a "dead cert". Otherwise, it seems, they are just guessing. I was out in shirt sleeves, today, as temperatures are above average for the time of year, touching 20º Celsius in the sunshine.

What I can rely on are tide tables and the time of year. There are several high and low spring tides over the next few days, and autumn brings with it some dramatic skies. Although the tide had already turned when I shot the photos from Boscombe pier, this afternoon, there was still enough exposed wet sand to make things interesting when the light came. The figures give the scenes a sense of scale.

                               

24-70mm f/2.8G AF-S Nikkor. 

Top: 1/5000 second at f/8. - 0.33 EV compensation. ISO 400

Below: 1/1600 second at f/8. + 0.33 EV compensation. ISO 400

© 2013

Four feathers (minus three)...

The forecast bad weather has been postponed until tomorrow, so today I have to be content shooting in drizzle instead of near-storm conditions. I have the idea to photograph images that will lend themselves to split toning in Adobe Lightroom, and set off for an afternoon stroll.

It is always nice to go out with an agenda, although that can often be subject to change, depending on what I come across. Today I'm lucky.

Somebody had found four feathers, and pierced ivy leaves with them, creating an horizontal row resembling clothes pegs on a line. As I am still only using my fastest lens - a short telephoto -  I am unable to effectively include them all. No bad thing as I think a wider shot would have been less effective.







85mm f/1.4D AF Nikkor. 1/160 second at f/5.6. - 0.33 EV compensation. ISO 500. Split toned in Adobe Lightroom



© 2013

A flowery sharpness...

One more day of this dull weather and then apparently I can expect strong winds and heavy rain for the rest of the week. Something deep inside is stirred by this news, and I look forward in anticipation in getting out to shoot. Although it is far more challenging to take photographs, bad weather is one of my favourite subjects.

Proper bad weather, mind; none of this "Ooo, it's raining, so lets take a few snaps" sort of thing. I envisage a struggle against the elements; trying to keep everything dry and steady, scenario. Knowing the accuracy of the forecasts I may well end up being disappointed. Again. Still, it is going to remain mild, so that's a plus.

Today, I'm out photographing with a single lens, which also happens to be my fastest - aperture-wise. I'm looking for subjects to isolate with that razor-thin depth of field that such optics offer, and it is this bunch of flowers on a ladies bike on the seafront of Poole Bay, Dorset, that works best on such a dull day. The flat light produces no shadows, and shooting wide open does the rest. Such images can look over sharpened, but this effect is caused by the fact that most of the picture is unsharp. I don't know why I don't use this lens more often.



85mm f/1.4D AF Nikkor. 1/1000 second at f/1.4. ISO 200



© 2013

A silhouette, and something less exotic...

Not what I would call an Indian summer, but for the last week in September it is certainly mild, so I'm out enjoying the afternoon sunshine with my camera. I'm by the sea, but the hazy light is not going to give me any drama, so I just shoot into the light to produce silhouettes by way of a change - the most successful image seen here (left). Relying on shape only it is an easy yet effective way to make striking images.

The other photograph, although not exactly award-winning in content, relates directly to this post, having shot the original from an usual angle to create an image where the subject was not immediately obvious. As you can now see, it is nothing more exciting than a drainpipe set into the sea wall. I must admit that the original shot had something organic-looking about it; possibly the remains of an exotic sea creature washed up on the beach, but the reality is a tad more mundane.

Top: 85mm f/1.4 AF Nikkor. 1/8000 second at f/2.5. ISO 200. Split toned
Right: 24-70mm f/2.8G AF-S Nikkor. 1/500 second at f/8. - 0.33 EV compensation. ISO 320





© 2013

Two photographs: few words...

                                                                                                 
                                                                    A walk in the rain, and autumn colours.





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

Top: 1/60 second at f/4. - 0.33 EV compensation. ISO 640. Monopod
Bottom: 1/4000 second at f/5.6. - 0.33 EV compensation. ISO 200



© 2013

Landmarks...

Landmarks, in both aviation and birthdays, for this post, and a place I have wanted to visit for a long time.

As a small boy with an interest in flight and aircraft in particular, I was always captivated by the grainy footage of the pioneers risking everything when they went aloft in those flimsy-looking designs.

 Today, I was able to stand on the very spot where one of those "magnificent men" crash-landed his plane in 1909, near Dover Castle, Kent, after being the first person to cross the English Channel by aeroplane.

If you take the time to click on the "Location" link below, and zoom in, you will see how lucky he was to have missed all those trees.




12-24mm f/4G AF-S Nikkor.

Top: 1/40 second at f/8. ISO 200
Below: 1/100 second at f/7.1. + 0.33 EV compensation. ISO 320



© 2013

At last, and over the Garden of England...

It is good news: confirmed the night before, we are flying this morning. Although the alarm was set for 5 am I am awake long before that, so the early start is less of a wrench when we leave the house at six to get to one of the pre-arranged pick-up points. Today it is to be Hamstreet, Kent.

There are ten of us on the flight, and having been identified on the list we all pile into the minibus to be driven to the takeoff site. The sun has yet to rise by the time we arrive, but there is enough light to start taking photos of the preparations (top image). It is customary for the passengers to assist the pilot and ground crew in this, but I do admit that I shirked my responsibilities to a large extent, purely to get the shots I wanted. Hey, it was my first time off the ground in anything and I didn't want to miss it.

Matt - our pilot - tells us that it is perfect flying weather - and having inflated the envelope with the propane burners (see how quickly I pick up on the technical nomenclature?) we leave the  ground at 7.20 am.    

There is no real sense of climb - and certainly no breeze felt since we are moving at the same speed as any wind - but it is a memorable experience as we slowly move across the Kent countryside, the total silence only broken by the occasional blast from the propane burners and comments from the man flying the balloon (and fly it he does) and the rest of us. It is also a superb opportunity for photography.

Although we are in the air for just over an hour it is over all too soon, and we make a very gentle landing in a stubble field. The pilot and ground crew were in regular communication with each other, and the latter arrive on the scene to collect us as we touch down. Once the balloon is deflated and packed away into its bag - bottom image - (who'd think that something like that would be so heavy?), it is a glass of champaign all round for the passengers, although I opted for orange juice since I don't drink. All in all a throughly enjoyable - and magical - experience, and something I wouldn't hesitate to do again or recommend to others.

Second best birthday present, ever, Nic. Thank you, and thank you, Merlin Balloons: http://www.merlin-balloons.co.uk/

Lenses: 10.5mm f/2.8 AF-S Fisheye Nikkor (images 2 and 4)

             12-24mm f/4G AF-S Nikkor

© 2013

Bike...

I'm spending the weekend with my best friend Nic - talented photographer and musician - partly to share in my birthday celebrations, and partly in an attempt to get airborne for the first time in my life. Both events are entirely connected. The chosen mode of transport will be by hot air balloon, but of course entirely dependant on weather conditions. Several times over the past year or so the pre-arranged flights have been postponed at the last minute as a result of less-than-ideal flying weather, but that's all booked for tomorrow morning, and we spend the early evening walking the local fields.

The abandoned bicycle, stripped of most of the useful parts, is photographed as found. I am lucky enough to get a brief break in early evening cloud to make my subject interesting, and manage three shots before the light disappears for the day. But that's okay. I'm always pleased to get something when out with a camera.


24-70mm f/2.8G AF-S Nikkor. 1/60 second at f/8.  -0.33 EV compensation. ISO 400. Monopod



© 2013

Lost and broken...

I read it online, so it must be true: summer stopped in the UK on 9th September. It certainly has got much cooler from what was a warm season for us, but since autumn is still 5 days away we must be in some kind of seasonal doldrum. What I do know is that it is raining.

One thing is for certain; sunglasses are not required, - at least for the time being - as I come across this lost and broken pair on a wall on Boscombe beach, Dorset, this afternoon. Bent frames; a missing lens - the remaining one rain-spotted -  and it quickly becomes a target for my lens.

As I take a series of shots the idea of converting to monochrome and split toning the image enters my mind for the finished photograph, as shown in the image on the right. I have included the original colour picture so that the viewer can make up their mind if the treatment lends itself to the subject, or merely which one they prefer.



24-70mm f/2.8G AF-S Nikkor. 1/2000 second at f/2.8. - 0.33 EV compensation. ISO 400



© 2013

A growing concern...

I have been using Adobe Lightroom since March of this year, and from my point of view it almost replaces Photoshop for all my post processing needs. I say almost as it still lacks a decent clone tool, but as soon as one is incorporated I feel I can move on and not look back.

Now, there are numerous tutorials available online - and for free - that pass on tips and techniques to anybody willing to learn, to master various software programs, and I am constantly in search of new tricks to get the best possible image from a file. Some are useful; others not so. Most, if not all, is sound advice, but as software becomes ever more powerful I am left wondering if it is such a good thing for all applications. Obviously discretion of the photographer is paramount, but it can be all too easy to apply the same processing techniques to every shot I take, and this is possibly a mistake.

The photograph of Throop millpond is an example of this (above). Exposing for the highlights, this rendered the foreground of the shot as a deep black in the RAW file, but I am able to control the shadow - and the resulting digital noise - by tweaking the relevant sliders in the Basic module in Lightroom. This greatly increases the dynamic range of the photograph and retrieves shadow detail, but to my mind it seems to be bordering on the overdone HDR (High Dynamic Range) treatments you can find littering portfolios and galleries on the internet these days.

Not that this image falls totally into that trap, but I shall have to keep a more watchful eye on what methods I use, I think.




12-24mm f/4D AF-S Nikkor. 1/500 second at f/14. - 1stop EV compensation. ISO 400



© 2013