Signing-off for 2018

The last day of the year, and the weather forecast is anything but promising. It's going to be an overcast day all round, and too calm by half for any drama on the seascape front. Instead of getting out there with my camera, I spend the time tidying-up recent uploads in Lightroom in preparation for starting a new catalogue in the new year.

This action throws up two images that I had overlooked in my initial edits; something easily done when in the search for the image that defines a shoot. Taken during the past two weeks, I include both, so at least I can to sign-off the year with something.



Top: Bournemouth West Cliff in winter light.

24-70mm f/2.8 EX DG Sigma lens. 1/80 second at f/8. Matrix metering. - 0.33 EV compensation ISO 100
       
Below: Bournemouth East Beach.

18-35mm f/3.5 - 4.5 ED Nikkor. 1/800 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

Winter Solstice

Having (yet again) discovered that the seven day forecast by the Met Office is anything but accurate, I set off for an early afternoon shoot. Unfortunately, the light isn't that great, and the images I do get tend to be somewhat flat and lifeless when shooting into it.

Fortunately, the gulls that are following me in the hope of food provide me with a subject. It is also a reminder that successful wildlife photography can be achieved through a wide angle lens.



18-35mm f/3.5 - 4.5 ED Nikkor. 1/320 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 320



© 2018

That's all it takes

Yesterday, I relegated a similar shot from the same position to an also-ran. Today I make use of the gorgeous light that happens as the sun drops low in the sky. That's all it needed, really.



18-35mm f/3.4 - 4.5 ED Nikkor. 1/160 at f/11. Matrix metering.  - 0.67 EV compensation. ISO 100



© 2018

Not always right

More often than not, when I choose a photograph from a shoot I go with my gut feeling as to which image to use as I scan through the uploads. If it jumps off the screen at me - and taking into consideration which frame I mentally selected as I fired the shutter - I'm usually right with my initial reaction to the thumbnails. But there are times when I change my mind during the editing stage. 

Taken within an hour of each other, the picture below was my original choice for this post, but I subsequently felt the one above better captured the mood of the morning.

Top: 18-35mm f/3.5 - 4.5 ED Nikkor. 1/1600 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100

Below: 18-35mm f/3.5 - 4.5 ED Nikkor. 1/640 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100. 

Mono conversion in Silver Efex Pro 2

© 2018

"The dark times"

For the next twelve days there will be less than 8 hours of direct sunlight available at my latitude. The solstice occurs this week, and mid-winter is setting in with a vengeance. What little light I do get is often dramatic and ephemeral, and superbly photogenic.




18-35mm f/3.5 - 4.5 ED Nikkor. 1/640 second at f/11. Matrix metering. - 0.67 EV compensation. ISO 100



© 2018

Mid-day light

Mentioning the fact that at this time of year the Golden Hour lasts all day at my latitude, I thought shooting at noon might (should), produce some good results.

It's a good thing I did as there was a light window of only 30 minutes or so before grey cloud rolled in for the day.



24-70mm f/2.8 EX DG Sigma lens. 1/400 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 100



© 2018

Under scrutiny

          A casual stroll along the shoreline on a calm winter's afternoon, and I get the feeling I'm being watched.



18-35mm f/3.5 - 4.5 ED Nikkor. 1/160 second at f/8. Matrix metering. ISO 200



© 2018

480 minutes

There is barely 8 hours of sunlight available now, and at this time of year, at my latitude, the Golden Hour lasts all day. But it's the light at the very end (or beginning), that I find to be the most spectacular.


18-35mm f/3.5 - 4.5 ED Nikkor. 1/400second at f/11. Matrix metering. - 0.67 EV compensation. ISO 100



© 2018

If you go down in the woods today...

                                                                                 Hoads Wood in The Warren


18-35mm f/3.5 - 4.5 ED Nikkor. 1/60 second at f/5.6. Matrix metering. ISO 100



© 2018

Another Time

Antony Gormley's statue Another Time - one of a hundred in the series - gazes towards the White Cliffs of Dover. This solid, life-sized, cast iron replica can be found in the half tide loading bay of the Harbour Arm, Folkestone.


18-35mm f/3.5 - 4.5 ED Nikkor. 1/50 second at f/8. Matrix metering.  - 0.67 EV compensation. ISO 100



© 2018