The Daily Grind

Slow down, and be considerate...

2012-02-14T10:49:00.001Z

Thank goodness all that cold weather has gone - at least for the time being - as it makes dawn shoots much more tolerable. In contrast to temperatures of the past two weeks or so, it's a rather heady 4ºC as I set out in the semi-darkness, heading for the beach.

I'm still able to photograph a sunrise over water at this time of year, but ten days from now there will be no point on Poole bay, Dorset, that I will be able to do so until the autumn (18th October, to be precise), as the event will be obscured by the Isle of Wight. Spring marches on.

I didn't bother to check relevant tables before leaving the house (it was not important for what I had in mind) but the unexpected bonanza of an ebbing tide and a flat calm upon my arrival at the seaside was most welcome. I've recently taken to shooting from a monopod again with all lenses, as it allows me to use small apertures for greater depth of field without bumping the ISO too high in low light situations. Apart from the quality aspect, it tends to slow me down and produce a more considered approach to composition.

24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/8. ISO 400.

© 2012

No such thing...

2012-02-10T19:27:00.000Z

For the last time this week I walk the same stretch of coastline along Poole bay, Dorset. Five consecutive days in the same area: each day something different.

Of course, I'm not out to replicate the images I shot the previous day, but then I couldn't if I tried. As I hinted in my previous post, even at the same location with the same light, there will always be something to set it aside from what came before.

Today's photograph was taken within a few feet of where I shot yesterday's picture, and almost at the same time of day, yet the difference is striking. Apart from the cloud formation - and the fact that yesterday's photo was converted to monochrome - the sand patterns are more defined, producing pools of water that reflect the sky. Proof, if proof were needed, that there is no such thing as the definitive photograph of a subject.

12-24mm f/4G Nikkor. 1/250 second at f/11. + 0.33 EV compensation. ISO 400

© 2012

How many more times...

2012-02-09T19:46:00.000Z

I've decided to make it a theme for the week: photographs taken during casual strolls along the shore at low tide, Poole bay. For the fourth consecutive day I take my own sweet time walking several miles along the sand, making images of what I find interesting below the surf line.

I have sometimes been asked what is the point of returning to the same location for more photography; surely I have more than enough pictures of such and such? Well, the simple answer is: no. No matter how many times I retrace my steps I always come across something different to shoot that I missed the previous time, or simply because the light is different - never better - just different.

Today is no exception, and I shoot nearly one hundred frames, on this occasion concentrating on the play of winter light on the wet sand of Boscombe beach, Dorset (photo). Despite the desolate feel the mono conversion produces, spring is just around the corner, and daylight hours are increasing noticeably. These days my favourite time of year.

12-24mm f/4G Nikkor. 1/250 second at f/11. + 0.33 EV compensation. ISO 320

© 2012

Ramble on...

2012-02-08T18:45:00.002Z

The second cold snap of the month has arrived, although temperatures are higher than forecast yesterday (- 5ºC) with a "balmy" - 1ºC on the thermometer. This second figure is almost certainly due to the blanket of cloud across the county and beyond,

Becoming accustomed to taking a relaxed attitude to my photography I make another ramble on foot along the beach at low tide, shooting whatever takes my fancy. Light levels are low, so I concentrate on details in the landscape, as here, with the wood grain pattern on a groyne post. Years of constant exposure to a harsh environment has caused the greenheart to split and discolour, and together with the sand makes for an interesting study in hue and texture.

50mm f/1.8D AF Nikkor. 1/60 second at f/8. - 0.67 EV compensation. ISO 320. Monopod

© 2012

Nic's stone...

2012-02-07T19:32:00.006Z

Another mild day along the Dorset coast, but this is about to change overnight, with temperatures forecast to drop to -5 ºC tomorrow. So, once again, I opt to walk in search of photographs while the conditions are still favourable, and again choose the beach.

I'm better equipped than I was yesterday - not only lens wise - but I also have a monopod to steady the camera. I normally use such an item with super-telephoto lenses, but I noticed a significant proportion of images from yesterday suffering from a hint of camera shake when shutter speeds dipped below 1/80th of a second. I need all the support I can get.

It's approaching late afternoon as I arrive on the seafront, and the tide is well on its way to being at its lowest. I start taking shots of light reflected in the exposed wet sand, but I'm also doing something else. I'm keeping an eye out for interesting stones - especially ones that have holes all the way through - for my best friend Nic: also a fellow photographer (as well as a collector and maker of things beautiful and interesting).

I had only just received a text message from her when I turn and find just what I'm looking for (photo), recently exposed by the retreating surf. Before I pick it up I photograph the stone in situ (and yes, one of those holes goes from one side to the other). Keen observers will notice my reflection in the larger bubbles as I crouch low to take the photo.

50mm f/1.8D AF Nikkor. 1/50 second at f/6.3. - 0.33 EV compensation. ISO 200

© 2012

Bolts, limpets and barnacles...

2012-02-06T18:59:00.004Z

Today, I'm on foot. It's been quite a while since I've set out to take photos without some form of transport, but I decided I wanted a more relaxed approach to photography for the day. Even the comparative freedom afforded by a bike can sometimes curb a spontaneous approach; often missing potential subjects as I ride on my merry way.

The weather has broken here, and freezing conditions make way for overcast skies, little wind and relatively mild temperatures: ideal for an amble along the surf line of a local beach. As the tide retreats I'm constantly on the search for objects exposed by, or affected by, the retreating waves. I shoot numerous photos of shells and isolated stones on the smooth wet sand, but it's details on the wooden groynes that produce today's image, with this small gathering of limpets and barnacles, clustered around a bolt holding the greenheart timbers together. Interestingly, a few of the limpets have barnacles!

50mm f/1.8D Nikkor. 1/60 second at f/8. + 0.67 EV compensation. ISO 400

© 2012

Just as capable...

2012-02-04T22:00:00.003Z

It's not very often that I post an image that was not shot on the date of the post itself, but today I feel the need to redress the neglect that Christchurch harbour has suffered in comparison to its nearby neighbour, Poole.

I have read a number of local articles (as well as web searches that have let to this blog) about how the sea at Poole - and in particular the North Haven area, near Sandbanks - has frozen during the current cold snap. Indeed, Poole, with its continued growing economy and development is the more glamourised of the two, but I'm here to give Christchurch a fair crack of the whip and show it is capable of freezing just as much.

The photograph, taken yesterday, shows the extent that the sea has frozen at Mudeford Spit, which runs along the Eastern side, with the much prized beach huts arranged in orderly fashion along the edge. There is great competition to rent one of these huts for the summer season, and the (rare) opportunity to buy one will currently dent your wallet to the tune of £145,000.

24-70mm f/2.8 AF-S Nikkor. 1/160 at f/11. + 0.67 EV compensation. ISO 200

© 2012

End to end...

2012-02-03T19:22:00.000Z

Another crisp winter's day on Dorset's coast, and if anything, colder than yesterday. This is borne out by looking at the Met Office's weather chart (minus 1ºC, they claim), and the fact that there is a greater portion of frozen harbour than yesterday when I return to Christchurch during early afternoon.

Although colder than yesterday, there is little or no wind, so it feels much more comfortable to be out with a camera in the depths of winter. I shoot a number of frozen waters-edge images before moving on to the animal life - of which there is very little, today - and the boats, of which the same can be said. The light, however, is very appealing.

I decide to call time and begin to make my way home, but instead, like a dog I read about, kept going, along the seafront until I reached the entrance to Poole harbour at the other end of Poole Bay. I arrive just in time to witness the Brittany Ferries' Cotentin leaving port, seen here shortly after it had left the harbour. Not a particularly momentous event - it does this every day - but again I'm attracted to the light, and the contrasting size and design of the vessels in the image.

Top: 24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. - 0.67 EV compensation. ISO 200. Polariser
Below: 300mm f/4 AF-S Nikkor. 1/500 second at f/6.3. - 0.33 EV compensation. ISO 400

© 2012

Ice and sand ripples...

2012-02-02T19:44:00.005Z

Not content with this morning's cold start I venture out again in the afternoon as temperatures soar to 1º C and head for the southern shore of Christchurch harbour. Upon arrival I'm mildly surprised to find that the water's edge has frozen (left). This, no doubt, is due to the fact that two rivers empty into the harbour: the Avon and the Stour, contributing to the low salt content despite the fact that it is tidal. Christchurch Priory can be seen perched on the horizon.

Following this I wander on to nearby
Mudeford Spit (pronounced Muddy-ford) to photograph the
windswept beach. I'm looking for shape and texture here, and I find it in abundance. One advantage of such a cold day, despite all the sunshine, is the fact that the area is deserted, and the wind-formed patterns have not been disturbed by others. The low afternoon light throws the ripples into relief, and I have already decided to produce monochrome images from the results.

Both images: 24-70mm f/2.8 AF-S Nikkor

Top: 1/500 second at f/11. ISO 400

Right: 1/2650 second at f/11. + 0.33 EV compensation. ISO 400

Winter dawns, frozen derailleurs and the beginning of the end...

2012-02-02T09:45:00.004Z

The cold snap continues over much of the UK, and I'm up well before dawn to inspect the sky. The Met Office and I concur: it's clear. I set off into the approaching dawn and an Easterly wind - eyes watering from the cold - and head to the beach.

I arrive in good time and pull my camera out of its bag. I'm immediately greeted with a low battery warning in the viewfinder: low temperatures take their significant toll on such items, but I should be okay as my reserve battery still reads 69%. After all, I won't be hanging around once I've got what I'm after. Low temperatures are beginning to take a toll on me, too.

On Southbourne beach, Poole Bay, the sun makes its appearance at 7.45am and I start making photographs. Although low tide is not for several hours I've managed to find a tidal pool on the sea shore that I can use as foreground interest (an old architectural design trick - it instills a calmness), and I click away for seven minutes until the sun has climbed above the cloud and the effect has gone. Shoot over.

In that short duration I've noticed the cold for the first time, despite wearing numerous layers of thermal clothing. It started me thinking: this may well be the last winter I shoot at this time of the day. This thought is compounded by the fact that both derailleurs on my bike have frozen, and I'm restricted as to what gears I can use. This, no doubt, it due to the fact that I hosed-down the bike yesterday to remove two days of accumulated mud from riding across nature reserves, and the fact that water still remained in the linkages.

So, for the first time I'm considering being more selective with shooting at certain times of the year. That, plus the fact that lugging heavy glass around is beginning to take its toll. Time to think about selling up and finding something lighter.

24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/11. + 0.67 EV compensation. ISO 400

© 2012

Ducks on thin ice...

2012-02-01T18:59:00.000Z

A total contrast to yesterday's weather: today we had blue sky, dry conditions and a stiff Easterly wind that gusted up to 30mph (48kmh), so it felt colder than it actually was.

But cold it was, anyway, with temperatures sufficiently low to freeze the surface of a local duck pond - not solid - but enough in places to require a Ferruginous Duck - and, indeed, other species - to scramble up onto the ice to allow it to get from one thawed-out spot to another in search of food. As graceful as ducks are on water, they are somewhat ungainly on land, and in particular, ice. Getting a grip, as it were, is not possible, so they slid from A to B on their bellies (photo).

I photographed waterfowl at this location last March, and as far as I can tell it is the same bird. Now, my reference book of British birds and waterfowl maintains that the featured species of duck is a rare visitor to the UK, with as few as 30 sightings a year recorded. Maybe this particular chap came to visit and decided to stay. Anyway it's in Throop, Dorset, if you want to have a look for yourself.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1250 second at f/5.6. + 0.67 EV compensation. ISO 400. Monopod

© 2012

A winter's day and burnished bark...

2012-01-31T19:46:00.001Z

By the time I get out of the house for some photography it has become a typical British winter's day: overcast, damp and cold. Temperatures hover at around freezing - evident as broken ice on puddles after recent rain remains frozen, and in some cases has frozen over a second time.

Despite this there is a stark indication that spring has been trying to happen - at least before the current cold snap - in the form of blooming daffodils at Throop, Dorset (right). I first mentioned this in my 7th January post, where the shoots were up but not in flower. I had intended to return earlier to photograph the openings, but what with one thing and another I never managed it until today. A remarkable occurrence for January, to say the least.

Having got my shot by sprawling on the ground (protected by a strategically positioned bin liner - I think of most eventualities), I move on to Stour Valley Local Nature Reserve via the Muscliff Arboretum, and my attention is immediately drawn to a fine example of a Tibetan Cherry tree (Prunus serrula). I have passed this tree numerous times, and why I have not noticed its distinctive bark before is beyond me. I ask a passer by if they can identify the tree, and I'm reliably told it is an acer, but according to the arboretum species listing it is, in fact, a cherry. I will be returning to this particular specimen, with its burnished bark, in the coming months.

Both images: 90mm f/2.8D EX Sigma macro lens.

Top: 1/320 second at f/5.6. - 0.33 EV compensation. ISO 400
Below: 1/320 second at f/6.3. + 0.33 EV compensation. ISO 500

© 2012

A bit of a gambol...

2012-01-30T19:02:00.001Z

Winter has arrived, it seems, at least along the coast of Dorset. This is validated by low temperatures, an Easterly wind... and snow. Yes, something of a rare occurrence in the area, but at 9.37 this morning I witnessed falling flakes. Albeit very slight, it would still be enough to make bookmakers acknowledge a white Christmas (had it, in fact, happened on that day - i.e., a payout). So, in a nutshell: today it snowed.

By early afternoon the thick grey cloud had thinned sufficiently to allow a bit of sun through, so I selected an unlikely lens pairing - an 85mm f/1.4 portrait lens, and a full frame fisheye - and get out on my bike to shoot seascape images.

I'm busy photographing waves breaking on the beach at Southbourne when a small short-haired, er... dog, gambols through the waves as they roll along the shore, barking at everything and nothing and clearly having a grand time of it all. By the time I fire the shutter I have already decided to convert the image to monochrome.

10.5mm f/2.8 fisheye Nikkor. 1/500 second at f/8. ISO 400

© 2012

A personal best...

2012-01-27T19:06:00.001Z

My word, what a lot of weather we're having along the south coast at the moment - more like April showers than winter - but it does give me reason to go out again during late afternoon to see what can be had with a camera.

I'm no sooner riding along Bournemouth's sea front when I'm caught in one of the aforementioned showers and take shelter on Boscombe pier, where I photograph the rain coming down over the Isle of Purbeck. Unfortunately, the pier closes at 4pm at this time of year, so I'm ejected before the gates are locked.

I make my way west before eventually stopping to photograph the last of the afternoon light at Branksome Beach. I'm carrying a fisheye lens with me on this occasion - not the land or sea-scapers first choice of optic - but occasionally it comes in handy for something a bit different, with its 180º angle of view from corner to corner, and huge depth of field. At least I don't have to worry about level horizons, and straight lines are out of the window, so it's a fun lens to use with the right subjects.

I also think I've made something of a record for this blog, today: 14 posts in a month (and still four days to go).

10.5 mm f/2.8G Fisheye Nikkor. 1/320 second at f/11. - 0.67 EV compensation. ISO 400

© 2012

Halfway to France...

2012-01-27T10:29:00.000Z

An early morning check of the Met Office's Infrared satellite image tells me all I need to know: clear skies over much of England. That, plus light winds, and it's a recipe for a pre-dawn start for some early morning exercise and photography thrown in along the way, should anything present itself to the camera.

On such ventures it is always my policy to ride into the wind on the outward leg of the trip - it's so much nicer (and easier) to have it on my back going home - so I again cycle west along the front of Poole bay as the dawn begins to break. Sunrise is at 7.50am, but I won't see that due to the cloud bank that so often sits on the horizon (in the photo it is roughly half way across the English Channel), but I start making photographs the moment I arrive at a favourite spot on the beach of Canford Cliffs.

I shoot a number of images into the light as the sun breaks above the cloud, but it's the delicate pastel hues of the early morning light that produces the best image, with Handfast Point and Old Harry Rocks on the horizon.

24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/8. ISO 400

© 2012

Shower clouds and meteorological phenomena...

2012-01-26T20:05:00.004Z

For once the Met Office's weather forecast was accurate. Hyperbole, of course - we all like to moan about how far out the weather forecast is almost as much as we like to moan about the weather - but today I experienced the full gamut of its prediction.

So, heading into a brisk Westerly wind I arrive at Sandbanks, Poole, as the tide is going out. There are a few kite surfers doing their stuff on the water - and I do mine - with the obligatory shots that I know I'll never use. Even with this in mind it serves as a warm up: to get my eye in and look for images or situations to photograph - getting in the mood, if you like. Ordinarily, these frames languish on one of several hard drives, never to see the light of day again, but earlier this week I executed a pretty severe edit of such images dating back to August of last year, and consigned 2283 RAW files to the trash.

It's as I'm half-heartedly shooting the kite surfers that shower clouds roll in and darken the sky, and rain is visible in the far distance. This is only temporary, because no sooner has the cloud moved directly overhead the horizon begins to lighten. Straight away I know there will be a rainbow to shoot, so I start looking for a suitable scene to capture the event.

The rain itself bypasses me, and I am able to capture the optical phenomenon over the sea, as well as part of the shower system that caused it.

18-35mm f3.5-4.5 ED Nikkor. 1/1250 second at f/8. - 0.33 EV compensation. ISO 560

© 2012

Dustpan and Brush...

2012-01-22T18:21:00.001Z

The last in the current trilogy of this weekend's sunset photographs (I hope: well it has to be since today is Sunday). I'm finding precious little to shoot at the moment, but with early signs of spring being just around the corner I'm content to make do with the easy subjects.

It had been a mostly clear day along the coast of Dorset, although a gusty wind took the edge of it, but as mid afternoon arrived wispy, high-altitude cloud rolled in. However, not enough of it to rob me of the light.

Low tide in Poole Bay was at 1600 hours, so I venture to the beach for dusk images, plus the hope that again I might be treated to an afterglow and something dramatic. Not so this time, although the sky had good detail once the sun had set (right).

In spite of low water I'm forced to keep an eye out for waves that continually roll up the beach and threaten to engulf my feet - past experience has conditioned me to this - whilst I try to capture wave patterns that in some way echo sky.

Oh, yes, the blog title: I did it for a dare! (don't ask).

12-24mm AF-S Nikkor. 1/400 second at f/5.6. ISO 640

© 2012

f/8 and be there...

2012-01-20T19:16:00.002Z

f/8 and be there: the mantra of the press photographer - set the lens aperture to that value and let what's happening in front of you do the rest. Wise words, indeed, if you have a subject to photograph, but it's another drab day, light wise, and another late start before the weather gets interesting. With less than an hour to go before sunset I set out on my bike, chasing the light.

The cloud has broken sufficiently, and experience tells me that I may not only get a sunset to photograph, but also an afterglow - more photogenic in my book. This does not always happen once the sun dips below the horizon, but it's always worth waiting to see if it happens before packing up and leaving the scene.

Today it does. I select the widest lens in my bag, and keeping a wary eye on an incoming tide I go down on one knee to get a lower angle. I start making photographs as soon as the sun disappears from view and watch keenly as the strength of the colours on the clouds intensifies. I have to be vigilant and shoot at the peak as the colours are at their strongest for only a minute or so: after that they weaken and fade and the shoot is over.

12-24mm f/4 AF-S Nikkor. 1/100 second at f/8. + 0.33 EV compensation. ISO 800

© 2012

Deliberate flare...

2012-01-19T19:02:00.004Z

Today almost didn't happen. After yesterday's shoot under heavily overcast skies I decided not to venture into the great outdoors as it was a similar kind of day: heavily overcast. The weather forecast hinted at brighter conditions as the day wore on, but I ignored it.

By mid day the light had not changed a bit. By mid afternoon it looked like it might rain. Then it did. But a quick perusal of the Met Office's satellite photo suggest clear conditions would shortly follow.

It was late in the day when I finally decided to risk it, and cycled down to the seafront at Boscombe, on Poole Bay to catch the last of the light. I arrive as it starts raining again, but not deterred I stand on the shore line and start taking photographs in the rain as the sun sets.

Keeping the front element of the lens dry is impossible in spite of a lens hood (use one at all times, folks), and after several attempts to remove the rain drops I give up and shoot away, allowing the droplets to produce flare in the image - an effect that contributes to the feel of the image.

24-70mm f/2.8 AF-S Nikkor. 1/30 second at f/8. + 0.33 EV compensation. ISO 400

© 2012

Frame within a frame...

2012-01-18T20:04:00.001Z

The high pressure weather system that was briefly positioned over the UK has since drifted east across Europe, and the skies have become heavily overcast: time for some photography.

Initially, I spend some time shooting details in the sand exposed by a retreating tide in Poole Harbour before moving on to fisherman's dock, where I spend a good forty five minutes attempting to produce an image with a strategically placed gull to complete the composition. All to no avail. It's here that I have a brief discussion - and a different perspective - with another photographer that happens along. We nod to each other in acknowledgement of the cameras we are holding before I speak: "Great light, isn't it?" I say. Clearly mistaking my enthusiasm for sarcasm, he replies: "Terrible, isn't it?"

We are both looking for different things, and both equally valid.

I give up with the gulls and wander onto Poole Quay to see what catches my eye, and it's a window on the corner of Custom House, situated on the quay itself, and the warmth of the scene within that produces today's photograph. However, it's the weather-worn wooden frame that gets my scrutiny, and I select a medium-wide aperture to throw the interior out of focus, and use the wooden arch to produce a frame within a frame, allowing the reflections of the scene behind me to complete the picture.

50mm f/1.8D AF Nikkor. 1/250 second at f/4. - 0.33 EV compensation. ISO 640

© 2012

Crafty little trick...

2012-01-16T19:18:00.002Z

Having edited and processed this morning's images I check out the weather forecast and realise that the current high pressure is not going to last, and rain is expected mid-week. So it's back on the bike during mid afternoon to make the most of what's on offer.

I cycle to Christchurch harbour, Dorset, with something specific in mind: photographing the local priory from the top of the headland that forms the southern shore - Hengistbury Head. I make a number of images as the sun dips down, but it's not coming together for my taste and I give up on the idea and cycle along the seafront towards Boscombe, keeping an eye out for anything of interest.

The sun has been set some twenty five minutes before I come across the scene here. There is a good afterglow in the cloudless sky, and the sea has turned blue due to the high colour temperature. I decide to photograph the effect. This is the tricky bit.

Most camera meters will try their best to give you an overall balanced exposure under such conditions, but the end result is often too light and unrealistic. This is not what I'm actually seeing. To regain the tones of the scene before me I use a crafty little trick: set the exposure compensation to -2 stops; in other words, force the camera to underexpose by two full f/stops below what it wants to give me. This will produce an exposure far closer to what is actually in front of my lens. Now, this works with Nikon camera bodies in Matrix metering mode. Whether it works in the same way with other makes is unknown to me, but it is something worth considering when faced with pre-dawn or dusk scenes.

300mm f/2.8 AF-S VR Nikkor (VR on) with TC-14EII converter. 1/60 second at f/4. -2 stops EV compensation. ISO 800. Monopod

A life form and its star...

2012-01-16T10:03:00.002Z

High pressure over much of the UK during the past day or so has resulted in a few of those special winter's days of clear blue skies and cold, bright conditions: time I took advantage of some early light.

I'm up well before dawn, and a swift look outside reveals stars in the sky. It's clear. I decide upon a super telephoto lens to (hopefully) capture the sunrise over the sea, but until I arrive at my chosen location I'm never sure if I have the right choice of optic(s) slung over my shoulder - there can be a distant cloud bank that so often lurks low on the horizon, which not visible from where I live.

I arrive at Southbourne cliffs in the pre-dawn and immediately know I have chosen wisely. No cloud! I make my way down to the beach; set up my camera on a monopod...and wait. I have fifteen minutes or so before the sun is due over the horizon at 8.04, so I spend the time photographing the half moon and making test exposures. I'm trying to anticipate how much exposure compensation to give my basic meter reading, but dial in a plus value as a starting point as I am shooting into the light. I will make adjustments on the fly.

The sun's disc becomes visible at the expected time and I start making photographs. All well and good, but I always feel that scenes like this need a little something extra, and I've taken to habitually using gulls to achieve this. Always a hit or miss technique, but again an obliging bird sails into the frame before the sun becomes too bright and the shoot is over.

300mm f/2.8 AF-S Nikkor with TC-14EII converter. 1/1600 sec at f/5. + 0.33 EV compensation. ISO 400. Monopod.

© 2012

Friday 13th...

2012-01-13T19:49:00.009Z

Well I ain't superstitious, sang Howlin' Wolf in 1961, and no black cat crossed my trail either, but for a moment the bad luck associated with the above day and date seemed to be playing a hand in the afternoon's proceedings. Having prepared my camera gear and dressed appropriately in thermal everything - maximum temperatures are expected to peak at 6ºC - my final check before leaving the house was the tyre pressures on my bike. It was at this point I thought things were beginning to work against me.

The dust cap on the rear wheel valve was somewhat recalcitrant as I tried to remove it for tyre inflation, but when it finally did yield it also took the valve itself with it as it came free. Nil desperandum: I simply replaced the tube with a fresh one and set off along the coast.

I make a number of stops for photographing whatever takes my fancy along the seafront of Poole Bay, Dorset, but it's the Twin Sails lifting bridge in Poole itself that really gets my interest, set against the winter sky. The bridge was slated to be opened this month, but from what I can glean that won't happen now until early March (the 9th was mentioned in conversation with a fellow snapper), but I'm lucky enough to be treated to a test closure shortly after I arrive (top).

Satisfied I had something of worth, I pack up and head home, but as I cycle along the edge of Parkstone bay it is evident there will be a sunset worth pointing a lens at, so I stop to make a number of exposures with a telephoto zoom lens as the sun dips below the distant hills of the Isle of Purbeck. The lone silhouette of a gull skimming the surface of the water makes the shot. Another successful image, the shooting location of which can be found below.

So, despite a slightly ominous start to today's outing things turned out rather well, dispelling the myth of the unlucky date. Of course, as the say in America: your mileage may vary.

Top: 24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/9. - 0.33 EV compensation. Polariser. ISO 400
Below: 70-200mm f/2.8D EX Apo Sigma lens. 1/640 at f/9. + 1.33EV compensation. ISO 200

© 2012

Reserved cormorants...

2012-01-07T22:00:00.000Z

After the (somewhat) recent blustery weather the weekend starts calm and clear, and I make my first visit for some months to the Stour Valley Local Nature Reserve, Dorset. I ride the entire length of the reserve, keeping an eye out for anything interesting (there are otters afoot, they say), but apart from emerging willow catkins there is little to point my lens at.

The area is largely deserted, apart from the odd fisherman along the river bank - surprising since it's a Saturday and the weather is bright - but it's the more expert variety that eventually gets my attention at the North west corner of the reserve. I stop to photograph electricity pylons reflected in the water (left), and notice several cormorants perched high up and drying themselves in the winter sunshine.

I switch lenses for the longest optic in my bag (why do I always have the big stuff at home when need it the most?) and zoom in to capture the scene in greater detail.

I had noticed this particular perch almost a year ago when I first visited the nature reserve, but either the birds or the light was not present when I was, so this time I relatively lucky, super-telephoto lenses notwithstanding, and get some acceptable shots (right).

Although very much in the grip of winter - and much colder days are yet to come, I feel - there are some signs of spring; particularly at Throop, where daffodils are up but not as yet open.

Top: 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/11
Right: 70-200mm f/2.8D Apo Sigma lens. 1/800 second at f/5.6.
ISO 200

© 2012

Sodium vapour and moonlight...

2012-01-06T21:31:00.005Z

It's way after dark before I decide to go out for a ride and a bit of photography, but having made the decision to travel as lightly as possible I decide against using a tripod and elect to shoot with available light.

I have six fast aperture lenses - the fastest being f/1.4, but on this occasion I dig out a little used lens that I bought some years ago when I still shot with film. For some reason or other this particular optic fell out of favour and it was high time it got some exercise.

I'm cycling along the seafront of Bournemouth, keeping an eye out for potential subjects, when my progress is eventually arrested by the buildup of wind-blown sand on the promenade: it's too deep to ride through. I push the bike for a hundred metres or so and take a number of photographs of a refreshment kiosk (long closed for the day: maybe the winter), but it's the scene behind me that produces a spark of creativity.

Light levels are very low, and despite the fact that I'm shooting with the lens wide open shutter speeds are appallingly low for hand held photography. The fact that I'm using a wide angle lens helps enormously to achieve a sharp image at such slow speeds, but I have to be careful with technique. My only real option is to rack-up the ISO to get something manageable. Now, the camera I am using is ancient technology in digital terms (5 years old) and huge progress has been made since those days in digital sensor arrays, and no doubt modern cameras would leave mine standing with high ISO settings, but I have little choice. Digital noise will be a problem.

Contrast is through the roof, so I switch to manual and take a spot meter reading from the sand beneath the light, and add a further 1⅓ stop exposure to my settings to stop the beach recording as a mid grey. I let the lamp burn out in the image. I also decide to leave the ghosting created by the lens as it adds to the atmosphere. I do attempt to correct the colour balance from the orange glow of the sodium vapour lamps used to illuminate the beach front after dark, but because it is a discontinuous spectrum it is not possible for a full correction. I thought you would like to know that.

20mm f/1.8 D EX DG Sigma lens. 1/20 second at f/1.8. ISO 2500

© 2012

Shadow and sand...

2012-01-05T19:10:00.001Z

Strong winds and rain have been a feature of the UK's South west over the past few days, causing damage to nature and property, but today there was a break in the cloud, leaving blue skies to shoot under. However, the winds remained, gusting up to 45mph (72kmh) along the coast.

Under such conditions I nearly always opt to visit the seaside for photography, but despite the wind there is no sea running, so no chance of dramatic images. Instead, I concentrate on wind-blown sand patterns and shadows as here on the seafront at Southbourne in Poole bay.

Travelling light with only one lens - as I was today - is always going to be a compromise: the photographer can rest assured that in the case of toting a single optic such as a wide angle lens then a telephoto would be more suitable, and vise versa. This time I had chosen a wide angle zoom lens for flexibility, but my eye was seeing detail that ideally required a 50mm lens (or short telephoto) to capture the effect I was after. As a result I have to adjust my eye and look for the bigger composition, however mundane. Fortunately the ripples in the sand and shadows thrown across it help make the foreground interesting.

12-24mm AF-S F/4 Nikkor. 1/200 second at f/11. - 0.33 EV compensation. ISO 200

© 2012

Obliging gull...

2012-01-02T19:08:00.000Z

The first decent light of the new year and I'm out on my bike for some photography. In fact it's a crisp winter's day with a stiff breeze, and conditions are ideal for water sports, so I head for Poole Harbour to see if there is any action. There is, of course, plenty to photograph, but I have numerous shots of kite and wind surfers and today I'm just not inspired.

The sky had remained a cloudless blue for most of the day, but during mid afternoon clouds roll in from the Southwest and the sky suddenly becomes more interesting than those rubber-clad figures scooting along in the middle distance. I change lenses and start photographing the cloud formations. Interesting as they are, ideally need something as a focal point. I keep making exposures until a gull obligingly flies into position to complete the composition. At that point I know I've got the shot I'm after.

The shower clouds disappear almost as quickly as they arrived, but by that time the light - and the water sports enthusiasts - have gone; closely followed by me.

24-70mm f/2.8G AF-S Nikkor. 1/800 second at f/8. + 0.33 EV compensation. ISO 400

© 2012

Night lights...

2011-12-27T18:03:00.002Z

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?

2011-12-18T16:05:00.000Z

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...

2011-12-17T18:18:00.000Z

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...

2011-12-13T17:43:00.001Z

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...

2011-12-10T20:49:00.000Z

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...

2011-12-09T17:31:00.000Z

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...

2011-12-09T11:47:00.001Z

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...

2011-12-03T23:02:00.000Z

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...

2011-12-02T10:00:00.000Z

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...

2011-11-27T17:41:00.002Z

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...

2011-11-24T18:36:00.002Z

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...

2011-11-19T18:38:00.001Z

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...

2011-11-17T18:10:00.002Z

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...

2011-11-12T19:46:00.003Z

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...

2011-11-10T18:07:00.003Z

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...

2011-10-28T17:59:00.003Z

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...

2011-10-15T20:38:00.001Z

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 on 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...

2011-10-14T18:00:00.002Z

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

2011-10-10T19:56:00.000Z

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

New post; no photo...

2011-10-06T21:13:00.002Z

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 memorials...

2011-10-03T21:57:00.003Z

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

Heave ho, me hearties!

2011-09-26T18:22:00.001Z

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...

2011-09-22T19:12:00.004Z

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 mode (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.

Well, it surprised me...

2011-09-21T18:24:00.002Z

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...

2011-09-18T19:29:00.004Z

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...

2011-09-16T18:16:00.000Z

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...

2011-09-02T19:36:00.003Z

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...

2011-08-22T19:28:00.001Z

Photographed today, these are some of the floral and written tributes being left for Flight Lieutenant Jon Eggling (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...

2011-08-21T19:12:00.006Z

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.

Red 4...

2011-08-20T20:07:00.002Z

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.

Bournemouth Air Festival 2011...

2011-08-19T19:28:00.002Z

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...

2011-07-03T19:28:00.001Z

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...

2011-05-21T17:30:00.000Z

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...

2011-05-13T17:59:00.000Z

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...

2011-05-06T18:49:00.001Z

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...

2011-04-26T18:55:00.001Z

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...

2011-04-25T22:35:00.000Z

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...

2011-04-10T18:35:00.001Z

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...

2011-04-08T18:13:00.001Z

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...

2011-04-07T16:59:00.000Z

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

Watery mural...

2011-03-28T14:51:00.000Z

Today's photograph is part of a mural, painted on the external sides of a water pumping station, in the Borough of Poole, Dorset. Painted by local students in 1998, it had the full support of Wessex Water (who's building it is), and received a special commendation in the prestigious Dulux Dimensions of Colour competition for that year.

24-70mm f/2.8G AF-S Nikkor. 1/1600 second at f/5.6. ISO 200

© 2011

Personal best...

2011-03-25T22:28:00.000Z

Everywhere I go today, there are people engaged in preparation for the coming summer months. Whether it be the installation of the RNLI lifeguard lookout posts, situated along the length of Poole Bay, or some much needed maintenance to watercraft in Poole harbour, Dorset (photo).

It was a busy day, shooting wise, and I cycle just over 49 miles to achieve it: a personal best for a day's riding. By some standards that may well be considered just "warming-up", but to someone who's idea of exercise used to be a game of chess, with the window open, something of a triumph.

300mm f/4 AF-S Nikkor. 1/2500 second at f/5.6. - 0.33 EV compensation. ISO 320

© 2011

Shameless pet photo...

2011-03-23T20:59:00.001Z

I'm making no bones about it - it's a pet photo. Once in a while I manage to get a better-than-average shot of my cat, and today is such a day. The rim lighting, plus the pastel tones of the background make for a decent animal portrait.

A touch of fill-in flash completes the effect.

24-70mm f/2.8G AF-S Nikkor. 1/250 second at f/4. - 0.33 EV compensation, with - 0.7 stop fill-in flash. ISO 200

© 2011

Diving for ragworm...

2011-03-22T18:54:00.000Z

Today, I spend an hour or so at Sandbanks, beside Poole harbour, Dorset, photographing gulls feeding. As the tide ebbs, these sea birds start feeding on ragworm as soon as the water is shallow enough to make successful dives.

This Black-headed gull has just surfaced from such a dive, with a catch in its bill. At this time of year the adult bird is starting to get its summer plumage, but contrary to its eponymous title, the head feathers are a chocolate brown, not black.

300mm f/4 AF-S Nikkor. 1/1600 second at f/7.1. - 0.33 EV compensation. ISO 400

© 2011

Vernal equinox...

2011-03-20T21:57:00.001Z

Spring, like autumn, is a transitional period as nature wakes up from winter, and for me one of the great photographic opportunities of the year. As the daylight hours increase insect life is more prevalent, fruit trees are in blossom and the appearance of wild spring flowers bring some much needed colour. As pale green leaves begin to appear on the trees during the next few weeks it will be time to photograph sunlit woodlands, carpeted with bluebells and wild garlic.

But its Poole harbour that is today's attraction for me. The weekend's "supermoon" has produced some exceptionally low tides, while the clear skies help things along. Ideally, I wanted to shoot scenes of colourful boats left high and dry in the late afternoon sunshine, but they were rather sparse for good compositions as many are still out of the water for the winter. Instead, I elect to photograph a solitary boat, making use of what reflections were available, as the sun sets over Brownsea Island.

Next weekend British Summer Time (BST) begins!

24-70mm f/2.8G AF-S Nikkor. 1/200 second at f/11. -0.33 EV compensation. ISO 400

Super moon rising...

2011-03-19T20:14:00.001Z

It's the closest it has been for 19 years, and although some foretell all sorts of strange events, the moon will create nothing more than unusually high or low tides.

Photographed at 19.39 this evening, our only satellite is seen here rising over the Isle of Wight, with the 751ft (229 metre) Chillerton TV transmitter to the right. It is difficult to get a crisp image as the moon's disc when it is this low in the sky as it is usually distorted by atmospheric turbulence, but the colour is accurate.

This "lunar perigee" sees The Moon a mere 221,567 miles (356,577 km) from the Earth, or 90% as close as it ever gets.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/80 second at f/5. -0.33 EV compensation. ISO 640.

© 2011

Underneath the arches...

2011-03-15T19:24:00.001Z

Graffiti: It has been around since ancient times - there are examples dating back to Ancient Greece and Rome - and is more or less ubiquitous these days. This form of expression is somewhat controversial, but I find some graffiti rather appealing. In fact, I'm going to devote some time and energy photographing the more amusing illustrations as an ongoing project.

This particular example is a stencil graffiti, a technique originating in the early 1980s, and was painted on the rear wall of the arched beach shelter at Alum Chine, Poole Bay, Dorset. This method is popular, as it greatly reduces the chances of the artist being caught.

24-70mm f/2.8G AF-S Nikkor. 1/1250 second at f/6.3. -0.33 EV compensation. ISO 200

© 2011

Earlier than last year...

2011-03-14T20:25:00.001Z

While parts of Scotland were digging their cars out of the snow this morning, the southern part, at least, of the UK was enjoying a spring day, with temperatures peaking at 12˚C.

As mentioned in a recent post, spring is estimated to travel from north to south at 8mph (13kmh), so it will be another week or so before northern regions can look forward to the daffodil and tree blossom displays, prevalent in the south.

Today's image is shot in the same place as my daffodil post last March - but ten days earlier. Here, all the flowers have bloomed, whilst there were numerous heads still to open in last year's photograph.

24-70mm f/2.8G Nikkor. 1/320 second at f/8. +0.67 EV compensation. ISO 400. Polariser.

© 2011

Not now, I've got a headache...

2011-03-07T19:32:00.001Z

The nesting season for a good many bird species has got underway: in this instance for the local Mallards at Throop, Dorset. Although these ducks form pairs during the autumn, this partnership effectively dissolves once the female lays eggs. However, males will still forcibly mate with unattached or isolated females (and even with those of a different species).

Unfortunately for this particular drake, the recalcitrant female is having none of it, and makes repeated evasive manoeuvres in a bid to resist his advances. I shoot several high-speed bursts at the peak of the action to capture today's image.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/10. -1 stop EV compensation. ISO 400

© 2011

The plough and harrow...

2011-03-06T18:55:00.001Z

The high pressure weather system that currently sits over most of the UK is a bonus to farmers and photographers alike - both taking advantage of the clear conditions and better light to work in.

Currently exploring potential locations for Spring photography, I'm peddling the local country lanes in search of something different. The past few weeks have proven fruitful in this respect, and have been duly noted, but today's image happened by chance.

It is late afternoon when I come across a field being ploughed in preparation for seeding at Holdenhurst, Dorset. There is, predictably, an attendant cloud of gulls in its wake, ready to take advantage of anything edible turned over by the plough. The tractor is also towing a harrow alongside the plough, breaking up any clods of earth left behind by the ploughing operation, giving the soil a finer finish.
Neat.

105mm f/2.8D Sigma macro lens. 1/2000 second at f/5.6. -1 stop EV compensation. ISO 400

© 2011

The duck season continues...

2011-03-04T16:17:00.000Z

The Ferruginous Duck (Aythya nyroca), above, is a scarce visitor to the UK, with as few as 30 recordings a year. I photographed this specimen on a pond at Throop, Dorset, during late afternoon. Sometimes confused with the female Tufted Duck, it is easily differentiated by its white, beady eye and white stern.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/8. - 1 stop EV compensation. ISO 400

© 2011

Under blue skies...

2011-03-02T19:00:00.004Z

Never photograph birds under anything but a blue sky - a piece of advice I was given a long time ago - is something I always try to adhere to. But although not alway possible or desirable - at dawn or sunset, for example - more often than not it increases the chance of producing images that are pleasing to the eye. This is especially the case here where water is involved. The ripples, created by the Tufted Duck, are highlighted by a clear sky and contrast nicely with the red reflections of surrounding trees and reeds.

Although bright-overcast conditions produce more saturated colours in photography, the water would not have taken on the vivid colours it has here, thus reducing the impact of the photograph.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1000 second at f/8. -1stop EV compensation. ISO 400. Monopod

© 2011

102 years, and counting...

2011-02-28T20:48:00.001Z

The blue plaque attached to the front of this Bournemouth seafront beach hut commemorates the first council-owned hut. The 7x7 foot "shed" - (number 2539) along with others, nearby - was built in 1909, and although some more modern pieces have been added over the years, the structure is largely original. It is the oldest public beach hut in the UK.

There are some 20,000 of these huts around Britain's coast - 1900 of which are situated along Poole bay, Dorset. This British institution is a development of the Victorian bathing machines, and by the 1920s they were firmly established as part of the seaside holiday experience. The huts are still rented out to tourists on a daily, weekly or yearly basis - £12, £55 and £1,375 respectively. There is, however, a five year waiting list for the privately owned ones.

24-70mm f/2.8G AF-S Nikkor. 1/160 second at f/6.3. ISO 200

© 2011

Dinner time...

2011-02-17T16:30:00.003Z

I spend most of the morning, and some of the afternoon, by the river in the Stour nature reserve - armed with a super-telephoto lens - but the only action I get is a fly-past by a cormorant. There was a kingfisher darting about, but unless it perches on something, you've got no chance of photographing one with a long lens.

I had packed up and was making my way home when I spotted the grey heron (photograph), eagerly eying-up a potential catch. As its attention was firmly centred on its next feed, I was able to get relatively close without spooking the bird. One strike: one meal.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/4.5. -0.67 EV compensation. ISO 400. Hand held.

© 2011

Starting over...

2011-02-14T20:11:00.003Z

Taken by the side of the Dorset Stour, today, the photograph shows the emergence of willow catkins. Hazle catkins have been hanging from the trees beside my local river for a week or two, releasing their pollen to the wind, and some insect life is also evident as the days grow noticeably longer and warmer. I have, as yet, to see any frog spawn in the ponds, but no doubt it's there.

Estimated to travel from south to north of the UK at 8 miles (13km) a day, Spring may well be early, and although February can still bring harsh conditions, it is a sign of things to come. Snow drops are visible at the side of country roads, and for the first time this year, daffodils are beginning to flower here and there.

105mm f/2.8D Sigma macro lens. 1/1250 second at f/10. -1 stop EV compensation. ISO 640

© 2011

Feed the birds...

2011-02-08T19:28:00.000Z

Today, there is almost spring in the air, as the clouds roll away and the sun shines. There has been evidence of the approaching season for a week or so, with the arrival of crocuses and the green shoots of daffodils. Even the temperature has risen, and for the first time this year I ride without a coat.

I photographed the man feeding black-headed gulls at Sandbanks, Dorset, this morning. Although I was right behind him, he seemed totally unaware of my presence; being totally absorbed in what he was doing. I just wish people wouldn't use bread, as it has little nutritional value for wildlife.

24-70mm f/2.8 AF-S Nikkor. 1/2000 second at f/8. -0.67 EV compensation. ISO 400

© 2011

(Kite)surf's up...

2011-02-06T18:30:00.000Z

As expected, the winds remain strong for the duration of the weekend, although the sea is not as wild as it was yesterday. Nonetheless, the kitesurfers are out in numbers at the same location, and this time I'm well equipped, lens wise.

Rather than just shoot away I opt to select the best performer, and it's not long before the best of the bunch becomes evident. Although this guy is making some impressive jumps out of the water, it's his moves nearer the shore that produce the most dynamic results.

300mm f/4 AF-S Nikkor and TC-14EII converter. 1/1250 second at f/5.6. ISO 640

© 2011

Fortune favours the brave...

2011-02-05T18:25:00.000Z

As yesterday, and quite possibly into the start of next week, low pressure and high winds are sweeping most of the country. In spite of this, there are those who are only too keen to take advantage of conditions. Frankly, I'm surprised some people are only too willing to get out onto the sea in 50mph (plus) winds, but they seemed to cope well enough.

I'm only carrying a short zoom lens on this afternoon stroll, so good action shots are out of the question, but I am able to photograph kitesurfers in preparation as they negotiate their way into the waves. If the conditions remain the same, I'll be back again, tomorrow, this time with a telephoto lens.

18-35mm 3.5-4.5D Nikkor. 1/160 second at f/11. -0.33 EV compensation. ISO 400.
Mono conversion in Adobe Photoshop

© 2011

With / without...

2011-02-04T16:35:00.000Z

From a bright, clam winter's day to heavily overcast skies and strong winds: the UK's weather does it again. With south- westerly winds gusting up to 50mph (80kmh) I am, once again, prowling the shoreline of Poole Bay, Dorset in search of the definitive storm image: once again, I don't find it.

It's easy to simulate bad weather conditions, just by underexposing a stop or so when taking photographs, but angry skies and a bit of flying surf will always be more convincing.

I'm using a clear filter in front of the lens while shooting, as it is easier to remove salty deposits from a flat piece of glass than the curved surface of the front element itself, but it is only during such adverse conditions that I use these acessories. At all other times my lenses are used as the designer intended - sans filtre.
Opinion is (strongly) divided amongst photographers about such practices, and the argument will rumble on ad nauseam, but they do have their uses. It does reduce the risk of scratching a lens element when cleaning in a less-than-ideal environment of airborne salt and sand, and if things get really bad you just take the filter off. Common sense must prevail from time to time.

50mm f/1.8 AF Nikkor. 1/200 second at f/11. -0.33 EV compensation. ISO 400

© 2011

All Saints, West Parley...

2011-02-03T18:48:00.000Z

For the first time since mid-October I'm able to have the use of my favoured standard zoom. It's a long story - something I'm not going into, here - but I have missed it when shooting. Its stand-in optic was a Sigma variant of the same zoom range and f/stop, but if the truth be told, the Nikkor blows it into the weeds when it comes down to optical quality and colour rendition.

So, to check that all is well, I return to one of the locations that I found earlier in the week: this time with good light. The photograph is of All Saints, at West Parley, Dorset. Situated next to the Stour river, the main part of the church dates back to the 12th century, whilst the current bell turret dates from the late 19th.

Oh, yes: the lens checks out wonderfully.

24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/11. +0.67 EV compensation. ISO 320

© 2011

Bus stop graffiti...

2011-01-30T20:02:00.001Z

A crisp winter's day, and I spend a good part of it location searching. This is where a mountain bike is worth its weight: I'm able to follow tracks and paths that's just not possible in a car, and cover a lot of ground while I'm at it.

Today's photograph, however, was taken spontaneously after I spotted the graffiti on the inside of a bus stop, West Parley, Dorset. Whilst not quite a Banksy, it did make me get off of my bike to record the effort. Whether "NINE" is a signature, or a statement, I have no idea.

While local councils take steps to eradicate this sort of activity - in some cases almost as soon as it appears - there is evidence that the image has been painted-round, so as to preserve it.

24-70mm f/2.8 EX DG Sigma lens. 1/250 second at f/4.5. +0.67 EV compensation. ISO 400

© 2011

Kitesurfer, Sandbanks...

2011-01-25T16:10:00.000Z

It can often be the case that unless a photographer lugs all of his or her lenses around, shots will be missed. There have been numerous occasions when I've not been able to go wide enough, or long enough, and it's certainly not practical to carry everything on a bike. Today, my luck was in.

Although I was still only carrying three lenses, conditions (plus a good deal of skill on behalf of the windsurfers) came together in the way of light, tide and wind direction. My longest focal length available to me was 200mm, but it proved long enough to capture some deft moves from one particular kitesurfer at Sandbanks.

The image here is from a sequence, and shows him at the top of his manoeuvre (I'm sure they have names for all this), with the town of Poole, Dorset, in the background.

70-200mm f/2.8D Apo Sigma lens. 1/1250 second at f/4.5. -0.33 EV compensation. ISO 200

© 2011

Not what I expected...

2011-01-24T21:17:00.000Z

I'm in Poole, Dorset, today - primarily on business - but also on a reconnaissance mission to check out suitable angles to photograph the progress of the Twin Sails Bridge, due to be opened in 2012, at a (current) cost of £37m.

It's whilst riding from one location to another that I spot the ivy climbing a neglected wall by the roadside, and stop to get some shots. Oddly, the wall was a lemon hue, not white: the camera recorded the colour inaccurately. This is the first time that I've experienced the auto white balance setting not giving the result I expected, and although I can correct the error using Adobe's RAW converter, I think better of it.

50mm f/1.8 Nikkor. 1/200 second at f/5.6. -0.33 EV compensation. ISO 400

© 2011

Sand patterns and tide pools...

2011-01-19T17:25:00.001Z

A second day of crisp, winter light, and another very low tide, and I have the makings for some dramatic wide angle shots along the beach at Boscombe, Dorset.

I had been shooting seafront architecture at Sandbanks, Poole, but the patterns in the sand left by the retreating tide, lit by the low angle of the late afternoon sun produce the best images of the day.
I'm shooting at the widest setting of my zoom lens so as to include as much foreground as possible, but instead of correcting any inherent distortion the lens produces, I decide to leave it - hence the slightly bent appearance of the pier.

12-24mm f/4 Nikkor. 1/125 second at f/11. +0.67 EV compensation. ISO 640. Polarising filter.

© 2011

Raffles...

2011-01-18T21:06:00.000Z

This sad little boat has been in this condition since last summer. It is holed on the starboard side and the keel has become embedded in the mud. Each successive tide does more damage for the unfortunate owner, who, apparently, can't be traced.

I was talking to a sea-going local, today, who has been give permission - by whom, he didn't say - to try and salvage the forlorn vessel. It seems such a waste to leave it to the elements, rotting away.

So, if you're out there reading this - owner of "Raffles", moored in Poole Harbour, Dorset - get in touch with the North Haven Yacht Club, and rescue your boat, before it's too late.

12-24mm f/4 Nikkor. 1/640 second at f/8. -0.33 EV compensation. ISO 200.

© 2011

Wipe-out...

2011-01-08T19:35:00.000Z

The first bit of decent light since the start of the new year, and I'm out with a long lens and heading for Southbourne beach, Dorset. It is here that the waves, no doubt increased in size by the southerly wind, are somewhat larger than those to be found on the purpose-built surf reef two miles or so to the West.

Consequently, it had attracted a small number of committed surfers, despite the cold, and it is one such participant - photographed here - experiencing a wipe-out.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/4. -0.33 EV compensation. ISO 400

© 2011

6,000 and counting...

2011-01-04T19:03:00.000Z

It was two years ago today that I bought a bike, primarily as a photographic asset, and clocked-up 6,000 miles (9,656km) on it during this afternoon's ride to Poole Harbour, Dorset. This is where I photographed today's image of a lone dingy on a falling tide. I was determined to mark the occasion with something.

The surface of the harbour was still, and once again I had a high contrast, minimalist result in mind as I fired the shutter. Moments later a breeze sprang up and ruffled the water, and the calming effect was lost.

24-70mm f/2.8 EX DG Sigma lens. 1/160 second at f/8. +0.33 EV compensation. ISO 400. High contrast conversion in Adobe Photoshop

© 2011

Gate...

2011-01-01T18:21:00.001Z

It has been some time since I've produced any photographs, but it's not for the want of trying. Unless there are exceptional weather conditions, dramatic light or something out-of-the-ordinary, winter can be a hollow time for a landscape shooter.

To start the new year off, I am once again out on my bike in search of something worthwhile, but once again the light is flat and uninspiring, mainly because of the cloud cover. It is not until I come across the landing jetty of the East Dorset Sailing Club, situated next to Poole Harbour, that things start to get interesting. The low tide is revealing the whole bare-bones of the structure, and before I could get off the bike I'm thinking in monochromatic terms.

Whilst making a series of photographs I make the mental note to give the final result more graphic "bite" using Photoshop, rather than retain a full range of tones, and decide to make digital Lith, or high contrast, pictures. This involves removing almost all of the mid-tones: a technique that can transform the most mundane of subjects.

85mm f/1.4D Nikkor. 1/400 second at f/5.6. ISO 400

© 2011

Juxtaposition and colour...

2010-12-11T20:28:00.000Z

Even on the greyest winter's day I can always find something to photograph if I try hard enough, and I make the most of what's available to produce a simple, but graphic, image.
Apart from the bold primary colours of blue and red, which I employ as part of the composition, there is also the juxtaposition of the geometric shapes of the window and traffic sign to create tension. This forces the eye to keep moving from one shape to the other, unable to settle.

12-24mm f/4G Nikkor. 1/80 second at f/5.6. -0.33EV compensation. ISO 400

© 2010

Autumn leaves...

2010-12-10T20:25:00.000Z

The snow and ice that blighted the southern counties of the UK a week ago has passed, and at the moment the worst case scenario we have to deal with is overnight frosts. Air temperatures, although dipping below zero during the night, are making a respectable recovery during the day, helped no doubt by the cloud cover that blankets the South.

In spite of the mercury reaching 6˚C, the lake of Poole Park, Dorset, has a thin layer of ice - in places thick enough to support the weight of a gull - and it's here that the autumn leaves, trapped beneath the frozen surface, catch my eye.

85mm f/1.4D Nikkor. 1/125 second at f/2.8. -0.33 EV compensation. ISO 640

© 2010

The Isle of Wight polar bear...

2010-12-09T21:06:00.001Z

Although nothing more than an optical illusion produced by the chalk cliffs of Alum and Scratchell's bay when viewed from the right angle, the Isle of Wight polar bear is known to most of, but surprisingly not all, the local inhabitants of Poole bay, Dorset. The effect is only apparent from a specific stretch of coast, whilst residents of the island are generally blissfully unaware of the effect.

I photographed the trompe l'oeil from Southbourne beach this afternoon, with the Needles rocks and lighthouse, some nine miles distant, to the right.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1250 second at f/5. -0.33 EV compensation. ISO 400. Monopod

© 2010

The cold snap continues...

2010-12-06T19:30:00.000Z

All of last week's snow has disappeared: melted by temperatures that soar to just above freezing, but the cold snap continues, and winter begins to set in for the duration. However, the winter solstice is a little over two weeks away...not long, now!

At least we have the sun back in the southern half of the UK, but despite this most outdoor areas are relatively people-free, particularly during the week. In the sunshine it feels comparatively warm, but once the sun dips low on the horizon the cold soon becomes apparent, with maximum temperatures reaching 2˚C.

It's mid afternoon by the time I arrive at Poole harbour, and the tide is going out, but it's not until the sun has nearly set that the light gets interesting. In today's photograph Brownsea Island can be seen on the right horizon, and the Sandbanks peninsula - which has, by area, the fourth highest land value in the world - on the left.

12-24mm f/4G Nikkor. 1/160 second at f/11. +0.33EV compensation. ISO 640

© 2010

Flakey activity...

2010-12-02T19:46:00.000Z

Today, the "big freeze" came to town. It has been getting colder all week: now we have snow. The proximity of the Hampshire Basin usually spares East Dorset, and it is something of a rarity at this time of year, but I estimate some 4 inches (10cm) fell overnight.

Not about to let a photo opportunity like this slip by unrecorded, I raise myself from my sick bed (I've been host to someone's flu virus for the best part of the week) and get out of the house with my camera before the sun rises.
Sunrise is in name only this morning as the leaden sky is still yielding light snow as I make my way to the coast. On arrival I'm surprised that the sandy beach of Poole bay is covered in snow, making the whole scene a fusion of grey and white: There is very little colour, but like sunlight, snow can transform a landscape.

Situations like this need particular attention to exposure if the snow is to be recorded as white, not a dirty grey. Even the most sophisticated camera meters can be fooled under such circumstances, so I critically base all my exposures on the histogram displayed on the rear screen of my SLR. It turns out that increasing exposure by around 1 stop over the suggested (matrix) reading gives the results I am after.
The two pictures included here were shot this morning near Fisherman's Walk, Southbourne.

24-70mm f/2.8 EX DG Sigma lens. Monopod.

Top: 1/80 second at f/13. +1 stop EV compensation. ISO 800
Below: 1/100 second at f/11. +1 stop EV compensation. ISO 800

© 2010