Winter light at its best...

Since the beginning of the week conditions have been poor in the south, with rain and leaden skies, making photography difficult - but not impossible. Weather forecasts have been no help either: they indicate sunny periods, but nature refuses to deliver. Today, I choose to ignore precipitation maps and go outside to get my boots muddy on Stanpit Marsh, Dorset.
It is the third time I've been at the location in as many days, and this time I think I'm going to get some light worth using. I do.

This, and the image in my previous post, illustrate the way light can dramatically transform a landscape. Shot from the same spot and with the same lens, this is the kind of photograph that only winter light at its best can produce. Apart from that, it is just a case of being there and recording what develops in front of me with a camera. I take a number of shots as the light moves across the scene, but It's over all too quick and the light has gone. The cloud breaks again later in the afternoon, but the setting sun is now too heavily diffused to be effective.

24-70 f/2.8 EX DG Sigma lens. 1/160 second at f/11. -0.33EV. ISO 640. 0.9 grey grad filter.

© 2009

Let it rain...

Today it rained. Good; it allowed me to get in front of my iMac and start editing all the images I have shot during the past week - but at the same time keeping one eye on the weather satellite images. By the end of the morning I've completed the first brutal edit and backed up the RAW files to external devices... but that weather forecast looks more and more promising.

It's early afternoon when I set out in the rain to visit Stanpit Marsh, east of Wick Fields, Christchurch. The cloud is supposed to clear by 3 pm - but it doesn't. Either I've misinterpreted the forecast, or it's just simply wrong. The rain does let up for a short while, enabling me to shoot something, despite the poor light, but I've already decided to convert anything I photograph to mono in Photoshop, before I make any exposures. The picture is of the salt marsh reed beds, with a distant Christchurch Priory on the horizon.

24-70 f/2.8 EX DG Sigma lens. 1/100 second at f/8. -0.33EV. ISO 400. Mono conversion in Photoshop CS4.

© 2009

Winter sea defences...

Ignoring the ever increasing backlog of photo files that need some sort of attention I'm out of the house before dawn, and riding into an eye-watering easterly wind; this time towards Christchurch Harbour.
The sun rises at 8.09 am as a hazy ball - no strong directional light - so I search out a scene to include the sun in the composition. I shoot a number of images of a cormorant perched on a groyne marker, drying its wings, but it's a rock groyne itself at Hengistbury Head that produces the best image of the morning.

12-24 mm f/4G Nikkor. 1/250 second at f/11. +0.33EV. ISO 400. 0.9 grey grad filter.

© 2009

Winter and the English countryside...

Today's venture is to return to Studland to photograph Little Sea, but arriving during early morning it soon becomes obvious that the light is from the wrong direction for my chosen location. I make the decision to return during mid afternoon and push on to Corfe Castle.
During the ride I have the idea of replicating the image I made on the Summer Solstice this year, and although I have no reference print with me to match the view, I do remember the location.
Once in position and set up I immediately take the photograph published here, my attention drawn to the light as it moves across the fields. Although I spend half an hour or so taking pictures, once again it turns out that the first shot is the best of the sequence.

24-70 mm f/2.8 EX DG Sigma lens. 1/125 second at f/11. -0.33EV. ISO 200

© 2009

Double rainbow...

Initially, I planned to do nothing today - well, not go out and shoot. Sad as it is, a photographer these days can spend more time in front of a computer than actually taking photographs. Apart from editing and processing selected images, there is the need to back-up files (I use three external hard drives for the purpose, plus DVDs for hard copy), and catalogue them so they can be found at a later date.
But I'm not in the mood: yesterday's images inspire me to go out for more. I make an impromptu visit to the Studland Peninsula, Dorset, but I'm sheltering from regular showers as soon as I arrive. I'm trying to photograph Little Sea, an inland water, once salt, now fresh, but things are not coming together. I consider packing up and going home, but keeping an eye on the lightening horizon to the west during one heavy bout of rain gives me hope. I may get a rainbow.
The shower passes and the light does its stuff, and against the dark sky I get not one, but two rainbows - a dimmer secondary bow outside of the primary - with the colours reversed.

12-24 f/4G Nikkor. 1/250 second at f/11. -0.33EV. ISO 640. Polariser.

© 2009

Yule-tide festivities...

It's been a busy day from a photographic point of view, so with a Miles Davis CD playing through hot valves I pour myself a (ginger) beer - I gave up alcohol over 5 years ago - and begin:

The Yule-tide festival gets off to a good start this morning with another visit to Christchurch Quay, on the Dorset Stour. I've visited the location a number of times over recent weeks in an effort to photograph the priory, but the light was never as I wanted it. Persistence finally pays off and the dawn light is perfect. Although I make a number of photographs it's the first exposure, included here, that works the best.

Forgoing the traditional broadcast of the Queen's Christmas Message to the Commonwealth I return to the area during late afternoon, in search of the elusive Little Egrets that inhabit nearby Wick Fields. Over the past few weeks I've identified their preferred feeding grounds, so now it is just a case of turning up, suitably equipped, and wait.
Knowing an animals behaviour plays a large part in successful wildlife photography, and again diligence has its rewards. Whilst still too far away to get good feeding images, I do get several opportunities to capture this shy bird in flight as the sun sets.

Top: 70-200mm f/2.8 EX Sigma lens. 1/200 second at f/8. -0.33 EV. ISO 400
Bottom: 300mm f/2.8 AF-S VR Nikkor and TC-14EII converter. 1/2500 second at f/4.5. -0.67EV. ISO 400

© 2009

Starburst...

Anticipation, and knowing how your gear performs, plays a significant part in successful landscape photography. The early morning Met Office satellite sequence confirms the overnight cloud bank covering the country will clear the coast by dawn, and I'm in position on the Dorset Stour before sunrise, taking stock of the situation.
It's clear that the sun will break over the aforementioned cloud while still low in the sky, and the standard zoom lens I choose to photograph the scene is a deliberate choice, as I know it will produce a starburst around the sun when it appears. Most lenses will produce the effect when stopped down sufficiently, but this particular optic creates it more readily, with minimal ghosting.

24-70 f/2.8 EX DG Sigma lens. 1/160 second at f/11. ISO 400

© 2009

The long and the short...

The early morning frost that I anticipated never materialised, despite below zero overnight temperatures. Having made a series of images of Christchurch Priory as the dawn broke I then move on to my secondary location: Christchurch Quay.
It's here that I photographed the swan. It had not been my initial intention to get such an image, as I was shooting other subjects with a fisheye lens, but the swan, only inches from the lens, presented the opportunity, and I took it.
Rather than try getting myself down to ground level I opted to set the lens to minimum distance focus and rested the camera on the grass, taking pot luck with the framing. The onboard flash helped balance the exposure.

The second image, shot at Wick Fields during late afternoon, is of the elusive Little Egret that I tried to photograph yesterday. This time I was equipped with a super-telephoto lens and matched converter. The bird was obviously puzzled as it slipped around on the frozen water, in search of food.

Both images represent the extremes of the focal lengths I have available. While it is the norm to shoot wildlife with long lenses, it's far less common to get results with fisheyes.

Top: 10.5mm f/2.8 Nikkor fisheye. 1/250 second at f/11. -0.67EV. -1.7 stop flash compensation. ISO 320
Bottom: 300mm f/2.8 AF-S VR Nikkor (VR off) and x1.4 TC-14EII converter. 1/1250 second at f/5. -0.67EV. ISO 250. Monopod

© 2009

Stone and ice...

Winter begins to set in with a vengeance as snow disrupts eastern and southern parts of the UK, while temperatures drop below zero Celsius. This is compounded by a brisk northerly wind which makes it feel colder still.
I spend part of the afternoon attempting to photograph a Little Egret feeding amid the frozen waters on Wick Fields, Christchurch, but it's the detail images I shoot that prove to be the most successful.
The stone, picked out by the late afternoon sunlight, contrasts with the reflected blue of the sky on the surface of the frozen water, with submerged vegetation providing added texture to the image.

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

© 2009

Wick fields...

Today, I spend most of the daylight hours in Wick Fields on the southern shore of the Dorset Stour, just as it enters Christchurch Harbour. The area is an important part of the Hengistbury Head Nature Reserve and Site of Special Scientific Interest, and as it has not been improved by agriculture it is regarded as 'ancient grassland'.
As yesterday, the light is useable all day, but it's during late afternoon that it becomes the most spectacular. The photograph of Christchurch Priory was shot through the reed beds, which are home to an ever growing number of nesting birds, including the rare Dartford and Cetti's Warblers. A herd of Galloway cattle are free to graze, helping to manage the land.

24-70 f/2.8 EX DG Sigma lens. 1/2000 second at f/4. -0.33EV. ISO 400.

© 2009

Days like this...

At last, some light worth shooting! High pressure over the UK is producing crisp winter weather: low temperatures, and enough cloud breaks to make the light interesting.
I start the day before sunrise, cycling along the coast towards the Sandbanks peninsula, Dorset, which is where the first photograph was shot. There were a number of large vessels leaving Poole Harbour, and I opt to shoot into the light for a more dramatic effect.

The blue plaque, mounted on a gate post at Haven Point, commemorates the work of Guglielmo Marconi in the Sandbanks area. I include it here as today is the anniversary of his first transatlantic transmission from Cornwall (UK) to Newfoundland (now part of Canada) in 1901.

The afternoon is spent riding along local country lanes near the Dorset Stour. The recent flooding has subsided and the air is full of evocative sounds and smells. My last stop before the light goes is Throop Mill. There has been a mill on this site since the 11th century (it's mentioned in the Doomsday Book), but the current Grade II listed building dates from the 19th century. It ceased production in 1972 but still retains much of its machinery.
Restoration work, announced in September, is to transform the building into a heritage centre.

Top: 70-200 f/2.8 Sigma lens. 1/800 second at f/8. -0.33EV. ISO 250
Middle: 70-200 f/2.8 Sigma lens. 1/160 second at f/5.6. -0.33 EV. ISO 250
Bottom: 24-70 f/2.8 EX Sigma lens. 1/640 second at f/8. -1 stop EV. ISO 400

© 2009

Flooding...

November has been the wettest month on record in the UK, and more heavy rain overnight goes some way to making December a contender for that record. Although somewhat swollen by all the rain, the millpond at Throop and the Dorset Stour itself have yet to burst their banks: but the ground is heavily waterlogged on surrounding fields and lanes, resulting in localised flooding.

The submerged track in the photograph leads away to the east from the Pig Shoot and Throop Ford (now long gone), towards a second Ford - still intact - that crosses the Leaden Stour and continues on to Hurn.

12-24 f/4G Nikkor. 1/160 second at f/11. -0.33EV. ISO 200.

© 2009

December coastline...

Although an exaggeration, it seems that it's been raining continuously since the middle of last month, here in the UK: not too conducive for outdoor photography. After all, there's only so much bad weather shooting I can tolerate without getting something spectacular.
However, the Met Office weather satellite image looked promising on the display of my iMac at 6:00 am today, but once outside and on my bike I'm forced to shelter from rain.
This turns out to be just a shower, and as the rain cloud moves further along the English Channel it leaves behind broken cloud to the west. I ride on in the gloom of pre-dawn to Hengistbury Head, at the eastern end of the Dorset coast, primarily to photograph any progress being made with the sea defences (last post), but it being a Saturday there's little activity.
Eventually the sky clears, and although a brisk, cold wind continues blowing - it never seems to stop, these days - the clouds part for long enough to allow dramatic light to fall on the windswept coast (image), but it doesn't last long before the next weather front comes in off the Atlantic, taking the light with it.
At this time of year good light is often fleeting, and it's down to good fortune (and being prepared) to shoot any worthwhile landscape images. But then it always is.

24-70 f/2.8 EX-DG Sigma lens. 1/320 second at f/11. -0.67 EV. ISO 400.

© 2009

Dorset Coast Protection Works 2009/10...

The coastal protection work enters its next phase on Southbourne Beach, Dorset, with the replacement of the damaged wooden groynes ( #51 and 52), that were built 35 years ago to reduce longshore drift. The material used is locally sourced Portland Stone rock armour, and the work is expected to be complete by February next year (weather permitting) at a cost of £800,000.

As well as slowing the erosion of the coastline, the groynes will, over time, become colonised by a range of sealife that is adapted to 'rock pool' conditions.

18-35 mm f/3.5/4.5 AF-D Nikkor. 1/200 second at f/11. +0.33EV. ISO 400.

© 2009

Hole in the sky...

There's something about seascapes when shot, or in this case, converted, to monochrome, especially when the light is dramatic. Although not a repeat of last weekend, the weather remains unsettled - and often stormy.
Arriving just after sunrise I only get a few minutes of light at Hengistbury Head, Dorset, before the next front comes in from the southwest, bringing with it strong winds and rain. I continue shooting for an hour or so, but it's the early shots that are the best of the day.

70-200 f/2.8 Apo Sigma lens. 1/3200 second at f/5.6. -0.33 EV. ISO 400. Converted to mono in Photoshop.

© 2009

All clear...

The colours and arrangement of the child's abandoned beach bucket in the early morning light catch my eye (image), as I ride along the sea front at Bournemouth today.
Yesterday's storm has passed, and there are light winds and blue skies: but it's not over yet. The Met Office predicts more unsettled weather in the coming week, although not as severe as the past day or so.

50 mm f/1.8 AF Nikkor. 1/320 second at f/10. -0.33 EV. ISO 400.

© 2009

Autumn storm...

The southern half of the UK has been battered by the first storm of the winter months this weekend, with heavy rain, flooding and winds gusting up to 100 mph (161 km/h) in the English Channel, causing disruptions to travel and structural damage to buildings. This has made bike riding too hazardous, so suitably attired I set out on foot for some images of people struggling against the elements.

I choose the approach to Bournemouth Pier for my location and try to find a sheltered position to watch and wait, out of the gusting wind, which is strong enough to put walkers off balance. The rain, plus sand whipped up from the beach stings any exposed skin every time I change position to get a better angle. Not the most comfortable of conditions for photography: being battered by the squalls makes holding the lens steady almost impossible, and I have to rely on fast shutter speeds to get sharp images. Keeping the front element of the lens clear of airborne salt spray is a constant vexation, but in these circumstances I use a protective filter in front of the lens, which makes cleaning easier. Challenging as all this is, I enjoy shooting under such adverse conditions, getting pictures that add another dimension to my photography.


Top: 70-200 f/2.8 Sigma Apo lens. 1/1600 second at f/2.8. ISO 800.
Bottom: 50mm f/1.8 AF Nikkor. 1/500 second at f/5.6. +0.33 EV. ISO 320

© 2009

Autumn has arrived (in the UK)...

The mild conditions that have been prevalent across the UK for the past month came to an abrupt end today, with strong winds and dropping temperatures, and in many places, heavy rain. Dorset, at least where I am, was spared the precipitation for the time being.
Not one to be daunted by a light breeze (30mph/48kmh winds) I set out on my bike for some seasonal images.

My first call was the Sandbanks area of Poole Harbour. The tide is out when I arrive, and gulls and oyster catchers are probing the exposed sands for food. Watching the behaviour of these birds reveals a clear hierarchy when it comes to feeding. The larger gulls tend to ward off the smaller birds from potential feeding sites. While this may be expected in the grand scheme of things it's more disconcerting to see larger gulls harass and chase another (smaller/younger) bird that has made a catch, often forcing it to drop its meal. This is then snapped up by the pursuing bird. Fascinating to watch, but too far away to photograph with any degree of success.

Although I ride over twenty miles looking for suitable subjects the overcast conditions remain uninspiring, and it's not until I'm on my way home that I make any exposures at all, capturing the last rays of daylight as the sun sets behind the Isle of Purbeck hills (image) at 4.35pm.

300 mm f/2.8 AF-S VR Nikkor (VR off). 1/6400 second at f/4. -0.33 EV. ISO 200.

© 2009

Lens rotation...

Over time a photographer will accrue an ever growing array of lenses. I'm one of those photographers: my lens arsenal currently numbers 16 optics - from fisheye to super-telephoto (and there's always room for one more).
Consequently, some get used less than others: in particular the specialist glass such as those mentioned above, so it becomes necessary to rotate the lenses, just to give them some use. Today, I plump for the long end of my lens pool, and take the 300mm f/2.8 out for some afternoon shooting. This lens weighs in at over 6lbs (2.8 kgs) on its own, and with the camera body attached it soon becomes a strain on the arm muscles when shooting hand held for prolonged periods. This downside is more than offset by the superb image quality the lens is capable of - even when used at maximum aperture.

I ride to Poole Harbour, half expecting to photograph water sports, but in the back of my mind I know conditions are far from ideal, as the tide will be out and there will be little, if any, wind to take advantage of.
I was right on both counts: there was a lone kite surfer waiting on the shore, and two wind surfers way off in the distance, none of which were inspiring subjects - so I concentrate on birds.
As ever, there are the near-ubiquitous black headed gulls, gliding in search of an easy meal. The one in the image is in winter plumage, belying its name. They only get the characteristic black head (in fact, it's dark brown) during the summer months.

300mm f/2.8 AF-S VR Nikkor (VR off). 1/2000 second at f/2.8. -0.33EV. ISO 200.

© 2009

Windsurfing, Poole Harbour...

British Summertime comes to an end today, and the weather bears testimony to this, with winds from the west up to 30 mph (48kmh) although temperatures are a respectable 16º Celsius. Checking the tide tables I know conditions are ideal for kite and windsurfing, so with a super-telephoto lens in my bag I cycle to Poole Harbour, Dorset, to get some action shots.
On my arrival there are a good number of participants, either in preparation, or in the process of taking advantage of the conditions. As is common these days, there are those that are obviously experienced and those who are taking their first steps(?) with instruction in water sports. The fact that the tide is high allows the surfers to come closer to the edge of the harbour, and this enables me to get a number of tighter shots of the more proficient practitioners.





300 mm f/4 AF-S Nikkor.

Top: 1/1600 second at f/5.6. ISO 400
Below: 1/2000 second at f/4. -0.33 EV. ISO 400

© 2009

October sunrise...

Early mornings are now noticeably cooler - more so as the wind is blowing directly from Scandinavia over the weekend - and a hat, gloves and fleece are de rigueur for bike riding (along with streaming eyes - I do wish I could find a way of preventing this during the winter months).
Although sunny conditions are forecast it doesn't look good as I peer out of the window just before dawn, but a gap in the cloud just above the rooftops to the east hints at the chance I will get something.
I have to be quick: this is why my mountain bike is the best photographic accessory I have. It allows me to get into position far quicker than I ever could on foot. As it is I only just make it to the coast in time for the few minutes of dawn light available before the sun climbs above the Isle of Wight and disappears behind the cloud bank. In ten minutes it's all over.

50mm f/1.8D Nikkor. 1/500 second at f/5.6. +0.33 EV. ISO 200.

© 2009

Seaweed...

This afternoon I ride to Poole Harbour, just to photograph whatever catches my eye. In this instance a piece of seaweed, on the shore in the afternoon light. What attracted my eye were the shapes created as the slack tide lapped around the fish-shaped algae, and the shimmering effect on the water.

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

© 2009

Light and shadow...

For many years now modern cameras have had sophisticated light meters built into them to assist the photographer. These meters, although by no means foolproof, more often than not will give you a better exposure than your best guess. While this allows the photographer to concentrate on the subject without the worry of constantly making exposure adjustments, there are times when switching to manual control gives the best result.
Late afternoon sun, passing through cloud, was lighting the headland of Hengistbury Head, Dorset - the rest of the scene was in shadow. By exposing just for the the lit area I was able to render the shadows much darker than would otherwise appear if I let the camera make the decisions and direct the eye to fall where I want it to.

12-24 f/4 AF Nikkor. 1/250 second at f/11. ISO 200. Mono conversion in Photoshop.

© 2009

With courage, nothing is impossible...

An early morning ride along the coast brought me, once again, to Poole, Dorset, and it's a recently unveiled sculpture that I've come to photograph. Situated in front of the RNLI headquarters, it commemorates the 778 lifesavers who died at sea.

Designed by Sam Holland, it depicts a figure in a small boat pulling another from the water, and was unveiled by the Duke of Kent earlier this month. The sculpture is over 15 feet (4.5 metres) high and carries the family motto of the RNLI's founder, Sir William Hillary: "With courage, nothing is impossible", as well as a list of the names of those volunteers who died trying to save others.

The RNLI charity has saved over 137,000 lives since it's foundation in 1824.

12-24 mm f/4G Nikkor.
Top: 1/1000 second at f/11. -.033 EV. ISO 200.
Below: 1/500 second at f/11. -0.33 EV. ISO 200

© 2009

Poole Park, Dorset...

My mountain bike has suffered a breakdown in the form of a broken spoke, resulting in the somewhat distorted rim of the rear wheel. It will be out of commission for around a week, so it's back on the hybrid bike for transport - that, or nothing.

Being restricted as to where I can ride I keep it simple and pay a morning visit to Poole Park, Poole, Dorset. There are various resources to keep a visitor entertained dotted around the area; restaurants and cafés, the boating lake and resulting variety of waterfowl, or the narrow gauge railway - not to mention Poole itself, just a few hundred yards away - but it's the Poole Radio Yacht Club (image) that gets the attention of my lens. The club, established in 1950, organise races for experienced yachtsmen or provide tuition for beginners, and sail boats in five classes.

24-70 mm f/2.8 EX DG Sigma lens. 1/400 second at f/8. -0.33 EV. ISO 400. Converted to mono in Photoshop.

© 2009

Purbeck Way...

I don't advocate photography during the middle of the day: even at this time of year the light is just too harsh when the sun is at its highest. But on the odd occasion it does have merits.

I take the same initial route as Monday, starting at Handfast Point and Old Harry. Climbing along "Old Nick's Ground" I reach the start of Purbeck Way. By now I'd already decided to ride on to Swanage on the Dorset coast. It's mid-morning and the sky is cloudless, but by the time I reach the obelisk on Ballard Down cumulous clouds are casting moving shadows across the Purbeck hills, and the opportunity is too good to pass up.
The patterns of light and shade transform the landscape, and I spend an hour or so capturing the forms created and the features picked out by the sun.

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

Top: Marker at the start of the Purbeck Way (with Swanage in the distance). 1/80 second at f/11. +0.3 EV. ISO 320.
Below: The obelisk and Currendon Farm (right). 1/100 second at f/11. -0.33 EV. ISO 320.

© 2009

The Obelisk on Ballard Down...

It's the last day of summer in the northern hemisphere, and as the weather remains good I decide to make the most of it with a bike ride. Still undecided as to where exactly I wanted to ride to, I cross to Studland on the ferry and continue west. I eventually make the decision to visit Handfast Point: the beginning of the eastern end of the Jurassic Coast.
Once there I make a number of photographs of Old Harry Rock and surrounding area but continue on, riding the 2½ miles uphill along Ballard Down. I toy with the idea of descending into Swanage, but it's the obelisk that eventually gets my attention.

The last time I passed this structure was in June, which at the time was festooned with hill walkers and the like taking a break for refreshments, or just being photographed for posterity, but on a late summer's Monday afternoon I get the hills virtually to myself: just me and the cows. The obelisk once stood on Lombard Street, London, and served as a gas lamp standard until it was moved to its current location in 1892. This was to commemorate the new water supply to Swanage.

There is a plate attached to the base which reads as follows:

"The obelisk was dismantled in 1941 to avoid its being of assistance to enemy aircraft during the war.
It was re-erected by men of 129 (East Riding) field squadron Royal Engineers (volunteers), under the direction of Capt. R. Alton, R.E.
The lowest section was found cracked and was mounted beside the obelisk."

The inscription is dated 2nd July 1973 (Roman numerals).

70-200mm f/2.8 Apo Sigma lens. 1/640 second at f/9. -0.33 EV. ISO 200.

© 2009

Bovine intervention...

The weather has been on and off for most of the day, alternating between sunny spells and grey cloud, so it was late in the day that I decide to go for a ride.
Packing a basic camera and short zoom lens I cross the entrance of Poole Harbour on the ferry and ride the Rempstone Trail for the first time in several months. It was as I reached the highest point of the old Fayles Tramway that two cows, mooing away at apparently nothing, interrupt my progress: time for some shots.
I'm constantly nonplussed at the wariness these animals show humans - considering their size and weight - and as I approach one of them immediately beats a hasty retreat to a more comfortable distance. The other, however, is somewhat less camera-shy, and allows me to get a number of close-up images. The wide angle lens gives the cow a more comical expression.

18-35 mm f/3.5-4.5 D Nikkor. 1/320 second at f/8. +0.67 EV. ISO 100.

© 2009

The intimate landscape...

Today was largely overcast here in Dorset, but I was not going to let that stop me going out in search of things to photograph. Just because the light is flat doesn't mean it's not useable, and good images are there to be made: the intimate landscape.

These photographs rarely include sky or a horizon, and work best in subdued, low contrast conditions rather than harsh, direct sunlight. So I pack just a basic camera and one lens and ride out to photograph details that often don't get a second glance. The image of the faded poster and ivy is just the juxtaposition that I looked for, and the conversion to mono adds to the graphic quality.

50mm f/1.8D Nikkor. 1/60 second at f/4. ISO 400. Converted to mono in Photoshop.

© 2009

Poole Bay at dusk...

Although not strictly an Indian summer, the spell of good weather continues along the south coast of the UK in the run up to autumnal equinox next week.

I spend the early evening at Mudeford sandbank at the entrance to Christchurch Harbour, Dorset. The area is quiet, although there are a number of water-related activities such as wind surfing, jet-skiing and fishing evident: the dunes themselves are largely deserted.

It's on my way home that the image here presents itself. The sun had long set, and although dusk shooting was not on my agenda tonight I still make the photograph, having to improvise a makeshift support to keep the camera still for the long exposure. Dramatically increasing the ISO was an option, but that invariably produces unwanted digital noise - mainly in shadow areas - so I wedge the camera against a rail and post to keep things rigid to get the shot.

70-200 f/2.8 Apo Sigma lens. 1/3 second at f/5.6. -0.67 EV. ISO 400.

© 2009

More Steam...

Today I make a second visit to the Heritage Railway Steam Gala, and this time decide to base myself where the whole thing is co-ordinated: Swanage, on the Dorset coast. To get there I cough-up the nine quid for the return ticket and take the train from Corfe Castle - it's been years since I travelled by train, let alone on a steam line.
The weekend appears to be a success as the carriages are almost full to capacity on most trains with people travelling in either direction, and Swanage station itself is continually busy during the time I'm there - further proof of the popularity of these events.

The first image is of the Battle of Britain class Bulleid Pacific 34070 Manston - recently restored and a permanent fixture on the railway - seen here leaving Swanage station.





The other photograph is of the Waverley Boat Train, waiting to leave Swanage station.
The locomotive is the recently repainted Drummond M7 50053 - on this occasion being used in connection with PS Waverley - which made a call at the town, today.



24-70 f/2.8 EX DG Sigma lens.

Top: 1/640 second at f/8. -0.33 EV. ISO 400
Below: 1/1250 second at f/6.3. -0.33 EV. ISO 400

© 2009

34028 Eddystone...

The Swanage Steam Gala is in full swing on its second day, with the railway running all of its available steam. I spend the afternoon by the track side, as well as higher locations - including two thirds of the way up the hill that has Corfe Castle perched on it - attempting to shoot the trains with a telephoto lens; but nothing seems to be coming together.
So I eventually decide to switch to a mid-range zoom lens and move back to the side of the track.
By now it's early evening and the harsh light that plagued my efforts has now softened and warmed up considerably - soon the sun will have dipped below the Purbeck hills.
The image (the last shot of the day) is of the rebuilt West Country class Bullied Pacific Eddystone crossing the B3351 at Corfe Castle, Dorset.

24-70 mm f/2.8 EX DG Sigma lens. 1/320 second at f/8. -0.33 EV. ISO 640.

© 2009

Paddle Steamer Waverley...

The last seagoing paddle steamer in the world, PS Waverley begins its September itinerary along the south coast of England.
Launched in October 1946, the 693 tonne steamer was originally designed to operate on the Firth of Clyde, Scotland,
Withdrawn in 1973 as being too uneconomical to keep in service she underwent a major rebuild between 2000 and 2003, restoring the ship to her original condition.

PS Waverley is seen here tied up next to Bournemouth pier in the early evening sun.

70-200 mm f/2.8D Apo Sigma lens. 1/800 second at f/5.6. -0.33 EV. ISO 200.

© 2009

First Light...

Dawn breaks at 6.38 am on Bournemouth Pier, Dorset, and although some artifacts of the summer holiday period still remain - the stacked plastic beach recliners that will now see little use, and strategically placed waste bins - the season is all but over.
However, the weather forecast for the coming week indicates summer is not done yet, with temperatures in the mid-twenties Celsius predicted for the south of England.

24-70 mm f/2.8 EX DG Sigma lens. 1/80 second at f/5.6. -0.33 EV. ISO 640. CPL.

© 2009

Big Skies...

Clear blue skies of the afternoon give way to the clouds of a weather front coming in from the west, and responding to the satellite image on the Met Office's web site I take a chance and I ride west for some dusk shooting.

Fast lenses, plus the ability to change the ISO to suit lighting levels is one of the major advantages of the digital format. Not so long ago I would have been lugging a tripod around for low light photography when photographing with film, and more than likely struggling with slow emulsions and unfeasibly long exposures - now I just increase the sensitivity of the sensor and away I shoot ... ah, the annals of history.
I decide to make a number of images using a fisheye lens - mainly for graphic effect - to exaggerate the sky and bend the straight lines of the jetty.

The photograph of the Bramble Bush Bay ferry, Sandbanks, was taken just before sunset.

10.5mm f/2.8 Nikkor Fisheye. 1/160 second at f/8. -0.33 EV. ISO 400

© 2009

Afterglow...

Now that the evenings are beginning to noticeably draw in it makes dusk photography all the more conducive; I don't have to be out half the night to get images. That, plus the fact that Autumn - and the colours the season brings - is just around the corner, and I'm just itching to get amongst it with a camera.

Shooting after sunset has its rewards, but you have to be patient. Once the sun dips below the horizon most photographers pack up and go home, but sometimes the afterglow - when it happens - can be more photogenic than the sunset itself. I photographed the image tonight at Poole Harbour, Dorset, ten minutes after the sun had sunk below the horizon.

24-70 f/2.8 EX DG Sigma lens. 1/50 second at f/8. -0.33 EV. ISO 640

© 2009

Ducking and Diving...

Taking a leisurely ride down to my local millpond early this afternoon I become fascinated by the behaviour of the ducks: they seemed to be playing. It's something I've never seen before, but who's to say that they don't take time out to enjoy themselves? This informal carry on consisted largely of running across the water - wings flapping as it to take off - then at the last minute diving beneath the surface, resurfacing several yards further on. This spectacle was repeated a number of times by several ducks, so I can't put it down to the odd actions of one individual. No doubt about it: they were having fun.

After each plunge they then beat their wings against the water, as if in celebration of a successful run (image).
Curious, indeed.

300mm AF-S f/4 Nikkor. 1/800 second at f/4.5. -0.33 EV. ISO 400

© 2009

Bournemouth Air Festival-Day 4...

...and the good news is that there will be an Air Festival next year, from 19-22nd August. This is almost certainly down to the report that over 1,300,000 people (Dorset police estimate) attended the event over the four days, making it the runaway success it has become in only its second year.

I shot 908 images of the air displays and now that it's over there begins the long trawl through the files, selecting the good from the not so successful, and to delete those not up to the mark. The photographs posted here are but a small selection.

① The B-17-G "Sally B" Flying Fortress



The only flying example of the Boeing aircraft in the country, it never saw active service during WW II. Plagued with engine problems, this is the first time the bomber has displayed this year.

② Two Avro aircraft - 11 years apart in design. The Avro Vulcan and the Avro Lancaster highlight the advancement of avaition development in a little over a decade (1942-1953). Although there is one other Lancaster in the world currently with an airworthy certificate (the other being in Canada) the Vulcan is the last of its kind found flying anywhere.




③ The Eurofighter Typhoon.
A canard delta wing aircraft that is notable for its flaperon - control surfaces that double as flaps and ailerons - situated below the cockpit at the front of the fuselage, and is capable of speeds in excess of Mach 2 at altitude. The photograph shows condensation occuring above the wing surfaces as the aircraft pulls G's in a tight turn - afterburners on - increasing the already low pressure over the wings which in turn is accompanied by a localised drop in temperature. If that falls below the dewpoint then the moisture in the air will condense.



Basic lens: 300mm f/2.8 AF-S VR Nikkor

① 1/200 second at f/14. ISO 200
② Vulcan - 1/2500 second at f/5.6. -0.33 EV. ISO 320. TC-14EII
Lancaster - 1/160 second at f/16. ISO 200
③ 1/2500 second at f/5.6. -0.33 EV. ISO 320. TC-14EII

© 2009