Juxtaposition and colour...

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...

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...

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...

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...

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

Sandy trails...

Although some parts of the UK are experiencing winter conditions with low temperatures and snow, the latter has failed to manifest itself in the southern counties (so far), even though predicted by those in the know. In contrast, although cold, there are predominately blue skies across the South.

At this time of year the sun doesn't climb much above the horizon in its passage across the sky, casting long shadows for most of the day. These oblique rays readily throw into relief the most mundane of subjects, creating opportunities if only the photographer is prepared to look.

The three sets of footprints in the sand, created by two humans and a black-headed gull, is one such graphic image that presented itself during late afternoon on Bournemouth beach, today.

24-70mm f/2.8 EX DG Sigma lens. 1/160 second at f/11. +0.33 EV compensation. ISO 400

© 2010

Line of sight...

Temperatures are dropping across the UK, and Scotland and northern England have had their first falls of snow: The first indication that winter is on the way. It's noticeably colder riding a bike, and it's getting somewhat nippy around the ears, even with suitable headgear, but high atmospheric pressure is giving a good deal of sunshine.

Today I'm using the big stuff: a 300mm telephoto and a converter; part of my shoot-with-a-prime season, and the beaches of Poole bay, Dorset are pretty much deserted. Time for some seascapes.

My best opportunity comes half an hour before sunset on Southbourne beach, and the red navigation markers of the groynes, built to reduce longshore drift, attract my eye. The long lens compresses the scene, making the structures look much closer to each other than they actually are. The headland of Hengistbury Head (and Warren Hill) are in the left background, while the dark band of hills beyond that is the Isle of Wight.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/250 second at f/8. -0.33 EV compensation. ISO 400. Monopod.

© 2010

Colour monochrome...

When conditions or subject allow, I often shoot a subject with the intention of converting the image to monochrome once uploaded to the computer. For all intents and purposes this means removing the colour and rendering the finished photograph in tones ranging from black; through various shades of grey; to white. But a similar effect can be achieved with only one predominant colour: In this case a blue-grey tone.

The colour of the sea is usually determined by the sky above it, so it is only the lighter tones of the sandy beach at Boscombe, Dorset, that differs in hue to the rest of the composition. I allowed the wooden groyne to record as a silhouette to provide the darkest tone; the watery autumn sun and its reflection, the lightest. I underexposed by over a stop from the suggested meter reading to achieve the result I was after.

18-35mm f/3.5 - 4.5D Nikkor. 1/2000 second at f/10. -1.33 EV compensation. ISO 400

© 2010

Clouds...

Today's weather is dominated by showers and sunshine, so much so that I decide to make the abundant clouds the subject of my lens. Perhaps not the most exciting of subjects, but each sky is unique - never to be repeated...anywhere - so it can be a worthwhile avenue to explore from a photographic point of view.

I know some photographers shoot sky images so they can be used later to "jazz-up" landscape photos that are lacking in that department, dropping cloud formations into subjects shot at a different time or location. There is nothing inherently wrong with this type of montage, although in my opinion it's not entirely convincing. I should add at this point that it is something I never do. If the sky is unsuitable I return at a time when it is, or exclude it altogether.

70-200mm f/2.8D Apo Sigma lens. 1/3200 second at f/5. +0.33 EV compensation. ISO 640

© 2010

Warm it up...

The ongoing succession of weather fronts off of the Atlantic are not without benefit - at least for a landscape photographer - as there are different atmospheric conditions on a daily basis. Yesterday; storm conditions - today; heavy showers followed by bands of blue sky.  In spite of all this there are only light winds, so it's back on the bike and a trip to Poole harbour, Dorset.

As I'm travelling light I have no filter kit with me, in particular a set of ND grey graduated filters, so for today's image I expose for the sky detail with the intention of correcting the shadows in the post-processing stage. Another trick I frequently use is to warm up the final result. It is a rule of thumb in publishing that a photo on a printed page has around 8 seconds to get the attention of the viewer before the page is turned and the image forgotten. This is particularly important in advertising where warm tones impart a more inviting impression to the viewer (check out those adverts in the Sunday paper magazines).
In the days of film an 81 series colour correction filter was the usual way to achieve this, but since the advent of digital camera the effect can be conveniently added after the fact.

12-24mm f/4G Nikkor. 1/500 second at f/11. ISO 400

© 2010

Coffee and a bacon sandwich...

The roller coaster ride of a British autumn continues with another low pressure system sweeping in from the Atlantic. Although the strong winds have stripped most of the trees of their colour before they can be appreciated in all their glory, the diversification of weather does present an abundance of opportunities to me and my camera: I rather enjoy shooting in adverse conditions. The coast beckons.

The seafront is all but deserted at Boscombe, Dorset, bar a handful of surfers, determined to make the most of what's on offer - them, and a couple of fishermen on the pier - that's it.

Once I arrive I immediately get to work (I'm not hanging around too long; it really is a foul day) and I'm shooting directly into the rain. The front filter of the lens quickly gets wet, but that is part of the strategy: I want to use the water droplets to convey the feeling of a miserable, wet day. Human presence, struggling against the elements, was my original idea for the afternoon's outing, but as noted above they were in somewhat short supply. Consequently, the shots I had in mind were not there to be had. I eventually settle for moody images of some RNLI rescue gear on the beach, before heading off home for coffee and a bacon sandwich.

12-24mm f/4G Nikkor. 1/320 second at f/8. -0.33 EV compensation. ISO 1250

© 2010

Get bent...

In keeping with my recently adopted policy of limiting myself to shooting with just one prime lens for at least one day of the week - purely for sharpening my eye in composition - today it's the turn of the fisheye lens. This ultra-wide lens, with all its inherent distortion, produces graphic effects that can easily be overdone if the photographer is not careful. However, it is a refreshing change not to have to worry about straight horizons or converging verticals in a photograph once in a while, and just have fun taking pictures.

The real risk is including part of myself in the image when using this type of lens, such is the angle of view of this optic - 180º across the diagonal. Accidental inclusion of feet; or even elbows dogged my early efforts with something so extreme.

The photograph is of the beach huts in the front of Boscombe Spa Village, Poole bay, caught just before the light faded due to a cloud bank that rolled in from the south, and is lit by indirect light from the horizon.

10.5mm f/2.8G Fisheye Nikkor. 1/100 second at f/11. -0.33 EV compensation. ISO 400

© 2010

The monochrome season continues...

The changeable weather pattern for a British autumn continue, heavy rain and winds gusting up to 50mph (80kmh) are the order of the day, although temperatures remain mild for the south west of the UK. Yesterday, it was high pressure and calm conditions; overnight the barometer has dropped and it's grey skies and windswept sand (photo).

As I've mentioned before, this kind of weather presents all sorts of opportunities for a photographer who is prepared to brave the conditions, so once again, it is out along the Dorset coast with a camera. Predictably, there are very few people out for the joy of it on days like this; mostly dog walkers and seafront maintenance workers, employed by the local council.

I keep my back to the wind - it's the best way to keep the front element of the lens clean - but also have a clear protective filter on the lens, which helps in cleaning when the glass inevitably becomes polluted with airbourne contaminants. It is during adverse conditions such as today that I use such filters; otherwise all my lenses go "naked". Lens protection is a contentious subject for nearly all photographers, but used judicially I have no qualms using them when circumstances demand it.

50mm f/1.8D Nikkor. 1/400 second at f/8. ISO 400.

© 2010

Nature's patterns...

Strong winds, gusting up to 65mph (105kmh), and heavy rain during the night give way by dawn to sunshine and blue sky. Although nothing too serious, weather like this can throw up all sorts of photographic opportunities, so it's out at first light with a camera.

Again, travelling on foot, I comb the beach of Poole bay in search of subjects. When a strong sea has been running, in combination with a high tide during the night, there's all sorts of stuff washed up on the shore. In spite of this I concentrate on the patterns made by nature. Last week it was wind that was the sculpture; today - water.
I make no apologies for yet another mono image, as it highlights form and texture created by the sea's action over the sand. A colour photograph would have less impact.

85mm f/1.4D Nikkor. 1/400 second at f/10. ISO 400

© 2010

Once you see him...

The wide angle lens has long been regarded to be the best optic amongst landscaper photographers for getting the job done, and while this may be true for the majority of subjects, it is not always imperative. Large skies, or sprawling foregrounds - or both - are characteristic of the shorter focal length lens, but if not used carefully they can reduce the size of the focal point of a photograph to near insignificance. In other words, the eye doesn't know where to rest.

There are times when longer lenses are just as effective for capturing the essence of a vista: I have occasionally used a 300mm telephoto for such purposes, useful in isolating just a small detail of a scene: Just as effective as including everything that sprawls before the camera.

Today's image, a man fishing from Southbourne beach, Dorset, employs a different technique yet again, buy including a human figure. Although small and placed out of the way in a corner of the frame, once the eye sees it it is drawn to that point, in spite of the fact that the sky and sea dominate by far the greater percentage of the picture.

50mm f/1.8 AF Nikkor, 1/640 second at f/11. -0.33 EV compensation. ISO 400

© 2010

Grey day...

Yesterday's broken cloud and bright spells are today replaced with leaden skies and light drizzle: Perfect conditions for shooting some graphic images for the black and white treatment. In my film-shooting days this would involve taking whatever colour stock I was using out of the camera and loading up with what was then considered a "fast" emulsion, such as Ilford's HP5 (400 ISO). I would then up-rate this a couple of stops to 1600 ISO (or higher) to produce grainy, gritty images - compensating for the underexposure at the development stage.

These days it all so much simpler as I shoot normally and convert the photograph to monochrome in Adobe Photoshop. The only real drawback is that modern digital sensor arrays are designed to produce, as far as practical,  noise-free images, so I add some digital noise to simulate the effect of film grain.

The woman walking along the shoreline at Canford Cliffs, Dorset, was the last exposure of the day before the weather closed in and the light failed.

50mm f/1.8 AF Nikkor. 1/125 second at f/11. +0.33 EV compensation. ISO 400

© 2010

Beach combing...

Sunshine and brisk winds start the day: Ideal weather for a visit to the seaside. Walking along the edge of the surf with a camera can be a rewarding experience, and there are often numerous objects washed up that can be made into interesting images by the vigilant photographer.

Once again I elect to use solely my 50mm prime lens for the job, as it is unrivalled for isolating detail in a scene. I'm travelling on foot because the stiff breeze is gusting up to 35mph - too much of a head wind on a bike - plus I need to be relaxed to get the best out of this kind of informal shooting.
Getting in close is the key to success, and more often than not I'm on my knees, crouched low over my chosen subject to fill the frame. To bemused passers-by it must seem odd; but hey, us photographers know what we're doing!

Ultimately, the most successful photos are those of natural elements, as in today's image of a feather, shielded in a sandblasted hollow. The simplicity of the composition and the light and shade make the shot work.

50mm f/1.8 AF Nikkor. 1/500 second at f/11. ISO 400

© 2010

Autumn light...

No doubt about it: autumn light takes some beating. The leaves on most species of tree are turning, and the lower angle of the sun produces useable light for much of the day. However, everything is shifted back by one hour in the early hours of tomorrow morning, as the UK puts its clocks back in line with the rest of western Europe and British Summer Time comes to an end.

The photograph of cows feeding was made at Holdenhurst, Dorset, late this afternoon.

24-70mm f/2.8D EX DG Sigma lens. 1/200 second at f/11. -0.33 EV compensation. ISO 400

© 2010

Surfer...

The Indian summer that some parts of the UK have been enjoying recently has all but evaporated and the clouds have rolled in. That, plus a strengthening wind, can make for miserable conditions to some; but not surfers and photographers - at least not this photographer. I always try to take advantage of poor weather, knowing that I can get images that positively demand the mono treatment. I always shoot in colour and convert using software, even though my camera has the option of recording files in black and white. I prefer the former as I still have the option to retain the colour should I wish to.

The real advantage of monochrome photography is the freedom to dodge and burn-in areas of the image to either accentuate or suppress tones and alter the mood of the original exposure. This has been part of darkroom work for decades, but with digital manipulation the results can be assessed on-screen whilst doing the work. With wet printing the effect was not apparent until the print came up in the developing tray, then fixed. If the results were not as desired then another print had to be made.

The surfer was photographed this morning, at Boscombe Pier, Poole bay, Dorset. Despite the fact that there is a bespoke surf reef just a few hundred metres away, nearly all surfers prefer the waves found near the pier. This reef, open for almost a year, has now been recognised by local authorities (and those it was built for - and the builders themselves) as not to produce the desired results.

50mm f/1.8 AF Nikkor. 1/1000 second at f/8. -0.33 EV compensation. ISO 400

© 2010

Once more unto the breach...

Although I had every intention of shooting with just a 50mm prime lens all week, sunrises / sunsets just don't cut the mustard unless a telephoto is involved - the sun's disc is just too small, otherwise.
Conditions are near perfect when I arrive at the seafront of Southbourne beach, Poole Bay. There is no cloud or wind; the sun will rise on the horizon.

 At 7.48am a sliver of the sun's disc appears over the Isle of Wight and I start to make images, working quickly. The luminosity of the scene changes dramatically once things start happening, plus there's the risk of ghosting in the lens (unwanted reflections bouncing off of internal glass elements) once the sun becomes large enough in the frame. This picture was made at 7.50am - after that ghosting and flare begin to ruin subsequent exposures.
Sometimes a planned shoot can only last a minute or two.

The title of this post finds its origins in Act III of Henry V, by William Shakespeare. I chose it deliberately as today is St. Crispin's day - the 595th anniversary of the Battle of Agincourt - where Henry V's outnumbered army defeats the "flower of French chivalry".
It is also the anniversary of the Charge of the Light Brigade (1854) - a somewhat less-than-spectacular military manoeuvre.

300mm f/4 AF-S Nikkor. 1/1000 second at f/8. +0.33 EV compensation. ISO 400

© 2010

Limiting my options...

Having recently renewed my acquaintance with the 50mm lens I've decide to shoot exclusively with it for the rest of the week. It is good discipline to limit my options from time to time, making me work harder for images. Swapping lenses and constant zooming can make a photographer lazy.

The clear weather is still holding over most of the UK - a true Indian Summer at this time of year - so it's a relatively early start along the seafront of Poole Bay, Dorset.

One of the assets of the standard lens not mentioned in my previous post is its ability to close-focus (down to around 10 inches -/ 25.4 cm). Ideal for isolating detail.

With this in mind I seek out weathering on the beach huts that line the seafront, the effects of which are thrown into sharp relief by the oblique angle of the sun's autumn rays.
It is a harsh environment, here, what with exposure to salt spray and constant abrasive action from wind-bourne sand -  not to mention the occasional winter gale. Despite this the majority of huts are in good condition, being constantly maintained by their owners. There is, however, the odd example of neglect or storm damage. Ideal subjects when the light is right.

50mm f/1.8 AF Nikkor.

Top: 1/1250 second at f/8.
Below: 1/400 second at f/11
-0.33EV compensation. ISO 200

© 2010

Superb quality on the cheap...

Often avoided, or ignored altogether, the 50mm lens - once the standard issue with all new SLR cameras - is the dark horse of the optical world, but in recent years has fallen out of favour, particularly with people new to photography. It's a shame, really, as it is fast, sharp, lightweight, small and gives a bright viewfinder image. All that, plus it is superb value for what it costs.

The fact that this lens has become unfashionable has as much to do with retailers as anyone, who entice would-be buyers with  more 'exciting' zoom optics paired up with a new model, rather than a bland, fixed focal length - or prime - lens. For sheer optical quality the humble standard lens will blow the "consumer" kit lens into the weeds.

What I like about this lens is that it gives a very similar perspective to that of the human eye. This makes quick composition easier as the eye doesn't have to compensate for an exaggerated field of view given by more extreme focal lengths, such as wide angle or telephoto designs: It "sees" as I do.

Apart from the superlatives listed above it can also be successfully pressed into service as a macro lens, with either a reversing ring or a set of extension tubes.
All in all, a useful piece of glass to learn the basics of photography (and then some), without any serious outlay. Highly recommended.

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

© 2010

See it; Shoot it...

Although using a bike as a photographic tool gives a great deal of flexibility - the means to see a potential subject, jump off and shoot - it still has its downside. From time to time I know I pass some situations merely because I'm travelling too quickly, so this morning I intentionally make the effort to travel on foot.

Normally a photographer works a subject, sometimes taking a great deal of images from various angles, or as the light changes, selecting the frame that works best. Today will be different. I intend to restrict myself to one exposure for each subject that catches my eye...and to work quickly.

This technique was practiced by American photographer Bill Eggleston, purely on the basis that you don't have numerous images of the same subject to edit, or to agonise over which two almost identical pictures is the better.
If you just have the one shot it will have to do. After all, once you take more that one photograph of the same thing you are just repeating yourself.

It turns out to be a refreshing way to work; to shoot instinctively - lifting the camera to my eye and firing the shutter - then moving on.

I make the mental note of converting this to mono as I frame the scene, but this time the conversion doesn't work and I retain the colour.

50mm f/1.8 AF Nikkor. 1/640 second at f/8. +0.67 EV compensation. ISO 200

© 2010

Not my cup of tea...

Branksome beach, Poole Bay, Dorset, is the subject of today's photograph. What machinery was used to create the furrows in the sand is unknown to me, but the even spacing and textures, plus the way the ridges catch the autumn sun attracts my attention, and I stop to shoot some images.
I had decided to produce a monochrome picture of the subject before I fired the shutter.

I had passed another photographer making his way along the sea front - camera at the ready over his shoulder -  and fully expected him to stop at this location and take some images, but he carried on without a second glance. Photography is a very subjective thing: One man's interest is another's boredom. Either that, or he didn't want to be seen copying someone else's idea, and doubled-back once I had gone.

24-70mm f/2.8D EX DG Sigma lens. 1/200 second at f/11. -0.33 EV compensation. ISO 200. Converted to mono in Adobe Photoshop.

© 2010

Up the wall...

Today's photograph occurred by accident rather than design. I had stopped to photograph something completely different and whilst eyeing up my original subject, trying to decide which angle was the best to approach it from, I noticed movement in the background. This was far more interesting. At first I thought I had the opportunity to shoot some pictures of the rare Sand lizard, confined to a few areas of the UK and a protected species. This initial identification was determined by the green colour, which begins to fade after the summer months.

I already had a macro lens mounted on the camera and I quickly rattled off a few frames in case the lizard took flight and I didn't see it again. But once I had the grab shots in the can I ventured to slowly move closer, to see if I could get anything better.

Although the reptile was well aware of me it allowed me to get a series of close-up pictures. I stopped the lens well down, to allow for any focusing errors - I was shooting hand held - and chose to use the image with the catchlights in its eyes.

On further investigation I identify my subject as a common Wall lizard (Podarcis muralis); the blue markings on the edge of the belly clinching the deal. Theses lizards are unique in the UK, as they are the only species that can climb vertical walls, hence the name.

105mm f/2.8G Sigma macro lens. 1/320 second at f/11. -0.33 EV compensation. ISO 400

© 2010

Red sails in the sunse...er, afternoon...

The remnants of the Indian summer continue, although as the weekend comes to an end temperatures begin to drop across the country; in fact, this morning was the first time I witnessed a frost on the grass.

Making the most of the good conditions I return to Stanpit marsh, at the confluence of the Avon and Stour rivers, Dorset. The Glossy Ibis, the centre of attention of the area for the past month, has apparently now departed for warmer climes - much to the chagrin of the BBC's Autumn Watch programme, that sent a crew to attempt to film it last week.

Instead, I turn my lens to other areas of the marsh and surrounding area. Today, I'm using a macro lens - an optic primarily designed to photograph subjects up to a magnification ratio of 1:1 (life-sized on the image sensor of the camera) but this type of lens can also be used for general photography - as today's image illustrates. The short telephoto design is also useful for portraiture, as it slight flattens perspective, flattering the sitter.

105mm f/2.8D Sigma Macro. 1/500 second at f/11. -0.33 EV compensation. ISO 400

© 2010

Sharp eyes...

After last weekend's all-too-easy shots of a Glossy Ibis, I lay in wait at a local pond with the intention of photographing a Grey Heron in flight. I have many images of this resident whilst fishing, but up 'til now have not been successful with any shots of it airborne.

The trick it to develop a smooth panning technique to follow the subject, but also to keep the whole of the heron in the frame and keep the eye sharp while firing the shutter. This last point is critical: the viewer's eye will always be drawn to the eyes of the subject of a photograph, and if they're not in focus the picture doesn't work. It gets deleted - no exceptions.

Being able to anticipate when the bird will take off is also helpful, as you have to be locked-on from the start. Trying to acquire the subject in the viewfinder once in flight when using a super-telephoto lens is very difficult, and good results are hard to achieve.

300mm f/4 AF-S Nikkor with TC-14E II. 1/640 second at f/5.6. -0.67 EV compensation. ISO 800

© 2010

Queen Elizabeth: Superliner...

The Queen Elizabeth, Cunard's newest addition to the fleet, pulls out of Southampton's Ocean Terminal shortly after 5pm this afternoon, as it begins its maiden voyage under the command of captain Chris Wells. Several thousand spectators lined the seafront at Hythe marina - from where this photo was taken - to witness the event; enjoying the autumn sunshine but also braving the cold wind that swept across the water from the north east.

The ship was officially named by Queen Elizabeth II, yesterday.

I'm not going to go into too many details about the specification of the ship; that information is available on the Internet, but briefly, it is 964.5 feet long; has a guest capacity of 2068 and a gross tonnage of 90,900 GRT.

There was the predictable flotilla of smaller vessels escorting the ship as it made its way down the Solent and out into open water. Such is the popularity of the ship that all the tickets for the voyage were sold within 30 minutes of becoming available.


300mm f/2.8 AF-S VR Nikkor. 1/2000 second at f/5.6. -0.67 EV compensation. ISO 200

© 2010

Glossy Ibis (again)...

After yesterday's successful shoot on Stanpit marsh I decide to postpone this morning's planned early shoot until later in the day. Besides, the light wasn't all that promising during the morning (any excuse to stay in bed on a Saturday morning).

It's approaching mid-afternoon when I set up at the same location as yesterday, in the hope of photographing the Glossy Ibis that has recently appeared on the marsh, but I'm almost immediately advised by people toting binoculars around their necks that the ibis has flown to nearby Wick fields, so I'm probably going to be out of luck. They wish.

Experience has taught me that patience is the key, and I decide to wait it out - after all, there are several Little Egrets feeding in the distance. Maybe I can photograph them, if they come close enough.
Forty five minutes pass; still no ibis and the egrets are having none of it; they keep their distance of several hundred yards. As the sun dips low in the sky I make the mental note to give it another half hour before calling it a day...and then it's there!

The bird flies in and settles near the distant egrets. At this point I begin to resign myself to the fact that yesterday I had been very lucky. After all, it was unlikely I would get the same photo opportunity that presented itself so conveniently but twenty four hours previous.

How wrong can you be?

This very occasional visitor to our shores proceeded to give a second performance, as if part of a well-rehearsed routine, for those who wished to watch, while several nearby camera shutters begin to fire like machine guns. After a hundred shots or so of more reserved photography I begin to get the feeling that this is no longer such a challenge to capture something so rare on camera. It's too easy! I include this image as it illustrates the quality of the plumage better than the previous post's offering. All the same, I will make repeated visits to the marsh next week, as it is flight shots that I really want. Now, that will be a challenge.

300mm f/2.8 AF-S VR Nikkor and TC-14E II converter. 1/800 second at f/5. -0.33 EV compensation. ISO 640. Monopod.

© 2010

Out of the ordinary...

I pay my first visit to Stanpit marsh, Dorset, for the first time in 6 months, and I'm treated to something out of the ordinary.

The photograph shows a Glossy Ibis (Plegadis falcinellus) being eyed warily by an egret (foreground). This wetland bird breeds around the Mediterranean, and most of them winter in Africa, so it is something of a rarity in this country.

Unfortunately, I was not prepared to photograph this bird, being equipped with just a 300mm lens, and the Ibis maintained a good distance whilst feeding, hence the rather small size in the image. I understand that once these birds appear in a region they often stay for several months.

Tomorrow morning, at high tide, I will try for another shot but this time better equipped. Whether the bird shows up...who knows.

300mm f/4 AF-S Nikkor. 1/2500 second at f/5.6. -0.67 EV compensation. ISO 400

© 2010

Come early afternoon and I decide I can't wait until tomorrow, and return to Stanpit marsh, armed with a 300mm lens and x1.4 converter in the hope of getting a better photograph of the Glossy Ibis that has taken up residence at the site.

Although I found this rare visitor to the UK shortly after I arrived it still kept tantalisingly out of frame-filling range of my lens. I take a number of shots but it seemed that I was going to only get marginally superior images to this morning. After twenty minutes or so the bird flew off . Fortunately, I had been exchanging details with another photographer at the location, and he advised that the Ibis had merely departed to another favoured part of the marsh. He was right.

Despite the rarity of this waterfowl, it doesn't appear to be shy at all, and it obligingly put on a feeding display of around fifteen minutes or so for the camera. In fact the bird approached so closely that at times it more than filled the frame and I had to back-off to get what I was after.

300mm f/2.8 AF-S VR Nikkor with TC-14E II converter. 1/200 second at f/8. ISO 400. Monopod.

© 2010

You can't put it there...

    In my last post I devoted a paragraph to compositional rules that a photographer should bear in mind when shooting, and then went on to say that theses rules are not to be strictly adhered to. Another cardinal rule of composition - never place the horizon in the middle - is yet another device frowned upon by purists. Today I set out to shoot an image that did just that.
    
    It took some time before I found a suitable subject: kite surfers on Bournemouth beach, and once I started shooting it took a long time (and a good deal of failures) before I could capture both kite and surfer in the shot. I also wanted my subject silhouetted against the sun's reflection off of the sea - longer still.

I cropped the image slightly to get the effect I was after, but despite the flagrance of compositional etiquette the photograph works.

300mm f/4 AF-S Nikkor. 1/2500 second at f/8. +0.33 EV compensation. ISO 320

© 2010

Moby Dick...

Composition plays a major part in photography, and there are several schools of thought as to what this should be. "Stick the subject in the middle and shoot" and "align the main subject according to the rule of thirds" are but two approaches that produce pleasing images to the eye.

But there are times when rules should be ignored and caution thrown to the wind, as in today's photograph. I had been monitoring the progress of the sail-boat in the hope it was going to come nearer to shore, but eventually it was evident that it was just going to sail on. So, with the composition already in mind, I shoot several frames of the boat, knowing just how I was going to crop the photograph (another contentious technique for some) and where I was going to publish it  (here, on this blog).

Moby Dick, the title of this post, keeps with the sea-faring theme, but is intended as a tribute to John Bonham, drummer with Led Zeppelin, who died 30 years ago today.

300mm f/4 AF-S Nikkor. 1/4000 second at f/5.6. -0.67 EV compensation. ISO 200

© 2010

Crikey, I'm bored...

Yes, it's true. I'm finding it difficult to motivate myself at the moment as far as photography is concerned, but then these things happen - I've been through it before. It becomes all too easy to get into a rut and to keep visiting the same places; shooting the same things. Not that this is necessarily a bad thing: repeated visits to the same location will always produce something different, whether it be lighting, atmospheric conditions or just the fact that the place has changed. Today is no different.

The photograph of Handfast Point and Old Harry Rocks was made from Sandbanks beach, Dorset, just after 7am. The sun had just broken above a cloud bank on the horizon and had started to light the distant hills and clouds, but it's the sky that makes the shot, more so as each one is unique.

To clear up any confusion that some visitors experience when viewing the rocks is that Old Harry (a local name for the Devil) is the thin chalk stack at the far left in the picture - not the somewhat larger formations that are visible. His "wife" is the diminutive stack to its right, which collapsed into the sea in the 1890s.

300mm f/4 AF-S Nikkor. 1/500 second at f/5. -0.33 EV compensation. ISO 400

© 2010

Facing due east...

September 22nd - the autumn equinox in the northern hemisphere; one of two days during the year when the sun rises due east and sets due west.
Shooting weather conditions at either end of the day ideally needs a bit of cloud to improve a bland sky, as in this photograph, shot just after dawn at 7.04 am on Christchurch harbour, Dorset. There was low-lying mist on the surrounding shores, frequent after a clear night at this time of year, but no such luck on the water, so I choose to utilise the sun's reflection as part of the composition - the ducks taking-off was a piece of luck.

300mm f/4 AF-S Nikkor. 1/2000 second at f/5.6. +1 stop exposure compensation. ISO 400

© 2010

The joys of f/2.8...

Today's image was not planned: I was on my way to Christchurch harbour, Dorset, to photograph waterfowl as the dawn broke, but as I rode in the semi-darkness along the cliff tops I became aware of the muffled sounds of heavy diesel engines labouring in the distance.

Upon investigating the din my suspicions were confirmed - the Limassol-registered dredger Shoalway was, once again, delivering a load for the ongoing beach replenishment scheme of Poole Bay - but under cover of darkness. I suspected it was a 24 hour operation yesterday, due to the floodlighting at the site, but was mildly surprised to see work being carried out during the night over the weekend. They must be earning a fortune in overtime.

Once at the scene it soon became obvious that light levels were very low, and some improvisation was going to be in order as it was still 23 minutes before sunrise. This is where fast aperture professional lenses shine: the ability to produce good quality images when used wide open. I still needed to brace the camera against a convenient lamp post to keep everything steady and raise the ISO rating to give an acceptable shutter speed, but the shot worked.  

24-70mm f/2.8 AF-S Nikkor. 1/50 second at f/2.8. -0.67 EV compensation. ISO 800

© 2010

The Wind Cries Mary*...

The blue sea is discoloured by pipe leakage as the dredger Shoalway (top left) pumps sand ashore onto Portman Ravine and Fisherman's Walk beaches, Poole Bay, Dorset. The material is then distributed by two bulldozers and an excavator to level the area. It is only 18 months since the operation was performed at this location and the beach didn't seem to need replenishment, but obviously others disagree. Perhaps it was because a significant amount of material was taken from this site for the second attempt to build the ill-fated - read: doesn't work -  Boscombe Surf Reef.

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


* The title of this post is an acknowledgement to Jimi Hendrix, who died 40 years ago today - arguably the best electric guitar player who ever lived.

© 2010

A change of mind...

The PS Waverley, the last seagoing paddle steamer in the world, is currently running its south coast excursions, and I always try to get some photographs during the season.
Today's image was shot at 6.40pm as the Waverley made an approach to tie-up at Bournemouth Pier, Dorset, but oddly this was as close as it came. For reasons best known to the captain the steamer then stopped; reversed back ou...er, went astern into open water and then headed east. I can only assume that there were no passengers wanting to disembark at this point.

24-70mm f/2.8G AF-S Nikkor. 1/1000 second at f/5.6. -0.33 EV compensation. ISO 200

© 2010

The sun has got his hat on...

After the dismal summer weather of the past week or so - heavy rain and leaden skies - things have turned around over the bank holiday weekend and we have had some sunshine. Although it's not a case of too little, too late - it is always nice to have a bit of good light to work with - this weekend does in many ways mark the end of the summer holiday season in the UK.

Sunrise and sunset are now at more civilised times, so I don't have to be up in the middle of the night, or stay out too long, making more time for dinner (or breakfast). Having said that, the temperatures during the pre-dawn have an autumnal nip about them and there are already the signs of seasonal change. The horse chestnut tree leaves have been turning a rust colour for several weeks and the black-headed gulls are taking on their winter plumage (they loose the black head feathers).

Today's photograph was made shortly before the sun set over Poole Harbour, Dorset. Shooting directly into the light does cause exposure problems due to the brightness of the sun, so I add two neutral density graduated filters to the front of the lens to try and get the contrast under control. This runs the added risk of lens flare, so I wait until the sun's disc is partially obscured by a convenient cloud before shooting. Contrast is reduced and there is no flare.
Result!

24-70mm f/2.8G AF-S Nikkor. 1/60 second at f/11. -0.33 EV compensation. ISO 200. 0.6 and 0.9 grey graduated filters.

© 2010

Rain stopped play...

The fourth and last day of the Bournemouth Air Festival 2010 and again it was marred by the weather. Apart from the unexpected arrival of the Breitling (where's my watch?) Wingwalkers opening the show there was precious little flying to follow. Although conditions were an improvement on yesterday - why, even the sun made a brief appearance for a few minutes - low cloud and several bouts of rain presented safety issues for flying jets. As a result there was no display by the Avro Vulcan or the Eurofighter Typhoon and the Red Arrows cancelled for the second day running.

There were several late displays before the weather closed in at 4.15pm - at which time an end was called to proceedings - including the Pitts Duo, one of which I include here, mainly because of its amusing registration.

It must be stressed that the organisers, pilots and ground crews did their level best to put on a show, but they were just defeated by the English weather.
Roll on next year.

300mm f/2.8 AF-S VR Nikkor with x1.4 TC.

1/1000 second at f/5.6. +0.67 EV compensation. ISO 400

© 2010

Grounded...

Day three of the Bournemouth Air Festival and there were no aircraft flying - the British weather being the culprit. With a cloud base of around 200/500 feet, plus a brisk wind and light rain, the Red Arrows were the first to cancel their 12.30 performance. Pilots stated that 1000 feet is the minimum cloud level for jets to fly safely. Only a solitary Lynx helicopter from the Black Cats managed to give a display before proceedings were called to a halt at 3.00pm.
Hopefully (and it does seem promising) the weather will improve somewhat for the last day tomorrow.

As a result I'm posting two images from the festival that I shot yesterday. The Breitling Wing Walkers are the worlds only formation wing walking team and performed last year (although under a different name). The top photograph shows an attempt for the girl wing walkers to touch hands, but the wind on the day was too strong to fly safely at close range and the endeavour failed. Apparently, the effort was successful the day before.
The bottom image shows one of the many poses taken up on each pass of the Breitling team (perhaps if I mention their name enough time they'll send me one of their watches. Yeah, right).

300mm f/2.8 AF-S VR Nikkor with x1.4 TC.

Top: 1/1600 second at f/4. +0.67 EV compensation. ISO 400.
Below: As above.

© 2010

Bournemouth Air Festival 2010...

The third annual Bournemouth Air Festival, the largest of its kind in the UK - free and by the sea - got underway this week and today I visited the event with a camera. The weather was not the best for display flying and a cloud base of around 1000 feet forced all team displays to fly a reduced program.
Even the Red Arrows, making the first of three visits over the weekend, were forced to fly only eight aircraft instead of the usual nine because of a cockpit component failure.

However, individual aircraft were still able to deliver an entertaining performance for the crowds gathered along the coastline of Poole bay, including a Dutch F-16 Fighting Falcon (top), seen here in its familiar orange paint scheme, after-burner on, moisture condensing over the wings and dropping flares as it climbs.

The second photograph is of "Miss Demeanour", a Hawker Hunter British jet of the 1950s and 1960s, painted in an unusual colour scheme, making its first appearance at the festival.


300mm f/2.8 AF-S VR Nikkor lens (VR off) with x1.4 TC.

Top: 1/3200 second at f/4. +0.33 EV compensation. ISO 400
Below: 1/1000 second at f/4.5. +0.67 EV compensation. ISO 400

© 2010

Air display season...

I had been planning this shoot for almost a year. It dawned on me last September that Ballard Down, which overlooks the town of Swanage, Dorset, would make an good vantage point to photograph the RAF Red Arrows display team during the town's Regatta and Carnival week.

On this occasion I want to use two lenses: a standard zoom and a long telephoto and opt to use two camera bodies instead of fumbling about changing lenses and missing shots - but it presents a problem...a weight problem. Not only that but the backpack I need to transport the chosen gear will prove too cumbersome when riding a bike, especially over rough ground and uphill (raising my centre of gravity and all that - causes balance problems, you see). I finally cobble two bags together, making a much more manageable rig, but it still weighs in at 18lbs (8.2 kg) - something you begin to notice during a twenty five mile round trip.

The Met Office weather forecast predicts "sunny intervals" but there is a good deal of grey cloud by the time I get into position. It doesn't look too promising, but the cloud breaks shortly before showtime and the Red Arrows do their stuff like no others.

Top: 24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/7.1. -0.33 EV compensation. ISO 200
Below: 300mm f/2.8 AF-S VR Nikkor (VR off). 1/3200 second at f/6.3. -0.33 EV compensation. ISO 320

© 2010

Two stops under...

Now that the British summer has settled into its true weather pattern: changeable - often cloudy with outbursts of rain - there is the opportunity to capture dramatic scenes at either end of the day.
Today's photograph was made at 5:21am before the sun had risen and to get a sharp image I have to press the camera against a makeshift jamb - in this instance a convenient flagpole.

Now, light levels at this time of day are low, and most camera metering systems will try to average-out a scene to give what it thinks is the best exposure, but this is not always the case. This is where the photographer steps in. Had I left the camera to its own devices I would have ended up with a rather bland image of Bournemouth Pier, albeit with a dramatic sky. So I switch to manual control and take a meter reading from the beach. This is the basis for my exposure, but I then modify it by setting the exposure compensation to give two stops less exposure than the meter reading. This produces an image far closer to what I saw at the time, not what the camera designers deem correct.

There is no such thing as "correct exposure", although for the majority of photography modern metering systems produce results far superior than your best guess. It's at either end of the day when the sun is below the horizon that the system needs the most help.

24-70mm f/2.8 AF-S Nikkor. 1/15 second at f/8. ISO 640. - 2 stop EV compensation.

 © 2010

Tiny island...

This morning I decided to chance it: unable to draw any solid conclusions from weather satellite images, plus the fact that the sky was overcast before dawn, I set out on my bike - purely for the exercise if nothing else.
It's during the ride that the cloud begins to break up and the sun begins to shine, creating perfect light as I reach Poole Harbour, Dorset.

 At first there's nothing too inspiring to point a lens at, but with a little perseverance I find some reflections to work with and produce today's photograph, made just before 6am at the North Haven area of Sandbanks. It's intriguing how the grass on the small island survives as it does, considering it is submerged at high tide, though the fact that the harbour gets between six to eight tides a day perhaps plays a significant part.
Obviously hardy stuff.

12-24mm f/4G Nikkor. 1/125 second at f/11. -0.33 EV compensation. ISO 640. 0.9 Grey Grad filter.

© 2010