Image compression...

It's Spring Bank Holiday in the UK and as per usual temperatures drop below average while the sun takes a holiday of its own. The best of the light is predicted to be for the first hour or so after dawn, so everything is prepared the night before for an early start. The only problem is that I oversleep and wake up at 4:40am. By the time I've had breakfast - I never leave the house without it - the sun is already up and I'm missing valuable shooting time.
I initially planned to visit the remaining swan's nest that still has the eggs to hatch, but at the last minute decided to give it and the swans a break.

At this time of year the sun, once it's up, rises almost vertically into the sky and by the time I arrive at Fisherman's Dock, Poole Harbour, there is little of the good light left. So, using a super-telephoto lens I opt for graphic effect and the compression of planes. Long focal length optics can impart a claustrophobic feel to a scene (picture), with the impression of subjects being piled on top of each other - known to photographers as telephoto compression -  but there is several hundred yards between the boat at the bottom of the photograph (PE21) and the Condor Vitesse catamaran at the top. It should also be noted that both vessels are at sea level, although the one in the background seems to be on a higher plane that those in the foreground.

300mm f/2.8 AF-S VR Nikkor. 1/400 second at f/11. -0.33EV compensation. ISO 400. Monopod

© 2010

Family portrait...

The emerging swan family that I photographed on Monday of this week took its first swim together early this morning. It is usually after the first four days, once all the eggs have hatched, that the mother will take the cygnets to the water for the first time.

The photograph shows three of the five young advancing towards the camera, all close together. This makes focus with a super-telephoto lens easier, although not always successful - the sibling at the rear is not sharp, despite the fact that I stopped the lens down for increased depth of field. It is the main reason why I've not posted a shot of the whole family: it is difficult to get all seven birds in the same plane of focus at the same time, so, inevitably, some members will be out of focus.

300mm f/2.8 AF-S VR Nikkor (VR off) with TC-14EII converter. 1/2000 second at f/8. -1 stop EV compensation. ISO 400. Monopod

© 2010

Down Under...

The regular dawn visits over the past eight days have paid off, and at 5:54 this morning I was able to make this photograph of a Mute Swan cygnet which had hatched during the early hours. It should be noted that this is not from the same nest as in my more recent posts: those eggs have yet to start hatching.
Every few minutes or so the mother would stand and inspect the contents of the nest, and at the time the picture was shot two had hatched. As the mother turned the eggs one could be seen beginning to break out it its shell. The other three eggs had yet to show signs of life.

300mm f/2.8 AF-S VR Nikkor. 1/640 second at f/4.5. -0.67 EV compensation. ISO 640. Monopod

© 2010

Surprise arrival...

Out of bed at daybreak and appraising the coming dawn through the window, I decide to head to Poole Harbour, Dorset, and leave the house well before the sun rises. Again, conditions are near perfect, with clear skies and no wind. Although I'm toting a super-telephoto lens I have no preconceived idea of what I'm going to shoot, preferring on this occasion to take things as they come - hey, it's Sunday.

I eventually set up on the edge of Parkstone Bay, shortly before 7:00am, having been attracted by a number of Oyster Catchers feeding along the shore on an ebbing tide, but it's the surprise arrival of a Little Egret that steals the show. The bird lands right in front of me, and I start shooting straight away... but it's short lived.  I only manage 5 frames, 4 of which are successful: the fifth only contains the egret's trailing legs and wing, as it quickly departs to a different location in search of food.

300mm f/2.8 AF-S VR Nikkor with TC-14EII. 1/5000 second at f/5.6. - 0.67EV compensation. ISO 400. Monopod.

© 2010

The Golden Hour...

Known to photographers as The Golden Hour, the hour after sunrise and the hour before sunset has long been held to the best light for shooting. Contrast is low at these times, giving a more balanced exposure for images without having to resort to neutral density graduated filters, or, more recently, HDR (High Dynamic Range) image processing. I personally prefer the extremities of the day because of the quality of light: the warmth of the setting sun, or the delicate hues of a clear dawn.

In the first picture I was attracted by the latter - and the mirror-like surface of the water, and I stopped as I rode along the edge of Poole Harbour shortly before 5:30 this morning specifically to photograph the light. The fact that the Brittany Ferries' Cotentin hove into view at the time was a bonus.

The second photograph was made some 40 minutes later: a skein of Canada Geese flying off to feeding grounds. A skein, the collective noun for flying geese, only applies when several are flying together, but once they form a 'V' formation it is known as a wedge.

Top: 300mm f/2.8 AF-S VR Nikkor (VR off). 1/640 second at f/4. ISO 400. Monopod
Bottom: 300mm f/2.8 AF-S VR Nikkor. 1/8000 second at f/2.8. - 0.33EV compensation. ISO 400. Handheld.

© 2010

Swan update...

It can't be too long, now...
I've been keeping a watchful eye on the swan's nest all week, and it's now that the adult pair are continually sitting on the three eggs. I thought, for one moment during today's early morning visit, that the eggs were beginning to hatch. The parent bird on several occasions stood up to examine the clutch (picture), but by 7:30am there was still no sign of any emerging cygnets.

300mm f/2.8 AF-S Nikkor (VR off). 1/1000 second at f/4. ISO 200. Monopod

© 2010

Bow wave...

 The sun rises at 5:25am through broken cloud, while UK airspace (once again) is being compromised by the erupting Eyjfjallaökull volcano. I'm already out in the still air of daybreak, seeking subjects for my lens. I have the notion of photographing swans, specifically the run across the water in their bid to get airborne, and visit Poole Park lake for the exercise.
Naturally, the swans within shooting distance don't comply with my plan, and just bob serenely on the tranquil dawn water. There are one or two birds that take off, but they are hundreds of yards away on the other side of the lake: too far for my (or anyone's, I shouldn't wonder) lens.

It's on my way out of the park that I encounter a Mallard family of fourteen ducklings, swimming under the  council of their mother. They learn quickly, it seems, that anyone loitering beside the lake shore is a signal for a potential free meal, and swim eagerly in my direction. This time they're out of luck: I've already used up my supply of feed elsewhere, but I shoot a number of frames anyway, free of charge.

300mm f/2.8 AF-S VR Nikkor (VR off) with TC-14EII. 1/640 second at f/5.6. - 0.33EV compensation. ISO 400. Monopod

© 2010

Line astern...

My early morning visit to the swan's nest (previous post) revealed that none of the eggs had, or were, hatching. It takes around 35 days for this to happen and since I don't know the dates they were laid I have to return on a regular basis to catch the event.
So I set off to my secondary location to check on the progress of the Greylag families of Poole Park. Whilst trying to deftly get into a suitable position to photograph one of the larger families I notice a pair of geese swimming across the lake with just one gosling. Whether there were originally more - I strongly suspect there were - I don't know, but many fall victim to predators. Since this lone survivor has both parents there is now a chance that their undivided attention to this gosling will aid in its survival.

300mm f/4 AF-S Nikkor. 1/2000 second at f/5. -0.33 EV compensation. ISO 400

© 2010

Sitting it out...

Today's photograph illustrates the qualities that bright, overcast conditions can produce when it comes down to capturing detail. Texture in the swan is retained as a result of the soft light, while the background colours remain saturated. Direct sunlight could have resulted in burnt out highlights in the plumage and created dark shadows with little detail. The diffused light through cloud cover allows a more balanced, natural image.

The nesting pair, shot at 7:30 this morning, are currently taking turns to sit on the eggs, and it will be in the next day or so that they will begin to hatch. I'm not revealing the location of the nest, as it is important that the birds are not disturbed unduly during this crucial period.

300mm f/2.8 AF-S VR Nikkor (VR off). 1/1600 second at f/4. -0.33 EV compensation. ISO 400. Monopod.

© 2010

Greylag goslings...

It appears to be true: the later spring comes, the longer it lasts. I was made aware of this possibility several months ago, when the rest of the country was still wondering if we weren't going to go straight into summer from winter. We didn't, and the season's arrival is the best I have experienced for a long time.

Of course, this is the time of year that a lot of species produce their young, so equipped with a telephoto lens I set off to see what I can photograph. The weather is not at its best - strong, directional sunlight - but I decide to shoot a series of images of a family of Greylag geese (Anser anser) anyway. I'm often given odd looks when I tell people that this type of light is not particularly good for wildlife photography. Most people think that sunny conditions are best for snapping away. Maybe for the family picnic and fond memories of distant summers, but for feather and fur detail - no! Colour saturation is also at its best in overcast conditions

There were several goose families with goslings on the lake of Poole Park, Dorset (one such clan had eleven) and it's this one that I spend most time shooting, under the watchful eye of the parents. It is important not to stress the birds in any way, especially when they have young, so I also use a tele-converter on the lens to allow me to keep a greater, more respectful distance.
It's worth noting that the term "goose" applies to the birds in general, and the female in particular. The word "gander" applies to the male bird in particular. Young birds are goslings until they become fledgelings.

300mm f/2.8 AF-S VR Nikkor with TC-14EII. 1/2500 second at f/5.6. -0.33 EV compensation. ISO 400. Monopod

© 2010

Nothing much, really...

...just a photograph made at Sandbanks, Poole, during early evening. The weather had not been too promising today, although there was no rain, and it was a very late decision to ride to Poole Harbour in the hope of some useable light.
The sun's disc did make a brief appearance through a slit in the cloud cover (accompanied by a breeze which ruffled the calm waters), but this boosted contrast to unmanageable levels: something I couldn't control as I was travelling with a just camera and single lens - no ND graduated filters or such like - so I used this picture instead.

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

© 2010

It pays to look up...

Spring Bank Holiday dawns in the UK, and it's typical weather: overcast and cool. But it doesn't last for too long and the sun begins to show itself by late morning. By early afternoon I'm riding into Purbeck, Dorset, dodging the showers (well, most of 'em) which makes me appreciate the clear spells all the more.

My target destination is Brenscombe Wood and the bluebells. I've heard reports from a number of Internet sites that the flowers are now in bloom across the country, and are not to be missed. I'm suspicious of such disclosures as it still seems early for the display to be full-on...and I'm right. I'm at least a week early. There are a good deal of bluebells on display, but nowhere near as prolific as last year. Not only that, but the tree foliage has not yet fully established itself and the wild garlic is nowhere to be seen. I produce a series of photographs and make a mental note to return next week - weather permitting.

Knowing I'm not going to get the images I had in mind, I point my lens upwards to photograph the wood canopy - it always pays to look up. This technique in itself can produce interesting and graphic compositions, though it is always advisable to have a blue sky as a backdrop. The other method I adopt is to shoot with a fisheye lens (second photo) and let the lens distortion do its thing.

Top: 12-24mm f/4 AF-S Nikkor. 1/640 second at f/8. -0.33 EV compensation. ISO 400
Bottom: 10.5mm f/2.8G Fisheye Nikkor. 1/160 second at f/11. -1 stop EV compensation. ISO 400

© 2010

A bit like shooting fish in a barrel...

It's May Day Bank Holiday weekend in the UK, and the weather conforms to British standards: the threat of rain and dropping temperatures due to strengthening winds. Never to be deterred by what nature may throw at me on such occasions, I'm out with a camera and determined to make photographs, come what may.

As the winds have picked up over the past day or two I head for Sandbanks and Poole Harbour, intent on getting some action shots of water sports: after all, there's bound to be the usual kite and wind surfers in action on such a day...but no! Well, not exactly true, but those there practicing the art were less than spectacular, and in most cases pedestrian in their abilities. Obviously, beginner and intermediate skill levels on display.

I'm  considering heading to a different location when I spot someone feeding gulls and I start to photograph the attracted cloud of sea birds whirling overhead. A bit like shooting fish in a barrel, but we all like to back a winner occasionally. I still have the camera set up for fast action shooting and make a number of short bursts at 8 frames per second, usually at the peak of the action. Timing it this way greatly increases my success rate and I get a good percentage of useable images, one of which I include here (there are two more in my online gallery).

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/6400 second at f/5. -0.33 EV compensation. ISO 400. Handheld.

© 2010