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