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