With daylight

When shooting seascapes I seem to spend most of the time shooting into the light - or contre jour - as it is known in photography, but occasionally it is nice to turn around and go with what is behind me. For one thing I am not fighting contrast; another is for the beautifully soft light you get at the beginning and end of the day.


12-24mm f/4 AF-S Nikkor. Matrix metering. 0.9 Lee grey graduate

Top: 1/80 second at f/11. ISO 200
Below: 1/30 second at f/10.  - 1.67 EV compensation. ISO 500. Monopod



© 2015

A long shot (or two)

Taken three days ago, these images remind me of why I have two 300mm prime lenses as part of my photographic kit. Smaller and somewhat lighter than its f/2.8 big brother the 300mm f/4 Nikkor also has stellar optics and presents no real problem if I decide to add it to my camera bag, along with one or two other lenses, when roaming on foot.

Photographed from 8 miles away the top image shows the start of the eastern end of the Jurassic Coast:  a UNESCO World Heritage site. It runs south west for 95 miles, revealing 185 million years of Earth's geological history from one end to the other.

The second photograph - taken from the same spot but looking south east - shows The Needles rocks and lighthouse of the Isle of Wight. It also features what is known locally as the polar bear: an optical illusion formed by the chalk cliffs of Alum and Scratchell's bays. Only visible as such from certain parts of the beaches of Poole bay, it is some 12 miles distant from the camera.



300mm f/4 AF-S Nikkor. Matrix metering. Monopod. ISO 200

Top: 1/500 second at f/5.6
Below: 1/800 second at f/5.6. - 0.33 EV compensation.



© 2015

Little Cloud

Little Cloud: so-called because of the manufacturers name on the paraglider's wing, was proving difficult to photograph with any success. The problem was that he was more often than not set against a bland background of grey cloud, and no matter how much I willed the pilot to position himself against the setting winter sun it seemed like this would be one of those "almost" shots.

Then suddenly all the elements came together and I fire-off a short burst to capture the image I had been after all along.

24-70mm f/2.8 AF-S Nikkor. 1/1250 second at f/5.6. ISO 200

© 2015

Making life easier

Back in the good old days before digital shooting one of the most useful gadgets the outdoor photographer could buy was the neutral density graduated filter. Designed to reduce the amount of light entering through half of a lens, they brought the scene into balance by controlling contrast, which in turn gave the film a chance to capture a vista more accurately. Any self respecting landscaper had one in his or her bag. I started out using the cheap and cheerful variety, but soon found that in a fairly short period of time the dyes in the filter would fade, the result being skies more akin to those of a nuclear winter rather than the pastoral scene I was trying to record for posterity.

Although I did eventually replace them with something more professional  - and continued to use them with digital shooting - once I started editing with Adobe Camera Raw - and later - Adobe Lightroom, they tended to be left behind on photographic sessions. After all, gradients can easily be added in post production, right? Well, yes, but it isn't the same, and the less retouching the better for the quality of the final image. Quite why it was today that I decided to dust-off "the grads" I have no idea, but I'm glad I did as they make life so much easier in the field. I suspect a resurgence.


12-24mm f/4 AF-S Nikkor. 1/80 second at f/11. Matrix metering. 0.9 soft graduated Lee ND filter. Monopod. ISO 400



© 2015

Lucky break

I have the opportunity to photograph three low tides that roughly coincide with sunset this week, and today was something of a practice run. Keeping a close eye on the Met Office satellite image for visible cloud during the morning, I judge that despite the bleak forecast I might just get some light at just the right time, and set off to the beach.

In the end it turned out pretty good. In fact, it might well be the best of the three days since tomorrow is forecast to be bright and sunny; not good if the sky is clear as cloud not only diffuses the light but makes things far more interesting. I could have done with the occasional shaft of direct light to add a touch of drama, but frankly I think I was lucky to get what I did.



12-24mm f/4 AF-S Nikkor. 1/80 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 320. Monopod



© 2015

 

Atmospheric energy

Wednesday's storm came and went, if you could describe it as such. It did blow through the night; it did rain, but it wasn't the problem I thought it was going to be. But with all that energy going on overhead I am getting the skies that were promised to me a week ago as the tail-end of the system passes, and an afternoon of dawdling along the surf line with my camera was an afternoon well spent. 

What I could have used were some good low tides to better reflect all that colour. Unfortunately it's not until late next week before they get spectacularly low, by which time the weather will have changed, no doubt. You never know, I might be lucky.


12-24mm f/4 AF-S Nikkor. 1/100 second at f/11. Matrix metering. ISO 320



© 2015

Incoming!

It used to be thought that the sight of gulls near land was a sign to expect bad weather; instinct telling them to seek shelter inshore. The fact is, gulls do not live at sea, so there is nothing to connect such sightings with imminent storms. The growing dark clouds are a better indication of what's to come, however, and as I write the first gales of winter are starting to batter the south coast. Winds are forecast to gust up to 70 mph, so it should be an interesting night.


12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. + 0.67 EV compensation. ISO 200



© 2015

Step by step

The compositional trick of a frame within a frame works well here, with this image of a robin in my back garden. Subjects for wildlife photography can be found within a few feet of your doorstep if you are prepared to look and wait, and putting out food, especially at this time of year, works wonders.

Having enticed this fiercely territorial bird into the vicinity it was just a case of being patient. I work on the principle of: shoot, and then gradually move my setup a couple of steps closer. Taking care not to stress my subject, I repeat this action until I get what I am after.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/30 second at f/5.6. Matrix metering.  - 1 stop EV compensation. Tripod and remote release. ISO 400



© 2015

It's getting near dawn

I hadn't planned on being awake at 5 am, but since I was - and the sky was clear -  I decided to make the best of a poor situation and go out to take some photographs. Packing two lenses, and strapping a tripod onto the outside of my bag, I set out in the gathering light to more or less the same spot as yesterday. Clear nights mean cold dawns, but at least there is no frost. The wind is quite biting on the exposed cliff top, though, but I am suitably wrapped for the occasion and I won't be there long.

Whenever doing dawn shoots - at whatever time of the year - I always find it quite magical when our star, once again, breaks the horizon.



24-70mm f/2.8 AF-S Nikkor. Matrix metering. Tripod and remote release. ISO 200

Top: 1/4 second at f/11 (25 minutes before sunrise)
Middle: 1/50 second at f/16. - 0.33 EV compensation (1 minute after sunrise)
Bottom: 1/40 second at f/16. + 0.67 EV compensation (4 minutes after sunrise)



© 2015

Warming-up

This is one of my "warm-up" snaps: images taken just to get into the swing of things. I always do it just to get myself into the frame of mind to look; to see what is before me. Once I hear that shutter click I know I'm out there. It is a similar process that an athlete or musician uses before a performance, and occasionally, like today, it turns out to be one of the best from the shoot.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. ISO 200



© 2015

Blowy, but no storm

The storm mentioned in the last post did happen, although roughly 500 miles to the north. It is, however, somewhat windy on the south coast, but at least for the first part of the day I have blue skies. Thinking that I might get a chance to photograph the local kestrel as it hovers on the wind, or maybe kitesurfers, er...surfing (or both), I set off with one of my long lenses and a converter to see if either (or both) are to be found.

I draw a blank with the kestrel, but to pass the time I somewhat pointlessly take numerous pictures of gulls riding the updraft from the cliffs near the beach. Not that there is anything wrong with gulls per se, but unless I get something extraordinary I know I will just delete the files.

Anyway, the gusting wind is beginning to get getting the better of me, and since nothing is happening on the raptor front I decide to cut the morning's ramble short and head home to delete the gull shots. Besides, a weather front from the West is looming large and I'm about to lose the light; but not before I spot a solitary kitesurfer preparing his kit on the beach.  I manage to get a few well-timed images in the rough surf before the cloud rolls in and I call it a day.



300mm f/4 AF-S Nikkor with TC-14EII converter. 1/2500 second at f/5.6. Matrix metering. - 0.33 EV compensation. Monopod. ISO 400



© 2015

It's just a question of when

"There's a storm coming, and you'll get good skies". This nugget of information was offered by a chap who had been eyeing-up my photographic activities on the beach, although I don't see any evidence of one for the next few days on the weather map. His unsolicited advice is as valid as anybody's, I guess, and I don't doubt for one minute there is a storm coming. It's just a question of when.

This time last year was different, of course, and I lost count of the number of times such an event rolled in from the West, but for the time being it is somewhat mild. The crocus featured in Tuesday's post has now opened but remains only one of a pair visible so far, and it is nice - if not unusual - to have windows open during the day at this time of year.

The wave upon the beach in today's photo reminds me of what a hurricane looks like from space.




12-24mm f/4 AF-S Nikkor. 1/800 second at f/11. Matrix metering. ISO 200



© 2015

Six minutes

If time allows I will usually take an afternoon walk along the seafront -  no matter what the weather - and just for the exercise if nothing else, but always take my camera. For most of the day heavy cloud was the best I was going to get, but for a mere six minutes during today's ramble I got some winter light. I had my back to this scene when the sun broke through, and it was a bit of a scramble to get somewhere so that I could add a bit of interest to the composition. Ten frames later and the rain set in.


24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/11. Matrix metering.  + 0.33 EV compensation. ISO 200



© 2015

Sculpted sand

Created in the sand by water run-off from the cliffs that line Poole bay, the low winter sunlight throws the patterns into relief. I photographed them yesterday whilst waiting for the sun to set, and knew as I fired the shutter that I would create a set of black and white images with the results.

24-70mm f/2.8 AF-S Nikkor. Matrix metering. Monopod. ISO 400

Top: 1/60 second at f/10

Middle: 1/50 second at f/11.  - 0.33 EV compensation

Bottom: 1/40 second at f/10

© 2015

Twelfth night and the first signs of spring

It is debatable as to which date is actually twelfth night, but Samuel Pepys always celebrated The Epiphany on the 6th, and if it is good enough for him then it is good enough for me. The point I am trying to make is that Christmas technically isn't over and the first signs of spring are already here. Blossom has started to appear on at least one tree that I saw, and crocuses - whilst visible before the holidays as shoots above ground - are now beginning to show flowers (above), although not yet open.

It is apparently next to impossible to plan any outdoor shoots with the weather forecasts being what they are, it seems, as today illustrates. Yesterday, I was faced with the prediction of leaden skies for the foreseeable future, yet the reality wasn't even close. Even the level of the tides took me by surprise, and I was treated to a glorious afternoon for me to casually roam the beaches with my camera.

I couldn't make up my mind as to which shots to use so I included two. I haven't produced much so far this year and thought it a good idea to redress the balance a bit. Both photographs were taken from the same spot but in opposite directions, and both were taken after the sun had set.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/1000 second at f/4. Matrix metering.  - 0.67 EV compensation. ISO 320
Middle: 12-24mm f/4 AF-S Nikkor. 1/40 second at f/10. Matrix metering.  - 1 stop EV compensation. ISO 200
Bottom: 12-24mm f/4 AF-S Nikkor. 1/15 second at f/10. Matrix metering. ISO 500



© 2015

Cracked it

Apologies, but for the moment this is the best I can come up with, photographically speaking. Lighting remains flat; nature is doing very little, and despite several shoots this year I have nothing in the can worth posting. Still it does get the new year started... at last, and I have always had a liking for portraying decay and texture.


50mm f/1.8 AF Nikkor. 1/250 second at f/4.5. Matrix metering. + 0.67 EV compensation. ISO 400



© 2015