The moon and lunar eclipses, now 8% larger.

The last time I tried to photograph a total lunar eclipse was in 2008, and I made something of a hash of things. The build up to the event went okay, but during totality some problems arouse that I hadn't bargained for and the results were a disaster. I was determined not to let this happen a second time.

The top photograph is, in fact, a colour image, and it shows the "supermoon" around 45 minutes after moonrise. The one below was taken around 8 hours later at 03:28 GMT, shortly before total eclipse. I had set the alarm on my phone for a 3am start, and was delighted to find that I was able to set up my tripod on my doorstep and didn't have to travel off into the night to get a good view of the event. Even so, as the moon appeared to turn a blood red the same difficulties I experienced on that night eight years previous reared up once again: the subject was now very dim, and it was moving.

Using my longest glass, plus an extender to get a decent sized imge, I was forced to shoot wide open and raise the ISO settings to figures my camera body was barely comfortable with. Even then shutter speeds were agonisingly slow. The results were disappointing, and once again I retired defeated. I enjoyed the spectacle for what it was but resigned myself to the fact that I simply don't have the setup for this kind of photography. Still, 10/10 for effort.

To redress the balance to some extent I set out during late afternoon with my camera, taking advantage of the unseasonally good weather the south of the country is currently experiencing. On top of this there are some low tides predicted for the next few days, although the weather is set to be too perfect for my taste. Instead, I use what I have and take a number of images of the Egging Memorial*, situated on Bournemouth's East Cliff.

Glad to have a bit of normalcy once again.


*For Flt. Lt Jon Egging of The Red Arrows RAF Aerobatic Display Team


Moon images: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod and remote release. Mirror lockup.
Top: 1/160 second at f/5.6. Matrix metering.  -3.33 EV compensation. ISO 160
Middle: 1/6 second at f/4. Matrix metering.  -3 stops EV compensation. ISO 800

Bottom. 12-24mm f/4 AF-S Nikkor. 1/125 second at f/11. Matrix metering. ISO 160



© 2015

Back in the fold

I was rather pleased with this photograph. Not because it is anything spectacular, content wise, but because it told me I was beginning to 'see' subjects once more. When I have had a substantial break from shooting it takes me a while to get my eye in again. Sometimes it can happen relatively quickly, as when faced with a stunning vista, but today's image is just the way I found it. Simply light coming through my window and striking folded material on a chair; something I might have easily ignored.


24-70mm f/2.8 AF-S Nikkor. 3 seconds at f/11. Matrix metering. 1⅔ stops under exposed. ISO 160. Mirror lock-up. Tripod and remote release.



© 2015

Flagging

Now that autumn is here things are beginning to look good as far as photography is concerned. All those glorious days when the light is just right, and the big skies that come with it all, are now just around the corner. Days, albeit somewhat cooler, when I get my beaches back and it is a joy to be out there shooting.

It is something of a slow process returning to making photographs, but I feel that once I get a couple of good images in the bag it will become less of a struggle and more of a passion (again).


12-24mm f/4 AF-S Nikkor. 1/800 second at f/11. Matrix metering. ISO 160



© 2015

On reflection

Okay, I'm back. The seasonal job has come to an unexpected end seven weeks premature and I am itching to get back out there with a camera. The problem is, what do I shoot? It is still too early for autumn to reveal its colours and summer - or what we had of one this year - still lingers. In fact this week has produced some of the best weather of the past four months.

Inspired by a song by British prog rock band Gentle Giant, I cycle to Christchurch at the mouth of the Dorset Stour and photograph the light playing on the surface of the water next to the moored boats.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 400



© 2015