The snowflakes aren't dancing

The marked absence of images for this month is not down to lack of shooting; I have been, but the light for the past few weeks has been less than inspiring. So time for some detail work, and this afternoon I point my lens at nothing more dramatic than light surf rolling up the beach.

Nothing too exciting there you might think - and you'd be right - but once I had processed the two pictures using the Mirror filter in Affinity the results became reminiscent of snowflakes, or perhaps intricate lace. Whichever way you look at it, it will be the closest I will be getting to snow this Christmas.



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



© 2016

Three jets

Since the weekend there hasn't been a cloud in the sky, and the high pressure system that is responsible gives winter its first bite. Temperatures are down to around 4ºC during the day; much lower by night, and a featureless sky isn't too inspiring for the outdoor shooter.

But all is not lost, and images are there if I look. Shortly before the sun sets the contrails of three high-flying jets scratch the heavens over the sea; negative space and colour completing the composition.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/5.6. Matrix metering. ISO 160



© 2016

Time to get out

I wasn't going to bother with this shot, but a good response to it on social media has prompted me to add it to the blog.

The first hint of approaching winter storms.


12-24mm f/4 AF-S Nikkor. 1/100 second at f/8. Matrix metering. ISO 200



© 2016

Just the two of us

             The first taste of winter arrived today, as the strong winds whipped-up heavy seas along the coast.



24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/5.6. Matrix metering. ISO 400



© 2016

Waste not want not

                   No apologies for posting a similar shot to yesterday, but I'm not wasting all that glorious light.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/8. Matrix metering. + 0.3 EV compensation. ISO 160



© 2016

Waving the camera about

There is the odd occasion when all you have to do to get a good image is to wave the camera about a bit and fire the shutter, such is the display that nature puts on. Okay, I did get my left knee wet kneeling on the sand for a lower perspective, but it was essentially the application of the old photojournalist maxim: f/8 and be there.


12-24mm f/4 AF-S Nikkor. 1/200 second at f/8. Matrix metering. +0.3 EV compensation. ISO 160



© 2016

Rainy day, dream away #3

Monochrome photography: Far from being old fashioned, it is possibly the most flexible medium as a means of communication. However, one of the biggest errors I see from the novice mono worker is the fear to go to town interpreting a scene they have captured; meekly removing the colour from an image and leaving it at that. Of course there is far more to good black and white imaging, and the medium allows the imagination to run riot should you have the will.

It has been a pretty miserable day here, weather wise, so I wanted to reflect this in today's photograph. Of course, in reality the sky wasn't this dark; nor the beach this dingy, but by the time I had fired the shutter I had a clear vision of what I was going to do with the shot in post production.

The RAW file started life in Lightroom before being opened in Silver Efex Pro2 for the mono conversion. Lastly, I performed dodging and burning in Affinity Photo. It's not supposed to represent reality; photographs don't have to do that. It's just my take on the day.



85mm f/1.4 AF Nikkor. 1/640 second at f/4. Matrix metering. ISO 250



© 2016

Under surveillance

The glorious light of the past two days is conspicuous by its absence, but that isn't to say there are no photographs to be made. I've had this scene under surveillance recently, knowing there was a shot in there somewhere; it just needed the right conditions.

The composition was all about keeping it simple, and although I toyed with the idea of a monochrome conversion, the image works just as well in colour.



85mm f/1.4 AF Nikkor. 1/500 second at f/5.6. Matrix metering. + 0.67 EV compensation. ISO 250



© 2016

Shadows on the sky

                                   Clouds some 60 miles distant, casting shadows onto the sky as the sun sets.




70-200mm f/2.8 Sigma EX Apo lens. 1/1000 second at f/4.5. Matrix metering. + 0.3 EV compensation. ISO 160



© 2016

The Golden Hour, or what?

There are times, when the sun gets under the cloud, that the light can be breathtaking. This has been one of them.



70-200mm f/2.8 Sigma EX Apo lens. 1/160 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

In essence

All that autumn is to me: Fallen leaves; fading light and reflections on wet surfaces. Obligingly, all this came together in one small spot on the planking of a local pier, this afternoon.



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



© 2016

Adding to the mood

I do love the subdued colours that come with the soft light of an overcast sky. At this time of year, even with heavy cloud, the low sun produces beautiful light that any outdoor photographer shouldn't ignore.

I underexposed by ⅔ of a stop to add to the mood.


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/5.6. Matrix metering.  - 0.67  EV compensation. ISO 250



© 2016

High key

Yesterday was more like a spring day rather than the end of October, with the thermometer touching 19ºC, but today is more in keeping with the season; 5 degrees cooler and white, dense cloud. I like days like this for photography as much as when the light is spectacular; the soft light having a quality all of its own.

I over expose by one stop to produce a high key effect, and finish the job in Silver Efex Pro 2. The final result has more the look of a pencil drawing than a photograph.



24-70mm f/2.8 AF-S Nikkor. 1/350 second at f/4. Matrix metering. + 1 stop EV compensation. ISO 400



© 2016

Coming home

                           TS Royalist sails past Brownsea Island and into Poole Harbour, as the sun sets.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/5.6. Matrix metering. ISO 160



© 2016

Sitting on a park bench

Today, I was actually working to a plan; to record the colours of autumn on the ground. Leaves are starting to fall in greater numbers, but not enough to produce any striking compositions, so I concentrate on individual elements.

A single leaf rests on a specifically designed bench; itself part of a permanent sculpture inside a circle of six trees in Shelley Park, Bournemouth.



24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/4. Matrix metering. ISO 160. Monopod



© 2016

L'art pour l'art

As a rule, if I use any digital manipulation at all for images I make sure the viewer is oblivious to the fact. But once in a while it is nice to go overboard and make no bones about it: These images have been through the grinder. No, really.

They started off as straight shots of a firework display from the end of Bournemouth pier, Dorset, this evening, but the individual frames didn't have much impact. So, into Affinity Photo and the Mirror effect in the Filters menu they went, and they came out looking like this. That's much better.



12-24mm f/4 AF-S Nikkor. Bulb setting. Tripod and remote release. ISO 160. Affinity Photo editing software.



© 2016

It takes two

The second day with the lowest tide of the month, and it almost coincides with sunset. However, it's not until after both events have occurred that I start to make photographs. Experience tells me that the high, thin cloud to the West on the satellite weather map will produce an afterglow, so really I just need me a focal point.

A woman playing with her dog on the surf line had the most potential, but neither move into a position to be big enough in the picture to count. Then out of nowhere a couple stroll into the frame, and I know I have the shot.



24-70mm f/2.8 AF-S Nikkor. 1/30 second at f/5.6. Matrix metering. Lee 0.9 grey grad. Tripod and remote release. ISO 160



© 2016

I needn't have worried

The partial beach replenishment in April, although necessary in order to preserve the coastline, had me worried for a time. With all that extra sand - about 126,000 cubic metres of it - piled up like it was, it eventually dawned on me that low tides might not have the photogenic quality to which I had become accustomed during the winter.

However, wave action over the past seven months has done its job of reducing the beach to a more natural shape; this being taken into consideration by engineers during the planning process. Which is nice, because I have my beach back the way I like it.

  

12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. + 0.7 EV compensation. ISO 160



© 2016

Go! Go! Go!

Low sun, low tide and reflections; It doesn't get any better than this for me. The local Surf Rescue team sprint down the beach, doing a spot of training. Perfect.



12-24mm f/4 AF-S Nikkor. 1/1250 second at f/8. Matrix metering.  - 0.6 EV Compensation. ISO 160



© 2016

Restricted freedom

Whereas I enjoy the mobility of shooting hand-held, I equally enjoy the freedom that the tripod gives me when using one to support the camera. For one thing, the composition stays the same once I have lined everything up, and for another I am able to use what ever aperture/shutter speed/filter/ISO combination I choose for total control over the image. On top of that, with correct use you are assured of sharp images.



12-24mm f/4 AF-S Nikkor. 10 seconds at f/11. Matrix metering. Tripod and remote release. x10 ND filter. ISO 160



© 2016

Thinking about it

Taken from almost the same spot as yesterday's image, but a few minutes later in the day, it illustrates the difference between an impromptu shot and something far more considered. Planned in advance, I used a tripod instead of a make-shift rest, allowing a long shutter speed to be used to blur the waves of the sea; something I wanted as a strong element in the composition. However, with such a long exposure I would never have captured the lone figure on the beach as I did yesterday.

I am not saying that one photograph is better than the other; that would be up to the viewer to decide anyway, but they both have a divergent feel about them, created by a different thought process.



24-70mm f/2.8 AF-S Nikkor. 15 seconds at f/11. Matrix metering. Tripod and remote release. ISO 160.



© 2016

Steady, now

Packing up your photographic gear and heading for home once the sun has disappeared below the horizon can often be a mistake as good images are still available, especially when there is water involved. Taken 25 minutes after the sun had set, the lone figure on the surf line makes the shot. Light levels were very low, and to keep everything steady I wedged the camera between a lamp post and guard rail on the local pier.



24-70mm f/2.8 AF-S Nikkor. 1/25 second at f/2.8. Matrix metering. ISO 250



© 2016

More beach huts

A break in the cloud during late afternoon was the signal to get on my bike and go and photograph something. It had been quite breezy all day, but the calmness that arrived with the good light gave a mirror-like reflection of the beach huts on Mudeford Spit.



24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/5.6. Matrix metering. ISO 160



© 2016

Sand and water

Water from a cliff outfall swirls to shape wet sand on the beach, whilst the sun reflects off of the ripples created by the stiff wind. Moments after taking the shot the flow increased and the effect was lost.



24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/6.3. Matrix metering. ISO 320



© 2016

£1200 per sq/ft, anybody?

Mudeford Sandbank, at the entrance to Christchurch harbour, Dorset, where an 8 berth beach hut can cost you £265,000 to buy. Add on a sizeable annual ground rent of up to four grand and you have yourself a bargain. Although they can only be used for sleeping in overnight between March and October, the lucky owners have the freedom to visit at any time of year.



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



© 2016

Double the fun

Long before the Internet, when photographic magazines were king, you would always find a slew of articles on darkroom techniques amidst their pages as autumn moved into winter. These were designed to tie-in with what was traditionally known as the "darkroom season" for the enthusiast; a time to put the camera down and spend the long winter nights printing negatives shot during the summer months. It was only the very hardy (or those oblivious to tradition), that ventured outside with their cameras as the nights drew in.

That never seemed like good sense to me, because it is only at this time of year that I start to shoot with any conviction. Sure, it's colder out there, and I haven't made a wet print in I don't know how many years; but miss all the fun with that glorious light? No chance.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. Matrix metering. ISO 160



© 2016

Two fishermen

  Fishing from the beach, Boscombe.

24-70mm f/2.8 AF-S Nikkor. 1/2500 second at f/5.6. Matrix meterting. + 0.3 EV compensation. ISO 160



© 2016

1,000th post

I have been aware of the forthcoming milestone of 1,000 posts on this blog for a while, and ideally wanted the image to be something outstanding to mark the occasion. I hadn't intended to visit Corfe Castle, nestled in the hills of Dorset's Isle of Purbeck, but an afternoon bike ride developed into the unexpected.

Photographed from The Rings; an earthwork fortification that was used by Cromwell's Parliamentarians as a gun battery during the English Civil War, the castle dates back to Norman times and was built by William the Conquerer. It has been in its current state of ruin since 1645, when it was partially demolished with explosives. The castle has also been thought to be the inspiration for Enid Blyton's Kirrin Island, featured in the Famous Five books.



24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/5.6. Matrix metering. ISO 160



© 2016

   Poole Harbour, from Sandbanks.

12-24mm f/4 AF-S Nikkor. 1/800 second at f/8. Matrix metering. + 0.3 EV compensation. ISO 160.



© 2016

Lifeguard station

It's not uncommon to post process an image using two editing software suites; Adobe Lightroom and  Photoshop, for example, but in this case I used three. Well, actually the third is a plug-in from the Google Nik Collection series; a set of 8 that once commanded a hefty price tag but now available as a free download.

My favourite of the bunch is Silver Efex Pro2 - a monochrome conversion tool - and I used it here just to see how far I might take a straightforward shot and add a bit... well, quite a lot of, drama. It's almost like discovering the dark room all over again.



12-24mm f/4 AF-S Nikkor. 1/640 second at f/7.1. Matrix metering. ISO 160. Silver Efex Pro2



© 2016

Bus stop

It's not often I get too excited about bus stops, and this is no exception, but the one at North Haven, Sandbanks, made me look twice today. Not too sure why I shot with the lens wide open, though. Maybe it was all the excitement.


12-24mm f/4 AF-S Nikkor. 1/2000 second at f/4. Matrix metering. - 0.6 EV compensation. ISO 160



© 2016

Autumn equinox

It's the autumn equinox - a day later than usual because it's a leap year - and the glorious weather has me out on my bike and heading west. Taking the chain ferry that crosses the mouth of Poole harbour, I ride to Black Heath on the Isle of Purbeck specifically to photograph Agglestone Rock.

Also known locally as the Devil's Anvil (he gets about a bit, doesn't he?), it is estimated to weigh 400 tonnes, and takes its name from the old Dorset dialect: "Aggle" meaning "to wobble". The chalk cliffs of the Isle of Wight can be seen on the horizon, 21 miles distant.



70-200mm f/2.8D Apo EX Sigma lens. 1/640 second at f/5.6. Matrix metering. ISO 160



© 2016

No experience necessary

At the time of writing I'm still not sure if I turned down a golden opportunity to fly as a passenger in a paraglider, this afternoon. The Wessex Hang-gliding and Paragliding Club were doing their thing from the clifftops at Southbourne when I stopped to take some photographs of three already airborne. Watching from the ground were two pilots, and I casually engaged one of them in a conversation about whether or not you felt the effects of the wind whilst flying.

His answer was pretty much what I expected (yes, you do), but was then quite taken aback when he offered me the opportunity to fly in tandem with him and find out for myself. There and then! I wasn't sure if he was serious or not to start with, but it turned out he was. Apparently, previous flight experience isn't necessary for the passenger, but I politely declined. 

It all looks safe enough from the ground as the fliers glide effortlessly to and fro "up there where the air is clear", but the take-off over the cliff edge looks a trifle hair-raising in my book. Besides, I would need a bit of time to get psyched-up for such an event rather than an impromptu, daredevil lunge out over the sea, however competent the pilot may be.

Maybe next time...

24-70mm f/2.8 AF-S Nikkor. 1/4000 second at f/4. Matrix metering. + 0.33 EV compensation. ISO 160

© 2016

The last knockings of summer

A couple of days of summer remain, and although it is still relatively warm for the time of year the locals have their beaches back to themselves. This is more than likely due to the fact that most of the UK has been hidden below a blanket of cloud for the best part of a week, but even so there is a noticeable absence of people; even the dog walkers.


24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/8. Matrix metering. ISO 160


© 2016

It won't be long

Enjoying the late summer as we are in the UK, yesterday was the warmest September day since 1911, and it is something of a novelty to be shooting on the beach in the pre-dawn wearing a T shirt. Today wasn't a planned shoot, but since I was awake at 5am I took the opportunity of a clear sky for a spot of seascape photography. I love the soft hues created only by light reflected from the sky; the sun not yet visible above the cliffs of the bay behind me.

The sun is still rising and setting inland on my particular stretch of coast, but thoughts of those winter afternoons at low tide are not far away.



24-70mm f/2.8 AF-S Nikkor. 1/25 second at f/8. Matrix metering. Monopod. ISO 200



© 2016

To Affinity and beyond!

Photoshop for under forty quid? Surely some mistake? Although the designers don't claim it to be that, Serif Affinity Photo is a serious contender and gives the Adobe industry standard a (damn) good run for its money; at a fraction of the cost. I have spent the past week or so evaluating a free 10-day trial, and having concluded it does what I want (and a whole lot more), I whipped-out the credit card to buy the license.

The test image is part of a much larger mural on the wall of a local railway station, and is the work of local urban artist Adam Klodzinzki.



Sigma 20mm f/1.8 EX DG lens. 1/200 second at f/5.6. Matrix metering. +0.33 EV compensation. ISO 250.



© 2016

On my way to where?

With the holiday season all but over, and the thermometer touching 25ºC, it's time to get out on the bike for a spot of exploration. The best photographic accessory I possess - my mountain bike - has proved its worth time and time again, getting me shots I wouldn't otherwise have even seen.

Take the solar panel arrays (above). Somewhat off the beaten track near my local airport, I had no idea that there were fields of these things just waiting for the right sky; the right amount of cloud; my lens; until I made an unplanned turn on my way to nowhere in particular.


24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/8. Matrix metering. - 1 stop EV compensation. ISO 250. Polarising filter.



© 2016

Bournemouth Air Festival, 2016: Day 4

The last day of this year's local air show and the weather looks promising. Day 3 was more or less write-off because of the strong winds, but the organisers did manage to arrange a short, truncated, programme starting at 6pm. No mean feat, as amongst other things (availability of aircraft and people to fly them), the airspace needed to be cleared. I nipped along to see the Red Arrows perform, but due to the lack of accurate - and conflicting - information available, I left immediately afterwards... and missed the rest of what had been re-arranged.

So, the last day, and by early afternoon the sun appears in all its glory; the wind drops dramatically and high, wispy clouds create a perfect backdrop for photography... but nothing is flying. As I mentioned earlier, the local airspace has to be cleared for the displays to take place and aircraft need to be available, and no amount of ideal conditions will alter that. Schedules is schedules.

For the most part flying conditions are perfect, but roughly half way through the displays schedule the next weather front rolls in from the West, forcing the fast jets to alter their routines to accommodate the low cloud base.

There were some enjoyable moments throughout the weekend, and I am sure everybody gave their best to entertain, but the line-up of aircraft was weak. The Air Festival is being recognised internationally now, and planning for next year is already under way, but it needs a stronger pool of performers.

Maybe it's just me.



Top to bottom: Swiss Air Force Super Puma Helicopter Display Team (waving at the crowds).
                         B-25 Mitchell Bomber
                         B-17 Flying Fortress - Sally B
                         Breitling Wing Walkers
                         The RAF Red Arrows - Enid
                         Spitfire P7350 (Mk IIa). This aircraft flew in the Battle of Britain, and was used in the                
                         1969 film of the same name.
                         Eurofighter Typhoon


Lenses: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter
               24-70mm f/2.8 AF-S Nikkor



© 2016

Bournemouth Air Festival, 2016: Day 2

The Bournemouth Air Festival was, at one time, my favourite air show - it being local. However, over the past 8 years the programme has become somewhat predictable and needs an injection of imagination. The time-proven crowd pullers are in attendance, but gaps left by iconic aircraft need plugging to keep things fresh.

It is the ninth such event along the coast of Dorset, but for the first time I venture along to the cliff tops in the evening; something that until this year just didn't pique my interest. I now wish it had. Drawn in by the fact that the Eurofighter Typhoon was set to make a second appearance of the day (always welcome), I decide to stay on for the pyrotechnics of the Night Air display, and they damn-well nearly stole the show. Featuring O'Briens Flying Circus starring Otto the Helicopter as well as Team Fireflies and Aerosparx, the neon-clad aircraft made a stunning display in the dusk sky.

The weather is playing its part, as always, and flying was put back an hour today to allow a storm front to pass, but tomorrow (Saturday), unseasonably strong winds of up to 45 mph are expected to prevent flying of any value.

More images from day two can be viewed by clicking on the Gallery tab near the top of this page.


Top to bottom:
                        The Red Arrows making their entrance (wide angle lens).
                        The Red Arrows - smoke on
                        Eurofighter Typhoon
                        One of the four aircraft of The Blades
                        Team Fireflies

Lens: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod and gimballed head

© 2016