Blues and reds

Storm Cuthbert (or whatever incomprehnsible name they gave to the last one), has blown itself out and for the moment we are back to brilliant sunshine.  It's not often that I shoot around mid-day, but today I wanted to use colour as my main subject. Admittedly, it's not the most fascinating object I have ever pointed my lens at, but the two hues opposite each other on the colour wheel make the image work.


24-70mm f/2.8 AF-S Nikkor. 1/3200 second at f/3.5. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

Not gritty at all

The UK is expecting the remnants of the storm that caused so much havoc with snow in the USA over the weekend, but had I taken notice of the weather forecast I would never have got this shot. The urge to photograph something had me wandering the shore line of the local beaches, regardless of the thick cloud over head. After all, there were low spring tides today .

I had gritty black and white images in mind to suit the conditions, but when the sky parted during late afternoon I was blessed with glorious winter light.

12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. + 1.33 EV compensation. ISO 160



© 2016

The third element

I have a few low tides to work with over the next couple of days, and I do prefer those stretches of pristine sand and reflections in tide pools to be person free. But there are times when a figure will make the shot as with the man with the metal detector, who became the third element of the scene and completed the diagonal line.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering  +0.33 EV compensation. ISO 160



© 2016

Still too early?

Torrential rain during the morning gave way to clear skies by early afternoon, and although it remained misty along the coast it was surprisingly warm. A bit too early to be having thoughts about spring weather, but I am glad that cold snap has gone.

The lingering haze produced some beautiful light, and I deliberately over exposed to produce a more airy effect.




24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/8. Matrix metering. + 0.67 EV compensation. ISO 160



© 2016

Pointy bits

The ends of two steel-tipped wooden piles caught my eye on today's ramble with a camera. Stacked on the promenade awaiting use in the building of new groynes, each piece of Greenheart timber ranges from 10 to 13 metres (33 to 43 feet), in length. An idea of their size can be judged here.

The £44 million programme will take 17 years to complete, but during this current phase only 10 of the 53 groynes along the coastline are being replaced. Work is expected to be completed by the end of May, after which the public will be given back the use of the beach.


24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/4. Matrix metering. ISO 400



© 2016

Well, I like it

There are times when the natural effects of ageing and weathering could be interpreted as the work of an artist. The peeling paint on the beach hut is nothing more that; peeling paint, but the phenomnenon known as pareidolia sometimes makes us see something that isn't there.

In this case maybe it's just me, but I like the effect.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 160. Polariser



© 2016

Bolts

It's always risky going out with just one lens to shoot with, particularly if that lens is a prime at an extreme focal length. It does make you work harder for images, but at the same time you are also hoping that you don't come across something that needs an optic that covers the other end of the scale.

Today I got away with it, using a fisheye more as a wide angle rather than looking for straight lines to bend all over the frame. The huge depth of field available allows me to get in really close and keep the rest of the scene sharp.



10.5mm f/2.8 AF Fisheye Nikkor . 1/80 second at f/11. + 0.33 EV compensation. ISO 160



© 2016

No equal

I mentioned architectural photography in my last post, and although I am not big on shooting buildings per se I do like to capture the smaller details. Weathering and decay fascinate me, and its effects often make good images, as with the numbers on a local beach hut.

It has become fashionable in recent years to have new furniture distressed, or musical instruments "reliced" artificially. In both instances (and at a premium price), it is done to give a well-used look and feel to something, but nothing equals the consequences of the passage of time.


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 400



© 2016

Architecture

I really don't do enough architectural photography, and it's a shame because there are myriad things that can be the subject for my lens in my home town. Not just mine, of course, as everywhere has something of interest, no matter how large or small. You just need to look, and have the right light.

When I do tackle the theme I like to use a long lens for the job - the longer the better - especially if the building has repeating patterns. All that super-telephoto compression goes a long way in creating graphic images



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/8. IS0 250. Monopod



© 2016

Surfing girl

Winter has finally, and well and truly, got under way this week. It is cold with worse to come, say the weather people. One even went so far as to warn us that the current cold snap will "have teeth". Whilst there were few willing enough to brave the sudden drop in temperature at the seaside, there was one spirited soul determined to enjoy herself. I can only think those wet suits must work wonders in keeping you warm in such conditions.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/160 second at f/4.5. Matrix metering. ISO 320. Monopod



© 2016

Soft Glow and Muted

Just because I use a camera as an instrument to create images, it doesn't necessarily mean everything I shoot needs to be delivered as an accurate representation. Manipulation has been going on almost since day one in photography, and occasionally a bit of experimentation will produce interesting results.

The stones on the beach at low tide was just a straightforward shot, but I converted the RAW file to mono and then tried various presets in Adobe Lightroom to see what I could come up with. The Soft Glow and Muted option pleased me the most for this subject.



24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/8. Matrix metering. IS0 200. Monopod



© 2016

Further out to sea

I do so like shooting after the sun has set, as everything takes on a different quality when lit only by reflected light. It also has the added bonus of having a deserted beach to work on, not including the two surfers retiring for the day.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/4. Matrix metering. ISO 200



© 2016

Can't keep away

In spite of yesterday's failings I once again find myself wandering the local beaches in search of photographs. It's raining. I am drawn to the distant crack in the clouds. There is something hypnotic about it all. I start thinking in short sentences.

Once the sun gets under the cloud then it's a dead cert for striking images that only the most clumsy shooter can make a mess of. Next week we have low tides. Maybe more seascapes. Possibly a different location. More short sentences...


24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. +1.67 EV compensation. ISO 200



© 2016

Déjà vu

It wasn't until I had post processed today's image that it dawned on me that I have taken this self same shot before. I freely admit that I return to the same locations time and time again, as each time I get something different, but now I realise I am beginning to repeat myself. In other words, gotten stale.

It's not a good feeling and I need to find something different, either with the subjects I shoot or techniques I use.

Think, man, think...



 300mm f/2.8 AF-S VR Nikkor. 1/250 second at f/8. Matrix metering. - 0.33 EV compensation. IS0 160. Monopod



© 2016

Making hay

It's a nice, calm afternoon on the coast. It's warm in the sunshine, there is little to no wind, and the sea is flat. A far cry from last week. All is well with the world as the crews that are replacing the wooden groynes along the beaches make good progress in the fine weather.

Other than photographing them at work the only other distraction is the sky. Originally shot in portrait format, I decided the square crop suited the image better.


24-70mm f/2.8G AF-S Nikkor. 1/4000 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160



© 2016

Saving the day

A black & white image might not be everyone's idea of how to present a sunset, but in this instance I feel it works better by just showing shape and form. All through the afternoon the sky looked promising for something spectacular when the time came, but in the event the colours were weak and washed out. I didn't have a monochrome treatment in mind at the time of shooting, but it did save the day.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/8. Matrix metering. +0.33 EV compensation. ISO 250. Monopod



© 2016

Thick and fast

I've said it before, and I'll say it again: I don't know why I take any notice of the weather forecast. The seemingly perpetual rain has moved on and I am blessed with a series of fronts that sweep in from the Atlantic and along the English Channel. The stiff wind ensures that everything is kept moving, presenting an ever changing sky, and the photographic opportunities come thick and fast.

I had intended to sprawl in the mud and shoot the crocus that are now in flower in a local park, but as long as nature is delivering like it is then they will just have to wait.



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



© 2016

Sculpting light

The one place I like to be during stormy weather is beside the sea. I am not a big fan of being on it; or in it, but from a photographic perspective I love it. I doubt it could have rained any harder during mid-morning, but by early afternoon the storm front has passed and I was left with beautiful cloud formations to sculpt the light.


27-70mm f.2.8 AF-S Nikkor. 1/640 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

Decisions, decisions

The first week of the new year and there are two kinds of weather that we have to contend with in the UK: Stormy and slightly less stormy. Today it is the latter, and people are out along the seafront making the most of the lull. The strong winds have dropped and the waves subsided, so this surfer on a local beach stands and waits, chewing over the idea as to whether or not it is a good idea to get involved. He eventually does. Good man.

However, it remains mild, and early signs of spring are evident in local parks, with daffodils well above ground although not yet in flower.




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



© 2016