On the wall

The street mural above - unveiled two days ago - is designed to get people involved in the creative side of things. Painted by grafftti artist Rick Walker, it was comissioned by the consumer initiative Get it Right From a Genuine Site. It measures 15 x 13 metres (49 x 43 feet), and is the third such artwork, the others being in Birmingham and Cardiff.

The astronaut at top right represents Bournemouth University's involvement with the National Centre for Computer Animation, and it's Oscar-winning visual effects work on the film Gravity. The two figures on the left are inspired by Dr. Jekyll and Mr. Hyde, created by Robert Louis Stevenson who lived in the town from 1884-87, while world champion breakdance crew Second to None is represented in the yellow area.

In the centre is AFC Bournemouth's captain Tommy Elphick, no doubt there because of the football club's recent rise to the top flight league for the first time in its history.

Only a few yards away, in a back alley, is the above artwork painted onto a studio's sliding door. Not as involved as its neighbour, but equally striking nonetheless.



Top: 12-24mm f/4 AF-S Nikkor. 1/320 second at f/8. Matrix metering. Polarising filter. ISO 400
Below. 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/5.6. Matrix metering. ISO 200



© 2016

Okay, this is gettin' weird

Two buildings: One already in existence, the other still only an illustrator's rendition of something yet to come. I spotted the opportunity to line-up the board on the right with the structure on the left in the camera, and the image is not the result of jiggery-pokery in Photoshop. Let's face it, it would be a pretty poor attempt if that were the case, wouldn't it?


24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/11. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 160



© 2016

Close enough

Last week I heard a TV weather forecaster say that Spring officially starts on 1st March. Well, if you say so, but you only need to go outdoors and look around to see that nature is way ahead of you, Met Office. My local patch of daffodils is in full bloom, and that's good enough for me, and the warmth of the day supports it.



300mm f/2.8 AF-S VR Nikkor. 1/3200 second at f/2.8. Matrix metering. - 0.33 EV compensation. ISO 200. Monopod



© 2016 

A walk on the wild side

As far as I am concerned this is what the fisheye lens was designed for: shooting architecture. The serious photographer will demand as little lens distortion as possible and upright verticals. I, on the other hand, often enjoy a walk on the wild side.

The subject here is the pedestrian and cycle bridge that crosses the M20 motorway at Ashford, Kent.


10.5mm f/2.8 AF-S Fisheye Nikkor.

Top: 1/640 second at f/11. Matrix metering. - 0.67 EV compensation. ISO 160
Below: 1/400 second at f/11. Matrix metering. - 0.33 EV compensation.



© 2016

Much-Binding-In-The-Marsh

Using the title of a post-war British radio comedy series does to some extent hint at the difficulties Nic and I encountered in the mud of Romney Marsh, Kent. It has been three months since we first visited the Church of Thomas à Becket at Fairfield on a dull November afternoon, but today the light alone made the effort worthwhile.


 12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 160



© 2016

No sky: big foreground

There is always the element of luck when shooting in an uncontrolled environment, and yesterday's shoot at the beach proved to be a wash out due to a lack of it. At the time of low tide the sky was almost cloudless, but it was a strong human presence that effectively put paid to achieving anything approaching the mood I was trying to create.

Today was a significant improvement. There was only one other person - another photographer - at my chosen location, but once again the sky wasn't happening. Instead, I went for a big foreground, using the ripples in the freshly exposed sand as the major part of the composition.



12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. -1 stop EV compensation. IS0 160



© 2016

Almost there

Time is beginning to run out for this season's beach photography. It won't be too long now before the sun starts setting inland on Poole bay, plus Spring is just around the corner and my lens will be pointed elsewhere. Fortunately, I have three very low spring tides this week and, weather permitting, I intend to make the most of them. It's all those glorious reflections available, you see.


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



© 2016

Number 9

As I write, storm what's-his-name (actually this one appears to be a her), continues to blow rather less than predicted along the South coast, although winds of 96mph were recorded at The Needles on the Isle of Wight during the night. This is the ninth tempest of the winter so far in the UK, and to my recollection it is only recently that they have been given names. Maybe it is an attempt to soften the blow in the realisation that such repetitive atmospheric turmoil was somewhat rarer, not so long ago.

Climate change, anybody?



12-24mm f/4 AF-S Nikkor. Matrix metering. ISO 160.

Top: 1/500 at f/8. - 0.67 EV compensation
Below: 1/500 second at f/5.6



© 2016