A walk in the park

The original intention in visiting a local park this morning was to see if the waterfowl had produced any young yet. Still a bit early in the year - there not being any is testament to that - but the spring flowers are giving dazzling displays.

The colours of the red and orange tulips in Pool Park, Dorset, are enough to knock your eye out, and too much to resist photographically. I have to be careful not to blow the red channel out on the histogram, and underexpose accordingly to retain the hues and detail.


300mm f/2.8 AF-S VR Nikkor. 1/5000 second at f/2.8. Matrix metering. -1.33 stops EV compensation. Monopod. ISO 100



© 2018

On location

The frequent visits I am currently making to Salisbury are essentially me scouting for locations. Although spring is just hitting its stride here, my thoughts are already turning to autumn and winter; eyeing-up what might look good when the season dictates.

It's a grey day by the time I arrive, and monochrome conversions are already in the back of my mind should I start shooting. I'm doubtful I will get anything, but obligingly two sheep stand still long enough on Harnham Water Meadows for me to use the shot.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. Matrix metering. Mono conversion and selenium toning in Silver Efex Pro 2. ISO 100



© 2018

In the footsteps of John Constable

Today I'm back in Salisbury for some shooting around the Harnham Water Meadows. I made the decision last night, having scrutinised the weather forecast and found it to be clear skies for today. However, my main worry was that the light might be too good, but on the journey there I was pleased to note that some fluffy clouds were beginning to bubble-up.

Inspired by the John Constable paintings of the area, I roam the Town Path to find a composition that incorporates the cathedral, but frequently find the best angles are blocked by trees, or I'm unable to gain access to the water meadows for a clear shot.

But it's when I round the corner by the Old Mill at West Harnham that I am confronted with a scene that positively screams pastoral England. The fisherman in the mill pond, with the 12th century Grade 1 listed building in the background and the trees on the river bank, is about as Constable-esqe as I can get.



12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. ISO 100



© 2018

I'll be back

Another trip to Salisbury to photograph the cathedral, and once again the weather changes en route to something less favourable; the weather forecasters are playing games with me. I do get a brief burst of light from a crack in the clouds so I can't really complain, but it disappears just as quickly as it arrives.

The scaffolding adorning the eastern end of the building is there for the final stages of the current restoration work; a part of the cathedral that has remained essentially untouched since 1270.



12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

(It's) been a long time

There are some subjects that I return to frequently, shooting time and time again, but the last time I took photographs from this spot was in July, 1986. The water meadows at Britford, near Salisbury, are probably not the same ones that John Constable painted in the 1820s, but one thing is for certain, the scene has changed for both of us since either of us visited last.

Trees now largely obscure the view of the cathedral at this location, and I had hoped for better light, but used what I was dealt with on the day. I sepia toned the monochrome conversion, and added the border to 'jazz it up' a touch.



70-200mm f/2.8 EX Sigma lens. 1/320 second at f/4. Matrix metering. Monopod. ISO 100. Sepia toned and border added in Silver Efex Pro 2



© 2018