Back indoors

Okay, it's time to take this subject more seriously; I'm talking about architectural photography. There are myriad subjects on my doorstep, including numerous buildings in various stages of construction, but one that was begun in 1220 is the one that fascinates me the most: Salisbury Cathedral.

On this visit I only spend an hour or so inside, and a lot of that is spent talking to the various guides, taking in as much information as they can impart in such a short time. There is lot to know about a building that has an 800 year history, and I really should spend a day photographing the interior to do the place justice. 

1. The East window of the choir: Moses and the brazen serpent:-

2. Looking towards the High Altar and East window:-

3. The Chapter House ceiling and central column:-

4. The Chapter House, and the tent that houses the best surviving copy of Magna Carta:-

1.  24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/3.5. Matrix metering. -⅓ EV compensation. ISO 1000

2. 12-24mm f/4 AF-S Nikkor. 1/30 second at f/7.1. Matrix metering. -⅔ EV compensation. ISO 3200

3. 12-24mm f/4 AF-S Nikkor. 1/160 second at f/8. Matrix metering. - ⅔ EV compensation. ISO 800

4. 12-24mm f/4 AF-S Nikkor. 1/50 second at f/8. Matrix metering.  - 1 stop EV compensation. ISO 100

© 2019

Flying visit

The world famous Flying Scotsman steam locomotive is currently making a short visit to my local heritage railway.

Built in 1923, it set two records for a steam engine: it was the first to be officially authenticated to reach 100 mph (160.9 km/h) in 1934, and the other is the longest non-stop run for a steam locomotive of 422 miles (679 km), in Australia in 1989.

Threatened with the scrap heap in 1962, it was saved by the group Save Our Scotsman in 1963, having raised £3,000 to buy her: the scrap value of the engine.



300mm f/2.8 AF-S VR Nikkor. 1/500 second at f/5. Matrix metering. -⅓ EV compensation. Monopod. ISO 100



© 2019

The last day of winter

Seasonally, it's the last day of winter in the northern hemisphere, and Nic and I visit Dungeness on the Kent coast for a spot of dog walking, and some photography.

It's one of our favourite locations as we always find something different to shoot - the area being littered with working boats and paraphernalia - as well as decaying hulks and wooden sheds. However, it appears that the locals have been making an effort to clean the site up. Many of the more dilapidated structures and vessels have disappeared since our last visit in the summer of 2017, which is a shame as it is a popular place for photographers.


12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. -⅓ EV compensation. Mono conversion in Silver Efex Pro 2. ISO 50



© 2019

Blasted and baked

One of the things that fascinate me is decay; the way things weather and change through time. The numbers on a beach hut have been painted over several times, but constant exposure to adverse conditions - blasted by salt and spray during the winter; baked in the sun during summer - results in peeling paint, and corrosion from the fixing screws.


70-200mm f/2.8 EX Apo Sigma lens. 1/1000 second at f/5.6. Matrix metering. -⅓ EV compensation. ISO 50



© 2019

A gem of a bird

My first foray into wildlife photography this year, and I come up trumps with a kingfisher. Not the easiest of birds to shoot as they are quite small, and fly low and fast, but once you get to know which branches they favour along the river bank it just becomes a waiting game.

For a bird that looks this good, to me it's always worth the wait.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/320 second at f/5. Matrix metering -⅔ EV compensation. Tripod. ISO 250



© 2019

Late light

As luck would have it, I was laid up with a virus when what was possibly the last storm of the winter rolled in over the weekend. To be honest I don't think I missed to much in the way of dramatic light, as it merely rained somewhat and the wind blew long and hard.

Today however, was different: the same strong winds, but with broken cloud. Things looked promising and I had recovered enough to venture out to make the most of it. The beach seemed the obvious place to do that.

I almost missed it as by mid afternoon thick cloud covered the sky once again, but having studied the weather satellite images earlier, I was confident of late light. It was just as the sun was setting that the break appeared, and at the same moment it started to rain. Under such conditions it's a struggle to keep the front element of the lens dry, but the few raindrops that did fall on it worked in my favour, creating the starburst effect.



12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. - ⅔ EV compensation. ISO 2000



© 2019