Leaving a deposit

Storm conditions not only stir up the sky, they also stir up the ground, creating all manner of photogenic subjects. This shape on my local beach was formed by running water from recent heavy rains, depositing minerals and sediments to form the pattern.

© 2025

Work in progress

Comissioned street art is becoming commonplace, with murals sprouting up everywhere I look. This one, on the wall of a beach facility, is a work in progress.

© 2025

It's a good sign

         The fact I'm getting my knees wet tells me I'm enjoying myself. 16 minutes after sunrise on the local beach.



12-24mm f/4 AF-S Nikkor. 1/40 second at f/11. Matrix metering. 0.9 Lee grey graduated filter on the sky. ISO 125



© 2020

Pump it up

Storm Francis blows in and out again overnight, and unlike some parts of the country it was barely noticeable on the south coast. Well, at least where I am. What does trouble me is that fact it's so early in the season.

Although breezy, the morning is bright and I take a stroll along the seafront specifically to shoot colour. I'm using a polarising filter at maximum effect to pump up the colours, just to see what I can come up with. It's not something I do often but once in a while it's fun, even if it is light on realism.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/8. Matrix metering. Polariser. ISO 200



© 2020

Winter solstice sunset

At 04:19 Universal Time (UTC) today in the northern hemisphere, the North pole reached its maximum tilt away from the sun. Although it is not something I celebrate myself to any significance, it does mark the day of mid-winter... and thoughts of Spring.



12-24mm f/4 AF-S Nikkor. 1/125 second at f/11. Matrix metering. -⅓ EV compensation. 0.9 Lee ND graduated filter. ISO 200



© 2019

Just around the corner

I've had my fill of seascape photography for winter (you wish), and the signs of Spring are already with us. Crocus are in full bloom here and there, and the blossom buds are getting ready to burst on the tree in my garden. What's more, it isn't as cold as of late, and it is noticeably lighter in the afternoons.


12-24mm f/4 AF-S Nikkor. 1/80 second at f/8. Matrix metering. Monopod. ISO 100



 © 2018

Chancing our arm

The Folkestone Harbour Arm (The Place To Be, claims their web site),  juts out into the English Channel, not only providing spectacular views of the town when you reach the end, but it also offers the visitor a selection of clubs, restaurants and local businesses, as well as a bakery and brewery. Of course, on a crisp, clear, winter's weekday like today there is little sign of any of this activity, but Saturdays and Sundays, apparently, are a different matter.

The lighthouse (top) - built in 1860 - is also the venue of the Folkestone Lighthouse Champagne Bar. I'm sure they know best, but to Nic and I it seems like a recipe for the occasional disaster, with the unwary patron tottering out onto the pier after a drink or two too many, and ending up in the drink themselves.


24-70mm f/2.8 AF-S Nikkor.
Top: 1/100 second at f/8. Matrix metering. ISO 100
Below: 1/200 second at f/5.6. Matrix metering.  - 1.33 EV compensation. ISO 100



© 2017

On the water's edge

Half way through November, and although there have been one or two days where it has been somewhat cooler, it is still generally mild for the time of year. On top of that I get a decent sky to photograph at sunset, along with a low tide whilst on the beach.


12-24mm f/4 AF-S Nikkor. 1/640 second at f/8. Matrix metering. ISO 100



© 2017

Novel idea

I've seen many things washed up onto beaches, but never before have I come across a book. To be honest, I don't think it was washed up; more than likely dropped by a walker, but it was enough to catch my attention and photograph the waterlogged novel on Camber Sands, East Sussex.


24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/4.5. Matrix metering. ISO 400



© 2017

When the sun goes low

                                                      An impromptu visit to the beach, and the golden hour.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 100



© 2017

Barometric anarchy or: Storm Doris

As I write, Storm Doris continues to batter the country, with winds of up to 94 mph recorded in some parts. Such is the intensity it has now been classed as a weather bomb; the first time I have heard the term used to describe this kind of barometric anarchy in the UK. Travel disruption and damage is widespread.

However, along the south coast things are a little different, and although the wind occasionally gusts up to around 48 mph the sea remains calm, and at least a few of us can get out and enjoy an afternoon on the beach.



12-24mm f/4 AF-S Nikkor. 1/2000 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160



© 2017

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

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

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

Storm Barney

Storm Barney (naming a storm just doesn't sound right to me), threatens to hit the south coast with winds predicted to exceed 80mph, so it's out with my camera to see what's on offer. In reality the forecast is way off in my part of the county, although winds do gust up to around 35mph during the day.

I time my shoot for high tide, but even so there is little in the way of sea action, and the break in the clouds that coincides with it doesn't produce anything spectacular. As is often the case what lies beneath our feet is ignored, but it can produce something worthwhile to photograph, if only we look.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/5.6. Matrix metering. ISO 160



© 2015

It's just a question of when

"There's a storm coming, and you'll get good skies". This nugget of information was offered by a chap who had been eyeing-up my photographic activities on the beach, although I don't see any evidence of one for the next few days on the weather map. His unsolicited advice is as valid as anybody's, I guess, and I don't doubt for one minute there is a storm coming. It's just a question of when.

This time last year was different, of course, and I lost count of the number of times such an event rolled in from the West, but for the time being it is somewhat mild. The crocus featured in Tuesday's post has now opened but remains only one of a pair visible so far, and it is nice - if not unusual - to have windows open during the day at this time of year.

The wave upon the beach in today's photo reminds me of what a hurricane looks like from space.




12-24mm f/4 AF-S Nikkor. 1/800 second at f/11. Matrix metering. ISO 200



© 2015

On the beach...

I always say that there is no such thing as bad light for photography; just different light, but walking along the beach today I find myself wishing it wasn't quite as good as it is. It's all fine and dandy to have such clear weather, especially at this time of year, but for my taste I could do with a bit more going on in the sky department.

Nevertheless, I work all the standard angles as the tide drops in an attempt to get something interesting, but it's this grab shot from this afternoon that works the best in my view.



24-70mm f/2.8 AF-S Nikkor. 1/3200 second at f/9. - 0.33 EV compensation. ISO 400



© 2014

And at the other end of the day...

Determined to make amends for yesterday's loss I am - for the second time in a matter of hours - back on the beach. With roughly 8½ hours of sunlight at this time of year I don't have to wait too long between shoots to get the best light. I mentioned the golden hour in yesterday's post: that hour after sunrise or before sunset, where photographers and artists alike take advantage of a low sun, but for the next few months that "hour" can be all day.

It is late afternoon, and low tide coincides with the sunset. The fact that it is during the working week is a blessing as it means I have the beach virtually to myself.



12-24mm f/2.8 AF-S Nikkor.  1/125 second at f/11. - 0.33 EV compensation. ISO 320



© 2014

Just not good enough...

I'm kicking myself, really. Having enjoyed the last Formula 1 Grand Prix race of the season on television (nice one, Lewis), I'm off out for a walk along the beach for the last hour of daylight. Despite the fact that I am wearing a small backpack that has more than enough room for a comprehensive kit I only take one lens with me. Quite why I can't answer, but having checked the weather forecast earlier I should have been better prepared.

For the last twenty minutes of what is known as the golden hour by photographers, the slit of light hovering over the hills to the west gives way to a breathtaking sunset that engulfs almost the entire sky. Unfortunately, this one lens I have on the camera is a short telephoto, and not entirely suited to capturing sweeping vistas. Of course, the trick is to make the most of what I have in such circumstances, and I start to look for silhouettes to set against the glorious light. There are plenty of subjects available as a good number of people move to the waters edge to enjoy the spectacle, but oh! -  how I wish I had a wide lens with me.

85mm f/1.4 AF Nikkor
Top: 1/400 second at f/4.  -1 stop EV compensation. ISO 400
Below: 1/160 second at f/4. -0.33 EV compensation. ISO 400



© 2014

For Nic and Tim...

An overcast autumn day and a walk along the beach with the minimal of camera kit, just to see what I could find. The above photograph is dedicated to Nic and Tim (you know who you are): this-blog followers extraordinare (and the one in Manchester who never says a word but I appreciate you all the same). Nic, you get the stick.



50mm f/1.8 AF Nikkor. 1/80 second at f/5.6. ISO 400



© 2014