Seasonal Limbo...

As mentioned in my last post, summer officially came to an end on 31st August. With the autumn equinox nearly upon us next week, it leaves me wondering what these three weeks of seasonal Limbo might be called.

Having ridden out the remnants of Hurricane Irene, which manifested itself only as brisk winds in the South, I return to Throop, Dorset, for some casual photography. Today's photograph was taken from the footbridge of the weir that crosses the Stour at this point, and I make no attempt to conceal the electricity pylons that straddle the landscape, using them as part of the composition.

As with the nearby millpond in my last post, the river itself has also been allowed to return to a more natural state, with far more weed and reeds evident than in all the years I've been going to the spot. I'm sure there is a good reason for deliberately letting the waterway get to this condition, but everyone I speak to locally is as mystified as I am.


24-70mm f/2.8G AF-S Nikkor. 1/125 second at f/11. - 0.67 EV compensation. ISO 250. Polariser.


© 2011

Carpeted swans...

Although I heard someone on the radio mention the other day that the end of August is the end of summer, the beginning of September belies that statement. Clear skies and temperatures reaching 23˚C are the order of the day, and I'm not going to waste it. I've spent too many days inside recently, pursuing other creative interests; it's time to get out.

Packing my longest lens I jump (figuratively speaking) on my bike and head for the countryside, and specifically Throop Mill, Dorset. Although I have waterfowl in mind I'm not intending to shoot anything serious, as it's the middle of the day and the sun is high overhead: not the best light.

For reasons best known to those who manage the area, the millpond has been allowed to become carpeted with (duck?) weed, which at first glance makes it look as if it has been grassed-over; the surface looks solid enough to walk on. It's not, of course, born out by two mute swans paddling their way across. It's obviously harder work for them to move, but they seem to be quite adaptive to the situation.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1250 sec at f/11. -0.67 EV compensation. Monopod. ISO 400.

© 2011

Tributes...

Photographed today, these are some of the floral and written tributes being left for Flight Lieutenant Jon Egging (Red 4) of The Red Arrows, at Bournemouth town hall.

The Facebook page set up to inform the local council of the townspeople's wishes to have a permanent memorial erected for the pilot appears to have had good effect, and they have responded positively. However, nothing will be decided upon until the council have consulted with the family and the RAF.



24-70mm f/2.8 AF-S Nikkor.

© 2011

Bournemouth Air Festival, 2011: Day 4...

The final day of the Bournemouth Air festival, and despite the excellent weather the crowds are noticeably thinner than during the past two days. This is undoubtably due to the absence of The Red Arrows, such is their pulling power, grounded for the time being until investigators can determine the cause of yesterday's tragic accident.

As full a program as was possible took place after pilots and the RAF expressed a wish to continue, but rather than post photographs of today's displays, I include photographs taken over the 3 days of flying.

The Breitling Wingwalkers, Friday. The only formation wingwalking team in the world.

  One of (the four) Blades, Sunday

 The Tigers Parachute Display Team, Saturday.

De havilland Sea Vixen, Sunday, with undercarriage retracting and arrester hook deployed.

  Tornado GR-4, Sunday.

De havilland Sea Vixen and Hawker Hunter (aka Miss Demeanour), Sunday, flying in formation.

Although the fourth Bournemouth Air Festival can be considered a success - it is already set again for 2012 - events were overshadowed by the crash of The Red Arrows' Red 4 and the death of Flight Lieutenant Jon (Eggman) Egging, shortly after displaying in front of an estimated crowd of 300,000.  There was a minute of silence at 1pm on the seafront before today's events started, followed by a spontaneous round of applause from the spectators.

All images: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter.

© 2011

Red 4...

In memory of Flight Lieutenant Jon Egging - Red 4 (bottom aircraft) flying in the group known as "The Enid".                                                                                 

20th August, 2011 - Bournemouth Air Festival.

© 2011

Bournemouth Air Festival 2011...

Yesterday was a non-starter: a total wash-out due to atrocious weather conditions and flooding. Today, the second of four, was very different and normal flying was possible without interruption. Although sunshine brought back the multitudes (as well as the aircraft) there were several notable omissions from the usual lineup of crowd pleasers - the Avro Vulcan being the most notable - grounded for the time being due to a leaking fuel tank. Also missing this year was the Eurofighter Typhoon, currently flight restricted due to a spares shortage, but the Battle of Britain flypast comprising an Avro Lancaster escorted by a Hawker Hurricane and Vickers-Supermarine Spitfire helped to make up for missing displays.

There was, of course, the public's favourite - the Red Arrows (pictured) - this time able to give a full display (the first of 3 over the weekend) as opposed to last year's truncated performances, again marred by poor weather.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2500 second at f/9.  -0.33 EV compensation. ISO 640.


© 2011

It's been quite a while...

It's been quite a while since I've posted on my blog, essentially because I've not taken a photograph since May! Other considerations - some unavoidable; some pressing; some not so -  have taken precedence over the past 5 weeks or so, and to be honest summertime is not my favourite season for shooting, anyway.

Anyway, to (hopefully) get things back on track, I include an early morning image taken on Bournemouth seafront.


24-70 f/2.8G AF-S Nikkor. 1/500 second at f/8. -0.33 EV compensation. ISO 200

© 2011

Blue boat...

Although not exactly first light, today's photography was taken during early morning at Sandbanks, Poole Harbour, Dorset. Arriving just as the sun began to burn off the dawn mist, I'm drawn by the reflection and emerging blue sky - effectively cutting the scene in half - and highlighting the boat at low tide.


24-70mm f/2.8G AF-S Nikkor. 1/640 second at f/11.  -0.33 EV compensation. ISO 200

© 2011

Under mother's wing...

Getting successful wildlife images often requires the photographer to have (at the very least) a basic understanding of the behaviour of the animal in question, as well as anticipating the moment a good image will present itself.

This particularly applied to today's photograph of a Greylag gosling under its mother's wing. Possibly one of the same family I photographed last week - there are several in the same area -  a parent bird sat by the waterside with its wings partially extended, offering its young a protective wing.
Several took up the option, and it was just a matter of time before one would poke its head through the plumage as it became more crowded below. All I had to do was to wait for the right moment to shoot.

The photograph also benefits from being made with the subject in open shade, which helps to saturate colours and allow more detail to be shown. Direct sunlight would have drastically lessened the quality of the picture.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/400 second at f/8.  -0.67 EV compensation. ISO 640

© 2011

One of nine...

Today's photograph is of a Greylag gosling (Anser anser) - the ancestor of most domestic geese -  and is the largest wild goose native to the UK.  Although common in lowland areas all year round, they can sometimes be seen in suburban parks such as this one at Poole, Dorset. This particular gosling has 8 siblings

300mm f/2.8 AF-S VR Nikkor lens with TC-14EII converter. 1/1000 second at f/5.6. - 0.33 EV compensation. ISO 400

© 2011

Spring at its best...

Two years ago, I stumbled upon Brenscombe wood, Isle of Purbeck, Dorset, when it was at its finest: light green foliage, and carpeted with bluebells. Last year I returned to the same spot for more images, but was a week or so too early for the full display. I made the mental note to return during the following weeks, but for some reason or other, I never made it.

This year I had the timing; the weather; the full display...only to find the area has now been fenced-off from the public! The well-worn footpath that still crosses the wood is now out of bounds, and a barbed wire fence makes sure of it.

Not to be deterred (I had, after all, cycled thirteen miles to get there) I soon found that suitable angles were still available for some photography. In fact, those responsible for erecting the wire fence provided some convenient supports (fence posts) to steady the camera - an absolute boon in the low light levels - as shutter speeds were slow and apertures were small.


24-70mm f/2.8G AF-S Nikkor. 1/30 second at f/11. - 0.33 V compensation. ISO 500

© 2011

Rather them than me...

I've not take a single photograph that I've been pleased with for a fortnight. It's not for the want of trying, it's just that nothing has inspired me. The creative person goes through these droughts from time to time, and I usually just ride them out...something will always come along (eventually).

I started the day with my first trip this year to Purbeck, Dorset, with the intention of photographing the bluebells in Brenscombe wood, but a rear tyre puncture put the dampers on the shoot before I got there.
Yes, I do carry spare inner tubes, patches, tyre levers and all that is necessary to effect a repair, but when the bike pump fails it can render it all useless, as it did today. Fortunately, a passing cyclist lent me her pump to inflate the patched-up leak, but after this setback I decided on damage limitation, and return home (and to buy a replacement pump). The bluebells will have to wait.

It's not until shortly after sunset that I come across a reverse (or catapult) bungee jump attraction in the lower pleasure gardens, near Bournemouth pier. The passenger cage is suspended with elastic ropes between two telescopic towers, and is held down by an electro-magnet. Once released, the sphere (containing two passengers) rises vertically with a g-force between 3-5, and can reach heights of between 50 to 80 metres (165-262 feet).

Not for the feint-hearted.

70-200mm f/2.8D Apo Sigma lens. 1/400 second at f/4. -0.33 EV compensation. ISO 1000

© 2011

The Lady Wimborne Bridge...

More good weather, plus the spirit of adventure, and I find myself riding the Castleman Trailway in Dorset.  This 16½ mile route follows the old Southampton to Dorchester railway (closed by Dr. Beeching in 1964) and is named after Charles Castleman, a Wimborne solicitor who is largely responsible for the railway. The first trains ran on 1st June 1847.

The most impressive feature along the route - so far as I saw on today's 50 mile ride - is the Lady Wimborne Bridge (photo) that spans the Canford House main drive. One of the most ornately carved bridges in the country, this Grade II listed building was opened on 14th February 1876, and the last train across it before the line closed, was on 3rd May 1976 - almost a hundred years to the day of its building.


24-70mm f/2.8G AF-S Nikkor. 1/320 second at f/11. - 0.33 EV compensation. ISO 320

© 2011

Too hot to handle...

With temperatures expected to reach 18˚C, I opt to spend the day at the Stour Valley Nature Reserve, Dorset, with a super-telephoto lens, photographing nature. There have been numerous reports of otter activity along the river banks, and I continually keep a watchful eye for such an appearance, but it's a Grey Heron that give me the best shot of the week.

This resident adult bird was moving from rock to rock in mid-river, searching for its next meal. I watched for around half an hour while it made several attempts at a catch, when it suddenly bit off more that it could chew and pulled a perch from the water (photograph). Although it had a secure grip (and very possibly punctured the fish with its bill), it soon became obvious that it was too large and heavy to handle, let alone swallow, and allowed the fortunate fish to fall back into the river.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2000 second at f/6.3. - 1 stop EV compensation. Monopod. ISO 400

© 2011

Rear derailleurs and fertility rites...

Whoever promotes cycling as a cheap mode of transport has got it all wrong. Since buying a mountain bike almost two years ago, it has cost over half as much again of the initial cost with upgrades and parts replacement. Only yesterday the rear derailleur failed on a ride, leaving me with only one gear to limp home on.

Today, I fit a replacement and set off to the local river for a test ride and some spring shooting. Glorious spring weather continues and the trees are beginning to acquire pale green foliage. The hawthorne  (Crataegus oxyacantha) is in flower (photograph).

At one time thought to have magical properties, hawthorne flowers were once used to decorate May poles, the centrepiece of ritualistic fertility dances.


24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/11. - 0.67 EV compensation. ISO200

© 2011

Watery mural...

Today's photograph is part of a mural, painted on the external sides of a water pumping station, in the Borough of Poole, Dorset. Painted by local students in 1998, it had the full support of Wessex Water (who's building it is), and received a special commendation in the prestigious Dulux Dimensions of Colour competition for that year.


24-70mm f/2.8G AF-S Nikkor. 1/1600 second at f/5.6. ISO 200

© 2011

Personal best...

Everywhere I go today, there are people engaged in preparation for the coming summer months. Whether it be the installation of the RNLI lifeguard lookout posts, situated along the length of Poole Bay, or some much needed maintenance to watercraft in Poole harbour, Dorset (photo).

It was a busy day, shooting wise, and I cycle just over 49 miles to achieve it: a personal best for a day's riding. By some standards that may well be considered just "warming-up", but to someone who's idea of exercise used to be a game of chess, with the window open, something of a triumph.


300mm f/4 AF-S Nikkor. 1/2500 second at f/5.6. - 0.33 EV compensation. ISO 320

© 2011

Shameless pet photo...

I'm making no bones about it - it's a pet photo. Once in a while I manage to get a better-than-average shot of my cat, and today is such a day. The rim lighting, plus the pastel tones of the background make for a decent animal portrait.

A touch of fill-in flash completes the effect.


24-70mm f/2.8G AF-S Nikkor. 1/250 second at f/4. - 0.33 EV compensation, with - 0.7 stop fill-in flash. ISO 200

© 2011

Diving for ragworm...

Today, I spend an hour or so at Sandbanks, beside Poole harbour, Dorset, photographing gulls feeding. As the tide ebbs, these sea birds start feeding on ragworm as soon as the water is shallow enough to make successful dives.

This Black-headed gull has just surfaced from such a dive, with a catch in its bill. At this time of year the adult bird is starting to get its summer plumage, but contrary to its eponymous title, the head feathers are a chocolate brown, not black.

300mm f/4 AF-S Nikkor. 1/1600 second at f/7.1.  - 0.33 EV compensation. ISO 400

© 2011

Vernal equinox...

Spring, like autumn, is a transitional period as nature wakes up from winter, and for me one of the great photographic opportunities of the year. As the daylight hours increase insect life is more prevalent, fruit trees are in blossom and the appearance of wild spring flowers bring some much needed colour. As pale green leaves begin to appear on the trees during the next few weeks it will be time to photograph sunlit woodlands, carpeted with bluebells and wild garlic.

But its Poole harbour that is today's attraction for me. The weekend's "supermoon" has produced some exceptionally low tides, while the clear skies help things along. Ideally, I wanted to shoot scenes of colourful boats left high and dry in the late afternoon sunshine, but they were rather sparse for good compositions as many are still out of the water for the winter. Instead, I elect to photograph a solitary boat, making use of what reflections were available, as the sun sets over Brownsea Island.

Next weekend British Summer Time (BST) begins! 

24-70mm f/2.8G AF-S Nikkor. 1/200 second at f/11. -0.33 EV compensation. ISO 400

© 2011  

Super moon rising...

It's the closest it has been for 19 years, and although some foretell all sorts of strange events, the moon will create nothing more than unusually high or low tides.

Photographed at 19.39 this evening, our only satellite is seen here rising over the Isle of Wight, with the 751ft (229 metre) Chillerton TV transmitter to the right. It is difficult to get a crisp image as the moon's disc when it is this low in the sky as it is usually distorted by atmospheric turbulence, but the colour is accurate.

This "lunar perigee" sees The Moon a mere 221,567 miles (356,577 km) from the Earth, or 90% as close as it ever gets.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/80 second at f/5. -0.33 EV compensation. ISO 640.

© 2011

Underneath the arches...

Graffiti: It has been around since ancient times - there are examples dating back to Ancient Greece and Rome - and is more or less ubiquitous these days. This form of expression is somewhat controversial, but I find some graffiti rather appealing. In fact, I'm going to devote some time and energy photographing the more amusing illustrations as an ongoing project.

This particular example is a stencil graffiti, a technique originating in the early 1980s, and was painted on the rear wall of the arched beach shelter at Alum Chine, Poole Bay, Dorset. This method is popular, as it greatly reduces the chances of the artist being caught.


24-70mm f/2.8G AF-S Nikkor. 1/1250 second at f/6.3. -0.33 EV compensation. ISO 200

© 2011

Earlier than last year...

While parts of Scotland were digging their cars out of the snow this morning, the southern part, at least, of the UK was enjoying a spring day, with temperatures peaking at 12˚C.

As mentioned in a recent post, spring is estimated to travel from south to north at 8mph (13kmh), so it will be another week or so before northern regions can look forward to the daffodil and tree blossom displays, prevalent in the south.

Today's image is shot in the same place as my daffodil post last March  - but ten days earlier. Here, all the flowers have bloomed, whilst there were numerous heads still to open in last year's photograph.


24-70mm f/2.8G Nikkor. 1/320 second at f/8. +0.67 EV compensation. ISO 400. Polariser.

© 2011

Not now, I've got a headache...

The nesting season for a good many bird species has got underway: in this instance for the local Mallards at Throop, Dorset. Although these ducks form pairs during the autumn, this partnership effectively dissolves once the female lays eggs. However, males will still forcibly mate with unattached or isolated females (and even with those of a different species).

Unfortunately for this particular drake, the recalcitrant female is having none of it, and makes repeated evasive manoeuvres in a bid to resist his advances. I shoot several high-speed bursts at the peak of the action to capture today's image.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/10.  -1 stop EV compensation. ISO 400

© 2011

The plough and harrow...

The high pressure weather system that currently sits over most of the UK is a bonus to farmers and photographers alike - both taking advantage of the clear conditions and better light to work in.

Currently exploring potential locations for Spring photography, I'm peddling the local country lanes in search of something different. The past few weeks have proven fruitful in this respect, and have been duly noted, but today's image happened by chance.

It is late afternoon when I come across a field being ploughed in preparation for seeding at Holdenhurst, Dorset. There is, predictably, an attendant cloud of gulls in its wake, ready to take advantage of anything edible turned over by the plough. The tractor is also towing a harrow alongside the plough, breaking up any clods of earth left behind by the ploughing operation, giving the soil a finer finish.
Neat.


105mm f/2.8D Sigma macro lens. 1/2000 second at f/5.6.  -1 stop EV compensation. ISO 400

© 2011

The duck season continues...

The Ferruginous Duck (Aythya nyroca), above, is a scarce visitor to the UK, with as few as 30 recordings a year. I photographed this specimen on a pond at Throop, Dorset, during late afternoon. Sometimes confused with the female Tufted Duck, it is easily differentiated by its white, beady eye and white stern.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/8. - 1 stop EV compensation. ISO 400

© 2011

Under blue skies...

Never photograph birds under anything but a blue sky - a piece of advice I was given a long time ago - is something I always try to adhere to. But although not alway possible or desirable - at dawn or sunset, for example - more often than not it increases the chance of producing images that are pleasing to the eye. This is especially the case here where water is involved. The ripples, created by the Tufted Duck, are highlighted by a clear sky and contrast nicely with the red reflections of surrounding trees and reeds.

Although bright-overcast conditions produce more saturated colours in photography, the water would not have taken on the vivid colours it has here, thus reducing the impact of the photograph.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/1000 second at f/8.  -1stop EV compensation. ISO 400. Monopod

© 2011

102 years, and counting...

The blue plaque attached to the front of this Bournemouth seafront beach hut commemorates the first council-owned hut. The 7x7 foot "shed" - (number 2539) along with others, nearby - was built in 1909, and although some more modern pieces have been added over the years, the structure is largely original. It is the oldest public beach hut in the UK.

There are some 20,000 of these huts around Britain's coast - 1900 of which are situated along Poole bay, Dorset. This British institution is a development of the Victorian bathing machines, and by the 1920s they were firmly established as part of the seaside holiday experience. The huts are still rented out to tourists on a daily, weekly or yearly basis - £12, £55 and £1,375 respectively. There is, however, a five year waiting list for the privately owned ones.

24-70mm f/2.8G AF-S Nikkor. 1/160 second at f/6.3. ISO 200

© 2011

Dinner time...

I spend most of the morning, and some of the afternoon, by the river in the Stour nature reserve - armed with a super-telephoto lens - but the only action I get is a fly-past by a cormorant. There was a kingfisher darting about, but unless it perches on something, you've got no chance of photographing one with a long lens.

I had packed up and was making my way home when I spotted the grey heron (photograph), eagerly eying-up a potential catch. As its attention was firmly centred on its next feed, I was able to get relatively close without spooking the bird. One strike: one meal.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/4.5. -0.67 EV compensation. ISO 400. Hand held.

© 2011

Starting over...

Taken by the side of the Dorset Stour, today, the photograph shows the emergence of willow catkins. Hazle catkins have been hanging from the trees beside my local river for a week or two, releasing their pollen to the wind, and some insect life is also evident as the days grow noticeably longer and warmer. I have, as yet, to see any frog spawn in the ponds, but no doubt it's there.

Estimated to travel from south to north of the UK at 8 miles (13km) a day, Spring may well be early, and although February can still bring harsh conditions, it is a sign of things to come. Snow drops are visible at the side of country roads, and for the first time this year, daffodils are beginning to flower here and there.

105mm f/2.8D Sigma macro lens. 1/1250 second at f/10. -1 stop EV compensation. ISO 640

© 2011

Feed the birds...

Today, there is almost spring in the air, as the clouds roll away and the sun shines. There has been evidence of the approaching season for a week or so, with the arrival of crocuses and the green shoots of daffodils. Even the temperature has risen, and for the first time this year I ride without a coat.

I photographed the man feeding black-headed gulls at Sandbanks, Dorset, this morning. Although I was right behind him, he seemed totally unaware of my presence; being totally absorbed in what he was doing. I just wish people wouldn't use bread, as it has little nutritional value for wildlife.

24-70mm f/2.8 AF-S Nikkor. 1/2000 second at f/8. -0.67 EV compensation. ISO 400

© 2011

(Kite)surf's up...

As expected, the winds remain strong for the duration of the weekend, although the sea is not as wild as it was yesterday. Nonetheless, the kitesurfers are out in numbers at the same location, and this time I'm well equipped, lens wise.

Rather than just shoot away I opt to select the best performer, and it's not long before the best of the bunch becomes evident. Although this guy is making some impressive jumps out of the water, it's his moves nearer the shore that produce the most dynamic results.

300mm f/4 AF-S Nikkor and TC-14EII converter. 1/1250 second at f/5.6. ISO 640

© 2011

Fortune favours the brave...

As yesterday, and quite possibly into the start of next week, low pressure and high winds are sweeping most of the country. In spite of this, there are those who are only too keen to take advantage of conditions. Frankly, I'm surprised some people are only too willing to get out onto the sea in 50mph (plus) winds, but they seemed to cope well enough.

I'm only carrying a short zoom lens on this afternoon stroll, so good action shots are out of the question, but I am able to photograph kitesurfers in preparation as they negotiate their way into the waves. If the conditions remain the same, I'll be back again, tomorrow, this time with a telephoto lens.

18-35mm 3.5-4.5D Nikkor. 1/160 second at f/11. -0.33 EV compensation. ISO 400.
Mono conversion in Adobe Photoshop

© 2011

With / without...

From a bright, clam winter's day to heavily overcast skies and strong winds: the UK's weather does it again. With south- westerly winds gusting up to 50mph (80kmh) I am, once again, prowling the shoreline of Poole Bay, Dorset in search of the definitive storm image: once again, I don't find it.

It's easy to simulate bad weather conditions, just by underexposing a stop or so when taking photographs, but angry skies and a bit of flying surf will always be more convincing.

I'm using a clear filter in front of the lens while shooting, as it is easier to remove salty deposits from a flat piece of glass than the curved surface of the front element itself, but it is only during such adverse conditions that I use these acessories. At all other times my lenses are used as the designer intended - sans filtre.
Opinion is (strongly) divided amongst photographers about such practices, and the argument will rumble on ad nauseam, but they do have their uses. It does reduce the risk of scratching a lens element when cleaning in a less-than-ideal environment of airborne salt and sand, and if things get really bad you just take the filter off.  Common sense must prevail from time to time.

50mm f/1.8 AF Nikkor. 1/200 second at f/11. -0.33 EV compensation. ISO 400

© 2011

All Saints, West Parley...

For the first time since mid-October I'm able to have the use of my favoured standard zoom. It's a long story - something I'm not going into, here - but I have missed it when shooting. Its stand-in optic was a Sigma variant of the same zoom range and f/stop, but if the truth be told, the Nikkor blows it into the weeds when it comes down to optical quality and colour rendition.

So, to check that all is well, I return to one of the locations that I found earlier in the week: this time with good light. The photograph is of All Saints, at West Parley, Dorset. Situated next to the Stour river, the main part of the church dates back to the 12th century, whilst the current bell turret dates from the late 19th.

Oh, yes: the lens checks out wonderfully.

24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/11. +0.67 EV compensation. ISO 320

© 2011

Bus stop graffiti...

A crisp winter's day, and I spend a good part of it location searching. This is where a mountain bike is worth its weight: I'm able to follow tracks and paths that's just not possible in a car, and cover a lot of ground while I'm at it.

Today's photograph, however, was taken spontaneously after I spotted the graffiti on the inside of a bus stop, West Parley, Dorset. Whilst not quite a Banksy, it did make me get off of my bike to record the effort. Whether "NINE" is a signature, or a statement, I have no idea.

While local councils take steps to eradicate this sort of activity - in some cases almost as soon as it appears -  there is evidence that the image has been painted-round, so as to preserve it.

24-70mm f/2.8 EX DG Sigma lens. 1/250 second at f/4.5. +0.67 EV compensation. ISO 400

© 2011

Kitesurfer, Sandbanks...

It can often be the case that unless a photographer lugs all of his or her lenses around, shots will be missed. There have been numerous occasions when I've not been able to go wide enough, or long enough, and it's certainly not practical to carry everything on a bike. Today, my luck was in.

Although I was still only carrying three lenses, conditions (plus a good deal of skill on behalf of the windsurfers) came together in the way of light, tide and wind direction. My longest focal length available to me was 200mm, but it proved long enough to capture some deft moves from one particular kitesurfer at Sandbanks.

The image here is from a sequence, and shows him at the top of his manoeuvre (I'm sure they have names for all this), with the town of Poole, Dorset, in the background.


70-200mm f/2.8D Apo Sigma lens. 1/1250 second at f/4.5. -0.33 EV compensation. ISO 200

© 2011

Not what I expected...

I'm in Poole, Dorset, today - primarily on business - but also on a reconnaissance mission to check out suitable angles to photograph the progress of the Twin Sails Bridge, due to be opened in 2012, at a (current) cost of £37m.

It's whilst riding from one location to another that I spot the ivy climbing a neglected wall by the roadside, and stop to get some shots. Oddly, the wall was a lemon hue, not white: the camera recorded the colour inaccurately. This is the first time that I've experienced the auto white balance setting not giving the result I expected, and although I can correct the error using Adobe's RAW converter, I think better of it.

50mm f/1.8 Nikkor. 1/200 second at f/5.6. -0.33 EV compensation. ISO 400

© 2011

Sand patterns and tide pools...

A second day of crisp, winter light, and another very low tide, and I have the makings for some dramatic wide angle shots along the beach at Boscombe, Dorset.

I had been shooting seafront architecture at Sandbanks, Poole, but the patterns in the sand left by the retreating tide, lit by the low angle of the late afternoon sun produce the best images of the day.
I'm shooting at the widest setting of my zoom lens so as to include as much foreground as possible, but instead of correcting any inherent distortion the lens produces, I decide to leave it - hence the slightly bent  appearance of the pier.

12-24mm f/4 Nikkor. 1/125 second at f/11. +0.67 EV compensation. ISO 640. Polarising filter.

© 2011

Raffles...

This sad little boat has been in this condition since last summer. It is holed on the starboard side and the keel has become embedded in the mud. Each successive tide does more damage for the unfortunate owner, who, apparently, can't be traced.

I was talking to a sea-going local, today, who has been give permission - by whom, he didn't say - to try and salvage the forlorn vessel. It seems such a waste to leave it to the elements, rotting away.

So, if you're out there reading this - owner of "Raffles", moored in Poole Harbour, Dorset - get in touch with the North Haven Yacht Club, and rescue your boat, before it's too late.

12-24mm f/4 Nikkor. 1/640 second at f/8. -0.33 EV compensation. ISO 200.

© 2011

Wipe-out...

The first bit of decent light since the start of the new year, and I'm out with a long lens and heading for Southbourne beach, Dorset. It is here that the waves, no doubt increased in size by the southerly wind, are somewhat larger than those to be found on the purpose-built surf reef two miles or so to the West.

Consequently, it had attracted a small number of committed surfers, despite the cold, and it is one such participant - photographed here - experiencing a wipe-out.

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/4. -0.33 EV compensation. ISO 400

© 2011

6,000 and counting...

It was two years ago today that I bought a bike, primarily as a photographic asset, and clocked-up 6,000 miles (9,656km) on it during this afternoon's ride to Poole Harbour, Dorset. This is where I photographed today's image of a lone dingy on a falling tide. I was determined to mark the occasion with something.

The surface of the harbour was still, and once again I had a high contrast, minimalist result in mind as I fired the shutter. Moments later a breeze sprang up and ruffled the water, and the calming effect was lost.

24-70mm f/2.8 EX DG Sigma lens. 1/160 second at f/8. +0.33 EV compensation. ISO 400. High contrast conversion in Adobe Photoshop

© 2011

Gate...

It has been some time since I've produced any photographs, but it's not for the want of trying. Unless there are exceptional weather conditions, dramatic light or something out-of-the-ordinary, winter can be a hollow time for a landscape shooter.

To start the new year off, I am once again out on my bike in search of something worthwhile, but once again the light is flat and uninspiring, mainly because of the cloud cover. It is not until I come across the landing jetty of the East Dorset Sailing Club, situated next to Poole Harbour, that things start to get interesting. The low tide is revealing the whole bare-bones of the structure, and before I could get off the bike I'm thinking in monochromatic terms.

Whilst making a series of photographs I make the mental note to give the final result more graphic "bite" using Photoshop, rather than retain a full range of tones, and decide to make digital Lith, or high contrast, pictures. This involves removing almost all of the mid-tones: a technique that can transform the most mundane of subjects.

85mm f/1.4D Nikkor.  1/400 second at f/5.6. ISO 400

© 2011