Stealing the show

 

Nic and I went to Capel-le-Ferne on the Kent coast today, primarily to witness the ashes of Mike Llewellyn MBE, being scattered as his last request from a Spitfire as it flew over the White Cliffs of Dover. The founder of the Battle of Britain National Memorial, it was his dying wish to have his remains  disposed of over the iconic cliffs.

Unfortunately, the two aircraft (the other was a Hawker Hurricane), were an hour and twenty minutes late in arriving, so to pass the time I took the opportunity to photograph two other masters of flight that were circling or hovering overhead. The top image is of a kestrel whilst the lower one is of a Peregrine Falcon.

300mm f/4 AF-S Nikkor. 

Top: 1/800 second at f/5.6. Matrix metering. ISO 160

Below: 1/1600 second at f/5.6. Matrix metering. ISO 160

© 2015

Leap of faith

 

  

Looking like something that would be more at home in a War of the Worlds movie, the PierZip tower stands some 60 feet (18 metres) above the decking on the end of Bournemouth pier, Dorset. Today officially being the first day of Spring the fine weather drew out the crowds, and a number of people were prepared to take the leap of faith and ride the 850 ft (250 metres) double zip wire to the beach.



Top: 10.5mm f/2.8 AF-S Fisheye Nikkor. 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 160
Below: 24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/11. Matrix metering. ISO 160



© 2015

The daffodil and the spider

Despite the early signs at the beginning of the year Spring seems to be taking its own sweet time, now. Not a bad thing as it is said that the later it starts the longer it lasts, but even my usual patch of sure-fire daffodils is certainly lagging behind what it was this time last year.


300mm f/4 AF-S Nikkor. 1/400 second at f/8. ISO 160



© 2015

The Victoria Cross, other memorials and comic genius

This morning a paving stone was unveiled at a local War Memorial for a soldier of the British army, who's selfless act a hundred years ago today posthumously earned him the Victoria Cross. Born locally, Cecil Noble was an Acting Corporal in the 2nd Batallion, The Rifle Brigade, and was wounded along with another man (Harry Daniels), as they both voluntarily rushed to cut barbed wire that was impeding an advance against German lines at Neuve Chapelle, France. Daniels survived his injuries but Noble died the following day. He was 23 years old.

During the short service held before the unveiling it was noted that to be awarded the VC there needed to be a 90% chance of dying during an act that was deemed to be above and beyond the call of duty.

  Lord Lieutenant Angus Campbell and Councillor Chris Mayne at the unveiling.

 Sounding the Last Post

After the ceromony I took the opportunity to photograph two nearby memorials of pilots who died locally, although not in action. The first (below) is the recently re-vamped plaque for Flt/Lt Henry Green, and the one below that for Flt/Lt Jon Egging of The Red Arrows.

 

***********

The Blue Plaque, comissioned by The Tony Hancock Appreciation Society, is something I have been meaning to photograph for some time, and since I was in the area I thought now would be as good a time as any. A childhood hero of mine, at the height of his popularity the comic genius commanded half the viweing audience of UK television each time one of his shows was transmitted.

Having asked permission to take photographs - always a good idea - the helpful chap on the hotel front desk offered to show me to a second floor corridor, where a glass display cabinet contained a number of artifacts of the man. Amongst the items on show were three typewriters: one owned by his family; a second one that the lad 'imself used to write scripts on, and lastly the one that was with him when he died in an Australian hotel room in 1968.

Unfortunately, light levels in the corridor are very low and without a tripod it would be rather pointless to try and take any photographs, but the man on the desk said it would be no problem for me to return at a later date - suitably equipped - to get the images I wanted. A subject of a future post.

  © 2015

Fleeting glimpse

The last thing on my mind today when heading to the local nature reserve were kingfishers, but as so often happens the best shots of the day can come from nowhere. I had bumbled about on the river bank for over an hour, trying to find something to photograph that would represent the emerging spring, but other than repeating what I had already photographed last week I wasn't having much luck.

I had been keeping a watchful eye out for otters as reports of recent sightings had been forthcoming from passers-by all afternoon, but it wasn't until I moved upstream to a favoured spot for kingfishers that I saw today's subject, perched on a pice of angle iron driven into the riverbed. Predictably, the bird flew away as I arrived, but undeterred I set up and pre-focused my lens on the perch... and waited. It was an hour and twenty minutes before my patience was rewarded, but even then it was a fleeting glimpse and I only managed a mere 14 frames before it was gone again.



300mm f/4 AF-S Nikkor with TC-14EII converter. 1/250 second at f/6.3. Matrix metering. ISO 160. Tripod and remote release



© 2015

In the (infra)red

Over the past few days I have been working my way through transparency and negative files dating back to 1982, primarily for the purpose of copying them and bringing some into the digital world for the first time. My interest, piqued by a post on Facebook no less, led me to the technique of using a lightbox and macro lens to get the job done (why didn't I think of that before?). It is a basic set-up but it works very well, at least for the purposes of the Internet, and is much quicker than using a scanner.

The one thing I miss about photography since turning fully digital is shooting with infrared film: both mono and colour, and the discovery of several long-forgotten neg sheets reminded me of this. Tricky stuff to handle in the field, and even trickier to expose for, the results with these films was always unpredictable purely because it depended on how much infrared was being reflected from a subject on any given day. On top of that there were the filters needed to get the full effect with either emulsion, but with care it could all work out just dandy.

The colour image of Christchurch Priory, Dorset, has been known to me since the trannies came back from the lab, but the mono picture - taken nearby but at a later date and developed at home - is seen by me for the first time since I never got around to making a contact sheet, let alone prints. I still have two 35mm film cameras but Kodak ceased production of the film(s) in 2007, blaming poor sales numbers. However, apparently there are several manufacturers - Ilford, to name but one - that still make the stuff (woohoo!), creating the possibility that come summer, and spurred on by my new-found copying technique, I may just dust-off the F5 and give it all another go.

Now, where can I get the chemicals, these days?



Top: Kodak Ektachrome EIR (yellow filter), rated at ISO 250 - May 2001
Below: Kodak EIR (Kodak wratten 25 filter), rated at ISO 400 - June 2004



© 2015

Two birds

Weatherwise it is more spring-like every day, although the temperatures are struggling a bit and barely reach double figures on the Celsius scale. There is, however, glorious sunshine today so I spend the afternoon on a local clifftop shooting whatever takes my fancy. This chap above was flying about; minding his own business, until he saw me with a big lens. After that he spent a good amount of time swooping and diving - as much as a paraglider can swoop and dive - for the camera. He even landed briefly for a chat about where I might publish any good images I get (on here, mate).

There was nothing like as much fuss from the Stonechat that flew in for a few moments before I packed up and headed home. I had hoped that the kestrel would put in an appearance, hence the telephoto lens, but it was not to be.



300mm f/2.8 AF-S VR Nikkor. Matrix metering. ISO 160
Top: 1/1600 second at f/5.6. - 1 stop EV compensation
Below: 1/1250 second at f/4.5. - 1 stop EV compensation



© 2015

In the clear

Scrambling about on woodland floors looking for macro shots is probably not the best way to treat a knee issue, but at this time of year there is a lot beginning to happen at that level. I had the offending (right) joint X-rayed this morning and won't know the results for a week or so, but so long as my doctor doesn't read this (highly unlikely) I am, for the time being at least, in the clear.


105mm f/2.8 Sigma macro lens. 1/30 second at f/11. Matrix metering.  - 0.33 EV compensation. Tripod and remote release. ISO 160



© 2015

Cheaper than The Plamp

The most frustrating thing when photographing plants outdoors is subject movement caused by the wind. Not so much an issue when shooting flora and fauna as part of the landscape, but when you get in close the slightest trembling of your subject can ruin a shot. Patience is the key here as eventually the wind will drop long enough to allow the subject to settle, but this is not always practical if the lighting changes when this happens. The photographer needs some assistance and this is where The Plamp comes into play.

A portmanteau of the words Plant and Clamp, it was originally designed and marketed by a well known tripod head manufacturer and features two clamps at either end of a flexible arm. One end is attached to something stable - a post in the ground, or possibly a tripod leg, for example - whilst the other end grips whatever it is that you are photographing. A nifty solution that works quite well in the field, but quite expensive for what it is.

Enter the DIY solution: I made my own, and for approximately a tenth of the cost of the commercially available version. Two plastic spring clamps and some foam-covered garden wire were bought from a local hardware store, and the whole assembley finished-off with some electrical tape that I already had. It may not be as sophisticated as the real thing, but for all intents and purposes it does the same job, as the image of Hawthorn blossom testifies.



300mm f/4 AF-S Nikkor. 1/640 second at f/5.6. Matrix metering. - 0.67 EV compensation. Tripod and remote release. ISO 200



© 2015
 

Spring fever

Snowdrops have been out for a while and the daffodils are threatening to put in an appearance, but for me spring starts when I get blossom on the tree in my garden. I first noticed it two days ago - and there is not much of it - but it's enough to get me in the mood.



105mm f/2.8 Sigma macro lens. 1/200 second at f/11. Matrix metering + 0.67 EV compensation. ISO 320. Tripod and remote release.



© 2015

Chancing it

I rarely seem to get it right when it comes to photographing water sports from the local beaches. Usually I just chance it when shooting casually, but more often than not I am toting long lenses and there is no-one to be seen, or I have wides in my bag and you can't see the horizon for surfers of every kind bobbing about in the waves. A bit of forward planning on my part wouldn't go amiss, but even then finding surfers who can stay on the board long enough to get good images can prove difficult when I do get it right.

Of the dozen or so "riding the waves" this afternoon, this chap was by far and away the best at his craft. Unfortunately, the fading light and outgoing tide put paid to an extended shoot.



300mm f/4 AF-S Nikkor with TC-14EII converter. 1/320 second at f/5.6. Matrix metering. + 0.67 EV compensation. ISO 500. Monopod



© 2015

No waves, but a nice sunset

It has been a while since I have been out with my camera, partly due to spring not advancing as quickly as I would like, and partly because I have been resting a knee injury. My doctor thinks it isn't anything serious and sent me packing with a two-week prescription of something or other to help things along, and having nearly completed the course he seems to have made the right decision. Good man.

The photograph of a surfer on a local beach was taken during the lowest tide possible for a given area (0.0), although quite what he expected to do with a surfboard on a flat calm sea only he knows. It makes a nice picture, though.



24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/8. Matrix metering. + 1 stop EV compensation. ISO 400



© 2015

Slow news day and the Greenland Block

That rarity that I mentioned at the end of last year; snow, made an appearance here overnight. It was a light dusting of a few millimetres and nothing more, but the local online news feed attempted to make something of it. Obviously a slow news day since there was nothing that might cause any disruption, it all disappeared quickly once the sun rose high enough in the sky. But as I say, in this neck of the woods we so rarely get it that even a few flakes makes the news. I have no doubt that this weather phenomena was caused by the current Greenland Block (no, me neither), so I won't go into that here..

What I do know is this meteorological feature appears to be bringing cold but calm conditions, enabling me to calmly take photographs of calm scenes. Like this one.



12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. - 0.67 EV compensation. ISO 400



© 2015

With daylight

When shooting seascapes I seem to spend most of the time shooting into the light - or contre jour - as it is known in photography, but occasionally it is nice to turn around and go with what is behind me. For one thing I am not fighting contrast; another is for the beautifully soft light you get at the beginning and end of the day.


12-24mm f/4 AF-S Nikkor. Matrix metering. 0.9 Lee grey graduate

Top: 1/80 second at f/11. ISO 200
Below: 1/30 second at f/10.  - 1.67 EV compensation. ISO 500. Monopod



© 2015

A long shot (or two)

Taken three days ago, these images remind me of why I have two 300mm prime lenses as part of my photographic kit. Smaller and somewhat lighter than its f/2.8 big brother the 300mm f/4 Nikkor also has stellar optics and presents no real problem if I decide to add it to my camera bag, along with one or two other lenses, when roaming on foot.

Photographed from 8 miles away the top image shows the start of the eastern end of the Jurassic Coast:  a UNESCO World Heritage site. It runs south west for 95 miles, revealing 185 million years of Earth's geological history from one end to the other.

The second photograph - taken from the same spot but looking south east - shows The Needles rocks and lighthouse of the Isle of Wight. It also features what is known locally as the polar bear: an optical illusion formed by the chalk cliffs of Alum and Scratchell's bays. Only visible as such from certain parts of the beaches of Poole bay, it is some 12 miles distant from the camera.



300mm f/4 AF-S Nikkor. Matrix metering. Monopod. ISO 200

Top: 1/500 second at f/5.6
Below: 1/800 second at f/5.6. - 0.33 EV compensation.



© 2015

Little Cloud

Little Cloud: so-called because of the manufacturers name on the paraglider's wing, was proving difficult to photograph with any success. The problem was that he was more often than not set against a bland background of grey cloud, and no matter how much I willed the pilot to position himself against the setting winter sun it seemed like this would be one of those "almost" shots.

Then suddenly all the elements came together and I fire-off a short burst to capture the image I had been after all along.

24-70mm f/2.8 AF-S Nikkor. 1/1250 second at f/5.6. ISO 200

© 2015

Making life easier

Back in the good old days before digital shooting one of the most useful gadgets the outdoor photographer could buy was the neutral density graduated filter. Designed to reduce the amount of light entering through half of a lens, they brought the scene into balance by controlling contrast, which in turn gave the film a chance to capture a vista more accurately. Any self respecting landscaper had one in his or her bag. I started out using the cheap and cheerful variety, but soon found that in a fairly short period of time the dyes in the filter would fade, the result being skies more akin to those of a nuclear winter rather than the pastoral scene I was trying to record for posterity.

Although I did eventually replace them with something more professional  - and continued to use them with digital shooting - once I started editing with Adobe Camera Raw - and later - Adobe Lightroom, they tended to be left behind on photographic sessions. After all, gradients can easily be added in post production, right? Well, yes, but it isn't the same, and the less retouching the better for the quality of the final image. Quite why it was today that I decided to dust-off "the grads" I have no idea, but I'm glad I did as they make life so much easier in the field. I suspect a resurgence.


12-24mm f/4 AF-S Nikkor. 1/80 second at f/11. Matrix metering. 0.9 soft graduated Lee ND filter. Monopod. ISO 400



© 2015

Lucky break

I have the opportunity to photograph three low tides that roughly coincide with sunset this week, and today was something of a practice run. Keeping a close eye on the Met Office satellite image for visible cloud during the morning, I judge that despite the bleak forecast I might just get some light at just the right time, and set off to the beach.

In the end it turned out pretty good. In fact, it might well be the best of the three days since tomorrow is forecast to be bright and sunny; not good if the sky is clear as cloud not only diffuses the light but makes things far more interesting. I could have done with the occasional shaft of direct light to add a touch of drama, but frankly I think I was lucky to get what I did.



12-24mm f/4 AF-S Nikkor. 1/80 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 320. Monopod



© 2015

 

Atmospheric energy

Wednesday's storm came and went, if you could describe it as such. It did blow through the night; it did rain, but it wasn't the problem I thought it was going to be. But with all that energy going on overhead I am getting the skies that were promised to me a week ago as the tail-end of the system passes, and an afternoon of dawdling along the surf line with my camera was an afternoon well spent. 

What I could have used were some good low tides to better reflect all that colour. Unfortunately it's not until late next week before they get spectacularly low, by which time the weather will have changed, no doubt. You never know, I might be lucky.


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



© 2015

Incoming!

It used to be thought that the sight of gulls near land was a sign to expect bad weather; instinct telling them to seek shelter inshore. The fact is, gulls do not live at sea, so there is nothing to connect such sightings with imminent storms. The growing dark clouds are a better indication of what's to come, however, and as I write the first gales of winter are starting to batter the south coast. Winds are forecast to gust up to 70 mph, so it should be an interesting night.


12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. + 0.67 EV compensation. ISO 200



© 2015

Step by step

The compositional trick of a frame within a frame works well here, with this image of a robin in my back garden. Subjects for wildlife photography can be found within a few feet of your doorstep if you are prepared to look and wait, and putting out food, especially at this time of year, works wonders.

Having enticed this fiercely territorial bird into the vicinity it was just a case of being patient. I work on the principle of: shoot, and then gradually move my setup a couple of steps closer. Taking care not to stress my subject, I repeat this action until I get what I am after.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/30 second at f/5.6. Matrix metering.  - 1 stop EV compensation. Tripod and remote release. ISO 400



© 2015

It's getting near dawn

I hadn't planned on being awake at 5 am, but since I was - and the sky was clear -  I decided to make the best of a poor situation and go out to take some photographs. Packing two lenses, and strapping a tripod onto the outside of my bag, I set out in the gathering light to more or less the same spot as yesterday. Clear nights mean cold dawns, but at least there is no frost. The wind is quite biting on the exposed cliff top, though, but I am suitably wrapped for the occasion and I won't be there long.

Whenever doing dawn shoots - at whatever time of the year - I always find it quite magical when our star, once again, breaks the horizon.



24-70mm f/2.8 AF-S Nikkor. Matrix metering. Tripod and remote release. ISO 200

Top: 1/4 second at f/11 (25 minutes before sunrise)
Middle: 1/50 second at f/16. - 0.33 EV compensation (1 minute after sunrise)
Bottom: 1/40 second at f/16. + 0.67 EV compensation (4 minutes after sunrise)



© 2015

Warming-up

This is one of my "warm-up" snaps: images taken just to get into the swing of things. I always do it just to get myself into the frame of mind to look; to see what is before me. Once I hear that shutter click I know I'm out there. It is a similar process that an athlete or musician uses before a performance, and occasionally, like today, it turns out to be one of the best from the shoot.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. ISO 200



© 2015

Blowy, but no storm

The storm mentioned in the last post did happen, although roughly 500 miles to the north. It is, however, somewhat windy on the south coast, but at least for the first part of the day I have blue skies. Thinking that I might get a chance to photograph the local kestrel as it hovers on the wind, or maybe kitesurfers, er...surfing (or both), I set off with one of my long lenses and a converter to see if either (or both) are to be found.

I draw a blank with the kestrel, but to pass the time I somewhat pointlessly take numerous pictures of gulls riding the updraft from the cliffs near the beach. Not that there is anything wrong with gulls per se, but unless I get something extraordinary I know I will just delete the files.

Anyway, the gusting wind is beginning to get getting the better of me, and since nothing is happening on the raptor front I decide to cut the morning's ramble short and head home to delete the gull shots. Besides, a weather front from the West is looming large and I'm about to lose the light; but not before I spot a solitary kitesurfer preparing his kit on the beach.  I manage to get a few well-timed images in the rough surf before the cloud rolls in and I call it a day.



300mm f/4 AF-S Nikkor with TC-14EII converter. 1/2500 second at f/5.6. Matrix metering. - 0.33 EV compensation. Monopod. ISO 400



© 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

Six minutes

If time allows I will usually take an afternoon walk along the seafront -  no matter what the weather - and just for the exercise if nothing else, but always take my camera. For most of the day heavy cloud was the best I was going to get, but for a mere six minutes during today's ramble I got some winter light. I had my back to this scene when the sun broke through, and it was a bit of a scramble to get somewhere so that I could add a bit of interest to the composition. Ten frames later and the rain set in.


24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/11. Matrix metering.  + 0.33 EV compensation. ISO 200



© 2015

Sculpted sand

Created in the sand by water run-off from the cliffs that line Poole bay, the low winter sunlight throws the patterns into relief. I photographed them yesterday whilst waiting for the sun to set, and knew as I fired the shutter that I would create a set of black and white images with the results.

24-70mm f/2.8 AF-S Nikkor. Matrix metering. Monopod. ISO 400

Top: 1/60 second at f/10

Middle: 1/50 second at f/11.  - 0.33 EV compensation

Bottom: 1/40 second at f/10

© 2015

Twelfth night and the first signs of spring

It is debatable as to which date is actually twelfth night, but Samuel Pepys always celebrated The Epiphany on the 6th, and if it is good enough for him then it is good enough for me. The point I am trying to make is that Christmas technically isn't over and the first signs of spring are already here. Blossom has started to appear on at least one tree that I saw, and crocuses - whilst visible before the holidays as shoots above ground - are now beginning to show flowers (above), although not yet open.

It is apparently next to impossible to plan any outdoor shoots with the weather forecasts being what they are, it seems, as today illustrates. Yesterday, I was faced with the prediction of leaden skies for the foreseeable future, yet the reality wasn't even close. Even the level of the tides took me by surprise, and I was treated to a glorious afternoon for me to casually roam the beaches with my camera.

I couldn't make up my mind as to which shots to use so I included two. I haven't produced much so far this year and thought it a good idea to redress the balance a bit. Both photographs were taken from the same spot but in opposite directions, and both were taken after the sun had set.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/1000 second at f/4. Matrix metering.  - 0.67 EV compensation. ISO 320
Middle: 12-24mm f/4 AF-S Nikkor. 1/40 second at f/10. Matrix metering.  - 1 stop EV compensation. ISO 200
Bottom: 12-24mm f/4 AF-S Nikkor. 1/15 second at f/10. Matrix metering. ISO 500



© 2015

Cracked it

Apologies, but for the moment this is the best I can come up with, photographically speaking. Lighting remains flat; nature is doing very little, and despite several shoots this year I have nothing in the can worth posting. Still it does get the new year started... at last, and I have always had a liking for portraying decay and texture.


50mm f/1.8 AF Nikkor. 1/250 second at f/4.5. Matrix metering. + 0.67 EV compensation. ISO 400



© 2015

On a cold and frosty morning...

I rarely get snow, so I often have to use a heavy frost as a substitute to give the impression of coldness. The reality is, it is cold on a bike as I ride into the pre-dawn, and if anybody has the solution for keeping hands warm whilst riding at this time of year I'd like to hear from you.

The sky is overcast when I arrive at the river, and my early efforts have a monochromatic look to them, but as soon as the sky clears and the sun peers over the tree line the scene is transformed.


24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/14. ISO 400. Monopod



© 2014

Leaving it late...

This time of year does have its advantages. No, really, for whilst the majority are still putting finishing touches to their Christmas preparations - or in some cases, just starting them - I have a windswept beach at low tide all to myself. Taken shortly before sunset, the cloud broke for just a few minutes to give me a touch of colour.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/8.  - 0.33 EV compensation. Monopod. ISO 640



© 2014

Shapes of things...

Since the sun is at the same angle you'd think that the hour after sunrise would produce the same light as the hour before sunset, but to me it is always different, even if the effects are subtle. Maybe it's because any pollutants that collect in the atmosphere during the day tend to be absent - producing cleaner light -  but whatever the reason it certainly isn't the same. That's my theory, anyway.

Photographed a few minutes after dawn, today, it is just a case of waiting for the right water shapes on a local beach before firing the shutter.



12-24mm f/4 AF-S Nikkor. 1/100 second at f/11. + 0.33 EV compensation. Tripod. ISO 200



© 2014