You're welcome

At last the sun is beginning to set over the sea on my stretch of coastline, and although the weather has been promising during the past few days all the images I made turned out to be near-misses. However, that mix of low sun and low tide combined late this afternoon to produce the above photograph.

Normally, I would (silently) curse if someone walked into my shot, but in this case the addition of a figure - another photographer - worked in my favour; his long shadow adding to the atmosphere of the scene.


24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/8. Matrix metering.  - 1 stop EV compensation. ISO 160



© 2015

Lightweight

The weather forecast didn't offer much for this afternoon, and no matter how long I spent scrutinising the Met Office satellite map it wasn't going to change. I decided to take the chance anyway, and set out on my bike with little idea as to what I might shoot. In fact I almost missed my subject as he crouched down, preparing his paraglider for flight, but once the breeze caught his wing I started making photographs.

Light winds made it difficult for any enjoyable flying, but of the four fliers taking off from the same spot, two were successful.



24-70mm f/2.8 AF-S Nikkor. 1/2500 second at f/4. Matrix metering. - 1 stop EV compensation. ISO 160



© 2015

Too much blue

We have definately been in the clutches of a Indian summer this past week or ten days, and while clear blue skies are nice to be under they don't help much with photographing the great outdoors. But as the saying goes: Make the most of what you've got. I had intended to just have the featureless sky and a thin sliver of sea for today's image, but the small boat came along to create a focal point and I went with that.


24-70mm f/2.8 AF-S Nikkor. 1/3200 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 160



© 2015

The moon and lunar eclipses, now 8% larger.

The last time I tried to photograph a total lunar eclipse was in 2008, and I made something of a hash of things. The build up to the event went okay, but during totality some problems arouse that I hadn't bargained for and the results were a disaster. I was determined not to let this happen a second time.

The top photograph is, in fact, a colour image, and it shows the "supermoon" around 45 minutes after moonrise. The one below was taken around 8 hours later at 03:28 GMT, shortly before total eclipse. I had set the alarm on my phone for a 3am start, and was delighted to find that I was able to set up my tripod on my doorstep and didn't have to travel off into the night to get a good view of the event. Even so, as the moon appeared to turn a blood red the same difficulties I experienced on that night eight years previous reared up once again: the subject was now very dim, and it was moving.

Using my longest glass, plus an extender to get a decent sized imge, I was forced to shoot wide open and raise the ISO settings to figures my camera body was barely comfortable with. Even then shutter speeds were agonisingly slow. The results were disappointing, and once again I retired defeated. I enjoyed the spectacle for what it was but resigned myself to the fact that I simply don't have the setup for this kind of photography. Still, 10/10 for effort.

To redress the balance to some extent I set out during late afternoon with my camera, taking advantage of the unseasonally good weather the south of the country is currently experiencing. On top of this there are some low tides predicted for the next few days, although the weather is set to be too perfect for my taste. Instead, I use what I have and take a number of images of the Egging Memorial*, situated on Bournemouth's East Cliff.

Glad to have a bit of normalcy once again.


*For Flt. Lt Jon Egging of The Red Arrows RAF Aerobatic Display Team


Moon images: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod and remote release. Mirror lockup.
Top: 1/160 second at f/5.6. Matrix metering.  -3.33 EV compensation. ISO 160
Middle: 1/6 second at f/4. Matrix metering.  -3 stops EV compensation. ISO 800

Bottom. 12-24mm f/4 AF-S Nikkor. 1/125 second at f/11. Matrix metering. ISO 160



© 2015

Back in the fold

I was rather pleased with this photograph. Not because it is anything spectacular, content wise, but because it told me I was beginning to 'see' subjects once more. When I have had a substantial break from shooting it takes me a while to get my eye in again. Sometimes it can happen relatively quickly, as when faced with a stunning vista, but today's image is just the way I found it. Simply light coming through my window and striking folded material on a chair; something I might have easily ignored.


24-70mm f/2.8 AF-S Nikkor. 3 seconds at f/11. Matrix metering. 1⅔ stops under exposed. ISO 160. Mirror lock-up. Tripod and remote release.



© 2015

Flagging

Now that autumn is here things are beginning to look good as far as photography is concerned. All those glorious days when the light is just right, and the big skies that come with it all, are now just around the corner. Days, albeit somewhat cooler, when I get my beaches back and it is a joy to be out there shooting.

It is something of a slow process returning to making photographs, but I feel that once I get a couple of good images in the bag it will become less of a struggle and more of a passion (again).


12-24mm f/4 AF-S Nikkor. 1/800 second at f/11. Matrix metering. ISO 160



© 2015

On reflection

Okay, I'm back. The seasonal job has come to an unexpected end seven weeks premature and I am itching to get back out there with a camera. The problem is, what do I shoot? It is still too early for autumn to reveal its colours and summer - or what we had of one this year - still lingers. In fact this week has produced some of the best weather of the past four months.

Inspired by a song by British prog rock band Gentle Giant, I cycle to Christchurch at the mouth of the Dorset Stour and photograph the light playing on the surface of the water next to the moored boats.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 400



© 2015

The Bournemouth Air Festival, 2015

Avro Vulcan


The 2015 Bournemouth Air Festival couldn't have got off to a worse start as the entire flying programme for the first day was cancelled due to bad weather. After that, anxious eyes were being kept on the forecasts for the weekend in the hope that the whole event wasn't going to be a wash-out, but the elements eventually fell in our favour and we were treated to some excellent flying conditions by day four.

It was the Sunday that interested me the most as it was the last time I would ever see the Avro Vulcan display anywhere. Sadly, this is the last season that she will ever fly, after which the delta wing Cold War bomber will be grounded permanantly.

The Red Arrows

As always, the RAF Aerobatic Team, aka, The Red Arrows, put in three days of displaying, and is a guaranteed crowd pleaser. However, on this occasion they were in danger of being upstaged by the Vulcan.

 B-17 "Sally B" Flying Fortress

Over the 8 years of the festival in its current format a number of other aircraft and displays, both vintage and modern, have also become firm favourites with the public, such as Sally B, Flying Fortress (above); the Eurofighter Typhoon (below), as well as the The Tigers Parachute Display Team of the Princesse's of Wales Regiment.

Eurofighter Typhoon

 The Tigers Parachute Display Team



300mm f/2.8 AF-S VR Nikkor, hand held and on a monopod



© 2015

A poor innings

The summer job I am working, mentioned a couple of posts ago, drags on, and with the peak of the season imminent I am not looking forward to the rest of it one bit. Trying to juggle the creative with the mundane is admittedly a struggle but I am doing my best to keep a hand in with everything so as not to have to start from scratch again when the time comes in early November.

The music aspect is surviving relatively well but the photography is suffering badly. I am losing the edge somewhat, even when I do get the urge to go out with my camera. I decide to visit a local park for some cricket photography, just for something to shoot. It isn't, by any stretch of the imagination, a fast game, so I should be able to get something, even this far out of practise. The sad fact is that my heart isn't in it, and I only stay for one innings before packing up and cycling home. Out of the hundred or so frames I take only two are useable (above).

Oh, dear me.



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

Top: 1/2500 second at f/5.6. - 1 stop EV compensation. ISO 160
Below: 1/4000 second at f/4. - 1 stop EV compensation. ISO 160



© 2015

Botany Bay

No, not the one in New South Wales, Australia, but more likely a much older one if only in name, and situated on the north coast of Kent, UK. It's Nic's birthday today, and we spend the day drinking tea; eating cake and visiting the two locations above.

In fact, the top image is of Kingsgate Bay - adjacent to Botany Bay - and the castle, built in the 1760s, has now been converted to apartments. Both locations are popular with photographers and as film locations.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/8.Matrix metering. ISO 160
Below: 12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 160



© 2015

Just keeping my hand in

As the title says, I am just keeping my hand in (or eye, if you prefer), as far as photography goes. The problem being is that I just don't have the time at the moment. This is purely down to the fact that I have a full time summer job that I am working so as to bolster the coffers for a new iMac and a camera body. As always, doing one thing to finance another never works successfully, as the very thing you are raising money for suffers as a result.

Roll on the end of October; maybe sooner.


Eastwell Park, Kent.  24-70mm f/2.8 AF-S Nikkor.

Top: 1/100 second at f/8. - 0.33 EV compensation. ISO 160
Below: 1/40 second at f/6.3. - 0.67 EV compensation. ISO 160



© 2015

1066 country

Hastings, on the East Sussex coast, is probably more associated with the famous battle that bears its name. However, the actual fighting at the time took place some seven miles to the north, but on this occasion Nic and I are there purely for the atmosphere of a seaside town, and to take a few photographs whilst we were at it.


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

Top: 1/250 second at f/11. Matrix metering. ISO 160
Below: 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 160



© 2015

Britain's desert

Dungeness, a shingle headland on the Kent coast, has both a nature reserve and a nuclear power station. It is also Britain's only desert, as classified by the Met Office. All that notwithstanding, it is also a fine location for photography. Apart from the numerous small buildings that make up the hamlet on the site there are a good number of abandoned - and seaworthy craft - to make any self-respecting shooter foam at the mouth in anticipation.

Places like this, plus the clear skies on the day, cry out for black and white photogrphy.



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

Top: 1/320 second at f/10. Matrix metering. - 0.33 EV compensation. ISO 160
Middle: 1/250 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 160
Bottom: 1/250 second at f/10. Matrix metering. 0.33 EV compensation. ISO 160


© 2015

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