Blues and reds

Storm Cuthbert (or whatever incomprehnsible name they gave to the last one), has blown itself out and for the moment we are back to brilliant sunshine.  It's not often that I shoot around mid-day, but today I wanted to use colour as my main subject. Admittedly, it's not the most fascinating object I have ever pointed my lens at, but the two hues opposite each other on the colour wheel make the image work.


24-70mm f/2.8 AF-S Nikkor. 1/3200 second at f/3.5. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

Not gritty at all

The UK is expecting the remnants of the storm that caused so much havoc with snow in the USA over the weekend, but had I taken notice of the weather forecast I would never have got this shot. The urge to photograph something had me wandering the shore line of the local beaches, regardless of the thick cloud over head. After all, there were low spring tides today .

I had gritty black and white images in mind to suit the conditions, but when the sky parted during late afternoon I was blessed with glorious winter light.

12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. + 1.33 EV compensation. ISO 160



© 2016

The third element

I have a few low tides to work with over the next couple of days, and I do prefer those stretches of pristine sand and reflections in tide pools to be person free. But there are times when a figure will make the shot as with the man with the metal detector, who became the third element of the scene and completed the diagonal line.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering  +0.33 EV compensation. ISO 160



© 2016

Still too early?

Torrential rain during the morning gave way to clear skies by early afternoon, and although it remained misty along the coast it was surprisingly warm. A bit too early to be having thoughts about spring weather, but I am glad that cold snap has gone.

The lingering haze produced some beautiful light, and I deliberately over exposed to produce a more airy effect.




24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/8. Matrix metering. + 0.67 EV compensation. ISO 160



© 2016

Pointy bits

The ends of two steel-tipped wooden piles caught my eye on today's ramble with a camera. Stacked on the promenade awaiting use in the building of new groynes, each piece of Greenheart timber ranges from 10 to 13 metres (33 to 43 feet), in length. An idea of their size can be judged here.

The £44 million programme will take 17 years to complete, but during this current phase only 10 of the 53 groynes along the coastline are being replaced. Work is expected to be completed by the end of May, after which the public will be given back the use of the beach.


24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/4. Matrix metering. ISO 400



© 2016

Well, I like it

There are times when the natural effects of ageing and weathering could be interpreted as the work of an artist. The peeling paint on the beach hut is nothing more that; peeling paint, but the phenomnenon known as pareidolia sometimes makes us see something that isn't there.

In this case maybe it's just me, but I like the effect.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 160. Polariser



© 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

No equal

I mentioned architectural photography in my last post, and although I am not big on shooting buildings per se I do like to capture the smaller details. Weathering and decay fascinate me, and its effects often make good images, as with the numbers on a local beach hut.

It has become fashionable in recent years to have new furniture distressed, or musical instruments "reliced" artificially. In both instances (and at a premium price), it is done to give a well-used look and feel to something, but nothing equals the consequences of the passage of time.


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 400



© 2016

Architecture

I really don't do enough architectural photography, and it's a shame because there are myriad things that can be the subject for my lens in my home town. Not just mine, of course, as everywhere has something of interest, no matter how large or small. You just need to look, and have the right light.

When I do tackle the theme I like to use a long lens for the job - the longer the better - especially if the building has repeating patterns. All that super-telephoto compression goes a long way in creating graphic images



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/8. IS0 250. Monopod



© 2016

Surfing girl

Winter has finally, and well and truly, got under way this week. It is cold with worse to come, say the weather people. One even went so far as to warn us that the current cold snap will "have teeth". Whilst there were few willing enough to brave the sudden drop in temperature at the seaside, there was one spirited soul determined to enjoy herself. I can only think those wet suits must work wonders in keeping you warm in such conditions.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/160 second at f/4.5. Matrix metering. ISO 320. Monopod



© 2016

Soft Glow and Muted

Just because I use a camera as an instrument to create images, it doesn't necessarily mean everything I shoot needs to be delivered as an accurate representation. Manipulation has been going on almost since day one in photography, and occasionally a bit of experimentation will produce interesting results.

The stones on the beach at low tide was just a straightforward shot, but I converted the RAW file to mono and then tried various presets in Adobe Lightroom to see what I could come up with. The Soft Glow and Muted option pleased me the most for this subject.



24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/8. Matrix metering. IS0 200. Monopod



© 2016

Further out to sea

I do so like shooting after the sun has set, as everything takes on a different quality when lit only by reflected light. It also has the added bonus of having a deserted beach to work on, not including the two surfers retiring for the day.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/4. Matrix metering. ISO 200



© 2016

Can't keep away

In spite of yesterday's failings I once again find myself wandering the local beaches in search of photographs. It's raining. I am drawn to the distant crack in the clouds. There is something hypnotic about it all. I start thinking in short sentences.

Once the sun gets under the cloud then it's a dead cert for striking images that only the most clumsy shooter can make a mess of. Next week we have low tides. Maybe more seascapes. Possibly a different location. More short sentences...


24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. +1.67 EV compensation. ISO 200



© 2016

Déjà vu

It wasn't until I had post processed today's image that it dawned on me that I have taken this self same shot before. I freely admit that I return to the same locations time and time again, as each time I get something different, but now I realise I am beginning to repeat myself. In other words, gotten stale.

It's not a good feeling and I need to find something different, either with the subjects I shoot or techniques I use.

Think, man, think...



 300mm f/2.8 AF-S VR Nikkor. 1/250 second at f/8. Matrix metering. - 0.33 EV compensation. IS0 160. Monopod



© 2016

Making hay

It's a nice, calm afternoon on the coast. It's warm in the sunshine, there is little to no wind, and the sea is flat. A far cry from last week. All is well with the world as the crews that are replacing the wooden groynes along the beaches make good progress in the fine weather.

Other than photographing them at work the only other distraction is the sky. Originally shot in portrait format, I decided the square crop suited the image better.


24-70mm f/2.8G AF-S Nikkor. 1/4000 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160



© 2016

Saving the day

A black & white image might not be everyone's idea of how to present a sunset, but in this instance I feel it works better by just showing shape and form. All through the afternoon the sky looked promising for something spectacular when the time came, but in the event the colours were weak and washed out. I didn't have a monochrome treatment in mind at the time of shooting, but it did save the day.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/8. Matrix metering. +0.33 EV compensation. ISO 250. Monopod



© 2016

Thick and fast

I've said it before, and I'll say it again: I don't know why I take any notice of the weather forecast. The seemingly perpetual rain has moved on and I am blessed with a series of fronts that sweep in from the Atlantic and along the English Channel. The stiff wind ensures that everything is kept moving, presenting an ever changing sky, and the photographic opportunities come thick and fast.

I had intended to sprawl in the mud and shoot the crocus that are now in flower in a local park, but as long as nature is delivering like it is then they will just have to wait.



12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 160



© 2016

Sculpting light

The one place I like to be during stormy weather is beside the sea. I am not a big fan of being on it; or in it, but from a photographic perspective I love it. I doubt it could have rained any harder during mid-morning, but by early afternoon the storm front has passed and I was left with beautiful cloud formations to sculpt the light.


27-70mm f.2.8 AF-S Nikkor. 1/640 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

Decisions, decisions

The first week of the new year and there are two kinds of weather that we have to contend with in the UK: Stormy and slightly less stormy. Today it is the latter, and people are out along the seafront making the most of the lull. The strong winds have dropped and the waves subsided, so this surfer on a local beach stands and waits, chewing over the idea as to whether or not it is a good idea to get involved. He eventually does. Good man.

However, it remains mild, and early signs of spring are evident in local parks, with daffodils well above ground although not yet in flower.




 70-200mm f/2.8D EX Apo Sigma lens. 1/160 at f/2.8. Matrix metering. ISO 160. Monopod



© 2016

Completing the circle

I always like to start and end each year with a photograph. It took 5 days to get going at the beginning of 2015 due to bad weather, but as the forecast was promising for the first half of the day I could at least round things off on time.

Taking pictures of what can be found on the surf line is a favourite activity of mine, and this piece of seaweed is an example of a picture waiting to happen. The beach was littered with large clumps of the stuff, washed up by Storm Frank, but it's the smaller bits that made for better composition.



24-70mm F/2.8 AF-S Nikkor. 1/50 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 160. Monopod



© 2015

Storm Frank is on its way

Storm Frank is on its way in. Like hurricanes, the powers that be have taken to naming bouts of bad weather. To my ears it sounds daft, but I guess it's one way of keeping track of the numerous winter storms that batter the UK, these days.

But before the 50 mph winds arrive I am presented with the opportunity to shoot some good light on a local beach.



12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. ISO 160



© 2015

The find of the day

Today's walk is at Dungeness, next to the nuclear power station. If a photographer fails to find a whole host of interesting stuff to shoot at this location then they may as well throw the towel in. On this visit, instead of concentrating on the obvious: fishing boats that are hauled up onto the shingle beach, I want to photograph buildings. Apart from the power station itself, the area is littered with small structures, either inhabited or abandoned; each one telling a story.

One such such place that we always visited for refreshments is the café adjacent to the railway station, but to our disappointment it is closed. Not being deterred by this setback, we repaired to the nearby pub: Britannia Inn. It turns out to be quite a find as it allows dogs in (which the café didn't), and they do a mean plate of chips as well as good tea/coffee.



24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/5.6. Spot metered from the building in manual mode. ISO 160.



© 2015

North Downs, Kent

I am spending the holiday weekend with Nic, and the post Christmas afternoon walk takes us along the North Downs, Kent. Although it is still very mild for the time of year the strong wind on top of the chalk ridge makes holding a camera steady something of a challenge.

Looking for a focal point, this lone silver birch against the setting sun fits the bill nicely.



24-70mm f/2.8 AF-S Nikkor. 1/1250second at f/5.6.  Matrix metering. + 0.67 EV compensation. 0.9 Lee grey grad. ISO 400



© 2015

Luck of the draw

It is only for a few days of the year that the local piers stay open long enough to coincide with a sunset over the sea. Shutting at 4 pm during the winter months, it can be frustrating when an opportunity presents itself, but today I'm lucky.



12-24mm f/4G AF-S Nikkor. 1/200 second at f/8.  0.9 Lee grey grad. ISO 160. Monopod



© 2015

Behind the sun

It's the winter solstice in the Northern Hemisphere, so it's all uphill 'til summer. The moment of the solstice occurred at 4:49 GMT from where I was standing, and although today's photograph was taken a couple of hours prior to that, the sun managed to put in a cameo appearance for a few minutes to celebrate.



20mm f/1.8D EX DG Sigma lens. 1/320 at f/8. ISO 100



© 2015

The party's over

I fail to see the appeal of a party on a wet and windswept pier in the middle of winter, but the detrius of the "knees-up" does provide a subject for my lens.



20mm f/1.8D EX DG Sigma lens. 1/60 second at f/1.8. Matrix metering. - 0.33 EV compensation. ISO 400



© 2015

About time, too

Two days before the winter solstice for all us Northern Hemispherians (is that a word?), and temperatures touch 16ºC in Southern UK. A brisk breeze makes it feel a bit cooler, but considering it is almost mid-winter, cold it ain't.

On top of that the ever-present cloud bank that seemed to have parked itself over the country has gone, for the time being at least, and I get something to point a lens at.



12-24mm f/4 AF-S Nikkor. 1/200 second at f/8. Matrix metering.  +1 stop EV compensation. 0.9 Lee ND grey grad. ISO 160. Monopod



© 2015

No change

Well into December and the temperatures still hover around 13ºC. I occasionally have windows open at home, and if this isn't evidence of climate change then I don't know what is. What is certain is the ever decreasing amount of daylight as the winter solstice approaches; the sun almost set at 3:30 in the afternoon on Hothfield Common, Kent.



12-24mm f/4 AF-S Nikkor. 1/125 second at f/7.1.  Matrix metering. + 0.67 EV compensation. 0.9 Lee grey graduated filter. Monopod.



© 2015

Still at it

Although I always used to enjoy art classes at school I liked them all the more when the brief for the day's lesson was Abstract. Gleefully let loose to use any medium we saw fit, the results were often bizarre and disappointing, but I did have fun doing it.

It's something I still have an interest in, but these days I use a camera. Taken on a local beach during late afternoon, the image is a juxtaposition of buildings reflected in water, and ripples in the sand.



24-70mm f/2.8 AF-S Nikkor. 1/50 second at f/8. Matrix metering. -0.33 EV compensation. ISO 160. Monopod



© 2015

Bournemouth East Beach

For the first time in a long time we get some sun on the south coast, and although cloud does arrive during late afternoon it still produces some beautiful light.


24-70mm f/2.8 AF- S Nikkor. 1/80 second at f/5.6. Matrix metering. ISO 160



© 2015

Groyne #26

 

 

The images show some of the work being carried out on the beaches of Poole Bay, Dorset. Specifically, the replacement of the wooden groynes that are designed to prevent longshore drift. Speaking to one hard-hatted chap surveying the scene, he mentioned that all things being equal it will take a month to replace each one. This involves drilling holes for the numerous posts, which range between 10 and 13 metres in length, digging out the sand once all are sunk to the required depth, and then adding the boards to complete each 45 metre structure.

From what I can see they are working on only two timber groynes at a time, and this is restricted to the winter months; the beaches being needed for tourism during the summer. So, bearing in mind that the bay has 13km (8 miles) of beach, and each wooden groyne is spaced 120 metres apart, by my reckoning there are... er, loads to do.

12-24mm f/4 AF-S Nikkor. Monopod. ISO 160

Top: 1/125 second at f/8. + 0.67 EV compensation. 

Middle: 1/80 second at f/8. + 0.67 EV compensation

Bottom: 1/125 second at f/6.3. + 0.67 EV compensation

© 2015

Casual snapping

I am somewhat half-heartedly documenting the beginning of a 17 year program to refurbish all of the wooden groynes - along with several beach replenishments - along the line of Poole Bay, Dorset. Work started several weeks ago, and although I have a number of shots in the can I am still waiting for some good light that coincides with good opportunities.

Until that happens, I while away the time taking casual snaps at low tide.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. Matrix metering. ISO 160. Monopod



© 2015

Spoilt for choice

Sometimes a photographer doesn't know which way to turn, as often as as not something equally worthy of attention is happening behind you. I make a point of occasionally looking around when shooting landscapes, otherwise opportunities are missed.

This double rainbow was starting to develop in the opposite direction to the sunset I was contemplating capturing, so before the incoming tide ruined everything I squeezed-off a few frames.



12-24mm f/4 AF-S Nikkor. 1/40 second at f/8. Matrix metering. ISO 200. Monopod



© 2015

Having fun

Try as I might, I find it difficult to find anything interesting about the main (Bournemouth), pier in Poole Bay, Dorset. I am speaking from a photographic point of view, as it is clear where the money went when both piers were refurbished nearly a decade ago, but the lowly one at Boscombe definately has more going for it from a graphical standpoint.

In spite of its shortcomings as far as this photographer is concerned, I am out again armed with a 'big stopper' ND filter, purely to have some fun with it.



12-24mm f/4 AF-S Nikkor. 60 seconds at f/11. x10 stop ND filter. ISO 160. Tripod and remote release.



© 2015

Photo essay

 

There hasn't been much in the way of colour to photograph recently, what with the seemingly continual rain and grey skies, so I thought I would shoot and post a short photo essay of one of my local piers. I choose to shoot once the sun has set, allowing everything to be lit by a mix of reflected and artificial light.



Top: 12-24mm f/4 AF-S Nikkor. 46 seconds at f/11. x10 stop ND filter. ISO 160
Middle: 24-70mm f/2.8 AF-S Nikkor. 1.6 seconds at f/10. ISO 160.
Bottom: 24-70mm F/2.8 AF-S Nikkor. 160 seconds at f/6.3. x10 stop ND filter. ISO 160. All images photographed with a tripod and remote release



© 2015

Just another sunset

Just another sunset shot, really, but then again it is good to see the sun once in a while.



12-24mm f/4 AF-S Nikkor. 1/400 second at f/9. Matrix metering. ISO 160. Monopod



© 2015

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

Shooting on the marsh

Autumn appears to have skipped rapidly into winter, at least as far as the weather is concerned. Bringing back memories of two years ago, low pressure systems are sweeping in from the west one after the other, bringing heavy rain and strong winds to almost everywhere in the UK. This doesn't stop Nic and I from getting out there, though, shooting familiar locations as well as finding new ones.

The church of St. Thomas à Becket (above) at Fairfield, Romney Marsh, Kent, was first mentioned to me a couple of years ago by a fellow photographer on a local pier, and I have had it in mind as a subject ever since. Unfortunately, the light wasn't forthcoming on this occasion, but I was already thinking in monochrome terms before I took the first frame. 
 


24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/5.6. Matrix metering.  - 0.33 EV compensation. ISO 400. 0.9 Lee grey graduated filter. Monopod.

© 2015

Making do

It has either been very overcast or raining here all week. On top of that a storm was due in from the south west, and although we did get winds gusting up to 40 mph it was nothing like what I would call stormy weather. However, by late afternoon the swiftly moving weather front had gone, leaving everything clear. I could have done with a low tide to make things interesting since there was little going on, sky wise, but had to make do with the kite surfers instead.


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



© 2015

Nothing dramatic

Having photographed one of my local - and arguably lesser - piers more times that I like to admit, today I turn my lens on the larger of the two in Poole Bay. Unlike its sister, Boscombe pier, 1.4 miles to the east, Bournemouth pier has been the one maintained and kept in good repair over the years.

The fog that has caused problems with travel over Southern England during the past few days lifted for late afternoon, promising some good light, but it was soon evident that I wasn't going to get anything dramatic. Undeterred, I go about the process of making a photograph, and fish out my strong neutral density filter so I can use some long shutter speeds.

I like the way the setting sun's rays are reflected from the windows onto the sea, itself smoothed out by the long exposure, and the way the people on the shore line have recorded.



24-70mm f/2.8 AF-S Nikkor. 15 seconds at f/11. Matrix metering. x10 ND filter. Tripod and remote release. ISO 160



© 2015

Unavailable light photography

I thought that I would push myself a bit, today, and shoot after the sun had set. It's not something I do much of, to be honest, but I have had the idea in my head for the past week or so. It was now just a matter of when conditions were suitable to make my move.

Success with this style of photography relies on there still being some light in the sky - in this case 36 minutes after the sun had disappeared - whilst the tide pools created by the falling tide reflect the colour of the afterglow.



12-24mm f/4 AF-S Nikkor. 4 seconds at f/11. Matrix metering. - 0.33 EV compensation. ISO 160. Tripod and remote release.



© 2015

Excitable dog

No two ways about it; nature is making me work at the moment. There has been the tantalising hint of light at the end of most days this week, but mostly a persistant bank of grey cloud streams up from continental Europe like a huge, grey streaming thing.

In spite of all this the light is quite beautiful this afternoon, and a sea haze is adding to the atmosphere. All I really need now is a focal point to finish the composition, and this excitable dog oblidges.


24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/3.2.  Matrix metering.  - 0.33 EV compensation. ISO 200. Monopod



© 2015

Leaving it late

The Golden Hour: that time an hour after sunrise, and the last hour before sunset, produces soft, diffused light much sought after by the outdoor phorographer. However, while many less-informed shooters will pack up and leave a scene the moment the sun dips below the horizon, better results can often be had after the fact.

There was little in the way of cloud in the sky, today, so long before I arrived at my location I had the idea of photographing the afterglow, rather than the sunset itself. This image, taken 15 minutes after the sun had sunk below the horizon, proves my point.



24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/2.8. Matrix metering. ISO 160. Monopod



© 2015

Lucky break

Uniform grey skies keep me in the for most of the day, and when I do decide to go for a beach walk during mid afternoon it starts to rain almost as soon as I am out of the door. It turns out to be only a shower, and I while away half an hour while it passes, talking the the chap that drives one of the local the cliff lifts (there are three situated along the cliffs of Poole Bay, Dorset),

This turns out to be significant as the delay keeps me in the area long enough to see the clouds part, giving me some glorious light shortly before the sun sets. It is all too easy to just point the lens at that, but sometimes the view in the opposite direction can produce something equally spectacular, or better.

Looking East, The Isle of Wight polar bear can be seen on the horizon, illuminated by the last rays of the sun, while the remnants of a rainbow lingers in the sky.



24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/5.6. Matrix metering.  -1 stop EV compensation, ISO 400



© 2015

On the ground

Somewhat unusual, but the Met Office web site was down this afternoon, so accurate planning of a landscape shoot wasn't possible. I frequently make use of their satellite radar images to plot where and when cloud cover will occur - if at all - but since none of that information was available I opt to see what can be found on the ground.

Autumn is making slow progress, but whilst the horse chestnut trees have lost almost all of their leaves, everything else seems to be lagging behind. It's foliage that I am on the lookout for, today, and in this image I like the way this wet leaf seems to coalesce into the concrete paving slab.





24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/5.6. Matrix metering.  - 0.33 EV compensation. ISO 160. Monopod



© 2015

Nature's treat

This time of year is simply my favourite for photography on my local beaches. No low tides today to help with the composition, but nature oblidges with a beautiful sky over Poole Bay half an hour or so before sunset.



12-24mm f/4 AF-S Nikkor. 1/800 second at f/8. Matrix metering. + 1 stop EV compensation. 0.9 Lee grey grad. ISO 160



© 2015