Waxing in the twilight, and the local fireworks display

I missed the first of the season's fireworks display last week, being otherwise engaged, but tonight the calendar - and skies - were clear. Not wishing to get caught up in the crowds that line the seafront on such evenings, I opt to shoot the event from 2.7 miles away, with a long lens

300mm f/2.8 AF-S VR Nikkor.
Crescent moon: 1/30 second at f/2.8
Fireworks: Bulb setting. f/8
ISO 160. Tripod and remote release.

© 2016

L

A green shoots pushes its way through the join in a corrugated iron wall towards the light, and the pattern on the ageing metal provides some texture.



24-70mm f/2.8 AF-S Nikkor. 1/125 at f/5.6. Matrix metering. ISO 400



© 2016

An English field

It's reportedly the hottest day of the year so far, and I believe them. With only wispy white cloud evident and little to no wind, I set off for a ride around the country lanes near a local airport in search of something summery to shoot.


24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/11. Matrix metering. ISO 160



© 2016

fishing.net

                                                             Fishing nets stored in a derelict hut, Dungeness.




24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/11. Matrix metering. ISO 250



© 2016

Black eyes

          Weathered wooden piles on the beach at The Warren, Folkestone. The bolt holes reminded me of eyes.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/11. Matrix metering. ISO 160



© 2016

Bindweed

Weeds: Just flowers out of place. That's how a gardener once described them to me, and of course, he was right. However, one man's vexation can be another man's photograph.



300mm f/2.8 AF-S VR Nikkor. 1/100 second at f/8. Matrix metering. Tripod and remote release. ISO 160



© 2016

100 years ago...

                        1st July, 1916: The battle of the Somme. The poppy is for those that died on both sides.




300mm f/4 AF-S Nikkor. 1/1600 second at f/4. Matrix metering. - 0.67 EV compensation. Tripod and remote release. ISO 200



© 2016

More wall, more flowers

Occasionally, I come home with nothing, but as often as not I come away from a shoot with more than one image, and the best of the bunch then gets published on here. But the "also-rans", once processed, then languish on a hard drive somewhere, probably never to see the light of a display again. So maybe I'll just post something for the sake of it... like this one from yesterday.



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



© 2016

10 years gone: A celebration.

10 years have come and gone since I started this blog, and 978 posts later I have managed to amass 9 followers (thank you, each and every one; much appreciated). I would also like to thank (don't worry, this won't take long), all the visitors who have taken the trouble to drop by, wherever you are.

Here's to the next ten.


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 400



© 2016

Daisies and poppy #1

300mm f/2.8 AF-S VR Nikkor. 1/1600 second at f/5.6. Matrix metering. Tripod and remote release. ISO 160




© 2016

Runnin' down to the station

The golden age of the railway has long gone, and the reason a local station survived the swinging axe of Dr. Beeching in 1963 was the fact that at that time it featured a four track layout. It is on a main line system but somewhat neglected, as shown by the rusted-away passenger lift bell in the top image. The lift itself has not worked for many years and thus prevents some disabled people from using the rail network at this stop. All this is not such good news for those that travel by train, but a whole wealth of subjects for my camera.


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

Bell: 1/250 second at f/5.6. -0.67 EV compensation. ISO 400
Rusted girder: 1/1600 second at f/2.8. -0.33 EV compensation. ISO 200
Stairs: 1/160 second at f/11. -0.33 EV compensation. ISO 500



© 2016

Iris

Apart from the obvious pulling power of super-telephoto lenses I also like to exploit their other attributes. Although they don't have the ability to focus very close they are more than useful in using shallow depth of field for pictorial effect.



300mm f/2.8 AF-S VR Nikkor. 1/320 second at f/4. Matrix metering. - 0.67 EV compensation. Tripod and remote release. Mirror Lockup. ISO 160



© 2016

Trees

                                              Trees on the first day of summer, King's Wood, Challock, Kent.



24-70mm f/2.8 AF-S Nikkor. 1/50 second at f/2.8. ISO 500. Matrix metering.



© 2016

3, 2, 1...

Late Spring and a visit to The Warren, Folkestone. Whilst Nic sat on the beach collecting fragments of wave-worn glass for some future artistic creation I sought out some colour for my lens.



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

#1: 1/1000 second at f/5.6. ISO 250
#2: 1/800 second at f/5.6. ISO 250
#3: 1/800 second at f/5.6. ISO 250
#4: 1/1000 second at f/8. ISO 320



© 2016

Satellite dishes, colour and texture

More graffiti, but this time sanctioned by those who use the buildings; the bottom three being part of exterior wall decorations of a boxing club. Rather than try and include the whole artwork I close in here and there to include the textures of the surfaces they are painted on.

Oh, yes...  and the top image is of a Satellite TV dish and its shadow.


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

Top: 1/500 second at f/8. - 0.67 EV compensation. ISO 250
Second: 1/250 second at f/5.6. -0.33 EV compensation. ISO 160
Third: 1/250 second at f/5.6. -0.67 ISO 200
Bottom: 1/100 second at f/6.3. -0.33 EV compensation.  ISO 320



© 2016

Writing on the wall

Graffiti: Whether as an artistic outlet, a political statement or merely the act of marking your territory, it has always fascinated me as a photographic subject. An illegal act in most cases, and costly to clean up, it is all a matter of perspective as to how you view it. Frankly, unless it's outright offensive I don't have a problem with it.


24-70mm f/2.8 AF-S Nikkor. Matrix metering. ISO 320
Top: 1/160 second at f/4.
Below: 1/640 second at f/5.6



© 2016

Rochester, and the iconic Catalpa tree

With the understanding that Tiny Tim's Tea Rooms allows dogs, Nic and I set off with Dolly in tow for an afternoon in Rochester, Kent. Apart from the tea room itself (and it's welcoming hospitality), the main draw would appear to be the cathedral and Norman castle. The city was also the inspiration for the work of Charles Dickens, and many of his novels were based on the area; himself having lived there for many years.

The 150 year-old catalpa - or American Indian bean tree - that stands outside the cathedral spilt into two last year, and a campaign is underway to save it. It is believed to be the oldest of its kind in England. 


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



© 2016

A walk in the park

We have been on walks in Eastwell Park on numerous occasions, but on this visit Nic decides to take me in a different direction. It's a good choice as the light begins to play ball on the return leg of the ramble, from clear skies to dramatic cloud formations which in turn cause their own drama.


24-70mm f/2.8 AF-S Nikkor. Matrix metering
Top: 1/1600 second at f/5.6. - 0.67 EV compensation. ISO 160
Middle: 1/1000 second at f/8. 0.67 EV compensation. ISO 160
Bottom: 1/100 second at f/11. ISO 160



© 2016

Bluebells in an English wood

It's a fine line between when the bluebells are at their best and the emerging foliage on the trees is just right to create a balance. In this instance I am a week or so too early, but it is still a glorious sight in King's Wood, Challock, Kent.


12-24mm f/4 AF-S Nikkor. 1/200 second at f/7.1. Matrix metering. ISO 320



© 2016

Oaks

 

                                  Oak trees and clouds on an English spring day. Nothing more to add, really.



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

Top: 1/160 second at f/8. ISO 160
Below: 1/200 second at f/5.6. ISO 320. Polariser.



© 2016

New beach

I've not been to the local beach for a couple of months, and was surprised to see that the work on the wooden groyne replacement was still ongoing. Started last November, I was under the impression that the carpenters and plant operators were making good progress, but apparently not. Well, not according to a beachfront worker I spoke to this afternoon. He reckoned they were "miles behind", although quite where he got his information is anyone's guess.

He may be right, though, as the beach replenishment team are chasing them along the beach not a quarter of a mile away. For this phase it is estimated that 126,000 cubic metres of sand will be pumped ashore through pipes and distributed by bulldozers.


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



© 2016

Daaahn to Margit

Margit, or Margate, on the North Kent coast is a seaside town sufferering from neglect. Nic and I pop along for the afternoon only to find that despite the looming Easter weekend there is little to entertain the visitor. From a photographic point of view there is a lot to shoot, but from the town's point of view it's for all the wrong reasons.

Dreamland - an amusement park - promising "A 1000 Smiles an Hour", looks like it will deliver anything but, and the tower block that dominates everything is a less-than-inspiring concrete relic of the 1960s. It was a drab day to be honest and it did start to rain, but I would guess that when the sun shines the resort would have its charm. Unfortunately it seems to have given up trying, which is a shame. However, one thing is for sure: we won't be going back there any time soon.


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

Top: 1/200 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 200
Below: 1/500 second at f/5.6. Matrix metering. + 0.33 EV compensation. ISO 200



© 2016

Hectic lunch hour

I enjoy the winter months for photography, but by the end of it I have had enought of the cold. Spring has the look more than the feel at the moment, so for the time being I am restricting myself to short sessions of shooting. Anyway, it's good discipline to set oneself a target to work to.

I give myself an hour to take photographs in a local office district, seeking out subjects that barely get a second glance - if at all - by the people who work there.



24-70mm f/2.8 AF-S Nikkor
Top: 1/250 second at f/5.6.  - 0.33 EV compensation. ISO 200
Middle: 1/1000 second at f/2.8.  - 0.67 EV compensation. ISO 160
Bottom: 1/320 second at f/4.5.  - 1.3 EV compensation. ISO 320



© 2016 

On the wall

The street mural above - unveiled two days ago - is designed to get people involved in the creative side of things. Painted by grafftti artist Rick Walker, it was comissioned by the consumer initiative Get it Right From a Genuine Site. It measures 15 x 13 metres (49 x 43 feet), and is the third such artwork, the others being in Birmingham and Cardiff.

The astronaut at top right represents Bournemouth University's involvement with the National Centre for Computer Animation, and it's Oscar-winning visual effects work on the film Gravity. The two figures on the left are inspired by Dr. Jekyll and Mr. Hyde, created by Robert Louis Stevenson who lived in the town from 1884-87, while world champion breakdance crew Second to None is represented in the yellow area.

In the centre is AFC Bournemouth's captain Tommy Elphick, no doubt there because of the football club's recent rise to the top flight league for the first time in its history.

Only a few yards away, in a back alley, is the above artwork painted onto a studio's sliding door. Not as involved as its neighbour, but equally striking nonetheless.



Top: 12-24mm f/4 AF-S Nikkor. 1/320 second at f/8. Matrix metering. Polarising filter. ISO 400
Below. 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/5.6. Matrix metering. ISO 200



© 2016

Okay, this is gettin' weird

Two buildings: One already in existence, the other still only an illustrator's rendition of something yet to come. I spotted the opportunity to line-up the board on the right with the structure on the left in the camera, and the image is not the result of jiggery-pokery in Photoshop. Let's face it, it would be a pretty poor attempt if that were the case, wouldn't it?


24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/11. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 160



© 2016

Close enough

Last week I heard a TV weather forecaster say that Spring officially starts on 1st March. Well, if you say so, but you only need to go outdoors and look around to see that nature is way ahead of you, Met Office. My local patch of daffodils is in full bloom, and that's good enough for me, and the warmth of the day supports it.



300mm f/2.8 AF-S VR Nikkor. 1/3200 second at f/2.8. Matrix metering. - 0.33 EV compensation. ISO 200. Monopod



© 2016 

A walk on the wild side

As far as I am concerned this is what the fisheye lens was designed for: shooting architecture. The serious photographer will demand as little lens distortion as possible and upright verticals. I, on the other hand, often enjoy a walk on the wild side.

The subject here is the pedestrian and cycle bridge that crosses the M20 motorway at Ashford, Kent.


10.5mm f/2.8 AF-S Fisheye Nikkor.

Top: 1/640 second at f/11. Matrix metering. - 0.67 EV compensation. ISO 160
Below: 1/400 second at f/11. Matrix metering. - 0.33 EV compensation.



© 2016

Much-Binding-In-The-Marsh

Using the title of a post-war British radio comedy series does to some extent hint at the difficulties Nic and I encountered in the mud of Romney Marsh, Kent. It has been three months since we first visited the Church of Thomas à Becket at Fairfield on a dull November afternoon, but today the light alone made the effort worthwhile.


 12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. + 0.33 EV compensation. ISO 160



© 2016

No sky: big foreground

There is always the element of luck when shooting in an uncontrolled environment, and yesterday's shoot at the beach proved to be a wash out due to a lack of it. At the time of low tide the sky was almost cloudless, but it was a strong human presence that effectively put paid to achieving anything approaching the mood I was trying to create.

Today was a significant improvement. There was only one other person - another photographer - at my chosen location, but once again the sky wasn't happening. Instead, I went for a big foreground, using the ripples in the freshly exposed sand as the major part of the composition.



12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. -1 stop EV compensation. IS0 160



© 2016

Almost there

Time is beginning to run out for this season's beach photography. It won't be too long now before the sun starts setting inland on Poole bay, plus Spring is just around the corner and my lens will be pointed elsewhere. Fortunately, I have three very low spring tides this week and, weather permitting, I intend to make the most of them. It's all those glorious reflections available, you see.


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



© 2016

Number 9

As I write, storm what's-his-name (actually this one appears to be a her), continues to blow rather less than predicted along the South coast, although winds of 96mph were recorded at The Needles on the Isle of Wight during the night. This is the ninth tempest of the winter so far in the UK, and to my recollection it is only recently that they have been given names. Maybe it is an attempt to soften the blow in the realisation that such repetitive atmospheric turmoil was somewhat rarer, not so long ago.

Climate change, anybody?



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

Top: 1/500 at f/8. - 0.67 EV compensation
Below: 1/500 second at f/5.6



© 2016