When the sun goes low

                                                      An impromptu visit to the beach, and the golden hour.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 100



© 2017

A walk in the park

Even though the autumn colours have yet to become fully established, there is enough going on to get me interested. A walk in the park on a sunny morning with a long lens; I paid particular attention to the sunlight on leaves.


300mm f/2.8 AF-S VR Nikkor. Matrix metering. - 0.33 EV compensation. ISO 160. Monopod

Top: 1/1000 second at f/4.
Bottom: 1/400 second at f/5.6.



© 2017

Here we go again

It's an early alarm call, today, and a swift look out of the window into the pre-dawn is enough to convince me it's worthwhile visiting the beach to shoot the sunrise. Although not as spectacular as I had hoped, it wasn't all in vain. The sun is now beginning to rise and set at sea on my stretch of the coast.

Seascape season is about to begin.


20mm f/1.8 EX DG Sigma lens. 1/1250 second at f/8. Matrix metering. + 1.3 EV compensation. ISO 250



© 2017

Relaxing man

Now that autumn is here I am itching to get out with my camera and start shooting; something I have been doing comparatively little of in recent months. The true colours of the season are yet to show themselves, so I am on the cliff tops of Poole bay, Dorset, in the early evening, armed with a long lens and in search of a subject.

I take a few frames of this; several of that, but nothing to get too excited about. I call it a day, but as the light fades I see this man silhouetted against the afterglow and start to take photographs. He is sat on a bench and talking on his mobile phone, but occasionally raises a bottle to take a drink, and I know I have the shot.


300mm f/2.8 AF-S VR Nikkor. 1/50 second at f/2.8. Matrix metering. Vibration Reduction on. ISO 250



© 2017

Doing the garden, digging the weeds...

... who could ask for more (there's a clue in there, somewhere).

To celebrate, I set off on the autumn equinox for the Isle of Purbeck (not an actual island), Dorset, with the sole intention of photographing the Agglestone on Godlingston Heath.

The Isle of Wight (an actual island), can be seen 20 miles or so distant on the horizon.


24-70mm f/2.8 AF-S Nikkor. 1/800 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160.



© 2017

Wye, and the North Downs

The weather over the past few days has been something of a landscape photographer's dream; showers and sunshine. The ever-changing light constantly produces photo opportunities, but it's sunset that Nic and I target today; the North Downs the chosen location.

We cut it fine in our arrival, but by the time we march downhill to a favourite spot the light is stunning. The rest is easy.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/8. Matrix metering. ISO 160
Below: 12-24mm f/4 AF-S Nikkor.  1/80 second at f/8.  Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Checking things out

I have my 300mm f/2.8 lens back, thanks to ACS (Advanced Camera Services), of Norwich, UK. Not only was the repair job handled quickly through their Pro Service (three working days) but they adhered to their email quote, price wise. Quite a feat since they hadn't even had the chance to inspect the damage when they gave it.

To check everything out, Nic and I visit Oare Marsh on the north Kent coast; a wildlife reserve. Not that I was in search of any, but the good weather gave rise to numerous opportunities for a spot of landscape shooting.

A super-telephoto lens isn't the first optic that springs to mind for photographing scenery, but it does give a different slant on things. The characteristic compression qualities found with long lenses can be used to good pictorial effect, such as with the yacht on The Swale, with the Isle of Sheppey in the background.


300mm f/2.8 AF-S VR Nikkor. 1/5000 second at f/2.8. Matrix metering.  - 0.33 EV compensation. Monopod. ISO 160



© 2017

Hello, Goodbye

The Beatles season continues, and although not photographed on the relevant day, it is 50 years ago this week that their third film Magical Mystery Tour was being shot. It is also worth mentioning that Nic's mum appears numerous times in the television film, first aired on BBC 1 on Boxing Day, 1967.

Some of the scenes were filmed at RAF West Malling, Kent. Taken over by the military in 1940, it was finally closed as an operational airfield in 1969.

Although the control tower (below) - now a listed building - doesn't appear in the film, a plaque (top) can be found set into the ground nearby, commemorating events.


Top: 12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 160
Below: 24-70mm f/2.8 AF-S Nikkor. 1/320 at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Bournemouth Air Festival 2017, and the kite that stole the show

Kestrel

Great War Display Team (well, three of the seven)

The Tigers Display Team


Day 3, and the last one as far as I'm concerned. Thankfully, poor weather forecast for day four will keep me away from it all. Maybe I am being over critical of the events this past few days, and to be fair it is a free festival, but if there is to be a continuation of this annual event then the Council and organisers need to tighten things up somewhat.

Today, the main attraction of the Red Arrows started the day's flying at noon, but there was nothing  in the air after that for the next 100 minutes. Spectators that lined the cliff tops for several miles in each direction were left wondering if there was anything to follow, and many people drifted away after half an hour or so. A shame, really, as there are always top class performances on offer, but there is, to my mind at least, a need to keep a steady stream of flying to keep the interest.

In addition, I really do feel the variety of aircraft needs to be looked into as the four day schedule is beginning to look tired. This year there were no fast jets; the Eurofighter Typhoon was a notable omission, and the Avro Lancaster pulled out for whatever reason a day or so before proceedings started. Even the helicopters were thin on the ground... er, air, with only a Chinook twin-rotor taking to the skies. It is coming to something when, for me, a bird steals the show.


All images: 300mm f/4 AF-S Nikkor with TC-14EII converter



© 2017

Bournemouth Air Festival 2017, Day 2

A Royal Marine

 Mig 15

The Red Arrows, minus one

Tigers Parachute Display Team


Day 2 of the Air Festival, and despite yesterday's set-back I am able to continue shooting by using my spare super-telephoto; a 300mm f/4. Not my first choice lens for such work but the optics are superb and it takes a tele-converter well, so I am back in business.

I start the day's proceedings at the first event; a simulated beach assault by the Royal Marines, but in contrast to other years there are cutbacks; a theme that prevails over the entire weekend. The display used to feature landing craft; support from both ship and helicopter, as well as the storming of the beach to deal with the bad guys, but this time around there are no landing craft or ship dealing with the "pirates".

Whether or not this has anything to do with world events and men and equipment being deployed elsewhere, but it doesn't have the full drama of previous years. A shame.

On top of that the Red Arrows' second display is one aircraft down. The reasons given over the Tannoy is that one of the pilots has food poisoning, and since there is no spare pilot, today there will be only 8 aircraft instead of the usual 9. Professional as ever, but it just doesn't look right to my eye.


All images: 300mm f/4 AF-S Nikkor with TC-14EII converter.



© 2017

Short lived

Today is the start of the 10th Bournemouth Air Festival, a free event that has attracted some 8.5 million visitors over the past decade to the Dorset coast. However, the four days of flying has become less and less appealing to this particular photographer, due to the staid nature of its programme.

The one saving grace is the RAF Display Team, The Red Arrows; always worth watching; always worth a few shots in spite of the fact that I have thousands of images of them spread across several hard drives. In addition, their performance is scheduled for 6pm, so the light will be getting good by that time of evening.

Game on.

I arrive about 90 minutes beforehand, find a suitable viewpoint, and warm-up by taking casual snaps of other displaying aircraft as with one of the Twister Duo (pictured), and free-fall parachute jumpers that entertain the crowd before the main event.

But shortly before it starts I manage to put quite a severe dent in the focusing ring of my 300mm f/2.8 lens - I dropped it again the wooden rail of the cliff fence - and it won't focus.

Disaster! The focus ring won't turn by hand let alone autofocus, so I'm stuffed. I know straight away I will not get any more images, and somewhat disappointed, I leave before it starts.

It's going to be a costly repair.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2000 second at f/5.6. Matrix metering. - 1 stop EV compensation. ISO 160



© 2017

One for the future

Nic and I set out today for a visit to Cliffe Fort, built during the 1860s to protect the entrance to the Thames. Now owned by an adjacent aggregate works, the fort was abandoned shortly after World War II when it served as anti-aircraft battery to defend the approaches to London.

It now lies derelict and is subject to flooding, not that it mattered as we were not able to gain access upon arrival as the road was closed. Workers we spoke to on the site assured us that the closure was temporary, and that means of entry would soon be re-established. Slightly disappointed, we decided to return at a later date.

In the mean time here is a photograph of a dredger arriving at the nearby Brett Aggregates processing wharf.



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



© 2017

Normans Bay

Normans Bay, East Sussex, oddly has nothing to do with where the Normans landed during their invasion of England in 1066. Although the actual spot is still disputed by historians it is clear that it wasn't here as the location was underwater at the time.

It is, however, a peaceful and remote spot that can be tricky to find, since everywhere you go is signposted 'Private This', or 'Private That'. Whether or not that is the case it is probably enough to discourage all but the most determined casual visitor.



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

Top: The beach. 1/2000 second at f/3.2. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 320
Below: Martell Tower detail. 1/400 second at f/5.6. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 250



© 2017

Always something new

The first time visitor may see nothing but desolation at first glance, but Dungeness never fails to produce something worthwhile for the photographer who is prepared to put in the leg work.

The top image shows the remains of the burnt-out hull of a fishing boat, although quite how that came to be isn't all that obvious. The beach is littered with such vessels; some are working boats, others derelict, but its distance from the waterline suggests it didn't happen at sea.

The second image reminded me of trees in an impressionist landscape, having been sprayed haphazardly onto the side of a large ship container.



12-24mm f/4 AF-S Nikkor. Both images - 1/640 second at f/8. Matrix metering. ISO 160



© 2017

So why not stick the picture on the internet?

Being your own fiercest critic has its plus points, but also its drawbacks. There are many times I shoot, but having viewed the uploads on my screen eventually arrive at the verdict that there is nothing worth adding to the blog. Most of the time I think I am right in making those decisions, but there are times when I have the sneaking suspicion that I am being too harsh in my approach. After all, I did stop to compose and fire the shutter at the time, so why not stick the picture on the internet?

So, I have decided to relax this draconian ethic, at least for the time being, starting with this one. And just to be on the safe side I have deliberately broken a few compositional rules; plonking the subject in the middle of the frame and having the horizon slice the image equally in two.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/5.6. Matrix metering. - 0.33 EV compensation. Polarising filter. ISO 320



© 2017

Monday: 4:39 am

I have been neglecting my camera for the past few weeks, so when I discover that a low tide will coincide with sunrise (well, almost), I set the alarm for 4 am and hope the light does its stuff.



12-24mm f/4 AF-S Nikkor. ¼ second at f/11. Matrix metering. - 0.67 EV compensation. Tripod and remote release. ISO 160



© 2017

The first day of summer

It's the first day of summer, speaking from a meteorological point of view, and what's more it actually feels like it.



300mm f/2.8 AF-S VR Nikkor. 1/320 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 250. Monopod



© 2017

The Bournemouth Wheel: Maximum impact

Something of an afterthought with the subject, but as planned I did return to shoot a local entertainment attraction just as soon as the conditions were right. I needed clear blue skies to achieve the effect I wanted; the conversion to mono enabling me to turn the sky black for maximum impact.


10.5mm f/2.8 AF-S Fisheye Nikkor. 1/800 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 160. Mono conversion in Silver FX Pro2



© 2017

First dawn

Newborn foals on Stanpit Marsh, Christchurch. The one in the lower image arrived seven days ago; the other less than a day old, arrived during the night.


300mm f/2.8 AF-S VR Nikkor. Matrix metering. Monopod
Top: (with TC-14E II converter) 1/500 at f/5.6.  - 1 stop EV compensation. ISO 250
Below: 1/1250 second at f/4. - 0.3 EV compensation. ISO 160



© 2017

No stretch of the imagination

Imaginatively called the Bournemouth Wheel (I wonder who came up with that one), this Ferris wheel replaces the Bournemouth Eye; a tethered gas-filled balloon that had once been situated in the town's Pleasure Gardens. Clearly, a bit more thought went into naming the balloon, but whoever named what the wheel is far more photogenic.

However, I wasn't carrying anything wide enough to do it justice this afternoon, so a return visit with a (much) wider lens will be in order the next time the sky is right.


24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. Polarising filter. ISO 160
Mono conversion in Silver FX Pro 2



© 2017

Fluffy

It's not often that I visit beaches during the spring and summer months for a photography session, but it seems a shame to waste such a low tide. Besides, I've not been shooting much recently and I need to get out there. I'm not going to get a setting sun along the shore line at this time of year, but the northerly wind is bringing a good amount of fluffy cloud, so at least the sky will be interesting.

However, it's far from warm, with temperatures barely topping 11ºC, and the moment I step onto the sand it starts to rain, swiftly followed by sleet. It's short lived, though, and for an hour or so I make photographs between showers and shade.



12-24mm f/4 AF-S Nikkor. 1/1000 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Pay attention at the back

Although Heritage Railways dot the countryside - lovingly restored and operated largely by volunteers - it is much rarer to see steam trains run on main lines. So when an event like that is happening in your own back yard you take the opportunity to get some snaps.

A chance find on social media, I discover that the Railway Touring Company have chartered a train that is being hauled by West Country Class No. 34046 Braunton, now running under the name Lord Dowding. The engine has been renamed to commemorate the 75th anniversary of the Battle of Britain, and it will pass near me around mid-morning.

I then promptly forget all about it until it's (far) too late.

Nil desperandum, I think, as I know the return run will happen during late afternoon. I'll get some shots then. Besides, the light will be better.

However, the return trip turns out to be pulled by a diesel engine; Lord Dowding itself having being uncoupled to make a guest appearance on the nearby Swanage Railway. The camera remains idle, but all is not lost. I am reliably informed that the engine in question will be passing again tomorrow - around mid-day.

So once again it's off to the station... and wait. It heaves into view in the distance; smoke billowing, and I take up my pre-determined position to get at least something, only to be presented with the image above. Running backwards (and early), and with only one carriage, the picture certainly wasn't what I had hoped for.

Nevertheless, it's a lesson learned: Don't expect a second bite of the cherry.



24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 320



© 2017

About as high as it gets

A high flying jet against a blue sky caught my eye and I fired off just one frame. The thinking was to convert the file to mono, then make the image as high contrast as possible.



300mm f/2.8 AF-S VR Nikkor with TC-14E converter. 1/640 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Best of a bad lot

I'm always telling others: There is no such thing as bad light... and today I have to apply that mantra to my own efforts. Twice.

Thwarted by cloud taking away the direct sunlight I wanted for an early shoot, I come away with nothing. I change tack later in the day and visit the beach. Again, the light is anything but spectacular, but I'm determined to photograph something.

Once again those odd bits and pieces that get washed up on the surf line save the day and I go for the minimalist approach. I add the rough sides as an afterthought. I'm not a big fan of borders on an image, but once in a while it doesn't hurt.

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



© 2017

5202 detail

As well as remembering to occasionally look up when out shooting, it can also pay to look out for what lies underfoot. Trodden on by countless feet for many years, and pitted by harsh conditions equally as long, this drain cover on the seafront promenade almost certainly doesn't get a second glance by the casual passer-by.

I think I have an idea for a new theme.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/4. Matrix metering. + 0.33 EV compensation. ISO 400



© 2017

Testing times

My car is in for its annual MOT test, and for the 45 minutes or so while it is being scrutinised I wander the alley at the back of the garage in search of something to photograph. I'm always drawn to images of decay, as with the white painted bricks, stained by rust from a leaking gutter, or the boarded up window of the empty factory that has subsequently become the canvas of the graffiti artist.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160
Below: 12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160



© 2017

Graveyard shift

The fine spring weather of yesterday gave way to fog this morning, but the capricious nature of the UK climate has the advantage of offering-up different shooting opportunities almost on a daily basis.

I'm out early in a local cemetery while the murkiness lasts, shooting wide-open with my longest lens to isolate the subject, and to capture the beautiful softness of the light.



300mm f/2.8 AF-S VR Nikkor. Matrix metering. - 0.33 EV compensation. Monopod. Mono conversions in Silver Efex Pro 2.

Top: 1/160 second at f/2.8. ISO 160
Middle: 1/320 second at f/2.8. ISO 250
Bottom: 1/640 second at f/2.8. ISO 400



© 2017

Apple blossom and spring sunshine

There are no crisp boundaries between the seasons, but best part of the transition doesn't last long; often only a few days.



105mm f/2.8D EX Sigma macro lens. 1/60 second at f/16. Matrix metering. + 0.3 EV compensation. Tripod and remote release. Mirror lock-up.



© 2017

Last call for winter

The low spring tides herald what is likely to be the last of the winter's photography on my local beaches, as by the time the next ones happen the sun will be setting too far inland to get anything meaningful.

Although nothing like the storm that arrived last week, strong winds were enough to keep the sky constantly changing, producing stunning light.


12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. + 0.3 EV compensation. ISO 160



© 2017

Fair vernal flowers, laugh forth*

Doris has had her day; the sun shines, and the blossom on the trees, er... blossoms.

Spring is here.



*From Thomas Blackburn's Easter Hymn


24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/8. Matrix metering. ISO 320



© 2017

Barometric anarchy or: Storm Doris

As I write, Storm Doris continues to batter the country, with winds of up to 94 mph recorded in some parts. Such is the intensity it has now been classed as a weather bomb; the first time I have heard the term used to describe this kind of barometric anarchy in the UK. Travel disruption and damage is widespread.

However, along the south coast things are a little different, and although the wind occasionally gusts up to around 48 mph the sea remains calm, and at least a few of us can get out and enjoy an afternoon on the beach.



12-24mm f/4 AF-S Nikkor. 1/2000 second at f/8. Matrix metering. - 0.67 EV compensation. ISO 160



© 2017

Just a moment

Members of the Wessex Paragliding Club can often be seen wafting to and fro above the cliffs of Poole bay, but it seems that every time they do - and I'm on the scene - I don't have any long lenses with me.   So, as always, I use what I do have and chose my moment carefully.




24-70mm f/2.8 AF-S Nikkor. 1/1600 second at f/5.6. Matrix metering. - 1 stop EV compensation. ISO 160



© 2017

Rambling on my mind

I like nothing more than rambling on local beaches as the sun drops low in the sky. Making photographs without really trying; either abstract - as in the top image - or the scenic, is the best way I can think of spending a fine afternoon during the winter months.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/5.6. + 0.3 EV compensation. ISO 250
Below: 12-24mm f/4 AF-S Nikkor. 1/100 second at f/8. + 0.3 EV compensation. ISO 160



© 2017