05:25 - on the beach

For the past week or so I have been thumbing through some of the old photo magazines that I used to buy before the age of the internet and digital shooting, seeking inspiration. There's plenty of articles on a month-by-month basis, but nothing is blowing my hair back. Viewing the images I shot during the winter months doesn't help much either, knowing full well that this is where my real motivation lies.

But this morning I take a chance with the weather and go down to the beach. There's a low tide just before dawn and I want to see what's on offer. The light isn't very good; in fact it's terrible, but I set up and start making photographs nonetheless. Things don't improve as sunrise approaches, and it's the first exposure I make (above) that turns out to be the best.


12-24mm f/4 AF-S Nikkor. 6 seconds at f/11. Matrix metering. Tripod and remote release. ISO 100



© 2018

A symbol of hope and peace

With the temporary break in the summer weather over (torrential rain and strong winds), I take the opportunity to spend the day location searching in Salisbury. Although this is (probably) the best British summer since 1976, I already have my mind on autumn shoots and all the colours that come with it.

Unfortunately, the area I wish to explore has been closed to the public and is being patrolled by police. It's a substantial area to the northwest of the city that has been cordoned-off to everybody, and it's the suspected presence of the nerve agent Novichok that is again causing disruption.

Instead, I find plenty to photograph in the town itself, as with 90 colourful umbrellas suspended over the pedestrian section of the High Street. They - and the illuminated doves - will remain there until the autumn, and are there as a symbol of hope and peace.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 100



© 2018

Mad dogs and Englishmen

It has been warm, bordering on hot in most places in the UK for the past couple of months, so any activity with a camera is restricted to either end of the day. In fact any real activity is restricted to the ends of the day. Not that it's a problem as once the sun gets up at this time of year the light is, in my view, un-useable.

So, it's down to the lake shortly after sunrise, to see if I can photograph a pair of grebes that have nested there. Conditions are ideal, and an early morning mist all but blocks the rising sun, creating beautiful, diffused light.

The grebes put in an appearance and I get something in the can, but once the sun has burnt-off the mist it's time to retreat for breakfast.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Matrix metering. Tripod and gimballed head

Top: 1/640 second at f/4. ISO 250
Below: 1/250 second at f/4. - 0.33 EV compensation. ISO 320



© 2018

The Old High Street, Folkestone

I've made numerous visits to Folkestone, Kent, but until today have never explored the town itself. The Old High Street is particularly interesting (images), and is an ancient route that runs down to the harbour through what is now known as the Creative Quarter.

Although somewhat narrow - it is closed to motor vehicles - it does have its charm, and is lined with a variety of quirky shops, cafés and pubs, most of which are painted in bright colours.

24-70mm f/2.8 AF-S Nikkor. 

Top: 1/250 second at f/5.6. - 0.67 EV compensation. ISO 100

Below: 1/320 at f/5.6. ISO 100

© 2018

The occasional snap

The time of year has arrived when I seldom pick up a camera for fun - the light is just too vicious during the summer months for my tastes. However, it always accompanies me on the various trips I make to Kent, and there are moments when peering through the viewfinder inspires me to take the occasional snap.

Grey skies loomed low on our visit to Reculver this afternoon, but a break in the clouds produced a bit of decent light.


24-70mm f/2.8 AF-S Nikkor. 1/320 sec at f/8. ISO 100. Mono conversion in Silver Efex Pro 2



© 2018

Not many fish about

It is some years since my (only) sighting of otter on the Dorset Stour, so I have decided to up the ante and search a location where they are known to thrive. It's my second visit in three days, and as with all wildlife shooting, the subject has little (read 'no') interest in co-operating with photographers. My quarry remains elusive.

Mind you, I'm not helping myself by arriving around mid-day; the light is far too brutal at this time of year to get anything worthwhile, and the otter are probably asleep anyway. Quizzing the locals goes some way to explaining their absence, as apparently there are few fish in the part of the river that flows through Stour Meadows, Blandford Forum, Dorset, at the moment. Of course, it follows that there are no predators.

I'm reliably informed that I should set up on the riverbank around dawn or late evening; something I knew, anyway, if I want any measure of success. In the meantime, I resort to shooting the flora that grows on the riverbank, as with this hogweed.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/400 second at f/8. Matrix metering. -1.3 stops EV compensation. Tripod. Sepia toned in Silver Efex Pro 2. ISO 100



© 2018

Early birds

Cute, or what? Photographing wildlife - even if it is in the local park - doesn't come any better than when the young of a species are making their first tentative steps in the world. The important thing is not to stress the animals in any way just to get a shot, so I am using all the optical firepower I can muster to keep a respectable distance from the family of Greylag geese; the parent birds being just out of frame.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/800 second at f/4.5. Matrix metering. Tripod. ISO 400



© 2018

Bluebells in King's Wood

A visit to King's Wood in Challock, Kent, is usually on the cards at this time of year, purely for the display of bluebells, but as is often the case there is no guarantee that each annual event will be the same as the last. There are several places in the wood there are no bluebells to be seen, but there is enough going on to warrant the camera coming out of the bag

Whether this is down to the harshness of early spring, or that Nic and I are just too early, is a moot point. We dutifully take the standard shots of what's on offer, but it is at the end of the walk that I see the opportunity to get 'creative'. Developing my initial experiment in March with camera movement during exposure, this time I have more colour and shape to work with.


12-24mm f/4 AF-S Nikkor. 1/10 second at f/11. Matrix metering and manual exposure. ISO 100



© 2018

All I need to know

My location scouting of Salisbury is pretty much complete, and as far as I am concerned I have all the angles of the cathedral at ground level covered. Today's reconnaissance was of a field just north west of Harnham, but the views of my subject are obscured by trees. All this probably explains why nearly all of the images I see taken of Salisbury Cathedral are from the same angles; there aren't any others available. Access to the nearby water meadows would change that radically, so over the coming months I will look into obtaining permission to spend a couple of hours shooting on them.

Of course, I take the obligatory shots of the building while I am in the area, just because I can, because it would be a shame to waste decent light. However, after an hour or so the clouds roll in from the west and (surprisingly for the time of year), it begins to hail. It's at this point that I decide I'm done, and withdraw.


12-24mm f/4 AF-S Nikkor. Matrix metering. ISO 100

Top: 1/400 second at f/8
Below: 1/250 at f/11



© 2018

A walk in the park

The original intention in visiting a local park this morning was to see if the waterfowl had produced any young yet. Still a bit early in the year - there not being any is testament to that - but the spring flowers are giving dazzling displays.

The colours of the red and orange tulips in Pool Park, Dorset, are enough to knock your eye out, and too much to resist photographically. I have to be careful not to blow the red channel out on the histogram, and underexpose accordingly to retain the hues and detail.


300mm f/2.8 AF-S VR Nikkor. 1/5000 second at f/2.8. Matrix metering. -1.33 stops EV compensation. Monopod. ISO 100



© 2018

On location

The frequent visits I am currently making to Salisbury are essentially me scouting for locations. Although spring is just hitting its stride here, my thoughts are already turning to autumn and winter; eyeing-up what might look good when the season dictates.

It's a grey day by the time I arrive, and monochrome conversions are already in the back of my mind should I start shooting. I'm doubtful I will get anything, but obligingly two sheep stand still long enough on Harnham Water Meadows for me to use the shot.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. Matrix metering. Mono conversion and selenium toning in Silver Efex Pro 2. ISO 100



© 2018

In the footsteps of John Constable

Today I'm back in Salisbury for some shooting around the Harnham Water Meadows. I made the decision last night, having scrutinised the weather forecast and found it to be clear skies for today. However, my main worry was that the light might be too good, but on the journey there I was pleased to note that some fluffy clouds were beginning to bubble-up.

Inspired by the John Constable paintings of the area, I roam the Town Path to find a composition that incorporates the cathedral, but frequently find the best angles are blocked by trees, or I'm unable to gain access to the water meadows for a clear shot.

But it's when I round the corner by the Old Mill at West Harnham that I am confronted with a scene that positively screams pastoral England. The fisherman in the mill pond, with the 12th century Grade 1 listed building in the background and the trees on the river bank, is about as Constable-esqe as I can get.



12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. ISO 100



© 2018

I'll be back

Another trip to Salisbury to photograph the cathedral, and once again the weather changes en route to something less favourable; the weather forecasters are playing games with me. I do get a brief burst of light from a crack in the clouds so I can't really complain, but it disappears just as quickly as it arrives.

The scaffolding adorning the eastern end of the building is there for the final stages of the current restoration work; a part of the cathedral that has remained essentially untouched since 1270.



12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

(It's) been a long time

There are some subjects that I return to frequently, shooting time and time again, but the last time I took photographs from this spot was in July, 1986. The water meadows at Britford, near Salisbury, are probably not the same ones that John Constable painted in the 1820s, but one thing is for certain, the scene has changed for both of us since either of us visited last.

Trees now largely obscure the view of the cathedral at this location, and I had hoped for better light, but used what I was dealt with on the day. I sepia toned the monochrome conversion, and added the border to 'jazz it up' a touch.



70-200mm f/2.8 EX Sigma lens. 1/320 second at f/4. Matrix metering. Monopod. ISO 100. Sepia toned and border added in Silver Efex Pro 2



© 2018

Rule book, anyone?

                                                                                         Trees by the river


Occasionally, it's good to tear up the photographic rule book (is there such a thing, anyway?), just to see what you can come up with. During the winter months I made numerous seascape images using long shutter speeds, allowing part of the composition to blur through motion, but always using a steady camera support to keep the rest of the image sharp.

Today, with the rule book well and truly ripped asunder, I made photographs by deliberately moving the camera during exposure to blur everything. The results are rather hit-or-miss, and I took many frames before I started to come up with something pleasing, but experimentation is the key with this technique. Just choose the subject wisely.


24-70mm f/2.8 AF-S Nikkor. 1/10 second at f/14. Camera moved vertically during exposure. Polarising filter to help get the shutter speed down. ISO 100



© 2018

Salisbury Cathedral

Winter has now officially gone, although the temperatures would suggest otherwise. The weather forecast for Salisbury advises that it will touch 9ºC today, although the wind chill factor will make it feel more like 6º. Wonderful. However, it's a bright sky in the Wiltshire city, and thoughts of monochrome photography whilst travelling there by bus gets the creative juices flowing; those blue skies are going to look good in the black and white conversions.

I take a number of exterior shots of the cathedral upon arrival, but decide to nip inside to inspect one of the four remaining copies of Magna Carta whilst the sun moves round to light the western end. I hadn't given any thought to shooting inside the cathedral since I wasn't sure if photography was allowed, but was pleasantly surprised to be informed by a guide the not only was it permitted, it was positively encouraged. Of course, I wasn't prepared, and consequently struggled with the eternal triangle of shutter speeds, apertures and ISO settings whilst trying to do the architecture justice.

Even more surprising - to me at least - is that although flash photography is generally frowned upon, and refused altogether in the Chapter House that has the Magna Carter on permanent display, the use of a tripod is deemed acceptable. This fuels the idea of making subsequent returns to make a better fist of the subject.



Top: Western facia and spire. 1/250 second at f/11. Matrix metering. -0.33 EV compensation. Yellow filter and blue toned in Silver FX Pro 2. ISO 100

Middle. Choir and organ, looking East. 10.5mm AF-S f/2.8 Fisheye Nikkor. 1/13 second at 5.6. Matrix metering. ISO 500

Bottom: High Altar. 10.5mm f/2.8 AF-S Fisheye Nikkor. 1/5 second at f/5.6. . Matrix metering. +0.67 EV compensation. ISO 500



© 2018

What's going ON?

For the second time in two weeks I have snow. It's not the latest I have known it to snow where I live (that in itself is rare enough),  but this amount a few days from the Spring equinox is something worth noting. Caused by cold air moving in from Scandinavia, it will, thankfully, be short-lived.


105mm f/2.8 Sigma macro lens. 1/8 second at f/14. Matrix metering and manual focus. + 0.33 EV compensation. Tripod and remote release. Mirror lock-up. ISO 200



© 2018

A watchful eye

Although too early in the year to photograph any birds with young, the would-be parents are now looking their best in a bid to attract a mate. This mute swan - busking at the time - is defending territory from an intruder on a lake in a local park, whilst keeping a watchful eye on me.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/3200 second at f/4.5. Matrix metering. -0.67 EV compensation. Monopod. ISO 100



© 2018

Concessionary travel

Last week's horrendous weather appears to have slowed the onset of spring, although what had already appeared seems to have, in the most part, survived. Today, I visit the nearby town of Christchurch, partly to photograph some of its main features, but partly because I now qualify for concessionary travel on local bus routes in the UK; something I intend to use with a vengeance.

The 900 year-old Priory - the longest parish church in England - itself has many stories; the Miraculous Beam being the most retold, but finding different angles from the norm to shoot it needed a bit of footwork, and a lens change or two.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/5.6. Matrix metering. -0.67 EV compensation. ISO 100
Below: 10.5mm f/2.8 AF-S Fisheye Nikkor. 1/640 second at f/8. Matrix metering. -0.33 EV compensation. ISO 100



© 2018

It's Spring!

From a meteorological point of view, today is the first day of spring. So what have I got? Snow.

The blast of cold air that has swept in from Siberia over the past couple of days has produced sub-zero temperatures during the day, but now Snow Storm Emma in hitting the UK, and I am on an amber warning, weather wise.

Blizzards are predicted for tomorrow. What fun.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f5.6. Matrix metering. +1 stop EV compensation. Monopod. ISO 400



© 2018

No guarantees

Recent surgery (nothing serious), has prevented me from picking up a camera since the beginning of the month, but today I was determined to get out there and start shooting; Spring is beginning to arrive. There is blossom appearing on the trees in my garden, but high enough off the ground to make the flowers inaccessible for good results, so I go down to ground level in a local park.

I consider a focus stacking technique for the image of a crocus, but since there is a breeze blowing occasionally I am getting too much subject movement for guaranteed success. Instead,  I focus the lens on the stigma of the flower, stop the lens well down, and hope for the best.


105mm f/2.8 Sigma macro lens. 1/4 second at f/14. Matrix metering and manual focus. Tripod and remote release. Mirror lock-up. ISO 100



© 2018

Another mass deletion

Two very low tides this week - all due to the supermoon, no doubt - and two days scrambling about on the beach looking for a composition. Yesterday, there was little of the way of sky interest, and a great many images I shot were deleted once I had viewed them on my monitor.

However, today the sky produced the goods, with enough breaks in the cloud to make the light interesting.


12-24mm f/4 AF-S Nikkor. Tripod and remote release. ISO 100

Top: 1/250 second at f/11. Matrix metering.  + 1.33 EV compensation.
Below: 1/25 second at f/11. Matrix metering.



© 2018

Difficult to resist

It's all well and good deciding that I've had enough of taking photographs on the local beaches, but once a few clouds start appearing in the sky during the afternoon it is difficult to resist the urge to be there and get shooting.

Anyway, there are some particularly low tides next week... and a supermoon. Just need the right skies, to be honest.


12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. - 0.33 EV compensation. Monopod. ISO 100



© 2018

Just around the corner

I've had my fill of seascape photography for winter (you wish), and the signs of Spring are already with us. Crocus are in full bloom here and there, and the blossom buds are getting ready to burst on the tree in my garden. What's more, it isn't as cold as of late, and it is noticeably lighter in the afternoons.


12-24mm f/4 AF-S Nikkor. 1/80 second at f/8. Matrix metering. Monopod. ISO 100



 © 2018

Cliché #14,497

I actually took the long exposures under the local pier yesterday afternoon. After processing the image I uploaded it to here, intending to write a short piece of text to accompany it later in the evening... then promptly forgot all about it. Returning to finish the blog post 24 hours later, I decided that the original colour photograph would look better in monochrome.

After the mono conversion I still wasn't happy with it, so I decided to change the crop to a square format, before finally replacing the picture altogether with this one.

I got there in the end.

Probably...



12-24mm f/4 AF-S Nikkor. 20 seconds at f/11. 10x ND filter. Tripod and remote release. ISO 100



© 2018

Hmmm...

I'm feeding on scraps this afternoon, there is so little good light available. In fact, by the time I arrive at the beach it has started to rain. I do get a sliver or two of sunlight, but by and large it's of little use.

It isn't until I begin to pack up my gear that I glance towards the local pier and think: hmmm... monochrome! I take two frames, both near identical, and head for home.

Some judicial burning-in of the image, plus some added grain to accentuate the grittiness of a winter's afternoon, and the job's done. I even blue toned it for good measure.


12-24mm f/4 AF-S Nikkor. 1/50 second at f/6.3. Matrix metering. - 0.33 EV compensation. ISO 400



© 2018

Late afternoon shooting

I nearly didn't bother with today, but the concrete skies of the past week gave way to some stunning late afternoon light, and I wasn't going to let it all go to waste.

The rainbow appeared minutes after I arrived on my local pier, and it is always gratifying to get something in the can early on. After waiting for the shower to pass, it was down to the water's edge for some more snapping. It can be frustrating for the photographer when unwanted elements enter the frame, but this time I decided to use the man with the metal detector as part of the composition.


12-24mm f/4 AF-S Nikkor.
Top: 1/250 second at f/8. Matrix metering. ISO 100
Below: 1/320 second at f/8. Matrix metering. + 1 stop EV compensation. ISO 100



© 2018

Yeah, says you.

Terence Donavon, the 1960s fashion photographer, once went on record saying: "The problem for the amateur photographer is that he/she has no reason to take a photograph."

So, self indulgence it is, then (insert winking emoji here).



12-24mm f/4 AF-S Nikkor. 30 seconds at f/11. Tripod and remote release. ISO 100



© 2018

Perspective changer

For the second day running I get a boot full of water whilst shooting by the sea, and on both occasions it's the left one. Hmm... just a coincidence? Yes, it is, but wearing rubber wellington boots - or wellies in the vernacular - for this sort of work is invaluable to the photographer shooting along the shoreline.

Of course, you can get over confident when looking for a better angle, as my left foot will attest, but for the most part they are a perspective changer.


12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 100



© 2018

Last shot of the year

Okay, so I lied about the pier photographs... but hear me out. My original intention was to take some long exposure shots underneath the pier. You know the type of thing; all hard angles and milky seas, and I did just that. Possibly even a monochrome conversion.

But, once all of the above started happening during what had been a mainly stormy day, I wasn't going to waste the opportunity.


12-24mm f/4 AF-S Nikkor. 6 seconds at f/11. Matrix metering. 10x ND filter. Tripod and remote release. ISO 100



© 2017

Check the bag

I have an hour or so this afternoon to take some photographs, and since the weather is constantly changing, I head to the beach. The idea is to take some images using long exposures, but I am three quarters of the way to my chosen location when it suddenly occurs to me that my 10x ND filter - vital for what I have in mind - is in a different camera bag to the one I'm using.

Buffoon!

No point in going home to collect it, I conclude, as the light will have changed by the time I get back, and I may miss the best of it. Besides, it will take too long. So, I watch a passing cloud crawl across the horizon (above), and take a number of exposures when I deem the waves pattern on the shore to be right. Then I call it a day. Nothing special in the can, but at least I was out shooting.

It wasn't until I got home and unpacked my gear that I espied the missing filter, nestling in an internal accessory pocket of the camera bag. I had it with me all along, yet I never bothered to look.

You'd think a photographer would be good at that, wouldn't you?

Looking.



12-24mm f/4 AF-S Nikkor. 1/125 second at f/11. Matrix metering. Tripod and remote release. ISO 100



© 2017

Okay, enough is enough

Okay, the last one of the local pier - for this year at least - but the monochrome conversion turned out to be too much to resist.



12-24mm f/4 Nikkor. 10 seconds at f/8. Matrix metering. 10x ND filter. Tripod and remote release. ISO 100. Monochrome conversion in Silver FX Pro 2



© 2017

Worth the wait

It's a wonder we weren't getting in each other's way, there were so many photographers on the beach at dusk tonight, and no wonder; the light was stunning. Although the tide had already receded this far by the time I arrived at around 3:15, I waited until the sun had disappeared before making any exposures.

The shot of Boscombe pier was taken 15 minutes after sunset.


12-24mm f/4 AF-S Nikkor. 1/6 second at f/11. Matrix metering. Tripod and remote release. ISO 100



© 2017

On the woodland floor

The fog predicted by the weather people didn't materialise, but overnight sub-zero temperatures lure me outside shortly after dawn for some photography. Frost-tinged leaves are to be my subject, but even though they remained on the trees well into November this year ones on the ground have degraded quickly, making it difficult to find a suitable composition.



24-70mm f/2.8 AF-S Nikkor. 1/8 second at f/8. Matrix metering. - 0.67 EV compensation. Tripod and remote release. Mirror lock-up. ISO 100



© 2017

A long time coming

Out early and out late, today, and two different approaches to the same subject. This morning (previous post), I took the shots in real time, but with this image I used a long exposure to give photograph a more etherial look.

As with the earlier shot, the sun was below the horizon at the time.


12-24mm f/4 AF-S Nikkor. 30 seconds at f/8. Matrix metering. 10x ND filter. Tripod and remote release. ISO 100



© 2017

Out before sunrise

As the start of the astronomical winter draws near, there is less than 8 hours of sunlight available at my latitude. Not that I need it to produce photographs, as with the two images here, both shot before the sun had risen.

Apart from one or two photographers on the beach when I arrive, the lone kayaker is the only other sign of life on a cold morning.



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

Top: 1/160 second at f/5.6. Matrix metering. Monopod. ISO 200
Below: 1/250 second at f/2.8. Matrix metering. Monopod. ISO 100



© 2017

Just enough

I have the beach more or less to myself an hour before sunset, probably due to the cold. Early rain makes way for clear skies during late afternoon, but there is just enough cloud on the horizon to make things interesting.


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



© 2017

Just above zero

Standing around on a beach with the thermometer hovering just above zero Celsius does have its drawbacks, but all that glorious light offsets it by a country mile.


12-24mm f/4 AF-S Nikkor. 1/200 second at f/8. Matrix metering. ISO 100



© 2017

Chancing our arm

The Folkestone Harbour Arm (The Place To Be, claims their web site),  juts out into the English Channel, not only providing spectacular views of the town when you reach the end, but it also offers the visitor a selection of clubs, restaurants and local businesses, as well as a bakery and brewery. Of course, on a crisp, clear, winter's weekday like today there is little sign of any of this activity, but Saturdays and Sundays, apparently, are a different matter.

The lighthouse (top) - built in 1860 - is also the venue of the Folkestone Lighthouse Champagne Bar. I'm sure they know best, but to Nic and I it seems like a recipe for the occasional disaster, with the unwary patron tottering out onto the pier after a drink or two too many, and ending up in the drink themselves.


24-70mm f/2.8 AF-S Nikkor.
Top: 1/100 second at f/8. Matrix metering. ISO 100
Below: 1/200 second at f/5.6. Matrix metering.  - 1.33 EV compensation. ISO 100



© 2017

Supermoon: Now 7% bigger

Cloud cover prevented Nic and I from photographing the supermoon rising yesterday, but early morning clear skies today gave us the opportunity to shoot it setting.

Although around 7% larger than usual this time around, the fact it appears larger when near the horizon is an optical illusion. Of course, using a super-telephoto lens to photograph a supermoon adds to the effect.

There are two more such events in the near future, and both in January next year - on the 2nd and 31st, to be exact. So, not only will the latter be a supermoon, it will also qualify as a blue supermoon, since there are two full moons in the same month.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/20 second at f/5.6. Matrix metering.  - 1.33 stop EV compensation. Tripod and remote release. Mirror lockup. ISO 100



© 2017