The X3

It's October and I have a photographic itch to scratch. There are no low tides to lure me to the beach - nor anything meaningful in the wildlife department - so landscape it has to be. I admit I'm being somewhat impatient waiting for autumn to show its colours; for all that light to start happening, but that doesn't stop me from jumping onto the X3 bus to Salisbury and getting stuck in.

Upon arrival I head for the water meadows at Harnham - the very same that John Constable used for his paintings of the cathedral - since it is along the Town Path and surrounding area that I will gravitate to when the trees turn and I start photography with significance. In the mean time I just enjoy what's on offer on a warm autumn afternoon.



Top: 12-24mm f/4 AF-S Nikkor. 1/160 second at f/11. Matrix Metering. - 0.33 EV compensation. ISO 100
Below: 24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/8. Matrix Metering. Polarising filter. ISO 200



© 2018

Warming up

Last week, the people that do the weather predictions told those living in the UK it was time to say goodbye to summer. True, it is now well and truly autumn, but temperatures touch 19º C at the beach today.

In spite of the Indian Summer we are enjoying there were few people taking advantage of it, and whilst I stood taking photographs the Bournemouth Wheel (above), had no passengers.




12-24mm f/4 AF-S Nikkor. 1/640 second at f/11. Matrix metering. ISO 100. Mono conversion and selenium toned in Silver Efx Pro 2



© 2018

Just off the high street

                             Painting on a wooden door

                           
                             Faces stencilled on a wall
                           

                           
                             Torn poster
                           

                             Wall stencil

    Café sign

The fruits of an afternoon's ramble along the Old High Street in Folkestone, Kent. It's not long road - and certainly not what you would call wide - but the photographic subjects abound if you take the time to search them out.


24-70mm f/2.8 AF-S Nikkor. Matrix metering. ISO 400

1: 1/125 second at f/2.8
2: 1/200 second at f/5.6
3:1/400 second at f/5.6
4: 1/200 second at f/5.6
5: 1/4000 second at f/5.6



© 2018

Port of Dover, and the famous White Cliffs

It's a two mile hike from the South Foreland Lighthouse near St Margarets Bay (where Nic and I parked the car) to overlook the port of Dover. It's a gateway to continental Europe via ship - or tunnel under the sea - and has been a focal point to enter and leave England since Roman times. The internationally known White Cliffs are 140 million years old.


24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/11. Matrix metering. ISO 100



© 2018

Eastwell park

For the most part the fields have been harvested. Only the root crops - probably grown to feed livestock during the winter months - remain in the ground at Eastwell park, Kent. It's one of those glorious late summer/early autumn days, and the shifting light over the landscape just demands to be photographed.


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



© 2018

Itchy finger(s)

The first hints of autumn are arriving in the UK; trees are beginning to change colour, and although the weather is taking a nose-dive - for the next few days at least - temperatures hover around 19º C.

I take my first coastal stroll in 6 months today, heading into winds gusting up to 48 mph. Although no rain is forecast the conditions blow up some good skies, producing dramatic light. My shutter finger begins to itch...



12-24mm f/4 AF-S Nikkor. 1/400 second at f/11. Matrix metering. ISO 100



© 2018

Stained glass

Although I am anything but pious, there is something about stained glass windows that I find fascinating. I have turned my lens to such subjects before, but never really got up a good head of steam with them as a photographic project.

Today, I am back in Salisbury Cathedral, but the windows pictured here were not my primary subject. However, since I had a lens long enough to do them justice I thought it might be interesting to see what I can come up with. Of course, it's impossible to get up to the same level as the windows without clambering over ancient artefacts and tombs; something that didn't cross my mind for one second, so I have to attempt to correct perspective distortions in post processing. In most cases I was successful.

The inside of such buildings are usually dimly lit, but photographing the windows is easy since they are illuminated from behind and shooting hand-held presents no problems. What is frustrating is that with some windows high up in the cathedral they are difficult to see, let alone interpret the story being depicted. Odd, really - and a shame - that such beautiful work is placed beyond the average unaided eye of those inside.

I'm going to need a bigger lens next time.



70-200mm f/2.8 Apo EX Sigma lens. Matrix metering. ISO 400

Top: 1/500 second at f/4.5
Middle: 1/320 second at f/5
Bottom: 1/125 second at f/4



© 2018

You have been watching... Bournemouth Air Festival 2018 - Day 4

Muscle Biplane - Rich Godwin

BBMF Dakota - painted in D-Day markings - making a "dirty pass", with the Isle of Wight in the distance.

SuperAerobatics Wingwalkers

                             Breitling Jet Team

                             Breitling Jet Team finale

    RAF Chinnok

Mig 15

The final day of the annual air show, and despite the glorious weather the event is sparsely attended. This is almost certainly due to a rail strike and the fact that the roads are extra busy because of the weather, and people don't want to risk a trip back that will take many hours.

It's a shame as there is still a lot of flying on offer, although the biggest draw - the Red Arrows - are not performing here today; another factor in attendances. The beaches are relatively crowded, but finding a cliff top space to shoot from today needed no elbow-barging, nor bribery with bags of toffees. The Tannoy announce that over the ten years of the event being staged it has entertained some 9,500,000 visitors, which in itself is a good thing for the town.

One this is certain: if they keep up the standard organisers achieved this year, next year will be something to look forward to.



Lenses: 300mm f/2.8 AF-S VR with TC-14EII converter and 24-70mm f/2.8 AF-S Nikkors. Tripod and gimballed head / hand-held

Top:

Bournemouth Air Festival 2018 - Day 3

The Great War Display Team:

    Royal Aircraft Factory BE2c

 
    Fokker Dr1 Triplane

    Fokker Dr1 Triplanes  

Saturday is traditionally the busiest day for the Air Festival, and the warm weather brings visitors in the hundreds of thousands. It's the first time this weekend that the Great War Display Team put in an appearance, all the more poignant because of the ending of the conflict 100 years ago.

These aircraft are particularly easy to photograph as they don't move very fast, but you still need to get that prop blur.



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

Top: 1/500 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100
Middle: 1/320 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100
Bottom: 1/640 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

Bournemouth Air Festival 2018 - Day 2

                             

Tigers Parachute Display Team

    

SuperAerobatics Wingwalkers

                      Twisters

                   

Temperatures reach 21º C along the coast this afternoon, as summer makes something of a comeback.  In fact, this summer is reportedly on a par with the one of 1976; another scorcher that went down in the record books. The British weather is notoriously capricious, but this year we have been more than lucky.



Lens: 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod with gimballed head / hand held.

Top: 1/2500 sec at f/4.5. Matrix metering. - 0.33 EV compensation. ISO 200

Middle: 1/500 second at f/5.6. Matrix metering. ISO 200
Bottom: 1/640 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 200



© 2018

Bournemouth Air Festival 2018 - Day 1

Boeing B-17  Sally B

                                                                 
 The Red Arrows

Muscle Biplane - Rich Godwin

Day one of the 11th Bournemouth Air Festival kicks-off with perfect flying weather; something that will last for the entire weekend, and once again I pack my camera bag and head for the cliff tops of Poole bay.

My hopes aren't too high, and to be honest I wasn't going to bother with this year's event, but I am pleasantly surprised by the scheduling. In recent years there has been much criticism  about timing; there being too great a delay between individual displays, but on this occasion the organisers seem to have tightened things up.

It is something of a juggling feat for the organisers to keep things moving along as they do, what with an international airport being not 4 miles away. On top of that the flying ceiling is restricted to 5,600 ft., so kudos to air traffic control - and everybody else involved - in keeping it interesting.

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

1: 1/200 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100
2: 1/800 second at f/5. Matrix metering. ISO 100
3:  1/250 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

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