When the guns fell silent...

                                                                     For all those who fought, on both sides.



© 2018

To the point

                                       "There are two times of the year: Autumn and waiting for autumn."


A quote by persons unknown, but it sums it up perfectly for me.




300mm f/2.8 AF-S VR Nikkor. 1/1250 at f/2.8. Matrix metering. -0.33 EV compensation. ISO 100



© 2018

Two's company...

... three's a crowd.



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



© 2018

The "thing" on the end of the pier

The "thing" on the end of the local pier, as it is sometimes labeled by the curious (and usually from a distance), always reminds me of a malevolent alien that you might find striding the landscape in a sci-fi film (The War of the Worlds springs to mind). The reality is it is nothing more innocuous than the starting point for a zip line that runs to the beach.



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



© 2018

Short but sweet

I get around 5 minutes of good light during late afternoon, and I happen to be in the right place at the right time. After that the cloud covers the sun again and the transformation of the seascape has ended.


24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/7.1. Matrix metering. +1 stop EV. ISO 200



© 2018

On the waterfront

Although much grander in design my main local pier, in my view, doesn't have the same photogenic qualities as the other one in Poole bay. It lacks the skeletal construction which silhouettes nicely against a late afternoon sky in winter; and low tides don't expose large expanses of wet sand, so useful for reflections in compositions.

But that's not to say it doesn't merit my attention. During the coming months I plan to photograph the pier in a light so often missed by the tourist or day tripper, such as this shot, shortly before sunset.



24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/5.6. Matrix metering. ISO 200



© 2018

Jazz hands; not revelo*

British Summer Time has come to and end and we are back on GMT. This has two immediate effects: firstly, the sun sets during the afternoon now, and secondly, all that low, raking light is beginning to draw me back to the beach.

Although the 'jazz hands'  appear to be in relief, they are in actual fact, impressions, left there by someone who couldn't resist the urge to leave their mark in wet cement.

* Latin: To raise


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/8. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

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