Weather window

Perfect timing between bouts of heavy rain results in the image of Chapman's Pool and Houns-tout on the Dorset coast. It's mid afternoon and high summer - not ideal for landscape photography - but the cloud makes all the difference as far as lighting of the landscape goes. Having found the composition it's just a case of waiting until it produces the right shadows.



12-24mm f/4 AF-S Nikkor. 1/80 second at f/11. Matrix metering. - ⅓ EV compensation. 0.9 Lee grey grad on the sky. ISO 50



© 2019

Risky, but all in fun

The old photographic adage: 'never use new gear when the chips are down' applies today when I venture into the field armed solely with a camera I'm not entirely familiar with. I've had the Olympus M4/3 camera for a week, yet the sheer scope of what it is capable of still eludes me.

On more than one occasion I'm struggling to figure out how I've changed or moved the auto focus point(s) in the viewfinder from where I want them, and when it comes down to wanting to auto bracket a number of frames for an interior shot, I'm at a total loss. Just as well I wasn't shooting something important.

On the bright side I do get some decent images, as with this view of Dorset's Jurassic Coast, looking west from St Aldehelm's Head.



Olympus OM-D EM-10 Mk III with 14-42mm f/3.5 - 5.6 Zuiko Pancake lens. 1/125 second at f/11. ESP metering. ISO 100



© 2019

Idle snapping

Still in the process of familiarising myself with the Olympus Four Thirds camera, I'm spending part of the afternoon running through the camera menus. During this electronic ramble I look up and am immediately attracted by the sun's oblique rays raking across my resonator guitar on the other side of the room, and instinctively fire off a few shots.

What strikes me most is the ability to add exposure compensation and see - in real time - the precise effect that it is having on the subject in the viewfinder. Sweet.

At a stroke this eliminates "chimping" the rear screen to check the histogram to see if I'm getting what I'm after since I already know before the shot is taken. I think I'm going to like this.




Olympus OM-D EM-10Mk III with 14-42mm f/3.5-5.6 Zuiko Pancake lens. 1/200 second at f/5.6. ESP metering.    - 2⅔ Stop EV compensation. ISO 200



© 2019

The Old Eight Bells Shop sign

Using big, professional camera equipment for everything is fine and dandy, but for a good number of years now I have been considering having a smaller kit for those times when I want to travel (very) light. There are also the times when I want to shoot for the fun of it and not be constrained by the sheer weight of it all.

Enter the Olympus 4/3 (Four Thirds) system. This week I picked up a body and three lenses for an offer I couldn't refuse, and today put it to use by wandering around a nearby town, shooting at will. Neither the camera body or lenses are pro spec, but the fact that it weighs nothing at all, and is really tiny, made it a joy to use.

Whether or not I get taken with the format remains to be seen - and an electronic viewfinder takes some getting used to - but I have an idea this camera will go with me to places other systems cannot reach.




Olympus OM-D E-M10 Mk III with 14-42mm f/3.5-5.6 Zuiko Pancake lens. 1/200 second at f/11. ESP metering. ISO 200



© 2019

Pushy

Everything that is going to turn green has turned green in the Dorset landscape, whilst The Church of St James - known locally as The Cathedral of Purbeck - appears to push its way through the foliage at Kingston.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/8. Matrix metering. ISO 100



© 2019

It's all about the sky

Shooting around mid-day during the summer months isn't my idea of good landscape photography, but as long as I've got a good sky to deal with I'm beginning to warm to it.

The meteorologists refer to it as "fair weather cloud", and the shadows it creates gives shape and texture to the undulating hills that lead down to the Jurassic Coast of Dorset.



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



© 2019

Green and blue

The 12th century twin towers at Reculver: It's a place Nic and I have visited on numerous occasions, but this is the first time we've had access to the beach at low tide. The last few steps leading down to it are severely worn away by wave action but notably growth free, which is more than I can say for the rocks piled up as a sea defence. I use a polarising filter to take the shine off the seaweed, and to saturate the colours.




24-70mm AF-S Nikkor. 1/125 second at f/8. Matrix metering. Polariser. ISO 200



© 2019

Outside the Boilerhouse

The Boilerhouse Gallery - adjacent to Corfe Castle railway station - is a place I have been aware of for a while but yet to venture into. Formerly the old milk depot, the building now houses the work of 8 local artists. Art work on sale inside and out ranges from cards, driftwood and photography, to jewellery, textiles and pottery (and many points in between).

The photograph is a detail of a sculpture outside the gallery, but an online search failed to identify the artist.



85mm f/1.4 AF Nikkor. 1/2000 second at f/1.4. Matrix metering. ISO 50



© 2019

Underhill: off the beaten track

The bridleway along the top of Nine Barrow Down, Purbeck, provides stunning views of the surrounding countryside up to 27 miles distant, as well as a good many subjects on the path itself.

It's also good exercise to climb 500 feet above sea level to reach the top, but the Underhill path is equally interesting for a photographer. An alternative route running parallel to the Down (but without the climb involved), this little-used path runs almost the full 3¾ miles from Ulwell to Corfe Castle.



85mm f/1.4 AF Nikkor. 1/250 second at f/1.8. Matrix metering. + ⅔ EV compensation. Mono conversion and toning in Silver Efex Pro 2. ISO 50



© 2019

A question of taste

I am becoming something of a fan of black and white photography, come rain or shine, and no matter what the subject. It is giving me an extended run for shooting around mid-day, now that the sun is too high in the sky for my taste.



85mm f/1.4 AF Nikkor. 1/500 second at f/3.5. Matrix metering.  - ⅓ EV compensation. Mono conversion in Lightroom. ISO 50



© 2019

Cow and tree

Part of my editing policy is never to delete an image in editing software on the day of the shoot. The reasoning behind it is that I am too emotionally attached to the subject; it's all too fresh in my mind of what I was trying to achieve when I fired the shutter. I may also not have made the right decision as to what worked best at the time.

The above photograph is one such example. Having given it a couple of days for things to settle, I open Lightroom to start the deletion process for the last shoot and immediately see the composition staring me in the face.

A bit of distance can pay dividends.

24-70mm f/2.8 AF-S Nikkor. 1/1000 second at f/4. Matrix metering. Mono conversion in Silver Efex Pro 2. ISO 100



© 2019

Tree on Nine Barrow Down

What I like the most about black and white photography is the ability to transform the mood of a scene. It's a fine Spring day, but the dense early morning mistiness that covers the Purbeck Hills in Dorset refuses to lift. I try to pierce the strong haze with the use of a polarising filter, but to no real effect.

Instead, I create a quality that wasn't there at the time by converting the picture to mono; boosting contrast; adding some brutal burning-in, and finally a large dollop of film grain.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/5.6. Matrix metering. Mono conversion in Silver Efex Pro 2. ISO 50



© 2019

Major Repair Area 3

The restoration programme of Salisbury Cathedral, commenced in 1986, is in its final phase. Major Repair Area 3 - under  the scaffolding adorning the east end - is scheduled to be completed next year, meaning the work will have taken 4 years less than it took to build the church in the thirteenth century.


12-24mm f/4 AF-S Nikkor. 1/160 second at f/8. Matrix metering. ISO 50



© 2019

Going up

"It's getting more like New York every day..." quips a passer-by, as I stand waiting for the light to change. He is referring to the plethora of construction work currently going on, with the expansion of Bournemouth University.

A tad exaggerated, I feel, but tall buildings appear to be going up at an alarming rate in the town. Most of it appears to be student accommodation, but whatever its use, it's too good an opportunity to miss with a camera. 

Top: 24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/8. Matrix metering. ISO 100

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

Bottom: 24-70mm f/2.8 AF-S Nikkor. 1/640 second at f/8. Matrix metering. ISO 100

© 2019

No joke

Monday morning, and I decide to have a day out at Corfe Castle station, photographing the Heritage Railway. It's a clear blue sky over Dorset, and by the time I arrive at mid-day the light is horrible; not good for landscapes, at least in full colour.

As I shoot I'm already thinking about converting the final images to black and white, but end up sepia toning and adding various ageing effects, in the hope of producing something interesting.



All images converted to mono in Silver Efex Pro 2, but 'aged' and toned in Analogue Efex Pro 2.

Top: 12-24mm f/4 AF-S Nikkor. 1/200 second at f/8.  Matrix metering. - ⅓ EV compensation. ISO 50
Middle: 12 -24 mm f/4 AF-S Nikkor. 1/160 second at f/8 Matrix metering. - ⅔ EV compensation. ISO 1600
Bottom. 24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/8. Matrix metering. ISO 200



© 2019

Back indoors

Okay, it's time to take this subject more seriously; I'm talking about architectural photography. There are myriad subjects on my doorstep, including numerous buildings in various stages of construction, but one that was begun in 1220 is the one that fascinates me the most: Salisbury Cathedral.

On this visit I only spend an hour or so inside, and a lot of that is spent talking to the various guides, taking in as much information as they can impart in such a short time. There is lot to know about a building that has an 800 year history, and I really should spend a day photographing the interior to do the place justice. 

1. The East window of the choir: Moses and the brazen serpent:-

2. Looking towards the High Altar and East window:-

3. The Chapter House ceiling and central column:-

4. The Chapter House, and the tent that houses the best surviving copy of Magna Carta:-

1.  24-70mm f/2.8 AF-S Nikkor. 1/80 second at f/3.5. Matrix metering. -⅓ EV compensation. ISO 1000

2. 12-24mm f/4 AF-S Nikkor. 1/30 second at f/7.1. Matrix metering. -⅔ EV compensation. ISO 3200

3. 12-24mm f/4 AF-S Nikkor. 1/160 second at f/8. Matrix metering. - ⅔ EV compensation. ISO 800

4. 12-24mm f/4 AF-S Nikkor. 1/50 second at f/8. Matrix metering.  - 1 stop EV compensation. ISO 100

© 2019

Flying visit

The world famous Flying Scotsman steam locomotive is currently making a short visit to my local heritage railway.

Built in 1923, it set two records for a steam engine: it was the first to be officially authenticated to reach 100 mph (160.9 km/h) in 1934, and the other is the longest non-stop run for a steam locomotive of 422 miles (679 km), in Australia in 1989.

Threatened with the scrap heap in 1962, it was saved by the group Save Our Scotsman in 1963, having raised £3,000 to buy her: the scrap value of the engine.



300mm f/2.8 AF-S VR Nikkor. 1/500 second at f/5. Matrix metering. -⅓ EV compensation. Monopod. ISO 100



© 2019

The last day of winter

Seasonally, it's the last day of winter in the northern hemisphere, and Nic and I visit Dungeness on the Kent coast for a spot of dog walking, and some photography.

It's one of our favourite locations as we always find something different to shoot - the area being littered with working boats and paraphernalia - as well as decaying hulks and wooden sheds. However, it appears that the locals have been making an effort to clean the site up. Many of the more dilapidated structures and vessels have disappeared since our last visit in the summer of 2017, which is a shame as it is a popular place for photographers.


12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. Matrix metering. -⅓ EV compensation. Mono conversion in Silver Efex Pro 2. ISO 50



© 2019

Blasted and baked

One of the things that fascinate me is decay; the way things weather and change through time. The numbers on a beach hut have been painted over several times, but constant exposure to adverse conditions - blasted by salt and spray during the winter; baked in the sun during summer - results in peeling paint, and corrosion from the fixing screws.


70-200mm f/2.8 EX Apo Sigma lens. 1/1000 second at f/5.6. Matrix metering. -⅓ EV compensation. ISO 50



© 2019

A gem of a bird

My first foray into wildlife photography this year, and I come up trumps with a kingfisher. Not the easiest of birds to shoot as they are quite small, and fly low and fast, but once you get to know which branches they favour along the river bank it just becomes a waiting game.

For a bird that looks this good, to me it's always worth the wait.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/320 second at f/5. Matrix metering -⅔ EV compensation. Tripod. ISO 250



© 2019