It's a ship...

Temperatures remain low, even for December in many areas of the UK, and although the high pressure that was dominant over the south for the past week has now moved away the conditions remain settled.
The image, shot today, shows an occasional break in the clouds as the sun highlights a passing ship. I decided a mono treatment of the photograph was more appropriate as there is little colour variation in the original image.

85mm f/1.4D Nikkor. 1/1250 second at f/4.5. ISO 200. +0.5 exposure compensation. Converted to monochrome in Photoshop.

© 2008

Boscombe surfers...

Today's plan was to photograph the sunrise with a super-telephoto lens - except that the conditions were not as I was led to believe. At 4:30am the sky was clear, but by the time I was ready to leave the house three hours later, the sky had unexpectedly clouded over.
Sunrise for this time of year at my location (Lat. 50˚ north) is shortly after 8:00am, but cloud on the horizon obscured the event. I did take some token shots once the sun broke over the cloud bank, but by then it was too high for the images I had in mind.
I eventually wandered toward Boscombe pier, where some surfers were active on the west side. This gave me my best photo opportunity of the morning, and although the surf was nothing special I get a number of action shots from my vantage point on the pier head.

300mm f/4 AF-S Nikkor with x1.4 TC. 1/1000 second at f/5.6. ISO 400 (all images).

© 2008

Coastal erosion...

A recent report by the National Trust tells of around 200 miles of south-west England's coast that is crumbling into the sea, but despite this the National Trust is intent on letting nature take its course. This natural action of both wind and waves has had a similar effect on the graded sand that was being used in the construction of Dorset's artificial surf reef. The pile was bulldozed flat during mid-November after work on the site was suspended, and now it is beginning to disappear due to longshore drift. I can only surmise that the sand will have to be re-graded once construction resumes again in April 2009 - adding to the overal costs, no doubt.
The image, shot just after sunrise today, is of frost covered sand at Southbourne, Dorset.

12-24mm f/4 Nikkor. 1/160 second at f/11. ISO 400.

© 2008

Dorset knob...

Having spent the last few days peering through the viewfinder at the grossly distorted images of ultra-wide angle lenses, I make use of the remaining good light of the weekend by photographing with a 50mm lens. This focal length produces a normal perspective very much like the human eye sees, and it's ideal for detail shots as it has the ability to close focus. The use of such prime optics requires forward planning, as well as some contortions on behalf of the photographer, but the results can be worthwhile if you are prepared to get in tight.

I concentrate on the door handles and paintwork of the local beach huts on the Dorset coast, lit by the late afternoon winter sun, as these can make interesting subjects, especially the ones that show the results of weathering such as the image here.

50mm f/1.8 Nikkor. 1/60 second at f/10. ISO 200.

© 2008

Still something fishy...

OK, as I said in yesterday's post, too much fisheye can become overindulgent, but this chunk of glass is a breath of fresh air to my photography; so indulge me. With an angle of view of 180˚ it becomes easy to include various body parts in the image, such as my feet or arms, so it requires careful handling to get good results. But on the plus side, the depth of field is huge, so images from just a few inches from the lens to the end of the universe are sharp!
The photograph was taken on Boscombe pier this morning, looking east.

10.5mm f/2.8 Nikkor fisheye. 1/250 second at f/11. +0.5 exposure compensation.

© 2008

Boscombe Manor update...

After a year's break work has started on the renovation of the exterior of Boscombe manor, Dorset. The image shows the current state of the work where the rendering has been removed, exposing the original brickwork. As well as a medical centre, the site will also contain several residential appartments.
The building, which dates back to 1801, is the former home of the son of poet Percy Bysshe Shelly (hence the building being known locally as Shelly Manor) and his wife, Mary. She is best known as the author of Frankenstein.

18-35mm Nikkor. 1/320 second at f/8. + 0.5 exposure compensation. ISO 200.

© 2008

"Fishing" on Boscombe Pier...

A break in the erratic weather gives me the opportunity to use a new acquisition to my lens collection, so it's off to the local pier in the search of some graphic images. Fisheye optics have limited appeal, and persistant use can quickly diminish the impact of such lenses, but used judicially they have a place in the photographers bag. One virtue of such extreme optics is the fact that I don't have to worry unduly about converging verticals or level horizons as the distortion inherent in the lens banishes the straight line, except for those at the centre of the image. There is software available to correct such aberrations, but that would be boring, would it not?

10.5mm f/2.8 Nikkor fisheye. 1/100 second at f/13. +0.5 exposure compensation. ISO 200.

© 2008

Stormy weather...

Snow is falling across much of the UK this weekend, but so far has not made it to the southern coast. Instead we are being subjected to strong winds and heavy showers, interspersed with periods of blue sky and sunshine. Not being deterred by such conditions (in fact I rather enjoy them) I set off along the seafront at Boscombe in search of images. As is the norm there are the usual individuals who are prepared to brave the conditions, whether it be cyclists or joggers, but Boscombe pier was deserted when I arrived to shoot the above image this morning.

12-24 f/4 Nikkor. 1/500 second at f/8. ISO 400. The image was converted to mono in Photoshop.

© 2008

Home from home...

Overcast weather conditions are forecast to be prevalent over the weekend, so it's time to get in close and shoot detail rather than the bigger picture. It has always fascinated me how some people who own beach huts along the Dorset coast try to make them extensions of their own homes by adding personal touches to the exterior, as well as what goes inside them. As part of an ongoing project I include two examples shot this morning of just such decorations; one simple, one a touch more flamboyant.

Top: 85mm f/1.4 Nikkor. 1/160 second at f/4.5. ISO 400.
Below: 85mmf/1.4 Nikkor. 1/160 second at f/5. ISO 200.

© 2008

Boscombe surf reef delay...

The construction of the Boscombe surf reef will now not be completed until next year. Adverse weather conditions set the project behind schedule from the start, and now with fewer hours of daylight and colder sea temperatures it is being deemed unsafe for divers to continue working at the site. I was advised today that next week will see the final sessions on the reef before work stops for the winter, whilst the remaining sand pile is being levelled by a bulldozer (image).
Work on the surf reef, which covers an area the size of a football pitch, is now expected to be resumed in April 2009, with completion by September.
A plus side to the project is the proliferation of marine life that began to establish itself on the reef after the first few days of the geotextile bags being lowered into place.

Nikon D300. 85mm f/1.4 Nikkor. 1/250 second at f/4.5. ISO 320.

© 2008

The humble 50mm f/1.8 lens...

This autumn seascape was shot today using the humble 50mm 'standard' lens. At one time this much maligned lens usually came as standard (hence the name) with every SLR camera you bought, but in recent years has been superceeded by a short range zoom lens, giving the first-time photographer more flexibility. Zooms were more exciting to use, and as their quality improved the 50mm lens fell out of favour. This, however, is a mistake. Both Nikon and Canon produce these lenses, and the f/1.8 version that I used here is an absolute bargain. Currently costing around £77 the lens is small, lightweight and comes into its own in low light. Stopped down, it produces excellent sharpness from f/5.6, and costs so little (compared to other prime lenses) as they are easy to manufacture. All in all, worth every penny.

Nikkor 50mm lens. 1/1600 second at f/5.6. ISO 200.

© 2008

A flying duck...

I have recently upgraded my camera body, but it was not until today that I had the opportunity (or the light) to see what it could do. So, deftly dodging weather fronts, I head to one of my favourite locations in the New Forest, Hampshire, to photograph everything that is autumn, and hope for good light.
One of the reasons for the upgrade was for the superior focus tracking of moving subjects, and it's the ducks at Eyeworth pond that are the subject of my lens. Of course, ducks merely bobbing around on a lake are no real challenge for any auto focus system, so I needed to get them airborne (and flying towards me) to get the shots I'm after. This usually works with the promise of an easy meal, so I entice them with wild bird food (not bread - it does them no good whatsoever) to my side of the water. It took several attempts to get the birds on the right flight path before I got anything useable (top image), and the AF system coped well, bearing in mind that I also added a x1.4 teleconverter to increase the reach of the lens.

Top image: Nikkor 300mm f/2.8 AF-S VR lens with TC-14E converter. 1/1250 second at f/4. ISO 320.
Below: Nikkor 300mm f/2.8 AF-S VR lens with TC-14E converter. 1/320 second at f/5. ISO 400.

© 2008

Dyslexic builders..?

Time restrictions prevented me from processing the majority of yesterday's shoot, but as good dawn light was not forthcoming today I decide to spend the time editing the images. The photograph is of the show apartment on-site for Boscombe Spa Village, complete with the legend "Welocme to Honeycomb Beach"[sic]. It would appear that the recent bad weather has dislodged several of the letters of the word 'Welcome' and someone has made an attempt to correct the problem (albeit without total success - the 'O' has come adrift again). Unfortunatey, sometimes you can be too close to the situation and not see the bigger picture! I wonder how long it will be before site management see it and have it corrected.

Nikkor 12-24 f/4 lens. 1/125 second at f/10. ISO 100.

© 2008

Return of the beach huts...

Six colourful beach huts (at least that's what they seem to be) have appeared in front of Boscombe Spa Village during the last week (photo). The original huts were removed during the early stages of construction and relocated east along the seafront near Portman Ravine. Now that the front of the development is finished it remains to be seen if these cabins are a permanant fixture or just a temporary measure.

Nikkor 12-24 f/4 lens. 1/60 second at f/10. ISO 100.

© 2008

Boscombe pier approach sculpture...

Late afternoon, today:
A construction worker brushes sand between the flagstones at the base of the sculpture that has become a feature of a new roundabout on the approach to Boscombe pier, Dorset. Also part of the regeneration scheme, the modern art sculpture, at an all-in cost of £70,000, is made from of a single piece of granite sawn in half and polished, and depicts the rising and setting of the sun and moon. The piece was designed by aclaimed British artist Simon Hitchens.

Nikkor 12-24 f/4 lens. 1/180 second at f/11. ISO 200.

© 2008

Eyeworth pond...

Although unsure of this morning's weather forecast I decide to chance it and drive the twenty-odd miles to Eyeworth pond, in the New Forest. It's still dark when I arrive, but this gives me time to check camera settings, take in the mood of the location and to drink coffee. There's a low mist on the water as the dawn begins to break, creating an ethereal setting, but the wildfowl are absent. I make the usual token shots of some distant ducks, but it's becoming evident that the 300mm lens is not going to be enough on its own, so I attach a x1.4 teleconverter to give myself more reach.
It is past eight in the morning before the sun begins to light the surface of the pond, and by now there is more activity from the local wildlife. Oddly, it's the coots that are to the fore today, whilst the ducks keep out of range for anything like frame filling images. Although the trees lining the pond are yet to produce their full autumn display, there is enough colour in their reflection to make the above image of a coot more than just an average photograph.

Nikkor 300mm f/2.8 VR lens with Nikkor x1.4 TC. 1/400 second at f/5.6. ISO 400.

© 2008

The best zoom - your feet..

The colours and smells of autumn are beginning to kick-in, and photographic opportunities abound when the light is good. Today, I take advantage of what threatens to be the best light of the weekend in east Dorset, and decide to travel with minimal equipment. This consists of an SLR body and 50mm standard lens. Being deliberatly restricted by just one focal length compels the photographer to work much harder for images (no zooming with the lens - none of that stuff), but in my opinion produces better results as I am forced to use my feet to find the angles.
This is evident from the image here, where I had to get low with the camera to shoot the grasses against the afternoon sun. Had I had the option of the various focal lengths a zoom lens offers I wouldn't have been working so hard to find pictures, and may well have passed this option by.

Nikkor 50mm f/1.8 lens. 1/2000 second at f/8. -0.33 exposure compensation. ISO 160.

© 2008

Photographing the light...

There were none of life's insignificata to fend off today, and the intended early start was no problem. As predicted by the weather people (makes a change) the day dawned with heavy mist, and by 7:30am I was already walking the New Forest in search of suitable subject matter; and today it didn't disappoint. Having made a number of "warm-up" shots while the rising sun began to burn off the mist, I eventually come across a mare and her foal (image) and begin to shoot in earnest. From my point of view, early starts and light like this make it all worth while. Although to a large degree the subject plays a major role in the image, it's also just as valid to photograph the light, which can make or break a picture. In this case, it works.

Nikkor 300mm f/2.8 lens. 1/640 sec at f/2.8. ISO 250.

© 2008

Baby jenny...

I'd originally planned a pre-dawn start today, but what with one thing and another, it all came to naught. So, it was into the New Forest, but much later in the day: late afternoon, to be precise. I was after images of ponies drinking from the local water hole (it always pays to have a predetermined objective when going out shooting - it helps to focus one's energies), and set myself up in a suitable position. I waited over an hour for two ponies to wander over and drink, during which time I managed three shots before the pair left the scene - and that was it...gone!
I was just on the point of packing up and going home when I hear the distant braying of donkeys, so I decide to search them out and make them the subject of my lens (it always pays to be flexible, or have a contingency plan). I find a mother with its "baby jenny" (image), and fit a wide angle zoom to get some up-close and personal photographs. I had no choice really, as she insisted on standing right next to me, and I had to work quickly to make some space between us to get her in the frame. It's the use of such a lens at its widest setting and at close quarters that produce the comical effect. These images turn out to be the best of the day.

Nikkor 12-24 f/4 lens. 1/80 sec at f/9. ISO 125.

© 2008

Spot the pony...

Today, I decide to pay an early morning visit to the New Forest; my first visit for some months, as I tend to give the summer a miss - too may people around. Autumn colours there are now advanced, with the bracken and silver birch trees both beginning to give displays of golds, reds and browns, mixed in amongst the greens.
I made the decision to travel light, and only packed a 70-200 f/2.8 zoom lens for photographic purposes. This proved to be a mistake, though not a disasterous one. It's the first time I've used this lens to shoot images of ponies, and whilst it is capable of good results, and allows greater freedom of movement, it doesn't lend itself to being shot wide open. It needs stopping down to get the best from it. In other words, I prefer the shallow depth of field that my 300mm f/2.8 produces, giving the pictorial effect that I'm after. This, of course, is off-set by the considerable size and weight of the lens, but as we all (should) know: quality comes at a price.

Sigma 70-200 f/2.8 lens. 1/750 sec at f/4. ISO 200.

© 2008