The snowflakes aren't dancing

The marked absence of images for this month is not down to lack of shooting; I have been, but the light for the past few weeks has been less than inspiring. So time for some detail work, and this afternoon I point my lens at nothing more dramatic than light surf rolling up the beach.

Nothing too exciting there you might think - and you'd be right - but once I had processed the two pictures using the Mirror filter in Affinity the results became reminiscent of snowflakes, or perhaps intricate lace. Whichever way you look at it, it will be the closest I will be getting to snow this Christmas.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/2.8. Matrix metering. ISO 400



© 2016

Three jets

Since the weekend there hasn't been a cloud in the sky, and the high pressure system that is responsible gives winter its first bite. Temperatures are down to around 4ºC during the day; much lower by night, and a featureless sky isn't too inspiring for the outdoor shooter.

But all is not lost, and images are there if I look. Shortly before the sun sets the contrails of three high-flying jets scratch the heavens over the sea; negative space and colour completing the composition.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/5.6. Matrix metering. ISO 160



© 2016

Time to get out

I wasn't going to bother with this shot, but a good response to it on social media has prompted me to add it to the blog.

The first hint of approaching winter storms.


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



© 2016

Just the two of us

             The first taste of winter arrived today, as the strong winds whipped-up heavy seas along the coast.



24-70mm f/2.8 AF-S Nikkor. 1/200 second at f/5.6. Matrix metering. ISO 400



© 2016

Waste not want not

                   No apologies for posting a similar shot to yesterday, but I'm not wasting all that glorious light.


12-24mm f/4 AF-S Nikkor. 1/320 second at f/8. Matrix metering. + 0.3 EV compensation. ISO 160



© 2016

Waving the camera about

There is the odd occasion when all you have to do to get a good image is to wave the camera about a bit and fire the shutter, such is the display that nature puts on. Okay, I did get my left knee wet kneeling on the sand for a lower perspective, but it was essentially the application of the old photojournalist maxim: f/8 and be there.


12-24mm f/4 AF-S Nikkor. 1/200 second at f/8. Matrix metering. +0.3 EV compensation. ISO 160



© 2016

Rainy day, dream away #3

Monochrome photography: Far from being old fashioned, it is possibly the most flexible medium as a means of communication. However, one of the biggest errors I see from the novice mono worker is the fear to go to town interpreting a scene they have captured; meekly removing the colour from an image and leaving it at that. Of course there is far more to good black and white imaging, and the medium allows the imagination to run riot should you have the will.

It has been a pretty miserable day here, weather wise, so I wanted to reflect this in today's photograph. Of course, in reality the sky wasn't this dark; nor the beach this dingy, but by the time I had fired the shutter I had a clear vision of what I was going to do with the shot in post production.

The RAW file started life in Lightroom before being opened in Silver Efex Pro2 for the mono conversion. Lastly, I performed dodging and burning in Affinity Photo. It's not supposed to represent reality; photographs don't have to do that. It's just my take on the day.



85mm f/1.4 AF Nikkor. 1/640 second at f/4. Matrix metering. ISO 250



© 2016

Under surveillance

The glorious light of the past two days is conspicuous by its absence, but that isn't to say there are no photographs to be made. I've had this scene under surveillance recently, knowing there was a shot in there somewhere; it just needed the right conditions.

The composition was all about keeping it simple, and although I toyed with the idea of a monochrome conversion, the image works just as well in colour.



85mm f/1.4 AF Nikkor. 1/500 second at f/5.6. Matrix metering. + 0.67 EV compensation. ISO 250



© 2016

Shadows on the sky

                                   Clouds some 60 miles distant, casting shadows onto the sky as the sun sets.




70-200mm f/2.8 Sigma EX Apo lens. 1/1000 second at f/4.5. Matrix metering. + 0.3 EV compensation. ISO 160



© 2016

The Golden Hour, or what?

There are times, when the sun gets under the cloud, that the light can be breathtaking. This has been one of them.



70-200mm f/2.8 Sigma EX Apo lens. 1/160 second at f/5.6. Matrix metering. - 0.67 EV compensation. ISO 160



© 2016

In essence

All that autumn is to me: Fallen leaves; fading light and reflections on wet surfaces. Obligingly, all this came together in one small spot on the planking of a local pier, this afternoon.



24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/2.8. Matrix metering.  -1 stop EV compensation. ISO 400



© 2016

Adding to the mood

I do love the subdued colours that come with the soft light of an overcast sky. At this time of year, even with heavy cloud, the low sun produces beautiful light that any outdoor photographer shouldn't ignore.

I underexposed by ⅔ of a stop to add to the mood.


24-70mm f/2.8 AF-S Nikkor. 1/125 second at f/5.6. Matrix metering.  - 0.67  EV compensation. ISO 250



© 2016

High key

Yesterday was more like a spring day rather than the end of October, with the thermometer touching 19ºC, but today is more in keeping with the season; 5 degrees cooler and white, dense cloud. I like days like this for photography as much as when the light is spectacular; the soft light having a quality all of its own.

I over expose by one stop to produce a high key effect, and finish the job in Silver Efex Pro 2. The final result has more the look of a pencil drawing than a photograph.



24-70mm f/2.8 AF-S Nikkor. 1/350 second at f/4. Matrix metering. + 1 stop EV compensation. ISO 400



© 2016

Coming home

                           TS Royalist sails past Brownsea Island and into Poole Harbour, as the sun sets.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/5.6. Matrix metering. ISO 160



© 2016

Sitting on a park bench

Today, I was actually working to a plan; to record the colours of autumn on the ground. Leaves are starting to fall in greater numbers, but not enough to produce any striking compositions, so I concentrate on individual elements.

A single leaf rests on a specifically designed bench; itself part of a permanent sculpture inside a circle of six trees in Shelley Park, Bournemouth.



24-70mm f/2.8 AF-S Nikkor. 1/60 second at f/4. Matrix metering. ISO 160. Monopod



© 2016

L'art pour l'art

As a rule, if I use any digital manipulation at all for images I make sure the viewer is oblivious to the fact. But once in a while it is nice to go overboard and make no bones about it: These images have been through the grinder. No, really.

They started off as straight shots of a firework display from the end of Bournemouth pier, Dorset, this evening, but the individual frames didn't have much impact. So, into Affinity Photo and the Mirror effect in the Filters menu they went, and they came out looking like this. That's much better.



12-24mm f/4 AF-S Nikkor. Bulb setting. Tripod and remote release. ISO 160. Affinity Photo editing software.



© 2016

It takes two

The second day with the lowest tide of the month, and it almost coincides with sunset. However, it's not until after both events have occurred that I start to make photographs. Experience tells me that the high, thin cloud to the West on the satellite weather map will produce an afterglow, so really I just need me a focal point.

A woman playing with her dog on the surf line had the most potential, but neither move into a position to be big enough in the picture to count. Then out of nowhere a couple stroll into the frame, and I know I have the shot.



24-70mm f/2.8 AF-S Nikkor. 1/30 second at f/5.6. Matrix metering. Lee 0.9 grey grad. Tripod and remote release. ISO 160



© 2016

I needn't have worried

The partial beach replenishment in April, although necessary in order to preserve the coastline, had me worried for a time. With all that extra sand - about 126,000 cubic metres of it - piled up like it was, it eventually dawned on me that low tides might not have the photogenic quality to which I had become accustomed during the winter.

However, wave action over the past seven months has done its job of reducing the beach to a more natural shape; this being taken into consideration by engineers during the planning process. Which is nice, because I have my beach back the way I like it.

  

12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. + 0.7 EV compensation. ISO 160



© 2016

Go! Go! Go!

Low sun, low tide and reflections; It doesn't get any better than this for me. The local Surf Rescue team sprint down the beach, doing a spot of training. Perfect.



12-24mm f/4 AF-S Nikkor. 1/1250 second at f/8. Matrix metering.  - 0.6 EV Compensation. ISO 160



© 2016

Restricted freedom

Whereas I enjoy the mobility of shooting hand-held, I equally enjoy the freedom that the tripod gives me when using one to support the camera. For one thing, the composition stays the same once I have lined everything up, and for another I am able to use what ever aperture/shutter speed/filter/ISO combination I choose for total control over the image. On top of that, with correct use you are assured of sharp images.



12-24mm f/4 AF-S Nikkor. 10 seconds at f/11. Matrix metering. Tripod and remote release. x10 ND filter. ISO 160



© 2016