Ooh, the dawn begins to crack...

It's still half an hour until sunrise when I arrive at the cliff tops at Southbourne, Dorset, this morning, and the few breaks in the cloud cover shows a bit of promise for some good light. I hadn't planned to shoot this early, and I'm not carrying any camera support as a result, but I decide to improvise by wedging the camera between a wooden post and rail to keep things steady in the gloom.

I underexpose by two stops from the suggested meter reading to keep the shadows as they are; shadows.

24-70mm f/2.8 AF-S Nikkor. 1/40 second at f/3.5. Matrix meterting. - 2 stops EV compensation. ISO 400



© 2017

Storm Brian

Storm Brian; the latest 'weather bomb' to hit the UK shores does its worst during mid afternoon along the Dorset coast. Winds gusting up to 80 mph are forecast, but it is nowhere near as strong as predicted.

Perhaps they overestimate as a matter of course, these days, and anything less is a bonus. On the other hand, should all predictions be accurate - and wholesale damage is done - then the weather people can just sit back and say: "Well, we did warn you."


12-24mm f/4 AF-S Nikkor. 1/1250 second at f/8. Matrix metering. ISO 100



© 2017

Bracken and black velvet

Another 'weather bomb' is forecast to roll in off the Atlantic in the next day or two, so taking advantage of a fine autumn morning I set off into the park for some photography. I take all the usual shots; fallen leaves in dappled sunshine, on trees, in puddles, but it's when I open the files on my screen that it strikes me it would have been better if I had got in closer.

I go out again, foraging for anything showing decay that I can take home and photograph, and it's this bracken fern that ends up as my subject. I'm using a macro lens to get in close, and the light from a window as illumination. A piece of black velvet serves as the background.


105mm f/2.8 Sigma macro lens. 3 seconds at f/14. Matrix metering - 0.67 EV compensation. Tripod and remote release. Mirror lockup. ISO 100



© 2017

Start the day right

It's 30 years to the day since the Great Storm of 1987 hit southern England, with winds of up to 120 mph (193 kmh) causing the loss of 18 lives. Fortunately, it all happened overnight, otherwise the death toll may well have been somewhat higher.

It is coincidental that Hurricane Ophelia is also going to cause problems in the UK today, but not on the scale of 30 years ago. However, weather warnings are in place and the fringes of the storm are predicted to hit where I am around 2pm.

There is little sign of coming events as I stand on Southbourne beach, Dorset, to photograph today's sunrise.


24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/5.6 Matrix metering. ISO 100



© 2017

Into the storm

The first storm of the winter arrives in the next few hours and is pre-named. Hurricane Ophelia - or what's left of it - is expected to hit the Republic of Ireland and the west of the UK tomorrow. Although it's not possible for us to experience a full-blown hurricane here because sea temperatures are just too low, winds of up to 80mph are forecast where the storm is strongest.

It should hit the south coast around lunchtime tomorrow, and I will be out with my camera if conditions allow, but for today; the calm before the storm.


12-24mm f/4 AF-S Nikkor. 1/60 second at f/8. Matrix metering. ISO 100



© 2017

When the sun goes low

                                                      An impromptu visit to the beach, and the golden hour.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 100



© 2017

A walk in the park

Even though the autumn colours have yet to become fully established, there is enough going on to get me interested. A walk in the park on a sunny morning with a long lens; I paid particular attention to the sunlight on leaves.


300mm f/2.8 AF-S VR Nikkor. Matrix metering. - 0.33 EV compensation. ISO 160. Monopod

Top: 1/1000 second at f/4.
Bottom: 1/400 second at f/5.6.



© 2017

Here we go again

It's an early alarm call, today, and a swift look out of the window into the pre-dawn is enough to convince me it's worthwhile visiting the beach to shoot the sunrise. Although not as spectacular as I had hoped, it wasn't all in vain. The sun is now beginning to rise and set at sea on my stretch of the coast.

Seascape season is about to begin.


20mm f/1.8 EX DG Sigma lens. 1/1250 second at f/8. Matrix metering. + 1.3 EV compensation. ISO 250



© 2017

Relaxing man

Now that autumn is here I am itching to get out with my camera and start shooting; something I have been doing comparatively little of in recent months. The true colours of the season are yet to show themselves, so I am on the cliff tops of Poole bay, Dorset, in the early evening, armed with a long lens and in search of a subject.

I take a few frames of this; several of that, but nothing to get too excited about. I call it a day, but as the light fades I see this man silhouetted against the afterglow and start to take photographs. He is sat on a bench and talking on his mobile phone, but occasionally raises a bottle to take a drink, and I know I have the shot.


300mm f/2.8 AF-S VR Nikkor. 1/50 second at f/2.8. Matrix metering. Vibration Reduction on. ISO 250



© 2017

Doing the garden, digging the weeds...

... who could ask for more (there's a clue in there, somewhere).

To celebrate, I set off on the autumn equinox for the Isle of Purbeck (not an actual island), Dorset, with the sole intention of photographing the Agglestone on Godlingston Heath.

The Isle of Wight (an actual island), can be seen 20 miles or so distant on the horizon.


24-70mm f/2.8 AF-S Nikkor. 1/800 second at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160.



© 2017

Wye, and the North Downs

The weather over the past few days has been something of a landscape photographer's dream; showers and sunshine. The ever-changing light constantly produces photo opportunities, but it's sunset that Nic and I target today; the North Downs the chosen location.

We cut it fine in our arrival, but by the time we march downhill to a favourite spot the light is stunning. The rest is easy.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/8. Matrix metering. ISO 160
Below: 12-24mm f/4 AF-S Nikkor.  1/80 second at f/8.  Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Checking things out

I have my 300mm f/2.8 lens back, thanks to ACS (Advanced Camera Services), of Norwich, UK. Not only was the repair job handled quickly through their Pro Service (three working days) but they adhered to their email quote, price wise. Quite a feat since they hadn't even had the chance to inspect the damage when they gave it.

To check everything out, Nic and I visit Oare Marsh on the north Kent coast; a wildlife reserve. Not that I was in search of any, but the good weather gave rise to numerous opportunities for a spot of landscape shooting.

A super-telephoto lens isn't the first optic that springs to mind for photographing scenery, but it does give a different slant on things. The characteristic compression qualities found with long lenses can be used to good pictorial effect, such as with the yacht on The Swale, with the Isle of Sheppey in the background.


300mm f/2.8 AF-S VR Nikkor. 1/5000 second at f/2.8. Matrix metering.  - 0.33 EV compensation. Monopod. ISO 160



© 2017

Hello, Goodbye

The Beatles season continues, and although not photographed on the relevant day, it is 50 years ago this week that their third film Magical Mystery Tour was being shot. It is also worth mentioning that Nic's mum appears numerous times in the television film, first aired on BBC 1 on Boxing Day, 1967.

Some of the scenes were filmed at RAF West Malling, Kent. Taken over by the military in 1940, it was finally closed as an operational airfield in 1969.

Although the control tower (below) - now a listed building - doesn't appear in the film, a plaque (top) can be found set into the ground nearby, commemorating events.


Top: 12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 160
Below: 24-70mm f/2.8 AF-S Nikkor. 1/320 at f/5.6. Matrix metering. - 0.33 EV compensation. ISO 160



© 2017

Bournemouth Air Festival 2017, and the kite that stole the show

Kestrel

Great War Display Team (well, three of the seven)

The Tigers Display Team


Day 3, and the last one as far as I'm concerned. Thankfully, poor weather forecast for day four will keep me away from it all. Maybe I am being over critical of the events this past few days, and to be fair it is a free festival, but if there is to be a continuation of this annual event then the Council and organisers need to tighten things up somewhat.

Today, the main attraction of the Red Arrows started the day's flying at noon, but there was nothing  in the air after that for the next 100 minutes. Spectators that lined the cliff tops for several miles in each direction were left wondering if there was anything to follow, and many people drifted away after half an hour or so. A shame, really, as there are always top class performances on offer, but there is, to my mind at least, a need to keep a steady stream of flying to keep the interest.

In addition, I really do feel the variety of aircraft needs to be looked into as the four day schedule is beginning to look tired. This year there were no fast jets; the Eurofighter Typhoon was a notable omission, and the Avro Lancaster pulled out for whatever reason a day or so before proceedings started. Even the helicopters were thin on the ground... er, air, with only a Chinook twin-rotor taking to the skies. It is coming to something when, for me, a bird steals the show.


All images: 300mm f/4 AF-S Nikkor with TC-14EII converter



© 2017

Bournemouth Air Festival 2017, Day 2

A Royal Marine

 Mig 15

The Red Arrows, minus one

Tigers Parachute Display Team


Day 2 of the Air Festival, and despite yesterday's set-back I am able to continue shooting by using my spare super-telephoto; a 300mm f/4. Not my first choice lens for such work but the optics are superb and it takes a tele-converter well, so I am back in business.

I start the day's proceedings at the first event; a simulated beach assault by the Royal Marines, but in contrast to other years there are cutbacks; a theme that prevails over the entire weekend. The display used to feature landing craft; support from both ship and helicopter, as well as the storming of the beach to deal with the bad guys, but this time around there are no landing craft or ship dealing with the "pirates".

Whether or not this has anything to do with world events and men and equipment being deployed elsewhere, but it doesn't have the full drama of previous years. A shame.

On top of that the Red Arrows' second display is one aircraft down. The reasons given over the Tannoy is that one of the pilots has food poisoning, and since there is no spare pilot, today there will be only 8 aircraft instead of the usual 9. Professional as ever, but it just doesn't look right to my eye.


All images: 300mm f/4 AF-S Nikkor with TC-14EII converter.



© 2017

Short lived

Today is the start of the 10th Bournemouth Air Festival, a free event that has attracted some 8.5 million visitors over the past decade to the Dorset coast. However, the four days of flying has become less and less appealing to this particular photographer, due to the staid nature of its programme.

The one saving grace is the RAF Display Team, The Red Arrows; always worth watching; always worth a few shots in spite of the fact that I have thousands of images of them spread across several hard drives. In addition, their performance is scheduled for 6pm, so the light will be getting good by that time of evening.

Game on.

I arrive about 90 minutes beforehand, find a suitable viewpoint, and warm-up by taking casual snaps of other displaying aircraft as with one of the Twister Duo (pictured), and free-fall parachute jumpers that entertain the crowd before the main event.

But shortly before it starts I manage to put quite a severe dent in the focusing ring of my 300mm f/2.8 lens - I dropped it again the wooden rail of the cliff fence - and it won't focus.

Disaster! The focus ring won't turn by hand let alone autofocus, so I'm stuffed. I know straight away I will not get any more images, and somewhat disappointed, I leave before it starts.

It's going to be a costly repair.



300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/2000 second at f/5.6. Matrix metering. - 1 stop EV compensation. ISO 160



© 2017

One for the future

Nic and I set out today for a visit to Cliffe Fort, built during the 1860s to protect the entrance to the Thames. Now owned by an adjacent aggregate works, the fort was abandoned shortly after World War II when it served as anti-aircraft battery to defend the approaches to London.

It now lies derelict and is subject to flooding, not that it mattered as we were not able to gain access upon arrival as the road was closed. Workers we spoke to on the site assured us that the closure was temporary, and that means of entry would soon be re-established. Slightly disappointed, we decided to return at a later date.

In the mean time here is a photograph of a dredger arriving at the nearby Brett Aggregates processing wharf.



24-70mm f/2.8 AF-S Nikkor. 1/320 second at f/8. Matrix metering. ISO 160



© 2017

Normans Bay

Normans Bay, East Sussex, oddly has nothing to do with where the Normans landed during their invasion of England in 1066. Although the actual spot is still disputed by historians it is clear that it wasn't here as the location was underwater at the time.

It is, however, a peaceful and remote spot that can be tricky to find, since everywhere you go is signposted 'Private This', or 'Private That'. Whether or not that is the case it is probably enough to discourage all but the most determined casual visitor.



24-70mm f/2.8 AF-S Nikkor.

Top: The beach. 1/2000 second at f/3.2. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 320
Below: Martell Tower detail. 1/400 second at f/5.6. Matrix metering. - 0.67 EV compensation. Polarising filter. ISO 250



© 2017

Always something new

The first time visitor may see nothing but desolation at first glance, but Dungeness never fails to produce something worthwhile for the photographer who is prepared to put in the leg work.

The top image shows the remains of the burnt-out hull of a fishing boat, although quite how that came to be isn't all that obvious. The beach is littered with such vessels; some are working boats, others derelict, but its distance from the waterline suggests it didn't happen at sea.

The second image reminded me of trees in an impressionist landscape, having been sprayed haphazardly onto the side of a large ship container.



12-24mm f/4 AF-S Nikkor. Both images - 1/640 second at f/8. Matrix metering. ISO 160



© 2017

So why not stick the picture on the internet?

Being your own fiercest critic has its plus points, but also its drawbacks. There are many times I shoot, but having viewed the uploads on my screen eventually arrive at the verdict that there is nothing worth adding to the blog. Most of the time I think I am right in making those decisions, but there are times when I have the sneaking suspicion that I am being too harsh in my approach. After all, I did stop to compose and fire the shutter at the time, so why not stick the picture on the internet?

So, I have decided to relax this draconian ethic, at least for the time being, starting with this one. And just to be on the safe side I have deliberately broken a few compositional rules; plonking the subject in the middle of the frame and having the horizon slice the image equally in two.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f/5.6. Matrix metering. - 0.33 EV compensation. Polarising filter. ISO 320



© 2017