A walk in the park

The original intention in visiting a local park this morning was to see if the waterfowl had produced any young yet. Still a bit early in the year - there not being any is testament to that - but the spring flowers are giving dazzling displays.

The colours of the red and orange tulips in Pool Park, Dorset, are enough to knock your eye out, and too much to resist photographically. I have to be careful not to blow the red channel out on the histogram, and underexpose accordingly to retain the hues and detail.


300mm f/2.8 AF-S VR Nikkor. 1/5000 second at f/2.8. Matrix metering. -1.33 stops EV compensation. Monopod. ISO 100



© 2018

On location

The frequent visits I am currently making to Salisbury are essentially me scouting for locations. Although spring is just hitting its stride here, my thoughts are already turning to autumn and winter; eyeing-up what might look good when the season dictates.

It's a grey day by the time I arrive, and monochrome conversions are already in the back of my mind should I start shooting. I'm doubtful I will get anything, but obligingly two sheep stand still long enough on Harnham Water Meadows for me to use the shot.



24-70mm f/2.8 AF-S Nikkor. 1/160 second at f/8. Matrix metering. Mono conversion and selenium toning in Silver Efex Pro 2. ISO 100



© 2018

In the footsteps of John Constable

Today I'm back in Salisbury for some shooting around the Harnham Water Meadows. I made the decision last night, having scrutinised the weather forecast and found it to be clear skies for today. However, my main worry was that the light might be too good, but on the journey there I was pleased to note that some fluffy clouds were beginning to bubble-up.

Inspired by the John Constable paintings of the area, I roam the Town Path to find a composition that incorporates the cathedral, but frequently find the best angles are blocked by trees, or I'm unable to gain access to the water meadows for a clear shot.

But it's when I round the corner by the Old Mill at West Harnham that I am confronted with a scene that positively screams pastoral England. The fisherman in the mill pond, with the 12th century Grade 1 listed building in the background and the trees on the river bank, is about as Constable-esqe as I can get.



12-24mm f/4 AF-S Nikkor. 1/400 second at f/8. Matrix metering. ISO 100



© 2018

I'll be back

Another trip to Salisbury to photograph the cathedral, and once again the weather changes en route to something less favourable; the weather forecasters are playing games with me. I do get a brief burst of light from a crack in the clouds so I can't really complain, but it disappears just as quickly as it arrives.

The scaffolding adorning the eastern end of the building is there for the final stages of the current restoration work; a part of the cathedral that has remained essentially untouched since 1270.



12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. - 0.33 EV compensation. ISO 100



© 2018

(It's) been a long time

There are some subjects that I return to frequently, shooting time and time again, but the last time I took photographs from this spot was in July, 1986. The water meadows at Britford, near Salisbury, are probably not the same ones that John Constable painted in the 1820s, but one thing is for certain, the scene has changed for both of us since either of us visited last.

Trees now largely obscure the view of the cathedral at this location, and I had hoped for better light, but used what I was dealt with on the day. I sepia toned the monochrome conversion, and added the border to 'jazz it up' a touch.



70-200mm f/2.8 EX Sigma lens. 1/320 second at f/4. Matrix metering. Monopod. ISO 100. Sepia toned and border added in Silver Efex Pro 2



© 2018

Rule book, anyone?

                                                                                         Trees by the river


Occasionally, it's good to tear up the photographic rule book (is there such a thing, anyway?), just to see what you can come up with. During the winter months I made numerous seascape images using long shutter speeds, allowing part of the composition to blur through motion, but always using a steady camera support to keep the rest of the image sharp.

Today, with the rule book well and truly ripped asunder, I made photographs by deliberately moving the camera during exposure to blur everything. The results are rather hit-or-miss, and I took many frames before I started to come up with something pleasing, but experimentation is the key with this technique. Just choose the subject wisely.


24-70mm f/2.8 AF-S Nikkor. 1/10 second at f/14. Camera moved vertically during exposure. Polarising filter to help get the shutter speed down. ISO 100



© 2018

Salisbury Cathedral

Winter has now officially gone, although the temperatures would suggest otherwise. The weather forecast for Salisbury advises that it will touch 9ºC today, although the wind chill factor will make it feel more like 6º. Wonderful. However, it's a bright sky in the Wiltshire city, and thoughts of monochrome photography whilst travelling there by bus gets the creative juices flowing; those blue skies are going to look good in the black and white conversions.

I take a number of exterior shots of the cathedral upon arrival, but decide to nip inside to inspect one of the four remaining copies of Magna Carta whilst the sun moves round to light the western end. I hadn't given any thought to shooting inside the cathedral since I wasn't sure if photography was allowed, but was pleasantly surprised to be informed by a guide the not only was it permitted, it was positively encouraged. Of course, I wasn't prepared, and consequently struggled with the eternal triangle of shutter speeds, apertures and ISO settings whilst trying to do the architecture justice.

Even more surprising - to me at least - is that although flash photography is generally frowned upon, and refused altogether in the Chapter House that has the Magna Carter on permanent display, the use of a tripod is deemed acceptable. This fuels the idea of making subsequent returns to make a better fist of the subject.



Top: Western facia and spire. 1/250 second at f/11. Matrix metering. -0.33 EV compensation. Yellow filter and blue toned in Silver FX Pro 2. ISO 100

Middle. Choir and organ, looking East. 10.5mm AF-S f/2.8 Fisheye Nikkor. 1/13 second at 5.6. Matrix metering. ISO 500

Bottom: High Altar. 10.5mm f/2.8 AF-S Fisheye Nikkor. 1/5 second at f/5.6. . Matrix metering. +0.67 EV compensation. ISO 500



© 2018

What's going ON?

For the second time in two weeks I have snow. It's not the latest I have known it to snow where I live (that in itself is rare enough),  but this amount a few days from the Spring equinox is something worth noting. Caused by cold air moving in from Scandinavia, it will, thankfully, be short-lived.


105mm f/2.8 Sigma macro lens. 1/8 second at f/14. Matrix metering and manual focus. + 0.33 EV compensation. Tripod and remote release. Mirror lock-up. ISO 200



© 2018

A watchful eye

Although too early in the year to photograph any birds with young, the would-be parents are now looking their best in a bid to attract a mate. This mute swan - busking at the time - is defending territory from an intruder on a lake in a local park, whilst keeping a watchful eye on me.


300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. 1/3200 second at f/4.5. Matrix metering. -0.67 EV compensation. Monopod. ISO 100



© 2018

Concessionary travel

Last week's horrendous weather appears to have slowed the onset of spring, although what had already appeared seems to have, in the most part, survived. Today, I visit the nearby town of Christchurch, partly to photograph some of its main features, but partly because I now qualify for concessionary travel on local bus routes in the UK; something I intend to use with a vengeance.

The 900 year-old Priory - the longest parish church in England - itself has many stories; the Miraculous Beam being the most retold, but finding different angles from the norm to shoot it needed a bit of footwork, and a lens change or two.



Top: 24-70mm f/2.8 AF-S Nikkor. 1/250 second at f/5.6. Matrix metering. -0.67 EV compensation. ISO 100
Below: 10.5mm f/2.8 AF-S Fisheye Nikkor. 1/640 second at f/8. Matrix metering. -0.33 EV compensation. ISO 100



© 2018

It's Spring!

From a meteorological point of view, today is the first day of spring. So what have I got? Snow.

The blast of cold air that has swept in from Siberia over the past couple of days has produced sub-zero temperatures during the day, but now Snow Storm Emma in hitting the UK, and I am on an amber warning, weather wise.

Blizzards are predicted for tomorrow. What fun.



24-70mm f/2.8 AF-S Nikkor. 1/400 second at f5.6. Matrix metering. +1 stop EV compensation. Monopod. ISO 400



© 2018

No guarantees

Recent surgery (nothing serious), has prevented me from picking up a camera since the beginning of the month, but today I was determined to get out there and start shooting; Spring is beginning to arrive. There is blossom appearing on the trees in my garden, but high enough off the ground to make the flowers inaccessible for good results, so I go down to ground level in a local park.

I consider a focus stacking technique for the image of a crocus, but since there is a breeze blowing occasionally I am getting too much subject movement for guaranteed success. Instead,  I focus the lens on the stigma of the flower, stop the lens well down, and hope for the best.


105mm f/2.8 Sigma macro lens. 1/4 second at f/14. Matrix metering and manual focus. Tripod and remote release. Mirror lock-up. ISO 100



© 2018

Another mass deletion

Two very low tides this week - all due to the supermoon, no doubt - and two days scrambling about on the beach looking for a composition. Yesterday, there was little of the way of sky interest, and a great many images I shot were deleted once I had viewed them on my monitor.

However, today the sky produced the goods, with enough breaks in the cloud to make the light interesting.


12-24mm f/4 AF-S Nikkor. Tripod and remote release. ISO 100

Top: 1/250 second at f/11. Matrix metering.  + 1.33 EV compensation.
Below: 1/25 second at f/11. Matrix metering.



© 2018

Difficult to resist

It's all well and good deciding that I've had enough of taking photographs on the local beaches, but once a few clouds start appearing in the sky during the afternoon it is difficult to resist the urge to be there and get shooting.

Anyway, there are some particularly low tides next week... and a supermoon. Just need the right skies, to be honest.


12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. - 0.33 EV compensation. Monopod. ISO 100



© 2018

Just around the corner

I've had my fill of seascape photography for winter (you wish), and the signs of Spring are already with us. Crocus are in full bloom here and there, and the blossom buds are getting ready to burst on the tree in my garden. What's more, it isn't as cold as of late, and it is noticeably lighter in the afternoons.


12-24mm f/4 AF-S Nikkor. 1/80 second at f/8. Matrix metering. Monopod. ISO 100



 © 2018

Cliché #14,497

I actually took the long exposures under the local pier yesterday afternoon. After processing the image I uploaded it to here, intending to write a short piece of text to accompany it later in the evening... then promptly forgot all about it. Returning to finish the blog post 24 hours later, I decided that the original colour photograph would look better in monochrome.

After the mono conversion I still wasn't happy with it, so I decided to change the crop to a square format, before finally replacing the picture altogether with this one.

I got there in the end.

Probably...



12-24mm f/4 AF-S Nikkor. 20 seconds at f/11. 10x ND filter. Tripod and remote release. ISO 100



© 2018

Hmmm...

I'm feeding on scraps this afternoon, there is so little good light available. In fact, by the time I arrive at the beach it has started to rain. I do get a sliver or two of sunlight, but by and large it's of little use.

It isn't until I begin to pack up my gear that I glance towards the local pier and think: hmmm... monochrome! I take two frames, both near identical, and head for home.

Some judicial burning-in of the image, plus some added grain to accentuate the grittiness of a winter's afternoon, and the job's done. I even blue toned it for good measure.


12-24mm f/4 AF-S Nikkor. 1/50 second at f/6.3. Matrix metering. - 0.33 EV compensation. ISO 400



© 2018

Late afternoon shooting

I nearly didn't bother with today, but the concrete skies of the past week gave way to some stunning late afternoon light, and I wasn't going to let it all go to waste.

The rainbow appeared minutes after I arrived on my local pier, and it is always gratifying to get something in the can early on. After waiting for the shower to pass, it was down to the water's edge for some more snapping. It can be frustrating for the photographer when unwanted elements enter the frame, but this time I decided to use the man with the metal detector as part of the composition.


12-24mm f/4 AF-S Nikkor.
Top: 1/250 second at f/8. Matrix metering. ISO 100
Below: 1/320 second at f/8. Matrix metering. + 1 stop EV compensation. ISO 100



© 2018

Yeah, says you.

Terence Donavon, the 1960s fashion photographer, once went on record saying: "The problem for the amateur photographer is that he/she has no reason to take a photograph."

So, self indulgence it is, then (insert winking emoji here).



12-24mm f/4 AF-S Nikkor. 30 seconds at f/11. Tripod and remote release. ISO 100



© 2018

Perspective changer

For the second day running I get a boot full of water whilst shooting by the sea, and on both occasions it's the left one. Hmm... just a coincidence? Yes, it is, but wearing rubber wellington boots - or wellies in the vernacular - for this sort of work is invaluable to the photographer shooting along the shoreline.

Of course, you can get over confident when looking for a better angle, as my left foot will attest, but for the most part they are a perspective changer.


12-24mm f/4 AF-S Nikkor. 1/500 second at f/8. Matrix metering. ISO 100



© 2018