Old sayings

The old saying of 'always look behind you once in a while when photographing landscapes' is worth remembering. The two trees on a hillside have featured in the composition of recent images I made of Corfe Castle, but at this time of year - and with the right sky - they are worth shooting in their own right.

I'm not entirely happy with what I'm getting, but as British Summer Time comes to an end in the small hours of tomorrow, I can't wait for the opportunity to try and improve on it.



24-70mm f/2.8 AF-S Nikkor. 1/500 second at f/11. Matrix metering. - ⅓ EV compensation. 0.3 and 0.2 (combined) Lee ND graduated filters on the sky. ISO 100. Mono conversion in Silver Efex Pro 2.



© 2019

Light use

I'm making no apologies for the repetitiveness of my subject in recent posts: Corfe Castle. It's an excellent subject nestled in the hills of Dorset, and I'm far from finished with it.

But to be honest, it's the light that I am photographing rather than the ruins. The large amount of broken cloud this afternoon means the light is constantly changing, and I'm able to use the sun as a spotlight.





24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/11. Matrix metering. -⅓ EV compensation. ISO 50



© 2019

Lucky break

Up to mid afternoon it had been nothing more than a dreary autumn day. Flat skies over Christchurch Quay on the Dorset Stour gave me little hope of photographing anything. But with the sudden break in the clouds  - and the approaching swans -  I knew I was in with a chance.



Olympus OM-EM 10 MkIII with 14-42mm f/3.5-5.6 Pancake lens. 1/400 second at f/11. ESP metering. - ⅔ EV compensation. ISO 200



© 2019

Prelude

I'm still waiting for autumn to kick off with its true colours, so anything I'm shooting at present is a mere prelude to what (I hope) will come. But I am keeping myself busy with just one location; one subject at the moment, and that is Corfe Castle in the Dorset countryside.

Keen to seek out different views of a much photographed subject from those that pervade the social media pages, I'm repeatedly visiting the area and taking the time to walk in ever increasing circles around the castle ruins to find different perspectives.



24-70mm f/2.8 AF-S Nikkor. 1/80th second at f/11. Matrix metering. +⅔ stop EV compensation. Lee 0.6 ND graduated and 81B filters. ISO 200



© 2019

Wet knees and muddy boots

It's wet knees and muddy boots time as the see-saw weather of the UK begins to deliver the light I miss so much during the summer months. I have a few locations selected for repeat visits over the next four months or so - Corfe Castle in the Dorset countryside being one of them.



24-70mm f/2.8 AF-S Nikkor. 1/100 second at f/11. Matrix metering. +⅓ stop EV compensation. 0.3 Lee ND grad and 81B filters. ISO 100



© 2019

On my own

There's nothing I like more than to get out into the landscape on wet days. There is so much scope for photography, and when it's raining black and white images - for me - are almost de rigure. I also know that nobody else is getting the same shot as I'm very often the only one stood in soggy fields, making photographs.



24-70mm f/2.8 AF-S Nikkor.1/125 second at f/11. Matrix metering. + 1 stop EV compensation. 0.6 Lee ND grad filter. ISO 640. Mono conversion in Silver Efex Pro 2



© 2019

Emmetts Hill

I mentioned in my last post about how frustrating it can be when you see all the best light happening on the way to a location. Well today it was the reverse. Time constraints gave me little choice but to leave the scene above, about 30 minutes before the skies cleared and stunning light swept across the landscape.

I had sat patiently on the steps at St. Aldhelm's Head - Isle of Purbeck - for some two hours: most of that time in the rain, hoping for good light. In fact I knew it was coming, so it was just a matter of when. The above photograph was taken shortly after my arrival, but I knew I could do better. I did take a number of images of the rain swept coastline, and that's a plus in itself as they, too, have their own character. But how I wish I had not been pressed for time...


12-24mm f/4 AF-S Nikkor. 1/160 second at f/11. Matrix metering. 0.3 Lee ND graduated and 81B filters. ISO 160



© 2019 

Fast and furious

Probably the most frustrating thing a landscape photographer can experience is superb light whilst travelling to a location. The day started with torrential rain, but the forecast was favourable, predicting scattered showers and sun until early evening. Unfortunately, that part happened to me en route, and by the time I arrived on the Jurassic Coast I was left with blue skies and strong winds.

As it turned out, this was better than nothing as later in the afternoon thick, grey cloud rolled in from the west. The strong winds - gusting up to 40mph on the cliff top - were creating havoc as far as keeping the camera steady was concerned, and I had little option but to up the ISO to give me shutter speeds fast enough to keep things sharp.



12-24mm f/4 AF-S Nikkor. 1/320 second at f/11. Matrix metering. 0.6 Lee ND graduated and 81B filters. ISO 320



© 2019

Getting creative

 

  

The Creative Quarter in Folkestone is a must-see area to those visiting the town. The Old High Street that runs through it is only some 180 metres long, but in that space are packed cafés, boutiques, music and art shops - enough, at least, to keep a curious photographer happy.

12-24mm f/4 AF-S Nikkor. Matrix metering. Auto ISO. Mono conversion in Silver Efex Pro 2

Top: 1/80 second at f/11. ISO 1250

Below: 1/80 second at f/11. ISO 500 

© 2019

Rug People

A detail of the statue Rug People, on the disused railway lines of the old harbour station, Folkestone, Kent. 



10.5mm f/2.8 Nikkor Fisheye. 1/200 second at f/11. Matrix metering. ISO 200



© 2019 

The patience of a saint, or wield the clone tool?

Wide-angle lenses - apart from their obvious benefits - also have their drawbacks: fisheyes, even more so. I'm shooting with the latter exclusively inside Salisbury Cathedral, just for the fun of it. But apart from capturing the magnificence of the interior (distortion and all), I'm also trying to exclude human presence. Visitors to such places are rarely dressed in keeping with surroundings, and in my view it spoils the mood.

I could shoot merrily away and remove any unwanted elements of the photograph later using the clone tool or similar, but instead I patently wait until the scene clears and is the way I want it...

And some waiting it takes, believe me, but in each of the images above I've not used any digital shenanigans. 

Lens - 10.5mm f/2.8 Nikkor fisheye. Auto ISO.

Top: 1/20 second at f/8. Matrix metering. - 1 stop EV compensation. ISO 1000

Middle: 1/100 second at f/11. Matrix metering. - 1⅓ stop EV compensation. ISO 1400

Bottom: 1/6 second at f/8. Matrix metering. - 1 stop EV compensation. ISO 1000

© 2019

Salisbury Cathedral at 720nm

My second attempt at infrared photography using a digital camera has had a degree of success, but it's still not what I'm looking for. The wet prints I was making in my darkroom days with Kodak HIR film produced more drama - albeit somewhat hit or miss in producing a printable negative.

The filter I am currently using - one that (mostly) allows wavelengths of 720nm to pass through it - is just not cutting it: I want white whites and deep blacks! However, if my subject is in bright sunshine I'm coming close(er) to the effect I'm after.

Of course, a near opaque filter blocks a lot of light reaching the sensor, but Olympus' 5 axis image stabilisation (IBIS) allows me to handhold, even at ridiculously slow shutter speeds.



Olympus OMD-EM10 MkIII with 14-42mm 3.5/5.6 Pancake lens. ⅓ second at f/11. - ⅔ EV compensation. ISO 2000. R72 Infrared filter



© 2019

Bournemouth Air Festival Day 4

Photographing the local air show - whatever location it was being held at - was always the last hurrah of summer for me. This year it truly is that, as the final day of the Bournemouth Air Festival falls on the first day of autumn.

Not that the weather belies that fact, and apart from yesterday's blip with a brief period of rain, it has been warm, perfect flying weather all the way.

Supermarine Spitfire

Avro Lancaster - bomb doors open

Super Pitts Muscle Plane - flown by Rich Goodwin

Saab Draken

Strikemaster Pair

Royal Navy Black Cat

Mig 15 and a Canadair T-33 Silver Star

An unexpected rarity: The Ultimate Warbirds Flight, joined by The Blades Aerobatic Team

300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod and gimbal head

© 2019

Bournemouth Air Festival - Day 2

Having given myself a good talking to about poor photographic technique, I am determined to up my game and get it right.

Day 2 of the air festival, and once again we are blessed with perfect flying weather. However, despite the warm weather and sunshine the crowds attending are noticeably thinner that previous years. I put this solely down to the RAF Aerobatic Display Team - aka The Red Arrows - not putting in single appearance all weekend. Crowd pullers all day long, they have been missed this year.

Nonetheless, there is still plenty to entertain the crowds, whether it is in the air, or static displays on the clifftops and beaches.



Navy Black Cat

Battle of Britain Memorial Flypast - Lancaster and Spitfire

Avro Lancaster, with the Isle of Purbeck in the background

US Navy Poseidon Surveillance Aircraft

Ultimate Warbirds Flights: from top left and clockwise - 

Supermarine Spitfire, Republic P-47D Thunderbolt, Messerschmitt Me109, TF-51D Mustang

Eurofighter Typhoon

Eurofighter Typhoon going vertical

Super Pitts Muscle Plane, flown by Rich Goodwin

Eurofighter Typhoon, dusk display

Eurofighter Typhoon by the light of the setting sun

All images - 300mm f/2.8 AF-S VR Nikkor with TC-14EII converter. Tripod and gimbal head



© 2019

Bournemouth Air Festival - Day 1

Day one of the annual Bournemouth Air Festival, and I make something of a hash with a good few of the subjects. Since I photograph very few air displays I put that down to lack of match fitness: I need a bit of time to sharpen my long lens technique and to get my eye "in".

It's the prop driven planes that caused the problem, and many images just weren't sharp as I juggle shutter speeds: fast enough to freeze subject movement; slow enough to produce prop blur. That, and poor panning. I admit it - I didn't get it right.

The good thing about this particular air show is that it is over four days, and I get more than one bite of the cherry.

Tomorrow will be better.

Royal Navy Black Cat 

Battle of Britain Memorial Flypast

Supermarine Spitfire

Avro Lancaster

Tigers Freefall Parachute Display Team

Super Pitts Muscle Plane

All images: 300mm f/2.8 AF-S VR Nikor with TC-14EII converter. Tripod and gimbal head

© 2019

Whichever way you look at it

I'm not the biggest fan of using the Dutch Tilt* in photography - particularly in architectural work -  but if the subject is right it adds a strong dynamic to what would otherwise be a dull image.

Incidentally, the style has nothing to do with the Netherlands; it derives from the German word for 'German': Deutsch.


* Also known as the Dutch Angle



Olympus OM-D EM-10 Mk III with 12-24mm f/3.5 - 5.6 Pancake lens. 1/320 second at f/11. + 0.33 EV compensation. ISO 200



© 2019

Rustic pleasures

                                                                                             
                                                                                      Tree swing, West Parley


Olympus OM-D EM-10 MkIII with 14-42mm f/3.5 - 5.6 Pancake lens. 1/250 second at f/8. ISO 200. Mono conversion and toning in Silver Efex Pro 2



© 2019

Twin sails

The British summer appears to have abandoned us over the past week, with wind and rain dominating the weather. Not that such conditions deter me when I feel the need to shoot - I just have to choose the right subject.

The Twin Sails lifting bridge that spans the Backwater Channel in Poole harbour, Dorset, is currently out of comission due to a mechanical fault. As a result the bridge is closed to traffic and the two bascules are set in the "up" position to allow the free movement of boats. Until repairs are effected I exploit the opportunity to explore various angles, without the risk of being knocked down by impatient motorists.




Olympus OM-D EM-10 Mk III with 14-42mm f/3.5 - 5.6 Pancake lens. 1/60 second at f/16.  -⅓ EV compensation. ISO 200. Mono conversion and toning in Silver Efex Pro 2



© 2019

Charity at sea

The freedom of choice to reinterpret images is what the black and white darkroom was all about. Many a photographer - this one included - would occasionally labour once again under the red glow of the safe light in an attempt to draw that last bit of information from a favourite negative.

In this case, I decided to reshoot entirely to get nearer to what I envisaged when I first chose this subject, some ten years ago.

Honouring the courage of all those lost at sea when trying to save the lives of others, this memorial stands outside the RNLI headquarters, Poole. Originally containing the names of the 778 who had died as a volunteer since 1855, a further 28 were discovered through research, and added three years after the memorial was unveiled in 2009.



Olympus OM-D EM-10 MkIII with 14-42mm f/3.5 - 5.6 Pancake lens. 1/125 second at f/11. ISO 200. Mono conversion in Silver Effex Pro 2



© 2019

Monochrome Monday

                                    Houns-tout and Chapman's Poole from Emmetts Hill, Jurassic Coast, Dorset



12-24mm f/4 AF-S Nikkor. 1/250 second at f/8. 0.9 grey grad filter. ISO 100. Mono conversion in Silver Efex Pro 2.



© 2019