After 2 years online with my own website aimed at selling prints of my work I’ve decided to give it up. On 20th of Feb this year, Photos of Edinburgh will cease to be, in it’s current form at least. I’ll retain the domain and maybe even just point it towards this blog but I’m ceasing trying to make print sales any more.
The reasons is simple. There’s no market at all for an amateur to make any decent money from print sales. In an age where anyone can buy a SLR, set up a cheap WordPress website and register their name with “photography” at the end of it as a domain, it’s a crowded market of dreamers and chancers and not a dead horse I want to keep flogging.
I licenced an image to an advertising company last year, in that one transaction (which came via Flickr) I made more profit than I did in 2 years, 4 redesign’s and god knows how many hours trying to promote my own little corner of the web. I’d be lucky to have even covered the cost of 2 years hosting and domain name renewal if I’m brutally honest.
I think most amateurs, when they get hooked on photography, go through that “I could make some serious cash here” stage. Unless you’re very lucky, I’d estimate 99% of people end up disappointed. A touch of realism is actually what’s required. Think about it, you’ve gone out and bought your fancy new camera. You’ve taken a few nice pics. Now you want to punt them for a decent price, but wait! Stop and hink about it, you’ve gone and bought that camera and taken that pic, what’s to stop anyone else doing the same? I mean, who doesn’t have or have access to a half decent digital camera these days? Click, trot off to Asda, stick the card in the machine, order the print for a fraction the cost of yours. Might not be as good but a fiver for a A3 print or £30+ for one of yours, the average punter will be more than happy with their own.
From here on it I’m stopping the self promotion with a view to profit. In the last year I’ve been shafted by a magazine, let down by others wanting work and ended up disappointed trying to get a deal to punt printed images locally. It’s simply not going to happen and it’s pointless to keep on. From here on it, photography is about the fun of it for me, not the potential profit. That’s not to say I’m going to pass up any opportunities that might fall into my lap but I’m certainly not going to going out looking for them in future.
Don’t get me wrong, I’ll happily wish “insert your name” Photography out there all the best with their endevours but unless you’re a full time pro photographer who’s very living depends on making those sales you will likely never put the effort in to make the sale as the need for it isn’t there. The pro who’s job it is will pull out all the stops to generate the income, me? I’m a web developer, that’s what pays the mortgage and puts food on the table, that’s where I’ll concentrate the effort, photography will be my escape from that, not an extension of it.
I’ve been considering this a bit over the last few days, thoughts sparked by the Lost Edinburgh Facebook page. If you’ve yet to take a look then mosey on over and feast your eyes on the huge array of Edinburgh pics from bygone years. It’s fascinating stuff.
The more I flicked through these, the more I started to think about how my own photography might endure the next 100 years or so. I focus on 2 differing types of photography, what I like to refer to as my “arty” stuff and the stuff I do for the Real Edinburgh blog. The more “arty” stuff goes to Flickr and what I consider to be more snapshots, to Real Edinburgh.
The blog stuff is by far the easier to take, I go out with just a camera, one lens and that’s it. No remotes, no filters, just me and the camera. While I’ll still compose shots, I worry less about the technical perfections and hence get what I would more term as a snapshot, a quick picture anyone with a modicum of photography skill could have taken even with a compact camera.
What you’ll notice about the Lost Edinburgh stuff is that none of the pics taken there were utilising long exposure techniques, fancy lenses and the likes. Most are simply point, click, picture. Job done and even years on the shots are, if anything, more relevant than when they were taken. They point to a bookmark in time that’s gone, the scene is as it was, not enhanced by modern photographic techniques and that makes it honest and a better historical reflection.
Here’s an example for you.
I would consider this one of my more “arty” shots.
This was taken with super wide lens, camera on a tripod, using a variety of filters including a 10 stop ND to give a nice long exposure. I think it’s a nice shot but was that really what it looked like down at the bridges that day?
Now consider this shot taken a few weeks earlier also at the Forth Bridges:
Point, click. Job Done.
Which of the 2 in 100 years time do you think will tell more of a story of the day they were taken?
These pictures matter. It’s as important to capture real life as it is to create a piece of art every time you press that shutter. It’s even more important for future generations that they can look back and see how our towns and cities were from a realistic perspective.
Next time your out with a ton of camera gear on your back and your stressing about whether the scene calls for a 0.9 or a 0.6 grad maybe just look about a bit too and forget the technicalities and just press that shutter button and capture a slice of life as it is and do your part in documenting the world for the kids of tomorrow.
The big problem with photographing fireworks displays in Edinburgh is trying to get something that’s not been done 100 times before. This year along we’ve had the half hour display from Edinburgh Castle for the Festival, a shorter display from the castle for St Andrews Day, a display from Calton Hill as part of the Hogmanay celebrations and just over 24 hours later, another huge display from the castle again at midnight for New Year. That’s quite a lot of opportunities with iconic landmarks.
For the Festival display I trudged high up on Salisbury Crags with what felt like 10 tones of camera gear but nailed the shots I wanted so it was all worth it.
The St Andrews Day display though was another matter. With no firm time for the display and a strong biting wind I had gave up on my Calton Hill location thinking they had been cancelled, thankfully when I realised that hadn’t I was only down by Regent Road so did get some shots, nothing I’d describe as killer though.
Ok, so it’s not bad and the Bank building in the shot rather than the castle is different but it’s not the shot I wanted, not the best of nights.
Next big chance was the Son et Lumiere on Calton Hill, the end of the Hogmanay torchlight procession. In previous years I’ve shot this from the hillside itself from the back of the 10,000 strong crowd but have never been that pleased with the results.
This year I decided to try something different. Earlier in the year I took some shots from the Holyrood side of the Radical Road around Salisbury Crags trying to get traffic light trails with a backdrop of the Parliament and Calton Hill. The idea struck me, why not try and combine the two? So that’s what I did. 2 cameras set up, D7000 with the Sigma 70-200mm shooting Calton close in in portrait format, the D90 with the Nikon 18-200mm lens shooting the wide scene on 15s exposures to get the light trails and the fireworks. And guess what? It worked. Exactly the shot I wanted and something I’ve not seen done before.
The good times didn’t last though. For the big New Year celebration fireworks I had scouted out an easy access location with a clear view to the front side of the castle. Trouble was, this was a daylight scouting mission and on arriving at the location with no time to get anywhere else, the error I had made was obvious. There’s a rugby club here and they had strong security lights on their clubhouse, right in front of the castle which caused a load of issues with light flares on both cameras.
To say this was a nightmare was an understatement, I had to spend the whole display fiddling with settings and compositions and came away with nothing I was happy with at all. Eventually I had to resort to blending two fireworks bursts together and then blending in another shot of the castle before the display to get anything approaching a usable shot. I’m not that happy with the results, it looks too perfect. No smoke obscuring the castle is the big give away. To the man in the street it’s a good shot but to a semi knowledgeable photographer, it’s a dirty big fake and that doesn’t sit that easily with me.
So, lessons learned?
Scout out new locations at night.
Use your existing shots for inspiration for locations and techniques.
Get all the info you can on the display.
Use 2 cameras on different settings if at all possible.
I’ve got a few months now before there will be anymore, I just hope I remember the lessons learned by then!
As we near the end of the year I’m going to take a look back over the last year and pick my favourite shots each month. I’d love to see what other photographers rated as their best shots by month too!
The year started well as I’d make the decision to shun the traditional Scottish Hogmany in favour of staying sober so I could get some shots of the fireworks from Edinburgh Castle at midnight. Standing on Bruntsfield Links stone cold sober while all around you could hardly stand was “interesting” to say the least, at least I got this shot as way of compensation.
February was a pretty difficult month for me personally, as I spent most of it ill, a culmination of 5 months of feeling like crap. The intense low temperatures in February didn’t help although with the Western Harbour frozen solid it did let me get some killer reflections in the ice.
March was the month of the “Supermoon”, although cloud cover did all it could to scupper any chances of a decent shot. Funnily enough it was a freak weather condition that sorted out my favourite for March. This shot from Calton Hill after some late winter snow was sheer chance. 10 minutes before it was clear and 5 minutes after it was clear again, for 5 minutes the Castle disappeared into the fog.
April was the start of my long exposure period. A Helipoan 10 stopper was bought and the long exposures commenced. To be fair I really enjoyed it at the time but couldn’t see past it. Everything had to be at least 60s exposures or it wasn’t good enough. I did get some nice shots out of it though, of which this of the Falkirk Wheel was one.
Still in long exposure mode I found the bridge to nowhere in Behlaven Bay near Dunbar. It took a few trips to get high enough tides but finally I got a shot of the water all round the bridge.
In June, I finally figured out how to time the tides at the Cramond causeway so I could catch the tide coming in from down at the water’s edge. After several goes and wet feet to be going on with, I had this shot in the bag.
July was a good month. A lot happened including the mother of all thunderstorms over Edinburgh. The shot of the anvil cloud retreating over the Pentlands was a tempting pick for this month but July was really about macro for me, and this may well be one of my favourite ever macro shots, taken in the Botanic Gardens lying flat on my back in the dirt getting funny looks from all around…
August was a hard month to choose but this had to be the shot for the month. Probably one of the best I’ve ever taken and the first trip out with my new Nikon D7000.
September was all about the Festival Fireworks or Leuchars Airshow. The Red Arrows pip the fireworks to the post for me, quite an awesome sight.
This was an easy winner for October. I’d been playing about with twisting the zoom during long exposure shots and this was the result down on a still night at the Victoria Quay with the Scottish Executive building, a single exposure!
We got the best sunset I’ve ever seen one night in November and was lucky enough to be up on Calton Hill waiting for it. This was the pick of the bunch from that night.
No contest here, December was the first time I had really tried to do a star trails shot and this was the result. 100 30s exposures over 50 minutes blended to get the final result.
I’ve had my eyes opened photographically recently. I had absorbed myself so far in a world of trying so hard to get that “perfect” image I had started to become more obsessed with getting hold of the right kit to do a job rather than look at what’s important. Which is of course, the image you produce. I never seemed to go anywhere without a tripod, a stack of filters, remote controls and a collection of lenses, which is all very well but I was becoming to purist.
I became obsessed with only ever wanting to shoot at ISO100 to ISO200 to make sure I eliminated noise. I only used a tripod, never shot handheld if I could help it. I used filters all the time, more so when I went through my 10 stopper phase.
Three things changed all that. Getting my Nikon D7000 was the start, it’s get exceptional high ISO performance so gradually I’ve been started to worry less about noise. Next up was the Nikon 18-200mm VRII, which coupled with the D7000 means I can practically shoot handheld in the street at night easily. Third, and probably most importantly, getting an interest in street photography.
What the street stuff done, was got me back shooting handheld. I now reckon I shoot 75% of my stuff handheld as opposed to 0% this time last year. I think more about the composition and the shot than the technicalities and it’s from this that I’ve started to explore other things to try and create “different” images.
This was shot at the Edinburgh Christmas funfair handheld with the D7000 and 18-200mm VRII. VR switched on and a slow-ish shutter speed. At the point of opening the shutter I quickly twisted the zoom back a little and got this effect. It’s quite abstract and not to everyone’s taste but compared to the legions of identical tripod shot images of this that appear every year, it’s different and that’s what I like about it.
This shot used the same technique from further out.
This also used the same technique but was shot over a longer exposure on a tripod. It still adds a new unusual quality to the image.
Back at the Christmas fair, this image was shot with the same sort of exposure as the twist shot but rather than twist the zoom, I twisted the entire camera at the time of opening the shutter.
This image was shot using a slow shutter, handheld. Again, a shutter speed just long enough to blur the motion. No twisting or zooming this time.
Traditionally I’d have shot this on a tripod but in this case, I upped the ISO and shot handheld, this gave a freedom to quickly try different compositions as the sunset was fading rapidly.
Remember, exploring these sorts of techniques in this digital age costs you nothing. It’s not like film where you could spend a fortune and get nothing. If the image isn’t to your liking, try again and again and again. You can always delete them later. Of course, these sort of techniques can be a little hit or miss but it’s simply doesn’t matter and the more you explore these type of things, rather than just frame and click the more you build up the chances of getting a unique shot. These won’t work in every situation but when you find the ones that do you’ll know and might actually enjoy the experimentation.
As an aside, I now find that when I do shoot on the tripod with the filters and remotes I actually enjoy it more now it’s no longer the rule. Photography is a limitless hobby so don’t impose limits, push those boundaries of your imagination and you might just like what you come up with.
Ocean Terminal is best known in Edinburgh as the last docking point of the Royal Yacht Brittania. If you’re so inclinded you can board the Queen’s cast off boat for a tour down here or if that’s not you’re thing, Ocean Terminal itself is a huge many floored shopping centre with plenty of shops, coffee houses, restaurants and even a cinema to keep most people entertained.
For photographers however, there is a much better prize on offer in this unlikely setting. To find it, continue past the front doors of Ocean Teminal and either park in the surface carpark at the far end at the Debenhams or if that’s full there’s the multi-storey right next to it. Just to the side of this is a path named Britannia Walk which runs right along the side of Leith Docks which in iself can be a nice photographic opportunity depending on what’s docked in here at the time.
Continue down the walk and you’ll see Britannia docked on your left, straight ahead though is what we’re here for! Leading out into the docks Western Harbour is a derelict wooden pier, which in it’s own right is an intersting enough subject but a couple of years back an Anthony Gormley statue (think Angel of the North) was installed at the end of the pier as part of the Gormley 6 exhibition which placed 6 statues of the artist at strategic points along the water of Leith with the last one being situated here.
This area can be a magnet for local photographers so don’t be too surprised if you’re not the only one here with a camera. The pier itself isn’t great for access as it’s in a very deep section of the docks and the only option of a shot of it is over the railings which isn’t a great hardship here. It’s ripe for long exposures but do watch out for light reflection up of the shiney railings which will be under your lens which can have an effect on images. You can shoot this pier in a variety of ways some of which are showen below.
While you’re here though, take a look over the harbour to the flats on the other side, these make a great shot in still conditions, especially at night. You might also be lucky enough to see some of the cruise boats that visit Edinburgh in here, not the bigger ships as they dock typically at Hound Point at South Queensferry but some sizeable liners and naval vessels make regular appearances in here too.
Again, it’s a nice shot for sunset in summer, late May to August typically being the best time to attempt this shot.
Newhaven Harbour is one of these undiscovered gems that 9 out of 10 tourists will never find with they visit the city which is a pity as it’s one of the most attractive areas along the Edinburgh coastline. Situated just to the east of Leith Docks and west of the larger Granton Harbour this small harbour provides a wealth of photographic opportunities.
Getting to Newhaven is easy; simply head along the A901 which hugs the Edinburgh coastline, if the Firth of Forth is on your left coming from the west of the city or on your right coming from the east then keep going and you’ll eventually find it. There’s lots of free parking in the area, either in the free bays along Starbank Road to the South of the Harbour or if you turn hard left just part the harbour and follow the road around you can park on the cobbled area right next to it.
By far the most striking feature of this small harbour is its lighthouse. One of the best and most accessible local examples you’ll find in this area. You can walk right out to the base of the lighthouse and it’s hard to take a picture of Newhaven without if featuring in some way or another.
At low tide the harbour all but drains of all it’s water creating plenty of opportunity for long exposure shots of the boats as they beach on the harbour’s muddy bed. At low tide to the north of the lighthouse the large jaggy rocks of the sea defences are exposed and a bit of careful exploration can take you over the seaweed line right down to the rocks for some dramatic shots up to the lighthouse.
At high tide the harbour fills up quite a way and the water will come quite far up the cobbled slipway which is again a popular shot with local photographers. The boats themselves at the harbour are mainly leisure boats but there is a mix of working boats in there too although you don’t that often see many boats coming or going from here.
You can get pretty unrestricted access around the north, west and south edges of the harbour, only the eastern edge is restricted access. At low tide if you’re careful you can pick your way around the seaweed covered walkway at the bottom of the slipway right around to the lighthouse, be warned though, it’s exceptionally slippy!
Newhaven is one of the best locations in Edinburgh for a summer sunset; the sun comes down over the Firth of Forth giving ample opportunity to photograph the lighthouse or boats at sunset without any other objects in the way of the sun.
This is one of my favourite locations in Edinburgh and one that I visit often, especially during the summer months. Below are a few examples of shots you can expect to take away from Newhaven.
A couple of months ago I made a decision that it was finally time to move on from my trusty Nikon D90. Now, this is the camera that really helped me make the leap from snapshots to “proper” photography. At the time I bought it, its 12.1mp sensor and feature set made it THE affordable DSLR. The fact it’s still so popular and on sale 2 years down the line is testament to just how good it is, especially as it wasn’t exactly the new kid on the block when I got my hands on it.
As with all things though, technology moves on and in this case, my understanding and photographic know how have also moved on and it’s time to move up the scale, just like I did with my Nikon D70 before.
You’d think this would be a fun move, getting some new kit. How wrong you can be! It’s a minefield out there of camera’s, megapixels, full frame or crop, specs etc etc. Bewildering almost.
Around a month ago I was passing a local branch of Jessops so nipped in for a look at the Nikon D7000 and D300s. The D7000 was originally what I really wanted. Surprisingly for me, the sales guy actually recommended the cheaper D7000 for my purposes but it looked so small next to the D300s which felt like a real proper camera. I was so taken with the D300s if I had the cash I’d have bought it there and then.
For weeks I’ve been researching D300s prices as I tried to assemble the cash to buy it outright, and then out of the blue came a possibility of increasing the budget to anything up to £3,000. Not certain yet but I had to put the camera on hold until I knew, this changes everything.
At this point the first thoughts of going full frame started. I’d always discounted it and I’d also need to change my Nikon 18-70mm AFS DX and Sigma 10-20mm lenses, the 2 main ones I use. With a bigger budget though…
Into view came the Nikon D700. Essentially, a Nikon D3 that’s a touch slower and doesn’t have the fancy body, or the price tag. I also figured I could replace the lenses with quality 2nd hand’s from the likes of Greys of Westminster and figured around another £700 should see me good.
Then when I though it was all clear in my head, I spotted the price of a used Nikon D3. Not the D3s or D3x they are well out of range but the original D3 was coming in at only a couple of hundred quid more than a D700! Top of the range, the holy grail of Nikon and it COULD be mine. Finances would be tight but it might be worth a compromise here and there to get one of the best DSLR’s on the market.
What I should have done then was to leave the internet well alone. I started reading comparison reviews of the cameras and came to the conclusion that a D700 would be just as good as a D3 and I could get it brand new for less than a used D3. Sorted, choice made.
Or was it?
Nope, after some more reading it seemed that full frame was overkill. I’m not a pro, probably never will be so what do I need with full frame? Nope, a D300s would be perfectly adequate.
A D300s it was then. Decision made. As a result of the lesser expenditure I could also probably get myself a Nikon 17-55mm f2.8 DX, the prince of DX format lenses, a Speedlight SB900 and a set of Lee grads and polariser.
BUT, something was nagging at me. The D300s is a 12.1mp camera. Essentially the same one as the Nikon D90 I already have. Of course there are many other improvements but the Canon 7D is in the same price range and its 18mp! I know megapixels are not all that counts at the end of the day but more would be nice. So what else could I get?
I even contemplated a full scale switch to Canon so I could get a 7D but this would be a nightmare with so much Nikon gear so the only other thing I could do was buy the Nikon D7000. After reading the Ken Rockwell review of the D7000 my mind is made up. By all accounts, it appears to be a remarkable camera and while I still don’t really care for the dinkyness of it, I’ll add the battery grip to give it a bit more satisfying bulk for me.
Add in a 2nd hand 17-55 lens to replace my aging 18-70, Speedlight SB900 and the Lee filters and I’ll be just over the 2k mark for all this nice new kit and no issues having to replace lenses left, right and centre.
So that’s it, D7000 it’s going to be.
At least till I start reading other reviews tomorrow…
For a fair few months now I’ve harboured a desire to capture the causeway to Cramond Island, on the outskirts of Edinburgh as the tide was just going out. If you’re not familiar with the location, from the esplanade there is a raised walkway that the tide never covers for maybe around 200ft, then at the end is a set of small steps and then you’re down on the lower level of the causeway where a half mile walk or so will take you over to Cramond Island at low tide.
Now, I’ve photographed Cramond MANY times and it’s distinctive causeway too many times to count. The causeway itself it lined with a set of old WWII sea defences which were designed to stop small boat attacks further up river at the Forth Bridge and Rosyth Naval Yard, the other side of the island to Fife was protected by anti submarine nets. All that remains now is the distinctive line of pyramid structures right out to the island which get covered more or less to within a couple of feet from the top at high tide.
The challenge though, was the photograph the tide as it came in over the causeway. It’s fairly safe to do so as long as you keep your wits about you. You need to be on the causeway itself around 3 hours before the high tide time. If you get there early the water will start to flood the sand flats either side and sit around the bases of the sea defences. You need not go to far out to get a load of interesting shots of the defences.
However, soon you will see the water start to gently spill over onto the causeway about half way along. If it’s between you and the mainland, get back quick. If not keep and eye on it and you can move up a bit and you’ll have plenty time before it reaches you. From the first signs of water on the causeway to needing to get off it you’ll get around 30 minutes. As it starts to properly flood you need to be up near the elevated section of the causeway where you can make a sharp exit to safety. Remember, the water gets around 8ft deep here at high tide.
Get yourself up near the steps and you’ll have plenty time to rattle of shots of the tide as it advances towards you. It’s a perfect place for long exposure shots especially. Just keep an eye on the water as it comes in very fast and once it starts to reach your feet it’ll be a few inches deep in minutes. Get it right and you get these sort of shots.
Get your timings right and it’s well worth a visit. Even after you need to get up on the elevated section it’s still worth hanging about as there’s still interesting shots to be hand from up here.
In the time I’ve been seriously taking photographs, one thing I’ve discovered is that a little research pays dividends before you travel to a location to photograph it. I used to just turn up where I fancied and snap away, now with a bit more experience under the belt I usually have some idea of what kind of shot I want before I get there and it’s pointless going if the conditions aren’t going to be right!
Here’s a perfect example, this is the Belhaven Bridge just to the east of Dunbar:
At this location, high tide covers the walkway to the bridge so the bridge looks as if it goes nowhere with deep water either side, it in fact, spans the Beil water as it exits into the sea at this point which you can see at low tide. So, using the Tide Times website, I knew when high tide would be so headed down there for that. Sadly, it didn’t co-incide with sunset which you could check out on Suncalc.
Arriving later than hoped the tide was peaking but not covering the walkway. I know from research that night at the high tide height was 4.6m so; it follows logic that the walkway was just on the verge of being covered so waiting for a day with a tide predicted to be higher than 5m will give me the shot I want. The perfect time to take this shot will be a high tide, 5m+ co-inciding approx 20 either side of sunset. High tide and sunset co-incide on 24th May but with a predicted tide of only 4.2m it’s not the perfect night to get the shot, better to wait a couple of weeks and try again.
Tides also play an important part of decisions where harbours are concerned. I love long exposure shots but high tide, long exposures and boats bobbing about don’t go! Nobody wants blurred boats! In this instance, it’s better to forgo the 10 stopper and use a faster shutter and wait for a lower tide, or at least the boats in the front of the shot to be grounded. Of course, you always have the option of cutting the boats out of the shot altogether, but unless there’s something else as a good focal point then this leaves you with limited options.
Clouds are another feature of nature to keep and eye on. Nice blue skies are all very well, and indeed welcome in some cases but a bit of cloud cover always helps. To try and give an example, this is the top of the Falkirk Wheel on a day with little or no cloud cover:
I know which shot I prefer…
Fast moving clouds, by which I mean heavy broken cloud, are great for long exposure photography. Huge dark clouds with little or no definition are not! Clouds can also add a lot to sunsets as the light bounces off them and in HDR photography you can create dramatic scenes with a nice cloud cover:
So, before you head off. Keep an eye on the:
And plan accordingly!