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!
You’ve had your compact camera for ages now and while you like the convenience you’re thinking of making a step up to a DSLR aren’t you? It’s hardy surprising, 10 years ago a DSLR was very much a luxury item, you could by a car for less than most around at the time, these days with entry level DSLR’s wit kit lenses coming in at under £400 for everything you need to get started it’s becoming a more and more tempting proposition for many.
But… before you rush off to your local camera dealers, or start furiously researching best prices online, ask yourself, what do you actually want from your camera? Do you just want to take pics of your mates drunk in the pub or just a few snapshots of the kids? Then, save yourself some cash and stick with your compact, it’s more than suited to the tasks in hand. On the other hand, if you find yourself getting a real interest in photography, feeling the urge to try and take better pictures and find you use your camera a lot then go right ahead, you won’t be disappointed.
Actually, that last statement is a lie; you will be horribly disappointed and equally frustrated when you move up to a DSLR. Just because you have a “proper” camera, it won’t make you a photographer overnight. There will be a lot of learning ahead, trial and tribulations and probably tantrums and tears as you get to grips with your new toy but rest assured, its worth it all as eventually you’ll get the results you want if you persevere.
What you have to remember is, this is a proper photographic tool you’re investing in. Even a cheap one will blow most compact cameras out of the water but you have to change your way of thinking. Don’t use it like a compact; don’t stick it on auto and snap away, what’s the point of that? Your compact can do that! What I’m going to detail isn’t how to use your camera but the things you should stick at to learn how it works properly. What to focus on to help you get the most from your new camera.
First things first, what equipment do you “really” need?
Ok, so obviously, you’re digital SLR. Be in Canon, Nikon or any other makes, it might seem unimportant but think on before you buy. That Pentax might be a great deal as you eye it up in Jessop’s, but think further down the line. Is there a good supply of lenses for it? How do the prices look? It’s important as typically once you buy into one system and start to add more lenses you won’t want to switch to another. I bought into the Nikon system and have since added 9 lens to my collection, to switch to Canon and re-buy all these lens’s would be horribly expensive so choose wisely. My honest opinion, go Nikon or Canon, a safe bet all round. Try both in the shop; see what you prefer as both will be very capable performers.
DO; buy the camera with the kit lens. It’ll be cheaper than buying the body only and adding a lens to that. Most kit lens will be in the 18-55mm range which is fine for a wide range of applications and it’s enough to get you going. The camera shop will invariably try to see you a UV filter to go with your new toy. No harm in that, it’s good for protecting your lens and does cut down haze but… think about it first. If the shop is trying to sell you a branded UV filter you may be paying upwards of £30 for it. They’ll sell it mainly as lens protection and there’s no doubt that it will protect your lens front element, however which in a camera bag etc, your lens cap will also do that and while it’s in your hands, the chances of scratching the lens is minimal. I have no UV filters anymore, I had 9 scratch free lens’s and believe me I am the worst in the world for chucking them back in the bag minus lens caps. Don’t waste your money on a UV, just treat your lens with respect, look after it and if you have the cash invest in a polarising filter instead.
Used properly, a circular polariser will enhance the blues in sky, make the contrast to clouds better and cut out glare from water, shiny surfaces etc. A million times more useful than a UV. More expensive sure, but look about online, you’ll get unbranded ones that while certainly not as good as your Hoya’s etc it’ll be more than adequate for starting out and you’ll get more proper benefit from it than you will a UV.
Also invest in a tripod of sorts, how much you spend is up to you. Tripods can range from a few pounds for small spindly effort to hundreds of pounds for the all signing and dancing carbon fibre models. Go mid range, even going to about £50 will pay dividends in the end. You’ll almost certainly upgrade it if you really get into this stuff no matter what you buy. While you at it, get onto eBay and get a remote control too. Needn’t be one of the mega bucks ones, a simple IR or corded remote for a few pounds is adequate.
Finally, a bag. You’ve got minimal kit so a small bag will do right? Well, depends if you’re going to add more as you go along? Eventually, that small bag will be overflowing and you’ll need another one. I bought a Loewpro mini trekker many years ago. £60 seemed a fortune for a bag but it’s still going strong although bursting at the seams now. You get what you pay for here!
So now you’ve got your kit, what first? Well, forget auto mode. Stick the camera on Av, aperture priority mode and leave it there. Learn about depth of field, how to focus, the difference of aperture vs. focal distance etc and you’ll get a pretty good grounding. Aperture is all in photography. Take a pic of something close to you, say 2ft away at f3.5 which your lens will probably do, then take the same pic at f22. Look at what you have and you’re on the way to understanding the cornerstone of photography.
Do; use your tripod and remote switch often. Not just in low light, if you photographing landscapes get into the way of using it, even in good light with fast shutter speeds. I originally shied away from the tripod, feeling a touch self conscious using it out in public, now I rarely take a shot handheld.
Now, this next statement will have some photographers out there crying in disbelief… and this is all the more important if you’re photographing landscape, cityscapes etc… LEARN ABOUT HDR PHOTOGRAPHY. For a few quid you can buy Photomatix Pro software and you’re on your way. HDR, which spat upon by most advanced or pro photographers is a post processing technique where you combine 3 exposures, one normal, one overexposed and one underexposed to get an final composite image with an increased tonal range. In shot, it can make an average picture look stunning, especially to a beginner. Read all about it and learn how to do it. Why? Because if you do, you will be amazed at the results, so will your friends and family and that encouragement will drive you on. I love HDR; it gave me a real boost while I was learning. It let me do things my camera and kit were not capable of doing in a single shot and these results spurred me onto more. I rarely do HDR anymore as I’ve increased my understanding of filters etc but in the short term it will give you great incentive to take more and to experiment and that can’t be a bad thing can it?
Sign up to Flickr or Blipfoto. Get involved in the communities, you’ll find plenty people willing to offer advice or even some tuition to help you along. Remember to not make it all one way traffic though, the more you put into these the more you get out. Upload regularly, learn and be inspired by others and you’ll be surprised how quickly you come on.
This will all keep you gripped for months but eventually you’ll want to add more kit. It happens to us all; maybe even upgrade your DSLR? You could spend forever but spend wisely. Think about what you’re getting, what you’ll use it for and most importantly spend as much as you can afford. Cheap lenses especially are rarely good lenses.
Initially for lens purposes think about adding a 50mm f1.8 first. This is a prime lens, i.e. no zoom, it has a large maximum aperture of f1.8 to allow some great depth of field shots and most importantly, they are cheap in lens terms, around the £100 mark. Every photographer should own one.
After this look for a decent zoom, something up to around 200mm. There are a load of cheap lenses out there up to 300mm but believe me, image quality at 300mm is crap, don’t be swayed by it. I bought a Sigma 70-200mm f2.8 EX HSM, expensive yes at over £600 but I’ve never needed another big zoom since, it’s so good it does it all!
These 3 will be more than enough for most but you may also get the urge to add a wider lens at some point, a valuable addition to any landscape photographer’s camera bag. True macro Len’s are also popular, by true macro I mean 1:1 reproduction. Don’t be fooled by lens’s which have 1:2 or 1:3, these are general purpose lenses with a macro function, NOT a true macro lens. There is a massive difference, believe me.
You might also notice the huge array of filters available. I would recommend getting yourself a P series holder and some 85mm filters, starting with a set of ND and ND soft grad filters. These will fit any lens regardless of size as long as you get the adapter ring for each lens. Much more convenient that the screw in systems.
Above all, have fun with it. It won’t all be easy going, you’ll get days you look at what you took and delete the lot but stick with it, you get it in the end and every now and again you’ll get an image that actually excites you then you’ll understand why you do it!
For over 2 years now I’ve regularly used 2 photo sharing websites. The almighty Yahoo monster that is Flickr and the smaller Edinburgh based Blipfoto. To date I’m approaching 2000 uploads to Flickr and nearly 600 in Blipfoto. Both sites are heavily focused on the social networking theme but the main difference between the 2 is that you can only upload one single image a day to Blipfoto, and only on the day you take it making it more of a photo journal than Flickr.
So, why do I upload to both?
I get different things from both sites. Like I’ve already said, both sites could be termed as social networks. You have the ability to follow certain peoples uploads on both, add comments and favourites. Where the big difference lies though is that Flickr is very much a give to receive mentality. Comment regularly on others work on Flickr and in turn you’ll get a load of comments back yourself. This though, in my opinion, leads to sycophantic commenting by some who are just desperate to collect as many comments as possible on their work, genuine or not.
Blipfoto on the other hand is a very giving community. People comment because they like your photo, not because you drop by every day and leave a one word comment on theirs. Of course the give to receive thing does happen, you see some very average pics with stacks of comments but it’s not the norm, at least in my experience. It’s a more genuine, friendlier atmosphere on Blipfoto.
If your looking however to the more technical side of photography and a strive for the best images you can take then Flickr is the place for you. With so many uploads to Flickr of course it has it’s fair share of dross but cut through it and you will find a whole host of very talented individuals posting regularly and a lot of these are happy to share the settings, filters, techniques etc used to get the shots.
Blipfoto on the other hand suffers badly from the photograph anything brigade. It’s very nature of a photo a day leads people to photograph anything just to keep up their perfect tally of a photo every day. Looking at it’s front page of most recent uploads there’s less beautiful landscapes or creative images than there are quick snaps of peoples kids, cats, toilets or indeed anything that will let them post a pic with the minimum of effort. That’s not to say the photographic content is suffering as there are some incredible photos uploaded to Blip, you just have to look a bit harder to find them.
Another side effect, I’ve found, of this photo a day business is that it really does get you out taking pictures. Of course, some prefer to not leave the confines of their house and photograph the back grass growing in order to fulfil and upload but for me it gets me out and about nearly every night and as a consequence, I will happily credit Blipfoto as part of the overall package that makes we want to be a better photographer. I very rarely compromise by Blipfoto uploads these days, I won’t post and iPhone shot for the sake of it, I’d rather not upload so this actually does make me get up of my arse and get out with the camera. From my own journal on Blipfoto I can see that my own photos have massively improved since I first started to upload. Out practicing every night has to pay dividends in the end. Flickr doesn’t give you this drive and there’s no incentive to upload every day.
I won’t go into the features of both sites, suffice to say that if you subscribe to either you get access to a whole host of exclusive features that will just about satisfy anything you need from a photo site.
So, which do I prefer? Well, ask me this 2 years ago and the answer would have been Flickr without having to think about it. Now, after spending lots of time on both sites, watching them evolve, becoming immersed in their communities if I could have only one, it would be Blipfoto.
I strive to upload every day to Blipfoto and to upload as best an image as I can. Flickr now is largely an online depositary for my images. Comments on Blip tend to mean more to me that those on Flickr, I’ve been called an inspiration lately on Blipfoto; I’ve been told I photograph the same old crap on Flickr. See what I mean about the friendly thing? There’s no doubt that Flickr has opened more photographic opportunities for me and it’s where I go if I’m looking for ideas of locations, how to use particular filters etc but it’s just not got that feel good factor anymore.
If you’ve never tried Blipfoto, sign up a free account and give it a go, but please… try and resist photos of your kids, granny on the bog, your dinner, sunsets on your mobile phone but most of all… please don’t blip your cat!
What a week it’s been for the old sunset shots! It also helps that sunset is at a hospitable time at the moment too. Setting around 8.40 is much preferable to being out and about at the back of 10 or worse still, being sat in work watching the sun give a great visual display on the horizon!
My last post gave you whole tale of how I managed to get my favourite sunset shot of the year so far, but as I can see from my Flickr photostream, April tends to be a particularly good month for sunset shots around Edinburgh for some reason.
This was last night’s effort. The original plan had been to head down to the Cramond Island causeway, but since I’ve done that to death I headed down to West Shore Road instead to a spot further along the coast I spotted the other night which had a perfect view of the causeway, Cramond Island and the Forth Bridges behind.
To say this was a difficult shot to take would be an understatement. The sun was still high in the sky, actually just above the top of the shot. With the distance I switched to the Sigma 70-200mm f2.8 EX HSM for a bit of extra reach but actually expected it to give me horrible lens flares, which surprisingly, it didn’t. Once again, I framed up the shot with no filters, locked up the tripod and slipped on the now invaluable Heliopan ND3.0 10 stopper, the result was a pleasing enough shot with a nice gentle orange glow in the sky but it left the water a touch dull.
To combat this I slipped on the adapter ring and filter holder and slipped in the sunset filter. With this in place I could stretch the exposure out to a full 60s, after a couple of goes at setting the grad this was the final result. It took a fair bit of post process if I’m honest as shooting into the sun had brought out every single dust mark on the sunset filter, of which there were many! There was also a bit of flare I’m managed to just about eridacate with a little dodge and burn. If I were to try this again I think I’d try shading the filters to try and get rid of the flare from the shot in the first place.
The night before though also produced a surprise shot for me. With the position of the sun and ideally wanting to get it over water the Western Harbour at the back of Ocean Terminal is a great spot. The obvious shot is the old pier with the Gormley statue at the end of it, but the flats at the other side of the harbour make for a good shot too, especially if the water is still.
However, it was the pier that produced the goods. I’ve shot this before on long exposure and had a lot of issues with light bouncing back into the lens from the filters and I finally figured out why. At this location there is a shiny bare metal fence which I sit the tripod up against to get the shot, the light has been bouncing off the metal and back up into the bottom of the filters and I effectively get a reflection of the inside of the lens on the shot, just putting an arm along the fence was enough to get rid of this totally, amazing what you can figure out.
Again with this shot, I set up the shot without the 10 stopper in place, played with the filters to see which combination worked best and then screwed in the ND3.0 and slipped the other filters back on top. In this case, I’ve used the ND3.0, circular polariser, ND0.9 soft grad and sunset grad filter on a 3 minute exposure to get the colour and effect on the water. The sun was still in the sky off up to the left of this shot.
That’s the more recent shots but like I already said, April is a good month for sunsets so here’s some of the month’s other highlights!
It’s not often I drop a new blog post about a single shot but I liked this one so much I thought it worthy of a little write up.
As you will see if you follow back my recent posts I’ve been experimenting with long exposure photography over the last few weeks, in fact, it’s becoming more of an obsession than an experiment.
What I have had bother with though, is getting decent colour into shots, hence why my Flickr Photostream has gone rather monotone of late. Stacking those Hitech ND soft grads is just a sure-fire route to a purple colour cast on the D90, which is pretty undesirable to say the least. However, last night everything just fell nicely into place and I ended up with, what has to be, may favourite shot of the year so far.
The original plan had been to catch the sunset at Longniddry over the rocks but other things I had to do put paid to that and I would have only made Longniddry just before the sun went down which would have been ok if I was more familiar with the location. As I’m not I diverted back up the Edinburgh coast with the intent to catch the sunset over the Western Harbour. However, since the shows are at Ocean Terminal just now and the place was overran with walking JD sports adverts with attitudes I headed for the more peaceful refuge of Newhaven Harbour instead.
I really didn’t want to be at Newhaven having really photographed the place to death over the last few weeks. Its easy location and multiple shot possibilities make it and attractive location but it’s fast becoming my new Colton Hill, somewhere I’ve visited so often I get bored of it.
With the sun setting though, it was Newhaven or nothing and apart from anything else, at this time of year bar the Forth Bridges, it’s probably the best sunset location in Edinburgh. Sunset was still about 25 minutes away when I got there so I originally setup with the Sigma 10-20mm on the D90 and took a few tester shots using the grads and polariser but no 10 stopper. 10 stoppers are only any good in harbours if the tide is out, with it in boats tend to bob about and blurred boats do not good pictures make.
With the sun and the available light dropping fast I moved position to put the sun behind the lighthouse to avoid any lens flares and replaced the ultra wide with the Sigma 70-200mm f2.8 EX HSM, my absolute favourite lens. This let me frame the lighthouse and harbour wall nicely but avoid any boats in the shot. I then added the 77m filter ring and slipped in the polariser, ND 0.9 soft grad and tried a few test shots. I also experimented with a light tobacco grad and sunset filter but it was the red grad, a filter I’ve never used as I hated the results that was producing the goods. With the grads set properly, I locked the tripod securely and removed the filter holder and put it down on the camera bag careful making sure the grads didn’t move. I removed the 77mm ring and fitted the Heliopan 77mm ND3.0 10 stopper, fitted the 77mm ring to that and carefully slotted in the holder with the grads. I had to do it this was as with the 10 stopper fitted there was no way to line up the red grad on the horizon as you can’t see anything.
With light fading fast I upped the ISO to 200 and opened the aperture up to f8 and went for a 2 minute exposure which was ok but the red was too intense. I tried again upping the exposure to 3 minutes which turned out perfect.
As far as post process work went, there wasn’t a lot to do, the pleasures of getting it more or less right in camera. I created a new adjustment layer and increased the exposure to lighten the inside harbour walls and bring out some detail. I then erased all but the harbour walls from the layer. I then added a new photo filter layer to intensify the colour in the water, other than that, that’s about all I had to do with this one. Thankfully the sensor clean I attempted the day before must have been spot on as there was nothing needed cloned out at all. A welcome surprise.
So here it is the final product and most certainly my favourite shot of the year, so far…
Well, I finally got my hands on a 10 stop filter. Not the B+W I had originally hoped to get, they seem to be rather hard to get hold of just now in the UK, but a Heliopan ND3.0. After a little bit of research it seems that this filter is rated as highly as the B+W so when TeamworkPhoto on Ebay put a stack up for sale at a slightly lower price than the B+W versions a sale was inevitable. At a touch under £100 for a 77mm version it might seem expensive for a little bit of round glass but it’s when you start to use these things you can see the quality and exactly what your paying for.
This particular filter is the slim version so it fits nicely onto my Sigma 10-20mm lens and I can attached the 77mm p series adapter ring to it to allow me to use the CPL and grads easily too. The lens is usable at around 12mm upwards otherwise you do start to photograph the edges of the filter holder, which isn’t too bad as even without the 10 stop in place you get this same effect at around 11.5mm so no great hardship there.
First thing I noticed and it’s fairly obvious really, you simply cannot see a thing through this filter. It’s that dark. Hold it into very bright light, i.e. into the sun and you could just about compose a shot but with grads and a CPL in place as well, not a hope. This means the shot has to be composed on the tripod (obviously); the head locked in place and then carefully fit the 10 stopper and slip the filter holder with the grads on. Bit fiddly but you won’t be taking that many shots with this arrangement in place since you’re likely to be playing around in the 3 minutes exposure mark.
This was the first attempt with the 10 stopper. Taken on Calton Hill in Edinburgh, just the 10 stop and CPL in place. VERY bright light, around 5pm with a clear blue sky and, unusually for Scotland, a nice bright sun. 3 minute exposure and it’s nicely done the trick I wanted and got rid of all the tourists walking about in front of the monument, which was sheer luck not of them stood still long enough to get into the shot.
I did have another attempt later the same day at Newhaven Harbour and got some cracking results but the sea was rough, the wind was terrible and the grads were picking up spray all over and the shots were frankly unusable as a result. Lesson learned there.
Next night out was the Forth Bridges. A very familiar subject so a good place to test the filter out. I started around 7.20pm, approx an hour before sunset with the tide coming in and the sun still quite high above the Road Bridge. It seemed pointless to go shooting into the sun so I took a shot of the rail bridge with the rocks in the foreground getting covered by the incoming tide. This was a 4 minute exposure with the CPL and Hitech 0.6 ND soft grad. Very impressed at the lack of colour cast from the grad with the 10 stopper, at least if your not looking into the sun with it.
As the sun went further down I moved to the other side of the rail bridge to get the sunset with both bridges in the shot. A popular spot for photographers and sadly, the ned element of South Queensferry too it seems.
This was the last of my 10 stop shots for the night as exposure times were getting way too long with the decreasing light. This was a 331s exposure with the 10 stopper, CPL, ND0.6 soft grad and a light tobacco grad, ISO200 f11.
I have to say I’m enjoying the learning process with this new filter although my usual hit and miss method of calculating exposure times is going to get very tiring very fast. To that ends I’ve found an iPhone app called Long Time that does the calculation for you which I’ll give a trial of next time I’m out which will hopefully see the end of hit and miss results guessing exposure times.
I’ve got a new obsession.
Actually, it’s an old one rekindled and it comes in the form of the Hipstamatic app for the iPhone. A better £1.19 you couldn’t hope to spend. Digital photography has never looked so analogue is their strapline and it’s true. The easiest way to try and describe it is to look at it as some sort of lomography affair. You get the light leaks, the vignettes, the odd colourings etc and that’s the appeal. As a Holga owner this is far easier and more convenient that getting all that 120 format film developed. Obviously, it’s not proper lomo but it’s a whole lot of fun to use.
I rediscovered the pleasures of Hipstamatic after my recent interest in long exposure photography. What do you do when you’re waiting for a 3 minute exposure to end? You rattle off some Hipstamatic shots of the same subject, that’s what! It’s perfect. I even started photographing my D90 on the tripod doing the long exposure.
in fact, I’m having so much fun with this app I’ve started to take the Hipstamatic shots and then upload them using the Flickit App to my Flickr account, which also posts to Twitter with a link to the shot. Great fun as I can do it while I’m out and about rather than having to wait till I get home.
I used to use Hipstamatic to photograph everyday situations a new way, i.e. mundane scenes in an unusual style but now I’ve tried applying it to the sort of scene I’m photographing with the D90 it’s opened up a whole new set of uses and it’s nice to see some instant different takes on a scene.
So far I’ve used it at…
The point I’m trying to get to here, is that it’s a great compliment to my usual photography. What Hipstamatic does is what no other iPhone photography app does, it makes taking photos with a mobile phone fun and interesting. Your not looking for that meag quality shot, just something quick and interesting and it ticks both those boxes many times over. Besides… it doesn’t half fill in the gaps between those 3 minute exposures!
If you follow this blog you’ll know I’ve recent found myself caught in the grip of long exposure photography. Something I’ve done in the past with mixed results, but with methodical use of my range of filters I’ve discovered a lot this past couple of weeks. I still feel I’m being constrained slightly by the equipment but learning a lot and getting some images I’m very happy with as a result.
Keep the filters clean!
This was a lesson learned the hard way. I’d never cleaned any of my slot-in filters since I got them back in September. Screw in’s for some reason Iim happy to wipe down with whatever’s at hand, but I’ve been overly precious about the slot in filters. Which became very evident after a trip out and then finding I had to clone out dozens of marks on the shots. All very well but sometimes it’s not that easy to get a smooth clone on streaky clouds etc, so best avoided.
To clean then I’ve been washing them gently under a warm tap, dabbing dry with kitchen roll and then finally cleaning carefully with a lint free cloth. Seems to work fine. You can see marks on all the filters but these don’t show up at all on the images, huge difference.
Be aware of the where sun is!
This is another one I’ve finally figured out. Some shots looked dreadful. Such a disappointment when you see the camera preview, get home and find all sorts of strange flares and marks all over the shot.
What I’ve found is that with the sun directly behind you it seems to hit the filters and bounce light back into the lens and highlights any marks on the filters. With the sun to the side and rear in some cases it causes the camera to actually record the front element of the lens on the shot as a reflection. Funnily enough, shooting near on into the sun, if you can avoid the flares seems to work fine? To this ends though I’ve taken to trying to shield the filters in some way from stray sunlight, fortunately, living in Scotland, it’s not that big an issue!
Wind is both your friend and enemy
After a night out with the camera on Friday it brought home just how good and how big a pain in the rear end wind can be. On the plus side, high winds ripple water nicely making those smooth milky sea shots a lot easier and it sends the clouds racing across your shot, also desirable. However… it also blows your tripod about all over the place, even a sturdy one. It’s worse still with a stack of rectangle filters in front of the lens giving it more to catch onto. I’ve seem me this week almost standing over the tripod trying to shield the camera from the wind. Nothing worse than a 3 minute exposure and you see the camera move just as you get near the end.
All these shots were taken in near gale force winds:
In bright conditions, lose a grad and use the polariser!
My P series filter kit gives me the option of using 3 filters in front of the lens and my screw in ND8, typically for these long exposure shots that means a Hitech ND0.9 soft grad and 0.6 soft grad. However, as I’ve discussed in previous posts, the ND0.9 causes a horrific purple colour cast.
What I found on Saturday though, was that in bright conditions with blue sky around, to replace the ND0.9 with the circular polariser and keep the 2 grads, still lets me push around 20-30s exposure in very bright conditions and keep some colour in the shot too as there is little or no cast. The polariser has the added benefit of darkening the sky and highlighting the clouds, even losing the 0.6ND and using the 0.9ND for B&W work with the polariser in place was very beneficial. So, use the polariser and experiment with your other filters in bright conditions.
All these shots were taken with the polariser in place:
Despite the best efforts of some strange foreign bloke to get in every shot, these were taken in Portobello beach with the polariser slotted in place instead of the ND0.6 soft grad.
I cannot recommend this enough; try different things you never know what you’ll get. This shot on Calton Hill was taken with the ND0.6 soft grad, ND0.9 soft grad and a sunset filter in place, not a particularly long exposure at 40s but I liked the resulting colours.
Finally, I’ll leave you with a couple of other long exposure mono shots from last nights trip to Cramond just as the tide was on its way out.
Above all though, I’m enjoying this learning curve a lot. I’ve already priced up how much a move to the Lee pro filter systems will be. At approx £550 for what I want, the saving starts now!
So… I’m still kind of obsessed with this long exposure monochrome photography thing. It’s a bit addictive once you’ve sussed it out. For me, going out every night with a camera isn’t out of the ordinary, my parallel addiction to blipfoto.com feeds that habit, but since getting into this long exposure stuff I can’t wait to get out and about. It’s like wiping my photography slate clean and I can go back and photograph everything I’ve photographed before in a new way.
What I have learned though, is that Formatt’s range of Hitech filters are NOT particularly good, something I found particularly evident with some experimentation tonight. Shooting with a very cheap screw in ND8 on the Sigma 10-20mm lens there is no colour casting at all. Add in a Hitech 0.9 and 0.6 ND soft grad, with this £5 screw in, no colour casting. Add in the Hitech 0.9ND and it all goes purple in the sky. Take out the ND8 and it’s all still purple.
Examine this logically. The ND8 gives a 4 stop reduction in light; the 0.9ND gives a 3 stop. The 2 grads give a 3 and 2 stop reductions, combined to 5. Now, with the screw in, that’s overall 4 stops reduction with a further 5 stops grad in the sky, no cast. With the ND0.9, that’s overall 3 stops with a further 5 in the sky, less than with the screw in and the colour cast is horrible. It doesn’t take Sherlock Holmes style power of deduction to realise it’s that Hitech 0.9 ND that’s spoiling this party for the colour shots! It’s got to go and I NEED a B+W ND110 and quickly. From what I see from other people with this filter, no casts! Poor show Formatt.
Anyway, tonight’s trip took in Newhaven Harbour, the Old Pier at the back of Ocean Terminal shopping centre at the Western Harbour and finally, a quick pit stop in the Dean Village for the Water of Leith. The 2 coastal stops were, shall we say, challenging. It was cold, blowing a gale and there were occasional spots of rain in the air. Despite this though, both Newhaven and the old pier gave some decent shots overall. I’ve photographed that old pier a few times now; finally I’ve got a shot I’m happy with.
Tried some new angles at Newhaven, thankfully the gate was open at the top here and I didn’t have to do any acrobatics over the fence…
The wind was so bad down here tonight you literally had to shield the tripod with your body to get a decent shot. Typical Scottish wind too, came from every angle and was bloody cold!
Quick trip inland to the Dean Village was the best option to escape the wind. It’s a great location this and the last twice I’ve visited here there was a film crew on the bank I wanted and the time before that the Water of Leith was in serious spate at the banks were under water. No so today and a few different angled shots of this great scene were had. I liked this one best, very low angle from the opposite bank from the one I wanted. Worked well and the 2 ducks that were following me about thankfully kept moving so didn’t appear in the shot!
I’ll leave you with a couple of other shots from the last few nights using this same technique.
And finally, a shot of the causeway at Cramond leading to Cramond Island, this was my breakthrough shot. I was down here doing a sunset and gave this a quick try before I left, best shot of the night!
Up until last September I was quite happy to grab the camera, a lens, usually with a polariser attached and go for a wander, snapping whatever took my fancy and then usually converting it to HDR. Then something happened… I discovered proper filters.
Now, I’d used filters, or more correctly, briefly filtered with some cheap screw in filters but to no great length, I had no real need as I was quite happy with what I was doing and the results I was getting. Then I started to take notice of some stuff on Flickr, those cream water seascapes and the likes and something kindled a new interest.
After some research, I decided not to go down the Lee filters route, yes, I know how good they are but being realistic, there was no way I could commit to the Lee system with the cost of the filters. I’m not a pro therefore didn’t feel I could justify the huge expense of these; it has to be said, very good filters.
Cokin was rejected after reading some horror stories about colour casts so I eventually bought myself a set of 0.3, 0.6 and 0.9 Hitech ND’s and a set of 0.3, 0.6 and 0.9 Hitch soft grads. Throw in a 67mm and 77mm adapter ring, holder, wide angle holder and a Kood slot in circular polariser and I was ready to experiment. Since then I’ve also added a Kood light tobacco grad, Kood red grad, Cokin 81A warm up filer and a cheapy ebay sunset filter. All in cost, less then the cost of 1 Lee filter. Nothing likes the quality but good enough for me to play around with on my D90.
First impression was this was going to be a huge learning curve. I got the dreaded colour casts while using the ND0.9 and ND0.9 soft grad and to be honest, I was ready to give up once I see that. BUT, I kept using them, mainly just a single grad and polariser and got some reasonable results. Steadily the grads especially became 2nd nature to use but something was missing, I wanted the flat sea and streaky cloud shots and these filters were just to giving me that.
Then, by chance I found an old ND8 screw in filter I had forgotten about, which being double threaded let me put the 77mm adapter ring on top of that, with the filter holder attached to the adapter ring, and the ND0.9, ND0.9 grad, ND0.6 grad in the holder I was able to push exposure times to 3 minutes and more in daylight, finally, the result I wanted without the expense of buying a B+W ND110 10 stop filter.
To be honest, it only works in B&W as the colour casts are horrible, but until I can get my hands on one of those B+W ND110’s then this do just fine for me. Very happy with the results.
Still got a lot of learning to do, I wish I had stacked 2 grads taking this shot but at least it gives me an excuse to go back and try again. Amazing what you can do with what you find lying about in the pits of the camera bag!
There’s nothing better than a special event to bring out the photographers in Edinburgh, even more so it seems if it’s a once every 20 years lunar event as we had on Saturday 19th March. The event in question, the Perigee Moon saw the moon at it’s closest to earth for 18 years meaning it would look 14% bigger and 30% brighter. Would we even notice? Who care’s it’s a photographable event and plans had to be made!
Last week after being in North Queensferry I had noticed the moon directly above the Rail Bridge so that was a possible location. Blackford Hill was another but it gets slightly cold up there if it’s windy. So, with the help of Twitter and The Photographers Ephemeris, I decided on Calton Hill. From the Photographers Ephemeris you could see the position and time of the moonrise, around 6.30pm and due East.
On arriving at Calton Hill the first thing that struck me was the amount of photographers already setup at 6pm with cameras on tripods facing the wrong direction! I can only assume one set up incorrectly and the rest followed as they had all moved by 6.30pm.
It was cold on the hillside on Saturday and as you would expect, half 6 came and went with no sign of the moon. Typically, the clear skies of earlier in the day had given way to heavy cloud cover, not what you want for moon photography. My efforts were further hampered by missing my Sigma 70-200mm f2.8 lens, which has to go for repair earlier in the day leaving me with just my backup Sigma 28-300mm zoom, nice enough lens but oh so soft on the focus at the 300mm end. With that in mind, moon shots were out but moon above a landmark might still work out.
Just when I was about to give up hope the first glimmers of an appearance were in the Eastern sky, at this point I was up at the side of Observatory house and this was the first shot I got of any sort of moon just to the side of the National monument:
Walking past the monument revealed where at the photographers had went; they were dotted everywhere around the hillside here. The moon however, was not in a mood to show itself and the only other shot I got was this:
Long exposure and moon shots don’t go but there wasn’t even a remote chance of shooting the land and then the moon to combine in Photoshop. Fed up and cold I packed up and headed off being that I wasn’t interested in getting the moon high in the sky. Typically, on the way back to the car with all the gear packed away the moon popped out, just for a minute.
Now, I hate not getting the shot I went for so the next night, the moon was due to rise at 8.15pm again, due east. On checking possible locations this time I went, appropriately, for the car park of the Royal Observatory on Blackford Hill. You don’t want to be parking in the public car park up here at night unless dogging is your thing…
Predictably, 8.15 came and went and it was nearly 20 minutes later till the first glow in the clouds gave away moon position. Higher than I’d have liked I started to get some exposures of the land hoping if the cloud cleared I’d get a change of an exposure for the moon to combine in. After another 20 minutes of hanging about, finally the clouds obliged. 2 shots were got, first of the moon then without moving the camera a longer exposure for the land. This was the final result of the 2 combined with Photoshop CS5.
Not quite the weekend of lunar photography I’d hoped for and 18 years to wait for it to happen again.
Or fake it?
Processing this shot last night I thought an added moon gave it a nice balance!
Not that dissimilar to another faked shot from a couple of months back:
Lesson to be learned? You can’t control the elements so if you really want the shot, learn to fake it! ;o)
When the Forth Road Bridge Twitter stream tells you there’s a speed restriction on the bridge because of fog, what’s the first thing you should do as an Edinburgh photographer? Check the road bridge webcam of course! Which I did and it confirmed what I’ve been looking for now for a while, the fog was heavy enough to obscure the opposite bank, meaning that the elusive bridge disappearing into the fog shot I’ve been after might be possible.
Heading to North Queensferry just after work seemed like the best plan, get in underneath the bridge and get “that” shot. In the event, the good people of Fife had other ideas and in their scramble to get home the bridge was chockers with traffic. Plan B swung into action as the sunset was approaching and a path was blazed down to South Queensferry instead.
If you drive in past the rail bridge there’s a spot with some parking and you can get down to the beach at low tide. Perfect spot and the fog was also perfect, more on the North side of the water it was low and thick. It obviously drew out the photographers as there were loads of them about.
Highlight of the night down here wasn’t the fog, or the bridge or anything even related to why I was there; nope it was watching the Rover 25 slide off the road, down the slope and end up at a 45 degree angle against the sea wall. Any thoughts of offering help went out the window when the driver stormed out the car shouting at the other occupants to move it as “a cannae be here…”, intrigue indeed.
Anyway, back to the photography.
Sun was setting and I went to work with the filters, what was apparent though was that the fog was getting worse. With the last of the decent light I got some shots off but just as we were looking for the sunset the fog went all pea souper on us and blocked out the last of the golden tones.
Still, I did get this shot before it closed in…
By this point light was fading fast and the fog was so thick options were getting limited. Took some shots with the Nikon 18-70mm to let me zoom out past the rocks and also tried out the Sigma 70-200mm f2.8 EX HSM to get close in and get some detail.
And the detail shot at 200mm from the beach:
With the light going fast a change of location seemed like a good idea so moved up to the Binks car park and headed down to the beach at the side of the little harbour. Now, this is normally a pretty good location but with the tide right out it wasn’t the best tonight so after a few shots abandoned here and headed over the bridge to the North Queensferry side.
Driving over the bridge the thickness of the fog was apparent, nearer the north bank you could hardly see 20ft in front of you but as soon as you cleared the water the fog thinned right out.
When you come into North Queensferry if you go right at the first junction you come to you’ll head towards the bottom of the road bridge. You can park up near the houses and there is a little gap in the low wall leading to a grassy area that leads to a fantastic spot to get shots of the underside of the road bridge.
I was kind of glad I didn’t get here till the twilight was setting in as the lights were on on the bridge and and casting a sort of eerie glow in the fog. I’d only taken the Sigma 10-20mm with me and to be honest, this lens doesn’t perform well from the side of the bridge; the wide angle distortion is VERY obvious. The Nikon 18-70mm lens would have been a better choice.
Undeterred, the one spot this lens does work well in directly under the bridge, not somewhere your really supposed to be so nipped in and out quick, got the shot and headed out. Glad I did as this was the result…
Finished the night off round at the harbour and by the side of the rail bridge getting some shots of the lights in the fog, which I’ll process later.
All in all, a 3 hour night on the camera with some fairly satisfying results and very glad to finally have got the Bridges fog shots at last, another one ticked off the list. Not that I won’t be back for the next bout of fog as well…
So last nights outing was a last minute run into St Giles Cathedral on the Royal Mile. I literally got 10 minutes to get a few shots so working quick was the order of the night. St Giles is handy for a quick few shots as you can usually get parked pretty close, at night at least, and it’s generally a lot quieter than it is during the day.
The plan for the night was some low down shots with the extra wide Sigma 10-20mm lens on to capture some nice damp cobbles as foreground interest. In the event, amazingly after the snow and rain we’ve had in Edinburgh over the last few days the ground had all but dried up by the time I got there. Still, once your there make the most of it!
Like I’ve said, the Sigma 10-20mm lens was on the D90, tripod was set to it’s lowest and as it was dark, no filters at all on the lens. Shooting down low with the D90 isn’t the easiest, it’s one of those times you wish it had the D5000 flip out screen, not that live view is a lot of use at night but at least it’s better than having to practically lie down on the damp ground to compose a shot.
In the spirit of experimentation I went for ISO200, f10 and shot bracketed exposures so I had the option of HDR should I want it. This meant the last overexposed shot maxxed out at 30s but it’s usually fine for HDR work.
This was the first shot of the night, taken from the left hand side of the Cathedral next to the, thankfully no spat on, Heart of Midlothian. Why do people spit on it? Football nonsense no doubt.
Happy enough with this HDR version of the shot, just wish that Arnold Clark hire van on the right had moved off!
From here I moved over to the other side of Parliament Square and managed to get a nice wide angle, again with the tripod low and managing to avoid the van this time. Not an HDR conversion but looked so much better as a monochrome.
This was processed from the RAW file using an Adobe Camera Raw preset for high key B&W. It’s handy to have some presets in ACR, for those times you just don’t want to spend ages processing shots. There’s loads of sites out there to download them from an you’d be surprised at just what you can do with some of them.
So, that was about it for the night apart from a few last shots of the stature and Cathedral together with the tripod fully extended that I didn’t care for in the end.
Hopefully the crap weather is on its way out again, getting fed up doing night shots now this winter!
Lets be honest, this is Edinburgh, a wee bit of snow in mid-March isn’t that unusual, what was through was the amount the weather forecast said we were going to get, anything up to foot of the white stuff. Now, having had well over a foot of snow back in November/December I had kind of mixed feelings about this. On one hand it’s a major pain in the back end especially now I don’t have the luxury of a 4WD car now, but on the other hand, it’s a rare photographic opportunity. I wish I had made more of it when I had the chance back in November but when every day was a struggle to even get the car out the drive the focus was somewhat elsewhere!
In the end, this major snow event was kind of disappointing. Edinburgh got an inch or so of slushy stuff. Not quite what I’d hoped for. Undeterred, I made my way down to Calton Hill, yet again. I know I photograph this place far too much but what the hell, it’s an amazing view and it’s a good spot to walk the dog at the same time. With different weather conditions it was also another chance to go the “classic” Edinburgh shot from the hill slightly different again.
I probably should have got there earlier as when I did about 1pm the snow was melting fast, so much in face that there were torrents of water running down the steps up the hill. On the hill itself, there was still some slushy stuff on the ground but the city rooftops were largely clearing fast. There was also a little fog on the top of the Crags so if nothing else, that might have made a decent shot.
Light was very flat and with a drizzle in the air using the filters was always going to be a hiding to nothing so again opted to shoot for HDR. The fog on Arthur’s Seat thickened up and it made for a little atmosphere over the city but nothing to get excited about.
Half an hour later, getting bored, wet and cold and facing dealing with a soaking wet dog I was about to call it a day when the fog started to roll in. And what a fog it was. Within minutes the Castle was totally obliterated and even the Balmoral Clock was starting to disappear. As I was at the front of the hill I headed back up to the side of the Observatory house to get “that shot” again, in a way I’ve not managed to get before.
And a closer view:
Within 15 minutes the entire city centre was hidden below the fog and it was starting to thicken up on the hillside too.
By this point there was not a lot of reason to hang around, the lens was getting wet and basically you couldn’t see anything!
Pleased with the shots though, something a bit different in an often photographed place which is always a good thing. Sadly, my next stop at the Forth Bridges was a washout, no fog to speak off down there. One day, I’ll get that shot of the Bridges disappearing into the fog! It’s eluded me so far but I’ll be back for it one day!
Ok, so first of a new blog posting type for me that should get me blogging more regularly. I’m going to start and document some of my photographic trips out around the city, which as I’m out most night should be hopefully fairly regular and with any luck give a more in depth insight into photographing Edinburgh.
I’m going to start off with a trip I made up to Calton Hill on Thursday 10th March. So if you’re all sitting comfortably?
Thursday had been a belter of a day weather wise. Sat at work during the day we’d gone from sunshine and blue sky to torrential rain, hail and sleet on and off all day, thanks mainly to the gale force winds. With all this in mind, plans were hatched for a trip to Calton Hill for long exposure streaky cloud shots after work.
As usual with the best laid plans I got held up and didn’t even leave the house to head down to the hill until nearly 5.25, not the best with at least a 20 minute drive through the city centre at rush hour and sunset due at 6.05. This time of year is one of the last chances to get a sunset over the Castle as the sun starts to set to far to the right and sunset over the St James Centre isn’t as quite as attractive a proposition.
Arriving at Calton at nearly 5.50 thanks to a dittering woman driving in front of me for most of the way I was thankful I’d sorted out what gear I’d use on the night before I left the house so rather than take everything I left only what I needed in the Lowepro mini trekker to save on weight which I was thankful for after heading up the hill at high speed.
Sadly, once I got the top, the fantastic sunset that was happening as I left the house was now hidden behind a massive black cloud and the rain was starting. Undeterred, I got myself up at the side of the Observatory House and slotted in the CPL, Hitech 0.9ND and Hitech 0.6ND soft grad and tried some longer exposure stuff. I was getting about 40s as the light was fading fast but it soon became very obvious that there was no hope of keeping the tripod still enough for very long exposures in the wind, which by this time was picking up big time.
So, in this situation what to do? Wasted trip or make the most of it? In an effort to make the most of it I took at the filters off which were picking up rain spots anyway, fitted the lenshood and set to aperture to around f10 which with no filtration was giving me a fairly quick shutter on ISO200. 3 shot HDR was going to be the order of the night. Not that bad an option too looking at the epic skies over the city.
This was one of the earlier shots from the night, a 3 shot HDR conversion, camera set at f10, ISO200 on aperture priority. No filters and auto bracketing set at 3 shots -2,0 and +2ev. Thankfully the rain was staying off and it was much easier to clean the odd drop off the Nikon 18-70mm lens rather than the filters. By this point I had abandoned the Sigma 10-20mm and the wide distortion was starting to annoy me.
From here I wandered around the Observatory, took a few shots of the National Monument and thought about packing up for the night. I was after 6.30 and it was shall we say, “brass monkey” weather up on the hillside.
However… as I rounded the corner looking back towards the city the clouds had started to move over and there was the tail end of a sunset peeking through. An unexpected bonus indeed. The only problem was that the wind was getting worse and the light was dropping fast so the longest exposure of the HDR 3 was going to be around the 30s mark. Thankfully though, I got a little sheltered spot just to the side of the Observatory house that kept me out of the worst of the wind and this was the results!
These were about the last 2 shots of the night and I’m well chuffed with the results, it paid to tough out the conditions for a bit. Doesn’t always pay off but as long as the rain stayed off you can always warm up again later can’t you?
I’d say for this particular location it’s always well worth waiting till after sunset a bit, once the lights come on over the city it makes for a fantastic image, especially at twilight more than the proper dark of night.
Only thing I will say is that don’t do it on a weekend night, Calton is safe enough to be on after dark but with the added threat of drunken wee arseholes a lot higher at the weekend I’d say keep yourself and your expensive camera gear clear of the hill after dark then. Otherwise I’ve been up there a few times over the last year after dark and never had a problem, it’s mainly joggers and other photographers you’re likely to bump into!
I’ve finally got around to processing more of the images from that night so without further ado…