I honestly thought I would use nothing other than Nikon cameras. I’d been through a few in my time first as a rally photographer and lately, as a urban/landscape photographer. Over the years the D70, D90, D5200, D7000, D7100, D600, D750, D800 and D4 have all at one time or another been the camera of choice and I’ve had great experiences with them all as well.
As you’d expect, I built up a fair collection of Nikon fit lenses to go with this little lot so switching systems was something I just couldn’t envisage. I had a brief flirtation with both the Sony FX mirrorless range and a few Fuji cameras as well but it never stuck, I always went back to the Nikon gear, but there was something about the Fuji that kept nagging at me…
You’d think after having already had a X100s, X100t, X-E2 and X-T1 and eventually sold them all on, I’d have ticked Fuji off the list but no, there was something about them I just couldn’t quite get out of my system.
I lasted another 6 months and then started looking seriously at Fuji kit again. My reasoning being that I hadn’t gave it a proper chance before, I had always compromised and never had a equal lens lineup to the Nikons. By this time I was carrying around a Nikon D4, 70-200mm, 24-70mm, 18-35mm and more often than not, the big Tamron 150-600mm. The weight of the kit was started to become back breaking and I started to get problems with my shoulders that seen me in near constant pain.
This time I didn’t go into the Fuji kit by halves, I reckoned I needed enough so I wasn’t constantly turning back to the Nikon kit so bought a Fuji X-T1, 16-55mm f2.8, 10-24mm and 55-200mm. I wasn’t plugging the big zoom gap that I liked to use so much for my landscapes but for now, this was enough. I also opted to keep my old Sigma 105mm macro and use that with the X-T1 via a Fuji to Nikon adapter. I always used manual focus for macro anyway so wasn’t a huge deal.
This time it stuck. For as good as the next year, I shot nothing but Fuji only making a brief trip back to Nikon land twice to my D800 and felt the Fuji results better both times. This was the revelation I was wanting. The kit weight was a fraction of the Nikons and image quality, where it mattered was every bit as good. I missed the high ISO and blistering shutter of the D4 but for 95% of the stuff I did, Fuji worked and worked perfectly.
Over the next year I added a Fuji X-Pro2 which was a huge step up over an X-T1 which I eventually traded for an old Fuji X100s. Next to come up was the Fuji X-T2 which quite frankly is possibly the perfect camera. Into this little mix also came an X30 for travel use and while not an X series, I also added a Neo 90 Instax.
Lens wise, I kept what I had but have added the 50-140mm f2.8, 100-400mm and 2x tele. Even with this lot in the bag, it’s still lighter than the Nikon kit was! My usual carry around kit is the X-T2, 10-24, 16-55, 50-140 and 2x tele. If I need it, I’ll put the 100-400 in there as well.
And… here’s where the biggest change comes in. I’ve started doing something that I hadn’t done for years, street photography. The Fuji’s somehow cry out for it? I’ve been back to taking walks with only the X100s in the centre of Edinburgh at night, the camera set on auto ISO (200-6400), f2, min shutter of 1/60th and the Mono film simulation mode. It’s been a revelation and for me NOT to shoot in RAW is unheard of but I’m so pleased with the JPEGs coming from the Fuji’s I don’t really need to.
The X-T2 has also had some good outings. It’s been quite liberating to just take the X-T2, 16-55mm and a spare battery and just wander off to see what I find, freed up from the shackles of a kit bag, being forced to think in other ways without the luxury of a suite of lenses. It’s been inspiring and sparked a creative bug that was fading up until now. I use much the same settings with the X-T2 (and X-Pro2) but love using Classic Chrome when I shoot these.
What started out as a weight saving exercise transformed the way I take pictures now. I still have a highly capable landscape setup when I need it but I also have versatility in a manageable package, something I was lacking with large full frame cameras. Having shot full frame for a few years I had zero hesitation in going back to an APS-C sensor, it didn’t even cross my mind to be fair. Full frame isn’t the be all end all of photography, what it is though putting yourself in an expensive upgrade route and committing to large and bulky kit. I don’t miss using full frame one little bit.
So where now? Next plan is to add some primes to the lens collection, probably the 14mm, 23mm, 35mm and the 60mm first and maybe, just maybe I’ll set about trying to acquire a X-100F as well. Whatever happens though, I’ll be sticking with Fuji for the foreseeable future and my advice to anyone thinking about doing similar? Do it, but do it right and you will love it!
We’re just a few hours away from the biggest firework display Edinburgh, the capital city of fireworks puts on every year. Yes, I know it’s short and the end of Festival ones are a good 40 minutes long but the festival ones are largely naff, the midnight display though is a belter. BUT, where to watch or photograph it? I’ve had the pleasure of photographing this a few times over the years so here’s a run down of what to expect at some of the better vantage points.
Are you mad? Crammed in with 80,000 “revellers”? The view will be incredible and in windy conditions you are better closer in but you’d toil to use a tripod of any kind. Will be great to view but unless you want to shoot high ISO and handheld I’d be looking elsewhere.
No doubt, Calton has a view and a half AND you’ll also see the light and laser show on the castle rock but it’ll be busy, very very busy. There’s also building work going on up Calton that takes away some of the prime spots for photographs and large parts of the hill will be sectioned off, especially if there’s any fireworks going up from Calton as well. Photographing the festival fireworks from up here usually means you will be part of a mass of tripods all clamoring for the best view. If you have the patience to deal with it, you will get some great shots. The thing to watch out for is the fireworks smoke, it’ll drift towards the Calton direction tonight so get shots as soon as they start as you might be in the smoke as the display progresses.
Hundreds of potential viewpoints but the park will be shut so it’ll be a long walk no matter where you go, you’ll also get the full force of the wind tonight. That said, if you get high enough the pics will be fantastic.
You won’t see the light and laser show as it’ll be on the other side but it’s a good location to watch the fireworks. It doesn’t get too busy at New Year either. If you head here, presuming you are in the main car park, head up the path until you get to the first grit bin, take a right here until you get to the view of the Castle, there are 2 benches here, to the left and right. There’s a path in front that curves off to the left towards another bench, follow that path past the bench until you get to a bit with a clear view to the Castle. You get some decent shelter here from west winds so it’s a decent place for photographs, you’ll need at least a 200mm lens, preferably more.
Of all the places I’ve taken pics over the years, this was one of the worst. The view is great, you’ll also see some of the light and laser show but hands down, this was the worst place I’ve tried to take pics. Setup well before the fireworks in the 10 minutes leading up to midnight the place will fill up with mostly very posh drunk people, nightmare scenario. If you do, setup on the slope lower down, you might get lucky but don’t even attempt it up by the tree line.
Great view, great place to take pics but horrible atmosphere. Last time I was there it was heaving, lots of aggressive drunks, random fireworks being let off. Hated it but the pics were good.
At the end of Carrington Road looking over the rugby pitch of Fettes Police station there’s a decent view to the Castle. It’ll be quiet too, worth considering. You won’t see the laser or light show but a no nonsense location if ever there was one.
You’ll see everything, including Ariel shots, the light and laser show, everything. It’s warm and inviting and where I’ll be tonight!
Where ever you end up, enjoy it, stay safe and have a happy new year!
A photographer living in Edinburgh has, shall we say, a good few opportunities at fireworks photography. With 22 Tattoo performances each with fireworks at the end of the performance, St Andrews Day, Son Et Lumerie, New Year and of course the huge 45 minute end of Festival display we’re somewhat spoiled for choice. We even had fireworks at midday at Edinburgh Castle this year, a strange experience if I’m honest!
So, how do you go about getting the best from all these opportunities?
What I’m going to detail here is my method for these shots, this is how I’ve taken the shots below. It might not be how everyone else does it but it sure does the job for me.
So what do you need? A camera certainly, a DSLR is best but any camera that you can control the aperture and exposure time will work, we’ll be in full manual mode for this. You also MUST be tripod mounted and using a remote control. If you don’t have a remote and your camera has a self timer set it to the lowest setting (typically 2s) and use that. It’s far from perfect but can be used if you have to.
Next job up is planning. This is essential and the key to getting the best shots. Think about where your display is going to be and what vantage points you might have. This year for the Tattoo in Edinburgh I’ve been out in a range of places. Calton Hill, Salisbury Crags, the lower slopes of Arthur’s Seat and right under the Castle in Johnstone Terrace. Each of these requires a different approach which must be planned for.
Calton requires a long lens but a shorter zoom can also be handy, Salisbury Crags is similar. The lower slopes of Arthur’s Seat only need the long lens as your so far out from the Castle. Johnstone Terrace meanwhile called for a super wide lens as you can get so close to the action. This is what you need to think about before you head off. Also think about access to the location, how easy is it? Can you get a car in there or will you have to walk?
Think about the light, will it be totally dark? You’d assume so but the early performance of the Tattoo on a Saturday night finishes at 9pm and it’s still fairly light in which case you’d be best of facing away from the sunset for the shots where the sky will be darker.
Do your research, there will be stacks of info on the net about times of fireworks etc, make sure you know when to expect them and get setup in plenty time. Search sites like Flickr for pointers on locations, you might find a great place you never thought about.
This is the hard part really but once you have this info getting the actual shots will be a hundred times easier. Performances like the Tattoo fireworks have an additional advantage in that they are the same every night. You can learn the sequence of the bursts and prepare for particular bursts you know are coming.
Once you’re at the location get your camera tripod mounted and your remote hooked up. Decide what composition you want to use, remembering that the fireworks themselves will be high above where they will launch from, in a lot of cases a portrait orientation works best for the bigger bursts, landscape for the lower bursts.
Do make sure you have some context to your shots. Get some land interest in them. It gives the fireworks a sense of scale and it will really improve the final image. In my case this is nearly always Edinburgh Castle so it’s easy to work with. I take test shots before the display starts where I make sure the Castle isn’t overexposed and there’s enough light coming in from the ground to show the city.
I like to use in nearly all cases, ISO400, f7.1 and an exposure time of around 1s. You can adjust this to get a nicely balanced image. ie, if the ground in your shot is too dark, go up to f5.6, if it’s too light, drop down to f11 or more. Ideally you want to keep that 1 to 1.6s exposure. The further away you are the longer you can chance but at close quarters 1s is more than enough to get big trails and minimise the chance of burning out the fireworks.
With the camera set up, the test shots taken, the image looking nicely balanced is all about hitting that shutter at the right time now. Don’t just rattle off shots, watch the display and hit that shutter when you see a nice trail develop. You’ll get a good few shots at it and on the longer displays time to play about with settings. Just don’t panic, keep watching the display and hit the shutter when you think it’s right.
Take loads of shots. You’re dealing with a real unknown in fireworks, the more shots you have the more chance you have of that one killer image. Simple as.
When it comes to processing fireworks shots you have to be careful with them. If you shoot in jpg there’s not a lot you can do but if you shoot in RAW make use of the fill light to bring out the land element and use the recovery slider to take out any burnt out areas as much as possible. Pay attention to the curves too but above all don’t lighten the image too much.
Fireworks are not the easiest of subjects to get right but following these guidelines should put you on the right path, the rest is up to you!
Virgin Money Fireworks Display, 1st September 2013
This is the big Edinburgh display and here’s a run down of locations you might want to consider.
Calton Hill – Iconic views but really really busy. In my opinion, best avoided.
Arthur’s Seat – Incredible view from the top, take a long lens. The lower slopes have some good vantage points too, long lens again.
Salisbury Crags – Incredible viewpoint, big and medium zoom’s work well. Can be busy.
Blackford Hill – Stick to the lower slopes near the observatory, more sheltered and away from the idiots who seem to always be at the top of fireworks night. Get’s busy and limited parking but a great flat on view. Big zoom needed.
Inverleith Park – Great view of the front of the castle flat on but gets very busy again.
Princes Street – Forget it. Simply not worth it.
Johnstone Terrace – Can be spectacular but only the biggest fireworks will be in view. Very wide lens works best.
Braid Hill Drive, get’s very busy, need to be there very early better off at Blackford Hill. Ditto Braid Hills.
Regents Road – Will be busy but nice scenic view over the top of Waverley if you can get a spot.
Grassmarket – Will be busy and probably plenty drunks too. Good view though.
Kier Street, great view to the castle from here, very close so wide to medium zoom will be enough.
Bruntsfield Links – Great spot, very close a wide lens to medium zoom is best. Can be very busy.
Here’s a few of mine from the Tattoo this year.
Well, it’s been quite a while since I last blogged hasn’t it? Not quite sure how that happened, I’m guessing the whole Facebook page has just got in the way, and if you’ve never seen it, my day to day stuff can be seen on Facebook here: http://www.facebook.com/realedinburgh
Anyway, a subject I’ve blogged on before was about never being afraid to take the same photograph twice, three times or how many times you want to take it. You can re-create a composition but you will never recreate an image. What might be a mediocre image one night might be that killer shot the next. Never let anyone tell you “oh you photograph the same stuff all the time”. As a photographer you capture light and that light is never the same.
Another advantage of revisiting was clear to me this week when I made a 2nd trip to catch the fireworks at Edinburgh Castle which mark the end of the nightly Military Tattoo performance. My first attempt at the early show on Saturday wasn’t great as it was still simply too light so another mid week visit was in order when the show finished around 90 minutes later.
Wednesday night was that night. Warm with reasonably still conditions which were perfect. Heavy rain forecast but fingers crossed it would stay away till the fireworks had finished at least. If I’m honest, when I left the house at 9.30pm I had little enthusiasm for driving into town and hiking up Calton Hill in the dark with a bag full of camera gear after a long day at work but the sight of Edinburgh Castle from the outskirts of town all lit up and standing out like a sore thumb had me inspired enough to get going!
Calton Hill has a somewhat unsavoury reputation at night but at this time of year it’s filled with tourists in the dark and the front end of the hill isn’t particularly dark either. If you’re hesitant about going up there, don’t be, you’ll be only one of a few photographers up there more than likely but stick to the front of hill where it’s well lit and you’ll be fine and the views of the city are unbeatable.
Having shot this exact same sequence on Saturday night this gave me 3 valuable insights.
1. What time the fireworks will start (in this case, 10.30pm)
2. Where the fireworks launch from (to the right of the castle away from the Tattoo lights)
3. Roughly what will be coming, ie huge bursts or low level bursts.
Number 3 was particularly important and I was pushing the limits of what I could get in the frame using a combination of the Nikon D7100 and Sigma 70-200mm f2.8 EX HSM rather than the wider 18-200mm VRII. Using the Sigma was important as it’s oh so sharp compared to the 18-200mm lens and that makes a massive difference with these shots.
With that little prior knowledge I knew the first burst was a huge red firework so I could get setup with the camera in portrait mode. I also adjusted position to put the lit front of the castle and the Balmoral clock in the centre of the firing zone so I could get both focal points in the shot.
Sure enough, 10.30pm and there goes the first shots, it was all very calm and all I had to do was wait and hit the remote at the right time, almost too easy but then again, with the forward planning most of the guesswork was out the way. This was the first shot of the night.
The next few minutes were more or less a scramble of bigger fireworks with some lower level stuff but I knew what I was after was still to come. Not that I didn’t rattle off shots in the meantime. Using a fairly short exposure, around 1.3s at ISO400 and f8 was suiting me perfectly and allowing a good range of shots.
Now, this prior knowledge paid off again. I knew there was a gap in the fireworks and after that long-ish gap was the bursts I was looking for. A series of low level bursts in an arc above the castle. Knowing this was coming I had plenty time to flip the camera to landscape mode, zoom in a bit more and make sure the focus was spot on.
Sure enough the expected bursts came and the shot I had planned was in the bag.
A previous visit along with a little planning had paid off and it’s another classic example of why you should do your homework and never be afraid of doing a shot again. Armed with this knowledge now I might have another go at these fireworks from a different location and see what the outcome is. The best of this is I’ve got fireworks shots now from a premium location, a location that will be packed to capacity for the main event on Sunday 1st September at 9pm. Where will I be that night> Not on Calton Hill that’s for sure, I’ve already got my shots from there!
If you want to try these fireworks yourself the Tattoo is on till the 24th August (except Sunday). Monday to Friday the fireworks will start about 10.30pm and last approx 10 minutes off an on. On Saturday they start at 9.00pm and again around midnight where it’s a longer display.
The main Edinburgh fireworks event takes place at Edinburgh Castle on Sunday 1st September at 9pm and lasts for around 45 minutes.
So, since the 8th of March Comet Pan-STARRS has been gracing the Northern Hemisphere skies and true to form for any notable celestial event, it’s been largely clouded out in the UK and especially up here in Scotland. Thankfully this comet isn’t just a blink and miss it event, there were at least a few days to try and catch something.
By Tuesday 12th March the first shots of PANSTARRS were coming in from other parts of the UK, the comet easy to find next to a very young crescent moon. I had to wait till the night of the 13th though for a first attempt. Stood on top of Blackford Hill in what can only be described as Baltic conditions I searched in vain for the comet, despite a reasonably clear sky to the west and only actually spotted it in one shot after I got home and it’s hardly the clearest view of it, which was disappointing as other people seemed to have got some reasonable efforts.
The night of the 15th brought an unexpected chance though. The forecast was predictably wrong although for once in a good way. The skies started to clear around 5pm and just after 6 with still clear sky I figured it might be worth a try, this time from Newhaven Harbour, which has a fairly clear view to the West.
Arriving at Newhaven it looked reasonable but for one patch of dark cloud moving in slowly from the West. This time I decided to wait until 7.15pm before searching for it and made the most of the tail end of a nice sunset in the meantime.
By 7.15pm I was out by the lighthouse with a clear view over to Granton Harbour, using a compass I found exactly where West was and started to take shots of the sky with a 200mm lens, ISO400 and shot exposures. First sweep across the West turned up nothing, 2nd attempt and around 12 shots later, there it was, higher than I expected and very visible in the photograph. With an idea of where it was now I could try for a few wider scenic shots. The last thing I wanted was just pics of the comet with no context. I wanted this to be recognizable as Edinburgh.
The comet isn’t that visible in this shot, but it’s there dead centre towards the top of the image.
Switching to my Sigma 70-200mm f2.8 EX HSM and 2x teleconvertor I went for a closer look still trying to keep the Granton flats in the frame, this was probably the best shot of the night.
Finally, it would have been rude not to have a go at the comet at the full 400mm reach and what a stunning sight it was. By this time it was visible in the viewfinder and I swear it was naked eye visible once you knew where it was.
I finished the night with a peek at Comet Pan-STARRS through my 15×70 binoculars, a truly stunning first encounter with a comet. It’ll be about for a few weeks yet so if you get the chance, do some research as to where it is in the sky and get out and give it a go!
So, we’re well into February and that means the winter (might) be about to step away to make way for spring. Not that it’s always that easy to tell with the Scottish weather, not being unusual to experience spring, summer, autumn or winter all in one day, or indeed, in one hour.
However, at this point the sun starts to travel further over the sky, rising and setting in different places and reaching a higher transit point in the sky, all of which makes a different to the images you might take. Whether you’re an Edinburgh resident or just passing through this will hopefully help you make the most of the spring time months.
March and April typically mark the end of the sunset season from up on Calton Hill, after April the sun moves to far to the west to really make a big difference to that classic Edinburgh castle shot so catch it while you can.
April also marks the start of being able to get some decent sunset’s from down near the Edinburgh coastline. The sun starts to dip below the horizon over the water rather than inland and there are plenty of places to take advantage of it such as Newhaven Harbour the Forth Bridges.
You will have to keep a close eye on the weather though, rain is never far away at this time of year, not that it should stop you getting some very nice images indeed. This was from Blackford Hill last year.
Fog is another pretty regular feature in spring but as photographers that’s a good thing isn’t it!
It’s not all making the most of adverse weather though as this shot from along the Union Canal shows!
So there you have it, changeable weather but who comes to Edinburgh for the weather, you all come here for the history and some of the most incredible city views in the world don’t you!
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Well, it’s that time of year again where I like to reflect back on my photographic year and look at my favourite shots from each month.
There was quite a few shots from January I liked but this one was the big performer. This shot went sort of viral after I uploaded it getting in excess of 10000 views in under 24 hours on Blipfoto and Flickr. This was a mere hint of aurora taken from Blackford Hill looking over towards Arthurs Seat. It was a lucky catch truth be told with all that cloud about.
2012 was the year I really got into the astro-photography and there was no more engaging subject than the International Space Station. Orbiting the Earth every 90 minutes or so, 200 miles up and moving at 17,5000mph all with humans on board. It’s mind boggling you can see this pass so easily from your back garden. This shot was taken in the Pentland Hills and shows the Moon, Venus, Jupiter and the trail of the ISS passing over.
This shot was featured on the BBC Scotland website in their feature of the conjunction of Venus and Jupiter. This was taken in North Queensferry looking at the planets over the top of the Road Bridge just minutes before an almighty blizzard hit.
Rain was very much the theme for the year in Scotland but thankfully I managed to avoid the worst of it until this shot. I just came over the top of Blackford Hill and was met with this view, it was so epic I stayed far too long and ended up soaked. Worth it for a nice pic though!
I got my first proper telescope in May and got to work frustrating the life out of myself planetary imaging. It’s such a difficult form of photography but oh so rewarding when you get a result, this might not look like much but the learning that went into getting this little shot of Saturn was huge and I was over the moon to get a chance to image the most awesome thing you will ever see though a telescope.
The rains were kicking in big time by June. Photography time was limited to say the least and astro stuff was even worse with the near constant cloud cover. This shot represented a rare trip out for a sunset.
And the rains continued into July. Edinburgh had it’s worst flooding for 10 years and I spent a day soaked to the bum cheeks capturing it. This was the Meadows slowly being turned back into the South loch.
A special mention should go to this shot as well, the Red Arrows doing the Olympic flypast over Edinburgh Castle.
September was a good month. There was so many pics to choose from but this was the standout for the month. A real shot from nothing. The weather wasn’t great, there were spots of rain about and I only just got to Belhaven Bay in time for the sunset and high tide just for the clouds to part and an amazing sunset to kick in.
So many shots I loved from October but this is the shot that sent my little Facebook page from an also ran to, well, something a lot bigger. This went viral on Facebook and got over 12000 likes in 24 hours. In fact it was just one from an incredible night on Calton Hill with the best sunset I have ever seen.
Again so hard to pick, November was another good month!
December has started well too. I think the standout so far though is the shot of the Edinburgh Winter Wonderland from the ramparts of Edinburgh Castle on a very very cold afternoon.
So that’s mine, what about the rest of you?
Ah, Autumn, thank god it’s here at last. Whatever it throws at us it can’t be worse than the soggy summer of 2012. In photographic terms at least, the next couple of months are great for getting out with the camera. Sunset and sunrise are at sociable times, nice dark (hoepfully clear skies) and the trees turning those fantastic golden shades.
So here you are in Edinburgh, what’s the hot shots to try out the next couple of months?
Lets kick off with the top sunset location for Autumn in Edinburgh and it’s predictably Calton Hill. At this time of year the sun in heading back towards the Castle at sunset meaning all those fantastic cityscapes can benefit from the full burst of colour from the setting sun.
Don’t forget the twilight too from up here, any direction is good, why not try Leith at twilight for something a little different?
Sticking with Calton Hill, the just after sunrise the National Mounment will be casting some nice shadows. Get up there early though, too late and the sun will be in the way of the shot.
Seafront locations are not at their best at this time of year for sunsets but the Cramond causeway can provide a nice sunrise.
On 5th October, the sunset at high tide at both at exactly 6.31pm, with a 5m tide it’s a perfect night to head out to Belhaven Bay outside Dunbar for the Bridge to Nowhere shot.
It’s getting a little late in the year but 8th October might be a good night to try and catch the advancing tide at the Longniddry wreck found just off the number 1 carpark.
Nearer the end of October with the moon out the way it might be a good chance to try for the Milky Way before it slinks off for the summer, try the carpark at Harlaw Reservoir about 2 hours after sunset, give your eyes time to adjust and you should see the dense star cloud that forms the band of the Milky Way just off to the south west.
There’s obvioulsy quite a few fireworks opportunities around November 5th but keep and eye open for the South Queensferry display for a chance to catch them over water.
There might also be a display at the Castle for St Andrews day, though possible not exactly on 30th November and it’s likely to be short display too.
With the darker nights it’s also a pefect time to try those light trails shots, with Princes Street open again it’s an obvious choice but anywhere with traffic is possible, why not try Holyrood Park about 30 minutes after sunset?
It’s also a good time to get those star trails shots in, Newhaven lighthouse, is a cold but worthy spot as you can get Polaris in the shot.
Hopefully that little lot will give you some ideas for Edinburgh photography over the next few months!
Plan last night was to head down to Marine Drive in Edinburgh which is right on the coastline next to Cramond where there was a chance of photographing the moon rising over the water. Using The Photographers Ephemeris on the Mac it was possible to see where the moon would rise and there was nothing but water in-between last night. Better still, it was a fairly clear night so off I trotted.
Marine Drive is a funny place. Actually pretty dark, has great views over to Fife and is a prime spot to look for aurora, the only downside is that is seems to be a popular dogging spot which means you get random cars drive up, park, check what you’re up to and head off back up to the dark part of the road!
If you can put up with that though it’s a prime photo spot with a few possible shots, doggers not included.
When I got there the eastern horizon was so dark you really couldn’t tell if there was any cloud there or not but with 10 minutes to go before the moon came up I used the view west for a few shots. Over an hour after sunrise there was a fantastic colour in the sky on the western horizon, too good to miss in fact when you also take into account the slowly receding high tide catching the last of the golden light.
These shots were the result, no filters, just a bit of PP work and that’s about it. The 2nd shot looks closer in towards the Cramond Island causeway.
By this point though, it was clear there was cloud on the horizon as the moon hadn’t appeared but there was some hope, a very faint orange glow so worth hanging about for.
In the meantime I took a few shots of the planes on final approach to Edinburgh Airport. This is right under the main flight path and in the dark you can get some pretty dramatic trails.
2 things stood out on the sky at this point, the bright red star Arcturus to the west and the constellation of Cassiopeia, that distinctive W shape. After watching a few landings I got the compositions right and this was the result. 1st shot is past Arcturus and 2nd is past Cassiopeia.
Finally though the moon had started to show, that faint orange glow was now very obvious so on went the bigger lens, after some playing about I got the shots I was after. This might be better with a thinner crescent moon, as the exposures might be closer, as it was I had to really overexpose the moon to get any detail in the foreground.
Just a wee bonus, I was back in the car heading for home to get the telescope out when I spotted a plane heading right for the moon, a chance to get that elusive plane in front of the moon shot. With everything packed away I had about 20s to get the tripod out, extended and the D7000 adjusted and on top. No time for the remote so I had to press the shutter button and hope. This was the result, really not clear but I’ll get it next time now I know roughly where and when I can get it from.
All in, a good night for the 40 minutes or so I was there, much better than the dreadful night had with the telescope later but that’s a story for another day…
I stumbled across this earlier totally by accident but I can see it becoming a little obsession for a while.
While shooting the fireworks one camera had a really cheap remote control on it, the sort where you can push the button up and if you have the camera set to high speed drive it’ll just keep taking pics until you run out of memory space. This meant I just engaged that camera to run and I manually triggered the other one. The upshot was, I had long sequences of shots, one after the other which when flicked through in iPhoto sort of looked like a little movie…
An energy saving lightbulb lit up gradually over my head and I ended up going through all the pics taken on Sunday night with the D90 and found quite a few multi shot sequences.
These were all in RAW so I had a hell of a lot of processing to do, the trick being to take each sequence and process every shot in exactly the same way, I done this by saving the settings in ACR and applying to every shot in the sequence.
Next up with all the shots processed was to order them, as I saved with the default name I just ordered by name.
Now, using iMovie on a Mac you simply have to drag all the files in one go into iMovie. From here, highlight all the pics and set the time interval to 0.1 or 0.2s in the clip adjustment menu (little blue drop down in the bottom the highlighted pic. Now pick the Cropping, Ken Burns and Rotation menu, whatever Ken Burns is it’s a pain. Switch all the shots to Fit and click done. This will stop that stupid zoom in thing on every shot from happening. You might also have to go into File — Project Properties and change the Initial Photo Placement drop down to Fit in Frame.
With this done you can now preview the movie and make any further adjustments. Now go to Share — Export Movie and pic the best option for you. I picked the 1080p HD option but beware, 167 12mp frames ended up as a 70+mb .mov file. The .mov is fine for upload to You Tube, Facebook and Flickr so I would assume it’ll upload to other video services too.
And that’s about all there is to it, I’ve also now applied this to sequence of shots meant for a star trail that shows the movement of the stars once you give it the time lapse treatment.
You can check out the final movies on You Tube:
Well, that was probably the most challenging night I’ve ever had shooting fireworks in Edinburgh. Fireworks are never particularly easy but add in a fairly brisk westerly breeze and it makes it even more of a challenge as the burst gets blown in the wind leading to nasty trails. Not the best but I got around it to an extent.
The location of choice for the 2012 Virgin Money Fireworks Concert at Edinburgh Castle was the old favourite of Blackford Hill. I went for Blackford over the Crags this year as with the wind coming from the west the smoke from the fireworks would drift towards the Crags but off to the South, Blackford would be fine.
Blackford has the added advantage of being flat onto the back of the Castle so you are shooting the bursts as they are, rather than through them which you do from Calton or the Crags. Inverleith is the same as Blackford but looks directly onto the Front of the Castle, arguably a better location but Blackford is higher too which I think helps.
The setup for this year was again 2 cameras on the go. The Nikon D7000 had a Nikon 18-200mm VRII on this year for some wider atmospheric shots and the D90 had the Sigma 70-200mm f2.8 for those closer in shots, both tripod mounted (obviously) and both with remotes attached. The D90 was set to high speed drive so with the remote engaged I could leave it to snap away while I manually triggered the D7000.
As I said earlier, the wind was a real issue. Any wind causes the fireworks trails to trail with the wind too leaving you with messy trails, the solution I used was to try and keep the exposures short, against the conventional way of shooting fireworks.
Most exposures I kept down to 1s or under, especially on the closer in shots, wider could stretch a bit longer and I wanted the lights from the city too. The upshot of this wasn’t the glowing long trails of usual shots but the shorter trails and quicker exposure combated the nasty drift from the wind. In this mode I was able to rattle off nearly 600 images from the 2 cameras which gave me plenty to cherry pick from to get the best. All in, not as good as previous years but I certainly handled the conditions better than I have on previous windy nights.
Just as an aside, I know the whole display was geared up to be viewed from Princes Street but a lot of Edinburgh watches it from other locations too. This 2012 display was pretty poor from any vantage point that didn’t look onto the front of the Castle. Long gaps of nothing visible, and I’m talking 5 minutes upwards was the order of the night and certainly not as good as previous years. I even missed the finale as there was a massive gap with nothing notable happening, not until I packed up and was halfway back to the car at least.
Roll on the Hogmanay fireworks and hopefully no wind!
You can view the whole set at:
or even head over to Facebook to http://www.facebook.com/RealEdinburgh and hit the like button and see them there was well!
A few choice shots…
I even got the lead shot on BBC News this year too!
My aspirations in Astro-photography finally bit the dust last week or at least licked the dust. After a frustrating night attempting to find the Andromeda Galaxy by star hopping, or more like star limping it has to be said I all but packed it all in. All I had to show for 2 hours out with the scope was a sore back and heightened blood pressure. What had I seen? Stars, by the bucket load but I had no idea what I was looking at and therein lay the problem.
I’d bought my scope at entirely the wrong time. I got it as the darkness retreated and potentially even worse; all the planets departed the night-time sky into the early morning. When I first got it a few hours just attempting to image Venus, Jupiter, Mars and the Moon was more than enough to keep me interested. Take all those out the equation and I was left floundering trying to find deep space objects, which in the lighter summer skies was even harder.
So, something has to change. I needed a GOTO mount otherwise I’d never see anything. I also decided the Skywatcher Explorer 200P on the EQ5 wasn’t for me. It took too long to setup, was too big and too heavy and I was already starting to skip clear nights through simple couldn’t be bothered-ness with all the mucking about to get setup.
The solution therefore was to sell the 200P and EQ5 and look for something different and so last week the scope and mount went to live with its new owner and I started a hunt for a replacement. I had decided against the GOTO upgrade for the EQ5 as it wasn’t addressing the issue of the scope size and weight.
I eventually settled on a Celestron Nexstar 5SE on the full GOTO Alt-Az mount. I know the Alt-Az isn’t the best for photography but its fine for me just now and the mount has a basic built in wedge. I won’t be doing any minute’s long exposures but I should be able to get something out of it. At F10 nowhere near as fast as the 200P at F5 but it’ll suffice for what I want to do initially. What’s important here is I get a scope that easy to handle and easy to setup so I can learn. Any images I can get that come along will be a bonus. In fact, when Jupiter come back to the night sky it might even be better than the 200P.
The new scope arrived yesterday and I have to say from first impressions I’m very pleased with it. The whole package seems better built than the Skywatcher stuff. The stock 25mm plossil eyepiece is nice and bright and much better than the Skywatcher 25mm item.
Setup was easy enough, as was the align once I realised I had my position set at Louisiana USA, not Edinburgh, Scotland and I actually got to see some stuff! My align was far from perfect just using a 2 star align but I did find the Double Cluster, Ring Nebula and Great Cluster in Hercules, a massive improvement on what had gone before.
Sadly dew was a major issue and I didn’t have a dew shield fitted which ended the session earlier than I would have liked so I never hooked up the camera but that’s now sorted and I’ll have the D7000 hanging off the scope at the first opportunity next time around.
In a true Astro-photography sense I’ve taken a step back but in doing so I’ve rekindled interest and that above all is what’s important. It’s pointless having a million pound setup if you can’t be bothered to use it. They say the best scope you’ll have is the one you use and for now at least, I’ll be using the 5SE at every opportunity!
I’ll leave you with a few shots from last night, none of these where through the 5SE after the dew got to it, these were all with my D7000 fitted to a Sigma 70-200mm f2.8 and 2x tele, Samyang 500mm reflector lens or my mates Skywatcher Explorer 200PDS on an HEQ5 Pro mount.
It’s gone beyond funny now.
Seriously, the Scottish summer has put a major dampener on my enthusiasm for photography this year. There’s only so many pictures you can take of rain soaked Edinburgh before it gets very long in the tooth indeed. I done a blog post a wee while back about not letting the rain put you off, that’s fine when you get occasional rain but not constant heavy rain!
I’ve never done a landscape shot for weeks, what’s the point? I don’t need any more shots of Edinburgh with dull grey skies and the camera gear isn’t all that keen on being wet all the time.
I’ve never done an astro shot since I don’t know when. What’s the point? Nearly total and constant cloud cover has all but stopped that particular pleasure and the telescope lies gathering dust having only had one brief spell of use in the last 6 weeks or so. Nearly every visible phase of the moon has been blocked by it being too low to see over the house or more often, thick cloud. Saturn has all but gone and I’ve no confidence at all in being able to see the Jupiter/Moon occulation this weekend at all.
I can’t get a clear shot at the sun either, we see a faint glow now and again but it’s not enough to get any sunspot detail.
Normally I spend a lot of time in summer down by the Botanic Gardens, not this year. My style of floral photography usually involves unusual angles etc, and lying in wet and mud to get a shot it’s really my idea of fun so that particular pleasure has gone for now too.
Macro shots in the woods are out, I usually combine it with walking the dog but there’s so much mud the dog gets caked and it’s a total pain.
All I seem to have done for weeks on end is macro insect shots from things I find in the garden, there just doesn’t seem much point doing anything else. It was a brief bit of interest chasing the flooding around Edinburgh at the weekend getting pics but that too involved being wet for nearly the whole day, caked in mud and there’s a sore throat in the post too.
Roll on autumn and winter and some decent photography weather!
]It’s been a funny old couple of weeks weather wise in Scotland. We’ve gone from sitting in the garden in shorts and t-shirt to snow, hail, torrential rain and even thunder and lightning. One thing about the Scottish climate, it certainly keeps you on your toes.
It’s been a very mixed bag for me photography wise. On one hand for astrophotography I want totally clear skies but for landscape I’d prefer a cloudy sky or at least some clouds in the sky. Clouds give you options, slow the exposure down and you can streak the clouds, or if you’re lucky enough to get huge high contrast clouds it can give a shot real drama. Clouds also help a sunset along no end; a slightly cloudy sky will always yield a better sunset than a clear sky will.
The last couple of days though have been really challenging, mainly due to the one thing that can stop play. Rain. Rain can be a real pain in the back end, water on the camera gear isn’t usually desirable although less of an issue with weatherproofed DSLR’s. It’s entirely possible to get some decent shots in rain though, you just need to adapt to the conditions. Remember too, rain can also come with extreme weather and nothing makes a better shot than extreme weather!
Certainly though, rain will stop you using filters, unless you want to sit cloning out rain drops on your shots for days on end. In these conditions I find it best to go simple. Shoot handheld, with the lens hood on and just bring the camera out when you want to take a shot. Balancing exposures will of course be an issue but there’s another weapon at your disposal here. HDR.
There, I said it. That dirty photography word, HDR. “Stone him” I hear you all cry. But wait! Why not? I’ve hardly used HDR for the last 18 months but the last couple of days it’s been a useful style to adopt. HDR is really down to personal taste but if done tastefully then I can’t see any reason why not? A bad shot will still look like a pile of poo in HDR but a good shot can look particularly pleasing if done properly.
My bad weather method of shooting HDR is as follows.
1. Low as ISO as you can, HDR always works better with a low ISO, I try to stick to ISO200 or lower.
2. Shoot 3 bracketed shots for everything, +2, 0 and -2ev. Most DSLR’s have an auto bracketing feature.
3. Turn on your high speed drive and if you have it vibration reduction, image stabilization or whatever it’s called on your camera.
4. Frame the shot, focus and press the shutter until you hear all 3 shots rattled off.
It’ll take about as long as a blink of the eye and you should have 3 shots, sharp, bracketed and not that far off the same position. Use features matching in Photomatix when you’re combining the exposures and you should be fine.
I like to bump up the contrast in Photoshop of HDR shots after the tone mapping is finished; I feel it gives a cleaner look with more tonal depth. Tone mapped images can look a little bland to me and bumping up the contrast finishes off a shot how I like it.
While you’re getting your shots though, do try to keep the lens pointed down when you’re not shooting and keep a close eye open for rain drops on the front lens element. They might not be that noticeable on the preview screen but they’ll be the cause of much wailing and gnashing of teeth if you find them once the pics are downloaded.
These shots were all taken in rain the last 2 days using a Nikon D7000 and Nikon 18-200mm VRII lens. All are 3 exposures combined in Photomatix Pro 4 and finished in Photoshop.
I’m obsessed with the night sky just now. Which is unfortunate as now we’re into BST the night sky is coming at a more unsociable hour. Who’d have thought after a long winter I was going to miss the dark nights? I’ve enjoyed my recent journey into some low level astro-photography, even without a telescope to really start on deep space and planets, with some modest photography equipment it can be an engaging subject to photograph.
A crystal clear sky on any night is a joy to behold, especially if you’re away from heavy light pollution, and it’s even more enjoyable once you get an idea what you’re looking at. Last night (March 26th) was one of those special nights with a conjunction in the night sky, where 2 or more celestial bodies appear close to each other in the night sky. Last night was the turn of a nice thin crescent Moon and Venus to take centre stage.
Unlike the night before when Jupiter and the Moon were in conjunction the sky had finally lost that misty haze of the last few days and the seeing was very good indeed. Without a cloud in the sky it was too good an opportunity to miss.
We’ve all seen the proper astro-photography stuff, those striking coloured images of distant nebula or close in shots of planets which is specialised stuff but with a basic camera setup you can have a great night working these special night sky events into your pictures.
All pictures were taken with a Nikon D7000, on a tripod and fired using a wired remote control, but most cameras would do a decent job with a mid range zoom lens.
This close in shot of the Moon and Venus show’s just how close they were in the sky. This was taken with a Sigma 70-200mm f2.8 and 2x teleconverter, and it filled the D7000’s frame perfectly. 1/60th, f5.6, ISO400 and 400mm. The moon needs a fast exposure to stop the detail burning out as it’s a very bright object, a full moon requires a even faster shutter, luckily Venus is so bright its fine with the faster shutter speed too.
Switching now to a Nikon 18-200mm VRII lens, a general purpose mid-range super zoom, we get a wider view of the same scene. This time though I’ve slightly lengthened the exposure to 1/2s, f5.6, ISO400, -2/3ev and 200mm. The result is lost detail in the bright part of the moon but I’ve picked up the Earthshine instead, the light reflecting back of Earth lighting the shadow portion of the moon.
Pulling back the zoom even further it was possible to include Jupiter in the shot as well. Same settings as the previous shot, but at 135mm. Jupiter is on the lower right of the shot.
It’s all very well shooting the moon and planets on their own, you could do that from your own garden probably, but sometimes it’s nice to get a little context to the shot as well. I was at Blackford Pond in Edinburgh, not long after sunset when I was taking these so a bit of playing about got the 2 planets and the moon with the tail end of the sunset over the pond. 1/8th, f5.6, ISO400, 18mm, -4/3ev.
With the pond so still there were a lot of reflections from the trees but where was the moon reflection? Moving right to the edge of the pond revealed where it was and with a little playing about with the composition and waiting for a swan to move away which was causing ripples I got a respectable shot of the reflection in the pond.
Same settings as the previous shot but -2/3ev and ISO3200. The super high ISO was required to get as fast a shutter as possible to freeze the movement of the gentle ripples in the water to stop the reflection distorting. This isb’t a major problem with high end DSLR’s these days but some old cameras will give very noisy shots at this high an ISO.
Final shot of the night was a closer in view of the reflection, again a high ISO was required and I also switched on the VR on the lens, which you wouldn’t normally do on a tripod but it did help. After many goes, I finally got a shot with a proper moon shape and pin point stars.
To finish up with, here’s a quick shot of the Jupiter Moon conjunction the night before, if you look very close next to Jupiter and around 4 o’ clock there is 2 tiny pin pricks of light, 2 of Jupiter’s moons.
Next time you find a nice clear night and you’re looking for something new to photograph, why not see how you get on with the stars? They are far from the easiest subjects to photograph thanks to the Earth rotation but with a little practice you could be adding extra depth to night landscapes.
After 2 years in darkness the Forth Bridge is finally lit up again, by 1000 new spotlights. I remember the old lights. You were never sure they were on at first; the lights came on gradually until the bridge was tastefully lit. These new lights though?
See for yourself from this picture.
As you can see, the lights are very… open? The bridge looks fantastic but do the lights really need to be so blatant? It’s seriously one of the worst examples I think I’ve seen of structure lighting. You couldn’t see the light source from the old lights but these lights are way too open. The light pollution around the bridge itself is huge. A snow shower moved over last night and you could see the lights streaking up way above the bridge for a fair height. It’s simply too bright.
For photography purposes this is an issue. The old favourite panoramic shot of both bridges with a wide angle lens is not really an option at night anymore, the road bridge is a lot darker than the rail bridge and the lens flares from those lights are terrible. You could try a grad filter to ease out some of the rail bridge but I think that would make the flares even worse. See below for an example, I’ve marked the lens flares on the shot.
Not that long ago I was shooting star trails with the bridge, that’ll be impossible now. You simply couldn’t get those lights under control for a 30s exposure and the resulting pollution will mask the stars anyway. I didn’t try from down the Hawes Pier last night but I suspect the problem will be even worse down there.
It’s not a lot better from the North Queensferry side either sadly, although there does seem to be access under the bridge from that side with the works now removed, one to be better checked out in daylight.
I do hope that Scotrail don’t leave the lights like this although I suspect the bridge will now be like this forever. IN a time where we are more away of light pollution it seems very odd to light up an iconic structure in this fashion, especially as we’re all supposed to be getting “greener”. Frankly, I preferred it in the dark.
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.
To say I was pissed off after missing a chance to photograph the Aurora Borealis over Edinburgh on Sunday night is an understatement. The Aurora had been #1 on my list of list of photographic ambitions for 2012 and to have it basically handed to me on a plate and miss it made it even worse. The crowing glory of self pity though is that I missed it due to complete and utter apathy. I had planned to be out with the camera at the time it was clearly visible but instead made excuses, “too windy”, “too cold”, “can’t be arsed” rather than go and paid for it!
With that in mind I hauled my bones up Blackford Hill on Monday night. The skies were beautifully clear and the stars were easy to spot on the dark of the hillside but there was little chance of any Aurora since the KP index had dropped dramatically from the night before.
With the news of the huge CME heading towards earth from Monday mornings flare on the sun Wednesday night was to be prime time. Sadly, cloud was a constant feature along with fog and rain, hardly idea conditions to try and witness an atmospheric phenomenon.
Undaunted though, convinced I could see a green glow on the clouds despite a KP of only 4 at the time I headed back to Blackford Hill. Thankfully it was mild, the rain had stopped and there was little or no wind. There was also little sign of any Aurora either. On longer exposures the camera was picking up some green tinges in the sky but nothing concrete and the low cloud was in places reflecting light from the ground. To be fair, though, if you’re going to be disappointed the Blackford is the place to be, the view of the city from up here at night is amazing and a recommended visit even if there’s no Aurora.
From here I headed down to Cramond to see what conditions were like there but the fog hanging over the water of the Forth made it impossible to see anything. Nice as the still conditions were there was no chance of it moving either.
With the realisation that I needed to be up higher again I headed to the Braid Hills, it’s nicely dark up here but you do have the light pollution from the city in front of you. Still, while there, nothing ventured, nothing gained. I took some shots headed more or less directly north when I spotted a little to the North East the light around Arthur’s Seat. It certainly wasn’t green but I stuck the camera in that direction and rattled off a few longish exposures around 1.5 minutes looking for a composition which is where the tree on the right of the shot comes in!
I actually didn’t really notice the green until I downloaded the images when I finally got home after a 4 hour session out staring at the skies. Other shots in the direction had no hint of green at all and this was the only frame that did. Right place, right time, right clouds, right conditions and a lucky lucky catch.
The moral of the story? If you don’t try, you won’t get. Even if it doesn’t look perfect give it a shot, you never know what you might come back with.
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.
It’s not everyday you get something this dramatic nearly on your doorstep is it? Three 20+ story tower blocks all being blown up at the same time, how could you not go for a look, especially if you’re a photographer.
This was the 2nd controlled demolition in Sighthill in this area, the last one about 2 years ago I spectacularly badly timed and realised right at the moment I was still in the house when I heard the boom. Not long after that, 3 similar blocks came down in Gracemount in Edinburgh but there wasn’t particularly good access to that one so I ended up catching it from around 2 miles away on Blackford Hill where you really lost any of the drama of the event.
For this one though, plans had to be made. Finding the website of the company doing the demolition, Safedem, was the perfect start, all the planned timings were on there, along with road closures etc. With this info in the bag, it was time for a quick scout around the area looking for a vantage point. The exclusion zone though was a problem and to get a view with nothing in the way Sighthill Park was the only realistic option. This gave the possibility of an added dimension of being the main spectator area hence, the chance to catch crowd reaction to the event as well.
Getting to the location was not a huge issue, living nearby I know the area well and parked up in Broomhouse and 5 minute walk had me in Sighthill Park just at 11am. Amazingly for Edinburgh, the sun was out and just to the left of the flats which was an issue, try to get all 3 in 1 shot and you also got the sun and flares regardless of how you did it. Options were to move further to the left but that restricted the view so I decided to go for each one individually.
I knew there would be a couple of second’s gap in-between each but which one of the 3 to focus on? As the warning explosion was set off I took a gamble on Hermiston Court at the right, which predictably was the wrong one which meant I had little or not time to compose and it was now a case of catch what you can. D7000 was on low speed drive, full AF and f8 giving nice quick shutter. From the shots I got I think I basically just get shooting an moving across the blocks till the buffer filled up on the D7000 then I switched to my D90 I had as backup.
I managed some wide stuff with the D90 of the emerging dust cloud before switching back to the D7000 for even wider shots of the approaching dust cloud. I knew we were going to be hit by it with the wind direction. Confirmed by the water spray from the damping down that goes on prior to these demolitions drifting over us as well. But, there are times you just have to put up! To get upwind would have meant a lesser view so what’s a little dust?
I toughed it out watching the crowd start to panic at the intensity of the dust cloud and decided to save the cameras getting both packed away and heading immediately to the right where the cloud was thinner. It’s not a pleasant experience these dust clouds but thankfully I missed the worst of it and it passed reasonably quickly. It’s quite amusing seeing those who obviously arrived early and parked really close verging on distraught at the covering their cars got, and the amount of wee neds who has kindly scratched their name in the dust on them too. This was a demolition in Sighthill/Broomhouse, if you know Edinburgh you also know there are not the most well to do areas of the city and hence, this sort of thing wasn’t really a surprise!
The haul of shots though for the day was reasonable though and the best are below.
OK, to the Festival is in full swing but on September 4th at 9.00pm nearly every camera in Edinburgh will be pointing towards the Castle for the Virgin Money Fireworks Concert. 30 minutes of MASSIVE fireworks over Scotland’s most iconic landmark. It’s a photographic opportunity not to be missed, but where can you photograph this from?
You can see the Castle from multiple locations around Edinburgh but some will be much better then other for photographic purposes so I’m going to give you a little rundown of some of the spots that might work for you and those you should avoid.
Bad move. A prime location sure, it’s really where the whole thing is designed to be watched from but it’s oh so busy and there is no way you’d ever get a tripod setup in that crowd. Possibly iif you were up Castle Street or Frederick Street but personally, I’d stay well away from here.
Plenty viewing down this way but arrive early and get yourself a prime spot above the duck pond on the edge of the slope so nobody can get in front of you. Arrive late and you’ll be kicking yourself as it will be heaving here. Also sadly has a bit of a reputation for drunks on fireworks night but it looks directly onto the front of the castle so you’ll get the bursts exactly as they were meant to be seen. Long lens needed.
Normally my favourite spot. Again, you need to arrive early as there is limited parking and it fills up quickly. It’s a prime viewing spot looking straight onto the back of the castle so you get the bursts perfectly. It’s a large area so no problems with getting a bit of personal space to get your shots. Again though, it’s started to get a bit of the drunken teenager element up there which was especially bad last year, normally higher up the hillside so stay down near the observatory.
Arthurs Seat/Salisbury Crags
Again, another very popular location and the roadside parking will fill up very quickly. Get onto the high road at St Margaret’s Loch and drive around till you can see the Castle, if you can get parked you’re in a prime spot. If not, go round again and it’s all one way. If you can get parked you have the option of going up to the top edge of the crags, be careful though as it’s not that easy going, very rocky underfoot in places. The Radical Road, the high path around the base of the crag cliffs is shut for a rock fall so expect there to be someone in place that stopping you getting up that way on the night.
If you feel fit you could get higher up on Arthur’s Seat and get great views but be careful in the dark, the very top is likely to be busy as well. You look along the line of the castle from this angle so you tend to shoot through the bursts which can be difficult.
So close to the city centre this is a prime spot and as such it will fill up quickly and early. Again, you’re shooting through the fireworks and if the smoke drifts towards you it’s going to be game over after the first few minutes, you take your chance! Plenty spots you can get a good view bit likely to be no parking anywhere in the same postcode.
There’s a reasonable view of the Castle from here if Calton Hill is too busy. Again though, you’ll be shooting through the bursts which can lead to messy images.
From the east side there are some ok views but the buildings and trees are an issue, worth considering if you get caught out and can’t get anywhere better.
A prime city centre location. Loads of space, goood view to the back of the castle and you don’t need a monster lens either, a mid range zoom will be more than adequate here. This location will get busy but it’s just far enough away from the Princes Street area to make access in and out easy enough. Not much parking around the Links at the best of times but you should get something in the area.
Prime spot but likely to be jam packed so not worth considering.
Right under the back end of the castle, likely to be busy and you’ll need a wide lens. So tight underneath you’ll be out of view of some of the smaller bursts.
Huge lens needed from up here but at the view point round by the back of the zoo you get a clear view of the Castle with Arthur’s Seat behind. About miles walk in from Cairmuir Road but very limited space.
Good viewing point, pretty long lens needed. Probably not as busy as some other places.
Braid Hills Road is a popular spot and unless you’re there early you have no hope of parking, get there early though and from the Comiston side you get a good view, once that’s full though the further you go towards the Liberton side Blackford Hill gets in the way but there are views from the Liberton side. Up on Braids Hill itself is too far away to be practical, better headed for Blackford Hill instead.
There are quite a few spots along Ferry road that have a clear view towards the front of the Castle, you’ll need a big lens though.
Some LONG range alternatives
For something a bit different you might try the beaches of Fife which mostly have a clear view towards the city and the Castle will be easy to pick out. You’ll need a decent big lens and will be more photographing the city with the bigger bursts above rather than the castle.
Longniddry Bents no.3 car park also has a clear view to the castle; you can get the skyline nicely with a 200mm lens.
I’m sure there will be more spots, how about telling us some more in the comments?