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!
There doesn’t appear to be a name for a fear of tripods, an as yet unrecognised but very real phobia. And yes, I did Google it.
When I say “fear” that’s probably too strong a word but from giving photography lessons I have noticed that a fair few of the people I’m teaching don’t own a tripod or are very self conscious of using one.
I have to sympathise with this though. I wasn’t a prolific tripod user when I started out, probably down to a mixture of dreadful cheap tripods and not really seeing much need. As I progressed into using filtration I soon started using one nearly all the time. At some locations this didn’t bother me but in the city centre I was very self conscious of using a tripod as if it were some sort of badge that marked out the weirdos of society.
I soon realised that especially living in Edinburgh photography tripods are like rats in a big city, supposedly you’re never far away from one. Look about in a city centre, you will see people using them at certain locations, they are nothing unusual at all and it’s a fear worth overcoming as the benefits to your photography are huge.
I use a tripod as a matter of course these days. Even in bright light when shutter speed isn’t going to be an issue I still prefer it. I can compose a shot, take it and then since the camera is tripod mounted I can make adjustments and be confident my composition remains unchanged. You’d be amazed at how handy this can be.
Combine a tripod with a wireless remote control and you’re onto a real winner, the perfect combination for all situations. It’s worth simply making this part of your photography workflow for all situations. Of course, by all means shoot handheld if the situation demands it. I only ever shoot action and macro handheld as using a tripod is simply too restrictive.
For landscapes though, that just isn’t an issue and getting used to setting up on a tripod and attaching your remote is a worthwhile few minutes spent before taking any pics.
A quick word on tripods though, these are the perfect example of the buy cheap buy twice philosophy. I lost count of how many tenner in Tesco’s type tripods I burned though before I moved onto cheap and nasty Jessops efforts. I wasn’t until the death of yet another sub £40 tripod I moved up and bought a nice Giottos with a tilt and pan head. It’s been abused for 3 years now, submerged in sea water, covered in sand and made a few trips at speed in a downwards direction when the carrying photographer doesn’t see the mud in the dark on Blackford Hill. Asides from me breaking the tripod head a few months back it’s still going strong. I reckon it’ll be like Trigger’s broom in Only Fools and Horses. He had the same broom for years but it had 6 new handles and 8 new heads only it’ll be legs and heads in my case.
The point being though, for £130 I’ve had a stable, well performing platform to work from for the last 3 years. Well worth every penny.
Using a tripod also allows you to explore some other functions you might never have used on your DSLR, such as Mirror Up. or mUP as it’s called on the Nikons. Mirror up essentially means you press your remote once to flip up the DSLR mirror and then again to start the exposure. The benefit of this is that you can totally eliminate any shake from longer exposures. Flick up the mirror, wait a second or 2 for the camera to settle and then take the pic. Not a massive thing with wide lenses but tripod mount a big zoom and you’ll get to love the feature.
I suppose I should make some reference to tripod heads as well. There’s a bewildering array of them out there. The ball head seems to be the current favourite but if I’m honest, I hate them. Fiddly is the word here. I prefer a good old fashioned tilt and pan, 2 levers to do all you need it do to. Simple and functional. If you ever take pictures in the dark that’s what you want but at the end of the day it’s all personal preference.
Think too about the weight of a tripod and max height of a tripod. If you’re 6ft 6” and your tripod only goes to a max of 120 cm you’re going to get backache using it. Get something appropriate for your height, that does mean the taller amongst us will be paying more unfortunately.
Weight is a factor too. 7 stone weakling doesn’t want a full aluminium tripod with a heavy duty head on it to carry about for a days shooting, carbon fibre is more expensive but a hell of a lot lighter. The payoff may be that it’s not quite as usable in strong winds. I’ve got an aluminium one and at times I can learn to hate it with the weight in it but first windy day and I can see why I stick with it.
Again it’s down to personal preference and how you intend to use it. Do you only ever take pictures 5 ft from your car? Then buy the cheaper aluminium one. Do you hike up Ben Nevis before breakfast for the sunrise? Then you might appreciate a carbon fibre one. Do you struggle to open a packet of crisps? Get the carbon fibre. Are you Geoff Capes? Get the aluminium one. You get the idea.
So, shrug off that coat of self consciousness and go forth and be proud of your tripod, your photos will thank you for it!
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.
It’s been a long, at times frustrating journey. Certainly, the lows outweigh the highs by quite some number and when a hobby starts to feel like that it’s maybe time to re-examine it and why you’re doing it.
When I first got a notion for astro-photography I was under no illusions. A quick initial bit of research showed it to be a complex discipline with a lot to learn so I don’t think I underestimated it but what I did do was seriously underestimate the financial aspect and the worse still for a photographer, the lack of creativity.
I first noticed the writing was on the wall when I started to ignore clear nights and not feel like I was missing something. Before the new year any clear night I was out, imaging the Moon, Jupiter and anything else I could get too. By this time though I had already realised that with the kit I had deep space objects were going to be beyond reach but I figured I’d be happy trying to get as good as I could with lunar, solar and planetary images.
This was true for a while but once you’ve done the best you can with Jupiter 20 or so times it’s gets slightly “samey”. You see, one of the main issues with astro work is that there is no opportunity to be creative. Astro-photography is all about capturing what it there, as it is. It’s about making the most of every available photon of light. There’s no opportunity to try and be creative with what you have, it’s more a never ending fight to get more light.
It’s hard to explain.
If you were to take a picture of a flower, how many ways could you take that picture? There’s an almost infinite number of ways to interpret the scene, be it with different lenses, artificial light, angles etc etc etc… You simply cannot do that with astro work.
And now we come to telescopes. I’ve had 3 in the last year and I’ve never really liked any of them. They are fiddly to set up, tempremental to operate and lets be honest here, in all but the biggest of scopes, the views of anything other than the moon or planets is shall we say, disappointing. Those pictures you see of majestic clusters or colourful nebula are visually just grey fuzzy patches. The knowledge of what you are looking at is far more exciting than the actual view in reality.
Now we come to cost. It’s a bottomless pit. Even at the bottom end of the market it’s a massively expensive hobby. Don’t be fooled either into thinking you can do it on the cheap, you simply can’t. If you can be happy with poor to average results then yes, you can but if you really hanker after those wonderfully detailed images of planets and deep space objects be prepared to re-mortgage the house. Nothing is cheap and if it is, then it’s not up to the job. Simple. You hear of people getting “wonderful” results with £3 webcams. The results are not wonderful, they are acceptable for a £3 webcam. Wonderful is what Damian Peach puts out and he simply does not use a £3 webcam.
I can look at landscape images taken with say, a Nikon D4, Lee filters, expensive Nikon lenses and I don’t think, wish I could do that. I can do it, and at a fraction of the cost too. If you look really close, and I mean really close then yes, the image maybe isn’t quite as good but you can as near as damn it do as good as the pro kit for a lot lot less. The difference between the pro kit in astro work and what might be termed as “reasonably affordable” is massive. Don’t even think of looking at the planet images in the Astro-photographer of the year competition and think you will get to within even a million miles of that on cheap kit, you simply won’t, the best you can ever hope for it something YOU are content with.
And at the end of the day, therein lies my root problem. I wasn’t happy with the results I could get. I wasn’t prepared to plough in any more money so I hit a brick wall. Lets be honest too, the British weather didn’t help either!
So what next?
Well, I’ve steadily found I get more enjoyment if I can take astro pics using just normal photographic kit using normal photographic processing techniques. None of this Registax or Deep Space Stacker stuff, just Photoshop, nice and simple. So that leaves me with lunar, solar, comets, widefield, ISS to name but a few. Really the only thing I’m going to miss out on is deep space which I’d already decided wasn’t for me and planets, and talking of planets, only Jupiter and Saturn and really worth looking at anyway.
For now, the binoculars will keep me satisfied and at some point in the future I might look to get a 10” dobsonian scope but I’m in no hurry to do that. The sale of the astro kit will hopefully fund a nice big Sigma 150-500mm lens which I’ll be able to use to good effect on the moon and sun as well as a myriad of other uses!
I suppose this post seems like the whole thing was a very negative experience and it’s wasn’t. There were times of great excitement and feelings of satisfaction. I’ve learned so much too but I also learned that in the end, I’m a creative photographer at heart and that’s where I’m happiest. I’ve also gained massive respect for the guys who do produce these great space images, I’ve dipped a toe in there and know just how hard it is and can now fully appreciate what they do.
So, if after that, anyone fancies a full lunar, solar and planetary imaging kit in Edinburgh, get in touch!
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!
If you are travelling to Edinburgh you could do worse than check out Roomwise.com for accommodation around the Capital. Loads of choice at reasonable rates too, what more could you want?
So it finally happened. The last surving high street photographic retailer bit the dust just after New Year. Jessops is no more, it is an ex-camera shop, it has ceased to be.
Looking at it though, it’s no real surprise. Jessops has been facing some stiff competition from the online retailers for years. But, that’s not the whole story, it’s not just online retailers, it’s good old brick and mortar retailers who just got smarter than Jessops at online trading who have helped drive the nail in this particular coffin.
When I look in my camera bags I can say that at least 70% of my current kit was a Jessops purchase. Some of it bought way back when the internet was but a nipper, and some more recent when the pricing wasn’t too bad or on offer. One of the main reasons for my using Jessops was if I had decided on a new camera body, or lens, I wanted it there and then. Not ordered, paid for and wait for 3 days on a delivery. There and then and that’s where Jessops had a real upper hand on the internet retailing.
There’s no substitute for walking into a shop, handling the camera, testing out that lens to see what works for you. I nearly bought a Nikon D300 but after handling it in store and a D7000 I changed my mind and the D7000 was bought. You simply can’t do that buying online.
So, if this was so great a benefit to Jessops what went wrong?
Quite simply, to me at least, Jessops became skilled in the art of pissing off the customer.
Jessops prices were consistently at the higher end of the market, I think we all accepted that but they were also high as an internet retailer, the one place you MUST be competitive. So how did they get around that? A dual pricing structure. An online price, and an in-store price.
As I found out recently this meant that I could find a new tripod head on Jessops website, £140 in store but only £100 online. Even more, I could order online and pay and collect in-store for £100. Walk in of the street ready to buy and it was £40 more expensive. Would they give you the web price in-store, even if you mentioned it? No.
So, you go home to reserve it online, but that means another trip into town and hey, there’s the internet, might as well just order it and have it delivered. But wait, why use Jessops, they have just hacked me off and there’s a million other retailers out there who haven’t and bang, there’s a lost sale.
They even started advertising cameras at a low price but with a much higher “You pay today” price, the lower price was part of a cashback deal you had to claim. Don’t know about you but if I see a price in big bold type that’s the price I expect to pay there and then, not what I’ll have eventually paid after trying to claim the cashback and waiting on the refund. It smacks of desperation.
So there you have it, high prices, dual pricing structures and false pricing, 3 great reasons not to shop with Jessops.
So, what now for high street photography?
Might it be the rise in the independent retailer? Of course it won’t. Most of them are even more expensive than Jessops. Unless an independent retailer can cater for a niche market such are old or rare kit or simply just cheaper 2nd hand they will also go under eventually. It’s a romantic notion using your local independent photo guy, supporting him to keep a shop open but in reality, he can’t sell to you nearly as cheap and the big online guy can so you won’t buy from him. You might go and look at his stuff but you’ll tell him you need to think about it and then go home and get it online a lot cheaper.
The sad part is, in the quest for the ever better deal we’re all the worse off for it. My other passion is astronomy and here already in Scotland you simply cannot go and see a telescope in a retailer before you buy. There’s not one store of any kind in Scotland with a reasonable selection of scopes from different manufacturers so you buy blind over the net.
My first scope was a monster, way to big, heavy and cumbersome. Had I seen it before I bought I wouldn’t have bought it. So what happened here, I sold it, lost money and bought another blind over the net. Thankfully this one suited me fine but ultimately this scope effectively cost me £100 more after you factor in the money I lost with the unsuitable purchase.
Sure, there are distance selling regulations to protect us but once you’ve got the product, and especially if it’s a big heavy product sending it back isn’t always that straight forward then you you’ve got the wait for the retailer to confirm they have it back and then the wait for a refund. It’s awkward and I suspect it means a lot of people end up keeping stuff rather than go to the hassle of the return.
So, like I’ve said, already with astronomy it’s an online retail world for me, soon the whole photographic world will be the same. Even with HMV gone where really can you go and browse a section of music bigger than the top 40 now? The high street is disappearing fast and I for one hope this online world we’ve all had a part in creating and feeding doesn’t turn around and bite us one day as we’ll have nowhere else to go.
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?
I get this question a lot from people looking to get into photography. What camera should I buy?
The eventual answer though depends on budget available and what you want to do with it but in the main my answer to a beginner is usually the same, buy the absolute best you can afford.
Lets forget about compact and bridge cameras here, someone looking to get into photography properly needs some sort of interchangeable lens system. You simply don’t get that level of felxability with compacts or bridge cameras no matter how good they are. You get convenience but ultimately you need a DSLR of some sort.
I’m also going to rule out the new wave of compact system cameras for the beginner too. Even with the interchangeable lenses these cameras look like a nice easy route into photography, well made, small and portable but with the added bonus of being able to change the lens, and there-in lies their main problem. Have you seen the prices of lenses for these systems? Additional lenses are both expensive and limited in choice hence why I’d always advocate, stick to a DSLR.
I’m also going to go out on a limb here and say, forget about everything else except Nikon or Canon. Yes, I know there are other makes but these 2 are the big players, the VHS to the Betamax of the rest. Now I’ve probably offended every Pentax, Olympus, Fuji, Panasonic and Sony owner out there (and more) lets get down to camera choice.
It really doesn’t matter if you go Canon or Nikon, both are similar, both have massive ranges and are supported by a myriad of 3rd party companies too. Whatever route you go, you won’t be disappointed.
So, what to actually buy? This comes back to the opening statement, spend as much as you can possibly afford, it’ll save you in the long run. If your budget only stretches to the entry level DSLR and kit lens then great, go for it. If it can go further then start looking up the ranges.
Taking the Nikon range for example. Buy a Nikon D3100 and you’ll get a nice camera with a fairly bog standard kit lens, but the entry level DSLR doesn’t have the top screen with all your setting on it. The D3000 never came with a port to attach a wired remote of any kind either, both, in my opinion, big things to be without. If you can push the budget that little bit more, the D5100 would make a far better purchase.
I’d actually go as far as to say that if you are really looking at the bottom end of the market, seriously consider the 2nd hard option. For D3100 money you’ll pick up a used D90, a far far better camera that will last you for ages. If you can afford a D5100, consider a used D7000 and you’ll never have to think of cameras again for ages.
In my humble opinion, the amateur photographer needs look no further than the Nikon D7000 or Canon 7d, after this you get into full frame territory, serious cash and I see simply no need or justification for a amateur photographer to venture into this territory. A D7000 to all but another expert photographer match a D3 in terms of image quality. In real terms, the D3 will be far better, but in the real world, 99% of people will never be able to tell any difference and if you really learn how to use it, your D7000 will produce the most amazing and striking images.
And so lenses. Simply get the kit lens, it’ll be fine to start out with and you have other things to worry about. Factor in the cost of a reasonable tripod for starters, cheap tripods won’t last, spend at least £100 and it’ll last for ages.
You might also want to consider:
Remote control of some sort, preferably wired.
A decent bag to carry this all in, buy something big enough to accommodate future purchases as well.
A screw in polarising filter
Some sort of slot in filter system, p series system with some Hitech graduated filters is a good cheap entry level into this world and it’s the one single item that will change you from a snapper to a photographer.
There’s about £250 in that little lot of extras, you don’t need them all straight away but this is what you need to consider to take the hobby at least semi-seriously.
Once you’ve used this little lot and got to grips with it then you can start looking at lenses. You might want a wider lens, a bigger zoom even? Both good purchases. The old trusty 50mm f1.8 is a great purchase, the cheapest lens you’ll ever buy and so versatile you’ll wonder how you ever managed without it.
I don’t expect everyone will agree with my reasonings but from coming through the beginner route this is my findings and my recommendation. What you buy is of course up to you but hopefully there’s some food for thought in there!