Making the most of the light

I had seen some great shots of the picturesque harbour at Staithes, and decided to call after visiting family in the north east. The light had been flat and uninteresting all day, but after making a journey of over two and a half hours, plus traffic jams, I decided to make the most of it.

It's important to do your homework, otherwise you may walk around an unfamiliar place looking for the ideal viewpoint and still miss the best shots. Personally, I make good use of Google Earth and maps. After looking at photographs of Staithes harbour and searching for car parks, I found that the ideal parking spot was on the top of the nearby cliffs, a short walk from a vantage point above the harbour.

Before heading to the harbour I walked to the edge of the cliffs and was mesmerised by the coastline looking north. Although the light was relatively flat, the sky would have 'burned out', being around 5 stops brighter than the cliffs below. I wanted to create a fine art image highlighting the lines of the cliffs, with a long exposure to capture some movement in the insipid clouds and thus create some detail in the top part of the picture. A 'big stopper' and two graduated ND filters were needed to achieve balance and give the required detail throughout the picture.

I'm pleased with this picture because it portrays the muted fine art effect that I wanted to create, after taking some time to set up the equipment in uninspiring light while crouching on the cliff top.

Having picked my spot and composed my picture, it was a relief to see some texture in the evening sky. A straight shot with a graduated ND filter, to balance the sky and bring out the texture of the sky, captured this stunning picturesque scene.

Staithes and much of the North Yorkshire coast are well worth a visit.

Blackpool illuminations and night photography

When you have an attraction on your doorstep, you either take it for granted or take the opportunity to photograph it. My usual inclination is towards the latter – not least because of my love of photography and a drive to continually improve and master new techniques.

Blackpool Illuminations is an annual festival that started in 1879. The event costs over £2 million to stage and the mountain of equipment is valued over £10 million. The Lights usually attract more than 3 million visitors to Blackpool, so missing the opportunity of an annual photography visit would be inexcusable.

I chose two bleak and cold nights to photograph the Illuminations this year: the first night with friends, while carrying a backpack of gear; the second alone and travelling light with a compact camera and tripod.

It's true that you can get an acceptable picture with a modern mobile phone or with a simple camera set to full automatic; so why carry all the extra clobber? Quite simply, it's because a keen photographer strives for an exceptional picture rather than just an acceptable one.

I've chosen the next picture as my signature shot from this year's lights because I was intent on showing movement by incorporating motion blur. This requires a fairly long exposure with the camera secured on a tripod.

This shot used a 1 second exposure to show movement: of the tram passing closely by on the right, and from the oncoming car headlights approaching on the left. There is detail in the static illuminations because the camera was mounted on a tripod. The reflections in the water on the roadside add atmosphere and interest. (For photographers, the exposure details are: 1 second at f8; 100 ISO; and a focal length of 26mm)

Many purists argue that night photography works best just after lighting-up time, while there is residual light in the sky, yet here the black canvas of the sky focuses attention on the illuminations and makes the Lights stand out. In short, there is no such thing as bad light: just different light. There would be no picture on this page had I stayed indoors and left my camera idle.

You can always find something different if you look. After taking a number of typical shots of the suspended illuminations, and an occasional one of silhouetted figures walking along, I found a light show running in a booth. After watching the pattern of the show, I took an abstract shot timed at a sixth of a second to capture its essence, then applied creative effects post production to produce this final image.

Challenging Light

A hardy landscape photographer will tell you that there is no such thing as bad light ... just different light. Here are two examples of heavy cloud and threatening rain conspiring to create ideal conditions for two subjects, when processed in monochrome.

[1] I've called this picture Rural Power. The subject is Steven's Croft Power Station, which is the largest wood-fired biomass power station in the UK. (Quite a wood-burning stove, by any stretch of the imagination.) The camera was positioned at the back of site, looking across surrounding fields. The site (near Lockerbie, close to the M74) was chosen for its proximity to forested areas. Lighting was tricky: on an overcast and windy day, with fast-moving and moody clouds. I find the mono rendition ideally suited to these conditions.

[2] Continuing my journey home - further south and in failing light – I positioned my camera above a sweeping bend on the M6 then used a slow shutter speed to leave a series of blurred lines, created by the headlights of passing vehicles. The intention was to create a mood of hastening home through the mist. The distant Howgills, under heavy cloud and surrounded by mist, create a suitable backdrop to the curving motorway in this mono image. The position is just south of Junction 38 of the M6.