To photograph the Jurassic coast where dinosaurs used to prowl, incredible plant-life grew, and the steamy swamps took the life of many an unwary creature, you would think we would need to travel to an exotic Island. Maybe somewhere where people had never set foot? Possibly near the tropics as we need the heat for the steam? Err no. The image you see here was photographed at a south of England (UK) seaside holiday town in full summer school holiday swing.

Where to go

So a few weeks ago I (Tim) went down to the south of the UK to visit our son Jethro, who is not only a designer and illustrator in Bournemouth, but also an avid photographer with a beautiful minimalist and graphic style to his images. Jethro had a really good idea about going to a seaside town called Lulworth cove to photograph the Jurassic coast. Lulworth is in the county of Dorset which is on the south coast of England. About 2 hours drive south west of London. This UNESCO world heritage site coastline is known for its rich supply of fossils from the Triassic, Jurassic and Cretaceous periods and is now called the Jurassic coast. I immediately had visions of moody dark brooding images.

Equipment

As I have mentioned in many of these posts, we like to travel really light as we feel the weight of your equipment is inversely proportionate to your creativity when adventuring. With this mantra in mind I put together a minimal but effective kit. 

Lenses

I envisaged a wide vista, with detail in the foreground, stretching to the horizon in total focus, so my main lens was a Voigtlander Super Wide-Heliar 15mm f/4.5 Aspherical III. This lens is super sharp, totally mechanical and quite small. I also put in a 28-70mm Sony kit zoom as a ‘just in case’ lens. 

Filters

I added ND filters for both these lenses so I could do long exposures to create the misty water look, and polariser filters to take off the reflections from the water and the wet rocks. Naturally I had UV filters on the lens to protect it from the sea spray.

Pro Tip: Take spare UV filters when you’re in an area with dust or spray as it’s much easier and faster to put on a clean filter than it is to clean the dirty one

Camera

Sony A7r body. I normally use a vertical handgrip as it takes 2 batteries, but I take it off when using a tripod as it is more stable without it. Jethro shoots with a Sony A6000.

Tripod

We have more tripods at home than is healthy, from a 4×5 large format camera studio Gitzo through to a tiny ultra-light travel tripod that is really only good for a Kodak Instamatic. (You will know what these are if you are either over 50 years old or a hipster.) I chose the Manfrotto BeFree carbon fibre travel tripod as it’s ultra light, 1kg but very stable.

Bag

Both Ally and I love our camera bags but for this trip I choose to take the Domke backpack. Very light, small but with enough room for everything and I can even attach the tripod to it.

“Your creativity is inversely proportionate to the weight of your gear.”

So that was all. Super light but everything I needed for the image I had “pre-visualised” (as the late, great Ansel Adams would have said).

The problem with photography during holiday seasons

Ally and I had been to Lulworth Cove before during Christmas a few years ago, and spent a few evenings photographing the deserted coastline at sunset and early morning. So very peaceful. I really shouldn’t have been surprised though, when Jethro and I arrived to a jam-packed car park and kids and dogs running around as it was a beautiful summer holiday. My first reaction to this was to think that we were never going to get a good image. Still… We were there and we would make the most of it. 

Recce the area

Rather than jumping right in and shooting immediately we spent a good amount of time looking at various areas and deciding which area would be best to invest our efforts in. We started with the top of the hill where we could view most of the area and found the area we wanted to shoot. Unfortunately, the sun was too high, so we needed to kill about 2 hours, so some exploring and snacking were in order. The chips from the local Fish and Chip shop were excellent and well worth the wait.

Composition

I chose the scene I did for various reasons. 
The water had came up to the rocks and I knew it would work well for a misty Neutral Density filter long exposure.

The composition meant that the horizon was on the horizontal third and the point of entry into the bay was on the vertical third. Very classical composition method.

The sky is a V=shape and funnels you down to the bay entry point there. Your eye then goes about exploring the bay water until finally resting on the foreground misty effect.

The photography

The easiest part of the whole process. With the camera on the tripod and the ND filter on, I was able to get an exposure of 3.2 seconds at F22 with an ISO of 50. Just enough time to get the misty feeling, without losing the texture of the water. In these situations, it is normally wise to make several exposures as it is so easy to get camera movement during the long exposures that can ruin your image.

Timing is so important during these shoots. I waited until the small waves were about a second from breaking on the rocks to take my exposure. This gives the misty effect.
Doing some extra exposures at faster shutter speeds, stopped down, meant there were dark sky images to use too.

One last composition

I tried a second composition and froze the splashing waves, but it didn’t have the brooding Jurassic photography feel I was looking for.

Did it work?

Whilst I judge the success of a shoot on the final results that is only one aspect of photography. Yes, I was really happy with my photographs of the Jurassic coast, but more importantly I had an amazing time sharing a photographic adventure with our son.

The post Best techniques to photograph the Jurassic coast appeared first on ImageExplorers.

Cyprus has a bit of a reputation as either a party island or a place to lie and soak up the sun but there is so much more to see and photograph. The following are 2 areas on the south west coast near Paphos so grab your camera and battered fedora and come exploring with us.

Cyprus shipwreck at the Sea Caves

On our trip back from Paphos and heading in the general direction of where we had heard about the famous Cyprus shipwreck, we noticed an incredible sunset about to happen. Unfortunately we were still half a mile away from the sea but with lots of hard acceleration and zippy corners we turned around the last bend and there was the shipwreck exactly where we expected. Coming to a screeching halt, I grabbed my camera and jumped out the car whilst Tim found somewhere to leave the car. The sunset here was phenomenal with a very interesting sky, and we both came away very very happy with the pictures we’d made.

Cyprus shipwreck at Sea Caves

I was shooting directly into the sunset and needed to stop down the lens for a reasonable depth of field. I have a pretty steady hand but when I feel the shutter speed is too low I usually find a rock or sturdy tree branch that serves as a makeshift tripod. We bracketed these in case we needed to use multi-exposures. This would allow us to get details in both the sun and cloud highlights as well as in the very dark shadows of the water. We needn’t have worried as we managed to pull detail back using techniques in the RAW file converter. (See how we did it on this picture of the Hyde Park building in the before and after section.)

Tombs of the Kings (but nothing to do with kings)!

This is a UNESCO World Heritage Site about 2 km from Paphos Harbour. Many of the tombs date back to the 4th century BC. It has nothing to do with kings. The name comes purely from the magnificence of the tombs. We went here not far from closing time but were told we’d have enough time to walk around. As it was just a minimal charge of €2.50 we decided to go in. It turns out that if you want to take time to photograph you do need a lot longer! There are a lot of ruins obviously, some more interesting than others. But if you go down underneath some of them there are some amazing images to be made. One in particular, with lots of pillars, with the golden light coming through was beautiful. To create more atmosphere, we kicked up some of the dust so it was hanging in the air.

Tombs of the Kings

To avoid being locked in we rushed our image making. It was late in the day and there were very few other tourists around. We photographed the last few pictures and ran for the gate only to discover that the attendant had already left. It turns out that the turnstile will still allow you out! Excellent photography tip: go late in the day and you can shoot towards sunset when everyone else has left and still get out.

You can’t beat a good Cyprus shipwreck and an old Tomb for some really moody images.

The post Cyprus shipwreck and a lack of dead kings appeared first on ImageExplorers.

Very often as you fly over somewhere interesting you can be blown away by the view, but it can be quite hard to get a reasonable image through the nasty scratches and cloudy window. Have a look at how we create interesting aerial photography landscapes through a commercial aircraft window.

Providing the port hole window it isn’t tooooo scratched and not full of condensation you can actually get quite a good image. This is mostly due to the fab Dehaze tool in Photoshop.

Air landscape, Cape, South Africa

Air landscape Cape, South Africa – before dehaze

When framing your image check the reflections through the viewfinder to ensure they’re not too prominent. You can reduce them by tilting the camera a bit.

Once in RAW, make your initial Exposure adjustments. Then in the panel on the right hand side, click “FX” (7th tab along). Dehaze is at the top of that. Push the slider slowly to the right and watch the change in the image. As with all changes in RAW (and Photoshop) it’s always a good idea to push it too far and bring it back – this gives you a good idea of what too much looks like.

North Africa from the air

North Africa before

Aerial photography landscape – North Africa

North Africa airscape before

You’ll be amazed at how you can make a reasonable aerial photography landscape when flying thousands of feet in the air.

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