Category Archives: Photography

Album Update

HDR detail - Van Gogh eat your heart out!
Camera: Canon EOS 7D | Date: 19-08-2010 14:43 | Resolution: 5108 x 3405 | ISO: 200 | Exp. Time: 1/249s | Aperture: 10.0 | Focal Length: 33.0mm (~53.5mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

For those dedicated (or deluded?) souls who follow my photography, I’ve just posted a number of updates to my online album, particularly in the Action, Europe and Barbados sections. Take a look if you have a moment, and let me know what you think.

I was rather pleased with this shot. Although I use HDR quite frequently, I normally make strenuous efforts to achieve as natural as possible a result. However, when I experimented with different settings on this shot from Bruges a more visibly processed “look” seemed to match the Flemish location and Flanders light beloved of Van Gogh and others. Sadly the modern postbox and other street furniture give the game away! Oh well…

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Thar She Blows!

Breaching whale off the coast of Barbados, shot from the Cool Runnings catamaran.
Camera: Canon PowerShot G10 | Date: 25-03-2025 08:47 | ISO: 80 | Exp. bias: 0 EV | Exp. Time: 1/1000s | Aperture: 4.0 | Focal Length: 10.8mm (~49.6mm)

The wildlife on a Barbados trip is usually pretty predictable: lizards, turtles, monkeys, flying fish, various small birds and fish. This year had already improved on the norm with a couple of hummingbird sightings, but that was before our catamaran trip last Wednesday.

We’d already seen some sign of whales, which are very unusual off the western, Caribbean, coast, earlier in the day, but on the return trip they put on a real show for us. I managed to get this shot of one of them breaching right out of the water. Not bad for a grab shot with my camera still in its waterproof housing and on its underwater settings, if I do say so myself…

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Singin’ the Blues…

Andrew Elt, regular guest vocalist with the Walter Trout Band, on stage at the Mick Jagger Centre, Dartford
Camera: Canon EOS 550D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 31-10-2010 22:52 | Resolution: 9012 x 3761 | ISO: 3200 | Exp. bias: -1 EV | Exp. Time: 1/25s | Aperture: 6.3 | Focal Length: 85.0mm (~137.7mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Sorting out a few old photos, I got to some I took at a concert by the Walter Trout band in October 2010. Those of the great man himself and the other instrumentalists are fine, but I was particularly pleased with this sequence featuring the band’s regular “guest vocalist” (and roadie, and CD salesman), Andrew Elt. His performances are always absolutely bone-tingling, and this was no exception, but he also looks the part!

The images were taken with my Canon 550D held at full stretch above my head in what passes for a “mosh pit” at the Mick Jagger Centre, and I’ve used 4 out of a sequence of 9. Thank <insert deity of choice here> for ISO 3200 and image stabilisation!

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Crete Portfolio

Sunrise at the hotel, Chania
Camera: Canon EOS 7D | Date: 11-10-2010 06:04 | ISO: 200 | Exp. Time: 1/400s | Aperture: 8.0 | Focal Length: 66.0mm (~106.9mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Our 2010 trip to Crete wasn’t a great success either as a holiday or photographically, mainly due to rather grotty weather. However, I did get one or two interesting shots. If you’re tempted, have a look at the album here.

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Photographic Anachronisms

Mortuary technician in Whitechapel, set in 2012, with a rather suprising camera choice!
Resolution: 887 x 591

Anachronisms in television usually consist of something too modern for the period, but I’ve just spotted the opposite. In the UK series Whitechapel the mortuary assistant takes pictures of the all-too frequent victims using a Zenit TTL. Now I know they were bomb-proof cameras – I owned one in the early 1980s and dropped it down a Pyrenee – and I know Whitechapel isn’t the wealthiest corner of London, but surely the Metropolitan police and the London Coroner’s Office could afford something saying Canon or Nikon? Not convinced…

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Normal Service Will Be Resumed–Honest!

Flowers at the Botanical Gardens, near Chania, Crete
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 08-10-2010 09:20 | ISO: 200 | Exp. bias: 1 EV | Exp. Time: 1/80s | Aperture: 10.0 | Focal Length: 64.0mm (~103.7mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Apologies to regular readers of my blog for the delay since my last significant post. I’ve been very busy with a number of things: working overtime at National Grid, getting new consultancy contracts running, updating my Bibble plugin to work with the new version of the software, and generally battling the January blues… I started a post entitled “Reflections on 2011”, but it seems rather pointless now February’s arrived!

At least this morning I’ve managed to catch up slightly on my backlog of photo processing, and found this rather pretty shot from our trip to Crete in October 2010. I hope you enjoy it.

Normal service should be resumed in the near future. Here’s hoping! 🙂

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Through a Glass, Darkly

Projection though a stained glass window, Basilica of the Holy Blood, Bruges
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 20-08-2010 13:17 | ISO: 800 | Exp. bias: -1 EV | Exp. Time: 1/250s | Aperture: 10.0 | Focal Length: 59.0mm (~95.6mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

I’m finally processing the shots from our trip to Bruges in 2010, and I found this one I particularly liked. It’s light projected through a stained glass window at the Basilica of the Holy Blood, onto one of the internal walls.

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Cuba Portfolio Now Online

Tobacco farmer, Vinales
Camera: Canon EOS 7D | Date: 18-11-2010 16:14 | ISO: 200 | Exp. Time: 1/250s | Aperture: 5.6 | Focal Length: 260.0mm (~421.2mm)

I’ve finally managed to publish my photography portfolio from Cuba. Take a look and let me know what you think…

Apologies if you use the RSS feed for my album – this will be fixed in a day or two.

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That Shouldn’t Have Worked…

Mountain stream at Graenfjall, Iceland
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 26-08-2011 16:21 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/5s | Aperture: 14.0 | Focal Length: 26.0mm (~42.1mm) | Location: Grænafjall | State/Province: South | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

There’s a lovely moment in the film Sahara where Pitt and Giordano are following a typically desperate plan in the hope that if they can kill the villain his men will just surrender and lay down their arms. When, to their surprise, this starts to happen they look at each other and say simultaneously “That shouldn’t have worked…”. This is the photographic equivalent.

There are two schools of thought on how you should photograph moving water. One approach is to use a fast shutter speed and “freeze” the motion. I’m convinced that this is the best approach for large waterfalls, fast rivers or large waves, and you’ll see it in many of my photographs. As long as there’s enough light then there’s no major technical challenge with that approach.

The opposing school of thought is that you use a very slow shutter speed (typically a large fraction of 1s) and show the water as a blur. This expresses the direction of motion, but personally I don’t think it expresses the force or the dynamics so well. However, as Iceland has almost as many waterfalls as Venice has gondolas (see “Waterfalls, Waterfalls…”) I decided that this was an ideal opportunity to experiment.

I’ve come to the conclusion that the slow shutter speed approach does work, but it works best for small features with complex flow patterns, but relatively low flow speed/force. I’ve also reached the conclusion that a lazy man will work harder to avoid work than to actually do the job! 🙂

Here’s the official, recommended method to get a shot like the above:

  1. Pre-visualise the result you want, ideally using a cardboard rectangle instead of actually looking through your camera’s viewfinder.
  2. Set up your tripod. The heavier this is the better. If the waterfall is a long way from the road be grateful for the exercise. 🙂
  3. Curse when you realise that to position the tripod correctly either it, or you, are going to get very wet.
  4. Turn off image stabilisation, and mount your camera on the tripod. Attach the remote release.
  5. Fine tune the camera and tripod position to get the composition right. Curse when more of your kit gets wet.
  6. Set the exposure to get a shutter speed of 1/4 to 1s. Start by selecting the lowest ISO and a small aperture (say f22). If this isn’t enough, attach a polariser. If this is still not enough, take out the Lee/Cokin filter kit, mount up the filter holder, and slide in your neutral density filter(s).
  7. Meter carefully. Typically the highlights will be very bright if there’s any direct sunlight, and automatic metering may either over-expose or under-expose depending on how much of the scene is bright water relative to the rest.
  8. Take the shot.

In fairness, this method works well, even if your photography costs $10 a shot and you don’t see the results until six weeks after leaving the location. However, here is the alternative Andrew Johnston Patent Digital Method:

  1. Wander over to the interesting waterfall, and decide that this is one you want to photograph with blurred movement.
  2. Realise that it’s a long walk back to the jeep, and you can’t be ****d to get your tripod. Anyway, where you want to stand it would only get wet…
  3. Set your camera to its lowest ISO, aperture priority and a high aperture. On an APS-C DSLR you probably don’t want to go much higher than f16 as diffraction effects start to kick in.
  4. Make sure image stabilisation is on. If you want to control reflections and highlights attach a polariser and get it set right.
  5. Take a quick shot to check exposure. Dial in exposure compensation as required.
  6. If the resulting shutter speed is in the region of 1/10s – 1/4s you’re probably OK. If it’s too low, just reduce the aperture. If it’s still too high, take the ND filter out of the filter pack.
  7. Realise that the Cokin filter holder is in your other camera bag, which is in the jeep. See point 2. So don’t worry about the holder.
  8. Hold your camera firmly in your right hand. Hold the filter in the left hand, in front of the lens.
  9. Fine tune the composition, breathe in, and take the shot. Check the sharpness of the static elements on the LCD. If they are sharp enough then you’re done, if not go to step 8 and try again.

OK, if I’d had my Cokin filter holder in my bag I would have screwed it onto the front of the lens, which would at least have allowed me to brace my camera with both hands. What’s interesting is that Image Stabilisation technology is good enough that you can get decent hand-held shots at this shutter speed, and immediate digital review allows you to check their sharpness.

Next week – how to induce temporary paralysis so you can hand-hold for 25s for fireworks!

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Iceland Photography Tips – A Spare Everything!

"Steamed" - action shot of the author, by James Chambers
Resolution: 531 x 397

Iceland is a great place for photography, but you need to be properly prepared to get the best of it, and not come away disappointed.

First, unless you’re very good at research, navigation and off-road driving, you need a guide. Sure, you can get to the well-known sites a short drive from Reykjavik or along the coast road under your own steam, but you’ll miss many of the most stunning locations in the interior. However, if you want to spend serious time on your photography you need to be with a group, and guides, who understand your needs. I can’t praise highly enough the great service I had from first contact with Nature Explorer. Hawk and Finn are both great company, skilful drivers, knowledgeable and entertaining guides, and impressive photographers in their own right. Their administrative staff are also excellent, and their resilience to problems comforting. I’m very happy to recommend them.

Next, dump your preconceptions. Even short distances or intervals bring dramatic variation in scenery, weather and lighting. Well known sites may be quite crowded, or almost empty. A classic view may disappoint, and then half an hour later a less obvious subject may be portfolio material. Dedicated dawn-watchers may disagree, but in my view timing isn’t critical – “golden hour” extends well into the morning and from late afternoon, but more importantly the quality of your light is much more likely to be controlled by the weather than the hour. Iceland rewards being prepared more than missing breakfast and supper.

Protect your kit well, and carry spares for everything! Iceland is a harsh environment. You’ll be doing long distances on rough roads. The volcanic dust and ash gets everywhere, and is very abrasive. You will end up soaked by rain, waterfalls and geysirs (in my case, “all of the above”;)). The failure of my 15-85mm lens wasn’t the only hardware problem in our group, although the others were mainly more minor problems with things like batteries, filters, lens caps and retaining rings. Several cameras gained battle scars from knocks and falls. I also managed to destroy a pair of trousers and gave up on a faulty battery. Nature Explorer even had to resort to a spare super-jeep!

As a minimum, make sure you have a second camera body and a second “standard” lens (whatever that means for you). My cheaper Canon 17-85mm lens rescued my trip. Consider carrying three batteries for your main body in case one dies as happened to me. Also remember one of the hidden advantages of using mid-range Canon kit – someone else in the group may be able to help. You will end up shooting in wet or dusty conditions, so a Kata Rain Bag or similar, and cheap filters you don’t mind wiping with anything to hand are both essential!

Iceland is cold, but it’s not the temperature that gets you (for our trip it was consistently above freezing and up to 14C), it’s the wind. The answer is lots of layers. For me the combination of sweatshirt, microfibre jacket with detachable lining, warm hat and raincoat with hood was about right, but others might need even more. I can also recommend carrying a flask of coffee. I ended up buying one on the first day, and leaving it behind, and had to haggle with hoteliers a couple of times about filling it, but it was well worth the effort.

Deep pockets are useful in two different ways. In a practical sense they are a great solution to the ridiculous baggage limits airlines are progressively imposing. If you can shove a couple of lenses into your trousers and heavy batteries into your jacket then the baggage allowances become less of a problem.

In the metaphorical sense you need to be prepared for high prices – Iceland isn’t cheap, especially by the standards of say the USA or southern Europe. That said, by UK standards and given the current exchange rate it didn’t feel that bad. I will comment on the recommendation made by almost every web site and guide book to buy lots of booze at the incoming duty free store. I’m now convinced this is a con trick to get free beer for Icelanders. Unless you’re a real alky, don’t bother.

Don’t expect to get anything done on the go. I had visions of sitting in the jeeps reading, writing my blog on my iPad, or at least preparing for the next location, but despite Finn being a very smooth driver this was absolutely impossible – the roads are just too rough. Not for nothing does my map of Iceland have a road classification I have never seen before: “main road – unsurfaced”. 🙂

Be prepared for all photographic opportunities, and for lots of shooting. Although my Canon 7D got most use, the 550D also came into its own for wandering around Reykjavik, and I always had the S95 in my pocket for the unexpected. I shot at every focal length from 10mm to 300mm, and at every speed from 25s for the fireworks to 8 fps for the puffins in flight. I photographed landscapes, buildings, people and action. By the end of the trip I had exceeded my Cuba shooting total, having exposed around 2100 frames, with ~1150 (~30GB) retained for further processing after initial filtering. I used about 56GB of CF cards, plus a small amount on 2 8GB SD cards for the two smaller cameras.

There’s a saying “chance favours the prepared mind”. If that’s ever true, it’s true of photographing Iceland.

If you want to see more of my Iceland photography blog, or get a few specific location ideas, please go to www.andrewj.com/blog/iceland

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Shoot Only Puffins, Leave Only Footprints

Puffin in flight at Dyrholaey, Iceland
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 28-08-2011 13:15 | ISO: 200 | Exp. bias: 0 EV | Exp. Time: 1/320s | Aperture: 6.3 | Focal Length: 180.0mm (~291.6mm) | Location: Reynisdalur | State/Province: South | See map | Lens: Canon EF 70-300mm f/4-5.6 IS USM

I was ready for a quiet day of mainly driving on Sunday. I was also ready to report a total of about 1800 shots taken, which is a bit lower than for the Cuba trip, not unreasonable given the slightly shorter duration and the fact that this was mainly landscape photography.

Then we got to the puffin colony… 🙂

Having visited a couple of interesting rock formations (basically basalt columns like Staffa or The Giant’s Causeway), we drove a short distance to the top of the cliff, which was essentially home to thousands of puffins, which were variously sitting quietly or diving off into the sea to catch food. They seem to be quite unafraid of humans, and because of the prevailing wind onto the cliff they had to glide slowly at take-off and landing, sometimes very close to us, which made photography feasible, if still challenging.

Of course, this is what my kit, consisting of the Canon 7D and 70-300 IS lens, is built for. Any minor inferiority complex relative to the 5D and medium format brigade vanished in the face of my 8 frames per second and high performance auto-focus, and I got a number of good shots. The above is probably one of the best, although there are several other good candidates.

It did put the shooting total up a bit. In less than an hour I took well over 300 shots, filling a 16GB memory card and flattening a battery, but who cares. Together with the other shots from the day the total now stands over 2150 – even higher than Cuba!

Our hosts had organised a wonderful end to the day. In the outskirts of Reykjavik we diverted to the hospital where Gruni (Finn’s wife, who had joined us on the tour) works. There we were doubly treated, both to a celebratory glass of champagne and a couple of chocolates, but also to an exhibition of the best of Finn’s photographs, in wonderful large prints. Definitely something to aspire to.

I’m back in the hotel, and busy packing for an early start. I’ll do a final post when I’m home, summing up and listing my tips for any future travellers, but it’s been a wonderful trip and highly recommended to anyone else who wants to try.

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A Day of Travails

Fire meets ice at Kerlingfjoll, Iceland
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 22-08-2011 12:59 | ISO: 100 | Exp. bias: 2/3 EV | Exp. Time: 1/80s | Aperture: 10.0 | Focal Length: 31.0mm (~50.2mm) | Location: Blákvísl | State/Province: South | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

You don’t realise quite how empty the interior of Iceland is, or just how much time you’re going to spend bouncing over unmade roads through deserts of rock and mud. It’s not surprising that NASA test their extra-terrestrial rovers here. Fortunately the scenery when you get to each location more than makes up for it.

We started Monday by driving up to Kerlingfjoll (which roughly translates as “Bitch Mountain” :)). This is an amazingly colourful geothermal centre reminiscent of The Artists’ Palette in Death Valley, only with ice, rain, snow and steam all mixed in! The only problem was that it was blowing a gale, tipping with rain and only just above freezing. I braved it with my new raincoat, Kata rainbag and cheap filter on the camera, and got some great shots. One of the rest of the party had a little Canon in a waterproof housing (like I use for snorkelling) which was maybe slightly OTT but worked well, and her husband had a rainbag like mine, but everyone else gave up on photography which was an enormous pity.

After lunch we travelled up to Hveravellir (“Hot Field”), to see another geothermal display, this time a mix of hot pools and small geysirs. On the way back we diverted up to the Langjokull glacier, at a point where the jeeps could actually drive up onto it. This was a brilliant experience.

Unfortunately at this point I realised that my main 15-85mm lens was starting to play up, and my photos from the glacier aren’t that great. I don’t know whether it’s the vibration, the moisture or just a fault which was waiting to happen, but I’m getting a nice soft focus at the top/left of the picture, whether I want it or not :(. Fortunately I also have the 17-85mm as a spare, so hopefully this won’t put too much of a dent in proceedings. Yesterday also saw the possible demise of one of the batteries for the 7D, but I won’t know until I’ve recharged and re-tested it.

I’m going to start building up a list of tips for a trip such as this, but a spare everything, a rain bag and a cheap filter you don’t mind wiping with anything to hand are all essential!

Hotel Geysir may look nice, and dinner was great, but the rooms are a bit chilly and there’s really nowhere to type on the PC, so I’ll stop here… More tomorrow.

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