Sunrise - Herrington Country Park, Sunderland

What can I say - I've been AWOL once again and this time it's been longer than ever. My blog page has been put on the back burner over the last few months due to other commitments, but I'm back once again and hopefully it won't be a fleeting visit.

Strangely enough, I'm taking off where I left off, with more Mute Swan images. This time it's a sunrise visit to Herrington Country Park, Sunderland on a mild morning in early December 2016. I had the place to myself, give or take the odd dog walker here and there. The warm colours were beginning to show on the horizon when I arrived at the park, around 7.30am, so I had a feeling this was going to be a productive outing. No filters or long lenses, just a Canon 5D3 and a flash gun, including the chosen lens, a 24-105L.

As anticipated, the sky kicked off with some fine colour just before sunrise, so I set to work knowing it wouldn't last too long. It's a game of patience waiting for the swans to take up the ideal position for the composition I wanted. As there was a pair of swans I waited for a gap between the two before hitting the shutter button. When one bird obscures the other it doesn't make for a good photo and I also try to capture them with a side profile or head on, rather than the back of a head. It's a tricky game, it has to be said. I can easily run off a dozen frames before I finally bag a keeper, but it's all part of the fun and the challenge. The swans are at ease with the flashgun and are more bothered about whether they're gonna get fed or not, which they always do. It's the very least I can do when they're willing to pose for the camera, but throwing food to them always attracts a posse of ducks, which I don't want in my shots as they're nothing but a distraction.

Here is a few shots from this morning's visit. Glad I made the effort to lift my arse out of bed today!

Back soon, Ash

The Kelpies, Falkirk, Scotland

Across the border and into Scotland for my latest low-light shots. The location was Falkirk, home of The Kelpies, the largest equine sculptures in the world. The Kelpies are 30-metre high horse-head sculptures, standing next to a new extension to the Forth and Clyde Canal in The Helix, a new parkland project built to connect 16 communities in the Falkirk Council Area, Scotland. The sculptures were designed by sculptor Andy Scott and were completed in October 2013. The sculptures form a gateway at the eastern entrance to the Forth and Clyde canal, and the new canal extension built as part of The Helix land transformation project. The Kelpies are a monument to horse powered heritage across Scotland. The sculptures opened to the public in April 2014. As part of the project, they will have their own visitor centre, and sit beside a newly developed canal turning pool and extension. This canal extension reconnects the Forth and Clyde Canal with the River Forth, and improves navigation between the East and West of Scotland.

It was dusk when I arrived at the site and the blue hour was almost over, so I quickly got to work while there was still decent colour in the October sky. Initially I ran with a Canon 17-40L lens, but soon switched to my brand new and as yet unused Samyang 14mm prime. The difference was immediately noticeable, not only with the extra wide angle field of view, but also the focus ring, which is manually operated and glides easily with just one finger. The Samyang 14mm is a rectilinear fisheye lens, which would be much smaller and less expensive, but also curves everything into a ball. Samyang is a Korean maker of security camera lenses -  Tamron does the same thing in Japan. Compared critically to Nikon and Canon's 14mm lenses, the Samyang 14mm f/2.8 is the least expensive 14mm ultra wide lens ever made and it attempts to keep straight lines straight.

But enough about the new lens, more of that will be revealed at a later date when I post more pictures and a review after putting it through its paces. To view 'The Kelpies' page on my website click here and go to Gallery 2 > Special Feature Galleries. Here is a small selection of shots from my visit, the first of many...
Back soon, Ash

Lens Review - Canon 100mm Macro, 2.8 USM

Welcome back!

Over the years I've taken a few Macro shots on a variety of compact camera's, mainly due to the fact the built-in Macro facility was readily available as an add-on feature. 'Might as well have a try', was the attitude behind it, without really having an interest in this area of photography, it was interesting to see exactly what type of shots each camera would pull in. In most cases each model would deliver more than decent shots, until I downloaded them onto my hard drive and opened each one up to view them on a much larger scale. Although these Macro shots looked very tidy on a two inch screen, the truth was out on a PC monitor - not that impressive. Depth of field was always going to be a stumbling block, especially on a camera that wasn't specifically designed for 'True' Macro, so when the opportunity arose to test out a dedicated Canon 100mm affair, I was more than happy to put it through its paces. Then again, I had no previous experience of using a Macro lens on a DSLR, so maybe it was ME that would be put through its paces! I loaned the lens for a weekend, hoping to get try it out on the coast of Sunderland, among the rock pools and sand at Seaburn and Roker. As the weekend progressed, and other commitments narrowed down my 'Play time' with this lens, I eventually had time to fit in a session, although the tide table wasn't on my side, so I turned to Plan B. I made a visit to Butterfly World, Stockton On Tees, to grab some close-ups of plants and... you've guessed it...Butterfly's!

Arriving with little under an hour before closing time, I quickly got to work with the lens attached to my trusty Canon 5D MKII. It was apparent from the outset that this task was going to be a tricky one. Using a Monopod, and running with a pre-determined batch of camera settings, I was firing away in no time, but on reviewing my work when magnified on the LCD it was clear to me that achieving pin sharp images wasn't going to be straightforward. Again, even with a dedicated Macro lens, depth of field was a real issue here, but patience and a touch of perseverance usually results in improvement, as I know first hand from experience, so that was the route I went down in the short time I had to make my pictures. Butterfly World was busy, even during the last hour of play, with kids running amok and making every effort to grab a butterfly and take it home - those Smoggies have no shame. A swift elbow here and there got the message across, as I wasn't gonna let some snotty nose kid ruin my shots, he he. Do one!!!

And so, down to the nuts and bolts of this lens...
If you want to jump into macro photography making compromise in image quality, this lens is the perfect choice, and here is why:

Advantages
1) Fast Focusing - Utilizing the USM (Ultrasonic Motor), the Canon 100mm internally focuses very fast, quietly and very accurately.
2) Non-Extending or Rotating - When focusing at 1x subject distances, the lens does not extend, and the front element does not rotate.
3) Crisp and Sharp Images - the Canon EF 100mm f/2.8 USM Macro Lens is sharp wide open. The tiniest details in your tiniest subjects will come to life with this lens.
4) Excellent Optical Performance - Flare is very well controlled. Colour and contrast are excellent, although vignetting is apparent at f/2.8, but quickly disappears when the lens is stopped down.
5) Optimum Minimum Working Distance (MWD) - There are three macro lenses in Canon's range of USM lenses. The 60mm lens has a very short MWD of only 60mm, and insects may tend to scare and fly away prematurely. Also, the 180mm lens has a MWD of 240mm, and at this distance insects are not really close enough. The EF 100mm f/2.8 USM Macro Lens, on the other hand, has a MWD of 150mm, which is ideal for butterfly and insect photography.
6) Very good image quality, L rated.
7) Nice build quality.
8) Large focusing ring, very easy to use.
9) Pretty good for portrait too, or so I've been told.

The Canon 100mm Macro is well worth buying if you want to get into this area of photography. Although I enjoyed testing it out, I reckon I'll stick with Landscape photography. That's where it's at for me. And on that note I shall scurry away, to return another day...
Until then, Ash

New Addition - Canon 17-40mm Lens (L Series)

Last week I added another lens to the arsenal, in the form of a Canon 'L Series' 17-40mm Ultra-Wide. This is my second 'L' purchase, following the 24-105mm lens that came with my Canon 5D MK2 body (Full frame upgrade). For anyone who is unfamiliar with L-Series, these are the 'Luxury' lenses in the Canon EF family line, and what a difference the results are, compared to the EF-S series that I was using alongside the now departed Canon 7D crop body. Naturally, the L-Series glass comes at a price, but they're worth every penny. So, what is the difference between EF (L-Series) and EF-S lenses, you may ask...

EF-S lenses are specifically designed for APS-C digital bodies and optimised for the fact that they have smaller sensor and mirror. EF-S lenses are marked with a white dot on the mount instead of red one that EF-glass has, and can be only used on EF-S compatible bodies (almost all of smaller-sensor Canon DSLRs, up to EOS 7D). Film and larger-sensor digital cameras (5D, 1D, 1Ds) take only EF lenses. If you have a camera with EF-S mount support (such as EOS 7D, 50D or 500D), you can use both EF and EF-S lenses. EF-S lenses are a slightly different format whereby the rear element sits closer to the lens, this is possible due to the smaller mirror with APS-C sensor. The distance from the back of the lens to the image plane is known as the back-focus distance, hence the S in EF-S standing for short back focus. Other manufacturers have lenses designed for smaller sensors with appropriately smaller image circles but they don't have a different back focus distance. Having the lens sit slightly closer does make it slightly easier to design wide angle lenses, however I've heard the reason Canon introduced EF-S lenses was so they could scale down existing lens designs as a base for the optical design to avoid having to start from scratch. It's often said you can't use EF-S lenses on a full frame body (such as the 5D, 1Ds) but this is not strictly true. Canon use a different shaped rear baffle to physically prevent you mounting as the mirror could hit the lens and cause damage. However this can be removed to allow mounting, and since the rear element moves when zooming there are positions that allow shooting. Vignetting is a problem as EF-S lenses project a smaller image circle, but again the image circle can get bigger while zooming so some focal lengths work ok.

EF (L-Series) is Canon's professional line (though used extensively by non-professionals) of EOS EF auto focus 35mm SLR and DSLR still camera lenses. Some say L stands for "Low Dispersion" - achieved by the UD lens elements found in these lenses. But, the true answer is probably the one in Canon's Lens Work III Book - "L" is for "Luxury". Watch the sidelines at the next professional sporting event you attend or watch on TV. Look for the identifying L-lens red stripe around the end of the photographers' camera lenses. These are the people who make a living with their equipment - and they frequently trust the Canon L Lens Series for their income. About their L lenses, Canon says "these lenses use special optical technologies [such as] Ultra-low Dispersion UD glass, Super Low Dispersion glass, Fluorite elements, and Aspherical elements to push the optical envelope."
OK so what does that mean - practically speaking? What you can get when you use Canon L lenses (if you do your part right) are amazing pictures. In fact, this amazement is said to cause a disease know as "L-Disease". Once caught, it is incurable.

After upgrading to the full frame 5D MK2 with 24-105MM lens, I couldn't wait to get started. If you trace back my blog entries you'll find many photographs that I've taken with my new kit. To the viewer there may seem little difference between the photographs on my blog from each camera, but there is a noticeable difference between the prints, especially at A2 (25x17 inches). Obviously, when you factor in the full-frame side of things, the upgrade has been a master stroke in my opinion, as it has opened up more capability, mainly the ability to get that much more subject onto a full frame sensor. As for my two lenses - the 24-105mm is my everyday 'Walk around' lens, which covers most aspects of my photography needs, whereas it doesn't quite cut the mustard up close, hence the need to go wider in that pursuit. That's where the 17-40mm glass makes an appearance. A popular misconception with some photographers is that Wide Angle lenses are to 'Get it all in'. I tend to disagree. Ultra-wide's are for getting yourself, and therefore the viewer, right smack into the middle of something. If you can't or won't get close, leave the Ultra-wide at home. These lenses have the ability to rub the viewer's nose in your subject. Properly used, Ultra-wide's grab your viewer and yank him into the middle of your situation, bringing the viewer into the photo, not for fitting a subject into a photo. Ultra-wide's require you to get very close and personal to anything you are shooting. Even a fraction of an inch (or cm) will make a massive difference in your composition, so you need to be very deliberate with your movement. If you use them properly, you should be rewarded with dynamic images. I find that regardless of which lens I use, and however many photos I make on a trip, the ones I like the most are always those made with a wide angle lens. My old 10-22mm Wide was a brilliant lens and gave me the experience I now carry forward. As the weather up North has been sh1te recently, I haven't had a decent chance to road test my new 17-40mm Wide, but rest assured it will put through its paces soon enough. Until then I'll twiddle my thumbs and plan my next outing. Lots of printing/framing to get through, which is ideal when the weather is poor. Indoors all the way, but not for long. Until then...

Ash