One of my favourite locations for both sunsets and getting a bit of peace and quiet - although the mood was spoilt a bit by people shooting nearby when I was there last time 
There is quite a prominent bit of foreground at this location which is shot very often, indeed I’ve done so myself on a number of occasions, but this simple view across the gently rippling water as the sun sinks behind the trees is my favourite.
Purchase print at RedBubble | imagekind
The day before I took this I noticed just how red the clouds were as the sun disappeared beyond the horizon. Keeping an eye on the weather over the course of the next day I thought it looked like there was a good chance conditions might be the same so I popped out an hour before sunset to explore some local lakes that I’ve ridden and driven past many times but never walked around.
The major challenge when attempting shots like this (for me at least) is getting the exposure just right. Even though the sun has disappeared below the horizon the sky is still bright enough to completely overpower the rest of the scene. I’m sure the camera could have dealt with this in one of its automatic modes in conjunction with evaluative metering and auto white balance, but from experience I doubt I would have been that happy with the results. The shot would either have contained a properly exposed sky and little else, or more light in the rest of the shot with blown highlights in the sky.
In order to maintain an even level of light in the sky and in the reflection on the water I used my trusty Cokin ND8 (P121) grad *. It’s ideal for shots of this type where there is a nice straight, dark line across the image where the start of the graduation can be placed. Using this filter allows a longer exposure time so that we can pick up more of the light elsewhere in the shot, such as the faint light on the reeds in the foregound. Once the grad is in place it’s always a good idea to double check its positioning with the DOF preview button if you’re using a small aperture as fine adjustments can make all the difference.
Before I put the grad in I’ll usually spot meter what I think is the brightest part of the scene and set it so that it exposes at just below +2EV - I do this manually by adjusting the shutter speed (but if you are using AV you can just used the exposure compensation control to achieve the same results). Once the grad is in place I’ll then adjust the shutter speed to compensate for change in light - so if I’d settled on 1/100s before the grad I’ll change it to 1/25s (even though the ND8 makes a 3 stop difference I won’t usually adjust by 3 stops initially).
Then it’s just a case of taking a test shot and checking the composition and the histogram (and keeping an eye out for blinkies). If there are blown highlights (blinkies) then the shutter speed needs to be faster - if the histogram doesn’t look right (usually not containing data in the right-hand 5th) then the shutter speed needs to be slower **.
* It’s worth noting that the Cokin P121 does give a pink/purple colour cast so it’s not really ideal for use during the day, unless you are prepared to attempt to correct the problem either by using Auto White Balance or by fixing it later in post-production. It is however great for shooting towards the sun at this time of day
** If the shutter speed can’t be slower - because there is too much movement in the shot - then compromises will have to be made with aperture size or ISO setting. A brief explanation of exposure control and stops can be found here - http://www.andystafford.co.uk/exposure-control-stops/
Another image from our holiday in Cornwall earlier in the year. I’ve always loved the rich dark colours of this shot and the gentle ripples in the water, which looks almost like black treacle.
The sun was low in the sky to my right when this was taken, casting a warm glow across the harbour.
The light just after the sun has gone down can make for some really remarkable shots - Ok, sunset shots can be a bit cliched, but searching around (or waiting) for a bit of foreground interest can make all the difference.
If you are lucky and have a steady hand (or a lens with optical stabilising) you can get good shots at a low ISO without having to bother with a tripod (although using a tripod is recommended for sharper images). This shot was hand held as that is just how I prefer to take photos - I like to feel like I’m involved, rather than controlling a piece of machinery
I like this location as the expanse of water makes for a great reflection on a still day but despite the colours being pretty it really needed something extra. Fortunately after about 5 minutes a swan started to come towards the shore.
Technical details:- Cokin P121 ND4 Grad, ISO200, 1/15s, f/16.0, 20 mm
Posted in sunsets.
My discovery of filters and their uses has increased my enjoyment of photography immeasurably. Some ND grads were recommended to me for use on skies as an alternative to using HDR. These filters are grey and have no colour cast (the ND stands for Neutral Density) and they stop a certain amount of light entering the lens - the “grad” bit refers to the fact that they are graduated, so part of the filter is clear and lets all the light pass through, but some of it is dark and lets less light pass through. Basically they allow you to make the sky less bright, which allows more detail to be captured elsewhere in the photo, such as the ground.
The shot above, which was taken in Watermead Park, Birstall, was taken with a combination of Cokin ND4 grad (P121M Grad Neutral Grey Medium) and Kood Green filters. (The Kood filters are much cheaper than the Cokin ones and possibly there is a difference in quality, but as I’m just an amateur and trying these things out for the first time I’m not overly worried at this stage - besides I get 3 Kood filters for the price of the Cokin Light Tobacco filter that I was about to buy for £30)
The green filter is really for use in Black & White photography but I find its effect can be pleasing in colour if a red tint is added in post production to calm the green down a bit. Obviously it’s possible to alter the all the different colour levels in Photoshop to get the same or similar effect, but for some reason I don’t find it as enjoyable. Using them on the camera also seems to help me with ideas - I’m actually looking at contrast and texture more than colour and am divorced from the beauty of the scene.
This was how the image looked when it came from the camera - it’s a bit “green” but it allowed me to see how the final image would work.
The image below shows the importance of waiting at a spot for a few minutes - when I arrived there was a breeze and no pleasant reflection in the water
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