Skegness lights

click photo to enlarge
Items of street furniture - seats, bollards, planters, bus shelters, lights etc - go through design phases reflecting the era in which they are constructed and installed. A few local authorities, in the interests of harmony, heritage or conservation, install copies of existing items but, in the main, such items are of their time.

During my lifetime it has been interesting to watch the evolution of the street light. My first conscious memory of the design of this common piece of street furniture involves reflecting on the need for a short arm that projected on one at a point below the light itself. As children we knew it was great for climbing up to, and for swinging on. But, even at that early age, I knew it hadn't been designed with my fun in mind. Only later, when I saw a ladder leaning on it as a workmen effected repairs, did its real purpose become apparent. Ever since that time I've taken an interest in the straight, curved, steel, concrete, fussy, spare, "antique", "modern", rectangular, globular etc shapes and materials that designers have employed in making street lights. And yes, periodically they have been the focus of my camera.

Today's examples were photographed during a brief visit to Skegness, a place where I've photographed lights of one kind or another before. As the autumn afternoon daylight began to fail the sensors had activated the bulbs on these promenade lights and their orange glow amplified the yellow of the deliberately "ornate modern" hood of these fairly recent lights. As ever with seaside lights a gull found one to be a welcome perch.

photograph and text © Tony Boughen

Photo Title: Promenade Lights, Skegness, Lincolnshire
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 75mm (150mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/200 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Arcade lights

click photo to enlarge
On our recent visit to the seaside resort of Skegness in Lincolnshire I took several photographs of the "amusements" that feature on the seafront. These were mostly closed awaiting the warmer weather. But, some indoor amusements were open and displaying their signs and lights in the hope of attracting passing visitors. This line of lights, quite unremarkable in most respects, attracted my eye. Firstly for the colours - I like the deep yellow and orange against the very dark background. But also for the way the reflections give the electric lights something of the appearance of flames.

photograph and text © Tony Boughen

Photo Title: Arcade Lights, Skegness
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 150mm (300mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/1000 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Pleasure, happiness and slanting light

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Many people confuse pleasure and happiness. Such confusion is quite understandable when you appreciate that we are constantly told by advertisers and businesses that happiness can be bought, when in fact what they are offering is (usually) pleasure. What is the difference? Happiness is a deep, long-lasting experience born of meaningful activity and solid relationships: pleasure is transitory, experienced briefly, then it is gone.

Consequently it is refreshing to see the word "pleasure" used accurately, as I did at the Lincolnshire seaside resort of Skegness the other day. The children's rides - roller coasters, big wheel etc - are part of what is known as the Pleasure Beach. This is a place where you pay your money and experience the fun and thrill of a ride. Even though the day was bright and sunny the month of February was not one where the owners felt that punters would be tempted on to the outdoor rides and so they were all still, waiting for the end of march or April to arrive. But the big, bold, painted and illuminated signs were still proclaiming the pleasure on offer even though most of the light bulbs were unlit.

The word shown above, part of the sign "Pleasure Beach" was painted in light blue, purple and yellow with red stars. Not my favourite combination of colours but appropriate for the purpose to which they were being put. What I liked was the way the slanting sunlight was making long shadows of every part of the wall, name and stars, and particularly the light bulbs. I felt the effect would be amplified by conversion to black and white, and so it proved.

photograph and text ® Tony Boughen

Photo Title: "Pleasure", Skegness, Lincolnshire
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 70mm (140mm - 35mm equiv.)
F No: f7.1
Shutter Speed: 1/640 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Not a quiet day at Skegness

click photo to enlarge

The weather was very benign for early November so we decided we'd have a quiet day by the sea at Skegness enjoying the sun and the absence of wind. A walk along the beach, a few photographs of wind turbines and out-of-season amusement arcades etc. seemed a suitable change from our recent routine.

The morning didn't start well. Our usual parking area was packed with cars and there were far more people in the beach car parks and on the beach than we expected at this time of year. Then we saw a large car park full of motorhomes, large vans, pickups and trailers, many of them with motorcycles. As we approached them we saw lines of temporary safety barriers and the penny dropped. There was some kind of beach motorbike racing about to take place. We walked past the throng, disappointed that the day wasn't to be as we'd planned, and as we did so we heard over the loudspeaker that the racing would soon start. We saw- and heard - it in full flow as we returned and, to make the best of the day, I took a few photographs of the riders as they roared up and down the sand.I'm not one who is drawn to such events but as we watched the racing it occurred to us that a great virtue of having it on the beach was that, once the tide had been in and receded again, there would be no trace of the day's proceedings having taken place: which isn't the case when the countryside is used.

I was ill-prepared for this type of photography as well as being a complete novice with fast moving vehicles. But, despite not having a tripod and the single lens mounted on my camera being too short and not fast enough, I had a go at getting a few shots. These are the best of the bunch.

photograph and text © Tony Boughen

Photo 1
Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 95mm (142mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/320 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Windless turbines

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As the rise and transformation of personal computing in recent decades demonstrates, specific technologies come and go. What I find interesting in this regard is how a continent such as Africa largely missed the desktop computer and laptop and went straight to the computer that is the smartphone. Clearly, the step-by-step evolution in computer technology that the industrialised nations have experienced is not the only way forward: it's possible to miss out a stage or two.

Here's an example of technology arising and then vanishing. A couple of centuries ago the area that is now Greater London was home to about three hundred windmills. There were several thousand elsewhere across the country. These were not the generators of electricity seen in today's photograph, but machine/buildings for milling grain and other products. Today there is but a handful of working mills, none of them commercial. With that in mind I wonder how long wind turbines will be generating a portion of our electricity requirement. I've read that the life-span of a turbine is about twenty five years on land and I imagine it must be less than that at sea. But, quite a bit of energy infrastructure is used beyond its sell-by date so it's likely they'll be around for a little longer than that. However, the fact is that it might be a new technology - one currently in development, or one yet to be imagined - that makes wind turbines redundant. When that day comes the wind "farms" that have sprung up on land and sea will be no more.

I have mixed views about wind turbines. I wish our politicians and energy companies would favour green power generation that is less visually intrusive, or even - heretical thought! - work seriously at reducing consumption. Yet, if they did, I'd lose a photographic subject that is undoubtedly interesting. I've taken quite a few shots of these tall structures at various Lincolnshire locations, including those offshore at Skegness. I took several more on a recent visit to that seaside resort. We arrived at the coast when the wind was barely perceptible, the sea was still, a light mist was clearing, and the sun was illuminating the stationary turbines. This particular image presents the white monsters looking benign and beautiful.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 112mm (168mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/500 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Dogs and me

click photo to enlarge

Many years ago, when my children were young we were on a beach in Lancashire when a large dog came racing towards us, ignoring the shouted commands of its owner. It jumped up at my sons, towering over them, frightening them, almost knocking them down. That was one of the few occasions in my life I've come up with a retort that I couldn't improve on after the event. I said to the dog owner, as she ran up assuring us that it "only wanted to play", "There's nothing like a well-trained dog, and that's nothing like a well-trained dog." My observation-cum-complaint didn't go down well with the owner, but then that was my intention. I must surely have heard those words somewhere before, I can't imagine I thought them up myself. But they came out with perfect timing as though they were all mine.

I have nothing against dogs. We had them when I was a child and I enjoyed them. I've known and liked many dogs that are good-tempered and well-trained. But I've also come across plenty that are none of these things due to the improper care they receive, or the way they are used to protect property, especially if it's a farm through which a public footpath runs. For many years I thought I'd have a dog when I retired, but I've reached the conclusion that a dog would restrict what we do far too much, so I'm very likely to remain dogless.

The other week, when were on Skegness beach, that episode with my children and the dog came to mind once more. It often does when we see dog walkers on a beach. I well understand the desire of owners to let their dogs run free in the wide open space because the animals visibly enjoy the experience. I just wish those who have no control over their dogs wouldn't do so. However, I'm pleased to say that those providing the human and doggy interest in today's photograph were impeccably behaved.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 31.8mm (86mm - 35mm equiv.)
F No: f7.1
Shutter Speed: 1/800 sec
ISO:125
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Snapshots, dog walkers and wind turbines

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The words "snapshot" and "snap" in connection with photography seem to have pretty much disappeared from use by all but people over the age of, say, fifty. That's a pity because the first word very well describes the act of quickly seeing and taking a photograph without indulging in the lengthy consideration that might be taken with, for example, a landscape. It is a very appropriate word for the sort of shot that is frequently used in street, wildlife or sport photography. "Snap" for a routine or quickly taken photograph is also a useful term. In these days of smart phone cameras and the impromptu shots that they are often employed for, one wonders why the word isn't more widely used.

Snapshot, snapshooting and snaps came to photography from the world of shooting with firearms - rifles, shotguns and pistols. Quickly taken shots at game, targets or even people, were so described in the Victorian era, and are often still described with these words. I'm not the sort of photographer whose output relies heavily on snapshots but I do take photographs rapidly when I want to include people (those who are unknown to me) in my photographs because I usually have a very clear idea where I want them to be in the overall composition. Moreover, for reasons lost in the mists of time, all my digital photographs are in folders that are described with the word "Snaps" followed by the year.

The other day, when walking over the sand and dunes towards the sea at Skegness in Lincolnshire I took a snapshot. A dog walker appeared on a low dune ahead of us. He was silhouetted against the sky, with the sea and wind turbines behind him and a large pool in the foreground. I knew that he would soon be less visible against the sky so I started firing off a series of snapshots having first decided that I wanted a vertical composition with the main interest towards the top of the frame. Today's photograph is the second of four snaps that I took and it came out rather better than I imagined it would. That's another interesting thing about snapshooting: because it's quick you have hits and misses, and the hits, because they are not arranged to the last detail, have a surprise element that often makes them more rewarding than shots where everything turns out as planned.

Incidentally, I often wonder what I'd do without the scale and human interest that dog walkers offer when I'm photographing in the open spaces beside water or on sea-shore grass and dunes.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 37.1mm (100mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/1000 sec
ISO:125
Exposure Compensation: -0.7 EV
Image Stabilisation: On

The Jolly Fisherman, Skegness

click photo to enlarge

In the middle ages the Lincolnshire town of Skegness suffered from the depredations of the sea. Buildings were lost, and its continuance was precarious. But, it survived and its medieval church can still be seen. In the early nineteenth century the town gained some standing as a desirable resort for the well-to-do. However, most of Skegness's growth came after the arrival of the railway in 1876 when a conscious decision was made to develop the town as a seaside resort.

Under the direction of the major landowner, the Earl of Scarborough, the expansion of Skegness was planned on a grid and developed quite slowly, with wide avenues, tree planting and monuments. Only when the area fronting the sea was bought by the town council in 1921 did the brash resort that we see today begin to appear. Not that there hadn't been a concerted effort in the earlier years of the twentieth century to attract visitors.

In 1908 the London and North Eastern Railway company commissioned the illustrator, John Hassall, to produce a poster to advertise Skegness. His creation, for which he was paid twelve guineas, has become one of the best known seaside advertising posters in Britain. The "jolly fisherman" character that it features, as well as the slogan, "Skegness is so bracing", became so closely associated with the town they that have been used in the original form and in several updated-versions almost without interruption over the past century. Hassall's first, hand-painted poster is now displayed in Skegness Town Hall. The jolly fisherman continues to be used on many souvenirs and advertisements for the town, and in recent years has been made the centrepiece of a fountain in one of the sea-front gardens.I took this contre-jour photograph of the prancing figure on top of the cascading water, positioning myself so that the aircraft vapour trails framed the silhouetted fisherman like Hollywood searchlights. It's hard to predict the outcome with photographs that include the sun in the frame, but I've shot enough of this kind of image to know that even the big white orb and lens flare don't detract from the impact and drama that can be achieved by photographing against the light.

photograph and text (c) T. Boughen

Photo 1
Camera: Canon
Mode: Aperture Priority
Focal Length: 38mm
 F No: f7.1
Shutter Speed: 1/2000 sec
ISO: 100
Exposure Compensation:  0 EV
Image Stabilisation: On

The seaside in winter

click photo to enlarge

"Heaven, as conventionally conceived, is a place so inane, so dull, so useless, so miserable, that nobody has ever ventured to describe a whole day in heaven, though plenty of people have described a day at the seaside."
George Bernard Shaw (1856-1950), Irish playwright, essayist and critic

People will have their own opinions about Shaw's view of a day in heaven, but a majority would probably think his description of it perfectly matches a day at the seaside in winter: particularly at a town that specialises in "entertainment". These are places that are either loved or hated. The English middle classes tend to look down their noses at the likes of Blackpool, Margate, Weston-super-Mare, Cleethorpes or Skegness, seeing them as places of cheap thrills and meretricious tat, glitzy facades with no substance. There is some truth in that, but it's certainly not the whole story, and this kind of seaside resort, even in winter, can be a place of deep interest.

My first impressions of the Lincolnshire seaside town of Skegness weren't good. Its beach is flat and relatively uninteresting, the architecture is of the expected kind, but bland, without the showy excess and originality that enlivens many resorts. The pier, a feature of the English seaside that I love, is so short it rarely has water beneath it, lacks interesting ornamentation, and seems to be closed for most of the year. And the funfair is compact, ordinary, and without the spectacular rides found elsewhere. And yet, after a couple of visits, I started to look at what the town had, rather than what was missing, and in doing so found details, buildings and scenes at which I was happy to point my camera.

Today's image was taken on an early January afternoon as the low sun was about to be replaced by dark, looming clouds. The orange light of winter deepened the red of the sand, and intensified the colours of the amusement park rides against the deep grey sky. I took a close shot of the wheel and roller coaster, and then looked for a wider view. But, there was no foreground interest, and so I decided to use my own shadow. That produced the photograph that I liked best, perhaps because its starkness complemented the scene that was empty of the summer bustle and noise of holidaymakers enjoying themselves.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 35mm
F No: 7.1
Shutter Speed: 1/320
ISO: 100
Exposure Compensation: 0 EV
Image Stabilisation: On

Fascinating hexagons

click photo to enlarge

Ask a person in the street to name something that involves regular hexagons and they'll almost certainly come up with either the honeycomb or the snowflake. The reason why bees make their cells using this shape is thought to be the fact that it uses the least material for a given volume. It's the hexagon's ability to tessellate perfectly that is the key to our fascination with the shape. Squares and triangles have this property too (as do many other less common shapes), but they don't do it with the same interesting elegance.

Honeycombs and snowflakes aren't the only naturally occuring hexagons. Basalt columns exhibit this quality, as does the crystal beryl, the turtle's carapace and even a north polar cloud system on Saturn. Man has made use of the tessellation properties of the hexagon in things as diverse as floor tiles, patchwork quilts, glass window blocks, paving and house plans. It is also the shape used for the "Seabee" concrete blocks used to make the honeycomb sea-walls found on low-lying coasts subject to erosion. Placed as a revetment over gravel or stone they work by the holes absorbing the force of the waves. They are one of the more expensive methods of protecting a coast, but have been found effective when used judiciously. The examples in today's photograph are part of a length at Skegness, Lincolnshire. I chose a section where steps cut through the Seabees and I composed this semi-abstract image.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 45mm
F No: 6.3
Shutter Speed: 1/100
ISO: 100
Exposure Compensation: 0 EV
Image Stabilisation: On

Does practice make perfect?

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"Travel broadens the mind" people say, and everyone agrees without a moment's hesitation. It can, but often it doesn't: it all depends on the mind. Moreover, tourism shouldn't be confused with travel. "Practice makes perfect", is another of those sayings that elicits widespread agreement. You only have to include it in your sentence to find heads going up and down, sagely, like so many nodding donkeys. And yet, if my life's experience is anything to go by, you're just as likely to come upon someone who regularly repeats a task without any discernible improvement in performance as you are the person who exhibits advancement in their chosen activity.

It seems to me that with some activities many of us achieve a level that we deem to be "good enough", and don't improve further. I recognise this in quite a few of my DIY skills. Take paper-hanging and painting. I've done this activity (with my wife) on and off for more than thirty years. The end result today is better than when I started out, but I don't think it's any improvement over the standard I achieved fifteen or twenty years ago. I'm happy enough with the outcome and don't aspire to any kind of perfection. I could probably say the same, with one or two qualifications, about my guitar playing, though here I do have the desire to improve! The fact is, practice alone is not enough to achieve improvement. For that to happen there has to be the application of rigorous thought, reflection and the careful assessment of one's performance. In a lot of practice, including that involving the hobby and profession of photography, the thinking, reflecting and assessing quite often seems spasmodic or completely absent, and frequently plays second fiddle to carrying out the activity at the already achieved level. For many people practice involves working on areas of weaknesses, and there's nothing wrong with that so long as you don't let your strengths atrophy. No, practice alone isn't necessarily the road to improvement.

The two people in today's photograph, gazing out to sea from the beach at Skegness, Lincolnshire, though they don't look it, are in fact practicing. They are members of the Royal National Lifeboat Institution, and they have just used the tractor and trailer to launch the inshore lifeboat carrying their colleagues on an exercise. Their line of work requires regular practice, and may involve more of it than actual life-saving. Over the years I've taken a few photographs of this organisation at work in activities as varied as doing the Sunday wash and, yes, practising for the real thing.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 300mm
F No: 7.1
Shutter Speed: 1/250
ISO: 200
Exposure Compensation: 0 EV
Image Stabilisation: On

Blogging and popularity

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Ever since I started blogging I've used a hit counter to give me some idea of the level and sources of the traffic that comes my way. For years I've used a free version of Sitemeter, and found it supplied all my needs. However, for a while the policies of Sitemeter with regard to cookies has been questionable. So, when Blogger introduced Stats* several weeks ago, I thought I'd dispense with my old hit counter and use the "in house" offering. But, the information I am now provided with is slightly different and in some ways less useful: it has more aggregation of results and less information about individual hits. Consequently I've added Google Analytics as well. I've been familiar with this evolving tool for a few years, using it on another website that I have. What both these counters do that Sitemeter doesn't is rank the most popular pages on my blog by All Time, Month, Week, Day and Now. When I looked at the All Time (in this case only several weeks) information it surprised me: the list doesn't include any of what I consider my best photographs or supporting texts, and I've been pondering why these specific pages are popular. Here is then, the current All Time top ten with my thoughts on why they prove more attractive than the rest of my PhotoReflect offerings.

1 Tree shadows and architectural drawings
Surely it can only be architecture students looking for CAD symbols.
2 Lichfield Cathedral
All those vertical lines and arches say "cathedral" to a lot of people, plus, Lichfield is probably less photographed than many other English cathedrals.
3 Promenade silhouettes
It's an eye catching shot - but not much else.
4 The megapixels war and dynamic range
This piece got picked up and referred to by a few online sites and blogs so that accounts for its popularity.
5 The corrugated chair
Making chairs out of found materials seems to be on the curriculum of some educational institutions, and the corrugated chair in question is not particularly widely illustrated.
6 Dog daisies
I have no idea! Perhaps my name for the flowers draws others who also use it rather than the more widely used ox-eye daisy and marguerite.
7 St Leonard, Kirkstead, Lincolnshire
I can only think that this small building in Lincolnshire's rural fastness is not widely covered on the web.
8 Plates of meat
Maybe I'm attracting gourmands rather than people who know that the term is Cockney rhyming slang for feet!
9 The fan vault
Probably another subject with relatively little illustration or text on the web.
10 River Welland landscape
Not one of my best landscapes, though one that is in the English tradition. Perhaps the River Welland doesn't have many such images on the web.

What has all this to do with my photograph of a section of the neon sign that proclaims Skegness Pier? Nothing. The fact is I had little to say about the photograph other than that I liked the colour combinations chosen for the neon tubes and their backgrounds. Oh and the fact that despite my shutter speed being rather slow for the focal length the shot is pretty sharp.

* only currently available (I think) for those using Blogger in Draft

photograph and text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 150mm (300mm/35mm equiv.)
F No: f5.6
Shutter Speed: 1/125
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Reflecting on mirror balls

click photo to enlarge
In a small sea-front garden, off the Tower Esplanade, in the Lincolnshire resort of Skegness is a diminutive pavilion with a ridged, blue hexagonal roof. At the apex of the roof is a spike, on top of which is a mirror ball. As mirror balls go it's a respectable size. As seaside, promenade mirror balls go, especially compared with the 20 feet (6m) diameter of Blackpool's (the largest in the world), it is fairly insignificant.

However, as I passed it the other day I thought I'd try a shot similar to the one I'd taken in 2006 of the whopper at Blackpool. The resulting photograph of some of the thousands of tiny mirrors on part of the sphere has an abstractish, pixellated quality that pleases me. At the top of the image is the blue sky with an aircraft's ragged, wind-blown vapour trail. On the horizon are the varied and colourful buildings of Skegness's promenade. Below them is the green of the lawns and the grey/brown of the paths in the small garden where the pavilion is located. The very bottom of the shot shows a segment of the ridged, blue roof.

One of the virtues of visiting a glitzy seaside resort such as Skegness is that even in winter a photographer can guarantee to go home with a memory card packed with shots exhibiting the sort of vibrant colours that you can only usually get in the other three seasons of the year.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 150mm (300mm/35mm equiv.)
F No: f6.3
Shutter Speed: 1/320
ISO: 100
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Wind power at Skegness

click photo to enlarge
Kite buggies shouldn't be a problem. The coast of the British Isles has many large areas of flat sand that should be able to be used by different interest groups without conflict, and, by and large that is the case. However, the growing popularity of these wind-powered leisure vehicles, particularly their use in areas heavily frequented by the general public, has provoked increasing numbers of complaints about dangerous, high speed driving. This has led to some local authorities placing restrictions on the areas and times when they can be used, or in some cases (for example Lytham St Annes) outright bans.

When kites were harnessed to surf boards problems of this sort rarely arose because the area of sea available for kite-boarding is vast, and the number of other users of the water, in most places, is few. However, buggy riders have been their own worst enemies by too often choosing to pursue their sport on busy beaches used by day-trippers, dog walkers, fishermen and others. The national and local organizations that support the sport seem to realise the need for compromise, and make every effort to urge riders to use less frequented areas. However, newcomers to the pastime, and individuals who crave an audience for their tricks, seem heedless. I've come across buggies being erratically driven at speeds up to 40 mph on Fleetwood beach in Lancashire, throwing up showers of shingle with every hard turn, and making walkers wonder whether they were going to be mown down.

The other day, on the Lincolnshire coast at Skegness, I saw this lone buggy zipping up and down the beach . It was well-controlled, had the sands virtually to itself, and made an interesting sight as the driver coaxed power out of the onshore breeze. On a warmer day in summer, when the visitors from England's Midlands throng the beach, it would probably be better elsewhere. However, in the spring sunshine the buggy was doing no harm and made a good foreground subject for this photographer who was able to frame it in front of the offshore wind farm he was snapping.

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 83mm (166mm/35mm equiv.)
F No: f7.1
Shutter Speed: 1/2000 seconds
ISO: 100
Exposure Compensation: -1.0 EV
Image Stabilisation: On