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

Rhythm and hues

click photo to enlarge
Of the three major pairings of complementary colours my favourite by a large margin is blue/orange.  Red/green I can appreciate with flowers, leaves and grass - in fact, we have red geraniums (pelargoniums) every year because of the big return you get from their petal colour next to their leaves. Purple/yellow, leaves me cold though; too garish by far. However, I enjoy that delicious blue/orange mix so much that sometimes I barely realise I'm using it, though usually it's a very deliberate choice. Examples in the blog include these trees and buildings, these flowers and their deliberately chosen background, this Euphorbia, ladybird and background, and these spring maple leaves against a blue sky.

What artists have realised down the centuries and what photographers learnt from artists is that some of the qualities of "pure" complementaries extend to "near" complementaries. If, for example, you put brown (rather than orange) next to blue the pairing offers attractive qualities that derive from the fact that, as a colour, brown is close to orange. I'm sure it's this that explains why my preferred combination for split toning is blue/sepia. I've tried other pairings such as cyan/green, magenta/orange and red/sepia, but have always gravitated towards my favoured colours (see this building interior and this sea-front promenade).

Perhaps similar reasoning can be adduced for my liking of the colour pairings in today's photograph. It shows tongues of rippled sandy Lincolnshire beach at low tide. I liked the repetitive rhythm of these small spits and I isolated sections of them with a long lens. The title of today's blog is a blatant steal and amendment of an off-licence I saw in Barton upon Humber, one of a chain apparently, called Rhythm and Booze, which is itself a play on the name of the style of music of almost that name.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 120mm
F No: f8
Shutter Speed: 1/250
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On