Middle of the day photographs with the sun still high and bright aren’t always easy to do. If you use a reflector or an off-camera flash you can turn the challenging light to your advantage, but when you’re just casually snapping a friend, luck plays a larger part in things than most photographers would care to admit. The light is shadowy, but the mood is perfect and the curve of the beach only leads your eyes to Julie. The colour saturation was pleasant, even before RAW file manipulation.

Dig that awesome pink polka dot lining.

The warm low light has saturated the colours beautifully, and the strong colour contrast between the blue of the water and James’s red hoodie and  striking hair colour, has made this portrait.

f6.3 1/200th My beloved 28mm Sigma.

f2 with my favourite 28mm Sigma. iso 500.

That’s all folks. Aren’t they gorgeous portrait victims.

And once again the front man, Mike Ritchie.

Yet another of the lead guitarist, Cisco.

The endlessly cheerful, metronomic madman known as “Breeks”

Just one shot to show the band all together. Good gig guys, I thoroughly enjoyed it!

This is the view from the hotel we stayed at in Sliema in Malta last week. This is the old town of Valetta. Photographically, the difficulty with this is the blank water foreground and the blank sky. It is dramatic that the city is so beautiful and it screams “please put me across the central third” , the problem is the blankness of sky and sea inlet; I waited from the hotel balcony for something interesting to break the blank water and was rewarded with this trio of powerboats. Suddenly an interesting picture! For the record as an ex sailor (failed) I hate powerboats – the antithesis of green transport).

Another view of Valetta, but with the apartments at Tigne Point, Sliema included.

In the foreground is an amazing pavement/walkway to the shopping centre at Tigne Point. It was only from the water that I realised it looks like a crane; it is a lovely piece of design that is (pleasingly) more than was necessary. With a wide angle lens it makes a great foreground for another view of Valetta.

The Maltese photographs found on a web search typically  include lots of doorways and old-style buildings; I wish I was so original that I could make an exception. (Oops, so sorry, the clichemeister strikes again!)

The compression of a telephoto zoom at 140mm!

This is the vibrant harbour of Sliema with two striking but elderly ships at mooring. A telephoto shot with my 70-300 mm lens at full stretch brings them magically close to the shoreline.

Here’s my lovely companion Julie in Valetta on an evening tour. 50 mm at f 1.8.

And here are three evening views with my 50 mm f1.4 of the old town of Mdina

Malta is of course Justly famous for its elderly and characterful buses: (17 – 85 IS)

The challenge for a photographer with these buses is that the recognisable, straight from the front views are best to identify the colourful buses. The next two are a necessary step for this photographer; after the simple, recognisable, symmetrical shots, two different sections of the bus, add interest.

Another day in Valetta, and the amazing buildings are worth capturing.

This one is all about the textures and warm tones; any photographer who can walk past this is stronger than me!

Valetta is big on festival decorations, these are typical for the time that we visited. These enclosed balconies are classic Malta.

I was brought up in Catholic schooling, although I never liked it. I always joke that a Lapsed Catholic or a never-really-took-to-it Catholic like me can particularly appreciate the over-the-top nature of Catholic symbols. If you see this symbolism like me as being south of tasteful, then you’ll love the Maltese examples; this is one of the more understated ones.

Julie, in Valetta, over lunch. An extreme angle to bring out her eyelashes with a really wide aperture. (f2.0)

I’m afraid that I can’t resist a cute animal. This little puss, resisted my advances, and I had no opportunity therefore to tickle its ears. Its a cutie.

Julie spotted this picture, I stole the idea and tried to do it as best as I could. I might go to hell for this blatant theft. Aren’t these British artefacts amazing in the Mediterranean? The 50mm 1.4 wide open helped single the postbox out from the background. Although centredness generally should be avoided, when the background shows symmetry, you are better placing the subject as perfectly in the centre as possible.

Another classic Valetta scene. A grab shot with my fast 50mm f1.4 wide open. Julie pointed out how odd the horses leg position is. I have to say, I feel for the horses working in this heat.

The traditional boats in Malta sport this paint job. This one is a tourist-boat in Sliema.

Another simple 50mm shot wide open of Julie.

The genuine traditional style boats in the fishing village of Masaxlokk.

These are the background buildings in Marsaxlokk with the coloured boats in the foreground. All distances compressed by the 300 mm lens, fully extended.

The square in the new Tigne Point centre at night although dark has spotlights. A candid shot of Julie with my 50 mm at f2.

A few moments later sitting enjoying a drink together. (f2 again, ISO 2000). The 7D does seem rather good at high ISO for an APS-C camera.

A close up of the apartments at Tigne Point from the hotel balcony. I love the shapes and the sheer exuberance of the design.

Valetta again from an evening boat trip with the sunset beginning to colour things beautifully.

The boat-trip turned into a dancefest: Julie showing some moves here! Super low light, movement and no flash. Deck light only. (ISO 6400, 50mm f1.4 wide open giving 1/100th second).

Party really getting going, with our English friend for the evening, Theresa!

Her handsome, but less Travolta-esque partner Ralph.

And together on deck.

One of the real appeals of Valetta is the plethora of old-fashioned shop signs. Dig this!

This was the caricaturist working Valetta’s main street, and yes we did in case you are wondering?

Finally, Julie in a Sliema cafe, doing what we both really enjoyed doing all week: Eating, drinking coffee, chatting and enjoying some shade.

Malta was a lot of fun, don’t hesitate if you fancy a visit, but a high hotel room overlooking the old town is to be recommended.

Photographically, it was overcast and the light was anything but magical; once again I have sold my soul to the demons of monochrome to help me focus on the form and majesty of the boat lift. Often, strong shapes look better defined in black and white as distracting colour elements are removed.

Here’s the lift from the front. (Sigma 10-20)

If the light is dull, it’s nice to pick out interesting details of the structure. It’s kind of like macro photography on a grand scale.

For this angle on the boat lift, the clouds parted enough to allow a brief use of colour; don’t be deceived into thinking the light made an honest photographer of me, the blue saturation has been thrashed to within an inch of its life here to force some colour drama. The yellow and orange has also been pushed to add warmth to the steel structure, emphasising the hints of rust.

These ones show the aqueduct that carries barges from the Union Canal to the boat lift. They are classic Falkirk Wheel views, and I’m sure the world has plenty of them already; its fun for a portrait guy like me to reproduce the standard landscape stuff for a bit of practice. Humour me please. The second and third using my 17-85 on telephoto to compress the upright supports.

I would certainly urge a look if you are in Central Scotland; beautiful engineering.

http://en.wikipedia.org/wiki/Falkirk_Wheel

The setting we chose was the old ruined pier near Anne’s home. Helensburgh, the Gareloch and the hills of Argyll are in the background. This picture was a candid one before we started photographing in earnest.

Anne doesn’t particularly like standing close to the waters edge, despite swimming being her favourite activity, so the post is a genuinely comforting prop. The old pier seems to scream out for an “antique” treatment;

This time a different angle, looking across the Clyde to Greenock. Once again I couldn’t resist a faded  look, to match the mood of this other part of the old pier. This is possibly my favourite picture from the session, it shows Anne being strong and confident, which is something I love in her.

I know, duotone again, it’s the pier, I can’t help it. No portraitist could dislike the juxtaposition of Anne’s lovely expression against the softly blurred, faded pier. If I’m not mistaken, there’s that confidence again!

This is an unusual one, and while I love it, it wasn’t the look that I was trying to achieve. Sometimes the accidents reveal something surprising or fun, so I have included this one. When we looked at the file on the camera back, I joked that we had accidentally produced a “Russian Bride” look; I’m not sure she’ll ever forgive me for that. It’s something about the downward cast of her head, that isn’t her usual mode.

Anyway, it’s a great portrait in my view, the light on the water and the interplay of the piers, with the stunning Argyll backdrop; Anne very much in her place.

As always, I hope Anne likes these.

I started by checking my 70-300 mm lens to ensure I could get close without getting in the audience’s way. This fine waiting telecaster seemed a good victim.

When the music started, I realised that a tent with the sun almost down but behind the band was a recipe for dark faces.

It must be further observed that the marquee was a bit stained and blotchy as well.

So the old black and white was largely my fall-back again to introduce some atmosphere.

And the other last refuge of a photographic scoundrel, added grain!

But all this is irrelevant when a jangly telecaster features in the pictures.

Oops, two telecasters!

I feel sure there is a bassist in among all that camouflage.

In colour this photo of the band in full flight was a mess of clashing shades, so black and white again.

The band had a minor setback too, as the programme for the day listed them as the “Vampire Parade” instead of the actual name of the “Viper Parade”.

But none of this was troubling them at all.

Nothing would throw “Breeks” of his stride.

Black and white is the very thing for accentuating Mike’s manly rock and roll stubble.

It isn’t actually known whether Mike practices the “Springsteen look”, but it’s working.

Eventually, the revellers of Drymen were infected by the vibe and took to their feet. Let the dancing begin.

As you can tell I would have dearly liked to set up a flash or two for drama, or better still have the “Vipers” under a flashy lighting rig, but in the end thoroughly enjoyed making the best of the light that was there, and more importantly enjoying a brilliant gig. Flashy light shows regardless, they sounded tight and put on a great show.

Perhaps the devil might find me a tough proposition:-)

You must check these guys out, they have some great MP3′s on their site and some pictures from my last session with them.

http://www.theviperparade.co.uk

http://www.youtube.com/watch?v=YYXFhn7WKco&feature=related

http://en-gb.facebook.com/pages/The-Viper-Parade/134157649930793

http://www.theviperparade.co.uk

First the amazingly upbeat skins-man, Andy “breeks” Brand. He likes AC/DC apparently, that makes him very cool in my book.

And of course, Mike Ritchie, AKA Sean Hughes, comedian! (Anyone else think so)?

Betraying a shocking disloyalty here to the beautiful acoustic instruments he creates.

I have to admit though that telecasters are cool!

Introducing the other half of the solid-as-a-rock rythm and bass section, Andy, AKA Refugee.

Last but not least, lead guitarist Francisco Davidson. A guitar afficianado’s dream but a photographers’ nightmare. Dancing compulsively while playing guitar doesn’t lend itself to focus locking on eyes; I’m just saying…

Stick in, practice hard, and one day guys, you too might get to play in front of flourescent wall-lighters! Very hip!

Just to prove they were all in one room at the same time.

And the obligitary, the van is packed, “how about one for the road guys” shot. Identity parade anyone?

By this time I had broken their spirit and they had finally connected with the “posers within”…

I don’t think he actually smokes, the thought of that album cover just turned him into a “bad boy of rock”

Catch them somewhere if you can, watch their facebook page for gig info.