This is AUGUST in my Vintage New Zealand 2019 calendar – see it at http://www.brewster.co.nz/online-shop/shop-calendars/
What’s refreshing in this “study” from a remote community is the unusual spontaneity, for the era. Because exposures were longer (small fractions of a second, typically) and focus usually shallow, group photos taken by glass plate cameras tended to be formal. People adopted poses they could keep, from the moment the cameraman said “Hold it!”, until the clicking of the shutter and his more relaxed demeanour. If they moved, their image would be blurry, and this would mar the whole photo – a waste of money as well as effort.
Here though, the photographer has winged it, and made a small sacrifice in sharpness in order to obtain this charming picture of horse-play, so rare in the record of the times. The man with the camera is believed to be young Harold Silcock (1883-1951), who taught at another school on the island from 1910-1912. Silcock later moved to the Nelson region, and died at Richmond. His negatives of Chatham Island and South Canterbury scenes were then sold at auction, but about 40 years later. I bought them.
What could be more New Zealand than a landscape with cattle? This combination was unexpected, though. All three beef beasts (Aberdeen Angus?) were recumbent as we came up the beach, enjoying the sea air no doubt. They only rose to their feet as we got closer.
This section of the upper West Coast has been delighting me ever since my first visit in March 1975. It is accessed through Golden Bay; the road winds south along picturesque Westhaven Inlet and along farmed terraces, terminating (for most vehicles) at the sizeable Anatori ford. At the time this rustic scene was recorded, logging trucks still came through the ford from Turimawiwi, but logging has long ceased – and new houses have appeared in this remote part of the country.
Taken with a 105mm telephoto lens, on Kodachrome 64 film.
An unexpected First World Problem has been developing in western countries in recent years. It is an odd one, to be sure, and some might say it’s a “Giraffe in the Room” (the elephant needs a day off every so often). This is it: Considering the billions of images we now take every month on our cameras and smartphones, where can we see any of these photos?
Certainly not on our walls, as even my own have been bereft of recent imagery. Why are we taking so many photos when so very few get to be printed, and still fewer get framed or pinned up somewhere? Why isn’t all this great creativity on display for all to see – such as on the walls at home, your house and mine? I call this the problem of Wall Art Poverty, a serious middle class malaise, perhaps not fatal but surely damaging to ours souls, which according to Picasso need daily nourishment*.
We seem to be stonkered by the deluge of pixels captured on our marvellous little machines. What to choose to show, and how do you present it? These are the questions I have been asking myself too, as I prepare a first selection of my photographs to offer as fine art prints. The above is the image I began this blog with, in 2010. It graced the cover of my first calendar, and will be one of the images featured in my first offer of fine art prints.
* Art washes away from the soul the dust of everyday life. – Pablo Picasso(attrib.)
Such contrast! A scene I could not resist, although I have no record of its exact location, nor the season – nor can I be definite that this was taken in 2002. This lapse is instructive, because for so many years I kept a film diary, noting the place, people and date of every exposure – even the camera settings sometimes. Kodachrome had the date of processing recorded on the slide mount, which was handy, but the only other way of keeping track was to annotate your B&W proof sheets as you made them (I did that too).
How easy it is to forget that before EXIF data automatically captured all such details (location excepted), it took effort to retain such basic information. Alas, I gave up this important record-keeping in 1986, to my later regret. Although my friends believe I have an excellent recall of time and place, the truth is less flattering: memory is an unreliable aid.
Autumn frost, Waipiata, Central Otago. 23 May 1984
One frosty morning during a calendar tour we wandered the small railway settlement of Waipiata in search of material. This church set amongst lovely oaks caught my eye. The cycling sensation that is the Central Otago Rail Trail was still some years away then; I have not been back since but Google street view shows 12 Main St to be just the same scene. This is surprising considering that so many views change in a just a few years – new roads and subdivisions, trees and hedges removed, railways demolished.
This is of course a composition in thirds, with a power pole providing a half as well. Colour palette is subdued, the highlights being only the cluster of leaves and the church. This would be an attractive scene by twilight as well, with a torch handy.
So this must be New Zealand – with rain-enhanced corrugated iron, two fat lambs and a cabbage tree to prove it. This apparently rustic scene presented itself as I waited for my womenfolk outside a chocolate boutique on Beach Rd. It features as August in my Modest Epiphanies 2019 Calendar. See my earlier posts for more info and pics of my other 2019 calendar Vintage New Zealand.
This unusual line-up was probably taken in Takaka; the attribution to L. Darcy Manson (1885-1947) is only by association. It’s the December image in my Vintage New Zealand 2019 Calendar, a novel collection of unpublished outdoor images. See my post of 22nd August for a special offer on this first-ever production, which expires soon (Friday, 7th September).
Hats were big in 1914, and gloves were still part of formal wear for men (and were always so for women, until the late 1960s). Here we have an unknown couple (no spring chickens), groom’s man (best man), bride’s maid and flower girl in an impromptu studio set-up. Verandahs were often used for group photographs, sometimes with a sheet tacked up as a backdrop, but we don’t often see a carpet brought into the act.
The image has been scanned from the original full plate. The tonal range from bridal whites to dark suits is a long one and not completely captured here. The photographer has possibly allowed the generous margin around the group so that postcards could also be supplied, direct from the glass plate. By 1914 manufacturers produced pre-printed postcard blanks, so that anyone with a darkroom could make their own Post Office-approved cards. As these were smaller than full plate size, the images were inevitably cropped when reproduced as postcards.
The freedom of the sands! This image is for January in my Modest Epiphanies 2019 Calendar. Although taken in autumn, it is very evocative of summer on the granitic beaches of Abel Tasman National Park. The two islands in the background (at left is a headland) are within the Park boundary but Marahau, the main gateway, is just outside it. Abel Tasman NP is a very popular venue each summer for daytrippers, hikers and kayakers.
The calendar previews photos for a projected book of the same name, and subtitled: Deeper meanings in the New Zealand landscape. See earlier posts for details on a special offer on both my calendars for 2019; this expires on Friday, 7th September. Both calendars are now available for purchase.
This is the June image from my new Vintage New Zealand 2019 calendar; see previous posts for a special offer on this publication. The calendar draws on my own small collection of historical photographs. Very few of the photo prints and glass plates that have come my way have any documentation, so for most we must rely on internal evidence – also known as what’s-in-the-photo, and usually a case of one picture being worth a thousand words.
A simple, back garden image, this has already had favourable comment. It has only lately dawned on me that this young girl may well be related to the youngsters on the calendar cover, as there is a familial likeness with the cover girl, especially. The picture is a hard one to date accurately, and the clues I have used are her hair style (from 1915? Ribbon is earlier) and the patterns printed near her neckline (1925?). The Bentwood chair is a nice touch considering the rough exterior of the house behind, but is no help in establishing a date, as its design goes back to the 1860s.
The diagonal streak on the left side most likely indicates chemical contamination as the plate was moved from developer bath to fixer solution, in processing. It is not uncommon to see ancient fingerprints and tong marks on early photos, caused by poor handling in developing, but whether such defects relate to the negative or only the print isn’t easily answered without a good look at the original negative. In this case, it’s on the plate.
An image from my Modest Epiphanies 2019 calendar, now at the printers. The title is taken from my next book, still in preparation, and from which the calendar pictures are a sample.
An epiphany is defined as a moment of revelation or profound realisation, but my photo project only aspires to a modest attainment of this, specifically in relation to the visual understanding of my own country. Thus the subtitle, Deeper meanings in the New Zealand landscape. Yes, there are deeper meanings, or perhaps deeper appreciations of our singularity, both in the big picture and in small details. All of which say the same thing: “This must be New Zealand”.
See my previous post for the special pre-release offers on the TWO calendars we now have close to publication.
These are back-cover glimpses of my new 2019 wall calendars, soon to be published. See my previous post for front cover views, and scroll down for more information about special pre-release offers on these short-run editions.
The full title of my 11th photo calendar is Modest Epiphanies: Deeper meanings in the New Zealand landscape. The 13 images by day and night are a sample from my forthcoming book of the same name, celebrating the distinctive detail and limber lines of this unique country. Notes on the photos and the year-at-a-glance are at the front.
In the same A4 format is an entirely new (old?) calendar: Vintage New Zealand: Authentic photos from our past has 13 original photos from 1890-1937, selected for their charm and artistic merit. I supply notes on the photos at the start, plus a year-planner page for 2019.
Something useful – and giftable: At just under 200g, with mailing envelope within, the calendars are post-friendly. They have plenty of space for appointments and occasions, making them useful as well as attractive gifts. Small edition status means they are really boutique items, with limited retail availability.
So you have travel plans?? If you are driving or flying any time from now till the New Year, my calendars are light and easily packed. They make great gifts for your intended hosts, for family and friends, or for business associates. Or you can put them away until the holiday season and rest easy, with that little task neatly covered. Peace of mind at a good price!
Special Early Bird offers: Order your 2019 calendars at a special price now. Normally $18.50 each, these are available direct from the publisher at $13.50 each, post-free – a saving of $5!
Or you can order one of each, a pair for $25, again post-free.
Or you can order six mixed calendars (any ratio) for $70, all up. $11.67 each!!
N.B. Offers expire on 7th September 2018. Orders will be posted in the first week of September.
Available only to NZ and Australian addresses (for Australian orders, please see below).
AUSTRALIAN ORDERS: Prices are in New Zealand currency. Single orders are available at the same price ($13.50), but the higher postage costs to Australia add an extra $10 to the pair offer and $12.50 to the mixed six offer. The extra postage cost will be shown when you order through Shopify.
September sees springtime arrive in Nelson, New Zealand – such a relief after the short, chilly days of winter. September will also see “Early bird” editions of my two new calendars for 2019, ably produced by daughter Yana Brewster, in Wellington. One showcases my own photos, under the title Modest Epiphanies: Deeper meanings in the New Zealand landscape (as above). It’s a wee preview from my forthcoming book of the same name.
The other calendar is in the same A4 format but it’s something completely new. Called Vintage New Zealand: Authentic photos from our past (as below), this is a lovely compilation, full of historical and human interest. The old but unpublished images all come from my own collection, and I supply curatorial notes on them at the front.
More details will be posted shortly – these will include special pre-release offers for the new calendars (of particular benefit to people with travel plans), plus a glimpse of the 12 images within each.
So yes, there’s still another year to come after this one. However, and as a certain Persian Sufi poet has wisely noted, we can be sure that “This too will pass”. Let’s hope for a happy ending, all the same.
“Happy limestone” would be an alternative title for this evocation of primary production, as this is fertile, rolling country, inland from the main highway between Hamilton and New Plymouth. Low cloud and patchy autumn sunlight give depth and contrast to the scene, enhanced by a telephoto lens. We have a virginal woolshed but no quad bikes, while the few cattle are free to wander – an idyllic prospect compared with the muddy strip-grazing in Taranaki, where herds are closely confined.
An idealised image, it features in my Modest Epiphanies 2019 Calendar, which is now at the printer. Subtitled Deeper meanings in the New Zealand landscape, the wall calendar should be available from the first week in September. A special, attractive “Early Bird” offer will be announced shortly.
In the late summer of 1975 I toured the South Island with a friend, in a 1952 Standard Vanguard (three forward gears; 22 mpg). One drizzly, very overcast Saturday morning we stopped to look over an abandoned farmhouse, close to the roadside. I was 19 years old and felt perfectly free to poke around any unoccupied property – this one was on the coast near Riverton, so that must be Colac Bay in the background.
In my trusty Asahi Pentax Spotmatic I had Kodachrome 25, a venerable slide film with an ISO of (yes) just 25. As I recall, I was not motivated to return to the car for my tripod, so used the self-timer for this, hand-held at 1/60th sec, with the aperture on the standard lens set fairly wide. The light was dull and the focal range low, but with the fragments of tinted glass well etched it made for a moody shot.
Abandoned houses and vehicles are all too easy – and frequent – subjects for artists of all kinds, but especially for photographers. However I still like this image, as it is a less obvious angle on a well covered theme.
This charming scene is most likely somewhere in the Ashburton area. It’s a nicely set-up quarter plate shot, showing a well established homestead (from around 1870?) and its horse and trap, water tank and dog kennels (with drying skins spread over them). Perhaps that’s the photographer’s sister and niece to the fore – they are only hatless because they’re not in public. An older man in the background watches proceedings, so maybe it’s a day of rest.
Although this photo is undocumented, circumstantial evidence suggests it is by Harold S. Silcock (1883-1951), who grew up in the Ashburton district and taught at Native schools in the Chathams and at Little River (Canterbury), before relocating to the Nelson region. The image is from a glass plate in my own collection; it appears full-page in my Vintage New Zealand 2019 calendar, soon to be announced.
Typically the dead have company, as we are social creatures in death as well as in life. Our cemeteries may be ranked as communities in their own right: hamlets, villages and towns. Despite the poor (or absent) roads of colonial New Zealand, lone graves are not common here. The law required burial in a cemetery unless there was none within 30 miles (50km) distance. This was the case when young Cecil Addison died of tuberculosis at remote, unroaded Te Hapu farm, on Christmas Eve 1924. Just 16 years old, he was buried in pasture on a terrace overlooking the Tasman Sea – a lovely prospect on a fine day but a site also fully exposed to ocean weather.
In the image above there’s a summery sense of that lovely prospect, minus the soundtrack of the surf rolling in below poor Cec’s resting place. With my telephoto lens waiting, an obliging friend has gone over to the grave (at left is a protected planting), well out of our way. I have underexposed for a day-for-night effect, although the sky is too blue to pass for a night exposure. The soft curve of the land in view is not a true impression of the front country at Te Hapu, which is made up of corrugated terraces, with limestone bluffs and headlands behind giving a picturesque backdrop for a lonely grave.
To shoot a similar scene today i would drop my shutter speed and my ISO, for a cleaner finish. 1/400th at f16 at ISO 250 seems a more obvious combo to me now, with minimal risk of camera shake. With due thanks to Richard, for “going the extra mile” for my camera.
“People have to die but flowers last forever”, no one said; this series is devoted to the Latin phrase that reminds us that our lives all have an end. Plastic tulips and carnations mingle here with real life bulbs, in this cameo from the upper slopes of the Picton cemetery. A single non-perfumed daphne flower ornaments the bottom of the cross, between the infants, while red and green buttons of plastic sit on the adjacent concrete.
It’s a timeless scene, maybe, but still subject to sunlight and the wind, and some day will be at the mercy of vandals or a severe storm. The terraced layout of the cemetery makes it easier to take such close-ups, and other graves often constrain picture angles. Although I can’t honestly say I’ve never done it, I don’t like to trespass on the actual graves. It seems disrespectful.
A frame from my forthcoming Modest Epiphanies 2019 New Zealand Calendar, soon to be announced. It shows urban infill below an old Maori pa in Westown, a long established suburb in New Plymouth. A slow motion study in suburban subdivision, this last section of the subdivision development was unbuilt on for years, yet the street lights have shone every night regardless. The ponga (tree ferns) are iconic for lowland Taranaki, a reminder of the high rainfall the region receives.
The pa is relatively small but has a large terrace of old cultivations on the northwestern side, included in the historic reserve. Despite this pa being very well preserved and easily accessed, its history is virtually unknown. Old pa are a strong feature of north Taranaki but as they get little publicity they are largely overlooked by visitors. Magnificent Koru Pa, at Oakura, would be the prime example.
A solid (and chilly!) southwesterly was blowing that night, but the clouds are surprisingly static for a 30 second exposure – helped of course by the wide angle lens. Light balance was set on Incandescent, which brings out the blue of the sky while reducing the heavy orange of the sodium street lighting. The aperture setting ensured a good depth of field, not usually a challenge with a wide angle anyway.
Love the hats!! Something radically new for this blog is my other photographic interest: authentic old New Zealand photos. These have always fascinated me, and following on from my recent publication Old Nelson: A postcard history 1900-1940 (Nikau Press, 2017) I will post here from time to time vintage photos, with commentary. Some will come from my own collection, others from Rob Packer (my Old Nelson collaborator) and Logan Coote. These are fresh images and (Old Nelson excepted) few have been published this century.
For selection, the image must be an actual photo, scanned either from the original print (or postcard), or better yet, from the glass plate negative. The photo should also have strong human interest, irrespective of location, and display historical “proofs”. Despite most lacking any documentation, each photo will have something worth commenting on. My own background in a museum darkroom and field camera work means I can sometimes comment on the task each image presented to the photographer.
This photo came with an album of Cable Bay photos. Printed directly from a quarter plate, it is only pocket size but the negative was well exposed and beautifully printed, with lovely detail. The lady on the right wears gloves and a fur; others wear ties, while the gender ratio is 2: 1 (excluding the photographer!). Everyone holds a studied pose, as instructed by the photographer, who has followed the manufacturer’s recommended lens settings (for the leaf shutter and aperture). The posing and depth of field suggest tripod work and perhaps a second or two of exposure. Such a strong image, sharp and well toned, is not that common in amateur photography of this era.
This twilit tableau was the runner-up in my series of St Joseph with a vase of faux flowers. It ranks as “runner-up” only because it’s entirely moon-less, the crescent moon (the object of the whole exercise) being too high in the sky to be included in a horizontal composition. However as a simple set-up, this seems a more compelling image to me. I like the good range of colour and how the flash balances with the background lighting. It also has some artistic black space on the lower right, suitable for a quote (or headline), and I have supplied an anonymous, satirical example of such below.
In comparing the impact of this standard horizontal image with the earlier vertical frame, isn’t it an odd truth that the old 35mm format of 2:3 works much better for horizontals? The 2:3 format seems too long and narrow for most vertical applications, where 4:3 is often a better fit. That aside, good vertical compositions are generally harder to achieve than horizontal ones, yet verticals are so much to the fore these days – thanks of course to the demands of Instagram, Pinterest and smartphones.
The ancient power pole had long been relieved of its duty; perhaps the lines had been re-aligned. The grazing was thistle-infested, not such a common sight now in north Taranaki. I was attracted to this simple scene not only for the lichen growth and the sheep (and lambs), but also because the hillside gives a “false sky”.
A useful aid for composition, false skies are there for the using when you are looking up at a steep hillside, a dune or cliff; or especially when you are above a lake or other water body, looking down. Arrange your foreground and there you have it – added interest, and something momentarily disorienting for your viewer.
This scene would probably be just as effective with the animals completely out of focus behind the pole. However, without a long telephoto neither approach is likely to succeed, as sheep are easily disturbed and will move away as soon as you approach. A zoom is very good for this sort of work, but sad to say, zoom lenses don’t seem to have the sharpness of prime glass (fixed lenses). in post-processing I have used the sharpening tool on the five elements to the image, something I rarely do.
How I love the crescent moon. The new moon is a real waif, and only visible for a short time on the twilit horizon, before it too sinks below sight. Then night after night the crescent moon fattens, spending longer in the western sky – each night the moon rises about an hour later, so sets later too. Twilight is the best time to get the crescent moon; later the sky is so dark that the unlit part of the moon will also show up, stealing your crescent.
In this wide angle view, the moon is reduced to a tiny cameo. Not wanting to participate in rush hour traffic, I stayed home and set this up, hard pressed to find anything else to make an interesting shot. The camera looks up to get everything in, and while I wrestled with different settings and placements, the moon kept moving (surprise surprise), in and out of view through the branches, requiring further frantic adjustments.
So I have at last put St Joseph to work, while he gathers in his lambs. They must be metaphorical, as he was a carpenter (or artisan), rather than a shepherd. We bought this likeness from a Catholic supplies shop in Bangkok in 2003. We got two Holy Virgins at the same time, in different sizes. The virgins have seen more limelight over the years, the BVM having greater recognition value. The companion piece, a vase of fake flowers, came with a house purchase we made in 2010. It makes a handy, low maintenance prop.
Once again I post a pic that I’m not completely satisfied with. Teachable moments I believe they are called. Coming down from the Neudorf Saddle in the rain we saw a large gaggle of geese, an uncommon sight in our region. Unsurprisingly, they wandered away from me as I struggled at the fenceline, crouching without cover, poking the lens through the wire netting and hoping no raindrops plopped directly on to my telephoto.
I like the pastoral backdrop, quite typically Nelson (geese aside). The trees are a mix of native and introduced species. The horses add interest, but the elements of this composition do not quite tally. Another horse (or two) is needed at the right, and one more to the left of the central tree would be even better! In many ways, a successful composition has predictable components. Although this one does have something close to a red barn in it, the eye needs a few more points to linger on for this to be (say) a good calendar image – even without a golden retriever in sight.
Speaking of calendar images, we now have two quite different 2019 calendars perfectly formed and ready for release in a few weeks. They will be announced shortly. However, already available is a retrospective Creative Evenings 2019 calendar, which you can access as a printable pdf file on the free downloads page. This free calendar is printer-ready – it’s a selection of the best from my earlier publications, made available for those more recently interested in long exposure photography. We tested it at a commercial printer – it worked fine!
The cemetery at Mokau (in the southwest Waikato) occupies a hilltop terrace and gives good views in all directions. The house far across the valley seems relatively close with the compressed perspective of a long telephoto. Depth of focus here is enhanced by the tiny aperture, only available at the far end of the zoom. f40 is actually a ratio of the size of aperture over the length of the lens – thus the “wide open” f1.4 on my 85mm lens requires big, fat specs to obtain such a ratio: 1/1.4.
In post-processing certain areas of my images are typically worked over with spot-saturation, although I resist the urge to have them “pop”, as you see in so many sparkling real estate photos. Here the lichens were startling enough, and have been left untouched, apart from a +25 increase in overall vibrancy. In composition terms, the top right corner is occupied by only a gate and fence, and a horse or cow would have made this more interesting. Still better if the house owner had come out and stood on her verandah for a minute, but my yodel would never have gone the distance.
“Memento mori” is the Latin phrase reminding us of our inevitable mortality. Some say that we live on in the hearts of others – that’s the “loving memory” part. With the passing of the generations that memory is eventually eclipsed. The love is passed on though, to nurture and sustain later generations (best case).
I was delighted to see cows in this paddock, unoccupied on my earlier visits to this quiet locality in north Taranaki. The cows were grazing in the moonlight but at a suitably languid pace, so the ten second exposure managed to capture their essence. The gentle slope is on the other side of the road from the Motunui petro plant mentioned in my previous post. The contrast from one side of the road to the other – industrial to pastoral – is remarkable.
The bright industrial lighting from Motunui colours the low cloud nearby (thus the more distant clouds are unaffected). Low cloud on city margins will also colour up with moonlight photography, and over metropolitan areas the extent of low cloud tinting can be quite marked. Interesting landscapes can still be produced under such cloud cover, especially if there’s a full moon above it all.
A shorter exposure would have better minimised cloud and animal movement for this shot. However, the wide angle lens gives better definition and depth of field at f4 than at the maximum aperture of f2.8. The warm tones of moonlight on the scene (clouds excepted) have not been adjusted. Moonlight has a lower colour temperature than daylight, so if we want to a result closer to how the human eye sees moonlit landscapes then Tungsten is a better choice for colour balance.
Across from the huge petro plant at Motunui, north Taranaki, is Waipapa cemetery, a Maori urupa dating from 1923. The cemetery is unusual in having a surrounding wall and a gateway, while its monuments present an awesome contrast with the industrial silos on the other side of Otaraoa Rd, to the northeast. However, most of the Motunui installation is out of sight, beyond the knoll.
When I visited here on a rainy summer’s day in 2010 the no-exit gravel road ended as it does now, just above the beach, but as a neglected cul de sac, overgrown with roadside weeds. Amongst the overgrowth was unsightly rubbish, dumped over a long period, and potatoes grew large in the resulting compost. Later visits found the road-end cleaned up and much improved, and two calls by moonlight were memorable for the dairy cows in the adjacent paddock, and the surf on the cobble beach below.
The juxtaposition of cross and silos was achieved with a long telephoto setting and a tiny aperture – even f45 is possible at maximum zoom on this lens. This gives a better depth of focus, compensating for the inherent shallow focus of any telephoto lens. After focus, the second challenge at twilight was naturally the changing light, and the trade-off between selecting a small aperture or a short exposure (to freeze cloud movement). In these situations it always comes down to this: you can’t optimise both, so just choose one!
Among the seraphim at Stratford’s main cemetery, this one reigns supreme. Close to the entrance, she stands very tall, although size can’t be all that matters in the angelic hierarchy. However high they loom, angels all have their price, and this was a dear one. Aeronautical lift is even more challenging for angels than it is for bumble-bees, but in the JW tracts that intrigued me as a lad, angels somehow floated above entire cities. Wow. The only named angels in the Holy Bible are Michael, Gabriel and Lucifer, the Fallen One. It is hard to imagine an angel named Barney, or Charlie say.
In a cemetery dotted with the usual monuments this sort of uncluttered line-up is possible only with a telephoto lens. That explains the lack of sharp focus on the distant cow, despite my using the smallest aperture setting. As f16 gives great focal range, a more astute use of depth of field principles could’ve helped here, if I had focused a little behind the angel. But as a finer point, that escaped me at the time.
Visiting this place again with a dear friend in 2014, I was still unaware that one of my own ancestors is buried here. In an unmarked grave (alas) lies my storied great great aunt Peggy, who died in 1930. Margaret (Madge or Peggy) Jollie had a privileged life, yet died in “reduced circumstances”. She has a major role in a biography I have since written on our neglected grandmother, Beth Jollie (1904-41). Isn’t it surprising who turns up where – living or otherwise?
No longer a common phrase, memento mori translates to “Remember that you have to die”, meant as a reflection on our inevitable mortality.
A view of Nelson’s southern suburbs at low tide, from the cycle trail near Best Island. A haze of wood smoke lies over the city, as does the light trail from a plane. The whitest lights are those of the airport runway. The distant hills mark successive earthquake upthrusts over several million years. The inlet is slowly filling in, but that might be another million years (what a fabulous time lapse that would be, if we could see it).
The brightly lit fringe of sea grass made focussing a breeze, especially with a fast lens like the f1.4 Nikon 85mm. This lens is a terrific piece of glass, yet so heavy to cart around! The level bike path gave an easy placement for my tripod, and not a cyclist was seen. The evening’s work was less pleasant with the southerly breeze, although some shelter came from fenceline shrubbery. Waiting around for long exposures on cold winter nights (they are all cold, bar those with northerly rain) makes you keen to reclaim your creature comforts.
Although I was not so far from an occasional passing car (Best Island has over 30 houses), what generally surprises me in these semi-rural settings after dark is the ambient noise. This comes mainly from heavy highway traffic but sometimes from nearby industry as well. Rural quiet may well exist somewhere locally, but on any still night on the Waimea Plains it seems in short supply.
Sometimes the full moon keeps me waiting. Its predicted peep over the horizon lags, for example, because a range of hills blocks the view. Anticipation! Which hill will the moon rise over? What pictorial elements should I line up for a creative memento of this exciting occasion?? Yes there are apps to tell me such useful info but that’s just one more thing to tangle with.
My selected spot beside the Wairoa River, just north of Brightwater on Bryant Rd, turned out to be a “blandscape” – how to save the situation? Ah, use the immediate foreground to frame the moonrise. The challenge with my long exposure was not in avoiding an oblong moon (a plausible problem with a longer telephoto) but to capture the wee orb unspoilt by fennel stalks, and with some hint of background.
My wide angle makes the moon smaller of course, but its luminosity counterbalances. Focal depth was not an issue here but my efforts were still not trouble-free, as safety concerns emerged. I was on a narrow roadway which ended at a vineyard, and for a “No exit” road there was surprising traffic. Such roads are usually quiet after 5.30pm but vineyard staff came and went for sometime thereafter. The riverbank underfoot was less even, but safer.
These two beasts-and-a-nose were the outliers of a contented herd, all having a lunch break to chew things over. A great gem set in the heart of Auckland, Cornwall Park is the extensive green space which surrounds the old volcanic cone of One Tree Hill / Maungakiekie. It’s a good place to pause when you are in the city, not the least because parking is free.
The “secret” behind the shot is the ditch-and-wall which separates the public from the cattle, although for joggers and ramblers (as above) there is access at various points. As a substitute for a fence, which I can’t recall having seen elsewhere, it enables an unusual overview. I currently have this scene as my desktop wallpaper; I believe it pretty much sums up the pastoral idyll of New Zealand life. It’s also an uncommon angle and contradicts my earlier comment about not favouring the south end of north-bound animals.
The exposure was not optimal because the light was continually changing from sun to cloud, and back again. A typical Auckland day, in other words. The background jogger isn’t blurred from a long-ish exposure but instead slightly out of focal range. Even on the smallest aperture, it’s too much to expect a telephoto lens to deliver sharpness throughout when you are this close to your subjects.
New Zealand’s varied landscapes must be world-famous because now they are talked of by the mainland Chinese, not just wealthy HKers or Singaporeans. A busload of Chinese tourists joined the 40 cars already parked at the Kaikoura road-end, out on the peninsula. The changes to be seen here surprised me, and I am not referring to the recent earthquake uplift, impressive though that is. No, to me it seemed no time at all since this road-end was a broad, featureless gravelled cul de sac; today it is a well developed tourist amenity.
The bus tourists fanned out across the wide shelf of the reef, while others were intrigued by the nearby seals. Not far back along the road another 30 cars were parked by an outdoor cafe, the first I recall seeing by a New Zealand roadside. How we will cope with our rapidly increasing tourism remains to be seen, but the obvious problem is the same one worldwide – overcrowded hot-spots, with amenity development lagging behind.
Perhaps related to all this, I have a major new project to pursue. While there’s little new to say about our landscapes, at least by the broad light of day, I have conceived a new book-length theme: “Modest Epiphanies: Deeper meanings in the New Zealand landscape”. What exactly does this involve? What are my epiphanies? Are there actually deeper meanings? No doubt some satire and social commentary will emerge alongside interesting new angles on the jeweller’s window (in scenic terms) that is my country, away from the urban centres, that is. Yet I have a feeling Milford Sound and Mount Cook might not even feature…
I have not seen three of these lovely birds together before, but one of them obliged me by holding its pose mid-reflection. Although this was an obvious job for a good telephoto, my long lens was unfortunately out of commission. A photo of this nature – a rapidly rising moon, feeding birds – usually requires any number of frames before a satisfying shot is achieved. However let’s not forget that trigger-happy fingers mean “any number of frames” all have to be carefully evaluated later on your monitor, back home.
The blue hour of twilight is strongly featured here but its effect can be dampened by changing the colour temperature setting in-camera, by drastically increasing the degrees Kelvin. The simple composition has enabled an easy crop to the laptop screen ratio of 16:9, a panoramic format more suited to a “scene for screens”. Of course it is also a good fit for this type of composition: wide horizontals with the main interest small and central.
Kotuku to the Maori, our white heron is the “eastern great egret” to the rest of the world. Although well distributed across Asia and Australia, the egret’s only breeding site in New Zealand is at Okarito Lagoon, in South Westland. The estuary shown above is the extensive one which occupies Waimea Inlet; the bridge at left connects to Rabbit Island. This useful vantage point for any moonrise over Nelson’s eastern hills is found via the public reserve at the very end of Hoddy Rd – a narrow, oddly curvy road still waiting to be discovered by movie location scouts.
Here I am, gazing at the moon in the Nelson countryside, beside a cob cottage built in the 1850s. The cottage is a restored one, complete with a thatched roof, on George Harvey Rd, Upper Moutere; it’s available for public visit. All I lacked for this occasion was a rocking chair and a cob-pipe of tobacco (or whatever it is that people smoke these days).
The long exposures of moonlight photography are good for adding yourself to the frame, and for creative experimentation – you don’t even have to hold still. Clearly not a selfie held at arm’s length, this “self-portrait” required only a glance at the seat by the door (as to where to pose), plus a longer setting of the self-timer than the usual 2 seconds.
A younger photographer might adopt an energetic pose for such a half minute exposure, but I have simply assumed my natural position. Six months on Instagram shows that putting yourself in the shot is an art-form on its own; there the figures are typically centre-foreground, lithe and young, female and beautifully styled. I’m out on all counts, and my fashion sense is summed up in the safety-yellow of the warm vest I am wearing. No matter, as that happens to be a thoughtful and useful gift from my good wife.
The Whakatu marae sits on 10 hectares of reclaimed estuary next to Founders Park, in the city. It is hub to six iwi: Ngati Koata, Ngati Kuia, Te Runanga o Toarangatira, Ngati Rarua, Ngati Tama and Te Atiawa. I took this scene because the entrance-way nicely mirrored the meeting house profile; the roofline vents also added interest. The light within the wharenui (Kaakati) was very dim, but that was just what was needed to balance with the moonlight.
In moonlight photography, and particularly in colour work, shadows are a special hazard (pictorially speaking; in safety terms shadows can be trouble too, but that’s another story). The more your frame is dominated by shadow, the more care is required for an effective composition. Here some detail is still visible in the battens of the entrance-way, but beyond, in the middle ground, there is nothing – although as a central mass the deep shadow offsets that of the wharenui quite well. Probably a better image would have been achieved an hour later, when the moon was higher in the sky.
The tripod was propped up against a wire-netting security gate, with the lens poked through. Long exposure photos are a bit like a duck swimming, in that all the effort to get somewhere is unseen; then again, shooting for a full night effect is hit-or-miss because of the variations in screen and monitor illumination – even the angle of view on a laptop makes such a difference to the effect.
Rear views are not usually the most appealing with animals, I realised some time ago, but this angle was more interesting than most such. A conversation with the owner established that these were miniature horses, not the Shetland ponies we first thought them to be. Although my caption is sardonic these sturdy steeds must have been aware of their vertically challenged state, as a normative horse was close by. Placid animals, they obliged me by grazing close to the roadside before wandering off for some time-out beyond the autumn trees.
This was the prettiest location in Garden Valley yet we arrived too late in the day, as the sun was sinking below the high hills to the west. As every photographer soon discovers, photography in the shade gives an unappealing cool cast to scenes like this, owing to the light of a cloudless sky being so blue (the problem is less obvious on overcast or rainy days). In post-processing I have rescued this shot by a colour adjustment, warming it and adding some contrast too. On reflection, there is no disadvantage in flat light for this situation, as long as you are conscious of the cool cast likely to result, before post-processing.
The shallow depth of focus was intentional. Only the first horse is sharp, and in this type of photo only the first subject needs to be. While we have no problem identifying the two other items, I personally have a problem in usually wanting sharpness and focus throughout the frame. Really, there is so much creative potential in having the opposite.
These cherubim fronting for love caught my eye in a cemetery-with-views on a Mokau hilltop. Having recently purchased a Nikon zoom lens (70-300mm) I was putting it through the paces, late one winter’s afternoon at this small community on the west coast of the North Island.
Using the tripod to allow slow shutter speeds, I was interested to see what the zoom did at the longest extension, especially at closest focus, and when well stopped down. While I was impressed that the lens went to f45 – a ratio usually seen only on large format lenses – only later did I learn about the diffusion effect at such tiny apertures, with DSLR cameras. An odd occlusion occurs – a bottle glass effect might be the easiest way to describe it. Fortunately none is seen here.
I like the juxtaposition in this image, and little group is an uncommon sight too. Exposing for marble sculpture can be tricky, and typically they are overexposed “in scene”, but at close range getting a good range of tones from marble is less challenging. These boys being at ground level were at least clean of the usual overgrowth, a definite problem on taller monumental figures, where beyond easy cleaning reach unsightly lichen and moss can become well established.
Memento mori: In turn we all take our leave. But love lives on, at least.
Odd neighbours at Greymouth. 6.37pm, 10 April 2018
The neighbourhood of New Zealand cemeteries can be quite quirky, especially in the larger cities, but even in Greymouth a cross can have an industrial background. Land bordering cemeteries is less desired for housing, so perhaps becomes more affordable for industry, or other purposes. The cross is strongly associated with Catholic graves, and it is easy to forget that our cemeteries have traditionally been segregated along religious lines, into Catholic, Protestant and Jewish sections (where the cross is understandably absent).
The cross is not perfectly placed, but close enough, given my frustrations with setting the tripod in a confined situation. The foreground is flash-lit, but the small aperture has subdued the usual effect, while enhancing depth of focus (thus the reasonably sharp background). No skein of cloud was available for the top left corner but the space is well balanced by a similar empty space at bottom right. In composition, empty spaces can be offset by other blank spaces in the frame. Colour-wise, the golden lichens on the cross have their counterpoint in the lingering sunset reflected in the windows.
Memento mori: Succinct Latin remembrance that we all die, each in our time.
As a magnificent blot on the landscape the steel mill at Waiuku, south of Auckland, is very impressive. In this shot its dreariness is stylised by layering, using the line of pines it is seen through. Another example of a “look-through” composition, this is one I was definitely searching for. Here the main feature seems almost an afterthought, but one nicely offsetting the dark verticals. The scene is also an example of limited palette (colour range), being close to monochromatic. However I saw during set-up the small smudge of green plant life at bottom centre, and the brown building below the belching chimneys.
I took a second shot with the mill in a more central position, yet this was less interesting. The scene above is underexposed of course, to saturate the highlights, and a smaller aperture can be another gain in doing this – and increased depth of field, no small matter with a telephoto lens such as the 85mm. Using f16 has insured sharpness throughout, with the luxury of a low ISO and a hand-held capture, to boot.
The phrase “Dark satanic mill” comes from an eschatological poem by William Blake, whose text also forms the lyrics to the well known hymn Jerusalem. This contrasts the forthcoming heaven-on-earth of the title with the hellish blight of many hundreds of mills, which scarred the country as it became the first to industrialise.
This moonlit scene in Garden Valley Rd, near Brightwater, demonstrates a work in progress in night photography. It does not meet my own standards for a successful image, but it has some teaching points, so I publish it for that reason.
A good composition can offer a “look-through” sense of depth, when the elements are so assembled. Here the look-through is supplied by the fence netting (always for deer, in New Zealand), while the foreground stalks contribute scale and perspective. All very simple in theory, but (as usual) practice shows otherwise.
Three challenges here were to get the best focus (sharp foreground preferred), exposure (balancing flash with moonlight) and capture (despite the movement of the sheep). Even arranging willing people for a long exposure presents its problems, but the sheep were obviously unaware of their possible place in internet immortality, and moved away as I jostled camera and tripod for position. They were probably unimpressed by the flash as well, so much better results are likely in this situation if you get everything right at first attempt. As we say in English: “Fat chance!”
This is work-in-progress because of the problems referred to. Moonlight photography is challenging: the work is hard and the hours long – and you don’t even have evenings off. Of course these are all First World problems, and exactly what makes a great exposure – when you get there – all the more satisfying .
Amongst the leaves, Te Henui Cemetery. 3.06 pm, 2 April 2018
A supplicant cherub amongst fallen leaves – these being a common metaphor for poignant memory and les temps perdus. This simple image again makes use of contrasting blank spaces, as I have resisted the urge to crop it at top and left. The limited palette adds considerably to the effect, assisted by the flat light of an overcast day.
The 85mm lens at close range has little inherent focal depth, but stopping down to a self-timed f16 has maximised the depth of field. Any gain here will sharpen focus for a short distance in front of the focal point – in this case the tiny leaf directly in front of the figure – while increasing it over a much larger zone behind the object. The self-timer was set to the shortest time (2 secs) and I often use this aid with the 85mm, both for hand-held shots and with tripod.
Te Henui is the first of New Plymouth’s two main cemeteries; situated above the valley of the Te Henui Stream in rolling country typical of Taranaki, it was originally on the edge of town. The lower slopes are wooded, making the older sections of this cemetery notably rustic. However, interesting cameos such as the above were sparse. My time was not all spent on photography, as I was surprised to discover (quite by accident) the final resting places of two people who appear in the family history I am at work on.
Memento mori (“Remember, we all must die”) presents a series of cameos from New Zealand cemeteries, illustrating memorable scenes or detail. Of course they have their melancholy aspect, but cemeteries retain a strong human interest and convey an impressive sense of time’s long passage. Often (but not always) these aspects are matched with a park-like atmosphere of peace and calm.
Sadly missed, Picton cemetery. 11.59 a.m, 14 April 2018
A striking cameo, illustrating colour composition. The two elements of the composition have been widely spaced, but there is just enough line and texture to hold the frame together. The simplicity of the image owes everything to the uncommon colour of the plastic flowers. As for the succinct inscription, those two short words are an effective final statement. I did not see them used elsewhere here.
A short telephoto lens works well for this type of assignment. However a slower shutter speed using the self-timer would give better depth of focus for the inscription. I don’t always think through optimal manual settings – and here I was wary of camera shake, which 85mm exaggerates. My main object was good definition on the key feature.
The drainage built into the site is proof that this cemetery is perched terrace by terrace on a steep hillside. This is not at all unexpected in Picton, a ferry town surrounded by high hills, where flat land is at a premium. The Latin tag “Memento mori” is a shorthand reference to the inevitable mortality we each face.
A Good Friday illumination, though not an epiphany, from an unexpected source. A subdivision being so close to where I was staying, it was a simple matter to put on gumboots and shoulder tripod for the short walk to the hilltop, where a house was under construction. As building sites are prone to pilfering I didn’t want my intentions mis-interpreted, so when vehicle headlights suddenly appeared in my frame I did not know what I was in for. However I was set up on the less public side, and whatever the purpose of the lingering lights and long-running engine, my presence was apparently undetected.
I wear a warm, high-vis vest (thanks Narumon) on all my evening outings, for safety’s sake. Generally I avoid using flash in residential areas (discretion vs valour) and have rarely been challenged by suspicious onlookers. On moonlit excursions I mostly stick to public spaces or to holiday places on farms; looking back on work from the last few years, I see my trespassing has been confined to college farms, new subdivisions and golf courses.
Diagonals and limited focus are not common elements in my compositions, and I would have liked a more distinctive shape for the tree, but serendipity should not be denied – namely the headlit timbers – and I am obviously susceptible to a good, unclouded mountain. Mt Taranaki is an immediate anchor for any former resident returning to the region.
Rarely have I taken such a strange, otherworldly scene such as this. The funereal gold, grey and alabaster are relieved only by the faint sunset and the industrial background. In using flash I could easily have hand-held the shot; instead I struggled to compose on a tripod (already set up for long exposure possibilities). Flash is ideal for highlighting form over colour, but its great powers of definition involve high contrast, which I have softened here in post-processing. Twilight alone would not have chiselled the angel child nor have gilded the name so remarkably.
Memento mori: Latin for “Remember that we all have to die”, a reflection on our respective entrances and exits from the long-running Stage of Life. Of course “We are born alone … and die alone”, but what really matters is that these existential bookends happen gently, and with loving support.
I have begun a new project: a series of cameos from New Zealand cemeteries, taken by day and night, styled under the Latin term above. No longer a common phrase, memento mori translates to “Remember that you have to die”, meant as a reflection on our inevitable mortality. Cemeteries, and particularly older ones, are sanitised theme parks testifying to this hugely inconvenient fact.
They are also places where one can nod to one’s ancestors and their collaterals, witness innumerable past lives (some long; many short) and war casualties, and see unusual sculptural forms. It is generally the only place where Westerners can encounter angels, which are very distinctive forms and ones I rather like.
There are two main challenges here, the main one being to balance the flash with the steadily fading daylight – this requires an effort with aperture selection and distance, owing to flash fall-off. For example I would’ve preferred f8 or f11 (rather than f5.6) for better depth of focus, but these weren’t practicable because the flash was not so strong at that distance. The second consideration is to crop surnames from headstones wherever possible, although occasionally a single distinctive name adds to the effect, as we shall see in due course.
Karoro Cemetery is on Greymouth’s outskirts; it is a large and open setting, on a long, flattish terrace; we walked there in a roundabout way from the holiday park below. My Thai companions walked through the place reluctantly, from cultural apprehensions, and did not linger. However I found plenty of interest, as night gradually fell.
An unusual evening this, as having driven up Garden Valley (30 minutes from Nelson) for the very first time to note the lie of the land, we came back only when the moon had cleared the hills. We were looking for miniature horses, but, sadly, on nightfall the dozen in the next paddock had retired from the roadside. This lone, non-vertically challenged mare remained still enough for only one frame (even so, there is a double impression of her head), as she soon became quite agitated by our presence on the darkened roadside.
Apart from equine nervousness, two other hazards for the night photographer were of the more common variety: an awkward car park on a narrow shoulder of a narrow road, and the lingering dust clouds stirred up by passing cars. Even on a no exit gravel road, people still come home from work! Photographing much later in the evening would have meant less disturbance from traffic, but our presence then up this fairly isolated valley would be more disturbing to the locals.
The light foreground streaks are grass stalks close to the camera; with a faint moon, far from full, and the need for shutter times less than 30 secs, wide apertures are needed, with resulting shallow depths of field. To get this colourful biscuit tin / chocolate box image on first attempt was quite surprising, although ideally a rustic barn should be in the background (but I jest). A sliver of sky at the very top of the frame has not been cropped out, although my usual instinct is to reduce frame-edge distractions.
My visit to Taranaki last month offered no new opportunities for creative photography, but I have just re-discovered this unusual image, taken with a telephoto in our back garden (then) in Westown, New Plymouth one early spring. A power cable mars the lower portion (too hard to retouch!) but the main interest is the sense of depth in the clouds. The trees and the lower cloud are illuminated by street lights, but not the upper cloud. Two stars are visible. Although I took many further photos at different settings (some too slow for the cloud movement, others at similar shallow apertures) the formation quickly dissipated, along with my evening’s hopes. So much of long exposure work is like the dilemma at the printers: do want it fast, good and cheap? Choose two only.
This is the very first frame from a simple composition, one that I was subsequently unable to improve on. It is taken from Arthurstown, on the opposite side of the river, where protection works give an unobstructed viewpoint. Cumulus clouds by the full moon are appealing but are not that common; the main problem in photographing them is to stop them from blurring in the exposure required – that is, one which retains an adequate ISO and a sharp aperture setting. The three reflections and street lights are what made the scene worth recording, but the interesting thing is that the lights of the town aren’t reflected under the clouds, meaning they were higher and further north of Hokitika than this viewpoint suggests.
The further west or south you go in December, the longer the day (and the twilight), especially if you’re heading down the South Island before the solstice. We noticed this on our way to the Catlins (South Otago), via the West Coast. Although summer solstice marks the longest day, not many people know the earliest sunrise precedes the solstice, while the latest sunset follows it, by some days.
We began our trip with a full moon approaching, but sad to say, neither our travel arrangements nor the weather were conducive to moonlight photography. However, we had pleasant digs at Arthurstown, right by the Hokitika River, and this view back towards the town was a short walk from there. I had hoped to feature the distant dairy factory more prominently by moonlight, without knowing that at night the place would be brightly illuminated, swamping anything that moonlight could offer. Moonlight is so feeble that it generally competes only with distant artificial lighting.
Balancing the flash at close range with the ambient twilight can be troublesome, especially if depth of field is also important for your composition. I used f16 on my standard lens here, overlooking the optimal f22. Extra lighting is essential for this type of photo; although it doesn’t need to be by flash, I find it highly convenient.
Te Hapu is a wonderful farmstay in far Golden Bay – on the West Coast in fact, after a drive down fabulous Westhaven Inlet. The farm is a rugged 1,000 acres of limestone, and its scenic highlights include what must be one of the best private beaches in the country, Gilbert’s Beach, with its encircling reef and dramatic backdrop of cliff and nikau palms.
It is a lovely place to wander, although not much of it is level! Some days too the wind blows strongly, especially from the southwest, and anything trying to grow where the wind funnels is bound to take a protective stance against it, as above. I took this when we stayed there last April; the photo features in my new book, Perfect Evenings.
Screenshot from this morning, showing my new Instagram account. So 2017! It’s all been a mystery to me but I have good help, while following other photographers on Instagram for a few weeks has been enlightening. I was surprised to see how just a few places globally get an incredible amount of attention (such as, in New Zealand: Mt Cook, Mitre Peak and the Church of the Good Shepherd), as person after person tackles the challenges of each of these touristified icons. Yawn!
And certain scenic themes are so thoroughly covered globally that I can be certain of at least one good use for Instagram: what doesn’t appear there? In a negative sense Instagram is a photographer’s guide to fresh subject matter or original approaches, anything that virtually never features, in other words.
Of course what you get to see is all to do with which photographer or aggregator you follow, so I’m sure I have many new discoveries to look forward to. I am keen to have my first impressions qualified!
Follow me at www.instagram.com/barneybrewsterphoto/