These two sample pages form a spread in my forthcoming book. The first is a surreal New Plymouth scene which makes good use of colour balance settings. The second scene is from Cambridge, using a more conventional colour balance. In my introduction I make the point that colour balance settings are an essential part of creative control with mixed lighting sources, which are so common to evening photography.
My new photography book, Perfect Evenings: The joy of long exposures, is now being printed in Wellington. Read on for my special pre-publication offer.
Completing the long exposure work first published in my Night Visions, this is a new sequence of luminous landscapes from the North and South Islands. Taken by twilight, moonlight, street light and starlight, the images are colourful, highly textured and often surreal. Be enchanted, edified and entertained!
Perfect Evenings aims to instruct as well as to inspire, and an introduction covers topics such as the advantages of twilight, the full colour of moonlight, the role of celestial mechanics and opportunities offered by the passage of time. A technical section has useful advice; notes on selected photos are also provided. Although this only scratches the surface, the information is not readily available in a New Zealand context.
Perfect Evenings is the first New Zealand exposition on long exposure photography, now a popular pursuit overseas. A fresh take on the great NZ landscape, the book will appeal to lovers of landscape and students of design and colour, and have special interest for photographers keen to explore new avenues.
Special pre-publication offer: $40, post-free in NZ. Buy direct from me and save 20% on the usual retail ($50).
Order two copies for $75 all up, and enjoy an extra bonus: Night Visions, my first photo book, sent free.
Perfect Evenings is in softcovers; 21 x 27.7cm (landscape format); 92 pages; 75 images; 4,500 words. Edition of 100 copies only.
Order now, pay only $40 on publication: Special offer valid until 5pm, Friday 13th October 2017; the book is to be released the week after.
New Zealand orders – Payment by cheque or DC:
B.M. Brewster 030703 – 0370438 – 000.
[Australian orders are in Australian dollars; $10 extra postage is required. A payment request will be sent from Paypal]
Another sample from my 2018 New Zealand calendar, this one is for May 2018. The holiday park at Kurow was decidedly off-season on the cold autumn night that we stayed there. A bitter, blustery wind was blowing but I coated up and left our snug cabin with tripod and gear, determined to make use of the wan moonlight in such an interesting setting – and was then pleasantly surprised to find that down by the river was quite sheltered. From the several hours I spent on the terraces, covering many angles on the deserted camp, this pic has emerged as a favourite. A second, quite different scene from this frigid outing also features in my upcoming Perfect Evenings photo book.
Monday 2nd October is the last day for my extra special prices on this 2018 calendar, post-free for NZ & Australia. There are still about 20 left – so why not purchase and enjoy?!
This is a sample illustration from my long exposure Perfect Evenings 2018 New Zealand calendar. Magnolia flowers are a welcome sight in the southern spring, appearing from July to September, depending on the species and local climate. By moonlight or street light they are even more luminous and lovely than by day.
Printed in just a small edition of 125, most of my calendars have now sold at the special early bird prices quoted in the last post. The three for $30 deal and 5 + 1 for $60 have been very popular. There’s obviously good interest – not to mention good sense – in having giftable items on hand well before the usual rush, especially when so many New Zealanders are taking to the air (and the road) and require packable items for their calls and hosts.
All prices are post-free within NZ and Australia. My best-ever, these prices are current until Monday 2nd October, and will not be repeated. By that time the entire stock will probably be spoken for, and any reprint considered will have to be at standard prices. These will still be good value, however, with various extras offered, in addition to the photographer’s own prompt and personal service!
Perfect Evenings 2018 New Zealand Calendar: Back Cover
My new calendar is a colourful compilation from many evening forays in the great New Zealand landscape. Those excursions aren’t always perfect but even my last one, featuring mainly low cloud, had its highlights (see my recent posts). Many evenings initially seem unpromising but a bit of effort, two gumboots and four wheels usually lead to a rewarding outing.
So I’ve been inspired to create a new calendar for 2018, and invite you to enliven the year-to-come with something interesting – if not stirring: Perfect Evenings. In the same format as my previous calendars, the calendar has 13 all-new full colour landscapes, and a big grid for each month. It comes with an A4 letter-rate posting envelope. Presentable and useful, it makes a great gift.
Now available at an extra special price for the next 14 days: $12.50 each, post-free within NZ and Australia.
Or how about even-better prices for multiples (to same address, also post-free): Two calendars $21; Three for $30; Four for $37.50.
Wow! But wait: Five for $50 + 1 free calendar = 6 calendars for $50!!
SPECIAL Early bird PRICES, available until 5pm Monday 2nd October 2017: These will not be repeated!
NZ orders – Payment by cheque or direct credit:
B. M. Brewster 030703 – 0370438 – 000
Australian orders – in $A currency; a payment request will be sent to you from Paypal. Overseas orders – please inquire.
My 2018 calendar is at the printer in Wellington and should be available within the week. The new calendar is a lovely selection from my forthcoming book of the same name: Perfect Evenings, and is in the same postable format as my previous calendars. An easy gift! September isn’t too early if you are flying anytime soon, or like to get organised before the rush. More on price and other details shortly.
White pointers at night, Appleby, Nelson. 7.33pm, 4 September 2017
The difficulty with low angles in night photography is mainly in composition – craning the body to see whatever’s visible in the viewfinder, after steadying the tripod, set as low as it can go. In long grass there’s also a lot of levelling and lining-up. Also necessary after plenty of rain is something to keep your bended knee dry, although in this case the matted grass itself did good service. Using flash to highlight close objects is unpredictable but I was fairly sure the stalks would overexpose – the desired effect. Mixed lighting is not difficult by moonlight, as long as your extra lighting is not too bright, or is only brief. Rating just 2 watts, moonlight is easily swamped by street or house lights.
30 secs at f8; 28mm and ISO 2000
Puffy whites, AKA cumulus clouds, beloved by photographers, decorate otherwise blank skies and keep them interesting – even night skies, which are much lighter by moonlight and less populated by stars. The unusual thing about the scene above, taken well after dark, was the narrow “window of opportunity” for it. The cloud cover was low and pervasive, and the heavens opened up for only a few minutes the entire time I was out. Peak moments!
The location is actually landward of Rabbit Island (the bridge is visible here) but north of the stopbank and only marginally above sea level. Puddles from recent rain add to the texture of the land; the lights of Mapua brighten distant cloud. There are so many hard-to-repeat factors affecting any sense of achievement on my moonlight forays, but as long as it’s not raining or blowing something can usually be made of any new location. What never applies, though – unless it’s on my very doorstep – is “Oh I’ll get it next time”. Things are never quite the same, next visit.
8 secs at f5.6; 28mm and ISO 2000
Two views from the same place, immediately in front of our accommodation at Omata, just south of New Plymouth. They have been cropped slightly, to wallpaper formats. The lighting above is an improvised long exposure with a mix of misty moonlight and house lights; below is a heartening scene of sunlight on a winter’s morning, after the murk of previous days had at last moved on. I can recommend both experiences, also the cottage itself, which on www.bookabach.co.nz is listed as Valley View Cottage, if you like your digs to be quiet, clean and affordable. Thanks Isobel!
Welcome sunlight, at Valley View Cottage
A family trip to New Plymouth last week coincided with a full moon, but alas, I had flown one stage of the journey, so arrived without a tripod. From a fence post alongside our accommodation I took two frames which have stitched up nicely. My other steady-state improvisations were not successful – trying the camera on a patio chair (awkward to get the right angle) and on a free-floating fence batten (lingering vibration). Even on the fence post the placement was precarious, so I hung on to the camera strap. I did not think there was much going on for the left frame until I noticed the sleeping horse and the slight blush to the low cloud (which enveloped the area for days). The neighbouring property was interesting for its rustic buildings, particularly one which leans precariously over a slope.
50mm lens; ISO 500. 15 secs at f4 and 30 secs at f5.6
Although urban and sophisticated, it appears these sheep were only used to the glare of the neighbouring polytech hostel, and not moonlight paparazzi. The venue is an open space tucked away behind the city cemetery, and between WITT and Te Henui walkway, in the vale below. Small Maori pa abound in this vicinity and their reserve status contributes to having this unfrequented, pastoral scene in the city. Here night-time photographers can pursue their craft with a pleasant sense of calm and solitude, despite the incidental noise from the hostel. The clouds reflect city lights; the light beam is wastage leaping the boundary fence, offstage left. How very different this looks by day!
85mm, ISO 500; 8 secs at f2.8
Like some national flag, this somewhat humdrum scene has its quadrants, as well as enough eye-catching detail to make a composition. I can’t say it’s a favourite but it has been promoted up the ranks for selection by an enthusiastic supporter – so it must have something. What? Both colour highlights and silhouette are in there, along with natural texture and the blue wash of a calm Golden Bay (not always, of course – these rocks are foreshore defences). Above all, though, it has middle lines to divide – and unite – the composition. Both horizon and tree are in that “Avoid!” place, dead centre. Taking the place of the “third party” in composition terms are far-off lights, clouds and stars. Spending time at this quiet, far corner of the settlement made for an enchanted evening, despite no awesome photos resulting.
Re-framed to 16×10 for emphasis; 28mm, ISO 2000 30 seconds at f8
My 2017 calendar sold out last week, although some retail returns are expected. This image for June 2017 has been very popular. It was taken at the southern end of the inlet, where from sea level the road climbs steadily and steeply to the top of the limestone. Public roads with grass strips down the centre are not that common in New Zealand, but as this one serves just two farms it’s no real surprise to see it here. “Roads less travelled” lend themselves well to calendar imagery, and this one is in the “even less travelled” category, being off another, unsealed road to several farms which straggle down the coast. The trick is usually in getting sufficient elevation to please the eye with the path fully shown. A misty day helps, adding an uncommon atmosphere.
This is the September image in my North by Northwest 2017 Golden Bay calendar, of which only a small number remain unsold (see earlier posts for ordering details). This late night, full moon scene was taken at high tide, on a small creek on the northern arm of the inlet, in far Golden Bay. The picture also features in my next publication, Perfect Evenings: Long exposures from dusk to dark, which is now in preparation. A sequel to Night Visions: Reflections for the moonlight hours, the new book will round out my twilight & night photography, with the addition of a text explaining my approach and a technical section for those interested in the finer points of camera work at night.
Westhaven panorama, summer, from the Kaihoka hills.
Alas, panoramas do not suit my new calendar but this scene would otherwise qualify. The stormy drama above, stitched together from two frames, unfolded as we climbed the steep hills of the northern arm of the inlet. Although we anticipated a thorough soaking from the gathering cloud, in fact it was an isolated squall which did not stray north from the hills behind Rakopi (the settlement on the flat). Limestone meets granite inland at Knuckle Hill (right distance). The colours are summery and the tide was full – with its rugged hinterland, this is an inlet of many lights and moods! Click on the image for a larger version.
The ancient parapets north of Te Hapu are of course a natural formation. In this long exposure by moonlight the stars leave trails and a cloud scuds towards the camera. This is the July 2017 image in my new North by Northwest calendar, featuring exclusively Golden Bay scenes from the Top of the South. See earlier posts for the full overview.
The calendar is now available for purchase. It is in the same format as last year’s, with each month having ample space for annotation. Easy to post, the A4 calendar comes with mailing envelope supplied. Price $15 + $3 postage. Order 2 calendars for $28, all up (post-free within New Zealand and Australia).
Please order direct at email@example.com and I will confirm with payment options.
Sample image: Nikau palms at Turtle Cove. May 2017 Golden Bay Calendar
Although a good number of images in my North by Northwest 2017 calendar are taken on private property, all such locations were farmstays. What farms these are, each a delight to range over. This shattered coastline north of Te Hapu shows many stony shards, all a colossal tumble from some terrifying ancient earthquake. Those shards are gigantic.
My calendar will be available mid-October. Early orders are encouraged, as only 200 copies are to be printed. All calendars come with mailing envelopes and are post-friendly. See my earlier post for prices, but I can also offer a special rate for orders of 10 or more (please inquire). No doubt there have been other Golden Bay calendars before 2017, but probably none with such a fine focus, covering from Wharariki south to Paturau. What interesting country!
Curiosity at Rakopi. Sample image: February 2017, Golden Bay Calendar
How much we overlook the photo potential of a misty day! In winter we hardly feel excited at the prospect of working a camera in damp conditions, but in summer there is much to be gained from the softer light and warmer colours. Photographing animals is challenging because any pose is rarely held, but in this case the calves were spell-bound by the sight of a cameraman standing on his car. The elevation was necessary to get the line of road in the background. Effort is everything in photography – well almost, as the right light comes first.
My North by Northwest 2017 Golden Bay calendar will be ready for sale in mid-October, but orders will be taken from now on. It is in the same post-friendly format as last year’s, with each month having ample space for annotation. The A4 calendar comes with a mailing envelope. Price $15, plus $3 postage. Order 2 calendars for $28, all up (post-free within NZ & Australia). Please order from me directly at firstname.lastname@example.org and I will confirm with payment options.
Nelson does not lack mountains – like Taranaki, it’s defined by them – but for all their beauty the region is better known for its coastline and beaches. These vary from sheltered coves to wind-prone arcs, while Nelson’s most exposed beach – Wharariki – is also its grandest. Naturally, it features on the cover of my 2017 Golden Bay calendar. I have been visiting this stunning location and the farm park regularly since 1975, and the much expanded carpark over this time reflects Wharariki’s growing fame, nationally and internationally.
My calendar title refers to only the northwest flank of Golden Bay, an area below Farewell Spit. Within this small ambit is a surprising range of landscape. The calendar aims to make the beauty of these special places better known – only a little better though, as just 200 copies have been ordered from the printer. More details will be given shortly.
2537 Moonlit Mordor, from Arawhata Rd, Opunake. 8.57pm, 25 April 2010.
My 36 Views of Mt Taranaki has sold out. The book used mainly daylight images, just to prove there’s more than one string to my fiddle. Nevertheless I continue to find twilight and night imagery more interesting because of the greater creative possibilities. This is a Lumix LX3 image, converted from colour: a desolate, snow-free mountain, as seen from from a desolate sector of the ring plain. In contrast to the more settled appearance of the other side of the mountain, this is rougher, harder country.
On a personal note, this is a belated coda to my Taranaki series, as this year we have returned to live in Nelson. Despite the hiatus I have been occupied in reviewing my extensive transparency collection, compiling a second book on evening photography and putting together a 2017 calendar, one without a volcanic theme. But about that, more shortly.
“60mm”; ISO 400. 60 secs at f2.8
3028. Minor epiphany at Maitai, Nelson. 9.02pm, 25 November 2015
In valleys in summertime the evening can be well advanced before the full moon shows above the hills. To use twilight as well you’ll need to choose the evening just before the moon hits 100% full, when it rises before sunset. It can be fun to perch this lovely orb in various quirky ways, but the surprise is just how quickly – in a matter of seconds – the moon moves away from your careful line-up of picture elements, as I found here while wandering the Waahi Taakaro golf course in the Maitai valley.
As well as their cultivated landscapes and easy terrain, golf courses after-hours offer the night photographer something further – a generally safe setting. There’s only a small chance of stumbling into a ditch, of sudden intrusion, or of being run down by something or someone. Golf courses have their quiet corners, and often you can slip in the back way, across a stile somewhere along the boundary.
50mm; ISO 1250. 1/250th sec at f2. Hand-held; flash.
2860-61. No moon, no worries, 8.49-8.50pm, 26 October 2015
The city by evening can have plenty of light for night photography, either diffused from street lights or reflected by low cloud. So if your moon disappears from view, look for other possibilities. In this case, an unusual streak of light came from student quarters just over the fence, while the cloud is coloured by sodium street lighting. The pasture adjoins a historic reserve (an old pa site to the right) above Te Henui Stream and borders the city cemetery on the left. This evening I had the place all to myself – except for the sheep. Two telephoto images make up this panorama; double click on the scene for a larger view.
85mm; ISO 500 / 1000. 30 seconds @ f5.6 and f8.
2866. A pastoral pocket, at night. 8.59pm, 26 October 2015
By twilight I checked out this pastoral slope above the valley of the Henui, within New Plymouth city. A good length of pasture stretches from the river reserve up and over one old pa site to another well preserved one, next to WITT. This part of the paddock is bordered by a student hostel (whose lights streak the grass) and the town cemetery (behind the macrocarpas). I was in luck with some sheep to people the landscape; they were watchful and a little nervous, but not enough to flee the scene – a telephoto lens kept me at a suitable distance. Low cloud reflected city lights, but regrettably the full moon had just risen into the cloud.
85mm; ISO 500. 30 seconds @ f5.6
2791 & 2794. Te Henui ti kouka in flower, by moonlight. 25 October 2015
Usually I try to avoid subtlety, but these two images a short interval apart demonstrate the use of flash. In the scene above – the steep flank of an old pa above the Te Henui in New Plymouth – the flash has a fill-in function but also highlights the central tree trunk. The image below gives away my vantage point, one of the two new (2013) footbridges on the walkway. Here the flash illuminates the railings but is not strong enough to highlight the background. It’s a startling shot but I prefer the straight one above. A perfect spring evening, it was quite still in the sheltered valley, with the rising moon waxing at 90%. This was our most enchanting pause on the walkway, one open to the moonlight and enhanced by the heady scent of the cabbage trees.
28mm; ISO 500 & 1000. 30 seconds @ f5.6; @ f8.
2758. Cool majesty from Waingongoro Rd, Taranaki. 1.47pm, 17 October 2015
Two problems in volcano camerawork are vacant skies and the huge gap in exposure values between the snowy elevations and the green landscape below. Here with patchy cloud and silhouettes is an answer to this creative challenge. Lacking as it does spring lambs (and mint) this image does not quite reach the bar, yet I find its ellipsis strangely appealing… On the approach, in a clear sign of ascending middle age, I was more concerned with the wear of the gravel road on my tyres than with how the icy edifice might loom in my viewfinder. The cold sou-wester also dampened my interest, but what I like in this half-submerged image is a mistake in my colour temperature setting (Sodium vapour lamps), which still leaves its mark. It’s all a happy accident, in other words.
85mm; ISO 250. f11 at 1000th sec.
My 1980 image Shrouds was recently used on the New Zealand banner at the Pingyao International Photography Festival, a big show in which NZ photographers participated under the title: “Collective Passion – Singular Visions, PhotoForum – A New Zealand Legacy”. Over 70 NZ images were shown at the festival, which opened on 19 September at Pingyao Ancient City, Shanxi Province.
Ian McDonald, co-ordinator for the NZ show, explains that “PIP is considered the most important photography festival in China and is certainly the biggest. All the major gallery dealers and curators in China visit as well a huge influx of visitors who pack the bullet trains down from Beijing. There is a large and sophisticated tourist industry in Pingyao Ancient City, which is why the festival is so well supported by the Government. Large numbers of very keen and well informed students tour the exhibition, which takes at least two days of fairly intensive viewing.”
For more on this show: http://photoforum-nz.org/blog/?p=6035
Two more sample spreads, plus the back cover, of my new photo book on New Zealand’s answer to Mt Fuji in Japan. The above image is by moonlight; below, by twilight from the western edge of the city. The back cover photo is from Mohakatino, along the Mokau highway. See recent posts for further details of this new publication.
A futile gesture in the top fosse of this stronghold, conspicuous in New Plymouth’s western suburbs. The pa is high but I was sober – indeed the chill sou’wester was sobering, so a hip flask would’ve been welcome. The pa’s history is not accessible online and as it is barely mentioned in the standard works on Taranaki history, it was likely long abandoned by 1828, when the first Europeans arrived at the Sugar Loaves. Its preservation was only assured in 1989; today the pa overlooks suburbs at every turn – but the views are great. It is an impressive sight for visitors, although actually little visited.
28mm; ISO 500. 30 seconds at f5.6
MARCH 2016: Naked mountain, Arawhata Rd; Opunake district
In an earlier post I asked “Where are the cows?”, meaning cattle of course, as Taranaki is host to thousand of beef cattle, as well as its emblematic dairy cows. However, these two images are the only nod in their direction in my 2016 calendar – an oversight, possibly. Yet it is surprising how few herds are seen along the roadside, and a good deal of pasture is now strip-gazed, a practice lacking in pictorial charm. See previous posts for calendar details, and how to order.
NOVEMBER 2016: Cloud hugger, Manaia highway.
JULY 2016: Maude Rd moonlight, Kaimiro district
Three samples from my new calendar for 2016: 13 Views of Mt Taranaki, North Island, New Zealand. The two below are by daylight but all three aim to show the textures of the Taranaki landscape. The question remains: Where are the cows?? Their surprising absence will be rectified in another post shortly.
SEPTEMBER 2016: Tumahu, Wiremu Rd; Okato district
The two images above were taken as monochromes, and a tint added later. Many different treatments are possible. Taranaki people never tire of looking at their mountain in its changing aspects and (peekaboo) pride of place, but the challenge is to convey a sense of it within the landscape. Please see earlier posts for more details, and for news of the photo book that this calendar relates to.
OCTOBER 2016: Spring snowfall, Maude Rd
14. Moonlit shroud, Kaitake foothills. Late May
My new book, 36 Views, begins with a January scene and takes us through the year to December, from around the mountain. It’s a prototype, short-run edition but I’m impressed with the printer’s efforts – and grateful for daughter Pachali’s input from Wellington. Each photo has its own spread; double click on the images for larger views.
22. Evening glow, wintry blow; Minarapa Rd, Okato. Late June
Dedicated to my mother Gwen, who received an advance copy on her 90th birthday, the book’s given me good excuse to explore many local byways and viewpoints. A short introduction is followed by a seasonal progression of views in a simple but elegant layout.. The full title locates the mountain for overseas readers: 36 Views of Mt Taranaki, North Island, New Zealand. Price $35 plus $2.50 p&p within NZ or Australia. Orders to email@example.com. Fifty copies only are available in this trial run.
23. The good life; Manganui Rd, Midhirst. Early July
Two productions launching at the same time! The 49 views are spread between my new photo book (36 Views of Mt Taranaki) and a 2016 calendar, 13 Views of Mt Taranaki. Both are inspired by the famous Japanese works of Hokusai (c.1830) and Hiroshige (1852 & 1858), all issued under the same title, 36 Views of Mt Fuji. These showed the noble peak from many angles and seasons.
The new book is in softcovers, 21 x 22.5cm, with white wire binding. The first edition is just 50 copies, each signed. There are 76 pages, one image to a spread. It is entirely in colour, and shows the mountain in its landscape from a variety of viewpoints and times of the day (and night!). It will appeal to anyone with strong Taranaki associations – visitors and residents alike.
Price is $35, plus $2.50 postage within New Zealand or Australia. Order 2 books for $65, all up (post-free within NZ & Australia). Sample pages will be posted soon.
My 2016 fine art calendar owes its title to its extra cover pic; there is no duplication and the 13 images are not taken from the book.The images are well textured and nicely tinted. I doubt that there has been a contemporary calendar issued in monochrome for some decades, but my subject matter carries it off.
The calendar comes with a posting envelope. Price $17.50, plus $2.50 postage. Order 2 calendars for $33, all up (post-free within NZ & Australia). Please order from me directly at firstname.lastname@example.org and I will confirm promptly with method of payment.
8646. Front cover, 2016 Calendar
With my new photo book 36 Views of Mt Taranaki to be released shortly, it seemed obvious to have our 2016 calendar feature the mountain too. Not so obvious was the decision not to use anything from the book and to turn the images into fine art monochromes – although not strictly black&white, as the image above shows. A few are B&W originals but most have been stripped of their colour data. The tones and textures of the peak lend themselves well to this treatment. I will have more news on the calendar and on the new book shortly.
2393. Abstract 2: Pukearuhe rockface. 4.06pm, 31 July 2015
My interest in these stripes was partly spurred by my SO’s work in creative fibre, designing woven creations with striking bands of colour. The strong reflections here are in the surface topography. This is very close-up by telephoto standards and the wide f-stop only just copes; a better depth of field would be achieved with a faster ISO and slower shutter speed. However I had set out without tripod – as I often do when my photography is secondary to a social outing. Even for an exposure of 1/500th I used the self-timer at 2 seconds to delay exposure slightly, reducing the risk of camera shake, something that is magnified with telephotos.
85mm; ISO 250. 1/500th @ f3.5
I have photographed these cliffs before but only occasionally, as they are an hour north of New Plymouth on a side road, and access is strictly tidal. The beach changes from sand to rocks with the seasons, while recent rain makes a difference to the rockface patterns observed. Here we’re looking at a well-watered part of the cliff at about eye-level, with much reflected early afternoon sunlight. I selected a low ISO for maximum effect but also a high shutter speed, to avoid any risk of camera shake with a heavy telephoto.
85mm; ISO 250. 1/640th @ f11.
Tic tac toe: your move. Golden Bay, 7 January 2012, 9.33pm
When they get bored with pasture, cattle can freely roam these dunes at Kaihoka, but it looked like these ones were pondering their next move in a game of tic tac toe. Taken after sundown, my flash has caught their eyes and added form to blackness. This effect is different from the red-eye syndrome of old party snaps, but I know not why. The half hour after sunset is an excellent time to mix light sources, while unusual adjacencies also add interest. The colour temperature was boosted for this series, to offset the cool twilight.
85mm, ISO 2000. 1/3s at f8. 10,000 deg K
Moonlit margin, Taranaki. 27 August 2015, 9.50 – 9.51pm
In Taranaki a calm, clear night with a waxing moon is not to be ignored – but rather than drive around, I sometimes prefer to walk out and see what turns up, as pastoral peace on the city margins is not too far away. This two-frame panorama of contented cattle sums up my evening, although my cold, wet feet also made themselves felt by this point. My new photo book on Mt Taranaki will feature day and night photography, but only in standard frame images – no scope for panoramas! Double click on the image for a larger view.
50mm, ISO 250. 30 secs at f4 for each.
2447. “She’s beaut”, on Carrington Rd, near New Plymouth. 12 August 2015, 5.24pm
A large tract of country south and west of New Plymouth is sheltered from the prevailing westerlies by two forested ranges, the Pouakai and Kaitake. Our mountain shows above these hills (sometimes) as one travels in their lee; this is where the road first meets the forest of the national park. A passing local called out his approval as I stopped on the roadside for this shot (one taken too late to include in my new photo book), but the sunlight was fleeting and the bird soon flew off. With the city nearby, these rustic roadsides have been steadily superseded by upmarket, lifestyle blocks.
85mm, ISO 1000. 1/500th at f8
2037. Lahar landscape, Stent Rd, Warea. 24 June 2015, 3.24pm
Since our return to Taranaki at the end of May I have been preoccupied with a photo project on our local peak, formerly known as Egmont. Mt Taranaki (as it’s now called) is well overdue for a photo book, and why not one to answer 36 Views of Mt Fuji, Hokusai’s famous collection of prints of Japan’s highest mountain? So I set out to put together 36 Views of Mt Taranaki, which I will publish next month. The new book is dedicated to my mother, Gwen Brewster, who celebrated her 90th birthday two weeks ago. She now has the only copy – an advance proof. This out-take was shot in a strong, frigid SWer, whose discomfort I removed from this sunny scene in post-pro.
135mm, ISO 500. 1/1250s at f9
1116 Rivulet of time: Dreams of a small figure.
This uncommon scene is a reprise on my earlier visit, also in May (2009), with the Holy Virgin. Although we’d had some rain before this secular occasion, my obliging figurine held her position well on the edge of the abyss, and so my only task was to administer the correct amount of torchlight. The location is just below the old weir at the Brook Street reservoir, Nelson. A waxing moon had cleared the manuka above, but moonlight here is lost in strong LED torchlight (the moonlight was not lost on my hi-vis vest, however, and my daughter quickly found me once the nearby comfort of the car had palled). LED lighting is quite cool, like daylight, so I’ve added some warmth in post-processing – the photo equivalent of a teaspoon of tumeric in the dinner pan.
28mm; ISO 500. f11 for 30 secs. 8.39 pm, 1 May 2015
0973 Autumn in the Maitai gloom, Nelson. 5.11pm, 26 April 2015
In late April a quick trip to the Maitai Valley, on the edge of the city, is much easier than the long road to central Otago (where great swathes of lovely poplars and cotoneasters are now gone from our favourite walk at Arrowtown). Although the light balance between flash and background above suggests twilight, this cameo was actually taken half an hour before sundown, in the pre-drizzle gloom of a heavy overcast. Flash is a crude instrument but then so is a hammer – and after a few attempts I felt I had it nailed.
50mm; ISO 250. 1/250th sec @ f7.1. Flash
5593 High tide at Kaikoura. 8.36pm, 21 February 2011
Looking lately at some of my own images taken in broad sunlight I knew immediately why I do so little of it – the light is so commonplace! Striking images are harder to achieve. At the end of the day however, in evening sunlight or dimming twilight, the world seems transformed – and the landscape changes with the light. Four years ago we were on our way along the Kaikoura waterfront to see the king tide from the wharf, when I took this strange sea, high on the shoreline.
85mm, ISO 100. 5 seconds at f11.
0440 Burnett Range from Collingwood
A cool southerly breezed down the Aorere valley as dark descended on the chief settlement of western Golden Bay. Heading out on Beach Road, away from the village, soon demonstrated the power of microclimate, as around the corner, in the lee of the hill forming a backdrop to the township, there was utter calm. The two photos were taken about 100 metres apart, but with telephoto (135mm) and wide angle (28mm) lenses. Above, 30 seconds; below, 15 seconds – almost too slow to hold the cloud formation. Not surprisingly, clouds move faster on telephoto images than on wide angle ones.
0430 Beach Rd, Collingwood
0679 Flotsam on a twilit tide, Golden Bay. 8.30pm, 5 March 2015
In photography the golden hour before sunset is followed by the blue hour of developing darkness. The blue cast can be mitigated with a light balance setting above “Direct sunlight”, which in degrees Kelvin measures about 5500. On the Nikon D700 you can choose to a maximum of 10,000 deg. Conversely, the blue cast can be exaggerated with a tungsten or sodium colour balance – each below 4,000 deg K – especially useful if your subject is lit by old style torch, headlight or house lights. However the reflected moonlight shown here has an unmodified light balance, for a simple composition. Selected by my daughters, each independently.
200mm, ISO 500. 5 secs at f16. Direct sunlight light balance.
0362 Yana by the Aorere, Golden Bay. 8.40pm, 4 March 2015
On a lovely late summer evening I took a break from the moonrise to ask Yana to pose as the highlight for this composition. Flash gives a solid block of colour, as expected. The river mouth is intentionally underexposed, while the fisherman is included to add some depth. My initial jpeg from the RAW file was disappointing and not at all faithful to the limpid tones of the original, so adjustments were made in post-processing. This scene was only a short walk from our accommodation at the Collingwood campground. The township is based on a sandspit but is more famous for its flammability.
28mm, ISO 500. 3 secs at f11
7753. Mystic pool, Whatipu. 3.53pm, 12 June 2014
The crowds have gone and the druids have left the rostrum. All the devotees who waited so patiently for immersion are now initiated, have packed their tents and left for the long return to their temples. Soon night will fall and the whole arena will be reclaimed by the hoolie-darkies and fogdogs… etc etc. Movie rights are still available.
85mm, ISO 250. 1/250th sec at f11
3409 Bold sentry, Paritutu, New Plymouth. 11.34pm, 21 July 2013
I admit to some anxiety parading a mannequin in a public place late at night, being too old for the art student look, so I was relieved to have this popular venue to myself for the duration. The torso was a gift from my daughter, intended as offset to a female mannequin she admired in one of my old photos. The pot plant is 100% artificial too. Moonlight and port lighting (background) are supplemented with torchlight on my two props. The steps lead to a brutalist viewing platform below Paritutu, the steep volcanic remnant which dominates the local coastline. A cloudlet wandered over, to complete the composition. Not recommended for biscuit tins.
28mm, ISO 2000. 30 sec at f16
0085 Brewster’s Best Assorted. 9.28pm, 4 February 2015
I believe this is more biscuit tin than chocolate box, which is an elevation of one step in the Brewster Heirarchy of Fine Art. At least it is free of ferns and magnolias. From notes made some years ago I see that the three levels above “Biscuit tin” are deemed as Classic, Iconic and Sublime (also known as “Shock & awe”). In approbation these 5 levels correspond to good, very good, excellent, fave and absolute fave… Moonlight reflections have the same exposure value as clouds typically – that is, higher than city glow, which is minimal here. With a telephoto you can reach into a well lit landscape even when from my own position the moon was completely clouded. The long shutter speed has given clear images of the boats, which surprises me as they usually blur with sea motion.
200mm, ISO 1000. 2.5 sces at f8
0020 Summer moonrise. 8.54pm, 4 February 2015
A twilight moon always rises over a flat landscape – in lighting terms, at least, after sunset. Two strong aids to composition, much to my liking, are silhouettes and clouds, and only these are a match for the moon’s brightness as night begins to settle. A variety of clouds is always welcome, but too many at once and the moon will be continually ducking in and out of view. This deliberately simple image – very much taken with digital wallpaper in mind – records another routine cosmic occasion, as our fellow traveller looms into the gloom, ready to light a summer’s night [applause].
165mm, ISO 500. 1/10th sec at f8
9807 Evening parade at Waiwhakaiho. 8.20pm, 3 February 2015
Clouds strike some marvellous poses, but as they will not hold them the trick is to be ready and waiting. Even better if they are only a side-show to the main act – an anticipated moonrise, for example. A big Nikon zoom lens needs a tripod for best results, especially with a polarising filter. A tripod does restrict you but it allows a much smaller aperture, which helps with overall sharpness after the filter and softness of a zoom lens are taken into account. Using a tripod also ensures a more considered approach, and more level horizons. The polariser, meanwhile, only works from a certain viewpoint, that is, one at roughly 90 deg to the sun. So you might as well stay in the right spot with your tripod.
112mm, ISO 250. 1/60th at f11. Polariser and tripod