A 6×7 Pentax shot, with sepia added in Photoshop after scanning the 120 negative. Still being used by Craig Potton, pre-eminent NZ landscapist, the 6×7 is a scaled-up version of the popular 35mm Pentax of yore. A whopper to handle, it is at least simple to use, although reloading is fiddly. However the 6×7 advantage in offset reproduction is clear when comparing, say, calendar images against those from 35mm originals. As a young photographer I admired the picture quality in glossy magazines without realising so much of it came from medium and large format cameras, using tripods and lights.
The 6×7 is a trial to take moonlighting, not only because it’s heavy. Increased format size is matched by decreased focal depth, so that it is harder to cover your subject well, and the 120 format is less forgiving of sloppy focus. To compensate for dim and difficult focusing, I select a smaller aperture (to extend depth of field) and lengthen exposure to 10, 20 or 40 minutes. My usual alternative to simply sitting around, waiting, is to take a second tripod and camera outfit, and work both at once – but I wouldn’t recommend this for a windy beach at night, because the sand risk means there’s just no work-space. I took the above photo in a bitter wind, with all my gear on my back.
The standard lens was set close to infinity, exposure unrecorded. Taken at the foot of Paritutu, the foreground is a blur of surf at mid-tide. For a high moon like this, earlier in the evening, go out 3 or 4 nights before it’s full. Not every “Seascape by moonlight” is genuine but yours can be authentic even at first quarter (the half-moon), if silhouette and reflection are your aim. If you use film, be sure to vary exposure and note your settings – as well as the age of the moon – until you are familiar with results.