The tide was a high spring one at the wharf, one memorable summer’s evening. The square format can be applied in later processing to any 2:3 frame from a digital SLR camera – and for several reasons. Although here it was primarily to improve the composition, it also crops flare from the rising moon on the far right of the original frame.
Colourwise this shot turns upside down my earlier post (No. 94 Kaikoura moonrise) from the same wharf – it was a productive evening. This is interesting for its mix of three light sources as well as its abstraction. There’s moonlight in the sky, plus sodium lighting on the sand (which is only just covered by the surf), but the violent green on the rocks comes from what I took to be a mercury vapour lamp, at the end of the wharf. The line of pink is moonlit cloud, and a ship on the horizon, not noticed at the time, has also registered.
The unexpected turn-ups are what keeps night photography interesting. The fortunate aspect here was that all three light sources were in a good balance, an effect sometimes very hard to achieve. The light balance control was set to Cool white fluorescent; I had expected this to absorb some of the green but it has not made much of a difference really. I’ve been wondering why the sodium here is not a good deal stronger, considering the incandescent (tungsten) setting was not used.
One big advantage of digital over film work is the ability to change light balances without having to add or remove filters, particularly in alternating between incandescent and daylight. Quick adjustments can be made also for other light conditions or cloudy skies. When light sources are mixed, there’s plenty of creative scope in trying one balance and then another.
The drawback appears the next time you pick up your camera and take photos without checking the balance properly…
28mm, ISO 2000. 30 seconds at f11