Moonlight on Otaraoa Rd, Taranaki

Moonlight on Otaraoa Rd, Taranaki. 9.08pm, 22 August 2013

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.

10 secs at f4. Nikon 28mm; ISO 2000

Waimea Inlet, full moon

Waimea Inlet, Nelson, full moon. 8.35pm, 28 June 2018

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.

30 secs at f11. Nikon 85mm; ISO 1000

 

Fennel flowers with moonrise

Fennel flowers with moonrise, Nelson. 6.07pm, 28 June 2018

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.

30 secs at f11. Nikon 28mm; ISO 500

 

Cob cottage in the Moutere, by moonlight

Cob cottage in the Moutere, by moonlight. 7.36pm, 9 June 2017

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.

30 secs at f5; Nikon 28mm, ISO 500

 

All quiet at the marae, by moonlight

All quiet at the marae, Nelson, by moonlight. 6.29pm, 8 June 2017

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.

30 secs at f5.6; Nikon 28mm, ISO 1000

Roadside view 1 (Work in progress)

Roadside views 1: Work in progress
Roadside views 1: Garden Valley Rd, Nelson. 6.43pm, 26 April 2018

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 .

30 secs at f5.6. Nikon 50mm; ISO 1000

Unexpected illumination in New Plymouth

Unexpected illumination in New Plymouth.
Unexpected illumination in New Plymouth. 8.57pm, 30 March 2018

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.

30 secs at f5.6. Nikon 85mm; ISO 500

 

 

Autumnal equine moonlight

Autumnal equine moonlight, Garden Valley.
Autumnal equine moonlight, Garden Valley. 6.37pm, 26 April 2018

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.

20 secs at f2. Nikon 50mm; ISO 1000

Cumulus wonder in Taranaki

Cumulus wonder in Taranaki
Cumulus wonder in Taranaki, 9.45pm, 8 Sept 2011

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.

85mm lens; ISO 2000.  2.5 secs @ f2.

Clouds over the Hokitika River

Clouds over the Hokitika River, West Coast. 10.27pm, 1 December 2017

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.

50mm, ISO 500; 5 secs at f4

Now how did you do that??

Night textures at Paritutu, New Plymouth

This image, from my new book Perfect Evenings, has caused some furrowed brows as to how it was done. Although the shadows suggest the background must be a screen of some sort, the effect was actually achieved entirely in-camera. I used a telephoto (85mm) lens, so a shallow focus is inherent in the composition, but the clue is in the signature lighting: my flash initiated the 30 second exposure.

Of course the flash could only light up the lush foreground, so straight after it I rotated the lens barrel, bringing the background into better focus for the remainder of the exposure.  The  odd plant “shadows” are actually new silhouettes, showing that the foreground was drastically re-positioned by the extension of the lens that the change in focus required. Simple!

SIGNED gift copies of the new book can be sent direct on your behalf to any address in NZ for $NZ50, or to Australia for $NZ60 (air mail only, surface post no longer available). Payment can be made by direct credit or by cheque. Why not email me today: barneybrewster@xtra.co.nz

Perfect Evenings: New book now available

SAMPLE IMAGE: Tiny cattle at Te Mata peak, Hawkes Bay

My new photo book is now out. Looking good in just a small edition, it’s yours to purchase for $NZ50, post-free. Or I can send a signed copy as a gift on your behalf to anywhere in New Zealand (or to  Australia for $A55 or $NZ60), with a gift card enclosed. The season approaches!

Perfect Evenings is in landscape format, in laminated softcovers with spine title;  21 x 27.7cm; 92 pages; 75 colour images; 4,500 words.

New book: Perfect Evenings (in press)

Sample page 20, Perfect Evenings

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.

Sample page 21, Perfect Evenings

New book coming: Perfect Evenings

NEW BOOK: Front and back cover

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.

Perfect Evenings: Sample spread, pages 22-23

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). OFFER NOW CLOSED.

Perfect Evenings is in softcovers; 21 x 27.7cm (landscape format); 92 pages; 75 images; 4,500 words. Edition of 100 copies only.

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]

May 2018 in new Perfect Evenings calendar

Quiet night at Kurow, North Otago

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?!

 

August 2018 in new calendar: Magnolia bud

Magnolia bud at night, New Plymouth

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!

2018 New Zealand calendar now available

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.

P.S. The images have been selected from a new photo book of the same name, out soon, which wraps up my long exposure photography.

2018 Calendar: Perfect Evenings

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

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 over Rabbit Island

Puffy whites above Rabbit Island, 7.23pm 4 September 2017

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

Night and day at Omata

Moonlight mix at Omata

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

Omata panorama, Taranaki

Evening panorama, Omata, Taranaki: 8.57pm and 9pm, 7 August 2017

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

Nervous sheep in New Plymouth

2859 Nervous sheep in New Plymouth, 8.48pm, 26 October 2015

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

Classic compositions #1

0413 Moonlit foreshore, Collingwood, 10.22pm, 4 March 2015

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

Kaihoka by moonlight, Westhaven

Kaihoka by moonlight, Westhaven Inlet
Sample calendar image: Kaihoka by moonlight, Westhaven Inlet

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.

Golden Bay Calendar For Sale

Sample image: July 2017
Sample image: July 2017

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 barneybrewster@xtra.co.nz and I will confirm with payment options.

 

Moonlit Mordor

2537 Moonlit Mordor

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 larger 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

 

No moon, no worries

No moon, no worries

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.

A pastoral pocket, at night

2866. Urban pastorale, at night

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

 

Te Henui ti kouka, 1 & 2

2791. Te Henui ti kouka

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.

DSC_2794.16x10

28mm; ISO 500 & 1000. 30 seconds @ f5.6; @ f8.

Whakawhitiwhiti Pa, at night

2711. Whakawhitiwhiti Pa
2711. Whakawhitiwhiti Pa, at night. 9.05pm, 28 September 2015

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

 

Moonlit margin, Taranaki

Moonlit panorama, Taranaki

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.

Rivulet of time: Dreams of a small figure

1116 Rivulets of time: Dreams of a young girl

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

Beach Rd twins, Collingwood

0440 Beach Road, Collingwood

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

 0430 Beach Rd, Collingwood

Bold sentry, Paritutu evening

3409 Odd conjunction, Paritutu

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

Brewster’s Best Assorted

0085 Brewster's Best Assorted

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

The golf course after dark – pano

Fitzroy Pano, 2 Feb 2015

9978-79 The golf course after dark, New Plymouth. 10.36pm, 3 February 2015

In post-processing I chose two frames which looked doubtful for the auto program to handle, so was agreeably surprised to have them adroitly merged, despite the likely dislocation of fast-moving clouds. I had stopped these on each frame with short exposures; faster shutter speeds were possible but only at wider apertures, which would sacrifice depth of field. City lights fill in the moon-shadow on the left and highlight the macrocarpa trunk and offshore clouds, but to the right is sodium-free, being leeward of the ridge. Human silhouettes would add further interest – one day I must duplicate some people by having them move from one frame to the other in the pause between exposures. Double-click on the image for a closer look.

50mm, ISO 2000. 2.5 secs at f4 for both frames

On the links, Fitzroy full moon

9940.16x9 On the links, Fitzroy

9940 On the links, Fitzroy full moon. 10.05pm, 3 February 2015

Sited as it is on old dunes, the golf course has some pleasant undulations; two stiles on the street suggested a ramble. A potential problem for moonlight photography was the row of sodium nearby – moonlight can’t compete with city lights, but when they are at a good distance some balance can emerge. The two light sources are also far apart in their colour temperatures so an either/or selection must be made on your camera setting (actually not quite true – an intermediate choice is possible, but not as a preset). In this case the warm sodium glow was acceptable and a higher colour temperature ensured a natural look to the clouds. I asked my wife & companion Narumon to stand on the rise and she held her pose very ably while the clouds moved into position. The image has been cropped to 16×9 and now graces my own screen as wallpaper.

50mm, ISO 2000. 2 secs at f4.5

Pukekura Park lights

9039 Pukekura summer lights

9039 Pukekura Park lights. 9.56pm, 22 December 2014

New Plymouth’s central park is not much fun to stroll through clutching a tripod, especially along with the evening crowds out to see the same lighting spectacle (and the free performances). So I left my ballast behind. This sort of photo is more effective in twilight rather than after dark, but on the other hand, flash is more dramatic on foregrounds. The colour changes on the spheres were rapid and uneven (in exposure terms) and as I did not want to hold up the company I took only a few frames, stopping down as much as I could. The golden glow is the fountain; the ducks did not register.

50mm, ISO 2000. 1/250th sec at f13. Flash

Moon force attack, Waiwhakaiho

Moon force attack at Waiwhakaiho

9428 Moon force attack, Waiwhakaiho, 10.26pm, 5 January 2015

New Zealand flax again, plus full moon and scuds, in an image combining flash with background moonlight. To use flash in this way, start with aperture selection. This means finding the f-stop that fits your camera distance, as the flash has its own inherent shutter-speed. Then extend your actual shutter speed until your foreground/background balances out in a nice Goldilocks exposure (not too bright, not too dark). Unusual effects will show, for example, when your foreground sways in the breeze in the post-flash part of the exposure. The resulting slight double-image is just one more random element in long exposure photography, adding to its interest and creative potential.

85mm, ISO 2000. 1.3/sec at f9. Flash

Te Rewa Rewa silhouettes

9396 Te Rewa Rewa cabbage trees

9396 Te Rewa Rewa silhouettes, New Plymouth. 9.58pm, 5 January 2015

For the night photographer New Zealand has some distinctive silhouettes to add to sky & cloud studies. Shown are cabbage trees (ti kouka) but tree ferns, pohutukawa and the nikau palm also come to mind. Puriri, young kauri and kahikatea have great profiles in specimen too. However the usual problem is to find one or several on their own, handily arranged for your viewpoint. Here the sky is moonlit blue while the low cloud reflects city lights to striking effect. Jupiter and Venus for the top corner were unfortunately not available.

50mm, ISO 2000. 3 secs at f5.6

Winter roadside, moonlit mono

DSC_8301

8301 Winter roadside, moonlit mono. 10.32pm, 13 July 2014

I find myself more drawn to formalist compositions as I grow older. They are by no means easy to do, especially after dark. This one surprised me on a pleasant roadside. Intrigued by its depth, I used the last of my battery to highlight the foreground. In post-pro I have discarded the original colour elements, then chosen a brown and black duotone from a long list of possible combos. Digital duotone is “an imaging process that computes the highlights and middle tones in a black and white image, then allows the user to choose any color ink as the second color” (Wikipedia). In print, duotone (or tritone) is the best way to present half tone (B&W) fine art, and also historical photos.

28mm, 500 ISO. 15 seconds at f8. Flash

Marahau finale panorama

2014.Marahau.Pano.2

Marahau finale panorama, 7.15 – 7.16pm, 8 September 2014

Moonlit clouds – how I know these well, as a pleasant pillow for my head. Here’s another practice shot, complementing my earlier Marahau post, in the art of stitching up two wide angle frames. Each was exposed for just 5 seconds, in order to keep the clouds well-defined. In silhouette are the headlands and islands of Abel Tasman National Park, on the western side of Tasman Bay, Nelson. Double-click on the image to see a larger version.

Stony River wide

2010.Stony.Pano2a

Stony River wide, 28 February 2010

Mt Taranaki is bare of snow and ice for 4 or 5 months of the year; this view from the Blue Rata Reserve is a sandwich of two frames, taken on a full moon evening, the last of summer. The Stony (Hangatahua) is a fast-flowing stream, one prone to flooding with dramatic effect. In shooting for panoramas there are two main hitches: securing enough overlap of the frames (for auto alignment in post-processing), and ensuring a level track in your arc of view, on the tripod.

Nelson gothic, by street light

Nelson gothic

8715 Nelson gothic, by street light

Photographer William Tyree’s pile, on Whitby Rd – but hardly Gothic. In uploading this I suddenly realised that a spectral figure was needed at the gate! How easily I could have stepped into the shot myself, halfway through the exposure, yet the thought never occurred to me. Now I see as obvious the need for a third punch for the composition, especially something in blue – such as I was wearing at the time. Doh.

“Life can only be understood backwards; but it must be lived forwards.” – Søren Kierkegaard

2015 Calendar – SOLD OUT

2015 Calendar Cover

2015 Calendar Back Cover

Front & back covers. 210 x 297 mm. See sample layout below.

My calendar for 2015 has now sold out. In the same format as previous years, the calendar shows evening scenes and cameos from both islands of New Zealand, over the seasons. 100 copies only were for sale.

barneybrewster@xtra.co.nz

2015.Sample. Good Night Calendar

2015.Sample. Good Night Calendar2

Hauraki Gulf moonlight: A cautionary tale

8075 Hauraki moonlight

8075 Hauraki moonlit selfie, to tow truck soundtrack

This is the last frame from a series I took from Achilles Point, a suburban vantage point at St Heliers, Auckland. The view is east, towards Brown’s Island (Motukorea), with Great Barrier Island on the far horizon. More a matter of record than any artistic statement, this was the last frame because during the 30-second exposure I heard unusual truck noises. I was unaware that I had parked in a verboten zone, and the Draconian Guard from Auckland Council were preparing to tow my car away. Fortunately I got back there before its wheels left the ground, but this is probably the most expensive photo I’ve taken, and one with potentially the greatest inconvenience. Parking hazards are now added to an impressive list of other challenges for the night time photographer.

Cook Strait Twilight panorama

5090. Cook Strait Twilight Pano

5090. Cook Strait Twilight Pano

I’m not a happy sailor, and find myself crossing Cook Strait all too often. However, if I’m leaving from Picton I sometimes catch an evening sailing, so as to have the twilight and sometimes the moon for company. I’ve never taken the tripod up out deck, strangely, but simply hold the camera on the rail and use the 2-second timer delay. The magical panorama above was hand-held though, using the 85mm lens. The alignment of the two frames is not perfect but I was happy enough even getting this. I suspect telephoto frames are an easier stitch for a post-pro pano than wider angles, because telephotos have flatter fields of view.

7.54pm, 6 March 2012. f5.6 at 1/500th sec. ISO 2000

Marahau moonlight, Nelson

8254. Marahau moonlight, Nelson

8254. Marahau moonlight, Nelson. 9.21pm, 13 July 2014

While the others snuggled down to watch rugby on TV, I ventured out into the cool evening and walked towards the Abel Tasman. I followed a shoreline lapped by tiny surf, and set my tripod in the sand every few minutes, only to discover that my lens cap was missing. Retracing my steps along the deserted beach, I saw the moonlit reflection shimmy alongside Adele Island (Motuareronui, big island of the swift moving clouds, is its original Maori name). The view east across Tasman Bay made for a brilliant evening, but the outing came to an early conclusion when I found my backup battery was uncharged. However I did recover my lens cap.

105mm (70-300 Nikon zoom), ISO 500, 30 seconds at f11 

Rangitoto from Achilles Point panorama

Rangitoto from Achilles Pt

Rangitoto from Achilles Pt, Auckland

Two frames merged into one, so same ferry twice – each exposure is 30 seconds, by moonlight. The Point is at St Heliers; it’s a good lookout as long as you don’t get caught (as I did) by the local council’s draconian parking restrictions. Park well down the street!