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
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.
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.
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.
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.
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.
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
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!