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

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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.

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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

 

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Cool majesty from Waingongoro

DSC_2758. Cool majesty, on Waingongoro Rd, South Taranaki

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.

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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

 

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2016 Calendar: Taranaki cattle

March.2016.DSC7395

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.

Nov.2016.DSC2978

NOVEMBER 2016: Cloud hugger, Manaia highway.

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2016 Calendar pre-announcement

8646.Front.cover.2016.Calendar

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.

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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

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Flotsam on a twilit tide

0679 Flotsam on a twilit tide

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.

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Mystic pool, Whatipu

7753. Mystic pool, Whatipu

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

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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

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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

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Summer moonrise

0020 Moonrise wallpaper

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

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Evening parade at Waiwhakaiho

9807 Evening parade, Waiwhakaiho

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

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Wet feet at the Waiwhakaiho

9797 At the Waiwhakaiho

9797 Wet feet at the Waiwhakaiho. 8.16pm, 3 February 2015

Zoom lenses are very engaging, but the price of their versatility is their typically lacklustre definition, and the extra care required in their use – especially with focus and depth of field. I have found with the Nikon 70-300mm that no really serious work can be undertaken without a tripod, and a self-timer release of 2 to 5 seconds, depending on the focal length and wind strength. Here a slow shutter speed resulted not only from the polariser (effectively 2-stops) and the low ISO but also the need for a small aperture for depth of field. The polariser works wonders on cloud forms at right angles to the sun, which was low to the left. The gulls are enjoying the dog-free side of the river; their beach was soon covered by the incoming tide.

95mm, ISO 250. 1/50th sec at f11. Polariser and tripod

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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

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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

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Autumn birch, Eltham

2364 Autumn birch, Eltham

2364 Autumn birch, Eltham, Taranaki. 6.17pm, 4 May 2013

One early moonless evening I wandered a small block attached to a church camp, using flash in the deepening twilight. Balancing the light from two different sources often takes some doing, but I was happy by frame 3 on this occasion. I took this in colour, converting it later, then adding a warm colour highlight, a different process from duotone. Later I took some shots using a monochrome setting, and to my surprise although these other photos downloaded as B&W, when the frames were opened for the usual work-over – hey presto, they were all still in colour. Well, keeps the options open!

50mm, ISO 2000. 1/6th sec at f3.2. Flash

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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

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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

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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.

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Evening sky at Bell Block beach

9127 Evening from Bell Block beach

9127 Evening sky at Bell Block beach. 8.39pm, 27 December 2014.

Tweaked in post-processing, as a surreal version. Taken not long before a pallid sunset, with the moon at 6 days new. Crescents are best photographed at twilight, as after dark the effect is lost because the dim entirety of the moon shows up. However, the twilit crescent 6 days new is too high in the sky for an interesting shot (the waxing moon sets roughly an hour later each evening). On a cloudless evening the best solution is to put the crescent close to a hilltop silhouette, by getting below it and looking up.

70mm, ISO 500. 1/500th sec at f8

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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 

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296. Perfect evening, Ngamotu Rd

Perfect evening, Ngamotu Rd
Perfect evening, Ngamotu Rd, New Plymouth. 10.17 – 10.21pm, 25 March 2013

What are the roots that clutch, what branches grow / Out of this stony rubbish?          Son of man, / You cannot say, or guess, for you know only / A heap of broken images    – T.S. Eliot, The Waste Land

85mm; ISO 500. 4 minutes at f16

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294. Illumination, Ngamotu Rd

Illumination, Ngamotu Rd
Illumination, Ngamotu Rd, New Plymouth. 9.51 pm, 25 March 2013

 You should listen to your heart, and not the voices in your head.  –  Marge Simpson

50mm; ISO 2000. 2 seconds at f5.6. Sodium vapour light balance

 

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293. Blue of larkspur, Spotswood

Blue moment in Spotswood
Blue of larkspur, Spotswood, New Plymouth. 9.08pm, 25 March 2013

Made cool the dry rock and made firm the sand / In blue of larkspur,                            blue of Mary’s colour / Sovegna vos  –  T.S. Eliot, Ash Wednesday IV

85mm; ISO 2000. 4 seconds at f9. Sodium vapour light balance

 

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277. Summer evening, Waiuku

Summer evening, Waiuku country
Summer evening, Waiuku country. 9.51 – 9.53 pm, 16 December 2012

Life will bring you pain all by itself. Your responsibility is to create joy – Milton Erickson

50mm; ISO 2000. 80 seconds at f11. Incandescent light balance

 

 

 

 

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275. My meditations, my musings

Maitai moonlight, Nelson. 10.08 pm, 28 November 2012

My meditations, my musings are never more enchanting than when I am able to forget myself.  –  Jean-Jacques Rousseau

NEWS: My 2013 Night Visions calendar has now sold out. The NIGHT VISIONS book is still available direct, at $40 post-free (signed copies, with 4 x greeting cards as a bonus). The book has had some favourable notices: “A unique, often eerie, new perspective” (D-Photo magazine); “Enchanting” (Nelson Mail); also in North & South magazine (November issue: “a bewitching mix of rural and urban landscapes”).

85mm; ISO 2000. 5 seconds at f8. Flash

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266. Nightfall in Young Street

Nightfall in Young Street, New Plymouth. 8.17 pm, 11 October 2012

 Joy in looking and comprehending is nature’s most beautiful gift. – Albert Einstein

85mm, ISO 2000. 1 second at f8. Sodium vapour light balance

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255. What we call reality

What we call reality. 11.14 pm, 25 August 2012

What we call reality is an agreement that people have arrived at to make life more liveable.  –  Louise Nevelson (US photographer)

50mm; ISO 2000. 15 seconds at f11. Sodium vapour light balance

 

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252. Peekaboo moon, Taranaki

Peekaboo moon, Taranaki. 1.05 am, 26 August 2012

Artists are born kneeling; they fight to stand. Critics, by nature of the judgement seat, are born sitting.  –  Hortense Calisher (US novelist) [adapted]

50mm; ISO 2000. 30 seconds at f16. Sodium vapour light balance

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251. Moonlight in May, Cheviot

Moonlight in May, Cheviot, North Canterbury. 9.03 – 9.06 pm, 2 May 2012

There is no such thing as the pursuit of happiness, but there is the discovery of joy.  –  Joyce Grenfell

28mm; ISO 2000. 192 seconds (over 3 mins) at f11

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243. Winter in Waiuku country

Winter in Waiuku country, South Auckland. 11.51 pm, 28 July 2012

Nothing is ever the same twice because everything is always gone forever, and yet each moment has infinite photographic possibilities.Michael Kenna

 28mm; ISO 2000. 30 seconds at f5.6

 

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240. Ratana church, winter twilight

Ratana church, winter twilight. 5.42 pm, 4 July 2012

The illiteracy of the future will be ignorance not of reading or writing, but of photography. –      László Moholy-Nagy (Weimar photographer, 1926)

Oh for a rising moon behind! But there was heavy overcast – and anyway, the moon was yet to rise. By the way, a big moon rising after dark is past full and on the wane – not many people seem to know that.

This is the founding church at Ratana Pa, near Wanganui. Photography is not allowed within the gates, but as they are quite a feature in themselves I was content to take this from outside them. It was that time of evening when flash balances well with a longer exposure.

28mm, ISO 2000. 2 seconds at f16. Flash

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237. Night view over Westhaven Inlet

Night view over Westhaven Inlet. 9.50 pm, 3 June 2012

 I often think that the night is more alive and more richly colored than the day. 

–  Vincent van Gogh

28mm; ISO 2000. 66 seconds at f10

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236. Return after dark from Turtle Cove

Return after dark from Turtle Cove, Golden Bay. 8.18 pm, 2 June 2012

 At their best, photographs as symbols not only serve to help illuminate some of the darkness of the unknown, they also serve to lessen the fears that too often accompany the journeys from the known to the unknown.Wynn Bullock

28mm; ISO 2000. 30 seconds at f11

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228. Evening view from Westhaven Retreat

Evening view from Westhaven Retreat, Golden Bay. 8.53 pm, 1 June 2012

I’ve had a lot of trouble in my life – most of which never happened.  –  Mark Twain

28mm; ISO 2000. 30 seconds at f13. Flash

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227. Waxing moon, Westhaven

Waxing moon, Westhaven Inlet, Golden Bay. 6.48 pm, 1 June 2012

How much more grievous are the consequences of anger than the causes of it. 

 Marcus Aurelius

28mm; ISO 2000. 15 seconds at f8. Flash

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218. Wintry evening, Kurow

Wintry evening, Kurow. 11.15pm, 30 April 2012

To live is so startling it leaves little time for anything else.  –  Emily Dickinson

28mm; ISO 2000. 30 seconds at f4

 

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216. Seeking love at Kurow

Seeking love at Kurow. 10.26 pm, 30 April 2012

 Seeking love keeps you from the awareness that you already are it.  –  Byron Katie

28mm; ISO 2000. 30 secs at f5.6. Mercury vapour light balance.

 

 

 

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214. Maitai moon, Nelson

Maitai moon, Nelson. 9.15pm, 7 April 2012

Yet my moon always hung faithfully in the sky: constant companion, luminous and remote, gentle symbol of mystery, femininity and noctural wisdom.  –  Michael Leunig

85mm, ISO 2000. 10 secs at f8

 

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213. Suva Capetown by the stars

Suva Capetown by the stars, Kaiteriteri, Nelson, 8.09 pm, 4 April 2012

It is good to have an end to journey towards; but it is the journey that matters in the end. – Ursula K. Le Guin

85mm, ISO 2000. 30 secs at f7.1. Flash

 

 

 

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