Waireka summer twilight

Waireka summer twilight, Omata, Taranaki. 8.47pm, 20 January 2019

Flash, twilight and birds on the wire. A straight-forward composition – what more is there to say?

1/200th sec at f16. ISO 500; Nikon 50mm. Flash

Flax flowers in twilight, Sugar Loaves

Flax flowers in twilight, Sugar Loaves, New Plymouth. 5.17pm, 6 June 2014

DECEMBER in my Modest Epiphanies 2019 Calendar (now sold out). This is a nice balance between ambient twilight and flash, which shows as only a hint on the flax. Most magazine photos with close-up subjects (especially people) are illuminated in the same way, but often with the subject massively highlighted.

The Sugar Loaves – so named by Captain James Cook – are volcanic remnants about 1.75 million years old, adjacent to (and partly sheltering) Port Taranaki. This view is from the base of the most conspicuous remnant, land-based Paritutu Rock, looking out on to Motumahanga (Saddleback), the most outlying of the islands.

1/250th at f2.8. Nikon 85mm; ISO 200. Flash

 

Modest Epiphanies: Moonlight at Tahuna

Moonlight at Tahuna Back Beach, Nelson. 9.24pm, 10th June 2017

This is JULY in my 2019 Modest Epiphanies calendar – still available for your purchase, by the way. This winter angle on the tidal flat behind Tahuna Beach benefits from its split focus and from two figures captured by chance (someone with their dog; I saw no one at the time).

The split focus involves firstly a close focus with the telephoto, and beginning the half-minute exposure with flash, then immediately moving the lens barrel to infinity, for the remaining 29 seconds of the exposure. This routine is an awkward one to repeat, but the challenge is to get a balance in the lighting between the flash-lit foreground and the moonlit background. On the tidal flat much of the lighting came from the adjacent motor camp, but fortunately that too has balanced with the low power of the moonbeams.

I could name the dog walker as Sara N. Dippity – thank you Sara.  This demonstrates that not everything that intrudes on your long exposure frame is a spoiler. Compositionally the usual challenge at beach locations is finding something interesting to populate the foreground, to add interest and a sense of depth.

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

St Joseph’s twilight muster: horizontal

St Joseph’s twilight muster: horizontal. 5.43pm, 18 July 2018

This twilit tableau was the runner-up in my series of St Joseph with a vase of faux flowers. It ranks as “runner-up” only because it’s entirely moon-less, the crescent moon (the object of the whole exercise) being too high in the sky to be included in a horizontal composition. However as a simple set-up, this seems a more compelling image to me. I like the good range of colour and how the flash balances with the background lighting. It also has some artistic black space on the lower right, suitable for a quote (or headline), and I have supplied an anonymous, satirical example of such below.

In comparing the impact of this standard horizontal image with the earlier vertical frame, isn’t it an odd truth that the old 35mm format of 2:3 works much better for horizontals? The 2:3 format seems too long and narrow for most vertical applications, where 4:3 is often a better fit. That aside, good vertical compositions are generally harder to achieve than horizontal ones, yet verticals are so much to the fore these days – thanks of course to the demands of  Instagram, Pinterest and smartphones.

St Joseph’s twilight muster, with quote

1.3 secs at f22. Nikon 28mm; ISO 250. Flash

St Joseph’s twilight muster

St Joseph’s twilight muster, with crescent moon, Nelson. 5.47pm, 18 July 2018

How I love the crescent moon. The new moon is a real waif, and only visible for a short time on the twilit horizon, before it too sinks below sight. Then night after night the crescent moon fattens, spending longer in the western sky – each night the moon rises about an hour later, so sets later too. Twilight is the best time to get the crescent moon; later the sky is so dark that the unlit part of the moon will also show up, stealing your crescent.

In this wide angle view, the moon is reduced to a tiny cameo. Not wanting to participate in rush hour traffic, I stayed home and set this up, hard pressed to find anything else to make an interesting shot. The camera looks up to get everything in, and while I wrestled with different settings and placements, the moon kept moving (surprise surprise), in and out of view through the branches, requiring further frantic adjustments.

So I have at last put St Joseph to work, while he gathers in his lambs. They must be metaphorical, as he was a carpenter (or artisan), rather than a shepherd. We bought this likeness from a Catholic supplies shop in Bangkok in 2003. We got two Holy Virgins at the same time, in different sizes. The virgins have seen more limelight over the years, the BVM having greater recognition value. The companion piece, a vase of fake flowers, came with a house purchase we made in 2010.  It makes a handy, low maintenance prop.

3 secs at f22. Nikon 28mm; ISO 250. Flash

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

 

Memento mori 5: Odd neighbours

Odd neighbours

Odd neighbours at Greymouth. 6.37pm, 10 April 2018

The neighbourhood of New Zealand cemeteries can be quite quirky, especially in the larger cities, but even in Greymouth a cross can have an industrial background. Land bordering cemeteries is less desired for housing, so perhaps becomes more affordable for industry, or other purposes.  The cross is strongly associated with Catholic graves, and it is easy to forget that our cemeteries have traditionally been segregated along religious lines, into Catholic, Protestant and Jewish sections (where the cross is understandably absent).

The cross is not perfectly placed, but close enough, given my frustrations with setting the tripod in a confined situation. The foreground is flash-lit, but the small aperture has subdued the usual effect, while enhancing depth of focus (thus the reasonably sharp background). No skein of cloud was available  for the top left corner but the space is well balanced by a similar empty space at bottom right. In composition, empty spaces can be offset by other blank spaces in the frame. Colour-wise, the golden lichens on the cross have their counterpoint in the lingering sunset reflected in the windows.

Memento mori: Succinct Latin remembrance that we all die, each in our time.

1 sec at f16. Nikon 85mm; ISO 500

 

 

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

Memento mori 2: Kettle angel child

Kettle angel child, Greymouth cemetery.
Kettle angel child, Greymouth cemetery. 6.06pm, 10 April 2018

Rarely have I taken such a strange, otherworldly scene such as this. The funereal gold, grey and alabaster are relieved only by the faint sunset and the industrial background. In using flash I could easily have hand-held the shot; instead I struggled to compose on a tripod (already set up for long exposure possibilities). Flash is ideal for highlighting form over colour, but its great powers of definition involve high contrast, which I have softened here in post-processing. Twilight alone would not have chiselled the angel child nor have gilded the name so remarkably.

Memento mori: Latin for “Remember that we all have to die”, a reflection on our respective entrances and exits from the long-running Stage of Life. Of course “We are born alone … and die alone”, but what really matters is that these existential bookends happen gently, and with loving support.

1/250th sec at f8. 50mm; ISO 250

Memento mori 1: Angel at sunset

Angel at sunset, Karoro Cemetery, Greymouth
Angel at sunset, Karoro Cemetery, Greymouth. 6.21pm, 10 April 2018

I have begun a new project: a series of cameos from New Zealand cemeteries, taken by day and night, styled under the Latin term above. No longer a common phrase, memento mori  translates to “Remember that you have to die”, meant as a reflection on our inevitable mortality. Cemeteries, and particularly older ones, are sanitised theme parks testifying to this hugely inconvenient fact.

They are also places where one can nod to one’s ancestors and their collaterals, witness innumerable past lives (some long; many short) and war casualties, and see unusual sculptural forms. It is generally the only place where Westerners can encounter angels, which are very distinctive forms and ones I rather like.

There are two main challenges here, the main one being to balance the flash with the steadily fading daylight – this requires an effort with aperture selection and distance, owing to flash fall-off. For example I would’ve preferred f8 or f11 (rather than f5.6) for better depth of focus, but these weren’t practicable because the flash was not so strong at that distance. The second consideration is to crop surnames from headstones wherever possible, although occasionally a single distinctive name adds to the effect, as we shall see in due course.

Karoro Cemetery is on Greymouth’s outskirts; it is a large and open setting, on a long, flattish terrace; we walked there in a roundabout way from the holiday park below.  My Thai companions walked through the place  reluctantly, from cultural apprehensions, and did not linger. However I found plenty of interest, as night gradually fell.

1/250th sec at f5.6; Nikon 85mm; ISO 250

 

Summer twilight, Hokitika

Summer twilight, Hokitika River, Westland, 9.10pm, 1 December 2017

The further west or south you go in December, the longer the day (and the twilight), especially if you’re heading down the South Island  before the solstice. We noticed this on our way to the Catlins (South Otago), via the West Coast. Although summer solstice marks the longest day, not many people know the earliest sunrise precedes the solstice, while the latest sunset follows it, by some days.

We began our trip with a full moon approaching, but sad to say, neither our travel arrangements nor the weather were conducive to moonlight photography. However, we had pleasant digs at Arthurstown, right by the Hokitika River,  and this view back towards the town was a short walk from there. I had hoped to feature the distant dairy factory  more prominently by moonlight, without knowing that at night the place would be brightly illuminated, swamping anything that moonlight could offer. Moonlight is so feeble that it generally competes only with distant artificial lighting.

Balancing the flash at close range with the ambient twilight can be troublesome, especially if depth of field is also important for your composition.  I used f16 on my standard lens here,  overlooking the optimal f22. Extra lighting is essential for this type of photo; although it doesn’t need to be by flash, I find it highly convenient.

50mm lens, ISO 500; 1/8 sec at f16; flash

 

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

 

Minor epiphany at Maitai

3028. Minor epiphany at Maitai

3028. Minor epiphany at Maitai, Nelson. 9.02pm, 25 November 2015

In valleys in summertime the evening can be well advanced before the full moon shows above the hills. To use twilight as well you’ll need to choose the evening just before the moon hits 100% full, when it rises before sunset. It can be fun to perch this lovely orb in various quirky ways, but the surprise is just how quickly – in a matter of seconds – the moon moves away from your careful line-up of picture elements, as I found here while wandering the Waahi Taakaro golf course in the Maitai valley.

As well as their cultivated landscapes and easy terrain, golf courses after-hours offer the night photographer something further – a generally safe setting. There’s only a small chance of stumbling into a ditch, of sudden intrusion, or of being run down by something or someone. Golf courses have their quiet corners, and often you can slip in the back way, across a stile somewhere along the boundary.

50mm; ISO 1250. 1/250th sec at f2. Hand-held; flash.

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.

Tic tac toe: Your move

Sundown beefs, Kaihoka

Tic tac toe: your move. Golden Bay, 7 January 2012, 9.33pm

When they get bored with pasture, cattle can freely roam these dunes at Kaihoka, but it looked like these ones were pondering their next move in a game of tic tac toe. Taken after sundown, my flash has caught their eyes and added form to blackness. This effect is different from the red-eye syndrome of old party snaps, but I know not why. The half hour after sunset is an excellent time to mix light sources, while unusual adjacencies also add interest. The colour temperature was boosted for this series, to offset the cool twilight.

85mm, ISO 2000. 1/3s at f8. 10,000 deg K

Autumn in the Maitai gloom

0973 Maitai twilight, Nelson

0973 Autumn in the Maitai gloom, Nelson. 5.11pm, 26 April 2015

 In late April a quick trip to the Maitai Valley, on the edge of the city, is much easier than the long road to central Otago (where great swathes of lovely poplars and cotoneasters are now gone from our favourite walk at Arrowtown). Although the light balance between flash and background above suggests twilight, this cameo was actually taken half an hour before sundown, in the pre-drizzle gloom of a heavy overcast. Flash is a crude instrument but then so is a hammer – and after a few attempts I felt I had it nailed.

50mm; ISO 250. 1/250th sec @ f7.1. Flash

Yana by the Aorere, Golden Bay

0362 Aorere rivermouth, Golden Bay

0362 Yana by the Aorere, Golden Bay. 8.40pm, 4 March 2015

On a lovely late summer evening I took a break from the moonrise to ask Yana to pose as the highlight for this composition. Flash gives a solid block of colour, as expected. The river mouth is intentionally underexposed, while the fisherman is included to add some depth. My initial jpeg from the RAW file was disappointing and not at all faithful to the limpid tones of the original, so adjustments were made in post-processing. This scene was only a short walk from our accommodation at the Collingwood campground. The township is based on a sandspit but is more famous for its flammability.

28mm, ISO 500. 3 secs at f11

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

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

NZ flax with moonrise

9289 Flax with moonrise

9289 NZ flax with moonrise, Ahu Ahu Rd, Taranaki. 8.59pm, 4 January 2015

My previous post left out another great NZ silhouette, Phormium tenax, now in summer flower and shown here in only semi-, thanks to flash. Taken at a sheltered  location south of Oakura, one of the few north-facing beaches along the western North Island. The coast here is very walkable, as two footbridges link the Ahu Ahu, Weld and Timaru road ends with Oakura resort. To get the moon this size I used the long end of my zoom, and then self-timed the shutter to reduce shake (hand-held being quite marginal for this focal length). While big moons always mean big, telephoto lenses, the whopper moons often seen in popular media are invariably double exposures or superimpositions.

300mm, ISO 2500. 1/250th sec @ f8. Flash

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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

292. Half moon with cricket song

Half moon with cricket song
Half moon with cricket song, New Plymouth. 9.20 pm, 22 March 2013

 Let us go then, you and I / When the evening is spread out against the sky /            Like a patient etherised upon a table  –  T.S. Eliot, The Love Song of J. Alfred Prufrock

28mm; ISO 2000. 5 seconds at f5.6. Flash

287. Rising moon on Razorback

Rising moon on Razorback
Rising moon on Razorback, Taranaki. 9.14 pm, 27 February 2013

 All of us must indulge in a few small follies if we are to make reality bearable.  – Marcel Proust

28mm; ISO 2500. 30 seconds at f11. Flash

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

270. Among mysteries

Among mysteries, New Plymouth. 9.09 pm, 31 October, 2012

Those who are willing to be vulnerable move among mysteries.  –  Theodore Roethke

50mm; ISO 2000. 15 seconds at f9. Incandescent light balance; flash

 

254. Life was Beauty

Life was Beauty. 12.49 am, 26 August 2012

   I slept, and dreamed that life was Beauty; I woke, and found that life was Duty.  –  Ellen Sturgis Hooper

50mm; ISO 2500. 30 seconds at f16. Flash

 

 

253. The case for magic realism

The case for magic realism, Taranaki. 12.57 am, 26 August 2012

There is no substitute for moonlight and kissing.  –  Barbara Cartland

85mm; ISO 2000. 70 seconds at f16. Flash

241. Darkness on the Old Mountain Rd, Taranaki

Darkness on the Old Mountain Rd, Taranaki. 6.51 – 6.56 pm, 9 July 2012

To be exempt from the passions with which others are tormented, is the only pleasing solitude.  –  Joseph Addison

Driving north in the early evening, I paused on a 2 km disused section of the old highway, quaint now for its narrowness and rustic one-lane bridge. The night was cold and moonless, with a constant hubbub from the nearby highway. No one came by while I tussled with the split focus (between initial flash and the following l-o-n-g exposure) of gate/mountain with a telephoto.

I’m surprised to see Mt Taranaki lit up by the street lights of surrounding towns, but knew my own parking lights would contribute to the gate’s illumination. I was on my way back to New Plymouth, but after a long day on the road was too cold & weary to attempt more than this.

85mm; ISO 2500. 335 seconds (5.5 mins) at f11

 

 

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

230. On the way to Turtle Cove

On the way to Turtle Cove, Golden Bay. 5.16 pm, 3 June 2012

Twilight photography is unfortunately neglected; what may be drab and uninteresting by daylight may assume a magnificent quality in the halflight between sunset and dark.  – Ansel Adams

28mm; ISO 2000. 1/200th sec at f5. Flash

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

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

226. Many ways to be free

Many ways to be free. 6.18 pm, 17 May 2012

There are many ways to be free. One of them is to transcend reality by imagination, as I try to do. – Anaïs Nin

50mm; ISO 2000. 15 seconds at f8. Incandescent light balance

 

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

 

 

 

211. Ebbtide evening, Marahau

Ebbtide evening, Marahau. 10.16 pm, 2 April 2012

Wise sayings often fall on barren ground but a kind word is never thrown away.  –  Arthur Helps

28mm; ISO 2000. 6.6 secs at f10. Incandescent light balance; flash

206. Taranaki evening, young moon

Taranaki evening, young moon. 6.17 pm, 3 August 2011

My imagination makes me human and makes me a fool; it gives me all the world, and exiles me from it.  –  Ursula K. Le Guin

28mm, ISO 2000. 1 sec at f11. Flash

 

203. Faux twilight at Paturau

Faux twilight at Paturau. 9.27 pm, 10 December 2011

All living creatures are making a great endeavour, struggling, to attain real everlasting happiness.  –  Srila Narayana Maharaja

Happiness through illusion? This actually is twilight, but stirred with the flash for foreground and then thoroughly shaken in post-pro. The original sky is very blue because I was trying a tungsten light balance. However I wanted something more upbeat and striking, since achieved by applying desaturation, dodging and hue manipulation to the RAW image .

At least the sheep are genuine; the hill profile is beyond the ridgeline by some distance. I like this as a simple but interesting composition, suitable for all ages.

85mm, ISO 2000. 1/2 sec at f5. Flash

 

198. Moonrise with alpacas

Moonrise with alpacas. 9.20 pm, 8 February 2012

The greater part of our happiness or misery depends on our dispositions and not our circumstances.  –  Martha Washington, American First Lady.

85mm, ISO 320. 5 secs @ f5.6. Col balance 8330 deg K

 

197. The right moment, Te Hapu

The right moment, Te Hapu. 1.10 am, 9 February 2012

Blend a little foolishness with your wisdom: it’s nice to be silly at the right moment. –  Horace

28mm, ISO 2000. 30 secs at f8. Flash

 

196. The best relationship, at night

The best relationship, at night. 10.17pm, 8 February 2012

Health is the greatest gift; Contentment the greatest wealth; Faithfulness the best relationship.  –  Buddha

28mm, ISO 2000. 123 secs at f22. Flash

189. A fool sees a tree

A fool sees a treeA fool sees a tree, by moonlight. 11.49pm, 10 January 2012 

A fool sees not the same tree that a wise man sees.  – William Blake

28mm, ISO 2000. 30 secs at f13. Flash

184. Start every day with a smile

Start every day with a smile. 9.29pm, 7 January 2012

Start every day with a smile and get it over with.  –  W.C. Field

85mm, ISO 2000. 1/13th sec at f7.1. Flash, 10000 deg K

 

181. Twilight gathering, North Head

Twilight gathering, North Head, Golden Bay. 9.31pm, 7 January 2012

Do not dwell on the past; do not dream of the future.

Concentrate the mind on the present moment.  –  Buddha

85mm ISO 2000. 1/10th sec at f5.6. Flash at 10,000 deg K