On a weekday recently I went walking with a friend up our local valley, to the Maitai caves. Our wander through the forest became quite an enchanting one (with a little mud thrown in). The day was cloudy but not too hot or cold – no insects, no people! We didn’t actually get to the caves, but there were many interesting trees to look at, including tawa, and kamahi and mountain nei nei both in flower. Streamside we saw unusual clusters of beech leaves, sitting in patches underwater, unmoving. I didn’t take many photos, but I was pleased with this fairly abstract one.
An idyll of sheep grazing peacefully by a grove of cabbage trees (ti kouka), on old dunelands behind Wharariki Beach, in Nelson. This is a wider version of the image appearing as FEBRUARY in my Modest Epiphanies 2019 calendar. It was taken on the foot track to the beach – in New Zealand the grandeur of the beach matches its relative accessibility. The grandest beaches require a walk from the carpark, although this is never a great distance (Whatipu on the Auckland west coast is another example).
It’s a late-summery photo, taken around mid day and looking straight into the sun. I believe the lens was shielded from direct rays by getting someone to shade it with a hand, but there is still a slight flare above one cloud. The scene is warmer and more saturated than the native record, of course, thanks to artistic licence in post-processing. However in my taking this as a jpeg (rather than in RAW) my post-pro options have been more limited.
With the Lumix LX3 there was the luxury of being able to choose the format ratio before taking the photo, with three options: 2:3 [the 35mm standard]; 3:4 and the panoramic 16×9 [as above]. This last ratio fits a typical laptop screen and so lends itself well to wallpaper / screensaver applications. And in fact, this very frame was my own wallpaper for a lengthy period.
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.
Back in the day I loved the surrealism of this film (Infra-red Ektachrome), and used it quite often when I had an extra Pentax on the go. This trip was my first proper visit to the far corner of Golden Bay, and I was very taken with the graceful landscapes we found there, despite having to drive on the awful gravel roads of the time (not that much has been sealed since, over 40 years later).
As I recall, only one of the film’s three emulsion layers was actually sensitive to infra red; the other two simply displaced their colours. Infra Red Ektachrome was a high contrast film for its time, designed as it was for aerial reconnaissance (rather than LP record covers!). Exposure requirements for high contrast film were always precise (meaning: unforgiving), and here the sheep are overexposed. My enthusiastic attempts to burn them in post-scan are sadly visible, on inspection.
A scenic reserve since 1895, the Kaihoka Lakes are a delightful resort, especially when the wind is not blowing. This is the second lake, a short and pleasant walk from the first, through lush bush. Lake no. 1 is prettier, being more bush-fringed; both lakes sit in the bowl of old sand dunes. They are accessed on a side road which branches off at Westhaven Inlet, soon after the end of the tarseal.
Moonlit grave at Te Hapu, Golden Bay. 9.28pm, 7 February 2012
This follows my Memento Mori post of last month, and records the lonesome hilltop grave of young Cecil Addison, a Tb victim from 1924. The wooden headstone has a carved inscription; the site is protected from stock by a more recent fence. The background blur of colour is my wife Al on her way to a nearby seat bench, unaware of my long exposure.
This uncommon scene has another attribute: it shows both moonlight and twilight, in equal strength. Of course this odd balance of light must occur at some point with every moonrise, but is hard to notice at the time. The rising moon casts no shadows until twilight has dimmed deeply enough for them to show. Moonlight is a feeble 2 watts, so all other light (such as twilight, street lights) outshines it. Each full moon when I am out with my camera I tell myself I must be on the watch for this intriguing moment of light balance, but even so, it usually eludes me!
What could be more New Zealand than a landscape with cattle? This combination was unexpected, though. All three beef beasts (Aberdeen Angus?) were recumbent as we came up the beach, enjoying the sea air no doubt. They only rose to their feet as we got closer.
This section of the upper West Coast has been delighting me ever since my first visit in March 1975. It is accessed through Golden Bay; the road winds south along picturesque Westhaven Inlet and along farmed terraces, terminating (for most vehicles) at the sizeable Anatori ford. At the time this rustic scene was recorded, logging trucks still came through the ford from Turimawiwi, but logging has long ceased – and new houses have appeared in this remote part of the country.
Taken with a 105mm telephoto lens, on Kodachrome 64 film.
The freedom of the sands! This image is for January in my Modest Epiphanies 2019 Calendar. Although taken in autumn, it is very evocative of summer on the granitic beaches of Abel Tasman National Park. The two islands in the background (at left is a headland) are within the Park boundary but Marahau, the main gateway, is just outside it. Abel Tasman NP is a very popular venue each summer for daytrippers, hikers and kayakers.
The calendar previews photos for a projected book of the same name, and subtitled: Deeper meanings in the New Zealand landscape. See earlier posts for details on a special offer on both my calendars for 2019; this expires on Friday, 7th September. Both calendars are now available for purchase.
Typically the dead have company, as we are social creatures in death as well as in life. Our cemeteries may be ranked as communities in their own right: hamlets, villages and towns. Despite the poor (or absent) roads of colonial New Zealand, lone graves are not common here. The law required burial in a cemetery unless there was none within 30 miles (50km) distance. This was the case when young Cecil Addison died of tuberculosis at remote, unroaded Te Hapu farm, on Christmas Eve 1924. Just 16 years old, he was buried in pasture on a terrace overlooking the Tasman Sea – a lovely prospect on a fine day but a site also fully exposed to ocean weather.
In the image above there’s a summery sense of that lovely prospect, minus the soundtrack of the surf rolling in below poor Cec’s resting place. With my telephoto lens waiting, an obliging friend has gone over to the grave (at left is a protected planting), well out of our way. I have underexposed for a day-for-night effect, although the sky is too blue to pass for a night exposure. The soft curve of the land in view is not a true impression of the front country at Te Hapu, which is made up of corrugated terraces, with limestone bluffs and headlands behind giving a picturesque backdrop for a lonely grave.
To shoot a similar scene today i would drop my shutter speed and my ISO, for a cleaner finish. 1/400th at f16 at ISO 250 seems a more obvious combo to me now, with minimal risk of camera shake. With due thanks to Richard, for “going the extra mile” for my camera.
Love the hats!! Something radically new for this blog is my other photographic interest: authentic old New Zealand photos. These have always fascinated me, and following on from my recent publication Old Nelson: A postcard history 1900-1940 (Nikau Press, 2017) I will post here from time to time vintage photos, with commentary. Some will come from my own collection, others from Rob Packer (my Old Nelson collaborator) and Logan Coote. These are fresh images and (Old Nelson excepted) few have been published this century.
For selection, the image must be an actual photo, scanned either from the original print (or postcard), or better yet, from the glass plate negative. The photo should also have strong human interest, irrespective of location, and display historical “proofs”. Despite most lacking any documentation, each photo will have something worth commenting on. My own background in a museum darkroom and field camera work means I can sometimes comment on the task each image presented to the photographer.
This photo came with an album of Cable Bay photos. Printed directly from a quarter plate, it is only pocket size but the negative was well exposed and beautifully printed, with lovely detail. The lady on the right wears gloves and a fur; others wear ties, while the gender ratio is 2: 1 (excluding the photographer!). Everyone holds a studied pose, as instructed by the photographer, who has followed the manufacturer’s recommended lens settings (for the leaf shutter and aperture). The posing and depth of field suggest tripod work and perhaps a second or two of exposure. Such a strong image, sharp and well toned, is not that common in amateur photography of this era.
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.
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.
Once again I post a pic that I’m not completely satisfied with. Teachable moments I believe they are called. Coming down from the Neudorf Saddle in the rain we saw a large gaggle of geese, an uncommon sight in our region. Unsurprisingly, they wandered away from me as I struggled at the fenceline, crouching without cover, poking the lens through the wire netting and hoping no raindrops plopped directly on to my telephoto.
I like the pastoral backdrop, quite typically Nelson (geese aside). The trees are a mix of native and introduced species. The horses add interest, but the elements of this composition do not quite tally. Another horse (or two) is needed at the right, and one more to the left of the central tree would be even better! In many ways, a successful composition has predictable components. Although this one does have something close to a red barn in it, the eye needs a few more points to linger on for this to be (say) a good calendar image – even without a golden retriever in sight.
Speaking of calendar images, we now have two quite different 2019 calendars perfectly formed and ready for release in a few weeks. They will be announced shortly. However, already available is a retrospective Creative Evenings 2019 calendar, which you can access as a printable pdf file on the free downloads page. This free calendar is printer-ready – it’s a selection of the best from my earlier publications, made available for those more recently interested in long exposure photography. We tested it at a commercial printer – it worked fine!
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.
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.
I have not seen three of these lovely birds together before, but one of them obliged me by holding its pose mid-reflection. Although this was an obvious job for a good telephoto, my long lens was unfortunately out of commission. A photo of this nature – a rapidly rising moon, feeding birds – usually requires any number of frames before a satisfying shot is achieved. However let’s not forget that trigger-happy fingers mean “any number of frames” all have to be carefully evaluated later on your monitor, back home.
The blue hour of twilight is strongly featured here but its effect can be dampened by changing the colour temperature setting in-camera, by drastically increasing the degrees Kelvin. The simple composition has enabled an easy crop to the laptop screen ratio of 16:9, a panoramic format more suited to a “scene for screens”. Of course it is also a good fit for this type of composition: wide horizontals with the main interest small and central.
Kotuku to the Maori, our white heron is the “eastern great egret” to the rest of the world. Although well distributed across Asia and Australia, the egret’s only breeding site in New Zealand is at Okarito Lagoon, in South Westland. The estuary shown above is the extensive one which occupies Waimea Inlet; the bridge at left connects to Rabbit Island. This useful vantage point for any moonrise over Nelson’s eastern hills is found via the public reserve at the very end of Hoddy Rd – a narrow, oddly curvy road still waiting to be discovered by movie location scouts.
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.
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.
Rear views are not usually the most appealing with animals, I realised some time ago, but this angle was more interesting than most such. A conversation with the owner established that these were miniature horses, not the Shetland ponies we first thought them to be. Although my caption is sardonic these sturdy steeds must have been aware of their vertically challenged state, as a normative horse was close by. Placid animals, they obliged me by grazing close to the roadside before wandering off for some time-out beyond the autumn trees.
This was the prettiest location in Garden Valley yet we arrived too late in the day, as the sun was sinking below the high hills to the west. As every photographer soon discovers, photography in the shade gives an unappealing cool cast to scenes like this, owing to the light of a cloudless sky being so blue (the problem is less obvious on overcast or rainy days). In post-processing I have rescued this shot by a colour adjustment, warming it and adding some contrast too. On reflection, there is no disadvantage in flat light for this situation, as long as you are conscious of the cool cast likely to result, before post-processing.
The shallow depth of focus was intentional. Only the first horse is sharp, and in this type of photo only the first subject needs to be. While we have no problem identifying the two other items, I personally have a problem in usually wanting sharpness and focus throughout the frame. Really, there is so much creative potential in having the opposite.
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 .
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.
Te Hapu is a wonderful farmstay in far Golden Bay – on the West Coast in fact, after a drive down fabulous Westhaven Inlet. The farm is a rugged 1,000 acres of limestone, and its scenic highlights include what must be one of the best private beaches in the country, Gilbert’s Beach, with its encircling reef and dramatic backdrop of cliff and nikau palms.
It is a lovely place to wander, although not much of it is level! Some days too the wind blows strongly, especially from the southwest, and anything trying to grow where the wind funnels is bound to take a protective stance against it, as above. I took this when we stayed there last April; the photo features in my new book, Perfect Evenings.
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.
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.
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
My 2017 calendar sold out last week, although some retail returns are expected. This image for June 2017 has been very popular. It was taken at the southern end of the inlet, where from sea level the road climbs steadily and steeply to the top of the limestone. Public roads with grass strips down the centre are not that common in New Zealand, but as this one serves just two farms it’s no real surprise to see it here. “Roads less travelled” lend themselves well to calendar imagery, and this one is in the “even less travelled” category, being off another, unsealed road to several farms which straggle down the coast. The trick is usually in getting sufficient elevation to please the eye with the path fully shown. A misty day helps, adding an uncommon atmosphere.
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.
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.
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.
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.
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
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.
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.
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.
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.
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.
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.
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
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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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”).
[Only the camera can express] the full majesty of the moment. – Paul Leopold Rosenfeld
Looking down on the tops of the persimmon. You can only do this on a very still night, as the slightest breeze blurs the detail. However, to get a really creative blur, you need a gusty evening – nothing in-between is very satisfying. An aperture of f16 is the smallest on my telephoto lens; at close range the depth of field is minimal even at this setting. The light is a mixture of moonlight and ambient city light. The cool tones of the background roof show mainly moonlight (it is leeward of city light), while the warmer leafage shows it was more exposed to the street lighting.
85mm, ISO 2000. 108 seconds at f16. Sodium vapor lamp light balance
I can gather all the news I need on the weather report. – Paul Simon (The Only Living Boy in New York)
Still lifes by moonlight are formidable propositions because of the problems in seeing what you have, particularly with close framing and the shallow depth of field of a mild telephoto. This scene was by our front door in Nelson. The background light is mainly moonlight, with some city fill. Persimmon trees loose their leaves with surprising speed – one windy night soon after did the trick! But now we are back in the North Island, in New Plymouth.
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