SEPTEMBER in my 2019 calendar! Lake Mahinapua is the first stop after Hokitika as you head south down the South Island’s West Coast. Surrounded by native forest, the lake’s a total gem left to us by the last glacial retreat ten thousand years ago. On a weekday morning in April there are few camper vans visiting and even fewer watercraft about, although perhaps a fizzboat and a Nordic waterskier could have added some visual tension here.
As a basically monochromatic study, the textures and horizons neatly summarise the special appeal of the celebrated West Coast landscape. Except in early summer when the flax and rata are in flower, it is not an especially colourful landscape, although it is certainly a green and pleasant one.
The scene has been exposed for its highlights; a high dynamic range image would give a quite different effect. It would show the correct colour for the reeds and distant forest, but without artistry or any emotional appeal. The very literalness of HDR photography Ieaves me cold, seen at worst when a landscape under broad daylight is absurdly combined with a vivid, overarching sunset. Really, which planet do these photographers live on?
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.
A roadside view from a calendar tour of the South Island, made over autumn with my wife Al. This early morning scene explained the chilly temperature in our camper van overnight. We then drove a little way up the summit road before the snow and slush made it clear that the rest of the way would be on foot.
This telephoto view is from above the main highway, not far from Mitchell’s Cottage. I like the long shadows here, and the interest added by the derelict woolshed and the sheep. The scale of the scene does not come across though, the full grandeur of the range being obscured by cloud. Fortunately this cleared during our long trudge to the tops.
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.
Such contrast! A scene I could not resist, although I have no record of its exact location, nor the season – nor can I be definite that this was taken in 2002. This lapse is instructive, because for so many years I kept a film diary, noting the place, people and date of every exposure – even the camera settings sometimes. Kodachrome had the date of processing recorded on the slide mount, which was handy, but the only other way of keeping track was to annotate your B&W proof sheets as you made them (I did that too).
How easy it is to forget that before EXIF data automatically captured all such details (location excepted), it took effort to retain such basic information. Alas, I gave up this important record-keeping in 1986, to my later regret. Although my friends believe I have an excellent recall of time and place, the truth is less flattering: memory is an unreliable aid.
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.
An image from my Modest Epiphanies 2019 calendar, now at the printers. The title is taken from my next book, still in preparation, and from which the calendar pictures are a sample.
An epiphany is defined as a moment of revelation or profound realisation, but my photo project only aspires to a modest attainment of this, specifically in relation to the visual understanding of my own country. Thus the subtitle, Deeper meanings in the New Zealand landscape. Yes, there are deeper meanings, or perhaps deeper appreciations of our singularity, both in the big picture and in small details. All of which say the same thing: “This must be New Zealand”.
See my previous post for the special pre-release offers on the TWO calendars we now have close to publication.
“Happy limestone” would be an alternative title for this evocation of primary production, as this is fertile, rolling country, inland from the main highway between Hamilton and New Plymouth. Low cloud and patchy autumn sunlight give depth and contrast to the scene, enhanced by a telephoto lens. We have a virginal woolshed but no quad bikes, while the few cattle are free to wander – an idyllic prospect compared with the muddy strip-grazing in Taranaki, where herds are closely confined.
An idealised image, it features in my Modest Epiphanies 2019 Calendar, which is now at the printer. Subtitled Deeper meanings in the New Zealand landscape, the wall calendar should be available from the first week in September. A special, attractive “Early Bird” offer will be announced shortly.
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.
“People have to die but flowers last forever”, no one said; this series is devoted to the Latin phrase that reminds us that our lives all have an end. Plastic tulips and carnations mingle here with real life bulbs, in this cameo from the upper slopes of the Picton cemetery. A single non-perfumed daphne flower ornaments the bottom of the cross, between the infants, while red and green buttons of plastic sit on the adjacent concrete.
It’s a timeless scene, maybe, but still subject to sunlight and the wind, and some day will be at the mercy of vandals or a severe storm. The terraced layout of the cemetery makes it easier to take such close-ups, and other graves often constrain picture angles. Although I can’t honestly say I’ve never done it, I don’t like to trespass on the actual graves. It seems disrespectful.
The ancient power pole had long been relieved of its duty; perhaps the lines had been re-aligned. The grazing was thistle-infested, not such a common sight now in north Taranaki. I was attracted to this simple scene not only for the lichen growth and the sheep (and lambs), but also because the hillside gives a “false sky”.
A useful aid for composition, false skies are there for the using when you are looking up at a steep hillside, a dune or cliff; or especially when you are above a lake or other water body, looking down. Arrange your foreground and there you have it – added interest, and something momentarily disorienting for your viewer.
This scene would probably be just as effective with the animals completely out of focus behind the pole. However, without a long telephoto neither approach is likely to succeed, as sheep are easily disturbed and will move away as soon as you approach. A zoom is very good for this sort of work, but sad to say, zoom lenses don’t seem to have the sharpness of prime glass (fixed lenses). in post-processing I have used the sharpening tool on the five elements to the image, something I rarely do.
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!
The cemetery at Mokau (in the southwest Waikato) occupies a hilltop terrace and gives good views in all directions. The house far across the valley seems relatively close with the compressed perspective of a long telephoto. Depth of focus here is enhanced by the tiny aperture, only available at the far end of the zoom. f40 is actually a ratio of the size of aperture over the length of the lens – thus the “wide open” f1.4 on my 85mm lens requires big, fat specs to obtain such a ratio: 1/1.4.
In post-processing certain areas of my images are typically worked over with spot-saturation, although I resist the urge to have them “pop”, as you see in so many sparkling real estate photos. Here the lichens were startling enough, and have been left untouched, apart from a +25 increase in overall vibrancy. In composition terms, the top right corner is occupied by only a gate and fence, and a horse or cow would have made this more interesting. Still better if the house owner had come out and stood on her verandah for a minute, but my yodel would never have gone the distance.
“Memento mori” is the Latin phrase reminding us of our inevitable mortality. Some say that we live on in the hearts of others – that’s the “loving memory” part. With the passing of the generations that memory is eventually eclipsed. The love is passed on though, to nurture and sustain later generations (best case).
Across from the huge petro plant at Motunui, north Taranaki, is Waipapa cemetery, a Maori urupa dating from 1923. The cemetery is unusual in having a surrounding wall and a gateway, while its monuments present an awesome contrast with the industrial silos on the other side of Otaraoa Rd, to the northeast. However, most of the Motunui installation is out of sight, beyond the knoll.
When I visited here on a rainy summer’s day in 2010 the no-exit gravel road ended as it does now, just above the beach, but as a neglected cul de sac, overgrown with roadside weeds. Amongst the overgrowth was unsightly rubbish, dumped over a long period, and potatoes grew large in the resulting compost. Later visits found the road-end cleaned up and much improved, and two calls by moonlight were memorable for the dairy cows in the adjacent paddock, and the surf on the cobble beach below.
The juxtaposition of cross and silos was achieved with a long telephoto setting and a tiny aperture – even f45 is possible at maximum zoom on this lens. This gives a better depth of focus, compensating for the inherent shallow focus of any telephoto lens. After focus, the second challenge at twilight was naturally the changing light, and the trade-off between selecting a small aperture or a short exposure (to freeze cloud movement). In these situations it always comes down to this: you can’t optimise both, so just choose one!
Among the seraphim at Stratford’s main cemetery, this one reigns supreme. Close to the entrance, she stands very tall, although size can’t be all that matters in the angelic hierarchy. However high they loom, angels all have their price, and this was a dear one. Aeronautical lift is even more challenging for angels than it is for bumble-bees, but in the JW tracts that intrigued me as a lad, angels somehow floated above entire cities. Wow. The only named angels in the Holy Bible are Michael, Gabriel and Lucifer, the Fallen One. It is hard to imagine an angel named Barney, or Charlie say.
In a cemetery dotted with the usual monuments this sort of uncluttered line-up is possible only with a telephoto lens. That explains the lack of sharp focus on the distant cow, despite my using the smallest aperture setting. As f16 gives great focal range, a more astute use of depth of field principles could’ve helped here, if I had focused a little behind the angel. But as a finer point, that escaped me at the time.
Visiting this place again with a dear friend in 2014, I was still unaware that one of my own ancestors is buried here. In an unmarked grave (alas) lies my storied great great aunt Peggy, who died in 1930. Margaret (Madge or Peggy) Jollie had a privileged life, yet died in “reduced circumstances”. She has a major role in a biography I have since written on our neglected grandmother, Beth Jollie (1904-41). Isn’t it surprising who turns up where – living or otherwise?
No longer a common phrase, memento mori translates to “Remember that you have to die”, meant as a reflection on our inevitable mortality.
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.
These two beasts-and-a-nose were the outliers of a contented herd, all having a lunch break to chew things over. A great gem set in the heart of Auckland, Cornwall Park is the extensive green space which surrounds the old volcanic cone of One Tree Hill / Maungakiekie. It’s a good place to pause when you are in the city, not the least because parking is free.
The “secret” behind the shot is the ditch-and-wall which separates the public from the cattle, although for joggers and ramblers (as above) there is access at various points. As a substitute for a fence, which I can’t recall having seen elsewhere, it enables an unusual overview. I currently have this scene as my desktop wallpaper; I believe it pretty much sums up the pastoral idyll of New Zealand life. It’s also an uncommon angle and contradicts my earlier comment about not favouring the south end of north-bound animals.
The exposure was not optimal because the light was continually changing from sun to cloud, and back again. A typical Auckland day, in other words. The background jogger isn’t blurred from a long-ish exposure but instead slightly out of focal range. Even on the smallest aperture, it’s too much to expect a telephoto lens to deliver sharpness throughout when you are this close to your subjects.
New Zealand’s varied landscapes must be world-famous because now they are talked of by the mainland Chinese, not just wealthy HKers or Singaporeans. A busload of Chinese tourists joined the 40 cars already parked at the Kaikoura road-end, out on the peninsula. The changes to be seen here surprised me, and I am not referring to the recent earthquake uplift, impressive though that is. No, to me it seemed no time at all since this road-end was a broad, featureless gravelled cul de sac; today it is a well developed tourist amenity.
The bus tourists fanned out across the wide shelf of the reef, while others were intrigued by the nearby seals. Not far back along the road another 30 cars were parked by an outdoor cafe, the first I recall seeing by a New Zealand roadside. How we will cope with our rapidly increasing tourism remains to be seen, but the obvious problem is the same one worldwide – overcrowded hot-spots, with amenity development lagging behind.
Perhaps related to all this, I have a major new project to pursue. While there’s little new to say about our landscapes, at least by the broad light of day, I have conceived a new book-length theme: “Modest Epiphanies: Deeper meanings in the New Zealand landscape”. What exactly does this involve? What are my epiphanies? Are there actually deeper meanings? No doubt some satire and social commentary will emerge alongside interesting new angles on the jeweller’s window (in scenic terms) that is my country, away from the urban centres, that is. Yet I have a feeling Milford Sound and Mount Cook might not even feature…
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.
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.
These cherubim fronting for love caught my eye in a cemetery-with-views on a Mokau hilltop. Having recently purchased a Nikon zoom lens (70-300mm) I was putting it through the paces, late one winter’s afternoon at this small community on the west coast of the North Island.
Using the tripod to allow slow shutter speeds, I was interested to see what the zoom did at the longest extension, especially at closest focus, and when well stopped down. While I was impressed that the lens went to f45 – a ratio usually seen only on large format lenses – only later did I learn about the diffusion effect at such tiny apertures, with DSLR cameras. An odd occlusion occurs – a bottle glass effect might be the easiest way to describe it. Fortunately none is seen here.
I like the juxtaposition in this image, and little group is an uncommon sight too. Exposing for marble sculpture can be tricky, and typically they are overexposed “in scene”, but at close range getting a good range of tones from marble is less challenging. These boys being at ground level were at least clean of the usual overgrowth, a definite problem on taller monumental figures, where beyond easy cleaning reach unsightly lichen and moss can become well established.
Memento mori: In turn we all take our leave. But love lives on, at least.
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.
As a magnificent blot on the landscape the steel mill at Waiuku, south of Auckland, is very impressive. In this shot its dreariness is stylised by layering, using the line of pines it is seen through. Another example of a “look-through” composition, this is one I was definitely searching for. Here the main feature seems almost an afterthought, but one nicely offsetting the dark verticals. The scene is also an example of limited palette (colour range), being close to monochromatic. However I saw during set-up the small smudge of green plant life at bottom centre, and the brown building below the belching chimneys.
I took a second shot with the mill in a more central position, yet this was less interesting. The scene above is underexposed of course, to saturate the highlights, and a smaller aperture can be another gain in doing this – and increased depth of field, no small matter with a telephoto lens such as the 85mm. Using f16 has insured sharpness throughout, with the luxury of a low ISO and a hand-held capture, to boot.
The phrase “Dark satanic mill” comes from an eschatological poem by William Blake, whose text also forms the lyrics to the well known hymn Jerusalem. This contrasts the forthcoming heaven-on-earth of the title with the hellish blight of many hundreds of mills, which scarred the country as it became the first to industrialise.
Amongst the leaves, Te Henui Cemetery. 3.06 pm, 2 April 2018
A supplicant cherub amongst fallen leaves – these being a common metaphor for poignant memory and les temps perdus. This simple image again makes use of contrasting blank spaces, as I have resisted the urge to crop it at top and left. The limited palette adds considerably to the effect, assisted by the flat light of an overcast day.
The 85mm lens at close range has little inherent focal depth, but stopping down to a self-timed f16 has maximised the depth of field. Any gain here will sharpen focus for a short distance in front of the focal point – in this case the tiny leaf directly in front of the figure – while increasing it over a much larger zone behind the object. The self-timer was set to the shortest time (2 secs) and I often use this aid with the 85mm, both for hand-held shots and with tripod.
Te Henui is the first of New Plymouth’s two main cemeteries; situated above the valley of the Te Henui Stream in rolling country typical of Taranaki, it was originally on the edge of town. The lower slopes are wooded, making the older sections of this cemetery notably rustic. However, interesting cameos such as the above were sparse. My time was not all spent on photography, as I was surprised to discover (quite by accident) the final resting places of two people who appear in the family history I am at work on.
Memento mori (“Remember, we all must die”) presents a series of cameos from New Zealand cemeteries, illustrating memorable scenes or detail. Of course they have their melancholy aspect, but cemeteries retain a strong human interest and convey an impressive sense of time’s long passage. Often (but not always) these aspects are matched with a park-like atmosphere of peace and calm.
A Good Friday illumination, though not an epiphany, from an unexpected source. A subdivision being so close to where I was staying, it was a simple matter to put on gumboots and shoulder tripod for the short walk to the hilltop, where a house was under construction. As building sites are prone to pilfering I didn’t want my intentions mis-interpreted, so when vehicle headlights suddenly appeared in my frame I did not know what I was in for. However I was set up on the less public side, and whatever the purpose of the lingering lights and long-running engine, my presence was apparently undetected.
I wear a warm, high-vis vest (thanks Narumon) on all my evening outings, for safety’s sake. Generally I avoid using flash in residential areas (discretion vs valour) and have rarely been challenged by suspicious onlookers. On moonlit excursions I mostly stick to public spaces or to holiday places on farms; looking back on work from the last few years, I see my trespassing has been confined to college farms, new subdivisions and golf courses.
Diagonals and limited focus are not common elements in my compositions, and I would have liked a more distinctive shape for the tree, but serendipity should not be denied – namely the headlit timbers – and I am obviously susceptible to a good, unclouded mountain. Mt Taranaki is an immediate anchor for any former resident returning to the region.
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.
My visit to Taranaki last month offered no new opportunities for creative photography, but I have just re-discovered this unusual image, taken with a telephoto in our back garden (then) in Westown, New Plymouth one early spring. A power cable mars the lower portion (too hard to retouch!) but the main interest is the sense of depth in the clouds. The trees and the lower cloud are illuminated by street lights, but not the upper cloud. Two stars are visible. Although I took many further photos at different settings (some too slow for the cloud movement, others at similar shallow apertures) the formation quickly dissipated, along with my evening’s hopes. So much of long exposure work is like the dilemma at the printers: do want it fast, good and cheap? Choose two only.
This is a sample illustration from my long exposure Perfect Evenings 2018 New Zealand calendar. Magnolia flowers are a welcome sight in the southern spring, appearing from July to September, depending on the species and local climate. By moonlight or street light they are even more luminous and lovely than by day.
Printed in just a small edition of 125, most of my calendars have now sold at the special early bird prices quoted in the last post. The three for $30 deal and 5 + 1 for $60 have been very popular. There’s obviously good interest – not to mention good sense – in having giftable items on hand well before the usual rush, especially when so many New Zealanders are taking to the air (and the road) and require packable items for their calls and hosts.
All prices are post-free within NZ and Australia. My best-ever, these prices are current until Monday 2nd October, and will not be repeated. By that time the entire stock will probably be spoken for, and any reprint considered will have to be at standard prices. These will still be good value, however, with various extras offered, in addition to the photographer’s own prompt and personal service!
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!
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.
Westhaven panorama, summer, from the Kaihoka hills.
Alas, panoramas do not suit my new calendar but this scene would otherwise qualify. The stormy drama above, stitched together from two frames, unfolded as we climbed the steep hills of the northern arm of the inlet. Although we anticipated a thorough soaking from the gathering cloud, in fact it was an isolated squall which did not stray north from the hills behind Rakopi (the settlement on the flat). Limestone meets granite inland at Knuckle Hill (right distance). The colours are summery and the tide was full – with its rugged hinterland, this is an inlet of many lights and moods! Click on the image for a larger version.
2860-61. No moon, no worries, 8.49-8.50pm, 26 October 2015
The city by evening can have plenty of light for night photography, either diffused from street lights or reflected by low cloud. So if your moon disappears from view, look for other possibilities. In this case, an unusual streak of light came from student quarters just over the fence, while the cloud is coloured by sodium street lighting. The pasture adjoins a historic reserve (an old pa site to the right) above Te Henui Stream and borders the city cemetery on the left. This evening I had the place all to myself – except for the sheep. Two telephoto images make up this panorama; double click on the scene for a larger view.
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.
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.
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.
2393. Abstract 2: Pukearuhe rockface. 4.06pm, 31 July 2015
My interest in these stripes was partly spurred by my SO’s work in creative fibre, designing woven creations with striking bands of colour. The strong reflections here are in the surface topography. This is very close-up by telephoto standards and the wide f-stop only just copes; a better depth of field would be achieved with a faster ISO and slower shutter speed. However I had set out without tripod – as I often do when my photography is secondary to a social outing. Even for an exposure of 1/500th I used the self-timer at 2 seconds to delay exposure slightly, reducing the risk of camera shake, something that is magnified with telephotos.
Abstract 1: Pukearuhe, north Taranaki. 1.46pm, 31 July 2015
I have photographed these cliffs before but only occasionally, as they are an hour north of New Plymouth on a side road, and access is strictly tidal. The beach changes from sand to rocks with the seasons, while recent rain makes a difference to the rockface patterns observed. Here we’re looking at a well-watered part of the cliff at about eye-level, with much reflected early afternoon sunlight. I selected a low ISO for maximum effect but also a high shutter speed, to avoid any risk of camera shake with a heavy telephoto.
2037. Lahar landscape, Stent Rd, Warea. 24 June 2015, 3.24pm
Since our return to Taranaki at the end of May I have been preoccupied with a photo project on our local peak, formerly known as Egmont. Mt Taranaki (as it’s now called) is well overdue for a photo book, and why not one to answer 36 Views of Mt Fuji, Hokusai’s famous collection of prints of Japan’s highest mountain? So I set out to put together 36 Views of Mt Taranaki, which I will publish next month. The new book is dedicated to my mother, Gwen Brewster, who celebrated her 90th birthday two weeks ago. She now has the only copy – an advance proof. This out-take was shot in a strong, frigid SWer, whose discomfort I removed from this sunny scene in post-pro.
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.
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.
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].
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
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
Simple, graphic compositions such as this moonrise-with-flax-flowers can be varied in post-processing with the hue tool. In my tool kit this is handily located next to the saturation dial, and enables a surprising spectrum of bizarre and surreal imagery. I have put some variations up for contrast but am not able to format them with suitable elbow-room. If you want to appreciate an image without colour clash, single it out with a double-click. While the middle image looks almost normal, the blue has been preternaturally intensified. It is quite safe to try this at home.
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.
“This’ll be good!”, I thought to myself, as an evening squall approached Plimmerton, a Wellington suburb on Porirua Harbour. Keen photographers should be out for every passing shower, but of course location is everything – and the right time of day. The squall soon passed over and the clouds parted for an enormous rainbow lit by the setting sun, plus this view of Mana, with its distinctive flat top. The car window has been given first place here, while “liberty” refers to my changing the entire hue in post processing.
At Bell Block, a suburban outlier of New Plymouth, the Mangati Stream meets the coast through a steep shingle bank. This last reach came into view after sunset as we came up from the beach, by the new walkway extension. Adding to the uncommon textural unity was a soft, warm twilight. It was a lovely summer’s night.
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
A discrete chair in the Whatipu wilderness puts you one step ahead in the relaxed model stakes – as does a warm coat – but the secret ingredient to portrait work seems to be having an accomplice, one who distracts the subject with lively conversation while the photographer pretends to poodle around with his tripod and settings. In this case, Yana is standing close by, so that Claire remains face-on to camera. For portrait work my Nikon 85mm lens is an obvious choice, and it’s a sharp lens for a soft (though wintry) light. As backdrop I like the filigree of flax and the rock, and Claire’s good twin has also come by – note the different colouration – for a final appearance.