Rangitoto from Achilles Point

Rangitoto from Achilles Pt

Rangitoto from Achilles Pt, Auckland

Two frames merged into one, so same ferry twice – each exposure is 30 seconds, by moonlight. The Point is at St Heliers; it’s a good lookout as long as you don’t get caught (as I did) by the local council’s draconian parking restrictions. Park well down the street!

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296. Perfect evening, Ngamotu Rd

Perfect evening, Ngamotu Rd

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

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

85mm; ISO 500. 4 minutes at f16

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

288. Whither Michael Smither?

Michael Smither country

Whither Michael Smither? Waiwhakaiho River at Alfred Rd. 10.56 pm, 27 February 2013

 In photography there is a reality so subtle that it becomes more real than reality.  –  Alfred Stieglitz

85mm; ISO 2000. 25 seconds at f8. Incandescent

257. House on the corner, Cambridge

House on the corner, Cambridge. 8.16 pm, 30 August 2012

You can’t stay in your corner of the Forest waiting for others to come to you.You have to go to them sometimes.  –  A.A. Milne, Winnie-the-Pooh

50mm; ISO 2000. 10 seconds at f16. Sodium vapour light balance

 

 

256. Almost spring, Westown

Almost spring, Westown, New Plymouth. 7.54 pm, 29 August 2012

 There is something infinitely healing in the repeated refrains of nature – the assurance that dawn comes after night, and spring after winter.  –  Rachel Carson, Silent Spring

85mm; ISO 1000. 30 seconds at f11. Sodium vapour light balance

252. Peekaboo moon, Taranaki

Peekaboo moon, Taranaki. 1.05 am, 26 August 2012

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

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

243. Winter in Waiuku country

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

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

 28mm; ISO 2000. 30 seconds at f5.6

 

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

 

 

239. From our balcony, after midnight

From our balcony, after midnight. 12.04 am, 6 May 2012

[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

238. Persimmon by moonlight

Persimmon by moonlight, Nelson. 1.14 am, 6 May 2012

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.

85mm; ISO 2000. 30 seconds at f3.2

 

 

236. Return after dark from Turtle Cove

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

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

28mm; ISO 2000. 30 seconds at f11

229. Long exposure from Turtle Cove

Long exposure from Turtle Cove, Golden Bay. 6.09 pm, 3 June 2012

Ah the moon’s too bright, the chain’s too tight, the beast won’t go to sleep…

- Leonard Cohen (I’m Your Man)

85mm; ISO 500. 294 seconds (5 mins) at f16