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.
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 .