The view west from the sharpest corner on the Lindis Pass-Tarras road, heading north from Wanaka. I had driven to Central Otago to meet up with a Wellington friend, thinking that Spring would follow me south. It didn’t, and a biting southerly blew for some days. When it relented some beautiful weather followed, but here I was back on the road for home, and on the safe side of it. I parked a good distance from the corner and walked back for this striking scene, which I had noted on the way down.
The modest Lindis River flows below the new-leaf willows. The beehives were an unexpected touch and in composition terms they could be called “third level” – detail which adds interest to an image, but which is not always seen at first glance. The clouds are emphasised by a polarising filter, but the high contrast is also inherent in Fujichrome, the film used here. This well saturated slide film (all “chromes” were slide films) reigned supreme from the late 1980s. Slides from the 1970s and early ’80s now seem dull, colour-wise, when compared with later films, which were contrastier and more saturated.
This arid scene is typical of the Central Otago, although the compressed topography is not quite so. The geology is schist and the climate dry and continental. Not far north from here, Otago turns into Canterbury, another distinctive and more angular landscape, based on greywacke.
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.