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.
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 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.
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 .
All living creatures are making a great endeavour, struggling, to attain real everlasting happiness. – Srila Narayana Maharaja
Happiness through illusion? Thisactually is twilight, but stirred with the flash for foreground and then thoroughly shaken in post-pro. The original sky is very blue because I was trying a tungsten light balance. However I wanted something more upbeat and striking, since achieved by applying desaturation, dodging and hue manipulation to the RAW image .
At least the sheep are genuine; the hill profile is beyond the ridgeline by some distance. I like this as a simple but interesting composition, suitable for all ages.