wide angle
124. Suburban evening, no. 2
Low-flying cloud on the outskirts of New Plymouth accompanies this uncommon perspective from a high point near Barrett Domain. Running the beam over this attractive specimen from a steep ridge nearby, I spotted another outline in the background. Although deceased, the second tree adds depth, twisting the perspective further – mostly we look up at […]
119. Uphill and so to bed, Te Hapu
Despite this corner being at evening’s end Gerry and I were happy for the uphill slog that began here, under a moonless, starry sky. By text message we had heard of the huge earthquake and tsunami in Japan, and remote though Te Hapu station (www.tehapu.co.nz) may be at the top left corner of the South […]
117. Mixed motifs after dark
Out for some night photography, you’d think that the simple equation of dark = dark at least ensured you had plenty of time to set up your masterpieces as you came upon them. That is, without finding the common daylight problem of something changing your scene. Alas, so often this is not the case! Of […]
116. Suburban evening, New Plymouth
Once again my title doesn’t really do this justice. The pleasantly secluded location borders Barrett Domain in Westown, on the western outskirts of New Plymouth. I have climbed up to this pastoral corner many times, having first discovered it on a sunny summer’s evening in 1976, when the grass was really long and my model […]
114. Nikau mates at Te Hapu, no. 2
We waved the torch over nearby palms on our way back from Gilbert’s Beach, at Te Hapu (www.tehapu.co.nz), a remote cattle station in Golden Bay. On a wide angle lens it is easier to stop the stars, which were more visible with the moon being blotted out by a cloudbank. Having selected Direct sunlight light […]
113. Night at the saltwater lagoon, Waikanae
Moonlight and urban glow at Waimanu; digital ergonomics vs film cameras
112. Beaming down on the Boulder Bank
The vacated frame and its variables: ghosting by pure moonlight
108. John and Ilona by moonlight, Te Rewa Rewa
Long exposure outdoor portraits: problems and solutions
106. Painted cove, Taupo
Effective light painting with mixed sources, using very high ISO
105. Night tide at Kaikoura
Moonlit abstraction on the square; Light balance selection with mixed sources
104. Stony landscape, Taranaki
A low angle on the plain and a karaka grove; company and constraint
103. Moonlit road to Gilbert’s
Further along the road less travelled; sometimes your first shot is the best one, sometimes your only one.
100. A road less travelled, by moonlight
Warm colours from a sinking moon, plus colour contrast – but where’s the beef?
99. Moonlight multiplicity, Te Rewa Rewa
Self-portrait in gumboots, in a daylight effect; multiple personas using layers
95. Kaikoura evening
Moon and artist’s cloud over no. 2 shellfish processing factory; wide angle and mixed lighting
93. Kapiti evening, heavy cloud
Full moon, full cloud; adding foreground highlights with Incandescent and an LED torch
91. Half-lit shadows by the rising moon
Simplicity and multiplicity; vertical frame with a wide angle
90. Purakaunui Falls by moonlight
40-minute exposure by muted moonlight, where film still has the upper hand
89. Nightfall at Acacia Bay
Two minutes in the twilight; highlighting a volcanic bomb
86. Moonlit cemetery, western Taranaki
Graveyard in white and the mountain in grey; a harmony of moon rays and lingering daylight
79. Light ribbons at Puponga, Golden Bay
Fun with a torch in motion; colour temperature, cloudy skies, late moons
77. Madonnas by moonlight, Nelson
Strong contrasts in form and colour; perspective, light balancing and the winter moon
76. Moonrise at Long Bay, Auckland
The female form revealed on film; a summery advent of moon rays
71. Stockyard gate at night, Koru
Using flash with moonlight; square format composition
70. Rapids at the tidal limit, by moonlight
The fall – and rise – of water over 2 minutes; unusual soundtrack of a cascade silenced