Harbour lights illuminate low wispy cloud over Paritutu; introduction to star trails

A moonrise after dark; waiting to see something appear in the viewfinder

Photo ops on the evening before full moon; the three-punch theory of composition

Daylight effects and the blur of the wind. Scope versus depth: a hard choice.

Matching exposure time to the event in witness; moving away from the obvious vantage points

Camerawork along a lee shore on a very cold night; the thrill of a new camera and ISO 2000

Fun with car light trails; balancing car lights with much dimmer moonlight.

Moonlight draws the veil; a stallion becomes a pony.

The big camera out on a wind-swept beach, well before full moon.

Monochrome in sepia; a vessel leaves port on calm seas, at high moon.

Swirling cloud in intermittent moonlight; problems with viewing in the dark and high ISOs.

Half an hour on an autumn evening, along the pebbly shore; in compositional thirds.

A last shot before the clag closed in; moonlight balanced with a floodlit pylon.

Travelling with two tripods, a calendar photographer records his own work one quiet night on the beach.

An invisible line of surf on a rocky shore; getting close enough but not too close.

A night-fishing boat leaves a light trail, making its way out into Tasman Bay.

Farm animals make good subjects for moonlight photography – precisely because they won’t keep still.

Find a quiet street and mix your moonlight with some sodium. Add your shadow to hide the tripod’s.

On the last evening of summer, a clear view from a wild river of the mountain bare, in oblique moonlight.

City lights and headlights with a mountain backdrop: balancing picture elements in the fast-fading light of day.

In a leafy Auckland suburb, an uncommonly “short” long exposure gives iconic silhouettes.

L-o-n-g exposure with a field camera, set up before dark. Clouds and moonbeams moving over water.

Making the most of a break in the weather; mixing the sublime with an electric fence.