Blowing in the wind on a sandy shore; the perils of calendar picture selection

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.

The madding crowd stayed only till sunset. Deep twilight is close to moonlight in exposure terms.

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.