Out with some Scottish friends under a brilliant moon – the best since 1993 – we legged a good stretch of the Waiwhakaiho walkway, on the New Plymouth outskirts. Having noted this viewpoint along the way, it was surprising how long it took to re-locate it on our return. On the wild uplands of Tibet […]

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 […]

You can boost minimal moonlight by using its reflection for a silhouette – another way to employ the wan light of a slender moon. “Moonlight photography” for me means not photographing the moon itself (another subject entirely), but rather making pictures by its light. The term is freely abused by amateur photographers. For a sharp […]

North Taranaki this week has been clear and mild for night photography by the  crescent moon. These slender new moons might give only the feeblest of light but if you can see your shadow by them then there is enough for moonlight photography! Nature also provides some magnifiers for moonlight, the best being its reflection […]

NEWS: The above image is one of about 50 of mine which have just been published in a free ebook of quotations by Hannah Samuel, public speaker, author and mentor, of Auckland. The Pocket Book of Men’s Wisdom, Volume 1 is a compilation of quotes from Kiwi men associated with Big Buddy (www.bigbuddy.org.nz), a mentoring […]

Twelve hours before the Christchurch earthquake I was somewhat wearily walking the quiet waterfront at Kaikoura, 150 km to the north on the east coast. I was happy after a perfect evening of night photography, and had the moon well up behind me when I spotted these trees high above. They fringe the cliffs which […]

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 […]

A companion piece to no. 107. Twilight tractor (and taken 6 minutes later), this electric call to good order conveys another mood. Existentialists may freely dwell on it. Outside the Waikanae boat club 45 minutes after sunset, the balance of light was changing in favour of artificial light. A star is visible in the nightfall. […]

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 […]

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 […]

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 […]

The vacated frame and its variables: ghosting by pure moonlight

Inshore study in gold and aqua under a full moon; ideal exposure and post-process rescue

Long exposure outdoor portraits: problems and solutions

Heavy haulage outside the boat club; beast and beauty of the tripod

Effective light painting with mixed sources, using very high ISO

Moonlit abstraction on the square; Light balance selection with mixed sources

A low angle on the plain and a karaka grove; company and constraint

Further along the road less travelled; sometimes your first shot is the best one, sometimes your only one.

Uncommon natural lighting with an extra touch

Golden fluff in moonlit motion; creative control and its inevitable decisions

Warm colours from a sinking moon, plus colour contrast – but where’s the beef?

Self-portrait in gumboots, in a daylight effect; multiple personas using layers

Palms, balm and moonlit calm; the issue of personal safety and the usefulness of a lighting assistant

Vertical grace and green against a starry sky; the search for critical focus