high ISO

96. Twilight at half moon, Te Hapu

96. Twilight at half moon, Te Hapu

An unexpected colour at second quarter; a wild coast made easy for the townie

95. Kaikoura evening

95. Kaikoura evening

Moon and artist’s cloud over no. 2 shellfish processing factory; wide angle and mixed lighting

94. Kaikoura moonrise

94. Kaikoura moonrise

Dramatic study in amber, green and blue; composition using the foreground in a classic thirds

93. Kapiti evening, heavy cloud

93. Kapiti evening, heavy cloud

Full moon, full cloud; adding foreground highlights with Incandescent and an LED torch

89. Nightfall at Acacia Bay

89. Nightfall at Acacia Bay

Two minutes in the twilight; highlighting a volcanic bomb

80. Rotomanu evening contrasts

80. Rotomanu evening contrasts

Twilight use of flash; subtlety, instantaneity and their opposites

76. Moonrise at Long Bay, Auckland

76. Moonrise at Long Bay, Auckland

The female form revealed on film; a summery advent of moon rays

74. Moonstruck coast at Oakura

74. Moonstruck coast at Oakura

Silver surf and f16 on the beach; handling difficult focus by using a small aperture

71. Stockyard gate at night, Koru

71. Stockyard gate at night, Koru

Using flash with moonlight; square format composition

70. Rapids at the tidal limit, by moonlight

70. Rapids at the tidal limit, by moonlight

The fall – and rise – of water over 2 minutes; unusual soundtrack of a cascade silenced

62. Venus from Te Rewa Rewa bridge

62. Venus from Te Rewa Rewa bridge

An inspiring new structure, after dark; noise, scale and safety

60. High tide, low moon, Marahau magic

60. High tide, low moon, Marahau magic

High contrast land, sea and sky; late moons, weariness and night safety

59. Moonlight without shadows

59. Moonlight without shadows

Heavy cloud cover streaked with moonlight; the timelessness of unlit waters

56. Tree ferns and moonlit mountain, Koru Rd

56. Tree ferns and moonlit mountain, Koru Rd

Combining flashlight with moonlight; controlling the effect by ISO adjustment

A daylight effect and a sea change with long exposure; simplicity as a composition cue

51. Winter moonrise after dark, German Hill

51. Winter moonrise after dark, German Hill

Some unexpected blue between the scudding clouds; photography on evenings after full moon

40. Nightfall in blue at Waiwhakaiho

40. Nightfall in blue at Waiwhakaiho

A tungsten study aided by a surprise arrival; using flash with long exposure at twilight

39. Mt Taranaki at night, from Centennial Drive

39. Mt Taranaki at night, from Centennial Drive

Electricity on the march, on a moonless night; long exposures and the ISO factor.

38. Mt Taranaki at twilight, from Junction Rd

38. Mt Taranaki at twilight, from Junction Rd

Finding depth in a wide angle view; the challenge of a square format

32. Waimarama church at night, Hawkes Bay

32. Waimarama church at night, Hawkes Bay

Car lights add highlights to a country church while the moon hides behind the steeple

26. Gerry by broad moonlight, Ocean Beach, Hawkes Bay

26. Gerry by broad moonlight, Ocean Beach, Hawkes Bay

A broad daylight effect; quicker people pix by moonlight; focus and movement

23. Moonrise on Mt Taranaki; Venus at greatest brilliancy

23. Moonrise on Mt Taranaki; Venus at greatest brilliancy

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

22. Te Mata moonrise, Hawkes Bay

22. Te Mata moonrise, Hawkes Bay

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

21. Wind-blown trees and a long exposure by moonlight

21. Wind-blown trees and a long exposure by moonlight

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

20. Spring willows and traffic from Waimarama, Hawkes Bay

20. Spring willows and traffic from Waimarama, Hawkes Bay

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

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Barney Brewster – NZ Landscape Photographer

Based in Nelson, Barney loves to capture the New Zealand landscape, mostly through long exposures at dusk or after dark.

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