Category Archives: How we…
How did we capture that image, edit a file, pick a destination … it’s all here!
Before embarking on a family and photographic holiday, I tend to dream big. I dream of all the locations we could visit both as a family and individually at the ends of the day to capture the rugged landscapes with favourable light. I had done my usual route planning through a mixture of using google maps, image searches and asking locals as to what was possible in the area. I had high hopes of shooting scenes that were perhaps slightly out of the box from what was normally shot in the general areas we were staying. Perhaps next trip, I’ll lower those expectations somewhat as several health-related issues threw huge spanners into the machinations of our plans A-Y. Plan Z needed to suffice.
I won’t go into the details of the health issues except to say that the most minor of the issues was that my rear tooth crown fell off on the first night at dinner. The major issue was that I was suffering from bacteraemia (bacteria growing in the bloodstream) for the first 3 days of the trip due to a worsening case of appendicitis that ended in a small self-contained rupture of that pesky, unnecessary organ. Three days into the trip, I found myself undergoing emergency surgery and thereafter needing some strong pain medication and a prolonged course of antibiotics. In effect, the first 10 days of the trip felt like I was floating painfully through a delirium caused initially by sepsis, then drugs. Marianne had to literally do everything including child minding 24/7, all the lifting of luggage and all of the driving that I would normally do on our trips. It’s amazing that she stayed as sane as she did!
My health issues put into context the types of images I would return with. Instead of long hikes to grand vistas of wilderness, there were short 5 minute walks to roadside locations. Instead of scampering around to find multiple compositions from a scene, I could only stick with one. Instead of carrying a variety of lenses and two cameras to allow simultaneous time-lapse and stills shooting at various focal lengths, I could only carry one body and one extra lens as I was not allowed heavy lifting in the recovery period. Astro photography was the one genre that needed to be wiped out entirely as I needed all the rest I could get. Overall, it was such a disappointment to have to deal with these limitations, but it did make me focus on maximising what I could make of any given scene which was a positive.
Mount Manganui is an easily accessed mountain that juts above the landscape north west of Tauranga. After a 20 -30 minute walk , a precarious view point allows great images of the rising sun over the township of Mount Manganui and Tauranga beyond. I intended to take images of night followed by twilight to blend in the city lights, but the changing light and subsequent white balance made this somewhat tricky. In retrospect, I wondered why I was shivering up on the summit while every one else was in shorts. On the way down, right sided abdominal pain with each step was a sure sign that something was going wrong in the belly! No further images were possible from the area which was a shame as we really wanted to visit the Rotorua Redwoods at night as a family.
I had so many plans for this area including a walk beyond Cape Kidnappers and visiting a few of the local waterfalls. Because I was stuck in Tauranga hospital, we had to forfeit one night’s stay here which meant our trip here was just an overnighter en-route to Castlepoint. By this stage, I could walk one pace at a time while dopey on tramadol and I could not wear by usual filter pouch on my waist. As such, those long walks transformed into a 100m morning stroll to the beach where I shot some images with intentional camera motion to represent my delirium.
Things were starting to improve by this point in the trip. I was able to walk short distances, but I was now troubled with antibiotic side effects! I had planned to walk up Castle Rock for a different vantage point of the coast and I had planned to walk beneath the lighthouse at low tide. Both options were simply not possible, so I carried as light a pack as possible to photograph the lighthouse. On our last morning, I even felt game enough to use a ladder to get to a different vantage point.
Our three nights here was the turning point in the trip. I was nearly a week post op now which meant that I could drive! I had also changed my own antibiotic dosing to cover the infection and to minimise my side effects. Narcotic analgaesia also went out the window here thankfully! As such I was able to find a few compositions here which I think are relatively unique including various images of the ‘Taupo Tree’, somewhat of a poor cousin to her famous Wanaka counterpart. During our drive from Castlepoint to Turangi I had noted some remarkable roadside spots along the desert road which I returned to at dawn. We were blessed with some great light displays during our time here and my mind wonders as to what I would have seen from the summits of the Tongariro Alpine Crossing given the amazing roadside light that I experienced.
Our main objective here was to give the kids a great experience staying on a farm-based BNB where they could interact with the animals. We also wanted them to experience the glow worms where now at least Charlotte will be able to remember the experience more clearly. Along the way, there were some great streams and waterfalls to shoot in the area including the mighty Marokopa falls and the beautiful natural arches and tunnels. I would say that I did not have to modify my original plans much in this area at all. The biggest challenge was the muddy descent to the base of Marokopa Falls which was as slippery and mucky as I remembered from our 2014 trip. My ulterior motive here was to try for a requested postcard shot of Marokopa falls. It was also serendipitous that our evening glow worm tour had no other occupants and that our host Kyle was very interested in photography. As such, I was given the time to attempt some glow worm photography with moderate exposures. To do a proper job, I would need a private tour to allow 30minutes to an hour for a single composition instead of the 5 minutes that I had given the kids were with us as well.
Our final landscape location was the idyllic seaside holiday spot of Urenui, 30km north of New Plymouth. Due to my improving health, I again did not feel that my shooting was hampered other than not being able to carry enough gear for simultaneous time-lapse shooting with a second body. The conditions here were very good though by playing it safe with the tides, the opportunities for very dynamic (and potentially risky) shots were taken away. The coast here can be very wild, but our experience was that of placid seas and comfortable kid friendly environments. I would want to challenge myself at a later date to visit with a higher tide at some stage in the future. The three sisters (now two due to erosion the of the third sister) were the main feature along the south side of the Tongaporutu river. Despite how amazing the North Side appears, I found it extremely difficult to find engaging compositions here. I have a short video of access to the North side for those interested in exploration. The seascape opportunities around Urenui itself were also good! At the western end of the beach, there are a series of arches that can be accessed at low tide but unfortunately, the largest collapsed recently resulting in an isolated seastack and surrounding debris. Our final dawn here was the onset of wilder weather to come for our departure which included a farewell gift of a rainbow.
In summary, the last 7-8 days of our trip felt like it was approximating our usual travelling style. By the time we returned to Auckland, we were all in the mood to do ‘homely’ weekend things including normal shopping and eating asian food (of which Auckland has plenty of choices , including probably the best Roti Canai I have had in memory at a food court in Manukau). Unfortunately, the toll of the first 10 days of my illness and the subsequent stresses placed on Marianne and the kids meant that things never really felt the same afterward. By the end of the trip I was able to give Marianne much more ‘me’ time by taking the kids off her hands, something which I would be doing throughout the trip. I was so sad to hear Charlotte say (with a smile though) that she would like the first 10 days of our trip back because I wasn’t there ☹ I don’t know how many of you have experienced bad luck like this on your holidays but as a cliché to conclude upon : finding ways to view the experience in a positive light and finding ways to stick together go a long way toward normalising such a traumatic and disruptive event. Photographically, the key for me was to not focus on ‘what could have been’ but how I could best adapt to my changing health status.
Have you had one of those frustrating mornings when the conditions weren’t what you expected? Maybe it was raining or maybe what you wanted to photograph just wasn’t presenting itself? At the scene you may have tried your best but nothing really came out the way you wanted it to. Or perhaps you came away with an image that eventually came to life with post processing but because of how you felt at the scene, you lack a certain emotional connection with it?
Stop! Time out! Seriously , why were you out there taking photos? I’ve definitely had many of those mornings locally but not so much when I’m overseas. One of the trendy things to talk about these days is how one develops as a photographer. I’m not someone who likes to buck the trend. I’m a white collar professional with an average number of kids living in suburbia who basically lives a life that many would say is part of the gravy train of society. So I’m going to say something ‘untrendy’. Just don’t take a photo. I’m serious. Do something you enjoy and don’t waste the morning feeling angry and frustrated when you’re supposed to be having fun. Let me explain further.
I recall a specific morning a couple of years ago when I drove down to Victor Harbor (a local seaside spot one hour’s drive from home). The forecast was for high cloud but when I got there, it was pretty much a grey out with constant rain. I was tired from the work week and I was struggling to keep awake during the drive. I tried to take a couple of shots. I tried long lens photography to focus on details but couldn’t find anything meaningful. I tried long exposures which ended up getting ruined with droplets. I tried intentional camera movement by panning during a long exposure. I even switched lenses and tried to make reference images for Marianne’s art by taking pictures of seagulls in flight but they just weren’t doing the right things ! At the end of the shoot I literally spat the dummy and stormed away , pissed off that MY morning of solitude and relaxation had been WASTED.
More recently, I’ve kept some spare sneakers and shorts in the back of the car. If things are not looking promising, I’ll go for a jog instead. I know that’s going to do me good and I know I’m going to get the endorphin rush. I even love running in the rain. This back up plan basically means that no matter the conditions, I’ll come away with something from the morning out ; just not necessarily in the form of treasured RAW files to make a masterpiece from. The drive is never wasted.
I’ve learned over the years that my local trips out have really been about destressing from the week of work, especially since I’ve photographed many of the locations locally. And when I’m not visiting a ‘usual’ spot to shoot, then part of the journey becomes one of exploration and images from a new spot are taken really as part of a scouting mission. I feel that perhaps that’s why when I’m overseas, these types of mornings don’t tend to affect me as much. Many of the spots I’m visiting are new, many of them requiring a long hike in the dark to arrive at dawn which in itself is an endorphin rush. Because of my situation in life , photography is a bonus to me, not a necessity. I’m sure many of you who don’t do it for a living are in the same boat.
So my final message is this. Explore what it is that drives you leave home at 4am when you could be sleeping in. If there are non photographic elements partially fuelling that seemingly masochistic drive, be prepared to fulfil them if the photographic mission turns out to be a failure. If it is purely photographic, then by all means, try all those things I tried on that grey morning down at Victor Harbor. Find ways to feel you’ve accomplished something and don’t stress about having no golden images from the morning ; that’s only part of the picture.
Some of you who follow our work would know that a circular polariser (CPL) lives on the front of our lenses. Recently, we’ve made a change to using Nisi filters which means that for the most part, we use the kit CPL included with their variety of holders. As with many phases of development in photography, using a CPL is one of those subjects where once you discover it, there’s an initial trend to blindly use it no matter the situation! (Didn’t we all go through that to some degree with ‘HDR’ ??) With time and experience though, one becomes a little more judicious and refined with its use. I would say that a CPL is used for the majority of our images and I thought I’d share some do’s and don’ts about their use.
What does a CPL do?
- Cuts out reflections : particularly useful for forest scenes.
- Deepens natural colours : useful for most scenes.
- Acts as a very light ND filter (1-1.5 stops): useful for seascapes in bright light.
- They are potential rainbow killers! Be wary of having a CPL on with wide angled lenses if you think a rainbow is even a possibility.
- It’s also another piece of glass that could interfere with image quality , particularly in moist situations and prolonged shooting. If I had to choose between polarisation for colours and a clean image, I would choose a clean image and remove the CPL.
What do you do with the dial?
- Its maximal effect is perpendicular to light source. If you point your index finger to the light source and poke your thumb out perpendicularly, the maximal polarisation occurs in the plane as you rotate your hand around.
- If your CPL has a dot on it, point that to the light source for maximal effect but use judgement depending on the presence of plain skies in particular.
- Don’t forget to turn the CPL if you happen to change from landscape to portrait orientation (or vice versa) otherwise one of your images will have no polarisation effects!
- Use it to deepen the greens and allow a ‘see through’ effect to river beds.
- Point the ‘dot’ on the CPL up to the sky.
- Remove it if needing to keep foliage still with faster shutter, or alternatively, take separate frames with the CPL on at higher iso /larger aperture to allow adequate exposure at the desired shutter speed.
- And remember (again), turn that CPL if you change orientation!
- Very good with long focal lengths to isolate your subject with blue skies.
- Avoid using with wide angled images especially when perpendicular to light source (or expect to have to correct in post process) .
- Use it to enhance detail in clouds : be wary of patches of open sky in the clouds themselves.
- When in doubt with open skies, take the CPL off. It can be quite tricky to blend images with polarised and unpolarised images.
- Can enhance natural colours and reduce glare off rocks.
- Sometimes the glare or reflection shooting into sun is required/desired therefore you may not want to use the CPL.
- Sometimes in bright light, you may be using the CPL purely as a light ND filter in order to achieve 0.3-0.5 second exposures in bright light.
- I consider a CPL a very important part of a landscape photographer’s kit.
- If your CPL does not have a ‘dot’ I would experiment and perhaps even mark out where the ‘dot’ for maximum polarisation should be as a time saver.
- Forest scenes are where they truly allow colours to sing .
- Beware situations where you would rather not use one : plain skies, sunstars, rainbow opportunities and shutter dependent low light scenes
- Most importantly, you need to decide according to your shooting style and preferred subjects whether you invest in one. Lastly, if you do invest in one, consider using screw-on filters for shooting handheld. For tripod situations using a filter holder, I would recommend using the NiSi filter holder system which has the CPL as part of the holder itself (take this with a grain of salt as I am an Australian Nisi ambassador !)
Happy shooting all and I hope there was at least one bit of information there that was useful! We’re off the New Zealand 🙂