Category Archives: Australia

It’s OK to not take a picture

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?

Mount Rundle on a grey morning. Many photographers have liked this image of ours and it was my best performing image in a recent competition. I admit though that my emotional connection with it is almost absent. I took the shots on a cold raining morning having just landed in Banff while the family was sleeping and I was wide awake from jetlag. I may have produced something others like, but for me , my link to an image is one of the main reasons I produce images, not necessarily the result nor the admiration from peers.

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 find I still enjoy taking pictures of jetties and cannot subscribe to the thinking of ‘I don’t do X’ type of landscape. It works for others but I like to keep a completely open mind. This was my first visit to Wool Bay on Yorke Peninsula

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.

This wasn’t the most vibrant or mornings but instead of being disappointed. I thought I’d use a new remote my KK from Christmas had given me . Also thought I’d have some fun trying to climb that rock!

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.

On this morning, I knew that there was going to be volumes of water flowing at Mannum Falls. My usual spot was a foam bath! So instead of being disappointed, I explored upstream and what do you know, a rainbow put some icing on my exploration cake!

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.

For this local shoot at Brown Hill, I came prepared to fulfil my secondary agenda : sleep! While a time lapse was shooting, I brought a sleeping mat and snuck in an hour of sleep 😉


Favourite Photographic moments of 2017

It’s that time of the year again!

2017 has been a year where I feel that I’ve shot less than in previous years but there have been some very special moments in the field for me. With Marianne switching to other artistic media full time, there have been less images to post but I hope you’ve still managed to enjoy at least some of them! This year, I’ve gone with the KISS principle (Keep It Simple Stupid). I’ve shot when I’ve felt like it, in a manner that brings me joy and presented the images that reflect a sense of happiness and wonder. In previous years, I feel that I’ve been overly concerned with other photographers’ perception of my motivation to shoot and the way images were processed. As a result, I started trying to shoot like other people, present images with a look similar to others. In hindsight, this was beneficial for my development as tried to teach myself to see things differently but in the end, I always come back to what I love : the grand, sweeping landscape bathed in vibrant light. I feel this is largely reflected in my favourites as even the longer focal length images attempt to convey the grand scene. If you have the time, see if you can pick the two images shot with the 70-200 and the two images shot at 24-70 focal length.

As the children grow up, they play more of a role in each shoot whether it’s part of the behind the scenes stories or whether the shoot is part of a grand plan for a whole day. With that in mind, here’s a countdown of my 12 most valuable experiences for the year.

12. Starting off with my favourite backpacking trip of all time! In January, I joined Luke Tscharke, Francois Fourie and Tim Wrate on a 5 day trek along the Western Arthurs to Lake Oberon. This image was taken after the first night of hiking . We had woken up to misty whiteout conditions which quickly cleared to a glorious morning. There are naturally a few more scenes from this trip in my countdown!

Strata: Scott’s Peak from the Arthurs

11. Noosa Heads National Park. In June of this year, we visited the Sunshine Coast as part of a family holiday. We had all walked out to enjoy the evening on this stretch of coast when sudden showers had everyone scampering for cover. I stayed out in the rain with Brisbane photographer Steven Waller and witnessed some amazing light on sunset. This was a poignant moment for immediately after the joy of witnessing this, I slipped and in fell the A7r2 into the water …..

Noosa Heads National Park

10. Lake Bonney has always been a great go-to location for me. Because it’s a fair distance from Adelaide, I tend to go when the girls have a sleepover at the grandparents! So it was that on this morning, I was testing the Laowa 12mm F2.8 lens and was greeted with fantastic astro conditions after midnight followed by an amazing dawn! As with many of the shots this year, the photographs were taken in the context of mixing photography and family commitments. I drove straight from Lake Bonney to Port Gawler where we had a very successful crabbing session to fill our bellies for the next couple of evenings!

Colour Bomb at Lake Bonney : Taken with Laowa’s 12mm zero-D F2.8 lens

9. The Wanaka Tree: I must admit, I just don’t get the hate for this location. I shot here twice during the last trip to New Zealand. Once at sunset while waiting for takeout and the other at dawn on our last morning. On both occasions, I wasn’t really pushing myself to be overly creative but was blessed with great conditions. On both occasions , I managed to have some great conversations with people who were shooting there. I don’t make enough face to face contact with photographers and feel that perhaps I can be a bit elusive in the field ! These moments are valuable for me to shoot with others in mind and trying to come away with something different to the 20 other photographers there.

The Wanaka Tree on a glorious golden dawn!

8. Motukiekie beach has to be one of the most dramatic seascape locations in the world.  The addition of starfish colonies in the area perhaps put it even above many of the others! I was lucky enough to visit this location during a very low tide which allowed the whole family to experience the grandeur of this location. We stayed nearby and managed a few trips to this spot punctuated by one particularly awesome evening.

Blazing light after sunset shared with the wildlife and the family made this evening extra special

7. My only astro shot in this compilation was this memorable morning above Lake Oberon . At the time of this shot  (with moonrise and milkyway rise occurring simultaneously), I had been explosively ill with some dodgy freeze dried Kung Pao chicken from this previous evening. Blowing wind and rain did not help the cause one bit! Thankfully around this time, the weather started to settle along with the bowels and I was able to take this image!

Genesis : Moonrise, Milkyway rise and sunrise all interplay over a magnificent outlook of the Western Arthurs

6. Rocky Creek Canyon. In November, Marianne and I celebrated our 10th wedding anniversary and decided to venture somewhere without the kids. Our last trip without Charlotte and Jaime was to Karijini so it would seem that we have a love of canyons! We are forever grateful to Jake Anderson and Blue Mountains Adventure Company who made this visit possible for first time visitors with a very limited time window. Normally, we wouldn’t be jumping into the water with the air temperature at 11 degrees but with the appropriate gear and guidance, it was a ton of fun! This was the last shot I took before heading out.

The entrance to Rocky Creek Canyon is a visual maze of curves and lines.

5. Nelson Lakes National Park has so much more to offer than just the jetty that is often shot. As pretty as that scene is, I feel it’s only a prelude to the wilderness beyond and hope to revisit the area in the future. This second trip up to Lake Angelus hut was special in that I had never really visited locations in full winter conditions. The Lake itself was completely frozen as was the water supply. Having to chip wood to start a fire, boil ice for water and help frostbitten late comers into the hut made this an amazing experience over and above the photography.

Golden light shines through passing cloud in a frozen wonderland around Lake Angelus

4. Back to the Tasmanian wilderness! After an evening and day of being battered by 100km gusts while being holed up in our tents, the following evening appeared to clear somewhat. I made a quick decision to hike up to the ridge above Lake Oberon and was greeted by an amazing light show.  Golden rays were shining through rapidly moving cloud at eye level which made me feel as though I was standing in the midst of a timelapse.

Square Lake and Procyon peak illuminated following storms

3. Hooker Lake is one of my favourite in and out walks while visiting Aoraki National Park. One day, I’m hoping to get some colour and cloud over this spot but on this year’s trip, the clear skies worked its magic . The night temperatures were subzero which led to the shores of the Lake starting to freeze over. The patterns of ice were fascinating and I chose to use the 12mm lens to accentuate their depth. While this scene didn’t give the sense of awe that other scenes did, I really liked this image the moment I shot the 3 frames needed for it. Marianne commented instantly ‘that’s the shot of the trip’ when she saw my LCD even though we were only 8 days into a 3 week trip!

Ice Glyphs around the edge of Hooker Lake

2. There are some mornings where the light bathes you in crimsons and reds. I was lucky enough to experience one such morning while watching the icebergs slowly move on a still Tasman Lake. This was our last morning in the Mount Cook area and what a send off it was! I to get to this scene and almost ran out of petrol for the return trip back to the south end of Lake Pukaki where we were staying.

A breathtaking dawn at Tasman Lake

Number One! It should come as no surprise that my favourite image from the year and favourite morning of shooting for the year came from the Western Arthurs hike. This particular morning also started off grey but with swirling clouds above, there were moments of brilliant passing light that was simply magical. We lingered until the last possible moment of light and packed up headed back for Lake Cygnus. For the remaining 2 days on the track we would be engulfed in swirling, wet,greyness as though mother nature had declared that this scene was our gift for the trek. It’s likely that this will be my favourite image of all time for quite a while.

Oberon Glory : A sight that will be forever burned into my memory

If you follow our work, how did that list pan out for you? Were there any other images that you remember giving you a stronger impression than the ones I’ve posted? If so, it’s always good to know so leave your thoughts in the comments below! Wishing everyone a fantastic photographic 2018 🙂

Tips for using a CPL effectively

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.

Predawn light: A situation where I would be trying to avoid using a CPL since it acts as a light ND filter. For this scene, I was at iso 800 and did not want a shutter speed longer than 5-10 seconds or all texture would be lost. Hence I removed the CPL.


It’s generally a good idea to remove all filters (CPL included) when shooting for a sunstar.


Mornings with rain and breaking light lead me to prepare for a quick CPL removal ! If positioned incorrectly, a CPL may well polarise out the rainbow entirely or at least in part.

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!

In a forest situation, the light source is generally from up above. A useful starting point to achieve maximum polarisation is to have the ‘dot’ of your CPL pointing straight up in whatever orientation you are shooting. If your CPL does not have a ‘dot’ to indicate maximum polarisation direction, you may need to experiment for the best result.

Forest/waterfall scenes:

  • 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!

A forest scene with the CPL positioned to have minimal polarisation (dot sideways). Note the glare of the foliage and the presence of a waterfall reflection. The greens are also less vibrant.

The same scene with the CPL ‘dot’ turned upward. Note the vibrance of the greens and the removal of the waterfall reflection and see through effect to the creek bed.

Sometimes, to get the best of both worlds , polarised and unpolarised images can be blended such as in this example where the reflection is maintained along with the vibrant greens.

A perfect scenario for a CPL is a cloudy day with alpine streams of various natural hues. The CPL can really enhance the hues of the water while having no banding in plain skies to worry about!

Open skies:

  • 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.

Enhanced clouds but note the darkened band in the blue sky perpendicular to the light source to the right of the image.

The sky is unpolarised in this version of the same scene but note that the reflections from the water have been removed by polarisation in a different plane.

RAW file of a wide angled image demonstrating the problematic band that a CPL can cause when shooting perpendicular to the light source.

The same scene as above but shot at a longer focal length. If your subject is perpendicular to a light source, shooting at longer focal length with the CPL turned to the light really can enhance the subject greatly without the same problematic banding that is seen with shorter focal lengths.

Not that this sky needed it, but the CPL certainly helps bring out textures in clouds.


  • 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.

Generally speaking, polarisation isn’t necessary when shooting seascapes directly into a light source, especially when shooting for sunstars.


A CPL in this situation may slightly enhance general colours but may also reduce colourful reflections. In any given situation, it may help you achieve a slightly lower shutter speed rather than stopping down to small apertures such as F22.


  • 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 🙂