End of Day

When I was a mid I loved shooting sunsets—capturing those glorious, ephemeral colours in the western sky. I would snap away with a Kodak 126 Instamatic, and I did quite well, given what I had to work with. Half a century on I still can't get enough of sunsets, and from time to timer have the opportunity to record the process at some length. This is one of a long series of frames taken looking west over the Adelaide plain to the Gulf St Vincent from a vantage at the top of the ranges, at the top of Range Road, on May 2^nd 2022. This angle is close enough to exclude the silhouetted power pylons just off camera to the right, which, though visually interesting for their own sake, are not terribly aesthetically pleasing. This makes it a natural world image, subtracting the machine subtext of the towers. No image manipulation was done on this one. Fuji FinePix S5600, automatic. Image by Mike.

When Everything Holds Still...More or Less

 

Shooting after dark is a hit and miss affair with a camera that was never rated for it. These days digital ISO settings are into orbit and you can dial up undreamed-of sensitivites to capture scenes in effective darkness. But older and cheaper cameras are not so fancy, and when I visited England in 2010 I had never heard of such “virtual film speeds” as are now commonplace. I took a stroll around the Yorkshire seaside town of Whitby on the evening of Sunday, November 7^th, 2010, and got some interesting results. The Whitby lifeboat towed in a boat that had apparently broken down at sea. The swing bridge was opened to allow the craft to pass up-river to the trawler berths, and I was there to record the interesting effects of town lights upon the waters of the harbour. The evening was luminous, a while after sunset, and though most of the pictures were blurred, here and there a few magically crystallised out. Here is a view of the bridge opening, and the lighting seemed to gel perfectly—this shot is not enhanced in any way. I'll post others from that evening at a later date. Fuji FinePix S5600, automatic. Image by Mike.

Ocean Sky

 

There's something about the eternal southwesterly change of southern Australia that never fails to create pictures in the sky worth capturing. These feathery clouds rose over the Gulf St Vincent in the hot weather, promising some relief. I took this image from the O'Sullivan's Beach overlook on March 3^rd, 2023, framing the skyscape directly over the boat launching area. No post-processing was needed, other than a little contrast and sharpness. Fuji FinePix S5600, automatic. Image by Mike.

Angles and Reflections

 My sense of composition can't resist the effects created by a built environment. Here are reflections in modern plate-glass architecture on a clear sunny day—taken downtown in Adelaide, South Australia on February 23^rd, 2011. I remember being on some errand or other, having the camera with me and being captivated by the angles and lighting conditions the day and structures presented. Cities are sterile places in comparison to the natural world, but filled with the abstraction of human inventiveness and notions of aesthetic appeal, and the engineer and futurist in me can appreciate these things as a form of, yes, abstract art. Fuji FinePix S5600, automatic. Image by Mike.

Angry Eye of Day

The old Fuji chip handles harsh contrast in some interesting ways. One thing it's always excelled at is looking into the sun and adjusting exposure to very dramatic effect. I got this shot on April 11^th, 2023, in the main street of Clarendon, South Australia, a closer angle than the previous pic which included some roof or treetop. The shortened exposure emphasises the contrast so the sun through a merely overcast sky becomes the ominous black of some fantastical storm, one of the ways nature puts on a show if you're quick on the shutter. Fuji FinePix S5600, automatic. Image by Mike.

A Very Australian Highway

 

There's something just so Australian about hot tarmac under a cloudless sky. Ever since director George Miller made an artistic statement out of roads over forty years ago, the temptation has always been to get down on the white line when traffic is sparse and capture images like this. I shot this one on November 23^rd, 2020, on the last leg of a country drive from Palmer to Mount Pleasant. This is in the northern grain lands—there were huge harvesters working not far from our stopping point. This picture evokes the vastness of Australia, and is just as it came from the camera. Fuji FinePix S5600, automatic. Image by Mike.

Cold Stone, Warm Light

England is a land whose history presses close, and reminders of past eras are everywhere. This traditional stained glass window is part of the frontage of the Gothic church on Skinner Street, in Whitby, North Yorks, which I photographed late one evening around the 5^th — 7^th of November, 2010. The warm light makes the stonework glow, this west-facing wall catching the last rays of the afternoon sun, and I remember walking those streets, camera in hand, before going down to the harbour to capture the town lights after dark. This was the last time I was in Whitby, and I can hardly credit that almost thirteen years have gone by! The high-telephoto image has not been processed or enhanced in any way. Fuji FinePix S5600, automatic. Image by Mike.

A Not-So Hidden Gem

 

This image evokes thoughts of deep forest, of a gorge in pretty inaccessible bush land, or a national park perhaps; but a main road is actually less than thirty metres away, to the left. This is the Sturt River where it flows through Coromandel Valley, parallel with the main street, and constitutes the Coro Linear Park. There is usually water in this stretch, all year round, and the valley stays remarkably green even at the height of summer. This photograph was taken on January 21^st, 2020, during a walk on the park trail before coffee and going on to Belair National Park. No retouching or fine tuning, this is just as it came off the camera. Fuji FinePix S5600, automatic. Image by Mike.

Ancient Figures, Modern World

I photographed this group of statuary in the first few days of November, 2010, in London. This is one of the four groups flanking the Albert Memorial on the south side of Hyde Park, opposite the Royal Albert Hall, tribute to the partner of Queen Victoria. The groups were meant to represent the British Empire's overseas protectorates and dominions, such as India and Egypt, and, leaving aside colonialism, which today leaves such a bad taste in one's mouth, one can enjoy these monuments purely as art. The Albert Memorial is perhaps the most sculpture-rich edifice in a town which to this day is dripping with the stone-mason's art, and the individual figure work is quite breathtaking. Colour and contrast were adjusted as tiny bit. Fuji FinePix S5600, automatic. Image by Mike.

Dawn from Altitude

 

The rising sun breaking through ocean cloud, seen over the wing as my plane approached Singapore on November 16 or so, 2010. This was the midpoint landing on the way back to Australia. Air travel offers the chance of such sights, amazing views of day's beginning or end, of storms and panoramas of the Earth below, and I miss this a lot. Of course, the filthy windows, with persistent drops of condensation between the inner and outer panes that turn to ice crystals at altitude make first-rate aerial images more a matter of luck than skill for the casual traveller. But there are still endless opportunities, and on every trip I had a window seat and my camera to hand for this very reason. This image is unretouched, just as it came from the card. Fuji FinePix S5600, automatic. Image by Mike.

A Refuge for Wildlife

 

This peaceful scene of an Australian waterway is just a stone's throw from habitation—just across a road, as it happens. Here is nature in harmony with suburbia: the Onkaparinga River at Old Noarlunga, the highest stretch at which the river is in fact a tidal estuary. Here one finds fish aplenty and birdlife to match: pelicans frequent the area, testimony to the plentiful catch to be had. I took this frame, looking toward the cliffs on the east side of the river, during a family walk around the Noarlunga “Horseshoe” on February 13^th, 2020; nothing fancy in the approach, simply taking advantage of the scenery to compose a pleasing image. Fuji FinePix S5600, automatic. Image by Mike.

Stark Stone and Light

Parliament House, North Terrace, Adelaide, photographed after dark. The symmetry of the columns is a pleasing perspective, and looking up into the floodlights is unusual. The building, completed in 1911, if memory serves, was thoroughly cleaned of soot and vehicle carbon many years ago—Parliament House was a dark grey, almost black, when I was a young child, but the stonework was deep-cleaned and taken back to its beautiful native tones. The same program cleaned the General Post Office, the Town Hall and the cathedral off Victoria Square, removing a reminder of the days of rampant air pollution. I took this shot on the evening of Sunday 5^th December, 2010, on my way home from the Celtica Festival at Hart's Mill Waterfront, Port Adelaide. Very little enhancement, this is pretty much what the raw pic looked like. Fuji FinePix S5600, automatic. Image by Mike.