Hue And Try

Warm Wishes From Wintry Melbourne

Photographs copyright: DAVID McMAHON

Sometimes I think the only place more beautiful than Melbourne by day is, well, Melbourne by night. The familiar sights and shapes and views take on such a different personality after the last of the day’s natural light has disappeared.

Because this city – like most villages built by our forefathers – is sited along a river, we are blessed with waterside views that most of us probably take for granted.

Last Thursday night the entire Authorblog clan was in the city’s business district for a special function and after it was over we walked in a leisurely manner to a restaurant for dinner. It was a very balmy evening for this time of year, with winter only five weeks away (and yes, the weather has turned since then, with snow already).

I wasn't using a tripod (I never do) so the clarity of the shot is a pretty good indication of a steady hand.

I took a couple of frames of the shimmering colours reflected across the Yarra’s surface when I noticed a person walking slowly past the waterfront. I didn’t want to be intrusive, so I shot the scene from where I stood, using the human figure as a counterpoint against the many hues on the water.

It was a truly mellow sight on a truly mellow evening.


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It’s All Creek To Me

Gold On The Horizon And Pink On The Water

Photographs copyright: DAVID McMAHON

Sometimes you have to react quickly to a brief flare of colour. It was long after sunset this weekend when I noticed something I haven’t seen before. The bottom-most part of the horizon was a pastel mix of gentle orange and gold, while the creek was a mirror for the pink that was much higher in the sky.

I shot this quick sequence without a tripod, choosing my 18-125mm lens rather than the 70-300mm zoom. Why? Because I wanted to make use of the tall trees that stand like silent sentinels on the far edge of the creek. Their silhouettes, I figured, would almost enhance the gentle colours on show.


When you need a long exposure time, your shutter stays open longer, so in this sort of situation the chances are that you’ll end up with a bit of image-shimmer, which looks like an off-focus image. This is simply caused by the lens taking in the slightest hand tremor that takes place while the shutter is open.


In case my images were not as sharp as I hoped they would be, I shot different compositions. Sure enough, if you look at the high-res version of the first image on this post, you’ll notice that the sharpness is compromised. But by using different viewpoints and employing the silhouettes across the surface of the water, the results aren’t too bad.

Here’s a tip, though. If you’re using a camera in very low light, such as this, try propping the camera itself on a fence post or some such object. If all else fails, try and steady your elbows on a rock or even on terra firma. One other trick is to hold your breath – but make sure you don’t run out of puff.


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Yep, I'm Talking Real Fireworks In The Sky

Photographs copyright: DAVID McMAHON

Photographing a fireworks display is always an interesting challenge. You can treat it as an exact science, or you can treat it as an abstract art form. That, in plain terms, is as simple as it gets.

Like a game of Monopoly, you can play the situation strictly by the existing rules, or you can toss the rule book out the window and treat the challenge entirely on your instincts.

So let's start at the beginning. What faces you are some definable factors as well as a couple that defy precise science. Let's begin with the things you can define. You have a vast sky above you. You are in total darkness. You know when the fireworks are scheduled to start. You know you will have an absolute cornucopia of colours.


But - and it's a huge but - there are things you cannot pin down. You do not know where the next rocket, starburst or aerial wheel is going to detonate. You do not know what colour is going to fill the sky next. You do not know what shape it will take. It's a big sky, mate, and the bottom line is that you simply do not know where to point your camera.

And here's another vital element to consider. Even if you are decisive with your camera and you have chosen the best possible speed in the circumstances, even Quickdraw McGraw would be hard-pressed to capture a starburst or a sky-high Catherine wheel at the precise moment it detonates above you.

So do you try and estimate the area of sky where most of the fireworks are detonating and simply concentrate your efforts in that wedge above you? Or do you try and follow each new launch from the ground, track it with your camera and hit the shutter as each explodes in turn?


Then there's the other big question mark. Do you use a tripod? Or should you opt for physical dexterity in view of the fact that a fireworks display is a public event and there are generally thousands of people around you who could a) block your view or b) bump into you and dislodge your carefully balanced tripod while you try and capture the best shots?

There's another factor to consider if you have the option of using a tripod. Quite simply, you are going to be bending over to use the camera for a prolonged period of time. Few tripods extend to the very height of your own eyes, which leads to an interesting clash of physical conditions.

You could be hunched like Quasimodo, with your spine partially parallel to terra firma, while your neck is twisted upwards as you try and get the best view of the sky above.

God created the human spine and neck to co-exist in the same vertical plane. Simple. Unarguable. So why use a tripod, especially if you're as tall as I am and you don't want to see your chiropractor the next morning?


So I chose to be mobile and to be flexible as I shot these scenes at the New Year fireworks display above the Yarra River on Wednesday night. The last time I did this, I used my 18-125 mm lens, which allowed me to get as close as I wanted, while giving me the option of getting an entire skyscape, simply because of the range of the focal plane.

This time I bravely (or foolishly, depending on your point of view) opted to use the 70-300 mm lens instead. I constantly varied my focal length and my focus ring as well. The first few images in this post bring you plenty of sky and a sense of place, but as the display drew to a close, I decided to zoom in fully and try - instinctively - for an overall effect that was "different".

Not an easy challenge, in a wide Australian sky where the fireworks could go anywhere. But I'm certainly pleased with the overall result. If you have time, do let me know what you think.


For other participants in Dot’s concept, go to Sky Watch HQ.