Final Series (Week Six)


, , , , , , , , , , , ,

1 Left Behind 2 Without Respite 3 Not Too Distant 4 Sail Smooth 5 Beyond The Ice 6 Subside 7 Nightlight8 ContactSheet

To establish my connection of home in Wellington, I’ve captured busy sects of the tense and fast-paced Wellington evening, gradually shifting to tranquil and scenic early morning vistas by the water-front. I’ve approached this utilising Long-Exposure techniques; expressing motion, fluidity and continuity. Documenting hues reminiscent of Kerikeri, visually anchoring the viewer with unifying and contrasting colours. Optimally capturing breath-taking spectacles buried beneath the grey by photographing in Landscape. The Waterfront serves as a serene unified environment for bird-life, plant-life and humans alike, as did te awa o Kerikeri. Within Wellington, the Water-front is my place of earthly connection; My Turangawaewae.


Landscape Long Exposure (Week Six)


, , , , , , , , , , ,

_MG_8028-1 _MG_8290 _MG_8296-1 _MG_8301 _MG_8334 _MG_8339 _MG_8346 _MG_8347 _MG_8350 _MG_8352 ContactSheet-001

My last photoshoot, and my best attempt at long exposure photography, and perhaps my very best results so far. The first two photographs, one being a photograph of a shaky 30 second shutter-speed shot and the other a revised car trail long exposure; both meant to represent the busyness, activity and life that Wellingtonians maintain to serve food on a plate. The revised car trail depicts the pace of motion that Wellington moves at, where I can’t really keep up. The first photograph depicts the change in tone, tension and stress, as you don’t need to look far for a change of scenery. The rest represent Turangawaewae, my place of standing; the Waterfront. It serves to me as a place of reflection and relaxation, a change of scenery, and a place of connection, just as the rivers of Kerikeri served me. It is also a poetic nod of respect towards the life and nature that is to be found underneath the rumbling of car motors and blips of intersections, and is the part of Wellington that reminds me of home. I’ve chosen a blend of colours that contrast and merge to anchor the viewers point of focus. Like Xavier Rey and Toby Harriman, I’ve opted for the long exposure to get the best out of the reflections, trails and smoothness of the sea and sky, which also helps portray the passage of time and motion, but also calmness, serenity and fluidity. Much so like Ernst Haas, I’ve documented my Turangawaewae with colour, and freedom with abstract imagery. In each of these photographs, I feel as I’ve successfully captured ‘moments’ and/or dramatic scenes that portray my places of being in the most depth.

Image Analysis Task; Ans Westra, At The Wellington Trade Fair (Week Five)


, , ,


A. Westra (1970) At the Wellington Trade Fair, retrieved from Deane Gallery, City Gallery Wellington

After our critique in week four, our breather consisted of visiting the Wellington City Gallery, and then picking out a piece of work from a photographic artist model and conducting a short analysis as well as give an idea as to what the 100-word statement is like.

Ans Westra’s photo consists of a white policewoman leaning alongside what seems to be a group of Maori or Pacific male youths. The photo stirs many mixed emotions, but the one most worth noting was how the one individual is cautiously peering over his shoulder, whilst the others ignore her and keep to their own business. Whether this is a harmless act of curiosity, or perhaps a portrayal of the stigma that surrounds not particularly New Zealand culture, but rather white culture and ‘everyone else’. However which concept you wish to consider, the woman seems to be paying close attention to something. The photograph is considered a group shot. The interest lies in the contrast, not only between colour, and also the clothes that all individuals wear. The most focus is directed between the officer and her curious companion, whilst the other two add to the implied narrative but overall do not share the same amount of attention. The photograph, being from 1970, is Sepia-toned, which gives an interesting vintage feel. The focus on the foreground and blurred background suggest this photo was taken with a wide aperture, and also at a fast shutter-speed. As the photo was taken inside, there’s a possibility of an ISO adjustment from 200-400.

Xavier Rey Response (Week Five)


, , , , , ,

9302644-lg X. Rey (2009) L’echelle, retrieved from


The time to explore long exposure photography through use of water was a long time coming, and responding to Xavier Rey’s L’echelle served as a great opportunity to plunge in to the deep end. This photo intrigued me, as I couldn’t make out what the wooden planks were from. Perhaps the remains of a bridge? What I’ve taken from L’echelle is a pathway; and so I’ve responded with my own path- where the waterfront is my place of standing, the water serves as my place of moving forward. I was very ecstatic at the result of this response as the contrasting colours really pop. For my final photo-shoot, the goal is to finalise my ideas and craft a series, but also to maintain the long shutter speed, depth of field, the colours and to capture ‘moments’.

Alex Wise Response (Week Five)


, , , , , ,


A. Wise (2013) Melbourne Long Exposure, retrieved from


Relating back to week four, I began to photograph the busier corners of Wellington to contrast the serenity of the Waterfront. After much discussion and preparation, I tried my hand at long exposure photography, and one of the very first examples I had found of long exposure photography were light trails from cars; perfect to show motion and pace. The end result turned out much better than I expected, as there were many nice trails of red and white forming on the highway. I’ve since fallen in love with long-exposure landscape photography, allowing me to still maintain the colour I need throughout my series and creating interesting visual effects. The trails represent the pace of motion that Wellington moves at, to which I can’t really or at-least struggle to keep up. It represents the busyness, activity and life that Wellingtonians maintain to serve food on a plate. My series will consist of starting with busier photographs of Wellington, and gradually settle in to the night when the city finally sleeps to capture that sense of calm and serenity.

Toby Harriman Response (Week Five)


, , , ,


T. Harriman (2014) Golden Vertigo, retrieved from


Sherbet Bay

T. Harriman (2014) Sherbet Bay, retrieved from

The initial photo from Adobe Inspired-featured Toby Harriman of dangling feet made me generate a more humorous response, as I have none of the danger that Harriman faced the day he took that shot. Whilst perhaps this response doesn’t look like it carries any meaning, it was a thoughtful shot that contemplated the meaning of Turangawaewae; a place to stand, a place of belonging and where one has connection to the earth. The implied narrative of this shot was to portray my place of standing, being where the ocean or rivers begin. As I dug further around Toby Harriman’s work, I stumbled across Sherbet Bay, a beautiful long exposure shot. Similar to Sugimoto’s long exposures, the silk waters and smooth skys intrigue me.

Hiroshi Sugimoto Reponse (Week Four)


, , , , ,


H. Sugimoto (1991) Indian Ocean, Bali, retrieved from


Hiroshi Sugimoto’s Indian Ocean was an experimental response, which I hope to believed had worked. I was interested in many of Sugimoto’s Seascape photographs and was eager to give it a go. In terms of colour, this particular image strikes as interesting, but I find that grey-scale does not help relate my photographs to my Turangawaewae. Though flicking through his portfolio, Sugimoto delves alot in long-exposure photography and comes out with very beautiful smooth as silk water and sky, which I am very excited to try out. From this photo, I will continue to explore landscape photography, water and depth of field and also hope to delve in to new waters, such as long exposure photography.

Life By The Water (Week Four)


, , , , ,

ContactSheet-001 _MG_8254 _MG_8244 _MG_8229 _MG_8202 _MG_8181 _MG_8125 _MG_8124 _MG_7965 _MG_7946 _MG_7929

At this point of time, the fourth week became a turning point for me as I began to love the amount of detail I could fit within a landscape photograph, which has ultimately made me give up portrait orientated shots altogether. The colours found at the waterfront were breathtaking, ranging from greens and blues to soft orange and yellows and pinks, clearly no shortage of colour. The amount of life was warm to witness as ducks, seagulls, teenagers and plant life were all clustered in one place, similar to home and thus correlating with Turangawaewae. The icing on the cake was to go for a plunge with a bunch of mates, just as I did back home when school was finally out. The Waterfront has become my place of belonging within this concrete jungle of alcohol, honking cars and busy people, and one does not need to look too far to find a place of calm and serenity. To show this, I’m contemplating photographing the busier corners of Wellington and gradually shifting to the calmness of the waters.

John Shaw Response (Week Four)


, , , , ,


J. Shaw (2014) Buff-tailed coronet hummingbird, Ecuador, retrieved from


Like my response to Ernst Haas’s River Lovers, the seagull’s photograph was taken in the same shoot. John Shaw captures a beautiful moment of a hummingbird resting on a branch, and like Ernst Haas; the colours presented, whilst repeated as the hummingbirds colours are very similar to that of the branch and its background, are beautiful. I tried to somewhat replicate this, as the Seagulls feathers colour scheme was also identical to the background, with the exception of the yellow platform it stood on, the concrete colour of the waterfront and the red sail hidden away in the background. The extra colours adds a welcome interesting change, and somewhat a more unique response to John Shaw’s Beautiful shot.

Ernst Haas Response (Week Three)


, , , ,

E. Haast (1955) River Lovers, retrieved from

E. Haast (1955) River Lovers, retrieved from

Wharf Lover

In the spur of the moment, my friends and I planned to go to the Waterfront for a jump. This encouraged me to take my camera and experiment with water. The Waterfront has captured the sense of home, from the cry of seagulls, to the serene swish of the water to gushing explosions, to the sight of sailboats and decks. The Waterfront seems to be one of the ideal locations correlating to the brief, therefore I will continue to take photographs here for the time being. The picture captures a sense of joy, and the colour blends of the water and the wharf are out of the blue and interesting, and captures the essence of Ernst Haas. I responded to River Lovers, a photograph of a couple in France.