News

26 August 2021

Like nowhere else on Earth – amazing photos of the Territory win at Australian Geographic Nature Photography Awards

Photographer Tim Wrate risked life and limb hanging halfway out of a plane to capture the Northern Territory like you’ve never seen it before. 

Depicting desolate wastelands contrasted by sprawling wetlands teaming with life, floodplains punctuated by twisted rivers and the vast expanse of the almost untouched outback, Tim Wrate’s work is simply breathtaking.

It’s no wonder then that his aerial images of the Northern Territory won the Portfolio Award at the 2021 Australian Geographic Nature Photographer of the Year Awards announced on Thursday 26 August.

With 2200 entries from professional, junior and emerging photographers from seventeen countries, submitting their nature and wildlife photographs from the bioregion of Australia, New Zealand, Antarctica and the New Guinea. Any photographer with six or more entries is automatically entered in the Portfolio category with Mr Wrate beating out an impressive field in 2021.

Two of the images were captured on a charter flight from Darwin over Bynoe Harbour, the remaining four were captured on a charter flight from Katherine to Ngukurr over the Limmen Bight and Roper River area of Southern Arnhem Land at the end of long, hot dry season

Mr Wrate said capturing the landscape from the air was about providing new insights into familiar scenes.

“For me, the most appealing aspect of aerial photography is the ability to look past the obvious and find interpretive meanings, in one of the awarded images, stagnant water in a floodplain appears to be the flames of a fire rising or perhaps even the wing of an insect,” said Mr Wrate.

Aerial photography is not without its challenges though with Mr Wrate acting as a navigator, battling wind, heat and harsh conditions to capture these amazing landscapes.

“Working out of an open window of a light aircraft means dealing with some serious wind buffeting, wash from the propeller, high frequency vibrations from the engines and sometimes severe aircraft movements. 

“As I move through the air, I find myself multi-tasking; from grappling with my equipment, dialling in the best technical settings on my camera, working to shoot powerfully composed images and keeping up with the rapidly changing perspective, all while communicating with the pilot to orchestrate the best flight path." 

Mr Wrate’s portfolio is the first Portfolio Prize awarded to a portfolio entirely comprised of aerial images since the competition’s inception in 2003.

The winners of the Australian Geographic Nature Photographer Awards were announced on Thursday 26 August 2021. The Australian Geographic Nature Photographer of the Year competition and resulting exhibition is run annually by the South Australian Museum. Australian Geographic is the principal sponsor.

For all more information and to see shortlisted entries and see the winners for each category please visit:  https://www.samuseum.sa.gov.au/c/npoty/gallery

To read Mr Wrate’s full blog on the trip and to view more of his work visit www.timwrate.com.au.

 Image Title: Fabrica

Category: Landscape
Background: Flying over the remote Limmen Bight region of the far western Gulf of Carpentaria was one of the single most incredible experiences of my photographic career. What may be ordinary from the ground can be extraordinary from above – this image is the perfect example of that.
Location: Southern Arnhem Land, Northern Territory
Technical Information: Fuji GFX 100, GF 110mm f/2, 1/1800, f/5.0, ISO 250, handheld, captured from a Cessna 210 at 2000 feet

Image Title: Ebb and Flow

Category: Landscape
Background: Ebb & Flow was captured at 2500 feet above Bynoe Harbour, where the tidal variations of 5.8m expose extensive seabeds and variations in sand banks that contrast wonderfully with the impossibly blue water of the Northern Territory.
Location: Bynoe Harbour, Northern Territory
Technical Information: Fuji GFX 100, GF 110mm f/2, 1/1900, f/5.0, ISO 200, handheld, captured from a Cessna 210 at 2500 feet

Image Title: Rise

Category: Landscape
Background: Captured above ephemeral floodplains, the electric colours and intricately textured patterns are where the waters of a standing swamp have seeped out on to the extensive floodplain network. The colours are primarily the result of a mix of high salinity levels, algae, and a long, hot dry season.
Location: Southern Arnhem Land, Northern Territory
Technical Information: Fuji GFX 100, GF 110mm f/2, 1/2500, f/5.0, ISO 400, handheld, captured from a Cessna 210 at 2000 feet

Image Title: Balance

Category: Landscape
Background: Low tide exposes the seabed and rock shelf of Bynoe Harbour. The patterns created by the receding water are really intriguing and the warmth in the bottom left balances the cool of the top right perfectly, giving the image a sense of rhythm.
Location: Bynoe Harbour, Northern Territory
Technical Information: Fuji GFX 100, GF 110mm f/2, 1/2500, f/5.6, ISO 320, handheld, captured from a Cessna 210 at 2000 feet

Image Title: Tracks

Category: Animal Habitat
This picture was captured at 2000 feet above the intertidal floodplains between the Roper and Limmen Bight Rivers on the remote shores of the Gulf of Carpentaria. The floodplain is punctuated by water buffalo tracks meandering to and from the island. Look closer and you may find water buffaloes basking in mud wallows.
Location: Southern Arnhem Land, Northern Territory
Technical Information: Fuji GFX 100, GF 110mm f/2, 1/2700, f/4.5, ISO 160, handheld, captured from a Cessna 210 at 2000 feet

Image: Mangrove Dieback

 Aerial photography provides photographers a unique perspective; what may seem ordinary from the ground can be extraordinary from above. This is what excites me about aerial photography, as a landscape photographer, it has provided me a new way to see - where details of nature blend with perceptual angles to give a new viewpoint on the interrelationship between geography and art.

Aerial photography can be one of the most intimidating forms of photography as it is as challenging as it gets for a photographer. Many decisions need to be made to get spectacular results—everything from type of aircraft to subject matter and time of day. Teamwork is also required, as the photographer and pilot must communicate well for the photographer to get the desired images. 

Here is a list of the key considerations of preparing and executing a successful aerial photography charter.

1. Understand what perspective you want to shoot – oblique or top down?

Aerial photographs are generally classified as being top-down (also referred to as vertical) or oblique. A top-down photograph is one which has been taken with the camera axis directed toward the ground as vertically as possible, while an oblique photograph is one which has been taken with the camera axis directed at an inclination to the ground.

Why would I shoot top-down?

As a photographer, our ability to abstract the landscape is emphasised in aerial photography. In landscape photography, a horizonal line usually indicates the horizon, suggesting time and place by anchoring an image and creating depht. By angling the camera down, abstracting or often excluding the reference point of the horizon, allows the photographer to focus on texture, pattern, shape, balance, contrast, and colour.

Benefits of shooting oblique?

The main advantage of oblique aerial photographs is that the photographs can often include the horizon, to improve interpretation. They make the image easy to understand and often lend themselves to better known landmarks and/or terrain with greater relief (ie mountains). If you want to capture images that tell a story of ‘where’, then the oblique angle is often the best. For example, a photograph of a Sydney Harbour will provide us a perspective the way it appears to us when we look at it.

2. Pre-flight Planning and Previsualisation

Flying in circles looking for photographs could be very exciting and entertaining until you land and find out how much money you spent without really accomplishing anything. Do your research beforehand and get a good idea about what you want to photograph and how you will accomplish it. What side of the aircraft will you be shooting from? What altitude or different altitudes are required? When will the light be the best? Do you want to shoot oblique or top-down?

Once you have done your homework, it is time to find your aircraft. Your budget is likely the biggest decision here, as well as the type of aircraft available. Hire a good pilot, preferably one that has experience working with photographers! Pilots do vary and some are better at others when it comes to understanding the requirements of aerial photography. Go over a flight plan and stick with it. The most important part of the shoot is that the pilot calls the shots and has the final say in what will be done. They know the regulations, safety issues and the bottom line; they are responsible for you, the aircraft, and the people on the ground!

3. Planes, Helicopters and Flying Machines

Helicopter

There are numerous ways of capturing aerial photography and out of a helicopter is by far the most used and likely the easiest platform to work from under most circumstances. When used specifically for photography, most pilots will allow the removal of a door, leaving a large workable shooting area. This can be very advantageous, as you can literally pan the camera to keep the subject within the frame while still traveling in a straightforward direction. Helicopters also have very impressive turning characteristics so you will find that there is far less lost time as you circle back to shoot from a different altitude or angle. In addition, a helicopter will also provide the opportunity to hover at slow speed over a subject – a significant advantage over light aircraft.

There are a few downsides to shooting from helicopters, however. First is the cost – the cost of an hour’s charter can range from $1,000 in a Robinson 44 excess of $2,000 or more for a larger jet ranger or equivalent. It is very impressive how much you can shoot in a few hours, but the credit card can take a big hit after you land.

Fixed Wing Aircraft

Likely the bulk of aerial photography is done with fixed wing aircraft. While not as manoeuvrable as helicopters they are still very competent shooting platforms under the right conditions. Try to get an airplane with a high wing, like the Cessna 172 Skyhawk, to get the best view. The low winged aircraft really limit the view below! Even with high wings, the wing strut and/or landing gear may get in the way, so it’s imperative to understand the limitations of the aircraft you are chartering and ensure you communicate effectively with your pilot to ensure such limitations don’t compromise your images!

I try to fly with the doors off, but often you will be flying either shooting through a small opening window or through the glass. Either way, positioning of the aircraft is very critical to line up the image, so a good pilot—preferably with experience working with photographers—is a must. What’s the biggest advantage of a fixed wing platform? Cost! Likely 1/4 or less of what the helicopter will cost. Furthermore, a plane has a higher cruising speed, and thus you can cover significantly more territory in a plane than a helicopter.

4. What to do with doors or windows?

Aerial photography, from a technical standpoint, can be both a challenge and an exhilarating experience. The cost involved in both the charter of the aircraft and the purchase or rental of expensive camera equipment is too great for the image quality to be diminished by the scratched plexiglass of the aircraft’s windows. Life is certainly easier without doors, however, be aware of wind buffeting if you lean out a little too far. It’s best to keep the lens behind the plane of the window as the lens can catch the slipstream if protruding from the side of the aircraft. If the pilot is not comfortable, or the licensing restricts the removal of doors, be sure to ask the pilot if there are any retractable or hinged windows.

If you can’t remove the doors or open windows, wear dark clothing and make sure to have a lens shade installed. Most windows have blemishes and scratches, so you will probably want to shoot wide open to limit the depth of field. Window tint might also be a problem, although this can generally be cleaned up in Photoshop or some other editor. I recommend shooting RAW for this reason.

5. Communication with your pilot

It's essential to express your intentions and hopes with the pilot before your flight, so you're both on the same plane! After all, you and the pilot are on the same team. Having a mutual goal in mind before and during the flight is imperative. While requests should be expressed, it's also important to remember that the pilot knows best, and they are subject to civil aviation and licencing restrictions.

They've flown around the area more times than you know, and probably know it like the back of their hand! Remember that in the air the pilot and the plane are your tripod, if you want to get closer to a subject, a different angle or perspective you need to communicate effectively with the pilot. You will likely have high frequency radio communications with the pilot, but clear and concise instructions are most effective. Using directions analogies such as clock dials can make communications easier. Also, remember that wind buffeting often renders radio communications useless causing a crackling static sound through the headset, so it is often good to use hand signals as well.

Finally, respect your pilot and their decisions in those critical moments. Their job is to keep you and your party safe, so listening to their suggestions, comments, and decisions in the moment are very important.

6. Prioritise Shutter Speed

This may seem obvious to some, but it is necessary to deliberately call out under its own title. To avoid any kind of motion blur or soft images, you have to use every tool available to keep the shutter speed as fast as possible. Not just because you are travelling at up to 120 knots, but because a plane vibrates. A lot.

I try to keep my shutter speed to at least 1/2000 of a second. Whilst you can often get sharp images at 1/500 or even lower, maintaining a minimum shutter speed of 1/2000 will ensure that all images are sharp. The key here is knowing that when capturing an image on an orbit, the corner of the frame is travelling faster relative to the centre of the frame. Also, the longer the lens the faster you will need to maintain your shutter speed.

7. Choose your lens carefully

Aerial photographs can translate spatial mapping into a game, where a mountainous crest, beachy shore, or a protruding landmass can exist independently and abstracted from the contexts that typically define its features.  The aerial viewpoint can challenge traditional perspectives and encourage viewers to see the natural world with fresh eyes. Geographic formations take on artistic qualities, creating enticing and provocative imagery. Not only is it the photographer’s choice of shooting angle of oblique or top-down that enables how abstract a feature can appear, but also the choice of focal length. Generally, the longer the lens the more abstract the image may appear as you can isolate a smaller section of an overall scene.

• Wide Angle Zoom (such as 16-35mm) - for capturing a wide landscape and interior photo of the plane or helicopter
• Mid-Range Zoom (such as 24-70mm) - great for capturing a wide landscape or tight shot for the texture or close-up shots of your subject; also great for interior photos, as well as taking portraits of the people inside the plane or helicopter
• Wide Fixed Prime (such as 35mm) - great for capturing a wide landscape in low light such as the blue hour.
• Mid Focal Length Prime (such as 50mm or 85mm) - great for capturing a tight landscape images and the top-down perspective.
• Telephone Zoom (such as 70-200mm) - great for capturing a faraway or to get some texture on your subject

Sweat is running off my brow on the scorching hot runway on the air strip at Ngukkur, in the remote southern Arnhem Land region of the Northern Territory, with the shade cast off the wing of my chartered Censsna 210 providing the only relief from the sun. With temperatures in the mid 40’s, the tarmac reflecting the sun’s heat and the humidity of the NT’s notorious ‘build-up’ to the wet season the conditions were suffocating.

Soon was forgotten, however, when the Cessna’s propeller spluttered to life and vibrations of the engine reverberated through the aircraft’s fuselage. The aircraft surged forward and soon we were rattling down the runway with that trademark sense of weightlessness when the wheels of the plane finally lifted off from the tarmac. With the door’s off, to provide greater photographic opportunities, the wind buffeting soon provided the much-required relief to the heat and I was scanning the horizon for features in the landscape that may make interesting photographic subjects.

 Before long one of the most incredible landscapes was unveiled 2,000 feet below me, we broad swathes of floodplains punctuated with twisted rivers, sprawling wetlands, endless patchworks of mangroves and endless intertidal seabeds that seemed to merge into the sky without horizon. This is truly wild and remote country and spectacular when seen from above.

 For me, the sense of freedom of being in the air scanning the landscape for shapes, textures and forms is all-consuming and all sense of time is lost. I feel that aerial photography provides me with a unique perspective to explore my passion for photography, as what may seem ordinary from the ground can be extraordinary from above.

In November 2020, I was fortunate enough to charter a flight over the Limmen Bight region of the Northern Territory. The Limmen Bight Region is found in the south-west corner of the Gulf of Carpentaria, to the north is Arnhem Land, to the south is the Barkley tableland and to the west some 400km away is the headwaters of the Roper River at the famous springs of Mataranka.  

Even the best-laid plans sometimes go wrong. With COVID-19 resulting in state border closures and restricted travel between states, my plans for a flight over the region in August 2020 were foiled and it wasn’t until November 2020 I was able to resurrect my plans and make a mad dash to the NT to visit my sister and her family in Darwin. Having previously lived in Katherine for 4 years, my brother-in-law had a number of contacts around town. After a phone I received a text “Call Ben from Katherine Aviation, Roper River looks interesting”. Soon, I was hatching a plan with the helpful team from Katherine Aviation for a charter over the area.

The Limmen Bight area is approximately 350km from Katherine and after several conversations with the team at Katherine Aviation we came up with a flight plan that included two stops at Ngukkur, the closest airfield to the Limmen Bight area. The rough plan included a 4:00am alarm, a three hour drive from Darwin to Katherine, fly out of Katherine (the civilian air strip uses the same runway as RAAF Tindal, the Australian Airforce’s northern base currently undergoing AUD $8.0 billion in upgrade to infrastructure and facilities) to Ngukkur, prepare the plane for a photographic survey, return to Ngukkur, refuel and return to Katherine.

Ngukkur is the largest town in the Limmen Bight Region (formerly known as the Roper River Mission) and is situated on the Roper River, about 120km from the River Mouth. Ngukkur is home to approximately 1,000 permanent residents (1,149 at 2016 census) but swells at certain times of year with several small indigenous outstations also found in the region. The main language spoken in Ngukur is kriol, but s also home to a number of endangered languages including Alawa, Marra, Warndarrang, Ngandi, Ngalakgan, Nunggubuyu, Ritharrngu and Wägilak.

The Limmen Bight Region, which is found between Groote Eylandt in the north and the Sir Edward Pellew Group of islands in the south, is part of the traditional lands of the Marra, Yanyuwa, Alawa and Wandarrang peoples. There are two Aboriginal Land Trusts in the Limmen Bight Region: Arnhem Land located to the north of the Roper River and the Marra, located to the south of the Roper River and the north of the Limmen Bight River.

The Yugul Mangi Land and Sea Management Corporation, which manages a land area of 20,000 km2 in the Roper River basin, was established in 2008, although Yugul Mangi rangers have been operating since 2002 from Ngukkur. The Yugul Mangi rangers are responsible for fire management, weed management, feral animal management as well as the management of sites of cultural significance (sacred sites, art sites etc).

Like many remote indigenous communities, there is a thriving art scene at Ngukkur. However, given that Ngukkur is a melting pot of many different people’s there is not a singular style that people are following. There is no singular attitude or line of thought or trend. The nine language groups mean there are so many different painting styles. There are so many different thought lines and stories being told. What is common, however, is the use of bold colours in the paintings. This is something that I found particularly evident when flying over the region was that many of these colours and textures in the paintings are eerily familiar to the aerial perspective of the region.

The region’s climate is tropical, with the wet season generating most of the flows of the main rivers, flooding the coastal plain with freshwater and discharging nutrients into Limmen Bight. The tidal range of Limmen Bight is mesotidal, with the change from high to low tide between two and four metres. Combined with a shallow seabed, this creates the Territory’s second-largest area of intertidal flats when exposed at low tide.

Above: Highly saline floodplains create vibrant colours

Eucalypt woodlands with a grassy understorey dominant the inland parts of the bioregion, whereas closer to the shoreline there are saline tidal flats with samphire shrubland bordered by tall grass, as well as mangrove forests and patches of rainforest. Land subject to inundation and saline coastal flats are common, while a narrow band of foreshore flats follows the entire shoreline. Mangroves are found in the mouths of the Roper and Limmen Bight rivers and along the banks of creeks.

The tidal range in the south-west corner of the Gulf of Carpentaria ranges from 2-4 metres, creating vast mudflats and sandflats on the gently sloping seabed. The coastal floodplains and intertidal and foreshore flats of the Roper and Limmen Bight rivers dominate the hinterland of the Limmen Bight shoreline, while there are extensive mud and sand/mud intertidal flats at low tide. The intertidal flats merge with saline flats along much of the shoreline, interrupted by patches of mangroves and rainforest.

Rises in and sea surface temperatures, and increased intensity of storms and cyclones, have had significant impacts on the Limmen Bight Region. The recent mass dieback of mangroves in the Gulf of Carpentaria during the 2015-2016 summer affected 1,000 km from the Roper River to Karumba in Queensland, with 7,400 ha or about 6% of the Gulf’s mangrove systems dying as a result of the dieback, the largest single dieback event on record. Evidence of the mass dieback event was still apparent from above during my charter over the area.

Above: Swathes of dead mangroves from the 2016 dieback event

Photographing from the air can be tricky, and not only is rewarding but hugely enjoyable. Working out of an open window of a light aircraft or a doorless helicopter means dealing with some serious wind buffeting, wash from the propeller, high frequency vibrations from the engines and sometimes severe aircraft movements. As I move through the air, I find myself multi-tasking; from grappling with my equipment, dialling in the best technical settings on my camera, working to shoot powerfully composed images and keeping up with the rapidly changing perspective, all while communicating with the pilot to orchestrate the best flight path.

Above: Top-down abstract images of flood plains around the Roper River

The essence of aerial photography - looking down from up high - is all about offering new insights into landscapes and surroundings, even from familiar scenes. For me, the most appealing aspect of aerial photography is the ability to look past the obvious and find interpretive meanings. Over the floodplains adjacent to the Roper River, the patterns left by drying water looked like infinitely complex fractal patterns. Similarly, over the Limmen Bight, the high salinity levels in the water gave off a myriad of colours with one pool looking like the flames of a fire.

Above: Fractal patterns across a vast floodplain

As a photographer, our ability to abstract the landscape is emphasised in aerial photography. In landscape photography, a horizontal line usually indicates the horizon, suggesting time and place by anchoring an image and creating depth. By angling the camera down, abstracting or often excluding the reference point of the horizon, allows me to focus on texture, pattern, shape, balance, contrast, and colour. Each of these key elements were on display in hyperreality over the Limmen Bight allowing for the perfect harmony between my love of geography and my love of art.

My charter over the Limmen Bight region of the Northern Territory opened my eyes to how thrilling it can be exploring remote and wild areas of the country – something I hope to do a lot more of.

The full gallery can be viewed here.

The Snowy Mountains, like no other landscape I have photographed has a magnetic draw that keeps on pulling me back. Why? It is simple; there are very few words that can convey the feeling of standing alone on top of a remote mountains waiting for the light to morph the landscape from silver to gold. If photography is my ideal escapism, then the Snowy Mountains are my ideal canvas.

Like no other landscape I have photographed in Australia, the Snowy Mountains seem to have a personality of their own - a personality akin to that of a typical Australian larrikin; understated in their grandeur but overstated in their character.

The Snowy Mountains, affectionately known as “the Snowies” are the highest Australian mountain range stretching from the Australian Capital Territory through Southern New South Wales and into Northern Victoria. The Snowies contain Australia’s five highest mountains (all of which are over 2,100m above sea level) including the Australian mainland’s highest mountain, Mount Kosciuszko, which reaches a meager 2,228m above sea level. 

The Snowies are mainland Australia’s only true Alpine region with significant annual snowfall. The shape of the Australian Alps is quite different to that of the more famous mountain ranges such as the European Alps, Andes or Himalayas. Those mountains contain many sharp peaks and deep glacial valleys. In contrast, the skyline of the Snowies is comparatively flat and rounded. While it may not have the grandeur and typical mountain vistas of its counterparts on other continents, the Snowies have unique photographic features that rank it among some of the most remarkable landscapes of Australia. 

Geology

The Snowies are the legacy of an ancient ice age millions of years ago that saw glaciers carve valleys, glacial lakes and impressive granite forms. Much of the high country, such as the Kosciuszko Plateau in NSW and Mt Buffalo Victoria has distinct granite formations. These granite bodies erode slowly have formed plateaus and ridges with large boulders, tors, and granite outcrops. The granite tors of Mount Buffalo and the Rams Head Range would rank among the most photographic locations with stunning granite formations dotting the landscape like it was once a stone garden sculpted by giants.

Not all of the plateaus and high plains can lend themselves to glacial activity. Many of the high plains in Victoria such as Bogong and Dargo High Plains can lend their history to volcanoes that erupted episodically over much of the alpine region. The lava came out of small volcanoes and flowed across the landscape and down valleys, forming the rounded landscape of these high plains.

In New South Wales most of the alpine area is one large tableland, while in Victoria erosion has proceeded further, producing many smaller plateaus separated by rugged valleys. These valleys have become a distinct photographic feature in their own right with alpine creeks and rivers carving many impressive rapids and waterfalls. 

Flora

When one thinks of the flora of the Snowies, the iconic picture of a gnarled and twisted Snow Gum immediately springs to mind. The picturesque Snow Gum is a photographic draw card in their own right. As if painted in watercolour with pastel reds, blues and yellows and shaped by the harsh winds and heavy snows the Snow Gum is a truly remarkable and wonderfully photographic feature of the Snowy Mountains. Some of the best Snow Gum groves can be easily found from winter playgrounds of Thredbo, Charlotte Pass and Falls Creek. 

History 

The area was first explored by Europeans in 1835, and in 1840, Edmund Strzelecki was the first European to ascended Mount Kosciuszko and subsequently named it after a famed Polish patriot. High country stockmen soon followed who used the Snowy Mountains for pastoral grazing during the summer months. Banjo Paterson’s famous poem The Man From Snowy River recalls this era. The cattle graziers have left a legacy of mountain huts scattered across the area lending to the Snowies unique Australian character. 

The most well-known of these huts, Wallace’s Hut and Craig’s Hut both reside in Victoria. Wallace’s Hut, is Australia’s oldest standing cattleman’s hut built in 1889. Wallace’s Hut is situated in an extremely photographic Snow Gum grove on the Bogong High Plains. I have had the pleasure of shooting Wallaces Hut on a number of occasions, and it still sends a shiver up my spine. Surrounded by twisted and gnarled snow gums it’s easy to imagine the sound of the crack of a stock whip and the hooves of hardy mountain cattle and hardier mountain men. It’s a remarkable place that could tell a story or two over the years. 

Conversely, Craig’s Hut is not an original cattleman’s hut as it was built as a set for the 1980 Australian movie The Man from Snowy River. Authenticity aside, Craig’s Hut is a photographic icon of the area. Nestled on a clear hill, aptly named “Clear Hills” near the cross-country ski resort of Mount Stirling, Craig’s Hut offers majestic views over the valleys of the Victorian High Country. It is not the hut itself that resonates with me, but what it represents. The pioneering spirit and deep resolve of those hardy cattleman that helped build Australia and formed part of our unique national identity. 

Photography in the Snow

•  The warm golden light at dawn or dusk, combined with the cold blue tones of snow, give magical effects. Plus, the snow will be relatively untouched by footprints if you get up early. 
• Dress warmly and wear waterproof clothes. This may sound obvious, but you'll be amazed by how quickly you lose body heat in the pre-dawn cold. A great tip is to buy photography mittens (fingerless gloves) they help keep your hands warm but still enables you to fully manage your camera settings. 
• Weather plays an important role in mountain photography. If you get the opportunity to shoot a mountain, never put it off until the next day. With rapidly changing weather conditions special light in the mountains is fleeting. 

Technical Considerations 

• When shooting when the sun is high in the sky, it is best to use a circular polarizing filter, which will cut through any unwanted glare reflected on the bright snow. This will enable you to capture more detail in the snow and will help manage the snow becoming a white mess. 
• Colour temperature has a big impact on shooting a snow clad scene. Sky light produced cool blue tones in the snow, and in the middle of the day, the sky can be an inky black (particularly if using a polariser). Later in the day, the setting sun and the ‘alpine-light’ (the afterglow of the sun once it has set) can product beautiful oranges, pinks and magentas. 
• Shooting in snow can often be difficult. The main issue is the brilliance of the snow can often play tricks on the camera’s light meter, resulting in snow that can looked washed out and grey rather than white. There are several techniques that can be used to avoid this problem including but not limited to;  

1. Bracket your images by taking one image -1EV and one image +1EV from your base exposure. 
2. If there is any mid-tone in the scene you are shooting (a grey rock, snow gum or cattleman’s hut for instance) take a meter reading off these as this will be the closest to 18% grey. You may have to compensate slightly (by -1/3EV to -2/3 EV) to ensure the snow is not blown out. 
3. Use the histogram on the camera’s LCD screen to ensure the exposure is correct. 

• Be mindful that the horizon is not straight, and thus using graduated neutral density filters can often be difficult. This can be easily overcome by using soft graduated neutral density filters as opposed to hard or simply bracket your images and spend time in post processing to blend the images together.
• Don’t use a flash when it’s snowing as the flash will bounce off the falling snow and create distracting white overexposed blobs on your final image!
• If you struggle to capture the image you have envisioned, don’t worry you’re not alone as famous mountain photographer and author of “Mountain Light” Galen Rowell once remarked “I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.”  

Get Creative

• Be mindful that when you are impressed with the sheer size and grandeur of the mountains in front of you, it is tempting to go for the wide angle lens; however the majesty can be lost when shooting mountains with a wide focal length. A telephoto lens is often the best choice for photographing mountains; it allows you to focus on a section of the range that would often go unnoticed. 
• There are plenty of opportunities with snow, from delicate close ups to snow clad Snow Gums to frozen expanses with crystal clear blue skies. Be mindful of your surroundings, you may come away with an image you never intended or planed on taking! 
• Strong shadows and high contrast images can be very effective when shooting snow, particularly if you shoot in black and white. Shadows can be used to lead a viewer into the frame or as a point of focus – just ensure your own shadow is not visible! 
• Complete white-outs are common during winter, don’t use this as an excuse to stay in the warmth of the lodge! Fog, mist, cloud and white-out can be used to create moody and atmospheric images – it enables you to add depth to the image or to be able to isolate a point of interest such as a rock or a snow gum.