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Aurora Australis 2

Wednesday, May 15th, 2024
I have adapted this post, largely crediting the explanation provided online by Dr Stephen Voss, from Central Otago in ‘Aurora- The Jargon Explained’. Some links have lapsed since first published, and I have tried to re-establish as best I can what what I know.

How is Auroral Activity Monitored in Real Time, and How Can we Predict When an Aurora Might Appear?

OK, so there are a heap of scientists who monitor this. Subsequently a lot of space science is directed at this, given the effect space weather has on space exploration, satelittes, communications, GPS etc. Much of this is publicly available, via various online graphs and charts. Let’s start at the sun and work our way out from there. We are lucky to have several spacecraft dedicated to watching and recording activities on the solar surface, in the solar atmosphere, and surrounding space.

 

Aurora graphic

1) Observing Solar Flares: Solar Dynamic Observatory (SDO)
NASA’s Solar Dynamic Observatory provides near real-time views of the sun at different wavelengths. For the most part these images will all look pretty similar from one hour to the next, but the appearance of a bright solar flare will quickly become visible on these images. Here’s an example of a bright flare close to the left edge of the sun
Solar Flare

2) Measuring Solar Flare Intensity: GOES (Geostationary Operational Environmental Satellite) X-ray Detector

It is also possible to view a graph of x-ray radiation intensity at the suns surface recorded by (currently) the GOES 15 satellite. This provides a time-line of solar flare activity, updated in real time. Solar flares can be classified by intensity. C-Class flares are weak, M-Class flares are moderate, and X-class flares are of extreme intensity. Here’s an example of two X-class flares over a period of just three days back in July 2000:
Solar fares graph

3) Observing a CME: SOHO (The Solar and Heliospheric Observatory) Coronagraph

The SOHO spacecraft provides views of the sun in several wavelengths, but more importantly for us, it has an instrument onboard called a coronagraph which allows a detailed view of the suns outer corona. This allows us to see the passage of a Coronal Mass Ejection (CME) into space. Here’s an example of a CME being expelled from the eastern limb of the sun (left
side of the image) . The black disc in the centre of the image is a cover which blocks out the intense light from the sun’s surface allowing the detail of the outer corona and solar wind to be observed. The “movie theatre” link on the SOHO page is especially good for creating animations of the ejected CMEs.
Sunspot graph

4) Monitoring the Solar Wind – The Advanced Composition Explorer Spacecraft (“ACE”)

This spacecraft sits between the Earth and the Sun at a distance of 1.5 million km and monitors the solar wind. Once again, the data is available as a near live feed. A number of solar wind parameters can be measured, but the important ones for us are wind speed, wind density, and intensity / direction of the imbedded magnetic field (yes, the solar wind has it’s own magnetic field). Here’s an example from 2012 which shows the impact of a CME with the ACE spacecraft. The yellow line is wind speed, the orange line is density, and the double line (white and red at the top) is the magnetic field density and direction. You can clearly see the results of the CME impact just after 1100 hours UTC. There is a sudden jump in all of these three parameters.
Of all these parameters, probably the most important is the red line at the top, the so-called Bz (pronounced “Bee-zed”). It is a measure of just the south pointing component of the magnetic field within the solar wind. The more south the magnetic field, the more negative the red line goes. The more negative the Bz, the better – a south pointing magnetic field interacts with and minimises the protective effect of Earth’s own magnetic field. With the Earth’s protective barrier weakened, more particles can penetrate into the upper atmosphere, and the chances of aurora increase significantly. A strongly positive Bz (north pointing magnetic field) will shut down the aurora in a blink. The white line (Bt) is a measure of the total magnetic field intensity irrespective of direction. Bz can never be greater than Bt.
ACE graph

5) Observing the effect at Earth – Magnetometers

Finally we have the effect of the impacting solar wind on Earth’s magnetic field. When the disturbance finally arrives there can be quite a shake-up of the Earth’s own magnetic field, and this geomagnetic disturbance can be measured on a device called a magnetometer. Magnetometers measure variations in the intensity and direction of the local magnetic field, a sort of “seismograph” for geomagnetic disturbances.

Piecing It Altogether – Predictive Tools

So, we have the ability to observe when a solar flare occurs, and to determine if a coronal mass ejection has been hurled in our general direction as a result. We also have the ability to observe the passage of this disturbance as it gets closer to Earth and we can see the effects that this has on Earth’s own magnetic field. How can we piece this all together to provide an accurate prediction? We have several useful online tools to help us:

1) The Kp Index **

Ultimately what all of this solar wind stuff does is to rattle up the Earth’s magnetic field. The more rattled, the more chance of aurora appearing. The Kp index is a measure of the severity of global magnetic disturbances near Earth. The Kp scale ranges from 0 to 9, with 9 obviously the most intense disturbance. For those of us in high-middle latitudes such as southern New Zealand or Tasmania, a Kp level of 5 will frequently be associated with visible aurora. The US Air Force use a predictive algorithm to make an educated guess as to what the Kp index will be in the future based on (amongst other things) the various solar wind parameters discussed above.

2) NOAA Ovation Aurora Forecast Model

This map attempts to take all the raw data available and then plots the probability and predicted location of the aurora from that data. The map is reasonably self explanatory. As the red “view line” gets closer to your location, the greater the chance of you seeing something. It’s worth noting however a number of brief auroral outbursts have been viewed when the view line was still plotted further south.
Auroral Oval

3) GOES-16 (Geostationary Satellite) Magnetometer Tracings and Prediction of Substorms (The “Cloake Effect”)

Long time aurora observer and Timaru based photographer Geoff Cloake was first to note an apparent pattern of auroral rays briefly appearing in association with sudden upswings in the GOES magnetometer tracing (the blue line in the tracing below). This effect has subsequently been observed on numerous occasions, and has proven extremely useful in helping some diehard observers to position themselves in a dark location just as a brief auroral substorm makes an appearance.

Credit : 

Dr Stephen Voss, ‘Aurora- The Jargon Explained’, March 2015 v3

 **Why the kP index is mostly (but not entirely!) irrelevant in NZ & Australia

Source – Southern Hemisphere Aurora Group – David Hunter

Background Physics

The incoming solar wind collides with atoms in the Earth’s ionosphere (in the upper atmosphere), ionizing them (hence the name “ionosphere”). Ions are atoms that have lost or gained an electron, and so have an electrical charge. Thanks to Michael Faraday’s Law of Electromagnetic Induction, we know that wherever an electric field exists, a magnetic field also exists. In the ionosphere, the ionisation caused by the solar wind disturbs the Earth’s natural magnetic field, making it stronger closer to the poles.
We measure this magnetic disturbance with ground- and space-based magnetometers. 

What is the kP index?

The “k-index” is a measure of the level of disturbance of the Earth’s magnetic field. These are measured by ground-based magnetometer stations.
These are often referred to as kH, kL, and kC… these are the k-indices for Hobart (kH), Launceston (kL), and Canberra (kC). In the United States, America, and Europe (and in almost every aurora app I’ve seen), they refer to kP instead. kP is simply an average value of the k-indices of eight different magnetometer stations: four based in North America, three in Europe, and one in Australia (Canberra). The P in kP stands for “Planetary”.
 

What’s wrong with kP?

There are two issues with the kP index as far as NZ / Australia is concerned:
  1. kP is calculated from eight magnetometers. Seven of those eight magnetometers are in the Northern Hemisphere. Just one is in the Southern Hemisphere, in Australia. This selection bias can cause the kP value to be vastly different from a local southern hemisphere k-indices (kH, kL, kC, etc.).
  2. During our Summer, the Earth is tilted such that the Northern Hemisphere (during our day time) is tilted away from the Sun – so the northern magnetometers are actually tilted toward the equator and so end up being more so in the “firing line” for the solar wind colliding with the Earth following magnetic reconnection. (i.e. the night side of the Earth always gets more solar wind than the day side, and because the northern magnetometers are tilted into the night side of the planet more, the effect of the aurora is stronger on these magnetometers during our Summer). Meanwhile, our own magnetometer in Canberra is tilted up into the Sun more, and so the solar wind misses that magnetometer – the auroral effects are reduced on the Canberra magnetometer at day time during the Summer. So you end up with enhancement of northern magnetometers (7 of the 8 magnetometers used to calculate kP) and a reduction in the Canberra magnetometer, making the kP index even more biased. Consider then what happens in winter, the opposite occurs and the Canberra magnetometer becomes more relevant, but it is still only one of eight magnetometers, so there is still that bias at play.
 

kP Index Forecasts

Note that the kP index (and the local k-indices) is a measure of past magnetic field activity – it is not a measure of what will happen in future. Therefore, the kP index (and local k-indices) are useless for forecasting auroras.
That said, it is possible to forecast the k-indices and kP index.
The kP forecast (officially called the USAF Wing-kP Model) is based on ACE/DSCOVR spacecraft magnetometer data and not the eight ground-based magnetometers used for calculating the kP index itself. Therefore, the kP index forecast is useful for predicting general trends in the local k-indices (e.g. if the kP forecast is for increased magnetic disturbance, a local k-index value should experience an increase in magnetic field disturbance if the forecast was correct). However, the exact values of the kP index forecast cannot be substituted for local k-index values due to the hemispheric and tilt biases I explained earlier.
 
What the kP index is good for
1. kP is good for America and Europe, because there is a greater landmass in the northern hemisphere, and a greater number of magnetometers in that hemisphere (so the kP average is biased towards northern hemisphere values).
2. The USAF Wing kP Model (kP forecast) is also useful for forecasting magnetic field disturbance in space where satellites operate. The United States operates numerous defence, communication, and science-related satellites. All of which can be effected by space weather, hence the USAF’s involvement in space weather forecasting.
3. As explained above, the kP forecast can be used to forecast general trends in local k-indices. However, keep in mind that a k-index is a measure of PAST magnetic field activity: it cannot and should not be used to try to predict auroral visibility in specific locations at specific times.

Summary

Simply put, the k-index is the measure of the disturbance of the Earth’s magnetic field at a particular location on Earth, as caused by solar activity and subsequently, aurora.
For southern regions, a localised k index is a better indication, than the broader kP index, which is essentially a global average . Regardless of source, any k monitoring records the activity that has just happened as solar wind hits earth.
Noting, that the bulk of the magnometers that produce the kP  index are located in northern hemisphere. Subsequently, the activity they pick up may not equate fully to auroral activity in the south. This is due in part to natural variations of earth tilt (our seasons), as well as directional differences of electrons sweeping past earth. Not all ‘hits’ of solar wind from the sun reach earth equally or directly.
So by choice, the kP index is a adequate, but broad indication of current auroral activity.
Much better for us wanting to see Aurora in the south, is the use a ‘localised’ k source, such as Hobart.
Yet does not always equate to future aurora activity.
If activity using the k / kP index shows a heightened reading, there are additional graphs, observations and data that can be used to provide greater analysis, that we can use to anticipate any incoming space weather. Subsequently, any upcoming auroral possibility still to eventuate.
These additional graphs, data, observations and readings are much better indicators of the likelihood of seeing (or photographing) auroral activity, as this data comes further out from various satellite & solar monitoring sources. So can give us some forewarning ranging from minutes to days. I’ll explain some of these in the next posts.
Sun Earth auroral graphic
 

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Aurora Australis 1

Wednesday, May 15th, 2024

Last weekend (Sat May 11th 2024) was a huge weekend for aurora hunters like myself.

In a series of posts, I’ll do my best to explain some of this phenomenon, what causes the Aurora Australis (and Borealis), and how to photograph them.

So, What Causes the Aurora?

In a single sentence, the aurora is created when highly charged particles that have been ejected from the sun interact with oxygen and nitrogen atoms in Earth’s upper atmosphere. This so called “solar wind” is ever present, and the Earth is continuously passing through a constant stream of these particles. For the most part, the Earth’s magnetic field deflects these particles, with only a small number penetrating this protective barrier, typically in the regions close to the north and south magnetic poles. On occasions, the barrage from the solar wind can increase dramatically, distorting the Earth’s magnetic field, allowing a larger number of particles to reach the upper atmosphere, and triggering bright and dynamic displays of the Northern and Southern Lights.
What causes aurora australis grapic

What causes aurora graphic

 

So What Causes an Increase in Solar Wind?

Two principle events are associated with a surge in the solar wind.
The first is the Coronal Mass Ejection (“CME”) – a sudden burst of plasma from the sun’s corona (outer atmosphere), usually originating from a magnetically complex area on the sun’s surface. CME’s are often associated with Solar Flares, bright flashes of electromagnetic radiation (in essence, flashes of light). People sometimes confuse Solar Flares with CME’s. The flare is the burst of radiation, the CME is the expulsion of actual matter. Not every flare will produce a CME, and not every CME will be associated with a flare, but it’s reasonable to say that the brighter flares will usually have a CME associated with them.

1) Coronal Mass Ejections (CME)

Coronal Mass Ejections (CMEs) are large expulsions of plasma and magnetic field from the Sun’s corona. They can eject billions of tons of coronal material and carry an embedded magnetic field (frozen in flux) that is stronger than the background solar wind interplanetary magnetic field (IMF) strength. CMEs travel outward from the Sun at speeds ranging from slower than 250 https://www.swpc.noaa.gov/phenomena/coronal-mass-ejections per second (km/s) to as fast as near 3000 km/s. The fastest Earth-directed CMEs can reach our planet in as little as 15-18 hours. Slower CMEs can take several days to arrive. They expand in size as they propagate away from the Sun and larger CMEs can reach a size comprising nearly a quarter of the space between Earth and the Sun by the time it reaches our planet.

The more explosive CMEs generally begin when highly twisted magnetic field structures (flux ropes) contained in the Sun’s lower corona become too stressed and realign into a less tense configuration – a process called magnetic reconnection. This can result in the sudden release of electromagnetic energy in the form of a solar flare; which typically accompanies the explosive acceleration of plasma away from the Sun – the CME. These types of CMEs usually take place from areas of the Sun with localized fields of strong and stressed magnetic flux; such as active regions associated with sunspot groups. CMEs can also occur from locations where relatively cool and denser plasma is trapped and suspended by magnetic flux extending up to the inner corona – filaments and prominences. When these flux ropes reconfigure, the denser filament or prominence can collapse back to the solar surface and be quietly reabsorbed, or a CME may result. CMEs travelling faster than the background solar wind speed can generate a shock wave. These shock waves can accelerate charged particles ahead of them – causing increased radiation storm potential or intensity.

Important CME parameters used in analysis are size, speed, and direction. These properties are inferred from orbital satellites’ coronagraph imagery by SWPC forecasters to determine any Earth-impact likelihood. The NASA Solar and Heliospheric Observatory (SOHO) carries a coronagraph – known as the Large Angle and Spectrometric Coronagraph (LASCO). This instrument has two ranges for optical imaging of the Sun’s corona: C2 (covers distance range of 1.5 to 6 solar radii) and C3 (range of 3 to 32 solar radii). The LASCO instrument is currently the primary means used by forecasters to analyze and categorize CMEs; however another coronagraph is on the NASA STEREO-A spacecraft as an additional source.

Imminent CME arrival is first observed by the Deep Space Climate Observatory (DSCOVR) satellite, located at the L1 orbital area. Sudden increases in density, total interplanetary magnetic field (IMF) strength, and solar wind speed at the DSCOVR spacecraft indicate arrival of the CME-associated interplanetary shock ahead of the magnetic cloud. This can often provide 15 to 60 minutes advanced warning of shock arrival at Earth – and any possible sudden impulse or sudden storm commencement; as registered by Earth-based magnetometers.

Important aspects of an arriving CME and its likelihood for causing more intense geomagnetic storming include the strength and direction of the IMF beginning with shock arrival, followed by arrival and passage of the plasma cloud and frozen-in-flux magnetic field. More intense levels of geomagnetic storming are favored when the CME enhanced IMF becomes more pronounced and prolonged in a south-directed orientation. Some CMEs show predominantly one direction of the magnetic field during its passage, while most exhibit changing field directions as the CME passes over Earth. Generally, CMEs that impact Earth’s magnetosphere will at some point have an IMF orientation that favors generation of geomagnetic storming. Geomagnetic storms are classified using a five-level NOAA Space Weather Scale. SWPC forecasters discuss analysis and geomagnetic storm potential of CMEs in the forecast discussion and predict levels of geomagnetic storming in the 3-day forecast.

CMEs often look like huge, twisted rope, which scientists call “flux rope.” CMEs often occur along with solar flares (explosions on the Sun’s surface), but they can also occur spontaneously. The frequency of CMEs varies with the 11 year solar cycle.  Both are born when the sun’s magnetic fields explosively realign, driving energy into space. A CME is an immense cloud of magnetized particles hurled into space in a particular direction, sometimes toward Earth.  But a solar flare is a brilliant flash of light.

Solar Flares (Radio Blackouts)

Solar flares are large eruptions of electromagnetic radiation from the Sun lasting from minutes to hours. The sudden outburst of electromagnetic energy travels at the speed of light, therefore any effect upon the sunlit side of Earth’s exposed outer atmosphere occurs at the same time the event is observed. The increased level of X-ray and extreme ultraviolet (EUV) radiation results in ionization in the lower layers of the ionosphere on the sunlit side of Earth. Under normal conditions, high frequency (HF) radio waves are able to support communication over long distances by refraction via the upper layers of the ionosphere. When a strong enough solar flare occurs, ionization is produced in the lower, more dense layers of the ionosphere (the D-layer), and radio waves that interact with electrons in layers lose energy due to the more frequent collisions that occur in the higher density environment of the D-layer. This can cause HF radio signals to become degraded or completely absorbed. This results in a radio blackout – the absence of HF communication, primarily impacting the 3 to 30 MHz band. The D-RAP (D-Region Absorption Prediction) product correlates flare intensity to D-layer absorption strength and spread.

Solar flares usually take place in active regions, which are areas on the Sun marked by the presence of strong magnetic fields; typically associated with sunspot groups. As these magnetic fields evolve, they can reach a point of instability and release energy in a variety of forms. These include electromagnetic radiation, which are observed as solar flares.

Solar flare intensities cover a large range and are classified in terms of peak emission in the 0.1 – 0.8 nm spectral band (soft x-rays) of the NOAA/GOES XRS. The X-ray flux levels start with the “A” level (nominally starting at 10-8W/m2). The next level, ten times higher, is the “B” level (≥ 10-7 W/m2); followed by “C” flares (10-6 W/m2), “M” flares (10-5 W/m2), and finally “X” flares (10-4 W/m2).

Radio blackouts are classified using a five-level NOAA Space Weather Scale, directly related to the flare’s max peak in soft X-rays reached or expected. SWPC currently forecasts the probability of C, M, and X-class flares and relates it to the probability of an R1-R2, and R3 or greater events as part of our 3-day forecast and forecast discussion products. SWPC also issues an alert when an M5 (R2) flare occurs.

The table below provides the correlation between radio blackouts, solar flares, nominal energy flux (watts per square meter), and the designated severity event descriptor

 

Radio Blackout….. X-ray Flare….. Flux (W/m2)….. Severity Descriptor

R1                            M1                   0.00001               Minor

R2                            M5                   0.00005               Moderate

R3                            X1                     0.0001                 Strong

R4                            X10                   0.001                   Severe

R5                            X20                   0.002                   Extreme

Solar Flare Image

2) Coronal Hole

The other cause for a surge in the solar wind is the so-called “Coronal Hole”. These are areas of low density with open magnetic fields in the suns outer atmosphere that allow the solar wind to escape more rapidly. However the increase in solar wind speed is frequently off-set by a decrease in solar wind density, so the disturbance produced by these events is usually less dramatic than that from a large CME. These events occur around an 11 year solar cycle. At the peak of this cycle, sunspot activity increases, as does the frequency and intensity of solar outbursts. At the through of the cycle the occurrence solar activity fades to a minimum. In 2024-25 we are reaching the peak of the most recent cycle (#25).

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How to Hire the Right Event Photographer

Friday, May 3rd, 2024

Do you want to ensure your event photos are memorable? Here is what you need to know when hiring the right event photographer.

When it comes to capturing the magic of your event, there is a huge difference between hiring any photographer, and hiring a great photographer. Whether it’s a ball, conference, prizegiving or formal dinner, a skilled photographer can make all the difference in capturing your people, and providing imagery to the story you want to tell. But with so many options out there, how do you choose the right one?

Ask for referrals

Check their portfolio

Ideally Meet With Them

Pre-determine any key shots and make a list

Check what they can bring

Check their equipment and back up plan

Organise your introductions & runsheet

 

1) Ask for Referrals

Ask friends, family, or colleagues who have recently hosted an event for recommendations. They can provide valuable insights into a photographer’s work ethic, communication style, and overall quality of service.

2) Check Their Portfolio

Look at the photographer’s portfolio to get a sense of their style and expertise. Check for consistency in their work and pay attention to the quality of the images. Do they have experience shooting events similar to yours? Can they work with low light?
Do people look comfortable, like they are having fun? Do photos capture the essence of the event?
Is there attention to detail – do people have crooked ties? straps showing? stay hair? awkward hands? holding empty glasses? You get the picture.
Guests riding on a Hagglund at the International Antarctic Centre, Christchurch, New Zealand.
Event photography with group posed next to therometer at the International Antarctic Centre, Christchurch, New Zealand.
Group poses in chiller, at the International Antarctic Centre, Christchurch, New Zealand.

3) Ideally Meet with Them

Finally, meet with the photographer where this is possible to discuss your needs and expectations. Pay attention to their communication style, attention to detail, and overall professionalism.
 

4) Define Your Needs

Firstly, consider the type of event and the style of photography you’re looking for. Do you want candid, natural shots? Or more formal, posed photos? Do you want a photographer who specializes in a particular style, such as black and white photos? Or candid documentary style?
Or are you wanting a static base, using the a backdrop, lit with studio lighting? Don’t worry if a venue may appear dark or space not overly salubrious. This can be transformed and adapted by your photographer.
You will need to provide a sufficient ‘footprint’ to ensure enough space background and lights. This can often be overlooked, and is a really important consideration if expecting large groups (as well as power access). If the photographer is forced to be too close, they will need to use a wide angle lens. Which sadly will distort people. Generally speaking, you’ll need to co-ordinate the best space to account for any change in weather or temperature. Especially if your preference may be outdoors, or have an early start for a longer session.
Rationalise how long you might require photos, especially if people are drinking! People will be looking their best on arrival, and the most relaxed mid evening. Left too late, and the wild party you might be showcasing, is at risk of not being ‘on brand’ if you know what I mean?! Yet happy fun people could well be, so just make sure its a deliberate decision.
Hillary Barry with award recipients at Selwyn District Council Awards, Rolleston.
Award recipient and sponsor Selwyn District Council Awards, Rolleston.
Conference attendees enjoying a mix and mingle at morning tea.

5) Pre-determine Any Key Shots and Make a List

If you provide a list of  ‘must haves’, this will go a long way to ensure you aren’t disappointed afterwards should there be special moments not recorded. Especially if you have VIP’s, dignitaries, or special invited guests. Not least of all sponsors!!
Do point key people out so the photographer knows who they are, and were they may be seated.

6) Check What They Can Bring

An established event photographer will have all the right lighting kit, backgrounds, and most likely, props. The later can be a lot of fun if you are after playful and ‘silly’. Wigs, glasses, sports kit, soft toys, boas, hats ….the options are endless!
They should also have a necessary leads, weights, clips, lead covers as needed for ensuring a safe area, free of trip and bump hazards.

7) Check Their Equipment and Backup Plan

Make sure the photographer has professional-grade equipment, and a backup in the event of equipment failure.
Do they have a spare camera body? Spare batteries for cameras and flash? Are light stands to be weighted? Is electrical equipment certified?
What happens if they cant make it? If there is or bad weather?

8) Organise Your Introductions & Runsheet

Make sure you provide introductions on the night (or day)! If there is a dedicated event co-ordinator, MC or presenter, it will always pay to have everyone co-ordinated. Kiwi’s are notorious at avoided self praise and attention, especially at award type events. Most people will try and minimise any attention in the limelight. Walking up on stage in front of a large crowd, is up their with public speaking for many. But if not managed, the ‘grip n grin’ presentation you need recorded, could well be at the wrong spot, or appear rushed. Or worse, end up as an awkward handshake or without alternatives t0 a single shot plagued by a blink.
Sharing a well developed runsheet with your photographer is critical. Not only do they know what is happening, but they can think ahead to be in place as needed. This will save un-necessary movement, and subsequently minimise distractions for guests and presenters alike. Also establishing the best spot ahead of time is always an advantage. It can also mean your photographer knows when they might be able to grab a moment for a ‘comfort stop’ and the likes, and not miss crucial content.
Award recipient on stage, Selwyn District Council Awards, Rolleston.
By following these tips, you’ll be well on your way to finding  your ideal event photographer to capture your special day. Remember, a good photographer is an investment in your memories, and reflects your organisation. So it is our advice to take the time to choose wisely.
Of course here at Photoshots we are confident with our own advice, and would love to work with you as experts in event photography.
You are welcome to view more work here:
Or to contact direct:

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Newest Art Piece

Wednesday, March 27th, 2024

Recently I have been away in the North Island, with the ability to take some time for photos about the Central Plateau. This is one piece I have created title ‘Kaimanawa Stump’.

Being from Canterbury, I don’t often explore deep around the North Island. In fact, it has been a few years since I lived and worked there. I’d actually forgotten about some of the hidden wonders that abound. I LOVE the South Island, and in true Cantabrian fashion do tend to be a bit one eyed about the scenic wonder that we are blessed to live amongst here. Yet there is beauty and awe everywhere, sometimes you just have to look.

 

Kaimanawa Stump in black in white with river movement.

 

Thanks to good buddy Glen Howey, I have a little behind the scenes video,  to share the location for the epic black and white stump you see here.

We drove a short way off the Desert Road, and stopped by a fairly non descript bridge set amongst native bush. Yet Glen had been here before, and knew a semi hidden track that lead down a steep path to the river canyon you see here.

It was rugged, quite steep, with only a faint track. Yet holding onto branches and logs, we clambered down onto the rocky edge of the canyon.

At first I wasn’t too sure there was much on offer, but managed to explore away. While the overall canyon was wild and imposing, there didn’t seem to be ‘a lot’. Like many things creative, you need to play around and work your eye in. I’m now super stoked with the final image. Photographed with a neutral density filter, and long exposure, the aim was always to try and introduce some movement of the water. I feel this adds a sense of softness to the obvious power of water that caused the destruction of the fallen tree. You know at some stage, this spot would not have been a nice place to be. Even on a fine day like this, you couldn’t help be mindful of what was about you, knowing the crashing water led to a very deep gorge close by. The sort of place that if wet, you knew you would be in serious danger. Not only dangerous underfoot, but also with limited options to get away from rising and almost certainly raging water. If swept into the canyon chute just after the log seen, you know it would be simply terrifying . Yet despite this, the serenity of cotton candy trails captured here have a certain beauty.

 

 

The final image is largely as seen in-camera. The RAW file was converted to black and white, with localised highlight control, and some fairly broad edge vignetting.

You can see a couple of mock ups of potential framing options below. There are many quite clever options now available for artists to vsualise their work. While rooms may be generic, it is helpful I think to see a visual of how a photo might look on display.

Neat huh?!

I hope you like seeing a little behind the scenes, and learning a little of the background behind where I have created one of my art images. I may start doing a few more visual descriptors, as I journey about the countryside looking for inspiring landscape photos.

Mock up of Kaimanawa stump fine art print

 

Kaimanawa stump fine art photo layout in lounge

 

Kaimanawa stump fine art photo layout imposed in room view

 

Further room mock up of the fine art photo, Kaimanawa stump photo, by Tony Stewart.

 

The link to purchase a print of this wild river scene is available here:

https://shop.photoshots.co.nz/print_shop/products/32968463/196165/all

 

All other fine art photographs available to purchase as prints, enlargements, frames, or canvasses can be viewed here:

https://shop.photoshots.co.nz/printshop

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Expert Low-Light Photography

Sunday, March 10th, 2024

To all my fellow event enthusiasts! I’m Tony – a proud Cantabrian and award winning professional photographer. I believe in the power of capturing moments that shimmer in the shadows. From elegant dinners to electrifying concerts, I’ve come to realize the importance of hiring an experienced professional photographer, especially when the lights dim and the ambiance takes center stage.

As our cultural diversity grows, and the scope of performance events increases, we have an amazing scene building here in Christchurch. We now experience a range of conferences, concerts and performances. Each unique, with a rich narrative able to be captured through the lens of a skilled photographer.  But low-light photography is a unique skill.

Firstly, technical prowess comes to the fore. Low-light situations throw a curveball at even the most seasoned photographers. Many lighting situations are highly contrasting, with bright lights and deep shadows. Lighting is often changeable, and requires careful consideration not to blow highlights, yet ensuring that shadow details dont become noisy. Mixed here is a understanding of balance of ISO (also known as senor sensitivity, that can add noise), with the need to preserve motion through the use of appropriate shutter control. The two are not always paired well, and will often require a fine balance.

But with experience comes expertise, and that’s precisely what I offer my clients. A professional who knows their gear inside out, who can adjust settings on the fly without missing a beat, ensuring every shot is as crisp and captivating as the moment itself.

Then there’s the artistry. Anyone can point and shoot, but it takes a trained eye to transform darkness into beauty. Whether it’s the soft glow of candlelight casting a romantic ambiance over a dinner or the dynamic interplay of stage lights at a concert, a skilled photographer knows how to capture the essence of the event, preserving its magic for eternity.

But perhaps most importantly, it’s about trust. When I hire a professional photographer, you are not just paying for a service. You are investing in peace of mind. Knowing that someone with years of experience and a passion for their craft is behind the lens allows you to relax. I can immerse myself in flow of the performance, so you can have confidence that your event can be immortalized with care and precision.

So, to all my fellow event planners and enthusiasts out there thinking of hosting an event in Christchurch, please take it from me. When the lights go down and the magic begins, don’t settle for anything less than the best. Invest in an experienced low-light photographer and watch as your events come to life in ways you never thought possible.

Elton John tribute act performer welcomes crowd on stage at Te Pae Christchurch.

Singer performs on stage at Te Pae as part of an Elton John tribute act.

Elton John tribute act performs on stage at Te Pae.

 

Like to know more? Contact me today

https://www.photoshots.co.nz/contact-tony-stewart/

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Conference Photography Explained

Wednesday, February 28th, 2024

Conference Photography in Christchurch, New Zealand

Christchurch, with its iconic landscape, is an ideal canvas for the conference events. Post quakes, the rebuild has ensured that the city centre is compact enough for people to walk about. Yet as a city, it also big enough to provide a variety of specialty venues and activities, especially now with Te Pae up and running. There are an increasing pool of hotel options now available. Given many businesses and event planners are also back into their work after the festive break, this could be a great time to explore how Photoshots can help with your conference or event.

From award nights, cocktail parties, business presentations, community workshops, or panel discussions, Tony and his team at Photoshots are experienced providing high quality image captures. Over the years, they have works at a whole range of venues, at manner of conventions, conferences and gala dinners. On the periphery of corporate and conference type events, they are also able to assist at reunions & jubilees, civic awards, concerts, hui, fundraisers, balls / formals and exhibitions.

 

Tony and his staff bring a wealth of experience that can enhance the value of your conference by:

  1. Storytelling through Imagery: By capturing key moments and emotions, Tony and his team can transform ordinary scenes and moments into a compelling narrative. The photos you receive have the power to convey the atmosphere, energy, and essence of your conference, creating a visual story that can resonates beyond the reach of the event itself. Photos will serve as cherished record for your organisation, and can act as powerful marketing tools, conveying the vibrancy driving your conference experience. Photos are great to share after your event in newsletters, an annual report,  delegate photos galleries and for promoting next year’s event!
  2. Professionalism and Expertise: With years of experience in the photographic industry, Tony brings a level of professionalism and expertise that will reassure conference organizers and delegates alike. His mastery of the craft ensures that photos are well composed, well-lit, and thoughtfully executed. Reflecting the high standards of photographic craft expected. Especially important, given that most event photography is often at the whim of low light and darkened rooms!
  3. Live Event Coverage: With scheduling and planning, Tony can provide real-time documentation of your conference. This not only serves as a valuable visual record for attendees at the time, but also creates a buzz on social media, extending the event’s reach to a broader audience.
  4. Showcasing the Venue and Locale: Tony’s talent extends beyond capturing people. He excels at showcasing the venue and the surrounding locale. Whether it’s the architectural elegance of the conference venue, or the scenic beauty of Canterbury, his photos can become a promotional asset for future events, enticing potential attendees and sponsors.
  5. Enhancing Brand Image: High-quality event photos contribute to the overall branding of your business or organisation. Tony and his staff are all well aware of the importance of enhancing your visual identity, to reflect positively on sponsors, organizers, and participants. Are people engaged, are they enjoying themselves, are logos prominent…? These images can be utilized in a range of future promotional materials, websites, and marketing collateral.
  6. Polite Engagement and Interaction: Tony and staff pride themselves on being able to engage with all people respectfully and politely. This can range from children and venue staff, through to CEO’s, VIP’s and Ministers.
  7. Understanding the Best Approach. Often the approach to photography varies within an event. Tony has 24yrs experience understanding large events, so gets that sometimes photography needs to be invisible and discreet.  ie keynote speakers, strategic planning sessions, AGM discussions, VIPs… Other times, photography needs to be directive and interactive, in order to work efficiently and keep on schedule. ie delegate group photo… Yet for other parts, a soft personable approach is necessary to engage with polite intrusion, ensuring breadth of coverage expected. ie conversazione, mix and mingle, dinner tables, sponsors…

 

In essence, a Photoshots contribution to your conference will exceed the mere provision of photos themselves. It will be a powerful visual record, that enriches your overall event. It will provide a rich archive for sponsors and future marketing, and a cherished record for participants and stakeholders. All while balancing discretion and polite engagement.

So, Photoshots would love to help your business, Association, Institute, or committee! You can see further conference work here:

https://www.photoshots.co.nz/conference/

You can email or call Tony here

https://www.photoshots.co.nz/contact-tony-stewart/

Exhibition hall set out with sponsors stands at pharmaceutical conference, Te Pae Christchurch.

Mixed group smiling at corporate networking event.

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New Fine Art Visualisations

Thursday, February 22nd, 2024

The newest page to the Photoshots website was a fine art gallery launched late last year. There are ~250 photos available to purchase as prints, framed enlargements or canvas wall art.

Here you can view many of my award images, and photos taken from assorted outdoor adventures and personal projects. Perfect to enjoy in print at home, at work, or as a gift for someone special.

Much of the work has been taken from various personal trips, that I have taken to explore the great outdoors. I will commonly head about Canterbury or Otago with the sole objective to take photos for pleasure.  I don’t always have a full plan as such, rather more a vague desire to try new technique, or visit somewhere new that I have only heard about. Often too, it is genuine exploration, driving down side roads just ‘to see’ what is there. It is seldom without reward, and I have been richly rewarded from such curiosity on many trips.

Subsequently I have many landscape images from all about the South Island, and to a lesser extent the North Island. I have tried to avoid too many ‘chocolate box’ photos, as I realise there are many other portals that will offer similar views. Instead, I have tried to offer a variety of locations, with visually interesting compositions, and unique interpretations. Though some locations are not always able to be truly unique – especially if you stick to signed areas and paths as required as good guardians of the countryside. Yet lighting and camera craft will always offer opportunity to add something unique to me.

I was taken very early in my career by the colourful series taken by Robin Morrison as he toured heartland New Zealand. I too have a fascination with simple design, with bold colour. Quite often these aesthetic elements are  juxtaposed amongst quite unexpected ‘finds’ out and about in heartland New Zealand.

House with newpaper curtains.

 

I have provided variations of colour and black and white, as well as a variety of size formats. These range from square (1:1 ratio), some 5:7, and panoramic 3:1 ratio. The most common by far though is native full frame 3:2 camera ratio.

Since launching, the gallery has recently had a refresh. Using some clever design software, many sample photos have been added, as well as a sizing guide. The room visuals offer a very clever interpretation of various frame options, sizing and generally how a photo may look in a domestic or office setting.

The aim is to assist prospective art buyers better understand the options online. I know that is challenging on computer, trying to guage what size or finish  is best.

Yet I will always be on hand to help, and offer advice as needed.

 

 

You can view all images here:

https://shop.photoshots.co.nz/printshop

 

Some examples of fine art photos available, displayed using mock ups in ‘real’ environments.

Framed print of the Aurora Australis displayed on a living room wall, taken by Christchurch photographer Tony Stewart.

 

Framed fina art canvas displayed on a living room wall, taken by Christchurch photographer Tony Stewart.

 

Moody black and white canvas displayed on a lounge wall, taken by Christchurch photographer Tony Stewart.

 

Panorama print of Fiordland displayed on a lounge room wall, taken by Christchurch photographer Tony Stewart.

 

Jesus face framed enlargement hung as a sample on a lounge wall, taken by Christchurch photographer Tony Stewart.

 

Framed and matted wall print taken by Christchurch photographer Tony Stewart, hung up in a living room.

 

Abstract textured photo taken by Christchurch photographer Tony Stewart, hung up in a living room.

 

Sample sizse available for wall art.

 

You can view all images here:

https://shop.photoshots.co.nz/printshop

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NZIPP Interview

Tuesday, February 20th, 2024

NZIPP profiles different members each month. I made the cut for February, and share the brief outline here.

 

NZIPP – the New Zealand Institute of Professional Photography

 
This month we were lucky enough to chat with NZIPP Accredited professional photographer and Christchurch based NZIPP Grand Master Tony Stewart from Photoshots
📸Tell us about yourself….
Tony: Well, I live on the outskirts of Christchurch,  shooting a wide range of photographic genres about Canterbury.
📸How did you develop an interest in Professional Photography?
Tony: From my OE some years ago really. I loved the idea of taking photos all around the place but didn’t always know how I got something looking good, or why others didn’t work out! I left a career in teaching to retrain once back in NZ.
📸What type of Photography do you do most?
Tony: Probably mostly commercial & events these days. Business profiles, products, award dinners, conference – that sort of thing. Though I still photograph  weddings, teams, schools, etc as well.
📸Your best memory as a photographer?
Tony: Not one so much, rather many that come from meeting a wide range of fascinating people and having access to some pretty neat places not otherwise available to the public.
📸Do you spend a lot of time editing your work?
Tony: Umm, yes, and no. I think there is base post production that is inevitable for all photographers. I try not to overedit. Where I can, I do try and provide hours for staff, to take care of this side of things.
📸Is there any artist/photographer who inspired your art?
Tony: I do love the raw documentary nature, and social commentary of Sebastião Salgado. Not quite sure this has inspired my work directly as such.
📸What type of gear do you shoot with, and which one is your favourite?
Tony: I’m a Canon user through and through. It was the first camera that I got for my 21st birthday. I then bought a flash, then a lens, then another…. you know it goes!!
📸If you could go back 10 years, what advice would you give yourself?
Tony: Well, that was the time of Quakes here in Canterbury, so a broad folio with depth across several genres kept me in business during pretty trying times. So I’d say diversification has worked for me. Unless you are wanting to be a specialist in something that especially spins your dials, or have developed a very strong niche, having options is good.
📸What do you think is your biggest accomplishment?
Tony: Definitely becoming Grand Master. That was big for me and was not a certain accomplishment by any means. It was a big commitment that was the result of consistent effort and hard work.
📸What makes the good picture stand out from the average?
Tony: Good design, intrigue, connection, spot colour, composition…
📸What is in your Camera Bag?
Tony: As I get older, my ‘go to’ kit is getting slightly lighter – haha!
In essence, my everyday bag has a Canon R6 and R5, with 5DIV back up. I pack wide, mid and tele L series lenses. I take x2 on-camera flash, various filters, intervalometer, batteries, cards, meter and colour checker. Often in conjunction with a set of pocket wizards, Manfrotto tripod, and off camera flash.
📸Do you have a Bucket List for 2024?
Tony: Yes, there is one place especially I want to photograph overseas. I won’t say here in case I jinx it, but it will take some saving and some co-ordination for just how it might work out. It is a bit remote, and not a place many get to venture!
📸What 3 words describe your photography style?
Tony: Created naturally hopefully!
📸What are your other passions?
Tony: Cooking, gardening, skiing, travelling, outdoors, hunting, craft beer, & dining out.
📸Anything else you would like to add?
Tony: I’ve since worked out photography is like perpetually opening doors. One opens, and you think you have the answer. But then there is always another one in front to discover after that! There is always something to learn and discover. I love it.
📸Why did you join NZIPP?
Tony: Support when starting out for sure. Education about how to be a photographer through various seminars and conferences. Then I think that evolved to become more about awards. Now 20yrs+, while those things remain equally valid, I would say it is now more about good people and connections.
Some folk will be familiar with the In Pursuit of Giants adventures that we’ve created. That has been such a neat experience that wouldn’t have been possible without NZIPP camaraderie. It combines a lot of things that I enjoy – taking photos, having a laugh, getting outdoors, physical challenge, exploring new places,… (over the odd beer!).
Post quake abandoned houses in residential red zone, Christchurch
Moody fine art black and white photo of breakwater bollards.
Bride and father arrive at a wedding in sports car.
Moody black and white fine art photo of an abandoned truck in paddock.

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Large Groups

Monday, February 12th, 2024

One of the key aspects of photography I enjoy the most as a working professional, is the variety of people I get to work with. From schools and conferences,  to weddings and businesses, I get to meet a huge variety of folk. Yet at the end of the day, they choose a photographer to deliver some form of visual record, and it is my job to secure that in a timely and professional manner.

This week I have had the pleasure of working with two large groups, each after an annual group photo, that will form an important visual legacy within the archive of each organisation.

While the value of photography is immediate (‘Oh, there I am there!’), I believe the enduring record of photography is far more important. Photos serves as a time capsule far into the future, and why I am a huge proponent of print. If you think about your own family, and those passed, there are few other links to generations gone by. I know in my family, one treasured hierloom from my Scottish forebears, is a tattered black and white photo my Great, Great, Grandfather and Mother, with their large brood of children. They are posed outside their tiny cottage in North Otago, which would have been a big deal to have taken back in the day – most likely on a large format view camera by a travelling photographer. Dating from the 1870’s, other hierloom treasures do not connect as directly as this visual record that they left for us.

I enjoy the concept that in years to come, older folk will get to reflect on their youthful looks, that we can to laugh at fashion from time gone by (think back to the 80’s now!), that there is something to show for a valued filled life. That taking photos, is to value history.

It isn’t always about how often you look at something either. Rather, is about memories, and how you feel when you do look back at photos.

So if you have a school or group, do feel free to make contact. Or perhaps are on a reunion or jubilee committee, belong to a community group, or help run a sports club. Maybe you are planning a prizegiving event or retirement function, an anniversary, a hui, a big festival, a tournament, regatta, rally, … the list is endless! I’d love to help. You have a little bit of my philosophy here 🙂.

 

 

Group photograph of large Kura Kaupapa in Ōtatauhi Christchurch, New Zealand.

Professional annual group photograph of large girls school in Christchurch, New Zealand.

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Welcome Back

Wednesday, January 24th, 2024

New Year, new staff? I’d love to chat!

It’s that time of year where businesses kick back into gear after the seasonal break. HR will often schedule new appointments to start fresh for the year ahead. Many professional firms have new graduate intakes, and often organisations take the chance to regroup after the holidays, with regional inductions, sales meetings or planning sessions. If you have staff coming together, or have employed new team members, this could be a great opportunity to keep both your webpage, and general marketing collateral, current. That’s where I can help with professional head shots, staff profiles, executive portraits.  Yet it may be as simple as updating email footers, an internal staff identifier board, or employee of the month promotion.

Your staff imagery is how your clients see you, often before they actually get to meet you. As they say, ‘you don’t get a second chance to make a first impression’.

If you review your current imagery of your staff, CEO, SLT, Directors, or Board – does this showcase the professionalism and warmth that project the values of your business?

If you aren’t sure, that’s how I can help. I offer all clients a ‘no cost, no obligation’ approach, and a customer satisfaction guarantee. In practise, it costs you nothing to talk about your ideas. Plus if I don’t come up with something that provides your business with value, equally, there is no charge. You can only benefit. Now that’s a win!

Mock up of professional headshots.

I have mobile studio equipment that can be set up on site to provide professional studio style portraits. While often in a boardroom or training area, this is equally able to to be set up anywhere. This could be a warehouse, office, garage or outside.The choice is yours in fact.

Warehouse staff profile

 

It needn’t be ‘flash’ (excuse the photography pun!). Often it is just a space, and you’ll be amazed just how professional the outcome is.

I will adapt your space and provide whatever lighting and background kit may be needed to produce imagery , in whatever style you require.

The advantage especially if you have several staff to profile, is they can all stay on site and remain productive. This is a cost saving to you, and makes for an efficient photo session. The advantage is staff are generally more relaxed, able to just jump in / out as needed.

Studio style portrait layout in a storage warehouse.

If you would like to talk about options for your business, please call or email. I’ll do my best to help.

https://www.photoshots.co.nz/contact/

 

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