A window between the clouds revealed the rugged layers and shadows of the Southern Alps shot at summit level and compressed with the 100-400mm lens; a view you can only see from the air.
2/8
Ice structures of the Fox Glacier, in the West Coast of New Zealand. A moment between moments to look for the finer details while hurling between the tallest peaks of the Southern Alps.
3/8
Carved out by the retreat of New Zealand’s largest glacier and laying in the shadow of the tallest peaks of the Southern Alps, the Tasman Lake is a visible reminder of our ever changing environment with its year to year rapid decline, no two photos here are ever the same.
4/8
En route to the runway an unexpected moment of light breaks through as the sun begins to set over the Northern stretch of Lake Te Anau. I was lucky to have my camera still at the ready and to capture this fleeting moment.
5/8
Violent winds and signs of an impending storm rip fresh snow off a 3000 peak in the Southern Alps of New Zealand. Sometimes adverse weather conditions provide the most interesting atmosphere but you just have to be able to weather the immense turbulence to be able to capture scenes such as this.
6/8
Braided rivers flowing down from the Langjökull Glacier interconnected and sprawled out like tree roots on an aerial project to document the glacial rivers of Iceland.
7/8
Low cloud and fresh snow framing New Zealand’s tallest waterfall, Sutherland Falls, located deep in a glacier-carved valley inside the untouched wilderness of Fiordland.
8/8
The hanging glacier lakes of Fiordland laying at the end of the Arthur Valley dominated Fiordland’s tallest peaks, Mount Tutoko and Mount Madeline, in the distance. Most images of this location are seen from the front showcasing the huge waterfall flowing from the lower lake but on this occasion, with the right weather conditions, we intended to fly behind the lakes and capture the entire scene angling the plane to line up the lakes, valley and the rugged mountains.
What's In My Kit
The Alpha 7R III has been my companion for the last two years and hasn’t skipped a beat. From the depths of the Greenlandic winter, diving the Great Barrier Reef, to hurling through the air on various aerial projects around the world, this camera has enabled me to bring my visions to life.
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For isolating distant peaks and compressing mountain layers, I always have the FE 100-400mm GM mounted on my second camera body as an alternative to the standard wide angle focal lengths.
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The FE 24-70mm F2.8 GM is a trusty work horse and go-to lens for almost any situation. It’s the essential all-rounder with incredible sharpness and I don’t leave home without it.
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I use a polariser to cut glare through plane windows or if shooting over lakes or the ocean to help retain detail in the image. A must for me during daytime shooting.