Cathedral Rocks Shoreline, Kiama, East Coast Australia.

February 16th, 2013

I had seen a number of pictures recently of this place and decided to check it out for myself. The aptly named rock formation is very impressive but wasn’t exciting my photography bugs on this particular evening. Instead, I found myself drawn to the slippery, rocky shoreline and the intricate nooks and crannies surrounding it.

The waves were surging in through a narrow u-shaped channel at a regular interval and seemingly of a consistant size. Unlike the conditions I experienced shooting Rainbow Sunset. Despite these benign seas I knew I would still need to be alert. Positioned behind a tall rock shelf, I would not see the approaching waves until they flooded the rocks and channel I decided to shoot.

Occasionally, a heavy thud and a spray of whitewater rising above the far side of the rocks, hinted a larger than usual wave was coming. So, before setting the tripod and camera up, I had spent 30 minutes or so higher up the cliff behind me watching the sets as I tuned into the ocean’s rhythm.

Arriving early is wise for shoreline photography. It leaves time for scouting the best shooting position, a dry spot to leave gear not being used as well as plan an escape route if a rogue wave does turn up. Even with all this prep and respect for the ocean there’s been a plenty of times when I have (very ungracefully) rock hopped to safety while holding the tripod and camera high above a surging wave. 

Today, though, was calm and comfortable with time to appreciate the warm, summer evening and slowly, softening light. Shielded from the direct rays of the sun by the cliff, my cocoon of wet, glistening rocks and foaming waves was bathed in the reflection of the last blueness of late afternoon sky.

Nature’s colours were subtle and muted this evening but I was seeing in black and white. I made some exposures based on where I wanted shadow detail then others to hold the texture of  the highlights all the while visualising how much contrast I would need to properly show the flow and substance of the scene before my tilted lens.

Tomorrow I would lay three or four of these exposures on top of each other and paint in (or out) the tones I wanted to keep (or not). I love the digital ‘light’ room - all the techniques of past learning without the smell and red darkness.

Right now, however, I would enjoy this place - it’s mood and beauty - until the last of the light had soaked into the rocks and washed away on the waves.