3.3 Control of Light and Shadow

◄ Federation Square lies directly opposite Flinders Street Station and St Paul’s Cathedral in Melbourne. Upon first arriving, I was immediately captivated by its bold architectural presence. Originally met with local skepticism—some deemed it too jarring for the city’s aesthetic—it has since evolved into one of Melbourne's most iconic landmarks. Though I was unable to explore the interior this time, the complex houses institutions such as the National Gallery of Victoria (Ippert Collection), the Australian Film Institute, the Concert Hall and Theatre (BMW Edge), along with several restaurants. I hope to return in the future, ideally during summer.

During my visit, Federation Square hosted "The Light in Winter," an installation that drew me to the luminous ceiling fixtures and a striking LED column array near St Paul’s Cathedral. By day, the effect was already compelling; by night, dynamic light projections danced across the plaza as visitors gathered to photograph and reflect. The contrast between these modern illuminations and the solemn lines of the ancient cathedral created a scene of profound beauty. I composed this image with simplicity in mind, capturing that fleeting harmony.

► Passing through Timaru at midday, we paused for lunch at May’s Bakery—a modest café serving light fare and coffee. For a honeymoon journey, the meal felt sparse, yet its ambiance was rich with charm: simple décor, vintage photographs adorning the walls, and a quiet artistic grace. Lydia sat by the window facing the street. The weather was clear; sunlight streamed through, creating a natural glow across her face from my vantage point. By combining ambient outdoor light with the café’s soft interior illumination, I achieved a remarkably natural skin tone. Front lighting remains one of photography's most intuitive and reliable directions.

◄ While ascending Mount Hohu, we passed several rest points. The cold mountain air prompted frequent stops for warmth and restroom breaks. At the Hohu Pavilion, situated at 3,180 meters—second only to Wu Ling’s 3,272 meters and higher than Kunyang at 3,070 meters—we paused to admire the panoramic view. The pavilion offers accommodations and is especially enchanting during winter, when snow blankets the landscape.

On our way toward Wu Ling, the winding mountain road offered dramatic vistas. From a viewing platform before the pavilion, I noticed how the serpentine path layered across distant ridges. As a vehicle approached, I captured this image—part of a series of four taken in succession. The moment two cars aligned perfectly within the sunlit stretch, I chose this frame. Using a telephoto lens compressed spatial depth, yet the relative size difference between the two vehicles emphasized perspective and distance. This interplay of compression and contrast felt both intentional and poetic.

► The journey from Wanaka to Franz Josef Glacier was not long, though the mountainous terrain made travel demanding. We arrived at Franz Josef Glacier Country Retreat early in the afternoon—just after five o’clock. After check-in, we were assigned a spacious room for two nights, offering ample rest despite the packed itinerary. The local tourism office was closed by the time I arrived to book excursions, and only later did I learn that guided glacier walks had filled up three days prior. My preparations were clearly insufficient.

That evening, I had reserved dinner at the hotel’s restaurant. With few dining options in town—around five or six establishments—I decided to begin with the hotel’s own offering. Returning from a stroll through town, twilight still lingered as I wandered briefly outside the building. The mist had parted slightly, revealing shafts of sunlight piercing through cloud gaps.

From this vantage, distant trees and mountain ridges were bathed in backlighting. Above, the clouds glowed with ethereal "Christ’s Light"—a phenomenon where sunlight streams through atmospheric gaps, creating divine beams. The composition layers foreground forest and mountains in silhouette, translucent light rays passing through cloud strata, and a dense canopy of clouds above. This stacked arrangement not only conveys depth but enriches the image with narrative texture and emotional resonance.

◄ At dusk near the Longteng Bridge in San Yi, our group descended to a stream for a refreshing dip. The sky glowed with soft pink hues as pedestrians strolled across the bridge above. I framed this shot using silhouette technique—capturing a fleeting moment of human presence against the fading light. Silhouettes thrive in high-contrast scenes, and when paired with minimal composition, they evoke a cinematic quality, rich with narrative potential.

► The idiom "a bloom that lasts but a night" long fascinated me—yet until now, I had never seen the night-blooming cereus. To my surprise, one grows in our garden. The flower opens only at night and closes again by dawn. I chose a quiet evening to photograph it.

The plant grows beneath a lamppost and power pole, creating an uneven background. By using flash to underexpose the surroundings while ensuring proper exposure on the bloom, I achieved a technique known as light compression. Though ambient light was sufficient, I used flash to intensify the flower’s form and diminish background clutter. The result is a focused, intimate portrait—where the subject emerges clearly against an obscured world.

◄ Dunhuang Mogao Caves lie nestled in the cliffs of Mingsha Mountain, southeast of Dunhuang City in Gansu Province. Alongside the Yungang and Longmen Caves, it ranks among China’s “Three Great Grottoes.” First carved in 366 CE, the complex expanded over centuries until the Yuan Dynasty. Today, approximately 735 caves remain.

Before entering, all bags must be stored outside. Photography is strictly prohibited within the exhibition zones—though visitors may photograph from beyond the fence. I circled the perimeter four times, searching for a compelling angle. One vantage point offered a side view of the pagoda.

Regrettably, my visit coincided with a Dunhuang Studies symposium the following day—hence the props visible below. The nine-story pagoda, standing 33 meters tall, houses Cave No. 96—an immense statue of Maitreya Buddha, measuring 35.6 meters in height and constructed from stone core with clay and pigment finish.

As the sun rose directly overhead, a brilliant shaft of light swept across the pagoda’s front. The resulting lens flare illuminated the structure with a radiant, almost sacred glow—creating an image of breathtaking grandeur.

► On weekends, we often take our child outdoors for a change of pace. Occasionally, she joins us at a café to enjoy coffee and unwind in the afternoon.

On this occasion, Zoe had been active in the morning. By afternoon, she was exhausted and fell asleep on a sofa chair. I set my aperture to f/4, used spot metering, and increased exposure compensation by +2/3 EV—aiming for a high key effect. Though the subject was brightened, detail remained intact without overexposure. Her skin appears smooth and delicate—capturing a moment of tender fragility.

◄ This was my third visit to Kiyomizu-dera in Kyoto—a place I’ve long cherished. Each journey yields a photograph I hold dear.

The contrast between the bright exterior plaza and dim interior of the main hall created a challenge. I sought to capture worshippers engaged in prayer, but wanted to avoid disturbing others. After scanning the space, I found a vantage point on the right side—offering an unobstructed view of the main gate and a kneeling mother and daughter.

As the crowd thinned, only this pair remained. The daughter was deeply absorbed in prayer. I used a telephoto lens and spot metering to carefully balance exposure—preserving shadow detail while preventing highlights from blowing out. This deliberate retention of dark areas defines the low key style, creating an atmosphere rich in quiet reverence and narrative depth.