When I commenced publishing the Leeuwin Naturaliste Series of postcards back in 1989 I started with just 11 cards. By the following year I was needing more new images. In particular, I needed images made in the 35mm film format I had designed my postcards around. As I explained in “25 years of south west postcards” cropping images from other camera formats that did not fit the 2:3 ratio posed a bit of a problem. I had been using 645 medium format and 4×5 inch large format well before 1989. Both have a similar aspect ratio and when I composed an image for that format it did not necessarily crop well into a 2:3 image for postcards.
So in 1990 I set about hiking about the south west with the only 35mm camera I had and a 28mm wide angle. The majority of the postcards I made over 25 years were produced with this single combination. Although I did own a 100mm short telephoto for my 35mm Pentax LX, I can’t recall taking it on a hiking trip with me. This may sound contradictory it was just a little too short for landscapes.
I arrived at Yallingup to a cool crisp winter morning, well before sunrise. There was a faint yellow glow in the east and a deep violet earth shadow descending across the western horizon. A light offshore breeze felt cold on my back as I set my camera up on a tripod and pointed it towards the west. In the distance far offshore the breaking surf was lit up by the first of the sun’s rays.
In the foreground slanting rocks facing the sun stretched out in small parallel lines into the ocean, drawing the eyes towards the breaking surf. The sun was slightly diffused through some cloud as it first lit the scene. I managed a few frames with the distant break working, before the sunlight broke through the cloud completely and the contrast became too high turning the shadow details to black.
Placing my camera inside my backpack and shouldering my tripod I continued my coastal walk to see what else might be around the corner. The light at this stage was fast losing its morning warmth and the movement of cloud predicted an overcast day was soon to follow. As I walked below Rabbit Hill at Yallingup beach the steeply angled light hit the plumes of spray blown off the tops of the waves.
I attached a zoom lens which I had borrowed from a friend. It was an odd 3rd party lens -I can’t remember its make- of around 140mm maximum focal length. At its maximum I managed to compose a small section of water below the cliffs in which the waves were breaking. Timing is everything in photographing breaking waves. The shutter speed has to be fast enough to “freeze” the image while the success of the composition is totally dependent on the placing of the waveform. Each sequence of waves offers a different image potential, no two sequences are the same. So I made a series of exposures from the same tripod position until the sun faded under the clouds and the lighting effect lost.
Both images were made on the same morning within an hour, yet show vastly different views. The Surf Rabbit Hill Yallingup, postcard was published in 1992, two years after I had published Yallingup Sunrise. Although it was made with a short telephoto lens it still required some cropping in the final drum scan. It became a hugely successful postcard card. Both images were made on Fujichrome 50 Professional RFP 35mm ISO 50, which I used up until the introduction of Velvia 50 ISO film not long after 1990.