Entries by Robert

Long ago castles were constructed to both defend and impress. In more peaceful times manor homes continued the tradition of impressing positions of wealth and power.

The need to impress will never go away but it's nice to spend a little while dining in a fabulous structure looking out over an even more beautiful land and seascape. For a few hours at least, lording over it all.


Photo: Robert Rath, 'Lording Over It All', 1/30s f/7.1 ISO640 17mm

There is no one I know that does not love the view across water.

To gaze out across a vista unencumbered by any obstacle to either a distant bank, shore or horizon is universally calming.

Perhaps this tiny island might have broken that spell but when the water is calm and its reflection ripples out and back towards me it makes it all the more peaceful.

Photo: Robert Rath, 'Peaceful Symmetry', 1/6s f/5 ISO100 120mm

The 'Unity Candle' is a common part of weddings ceremonies in western culture but where does this tradition actually come from?

Today for Jennifer and Steve all that matters is that it symbolises their love and coming together as newlyweds.

Their wedding was a unique fusion of ceremony, music and place which they made their own and which we were privileged to be a part of.

So, does it really matter the history behind those candles and their gentle flames? Perhaps it is best to not delve too deeply and risk disapproval.

As in all things they have given it their own beautiful meaning just as it should be.

Congratulations Jennifer and Steve. May your marriage forever be an inexhaustible source of love, nurture and joy for you both.


Photo: Robert Rath, 'Three Candles', 1/1250 f/2.8 ISO400 135mm

Imposing, majestic, graceful, serene, beautiful, and elegant all come to mind where swans are concerned.

When it comes to being photographed they are not so different from people.

Here's looking at you!


Photo: Robert Rath, 'Look At Me', 1/640s f/2.8 ISO320 200mm

No matter your interests in motorcycles there is no mistaking the shear imposing audacity of Honda's 'GoldWing'.

This is the first time I've come across one with camera in hand so I really had no choice in the subject matter.

If gold could fly this would be it!


Photo: Robert Rath, 'If Gold Could Fly', 1/250s f/2.8 ISO100 70mm

The water was calm, almost mirror like and perfect for capturing the feel of the lake at dawn. Now all I needed was a splash of blue sky and a hint of sun. Despite all my coaxing I could not extract a glimmer of sunshine.

Being grateful for the smidgen of colour that did appear I sought a new perspective in this tangle of gnarled branches of some long fallen tree.

The foreground will always be an important part of any landscape and this tangled place made it something special even without the sun I had risen so early and driven so far for.


Photo: Robert Rath, 'Tangled', 1/50s f/11 ISO100 8mm

A whiskey was the last thing on my mind as I approached the bar to buy a round of drinks. Then I saw them all lined up together.

Since experiencing my first Irish whiskey some fifteen year ago I have come to love whiskeys with almost no hint of peat and have learned to always end my whiskeys with an 'ey'.

Seeing that bottle of Midleton Barry Crockett opened on the bar and after a serious conversation with my will power I chose to bring "Barry' back to the table.

Tonight we dined in very fine company indeed.

Photo: Robert Rath, 'In Fine Company', 1/40s f/4 ISO2000 75mm

What do Austrian and Australian formula one drivers Max Verstappen and Daniel Ricciardo have in common aside from the fact that they both drive for Red Bull? And my answer is ... 'Austr__ia'.

Being an Austrian Australian I find this play on words somewhat amusing and on the odd occasion a source of confusion when travelling.

Despite their differences and recent spats I hope Verstappen and Ricciardo remain civil and continue driving for Red Bull as a team. It's great seeing such a public connection with an Austrian and Australian working together in such a high profile (if not high ego) sport.


Photo: Robert Rath, 'Austria and Australia', 1/50s f/6.3 ISO3200 40mm

In amidst all the other sailing and motor boats she sits. No privacy here other than her namesake.

Take her far out into the blue water. Take her out towards the horizon and beyond prying eyes and she'll give you all the privacy you want!

Photo: Robert Rath, 'No Privacy', 1/1250s f2.8 ISO100 200m

Fronting up to a desk job every day for a prolong period is a sure way to loose contact with photography. Or is it?

Well it might be an easy excuse but really there is no reason why a quick lunch break and a 30 minute stroll away from your desk can't be used to keep your your photographic eye sharp and get a little exercise at the same time. Today I did just that, grabbing my camera and heading out for a quick stroll.

Ten minutes into a little sunshine and fresh air I came across this little guy, a juvenile pied cormorant who just oozed attitude. For a few minutes it preened and peered gawking at me with all kinds of expressions as I lay on the ground capturing this portrait.

Then without warning it turn around, raised its backside in the air towards me and plopped into the water. Thanks dude!


Photo: Robert Rath, 'Dude With 'Tude', 1/800s f3.5 ISO160 200mm

I grew up with the family car having always been a Ford.

As a young teenager I was inspired by such Australian muscle cars as the GTHO and Coupe Falcons but when I encountered my first Mustang, an exotic car in the Australian 70's I got my first hint there were bigger beasts out there.

I've long since shed my insular loyalty to a motoring brand just because that's what my Dad drove but still to this day I find my self singing along in my head to Mack Rice's Mustang Sally when ever I see a Mustang old or new.


Photo: Robert Rath, 'Ride Sally Ride', 1/640s f6.3 ISO640 200m

With a strong feeling that there just might be an awesome sky this evening I headed down to Henley Beach about 15 minutes before sunset. The moment I arrived I realised I had made a mistake.

For some months now Henley Beach Jetty has been a no public access construction site as storm damage is being repaired and a new shelter constructed. The interim downside is that it has become a bit of an eyesore and not conducive to lovely images.

Leaving it so late I really had no choice but to make the most of being here and pointed my camera North by North West instead.


Photo: Robert Rath, 'North by North West ', 0.3s f20 ISO100 14mm

As I drove home earlier in the week I noticed a great rent in the clouds opening up as if someone had taken a knife to the sky.
There was of course nowhere safe to stop atop the Port River expressway bridge and I'm sure it would not have been legal regardless.

I nearly drove on being happy to just take in the sight when a little way on inspiration took me and I found a place to pull over. Crossing the four lanes of high speed merging traffic was a little nerve racking and when I did get to the safety of the medium I was a little shaken. Note to self: cars travelling a high speed appear from nowhere and without warning!

The walk back and up to the crest of the bridge between the two opposing flows of traffic was fortunately uneventful and I got to stand admiring that ripped canvas peacefully oblivious to the cars and trucks all around me.

I stayed awhile up there as the sun disappeared and that ripped canvas tore slowly apart like some giant zipper revealing a clear blue grey sky beyond.


Photo: Robert Rath, 'A Rip in the Canvas', 1/320s f5.6 ISO200 100mm

This story began more than 34 years ago when I stopped by an old electronics salvage store on Churchill Road, Kilburn where I first met Batz Goodfortune, inventor, designer and electronic music composer extraordinaire and creator of the All Electric Kitchen (AEK). Sharing just a little common ground, we hit it off.

A year earlier, in 1983, Yamaha introduced a synthesiser they dubbed the DX7. This machine took the mainstream music industry on a transformative ride that created some of the most iconic keyboard sounds of the 80s. Batz had two of these coveted machines, and I was envious!

More than 34 years later, a very good friend of Jennifer's, Russ, decided it was time for his DX7 to find a new home. Thanks to his wonderful generosity we now have one of the wonders of the 80s here in our living room.

At first it was a bit reluctant to come back to life. Its internal memories were lost, the performance settings were corrupt, and all we could initially get out of it were the most appalling squawks. After a bit of Googling, some circuit board surgery, a copy of the original sounds as MIDI system message files, and a fair dose of TLC later, Russ's DX7 was once again making those nostalgic synthesiser riffs come alive!

Thank you, Russ. This trip back to the 80s has been so much fun.


Photo: Robert Rath, 'Back to the 80s', 3.2s f4.5 ISO200 100mm

From the balcony of the Largs Pier hotel I heard a strange hissing sound from across the way.

In the gloom I could just make out a dark shape holding what looked like a spray can tagging something unseen.
Then he was off and his gait carried a smugness that said it all.

I really had no hope of capturing an image that could be used against the perpetrator but what I did get was interesting enough to keep.


Photo: Robert Rath, 'A Smug Escape', 0.6s f2.8 ISO3200 200mm

There is something almost unreal about the petals of a tulip.

Unlike the velvety textures of roses or the rough textures of chrysanthemums, tulips have a feel all of their own.

I simply just love the form and texture of tulips.

Photo: Robert Rath, 'Tulip Texture', 2.5s f16 ISO800 100mm

We could have missed this not so babbling brook as we crossed the River Sneem on the way from Kenmare to Portmagee.

It might have been the need for a snack or a comfort break or some such mundane travel stop. Regardless of the reason, once here the roar of the water tumbling over rocks eventually drew us to discover this gorgeous scene in the middle of the quaint little village of Sneem.


Photo: Robert Rath, 'Hiding in Plain Sneem', 1/800s f8 ISO100 70mm

Prickles just lay there on the pavement and did not mind at all when I lay down in front with my big (relatively) lens.

It only too a few moments to realise why this Prickly Gecko(Heteronotia binoei) was not in any hurry. The pavement was freezing. Not exactly what a cold blooded reptile needs for being mobile.

How Prickles came to be stranded I don't know but we took it inside for a while to warm up before letting it go in the garden.


Photo: Robert Rath, 'Prickles ', 1/10s f7.1 ISO800 100mm

While driving tonight around sunset we were treated to yet another amazing sky where the clouds were lit with oranges and yellows and the vineyards glowed red in the sunset drenched Barossa Valley landscape. With no opportunity to stop we simply enjoyed the show as we headed on to our destination.

Later that evening I looked up into the evening sky and caught sight of the moon peeking through rent in the clouds. Well that was all it took to send me straight back to the car, grab my camera and capture this image.

This kind of image presents an interesting technical challenge where our eyes trick us into believing we can see the the moon's detail as well as the moonlit highlights in the clouds.

What our eyes and brain are really doing here is switching back and forth between the elements of the image. One moment we capture the details in the moon's brightly lit surface while the sky around is black. The next moment our attention picks out the dim highlights in the clouds while the moon, now just a bright white blob at the periphery of our attentions is ignored.

Just like the HDR processing in a modern camera phone, our brain captures all these elements and combines them into a single seamless image full of detail.

This image on the other hand relied on the moon being partially obscured by cloud to compress the dynamic range and let me capture it in a single handheld shot. A few moments later the moon was hidden again and I when back inside.


Photo: Robert Rath, 'Hide and Peek', 1/32s f2.8 ISO1000 200mm

When I watch a gull in flight above some beautiful landscape my eye is drawn to the movement and for a moment I feel I share in its effortless freedom.

Thinking about it some more I muse the gull has no concept freedom so in that moment the freedom was completely mine.


Photo: Robert Rath, 'Freedom', 1/2500s f5.6 ISO100 200mm

One of the most idyllic ports in Ireland might very well be the old fishing town of Kinsale on the southern coastline of Ireland.

I have been fortunate enough to visit Kinsale a few times now but each visit has been fleeting, not really creating an opportunity to photographically explore in any meaning way.

Until next time here's just a glimpse of this idyllic town.


Photo: Robert Rath, 'Kinsale', 1/640s f9 ISO100 90mm

Shultzy's a mechanical engineer and product designer who I have worked along side of for a few years now.

Last week over a few beers at the Little Bang Brewing Company a few of us got together to wish him all the best as he leaves us for new challenges in his career.

All the best Shultzy.


Photo: Robert Rath, 'Shultzy', 1/125s f3.2 ISO100 100mm

The first time I came across locks as icons of commitment was many years ago while travelling. On a bridge over the River Seine were hundreds of padlocks locked to the structure. Some were engraved, some were very old, some but not many had tags and all were resolutely locked in place assuming their keys had been thrown into the river and lost for all time.

Here in Hutt street a similar idea combining commitment and charity by the Heart Foundation means that every lock is carrying a message of love or commitment. Apart from the messages and the colour of the tags though they all look identical.

The tags are all heart shaped and the locks are all red. The messages are in ink and at a distance they all blend into a one homogeneous texture. I'd even go so far as to suggest that none of the keys have been lost but kept as as some token or retained by the organisation just in case they need to dismantle this installation in the future.

So the the romantic in me will always be taken back to that bridge over the River Seine where each and every symbol of love and commitment had no end or no undoing. Where every small key is lost for all time.


Photo: Robert Rath, 'The Small Key Is Lost', 1/250s f5.6 ISO100 50mm

Looking down from observation level into the Céide Fields visitor centre is like looking into an old well somehow both shiny new and steeped in history.

From the bottom the ancient tree from the bog rises from gnarled roots like some old rusty needle ready to impale any poor soul unfortunate enough to slip and fall.

Time to stop staring down should vertigo get the better of me and make my way down safely by the stairs.


Photo: Robert Rath, 'Down To The Roots', 1/400s f8 ISO640 14mm

Ducks rock!

Nothing more to say.

Photo: Robert Rath, 'Because Ducks Rock', 1/25s f4 ISO320 200mm

Perhaps there was a time when a bright zinc plated watering can tended lovingly to someone's seaside garden.

Perhaps it served faithfully until the handle broke and its owner discarded it for a new one.

How it came to rest for a time in Galway Bay, be rescued and then set upon the rocks will remain a mystery however if not for its curious past I would never have captured this image.


Photo: Robert Rath, 'Once Was Watering Can', 1/50s f3.2 ISO320 135mm

I was photographing amusement machine riders at a recent event and noticed their various emotional states immediately on disembarking.

So I readied myself for the next group of disembarking riders, raised my camera, then this happened!


Photo: Robert Rath, 'Hands In The Air Like You Just Don't Care', 1/80s f/8 ISO100 70mm

The University of Adelaide Coat of Arms emblazoned with the universe motto 'Sub Cruce Lumen', meaning 'The light (of learning) under the (Southern) Cross', might indeed carry a hidden message.

Perhaps the symbolic text represented on the feature book is nothing more than artistic scrawl. Or perhaps there is more to it.

Look close and you will see repeating pattern of symbols and form. Perhaps the artist was commissioned to present a deeper message in these mysterious runes. Or going way out on a limb, perhaps some mystical enchantment willed there form into creation

It's probably just artistic scrawl after-all but it sure looks convincing.


Photo: Robert Rath, 'Sub Cruce Lumen', 1/20s f/2.8 ISO1000 200mm

It's ironic how such dainty little white and yellow flowers have taken on the omen of death.

Still, here they are all congregated in a suspiciously defined patch of open grass amid the old graves of Greyfriar's Kirkyard, Edinburgh.

You can of course look at those little white and yellow daisies see them for what they really are, ... new life.


Photo: Robert Rath, 'Pushing Up Daisies', 1/80s f/8 ISO100 70mm

I've always wondered about that famous harp symbol used by Guinness.

Was there a link to the 13th century 'Arms of the King of Ireland'?

Guinness used the harp logo in 1862 on their very first bottled Guinness but never actually used the word until 1960 when they called their first lager 'Harp'.

If there is a link to Ireland's national emblem then perhaps they mirrored it to avoid a trademark challenge by the state. You'd never get away with a simple mirroring today.

Fortunately they did and harps will always remind me of Ireland and Guinness.


Photo: Robert Rath, 'Of Harps and Kings and Lager', 1/80s f3.5 ISO1600 110mm