Chasing the Last Light
A Modern Western at Wild Horse Mountain
There's something about the landscape between Brisbane and the Sunshine Coast that lends itself perfectly to a Western.
The towering pine plantations, dusty tracks, and remnants of long extinct volcanos might be a world away from Montana or Texas, but as the afternoon sun begins its slow descent over the Glass House Mountains, it's easy to imagine yourself stepping onto the set of Yellowstone or Ransom Canyon.
That was exactly the inspiration behind this shoot with my good mate, Nathan.
Nathan and I go back a long way. Before life took us in different directions, he was my next-door neighbour, so this wasn't just another photoshoot—it was two friends heading out with a shared vision and seeing where the afternoon would take us.
Our destination was the pine plantations surrounding Wild Horse Mountain, just north of Brisbane. It's one of those locations that transforms as the light changes. Harsh and rugged in the middle of the day, but by late afternoon it takes on a cinematic quality that seems tailor-made for storytelling.
The concept was simple: modern cowboy meets Australian landscape.
Of course, no Cars-Cocktails-Culture shoot would feel complete without a classic car making an appearance, so my 1960 Pontiac Bonneville became more than just a prop—it became another character in the story. Its sweeping lines and unmistakable American presence perfectly complemented the Western aesthetic, creating images that feel equally at home on a movie poster or the cover of a vintage magazine.
"Photography isn't always about finding the perfect location. Sometimes it's about finding the perfect light—and giving yourself enough time to watch it change."
— Phil Kellow
Rather than rushing from one pose to the next, we allowed the evening to dictate the shoot.
The first images embraced the warmth of the late afternoon, making use of the soft directional light filtering through the trees. As the sun edged lower, the landscape changed again, revealing the unmistakable silhouette of the Glass House Mountains in the distance. Finally, as the last light disappeared below the horizon, we shifted gears once more, creating dramatic portraits where carefully placed flash sculpted Nathan against the deepening twilight.
Those three distinct stages gave us three completely different moods from a single location.
It's one of the reasons I love photographing at sunset. Nature does half the creative work for you.
More than anything, this shoot was about atmosphere.
It wasn't about pretending to be in the American West. It was about capturing the spirit of it—rugged, understated and quietly cinematic—while embracing a uniquely Australian backdrop.
Sometimes the best shoots aren't the ones with elaborate sets or complicated concepts.
Sometimes they're simply the result of good company, a beautiful location, a classic Pontiac and the patience to wait for the perfect light.
Behind the Lens
For those interested in the technical side of the shoot, here's what was used to create the final images.
Camera
Sony A7RV
Lenses
Sigma 24mm f/1.4 Art
Sigma 35mm f/1.4 Art
Sigma 85mm f/1.4 Art
Sigma 150–600mm Sport
Each lens served a different purpose, from sweeping environmental portraits that showcased the landscape to compressed telephoto images that brought the Glass House Mountains dramatically closer to the scene.
Lighting
As the natural light faded, off-camera flash allowed us to maintain the cinematic feel while adding shape and separation from the background.
Key Light
Godox AD600BM
1.2-metre double-diffused softbox
Fill / Accent Light
Godox AD200Pro
Double-diffused octabox
This combination produced a soft, natural-looking light that blended seamlessly with the setting sun, helping preserve the mood of the landscape rather than overpowering it.
