NZPhotographer Issue 16, Feb 2019
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ISSUE <strong>16</strong>, <strong>Feb</strong>ruary <strong>2019</strong><br />
INTERVIEW WITH<br />
PETRA LEARY<br />
THE MAGIC OF<br />
MOERAKI BOULDERS<br />
BY BRENDON GILCHRIST<br />
BEHIND THE SHOT<br />
WITH ALAN BLUNDELL<br />
HOW TO CAPTURE:<br />
LONG EXPOSURE LANDSCAPE<br />
WITH RICHARD YOUNG<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
1
WELCOME TO ISSUE <strong>16</strong> OF<br />
NZ PHOTOGRAPHER MAGAZINE<br />
HELLO EVERYONE,<br />
In this issue, we take to the air to<br />
interview award-winning drone<br />
photographer Petra Leary and<br />
look down on her unique view of<br />
New Zealand. Brendon takes us<br />
on a Summer trip down memory<br />
lane to photograph the iconic<br />
Moeraki Boulders, and we go<br />
to the Rodeo with Alan Blundell<br />
in Behind The Shot. Meanwhile,<br />
Richard shows us how to capture<br />
the best long exposure shots,<br />
get out there and give it a go<br />
whilst the weather is good in the<br />
Southern hemisphere!<br />
On our quest to inspire 20,000<br />
photographers by 2020, Ana<br />
shares some inspiring words and<br />
encourages you to always think<br />
outside the box and be brave,<br />
putting your work out there for critique in order to improve. This leads me<br />
to mention the return of our revamped Expert Critique section, now called<br />
the Photo Review Session which will be appearing periodically here in the<br />
magazine but also over on the blog.<br />
We know you're all out enjoying yourselves in the sunshine (camera in<br />
hand, of course!) from how few readers' submissions we received this<br />
month! Next month we'll be taking a look at the Love competition entries<br />
(there's still time to enter!) but we look forward to seeing how and where<br />
you all spent your Summer in future editions.<br />
Emily Goodwin<br />
Editor NZ Photographer<br />
General Info:<br />
<strong>NZPhotographer</strong> <strong>Issue</strong> <strong>16</strong><br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
Cover Photo<br />
by Petra Leary<br />
www.petraleary.com<br />
Publisher:<br />
Excio Group<br />
Website:<br />
www.excio.io/nzphotographer<br />
Group Director:<br />
Ana Lyubich<br />
ana@excio.io<br />
Editor:<br />
Emily Goodwin<br />
Graphic Design:<br />
Maksim Topyrkin<br />
Advertising Enquiries:<br />
Phone 04 889 29 25<br />
or Email hello@excio.io<br />
2 <strong>NZPhotographer</strong>
REGULAR CONTRIBUTORS<br />
Brendon Gilchrist<br />
Brendon is the man<br />
behind ESB Photography.<br />
He is an avid tramper<br />
who treks from sea to<br />
mountain, and back<br />
again, capturing the<br />
uniqueness of New<br />
Zealand’s unforgiving<br />
landscape.<br />
Ana Lyubich<br />
Co-founder of Excio,<br />
Ana's photography<br />
journey started many<br />
years ago with one of the<br />
first Kodak film cameras.<br />
She loves exploring the<br />
unseen macro world and<br />
capturing genuine people's<br />
emotions.<br />
Richard Young<br />
Richard is an awardwinning<br />
landscape and<br />
wildlife photographer who<br />
teaches photography<br />
workshops and runs<br />
photography tours. He<br />
is the founder of New<br />
Zealand Photography<br />
Workshops.<br />
nzphotographer nzp_magazine nzp@excio.io<br />
© <strong>2019</strong> <strong>NZPhotographer</strong> Magazine<br />
All rights reserved. Reproduction of any material appearing in this magazine in<br />
any form is forbidden without prior consent of the publisher.<br />
Disclaimer:<br />
Opinions of contributing authors do not necessarily reflect the<br />
opinion of the magazine.<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
3
CONTENTS<br />
14<br />
INTERVIEW WITH PETRA LEARY<br />
25<br />
6<br />
8<br />
10<br />
14<br />
25<br />
29<br />
MIND GAME: OUR COMFORT ZONE<br />
by Ana Lyubich<br />
HOW TO CAPTURE: LONG EXPOSURES<br />
with Richard Young<br />
IMPROVING YOUR PHOTOGRAPHY<br />
PHOTO REVIEW SESSION<br />
INTERVIEW WITH PETRA LEARY<br />
BEHIND THE SHOT<br />
With Alan Blundell<br />
THE MAGIC OF MOERAKI BOULDERS<br />
by Brendon Gilchrist<br />
BEHIND THE SHOT<br />
WITH ALAN BLUNDELL<br />
THE MAGIC OF MOERAKI<br />
BOULDERS<br />
BY BRENDON GILCHRIST<br />
10<br />
IMPROVING YOUR PHOTOGRAPHY<br />
PHOTO REVIEW SESSION<br />
29<br />
32 BEST READERS' SUBMISSIONS THIS MONTH
FRESH SHOOTS<br />
PHOTO COMPETITION<br />
We’re inviting photographers to highlight all the wonderful things that make the Wellington<br />
Botanic Garden much more than a garden, while encouraging photographers to focus on<br />
the garden season by season.<br />
For prizes and full Terms & Conditions see: www.excio.io/freshshoots<br />
The competition is split into quarterly competitions based on each of the seasons:<br />
Summer Autumn Winter<br />
15 December -<br />
22 March <strong>2019</strong><br />
23 March -<br />
21 June <strong>2019</strong><br />
22 June -<br />
20 September <strong>2019</strong><br />
CATEGORIES<br />
NATURE<br />
PEOPLE &<br />
EVENTS<br />
CREATIVE<br />
PARTNERS
Mind Game: Our Comfort Zone<br />
by Ana Lyubich<br />
“To see, we must forget the name of the things we are looking at.“<br />
Claude Monet<br />
We all know that excited feeling we get when<br />
we capture a great image – it’s a feeling of<br />
achievement, accomplishment and success.<br />
Everyone experiences that buzz, no matter what<br />
their goals or aspirations are, whether you’re an<br />
amateur photographer taking photos in your back<br />
yard or a pro who thinks he just got an award-winning<br />
documentary shot.<br />
Many of us get so consumed in our photography that<br />
the end result, the photo itself, carries a tiny piece of<br />
ourselves within it. We treat our shots as “our babies”<br />
and when we hear people discussing them, critiquing<br />
them, or giving us feedback (whether we asked for<br />
it or not!) we can start to feel anxious, feeling the<br />
need to defend and protect our work. In a worst<br />
case scenario, we might even hang up our camera<br />
altogether for a few weeks or even months, taking<br />
negative critique too much to heart.<br />
Of course, everyone wants to hear good things about<br />
their work, no one want’s to hear someone say that<br />
they wouldn’t hang it on their wall, that it’s too dark,<br />
not sharp enough etc but at the end of the day<br />
by subconsciously lingering in the places (online or<br />
offline) where our photos are as appreciated as we<br />
allow them to be, we limit ourselves.<br />
For example, when you post a new photo onto your<br />
personal Facebook page it’s very likely that you’re<br />
only going to receive positive comments plus a variety<br />
of likes and hearts, no one who is a friend is going to<br />
tell you how terrible a shot it is! But whilst receiving<br />
positive feedback makes you feel good, it also makes<br />
you think that you are good enough as you are and<br />
that there is no need to push yourself further to seek<br />
out new challenges that help you learn, improve, and<br />
grow as a photographer.<br />
6 <strong>NZPhotographer</strong>
NEVER UNDERESTIMATE YOUR BAD SHOTS.<br />
They may not be your pride and joy, never seeing the<br />
light of day on your website or social media feeds but<br />
they are good enough for you to base your opinion<br />
on, enabling you to see what works and what doesn’t.<br />
Remember, you are not building your personal brand,<br />
you are building your portfolio – Your photography is<br />
not about you as a person, it’s about your work. Your<br />
images are your ambassadors. Trust and respect will<br />
come. Listen to what people say, select the most<br />
useful feedback from what you hear and focus on<br />
improving next time. It applies to everything you<br />
do and everything you hear about your work. The<br />
exchange of controversial ideas is necessary for the<br />
intellectual and spiritual development of not just<br />
photographers, but pretty much everyone.<br />
PRACTICE TAKES TIME AND PATIENCE.<br />
When you start taking photos without consciously<br />
seeking the approval of others i.e not only taking<br />
photos that will get you more likes on social media,<br />
you will start seeing things through your viewfinder<br />
differently. You will no longer be bound by certain<br />
trends, tastes, or techniques. You won’t need to<br />
oversaturate your photographs or only take photos<br />
with bright colours because that is what people like<br />
more on Instagram. The person who is not afraid of<br />
public opinion and judgement has more chance<br />
of becoming a leader in our modern overcrowded<br />
photography space.<br />
So let your mind wander. Our expectations and<br />
beliefs filter the way we see the world, constricting our<br />
awareness to the known and expected and that is a<br />
killer when it comes to photography and creativity as<br />
a whole.<br />
KEEP YOUR MIND AND EYES OPEN.<br />
Being a good photographer is not just about being<br />
open to breaking the rules, but about the way you see<br />
things. Use your imagination and let your eyes roam<br />
over the shapes, colours, lines and textures. Break<br />
the rules. Once you start making a habit of thinking<br />
outside of the box, it will become your natural way of<br />
seeing things. Remember that the best thing about<br />
photography is that there are no bounds, anything is<br />
possible and the unexpected is welcome.<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
7
HOW TO CAPTURE: LONG EXPOSURES<br />
Long Exposure Landscape Photography Tips with Richard Young<br />
Sunset over Rangitoto Island, Auckland<br />
LONG EXPOSURE LANDSCAPE PHOTOGRAPHY<br />
By using longer shutter speeds you can capture<br />
movement within the landscape. Long exposures<br />
are best suited to landscapes with dynamic<br />
movement (e.g. the coast, waterfalls and rivers),<br />
however, you can also capture movement in the<br />
sky and foliage.<br />
DARK SKY<br />
To create a long exposure without overexposing the<br />
image, you either need to work in low light (after<br />
sunset) or use Neutral Density (ND) filters. Using strong<br />
ND filters (10 stop) will allow you to create long<br />
exposures even on a bight sunny day. Lighter, less<br />
powerful ND filters (4 & 6 stop) are better suited to<br />
shooting in lower light or overcast days.<br />
F11, 30s, ISO64<br />
SUBJECT FOR LONG EXPOSURES<br />
Look for compositions that include stationary objects<br />
(eg. rocks on the beach) as the primary focal point of<br />
the image, so you don't just end up with a whole picture<br />
of blurred water with no clear subject or focal point.<br />
Consider how much movement you want in your image<br />
and the direction of its flow - is it complimentary to your<br />
subject?<br />
SIMPLIFY THE COMPOSITION<br />
One reason for using long exposures in landscape<br />
photography is to simplify the composition. Although<br />
shooting moving water with faster shutter speeds<br />
can result in some brilliant images, working with long<br />
exposures can remove all the detail from the water<br />
which allows the subject to become highly defined,<br />
creating depth within the image.<br />
MASTER LONG EXPOSURE PHOTOGRAPHY AND GET TO TRY OUT THE LATEST BENRO ND FILTERS<br />
ON A 1-DAY LONG EXPOSURE WORKSHOP IN AUCKLAND OR WELLINGTON WITH NEW ZEALAND<br />
PHOTOGRAPHY WORKSHOPS
WHAT IS<br />
LOVE?<br />
Photo Competition<br />
W W W . E X C I O . I O / L O V E<br />
WE WANT TO SEE<br />
YOUR LOVE STORY<br />
Whether that's romantic<br />
love, parents' love, the<br />
love and trust between<br />
animals and humans or<br />
even the heartache, that<br />
love causes.<br />
NZ$ 150 CASH PRIZE<br />
1 JAN <strong>2019</strong> - 20 FEB <strong>2019</strong><br />
T&Cs apply. See www.excio.io/love.<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
9
Improving Your Photography<br />
Photo Review Session<br />
by Excio<br />
LARGER THAN LIFE BY AMOL NAKVE<br />
REVIEW BY:<br />
Almin Vranac<br />
2013 Winner of Sony’s ‘Record Your Move’.<br />
INITIAL THOUGHTS<br />
The shallow depth of field in this photo is really on<br />
point, making the main object in this frame really<br />
stand out which is the main purpose for nature/macro<br />
photography. One little bit of advice would be to shift<br />
the focus a little more to be on the droplets (as they’re<br />
the most intriguing part of the photo), but this is a<br />
personal taste thing, it’s good as it is too.<br />
The second thing that is really nice in this photo is the<br />
idea of the main object itself. I think a bitten out leaf<br />
with a morning rose droplet hanging from it makes a<br />
really nice and interesting artistic composure. I also<br />
like the vibrant and rustic looking colours, they add a<br />
special touch to the photo.<br />
10 <strong>NZPhotographer</strong>
TAKING THIS PHOTO<br />
TO THE NEXT LEVEL;<br />
IMPROVEMENTS<br />
The first thing that instantly<br />
catches my eye is the<br />
composition and angle of<br />
this photo.<br />
The rule of thirds means<br />
we should always divide<br />
our shot, placing our main<br />
objects on the lines or where<br />
the lines meet.<br />
IMAGE 1<br />
For this particular photo,<br />
the main object is the leaf<br />
that is mainly in focus, but<br />
we have to keep in mind<br />
that the leaf is located<br />
on the branch and that<br />
branch has another leaf<br />
that is behind it. If we view<br />
the branch as a base for<br />
our main object, it means<br />
that we have to capture<br />
its other elements too (the<br />
other leaf that is cropped<br />
out). That means the<br />
correct positioning would<br />
be placing the branch on<br />
the second line (making<br />
the line ‘cut’ through the<br />
center of the branch) and<br />
keeping all of its elements<br />
in the frame. You could<br />
do this simply by looking<br />
for a better angle when<br />
shooting but at the same<br />
time, keeping the same<br />
DOF and main leaf in<br />
focus.<br />
IMAGE 2
IMAGE 3<br />
For the sake of aesthetics, a<br />
shot always looks better and<br />
more appealing to the eye if<br />
it’s symmetrical. What does<br />
that mean here? It means<br />
that the second leaf should<br />
have been in the frame.<br />
That does not mean that the<br />
main focused leaf should<br />
not, by any means, be less in<br />
the focus, it just means that<br />
we should never crop out<br />
the elements of the base of<br />
our shot (in this photo, the<br />
branch).<br />
IMAGE 4<br />
Last but not least - the<br />
background. While the<br />
shallow DOF does a pretty<br />
good job of masking out<br />
the distracting objects in<br />
our scene, there are still<br />
some objects that are not<br />
far enough away from<br />
our main focused object<br />
to be completely blurred<br />
out, but yet they’re not<br />
close enough (or important<br />
enough) to be focused<br />
crisply and to be the main<br />
part of our scenery. These<br />
objects almost always are a<br />
distraction and interfere with<br />
the harmony of the scene.<br />
In this particular photo.<br />
12 <strong>NZPhotographer</strong>
IMAGE 5<br />
HOW TO AVOID OR FIX<br />
THESE MISTAKES<br />
NEXT TIME:<br />
The basic way is simply to<br />
take a shot without these<br />
distracting objects in the<br />
scene. This is the easiest way,<br />
but some times it can be<br />
very limiting and there will be<br />
some times that you just can’t<br />
keep everything in a scene<br />
(the composition, good focus,<br />
symmetry etc.) while still trying<br />
to keep unwanted objects<br />
out of the scene.<br />
This is where photo editing<br />
software comes into play to<br />
‘save’ a photo. I have started<br />
removing the distracting<br />
objects as you can see here.<br />
IMAGE 6<br />
In my opinion the photo<br />
looks more straightforward,<br />
direct and professional after<br />
removing the unwanted<br />
items. It makes not only the<br />
main object stand out, but<br />
makes the background be in<br />
perfect harmony also.<br />
Visit our blog to see how<br />
other photographers<br />
thought this photo could be<br />
improved.<br />
IF YOU LIKE TO TAKE YOUR PHOTOGRAPHY TO THE NEXT LEVEL, YOU CAN GET<br />
FRIENDLY ADVICE AND SUPPORT WITH EXCIO: WWW.EXCIO.IO
Interview<br />
with Drone Photographer<br />
Petra Leary
Interview with Petra Leary<br />
HI PETRA, CAN YOU TELL US WHO YOU ARE<br />
AND WHAT YOU DO?!<br />
I’m an Auckland based freelance Drone / Aerial<br />
photographer which I absolutely love and feel very<br />
lucky to do as I’m obsessed with anything drone<br />
related! Other than drones, I like to skateboard, build<br />
Lego, and hang out with my dog Kodak.<br />
I was born in a barn in Grey Lynn and have lived in the<br />
Auckland area my whole life but I often travel to other<br />
areas of New Zealand or around the world, as I write<br />
this I’m making my way across Japan.<br />
WHAT ARE YOU SHOOTING WITH?<br />
Up in the air, I’m shooting on the DJI Phantom 4 Pro<br />
and the DJI Mavic Pro 2. I generally keep my drones<br />
pretty basic but do use the Polar Pro ND and PL Filters.<br />
And then if I’m shooting something like my Lego<br />
Courts or studio work I shoot on my Sony A7Rii + Zeiss<br />
<strong>16</strong>–35mm or Zeiss 50mm.<br />
WHEN DID YOU GET STARTED IN<br />
PHOTOGRAPHY AND HOW DID THAT LEAD TO<br />
DRONE PHOTOGRAPHY?<br />
I really got into photography about 5 or 6 years ago,<br />
I’ve always loved views from heights so originally<br />
I would just scale whatever was around (cranes,<br />
buildings etc.) to get as high as possible and capture<br />
images looking down. That was a lot of fun but was<br />
definitely restricting in terms of framing an image well<br />
due to the risk of being caught and/or arrested.<br />
My first experience with drones was thanks to a friend<br />
who gave me a turn on his, once I flew it I knew<br />
straight away I had to get one. I literally bought one<br />
the same day!! I think my love for video games also<br />
had something to do with the instant addiction to<br />
drones, it’s really a pretty similar concept in terms of<br />
controlling and operating the aircraft, but with the<br />
added bonus of being able to capture what you see.<br />
<strong>16</strong> <strong>NZPhotographer</strong>
<strong>Feb</strong>ruary <strong>2019</strong><br />
17
HOW WOULD YOU DESCRIBE YOUR<br />
PHOTOGRAPHY STYLE?<br />
I think I tend to focus largely on a sense of minimalism<br />
and geometry in my work, My background is in<br />
graphic design so I feel that really translates into my<br />
photos.<br />
I also have a real obsession with things being straight<br />
and balanced which you can see in the majority of<br />
my photography. Things that are bold, bright, simple<br />
or symmetrical definitely catch my eye when I’m out<br />
shooting!<br />
I also like to play with combining traditional<br />
photography with digital illustration or 3d rendering<br />
occasionally, you’ll notice it in some of my work.<br />
WHERE DO YOU FIND INSPIRATION FOR<br />
CREATING YOUR UNIQUE SHOTS?<br />
I like to try and keep progressing with my work, I don’t<br />
think every image I create is completely unique but<br />
I like to try and find something that makes it stand out,<br />
sometimes it’s just an interesting colour or pattern tied into<br />
the photo or placing a strange object into the frame.<br />
I’m always looking for weird and different shapes in<br />
the everyday landscapes and think I really just draw<br />
inspiration from what I experience daily. To me, the<br />
ugly and dated architecture can sometimes be my<br />
favourite subjects or the road markings, or public<br />
space designs being added to the cities.<br />
COURTS OR POOLS, WHICH CAME FIRST AND<br />
WHICH DO YOU PREFER CAPTURING?<br />
From memory, I’m pretty sure courts came first! I think<br />
one of the first courts I shot was on north shore in<br />
Auckland.<br />
As for a preference, that’s a super hard one! I love<br />
shooting both, there’s something extremely satisfying<br />
for me seeing the geometry and simplicity of a court,<br />
and the fact that even though they all follow a very<br />
basic formula, I’ve never found 2 that are identical.<br />
With pools, it’s a similar feeling, they can be brand<br />
new and sparkling or completely empty and cracked<br />
and worn but still look awesome.<br />
TELL US MORE ABOUT TAKING PHOTOS WITH A<br />
DRONE – WHAT SHOULD PEOPLE KNOW, WHERE<br />
SHOULD THEY START?!<br />
I think first off you want to get a hang of actually flying<br />
the drone. I jumped in head first and had some close<br />
calls with crashes, give the simulator a go as it will<br />
make things a lot easier to understand.<br />
18 <strong>NZPhotographer</strong>
<strong>Feb</strong>ruary <strong>2019</strong><br />
19
20 <strong>NZPhotographer</strong>
Once you’ve got that hang of controlling it I’d say just<br />
play. I’ve said it before most probably, but I really feel<br />
like people tend to go straight for the stock standard<br />
drone photo of a person and a beach, use your<br />
drone as you would a normal camera but as if you’re<br />
walking on the roof, you don’t necessarily need to be<br />
shooting from super high up, try playing with lots of<br />
subjects and shooting from all sorts of heights.<br />
WHAT AWARDS HAVE YOU WON WITH YOUR<br />
WORK AND WHICH ONE ARE YOU MOST<br />
PROUD OF?<br />
DJI Skypixel Photo Contest 2017–1st place Portrait<br />
Category<br />
Auckland Camera Centre 2018 Photo Contest – 1st<br />
Place Abstract Category<br />
NZ Geo Photographer of the year 2018 – Honourable<br />
Mention Aerial Category<br />
The DJI Skypixel is really the main one for me, it<br />
opened up some incredible opportunities globally<br />
and I think it’s probably got a lot to do with where I’m<br />
at now.<br />
YOU SEEM TO GET YOUR WORK FEATURED IN<br />
A LOT OF PUBLICATIONS, CAN YOU TELL US<br />
HOW YOU PROMOTE YOUR WORK AND SHARE<br />
SOME TIPS?<br />
I’ve had some great opportunities the last couple of<br />
years and have recently been working on some really<br />
fun projects including the new campaign for Love<br />
Taupo with Osborne Shiwan and DGLT, plus my year<br />
long project with Metro Magazine which you can see<br />
in their December issue, a project which I was super<br />
excited to see come together :)<br />
I’d have to say Instagram has been a huge factor in<br />
the majority of features and publications I have been<br />
in, I tend mostly to just focus on building my portfolio<br />
of work on Instagram and my website and I think<br />
that’s where people come across it. To date, all the<br />
publications and features I’ve been in have been all<br />
from people contacting me, including this interview,<br />
I’ve never asked or gone looking for them.<br />
So my main piece of advice would be just keep at it<br />
and work on creating your own unique style. If you<br />
have something different your are more likely to stand<br />
out from everyone else!<br />
CAN YOU CHOOSE A FAVOURITE PHOTO?<br />
That would probably have to be one of the photos<br />
I’m most known for, even though it’s pretty played out<br />
now. It's the close up of the Potters Park Basketball Half<br />
Court (page 19). There's something about the colours<br />
and the symmetry that I love.<br />
WHAT ARE YOUR PLANS FOR THIS YEAR?<br />
<strong>2019</strong> is going to be packed with travel for me.<br />
Once I’m done in Japan I’ll be heading to Australia<br />
to work with Ford AU for a couple of weeks. I’m also<br />
working towards another solo show this year, dates<br />
to be confirmed, as well as some other very exciting<br />
projects but those are to be announced later so stay<br />
tuned!<br />
WHERE CAN WE FIND YOU ONLINE?<br />
www.instagram.com/petraleary<br />
www.petraleary.com<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
21
22 <strong>NZPhotographer</strong>
F7.1, 1/320s, ISO200<br />
24 <strong>NZPhotographer</strong>
Behind The Shot<br />
With Alan Blundell<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
25
Behind The Shot With Alan Blundell<br />
HI ALAN, PLEASE INTRODUCE YOURSELF, LETTING<br />
US KNOW WHO YOU ARE AND WHAT YOU DO!<br />
My name is Alan Blundell and I’m a 53-year old father<br />
of 4. I “grew up” in Wainuiomata, and now reside in<br />
Wellington city. I have worked in Architecture for most<br />
of my career, aside from a 10-year sabbatical I took to<br />
design, build and run a hotel in Oriental Parade. Since<br />
the sale of that venture, I have returned to work in the<br />
construction sector, while spending as much time as<br />
possible learning how to take photos.<br />
I have been shooting with some intent since 20<strong>16</strong>,<br />
mostly ‘street’ style photography – the candid capture<br />
of unmediated or chance encounters in public spaces<br />
that throw up some interesting type of juxtaposition,<br />
event or behaviour. I love the challenge of anticipating a<br />
person’s expression or movement in a particular situation<br />
or scene and freezing that moment and find that it’s the<br />
smallest (sometimes unexpected) detail that makes the<br />
shot but I am quite a shy person and still battle between<br />
moving around in a crowd observing and capturing<br />
‘candid’ moments, vs the value of the right amount of<br />
engagement in order to learn more about my subjects.<br />
TELL US ABOUT THE EVENT YOU WERE AT AND<br />
THIS PHOTO…<br />
My wife and I were holidaying in the Far North at a place<br />
called Coopers Beach when we spotted a little A4 flyer<br />
advertising the Xmas Rodeo programme for that region.<br />
Oruru, basically a stock and station yard 10km down the<br />
road from Taipa, was hosting the next round.<br />
Given the ongoing publicity around animal welfare<br />
in Rodeo, I was keen to see first-hand how those<br />
organising and competing in such an event ensured<br />
their own and their animals’ safety. There was a lot of<br />
referencing (by the venue announcer) of the reasons<br />
behind each type of contest as a practical skill, and<br />
how the rider, horse and cattle were tested and<br />
responded. It was very interesting. The dedication of<br />
the Rodeo community to their animals, the way they<br />
dressed and ran the very family-oriented event was<br />
fascinating.<br />
I was conscious of the fact there have been a lot of<br />
animal rights protestors at some of the bigger city events<br />
and roving around with a camera attracted a few<br />
sideways looks. I tried to engage where possible with<br />
the locals – mainly family members of those involved,<br />
to learn more about the circuit, and reassure them we<br />
were just tourists coming to have a look at something<br />
we don’t see every day. They were really friendly and<br />
talkative.<br />
For the contest that I caught here, a cowboy has to try<br />
to stay on a bucking bull. This capture shows the rider<br />
falling from the bull and being dragged as his hand was<br />
wedged in the rope he was initially using to hold on to.<br />
There was a rush by the support staff on foot to the right<br />
of the bull, (rodeo clowns), to free the rider somehow<br />
and protect him from the bull after dismount, this is done<br />
by running a distraction until the riders on horses can<br />
corral the bull back into the enclosure.<br />
WHAT WERE YOU SHOOTING WITH?<br />
I shot with two lenses that day on my Fuji X-T20: the<br />
56mm f1.2 with ND filter, and the 55–200mm f3.5–4.8<br />
which is what I took this particular photo with. Both have<br />
a crop factor of 1.4 so the full-frame equivalents were<br />
around 85mm and 80–300mm.<br />
I was actually testing out the variable ND filter that<br />
my kids bought me for Xmas. The 62mm ND2-ND400<br />
Marumi was picked out to fit on my f1.2mm 56mm FUJI<br />
lens. It was needed as shooting wide open on bright<br />
sunny days such as this means there is just too much<br />
light which causes over exposed images. Using the filter<br />
acted like a pair of sunglasses allowing preservation of<br />
the depth of field in shots.<br />
WHAT WAS HAPPENING BEHIND THE CAMERA?<br />
The weather was bright and sunny, with lots of dust<br />
being kicked up by the events. Getting close-up meant<br />
dealing with this dust whilst also shooting through or<br />
around heavy timber and wire mesh safety railings set<br />
up around the perimeter of the arena.<br />
I had to pick a hole to shoot through and hope that<br />
as the rapidly moving riders and action came into<br />
frame, something interesting would happen! My set up/<br />
positioning was initially to look for a good backdrop for<br />
shots of the action, interesting structures/fences and<br />
some spectators to help build the scene.<br />
Then it was a question of tracking the subject with all<br />
the jumps, twists and turns, waiting for that “decisive<br />
moment” to snap the action. I used the continuous<br />
tracking focus feature on the camera to give myself the<br />
best chance of capturing something meaningful.<br />
This shot has some great detail, the dust being thrown<br />
up by the falling rider, the facial expressions of the<br />
clowns realising he is in trouble etc. I was really pleased<br />
with the results of the day and pretty happy with my kit<br />
selection and the quality/hit-rate of shots for the 3 hours<br />
we were there.<br />
WHERE CAN WE FIND YOU ONLINE?<br />
www.facebook.com/bokehstreet<br />
www.instagram.com/bokehstreet<br />
www.bokehstreet.com<br />
albums.excio.io/profile/Bokeh Street
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<strong>Feb</strong>ruary <strong>2019</strong><br />
27
The Magic of Moeraki Boulders<br />
by Brendon Gilchrist<br />
28 <strong>NZPhotographer</strong>
F<strong>16</strong>, 1.6s, ISO100<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
29
F4.5, 10s, ISO3200<br />
Have you ever had that experience where one<br />
particular place keeps drawing you back<br />
over and over again due to how unique and<br />
special it is?<br />
The Moeraki Boulders on Koekohe Beach in Coastal<br />
Otago do that to me.<br />
Formed 60 million years ago, the spherical balllike<br />
boulders lie on a small part of the beach, some<br />
together and some apart, some small, some as big<br />
as 2 meters wide. They are an interesting subject to<br />
photography but they’re also interesting in themselves<br />
when you consider how amazing nature is.<br />
When I was growing up my Dads Grandparents lived<br />
in Hampden, a short 10-minute drive from this beach<br />
and I spend many nights here visiting from Dunedin<br />
where I once lived. I never had a camera as a child<br />
but I always remember our trips here, they were<br />
always special being with Grandma and Grandad<br />
collecting firewood, walking and running on the<br />
beach, talking, and enjoying these moments.<br />
Fast forward 20 years and this beach attracts me for<br />
the memories but also for the boulders to photograph<br />
whether captured at sunrise, sunset, or even the dead<br />
of night thanks to Astrophotography. There are so<br />
many options and sometimes, if you’re lucky, you get<br />
the beach to yourself though not for sunrise, this being<br />
one of New Zealand’s Top 10 Beaches and a hot spot<br />
with photographers!<br />
SHOOTING DAY OR NIGHT<br />
I have found that the best sunrise shots happen when<br />
the tide is either coming in or going out, about halfway<br />
through the 6-hour cycle between high and low. I have<br />
yet to capture a really epic sunrise here but I have<br />
had some pleasing average ones, often having to<br />
use my imagination and think fast. One time, the sun<br />
was coming up and there were no clouds in the sky so<br />
the sun was like a big ball. Since the boulders are also<br />
big balls I decided why not capture the sun halfway<br />
over the horizon looking like another big boulder in the<br />
distance. During another sunrise, the clouds were too<br />
thick and the tide was out but the patterns in the sand<br />
were too perfect not to capture.<br />
Night time photography is also a pleasure here, very<br />
often you will find you have the beach to yourself and<br />
you can create so many different compositions with<br />
so many different results, it is endless. It’s even possible<br />
to see the Aurora from here if you are lucky. The last<br />
time I was here at night I set up a time lapse and then<br />
walked away and enjoyed observing the night sky.<br />
It’s so beautiful even with the full moon, the waves<br />
crashing around the boulders, the stars moving and<br />
the peacefulness of the place.<br />
30 <strong>NZPhotographer</strong>
BEYOND THE BOULDERS<br />
Moeraki is not only well known for its boulders, but<br />
it’s also a very popular place to go out on a fishing<br />
charter which opens up wildlife photography<br />
opportunities. On a fishing trip with my Dad and<br />
Brother, we caught many Blue Cods and Red Cods<br />
and I also had the chance to photograph Albatross<br />
at close range as they were following our boat<br />
for an easy feed. It was incredible to see these<br />
huge birds so close. As we moved from location<br />
to location searching for fish they would follow us,<br />
gliding so effortlessly as they soared that their wings<br />
would gently touch the wave. It is a known fact that<br />
the Albatross can fly for many many miles without<br />
flapping its wings, the only known bird to do so, but<br />
it was a pleasure to witness it up close. The coast<br />
from the water looks so different looking back in and<br />
sometimes dolphins are in the area so it’s well worth<br />
grabbing a boat and heading out with your camera,<br />
even if you have no interest in fishing!<br />
At Katiki Point, the southern point of the Moeraki<br />
Peninsula, you will find the endangered and rare<br />
yellow-eyed penguins plus the common New Zealand<br />
fur seals. These two species live side by side and are<br />
not predator or prey to each other. The location near<br />
the lighthouse is where you can get up and close to<br />
see the penguins, the best time is a few hours after<br />
sunrise and a few hours before sunset when you will<br />
see them enter or exit the ocean. I have been here<br />
a number of times and never left unsatisfied, always<br />
able to capture the birds walking or climbing.<br />
If you pick the seasons right you will also get to<br />
photograph baby seals playing in the pools below,<br />
but don’t forget your telephoto lens as I don’t think<br />
you can get very close to them without the mothers<br />
getting upset.<br />
4 TIPS FOR CAPTURING MOERAKI<br />
• Get to the boulders early before everyone else<br />
does, at sunrise you’ll need to claim your spot.<br />
• For the best seascape shot, get your feet wet and<br />
shoot a long exposure with the water rushing past.<br />
Watch the water to see how it moves before wading<br />
in and pressing the shutter, you might be able to<br />
create a leading line.<br />
• An 80–200mm 2.8 lens is good for most wildlife<br />
photography at Moeraki but for capturing the<br />
albatross on the water, a wider lens will likely be<br />
needed.<br />
• When choosing between sunrise or sunset, I would<br />
personally capture the wildlife in the evening as whilst<br />
the reverse sunsets at the boulders are good, the<br />
sunrises are much much better.<br />
<strong>Feb</strong>ruary <strong>2019</strong><br />
31<br />
F9, 1/800s, ISO125
PORTFOLIO<br />
BEST READERS' SUBMISSIONS THIS MONTH
A TEAR<br />
Photographer, Retoucher: Tanya Mishchuk<br />
Model: Beatrys Ponzoni<br />
Makeup Artist: Heather Newcombe<br />
Tanya Mishchuk
GHOST TREE<br />
F4.8, 1/500s, IS0720<br />
SACRAMENTO, CALIFORNIA, USA<br />
I went out in the rain to photograph the leaves floating in a black<br />
bottomed swimming pool, then inverted the image to bring the<br />
reflected tree upright.<br />
Andy Popadiuk
MATAI FALLS<br />
F4.5, 1/6s, ISO100<br />
THE CATLINS NATIONAL PARK<br />
One of the beautiful falls in The Catlins,<br />
a 30 min walk through native bush.<br />
Hilary Lakeman
LATTE BREAKERS<br />
F7.1, 1/400s, ISO250<br />
CARMEL RIVER STATE BEACH, CALIFORNIA, USA<br />
An overnight storm forced the lagoon to breach the sandbar and<br />
dump volumes of silt and sand into the bay (an annual event). In<br />
the afternoon large swells rolled in and churned it all up, while turkey<br />
buzzards patrolled for anything edible that might have washed up.<br />
Andy Popadiuk
TUI FEEDING ON FLAX<br />
F6.3, 1/<strong>16</strong>0s, ISO<strong>16</strong>0<br />
WAIRAKEI RESORT, TAUPO<br />
I was lucky enough to play golf at the Wairakei resort.<br />
I actually took this shot in the car park even before we<br />
entered into the predator proof fenced area.<br />
Carole Garside
QUEENSTOWN TRIP<br />
F18, 1/320s, IS0200<br />
WAIRAKEI RESORT, TAUPO<br />
This picture of Lake Wakatipu was taken during<br />
our trip from Queenstown to Glenorchy.<br />
Gary Reid
LEVITATION<br />
F4, 1/3000s, ISO200<br />
FEATHERSTON<br />
A 2 week old fawn watches the<br />
photographer as she floats in canter.<br />
Greg Arnold
IN SHE COMES<br />
F14, 1/13s, ISO50<br />
CABLE BAY, NELSON<br />
Some of the best water movements & textures I have captured. Taken an<br />
hour or so before sunset with some nice warm and dark light, It was the first set<br />
up I did on this afternoon shoot and ended up being the only good shot out of 2<br />
hours of non stop shooting along this coastline.<br />
Jesse Hebberd
STRETCH UP YOUR LONG NECK<br />
F11, 1/500s, ISO250<br />
FALKIRK, SCOTLAND<br />
"Stretch up your long necks to greet the sun" says a sign at The<br />
Kelpies in Falkirk, Scotland. That was the inspiration for this shot.<br />
The Kelpies are amazing sculptures by Andy Scott, a must see if<br />
in Scotland.<br />
Peter Maiden
NIKSEDELIC GLENORCHY<br />
F14, 1/13s, ISO50<br />
We were on a trip to Milford Sound, camped at Twenty Five Mile Stream<br />
Glenorchy. We reached the campsite at midnight and settled down<br />
asap to wake up early for the dawn. I clicked a few interesting pictures of<br />
snowcapped mountains with the dawn sky, testing my friend as a subject.<br />
Nihad Mahamood
THE RESTORATIVE POWER<br />
OF A TRANQUIL HOUR<br />
F7.1, 1/80s, ISO100<br />
DUNEDIN<br />
Kayakers are gliding on the still surface of Otago Harbour.<br />
The great city of Dunedin is visible in the distance.<br />
Peter Kurdulija
SURF SUNDAY<br />
F14, 1/5000s, ISO<strong>16</strong>0<br />
MURIWAI BEACH<br />
Early Sunday morning, the beach fills with silhouettes of<br />
surfers and boards as they make their entry into the west<br />
coast waves of Muriwai Beach.<br />
Rachel Elder
PHOTOGRAPHERS MAY OR MAY NOT<br />
MAKE A LIVING BY PHOTOGRAPHY,<br />
BUT THEY ARE ALIVE BY IT.<br />
52 <strong>NZPhotographer</strong><br />
ROBERT ADAMS