NZPhotographer Issue 3, January 2018

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Whether you’re an enthusiastic weekend snapper or a beginner who wants to learn more about photography, New Zealand Photographer is the fun e-magazine for all Kiwi camera owners – and it’s free!

ISSUE 3, January 2018

INTERVIEW

WITH PETER KURDULIJA

COMPETITION WINNERS

BEST PHOTOS OF 2017

HOW TO CAPTURE

MOUNTAIN LANDSCAPES

PHOTO INSPIRATION

THE COROMANDEL PENINSULA

December 2017

1


From the Editor

Join the conversation!

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nzp_magazine

nzp@excio.io

Get in touch!

Taya Iv, Editor

Dear readers,

It's hard to believe that Issue 3 is now in

your virtual hands. I remember when the

very first issue felt like an intimidating and

wildly exhilarating challenge. Now we've

developed a routine that involves not just

our team members, but all of you. You

generously contribute by writing guest

posts, submitting your beautiful work

through our website, and giving us helpful

feedback. We're very thankful for your

help and support. Without it, this magazine

wouldn't exist.

This issue is as diverse as our previous

releases. If you're a beginner, Ray will take

you through The Basics of Photography.

If travelling is your passion, Emily's article

about Coromandel will fill you with

enriching knowledge. We have a special

section for photo critique lovers, too!

There are many more articles and photo

features in this issue, all of which were

lovingly created by people from around

the world. Whether you live in New Zealand

or on the opposite side of the world, you're

bound to find something valuable here.

General Info:

NZPhotographer Issue 3

January 2018

Cover Photo

Hallelujah

by Peter Kurdulija

Publisher:

Excio Group

Website:

www.excio.io/nzphotographer

2 NZPhotographer

Group Director:

Ana Lyubich ana@excio.io

Editor:

Taya Iv

Graphic Design:

Maksim Topyrkin

Editorial Assistant:

Emily Goodwin

Contributing Writers/Photographers:

Ray Harness, Brendon Gilchrist,

Richard Young

Advertising Enquiries:

Phone us on 04 889 29 25 or send

us an enquiry hello@excio.io

© 2018 NZPhotographer Magazine

All rights reserved. Reproduction

of any material appearing in this

magazine in any form is forbidden

without prior consent of the

publisher.

About NZPhotographer

Whether you’re an enthusiastic

weekend snapper or a beginner

who wants to learn more, NZ

Photographer is the fun e-magazine

for all Kiwi camera owners – and it’s

free!

Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.


TABLE OF

CONTENTS

4

8

12

14

17

18

24

27

BEHIND THE SHOT WITH CHRIS WATSON OF PRO FOCUS

CAPTURING THE COROMANDEL PENINSULA

Emily Goodwin

BACK TO BASICS SERIES PART 1: LIGHT READING

Ray Harness

THE CATLINS

Brendon Gilchrist

HOW TO CAPTURE MOUNTAIN LANDSCAPES

INTERVIEW WITH PETER KURDULIJA

EXPERT CRITIQUE

READERS SUBMISSIONS - BEST PHOTOS FROM 2017

SUNRISE IN ONEMANA

F/10, ISO200, 20 s, 21 mm

Roxanne Crawford

December 2017

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BEHIND THE SHOT

With Chris Watson of PRO Focus

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December 2017

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DID YOU PLAN THIS SHOT OR WAS IT MORE OF

A LUCKY MOMENT?

We often head into Mavora lakes for a picnic or

camping etc. I am playing around with time lapses

at the moment and am always looking for an

interesting subject. There were severe thunderstorms

forecast and I do quite enjoy clouds, so I was hoping

for a cool time lapse of the storm passing through...

Unfortunately, it didn’t eventuate but I got some

nice shots anyway. So, to answer the question, kind

of planned I suppose you could say. This shot is one

of the 400 odd taken for the time lapse, the raw time

lapse video you can see on my Youtube Channel at

https://youtu.be/ScqIfxCFhCw

WHAT WAS HAPPENING BEHIND THE CAMERA

THAT WE CAN’T SEE?

We were with family so 7 kids running around. This

particular shot I set up because the lake was the

calmest I had ever seen it, (although a calm lake

= lots of sand flies!) So I set my gear up – and left it

running while we all went for a 30 minute walk! You

might say I am quite trusting leaving my gear set up

like that!!

WHAT EQUIPMENT/SETTINGS DID YOU USE?

The photo I took of my camera was with my Samsung

S5 phone, the camera in the photo recording the

timelapse is a Canon 7D mk2 sitting on a very old worn

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out Benbo Tripod. Phone settings were automatic,

the 7D was set for 3sec intervals on F13, 1/180th sec @

10mm ISO400.

IF YOU COULD RE-TAKE THE PHOTO, IS THERE

ANYTHING YOU WOULD CHANGE?

I’m happy with the final photo although there are

lots of sand flies in the time lapse! I probably wouldn’t

change much other than time an awesome storm

passing through as I’d originally hoped!

WAS ANY EDITING DONE?

Editing was minimal – I don’t use Photoshop at all

really (unless I stitch images together) this was all

edited in Adobe Lightroom, just the usual brightness,

contrast and a crop.

ANYTHING ELSE YOU WOULD LIKE TO TELL US?

I love being out in nature exploring. For me, seeing

and hearing feedback on the images I take of my

backyard is what makes it worthwhile for me. I have

opportunities to go and explore places some people

will never or can’t get to for various reasons and I love

being able to share the images I take. It makes me

feel good seeing the reactions to my images…

WHERE CAN WE FIND YOU ONLINE?

www.facebook.com/myprofocus


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CAPTURING

THE COROMANDEL

PENINSULA

PENINSULA VIEW

Think of Coromandel Peninsula and you’re

bound to think of Cathedral Cove and The

Pinnacles Walk. Though these famous sites

should be seen and most definitely captured,

this popular holiday destination has a lot more to

offer for someone looking to get off of the beaten

track, away from the crowds and out into nature.

Coromandel is full of character and charm, think

misty forests, pristine, empty beaches, picturesque

towns and views to take your breath away... This is

an ideal place to escape with your camera for a

few days!

Where better to start capturing Coromandel than

on the 10km Coastal Walkway which connects

East with West. A remarkable area of natural

beauty located on the upper tip of the peninsula,

this remote area is a hidden gem of untouched

beauty where solitude mixed with stunning views

go hand in hand.

Stony Bay and Fletchers Bay mark the start/end

points and it takes around 3.5 hours to hike from

one to the other on the old bridle path. Crossing

farmland and native coastal forest, you’ll be able

to shoot the views out to Great Barrier Island, the

Cuvier Island and the Pinnacles.

For those seeking something a little less strenuous,

drive to the lookout point at Shakespeare Cliff to

take in the panoramic views across Cook’s Corner

and Mercury Bay with Whitianga on the other side.

You can walk down the steps to take photos from

the beach, and if you want to go further, cross the

bridge and do the hour-long circuit.

If you prefer landscapes over seascapes,

Coromandel Forest Park has 21 walking tracks

where you can capture stunning views of the

Keorenga Valley. Whether you opt for a 30-minute

stroll or go all-out on an overnight trek with

the famous Pinnacles Hike you’re going to be

rewarded with some stunning landscape shots.

Spend some time at Sleeping Gods Canyon

photographing the 300-metre waterfall. See the

panoramic views from Crosbies Hut. Capture the

Kauri trees on the Kauri Grove hike. When you’re

finished, head to Hoffman’s Pool for a picnic and

perhaps a dip in the water.

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COASTAL WALKWAY VIEW

TUNNEL AT KARANGAHAKE GORGE

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Maybe you prefer cycling over walking? Cycle the

Hauraki Rail Trail (one of the easiest cycle trails in

the country) along the disused railway line between

Paeroa and Waihi (23km) and you’ll be able to

cross off 1 of the 14 Wonders of New Zealand from

your bucket list by stopping to shoot the stunning

Karangahake Gorge. Be sure to pack a torch and

hop off the bike for a while to explore the walkways

and old tunnels associated with the gold mining

history in this area. The Windows Walkway, so called

because of the holes blasted through the gold mining

tunnels which overlook the Waitawheta river, cannot

be missed! When you’re ready to carry on, hop back

on that bike and cycle between photogenic heritage

towns and past some of the best scenery the country

has to offer.

Ready to get back to the sound of the ocean?

Forget the popular beaches of Hot Water Beach and

Cathedral Cove, you’ll want to get your camera

down to New Chums Beach where silence, stillness

and the shade of pohutukawa trees await you. After

a 30 minute trek through the woods and over boulders

(extra photo opportunities!), you’ll be rewarded with

golden sand and turquoise water almost as far as the

eye can see, with stunning views of Great Mercury

Island too.

If you’re super lucky you might be able to spot Orca

whales or dolphins swimming in the distance, whilst on

the shoreline look out for stingrays – both to shoot and

to protect yourself from stings! If the marine creatures

are being elusive you’re sure to have more luck

capturing the Dotterel bird.

For an easier walk, but without the breathtaking view

down, access New Chums beach from Whangapoua

beach which is about a 15 minutes walk, coming from

this side, you’ll need to judge the tides just right to get

across Lagoon Stream unless you don’t mind wading,

holding the camera above your head!

Are you feeling inspired to capture Coromandel

Peninsula? Perhaps you’ve already been... We’d love

to see your own photos of this picturesque peninsula.

Emily Goodwin

GORGE WALKWAY

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NEW CHUMS BAY

ISLAND VIEW FROM NEW CHUMS BEACH

December 2017

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Back to Basics Series

Part 1 – “Light Reading”

In days gone by, before the advent of semi

and fully automatic cameras, the camera

was a completely manual tool, so you had

to know how to use it, there was no pointing

and shooting! Sometimes the camera came

with the inclusion of a light meter, but this only

told you which combinations of aperture and

shutter speeds were available to you at any

given level of light. All settings, including film

speed, measured as ISO (known as ASA in my

day!), had to be set manually.

By the time semi automatic cameras came

along, (and I speak only of the metering

system here), the control you had over the

camera was limited either to aperture priority

mode (you set the aperture the camera set

the shutter speed) or vice versa shutter priority

mode, the same as we have on modern DSLRs

today.

I, like many others of the older generation,

learned photography on a manual camera. I

had to understand the effect different settings

would have on the picture, else waste entire

rolls of expensive film learning.

So, to reveal the settings I should use, I

needed a handheld light meter. Mine was

a Weston Master 5, powered by light itself,

no batteries required. You aimed the meter

at the scene you were taking, and it gave a

light value between 1 and 16. You set the ISO

speed on the meter, then you turned the top

dial to a pointer corresponding to the light

value indicated, and you were presented

with a range of aperture/shutter speed

combinations, all in 1/3 rd stop increments,

i.e. f2 to f2.8 being one full stop, and between

these are f2.2 and f2.5. In the display, a light

value of 7.5 is indicated on the Weston light

meter, and at this light level you could choose

from the following combinations:-

The aperture is f2 at a shutter speed of 1/250th

of a second, up to f16 at 1/4th of a second,

and all combinations in between. The ISO, in

this case, was set to 200, a faster film by one

full stop than ISO 100. At ISO 100 the shutter

speeds are lengthened by one full stop,

requiring double the exposure, i.e. f2 now

requires 1/125th of a second.

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Film Speed

ISO

100 100 100 100 200 200 200 200

Aperture f 2 f 2.8 f 4 f 5.6 f 2 f 2.8 f 4 f 5.6

Shutter Speed 1/125 1/60 1/30 1/15 1/250 1/125 1/60 1/30

This table shows the combinations in a more structured

manner, using the light value of 7.5 previously

mentioned.

So, film speed increases in full f stops which would be

100, 200, 400, 800, and so on. Each full stop doubles

the ISO rating. This also means each ISO increase

of one full stop gives the benefit of either a halved

shutter speed, i.e. 1/125th becomes 1/250th at f2, or

keeping the speed at 1/125th allows you to close the

aperture by one f stop to f2.8.

So basically, the narrower the aperture, the slower the

shutter speed, and vice versa.

Note: 100 film was primarily used in general for its

latitude and fine grain. Grain in film is the equivalent of

“ noise “ in digital photography. In both cases, it is less

noticeable at slower ISO speeds.

In trying to give you an understanding of the strict

combination of aperture and shutter speed to

produce accurate exposures for photography, you

may feel a little overwhelmed by being confronted

with so many numbers. This is not a simple subject to

get your head around at first go. You may need to reread

certain parts a couple of times, but to help you

see more quickly, experiment with the meter on your

camera. Adjust the aperture after taking the metering,

and see what the shutter speed does. Conversely,

adjust the ISO and see what effect this has on the

aperture / shutter speed combination. If you can

borrow a manual meter, like the Weston, then you

can see all combinations at once, if not your camera

meter will suffice.

But finally, fear not. This is only the theoretical side of

light readings, next month we will show you how to

put this knowledge into practice, and how to allow for

difficult lighting situations.

Ray Harness

December 2017

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F/16, 0.6 s, ISO125, 24mm

THE

CATLINS

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There’s something pretty unique

about The Catlins as I discovered

on my visit. You can surf, swim,

search out lighthouses, see rugged

coastlines, go on bush walks, watch

wildlife on and off the land, and chase

waterfalls in a place where time slows

down.

A weekend just isn’t long enough to

see it all, so stay a week and immerse

yourself in this small corner on the East

Coast of the South Island.

A popular short walk takes you to the

Nugget Point lighthouse, which was

first lit on 4 July 1870, making it one of

New Zealand’s oldest lighthouses. The

lighthouse was designed by well know

Scottish-born NZ marine engineer,

James Melville Balfour. He believed

New Zealand needed not one or two

magnificent, expensive lights, but a

number of small inexpensive ones. The

Nugget Point Lighthouse was the 1st of

these to be built.

Once you get to the lighthouse, look

over the edge of the cliff and you’ll

see the nugget of Nugget Point;

Purakanui Falls, one of New Zealand’s

postcard waterfalls. It’s just a short

walk through lush bush to reach the

viewing platform overlooking this

beautiful 3 tiered waterfall. If it is

raining, don’t despair as it looks even

more spectacular!

Moving on, Curio Bay has an amazing

and very unique fossil forest beach.

Along the water’s edge, you’ll see

old petrified tree trunks lying on their

side amongst exposed rocks. If you’re

lucky, you may see rare yellow-eyed

penguins, fur seals, and sea lions. If

you don’t actually see them, you’ll

definitely hear them!

F/13, 1 s, ISO320, 24mm

CURIO BAY AT SUNRISE

December 2017

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Another waterfall that has to be shot is

that of The McLean Falls on the Tautuku

River. From the camping ground there’s

a short walk to the Lower Mclean, then

onwards another 5 minutes to the upper

Mclean Falls where the river meets its first

whirlpool before cascading down the 22

metres of steep drop-offs and terraces.

Some lesser known places, where few

people go, include the Punehu and

Pouriwai Falls. You can reach them with an

enjoyable 3 hour loop walk through some

of the Catlin’s enchanting bush, while you

listen to beautiful birdsong. Be aware of

the muddy track after it’s been raining

though!

I was traveling with my friend and he really

wanted to swim with dolphins, so we went

to Porpoise Bay. He’d heard that if you go

out, the dolphins will find you. He got back

all excited and happy confirming he’d

swum with the dolphins.

I’ll be back to visit The Catlins as I‘ve got

more waterfalls to chase. Some I‘ve found

have no track and because of this, there

are very few photos for people to see

their beauty. I find it’s a real adventure to

walk up a stream not knowing what you’ll

find or how long it will take. It might be

stunning or it might be ‘just OK’. Until that

day comes sometime in 2018, no one will

know!

Brendon Gilchrist

F/11, 2 s, ISO64, 24mm

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MCLEAN FALLS


How To: Capture Mountain Landscapes

Mountain Landscape Photography Tips with Richard Young

MT NGAURUHOE, TONGARIRO NATIONAL PARK

F/11, 1/20 s, ISO100, 24mm

FIND A SUBJECT

Decide if you want to capture the whole landscape

or isolate a part of it as your subject. If only a small

part of the landscape is interesting then a telezoom

lens will pick this out. For those wide sweeping

mountain vistas, you will likely need to use a wide lens

to include everything.

COMPOSE THE LANDSCAPE

Try and avoid putting the horizon in the centre of the

image as it can be a little boring. If you have some

nice foreground, put the horizon higher to make this

more of a feature. On the other hand, if the sky is full

of colour or nice clouds, put your horizon lower to

capture more of the sky.

CAPTURE THE LIGHT

One great thing about being in the mountains

is the amazing warm light you get across the

landscape by being high up around sunset/sunrise

– try and make use of this to illuminate foreground

subjects and the tops of distant peaks.

GET A SHARP SHOT

To get everything in focus from the foreground

to peaks on the horizon you need to use a small

aperture (f11-f22). If you are photographing in low

light at the end of the day you will need to to use a

tripod or select a higher ISO (eg ISO 400-800) to get

a shutter speed fast enough for a sharp image.

IMPROVE YOUR MOUNTAIN LANDSCAPE PHOTOGRAPHY ON A WEEKEND TONGARIRO WORKSHOP:

6-8TH APRIL 2018 WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS

December 2017

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Interview with Peter Kurdulija

A Photographer Whose Aim Is To Connect Humanity

PETER, CAN YOU TELL US A LITTLE ABOUT

YOURSELF?

I came to NZ in April 1991 on a 3 month visa to

visit family, or so I thought. Just at that time was

the breakup of Yugoslavia and because it was

part of my country I decided not to go back

‘home’ – Being at war is awful. So I applied for

asylum in NZ, it taking 2-3 years until I received

my residence permit and citizenship. It was the

best decision I’ve made – It is a great place to

live and I never had any regrets about it.

I feel in many ways that it changed me a lot

when I became a New Zealander. I have

my own heritage which helps in many ways

because as we (myself and other immigrants)

come from different cultural backgrounds it

means we think a bit differently. It is actually a

plus, not a minus because it gives us an extra

pair of eyes; the experiences we had at home

we can now apply to the new environment

we’re in which helps us appreciate things that

most people take for granted when they live

here.

I’ve been working for the same printing

company for 20 years where we do all the

packaging for some big NZ companies.

Photography is my hobby. I don’t make a

living from it, and I wouldn’t want it to be my

fulltime job – For me, photography is the way I

escape from everything I “have to do”. I want

photography to be for me, not driven by clients

and customers, always going from job to job

and trying to survive as a freelancer.

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WHAT’S YOUR PHOTOGRAPHY

BACKGROUND – HOW DID YOU GET

STARTED?

My history of photography started with my

Dad – He loved to take photographs of myself

and my brother, my family in general, using

his Russian Kiev-4 and taught me photography

from a young age. I loved his camera, the look

of it, the smell of it, the magic of it capturing

the world...

I have a photo of myself aged about 10 with

his camera around my neck and I’m proud to

have it in my possession now, I know there’s not

much use for an old mechanical camera these

days but Dad gifting it to me was the perfect

symbolic gesture.

As a teenager, I purchased an Exakta VX llb. I

really loved the magic of making photographs

– being closed in a dark bathroom and using

the chemicals to make an image appear. You

stay there and you are the first one to see the

photo appearing – it is absolutely magic! I will

always remember those moments.

WHAT EQUIPMENT DO YOU SHOOT WITH?

I have 3 cameras, a Nikon D7100 with lenses

Nikkor 18-200mm, Tokina AT-X 11-16mm, Tokina

AT-X 100mm Macro, Sigma 150-500mm APO

and tripod Manfrotto 190CXPRO3 190 CF with

Hydrostatic Ballhead and Hoya Polarising Filter.

I also have a Sony NEX-5R with 16-50mm lens

and a Sony HDR-AS50 Action Cam.

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WHAT DO YOU LOVE TO CAPTURE?

I love landscapes and nature. I like to add a twist

to the shot with drama and, if I can, add human

figures. The presence of humans is really significant

as we live in a human-centric, self-centric world. We

think that the universe revolves around us but I think

it is just the opposite. The small individual figures in

my photos are there to show the scale of humanity,

the scale of nature and our presence in nature.

The most famous scene I have taken is Milford sound

– It has a small human figure and vast Milford Sound

behind. I’m not sure if it was me who started this

trend, there are now many photos of Milford Sound

with these small figures in this particular spot, so I’m

looking for photos that were taken before my shot

to prove to myself that I’m wrong in thinking I started

a trend!

I try to add some symbolism to each of my images

too. For the photos with human figures, it is about

meeting face to face with nature. I don’t know

what that person feels at that particular moment

but it must be overwhelming!

WHAT’S YOUR POST-PROCESSING

PROCEDURE?

Now that I shoot in Raw, my usual workflow is

that I will take multiple images and stitch them.

Sometimes I’ll adjust a little bit of light, noise

reduction and straighten things if it needs it.

Sometimes I adjust colours just to showcase a

particular part of an image.

I process all my images in the same/similar workflow

but I don’t want them to look the same. I know

some photographers pride themselves on creating

their own style but I’m trying to do something very

opposite.

When I started digital photography in 2007 I said

to myself that I want my photos to look like they

were made by different people. That is my goal. If I

put them together, no one will be able to tell they

were made by the same person because they look

so different thematically and in the way they are

processed.

I try to take photos of the same place, same subject

and then add a different feel to it. I’m not sure what

is the drive behind it, but it was something I wanted

to do.

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END OF THE PILGRIMAGE


WHAT’S YOUR BIGGEST ACHIEVEMENT IN

PHOTOGRAPHY?

In the Sony World Photography Awards 2016 my

image titled ‘They Were Here I Was There’ was

commended in the general part of the panoramic

category and won 3rd place in the National selection

for NewZealand. That year the competition had over

127,000 entries from a total of 186 countries. It was a

great moment and gave me lots of exposure.

My photos have also been chosen for National

Geographic challenge assignments, another great

achievement as NG photographers and editors select

only a handful of images to illustrate their stories from

a pool of more than ten thosand images! My photos

were included here and here. This was the moment

when I felt I could say ‘I made it’!

WHAT’S YOUR FAVOURITE PHOTO THAT YOU

HAVE TAKEN?

This is a very difficult question! But I think the Return

of Helios. It is symbolising the sun that is coming

around although it was actually a sunrise, so it was a

spectacular morning on the South Island – One of the

most memorable moments in my life.

THEY WERE HERE, I WAS THERE

THE RETURN OF HELIOS

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WHAT HAS BEEN YOUR MOST CHALLENGING

PHOTO TO SHOOT?

I’m not really an adventure photographer so I

can’t say something was very difficult, but the times

when I was desperate to take photos it was quite

challenging. Like for example the unexpected White

Wedding shot in St Petersburg...

It was the end of winter and I was walking around

absolutely freezing but I couldn’t stop taking photos.

I loved the city so much! A rather long cold walk

with wet shoes through the snowy streets of St

Petersburg brought me to the Alexander Garden.

I was actually heading somewhere else but can’t

remember where now! I was admiring the resolve

of a beautiful bride to have that special day

image to remember, in spite of the melting snow

creeping up her wedding dress. The backdrop was

worth the discomfort, the magnificent St Isaac’s

Cathedral mellowed by the veil of soft Russian snow

with the glamour of a stretch limo waiting some

distance away. I was shivering while the bride was

still smiling with meaningful enthusiasm, relegating

the inconvenient weather to a mere sensory

illusion. Never underestimate the warming power of

romantic moments!

ANY PHOTOGRAPHY PLANS FOR 2018?

Every year I go at least twice to the South Island –

I like McKenzie Country and central Otago is my

favourite place.

I’ll try to enter the Sony competition again, I’m

also taking part in more National Geographic

assignments.

I find that entering competitions is getting harder

and harder, you keep improving, but so do others!

When you see photos that others take of active

volcanoes etc you realise that you need to add

a bit extra! I try to add a “message” to people

so it stays with them, something underlying and

something positive. I want people to see me this

way. I think there is some deep human connection

that connects us all... There are so many things that

divide us, but regardless of religions, regardless of

nationalities and race, there is something really

deep inside us that can connect us together and

hopefully my photography is the tool to make it

happen.

WHERE CAN WE FIND YOU ONLINE?

I don’t have a website – many people ask me, so

I probably should, but I have my 500px profile and

Flickr.

www.flickr.com/photos/peter_from_wellington

500px.com/peterkurdulija

WHITE WEDDING

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NZPhotographer


December 2017 23


LATE SPRING REMARKABLE

MURRAY KINSELLA

EXPERT CRITIQUE

TAYA IV

EMILY GOODWIN

Landscape photography, despite its popularity,

never ceases to inspire people from around the

world. Murray’s image is a great example of this.

The combination of moody clouds and mountains

creates an atmosphere reminiscent of epic tales.

I like that all of the details in this photograph

are visible. The editing is great, but I believe the

composition would look even better if the clouds

looked smoother. However, this is only a matter

of preference. The grainy clouds do add a lot

of personality to the image. Overall, Late Spring

Remarkable is a fantastic photograph. Well done,

Murray!

Murray’s moody mountain shot ‘Late Spring

Remarkable’ is an eye-catching piece. The

snow-covered peaks draw the eye in and back

but the clouds are perhaps slightly too dramatic,

drawing the eye away from the main subject

rather than enhancing it. Personally, I feel

that the sky has been pushed slightly too far in

post. Using a graduated filter and reducing the

‘dehaze’ slider into the negative in Lightroom

would have produced a smoother sky with less

noise and tonal contrast. Also, note that there’s

no true black or true white point in the photo.

Despite ‘nit-picking’, this is still a great shot that

makes me want to wrap up warm as I feel the

weather drawing in!

24 NZPhotographer


MAORI BAY

SCOTT CUSHMAN

TAYA IV

EMILY GOODWIN

Taking photos of the sun is a difficult task, one that

often results in unflattering, overexposed images.

Scott Cushman proves that this task, though hard,

isn’t entirely impossible. The birds, clouds, and sunlight

all work in harmony, just like a calming song. The dust

particles in this photograph are slightly distracting,

so I’d definitely remove them in an editing program

like Photoshop. Everything else is well composed and

pleasant to look at. Great job, Scott!

Scott’s Maori Bay shot is a difficult one to pull

off, shooting into the sun is never easy! The bird

in the sun is perfectly positioned, if this wasn’t

done with continuous shooting mode, hats off to

you! The crop, with the sun off-centre, is good,

but the rest of the sky is just too dark with a lot of

tonal contrast. Had this of been taken at sunset,

and tightly cropped, it would have produced a

much better result in my opinion. If you decide

to attempt a re-capture do let us see it!

December 2017

25


READERS SUBMISSIONS -

BEST PHOTOS FROM 2017

A big Congratulations to everyone who entered the competition this month, submitting their

best photos taken during 2017. We were blown away by the quality of all the submissions

we received from a range of very talented photographers. This made it very difficult to

choose the top 3 but after a lot of debate, looking at the story behind the shot as well as

quality, composition and which images we were drawn to again, and again, we settled on the

following:

1 ST PLACE – EMANUEL MAISEL WITH ‘WAIKATO SUNRISE’

2 ND PLACE – ROD LOWE WITH ‘THE WALK OF LIGHT’

3 RD PLACE – GREG KANE WITH ‘BEAVER FALLS’

Winners will be contacted via email in the coming days.

We look forward to seeing more new entries and photos in 2018

December 2017 27


28 NZPhotographer


WAIKATO SUNRISE

F/2.8, 1/30 s, ISO250, 5mm

Taken between Blue- and Golden hour in the morning near Te Awamutu. Early morning mist gives

that extra "nowhere else in the world" effect.

Emanuel Maisel

December 2017 29


30 NZPhotographer


THE WALK OF LIGHT

F/5, 30 s, ISO100, 12mm

100 people gathered in Centennial Park, Sydney each swinging a small light as they walked

slowly in a circle in a light painting event organised by Peter Solness.

Rod Lowe

December 2017 31


32 NZPhotographer


BEAVER FALLS

F/22, 1/3 s, ISO100

Had to crawl through rock tunnels, climb down slimy ladders (to get to bottom of 200ft waterfall)

and then tramp some 8 miles through streams and over rocks to get to these falls - and then

back again.

Greg Kane

December 2017

33


Refractions

Roxanne Crawford

This image was captured with 8 images focus stacked. The water drop refraction involves shooting

a water drop with a background image behind it, the image is then reflected inside the water drop.

Difficult to get right and totally real!

F/8, 6 s, ISO100

34 NZPhotographer


Onemana

Roxanne Crawford

I'm quite new to landscape photography, this shot was taken one morning hoping for sunrise but the

clouds were too thick! First shot with my new Nisi 10stop filter and grad filter. Loving the results!

F/7.10, 168 s, ISO100, 32mm

December 2017

35


Pink

Roxanne Crawford

Taken with my macro lens at the Hamilton gardens. This place is stunning to visit, so many beautiful

plants & flowers to photograph. I love all the details and getting up close.

F/2.8, 1/100 s, ISO200

36 NZPhotographer


New Zealand Fern

Roxanne Crawford

The light was perfect, backlighting this baby fern. It's always a challenge in the bush with having enough

light to work with, so it was perfectly positioned.

F/2.8, 1/100 s, ISO400

December 2017

37


Come Back

Victoria Stoeva

Ultramarine sea tones coming back at you.

F/3.2, 1/500 s, ISO100

38 NZPhotographer


Rare Beauty

John Benedict Catbagan

The Bridal Veil falls have multiple viewing platforms and you don’t have

to go to the bottom if you don’t want to, which means it suits most age

groups. There is a short 5-7minute walk from the parking lot depending

on your pace. You can spend as long as you like but I would suggest to

allow for minimum 40 minutes to allow time to really take in the sights at

all platforms.

F/4, 1/3 s, ISO50, 15mm

39 NZPhotographer

December 2017

39


Eric Pollock

Landing Mode

A starling preparing for a landing.

F/5, 6400 s, ISO4000

40 NZPhotographer


Eric Pollock

Rangiora

A starling feeding in my garden.

F/5, 6400 s, ISO4000

December 2017

41


Jim Harding

White Heron in Flight

This is one of a series of shots taken of a white heron attempting to feed by snatching

its prey (usually unsuccessfully) in mid-flight. This is very unusual behaviour for a heron, in

fact I have never seen or heard of this before. Usually they wade slowly in shallow water,

stalking their prey and catching it with a lightning fast stab of the beak. This was one of its

unsuccessful attempts, leaving the water - as evidenced by the splash of water behind the

legs.

F/6.3, 1/1600 s, ISO1600, 140mm

42 NZPhotographer


John Finch

Twilights Touch

The leaf was along the waters edge, frozen in time with a hint of light glimmering through

the trees illuminating it with a soft afterglow.

F/11, 1/500 s, ISO400

December 2017

43


Sydney Lights

Diane Beguely

This shot was taken down by the Sydney Opera House when we visited

earlier this year. The art deco look of the lamps was appealing. Converting

this to black and white enhanced the reflection of the lamps on the wet

surface and also the lines in the flooring.

F/6.3, 1/250 s, ISO100

44 NZPhotographer


A Night To Remember

John Finch

Creating black & white images can be quite liberating. When working

in black and white with all of the shades of gray in between, I find there

is more freedom to create a vision that empowers a range of emotions

that revels the true story behind image. Besides that, it’s just fun to look

at the world in a different way!

F/8, 1/160 s, ISO400, 46mm

December 2017

45


Brexit

John Kelly

A composite involving an iconic shot site of Westminster. I featured Westminster as there is where all the

EU negotiation policy and strategies are formulated. The barbed wire represents those voters opposed to

the talks. The background of icebergs is indicative of the cold reception given to Theresa May and her

representatives in Brussels. The Westminster bridge on the right is the common ground both parties will walk

down to resolve their issues.

F/3.6, 1/160 s, ISO400

46 NZPhotographer


Morning Dew

Diane Beguely

Foggy winter mornings create artistic dew on plants and spider webs. This was taken in our garden on one

of these foggy mornings.

F/5.6, 1/125 s, ISO100

December 2017

47


Dreams Lost in Water

Karen McLeod

I wanted to convey a dreamy relaxing quality to my image. This was taken at The Lost Spring in

Whitianga in the early morning with natural light and steam rising off the water. Model Shaan Wilson.

F/5.6, 1/60 s, ISO200

48 NZPhotographer


Pondering

Karen McLeod

Man stands in deep thought under dramatic skies. I had been waiting for a couple of weeks for morning

skies like this and to have someone come and stand still for a while and then a flock of gulls fly through

while I was still set up in the same spot was magic. Composite of 2 images, one with man, one with gulls.

F/29, 1/160 s, ISO200, 38mm

December 2017

49


St Clair Storm

Michael Sutton

I saw this big angry storm front move in over the ocean east of St Clair beach so I rushed down and

quickly got my camera out and just started shooting it. Within seconds the wind was so strong I was

nearly blown over and the rain poured from the sky.

F/16, 1/125 s, ISO500

50 NZPhotographer


Movement

Michael Sutton

There is often this blanket of cloud that forms north of Dunedin that moves either over Mt Cargill or

around it, and spills through the harbour and out to sea, it's a spectacular sight and I regularly visit this

location hoping to photograph it.

F/13, 30 s, ISO50

December 2017

51


Swiss River Walk

Peter Booth

A walkway by the river in Zurich.

52 NZPhotographer


Orvieto Duomo

Peter Booth

The Duomo in Orvieto at almost sunset.

December 2017

53


Falling Leaves

Steve Harper

2 composited images making an interesting Autumnal scene.

54 NZPhotographer


Sailing into the Night

Susan Kane

Up on a fortress above Hvar, Croatia, at sunset. Yacht came into the harbour and I willed it to go on

down the channel - and it did.

F/8, 1/100 s, ISO100

December 2017

55


Expressway Night Lights

Teresa Angell

Capturing the light streams of traffic on the new Kapiti Expressway. This is looking north from the Raumati

South pedestrian overbridge.

F/8, 30 s, ISO100

56 NZPhotographer


Nesting

Teresa Angell

This was taken on a photographic club trip to Cape Kidnappers. There were many birds bringing in

nesting material. The challenge was to capture some interaction with the bird in flight and at the same

time, with one on the ground. I took many, many shot to get this one.

F/7.1, 1/1000 s, ISO400

December 2017

57


Peek A Boo

Teresa Angell

One of the Greenfinch family that frequents our garden feeding off the seeds in the grasses.

F/4.5, 1/1000 s, ISO400

58 NZPhotographer


Preening

Teresa Angell

This was taken on a photographic club trip to Cape Kidnappers. The gannets are all huddled together

and I wanted to try and isolate one and capture it with the early light on it's head.

F/5.6, 1/250 s, ISO200

December 2017

59


Windswept Tree

Tim Ashby Peckham

The wind on the Awhitu peninsula is so severe it bends trees almost to the

ground. The night time background makes the trees unique silhouette pop

out in cosmic wonder.

F/3.5, 20 s, ISO3200

60 NZPhotographer


Summer Mood

Victoria Stoeva

Captured a beautiful rocky beach while the sun is setting.

F/2.8, 1/1600 s, ISO160

December 2017

61


Waiting for a Friend

Todd Henry

I saw this girl in Madagascar' capital city gazing out of her window for a relatively long period of time.

She had been waiting for a friend who eventually came and knocked on her door below. Malagasy

houses leave a lot to the imagination as most do not have electricity or running water (only 20% of

houses have these amenities).

F/6.3, 1/250 s, ISO640, 135mm

62 NZPhotographer


December 2017

63


A GOOD

PHOTOGRAPH IS ONE

THAT COMMUNICATES

A FACT, TOUCHES THE

HEART, AND LEAVES THE

VIEWER

A CHANGED PERSON

FOR HAVING SEEN IT.

IRVING PENN

64 NZPhotographer

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