ISSUE 3, January 2018
WITH PETER KURDULIJA
BEST PHOTOS OF 2017
HOW TO CAPTURE
THE COROMANDEL PENINSULA
From the Editor
Join the conversation!
Get in touch!
Taya Iv, Editor
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
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.
NZPhotographer Issue 3
by Peter Kurdulija
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Ray Harness, Brendon Gilchrist,
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BEHIND THE SHOT WITH CHRIS WATSON OF PRO FOCUS
CAPTURING THE COROMANDEL PENINSULA
BACK TO BASICS SERIES PART 1: LIGHT READING
HOW TO CAPTURE MOUNTAIN LANDSCAPES
INTERVIEW WITH PETER KURDULIJA
READERS SUBMISSIONS - BEST PHOTOS FROM 2017
SUNRISE IN ONEMANA
F/10, ISO200, 20 s, 21 mm
BEHIND THE SHOT
With Chris Watson of PRO Focus
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
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
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
out Benbo Tripod. Phone settings were automatic,
the 7D was set for 3sec intervals on F13, 1/180th sec @
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?
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
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.
COASTAL WALKWAY VIEW
TUNNEL AT KARANGAHAKE GORGE
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
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.
NEW CHUMS BAY
ISLAND VIEW FROM NEW CHUMS BEACH
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
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.
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
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.
F/16, 0.6 s, ISO125, 24mm
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
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
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
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
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
F/11, 2 s, ISO64, 24mm
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
Interview with Peter Kurdulija
A Photographer Whose Aim Is To Connect Humanity
PETER, CAN YOU TELL US A LITTLE ABOUT
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
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.
WHAT’S YOUR PHOTOGRAPHY
BACKGROUND – HOW DID YOU GET
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
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
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.
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
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
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
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
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
END OF THE PILGRIMAGE
WHAT’S YOUR BIGGEST ACHIEVEMENT IN
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
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
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
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
I’ll try to enter the Sony competition again, I’m
also taking part in more National Geographic
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
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
December 2017 23
LATE SPRING REMARKABLE
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’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!
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!
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
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
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.
December 2017 29
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.
December 2017 31
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
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
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
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
New Zealand Fern
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
Ultramarine sea tones coming back at you.
F/3.2, 1/500 s, ISO100
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
F/4, 1/3 s, ISO50, 15mm
A starling preparing for a landing.
F/5, 6400 s, ISO4000
A starling feeding in my garden.
F/5, 6400 s, ISO4000
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
F/6.3, 1/1600 s, ISO1600, 140mm
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
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
A Night To Remember
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
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
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
Dreams Lost in Water
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
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
St Clair Storm
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
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
Swiss River Walk
A walkway by the river in Zurich.
The Duomo in Orvieto at almost sunset.
2 composited images making an interesting Autumnal scene.
Sailing into the Night
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
Expressway Night Lights
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
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
Peek A Boo
One of the Greenfinch family that frequents our garden feeding off the seeds in the grasses.
F/4.5, 1/1000 s, ISO400
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
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
Captured a beautiful rocky beach while the sun is setting.
F/2.8, 1/1600 s, ISO160
Waiting for a Friend
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
PHOTOGRAPH IS ONE
A FACT, TOUCHES THE
HEART, AND LEAVES THE
A CHANGED PERSON
FOR HAVING SEEN IT.