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 5, March 2018
INTERVIEW
with Eva Polak
FACING
FACEBOOK CHANGES
BY EMILY GOODWIN
UNCOVERING INCREDIBLE INDIA
with Susan Blick
HOW TO CAPTURE:
MILKY WAY PHOTOGRAPHS
Astrophotography Tips by Richard Young
LONG EXPOSURE
PHOTOGRAPHY
BY RICHARD BROOKER
March 2018 1
From the Editor
Dear reader,
Join the conversation!
nzphotographer
nzp_magazine
nzp@excio.io
Get in touch!
Taya Iv, Editor
Welcome to Issue 5 of NZ
Photography Magazine!
This month, you'll get to
experience the beauty of New
Zealand as well as other parts
of the world. You'll discover Gail
Stent's stunning underwater
photographs, find creative gems
in our interview with Eva Polak,
learn about Facebook changes
and so much more. You'll also get
to see our favourite submissions,
all of which are bound to inspire
you to go out with your camera.
Our community has been thriving
because of your contribution and
support. Thank you for sharing
your stories, talents, and ideas
with us.
We look forward to seeing you in
the next issue!
General Info:
NZPhotographer Issue 5
March 2018
Cover Photo
by Eva Polak
Summer
Publisher:
Excio Group
Website:
www.excio.io/nzphotographer
Group Director:
Ana Lyubich ana@excio.io
Editor:
Taya Iv
Graphic Design:
Maksim Topyrkin
Editorial Assistant:
Emily Goodwin
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!
2 NZPhotographer
Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.
CONTRIBUTORS
TABLE OF
RICHARD BROOKER
CONTENTS
4
BEHIND THE SHOT WITH GAIL STENT
Richard is an enthusiast
photographer with too
A NATIONAL TREASURE AWAITS EXPLORERS TO ARTHURS PASS
6 Brendon Gilchrist
much time oh his hands!
He’s fascinated with
capturing movement in
8
INTERVIEW WITH EVA POLAK
a still image.
BACK TO BASICS: UNDERSTANDING SHUTTER PRIORITY
16 Ray Harness
BRENDON GILCHRIST
18
UNCOVERING INCREDIBLE INDIA WITH SUSAN BLICK
FACING FACEBOOK CHANGES
28 Emily Goodwin
HOW TO CAPTURE: MILKY WAY PHOTOGRAPHS
30 Richard Young
LONG EXPOSURE PHOTOGRAPHY
Brendon is the man
31 Richard Brooker
behind ESB Photography.
He treks from sea to
49 READERS SUBMISSIONS mountain, and back
again, capturing the
uniqueness of New
Zealand’s unforgiving
landscape.
RAY HARNESS
RICHARD YOUNG
TAYA IV
EMILY GOODWIN
Ray is an amateur
photographer who has
dabbled in photography
for 45 years. He has a lot
of pre-digital knowledge
under his belt and enjoys
capturing landscape
scenes and animals.
Richard is an awardwinning
landscape and
wildlife photographer
who teaches
photography workshops
and runs photography
tours. He is the founder
of New Zealand
Photography Workshops.
Taya is a portrait
photographer whose
work has been featured in
magazines and on book
covers. In addition to
taking photos, she loves
reading, learning, and
sharing her knowledge
with people like you!
Emily fell into
photography a little
over 10 years ago. She
is passionate about
documenting her travels
and loves to spend time
in nature capturing the
details as well as the
wider views.
Behind The Shot with Gail Stent
GAIL, CAN YOU TELL US A LITTLE ABOUT
YOURSELF AND YOUR PHOTOGRAPHY
CAREER?
I have always been interested in photography
and did a little darkroom work when I was in
high school. When digital cameras came out I
became really interested as all I needed was a
camera and a computer. I had small children
(twins) at that stage, so took a lot of photos of
them and the dogs in-between being a mother
with a part-time job. My photography really took
off when I joined the North Shore Photographic
Society. I taught myself Photoshop and that was
really exciting as I was able to create composites
which I love doing. I have developed my
photography to such an extent that I now teach
photography, Adobe Photoshop and Lightroom
at Auckland Zoo, NZPhotography Tours and
Mairangi Arts Centre. I also exhibit and sell my
fine art pieces, as well as doing photo shoots for
families and underwater portraits.
HOW DID YOU GET STARTED WITH YOUR
UNDERWATER SERIES, AND WHY?
In 2009 I went to the PSNZ National Convention
in Whanganui where I listened to an Australian
guest presenter, Narell Autio. She showed us her
underwater photographs and I was captivated.
Having spent my sporting life underwater
as a synchronised swimmer, this felt like my
domain. I immediately went out and bought
a small Canon G10 camera with housing and
started photographing my daughter and her
teammates. However, it was only really in 2014
that I started creating this type of image.
CAN YOU TAKE US THROUGH SHOOTING
THIS PARTICULAR SHOT?
This shot was taken in an indoor pool. I think we
shot for about 30-45 min - The girls get quite cold
after that. I most often work with girls who are
familiar with the underwater environment and
brief them before we go in about what I want
from them, facial features, body positions etc.
When I work with non-swimmers, I usually go
into shallower water. I work with the model - We
discuss how to make a better image e.g., closer
to the surface, arm positions, etc. I use a mask
and snorkel, so come up for air with the model
and we discuss a repeat or the next move.
WHO IS THE MODEL AND HOW DID YOU
START WORKING TOGETHER?
The model in this image is Katie. I used to coach
her synchronised swimming when she was
younger - She is now a coach herself. She is very
comfortable and relaxed underwater and I love
working with her as she is very flexible and looks
amazing in the water. I also use my daughter
(when she’s in town) and my niece, as well.
WHAT EQUIPMENT ARE YOU USING?
I started off with a Canon G10 and then moved
to a Canon G16. I now use a Sony A7R ii with an
Ikelite housing and a Sony FE 16/35 f4 lens. The
difference in quality is amazing - My images are
now on another level. I tend to use natural light,
but also have a small Lume Cube light that is
waterproof and has amazing power.
I wear a short wetsuit as I get cold really easily,
a weight belt to keep me under (I’m super
buoyant!!), fins (so that I can get back to the
surface!!) and a mask and snorkel. I don’t use full
scuba gear as I need to communicate often with
the model, so come up to the surface to breath
and talk.
ANYTHING ELSE WE SHOULD KNOW?
After the shoot, I always have to post process
in Lightroom as well as Photoshop. Underwater,
everything is blue, so I have to get the White
Balance correct. I prefer doing this in postproduction.
These days I often tend to convert
to B&W or use textures as I find this gives another
dimension to the image.
WHERE CAN WE FIND YOU ONLINE?
www.gailstentphotography.com
www.facebook.com/mifotoshows
www.instagram.com/gailstent
4 NZPhotographer
March 2018
5
A National Treasure Awaits
Explorers to Arthurs Pass
By Brendon Gilchrist
In the heart of the Southern Alps, which is a short 1 hour
19 minute drive from Greymouth or a 2 hour drive from
Christchurch, you will arrive at a small village called
Arthurs Pass which is on the south western side of Arthurs
Pass National Park.
I have been hiking, climbing and exploring this National
Park for many years. It has always drawn me as a place to
go and explore. The diversity of attractions is so much more
then what most people will ever think, but you need to
walk or climb to reach these stunning destinations.
Within the township you will often see Kea, standing on top
of the railway station, hanging out at the cafe, or outside
the Wobbly Kea. Yes, you read it right, that is the name of
a cafe/restaurant in the village!
Devils Punch Bowl is a large waterfall that towers 131
meters from top to bottom that can be accessed from
the western end of the village, a one hour return walk
from the car park. You'll find great views over to the other
mountains, a lively forest of native birds, and a viewing
platform looking towards the mighty Devils Punch Bowl. The
famous Punch Bowl Branch can be viewed from here. A
focal length on your camera of about 100mm will capture
this world famous branch.
Arthurs Pass offers something for everyone from easy day
walks to difficult mountaineering and rock climbing routes.
There are hiking huts, large tarns (Mountain Lakes) to camp
beside and even hot springs. Where do you begin?
Due to the diversity, it’s one of those places where you’ll
see or do incredible things, but beware of the weather, as
it can and will change quickly.
To start off, Bealey Spur is an easy day walk that walks
through lush bush then enters onto golden tussock tops
overlooking the Waimakarir river and all its braids. The
view is such a classic New Zealand south island river. The
6 NZPhotographer
hut was built in 1935 and used as a base for high country
sheep farming until 1978 when it was retired and added to
Arthur’s Pass National Park. It is a must do and a must see.
On the other side of the scale is a hike to 3 Alpine Tarns
which are located within Kelly Range and Carol Hut. It's
a solid 3 hours to Carol Hut and an extra 1 hour walk will
get you within reach of the parks best kept secret. You
can camp almost anywhere near the Tarns. On the left
side of the mountain, there is a large slip, if you are careful
you can walk down and stand where water is gushing out
the side of the mountain. You can feel the earth tremble
below you. I remember the taste of the water was so fresh,
suprisingly freezing cold even though it was summer.
Arthurs Pass is also home to Canterbury Mountaineering. A
base for so many peaks, from easy peaks like Avalanche
Peak at 1883 meters high to the more advanced Mount
Temple at 1913 meters mostly needing rope skills. There's
also Mount Rolleston at 2275 meters, or the more longer
access peaks of Mt Murchison at 2302 meters. From
entry level climbing on rock and ice in winter to the
more advanced climbing routes, there are just so many
different peaks to think of, so many valleys to walk up,
so much diversity in wildlife here. You'll find 5 different ski
fields, forests, glacier's and beautiful streams and rivers,
wide open fields of tussock grass, and tarns right below
mountain peaks, or nestled in golden tussock grass.
Standing on top of these mountains looking at more
mountains will give you moments of pure joy as you
ponder life and the world we live in. “We do not climb the
mountain, the mountain climbs us.”
I love this place. Due to its size (1,185 km2) it manages to
have everything. There is no other park in New Zealand
quite as unique as this one.
I hope you will read this, see the photos, and then start to
plan a trip to this unique place.
F/18, 1/20s, ISO400
F/16, 1.3s, ISO100
March 2018
7
Interview with
Eva Polak
An Impressionist Photographer On An
Imaginative Journey of Creativity.
EVA, CAN YOU TELL US ABOUT YOURSELF?
I made New Zealand my new home 20 years ago after
leaving Poland. If you had told me the day I landed in
Auckland airport that in a few years time I would run
online impressionist photography courses, write books or
speak in front of people about my work, I would laugh at
you. None of it was even remotely in my plans. In fact I
didn’t even speak English or own a camera back then.
Thanks to photography I really found my place and my
voice here. I live with my husband in West Auckland and
work for a printing company during the day, the rest of
my free time I dedicate to my photography.
WHAT CAMERA EQUIPMENT DO YOU HAVE?
I have a Nikon D300 and D810 and several different
lenses - I really love the Nikkor Nikon AF-S 70-300mm
F/4-F5.6 lens as I can take images in the middle of
the day without needing an ND filter. I use the Sigma
AF 50mm F/2.8 Macro lens for most of my macro
photography. I also have a collection of M42 lenses,
mostly 50mm and 85mm. These lenses create an
amazing variety of effects, from a buttery, soft bokeh to
a crazy swirly bokeh and very interesting lens flares.
If anyone wants to peek inside my camera bag and see
what I do with each lens they can look here:
http://evapolak.com/camerabag.html
HAVE YOU DONE ANY PHOTOGRAPHY COURSES
AND TRAINING OR ARE YOU SELF TAUGHT?
It all started in December 2004 when my husband gave
me a small digital camera for Christmas. I was spending
most of my free time with my camera, always taking
photographs, reading about photography or planning
my next photo shoot. I was enjoying myself immensely
and I even entered a few local competitions with some
success. After a year or so, I felt that I was ready for my
first SLR camera. I wanted to have more control and be
able to experiment with shutter speed and aperture.
I also started to attend photography workshops and
presentations. I was having fun experimenting with
different types of photography, slowly buying new lenses
and other equipment.
By 2007 I was a pretty competent photographer. On
one hand I was enjoying making images, but I also felt
trapped and increasingly frustrated with all the “rules”
of traditional photography. Around that time, I came
across an advert for a workshop at Auckland University,
The Art of Impressionist Photography. I knew instinctively
8 NZPhotographer
that this was something that I wanted to be doing. And
the rest, as they say, is history.
As I was experimenting with impressionist photography
I very quickly realised that there are certain looks and
effects that I’m attracted to. I started to study my own
work, trying to really pin down my likes and dislikes.
Soon I was using this process in my work to open up
experimentation. I very quickly learned that what starts
as ‘What if?’ could become an image that I love.
CAN YOU DESCRIBE IMPRESSIONIST PHOTOGRAPHY
FOR US – WHAT DOES IT MEAN TO YOU?
The wonderful thing about impressionist photography is
the freedom that it gives you. There is no right or wrong
way to create these images, just guidelines. Also, there is
no need for expensive lenses or special equipment; you
only need a camera with manual control settings.
There is the freedom to work with precision and control,
or to try a spontaneous, experimental approach.
Creating impressionist work doesn’t mean just using
special techniques. You still have to use your sense of
composition and have a knowledge of light, colour and
other elements of visual design to present your subject in
the best possible way.
Success in impressionist photography requires an
understanding of the genre and knowledge of its
strengths and limitations. It is not as easy as some people
might think. The most essential ingredient that you need,
to elevate your images from good to great, is expression.
Actually, the fundamental building blocks of images go
hand in hand with expression, because they allow the
viewer to read and feel the photograph’s mood.
If asked to define this style I would say that impressionist
photography is the first step to abstraction, and the
viewers have a clear idea as to what they are looking
at and respond to emotionally. Photographs should only
suggest detail, rather than focus on it.
March 2018
9
DO YOU HAVE A FAVOURITE PIECE OF WORK
THAT YOU HAVE CREATED?
This is a very hard question as there are so many images
that are important to me. Nearly every image leads to a
new discovery or improvement of my work or steers me
in a new direction. I like to work on long term projects
and usually there is only one at a time.
I spent more than three years just perfecting one
technique - ICM (Intentional Camera Movement) with
slow shutter speed. I really wanted to learn all aspects of
this technique like light, different shutter speeds, different
subjects, combinations with other techniques, etc.
Then I moved into a different technique and discovered
dandelions.
I can clearly see how my approach to this one subject
was changing and how my images were evolving.
I finalised this project with a book, The Secret Life of
Dandelions which you can get at http://evapolak.com/
The_Secret_Life_of_Dandelions.html
I had a similar journey with moss. I created a book with
this project as well, called Parallel Universes.
http://evapolak.com/parallel-universes-book.html
I believe that by focusing on one subject for a long time
we can discover and capture the full potential of it.
WHERE’S YOUR FAVOURITE LOCATION FOR
SHOOTING?
The west coast of Auckland is definitely one of my
favorite spots; it’s a very diverse environment of wild
spirit, rolling surf, dramatic cliffs, and distinctive black
sand beaches. For me it is a magical place. I always go
there to recharge and relax.
I also love being in my garden and look at the world
through a macro lens. Beauty is everywhere - we just
need to open our eyes.
ANY TIPS FOR RUNNING A PHOTOGRAPHY
BUSINESS? HOW DO YOU MANAGE YOUR
TIME BETWEEN TEACHING, WRITING BLOG
POSTS, PROMOTION AND ACTUALLY TAKING
PHOTOS?
The secret to any success, in my mind, is consistency.
Small steps but frequent...
I don’t have a lot of time between my full time job
and my private life so I have to organise my time very
carefully.
My students are my priority. They are the most important
people. I do my best to keep them happy and make
sure that they are learning a lot.
I try to make everything else as easy as possible for me...
If I feel I have nothing to say I don’t write my blog post. I
planted a lot of flowers in my garden so I don’t have to
travel anywhere to take pictures which saves me time!
I’m not the most organised person and I’m easily
distracted. My effort this year will be in learning to focus
so I can do more.
10 NZPhotographer
March 2018
11
ANY TIPS FOR OTHER PHOTOGRAPHERS IN
PROMOTING THEIR WORK AND MAKING
MONEY WITH THEIR PHOTOS?
There are many opportunities to make money with
photography at the moment. The Internet makes it
possible for us to reach a global audience. The trick is
to treat photography as a product and then find the
right people for that product. This is the hardest part,
but if this first step is done right then everything else is
easy.
I research a lot of photographers and artists to find out
how they run their businesses and if possible I adopt
proven strategies. To me knowledge means power so I
invest heavily in personal development.
YOU SEEM TO DO A LOT OF GROUP
EXHIBITIONS, HOW DOES THAT WORK AND
HOW DID YOU GET STARTED?
I got together with three of my friends and we put
together a proposal for the exhibition at UpStairs
gallery in Titirangi.
After the proposal was accepted I spent a lot of time
researching and learning about exhibitions. My goal
was not only to exhibit but also to sell my work, so I
followed all the advice as best I could to reach my
goal.
12 NZPhotographer
After a few solo exhibitions I received invitations to
do other group shows. I always said, Yes. For the past
few years I have been invited to do a few school
fundraising shows. I love these opportunities as they
are very well organised and run.
I always encourage my students to exhibit their
work, even if the exhibition will be just for family and
friends. Having a show is an exciting and very special
experience. Also it gives you a direction and focus.
YOU CRITIQUE PHOTOGRAPHY, CAN YOU TELL
US A LITTLE ABOUT THAT?
To me, looking at a photograph, especially an
impressionist or abstract one, is like deciphering a
visual message coded in lines, shapes, and colour.
If the message is clear then the image is successful.
If I have trouble understanding the story my job
as a teacher and judge is to honestly point out
the weaknesses and give my best advice for
improvement. Most of the time I see the problem lies
with the composition or overly relying on a specific
technique to tell the story.
For me the hardest part is to ignore my own
preferences and honour someone else’s point of view
and creativity. Art is very personal, and individual
expression is very important. It should bring joy to one’s
life. I’ve seen so many hearts broken by unthoughtful
comments.
WHAT TIPS CAN YOU OFFER PHOTOGRAPHERS
WHO WANT TO TRY THIS STYLE OF
PHOTOGRAPHY?
I would say “Just do it!” Take photographs as often
as possible. Learn from your successes but also from
your failures. Carefully study your own photos, and
ask yourself a lot of “why” questions. Finding your own
personal style is a lifelong, personal journey, so listen to
your heart. As a great photographer, Ernst Haas, once
said, “We see what we know until we know who we
are, then we see what we feel.” Most of all, enjoy your
journey!
WHAT ELSE SHOULD PEOPLE KNOW ABOUT
YOU OR YOUR WORK?
I’m very grateful to my students. Because of them my
understanding of photography, my own processes
and techniques are without doubt greater. So if you
really want to learn something, teach someone else!
I do small group (up to 10 people) weekend
workshops 2-3 times a year. I like small groups as I can
really give individual attention to each participant.
But my main focus is on online courses. These are 5-6
weeks long and are very rewarding for me as I can
see a huge improvement and development of each
student. I try to have no more than 10 students at one
time so I have enough time for each student.
ANY FUNNY PHOTOGRAPHY STORIES TO
SHARE?
One afternoon I went to Piha to photograph the
sunset. As it was a midweek day there was nothing
happening there. The beach was deserted and the
the weather didn’t really promise a spectacular
evening.
As I was strolling along the beach I noticed in the
distance a figure swimming in the ocean. With the
hope of making some images I got closer. To my
surprise, through my 300mm lens I could clearly see
that he was naked. I felt a bit uneasy. It is not in my
nature to photograph unclothed people with my
telephoto lens, even if I’m not capturing any details.
Soon enough I noticed that he saw me. So, I turned
around and walked away. This guy was very quick
getting out of the water and dressing up. He caught
me just before I got to my car and demanded to see
my photos. I apologised and explained to him the
nature of my work.
The expression on his face was priceless as he
discovered that any particular features of his were not
recorded.
March 2018
13
DO YOU EVER FEEL THAT YOU LOSE YOUR
CREATIVITY?
Of course, many times. I don’t think that there is an
artist who is immune to that feeling.
When that happened to me for the first time I was
scared and I thought, “This is it. This is the end of my
photography journey.”
Now, I know that I just need to relax and rest.
WHAT ARE YOUR PLANS FOR THE REST OF
2018?
I have so many projects I would like to finish this year.
I have three or four books in the making at the
moment... Wonderland’s Impressions - Creative Macro
Photography, Dance Impressions - a collection of
images I created going to ballroom competitions.
Creativity Journal - Tips, ideas, exercises to keep
your creativity alive and last but not least Flowers
Impressions - a flower a day stories. I’m also working on
another online course - Composition in impressionist
and abstract photography.
I have a lot of ideas and sometimes this is a curse, as
very little is actually done!
WHERE CAN WE FIND YOU ONLINE?
www.evapolak.com
www.facebook.com/evapolakimpressionist
www.instagram.com/eva.polak
14 NZPhotographer
JOIN AN AWESOME
PHOTOGRAPHY COMMUNITY
NZ $25/year only
Your own portfolio on Excio
30 photos, 100,000 impressions/day
100+ clicks to your website/month
Add your Facebook & Instagram profiles
Member-only offers
Discounts from our partners
Free Lightroom presets
“Early bird” access to events and meetups
Competitions
Get free entry into all competitions and earn
by participating in photo challenges
BECOME A MEMBER
www.excio.io/membership
March 2018
15
BACK TO BASICS PART 3
UNDERSTANDING SHUTTER PRIORITY
by Ray Harness
In the last issue, we delved into Aperture Priority and
Depth of Field. Now we explore Shutter Priority and its
uses.
Shutter Priority is where you select the shutter speed
and the camera takes care of the aperture, used
when needed to capture subjects in motion. On most
cameras, shutter priority is designated S or Tv on the
program dial. The speed selected is shown on the top
display panel (if the camera has one), in the viewfinder
itself, and/or on the rear viewfinder. Once in shutter
priority mode, the change to select the speed is usually
made using the spin dial.
Whether you are working with telephoto lenses, fixed
or zoom, without the aid of a tripod and irrespective of
subject matter, rule of thumb says shutter speed should
equal or exceed the lens focal length. For example,
shooting at 100mm should have a shutter speed of 100/
th of a second or faster.
You need to consider what kind of picture you wish to
take, to apply the kind of speed required to achieve
the desired look. For extremely fast moving objects, you
would generally need a fast shutter speed (i.e. to freeze
motion on cars, fast-moving sports, birds in flight etc).
Typically, fast cars would warrant a speed of 1/1500th
of a second or more to freeze motion. To accentuate
the actual speed the car is traveling at, a slower speed
of say 1/750th of a second, with you following the car
(panning the shot) should be enough to stop the action
of the car, speed blurring the background to show the
car’s motion.
16 NZPhotographer
The same rules can be applied to wildlife photography,
though your shutter speed may not need to be so
extreme unless photographing birds in flight. In this
case, you will be following the bird’s flight as they move
around, so a fast speed is desirable, around 1/1000th
to 1/1250th of a second, maybe more if using a long
telephoto lens.
You should also consider whether you are constricted
by shutter speeds on your camera - This is where the use
of the ISO setting can increase your speeds to what you
may need. Increasing the ISO from 100 to 200 gives an
immediate full stop of shutter speed from for instance
1/125th to 1/250th of a second. You do need to take
into account that higher ISO numbers increase the level
of noise in your pictures and it also reduces the camera’s
dynamic range, though modern cameras have gone a
long way towards minimising these negative effects.
If you’re feeling a little daunted at using shutter priority
mode don’t despair as many top photographers (even
sports photographers) shoot purely using aperture
priority. The latitude in aperture settings allows you to set
an aperture that will produce the desired shutter speed
unless you find yourself in a rare situation when you need
a very specific speed.
People ask what are the best apertures, or speeds to
use in varying picture scenarios, but so much depends
on the amount of light available that it is almost
unanswerable. It’s something that you need to explore
and pracise so get out there and have a go! If at first,
you don’t succeed, try again, and again and again.
You will achieve what you are aiming for with more
experience behind the camera.
March 2018
17
UNCOVERING INCREDIBLE INDIA
with Susan Blick
India, incredible India they tell us in the
advertisements and they’re not wrong. Most of us
have probably thought about going to India at
some point in our lives. After all, the saying goes,
“You haven’t travelled till you’ve been to India”.
Another one says, “You can’t die happy if you haven’t
seen the Taj Mahal”. I’m not sure about that, but
certainly going to India gives you new and thoughtful
perspectives on life and faith.
India is like a love-hate relationship. You love it when
you arrive, then you can’t wait to leave. Once you
have left, you’re planning a return. It’s a drug, a
stimulant. It stimulates your senses, all of your senses.
It fuels creativity and teaches patience. It’s what you
need, if you don’t like being bored, and most of all,
if you’re looking for something new to inspire your
photography.
I’ve been travelling to India since 1998. On that first
visit I entered the country overland from Nepal and
traveled down to Varanasi and then West all the way
to Jaisalmer and into the Thar Desert. By the time my
month of travel was up, I was hooked! Since then I’ve
been visiting on average every few years.
I generally travel with a pretty compact photography
kit, but naturally it depends what region I am visiting.
For a street-based India tour I take either my Canon
6D or 5D Mark 3, the 16-35mm F/2.8 III for landscapes
and the 24-105mm F/4 for street shots. If I am visiting
a mountainous area like Ladakh I will trade the 24-
105mm for a longer telephoto like the 70-200mm
F/2.8. I always take at least one neutral density filter,
usually the 6 stop as it’s more versatile, and always a
graduated filter, usually the soft grad 1.2. I used Lee
Filters for many, many years, but have fairly recently
moved over to Nisi as I find them far superior. I always
travel with one of my tripods, usually the Sirui tripod
with ball-head for international travel as it’s that much
lighter.
18 NZPhotographer
This shot (above) was taken in Khari Baoli the largest
spice market in all Asia. This humble Holy man sets up
his little puja offering stall just after dawn and goes
through a ritual that I was lucky enough to witness
and experience. He only does this once a day. He
awakens the Gods or spirits by using little balls of
explosives - He throws them into the candle and they
combust in a flurry of flames. He runs his hands through
the flames. I squatted down the on road beside
him and he happily allowed me to photograph
his process. I find Indians are like this, they’re very
welcoming and kind, so long as you show some
respect. Afterwards, local shop owners came by and
gave him small amount of rupees for which he blessed
them. Moments like this stay with you!
I find the best time of day to explore in the city is early
morning. Mornings are cool and people awake in a
good mood. You feel at peace as you wander the
streets looking for imagery. You’re welcomed with
Namastes, and you feel you’ve found something
more soulful than the cacophony that envelopes
the streets by midday. People are going about their
business, some are rushing to work, others are hanging
around waiting to open shops. The streets are littered
with paper and debris from the day before. Street
sweepers come by and fine dust particles are lifted
into the air with shafts of light reflecting through them.
Who knew pollution could be so photogenic!
March 2018
19
20 NZPhotographer
Transport in all its known forms pass by, with bullock
and horse carts jostling for space on the crowded
roads among cycle-rickshaws, cars, trucks and every
man and street dog. There isn’t anywhere to look
where nothing is happening. Your eyes, all your senses
in fact, are beaming, you’ve never been more awake
or alert to your environment. You feel consumed with
adventure and excitement, and this is just the first day!
I couldn't help but name this image (bottom left) The
Backstreet Boys! As a foreigner with a camera you
tend to attract attention. Mostly on the streets you
find curious young to middle-aged men. They often
want to know where you’re from, what you do, and
if you have children. Having children is obviously
more important in their culture than mine, they usually
can’t fathom why I wouldn’t want to have kids! So
it was during my wanders I came across this group
of lads, doing what… I have no idea, but quickly
they gathered around and I was like the paparazzi
snapping away happily as they laughed and joked
to stall holders either side of the street. They spoke
broken English, and mixed with my bad Hindi, together
we smiled and laughed as I captured this candid
moment. Moments in India are almost always candid,
images are a record of a split second in time. A time
that you forever recall with a smile.
Painted in the colours of the Indian flag, a pedestrian
swing bridge (above) stretches high over the river
Ganges in Rishikesh. I sit at an open-air German
Bakery sipping a cappuccino and watching
pilgrims make their way across the bridge. Indian
photographers wait to take Indian tourists’ photos,
they print the shots while the tourists visit the temples.
They’re only in town for 24 hours. I spent time
chatting with them, they’re no different than the
photographers we have in New Zealand at any tourist
site like the Queenstown cable car or at the Sky Tower
in Auckland.
Vendors on this side of the bridge sell dried corn,
peanuts, flowers and other knick-knacks to be offered
up to the Gods for puja once the pilgrim makes it over
to the temple on the other side. Before they reach the
temple however they must run the gauntlet of Rhesus
Macaque monkeys waiting to relieve them of their
goodies. The monkeys work in gangs, and although
mostly harmless they are quite frightening. If you’re
carrying any food at all they will snatch the quarry
from your hand.
March 2018
21
The pulsating streets of New Delhi are alive with colour.
It’s quite humorous sitting back enjoying my morning
coffee watching the next poor unsuspecting tourist
being mugged in broad daylight by the monkeys! I
love Rishikesh with its temples, Holy men, the Beatles,
cows and monkeys… Life here in the foothills of the
Himalaya is idyllic as the bells at the temple across the
river chime in a spiritual trance the gorgeous days just
saunter by.
These days I’m running photo tours to some of the
most photogenic and culturally significant parts of
India and I’d love to take you with me. My tours
are different from most. Firstly, they are reasonably
priced, and secondly, we are travellers not tourists
while in India. There is a huge difference and one you
can best appreciate once there. We interact with
common people and I take you into the back streets
where the photo ops are gold and the best memories
are made.
Join me on my next available departure in April 2019,
when we’ll visit incredible Mughal dynasty sights like
the Taj Mahal and the Jama Masjid. We’ll venture
North, first to Rishikesh, where the Holy Ganges runs
blue, and then into the Indian Himalaya taking in the
great expanses of the mountainous landscapes that
make up Ladakh, the number one up-and-coming
travel destination in the World!
For more information on traveling with me whether in
India or NZ visit www.susanblick.com
www.facebook.com/susanblickphoto
www.instagram.com/phomadic
22 NZPhotographer
Susan Blick is an English teacher, and
a landscape and travel photographer
based in Auckland, New Zealand. She
has visited 39 countries - many of them
numerous times - and has resided in seven.
She was New Zealand Geographic’s
Landscape Photographer of the Year
in 2015 and notably, won gold awards
at the Sydney International Exhibition of
Photography for Landscape and the Prix
de la Photographie Paris in the Travel
and Tourism category in 2015 and 2016
respectively.
Susan enjoys documenting stories
behind small NGOs (non-governmental
organisations) and has studied visual
journalism.
March 2018
23
A Sadhu in Rishikesh enjoys his chillum of ganja
24 NZPhotographer
The Taj Mahal at sunrise, looking down the Yamuna River
An old man feels grief as his mother is burned
on a funeral pyre in Agra.
March 2018
25
The Taj Mahal at dusk
26 NZPhotographer
Sadhus line the side streets in
Rishikesh, reminding you of chilled
times and Rasta ways
A sadhu with the most beautiful smile - This
man was genuinely filled March with peace. 2018
27
FACING FACEBOOK CHANGES
At the start of the year, Mark Zuckerberg
announced it was time to ‘Fix Facebook’ due
to most people’s newsfeeds being overrun with
content from businesses and brands with posts from
friends and family often getting buried. The news feed
algorithm will be altered so that it no longer prioritises
delivering relevant content, instead, the focus will be
on creating meaningful interactions with friends and
family and between users, such as members in groups.
Essentially Facebook is going back to its roots, it
doesn’t want to give users a passive experience
anymore and will cut back on the amount of content
a Facebook user sees from brands, businesses and
media outlets knowing full well that this means people
are going to spend less time on the platform. It would
seem that using Facebook for entertainment purposes
is going to become a thing of the past, mindlessly
scrolling through and hitting like is no longer enough
for FB though I’m sure they won’t be stopping the
advertising and ability to boost posts with $$!
What does this mean for photographers who have
built a following on their FB page? It’s difficult to
guesstimate just how bad the change is going to be,
but it’s a safe bet to say it’s going to become more
difficult (and probably more expensive) to get your
photography seen by your fans - Anyone who relies
28 NZPhotographer
By Emily Goodwin
solely on Facebook to promote their work could be in
for a big shock and a crash in their earnings.
Facebook has been experimenting with the idea
of a second ‘explore’ feed where all ‘professional
publishers’ posts (anyone who publishes from a
Facebook page rather than a personal account) will
be placed, meaning users have to navigate over to
a 2 nd tab to see updates from the pages they like and
follow.
Even if users do get used to the idea of a second news
feed, we’re told that pages with posts that people
don’t interact with or comment on are going to see
the biggest decrease in distribution. At the same
time, Facebook has said that posts that gain likes and
shares but nothing else will be discouraged. This move
is to help stop the spread of ‘fake news’ and clickbait
posts. As a FB user that’s great, but as a photographer
running a small-business it leaves me wondering how
I can make my content engaging enough so that
people will leave meaningful comments, without
turning it into ‘engagement bait’ which is now a huge
no-no.
It would seem the way forward is through live video
- Facebook users spend 3 times longer watching live
video than a video that’s no longer live (or never was
live), and users comment 10 times more during live
video which is classed as meaningful engagement.
Many of us cannot afford to pay to ‘boost’ our posts
or to advertise on FB which is the current trend if you
want to be seen, so with the upcoming newsfeed
changes I think many people will be jumping off the FB
ship to find other ways to connect with their audience
and promote their work.
No matter what you decide to do here are some
ideas and options for you on how to proceed:
Continuing with Facebook:
Do:
• Get started with Live Video.
• Ask followers questions or advice to create
meaningful conversations.
• Consider if you can promote your work purely
through a personal account.
• Consider creating a Group Page - Groups will likely
get preference over pages.
Don’t:
• Post updates just for the sake of posting something
new.
• Create posts in order to get likes/shares – Posts
now need to create meaningful conversation via
comments.
Staying Connected Without Facebook:
Here are some alternative options for you to stay
engaged with your fans. We deliberately have not
included social media sites since even Instagram has
said they will be making changes by the end of the
year to their feed.
Excio – This is NZP’s very own sister app so we’re a little
biased on how good it is! With Excio your images are
displayed on users mobile phone home screens – No
need for this visual loving audience to open an app
or visit a website to see your new work, it appears
slap-bang in front of their face every time they look at
their phone with a description and links to your site/
social media pages – You can even add audio files to
describe your work and connect with your audience
that way!
500px – A portfolio site for photographers to display
their best work with community and marketplace
features.
Blog/Website – The best thing about having your own
website/blog is that it’s yours – A company cannot
come along and change things up, well, excluding
Google of course!
Email Newsletter – An oldie but still a goodie since
everyone is still connected to their inbox daily if not
24/7.
March 2018
29
How To Capture: Milky Way Photographs
ASTROPHOTOGRAPHY TIPS BY RICHARD YOUNG
Milky Way over Mt Sefton & Mt Cook
18mm lens, ISO 3200, f3.5, 25s
SHOOT UNDER A DARK SKY:
A dark sky without any light pollution is the most
important requirement to see the Milky Way, let
alone photograph it. For the darkest skies, you will
also need to be shooting near or during a new
moon.
LOCATE THE GALACTIC CENTRE:
The time of year will affect what parts of the
Milky Way you can see. In New Zealand, the
galactic core of the Milky Way is only visible from
February to October, with June and July being
the best when the core is at its brightest. Use a
mobile app to help you plan your shot of the
Milky Way.
FIND A SUBJECT:
Just because you are photographing at night
doesn’t mean you should forget about the
foreground, it is this that will make the photograph.
For the best shots, frame the Milky Way lining up
over a landscape, mountain, hut or even a person.
Don't forget the Milky Way will move across the sky
during the night.
DON’T BLUR THE STARS:
To photograph the Milky Way, you’ll need to use
a high ISO (ISO 3200) and a large aperture (f2.8)
to capture as much light as possible. Select the
correct shutter speed so not to blur the stars, due
to the rotation of the earth. There are various
rules for how long this time is and it depends on
your camera and lens focal length, 25 seconds is
a good starting point on a wide angle lens.
JOIN NEW ZEALAND PHOTOGRAPHY WORKSHOPS ON AN 4-DAY ASTROPHOTOGRAPHY
MASTERCLASS AT MT COOK ON THE 10TH - 13TH AUGUST 2018.
30 NZPhotographer
LONG EXPOSURE PHOTOGRAPHY
I
remember the moment this became a thing for me.
A friend came down from Hamilton and together
with a few other friends we went out to Princess Bay
to take photos. Brent took his camera, placed it on
a tripod down amongst the rocks and pools of water
and casually announced that he would be taking a
three-and-a-half-minute photo.
Huh? Three and a half minutes?
Well, three and a half minutes later, I was looking at
the back of his camera and bam, long exposures
became a thing.
They are fascinating. You can SEE what is happening
in a long exposure even through nothing is moving.
They give a sense of motion, time, change and
movement… all in a static image. Clouds drag their
way across the sky, waves are perpetually crashing,
rivers become glass…
The first long exposure photograph I took is still
a favourite of mine. I was down at Plimmerton
foreshore experimenting with a 10 stop filter that I had
purchased and was shooting the sunset. 105 seconds
worth of water movement, cloud movement and a
sun corona to boot.
By Richard Brooker
WHAT YOU WILL NEED.
• Camera + Lens
• A Tripod
• A filter with a high enough ND value for the image
you want to capture.
• Patience.
• Maybe a little luck.
WHAT TO DO.
Decide what you want to photograph.
As long exposure photographs are best used to
portray movement, you want something in your scene
that moves. Be it a car, a cloud, a wave, even a
child, just something. The scene will also drive your
lens selection but there is no requirement that you
use a wide-angle lens. Primarily long exposures are
landscapes so a wide-angle lens is used, but I have
taken long exposures on focal lengths ranging from
16mm right through to 400mm.
March 2018
31
Compose the photograph.
A little backwards here. Take the photograph... before
you take the photograph? Yes. This allows you to get
composition nailed and workout the metering (it also
lets you compose the picture without having the filter
on the front – not as easy as it sounds). Attach your
camera to a tripod (this is a must – it will avoid camera
shake), set your aperture and ISO to achieve the
affects you are looking for and take a note the shutter
speed that results in a correctly exposed photograph.
Photo looks good? Prepare for some long exposure
magic.
Attach the filter.
Filters come in all shapes and sizes. If you are
beginning I would recommend purchasing a cheaper
set before spending serious money, find out whether
the long exposure genre is for you. As you progress in
skill, there are high-end kits available; Lee filters, Nisi
filters. Each set has advantages and disadvantages. I
currently have Nisi v5 filter set; a 6 stop, 10 stop and a
3 stop hard grad. I will explain more about those later.
Work out the exposure time.
A filter is, simply put, sunglasses for your camera. They
filter out a nominal amount of light that will allow you
to keep the shutter open for longer. They come in
different strengths and can be measured in a couple
of ways. Calculating the correct exposure time based
on the strength of your filter is critical for maintaining
the correct exposure.
CLICK!
Take the photo… do a happy dance…
Be prepared to get frustrated, to give up, to think that
it’s too hard. I did, several times… but each time I
quit, I came back. It takes perseverance to get right,
but the results will be well worth it.
TECHNICAL: HOW TO CALCULATE THE
CORRECT EXPOSURE TIME.
3 stop, 6 stop, 10 stop, ND8, ND64, ND1000, how does
the strength of the filter affect the exposure time?
Well… there is a formula.
t n
= t 0
x 2 stops
This is simpler than it looks. The new exposure time, t n
, is
equal to the original exposure time (as worked out in
your composing photograph), t 0
, times 2 to the power
of the strength of your filter. For example, if your
unfiltered exposure time is 1/100th of a second and
you’re using a 10 stop filter, the corrected exposure
time is calculated by: t n
=(1/100 x 2 10 ) which results
in an exposure time of 10 seconds. A ten second
exposure can include quite a bit of movement.
If your filter strength is measured using an ND value,
they have already calculated the 2 stops for you. The
exposure time is now calculated by multiplying the
unfiltered exposure time by the ND value:
t n
= (1/100 x 1000) which also results in an exposure
time of 10 seconds.
Easy!
EXAMPLES OF LONG EXPOSURES AT VARIOUS
FOCAL LENGTHS.
Long exposures can be photographs of anything, but
for me, right from day one, mine had to have water
in them. Beaches, rivers, waterfalls, rain… I find the
movement of water to be calming.
LONG EXPOSURES ARE GOOD FOR THE SOUL!
Plimmerton Boat Ramp
32 NZPhotographer
F/22, 30s, ISO400
A river in the Tongariro National Park somewhere
F/22, 2,5s, ISO50
Old Tokaanu Wharf
F/11, 60s, ISO50
March 2018
33
34 NZPhotographer
Ngatuhoa Lodge - Whio Falls:
F/8, 20s, ISO100
This is a panorama of several photos.
March 2018
35
Ngatuhoa Lodge – Pump House Falls:
F/22, 8s, ISO 50
Tongariro National Park – Kaimanawa Road:
F/11, 60s, ISO50
36 NZPhotographer
Tongariro National Park:
F/5.6, 4s, ISO100
March 2018
37
A vertical panorama of 3 photographs.
Waikanae Beach
F/22, 30s, ISO100
Te Mata Peak
F/22, 20s, ISO100
38 NZPhotographer
Paraparaumu Beach
F/7.1, 30s, ISO100
Lake Wairarapa
F/18, 30s, ISO50
March 2018
39
Titahi Bay
F/11, 10s, ISO200
Plimmerton
F/11, 30s, Titahi ISO200 Bay
40 NZPhotographer
Cape Palliser
F/8, 1s, ISO200
Plimmerton
F/22, 5s, ISO1600
March 2018
41
42 NZPhotographer
Plimmerton – F/22, 2s, ISO 50
March 2018
43
44 NZPhotographer
Plimmerton
F/5.6, 5s, ISO100
March 2018
45
EXTRAS:
The following are not long exposure photographs, but they exhibit many of the same properties. These rely on
the speed of the moving objects which allow a shorter shutter speed while obtaining the desired amount of
movement. Neither of these was shot with a ND filter attached.
Home
F/18, 1/15s, ISO50
Home
F/2.8, 1/800s, ISO100
46 NZPhotographer
March 2018
47
Best
Summer
Shot
COMPETITION
Partners
Show us your best photographs taken this Summer
and be in for the chance to win!
1st Place $100 printing voucher
2nd Place $50 printing voucher
3rd Place $50 printing voucher
Prizes are proudly brought to you by Wellington Photographic Supplies
Competition runs 1st-20th March 2018
Submit up to 3 images
48 NZPhotographer
To enter or find out more, visit
www.excio.io/submit
PORTFOLIO
Best readers' submissions this month
March 2018
49
50 NZPhotographer
MARAETAI WHARF
30S, NIKON D810 WITH B+W FILTER
Love going to to this wharf to shoot the sunset.
Alex Moore
March 2018 51
52 NZPhotographer
SUNRISE WRIGHTS LAKE 5166
F/8, 1/20s, ISO100
Sunrise on Wrights Lake, Sierra Nevada Mountains
Brian Fox
March 2018 53
54 NZPhotographer
MA I RUNGA I MA
F/9, 1/200s, ISO800
Ma i runga i ma (White on White)One of a series of White on White images of my favourite
model Levana. White background, White make-up, White Clothes with varying backgrounds
to enhance the High Key aspects of the shoot.
Cheryl Muirson
March 2018 55
56 NZPhotographer
PADDLES
1/250s, ISO100
Shot at the Rangariri Pa site - this is where one of the fiercest battles of the
Waikato war was fought between the Maori and the British with many casualties
on both sides. Part of the Pa is now an historical reserve.
Diane Beguely
March 2018 57
58 NZPhotographer
RUSSEL FALLS - TASMANIA
F/14, 0.6s, ISO125
One of the most accessible, and beloved, waterfalls in Tasmania is Russell Falls, situated
within the Mount Field National Park, and definitely spectacular!
Dominic Scott
March 2018 59
60 NZPhotographer
'THE NUT' - STANLEY TASMANIA
F/13, 30s, ISO200
'The Nut' - an old volcanic plug at Stanley in Tasmania
photographed in early morning light.
Dominic Scott
March 2018 61
62 NZPhotographer
THE SURVIVOR
F/20, 13s, ISO50
Binalong Bay is situated at the southern end of the beautiful Bay of Fires. The area
is one of the most scenic and beautiful places in Tasmania, from the blue sea
and fine white sand to the orange-tinged boulders that hug the coast.
Dominic Scott
March 2018 63
64 NZPhotographer
BAY OF FIRES - TASMANIA
F/20, 13s, ISO50
Another shot taken at Binalong Bay at the southern end of the beautiful Bay of Fires.
Dominic Scott
March 2018 65
HOGARTH FALLS - TASMANIA
F/11, 30s, ISO100
One of Tasmania's 60 Great Short Walks, this walk
starts at the top of Peoples Park in Strahan and is a
gentle, meandering stroll through sweet-smelling
bush to this delightful waterfall. Light conditions
were good with overcast skies and occasional
rain just to keep it interesting! I love the water swirl
patterns the long exposure has created
Dominic Scott
66 NZPhotographer
March 2018
67
68 NZPhotographer
LAKE PEARSON
F/18, 30s, ISO100
Lake Pearson, Flock Hill Station, Cass. 5 shot panorama
Dominic Stove
March 2018
69
70 NZPhotographer
LAST LOAD
F/10, 1/80s
Truck, Lees Valley
Dominic Stove
March 2018 71
72 NZPhotographer
BUDDIES IN THE AIR
F/8, ISO300
Close contact with a pair of Starlings
Eric Pollock
March 2018 73
74 NZPhotographer
ENGELA
Fine art photograph of soft pink and yellow Peonies. This image is named after my mother in law,
most of my recent floral images are named after influential woman in my family.
Marina De Wit
March 2018
75
76 NZPhotographer
INA
Fine art photography of soft pink and purple Peonies named after my mum.
Marina De Wit
March 2018 77
78 NZPhotographer
CAREFREE
F/5.6, 2000s, Auto ISO
This photo depicts the character and freedom expressed in a way Dolphins do best
Mark Watson
March 2018 79
80 NZPhotographer
CHEEKY
F/10, 1/400s, ISO800
Sparrow showing off its breakfast
Steve Harper
March 2018 81
82 NZPhotographer
LOOKING EAST
F/8, 13s, ISO800
Looking east prior to sunrise from Maungakiekie, Auckland
Steve Harper
March 2018 83
84 NZPhotographer
SKY AND WATER
Reflection of the sky over water surface near Lake Campillo, at the south of Madrid, Spain.
Tomas Fernandez
March 2018 85
86 NZPhotographer
THE CAMERA IS AN
INSTRUMENT THAT
TEACHES PEOPLE
HOW TO SEE
WITHOUT A CAMERA
Dorothea Lange
March 2018
87
Change language