NZPhotographer Issue 7, May 2018

nzphotographer

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 7, May 2018

HOW TO CAPTURE:

FOREST PHOTOGRAPHY

WITH RICHARD YOUNG

SHOOTING ON

THE STREET

WITH SHANE WHITMORE

INTERVIEW

WITH JOEL STAVELEY

DISCOVERING A WINTER

WONDERLAND

WITH BRENDON GILCHRIST

THAT WANAKA TREE

PHOTO COMPETITION ANNOUNCEMENT

May 2018

1


General Info:

NZPhotographer Issue 7

May 2018

Cover Photo

by Joel Staveley

eyesore.co.nz

Publisher:

Excio Group

Website:

www.excio.io/nzphotographer

Group Director:

Ana Lyubich

ana@excio.io

Editor:

Emily Goodwin

Graphic Design:

Maksim Topyrkin

Advertising Enquiries:

Phone 04 889 29 25

or Email hello@excio.io

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!

© 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.

Disclaimer:

Opinions of contributing

authors do not necessarily

reflect the opinion of the

magazine.

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Hello Everyone,

WELCOME TO ISSUE 7 O

I'm very pleased to be taking

over the role of NZP editor. Taya

is in the process of moving to

a new city but we hope she'll

still drop by here and contribute

some articles every once in a

while. We wish her all the best in

her new life and of course in her

photography journey.

You'll notice some changes right

here on the editors welcome

and contents page, what do

you think? We love to get your

feedback so do let us know

what you like/dislike and feel

free to share your thoughts and

ideas on what you would like us to cover in future issues. We're always

looking for people to contribute whether in an interview or a guest post

feature so don't be shy – Drop us a line if you want to share your love of

photography and knowledge with our readers.

Talking of contributing, you'll want to turn to page 39 so you can submit to

our May photo competition – We're eagerly awaiting the influx of Wanaka

Tree photos and wish everyone the very best of luck.

CONTRIBUTORS

Ray Harness

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 Young

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.

Emily Goodwin

Editor NZ Photographer

Brendon Gilchrist

Brendon is the

man behind ESB

Photography. He

treks from sea to

mountain, and back

again, capturing the

uniqueness of New

Zealand’s unforgiving

landscape.

nzphotographer nzp_magazine nzp@excio.io


F NZ PHOTOGRAPHER MAGAZINE

4

8

Chasing the Aurora

Interview with Joel Staveley

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CHASING

8

INTERVIEW

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26

28

30

32

36

40

41

THE AURORA

by Billy Nunweek

WITH JOEL STAVELEY

SHOOTING ON THE STREET; INSPIRATION & TIPS

HOW TO CAPTURE: FOREST PHOTOGRAPHY

by Richard Young

PROJECT SHUTTER 111

BACK TO BASICS PART 5 - FLASH PHOTOGRAPHY

by Ray Harness

BEHIND THE SHOT WITH GEORGE VAN HOUT

DISCOVERING A WINTER WONDERLAND

by Brendon Gilchrist

EXPERT CRITIQUE

READERS SUBMISSIONS

36

16

Discovering a winter

wonderland

Shooting On The Street


CHASING THE AURORA

with Billy Nunweek

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F3.5, 15s, ISO400

May 2018

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The aurora is what I would consider the creme

de la creme of night photography. It has always

been a dream of mine to see the aurora with

my naked eyes and in May 2017 that dream

became a reality as I watched the Southern

Lights beam, dance, and light up the sky with their

magical beauty! I’d best describe it as a faint green

snake slithering along the horizon, moving back and

forth. I can’t compare it to anything else because it

was the most beautiful thing I’ve ever seen!

Since that incredible night spent at Birdlings Flat,

Canterbury I’ve been determined to photograph this

fascinating phenomenon and photograph it well. The

following is an account of my quest towards nailing

the aurora.

DAY ONE – 6 SEPTEMBER 2017

The day started off like any when my phone pinged,

my mate Larryn (an Auckland based photographer)

was asking if I’ll be home in Christchurch over the next

few days. He’d been checking various aurora focused

websites which indicated that an aurora was inbound

so after deliberating briefly, discussing the weather

outlook and the likelihood of an aurora in the days to

come, Larryn booked his tickets south.

We had already decided that if this does pan out,

the shot has to be different. It is all well and good

photographing the aurora at a beach looking south

- I’d already done that back in May! The goal this

time was to shoot this aurora with a game-changing

composition. We wanted to find a local landscape

that was southward of us that would frame the aurora

nicely. After hunting through photos on the internet

Larryn found an area he was happy with, it was simply

a matter of getting there and into position.

We motored up Dyers Pass Road and followed Summit

Road to a place called Witch Hill Reserve which

would play a big part in our sleepless nights! We set

up just after the sun went below the Southern Alps, the

light was dull, the cloud thick and the wind blowing a

gale. It didn’t make for a comfortable night - Though

the predicted temperature was a low of 8C, the wind

chill made it much cooler.

One of the challenges we came across early on was

the moon, a weak aurora isn’t visible while the sun is

up, or in the moonlight. Its only visible against the dark

night sky and the full moon threatened to turn what

would possibly be a clearly visible aurora with both

eyes and camera into nothing more than a barely

distinguishable disturbance on the horizon. There

was a good chance that because of the moon, high

cloud, and city lights that we wouldn’t see the aurora

at all, but for the shot we had in mind we were willing

to take that risk!

During the night, through patchy reception, we

started getting reports of an X 9.3 Solar Flare, the

biggest since an X 9.4 in 1994. Though nothing could

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be guaranteed if that flare was to reach Earth the

results could be incredible, a once in a generation

phenomenon. But with no result foreseeable at 4am

we called it a dud and I shot home to get a few hours

sleep.

DAY TWO – 7 SEPTEMBER 2017

After a few hours of disturbed sleep I woke up with

the aim to spend the afternoon scouting a place to

shoot the aurora. We were so determined to shoot

something more than the southern lights over the

ocean but unfortunately, the weather on the West

Coast took a drastic turn for the worst taking a lot of

potential compositions out of contention. For those

who don’t know, Canterbury is located on a large

featureless plain that stretches from the Southern Alps

to the East Coast so finding a unique location is a

challenge in itself!

We eventually settled on a few locations on the

city side of the Lyttelton Harbour. We went to a spot

up in the hills to check it out and then raced back

to town to collect our gear. One of our biggest

concerns was that with all the media hype we would

go to a spot and find it already saturated with other

photographers. Luckily we came across no one, the

cloud and high winds had frightened everyone off

the hills and send them down to Birdlings. We set up

camp, better prepared this time for the wind chill with

blankets, sleeping bags, and protection for our gear.

As soon as we set up for the night we had to duck for

cover, in came the rain so we were quickly saturated,

it didn’t last but it was certainly demoralising, even the

moon failed to rise in any dramatic fashion.

DAY THREE – 8 SEPTEMBER 2017

Today was the day! We started yesterday saying

the exact same thing but were determined that we

wouldn’t be saying that phrase again tomorrow.

Hindsight is a wonderful thing. We were demoralised

but remained determined. After fueling up we

checked the latest numbers on various aurora alert

websites and apps when out of nowhere everything

shot through the roof! KP 8.7, solar wind speeds, wind

density, wind Bz and Bt all spiked to numbers that

were quite literally off the charts!

The X 9.3 solar flare had hit, all in the middle of the

day, there was nothing we could do but pray that it

would hold out till dusk. It didn’t. Though the numbers

remained strong they never stood up to what we

experienced that afternoon which was heartbreaking.

We’d worked so hard, we’d contributed so much

time and effort which of course was all apart of it, the

chase and journey make reaching the destination

that much more satisfying. But this was hard to take,

nonetheless, the numbers remained active so we

didn’t lose hope on catching something!

Once we calmed down we started roaming. With the

weather prediction looking the way it did, shooting


the aurora from our originally planned locations

looked unfathomable which again was another blow

- We’d worked hard and scouted for hours for what

seemed like no reason.

So we headed South, it was the only option. The Alps

were still getting battered by the last grasps of winter

so the West Coast was still no option. Periodically

throughout the night every part of the south island

became enveloped in cloud, it was all about picking

a time and place where the aurora would visibly

peak with minimal cloud cover but we couldn’t

find anything that looked in any way worthwhile. I

decided I needed to get some rest, I’d been driving

and stressing for literally days on end, I needed a

break to recover so I could attack this with all my

might. I left Larryn at Rapaki Jetty, a beautiful little

spot on the Lyttelton Harbour shoreline that was well

guarded against the winds ripping through from

the West Coast. Larryn said he’d call me if anything

happened...

12.23am. My phone rings, I wake up but decline the

call in my slumber. Seconds later, it rings again, I come

around and see it’s Larryn. In the 16 second call that

followed all I can recall is Larryn going nuts saying ‘It’s

beaming, it’s going off, get out here!’. I went from

zero to one hundred, I barely recall getting in the

car. It took me 23 minutes to reach him and when I

arrived the aurora was still beaming incredibly. I didn’t

miss it, Larryn was running around like a madman!

Then it just blew up, the sky lit up, I stood there in awe

of what was unfolding before me, I snapped shots

progressively as it got bigger and bigger and definitely

got lost in the moment. I didn’t capture it as well as I

would have liked, again a learning curve. I was guilty

of losing focus due to the incredible display Mother

Nature was putting on for us, we jumped around, we

danced, we yelled and cheered! I’m adamant we

woke up New Zealand!

Words cannot describe how incredible it is to see

an aurora, photographs do not do it justice. You

simply have to see it. We watched through the night

only leaving when it got to the point where I had to

take Larryn to the airport. He was booked on a 6am

flight but by then it had truly died down. My blood

was pumping, I felt enlightened, it was all so out of

this world. It was a once in a lifetime event that I

fully intend to experience again. I’m aiming for the

Northern Lights now, but until then I will chase every

aurora here in New Zealand while I am still capable.

FINAL THOUGHTS

This story has a happy ending which is never

guaranteed – Those first gruelling unsuccessful

all-nighters that we experienced are a true

representation of the life of a landscape

photographer! Quite often we put in the hard yards

and come up with nothing. It isn’t as easy as hopping

out of your car, pointing your camera and clicking a

button as some people think! We find these incredible

places, we photograph the night sky and that takes

determination and perseverance. This is why we cry,

this is why we dance, this is why we scream, this is why

we laugh. In this case, it all paid off in the end.

May 2018

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INTERVIEW WITH

Joel Staveley

JOEL, CAN YOU TELL US ABOUT YOURSELF?

I live a bit of an unusual life as a digital media

partner, promotional content producer, and

adventure-tour guide.

I grew up on the North Shore of Auckland and spent

most of my life there until I ended up on a farm in

Pukekohe to live close to work at the Glenbrook steel

mill. My background is in engineering and I spent

a number of years as a reverse engineering and

3D visualisation consultant after moving on from a

science role.

In a way, I’ve been fortunate to have no family

commitments which has given me a lot of freedom

to travel around New Zealand and some of the

world. This has resulted in the lines between my

personal life, my work, and my hobbies becoming

increasingly blurred - for better or for worse!

WHAT’S YOUR PHOTOGRAPHY

BACKGROUND? HOW DID IT ALL START?!

I haven’t done any photography courses or been

mentored so I suppose I represent a generation of

self-learners. In fact, it wasn’t until late last year that I

finally had the opportunity to take photos alongside

another person for the first time - more than 4 years

after I started!

I started photography within 2 weeks of landing my

first full-time job after university. Before I received my

first paycheck I felt unusually compelled to purchase

a camera, and so I did. I came home with a second

hand Canon 5D Mk II with a 24-105mm F4L. My family

thought I was crazy. I didn’t know how to use it and I

had never taken any interest in photography before

but I was already quite interested in film-making in

the years that preceded this.

I took thousands upon thousands of awful photos

over my working years and struggled to find time to

take them given the intensity of my work. Throughout

this time I changed camera bodies 3 times and I

traded too many second-hand lenses to count. I

left the industry and went travelling with my camera

although it wasn’t the focus of the trip. The break was

desperately needed and it would forever ignite my

interest in photography - even if I was forced to deal

with a single 14mm lens for the entire trip due to a

lens failure. After I came back from travelling I started

Eyesore Digital and officially began my journey into

intra-disciplinary digital media.

TELL US MORE ABOUT THE COMMERCIAL

PHOTOGRAPHY SIDE OF YOUR BUSINESS.

Most of my photos are used for sales-focused

marketing in the digital space to promote businesses

and organisations, or what they do. I take a different

approach to commercial photography in that I don’t

only offer still photography for my clients. A service

they’ve come to really value is one where I extract

and edit stills from video. While there are still a lot

of technical limitations they find it a revolutionary

approach and the fact that there are thousands

of usable frames to choose from gives them lots of

opportunities to get what they want. I primarily shoot

video on an electronic gimbal which has made this

much easier to pull off.

I’ve always looked for points of difference. One

of the less popular avenues of photography I’ve

explored commercially is 360 VR HDR imaging.

I worked extensively with VR in engineering. This

was simply a step into other verticals using similar

techniques and a different approach.

Something else I’ve done a lot of is adventuretourism

photography in recent years. As a

8 NZPhotographer


driver-guide, I have the opportunity to travel with

groups of international students and share the New

Zealand experience with them. My photos are used

to market NZ tourism and education both here and

overseas, and the students take my photos back to

all corners of the globe.

YOUR CITY NIGHT SHOTS ARE SUPERB. WHAT

ADVICE CAN YOU GIVE OUR READERS FOR

CAPTURING SHOTS LIKE THIS?

Lens flares and light leaks are difficult to avoid when

there’s so much uncontrolled light in a dark city

scene so using a lens hood and removing filters might

be necessary. I’ve found that polarising filters can

sometimes have a dramatic effect on city scenes

because concrete and buildings can be quite

reflective. Always try to experiment, even if you have

to look silly standing behind a camera at a street

corner for 5 or 10 minutes of exposures. Sometimes it

becomes necessary to composite out lens flares from

lights that can’t be avoided - Blocking out the flare

source throughout the exposure using a dark object

can be a life-saving technique.

WHAT EQUIPMENT DO YOU HAVE?

I currently use the Sony A7R II for the bulk of my work

which has been a great hybrid camera even with its

faults. I have a variety of lenses including the Sony

12-24mm F4 G, 24-70mm F2.8 GM, 70-200mm F2.8

GM, 85mm F1.4 GM, 90mm F2.8 Macro, 55mm F1.8

Zeiss, 16-35mm F4, Sigma 35mm F1.4 Art and a Sigma

15mm F2.8 diagonal fisheye for VR photography. I

recently picked up a 150mm filter system for the 12-

24mm which is looking like a great combination and

offers something a bit more unique than what a 16-

35mm can offer.

I use a few Godox strobes and modifiers with the

SMDV Speedbox 70 being my portable go-to used

with HSS triggers. I have a wide range of video

and sound gear to support using the system for

cinematography including a MoVI M5 gimbal plus

additional rigs and lights.

ANY BIG NAME BRANDS YOU’VE WORKED

WITH?

I’ve been working with Panasonic lately and a few

other brands in the technology and security sector.

Over the last few years I have worked on media

projects for General Electric, Bluescope, Spotless,

Woodside and a few others in the industrial space.

WHAT’S THE BEST PART ABOUT YOUR JOB…

AND THE WORST PART?!

The best part is getting to do what I’m passionate

about each day and being able to travel. The mix of

guiding and media is like jumping from one extreme

to another but it’s rewarding to capture and share

people’s experience as they travel through our

country.

The worst part is trying to manage the inconsistent

workload and sacrificing a personal life far more

often than I’d like.

May 2018

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May 2018

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May 2018

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WHAT ADVICE WOULD YOU GIVE OUR

READERS ON TURNING PHOTOGRAPHY INTO

A CAREER?

I believe that skill diversification and the need to

embrace new technology will become even more

important in the near future. I use video to open

doors because there are a lot of businesses and

brands that want or need it, and once the doors

are open the opportunity to perform commercial

photography and other media presents itself as a

media partnership forms.

Working hard, gaining experience, exploring

exposure avenues and always being open to

building new connections are fundamental parts of

turning photography into a career. Collaborating

with people through social media platforms can

be a great way to get your work out there now

and directly engaging with people still remains

the best way to actively secure work in an early

career. When you do this long enough eventually

the tables turn and clients will start engaging with

you first.

HOW DO YOU BALANCE SHOOTING FOR

WORK AND PLEASURE AND HOW DO YOU

STAY INSPIRED?

I face the struggle of balancing work and pleasure

in photography every day, mostly because of how

consuming the variety of work I do can be. There

are times where I put it all down though and more

often than not photography isn’t a focus or priority

during my personal ventures unless I’m out with other

photographers.

I’m an addictive serial learner and I enjoy trying

many different styles of photography from macro to

astro, and portraiture to wildlife which always gives

me something new to do. The fact that there are

no boundaries or limits to learning and creativity in

photography means there’s always room to grow

and I find that liberating and challenging after

coming from the, largely constraint driven, world of

engineering. The endless opportunity to grow drives

me to shoot and experience more and try to make up

for the time I lost in my early years.

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WHAT’S THE PHOTO THAT YOU’RE MOST PROUD OF?

It would probably be a simple photo I took of the

pinnacles on Ruapehu. The clouds were rolling in and

the atmosphere was changing every second before

I just managed to capture it. The depth, light, and

atmosphere of the moment created a striking photo of

the daunting rock pillars which are hard to appreciate

when viewing it on a small scale.

WHAT ADVICE WOULD YOU GIVE PHOTOGRAPHERS

WHO WANT TO START TAKING VIDEO?

Most modern DSLR’s and mirrorless cameras can take

great video now which makes it an easy thing to step

into for most photographers. The first two challenges to

overcome when transitioning from photo to video are

stabilisation and exposure control in the form of external

ND filters and the use of a tripod, handheld or shoulder

rigs and mechanical or electronic stabilisers depending

on the filming environment and requirements.

Quality sound is something that’s often overlooked in

transitioning to video and many cameras have poor

analogue inputs which aren’t suitable for sensitive

microphones. The purchase of an isolating or directional

microphone used with an external sound recorder is a

great investment to make and can last you many years

to come since this technology changes at a much

slower pace.

ANY OTHER WORDS OF WISDOM?

While photography courses, workshops, and mentors are

great you should never feel like you can’t learn without

them. No matter what your situation or learning style is

there’s an endless supply of great resources online to

support us.

Photography skills can take a long time to develop (I

speak from experience!) but if you’re patient and persist

it becomes second nature and the camera will become

like your third eye. Explore every worthwhile avenue and

channel you can to build connections and be seen.

Sometimes it can take years for opportunities to manifest

but it only takes one to turn your world upside down.

WHERE CAN WE FIND YOU ONLINE?

www.joel.eyesore.co.nz

www.eyesore.co.nz

www.linkedin.com/in/nzsjoel

www.instagram.com/nzsjoel

May 2018

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Shooting On The Street

Inspiration & Tips with Shane Whitmore

about shooting, post-processing or how to conduct

model shoots. I now shoot with a Sony A7rii with 24-70

f2.8 g-master or 70-200 f2.8 g-master.

I like shooting streetscapes and incorporating models

into this style, I think it’s unique and allows for freedom

to break all of the photography rules. I edit each

picture individually and just see where it takes me, I

don’t stick to any formula (I don’t think)!

My typical portrait sessions last 2-3 hours. This gives

myself and the model time to adjust to each others

style and allows us both to relax into a natural working

environment, which will always make for better, more

natural art. I don’t tend to plan a shoot location

ahead of time, I prefer to walk around the city finding

interesting walls, alleyways, different textures and

chasing the light. I generally have no idea of what I

want to achieve that day or how the shoot will turn out.

Its more off the cuff and if it happens, it happens!

Most of my photo shoots are from people liking my

work on Instagram. My website has also attracted

work, bringing me both corporate events and

modelling portrait shoots. See more of my work and

follow me by visiting:

Shane Whitmore, better known as Mr Wiski, is

a street, fashion, and portrait photographer who

scouts out unique locations in Auckland to give his

photography an edge.

I was inspired to get into photography when a

wedding photographer ‘friend of mine’ Ralph

Cabman, took some nightclub photos of myself and

some friends. I was amazed at the quality and the

vibrant colours. Soon after I went out and purchased

my first DSLR, a Canon 70D and a 24-70 lens. That was

back in 2016. Since then I have lived on Youtube,

absorbing as much information I can whether it be

MY TOP TIPS ARE:

• Study the light

• Don’t be scared to break the Photography Rules -

Try new ideas, be unique.

• Take your time to look for leading lines,

shadows, reflections, textures – Be aware of your

surroundings.

• Experiment with the editing process – Have some

fun.

• If you are not 100% happy with a photo, then don’t

post it. Keep your standards high!

• Never stop learning - Read books and watch

YouTube tutorials.

www.mrwiski.com

www.instagram.com/mr_wiski

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F5.6, 1/125s, ISO800

Model: Natalie Connell

CATWOMAN:

This shot was taken from a high-rise rooftop in

Auckland. The Catwoman look wasn’t planned,

it just so happened that a mask we had worked

well with the models outfit! The relaxed pose really

worked well for this shot. I added personal touches

in Photoshop like the graffiti and the dragon hand

tattoo. What I really like about the finished product

is the natural laidback pose and the metallic

look the clothing gives. It’s also a plus that such

an iconic building, the Auckland sky tower was

captured!

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F4, 1/50s, ISO1200

Model: Kodie Whitmore

MIRRORED ALLEYWAY:

The model in this shot is my daughter Kodie, she

also likes to roam the streets shooting... Like Father,

like Daughter! I came across this mirrored platform

with amazing side lights and leading lines running

down the shot in Auckland CBD. I wanted a pose

that would suit both the scene and look good in

the mirrored reflection. With locations like this, not

a lot of thinking needs to be done. I added the

graffiti in Photoshop. This shot reminds me of a film I

loved when growing up; Big Trouble In Little China,

It definitely has that film feeling...

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F11, 1/250s, ISO100

BUILDINGS:

I liked the sharpness of this corner building in

Auckland, amazing angles to work with. Throw in

the texture of the background high rise building

(Auckland’s first skyscraper so I’m told) and you

have a fantastic streetscape shot. I added in the

sky, the graffiti, and the sun glow afterward. I’m

most impressed with the clarity of the building in

conjunction with the soft sky and soft light in this

shot.

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F1.4, 1/125s, ISO100

CHINESE PORTRAIT:

This shot was a single 1/125 of a second click but a 7 hour

editing process! This lovely lady was selling bracelets on the

street in New Market, Auckland. I asked if I could take her

picture and she kindly obliged. This 7 hour edit was a lot of

trial and error with different gradients and flares added. I love

her mystique look which complements the light, making for a

fantastic portrait.

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F2.8, 1/15s, ISO800

RED DRESS:

Model: Jahna Barraclough

MUA: Natalie May Cerche

This was a wonderful learning curve as every rule about taking a portrait went out the door! A still camera

was swapped with a moving camera. To get this portrait it would require movement and since the model

was stationary I needed to create that movement with my camera, whilst freezing the models face. I set the

camera to a slow shutter speed to create motion when panned. I had an on-camera flash set to rear curtain,

this allowed the flash to fire only after the shutter had closed to create the blur whilst freezing the subject. Once

focused on the model, the camera was then moved to her left, the camera pan moving left to right. Multiple

camera pans were taken to get usable shots, the timing of when to push on the shutter being very much trial

and error for me! I ended up taking about 30 shots, ending up with about 5 that I was happy with.

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F1.8, 1/125s, ISO100

CANON:

Nothing was pre-planned for this shot, the magic just

happened! It’s my daughter holding the camera

and combined with the way she was holding it, and

it being called a canon, I was inspired to have some

fun and channel the ‘act of war’ theme in postprocessing!

Some smoke and some added particle

overlays seemed to make the photo pop. I love the

bokeh that this shot offers, I think the green t-shirt

really compliments the style of photo as does the

positioning of her hands.

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F8, 1/15s, ISO100

TRAIN:

Here's a breakdown of how I created this shot.

With my camera on a tripod 2 shots were taken. The first,

a long exposure of the train using a 10 stop ND filter. The

second, now without the filter and without the train, was

of the tracks and myself. I could then blend both shots in

Photoshop and paint myself in!

I blended the 'Look For Trains' sign on to the back of my

tshirt and also added in the sun flare with Photoshop. I used

Gaussan Blur to soften the light and make it more natural

looking and then altered the colours in Lightroom.

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F2.8, 1/400s, ISO100

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MASTER CARVER:

Strong working hands caught my eye for this shot taken in

Claris, Great Barrier Island. I feel hands can tell as much a

story as eyes or a face. I also liked the texture of the wood

carving. I added my personal touches to this already

awesome shot... A touch of graffiti, a splash of light to the

mallet and some colour/contrast play to the picture. What I

really like about this shot is the depth of field mixed with the

beautiful bokeh.


Photographer: Richard Young

FH100M2 Long Exposure Kit

The FH100M2 Filter: It is designed to hold both square and circular filters, with the ability to freely

rotate an attached 82mm CPL filter after installation.

It will hold up to 3 square filters, and ultra-thin 82mm CPL simultaneously, without creating

vignetting on lenses as wide as 16mm.

Includes: FH100M2 holder (incl FR1010, FR1015, 77mm and 82mm adapters)

FB100M2 case

0.6 Hard Grad

6-stop ND

10-stop ND

CPL Filter

FR1010 Frame

82-72mm Stepdown ring

82-67mm Stepdown ring

Progear

www.progear.co.nz

3 Railway St, Newmarket

09 529 5055

May 2018

25


HOW TO CAPTURE: FOREST PHOTOGRAPHY

Forest Photography Tips with Richard Young

Forest, Tongariro National Park

F11, 1/2s, ISO400, 35mm

GET THE LEAVES IN FOCUS

If you are singling out a subject in your shot, like a

particularly stunning tree, make sure that this is in

focus along with any ferns or plants on the ground.

If you are photographing in low light on an overcast

day you will need to use a tripod or select a higher

ISO to get a shutter speed which is fast enough for a

sharp image.

CAPTURE THE FOREST FLOOR:

Often the forest floor is covered in lush ferns and other

beautiful small plants; include these in your shot.

Sometimes these on their own can make the best

shot. Getting down low to photograph them works

best.

SHOOT ON AN OVERCAST DAY

Taking photos in the forest on a bright day is hard,

the hash light creates a great deal of contrast and

makes exposure more difficult. If possible head out on

an overcast day. Unusual lighting and weather can

make a more unique photograph of the forest. Sun

can occasionally add to an image if you can capture

rays of light breaking through the trees.

FIND A SUBJECT:

It is often hard to know where to point your camera

and you have to be careful not to end up with a

cluttered shot of lots of trees. Single out a subject for

your shot. This could be a particularly stunning tree,

a splash of a contrasting colour, or a pattern on the

bark.

IMPROVE YOUR FOREST PHOTOGRAPHY ON A WEEKEND TONGARIRO WORKSHOP: 17TH-19TH

AUGUST 2018 WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS

26 NZPhotographer


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Get free entry into all competitions and earn

by participating in photo challenges

BECOME A MEMBER

www.excio.io/membership

May 2018

27


PROJECT SHUTTER111

1 CAMERA – 1 YEAR – 1 COUNTRY

Brett Jennings of Red Bird Photography is running

a project that will see one camera pass from one

photographer to another over the span of a year

to capture what it means to live in New Zealand.

Keen to promote the amazing photography

talent that New Zealand has, this project is about

appreciating film photography and collaborating on

a county-wide photography project using one shared

film camera.

Brett is seeking 18-24 photographers to take part in this

project. The brief is fairly open, each photographer

should bring their own unique perspective and style

into the project with the choice of colour of B&W

film to capture what it means to them to live in New

Zealand. The project will be as geographically diverse

as possible, covering the majority of the country over

the year with the camera (yet to be determined)

used over a two-week period, then sent on to the next

photographer.

All photographs submitted will be shared on the

shutter111.com website along with a description

of the images and a bio of each photographer,

there’s also the possibility of an exhibition of the

best photographs taking place once the project is

completed.

If you’re interested in taking part, contact Brett at

brett@redbird.photos and let him know where you live

and where you’ll be over the next year so that he can

plan the logistics of moving the camera from person

to person.

We’ll be documenting the project here at NZ

Photographer in future issues, sharing photos as the

camera makes its journey around the country.

28 NZPhotographer


May 2018

29


BACK TO BASICS PART 5

FLASH PHOTOGRAPHY

Today’s DSLR cameras have built in flash and

TTL (Through the Lens) exposure but when I first

started in photography things were very different.

With manual SLRs, we used flash bulbs and had

to consider distance and aperture as TTL flash didn’t

exist until the 1970’s!

The camera had a flash sync speed on the shutter

speed dial for use with electronic flashguns, these

varied according to the camera but were typically

1/60th or 1/80th of a second. If the flash sync speed

on the shutter dial was not set, the flash would fire

at what shutter speed was set, resulting in too fast a

speed being used giving you half a picture because

the shutter was already closing when the flash fired.

Thankfully these problems don’t exist today! With

TTL, the exposure is read from the light entering the

camera lens with the CCD sensor closing the flash at

the correct moment to ensure accurate exposure.

30 NZPhotographer

All flash units today have a guide number, (you

will find this in the flash section of your manual),

this dictates the strength of the flash over a given

distance. On my camera, the built in flash has a guide

number of 15 metres at ISO 200. That is to say that

the flash will be effective at that distance. Anything

beyond that will suffer from light fall off and dark

exposure.

ON-CAMERA FLASH SETTINGS

With most cameras, the settings for the flash are as

follows, the first two being the most popular:

Auto Front Curtain: This fires the flash at the moment

of shutter release, capturing the subject immediately.

This is very useful when taking pictures at functions,

where you are not posing the subjects, and are

looking to capture spontaneous shots. Journalist

photographers use this as the only thing of interest is

their immediate subject, so the pictures can be taken

off the cuff with the subject on the move.


Auto Rear Curtain: This fires the flash at the end of the

shutter release, exposing background elements in

the picture before the flash fires on the main subject.

This is best used when you want to show some of the

background surrounding the subject. An example

would be someone giving a speech with people and/

or signs behind them.

Rear Curtain with Slow Sync: With this setting the

camera meters the scene and then sets the shutter

speed to correctly expose all of the background

before firing the flash at the end to correctly expose

the main subject. You would typically use this in

night portraiture or architectural night scenes. To

successfully use this setting you need to use a tripod,

preferably with a remote release, and make sure that

the subject remains still for the length of the exposure.

Fill in Flash: This is where the camera will use a

small amount of flash to correct shadowed areas

in a picture in situations where the subject has light

coming from behind or to the side, as opposed to the

front. It’s particularly useful when taking portraits and

group pictures outside to balance the shadows and is

commonly used at weddings. To use this setting, pop

the flash manually (usually by pressing a button on the

side of your camera) and the camera will apply the

correct amount of fill in flash, depending how much

of your subject is shaded. You can also use this to

freeze frame movement so that the scene is correctly

exposed but the movement not seen.

Red Eye Reduction: This setting is found in the flash

menu on your camera, and as the name suggests,

it limits the amount of flash light reflected from the

retinas in our eyes. In animals instead of showing as

red light, it can be green or yellow. In this instance,

the camera sends a burst of pre-flash to constrict the

pupils thus restricting the amount of light entering the

eyes.

FLASH COMPENSATION

If you discover your flash photography looks washed

out or too dark, adding compensation should correct

the problem. In the flash menu, after setting what kind

of flash you wish to use, find the compensation + and

– setting and adjust accordingly. The compensation

settings are usually made in increments of either

1/3rd or 1/2 half stops to allow finer control of the

output. The minus will reduce output and the plus

increase it. If, for example, you photograph a floral

display indoors and the blooms appear washed out,

set compensation on the minus side to correct the

exposure. If on the other hand, the metering has

caused the blooms to appear dull and understated,

set the flash compensation on the plus side to

obtain a more even look. Remember to turn off

compensation when you are finished, not all cameras

automatically do this meaning subsequent shots will

be over or underexposed!

OFF CAMERA FLASH UNITS

Whilst the on-camera pop-up flash is fine for most

amateur photographers, there may be a time when

you require something more powerful, particularly

if you’re passionate about portrait photography.

Off camera flash units are more versatile, are more

powerful therefore giving greater range and give you

better control over shadowing and reducing red eye

effects, but they’re not cheap!

There are many off camera units available, whether

third party units or ones made and designed for your

camera by your camera manufacturer. These units

are fitted with a module dedicated to your camera’s

electronics which allow your camera’s metering

system to control the flash correctly. The dedicated

modules respond via the wireless function (if your

camera has this) allowing you to add one or more for

studio work.

You can use these units atop the camera in the

flash “Hot Shoe” on the top of the camera where

the popup flash is situated, or the units will attach to

a flash bracket which you fix to your camera, (this

screws in to the tripod socket on the base, but is

itself threaded to allow the use of a tripod as well)

and means that when photographing people and

animals, the flash is off centre to the eyes, reducing

red eye.

Depending on the type of unit you purchase, it may

have a swivel/bounce head. The swivel allows the unit

to be sited at an angle which is useful for architecture

shots while the bounce throws the light off a ceiling or

a wall which produces a softer look, ideal for avoiding

shadows in portraiture photography.

This overview of flash photography brings us to the

end of the ‘Back to Basics’ series. If you have been

following along from the beginning of these articles,

I hope you are now feeling more comfortable with

understanding what all the buttons and different

settings do on your camera and how to use them

to help you take the next step in your photography

journey.

***

By Ray Harness

May 2018

31


BEHIND THE SHOT

WITH GEORGE VAN HOUT

32 NZPhotographer


F22, 5s to 1/400s, ISO100, 11mm

May 2018

33


34 NZPhotographer

F3.5,1/250s, ISO100, 18mm


GEORGE, TELL US A LITTLE ABOUT

YOURSELF...

I was born and raised in New Zealand. I studied

Engineering at Canterbury and currently work

as an Acoustic Engineer in Christchurch. I met

my fiancé when we were at High School and we

have stayed together ever since. We live with our

beautiful kitten (Artoo) and two horses (Choccy

and Roxy).

I grew up around cameras. My father always had

a passion for photography, taking photos of us kids

all the time. In his spare time he used to also do

wedding photography. When we were old enough

he finally let us muck about with his cameras.

About 5 years ago I really got into photography,

finally getting my own semi-professional camera.

Since then I haven’t really stopped taking photos.

I love capturing photos which evoke emotions in

people or help bring back memories.

TELL US ABOUT THIS PHOTO...

We live very close to the Ashley River, and I had

been meaning to head down to the river at sunset

for a while. The evening wasn’t planned, it just

happened that this evening was less busy than

usual. I went down for more of a scoping visit to

take some photos from different angles and to

see how the light fell down the river bed. I was

planning on going back a couple of weeks later

when the sun set down the river more evenly than

off to the side.

With my mini tripod, I set my camera up in the

water very carefully, arranging rocks, sand, and

sticks to ensure that the flowing water wouldn’t

push it over (cameras and water don’t particularly

go well together). I was taking a few long

exposures, so when I stepped back from one I

quickly took a photo with my other camera just so I

knew the angle and orientation for later.

I usually have both of my cameras with me, this

allows me to set them up with different lenses so I

don’t have to worry about changing lenses, missing

shots because of changing lenses, or getting dirt

in the camera and/or sensor. Also in this instance,

because I was scoping the site I wanted to shoot

with one camera and then record the angles, and

setup of the main camera with the other camera

so that if I particularly liked a shot and wanted to

recreate it down the line I had a record of how it

was before.

WHAT EQUIPMENT ARE YOU USING?

The camera that I took the main shot with, the one

shown in the picture above, is the Canon EOS M (the

original), with a Canon EF-M 11-22mm lens, and a

standard CPL filter (which wouldn’t have made any

difference facing the sun). That camera was mounted

on a Pedco Ultrapod. I took the photo of the setup

with my Canon EOS M3 with a Canon EF-M 18-55 mm

lens.

WHAT’S HAPPENING BEHIND THE CAMERA

THAT WE CAN’T SEE?

I’m praying that the camera doesn’t decide it wants

to be a submarine! There is also a little offshoot arm of

the river which comes behind me so I was trying not to

get wet feet either. No one else was around, so it was

very peaceful! After taking a few photos like this, I just

stood and admired the beautiful colours of the sunset.

HOW MUCH POST-PROCESSING DID YOU DO?

I shoot almost all my photos in RAW, but nothing too

major was done to the image. I did some small tweaks

in Adobe Lightroom, mainly with the contract and

brightness to lift the blacks (rocks and camera) up so

they weren’t completely black and toned down the

intensity of the sunset. I upped the vibrancy by about

20% then toned down the saturation by 5%.

The main photo (previous page) is an HDR made

up of 5 photos shot at varying shutter speeds from 5

seconds to 1/400 seconds. The 5 photos were meshed

together in Adobe Lightroom with contrast, brightness,

saturation, vibrancy, clarity, and HSL modifications

made.

IF YOU COULD RE-SHOOT THIS WHAT WOULD

YOU DO DIFFERENTLY?

For the main camera, I would have loved to put an

ND filter on to get a longer shutter speed to really blur

the river more. A bigger sturdier tripod would have

made me a lot less nervous too! As for the photo of

the camera, I probably would have taken more time

in actually setting up the shot. It was more of a point

and shoot job than anything else!

ANYTHING ELSE YOU’D LIKE TO SHARE?

I am ‘borrowing’ my dads original Canon EOS 5,

35mm film camera at the moment which is amazing

fun. Having to think about each shot (rather than

knowing then and there what the photo is like and

adjusting the settings accordingly) has helped me

become a better photographer.

www.pinterest.nz/georgevanhout

www.instagram.com/landdownunder_nz

May 2018

35


DISCOVERING A WINTER

WONDERLAND

by Brendon Gilchrist

Cold nights, no lights, shivering in your

boots? Photography shouldn't stop

even in the coldest of winter days. It

provides opportunities that should be

embraced into a new creative vision to capture

unique vistas that the other 3 seasons do not offer

and when winter photography is combined with

mountaineering it's a whole new ball game!

Mountaineering is an activity that few people

experience or even understand, but for those

who do, including myself and my good mate

Justin, they are rewarded with some of the most

spectacular views in some of the most challenging

of conditions.

On this excursion myself and Justin travelled from

Christchurch to Arthur's pass so that we could

climb a peak before heading back to Christchurch

again, all in the same day. You'll be asking are you

mad? The answer is yes, a little! But why not?! You

only have one life with few opportunities to push

36 NZPhotographer


F16,1/160s, ISO125

your own limits and have the ultimate reward. As

we leave the house at midnight the night is clear,

the city is still alive but we soon find our way to

open fields driving towards the cold and beautiful

mountains. By 3am we have arrived in Arthurs Pass

Village where our climb begins. We wait a few

moments to try and wake up for what is about to

happen... It's not easy but we get out of the car

and get ready for our climb up Mount Bealey.

Boots on, hat on, head torch at the ready, lock the

car, we are good to go!

It doesn’t take long for us to become too hot in

what we are wearing as the track is steep with a

bit of climbing involved but we'll be grateful for the

layers later. We stop to take a few breathers but

our goal is to be out of the bush and in the snow by

sunrise - A decent 3 hour walk and climb through

the bush in the dark is ahead of us.

Emerging from the bush is always special, to get up

and out onto the tops, to see the glow of morning

slowly coming through and to think about what

you will see and capture. The sunrise this morning

was spectacular with a pink band of cloud over

Mount Rolleston, layers of clouds in the valleys – A

sight that I will never forget.

This climb is my first time climbing something steep

with no ropes (not that I climb with ropes) and

there are a few sections where I feel out of my

comfort zone. This is the day I learnt to trust my

gear... I didn’t have my crampons on but I felt

confident in my boots and ice axe placements. As

we kept ascending, admiring the view along the

way, the climb became a little easier towards the

top.

May 2018

37


F2.8,1/60s, ISO125

Photographing while climbing mountains is hard

as you have no set location, no particular place

that you know is there if an opportunity for a photo

happens it happens and if there something good

to put in the foreground that is great. I’m always

last up because my camera gear is heavy, but

its worth it, I need it to be able to record these

moments and tell these stories.

When I reach the top I walk along the summit to

the big cairns, take off my pack off admire the

view. We spent 30 minutes on the summit after a

good solid 4 to 5 hours climbing. Now there's just

time for a quick bite to eat of almost frozen bread

(but at this point any food is good food) before we

make the 4 hour descent.

Going down I see new compositions that I did not

see on the way up. Everything looks different going

this way now that it's light and I see many missed

opportunities that are really photogenic. I will have

to go back to capture some epic selfies!

Once back at the car we celebrate, we did it!

We are happy, tired and sore, but one thing is

for certain, we must get to the Sheffield Pie Shop

before it shuts! It's become almost a tradition with

us; climb during the early hours, get back down

and out, and then rush to the pie shop before it

shuts!

I hope my story has inspired you. Winter is not a

time to hide from the cold. I urge you to dress up

warm and go and discover something new. Be

prepared to get cold but also be prepared to be

rewarded, preferably with a companion so you

can keep safe together. The epic snow days are

near and are waiting for you to capture new and

exciting images to show the world how stunning

this planet is, particularly our corner of New

Zealand.

38 NZPhotographer


Wow us with your shots of the Wanaka Tree!

The Wanaka Tree is arguably the most popular tree in New Zealand – almost everyone has at least one shot of

it. We can't begin to tell you how many times we come across a photo of this tree in readers submissions so

we decided to use it as a competition theme! We're excited to see how each image of the same subject shows

off each photographers style and creativity.

Show us what you have and be in to win a 64GB memory card for your camera!

Competition runs 1 -20 May 2018

See full T&Cs and submit your best photo using the link: www.excio.io/wanaka

(Please note: for general readers' submissions please use www.excio.io/nzpsubmit)

May 2018

39


EXPERT CRITIQUE

Craig McGhie

GLENORCHY PILES

Photo of old wharf piles just off the road on the way

between Queenstown and Glenorchy.

SHAUN BARNETT’S COMMENTS

This shot has considerable merits. The slow

shutter speed has created a pleasing softness

to the water, while still retaining the blue.

The tree framing the image on the right

gives the scene an intimacy that it might

have otherwise lacked. Perhaps the only

improvements I can suggest are a slightly

different composition. There is a triangle of thin

dark branches in the foreground, which are a

little distracting – I would have removed these

before taking the picture, or recomposed to

avoid them. Lastly, I felt that a better angle

on the wharf piles might have been possible

to separate them. Overall though, a shot with

plenty of atmosphere, nicely processed and

with care put into the composition.

BRENDON GILCHRIST’S COMMENTS:

In this image, everything looks really

good from the dusting of snow on

the mountains to the autumn leaves

on the tree and shore. I feel that the

old jetty is leading out of the image

though, my eye is lead out to the left

rather than drawn into the image. If

the jetty was more centered it would

improve the composition. The long

exposure works well, it has blurred the

waves and created a moody image –

Overall, I like what I see.

40 NZPhotographer


PORTFOLIO

BEST READERS' SUBMISSIONS THIS MONTH

May 2018

41


LAVENDER BUMBLEBEE

F11, 1/500s, ISO400, 100mm

Taken at a visit to the Lavender farm in Wanaka.

Annemarie Clinton

42 NZPhotographer


CASCADE EVENING FLOW

F20, 5s, ISO80, 26mm

Timing was everything as I captured this image at sunset just before total cloud

cover. It was made more difficult by the gusting 100km/h winds and trying to

keep the camera steady and dry while water was spraying everywhere.

Peter Ambrose

May 2018

43


44 NZPhotographer


COTTON CANDY MOUNT MAUNGANUI SUNRISE

F18, 6s, ISO50, 20mm

I climbed up the Mount in the dark with a torch hoping for a

good sunrise. This cotton candy sunrise was the result!

Annemarie Clinton

May 2018 45


46 NZPhotographer


ROCK POOL SCARBOROUGH

F22, 2s, ISO100

I love what I call "10mm skies". The patterns of the clouds just cry out for the use of a wide angle lens.

It enhances the image to have a strong foreground too, in this case the red rock in a natural pool of

water. I have been asked a number of times.... but no, I did not place the rock there, it was perfectly

natural. I have been back to the spot many times and never seen it in that location since. It is fairly light

aerated volcanic rock and would easily have been dislodged by wave action.

Jim Harding

May 2018

47


48 NZPhotographer


RANGITOTO DAWN

F20, 20s, ISO100

A beautiful calm pre-sunrise moment looking out across the Hauraki Gulf to Rangitoto Island. The sky

patterns just call out for a wide angle lens, my favourite Sigma 10-20mm. A slow shutter speed was used

to enhance and add interest to the foreground.

Jim Harding

May 2018

49


SOLITUDE

F20, 20s, ISO100

A early morning venture from Plateau Hutt to capture the soft tones at blue hour before sunrise. It was so

quiet and peaceful up there. Not much sleep that night as we ventured out all night and early morning

with our crampons and camera to capture the magnificence from the east face of Aoraki/Mt Cook.

Peter Ambrose

50 NZPhotographer


May 2018

51


MANA MANA

F11, 30s, ISO100, 18mm

Sunset from Plimmerton Beach over Mana Island, capturing the dramatic sunsets that occur behind the

Island along with the top of the South Island in the background.

Peter Ambrose

52 NZPhotographer


May 2018

53


TE ANAU WHARF

F16, 6s, 24mm

Playing with my new 10 stop Nisi Filter watching the weather

changing over the South Fiord on Lake Te Anau.

Chris Watson

54 NZPhotographer


May 2018

55


MAVORA WILDERNESS

F9.5, 1/350s ISO320, 24mm

Recent camping trip to Mavora Lakes and a day walk up the Campbells Saddle with stunning views

out over the lake on the way back down the mountain.

Chris Watson

56 NZPhotographer


May 2018

57


TARAWERA FALLS

F6.3, 0.8s, 19mm

A midday walk up to the

Tarawera falls. They are beautiful.

Jason Mills

58 NZPhotographer


GREAT GREY OWL

F8, 1/500s, ISO3200

This magnificent bird was resting near Lower Yellowstone Falls and presented itself in all of its

glory to the happy photographer. The size and beauty of this Great Grey Owl is jaw-droppingly

impressive, especially since it's a rarely seen bird in Yellowstone National Park.

Bernd Kupka

May 2018

59


OLD WHARF AT TOKAANU

F16, 30s, ISO100

The impressively long, old wharf at Tokaanu, Lake Taupo. The wharf makes a great subject

complemented by beautiful background scenery. The use of a 10 stop ND filter has smoothed the

choppy windblown lake water and introduced some cloud movement.

Dominic Scott

60 NZPhotographer


May 2018

61


DANCING IN THE SUNLIGHT

F2.8, 1/8000s, ISO160, 35mm

Dancing at golden hour in summertime.

Victoria Stoeva

62 NZPhotographer


May 2018

63


HUNTINGTON BEACH

F5.6, 30s

First light and surfers beginning to go.

Chick Piper

64 NZPhotographer


May 2018

65


SLOUGH CREEK

F8, 1/50s, ISO100, 29mm

A panorama of Slough Creek in Fall colours.

Yellowstone National Park, USA

Bernd Kupka

66 NZPhotographer


May 2018

67


BALD EAGLE

F8, 1/5000s, ISO400, 800mm

A Bald Eagle taking off above Madison River.

Yellowstone National Park, USA

Bernd Kupka

68 NZPhotographer


May 2018

69


WHITE TREES

F8, 1/160s, ISO100, 16mm

Canary Springs tree covered in frost.

Yellowstone National Park, USA

Bernd Kupka

70 NZPhotographer


LANDING APPROACH

F4.5, ISO6400, 1/2000s

A Starling in flight approaching a feeding platform at speed.

Eric Pollock

May 2018

71


CHLOE-ROSE

F6.3, ISO200, 19mm

An image from a body of work entitled 'Not Just Tea and Scones', documenting working rural women

in New Zealand 2017. This photograph formed part of my 4th year BFA end-of-year submission.

Nicola Thorne

72 NZPhotographer


May 2018

73


FLOATING MISTRESS

F4, ISO100, 11mm

I have always been fascinated with the photographs which appear to show people floating. I tried

this out with my fiance this weekend after learning about the technique to take these types of photos.

George van Hout

74 NZPhotographer


OUT OF THE MIST THEY CAME

F7.1, ISO200, 1/100s

While walking down our country road I spotted these two white horses, it was early morning and lots

of mist about.

Noel Herman

May 2018

75


DARK V LIGHT

F4, ISO800, 11mm

The cloud during sunrise abruptly stopped over our house, creating this night versus day scenario.

George van Hout

76 NZPhotographer


May 2018

77


WAITAWA

1/250s, ISO100

Waitawa Regional Park at its best on a stunning Autumn day. We had visitors from out of town and this

was a must see on our tourist trail.

Diane Beguely

78 NZPhotographer


May 2018

79


MCLEANS FALLS

F4, 3s, ISO100

Lower section of McLeans Falls, Catlins.

Dominic Stove

80 NZPhotographer


May 2018

81


PURAKAUNUI FALLS

F14, 6s, ISO100

One of waterfalls we visited while in the Catlins over Easter. Probably the easiest to get to!

Dominic Stove

82 NZPhotographer


May 2018

83


THROUGH THE OLIVE GROVE

F10, ISO200

The sun setting looking through the olive grove in Cornwall Park.

Steve Harper

84 NZPhotographer


May 2018

85


STARING YOU DOWN

F6.3, 1/640s, ISO1000, 400mm

Portrait of Piwakawaka

Steve Harper

86 NZPhotographer


May 2018

87


CHASE THE MOON

F8, 8s, ISO1600, 28mm

Post sunset evening shot of the setting moon with sheep.

Steve Harper

88 NZPhotographer


May 2018

89


GETTING TO KNOW YOU

F8, 1/500s, ISO200, 24mm

In the pasture with some interested young heifers.

Steve Harper

90 NZPhotographer


May 2018

91


BLUE HOUR

F13, 1/400s, ISO200, 21mm

Raglan from up on the hills. One of my favourite places for shooting seascapes.

Emanuel Maisel

92 NZPhotographer


May 2018

93


RUAPEHU

F8, 1/13s, ISO100, 18mm

This was shot from pov Desert Road - One of those moments where every angle makes a perfect scene.

Emanuel Maisel

94 NZPhotographer


May 2018

95


96 NZPhotographer


A LAKE IN INFRARED

F3.5, 1/125s, ISO80, 4mm

This was taken on the top path overlooking the thermal lake near Rotorua. The filter used

here was a 680nm which falls just under 720nm for perfect infrared spectrum.

Emanuel Maisel

May 2018

97


GOLDEN VALLEY

F8, 1/160s, ISO100, 55mm

Shot across the valley towards Mount Ruapehu. It was raining and for a moment the sun

gave a sideglance from the right.

Emanuel Maisel

98 NZPhotographer


May 2018

99


DARN HE MOVED

F6.3, 15s, ISO1250

Some friends and I exploring underground for photography,

not an easy task with mud, water and darkness.

Noel Herman

100 NZPhotographer


May 2018

101


THE TOOL SHED

F4.2, 1/200s

This photo was taken on a property that had so much old "junk" on it it was hard to know

what to photograph next! I went with a group from our local photographic group which

is newly formed and this was our first outing together. This was a tool shed that was well

and truly overstocked, but had that lovely feel to it of having been well used.

Faye Moorhouse

102 NZPhotographer


PLACE OF WORSHIP

F8, 1/100s, ISO100

Raetihi, New Zealand

Peter Kurdulija

May 2018

103


F8, 180s, ISO400

PARTY CENTRAL

New Year’s Eve was biting at my heels. Queenstown was the last place I wanted to be on December 31st. The

Hills beckoned beyond the tinsel town, so I boarded the Skyline gondola for my escapade.

Once past the Skyline Restaurant, punching through the thin veneer of amusement-park bliss and adrenaline

junkie heaven, I followed the Ben Lomond Walkway into the shady pine forest. Short of the saddle, I decided

to follow the subsidiary ridgeline back towards Lake Wakatipu. Traversing a sequence of rounded tussock

tops and tip-toeing along a serrated spine of rock, I bravely erected my tiny tent near a precipice above Horn

Creek.

As 2017 faded into the past, I enjoyed my lofty seclusion, only a stone’s throw from the madding crowds below.

Before the clock struck midnight, a cacophony of voices echoed off the hills… “10… 9… 8… 7…” An explosion

of fireworks thundered up the gully, scaring the resident goat population half to death.

“6… 5… 4… 3…” As I reflected on my compromised position, suspended between wilderness and the fleshpots

of humanity, a dozen rockets climbed the sky above Wakatipu, illuminating the hillsides, dying on their descent

back into darkness. “2… 1… 0…” Good morning, 2018!

Soon the cacophony subsided, and I set my DSLR up on my trusty tripod. Being alone, I had to shoot the first

image of the scene while I painted the foreground with my head torch. I then activated my intervalometer to

fire the second shot while I was inside my tiny tent, illuminating the interior.

Ray Salisbury

104 NZPhotographer


F11, 30s, ISO100

LAST MAN STANDING

Queenstown is arguably the most picturesque place for landscape photographers. But great shots don't usually

come without effort and a bit of prior planning.

To gain this premium viewpoint above the city, most folks pay for the gondola, but not me. I trudged for 45

minutes up a very steep 4WD road to the Skyline Restaurant, and secured my spot on the balcony before I was

surrounded by phone-toting tourists. So I could pre-focus my DSLR - before night fell, making this difficult.

Eventually, the winter cold froze my companions, who retreated to the comfort of the restaurant, and caught

the final gondola ride back to their hotels. I was literally, the last man standing.

Alone, I experimented with different shutter speeds to get the perfect long exposure of light trails from moving

vehicles, far, far below. I was about to give up, when the clouds lifted, allowing the moon to light the snow on

The Remarkables, effectively brightening the background. I was delighted, and began my descent on foot, by

moonlight, as my headlamp had bat flatteries.

Ray Salisbury

May 2018

105


TONIGHT, THERE WAS A SUNSET WORTH WAITING FOR

F9, 1/200s, ISO100

Owhiro Bay, Wellington

Peter Kurdulija

106 NZPhotographer


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May 2018 107


GLENORCHY FROM KINLOCH

F10, 1/125s, ISO125

Kinloch, Otago, New Zealand

Peter Kurdulija

108 NZPhotographer


Follow Peter's collections on Excio

May 2018 109


BREAKFAST POSSIE

F11, 1/500s, ISO250

Canterbury, New Zealand

Peter Kurdulija

110 NZPhotographer


Follow Peter's collections on Excio

May 2018 111


THIKSEY GOMPA

F18, 250s, ISO100

12 storeys perched atop a hill at 3,600m. This is Thiksey Gompa, the Tibetan yellow hat

sect largest monastery in central Ladakh, India. It houses many items of Buddhist art i.e

stupas, statues, thangkas, wall paintings, and swords.

Susan Blick

112 NZPhotographer


May 2018

113


ARATERE HEADING INTO WELLINGTON

F11, 1/500s

A shot of Aratere heading into Wellington Harbour from Island Bay. A pretty overcast day

and the distant low clouds and the rocks in the foreground adds to the composition.

Peter Maiden

114 NZPhotographer


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May 2018 115


IF YOU FIND YOURSELF

STUCK IN DARKNESS,

THE FIRST THING TO

DO IS FIND AND START

CAPTURING THE LIGHT.

BRYCE EVANS

116 NZPhotographer

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