NZPhotographer Issue 9, July 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 9, July 2018

INTERVIEW

WITH KEN WRIGHT

GETTING TO KNOW

NIFTY FEW & FMC

2 GAME-CHANGING

LIGHTROOM TOOLS

HOW TO CAPTURE:

WINTER LANDSCAPES

WITH RICHARD YOUNG

FINDING ADVENTURE

IN GREAT BOULDER

by Brendon Gilchrist

July 2018

1


General Info:

NZPhotographer Issue 9

July 2018

Cover Photo

by Ken Wright

lightwavegallery.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.

2 NZPhotographer

Dear Readers,

WELCOME TO ISSUE 9 OF NZ PHOTOGRAPHER MAGAZINE

I hope you’ve been taking lots of

wonderful photos over the past

month, if not, I’m sure this issue

will get you inspired to get out

there and snap some scenes - We

announce our Winter Competition

on page 39 so now is the time to

get out there and show us what a

New Zealand Winter looks like to

you.

In this issue, we find out about

not one, but two NZ groups you

might be interested in joining.

NiftyFew is encouraging creatives

to push the boundaries whilst FMC

members (Federated Mountain

Clubs) explore and protect New

Zealand’s Backcountry.

Meanwhile, Brendon takes us on an adventure to Boulder Lake, Richard

gives some tips on capturing winter landscapes, James explains 2 gamechanging

Lightroom tools, and we get to know Ken Wright of LightWave

Photography. Last but never least, your photos grace the end pages

with Readers Submissions – Enjoy!

CONTRIBUTORS

James Hickok

James is an amateur

photographer from

the United States who

recently moved to New

Zealand for soccer. He has

taken a keen interest in

photography having lived

in five countries over the

past few years.

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.

Emily Goodwin

Editor NZ Photographer

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.

nzphotographer nzp_magazine nzp@excio.io

4

4

INTERVIEW

INTERVIEW WITH KEN WRIGHT

WITH KEN WRIGHT

20

12

NIFTY FEW - THE CREATIVES

PUSHING BOUNDARIES

20

BEHIND THE SHOT WITH MARTIN MCCRAE

22

FINDING ADVENTURE IN GREAT BOULDER

by Brendon Gilchrist

26

2 GAME-CHANGING LIGHTROOM TOOLS

by James Hickok

30

30 HOW TO CAPTURE: WINTER LANDSCAPES by Richard Young

32

FMC - JOIN THE VOICE OF

NZ'S OUTDOORS PEOPLE

39

PORTFOLIO BEST READERS'

SUBMISSIONS THIS MONTH

BEHIND THE SHOT

WITH MARTIN

MCCRAE

22

FINDING

ADVENTURE IN

GREAT BOULDER

HOW TO CAPTURE:

WINTER LANDSCAPES


Interview with Ken Wright of

LightWave Photography

KAIKOURA WINTER SUNSTRIKE

F16 ,0.4s, ISO100

KEN, CAN YOU TELL OUR READERS

ABOUT YOURSELF AND YOUR DESIGN +

PHOTOGRAPHY BACKGROUND?

I am originally from the UK. I lived in the City of Lincoln

and went to Lincolnshire College of Art and Design

from 1976-80. During my four years at Art College, I

studied Graphics, Illustration, Exhibition Design, and

Photography. I had not encountered photography

before Art college and was instantly hooked.

After a strange set of events in the UK, one of which

was my mother passing at age 56, we made a

monumental decision to leave our home and country

and move to the other side of the world. It was one

of those OMG moments, what if, someone told you

that it’s all over at 56? What would you do? We left

everything and everybody packed 5 suitcases, and

with two boys (7 and 4) and my wife Karen pregnant

with our third (and on the last week that she was

allowed to fly!) we came to New Zealand to start a

new life. That was 21 years ago, we are now citizens

and love New Zealand.

I have been very fortunate to have spent 35 years

in the creative industry. During my time as a senior

designer and creative director, I have art directed

numerous excellent photographers both in the UK

and NZ. Design wise, my claim to fame is being

principle designer and team leader for the millennium

banknote. After a health scare, I left the design

industry in 2011 to focus purely on photography.

WHAT ARE YOU SHOOTING WITH?

Currently, I am shooting on a Nikon D750 which is

about a month old. This replaced a D610 which

alongside me took a bath in the sea! Thank goodness

for insurance. I have been with Nikon from the

beginning and I guess it’s a bit like the Ford and

Holden cliché. Out of preference I mainly shoot ultra

wide angle with a 16-35 Nikkor lens.

CAN YOU DESCRIBE YOUR PHOTOGRAPHY

STYLE?

I would describe my work as “in your face”. I like my

images to be close to the action. I want my viewer to

feel that they can walk into the image. So most of the

time I am shooting from right in front of the tripod to

the horizon. I believe it’s what makes my seascapes

more dynamic. I said at my first exhibition “If you are

not wet, you are not close enough” however, as I

found, there is a difference between being close and

a drowned camera. Also, I would describe my work

as “full spectrum colour”. We live in a world of intense

colour and I like to bring that out in my images.

YOU’VE SPENT 35 YEARS AS A GRAPHIC

DESIGNER… HOW DID PHOTOGRAPHY

BECOME YOUR CAREER?

During my career, I have either art directed or taken

images for brochures/adverts etc. In the early days,

as a designer working remote, (and I don’t mean

location - I mean before computers and internet)

a designer was expected to cover all disciplines

so there were many occasions when there was no

‘photographer’ to hand and you just got on and did

the shot your self.

How I came to be doing what I am doing now is

another story. About 11 years ago I had a run in with

bowel cancer and this stopped me in my tracks.

With several months recovering I had time to take

stock of my life and what I wanted to do. It’s easy to

get caught up in life’s perpetual treadmill of career,

house, car, toys etc when life is really about living.

OTARAWAIRERE SUNRISE

F22, 1/6s, ISO50

4 NZPhotographer

July 2018

5


I changed my working week to give me Fridays

off so that I could spend time on photography.

This was more to do with doctors orders to find

something less stressful than being Art Director

and part owner of a Design Group. In 2009 my

friends pushed me into having an exhibition which

became the catalyst for change. The final push

came when my wife Karen was diagnosed with

breast cancer. We decided to pull the plug on

life’s treadmill and step off the grid. So here I am

in Papamoa running photography workshops and

living a simple life with Karen (we’ve been married

for 32 years) and boomerang kids (28,24,21), 2

dogs and 4 cats!!

HOT WATER FALLS

F14, 2s, ISO50

WHAT ADVICE CAN YOU GIVE TO OUR

READERS WHO ARE HOPING TO QUIT THEIR

DAY JOB TO PURSUE THEIR PHOTOGRAPHY

PASSION?

If you are really passionate about doing something

else, don’t wait for something nasty to force

your hand or worse stop you. Life is for living and

exploring it’s not a rehearsal. There is a lovely poem

on a bronze plaque at the Blue Springs walk near

Putaru which sums it up – Look up “Dust if you

must”, and you’ll realise how much of your time

is slipping away on things that are not important.

Make it happen!

WHAT’S THE BEST THING ABOUT YOUR

WORK… AND THE WORST?

The best thing is finding new locations or routes

to places beyond where someone else would

venture, meeting interesting people, and sharing

knowledge and locations. I enjoy spending most of

my time outdoors far away from my old office life.

The worst thing is the mental torture of seeing a

location with a fabulous shot and not being able to

find a way to get there, it’s the stuff of nightmares!

HOW DO YOU FIND LOCATIONS?

Locations come from all kinds of sources. In the

early days I had no process, now with Google

maps, PhotoPills, LighTrac apps, tide times, weather

etc all on my phone, it’s a lot simpler to plan a trip.

When planning a road trip I will spend quite a

while moving LighTrac around on Google maps

so I can plan which beach to be at and what

time for the best light etc. A recent location is a

secret ‘hot water’ waterfall which I saw a picture

of in a book at a motel. The author didn’t give the

exact location but just enough to get me started - I

managed to get within 15 meters without knowing

I was right. So I bought the book and found that

the author had included the GPS location in the

footnote, game on! This waterfall is hidden in plain

sight and it’s my fave spot to shoot right now.

6 NZPhotographer

July 2018

7


ANY FUNNY OR INTERESTING STORIES TO

SHARE?

I had this idea to purchase a GoPro to film some of

the more remote locations that we visit. So GoPro

purchased, I’m off on an adventure with my friend

Steve Allan who tags along for the ride - He is not into

photography but loves the outdoors and I take him for

support in remote places, helping me to cross rivers,

passing me gear in precariously balanced positions

etc. So the idea was to have Steve film these events

but then he pointed out that the moment Karen, my

wife, were to see where I was going and what I was

doing I wouldn’t be allowed out to play any more! So,

I have the most unused GoPro in the business!!

TELL US ABOUT YOUR PHOTOGRAPHY

CLASSES…

Originally I didn’t intend to do the classes at all.

When we had the gallery (Lightwave Gallery), I kept

getting asked for tuition and always avoided it. Once

the gallery closed it seemed a natural progression.

So now we have classes and workshops that cover

the whole range of levels. We do one-day Novice,

Intermediate, Lightroom, and Photoshop classes.

(Interestingly enough, graphic designers were using

Photoshop 10 years before we had digital cameras,

I have been using Photoshop since version 3). There

are also several one and two-day workshops, 2-day

Kaimai Mamaku Forest Waterfalls and 2 days in the

Bay, Seascapes and Waterfalls ~ dawn till dusk has

been very popular.

The best thing about the classes and workshops is

seeing people “all fired up” to go and take better

photographs. There are no secrets, I tell students

exactly how I would do it and how I process the

images. We have several students that have returned

to do other workshops and as a result have become

friends.

WHAT WAS IT LIKE OWNING THE LIGHTWAVE

GALLERY?

The gallery was a pipe dream that we made happen.

I wanted a space to exhibit my images. Initially, we

exhibited at The Cargo Shed in Tauranga. This opened

the door to a group of like-minded creatives that

also needed a quality space to exhibit. We had the

gallery for two years and it was a blast. We undertook

projects that I wouldn’t have had the opportunity to

do otherwise. I created a large photographic piece

of the Matapihi Rail Bridge (seven canvases bolted

together) which is now part of the civic art collection

and hangs in the ASB arena.

Sadly, owning a gallery is not what it seems, the

romantic version is very different from reality.

The reality is two-fold, once you stop being a

photographer and you become a shopkeeper, the

other is a financial reality, in a seaside town you

make money during the summer then use it to stay

afloat during winter. In the time we have been in

the Bay of Plenty we have seen numerous galleries

close for similar reasons. Don’t get me wrong it was

a great time in our lives and we wouldn’t trade that

experience for anything.

WHAT HAS BEEN YOUR PROUDEST MOMENT IN

PHOTOGRAPHY TO DATE?

This has to be being asked to be the guest speaker

at the 2015 PSNZ National Convention which was

held in Tauranga. It was an honour to be on stage

with Christian Fletcher (Australia), Guy Edwards

(UK), Juliane Kost (Adobe USA) and Kevin Clark

(Christchurch). I must say I did feel slightly “the poor

relation” but their work inspired me to create better

images. I have also made lasting friendships with

people at the Tauranga Photographic Society who

often ask me to speak at club nights.

‘PAINTING WITH LIGHT’ CERTAINLY SUMS

UP YOUR WORK - WHAT TIPS CAN YOU

OFFER OUR READERS FOR CAPTURING SUCH

STUNNING SCENES?

Firstly, can I say, I’m not in the business of selling

‘photographs’, I’m in the business of selling Art,

capturing the light is the starting point for my images

which I call “painting with light”.

Early on I got frustrated with not being able to capture

all the information in one frame and that’s because

in extremes of light the exposure difference between

the sky and foreground can be numerous stops. Even

with expensive filters you still get “blow out” around

the sun so inevitably I would need multiple exposures

to capture the whole dynamic range which then gets

reassembled in Photoshop to give a higher dynamic

range.

Most cameras only capture about half the dynamic

range that your eyes see. I have my own way of

doing HDR using layers and multiple exposures which

has now lead me onto image stacking using a series

of short exposures to record the travel of a wave as

it spills and crashes over the rocks. Layering all the

images tells the story of what happens in that location.

This is where a 5 second exposure would turn water to

mist but 10 half second exposures or less layered up

will show the dynamic movement of the water.

The black and white image of Otarawairere Bay

waves is a combination of 5 images. The morning

that I took this workshop there was very little wave

movement and a flat sky, I showed my students how

to take a series of images like a time lapse.

OTARAWAIRERE 5 WAVES

F22, 1.3s, ISO50

8 NZPhotographer

July 2018

9


JAMES BOND PANO THAILAND

F9, 1/100s, ISO200

Each wave exploding or spilling with a view to

blending all into one image. The sky was about 30˚ to

the left so after the wave we rotated to capture that

image, the sky was there it just wasn’t in line. This is an

exercise in creating a piece of art in a location that’s

not playing ball. Christian Fletcher summed this up

with his sky replacement argument. If you have gone

to Iceland and you’ve paid a fortune to get there and

there is terrible weather or lack of a good sky at the

waterfall you want to shoot, do you not bother or do

you shoot it with intent to add sky later and save the

image? With this in mind I managed to save an image

from Thailand of James Bond Island, 10 days and

no sunrise or sunset, just a milky grey sky. So using his

technique I salvaged a handheld 5 image panorama

with a new sky and a desaturated look to create a

dynamic image.

WHAT’S NEXT FOR YOU?

Through a strange twist of events and a random

phone call to Richard Young at New Zealand

Photography Workshops I will be joining forces with

his team to help run workshops in Tongariro National

Park and other locations. This is a development which

I am really looking forward to and feel honoured to be

asked to join the team.

WHAT ELSE DO YOU WANT TO SHARE?

I think it is only right to acknowledge some people

that have helped me significantly and supported me

through my transit from designer to photographer.

Firstly, Karen my wife who I have known for 38 years.

She has supported me, has been a friend and soul

mate through thick and thin. Lindsay Keats and Lance

Lawson both professional photographers based in

Wellington, thank you for your support and advice.

Tony Gorham and Richard Brooker for helping with

trial runs for workshop scoping.

www.lightwavegallery.co.nz

www.500px.com/kenwright

www.facebook.com/lightwavegallery

PAPAMOA GRASS STARS

F22, 1.6s, ISO50

10 NZPhotographer

July 2018

11


THE CREATIVES

PUSHING BOUNDARIES

Founded by Stephen Duffin and Hannah Walton in 2017, Nifty Few was created to showcase

New Zealand’s incredible creative talent whether they be photographers, videographers, or

graphic designers, and to build a community of like minded individuals who inspire one another.

Founder Stephen Duffin tells NZP how he was inspired and what the group are up to now.

I

noticed that New Zealand’s creative talent

is prominent on social media (Instagram in

particular), but that many of the talents were

flying under the radar, and from what I believe,

not receiving the recognition or exposure that they

deserve. It was evident to me that these young

creatives and myself included, are inspired by one

another’s works, but how incredibly difficult it is to

connect with this local talent amongst the large

masses of people on social media channels, not to

mention social media’s unfavourable algorithms. So,

the NIFTY FEW group was born!

When I was thinking of the name, I wanted it to tie it

back into the scene. I was looking at Jargon/Slang

names used in photography and the term ‘Nifty Fifty’

stood out to me. The term is used to describe a 50mm

lens, one that is seen as being the best value piece

of glass you can add to your kit, offering versatility

and quality. Nifty Few was a play on this term. When

looking at the definition of the word Nifty, I felt it

embraced what the creative scene was - definition:

particularly good, skillfull, effective and their work

attractive and stylish. The word Few, was added to

provide exclusivity – recognizing that not everyone

can produce what they’re creating.

Most recently the group held it’s first Instameet and

Photo Walk in Auckland with a turn out of approx.

100 people. The night was an opportunity for our

community to link up with other local creatives and

shoot at locations with models and props.

www.facebook.com/niftyfew

We collaborated with a number guest hosts (some of

whose photos you can see on the following pages)

and models with incredible portfolios who have a

strong following within the community. This was a

fantastic way for their followers to meet in person, be

inspired and learn new techniques.

We have a hashtag #NIFTYFEWMEET on Instagram

where you can view events of the night.

Anyone can follow or join NIFTY FEW, our events

are open to everyone no matter age, skill, or use of

device (camera, phone etc) so we hope to see you

in the future!

www.instagram.com/niftyfew

12 NZPhotographer

July 2018

13


JERO COLA

www.instagram.com/colacowboy

It was a beautiful clear night so Dylan and I decided to head out to the Muriwai gannet

colony to shoot the night sky. After realising that where we were taking photos was directly

South facing we thought it would be a perfect spot for a full circle star trail or Vortex as I like to

call them. Using the Photopills app we figured out how long we had to leave our shutter open

to give us the correct exposure.

DANIEL ARMSTRONG

www.instagram.com/boskarmstrong

Scouting out locations is one of my favourite parts of photography. As I walk I am

forced to really take in my surroundings with my focus specifically on contrast in colour

and light, as well as an element that will provide depth to the image. Once I find a

scene I want to shoot I usually set up my camera on a tripod, start an interval timer

and place myself in the frame.

14 NZPhotographer

July 2018

15


PEEM ANAKAKUL

www.instagram.com/peemguin

This year I've set a goal to capture at least one sunrise a month. Here's

the sunrise on top of Mt. Eden in May. Sunrise is probably my favourite

time of the day to take photos because you never know what you're

gonna get. The weather, the tone of light and colours, the cloud

formations; anticipating all of these variables and seeing what you can

do with the conditions is what makes it fun.

LUKE ROONEY

www.instagram.com/lukenichola.s

This photo was taken one night while me and a friend wandered the

backstreets of downtown Auckland after the rain had just settled

in. As we passed an empty alley with neon lights it felt like I was in

a scene from the movie Blade Runner. There's something about

futuristic cityscapes which resonate with me.

16 NZPhotographer

July 2018

17


Wouldn't it be wonderful

if people started their day with your photos?

Don't wait for people to come to you,

become an integral part of their life.

BECOME A MEMBER

www.excio.io/membership

People all around the world will see your images

every time they look at their phones.

Tell your story the way you want it,

take viewers on a journey.

STEPHEN DUFFIN

www.instagram.com/nz_classic

There’s nothing like a stroll through the city on a moody winters day.

Some like to shoot only on fine weather days, however, I find that the

city can come alive in some of the worst conditions.

Get hours of exposure.

Increase traffic to your website or

Social Media page.

Manage all your collections from

your browser.

Enjoy real-time in-depth analytics

on how your images are performing.

18 NZPhotographer

As a member, get access to special offers,

events and competitions.

July 2018

19


BEHIND THE SHOT

WITH MARTIN MCCRAE

MARTIN, CAN YOU TELL US ABOUT YOURSELF

AND YOUR PHOTOGRAPHY?

I was born in Singapore in 1958 of a British Army family

and New Zealand is one of many homes I have had in

my sixty years. Having met my partner Pippa in London

in the 80’s and creating Fox, we moved here in 1998

for a couple of years to see how it went. Twenty years

later…. still here!

My dad took loads of photos; slides which I am still

converting digitally, he set up a darkroom in his hall

cupboard and I learned some basics from him. I did

some photography including darkroom developing

during my Fine Art degree in 1996. I used my dad’s

pentaprism 35mm SLR camera, with a pop-up metal

viewer that you looked down into to see what you

were photographing, and then had a bog standard

35mm SLR.

I got my first digital camera in NZ. $500 was the most

I could afford. A Samsung 3.2mp and a 5 x zoom,

3cm screen and an 8gb SD card, point and shoot.

Marvellous! I ditched the SLR. Next came my first real

DSLR, an Olympus E-500 Evolt. 8mp four thirds and a

2.5in monitor. It was ok but really, I wanted a Canon

Eos. I’m probably like a lot of hobby photographers

20 NZPhotographer

who are always slightly behind the eight ball in terms

of the latest technology.

WHAT EQUIPMENT DO YOU USE?

After having gone through a few Canon’s I’m now at

the mirrorless stage with a Canon Eos M5. This came

with a 15-45m kit lens which I don’t use but was cheaper

to buy with than without. I already had a Tamron 18-

270mm, all in one telephoto and a cheap Canon 50mm

portrait lens, so I bought a Canon adaptor to fit them. I

added an Eos M 11-22mm wide angle lens built for the

Eos M5 and for those wide landscapes that I’d never

really been able to get before.

With its wide angle the Eos M5 is still pretty small, does

everything I really want and probably best of all is the

ability to zoom right into the picture for getting the focus

sharp, an important factor for someone always pressing

their glasses up to the screen or electronic viewfinder!

TELL US ABOUT THIS PHOTO...

“Makara rainbow” was taken in my back garden looking

towards the hills that separate this coastal enclave from

Wellington. I was pottering about in my barn (really a

very big shed) in which I make my sculptures, going

back and forth to the house when I saw the rainbow.

It was quite arresting and dramatic, reaching across

the far hill like a force field. Obvious things drew me to

want to photograph this natural phenomenon. The

light was stunning due to the stormy atmosphere which

emphasised the drama and intensity of the display and

like any kid at heart I loved being able to see it’s start and

finish, the pot of gold just over the hill. So I rushed inside

for my camera. I took a few pics and viewed them on the

screen but they didn’t do the scene justice so I decided

to try a panorama. I wanted to capture its brilliant colour,

the complete rainbow from end to end, but I also wanted

to play with my landscape lens and incorporate that total

end to end look in a panorama. Not having a tripod and

not wanting to miss the show, I hand held the camera

and took something like eight overlapping images,

trying to keep as level as possible and keeping the same

exposure throughout the process.

HOW MUCH POST PROCESSING DID YOU DO?

I put the images through my Lightroom panorama

merge process and used various degrees of

tone curve, cropping, vignette, colour correction

adjustments etc, etc. Lightroom enables me to play

around with images and try out both pre-set styles

(HDR, monochrome, duo-tone) and/or build an image

around what I want the result to be from what initially

drew me to take the photo in the first place. So, the

image becomes hopefully a representation of what

I felt about what I was looking at if that makes sense.

Sometimes a photo can come out disappointingly

because I haven’t captured what I feel I can see, but

post-processing enables me to conjure a facsimile of

those feelings I get when looking at the world.

GIVEN THE CHANCE AGAIN, WHAT WOULD

YOU WANT TO IMPROVE?

I would have liked a bit more detail in the foreground

where there is a paddock to give some scale and put

the rainbow more in the landscape, but that was lost

in the panorama cropping. I think the Macracarpas

are too cut off and the flax at the bottom of the

image would have stood out from the dark clouds.

YOU’VE RECENTLY JOINED EXCIO, CAN YOU TELL

OUR READERS ABOUT YOUR EXPERIENCE SO FAR?

I was inspired a while ago to get my images online…

I set up a Facebook page to let the world see. The

trouble is, I don’t use or like Facebook, so my images

are seen only by a few close people! I also have a

sales account at mychillybin.co.nz which provides a

platform and a few sales, but they want New Zealand

focused images with barely an adjustment, vanilla if

you like.

Excio lets me show my images, how I like them, how I

want them to be seen and is not restricted to just New

Zealand. I don’t feel that I have to be a professional or

produce the most technical material. I have freedom

and while I know that in exhibiting my work I will have

to continually improve because there is an audience

to supply and I have standards to meet, I can be an

amateur photographer, I can explore the craft and

my interests and at the moment do it on my terms. It’s

not exclusive or elitist or expensive and does the trick

for me - I’m am glad I joined it. I have three collections

on at the moment; Nature, Human, and Landscape -

Just search my name and you’ll find me.

July 2018

21


FINDING ADVENTURE IN GREAT BOULDER

by Brendon Gilchrist

F1.8, 25s, ISO10000

F16, 1/100s, ISO200

Life to me is about adventure, going to new places and pushing yourself to the limit in

everyday life. It is those moments when you are breaking when you grow the most.

My Dad and I have been going on adventures for many years now, some easy, and some

a little more challenging like our hike in Great Boulder. The challenges come and go but

the rewards stay with you forever.

DAY 1

We drove 474km from Christchurch to Takaka and

stopped at a couple of places on the way for food

and a beautiful short walk at Riwaka Resurgence

where a stream flows out of the side of the mountain,

an ingesting sight. That night we finished packing our

bags and loaded the car ready for an early start and

a long 8 hour walk.

DAY 2

As the sun rose on the first day of our hike, the weather

looked great with not a cloud in the sky. We had

breakfast, made our final preparations, and said our

goodbyes to civilization for 5 days. As we drove towards

the end of the road the golden morning sun rays were

kissing the Wakamarama Range.

22 NZPhotographer

July 2018

23


F14, 1/125s, ISO320

I was surprised that the track started earlier than

noted on the map but with a huge sign saying

‘Boulder Lake Track’ we knew we had arrived. We

stopped the car, signed the intention book, put our

boots on, locked the car and loaded our packs on

our back... Heading off into the bush.

We walked over what I thought was a newly cut

track, It didn’t seem right but we kept going,

walking for hours with a few breaks here and there

for water and snacks. I had this vision that there

might be more places to view the mountains but

I was rather wrong about that. One section of the

track is called The Castles but I had no idea why it

was called that until we came across big gaps...

It is a Karst landscape mostly of limestone, a little

challenging to get across with 5 gaps in total,

some big, some small. As the day went on and

with only one clearing we decided to have lunch,

a small view over onto another mountain range

but nothing spectacular. As the day got on and

the sun slowly lost its light we had no other choice

but to stop and put the tent up, we were hours

away from the hut and we needed shelter and

rest.

As the night went on I thought I saw flashes of light,

I said to Dad “Is that lightning?” he said “I hope

not!” next minute a big BOOM of thunder rumbled

so loud you could hear the ground shake. It was

a beautiful sound but I was so thankful to be in a

really good tent. The storms passed as the night

went on, impressive and powerful as they are, it

was amazing how simple a tent becomes.

DAY 3

As the sun rose, we got up and made a decision

to leave the tent by the track as we knew no one

else was coming and planned to be at the hut for

the next 2 nights.

We left some food and gas in the tent too

which made our packs lighter. We headed off,

still slowly walking uphill with no views in sight. It

surprised me how hard that was mentally, not

seeing any views of anything for hours on end,

something I am not used to at all. We finally broke

through the bush line at a place called Cow

Saddle, but still, we could not see the lake we

were aiming for. As we got higher in altitude the

wind got stronger, there was one point when we

were being blown uphill which was really helpful

for a time! By this point, we could see the lake or

part of it, and we could see the hut, still so small

but we were getting closer with every step.

Reaching the hut was an amazing feeling. A

French guy was there and he said he had been

worried about us the night before as he did not

know we had a tent with us. He said the lightning

over the lake was beautiful, I was a little jealous

that he got to see it - OK maybe a lot! It would

have looked amazing on camera. After checking

out the old hut at the back and the cool little

waterfall we started to settle in, unpack, get

organized, and get some warm food into us.

As night fell the weather was still looking pretty

good for some night shots over the lake and at

the waterfall. I managed to get a few good shots

of the waterfall with the stars and some of the

hut, but not much else. Later that night the rain

started to fall and it did not stop for the next 30

hours. There were a few spells when it stopped

enough to go and photograph the waterfall but

overall, it was hours and hours of rain.

DAY 4

The day came to leave. We only had a short walk

to the tent but that morning was one of the best

of the trip. Dad was up stoking the fire and he said

“I can see it’s raining but I can’t hear it” he looked

outside and said “Oh no, it’s been snowing all

night!” That got me out of bed fast! I grabbed my

camera, put my boots on, and went out to see

what I could capture which, to be honest, was

nothing so I got the cell phone out and took some

videos of the snow falling around me. That does

happen sometimes, you’re in remote places like

this and there’s nothing to photograph as it’s dark

gray clouds and not much else.

I was lucky though, it cleared and the light was

amazing. I managed to capture some cool shots

of the grasses and the mountains behind with

very cool looking clouds and nice light shining

through. We couldn’t really mess around too

much as I could see that the weather that was

coming looked a bit nasty and we had a very

exposed saddle to cross plus a lake to walk

through and around. After packing up and

tidying the hut we put the packs back on and

headed out the door for the last time.

Walking through the lake I have never in my life

had such cold feet, my toes were numb and I

could barely move them, not a situation anyone

wants to be in no matter what your experience

level. I ended up changing my socks in the snow

to dry warmer one’s hoping that during the

time we were walking higher, into deeper snow,

that it would help warm my toes up. I still had

shorts on but over the next few hours my toes

warmed up a little, enough for me to feel them

again! I stopped to take photos and capture the

good weather we had and the view before we

dropped back into the bush.

When we got back to the tent all I wanted to do

was get my feet warm so I got into my sleeping

bag even though it was still early in the day and

we ended up sleeping for most of the afternoon

as there was not much else to do.

DAY 5

The last day was the hardest day. The tent was

soaked making it heavier than before, the track

was also soaked and very slippery, and The

Castles, that we had to almost jump over, were

slippery and dangerous but with caution, we

passed them. The very last section of the track was

a flowing stream and even more slippery than the

rest of the track. We couldn’t get any pace as the

track was just so wet, plus the rain did not stop at

all. Once we got near the car big claps of thunder

started and not long after we drove off, it started

hailing. We were thankful by that point that we

were in the car and on our way back to Takaka!

3 TIPS FOR WILD PHOTOGRAPHY

• With a large landscape, a person walking

towards you or away from you adds a sense of

scale and makes the viewer feel a part of the

scene.

• A grad filter helps to blend the sky and the

foreground, making your exposure more

balanced on camera (saving you postprocessing

time later).

• Have something in the foreground that is of

interest whether that’s a rock, a dead piece of

wood, some grasses, or your hiking buddies.

24 NZPhotographer

July 2018

25


2 GAME-CHANGING LIGHTROOM TOOLS

YOU MUST MASTER TODAY

by James Hickok

In this issue, I want to dive head-first into fully understanding histograms as

well as what photographers consider to be one of Lightroom’s most useful, yet

sometimes heavily underutilized, tool: the graduated filter (linear or radial).

HISTOGRAMS

Before we begin, it must be made clear

that there is a real difference between the

Lightroom CC (cloud) and Lightroom Classic

versions of the histogram. The CC version can

only aid your image by having you look at

the graph visually, while the Classic version of

the histogram can tangibly aid and edit your

image by way of “clipping”. Either way, having

a complete understanding of how histograms

work will undoubtedly be beneficial to you as

a photographer.

To put it simply, a histogram is a map of

luminance, measuring the count of pixels at

every given tone of gray on a scale of 0-255 (0

being absolute black and 255 being absolute

white). A higher frequency of instances (y-axis)

at a certain intensity (x-axis) in the photo will

cause that point to increase, creating the

rising and falling “bar chart” that we are so

accustomed to seeing in a histogram.

The top of the histogram represents the limit

of signal saturation, where the intensity is too

great at the given tone to be visible, while

the bottom of the histogram represents an

absence of light at that tone altogether; the

former of these two extremes is known as

highlight and shadow clipping in Lightroom

which we will return to later.

Lightroom also provides a histogram line for

each of the composite colors (red, green,

and blue), which quite nicely indicates the

distribution of colors in your photo as seen on

the left. Horizontally, a histogram can generally

be divided into five dynamic f-stop ranges that

each contain a designated set of luminosities,

with the middle range of tones being defined

as the camera-standard 18% gray reference as

seen below. This 18% gray reference is usually

automatically set by the camera itself, but it

can be adjusted. Each of the f-stops below

represents a doubling or halving of the amount

of light hitting the “film” in the eyes of your

imaging chip, but our human eyes actually

don’t perceive light linearly, so a doubling in

intensity would not be seen as twice as bright

to us.

Now, should you be worried if your histogram

has a high concentration to the left, to the

right, or has lots of different spikes in it?

Unfortunately, the best answer to that is:

it depends! Histogram charts are not like

scientific charts in the sense that they are not

useful in being compared to one another; it’s

hard to say that a histogram chart looking one

way is better than another looking a different

way. In other words, there is no such thing as

a “bad” histogram, but rather, they just are as

they are.

That’s not to say that histograms can’t be used

to improve your image though, Lightroom

Classic’s highlight and shadow clipping feature

on its histogram is highly useful. As seen in

the first image, Lightroom Classic's, Lightroom

Classic’s histogram has two arrows on it – one

in the top left corner and one in the top right

corner – these represent shadow clipping

and highlight clipping, respectively. Shadow

clipping, or blocked shadows, are when an

area of your image is too dark to be seen

by the human eye and thus appears black.

Highlight clipping, or blown highlights, are when

an area on your image is too bright to be seen

by the human eye and thus appears essentially

white. Pretty simple right? Lightroom Classic

can warn you of where these two areas exist

in your image simply by pressing the “J” key on

your computer or by actually clicking on one of

the arrows in your histogram. After doing that

you will see that the shadow clipping is colored

in blue and the highlight clipping is colored in

red – these are the affected areas that most

likely need to be fixed!

There are a few techniques that can be used

to fix these issues, with it mostly coming down

to personal preference or the degree to which

these areas of clipping affect your image. The

first, and easiest, way to fix clipping is to use

the shadow or highlight sliders until the right

balance is found. The only issue with this is

that it affects all of the shadows or highlights

in your image, which you might not want. If

you’re only concerned about a small area of

your image, adjusting the shadows/highlights

sliders with the brush tool will allow you to brush

over only the selected area that you want.

Furthermore, I find that using the Tone Curve

Panel to adjust highlights and shadows can be

a lot more dynamic and creative rather than

just the simple sliders.

As seen in the image below, the shadow

clipping (top left arrow in histogram) is colored

in blue, while the highlight clipping (top right

arrow in histogram) is colored in red.

26 NZPhotographer

July 2018

27


Other than the fact that the affected

areas are shown to us by Lightroom, the

histogram also tells us that there is clipping

in the image because of how the chart

spikes to the top at both the left and right

ends. As we covered before, when the

pixel count is too saturated at a given tone,

it shoots through the top of the histogram

and represents a blocked shadow or blown

highlight.

Unfortunately, this shadow/highlight

clipping feature does not exist in Lightroom

CC (the cloud version), which is why I felt

it was important to review how histograms

work in general so that you can be

the judge for yourself where clipping is

occurring in your image.

GRADUATED (OR GRADIENT)

FILTERS

Graduated filters can be used in so

many different ways across every type

of photography, which is why whether

the fact that you shoot landscapes,

portraits, wildlife, or events doesn’t limit

their usefulness. Lightroom (both Classic

and CC) offers linear or radial graduated

filters, with the linear filter allowing you to

affect an area horizontally or vertically,

and the radial filter allowing you to affect

an area in a circular or oval shape. While

graduated filters are probably most

commonly used to adjust exposure, the limit

of their capabilities is entirely up to you and

what you wish to accomplish. Before I go

into the best way to use these filters and

how to get the most out of them, here are

a few quick but important things to know:

• Once your filter is selected by clicking on

the blue dot, pressing “O” once, twice, or

three times will toggle showing the areas

that you have masked with the filter in red.

The options are: “Hide Overlay,” “Show

Overlay,” or “Show Overlay and Selected

Mask”

• Holding “Shift” will make a filter perfectly

straight at 0 or 90 degrees

• You can re-edit these filters by clicking

on the blue dot on your image where you

originally applied the filter

• It is possible to stretch and change the

shape of the radial filter away from a circle

• Once a filter is applied, you can click

“Invert Mask” to reverse the affected area

(think of reversing a radial filter to only affect

everything inside the radius you’ve created

around a subject)

• You can use the Brush Tool to erase areas

that you didn’t want to be affected by

graduated filters

Opposite you will see you will see one of my

own images where I have applied a linear

gradient filter in Lightroom CC (this is shot at

Hamner Springs!). I was looking to fix the sky

and clouds without editing the rest of the

image which I was fairly happy with. I chose

to drag a linear gradient filter from the top

down, which means the mask becomes

less intense as it approaches the part of the

image where the sky meets the mountains.

Editing distinct skylines or foregrounds is one

of the most popular uses of a graduated

filter, most likely due to how significant the

difference in composition and light can be

between these areas. I chose to reduce the

highlights further and increase the clarity and

shadows in order to bring out more of the

clouds and have them stand out among the

bright blue sky.

For the image on the right I used an inverted

radial filter of oval shape in order to only

affect the area that has my subject in

it (thanks Annika!). I decided to reduce

the highlights and whites while increasing

the shadows and contrast. This image is

also probably a candidate to use a linear

graduated filter on the low-hanging clouds

as well, but we’ll save the full image editing

walk-through for another article!

The applications for graduated filters are truly

limitless, which is why I highly recommend that

all photographers make greater use of them

whenever they have the chance.

Now, it’s time for you to open up Lightroom and give some of these techniques a

shot yourself! I have certainly benefited and grown as a photographer by talking to

the best photographers I know about these particular tools, so there’s no reason

you can’t make use of them as well.

28 NZPhotographer

July 2018

29


HOW TO CAPTURE: WINTER LANDSCAPES

Winter Photography Tips with Richard Young

THE DIFFERENCE MAKER

Frozen River, Tongariro National Park

PICK YOUR SUBJECT:

While grand snow-covered vistas work well,

sometimes smaller more intimate scenes can make

the best photographs. Pick an interesting subject, so

you don't just have a field of white snow. Small frozen

streams often make great photographs and snow in

the forest is always a magical thing to capture.

WATCH WHERE YOU STEP:

F11, 1.3s, ISO 64, 18mm

When you are walking about on the snow, trying to

find the best angle, be careful that you do not walk

through a scene, thus having footprints all over that

virgin field of snow. Sometimes a well-placed set of

footprints can add to the shot, leading the viewing

into the photograph.

EXPOSING THE SNOW:

A snow-covered landscape will often confuse your

camera’s light meter, snow will come out grey instead

of white in your photographs. You need to increase

your exposure by shooting in manual mode, or using

the exposure compensation (‘+/-’ button) to make

the snow a crisp white.

GET UP EARLY:

As soon as the sun gets up in the sky, snow can start

to melt really quickly. If there has been snow or a hard

frost overnight, head out early before it melts. It pays

to be to staying in a hut or camping so that you are

within walking distance of the location you want to

shoot to get there without a drive in icy conditions.

IMPROVE YOUR WINTER LANDSCAPE PHOTOGRAPHY ON A WORKSHOP AT TONGARIRO NATIONAL PARK:

17TH-19TH AUGUST OR MT COOK 14TH-17TH SEPTEMBER WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS

MARK

100 SENSOR

The search for uncompromising photography and videography performance is over. The

Nikon D850 sets remarkable standards of quality with an impressive 45.7 effective megapixels.

Capture the most awe-inspiring images and produce phenomenal 8K UHD time-lapse movies.

Create epic film masterpieces in full-frame 4K UHD with NIKKOR wide-angle lenses, or prolong

exquisite moments with its 120p/100p Full HD slow-motion recording.

Purchase from an Authorised Nikon New Zealand Retailer to receive an Extended Two Year Local Warranty.

30 NZPhotographer

www.Nikon.co.nz

July 2018

31


JOIN THE VOICE OF NEW

ZEALAND’S OUTDOORS PEOPLE

2017 WINNER OF BELOW BUSHLINE WITH NO HUMAN ELEMENT

ROUTEBURN, PARADISE

F8, 1/4s, ISO100

Spencer Clubb

Federated Mountain Clubs (FMC), founded in 1931, represents over 80 clubs, 20,000 members and

300,000 people that regularly explore New Zealand’s Backcountry by foot, bike, canoe and kayak,

seeking beauty, challenge and friendship. Reaching some of the most incredible corners of Aotearoa,

many members love to capture the landscape, flora, fauna and action of their journeys on camera.

FMC advocates for the interests of outdoor

recreationalists and patrols the blurred line between

conservation and development. They have achieved

increased protection of NZ’s natural landscapes

through National Parks, Conservation Parks and

Wilderness Areas and have celebrated and

enhanced the recreational opportunities in those

special places.

They continue to defend the precious legacy of

the Backcountry hut and track network, seeking

further public access to public conservation land

and contributes to farsighted conservation planning

processes and have proven that they’ll fight against

unwise projects, like the Haast Hollyford Highway and

Fiordland Monorail.

FMC are a democratic organisation, with thinking that

is clear, transparent and open to debate. Freedom

of the hills, stewardship of the land and a belief in

egalitarianism in the mountains are principles that

shape the leadership they provide and the actions

they undertake. Their strength comes from active

participation in outdoor recreation, an enduring

connection with the land, a wide membership and

the commitment of their volunteers.

Each year they run a photo competition with 6

categories: Above Bushline (With and Without a

Human Element), Below Bushline (With and without a

Human Element), Historic, and Native Flora & Fauna

which NZP readers are welcome to submit to. Nonmember

photos are judged separately from members

photos before the top shots are into the main

competition.

In 2017, a total of 428 entries were received, you can

see 4 of the winning shots on the following pages.

The stunning images from these special locations are

used by FMC inspiration and evidence; illustrating

the priceless value of these places, for when they are

fighting those who wish to exploit, diminish or over-use

them.

www.fmc.org.nz

www.facebook.com/FMCNZ

32 NZPhotographer

July 2018

33


2017 GRAND PRIZE WINNER

COSY MOUNTAIN RESCUE, MT SOMMERS

F2.8, 20s, ISO6400

Kane Hartill

34 NZPhotographer

July 2018

35


2017 WINNER OF BELOW BUSHLINE WITH HUMAN ELEMENT

HOPE-KIWI TRACK, LAKE SUMNER, NORTH CANTERBURY

F8, 1/400s, ISO100

Tony Gazley

36 NZPhotographer

July 2018

37


2017 WINNER OF ABOVE BUSHLINE WITH NO NUMAN ELEMENT

OLD GHOST ROAD, LYELL

F4, 1/500s, ISO100

Kay Bayley

www.excio.io/winter

With Winter now in full-swing in New Zealand, we want to see your best Winter photos and discover

what winter means to you. Is it all about exploring snowy landscapes? Marvelling at the patterns the

frost makes? Experimenting with reflections in puddles? Capturing the grey skies or curling up indoors

enjoying a good book? Whatever it is, we want to see your best winter photos.

1 - 20 July 2018

1st place will win a timer remote

See full T&Cs on

www.excio.io/winter

38 NZPhotographer

July 2018

39


PORTFOLIO

BEST READERS' SUBMISSIONS THIS MONTH

40 NZPhotographer

July 2018

41


LEAF BEETLE

Ankan Das

42 NZPhotographer

July 2018

43


AUTUMN IN MCLAREN FALLS

F3.2, 1s, ISO50

McLaren Falls reserve showing off its spectacular Autumn colours.

Annemarie Clinton

44 NZPhotographer

July 2018

45


KIRSTENBOSCH YELLOW

F11, 1/80s, ISO800

The Kirstenbosch Botanical Garden, set on the Eastern slopes

of Table Mountain, South Africa is ranked as one of the best

gardens in the world.

Annemarie Clinton

46 NZPhotographer

July 2018

47


LIMITED SHELF LIFE

MAIRANGI BAY

F18, 1s, ISO200

Here’s a shot I’ve been wanting to get for a while. I’ve had a few attempts but each time there’s

been an obstacle; grey skies, slightly off on the tide or no swell at all for a few waves. When this

happens all you can do is put it on the shelf and wait for the right conditions to try again. It’s pretty

satisfying when you finally get something close to what you had in mind!

Antony Eley

48 NZPhotographer

July 2018

49


PAINTED DESERT

ARIZONA, USA

F8, 1/350s

I always think of the forces that occurred to

produce these geological scenes.

Chick Piper

50 NZPhotographer

July 2018

51


DESERT ROAD

F16, 25s, ISO100

Mount Ngauruhoe captured from just off the

Desert Road summit.

Dominic Scott

52 NZPhotographer

July 2018

53


MOUNT RUAPEHU

F11, 1/80s, ISO100

A hastily captured image of Ruapehu as the summit appeared briefly

in the low foggy cloud enveloping the mountain.

Dominic Scott

54 NZPhotographer

July 2018

55


LAKE PEARSON MIST

F11, 1/100s

We went up to Lake Pearson hoping to find some hoar frost, but the

temperature was a little too high. The lake was shrouded in mist...

Dominic Stove

56 NZPhotographer

July 2018

57


DELL

SOPHIA

F7.1, 1/200s, ISO100

Close up of a Protea, this flower left me pretty

homesick, Proteas are so common in South Africa.

Marina de Wit

58 NZPhotographer

This is Dell, one of the Tui's at Nga

Manu Nature Reserve. Dell was found

injured and raised by hand and is now

a permanent resident of Nga Manu. My

photos try and capture the vivid colours,

and shapes of the residents of Nga Manu.

My images are donated to Nga Manu

Nature reserve for use in advertising and

merchandise so that they do not have

to spend money on photographers to

showcase the reserve.

Fairlie Atkinson

July 2018

59


LADY IN BLACK

F11, 1/125s, ISO400

I saw this image awhile ago, and waited

until I was doing a low key photoshoot to

do this with my own touch, by adding a

mask to the model.

Gary Reid

60 NZPhotographer

THE MOUNTAINS ARE CALLING

TARANAKI

Probably one of the hardest shots in terms of driving around finding the perfect angle. I

wanted a road leading towards Mount Taranaki to give the mood of 'the mountains are

calling'. It required some planning on Google maps trying to find the best strip of road.

Eventually we came across this spot and and decided to make the most of golden hour by

capturing some unique angles from this location. The planning was worthwhile and this is

hands down one of my favourite roadside captures.

Jinal Govind

July 2018

61


GRAHAM'S BAZAAR

CARTERTON

F1.4, 1/640s, ISO1000

Greg Arnold

62 NZPhotographer

July 2018

63


SOUTH ISLAND KAKA

Whilst on retreat on Stewart Island, this awesome friendly native NZ South

Island Kaka came to visit us each morning. It was a joy to interact with this

Kaka each time he/she landed on our balcony, and to be able to get up

close for some very special pictures.

Greg Hughson

64 NZPhotographer

July 2018

65


HOAR FROST

F10, 1/125s, ISO400

This image of Butchers Dam is known for the hoar frost. At the end of the

dam I was pleased to see the reflection, and the mist.

Jacqui Scott

66 NZPhotographer

July 2018

67


WINTER MAGIC

F7, ISO400

Taken at Conroy's dam on a very chilly misty morning. This was shot in Raw

and converted into B/W.

Jacqui Scott

68 NZPhotographer

July 2018

69


TONGARIRO NATIONAL PARK

The mountains of New Zealand on the rare occasion like to spew out the universe. This was my first Astro shot

of the year, and it’s by far one of my favourite shots ever captured. I used @photopills to plan the shot, which I

recommend to anyone who’s into Astrophotography. I was slightly off with the position initially and had to wait

patiently in sub zero conditions, but it worked out perfectly in the end!

Jinal Govind

AMISH WOMAN AND BABY

F7.1, 1/160s, ISO640

An Amish lady cradles her baby under

cover of a tent on a rainy day at a

central Pennsylvania auction.

Todd Henry

70 NZPhotographer

July 2018

71


FIRST SUNRISE OF WINTER

BUFFALO BEACH, WHITIANGA

F22, 1/500s, ISO200

Gulls playing in the foggy sunrise.

Karen Moffatt McLeod

72 NZPhotographer

July 2018

73


WHITIANGA WHARF

F16, 1/128s, ISO200

Fog shrouds Whitianga wharf on the 1st day of winter.

Karen Moffatt McLeod

74 NZPhotographer

July 2018

75


AS COLD AS ICE

F7.1, 1.4s, ISO400

With the first of the good frosts down here in Invercargill for winter, the last of my

flowers were frozen in ice-ial beauty never to recover.

Kelly Gladwin

76 NZPhotographer

July 2018

77


78 NZPhotographer

LOST IN THE LIBRARY

A composite of many, many photographs... I started with quite a clear idea of what I wanted the final result to

look like, so started with a portrait series, then many dozens of photographs of old books, individually & in stacks

from different angles; added floor, added table, added window, added ambiance, found & photographed

vines ~ cutting (masking) those out was a lot more work than anticipated! The end result, as always, evolved

during its creation from my original vision into something quite different...

Kim Falconer

July 2018

79


DECAY IN MOTION

F6.3, 1/400s, ISO100

I loved this Japanese Anemone, I was fascinated by

the flowing petals and the early stages of decay.

Marina de Wit

80 NZPhotographer

July 2018

81


OMAMARI BLUE

F6.3, 1s, ISO100

This was taken after sunset and before dark, the colours were a rich dark blue with

some streaks of gold. I moved the camera from left to right as the shutter was open.

Noel Herman

82 NZPhotographer

July 2018

83


A LIGHT FIESTA BY THE LAKE

F11, 4s, ISO200

Festival of Lights.

Peter Kurdulija

84 NZPhotographer

Follow Peter's collections on Excio

July 2018 85


ALPHONSO

F11, 1/60s, ISO200

The storm was vicious. It pounded the mighty ranges with gusto, scraping muddy debris off the mountains

into the pristine waters of Lake Rotoiti. It signed off its passing with a murky stain still visible on the edge of the

image. The calamity rattled a few feathers, literally, including the ones belonging to a little mysterious visitor

who made Nelson Lakes National Park its home. A rather curious aberration for a country with a stringent biosecurity

system in place. The Mandarin duck, a native of East Asia, has been a resident for a while and turned

into an attraction for tourists and locals alike. They affectionately named him Alphonso, I believe, as the most

common Chinese name they could think of.

Peter Kurdulija

86 NZPhotographer

Follow Peter's collections on Excio

July 2018 87


SPOILS OF THE HUNTER

F8, 1/160s, ISO160

This is Kaitlin, a local bodybuilder who I did a shoot

with in March. Her husband is a hunter and this

was her her spin on a special photo for himself. I

was recently informed that this image has been

awarded top prize "Photorama Trophy" (Best In Show)

in a photography salon in Sweden (1st Photorama

Digital Sweden 2018 - TRADITIONAL) The theme was

traditional photography, no manipulation or adding

or removal of elements, no special effects etc.

Peter Morris

88 NZPhotographer

July 2018

89


LAKE TE ANAU

F4.5, 1/200s, ISO200

As we were walking along the shore of Lake Te Anau

we spotted this bright red toadstool from quite a

distance. It was a bright flash of red compared to the

hues of blue and green in it's surroundings. No goblins

or fairies were harmed whilst taking this photo!

Pippa de Court

90 NZPhotographer

July 2018

91


REFLECTIONS ON RIVER CLYDE

F4, 13s, ISO200

The photo was taken during a short two day trip to Glasgow while on

sabbatical at the University of Leicester in England. The image was taken

from the SSE Hydro side of the River Clyde. The entire bank is picturesque

with beautiful reflections of the architecture on both sides.

Prashant Joshi

92 NZPhotographer

July 2018

93


STAG

F5.6, 1/125s, ISO400

The photo of this beautiful wild deer was taken at

Bradgate Park. It was late Autumn / early Winter

last year and the animal looked straight into my

camera as if was posing for me.

Prashant Joshi

STAG

F5.6, 1/125s, ISO400

The photo of this beautiful wild deer was taken at Bradgate Park. It was

late Autumn / early Winter last year and the animal looked straight into

my camera as if was posing for me.

Prashant Joshi

94 NZPhotographer

July 2018

95


MORNING GLOW

F8, 1/160s, ISO200

Early morning light at Glentanner

holiday park near Mt Cook.

Roger Mills

96 NZPhotographer

July 2018

97


SOUTH ISLAND ROBIN

F4, 1/250s, ISO400

The NZ South Island Robin / Toutouwai is endemic to the south island. Length 18cm, weight 35g.

It feeds on insects including stick insects and wetas, grubs, spiders and earth worms. It may live

up to 14 years where no predators exist. Pairs have territories of 1-5ha. They're very friendly and

trusting, when you see them on the track they just stop and stay still. They will then come very

close to you and may even sit on your shoes.

Ron Enzler

98 NZPhotographer

July 2018

99


CRAFTY GANNET

F2.8, 1/6400s, ISO400

It's really hard to catch a Gannet in full flight, so I'm really happy I managed to! I wanted to

capture a Gannet gathering sticks and things to build it's nest. I was very lucky to capture one

with some grass in it's mouth and the black sand rocks as a back ground.

Sean Drake

100 NZPhotographer

July 2018

101


AS YOU'VE NEVER SEEN HER

AGRA, INDIA

F14, 1/250s, ISO100

You would probably know this iconic monument in a second if this shot were stock standard, but

from this angle can you guess her name? It's the Taj Mahal!

Susan Blick

102 NZPhotographer

July 2018

103


MOTHER GANGA (GANGA MATA)

RISHIKESH, INDIA

F10, 1/200s, ISO12.800

On a still late afternoon a soft sunset

commences over the River Ganges.

Susan Blick

104 NZPhotographer

July 2018

105


"PHOTOGRAPHY IS

THE EASIEST ART,

WHICH PERHAPS

MAKES IT THE HARDEST."

LISETTE MODEL

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

106 NZPhotographer

July 2018

107

More magazines by this user
Similar magazines