ISSUE 14, December 2018
WITH ANGELA JURY
HOW TO CAPTURE:
WITH RICHARD YOUNG
BY GEERT WEGGEN
PORTS OF QUAIL
BY BRENDON GILCHRIST
WELCOME TO ISSUE 14 OF
NZ PHOTOGRAPHER MAGAZINE
This issue is a mixed bag
of goodness with animals,
babies, and nature all gracing
the following pages – A little
something for everyone!
With Christmas right around the
corner we wanted to inject some
festivity into December's issue and
Geert Weggen's squirrels certainly
do that – Cuteness overload for
the animal lovers amongst us!
Continuing with the cuteness, we've
interviewed the award-winning
baby portrait photographer,
Angela Jury. Find out how she's
grown her business and what
actually goes in to getting those ohso-cute
shots of baby.
Kids and animals aren't everyone's cup of tea so if you just want to get
outdoors and photograph nature, let Richard give you some tips on taking
macro shots and allow Brendon to take you on an overnight tour of Quail
Island as he captures the boat graveyard.
When we sent the email out asking if you wanted to get your photos
in the last issue of 2018 you really responded, we were overwhelmed
with readers' submissions this month! We tried to include 1 photo from
everyone, including our international readers, flick to the back of the mag
to see if your photo was included... If we couldn't fit you in, don't be upset,
submit again in 2019.
Editor NZ Photographer
NZPhotographer Issue 14
by Angela Jury
Phone 04 889 29 25
or Email firstname.lastname@example.org
Brendon is the man behind ESB
Photography. He treks from sea to
mountain, and back again, capturing
the uniqueness of New Zealand’s
Richard is an award-winning
landscape and wildlife photographer
who teaches photography workshops
and runs photography tours. He is the
founder of New Zealand Photography
nzphotographer nzp_magazine email@example.com
© 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.
Opinions of contributing authors do not necessarily reflect the
opinion of the magazine.
INTERVIEW WITH ANGELA JURY
BEHIND THE SHOT
6 WITH TE RAWHITIROA BOSCH
8 FESTIVE SQUIRRELS
BEHIND THE SHOT
HOW TO CAPTURE: MACRO PHOTOGRAPHY
19 with Richard Young
WITH TE RAWHITIROA BOSCH
20 ANGELA JURY
PORTS OF QUAIL
30 by Brendon Gilchrist
37 BEST READERS' SUBMISSIONS THIS MONTH
HOW TO CAPTURE:
PORTS OF QUAIL
by Brendon Gilchrist
A new era of Nikon imaging has arrived. A system born from our
unending quest for perfection. A system that opens a new dimension of
possibilities. A system inspired by our past but designed for tomorrow.
A system only Nikon could create.
FIND OUT MORE
F3.5, 1/100s, ISO640
Behind The Shot With
Te Rawhitiroa Bosch
TELL US A LITTLE ABOUT YOURSELF AND YOUR
As a self-taught photographer growing up in beautiful
Whaingaroa, Aotearoa NZ, my love of photography stems
from a passion for capturing moments of connection.
Pūrākau – storytelling is for me one of the most
powerful connecting forces in the world. Through the
lens, I like to harness this force, this power of storytelling
to capture not only the subject but also the deeper
story, the magic, the heart, the emotion behind every
I’m passionate about Te Ao Māori and about
reclaiming our narratives and telling our own stories
so that the beauty, passion, talent, generosity, and
strength of our people is highlighted instead of the
negative and racial stereotypes that are so often
sensationalised and reinforced in the media. This
portrait is a perfect example of the beauty of our
people and of the world we want to carry on into the
future for our descendants.
WHO IS THE LADY IN THE PHOTOGRAPH?
This is my auntie: Kōkā Neria Mataira – Ngāti Porou
and Ngāti Kahungunu.
She is the epitome of beauty – inside and out –
and has dedicated her life to embodying her love
for our people, for our language and our culture
through awakening the gift of Te Reo Māori – the
Māori language within the hearts of many through
Te Ātaarangi, one of the foundational language
revitalisation initiatives that was established to bring
the Māori language back from the brink of extinction.
She proudly wears her moko kauae (traditional Māori
chin tattoo), another cultural treasure in renaissance.
It speaks to her grounding in Te Ao Māori – in our Māori
worldview, to her whakapapa – her genealogy, and
to the way she raises her children and grandchildren
in her loving, gentle and dignified way.
I captured her in the heart of Te Ihorangi, the meeting
house of Aratiatia Marae at Fairfield College in Hamilton
which was carved by Master Carver Kereti Rautangata.
WHY IS THIS PORTRAIT SO SPECIAL TO YOU –
ASIDE FROM IT BEING YOUR AUNTIE.
This portrait holds a special place in my heart because it
not only encapsulates Kōkā, but also the legacy left by
my Nan. Kōkā Neria teaches Māori language through
Te Ātaarangi, a methodology developed by her mother
(my Nan) Dame Kāterina Te Heikōkō Mataira and
Ngoingoi Pēwhairangi in the 70’s. This initiative has been
a part of my life since I was born. My Nan, my mother,
and my aunties were all teachers of Te Ātaarangi and
I’ve seen first-hand the life changing impact it’s had for
thousands of people over the years. This was reflected
in the many comments and messages posted by past
students in response to this photograph on my social
feeds, acknowledging and thanking Kōkā for the
identity affirming contribution she had made in their lives.
WAS THIS A PLANNED PORTRAIT SHOT?
This was literally a spur of the moment shot. We were
filming video resources for Poutiria Te Aroha – a
parenting with non-violence programme informed by
Māori concepts and designed for whanau Māori. The
Te Ātaarangi rākau methodology (the colourful rākau/
Cuisenaire rods in the foreground) is used to teach
core concepts of the programme.
We were about to take a break when I saw the
opportunity to capture her in her element. I lay low
on the ground to get the rākau in the foreground,
framed her in the centre of the designs on the back
wall of the wharenui meeting house and asked her to
look at me briefly, then I took the shot. It all happened
naturally and in a matter of seconds.
It was a real and special moment, not a posed portrait
and I feel that the realness is what people feel when
they see the image.
WHAT CAMERA EQUIPMENT DO YOU USE?
I like a light kit so usually roll with one camera (Canon
5D MkIV) and 2 lenses (Canon EF 24–70mm f/.28 &
Canon EF 70–200mm f/2.8 L II USM), but I’ve recently
picked up the Sigma Art Series 50mm f/1.4 lens which
is a dream for portraits!
I don’t really use flash or tripods, and I like to be free
of bags, straps, and slings. At a shoot I’ll have my
camera on a Spider holster on my right – my lenses on
the TriLens holster on my left – a spare battery and CF
card in my pocket, keeping me free and ready to get
the job done.
WHERE CAN WE FIND YOU ONLINE?
Geert Weggen is a Dutch/Swedish awardwinning
photographer who specialises in
photographing red squirrels with props, you
may have seen his work around the web.
He creates scenes so that it looks like the squirrels are
riding horses, playing pool, skating, skiing and many
other things which put a smile on peoples faces.
Geert’s journey with photography started with black
and white photography in 1986 when he did some
photo workshops and had a dark room. He became
the photographer of a youth magazine but then put
away his camera and stopped with photography until
the digital age.
His animal photography started about 5-6 years ago
when Geert finished building his house in a Swedish
village called: Bispgården. Located next to the forest,
he built a large balcony pointing to the south with a
half open roof to allow the snow and rain to come in
and also the animals.
The moment there was a fox standing before his
door was really the catalyst for what was to come.
The fox visited daily to get food and during that
time Geert took photos of it. At the end of 2 weeks,
the fox started to go onto the balcony and began
interacting with props. Not long after that, a Russian
bird began visiting Geert for some weeks and then the
red squirrels and more birds – The balcony was now a
studio with props and natural material like mushrooms,
along with cameras, mirrors etc.
The red squirrels have built up a special relationship
with Geert over the years and visit on a daily basis
looking for food. They climb on him, the props, and
have become used to the noises of the camera and
the camera flash. Some of the props Geert makes
himself, others come from flea markets and online –
He’s searching daily for new ideas and new props!
In 2013 Geert became a full time photographer.
His work is published internationally in newspapers,
books, television programs, and magazines. He has
been featured in National Geographic magazine 3
times and had a 10 page article in Nphoto magazine
about his squirrel photo workshops which began last
year and allow a maximum of 3 people to join his 5
day workshops to see the squirrels and capture them
on camera. Geert has also published 8 books in 4
languages and has a line of postcards, puzzles, and
calendars featuring his furry and feathered friends.
More Than A Worldwide Gallery
J o i n o u r e x c l u s i v e c o m m u n i t y o f p h o t o g r a p h e r s w h o l o v e
e x h i b i t i n g t h e i r w o r k , t e l l i n g s t o r i e s a n d b e i n g i n s p i r e d .
Your own account on Excio
Upload, exhibit and showcase your talent.
Free web portfolio
Instant professional looking gallery.
Discussions and meetings
Exclusive access to our forum and events.
Unlimited entries to competitions
Free entry into any competition run by Excio or NZPhotographer magazine.
Receive expert critique on up to 3 of your images submitted to the competition.
Discounts and offers
Exclusive member-only offers from our partners.
$150 off photography workshops
Up to $150 off your next booking with New Zealand Photography Workshops.*
J o i n n o w f o r o n l y $ 4 9 / y e a r
HOW TO CAPTURE: MACRO PHOTOGRAPHY
Macro Photography Tips with Richard Young
Fern Koru, Tongariro National Park
F4, 1/4s, ISO400
CONTROL THE DEPTH OF FIELD:
You want the person looking at the photograph to
be easily able to see what your subject is, not be
distracted by other things in the photograph. Use a
large aperture (eg f2.8 or f4) to give you a shallow
depth of field, keeping your subject in focus and the
background out of focus.
Get close to your subject but also at the same height
- If you are photographing something on the ground
that is where you need to be; on the ground with it!
Photographing your subject from up high will often
result in a flat image.
ADD A BACKGROUND:
Find a background that complements or is a contrast
to the subject you are shooting. Position yourself
so that you can line up that pleasing background
behind the subject.
FILL THE FRAME:
For good close up photographs you will want a lens
of 50-200mm so that your subject fills the frame. Most
longer lenses can be used for close up work but for
true macro photography you will need a macro
lens with a close focusing ability or macro extension
IMPROVE YOUR MACRO PHOTOGRAPHY ON A PHOTOGRAPHY WORKSHOP WITH
NEW ZEALAND PHOTOGRAPHY WORKSHOPS
HI ANGELA, TELL US A BIT ABOUT YOURSELF
AND YOUR JOURNEY INTO PHOTOGRAPHY.
Hey! I am located on Auckland’s beautiful North Shore,
and I am a full time baby portrait photographer.
I live with my husband and two gorgeous children
Jasper and Sienna and our lovely boxer Enzo. Jasper
is 5 and has just started his school adventure, he is an
old soul, fierce and loving in equal measures, he flows
through life like he has done it all before and he is so
clever and not afraid to test the boundaries! Sienna is
7 and shows a level of compassion and understanding
that seems beyond her, she is a collector of treasures
and a lover of animals, she was born on my birthday
and as a Taurus, it is fair to say we lock horns
Becoming a mother has been my greatest
achievement, I know people often say this, but in
having them I really found myself. The selfless devotion
of motherhood taught me how to dig deep, gain
perspective over what is really important and set an
example in my own life that I hope my children will one
day be proud of. Life with kiddies as any parent would
attest is full and interesting and experiencing it firsthand
really provoked my journey into capturing these
precious milestones for other families.
My family directly inspired my journey into
photography. My husband was a wedding
photographer with quite an impressive portfolio and
I reluctantly joined him on many weddings as a second
shooter and always found myself with a macro lens
capturing the rings and little details of the day.
I would say my real journey into photography began
once my babies were born though. I wanted to
capture each heart melting moment, the expressions
and details that made them uniquely beautiful, so
that in the moment of looking at that capture I could
be transported back to this amazing time anytime
I wanted just by looking at a single image.
I know in watching childhood unfold in front of me
with my own babies how important each milestone is,
how quickly tiny fingers become hands that will fill your
palm. Each step is so treasured and it is such an honour
to be able to document some of this experience for
my clients. Tiny toes, folding skin, soft lashes on cheeks,
curly bodies and chubby hands.. heaven!
My business has become its own entity, in connecting
with my clients and working from my heart and
producing work I genuinely like it has found its own
groove. I don’t purposely advertise so find the clients
who I work with fit seamlessly with my style and services.
DO YOU HAVE A PREFERENCE OVER MATERNITY
SHOOTS, NEWBORN, OR TODDLERS?
I must say, though newborn photography seems to
be my niche, the career path really found me. As I
continued to capture these amazing babies, they
continued to come! I truly feel inspired by each baby
I have in my studio. Everywhere I go, if it is walking the
dog in nature, in a homewares store, or at markets
in other countries, I am thinking ‘can I put a baby in
that?’ It really is an organic motivation, and more often
than not I have the props in the studio long before I use
them. It is such an industry specific skill set within these
sessions, each individual session has its own before and
after process to enable the finished image.
Often enough I will follow the same family through
this whole journey and I feel so incredibly blessed
to both witness it, and be entrusted to do it service.
I watch my families grow and unfold, babies
become siblings and a couple becomes a family,
wow! Every time a previous client touches base
about a new session my heart leaps like it is a family
member announcing their amazing news. I do really
take the privilege seriously.
CAN YOU TELL US A BIT ABOUT YOUR STUDIO
I am so lucky with my studio as I operate from my
own home in Birkenhead. We have a beautifully
restored 1920’s villa with a lovely high stud and
traditional features and mouldings. Our villa was
originally a certified childcare centre in the heart of
Birkenhead before it was relocated and refurbished
in the 1960’s.
The space works perfectly for sessions as it has
a double lounge, providing ample comfort for
parents to relax with a cup of tea and a magazine
or to just watch the session unfold. Session times
can be lengthy as we move at babies pace so it is
important to me that my clients are comfortable.
My space evolves depending on who I am
shooting. I have a series of permanently fixed
backdrops and a large sun room which is like a
huge walk-in wardrobe for photography props. It is
literally heaven in there! I shoot primarily with studio
light for optimum control and will use my strobes on
portable wheels so I can move around the space
capturing a variety of set up’s for each session.
Everything is designed for comfort and to enable
me to maximise each session. I want the best results
for the duration of time I have with my clients… If
baby is fussing; I have a plan. If the parents only
want purple, I have a plan. If there is a new big
sister who doesn’t want to go near the baby, I have
SO HOW DO YOU GET THE BABIES TO LOOK
SO CUTE ALL OF THE TIME?!
Haha! They ARE cute all the time!! I mean how
lucky am I? Really all I do is capture babies looking
as gorgeous as they really are! I would have had
sooo many babies if the opportunity presented, so
the next best thing is to enjoy my client’s gorgeous
I have a passion for emotive images, and with
newborns it really comes through in expression.
Traditionally newborns are captured asleep, as
many mothers will know it can be tricky when new
babies are awake to have them not fuss. However,
I really love those beautiful stares, probably
because they can be so tricky. Expressions like kissy
faces, smiles, frowns, yawns and stares all take the
image to the next level for me.
One image can be the result of an hour of
posing baby, lots of dirty laundry, a pile of fresh
flowers and props strewn around the studio and
hours of post-production. My goal is always to
capture the essence of baby, how they really
look, how they naturally want to move and be,
what styling suits them best; simple or elaborate
or a combination, and then I gently move in
that direction. There is a real beautiful rawness
following those first few days of babies arrival,
birth hormones make baby naturally curly and
womb-like and my job is purely to enhance the
natural beauty in front of me.
TELL US ABOUT THE AWARDS YOU’VE WON.
I have struggled a bit with the award system,
feeling that validation for my work should really
come from within and from making my clients
happy. However, it is a natural progression in
the industry to become a part of professional
I am really lucky to have received numerous
awards over the past couple of years, both
nationally and internationally. I love being able to
give my clients the gift of an award winning image.
This year (2018) I won a gold at the New Zealand
photography awards in Wellington and that was
such a thrill. I think the judges’ comments were my
favourite part. Storytelling within an image opens
up to so many different perceptions, and to have
such esteemed professionals comment on their
perspective of both technical skill and emotion
was seriously a career highlight. As a sole trader
it can be an isolating career and to see my work
sit alongside so many other industry professionals
who I admire was breath-taking in itself. It was also
a privilege to be a finalist for photographer of the
year 2018, so humbling.
HOW DO YOU JUGGLE FAMILY LIFE AND
Great question!! It truly is a juggle. Being the best
for everyone is a mother’s greatest hardship. It
really is a work in progress. I allow myself time for
yoga and meditation practice most days and other
than this it is fairly non-stop until well after midnight.
My ultimate goal is to achieve balance, although
I can’t complain it is such a blessing that I am
able to spend my days doing something I love.
The energy and personal reward I receive from
this career path actually far surpasses the output
of energy, it really comes full circle in such a
rewarding and self-fulfilling way.
CAN YOU SHARE SOME TIPS FOR
PHOTOGRAPHING NEWBORNS FOR OUR READERS?
Oh sure! My top tip would have to be safety. If you do not
know about newborn safety or the behind the scene set’s
to enable posing and prop usage then please, please hire
a professional. I can recommend numerous photographers
nationwide who have years of experience and knowledge
and it is an investment to utilise skills and safety to get the
results you want. Newborns are so precious, their safety
and comfort must be the greatest priority.
If I was to start my career over, some things I would like to
have been told are:
• Keep the room nice and warm with warm blankets
and wheat bags for baby as they find it hard to regulate
their body temperature.
• Have some white noise – my baby shusher is one of my
• Invest in a good bean bag posing system. I would avoid
any makeshift type arrangements and when posing,
never leave baby unattended, even just for a second.
• Invest in your education. There are so many workshops
that can teach you safe techniques, a smooth workflow,
and editing techniques.
• Charge, learn and evolve your practice so that you
can charge adequately or don’t charge at all. Give
yourself the space to learn with friends and relatives and
through organised workshops before you sell work that is
• Keep going, when you feel like giving up, when you hate
your work, when you have a baby who has colic, when you
don’t feel like you will ever know enough… keep going.
WHAT’S NEXT FOR YOU?
Mentoring has been on my mind a lot lately, I would love
to do it and have requests from people regularly. But life
is so busy right now, and whilst I do not resent a minute of
energy I put into the business, I know my own children are
also deserving of my best. I really feel at this stage I could
not do mentoring justice, it is a long-term goal when I can
give it my best. Until then, I hope we can all continue to
inspire growth in each other.
WHAT ELSE SHOULD WE KNOW?
I am really a firm believer in sharing knowledge and
inspiring growth in others. I have people contact me often
asking for advice, what techniques I used, or even simply
where did I get that prop, and I always answer them. It
costs nothing and I know from having to learn the hard
way with limited available workshops back then, and
nobody willing to answer any questions, how important it is
to pool knowledge. I don’t know everything or even most
things but I am happy to share what I do know.
I don’t see this as a competitive industry, we each have
our own style and flow, and my greatest hope is that
clients will look around and compare photographers to
find the style that represents them the best.
It does us all a service to support and build each other
up into our own unique selves, as sole operators and as
women in business. We no longer have to be small or
fit into a certain shaped box we can be our authentic
selves and be successful at it.
WHERE CAN WE FIND YOU ONLINE?
The competition is split into four quarterly competitions based on each of
the four seasons.
Submissions for Spring season are now OPEN
To submit your image and see T&Cs please go to: www.excio.io/freshshoots
NATURE PEOPLE CREATIVE EVENTS
SENIOR - overall winner
Voucher from Nikon NZ worth $400 &
WPS Society membership valued at $84
JUNIOR - overall winner
A place on a New Zealand Photography
Workshop in Wellington
View category prizes here: www.excio.io/freshshoots
by Brendon Gilchrist
F16, 1/5s, ISO64
Ahoy, me hearties, welcome aboard my latest article to Quail Island aka Otamahua.
I hope you enjoy what I am about to write and I hope you, your family or friends will
consider a visit to this block of land that is closer to home than you might think.
Otamahua or Quail Island as it’s known is
Canterbury’s biggest island and is located in
the harbour of Lyttelton, a short boat trip on
the Black Cats Catamaran or a short Kayak
journey if you’re game! The island has plenty to see
and lots of history to enrich the mind. It is so named due
to its birds, the local Maori using the name Otamahua
meaning ‘A place to gather sea-bird eggs’ and Captain
William Mein Smith naming it Quail Island due to the now
extinct Quail (Koreke) that were found here.
As many of you will have realised by now, I love hiking as
much as I love photography and I enjoy “Hut Bagging” –
Discovering and then staying in different hiking huts!
The new hut on Quail Island is family-friendly and only a
15-minute walk from the jetty making this a great place
to stay for those who are new to hiking and hut stays,
I highly recommend visiting with the kids or grandkids to
introduce them to tramping and nature.
The Department of Conservation transformed the hut
on Quail from an old quarantine station caretaker hut
into an official 12 bunk hiking hut with 2 separate rooms
containing 6 bunks in each, a fireplace with plenty of
firewood, tables and chairs to sit and play cards at or
swap tales from the tramping tracks, and information
about the hut and the island.
It was busy when I arrived at the hut on the Sunday
morning, and I was amazed to meet a lady who had
visited Iguacu Falls last year! This is what I love about
hiking and staying in the huts, it’s not just about the
location, it’s about the people you can meet and
connect with. Saying this, I also enjoy the solitude – By
3.30pm on the Sunday afternoon, when the last boat
leaves the island, I had the hut and indeed the island
to myself with a body of water separating me from the
The views are great but the history is what makes this
island special as it has had so many different uses over
the last 150 years. It’s well known for having been a
quarantine station and from 1906–1925 housed a small
leper colony of up to 9 individuals. The leper’s, all men,
were confined to one little corner of the island that is now
a popular swimming beach but the old foundations can
still be found in this area with a replica hut in place to
show what it would have been like living here as a leper.
Only one man died from the disease and his grave can
be visited on the island.
A different part of the island was used by famous Antartic
explorers for quarantining their Siberian Huskies and
ponies. People from Captain Robert Falcon Scott’s 1901–
1904 Expedition, as well as the famous Ernest Shackleton
who accompanied Scott on his 1904 expedition used the
island to prepare the animals for the journey to the ice.
F5.6, 1/125s, ISO64
F16, 30s, ISO64
I could go on for day’s in regards to the history of Quail Island
as it’s so interesting but let’s turn our minds to photography.
If you love wildlife and bird photography then you might be
lucky and get some great photos of the local inhabitants.
You will see Quail running around (not the native one),
native wood pigeons right by the hut and you will be able to
hear Tui if not see them.
I was excited for 2 things before I visited; photographing
the ships graveyard and photographing the old jetty. Only
the first lived up to expectations as the weather conditions
weren’t right for me to do any long exposure shots of the
rustic ruined jetty (of which only a few poles remain).
The ships graveyard on the western side of the island
lived up to my photography expectations though and is
well worthy of visiting. Apparently, there are 8 old boats
located here but I could only make out 6, maybe the rest
are underwater? The biggest skeleton ship is an old Dan
measuring 58 meters long. Built for the Orient Line in 1865,
this old boat was one of the finest and fastest ships of its
time. Originally used to ship tea in the 19th century it was
later turned into an immigrant ship moving people between
England and Australia and holds a record voyage time of 70
days between the 2 countries.
This island would make a good location for some
astrophotography. It is not the darkest of night skies, but
still, the location will allow you to capture some unique
photos. The hut has a clearing behind it out towards
the harbour and with the old wrecks, not forgetting the
buildings at swimmers beach too, you could get some great
Sunset shots can also be magical here, but the day I visited
it was stormy. I got an awesome shot of a storm coming
through but I had to bail on the hoped-for sunset shot as the
wind picked up so much that I was thinking, I’m an hours
walk from any shelter, I’m on the Island alone and I don’t
think sunset is going to do anything – Sensible to leave now!
I was pleased to capture the stormy boat graveyard but
already want to go back and capture some bucketlist
shots, those being a beautiful sunset, the Aurora, and
some Astrophotography. How many years it will take me
to achieve this I do not know but one day I will return with
a fresh mind to take another step back into history and to
enrich my mind further on an experience only Quail will give.
3 TIPS FOR AN ENJOYABLE QUAIL ISLAND
• If you are staying in the family-friendly hut, make the most
of what’s on offer; the people, the charm of the building
and its history but be sure to book if staying at the weekend.
• Stop to read the billboards dotted around the Island that
detail the history. Learning the history can help you to create
a story that will enhance your photos.
• Stop to look in the old quarantine building – It’s like a
museum but don’t miss your 3.30pm boat back!
F16, 74s, ISO64
BEST READERS' SUBMISSIONS THIS MONTH
F16, 250s, IS0100
PORT AU PORT PENINSULA, NEWFOUNDLAND AND
Snowshoeing on Pine Tree Mountain with a friend the
day after a snowstorm passed through our area.
SPARKS UNDER BRIDGE
F5.6, 8s, ISO160
EDMONTON, ALBERTA, CANADA
Snow has arrived making steel wool burning safer on a little
used road under a bridge. In the background, the building
with the crane became the tallest building in western Canada
at 60 stories tall on the day I took this photo.
F6.3, 1/1600s, ISO400
CARMEL, CALIFORNIA, USA
Late afternoon fog enveloping California's Point
Lobos State Reserve.
LAKE WAKATIPU REFLECTION
F16, 1-50s, ISO400
Perfect reflection of Lake Wakatipu with beautiful
clouds and colours.
DO YOU WANT LEG OR BREAST?
GIBBS FARM, KAIPARA HARBOUR
Have never been this close to an ostrich without a fence between it and
me. I couldn't get over how its leg looked like a giant chicken drumstick,
hence the title. The beautiful view was an added bonus.
F9, 1/500s, ISO100
We spent the night freedom camping at Tairua
and were rewarded with this beautiful sunset.
F5.6, 1/160s, ISO100
CONROY'S DAM, ALEXANDRA
The first stop on a day out looking to capture this winter's Hoar Fost
was at Conroy's Dam. The temperature was -3C
WEST COAST DREAMING
HAAST, WEST COAST NZ
Photographed while on tour with the NZ Photography crew.
F4, 1/125s, IS0100
STUDIO SHOOT, QUEENSTOWN
Dancing with the feet is one thing but
dancing with the heart is another.
Penny Farthings are a regular sight in
Oamaru, a quirky little South Island town
which celebrates its Victorian heritage.
F1.6, 1/45s, IS0100
Red roses that I couldn't resist buying. I love the way the Lensbaby
Velvet 56 wide open gives a glow and atmospheric colour bleed.
Heather Maree Owens
F5.6, 1/30s, ISO1600
TAUHERENIKAU RACECOURSE, FEATHERTSON
".....once Man discovered how to shape iron, a new age began."
SANDS OF TIME
F14, 15s, ISO50
WHARARIKI BEACH, CAPE FAREWELL, TASMAN
This was my first visit to the wild and vast Wharariki beach and I knew it was going to be an adventurous
afternoon of photography. I knew the weather and clouds were clearing up quick so I wanted to get in a
long exposure and noticed these ripples in the sand and that there were no foot marks in this particular area.
I set up my tripod and camera pointing down low to the ground so the ripples were pulling the viewer into
the image and really wanted to bring out the textures. Only about 10 minutes after this shot the clouds had
cleared up from the fast flowing wind that the west coast is notorious for and all of a sudden blank clear skies.
I managed to do a lot of scouting but this was the only ''portfolio image" for the day. As always though, it was
amazing being at such a vast piece of coastline being out exploring and having fun with the camera.
Jesse (Tilden) Hebberd
MT TARANAKI FROM THE FORGOTTEN HIGHWAY
A last minute decision to drive to Taranaki along the
Forgotten Highway became unforgettable!
The light hit the green hills beautifully.
F14, 1/60s, ISO200
ROLAND'S WOOD, KERIKERI
Using canon 400d this photo was taken late afternoon
using the setting sun as backlight to illuminate the petals.
HIGH COUNTRY DEER
F10, 1/125s, ISO200
TUI STATION, RANGITATA GORGE
This photo was taken at a farm in
Rangitata Valley, New Zealand
HOUSE ON THE MARINA
The cold, clear and incredibly still night proved to
create the spectacular reflection of the magnificent
property on the banks of Milford Marina.
HARBOUR BRIDGE LIGHTS
F16, 30s, ISO200
The Auckland Harbour Bridge lights lit up for Diwali.
F20, 25s, ISO500
Some of the thousands of crosses covering the lawn in front
of the Auckland War Memorial Museum during the Armistice
F5.6, 1/640s, ISO200
LAKE ROTOMA, BAY OF PLENTY
Finally got the image I was after! The perfectly
serene water reflecting the pontoon just the
way I wanted. Patience is its own reward.
F8, 111s, 70mm, 6 Stop ND
Long exposure at the mouth of the Pororari
River on a rather cloudy sunset.
F5.6, 1/400s, ISO100
Pink Roses covered in water drops
after a late rain shower.
Marina De wit
F5, 1/1500s, ISO640
A blackbird chick on my backyard fence and sufficiently naive to let me
approach within a few meters with my telephoto zoom. No photoshop
trickery with the background – I had to use +3EV compensation to open the
silhouetted shape against a bright cloudy sky.
F9, 1/3s, ISO200
Pouto Lighthouse overlooking the Tasman
Sea. Built in 1884, it's one of the few signs of
civilisation in the remote wilderness of sand,
sea and sky.
WHANGAREI TOWN BASIN
Late afternoon reflections at the
Whangarei Town Basin, Whangarei.
F2.8, 1/5s, ISO100
Macro of moss sporophytes in my backyard.
STONY PATH TO AN OLD FRIEND
F10, 1/60s, ISO640
The sun is taking its time, colouring its moods on the way up. We are
back together, exactly ten years since 'The Return of Helios', the glorious
morning which blessed us with that epiphany moment under a spectacular
red dome. The excitement is as good as ever, our romance is still on.
NO MOON TONIGHT
F11, 1/400s, IS0400
I was all set up to capture a full moon rising over these houses as the
sun was setting in the west but the dark clouds wouldn't clear. So no
moon tonight and one of vagaries of photography. Never mind, I think
the resulting photo is pretty dramatic.
MIST ON MURIWAI
F14, 1/2000s, IS0160
Muriwai... caught over the winter where the
swell of the waves meet the roll of the mist off
WORKING FOR BREAKFAST
F8, 1/200s, ISO160
COLUMBIA, SOUTH CAROLINA, USA
Bees are my favorite macro subjects. They are difficult to catch
because they rarely sit still for more than a second or two which
makes a successful shot that much more rewarding.
F6.3, 1/800s, ISO800
A mostly unwanted guest who
dropped in on us, crowing started
sharply at 5am.
BIRDS IN THE DARK
F1.8, 1/50s, 85mm
A recent fashion shoot at Patuna Chasm for
The Fashion Creative.
A NEW DAY
F4.5, 1/30s, IS0200
Sunrise at the Atea a Rangi Star Compass
Waitangi regional park Hawkes bay.
ORETI BEACH, LNVERCARGILL
Abstract sunset at Oreti Beach in lnvercargill using
intentional camera movement technique.
TOKAANU WHARF SUNRISE
F11, 10s, ISO250
TOKAANU WHARF, LAKE TAUPO
I was lucky as the morning sky exploded over Lake Taupo. The light
and colour changed so fast initially I couldn't decide on my settings.
There was a short window of opportunity where the light settled so I
managed to capture the old wharf in all its glory.
AFRICAN GREY FEATHER
Feather from an African Grey parrot from the
"Parrot Place" in Kerikeri bay of Islands.
WHAT MAKES PHOTOGRAPHY A
STRANGE INVENTION IS THAT
ITS PRIMARY RAW MATERIALS
ARE LIGHT AND TIME.