Brought to you by
ISSUE 16, February 2019
THE MAGIC OF
BY BRENDON GILCHRIST
BEHIND THE SHOT
WITH ALAN BLUNDELL
HOW TO CAPTURE:
LONG EXPOSURE LANDSCAPE
WITH RICHARD YOUNG
WELCOME TO ISSUE 16 OF
NZ PHOTOGRAPHER MAGAZINE
In this issue, we take to the air to
interview award-winning drone
photographer Petra Leary and
look down on her unique view of
New Zealand. Brendon takes us
on a Summer trip down memory
lane to photograph the iconic
Moeraki Boulders, and we go
to the Rodeo with Alan Blundell
in Behind The Shot. Meanwhile,
Richard shows us how to capture
the best long exposure shots,
get out there and give it a go
whilst the weather is good in the
On our quest to inspire 20,000
photographers by 2020, Ana
shares some inspiring words and
encourages you to always think
outside the box and be brave,
putting your work out there for critique in order to improve. This leads me
to mention the return of our revamped Expert Critique section, now called
the Photo Review Session which will be appearing periodically here in the
magazine but also over on the blog.
We know you're all out enjoying yourselves in the sunshine (camera in
hand, of course!) from how few readers' submissions we received this
month! Next month we'll be taking a look at the Love competition entries
(there's still time to enter!) but we look forward to seeing how and where
you all spent your Summer in future editions.
Editor NZ Photographer
NZPhotographer Issue 16
by Petra Leary
Phone 04 889 29 25
or Email firstname.lastname@example.org
Brendon is the man
behind ESB Photography.
He is an avid tramper
who treks from sea to
mountain, and back
again, capturing the
uniqueness of New
Co-founder of Excio,
journey started many
years ago with one of the
first Kodak film cameras.
She loves exploring the
unseen macro world and
capturing genuine people's
Richard is an awardwinning
wildlife photographer who
workshops and runs
photography tours. He
is the founder of New
nzphotographer nzp_magazine email@example.com
© 2019 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 PETRA LEARY
MIND GAME: OUR COMFORT ZONE
by Ana Lyubich
HOW TO CAPTURE: LONG EXPOSURES
with Richard Young
IMPROVING YOUR PHOTOGRAPHY
PHOTO REVIEW SESSION
INTERVIEW WITH PETRA LEARY
BEHIND THE SHOT
With Alan Blundell
THE MAGIC OF MOERAKI BOULDERS
by Brendon Gilchrist
BEHIND THE SHOT
WITH ALAN BLUNDELL
THE MAGIC OF MOERAKI
BY BRENDON GILCHRIST
IMPROVING YOUR PHOTOGRAPHY
PHOTO REVIEW SESSION
32 BEST READERS' SUBMISSIONS THIS MONTH
We’re inviting photographers to highlight all the wonderful things that make the Wellington
Botanic Garden much more than a garden, while encouraging photographers to focus on
the garden season by season.
For prizes and full Terms & Conditions see: www.excio.io/freshshoots
The competition is split into quarterly competitions based on each of the seasons:
Summer Autumn Winter
15 December -
22 March 2019
23 March -
21 June 2019
22 June -
20 September 2019
Mind Game: Our Comfort Zone
by Ana Lyubich
“To see, we must forget the name of the things we are looking at.“
We all know that excited feeling we get when
we capture a great image – it’s a feeling of
achievement, accomplishment and success.
Everyone experiences that buzz, no matter what
their goals or aspirations are, whether you’re an
amateur photographer taking photos in your back
yard or a pro who thinks he just got an award-winning
Many of us get so consumed in our photography that
the end result, the photo itself, carries a tiny piece of
ourselves within it. We treat our shots as “our babies”
and when we hear people discussing them, critiquing
them, or giving us feedback (whether we asked for
it or not!) we can start to feel anxious, feeling the
need to defend and protect our work. In a worst
case scenario, we might even hang up our camera
altogether for a few weeks or even months, taking
negative critique too much to heart.
Of course, everyone wants to hear good things about
their work, no one want’s to hear someone say that
they wouldn’t hang it on their wall, that it’s too dark,
not sharp enough etc but at the end of the day
by subconsciously lingering in the places (online or
offline) where our photos are as appreciated as we
allow them to be, we limit ourselves.
For example, when you post a new photo onto your
personal Facebook page it’s very likely that you’re
only going to receive positive comments plus a variety
of likes and hearts, no one who is a friend is going to
tell you how terrible a shot it is! But whilst receiving
positive feedback makes you feel good, it also makes
you think that you are good enough as you are and
that there is no need to push yourself further to seek
out new challenges that help you learn, improve, and
grow as a photographer.
NEVER UNDERESTIMATE YOUR BAD SHOTS.
They may not be your pride and joy, never seeing the
light of day on your website or social media feeds but
they are good enough for you to base your opinion
on, enabling you to see what works and what doesn’t.
Remember, you are not building your personal brand,
you are building your portfolio – Your photography is
not about you as a person, it’s about your work. Your
images are your ambassadors. Trust and respect will
come. Listen to what people say, select the most
useful feedback from what you hear and focus on
improving next time. It applies to everything you
do and everything you hear about your work. The
exchange of controversial ideas is necessary for the
intellectual and spiritual development of not just
photographers, but pretty much everyone.
PRACTICE TAKES TIME AND PATIENCE.
When you start taking photos without consciously
seeking the approval of others i.e not only taking
photos that will get you more likes on social media,
you will start seeing things through your viewfinder
differently. You will no longer be bound by certain
trends, tastes, or techniques. You won’t need to
oversaturate your photographs or only take photos
with bright colours because that is what people like
more on Instagram. The person who is not afraid of
public opinion and judgement has more chance
of becoming a leader in our modern overcrowded
So let your mind wander. Our expectations and
beliefs filter the way we see the world, constricting our
awareness to the known and expected and that is a
killer when it comes to photography and creativity as
KEEP YOUR MIND AND EYES OPEN.
Being a good photographer is not just about being
open to breaking the rules, but about the way you see
things. Use your imagination and let your eyes roam
over the shapes, colours, lines and textures. Break
the rules. Once you start making a habit of thinking
outside of the box, it will become your natural way of
seeing things. Remember that the best thing about
photography is that there are no bounds, anything is
possible and the unexpected is welcome.
HOW TO CAPTURE: LONG EXPOSURES
Long Exposure Landscape Photography Tips with Richard Young
Sunset over Rangitoto Island, Auckland
LONG EXPOSURE LANDSCAPE PHOTOGRAPHY
By using longer shutter speeds you can capture
movement within the landscape. Long exposures
are best suited to landscapes with dynamic
movement (e.g. the coast, waterfalls and rivers),
however, you can also capture movement in the
sky and foliage.
To create a long exposure without overexposing the
image, you either need to work in low light (after
sunset) or use Neutral Density (ND) filters. Using strong
ND filters (10 stop) will allow you to create long
exposures even on a bight sunny day. Lighter, less
powerful ND filters (4 & 6 stop) are better suited to
shooting in lower light or overcast days.
F11, 30s, ISO64
SUBJECT FOR LONG EXPOSURES
Look for compositions that include stationary objects
(eg. rocks on the beach) as the primary focal point of
the image, so you don't just end up with a whole picture
of blurred water with no clear subject or focal point.
Consider how much movement you want in your image
and the direction of its flow - is it complimentary to your
SIMPLIFY THE COMPOSITION
One reason for using long exposures in landscape
photography is to simplify the composition. Although
shooting moving water with faster shutter speeds
can result in some brilliant images, working with long
exposures can remove all the detail from the water
which allows the subject to become highly defined,
creating depth within the image.
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ON A 1-DAY LONG EXPOSURE WORKSHOP IN AUCKLAND OR WELLINGTON WITH NEW ZEALAND
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Improving Your Photography
Photo Review Session
LARGER THAN LIFE BY AMOL NAKVE
2013 Winner of Sony’s ‘Record Your Move’.
The shallow depth of field in this photo is really on
point, making the main object in this frame really
stand out which is the main purpose for nature/macro
photography. One little bit of advice would be to shift
the focus a little more to be on the droplets (as they’re
the most intriguing part of the photo), but this is a
personal taste thing, it’s good as it is too.
The second thing that is really nice in this photo is the
idea of the main object itself. I think a bitten out leaf
with a morning rose droplet hanging from it makes a
really nice and interesting artistic composure. I also
like the vibrant and rustic looking colours, they add a
special touch to the photo.
TAKING THIS PHOTO
TO THE NEXT LEVEL;
The first thing that instantly
catches my eye is the
composition and angle of
The rule of thirds means
we should always divide
our shot, placing our main
objects on the lines or where
the lines meet.
For this particular photo,
the main object is the leaf
that is mainly in focus, but
we have to keep in mind
that the leaf is located
on the branch and that
branch has another leaf
that is behind it. If we view
the branch as a base for
our main object, it means
that we have to capture
its other elements too (the
other leaf that is cropped
out). That means the
correct positioning would
be placing the branch on
the second line (making
the line ‘cut’ through the
center of the branch) and
keeping all of its elements
in the frame. You could
do this simply by looking
for a better angle when
shooting but at the same
time, keeping the same
DOF and main leaf in
For the sake of aesthetics, a
shot always looks better and
more appealing to the eye if
it’s symmetrical. What does
that mean here? It means
that the second leaf should
have been in the frame.
That does not mean that the
main focused leaf should
not, by any means, be less in
the focus, it just means that
we should never crop out
the elements of the base of
our shot (in this photo, the
Last but not least - the
background. While the
shallow DOF does a pretty
good job of masking out
the distracting objects in
our scene, there are still
some objects that are not
far enough away from
our main focused object
to be completely blurred
out, but yet they’re not
close enough (or important
enough) to be focused
crisply and to be the main
part of our scenery. These
objects almost always are a
distraction and interfere with
the harmony of the scene.
In this particular photo.
HOW TO AVOID OR FIX
The basic way is simply to
take a shot without these
distracting objects in the
scene. This is the easiest way,
but some times it can be
very limiting and there will be
some times that you just can’t
keep everything in a scene
(the composition, good focus,
symmetry etc.) while still trying
to keep unwanted objects
out of the scene.
This is where photo editing
software comes into play to
‘save’ a photo. I have started
removing the distracting
objects as you can see here.
In my opinion the photo
looks more straightforward,
direct and professional after
removing the unwanted
items. It makes not only the
main object stand out, but
makes the background be in
perfect harmony also.
Visit our blog to see how
thought this photo could be
IF YOU LIKE TO TAKE YOUR PHOTOGRAPHY TO THE NEXT LEVEL, YOU CAN GET
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with Drone Photographer
Interview with Petra Leary
HI PETRA, CAN YOU TELL US WHO YOU ARE
AND WHAT YOU DO?!
I’m an Auckland based freelance Drone / Aerial
photographer which I absolutely love and feel very
lucky to do as I’m obsessed with anything drone
related! Other than drones, I like to skateboard, build
Lego, and hang out with my dog Kodak.
I was born in a barn in Grey Lynn and have lived in the
Auckland area my whole life but I often travel to other
areas of New Zealand or around the world, as I write
this I’m making my way across Japan.
WHAT ARE YOU SHOOTING WITH?
Up in the air, I’m shooting on the DJI Phantom 4 Pro
and the DJI Mavic Pro 2. I generally keep my drones
pretty basic but do use the Polar Pro ND and PL Filters.
And then if I’m shooting something like my Lego
Courts or studio work I shoot on my Sony A7Rii + Zeiss
16–35mm or Zeiss 50mm.
WHEN DID YOU GET STARTED IN
PHOTOGRAPHY AND HOW DID THAT LEAD TO
I really got into photography about 5 or 6 years ago,
I’ve always loved views from heights so originally
I would just scale whatever was around (cranes,
buildings etc.) to get as high as possible and capture
images looking down. That was a lot of fun but was
definitely restricting in terms of framing an image well
due to the risk of being caught and/or arrested.
My first experience with drones was thanks to a friend
who gave me a turn on his, once I flew it I knew
straight away I had to get one. I literally bought one
the same day!! I think my love for video games also
had something to do with the instant addiction to
drones, it’s really a pretty similar concept in terms of
controlling and operating the aircraft, but with the
added bonus of being able to capture what you see.
HOW WOULD YOU DESCRIBE YOUR
I think I tend to focus largely on a sense of minimalism
and geometry in my work, My background is in
graphic design so I feel that really translates into my
I also have a real obsession with things being straight
and balanced which you can see in the majority of
my photography. Things that are bold, bright, simple
or symmetrical definitely catch my eye when I’m out
I also like to play with combining traditional
photography with digital illustration or 3d rendering
occasionally, you’ll notice it in some of my work.
WHERE DO YOU FIND INSPIRATION FOR
CREATING YOUR UNIQUE SHOTS?
I like to try and keep progressing with my work, I don’t
think every image I create is completely unique but
I like to try and find something that makes it stand out,
sometimes it’s just an interesting colour or pattern tied into
the photo or placing a strange object into the frame.
I’m always looking for weird and different shapes in
the everyday landscapes and think I really just draw
inspiration from what I experience daily. To me, the
ugly and dated architecture can sometimes be my
favourite subjects or the road markings, or public
space designs being added to the cities.
COURTS OR POOLS, WHICH CAME FIRST AND
WHICH DO YOU PREFER CAPTURING?
From memory, I’m pretty sure courts came first! I think
one of the first courts I shot was on north shore in
As for a preference, that’s a super hard one! I love
shooting both, there’s something extremely satisfying
for me seeing the geometry and simplicity of a court,
and the fact that even though they all follow a very
basic formula, I’ve never found 2 that are identical.
With pools, it’s a similar feeling, they can be brand
new and sparkling or completely empty and cracked
and worn but still look awesome.
TELL US MORE ABOUT TAKING PHOTOS WITH A
DRONE – WHAT SHOULD PEOPLE KNOW, WHERE
SHOULD THEY START?!
I think first off you want to get a hang of actually flying
the drone. I jumped in head first and had some close
calls with crashes, give the simulator a go as it will
make things a lot easier to understand.
Once you’ve got that hang of controlling it I’d say just
play. I’ve said it before most probably, but I really feel
like people tend to go straight for the stock standard
drone photo of a person and a beach, use your
drone as you would a normal camera but as if you’re
walking on the roof, you don’t necessarily need to be
shooting from super high up, try playing with lots of
subjects and shooting from all sorts of heights.
WHAT AWARDS HAVE YOU WON WITH YOUR
WORK AND WHICH ONE ARE YOU MOST
DJI Skypixel Photo Contest 2017–1st place Portrait
Auckland Camera Centre 2018 Photo Contest – 1st
Place Abstract Category
NZ Geo Photographer of the year 2018 – Honourable
Mention Aerial Category
The DJI Skypixel is really the main one for me, it
opened up some incredible opportunities globally
and I think it’s probably got a lot to do with where I’m
YOU SEEM TO GET YOUR WORK FEATURED IN
A LOT OF PUBLICATIONS, CAN YOU TELL US
HOW YOU PROMOTE YOUR WORK AND SHARE
I’ve had some great opportunities the last couple of
years and have recently been working on some really
fun projects including the new campaign for Love
Taupo with Osborne Shiwan and DGLT, plus my year
long project with Metro Magazine which you can see
in their December issue, a project which I was super
excited to see come together :)
I’d have to say Instagram has been a huge factor in
the majority of features and publications I have been
in, I tend mostly to just focus on building my portfolio
of work on Instagram and my website and I think
that’s where people come across it. To date, all the
publications and features I’ve been in have been all
from people contacting me, including this interview,
I’ve never asked or gone looking for them.
So my main piece of advice would be just keep at it
and work on creating your own unique style. If you
have something different your are more likely to stand
out from everyone else!
CAN YOU CHOOSE A FAVOURITE PHOTO?
That would probably have to be one of the photos
I’m most known for, even though it’s pretty played out
now. It's the close up of the Potters Park Basketball Half
Court (page 19). There's something about the colours
and the symmetry that I love.
WHAT ARE YOUR PLANS FOR THIS YEAR?
2019 is going to be packed with travel for me.
Once I’m done in Japan I’ll be heading to Australia
to work with Ford AU for a couple of weeks. I’m also
working towards another solo show this year, dates
to be confirmed, as well as some other very exciting
projects but those are to be announced later so stay
WHERE CAN WE FIND YOU ONLINE?
F7.1, 1/320s, ISO200
Behind The Shot
With Alan Blundell
Behind The Shot With Alan Blundell
HI ALAN, PLEASE INTRODUCE YOURSELF, LETTING
US KNOW WHO YOU ARE AND WHAT YOU DO!
My name is Alan Blundell and I’m a 53-year old father
of 4. I “grew up” in Wainuiomata, and now reside in
Wellington city. I have worked in Architecture for most
of my career, aside from a 10-year sabbatical I took to
design, build and run a hotel in Oriental Parade. Since
the sale of that venture, I have returned to work in the
construction sector, while spending as much time as
possible learning how to take photos.
I have been shooting with some intent since 2016,
mostly ‘street’ style photography – the candid capture
of unmediated or chance encounters in public spaces
that throw up some interesting type of juxtaposition,
event or behaviour. I love the challenge of anticipating a
person’s expression or movement in a particular situation
or scene and freezing that moment and find that it’s the
smallest (sometimes unexpected) detail that makes the
shot but I am quite a shy person and still battle between
moving around in a crowd observing and capturing
‘candid’ moments, vs the value of the right amount of
engagement in order to learn more about my subjects.
TELL US ABOUT THE EVENT YOU WERE AT AND
My wife and I were holidaying in the Far North at a place
called Coopers Beach when we spotted a little A4 flyer
advertising the Xmas Rodeo programme for that region.
Oruru, basically a stock and station yard 10km down the
road from Taipa, was hosting the next round.
Given the ongoing publicity around animal welfare
in Rodeo, I was keen to see first-hand how those
organising and competing in such an event ensured
their own and their animals’ safety. There was a lot of
referencing (by the venue announcer) of the reasons
behind each type of contest as a practical skill, and
how the rider, horse and cattle were tested and
responded. It was very interesting. The dedication of
the Rodeo community to their animals, the way they
dressed and ran the very family-oriented event was
I was conscious of the fact there have been a lot of
animal rights protestors at some of the bigger city events
and roving around with a camera attracted a few
sideways looks. I tried to engage where possible with
the locals – mainly family members of those involved,
to learn more about the circuit, and reassure them we
were just tourists coming to have a look at something
we don’t see every day. They were really friendly and
For the contest that I caught here, a cowboy has to try
to stay on a bucking bull. This capture shows the rider
falling from the bull and being dragged as his hand was
wedged in the rope he was initially using to hold on to.
There was a rush by the support staff on foot to the right
of the bull, (rodeo clowns), to free the rider somehow
and protect him from the bull after dismount, this is done
by running a distraction until the riders on horses can
corral the bull back into the enclosure.
WHAT WERE YOU SHOOTING WITH?
I shot with two lenses that day on my Fuji X-T20: the
56mm f1.2 with ND filter, and the 55–200mm f3.5–4.8
which is what I took this particular photo with. Both have
a crop factor of 1.4 so the full-frame equivalents were
around 85mm and 80–300mm.
I was actually testing out the variable ND filter that
my kids bought me for Xmas. The 62mm ND2-ND400
Marumi was picked out to fit on my f1.2mm 56mm FUJI
lens. It was needed as shooting wide open on bright
sunny days such as this means there is just too much
light which causes over exposed images. Using the filter
acted like a pair of sunglasses allowing preservation of
the depth of field in shots.
WHAT WAS HAPPENING BEHIND THE CAMERA?
The weather was bright and sunny, with lots of dust
being kicked up by the events. Getting close-up meant
dealing with this dust whilst also shooting through or
around heavy timber and wire mesh safety railings set
up around the perimeter of the arena.
I had to pick a hole to shoot through and hope that
as the rapidly moving riders and action came into
frame, something interesting would happen! My set up/
positioning was initially to look for a good backdrop for
shots of the action, interesting structures/fences and
some spectators to help build the scene.
Then it was a question of tracking the subject with all
the jumps, twists and turns, waiting for that “decisive
moment” to snap the action. I used the continuous
tracking focus feature on the camera to give myself the
best chance of capturing something meaningful.
This shot has some great detail, the dust being thrown
up by the falling rider, the facial expressions of the
clowns realising he is in trouble etc. I was really pleased
with the results of the day and pretty happy with my kit
selection and the quality/hit-rate of shots for the 3 hours
we were there.
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Learn Grow Exhibit
The Magic of Moeraki Boulders
by Brendon Gilchrist
F16, 1.6s, ISO100
F4.5, 10s, ISO3200
Have you ever had that experience where one
particular place keeps drawing you back
over and over again due to how unique and
special it is?
The Moeraki Boulders on Koekohe Beach in Coastal
Otago do that to me.
Formed 60 million years ago, the spherical balllike
boulders lie on a small part of the beach, some
together and some apart, some small, some as big
as 2 meters wide. They are an interesting subject to
photography but they’re also interesting in themselves
when you consider how amazing nature is.
When I was growing up my Dads Grandparents lived
in Hampden, a short 10-minute drive from this beach
and I spend many nights here visiting from Dunedin
where I once lived. I never had a camera as a child
but I always remember our trips here, they were
always special being with Grandma and Grandad
collecting firewood, walking and running on the
beach, talking, and enjoying these moments.
Fast forward 20 years and this beach attracts me for
the memories but also for the boulders to photograph
whether captured at sunrise, sunset, or even the dead
of night thanks to Astrophotography. There are so
many options and sometimes, if you’re lucky, you get
the beach to yourself though not for sunrise, this being
one of New Zealand’s Top 10 Beaches and a hot spot
SHOOTING DAY OR NIGHT
I have found that the best sunrise shots happen when
the tide is either coming in or going out, about halfway
through the 6-hour cycle between high and low. I have
yet to capture a really epic sunrise here but I have
had some pleasing average ones, often having to
use my imagination and think fast. One time, the sun
was coming up and there were no clouds in the sky so
the sun was like a big ball. Since the boulders are also
big balls I decided why not capture the sun halfway
over the horizon looking like another big boulder in the
distance. During another sunrise, the clouds were too
thick and the tide was out but the patterns in the sand
were too perfect not to capture.
Night time photography is also a pleasure here, very
often you will find you have the beach to yourself and
you can create so many different compositions with
so many different results, it is endless. It’s even possible
to see the Aurora from here if you are lucky. The last
time I was here at night I set up a time lapse and then
walked away and enjoyed observing the night sky.
It’s so beautiful even with the full moon, the waves
crashing around the boulders, the stars moving and
the peacefulness of the place.
BEYOND THE BOULDERS
Moeraki is not only well known for its boulders, but
it’s also a very popular place to go out on a fishing
charter which opens up wildlife photography
opportunities. On a fishing trip with my Dad and
Brother, we caught many Blue Cods and Red Cods
and I also had the chance to photograph Albatross
at close range as they were following our boat
for an easy feed. It was incredible to see these
huge birds so close. As we moved from location
to location searching for fish they would follow us,
gliding so effortlessly as they soared that their wings
would gently touch the wave. It is a known fact that
the Albatross can fly for many many miles without
flapping its wings, the only known bird to do so, but
it was a pleasure to witness it up close. The coast
from the water looks so different looking back in and
sometimes dolphins are in the area so it’s well worth
grabbing a boat and heading out with your camera,
even if you have no interest in fishing!
At Katiki Point, the southern point of the Moeraki
Peninsula, you will find the endangered and rare
yellow-eyed penguins plus the common New Zealand
fur seals. These two species live side by side and are
not predator or prey to each other. The location near
the lighthouse is where you can get up and close to
see the penguins, the best time is a few hours after
sunrise and a few hours before sunset when you will
see them enter or exit the ocean. I have been here
a number of times and never left unsatisfied, always
able to capture the birds walking or climbing.
If you pick the seasons right you will also get to
photograph baby seals playing in the pools below,
but don’t forget your telephoto lens as I don’t think
you can get very close to them without the mothers
4 TIPS FOR CAPTURING MOERAKI
• Get to the boulders early before everyone else
does, at sunrise you’ll need to claim your spot.
• For the best seascape shot, get your feet wet and
shoot a long exposure with the water rushing past.
Watch the water to see how it moves before wading
in and pressing the shutter, you might be able to
create a leading line.
• An 80–200mm 2.8 lens is good for most wildlife
photography at Moeraki but for capturing the
albatross on the water, a wider lens will likely be
• When choosing between sunrise or sunset, I would
personally capture the wildlife in the evening as whilst
the reverse sunsets at the boulders are good, the
sunrises are much much better.
F9, 1/800s, ISO125
BEST READERS' SUBMISSIONS THIS MONTH
Photographer, Retoucher: Tanya Mishchuk
Model: Beatrys Ponzoni
Makeup Artist: Heather Newcombe
F4.8, 1/500s, IS0720
SACRAMENTO, CALIFORNIA, USA
I went out in the rain to photograph the leaves floating in a black
bottomed swimming pool, then inverted the image to bring the
reflected tree upright.
F4.5, 1/6s, ISO100
THE CATLINS NATIONAL PARK
One of the beautiful falls in The Catlins,
a 30 min walk through native bush.
F7.1, 1/400s, ISO250
CARMEL RIVER STATE BEACH, CALIFORNIA, USA
An overnight storm forced the lagoon to breach the sandbar and
dump volumes of silt and sand into the bay (an annual event). In
the afternoon large swells rolled in and churned it all up, while turkey
buzzards patrolled for anything edible that might have washed up.
TUI FEEDING ON FLAX
F6.3, 1/160s, ISO160
WAIRAKEI RESORT, TAUPO
I was lucky enough to play golf at the Wairakei resort.
I actually took this shot in the car park even before we
entered into the predator proof fenced area.
F18, 1/320s, IS0200
WAIRAKEI RESORT, TAUPO
This picture of Lake Wakatipu was taken during
our trip from Queenstown to Glenorchy.
F4, 1/3000s, ISO200
A 2 week old fawn watches the
photographer as she floats in canter.
IN SHE COMES
F14, 1/13s, ISO50
CABLE BAY, NELSON
Some of the best water movements & textures I have captured. Taken an
hour or so before sunset with some nice warm and dark light, It was the first set
up I did on this afternoon shoot and ended up being the only good shot out of 2
hours of non stop shooting along this coastline.
STRETCH UP YOUR LONG NECK
F11, 1/500s, ISO250
"Stretch up your long necks to greet the sun" says a sign at The
Kelpies in Falkirk, Scotland. That was the inspiration for this shot.
The Kelpies are amazing sculptures by Andy Scott, a must see if
F14, 1/13s, ISO50
We were on a trip to Milford Sound, camped at Twenty Five Mile Stream
Glenorchy. We reached the campsite at midnight and settled down
asap to wake up early for the dawn. I clicked a few interesting pictures of
snowcapped mountains with the dawn sky, testing my friend as a subject.
THE RESTORATIVE POWER
OF A TRANQUIL HOUR
F7.1, 1/80s, ISO100
Kayakers are gliding on the still surface of Otago Harbour.
The great city of Dunedin is visible in the distance.
F14, 1/5000s, ISO160
Early Sunday morning, the beach fills with silhouettes of
surfers and boards as they make their entry into the west
coast waves of Muriwai Beach.
PHOTOGRAPHERS MAY OR MAY NOT
MAKE A LIVING BY PHOTOGRAPHY,
BUT THEY ARE ALIVE BY IT.