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ISSUE 18, April 2019
PLANNING & CAPTURING
A PHOTO STORY
BY JAMES GILBERD
HIDING BEHIND THE LENS
SPRING PEOPLE'S CHOICE
HOW TO CAPTURE:
WITH RICHARD YOUNG
WELCOME TO ISSUE 18 OF
NZ PHOTOGRAPHER MAGAZINE
In this issue, we are putting the
focus on Street Photography.
Get inspired to walk the streets
with your camera to capture
everyday life at home and
abroad in our interview with
Emre Simtay and in Behind the
Shot with Mary Hutchinson where
you'll learn what makes street
photography so interesting.
If you've always been shy of
taking candid photos on the
street, Ana gives some insight
into getting more comfortable in
approaching people so you've
no excuse not to give it a go!
Think you've got a great street
photography shot already?
Read our photo review and see if
you could improve your own shot
with the tips and tricks offered.
We also have James Gilberd sharing his thoughts on how to put together
a photo story, explaining that a set of 6 images can convey an event,
emotion, or place better than a single image. Plus, Brendon takes us on
a return journey to Punakaiki as he enjoys time out in nature walking the
river and beach. We also get to learn about the photographer who won
the Fresh Shoots People's Choice Award with her 'After the Storm' poppies
Editor NZ Photographer
NZPhotographer Issue 18
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 EMRE SIMTAY
by Brendon Gilchrist
HOW TO CAPTURE: AUTUMN COLOURS
by Richard Young
IMPROVING YOUR PHOTOGRAPHY
PHOTO REVIEW SESSION
FRESH SHOOTS: SPRING PEOPLE'S
CHOICE AWARD WINNER
INTERVIEW WITH EMRE SIMTAY
PLANNING AND CAPTURING A PHOTO STORY
By James Gilberd
BEHIND THE SHOT
with Mary Hutchinson
MIND GAMES: HIDING BEHIND THE LENS
by Ana Lyubich
PORTFOLIO: BEST READERS'
SUBMISSIONS THIS MONTH
PHOTO REVIEW SESSION
HIDING BEHIND THE LENS
HOW TO CAPTURE: AUTUMN COLOURS
F2.8, 20s, ISO10000
by Brendon Gilchrist
In Issue 4, I touched on the small west coast town of
Punakaiki, or what I called Jurassic Park. Well, I’ve been
back! It is rare for me to be on the West Coast aka the
Wet Coast but thankfully, I got lucky with the weather
with only a little bit of rain.
Punakaiki is surrounded by limestone landscapes of
many different forms including the mysterious and
popular pancakes rocks, so perfectly stacked upon
each other that no one knows how/why they formed
exactly like that. These pancake rocks and the blowholes
are the main attraction of Punakaiki and amazingly are
still free to walk around and enjoy.
By day this place is always busy, usually busier at high tide
just in case the swells are coming from the right direction
to create an updraft of water and air for the blowholes
to activate. But at night there are very few people
around, maybe 1 or 2.
I decided to visit the platform that overlooks the
pancake rocks one night to capture the milky way over
the mountains. It was a good night to continue playing
with my new Nikkor 14–24 2.8g. I have been missing out
on that extra 14mm of focal length for a long time now
and am happy to be able to shoot ultra wide angled
On the one rainy morning I got when I visited, I walked
beside the river on the beautiful and well maintained
Pororari River Track with the towering limestone cliffs
that rise up to 100 metres above the water. I don’t know
about you but I find walking in the rain so refreshing, the
smell of fresh rainwater pattering on the tree leaves,
slowly dripping down to the forest floor, it’s refreshing to
be in that moment when nothing else matters but that
sense of being in nature and enjoying what you are
about to do – Capture some moody landscapes!
F11, 1/250s, ISO64
F16, 1/3s, ISO31
As the track weaves besides the river, taking you
on a magical journey through a land locked in time
that only nature can touch, you come to viewing
points overlooking the river and there are a couple of
opportunities to get down to the river edge or even walk
into the river to take some photos looking up the river
from a completely different angle that many won’t see.
There’s so much to photograph and marvel at from the
nikau palm trees to the native flaxes and the walls of
limestone leading you out up the river into an unknown
world not forgetting the wildlife with the native Kereru
munching on the berries. I found an amazing looking
tree to photograph, it sits right beside the river and towers
above all the other trees in an iconic location of this
Sunsets can be very epic on the West Coast but on my
last evening it was raining on and off and I thought about
not going out to shoot at the pancakes as it seemed like
no light was going to shine through and that it would be
a boring dull grey sunset – I’m so glad I went out anyway!
The sunset was perfect with a gap in the cloud allowing
enough light to shine through creating some epic light
rays and a hint of golden sun colours. It was hard to
believe there were only a few other photographers here
witnessing this event but I’m glad to have captured this
and have my personal take on Punakaiki at sunset as
I love storms and sunsets and I’ve been wanting a sunset
shot like this for a long time but actually thought it was
too easy and not my style. As I grow as a photographer
and a person I learn to appreciate the easy and the not
so easy locations, everything is unique and different for its
own different reasons.
Driving from Punakaiki on the Great Coast Ride you get
the sense that you’re in a forest driving beside the coast.
It’s hard to keep your eyes on the road at times because
the impressive view is always evolving into something
new, the coastline changing from charming calm bays
to rugged coastline with large rock outcrops.
This small area has everything you need to survive and
everything you want as a photographer. I assure you that
unique inspiration awaits so pack your bags because this
place will blow you away, whether it’s raining or not!
A TIP FOR SEEING THE BLOW HOLES:
• Photography is about planning so if you want the
shot you need to plan to get it. To see the Punakaiki
Pancake rocks blow holes in action the best swells
you need to look for are at high tide though not
when there is a south-westerly swell. Saying this, they
are not always blowing at high tide so luck, patience,
and perseverance are required!
ASTRO PHOTOGRAPHY TIPS:
• Always shoot in raw, the level of detail, especially in
the shadows, will outweigh anything shot in JPG or
any other format.
• To find focus in the pitch black is very hard. Use
the live view and zoom in (on the screen) onto the
brightest star, manual focus and twist the focus ring
until the star is nice and sharp.
F16, 1/5s, ISO64
HOW TO CAPTURE: AUTUMN COLOURS
Capture the best of this year's Autumn colours with tips by Richard Young
Autumn offers one of the best times for photography with landscapes that are full of burnt oranges, warm
yellows, and other beautiful autumn shades. Shooting during the ‘golden hour’ in autumn will add a soft, warm
glow to colours that are already vibrant and also increases the sense of atmosphere that is conveyed by the
scene. Mood is often key when photographing in autumn, so don’t be afraid to go out with your camera on
rainy days. Forests, lakes, and rivers are good options to photograph in overcast conditions.
Reflections: Bright colours and bold shapes become
abundant in autumn, reflections can be used to
enhance these elements.
Abstracts: Instead of photographing a grand view,
try capturing a smaller more intimate shot. Make the
most of the fallen leaves and look for little details,
taking time to scout the scene trying to find a subject
that catches your eye.
Autumn Colours at Lake Wanaka
Trees: Look for a single tree in a wide sweeping
landscape, this can create a dramatic shot. Also, try
shooting under the forest canopy looking up at the
foliage or using natural features to frame your subject.
Use a Circular Polariser: This filter is your best friend
in autumn whether you’re in the forest or capturing
an open scenic view. On rainy or overcast days a
polariser will remove unwanted glare from wet shiny
VISIT SOME OF THE SOUTH ISLAND BEST AUTUMN LANDSCAPE LOCATIONS ON A 7-DAY SOUTH ISLAND
PHOTOGRAPHY TOUR IN APRIL WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS
Improving Your Photography
Photo Review Session
F9, 1/800s, ISO400
THE BEGINNING OF THE DAY BY DEJAN KIJEVCANIN
THE MAIN STREET IN THE OLD TOWN IN BELGRADE, SERBIA
INITIAL THOUGHTS AND PLUS POINTS
The first thing I like about this photo is that it's done
in black and white which enhances the edges of
the buildings and the patterns. Shooting street and
architecture photography in black and white is a
really common and well received technique in the
The second thing which I also love is the lighting in
this picture. To be precise, the great thing about it is
how the centre of the scene is lit by natural sunlight,
making it a bit overexposed (but not too much)
while the sides of the photo are in the shadows and
a bit darker. This gives you the feel like you're really
there, giving the viewer a better experience, which is
something that we should strive for with every photo.
The first thing that catches
my eye right away about
this photo is the mistake of
not using the rule of thirds
properly or not using it at
all. Let's take a look at the
We should always aim to
put our objects on vertical
lines or on the meeting
points where vertical and
horizontal lines meet (this is
for smaller objects). For this
particular photo, we should
be putting the ends of the
side by side buildings on
each of the vertical lines
to make it more visually
Another pretty significant thing
to improve in this photo is the
As we can see from the photo
explanation, we should base
our symmetry around the
imagined line that is set in the
middle of the gap between
the two parallel buildings.
What does that mean? It
means that this line should
go through the center of
our scene, slicing it into two
identical halves. We should
always tend to recreate what
is on the left side of the line on
the right side too. Of course,
this is only applicable if the
scene is set up to allow us to
do that but this photo with the
two parallel buildings of similar
sizes is the perfect occasion.
In this photo there are two main
ways we can achieve this:
1. For the first option, the best one,
we should adjust the scene setup
before we take the shot. What
do I mean? Well, in this case, that
means that we should move a few
steps to the left so the centre of the
gap between the two buildings is
right in the middle of our scene.
Since this way of achieving a
symmetrical scene isn't always
an available option (for various
reasons), there's an alternative.
2. Cropping. When the photo is
already taken and we don't have
another one that is shot better, the
only way to achieve symetry is to
crop the photo according to our
reference line. That means that
we should crop the photo until our
imaginary symmetrical line gets to
the middle of our newly cropped
photo. See the photo explanation
on the right.
As we can see, the cropped photo below looks a lot more professional
and more visually appealing.
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FRESH SHOOTS: SPRING PEOPLE'S C
HOICE AWARD WINNER:
F2.8, 1/1000s, 70mm
‘Beauty after the storm’
INTERVIEW WITH VANDY POLLARD
HI VANDY, PLEASE INTRODUCE YOURSELF...
I live in Wellington on the South Coast, Lyall Bay and
have always been a keen amateur photographer.
I completed a Bachelor of fine arts (BFA) and majored in
Graphic Design/Photography back in 1985 at Canterbury
University Art School where I was using an Olympus OM2n
which was a single lens reflex film system camera.
I have become more serious about my photography
in the last couple of years since purchasing my first
DSLR, a 80D Canon.
I have a post-graduate diploma in Secondary
teaching but work as a regional manager covering
Central North Island for the National Advocacy Trust/
Health and Disability Consumer Advocacy Service
which is a service provided under the Health and
Disability Commissioner Act 1994.
HOW WOULD YOU DESCRIBE YOURSELF AS A
I consider myself a serious amateur photographer and
in my spare time photograph most days.
I’m a keen gardener but despite my winning shot for
the people’s choice awards, flowers/plants are not my
usual subject matter.
My main inspiration comes from nature as I live on the
South Coast of Wellington, love walking and enjoy
varied landscape and birdlife on the coast. I also
frequently visit Zealandia Ecosanctuary in Wellington
to photograph the wildlife/birds.
TELL US ABOUT YOUR POPPIES SHOT...
I had purchased an EF 70-200mm f 2.8L IS II lens and
was keen to try it out with my 80D.
I entered this particular photograph of the last of the
poppies with just a few petals precariously hanging onto a
hint of summer colour as the change of seasons intrigued
me. I found such beauty in the spent blooms in sharp
contrast to the richness of the trees in the background.
I chose to use a shallow depth of field to focus on the
poppies in the foreground and to achieve a soft focus
for the background trees. My composition is almost as
shot in camera with only minor cropping/editing.
HOW DID YOU FEEL WHEN YOU FOUND OUT
YOU HAD WON THE PEOPLE’S CHOICE?
I was incredibly excited as I haven’t entered many
competitions before and I had actually forgotten I
had entered this photograph! Winning the people’s
choice was special as people liked the photo I had
HOW DID YOU FIND OUT ABOUT THE
COMPETITION AND WHAT MOTIVATED YOU
I attended a Wellington Photography meet up
group hosted by yourselves at the Wellington
Botanic Gardens in October last year as I
wanted to push myself out of my comfort zone of
photographing wildlife and landscape, but had
also learned of the Fresh Shoots photography
competition through the Wellington Photographic
Society. I entered a few photographs from this
meetup walk and another workshop run by the
Wellington Photographic Society at the Botanic
Gardens that month.
HAS WINNING THE PEOPLES CHOICE
INSPIRED YOU TO TAKE YOUR
Winning has definitely inspired me to take a few
more risks with my photography, to not become
complacent with my usual subject matter, and to
explore other places with my camera.
Since submitting my photo to the competition I
have completed a few workshops. One with wildlife
photographer Chris Helliwell on a trip to Zealandia
and most recently a one day long exposure
workshop hosted by Richard Young.
Learning new techniques and photographing/
learning from others has helped me grow as a
photographer and I am keen to find an opportunity
to enter more competitions and share my
WHAT ADVICE WOULD YOU GIVE TO OTHER
Don’t be afraid to get out of your comfort zone.
Find other people who also enjoy photography and
who share your passion - join a local photography
group or society, find local meetups, don’t be
afraid to ask for help, exchange ideas, share your
photos, explore, and experiment. Be brave, push
your own boundaries, and continue to challenge
yourself and grow.
The Fresh Shoots Autumn season competition is now open - Submit your photos from Wellington
Botanical Gardens and it could be your photo featured here in a future issue!
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
EMRE, PLEASE TELL US A BIT ABOUT YOU…
I was born in Germany, but returned to my parents’ native
Turkey in my late childhood and studied there. I came out
to New Zealand in 2005 and attended Victoria University in
Wellington to study Computer Science and upon graduation,
began a career as a software developer.
WHEN AND HOW DID YOU START LEARNING
I developed an interest in photography with my wife’s
encouragement about seven years ago. I taught myself all about
taking photos and since then I have been constantly taking
photos and documenting what’s happening around me.
HOW WOULD YOU DESCRIBE YOUR STYLE OF
I don’t think I ever really focused on one particular style or
category. I just enjoy taking what attracts my eye and adjust to
the current environment. As I am mostly out shooting in the
city, I usually do street, documentary style, urban and portrait
photography. Extraordinary things never fail to catch my eye.
I constantly observe my surroundings and anything that tells a
story about society or the world around me will get captured on
WHAT CAMERAS DO YOU HAVE?
Currently, I have a full frame Sony A7ii with Zeiss 35mm F2.8
and Canon FD f1.2 lens. The camera I always carry with me is
an APS-C Fujifilm XF‐10. It has f.28 18mm fixed prime lens with
APS-C crop sensor and the snapshot feature, very small and very
light compact camera with all the features I can find on a DSLR.
I also have film cameras, a medium format Yashica 635 and a
35mm Canon AE‐1 with 50mm f1.8 prime lens but I don’t do film
photography very often as I am not a patient person and usually
do it only on weekends when I have the time to fiddle around!
WHAT MOTIVATES YOU TO PICK UP YOUR
CAMERA, ESPECIALLY WHEN ‘LIFE’ TAKES
The thought of looking through my photos in the future and
seeing how life around us has evolved motivates me. It makes
me go out to do photography and makes me feel like I should be
shooting even more.
TELL US ABOUT THE COVER PHOTO.
This was taken whilst we were showing our Wellingtonian
friends around Istanbul. We went to the Hagia Sophia museum
and there was a tourist lady posing for her friend. I liked how
the light was highlighting her dance with the sunlight so took a
WOULD YOU SAY THAT YOU’RE ALWAYS
LEARNING AND PUSHING YOURSELF TO
CAPTURE BETTER IMAGES? HOW DO YOU DO
I guess so! Yes, I try to push myself to capture better images.
I sometimes take a short break from photography and go
through all my photos and re-evaluate them. I always ask myself
what makes a good photo and the answer to this question has
changed many times since I started shooting.
When I first started photography, I mostly focused on using
negative spaces correctly, having the right exposure and making
one nicely composed beautiful photo then I realised I needed
to study my subject better and try different perspectives and
I believe this improved my photography a lot.
Once I started feeling confident, I decided I needed to shoot
more often so I did photography walks every day for couple
years and focused on just taking photos – I mean without much
thinking, whatever I found interesting I took a photo of. I would
then go through all my photos to analyse them and think about
how I could improve them and what I would do differently next
WE DID A BEHIND THE SHOT FEATURE WITH YOU
IN ISSUE 6 (APRIL 2018), HOW WOULD YOU
SAY YOUR PHOTOGRAPHY HAS CHANGED/
IMPROVED SINCE THEN?
My photography has changed a little. I carry more lightweight
cameras and focus less on the aesthetic and more on the story
aspect of photography, trying to produce more meaningful
I prefer my photos tell a story and leave people imagining what is
going on behind the scene however, I still photograph beautiful
looking landscapes and whatever takes my attention but my goal
is to make a photo that tells a story.
YOU’VE RECENTLY RETURNED FROM A TRIP TO
TURKEY, HOW DID STREET PHOTOGRAPHY IN
TURKEY DIFFER FROM STREET PHOTOGRAPHY IN
Taking photos in Turkey is much easier than New Zealand. You
can be way more productive because cities like Istanbul are
much more dynamic than here, there is a lot happening. In
Turkey, people don’t seem to care when their picture is taken.
I would say it’s like a heaven for photographers!
I find street photography is more comfortable for myself and
others around me when my camera is always ready in my
hand in a semi-pointing position. This way I don’t get so much
attention when I take the shot because I am already in position.
I have had situations where people didn’t want their photo taken
(you can tell from their body language) and in that case, I point
my camera somewhere else and don’t take the photo. Also
sometimes people tend to shield their faces when they don’t feel
comfortable. However, if I’m not sure, I always take the risk of
taking the photo when I think it’s worth it instead of regretting
not taking it later.
WHAT WAS YOUR OVERALL FAVOURITE PHOTO
I have two favourites – First the one with a boy selling
bottles of water on the street. I like the colours with
blue dominating and the frame with the body of
another water seller. I also like the photo of a random
guy having dinner on the street with his friends, but
his friend was too shy on this occasion and did not
want to be in the photo – probably the only time this
happened while we were there.
TELL US ABOUT YOUR ‘WORKING PORTRAITS’ –
WHY DO YOU ENJOY CAPTURING THESE?
I notice people who are focused on their work, so focused that
they’re isolated from the outer world and will immortalise
this moment with my camera. I like it when I can make natural
looking, candid photos that capture peoples emotions and this is
much easier done when people are working, lost in the moment,
not knowing that they’re being observed. I think my Working
Portraits are important because one day the job might disappear
so I like to document this just in case for future audiences.
WHAT HAS BEEN YOUR BIGGEST LEARNING
CURVE IN TERMS OF PHOTOGRAPHY?
I think being ready and acting fast while I’m out. Adjusting to the
changing light (having the correct shutter and aperture settings
to avoid blurry shots), getting a good composition, predicting
your subject’s next move, focusing on the right spot, trying not
to attract attention and figuring out when to press the shutter
and doing all this in less than 3 seconds – otherwise you probably
missed the opportunity!
WHEN DO YOU THINK PEOPLE CAN MOVE
FROM PRACTICING PHOTOGRAPHY TO
I think when you shoot regularly and start feeling comfortable
with your camera even when it’s on manual mode, I guess you
can help/teach beginners how to do compositions and set up a
camera correctly for likely situations. However, I believe that to
become a good photographer is a very hard thing to teach, you
need to shoot regularly and experiment with different things on
your own and not limit yourself in any way.
WHERE CAN WE FIND YOU ONLINE?
Planning and Capturing a Photo Story
In what is now known as the Golden Age of
Photography – loosely the 1930s‐1950s, the picture
story was king. The best photographers, such as Henri
Cartier-Bresson, W. Eugene Smith, and Margaret Bourke-
White were household names (try thinking of a current
photographer who’s a household name!) and magazines
such as Vu (France), Life (USA) and Picture Post (UK) were
people’s main source for images of world events. That
was until television came along and ruined it!
These magazines all had specialised picture editors,
whose craft was to edit (select, size, crop) the photos
into picture stories. Examples of famous picture stories
are W. E. Smith’s ‘Minamata’ and ‘Spanish Village’,
and our own Brian Brake’s ‘Monsoon’.
Once colour photography took over, picture editors
would place the photographer’s developed slides
(transparencies) on a light box and examine them in
detail using a loupe magnifier before selecting which
photos to print. As you can imagine, photographers and
picture editors often argued over the published story.
“How dare you crop that photo, the composition was
perfect in camera!” Or “You left out my best shot!”
Nowadays, we photographers can do our own postproduction
work so no clash of egos need occur!
If you’re a photographer who is always working towards
capturing that one perfect shot, consider putting that
approach aside and try using your camera to describe
an event or location using a number of images. Initially,
six photos is a good number to aim for.
TV programmes and movies are put together using a
variety of shots:
• Long Shot, or Wide Shot: the overall location and
people (establishing shot).
• Full Shot: a person head to foot, and surrounds.
Mid Shot: a person from the waist up.
Close Up: head and maybe shoulders.
Extreme Close Up: just the eyes, or some other
By James Gilberd
We can use the above list as a starting point to
make our own photo story more interesting. Shoot
in both portrait (upright) and landscape (horizontal)
frames and include compositional techniques such
as high viewpoint (looking down), low angle, wide
and telephoto shots as well as including foreground
elements to frame your subject.
Before you cover an event (such as Wellington’s
CubaDupa festival), write yourself a shot list by
imagining some of the photos you might aim to get.
Try to make this as varied as you can. Having a shot list
is a professional tip to help cover-off the assignment
with varied and interesting images.
Once you have your photos, you can select the
ones for final consideration digitally. Try this: use your
software to edit down to your 20 or so photos and
print them out, postcard size (10x15cm). This is cheap
as chips. Then lay them out on a clear table and
start moving them around, putting this one next to
that, and you will see that some photos ‘talk to each
other’ while others don’t. Gradually pare it down to six
photos that tell your story.
There should be variety in your final six; an establishing
shot, a strong close up, and other things between.
• No photo should do the same job as another.
• Find graphic and formal relationships between
• It helps if there’s some visual harmony between
• Be prepared to exclude your best shot if it doesn’t
fit the series!
By planning to work in series, editing down from a
wide selection of photos to a coherent set of images
that conveys a strong sense of the event or location,
you will quickly develop your photographic eye, your
editing skills, and learn to pre-visualise images as well
as being alert and in the moment to capture that
‘must have’ image when it presents itself.
Get your final selection together, tweak the files a
bit and go make a decent sized print of each (A4 or
larger). You’ll have a small portfolio of photos that
work together to tell a story that reaches far beyond
what a single image can tell.
Remember that the best photographers are the
ones who have learned to recognise what they’ve
shot and to know how to select and present their
photographs in their own way. This is an important
aspect to achieving a personal photographic style.
Behind the Shot with Mary Hutchinson
MARY, TELL US WHO YOU ARE AND WHAT YOU DO!
I was fortunate enough to retire a few years ago which has
given me more energy for photography which I got back
into around 2012.
I started off trying to do macro nature photography
but wasn’t good at it! However, as a result of gaining
knowledge and confidence from Wellington High
community classes and my local camera club, (Wellington
Photographic Society), I read all I could about famous
art photographers and tried my hand at capturing street
scenes. I found I liked the contrasty historic ‘look’ when
converting them to B&W.
I’m motivated by an interest in the never ending variety
of human behaviours and features, especially faces; also
clothing, quirky juxtapositions, and humorous things that
‘happen’ in everyday life in the street. I attempt to show
the common humanity we all share by making images of
members of my local community, some of whom are very
different to me.
I have a Nikon D610 with a 50mm prime and a 60mm
macro lens. I also occasionally use my phone to take
photos. I shoot in RAW and in manual mode though use
F8, 1/320s, ISO400
the left. I was struck by the front row, middle row, back row
positioning of the three lots of contrasting people, perhaps
reflecting their apparent ‘success’ in society?
At the time, I noticed the central seated man’s cool gear,
with labels & wording, but I only saw the interesting detail
of these, and the bonus of ‘Truly Madly DEEPLY’ on the left
hand shoppers bag later. Can retail consumerist activity
really facilitate love-like experiences?
I like the middle (horizontal) band of hands doing different
things, and the inverted ‘V’s’ formed by the shoppers legs &
their bag handles; triangles being a favourite shape for me.
It was luck that two people were drinking from cups at the
same moment; here I enjoy the (non-inverted) ‘Vs’ made
by their arms, which provides balance across the image as
well as lying across a diagonal, adding to dynamism in the
As I am familiar with this stretch of street, the line of trees
(background upper left) probably registered unconsciously
as a pleasing lighter leading line, together with the
receding overhead shop signs, to take the viewers eye from
the front to the back of the image, which adds interest to
the story told in this snapshot.
THERE ARE RARELY ANY SECOND CHANCES IN
STREET PHOTOGRAPHY, HOW DO YOU DEAL WITH
NOT MISSING THE MOMENT?
I take a lot of images if its a moving or evolving scene and
then delete & crop! Also, if seeking consent to potentially
use the images with recognisable people, I talk to the
subjects AFTER taking the shots, and also offer to send or
post them small copies to keep.
WHAT HAS BEEN YOUR BIGGEST LEARNING CURVE
Two things come to mind; I’m slowly learning to ask for
consent to use images at the time of making them – saves
a lot of walking the streets searching later!! (Though of
course, it is legal to photograph in public without asking
for consent). And secondly, working out dimensions for
hanging an exhibition, or a pasting layout, as in the project
mentioned below, continue to tax my non-mathematical
TELL US ABOUT THIS PARTICULAR STREET SCENE…
WHAT CAUGHT YOUR EYE AND MADE YOU TAKE
I took this photo in a busy part of Wellington – Te-
Whanganui-a-tara’s CBD (Willis St.) where there is a bus
stop, seating, and often interesting light though at this time
of day, 1:40pm this is less of a feature.
I liked the ‘thirds’ arrangement of people across the image
and was particularly interested in the man sitting on the
footpath behind the seat, and his contrast in position, dress
style, and posture in comparison to the seated man in
cool attire and the chatting shoppers with their bags on
WHAT HAVE YOU BEEN WORKING ON RECENTLY?
I have recently completed a temporary public ‘pasteup’
installation of cut out life-sized people onto a shipping
container, in Newtown, Wgtn., called ‘…a footpath near
you.. ara hīkoi pātata..’
I am interested to do more large scale public art but first,
want to complete a colour photo book about my own
suburb; Mt Cook – Pukeahu.
WHERE CAN WE FIND YOU ONLINE?
Mind Games: Hiding Behind The Lens
Overcoming the fear of looking ‘strange’ when photographing people in the street.
One of the genres that involve photographing
people “impromptu” is street photography
which is closely related to photojournalism.
In the blink of an eye, a scene may unfold right in front
of you that you want to capture and that scene will
very likely involve having people in the frame. Street
or documentary shots may happen anywhere – on or
off the street, but the good ones have a story to tell,
by Ana Lyubich
show emotion and authenticity, evoke empathy and
provoke people to pause and think.
Most blogs and articles discussing how to overcome
a fear of photographing strangers suggest you start
talking to people on the streets if you want to take a
photo of them. In pure street photography however,
you rarely have a chance to approach people as you
Unless you feel that you are likely to be punched in
the face in the next few seconds, stay where you
are and acknowledge you took a photo of them.
There is nothing wrong with it. The person you just
photographed may simply be curious about what you
are doing, why you chose them, and where the photo
might end up, even where they can access it later as
if they see and like the photo they might want to share
it with friends and family. You never know, you might
have just captured a perfect moment in their life that
they would be thrilled to get a copy of. So tell them
your story, why you like street photography, where you
come from, and perhaps even hand them a business
card or share your social media name with them. In
most cases, what could have been a sticky situation
will end up well and in the best case scenario, it will
also help you spread the word about what you are
doing and hopefully get lifetime appreciators of your
BEWARE OF KIDS
While kids are the most genuine models you can find
(often until they become aware of your presence),
you should never cross the line there. Their parents or
guardians are likely to approach you if they notice
you photographing them to ask to remove the photo
you just took of their child. There may be many
reasons for that and there are many cases where a
random photo of a child at a public place was shared
on SM that then triggered the attention of custodians,
courts and so on so tread with extreme caution where
minors are involved, photography is not about ruining
your own or other people’s lives.
are “all in” that perfect moment of clicking the shutter
Turning the tables, it’s easy to appreciate why a
person who is minding their own business as they walk
or drive down the street could feel stressed when they
see a person with a camera photographing them – All
sorts of thoughts will pass through their mind; “Why are
they photographing me?”, “Is there something wrong
with me?”, “I’m not in my best shape/clothes/mood
today”, “What’s going on?!”. So what do you do and
how do you behave if you are approached by the
subject of your photo?
BE POLITE & TAKE RESPONSIBILITY
Always be polite and responsible. It is worth
remembering that in such cases you as a
photographer represent the whole photography
community and should something go wrong
and the upset subjects of your photographs take
it to social media or it leaks into the news, the
photography community as a whole is affected. “The
photographers these days have no respect…”, “These
photo snappers need to be stopped” are phrases
we need to nip in the bud. If you are asked to delete
the photo – it is always better to do so, no questions
Here in NZ, you are legally allowed to take
photographs of people in public places where no
privacy is expected but always check the rules of
other countries and states if you are going overseas.
For general guidelines take a read of
BEST READERS' SUBMISSIONS THIS MONTH
A rainbow competing with the bright
colors of a decorative lighthouse at
Monterey's Fisherman's Wharf.
FASHION ON THE BEACH
F2.8, 1/640s, ISO200
KAREKARE BEACH, AUCKLAND
Photographer / Retoucher:
Anupama S. Wijesundara
Model / Makeup Artist : Danisha
CAMBRIDGE CHERRY BLOSSOM
Stunning Spring Cherry Blossoms.
Ben Langton Burnell
April 2019 37
F7.1, 1/250s, ISO200
During a visit to Owharoa Falls, I decided to get out my macro lens
and take a closer look at the Monbretia growing wild. I spotted this
spider against the bright orange of the flowers.
JEKYLL ISLAND, GEORGIA, USA
Dawn at Jekyll Island. This kind of light is magical and makes the
Island seem magical too.
EMPEROR PENGUIN MOULTING
SCOTT BASE, ANTARCTICA
An Emperor Penguin in full moult outside Scott Base.
F11, 1/160s, IS0100
We spent a couple of nights at Matauri Bay in our motorhome and
loved this view taken from a high point on the road from Whangaroa.
F16. 1/200s, ISO200
A stunning colourful
abstract against a clear blue sky.
FEA OF THE SLEEPING NATURE
Photographer & Retoucher: Tanya Mishchuk
Model: RuiJie Tang
Makeup Artist & Hair Stylist: Sabrina Begum
Costume Designer: Marz Court / The Baroness Creates
CHEETAH LAZING AROUND
F6.3, 1/320s, IS0400
This photo was taken on a recent trip to Nambiti Game
Reserve in South Africa.
THE BEAUTIFUL PEST
F2.8, 1/2000s, IS0200, 400mm
Numbers make the Rabbit a National Pest,
but their beauty is undeniable.
F8, 1/180s, ISO200
KAREKARE BEACH, AUCKLAND.
I went for a photo shoot of a young girl and her whole family came to
support her. I got this candid shot while they were going to the beach.
THE RIGHT ANGLE
F7, 1/40s, 132mm
As my friends pose and take pictures, the
camera man keeps saying he can't get a good
angle. Little did he know that it was just the right
angle for me!.
A BLUE AND YELLOW
MORNING IN THE MOUNT
F5.6, 1/100s, ISO200
An early morning walk was well worth it when I
was greeted with colours like this.
F5, 1/1000s, IS0800
WAIKANAE, KAPITI COAST
One of the many tireless worker bees visiting the
pohutukawa tree this summer.
MOERAKI CAMPING GROUND
This photo was taken 2 weeks back at
Moeraki on the way to Christchurch.
F7.1, 1/56s, ISO 200
MT EDEN SUMMIT
This iconic volcanic cone was my home for
many years. The views from the summit are some
of the best in Auckland.
NO SWIMMING TODAY
F18, ISO100, 23mm
MURRAYS BAY JETTY, AUCKLAND
An 8 minute long exposure taken at the end of Murrays Bay Jetty on
Auckland's North shore with a 10 stop filter.
"PHOTOGRAPHY IS ABOUT
FINDING OUT WHAT CAN
HAPPEN IN THE FRAME.
WHEN YOU PUT FOUR
EDGES AROUND SOME
FACTS, YOU CHANGE