NZPhotographer Issue 33, July 2020

ISSUE 33, July 2020 

LATE AUTUMN 

SEASCAPE PHOTOGRAPHY 

BY RICHARD YOUNG 

OVERCOMING SELF-DOUBT 

IN YOUR WORK INTERVIEW 

WITH PAUL REA 

THE COLOURFUL 

WORLD OF 

KELLY VIVIAN 

FROM THE ROAD: 

NEW DELHI 

BY July SUSAN 2020 BLICK1

WELCOME TO ISSUE 33 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

This month's magazine is full of 

travel adventures to inspire you to 

get out there with your camera 

whether you're more than happy 

to stay on home turf for the time 

being, or are eagerly anticipating 

the re-opening of all borders 

around the world post lockdown. 

Susan Blick is here to take us on 

the road to New Delhi, we travel 

to Lake Emma with Brendon 

Gilchrist, and hear how Garett 

Vincent went off on an adventure 

chasing the Endeavour last 

November in Behind The Shot. We also enter into the colourful 

world of Kelly Vivian to learn how she went from sports 

photography to fine art photography and travel the world 

with Paul Rea whilst discussing self-doubt in your work and 

ways to overcome that. 

We're also thinking seasonal photography for those on you 

in the Southern hemisphere with Richard Young offering 

inspiration for late Autumn photography, and Readers' 

Submissions showcasing some of your best Winter shots from 

around the world. 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 33 

June 2020 

Cover Photo 

Snow Blind by 

Lynne Roberts 

Publisher: 

Foto Lifestyle Ltd 

Website: 

nzphotographer.nz 

Graphic Design: 

Maksim Topyrkin 

Advertising Enquiries: 

Email 

hello@nzphotographer.nz 

FOLLOW US 

OUR CONTRIBUTORS 

Brendon Gilchrist 

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 Zealand’s 

unforgiving landscape. 

Richard Young 

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 Workshops. 

© 2020 NZPhotographer Magazine 

All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior 

consent of the publisher. 

Disclaimer: 

Opinions of contributing authors do not necessarily reflect the opinion of the magazine. 

2 

NZPhotographer

CONTENTS 

4 

6 

10 

16 

22 

30 

31 

38 

56 

BEHIND THE SHOT 

with Garett Vincent 

LAKE EMMA 

by Brendon Gilchrist 

FROM THE ROAD: NEW DELHI 

by Susan Blick 

THE COLOURFUL WORLD 

OF KELLY VIVIAN 

INTERVIEW WITH PAUL REA 

INSIGHTS FROM 

@EXCIO PHOTO COMMUNITY 

EXCIO TOP 10 

MINI 4 SHOT PORTFOLIO 

LATE AUTUMN SEASCAPE PHOTOGRAPHY 

by Richard Young 

62 PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

MEMBERSHIP 

LAKE EMMA 

BY BRENDON GILCHRIST 

THE COLOURFUL WORLD 

OF KELLY VIVIAN 

INTERVIEW WITH 

PAUL REA 

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Behind The Shot 

with Garett Vincent 

GARETT, TELL US ABOUT YOU AND YOUR 

JOURNEY WITH PHOTOGRAPHY… 

My journey with photography started in late 2016 

when I decided to venture out with my cell phone 

and explore the local area around Whangarei, 

Northland. During my wander, I felt a sense of 

connection with nature and the surrounding 

environment. Even though I was only using my cell 

phone, getting home and viewing the results gave me 

the inspiration to capture more as I imagined it would 

be a great chance to explore and capture aspects of 

the beautiful world we live in, especially being in New 

Zealand. I purchased a cheap bridge camera soon 

after that, then upgraded to a Nikon DSLR in 2017 and 

I have never looked back. 

TELL US ABOUT THIS IMAGE… 

It was late November 2019 when I heard that the 

Endeavour was sailing to N.Z as part of the Tuia 250 

year celebrations, a celebration of Captain James 

Cook discovering New Zealand. A replica of the 17th 

century ship was to navigate N.Z on the exact same 

path that was sailed in 1769. 

I’d seen this majestic ship on the back of the 50 

cent piece all my life and have an interest in 

history, especially Aoteroa’s history, so I went down 

to the port as the ship docked in Whangaerie to 

photograph it. There were children with icecreams, 

people with hard hats and hi vis vests, and a lot of 

vehicles surrounding the ship so I felt that the photos 

I’d taken lacked authenticity. I was determined to 

capture how it would have looked back in 1769 so 

I downloaded a ship tracker on my phone and a 

few days later I noticed it was on the move up the 

East coast towards the Bay of Islands so I packed up 

my photography gear and, racing the fading light 

as it was late afternoon, headed off in pursuit of the 

Endeavour. 

After a few stops and starts from the Endeavour at 

various bays along the coast which I picked up via 

the ship tracker, I wondered if I’d ever get to see the 

seemingly elusive ship as the light was fading fast and 

the petrol gauge on my car was running low. Driving 

43km on the most winding and nauseating gravel 

roads I’d ever driven on in what seemed like the 

middle of nowhere my hope was fading as fast as the 

light but I finally came to a dead end of the council 

road at a settlement called Rawhiti and beautiful Oke 

Bay. 

As luck would have it, the ship tracker showed that 

the Endeavour had stopped on the other side of the 

hill in Oke Bay so I made my way up and over the 

hill through thick bush and there it was in all its 1769 

glory along with the spirit of New Zealand and other 

vessels – It was like stepping back into a time warp. 

WHAT WERE YOU SHOOTING WITH? 

I used my Nikon D7100 DSLR with a 70mm‐210mm 

f4: 5.6 nikkor lens to take this shot. The only postprocessing 

applied to the photo was a slight touch 

of brightness, some sky attention, and a little bit of 

sharpening. I photographed it in jpg format to give 

it a slight softness which I felt gave more historic 

authenticity. 

WHAT DID YOU STRUGGLE WITH THE MOST 

WHEN TAKING THIS PHOTO? 

Because this wasn’t the most technical shot and 

I wanted to replicate a historic scene, I had to focus 

on the composition of the image. That was difficult 

because of the rough terrain I encountered on the 

cliff face with a lot of foliage present so positioning the 

camera was difficult. Add to this, the fact that I was 

racing the fading light and had forgotten my tripod 

so I was quite frantic to capture the shot as soon as 

possible – I didn’t want to add much ISO to the image 

and create noise in the picture due to wanting to 

keep post-processing to a minimum. Had I of grabbed 

my tripod before heading out of the door I could 

have selected a lower shutter speed to allow more 

natural light. 

WHY IS THIS SHOT SPECIAL TO YOU? 

I’ve always liked old oil paintings of historic 16th 

and 17th century ships on rough seas or docked 

in harbours but the fact that this was a part of my 

country’s founding, of New Zealand’s history, it meant 

a lot to me personally. 

As well as being able to nail the shot I had dreamt 

of, without the distractions of modern day life, I also 

discovered another beautiful part of Aotearoa I didn’t 

know existed so it was a win-win adventure. 

WHERE CAN WE FIND YOU ONLINE? 

albums.excio.io/profile/garett%20vincent 

www.instagram.com/ 

Garett_Vincent_photography 

www.facebook.com/ 

garettscottvincentphotography

CHASING ENDEAVOUR 

F5, 1/200s, ISO350, 70mm 

July 2020 5

Lake Emma 

by Brendon Gilchrist 

6 


LAKE EMMA SUNSET 

F9, 70.3s, ISO64 


When you find yourself coming out of 

Covid‐19 lockdown, what do you do and 

where do you go first? I had just brought 

a new truck and wanted to get out of 

Christchurch to refresh, recharge and test out my 

truck on some basic 4 wheel drive roads so I thought 

what better place to go than into the Hakatere 

Conservation Park with its many lakes. 

My target spot was Lake Emma and old Musters Hut 

which can be reached via a short mountain bike 

ride, a decent walk, or an easy drive over rough 

terrain. I chose this place because I knew there 

was no reception for phone service and I needed 

a break from the reality of the world, even though 

it was just a short overnight trip. Added to this we 

were in a new moon phase giving me the ideal 

opportunity for some astro photography without 

light pollution from our friend the moon. 

So off we set, Lake Emma is only a 2 hour drive from 

Christchurch but as this was my first time as driver 

of a 4 wheel drive vehicle on weather dependent 

roads we took things slowly, heading off early in the 

day. 

I had been wanting to come here for several years 

as I love the history of this site. The hut was built 

between the 1860s‐1890s and is located beside the 

beautiful Lake Emma but you are not are allowed to 

stay inside due to its heritage so we set up camp in 

tents outside. 

While we were cooking dinner we were shooting the 

sunset, lucky to have a perfect location to keep an 

eye on the cooking food while having the ability to 

shoot the lake’s reflection as well as the beautiful 

colours in the sky. The area is well known for fog 

drifting in not long after sunset, especially in the 

cooler months, so I was hoping this would happen 

whilst we were there. 

We were shooting some early astro shots, the calm 

water allowing a perfect reflection of stars on the 

lake when I spotted what seemed to be fog on 

the far right. I hoped I could get my dream shot 

of the milkyway rising behind the hut before it was 

a complete white-out but was more than happy 

with shooting the low fog over the lake as it added 

mood and drama to the otherwise still scene. With 

1 hour to go until the milkyway was in the right 

position above the hut, I kept shooting but with 

each image I took, there were fewer visible stars so 

my disappointment levels were increasing along 

with the fog. 

It was getting chilly so I got into my sleeping bag, 

setting the alarm for 8.30pm. I poked my head 

STAR REFLECTION 

F2.8, 20s, ISO10000 

8 


out of the tent before the alarm went off to find 

complete fog, not even the lake was visible despite 

us being less than 10 metres from the shore so back 

to bed I went, resetting the alarm for 4.30am since 

I didn’t think the fog had any chance of clearing 

earlier. 

4.30am came around and I opened the frozen tent 

door and looked up to find trillions of stars shining 

brightly – it was amazing! I closed the tent door 

again and over the next 30 minutes built up the 

courage to get out of my warm sleeping bag to 

shoot a big panorama of the milkyway arched over 

the hut. 

Once up and out of the tent I just stood looking in 

awe for a few minutes before setting up my camera 

for the 40minute photo session – To see this creation 

in a completely dark sky was overwhelming, beyond 

words, it was almost like I felt a spiritual connection 

to the heavens. 

This was my first time using my Nikon D850 in a 

dark sky area and to say I was impressed is an 

understatement. I set the camera close enough 

to the hut to be able to photograph in portrait 

orientation for easier stitching on the computer 

when I got home. Once I had finished this, I had 

a look around to see what else I could shoot and 

thought why not try the composition I wanted but 

with the Milkyway Core rising in it just to see what it 

looked like. It looked pretty good, not perfect (I’ll 

have to revisit for that shot with my sea kayak) but 

I was happy enough with what I’d caught on my first 

trip post lockdown. 

So, photos completed it was time to get back into 

the tent and sleeping bag to get warm again. 

I slept through sunrise but I wasn’t too bothered as 

I had captured some epic shots I didn’t dream were 

going to happen when we arrived and left feeling 

ready to face life and the real world once more. 

3 TIPS FOR WINTER LAKE PHOTOGRAPHY 

• Always look around you – Sometimes, what you 

are shooting is good but behind you, something 

even better is going on. 

• If you’re seeking perfect reflections but the wind 

is sending ripples along the water, use a long 

exposure of 10–20 seconds to blur the water and 

get your almost perfect reflection that way. 

• A tripod is your best friend for long exposure 

shots and you should always remember to use 

a cable release to remove that camera shake. 

However, if you don’t have one, you can make 

do by placing your camera on a big rock and 

using the timer. 

MUSTERS ASTRO 

F3.2, 25s, ISO10000 


From the Road: 

New Delhi 

by Susan Blick 

10 


Let’s be frank, New Delhi isn’t a destination in itself 

for most travellers nor photographers, but simply 

an arrival point for an incredible adventure in 

India. They say you haven’t travelled until you’ve 

been to India, but I’d go one step further and say 

you don’t know India until you’re well-acquainted 

with Delhi. Most people make a beeline for 

Connaught Place, the modern financial and 

commercial centre, as this area gets the greatest 

attention in guidebooks, but in my honest opinion, 

from someone who has spent many months over 

many years exploring Delhi, that would be a 

mistake as there’s nowhere less interesting than 

Connaught Place. 

So where should you go if you’ve got a few days 

stopover in New Delhi? 

Firstly, there are a number of areas in the city 

where you should focus your photographic 

attention, most notably, Old Delhi. Here you’ll 

find the likes of India’s largest mosque the Jama 

Masjid, built by the Emperor Shah Jahan who 

incidentally also built the Taj Mahal. The Masjid 

is open to foreigners every day, but is best 

photographed quite early or late in the day when 

the light is low and soft. Take a wide angle lens 

in order to get the whole building in the frame. A 

zoom lens of around 100mm is also useful for more 

detailed shots. 

Insider’s Tip: Once you’ve entered the complex 

there’s a very discreet ticket window to the left of 

the mosque, where for a little baksheesh you can 

buy a second ticket to get you part way up the 40 

metre minaret and onto the left side terrace - An 

excellent photographic position. 

Another place not to miss in Old Delhi is Asia’s 

largest spice market! Tell your taxi, rickshaw, or 

tuk-tuk driver to take you to Chandni Chowk 

(the street intersection) or the actual name of 

the market, Khari Baoli. Visit early in the morning, 

around 8am, and plan to stay a couple of hours 

until the stalls start to open. First thing in the 

morning, as daily wage earners are lugging heavy 

sacks of spices into the market, you’ll feel as 

though you’ve travelled back in time. The pungent 

smell of chillies and the like will have your sinuses 

pumping, so if you’re sensitive to these kinds of 

things, wear a mask. Mid-way along the street, 

there’s an alley entrance into Gadodia Market 

(Google it!) here you’ll find a staircase leading to 

a rooftop where you can get an overall view of 

the market and the shanty shack homes where 

many of the labourers live. Though it has become 

an Instagram influencer favourite, the view over 

the adjacent Fatehpuri mosque and the whole of 

Gadodia is worth a few shots of your own! 

Left: It’s All A Blur In The Paharganj: F5.6, 8s, ISO200 

Above: Jama Masjid: F6.3, 1/320s, ISO800 

Khari Baoli Spice Market: F8, 1/320s, ISO1250 


STREET TAILOR MENDER 

F5.6, 1/200s, ISO1000 

Street photography most definitely rules in New Delhi 

since the people are some of the friendliest and most 

cheerful in India. Engage with them, I usually find a 

friendly smile, a simple namaste, or a thumbs up will 

help break the ice and then, before I know it, I’m 

deep in conversation discussing their family and my 

travel plans. Once you’ve connected with the person 

or people, motion the camera their way or ask if it’s ok 

to take a few shots. Very rarely have I been refused, 

and more often than not I’ve been offered a cup of 

chai (tea) and even had the opportunity to pose my 

subjects if I felt it was needed. By engaging with local 

people your pictures will come alive and through 

curiosity and courtesy, you’ll make those connections 

that will have you reminiscing of your time in India for 

many years to come. 

In addition, there are also opportunities to practice 

some more creative styles using long exposure and 

panning techniques. In order to pan a shot, you 

should use shutter priority mode and drop your shutter 

speed to about a 10th or 15th of a second. Make 

sure you have your ISO set to its lowest setting or your 

image may be over-exposed. If it’s a really sunny day 

you might need to use a 3 or 4 stop neutral density 

filter. A little secret... I don’t carry such a filter, so what 

I do is use my graduated filter but drop it down all the 

way covering my lens which allows it to function as 

a neutral density sufficiently enough to get the shot. 

Next, find a road with some tuk-tuk traffic and pan 

your camera following your selected tuk-tuk. Align the 

speed of your pan with that of the tuk-tuk, keeping 

the subject in focus and blurring the background. 

A great place in Delhi for the classic hustle and 

bustle shot using a long exposure is in the Paharganj 

as seen at the start of this article. This is a famous 

location in the heart-pumping centre of New Delhi 

opposite the New Delhi Railway Station. The street is a 

kilometre or two of stalls, markets, hotels, cafes, and 

hippy hangouts, all of which offer great street action. 

Moreover, there’s a tall blue building mid-way along 

where at the top sits Krishna’s Cafe. Here you can stop 

for a soda and a meal and use your tripod to capture 

a long exposure of the street below. The colours and 

action blend together to give your image the true 

feeling of what it’s actually like to be consumed by 

the manic excitement on the streets of Delhi. Here, 

use a 10 stop neutral density filter to slow your shutter 

speed right down to around 8 or more seconds to 

create the blurred-effect. 

12 


MAN ON TRAIN 

F4.5, 1/320s, ISO320

SIKH TEMPLE GURUDWARA 

BANGLA SAHIB 

F5.6, 1/60s, ISO100 

If the buzz on the street is getting a bit much, take 

a tuk-tuk over to the magnificent Sikh temple 

Gurudwara Bangla Sahib for some quiet sunset 

reflection. This is a most serene location that’s free 

to enter, however, no tripods are allowed. It’s a 

lovely place to slow down and take in the beauty of 

the temple and its water feature, a sarovar, which 

means pond of nectar and was in the past made to 

provide clean drinking water for the people. While 

there, look for unusual angles to photograph the 

temple. Try shooting through the arches of the gallery 

that encircle the sarovar, framing the temple and 

encompassing more than simply the temple directly 

front on. Also, look for reflections of the temple in the 

pond. 

Another interesting sight-based outing is to visit the 

Presidential Palace and India Gate. These are joined 

by a long straight grand avenue called the Rajpath. 

Visit just prior to sunset for the best light and ask 

your driver to drop you at the gates of the palace, 

known as Rashtrapati Bhavan. You can’t enter, but 

after photographing the palace through the gates 

it’s an easy downhill walk towards India Gate with 

many fabulous opportunities to capture the famous 

sandstone war memorial. After sunset, the structure 

is lit in the colours of the Indian flag and the whole 

place comes alive with stallholders and visitors. Bring 

your tripod for the best images and a zoom lens with a 

wide option. 

Naturally in a city the size of New Delhi there are 

plenty more photo opportunities to be had, these are 

just a few to give you somewhere to start. 

GEAR GUIDE: 

As always for street photography, a zoom lens works 

best. I find the 16-35mm great for crowded markets, 

historical sights, and the like whilst for street walks 

with no real purpose or focus other than exploration, 

I go for the 24-105mm. Both of these lenses cover the 

gamut of experiences one is likely to encounter when 

shooting street and travel. If there’s room in your kit 

for a telephoto, it’s nice to have access to 200mm 

on occasion, however, when you’re in the thick of 

the action as is so often the case in New Delhi, there 

isn’t much scope for such a lens so you may choose 

to leave it at home or in the hotel room. I never travel 

without a tripod nor a set of good quality filters - By 

investing in a set of graduated and neutral density 

filters you can add more creative elements into your 

photography and push your skill set to the next level. 

14 


INDIA GATE 

F4.5, 1/250s, ISO1000 

PRESIDENTIAL ESTATE 

F5.6, 1/250s, ISO200

16 


The Colourful World 

of Kelly Vivian 

PURPLE SEAS 

F5.6, 1/400s, ISO10000 


I am an Aucklander, born and bred and have 

been a part of the Auckland photography 

scene since 2014, upon purchasing my first 

DSLR camera and shooting my first contract 

with Basketball NZ. 

Initially, sports photography was my thing. 

I took pride in getting sharp action shots, 

as well as capturing the passion and 

determination on the athlete’s faces in 

unique sports portrait shots. Composition 

has always come naturally for me and 

shooting sports was a great opportunity to 

highlight that aspect of my photography. I 

began to grow a following locally, and as 

my exposure within associations also grew, I 

was lucky enough to cover multiple National 

Tournaments around NZ, and multiple 

basketball tournaments in both the United 

States and Australia. 

After I upgraded from a Nikon D3300 to 

a Nikon D500 I began to experiment with 

different shots, especially long exposures. I 

began to notice my style becoming more 

aligned with fine art than sports and I began 

spending more time off the basketball courts 

and out in nature. 

Long exposure was always something I 

wanted to master as I loved the dreamy water 

shots and vibrant light trails I saw in other’s 

images. So, I researched how to perform 

a long exposure, bought a remote shutter 

control, learned the correct settings, and 

went out and practiced. Once I got my head 

around it and began getting the night-time 

long exposures I’d dreamed of, I bought an 

ND Filter and began to tackle daylight long 

exposure, which I found far more challenging. 

Sometimes, I still struggle in getting the right 

settings for a daytime long exposure without 

blowing the image out but I am content with 

the quality of the images I am consistently 

producing using my ND Filter now. 

I also began practicing with the ever-popular 

sunset and, as I only shoot in manual mode, 

I was able to try many different setting 

combinations before settling on one I was 

happy with, then as the light changed, I was 

able to change with it, to ensure adequate 

exposure. I took hundreds of sunset shots from 

different angles, and at different beaches, 

but I became frustrated as they all looked 

flat and more or less the same. It wasn’t until I 

really learned, and understood the principals 

of editing, that my images changed 

dramatically and the colours really began to 

pop. 

BLUE HARBOUR 

F20, 20s, ISO100 

VECTOR COLOURS 

F13, 13s, ISO200 

FAN OF LEAVES 

F9, 1/1000s, ISO3200 

18 


BLOODSTREAM 

F7, 1/800s, ISO400 

PERFECTLY IMPERFECT 

F18, 1/8000s, ISO12800 


TIPS FOR TAKING GAME 

CHANGING SUNSET SHOTS 

When taking a great raw image 

of a sunset to work on later in your 

post-processing software, the first 

thing I would suggest is to position 

yourself where you are happy with 

the composition of the image in your 

viewfinder, note the position of the sun, 

any trees or land that is featured, and 

the horizon. Consider photography 

principals such as the rule of thirds 

and try to incorporate them into your 

image and also consider your horizon 

and ensure it is as straight as you can 

get it in camera. 

These are simple things to set up 

your image and then you can wait 

for nature to work her magic. Take 

plenty of images, using slightly different 

settings and see what differences 

there are and which you prefer, 

experimentation is fun and can show 

you what you like and can replicate in 

more images. 

My go-to editing program is 

Photoshop, the ‘black/white levels 

tool’ and the ‘curves tool’ being game 

changers for me. In post, the first thing 

I do is double check the exposure of 

the image then I play around with 

the curves tool which alters the light 

and enhances different parts of the 

image. Then I up both the blacks 

and whites of the image (sometimes 

minimally), where you begin to see 

colour changes and the image begins 

to look more like my finished product. 

I might up the contrast a little and up 

the vibrance/brilliance to really get 

the colours to pop, although I tend 

to stay away from the saturation tool 

as you can begin to get into surrealist 

photography with over saturation. 

I am proud of where photography has 

taken me, it has allowed me to travel 

extensively and I was lucky enough 

to be awarded 1st place in the Non- 

Professional; Fine Art/Landscape 

category in the 2019 Int’l Photography 

Awards, giving me a platform to 

showcase NZ, through my eyes, to the 

world. I think now, I’d just like to learn 

more, experiment more, and keep 

fine-tuning my art. 

GOLDEN 

F20, 1/5000s, ISO10000 

SCALDING SUNSET 

F18, 1/400s, ISO1250 

DRAMATIC ENTRANCE 

F20, 1/5000s, ISO10000 

albums.excio.io/profile/ 

kellsphotography

Astro Masterclass 

Workshop – Mt Cook 

4-Day Photography Workshop 15-18th August 

Our Astro Masterclass Workshop is based in Twizel within 

the Aoraki Mackenzie International Dark Sky Reserve, 

the world’s second-best area for viewing the night sky. 

With highly acclaimed astrophotographer Mark Gee along with 

Richard Young as your tutors. Designed to extend your skills 

in both Astro and timelapse photography, the workshop 

dates have been picked to ensure a new moon and 

winter offers the best conditions astrophotography. 

During the workshop we will visit New Zealand’s 

premier astronomical research centre, 

the Mount John Observatory, to learn more 

about the night sky and photograph 

the constellations. 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 

(0064) 21 0845 322 


Overcoming Self-Doubt in Your Work 

Interview with Paul Rea 

Photoshop which gives me heaps of flexibility with 

post-processing. 

WHAT ARE YOU SHOOTING WITH? 

I have a Nikon D850 with a good range of lenses… 

Too many actually! 

Most of my travel images are with the 28–300mm lens 

because it gives a great range of focal length. Now 

that sensors have much better performance up the 

ISO scale, I think you can use slower lenses with great 

results. 

PAUL, TELL US ABOUT YOU… 

I live in the Wakatipu Basin near Arrowtown with my 

wife Heather. Our two children live in Melbourne and 

we have 1 granddaughter. I am largely retired but 

do have a couple of board positions to keep myself 

engaged and up to date in the business world. I play 

golf and I am involved with the Arrowtown Creative 

Arts Society. Then, of course, I try to fit in a bit of 

photography. 

HOW DID YOU GET INVOLVED IN 

PHOTOGRAPHY AND WHERE HAS THAT 

JOURNEY LED YOU? 

I was a keen photographer back in the 70’s when at 

university. I used to load my own film cartridges and 

process my own B&W images using the communal 

darkroom at Otago University and later with my own 

equipment in our blacked-out bathroom. I dropped 

any serious photography for a long time until digital 

tech began to make it all easier. Now, I’m mostly 

shooting landscapes though that has morphed into 

broader travel related images including a few candid 

portraits and heaps of wildlife. I have taught myself 

Lightroom and have also now reached a level with 

YOU’VE TRAVELLED TO MANY BEAUTIFUL 

PLACES, DOES ONE COUNTRY STAND OUT 

ABOVE THE OTHERS FOR YOU? 

I thought our trip to South Georgia and Antarctica 

was an amazing experience. We had 21 days at sea, 

visiting penguins and other wildlife in an environment 

of stunning beauty. The scenes felt almost fantasy 

as we encountered completely novel vistas and 

animal habitats every day. A highlight was visiting a 

king penguin colony on the Salisbury Plains on South 

Georgia. It was a challenge to capture the sight of 

almost half a million penguins in a single shot. I think 

the image here has expressed the scene quite well. 

I was also blown away by the Galapagos Islands 

where you can get so close to wildlife without 

disturbing them. 

TELL US A LITTLE ABOUT YOUR EXPERIENCE IN 

NAMIBIA… HOW DID THAT TRIP MAKE YOU A 

BETTER PHOTOGRAPHER? 

Having been to Antarctica, I thought I had seen all 

the best landscapes, but Namibia has some equally 

amazing places. The colours, texture and shapes of 

the landscapes in the desert are really fascinating. 

However, it is a very difficult task to portray them 

in a finished photograph. I am not sure that the 

experience made me a better photographer, but 

it certainly showed up some shortcomings. My 

challenge was in trying get the reality of a huge 

vista with contrasting colours and textures into an 

interesting image. The usual techniques of composing 

with a foreground of interest are difficult when such 

foregrounds are scarce. I think if I get another chance 

to go there, I will spend more time looking for narrower 

captures with a longer lens. 

22 


MORNING MEETINGS 

F16, 1/200s, ISO320 

NAMIB DESERT DUNES 

F11, 1/200s, ISO100 


Galapagos Marine Iguana 

F5.6, 1/750s, ISO400 

Namibia Desert Adapted Elephant 

F5.6, 1/1000s, ISO450

Galapagos Red Rockcrab 

F5.6, 1/500s, ISO250 

Galapagos Great Blue Heron 

F5.6, 1/750s, ISO500

FRENCH VILLAGE 

F22, 0.8s, ISO31 

YOU’VE EXPERIMENTED WITH IMPRESSION 

SHOTS RECENTLY, TELL US ABOUT THAT 

EXPERIENCE… 

I attended an exhibition by a guy called Edgar Moroni 

in Uzes, France in June 2019. He had quite a bit of 

impressionist work showing and I talked to him about 

his technique. I then tried it out myself and really 

enjoyed the new style I could achieve by waving my 

camera with a slow shutter speed as it allowed me to 

interpret a scene differently than capturing the scene 

from every angle at its sharpest resolution as I usually 

would. 

I really wanted to represent the Tango dancers in an 

abstract way. The woman with the red dress was a 

great subject, but I needed to get a non-distracting 

background to make it work well – I think they were 

a bit disconcerted by me following them around the 

outside of the dance floor waiting for the background 

I wanted! 

Most of the other attempts I have made have been 

townscapes or landscapes. I choose a slow shutter 

speed so during the day it needs to be stopped way 

down and at the lowest ISO to get a good exposure. It 

is a matter of taking heaps of shots while deliberately 

moving the camera and then choosing the few 

that seem to work. There is a great deal of chance 

involved in getting a good image, so I suppose the 

creative process is in choosing between the many 

shots rather than with the camera. 

WHAT CHALLENGES HAVE YOU FACED WITH 

PHOTOGRAPHY? 

I struggle trying to achieve a personal style in my 

photography and with confidence in my work. 

I think if I were more confident about what I produce 

(something I think every part-time photographer 

struggles with) I would commit more time and effort 

to the practice of photography which would help me 

develop my style – catch 22! 

To help boost my confidence I did commit to creating 

a joint exhibition at our local museum gallery in 

Arrowtown in April 2019. The idea came up after 

I had returned from Patagonia and Antarctica and 

a photographer colleague had just returned from 

Iceland and Norway – we were talking about our 

experiences and our work, and decided, with images 

from both ends of the earth, an exhibition entitled 

“Poles Apart” would be a good idea. 

We ended up with a very successful month long 

exhibition of about 40 mounted and framed images. 

We even had an opening night and sold about half 

of the show. Leading up to the exhibition I had major 

26 


TANGO DANCERS 

F4.5, 2s, ISO200 


doubts about my work and I still do to some extent but 

I now approach my photography with a little more 

confidence. Everyone should make an effort to get 

their work in front of others. Either by media like Excio, 

Facebook or Flickr, or by contributing printed works to 

an exhibition in your area or publications such as this 

magazine. It helps build confidence and confidence 

allows you to be more creative and productive. 

HOW HAS BEING AN EXCIO MEMBER HELPED 

YOU? 

I don’t seem to spend enough time working on my 

photography and I think that is because I respond 

better to completing a specific project. Therefore, 

I really like what Excio are doing to provoke readers 

to try new things with their #Good Challenges and 

I intend to participate in some of those over the 

winter. 

WHAT PLANS DO YOU HAVE FOR THE FUTURE, 

PHOTOGRAPHY WISE? 

I am keen to try some astro photography since I live in 

Central Otago with great opportunities for clear skies 

with minimal light pollution. It is a bit cold out there at 

the moment though! 

WHERE CAN WE FIND YOU ONLINE? 

albums.excio.io/profile/paul rea 

www.facebook.com/PaulReaPhot0s 

www.flickr.com/photos/30626191@N00 

West Coast 

15th - 21st September 2020 

7-Day West Coast Wilderness Photo Tour 

Join Ken Wright and Shaun Barnett on this exceptional seven-day photography 

tour of the South Island’s wild west coast. Timed at the end of winter, when 

the light is crisp and low, the West Coast Photography Tour offers excellent 

opportunities to capture the area’s wild beaches, forests and waterfalls, and the 

snow-covered Southern Alps. 

28 

NZPhotographer 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 

021 0845 7322

PASSIONATE ABOUT PHOTOGRAPHY? 

We have dozens of opportunities for you to showcase your work. 

Let's prove that photography is more than selfies, likes or influencers. 

PHOTO COMMUNITY 

FIND OUT MORE 

Photos (left to right): Marina de Wit, Lee Ann Waddell, Haydn Parkes, Kim Free, Paula Vigus, Peter 

McIlroy, Pamela Johnstone, Brendon Gilchrist, Lex Rudd. 


INSIGHTS FROM 

@excio photo community 

Although we can only give 

you an update in the 

magazine once a month on 

what has been happening 

within the Excio Community, you can 

always check the free-to-download 

app on your phone to keep up to 

date with the newest members 

(www.excio.io/membership), 

newest collections, and newest 

uploads. In June we welcomed more 

international members to the Excio 

family - from Canada, the US, and 

Australia with some of these members 

having already published their 

collections so go and check them 

out! 

We want you to think of Excio as a 

"photopedia" where you can explore 

the world in a visual way, enjoying 

the photographs whilst learning 

as you read the stories behind 

the shots. We have really enjoyed 

exploring our planet with members 

recently - from an underwater 

octopus to coral lichen, landscapes 

of Argentina, methane gas bubbles 

at Minnewanka, and ice fishing in 

Alberta. Of course, you can always 

enjoy a discovery tour around New 

Zealand as you flick through the 

newest collections of places and our 

new member Kyle even offers an 

exclusive special deal for those of you 

who are keen to try and capture the 

Footwhistle Glowworm Caves. 

Our weekly challenges have 

continued too with members 

exploring the effects that 

photographs have on viewers. 

From the colour theory to learning 

how to showcase the senses 

through photography (textures and 

temperatures) there is still much to 

learn and discover so if you would 

like to add a meaningful touch to the 

photos you take and share, you are 

more than welcome to join us! 

You might have seen the latest 'In 

The Spotlight' blog post celebrating 

the creativity of our members and 

wondered how to get your own 

work featured there. Simply check 

the events page (www.excio.io/ 

events) on the Excio website and see 

when the deadline is for submitting/ 

joining. As well as regular scheduled 

events we share interviews, photo 

reviews, and other content including 

our "Learning From The Best" series 

in which we randomly select 

(surprise!) members who have the 

most interesting photos on Excio by 

giving a detailed review of what the 

photographer has done right so that 

others in the community can learn 

from them. 

We hope you enjoy this month's Top 

10 selection on the following pages 

and find inspiration from them. To be 

in for a chance of having your own 

work featured in the Top 10 Excio 

Photos just add something new to 

your Excio collections on a regular 

basis – we know you're all busy but 

even uploading 1 new photo each 

month is progress in getting your work 

recognised and out into the world. 

Ana Lyubich 

Co-founder of Excio, 

Ana's photography 

journey started many 

years ago with one of the 

first Kodak film cameras. 

She loves exploring the 

unseen macro world 

and capturing people's 

genuine emotions. 

@excionz 

www.excio.io 

30 NZPhotographer

EXCIO TOP 10 

JIM GRAYDON 

COME IN 

Fascinating gallery in old Oamaru. Inside and 

out, eyes follow you everywhere. 

excio.gallery/jim 

KATRINA WEIR 

OCTOPUS 

Majestic Octopus slowly moving through the 

water, The Octopus regulary changes its shape. 

excio.gallery/katrina 

July 2020 

31

MELYSSA 

FORGET-TURCOTTE 

A GENTLE GIANT 

Giraffes used to live in most of the open 

country of continental Africa. They were 

wiped out of Egypt by 2600 BC and from 

western and southern Africa in the 20th 

century. The largest populations of wild 

giraffes now live in Tanzania. The species' 

long-term survival is dependent on human 

conservation strategies. 

excio.gallery/melyssa 

ROY CERNOHORSKY 

MAGNOLIA 

A magnolia which I have just finished 

editing. This was taken at Eden gardens. 

excio.gallery/heiny 


KARL BEVIN 

MILK COLLISION 

A rebounding droplet of milk colliding 

with a 2nd droplet. 

excio.gallery/karlbevin 

LEANNE SILVER 

THINKING ABOUT STUFF 

Would love to know what this lemur 

was thinking as it sat thoughtfully in 

front of the glass. Such gorgeous 

animals, and so sad that they 

are one of our planet's most 

endangered animals 

excio.gallery/leanne 


33

DEAN MCLEOD 

CUTE 

There's nothing more pleasing than sitting in a 

gallery viewing great works of art and it's even 

better when you have someone to share it with. 

excio.gallery/sixtyseven 

BRETT BURLEY 

CORAL LICHEN 

Native to New Zealand, this photo was taken in 

Tongariro National Park. Up close, one can truly see 

the intricate formations of this lichen and how it got its 

name. The brownish tips on this Lichen is the fungals 

fruiting body that produces spores. 

excio.gallery/brettburley 


CARMEN THERRIAULT 

HOME IS WHERE YOU PARK IT 

This photo was made on the frozen lake Sylvan 

in Alberta which is where I live. Ice fishing is a 

common winter activity for some in Canada 

and ice fishing huts of all shapes, sizes and 

styles decorate the landscape for the winter 

months. This fishing hut is likely also someone's 

summertime camper. With the full moon rising, 

I thought this photo was very descriptive of our 

winter landscape. 

excio.gallery/carmen 

CONNULL LANG 

BUBBLES AT MINNEWANKA 

This lake was created when they built a hydro dam to 

supply the town of Banff with power in 1941. In doing 

that they flooded another town called Minnewanka 

Landing. All the decaying material at the bottom of 

the lake releases methane gas which floats up and 

gets trapped in the ice as the lake starts to freeze. You 

can (if you want) chisel the ice bubbles open and 

ignite the gas pockets which burn away with a flash. 

excio.gallery/connull 


35

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37

Mini 4 Shot Portfolio 

Our 4x4 feature showcases 4 mini portfolio’s of both 

professional and up and coming New Zealand 

photographers. The 4 images are linked in some way, 

allowing you to get an understanding of what each 

photographer is most passionate about capturing. 

For a change to get your own 4x4 feature in a future 

issue of the magazine, become a subscriber of the 

magazine here. 

BERNADETTE FASTNEDGE 

Portrait of a Single Bloom 

DES PITFIELD 

Can You See The Light 

JO MCCARTHY 

Kowloon Streets 

SHELLEY HARVEY 

Beauty in The Darkness 

38 


BERNADETTE FASTNEDGE 

40 


I live in west Auckland in a quiet little valley surrounded by 

the beauty of nature including farm and domestic animals, 

native birds, trees, flowers, and critters. Suffice to say, I 

have an abundance of nature’s beauty to keep me very 

busy. I also photograph people and places, which are 

included in many of my portraits. One of my pet passions 

is fine art photography, which gives me the freedom to get 

as creative with my camera and editing skills, as I like. 

www.bfphotography.co.nz 

PORTRAIT OF A SINGLE BLOOM 

This is a series of floral portraits taken of a single bloom and then edited 

using some fine art techniques which I have been experimenting with. I 

wanted to focus on one flower only, because I wanted to bring attention 

to its form, or as I say, its essence. Therefore, I also desaturated the 

colours and deleted the backgrounds. I didn’t photograph these flowers 

with the intention to edit them as described above instead, the idea 

came to me as I was going through the images. 

After editing a few more floral portraits, I intend to make some large prints 

using fine art paper. I think these will look quite spectacular when also 

matted and framed ready to hang on the wall. 


DES PITFIELD 

44 


Born in England, and after spending some years in Europe, I found 

myself in New Zealand where I stayed for 28 years. Photography 

was a serious hobby but being a working photographer, only a 

dream. Then an opportunity presented itself in Australia and I’ve 

called Melbourne home for the last 10 years. I had a commercial 

photography studio for 6 years and ran evening workshops too, 

discovering that I enjoyed teaching more than working in the studio. 

Now photography is my passion and my 

pleasure, rather than a business. 

www.despitfieldphotography.com 

CAN YOU SEE THE LIGHT? 

To me photography is about learning how to really see 

light. To see how it touches or lights the subject rather 

than just seeing the subject itself. 

As photographers, we all have places we want 

to visit or that we like to return to. If we can, we 

choose the day and the time in the hope of getting 

the right light. Sometimes the light is good and we 

are inspired but other times it just doesn't happen. 

However, occasionally, if we are lucky and looking, 

the clouds open or you turn around, and suddenly, 

just for a moment, something changes and the light 

is truly amazing, lighting up your landscape and 

touching an element of your subject in a completely 

transformational way. 

Seeing the light is what I present to you in my 4 images. 

At Princes Bridge in Melbourne I walked under the 

bridge, looked back, and saw how the light was 

bouncing off the water. At Williamstown Pier, I looked 

behind me to find that everything was suddenly sidelit. 

In Gippsland, Eastern Victoria, the clouds parted for 

a moment after an hour of dull grey drizzle. Then, on a 

farm track in Toolamba, after an hour of walking up and 

down this farm track looking for scenic spots, the light 

changed and it was the scenic spot! 


JO MCCARTHY 

48 


Starting out in sport photography, I enjoyed the 

challenge of capturing action whilst telling a story. 

I still do. My recent work though has been more in 

the travel and street genres - documenting local 

life fits well with my passion for travel. I’ve also been 

enjoying working more with monochrome, I find 

that stripping away the colour simplifies the image 

and removes some of the distractions. 

www.kinenphotography.com 

KOWLOON STREETS 

Whether it’s a city I’m familiar with or a new 

destination, wandering with camera-in-hand is 

my ‘happy place’. I love observing life unfold, 

and keeping an eye out for features with which to 

frame the scenes that fate may gift me that day. 

This set of images are from a far too brief visit to 

Hong Kong last November. It was the second time I 

had been there, and was a reminder that however 

well we know a location, there are always new 

things to discover and new ways to see something 

familiar. 

All four images were taken in the Kowloon district 

north of Hong Kong Island. Nathan Road is the 

main street which runs north-south through the 

Kowloon peninsula, Xiqu Centre is an arts centre 

that opened in January 2019, then there's the Tsim 

Sha Tsui subway station, and the market streets in 

Jordan. 


SHELLEY HARVEY 

52 


I dreamt of being a photographer from a young age but coming from a time 

when schools lacked equipment and darkrooms it was an unreachable goal 

back then. However, with a background as a hair and makeup artist, my 

recent journey into portrait photography has been easy and exciting and I've 

now been creating digitally for 3 years. I went back to high school and sat my 

level 2 and 3 in photography achieving excellence and upon completion, 

my husband bought me my first DSLR. Not long after, I was introduced to 

photographer Scott Fowler who has been a phenomenal mentor. 

www.instagram.com/shelleyharvey01 

BEAUTY IN THE DARKNESS 

These are images that come from deep within my subconscious mind. The beauty in the 

darkness suggests a certain turmoil yet holds strength around the main character - They will 

survive the torment and pain and remain true to themselves. 

The digital darkroom allows me to build on my creative visions. My love for portraiture gives 

me a good starting image which I often find too pretty or generic, so using the creative 

tools in Photoshop and Nik Software, along with images and textures I have harvested, I 

begin to manipulate the images into a story. The creation of my images can take a short 

or exceedingly long time to develop, depending on the elements within the scene, the 

emotion I wish to evoke, and my state of mind at the time of processing. I never know 

exactly how an image will evolve until I have finished it. 

When in the zone, I allow my creativity to flow freely without questioning the reason behind 

the image as creativity takes courage, and I trust that one day I will understand the 

underlying meaning of what I have created. 


54 



Late Autumn 

Seascape Photography 

by Richard Young 



57

“While rocks were photographed, the subject of the sequence is not rocks; 

while symbols seem to appear, they are pointers to the significance. The 

meaning appears in the space between the images, in the mood they raise in the 

beholder.” – Minor White 

It has been a strange autumn. I have not had as 

much time on the road lately, and while I have 

enjoyed a break from traveling, I have also missed the 

experience of connecting with more wild landscapes. 

I live right next to the sea (and am not sure if I could 

live too far from it now!) but this section... of coastline 

has been built upon and some of its wilderness 

suppressed. Even so, the beautiful thing about any 

view across the ocean is that it’s different every day. 

Each day the waves carry a different level of energy 

and the expansive sky a different tone, giving the 

landscape a different mood. This is what I would 

miss if I did not live next to the coast. I feel the need 

for a break, time in a more wild landscape – maybe 

even some photography – so I pack my VW camper 

and drive out to one of my favourite sections of 

coastline for a few nights away. As I sit here writing 

this, I am looking out across a rugged coastline on 

a fine afternoon in late autumn, with the sun low in 

the sky and warm on my face. The morning's breeze 

has dropped and this coast doesn't feel as wild as it 

normally does – on other days, I’ve struggled to stand 

on the beach as mighty southerly waves threatened 

my existence, but today the swell has calmed to a 

relaxing ebb and flow. The warmth of the afternoon 

sun makes it hard to imagine that winter is on its way. 

The fur seals that call this landscape home also seem 

relaxed today – I watched one floating out by the 

rocks for ages. There are no waves for her to surf, and 

it looks like she has finished her fishing for the day. 

Tonight, I have decided not to head to my favourite 

sunset spot (an impressive spine of rock that juts out 

into the wild ocean). It feels too dramatic for such a 

pleasant day, and it doesn’t match the serenity I feel. 

Instead, I've settled for the unimpressive section of 

coastline right next to where I will camp in my van. 

Not traveling for sunset has removed the pressure to 

create an image, but as the warm sun starts to drop, 

I decide to head on to the beach anyway. It's been 

a long time since I have been out shooting, but I am

just happy to be here enjoying the moment on such a 

nice day. 

If I am going to take a photograph, I want it to be 

about my experience with the landscape today – 

that feeling of the late afternoon sun, the relaxing 

ebb and flow of the waves. I have been here many 

times, and will return again; why would I need another 

image that simply represents the subject? I am happy, 

content, and relaxed. This is the feeling I want to 

capture and share with the viewer. Maybe this is why 

I did not feel the need to travel to one of the more 

“impressive” vistas that are just only a few minutes up 

the coast. I want to make an image I haven't before, 

one that expresses my mood today – can I express 

this in my photograph? The air is clear of the dust that 

carries down from the dry hills during summer, clear 

of the light mist sometimes formed from the spray of 

breaking waves. The hills across the bay feel a little 

bit closer. As I wander along the beach, I spot a rock 

out to sea that looks almost like a hill itself; as I walk 

closer, it lines up to the hills on the horizon. The rock's 

shape echoes that of the hills, creating a harmony 

between the two objects. I reach for the telephoto 

lens in my bag to refine the composition and suppress 

any surrounding elements of drama along the 

coastline. Moving a little higher up the beach allows 

for some negative space above the rock, setting it in 

balance against the hills. The extra height above the 

water allows the light to reflect off its surface just in 

front of the rock, offering a little more warmth. I move 

about three times – each only a step – and finally, 

I am completely happy with how the two objects sit 

together. The ripples on the water's surface, gentle as 

they are, create tension, so I lengthen my exposure 

to make the image feel calmer. I take this one 

photograph, and then – feeling no need to search for 

further compositions – I walk back along the beach in 

the fading light. 

Nearly 24 hours later, I sit here trying to break 

down and document the experience of last night's 

photograph, as I look out at the same rock from 

my camp – where I have not moved from all day. 

I did not have to consciously consider every step 

of the process: my own mood guided that of the 

photograph. It was an organic process that arose 

from the simple desire to enjoy a fine late autumn day. 

When I woke this morning, the crisp air carried the 

promise of winter. Although it was another fine 

day, the weather is now starting to turn. Sunset is 

approaching, and the day feels softer. High clouds 

have rolled in across the bay, and the hills look more 

distant than they did yesterday. A front coming in 

across the Pacific is threatening rain for tomorrow. 

Already the sky feels much cooler, and the clouds 

are hanging much lower in the sky, carrying a cool 

blue tone. The sea is also colder, lacking the warmth 

reflected from last night's sky. Perhaps it's not just a 

weather front but winter itself that is approaching over

the horizon. I thought about heading to yesterday's 

rock – how different would it look in tonight's light? But 

the rock hadn’t been chosen for being a particularly 

notable subject; it had been chosen organically to 

express my mood. I decided that photographing it 

again might dilute last night's experience. 

Instead, I start walking in the opposite direction. The 

landscape has become much more minimalistic as 

the tones of the sky, hills, and sea begin to blend 

together as one. After a while, I stop to line up a shot 

of a round rock. I study it through the viewfinder, but 

decide not to take a picture. It feels too complex 

for tonight. The lower contrast inspires me to further 

simplify the landscape. A little further up the beach, 

I find an area clear of foreground rocks. The scene 

suits the mood, and I capture the second photograph 

of my trip. 

Back at my van, I study today's photograph over a 

glass of red wine. I consider processing it – maybe 

I should wait until I’ve had some space from the 

experience. But the experience was the goal of the 

image. So I proceed, feeling that if I leave it until I get 

home, I might forget the mood I was trying to express. 

Can I approach my processing expressively to help 

convey my feelings to the viewer? 

I wake to the sound of waves. A first look out to sea 

presents a dark, ominous sky – the landscape holds 

more tension this morning. The ocean has gained 

back its normal power, and I can see waves hitting 

the side rock I shot on the first day. It feels very 

different from when I arrived two days ago. I had not 

planned to shoot anything this morning. I am quite 

happy laying here watching the waves roll in across 

the bay while sipping a morning coffee. But then 

I notice the wildlife has also woken up. It’s a gannet – 

the first one I have seen in three days. I watch him 

through my binoculars as, dwarfed by the waves, he 

turns and dives into the sea. He has become part of 

the landscape, making it even more dramatic. His 

energetic turns above crashing waves capture the 

feeling of this morning. Maybe I will take a photograph 

after all. Just as I return to the van, I feel a drop of rain 

land on my cheek. It's hard to imagine it was so warm 

only two days ago – winter has arrived. 

EXPRESSIVE PHOTOGRAPHY – LEARN THE ART OF EXPRESSIVE PHOTOGRAPHY AS PART OF 

OUR ONLINE PORTFOLIO & PROCESSING MASTERCLASS. THIS ONLINE COURSE GUIDES YOU 

THROUGH THE PROCESS OF CREATING A PHOTOGRAPHY PORTFOLIO WHICH SHOWCASES 

YOUR UNIQUE STYLE AND VISION. IT IS A COMPREHENSIVE AND COHESIVE COURSE COVERING 

EXPRESSIVE PHOTOGRAPHY AND ADVANCED POST PROCESSING TO DEVELOP YOUR SKILLS 

AND EXPAND YOUR CREATIVITY AND PHOTOGRAPHIC KNOWLEDGE. – RICHARD YOUNG

BEST 

OF 2020 

SO FAR 

READERS SUBMISSIONS 

Submit your favourite photos 

taken so far in 2020 by 15 July for 

a chance to be featured in the 

next issue of NZPhotographer. 

Submit at www.nzphotographer.nz

PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'WINTER' 

WINTER TARN 

F10, 2.5s, ISO100, 10mm 

Around Queenstown there are so many opportunities to experience 

winter. This was taken on the Remarkable Mountain Range one evening 

as the sun was setting and the moon was rising. 

Sarah Smith 

62 


ICE MAN 

F5, 1/50s, ISO64, 35 mm 

With sunny skies in Otago there was not much sign of winter apart from 

the random ice puddles along the way. This one looked like a face to 

me so I snapped my other half to go in the frame. He is calm and patient 

so Ice Man fits him nicely. A multiple image combined in camera. 

Ann Kilpatrick 


ALPINE WAKE UP 

An early morning start from Mueller Hut, under the watchful eye of 

Aoraki. Views over the Mackenzie Country proved to be a worthy 

distraction from the numb toes and tired eyes after a sleepless night 

in the hut. 

Bianca Bratton 

64 


EARLY MORNING IN THE ALPINE 

After a dusting of fresh snow the night before, we awoke at Mueller Hut 

like children on Christmas to clear skies and the sun casting first light on 

the mountains of the Mount Cook National Park. Donning head torches 

and puffer jackets, we ventured into the crisp morning air, welcoming in 

the first day of winter. 



CHANGE OF THE SEASONS 

As sure as the seasons change, life after lockdown resumes. The snow 

line creeps further down the hills and the trees lose their Autumn leaves, 

it is the start of June and Winter is upon us once again. 


66 


CHILDREN'S BLISS 

The monochrome original photograph was taken in the small village of 

Suffolk, UK on a Rolleiflex medium format camera. There was no school 

for 3 days so children could enjoy endless play. 

Don McLeod 


FROZEN 

F1.4, 1/125s 

With little opportunity to get out and photograph during lockdown, I had 

some fun with experimentation. Hydrangeas were put in a container, 

immersed in water, and frozen overnight with resulting effects. 

Gail Orgias 

68 


WINTER SWELLS 

Winter at Mount Maunganui and the first big ground swell hits the 

coast. A strong offshore wind blows plumes of spray of the tops of 

the waves... Magic! 

Graham Jones 


POUAKAI CIRCUIT REFLECTIVE TARN 

I visited Mt Taranaki with friends with the hope of getting clear sky so we 

could do some Astro but unfortunately the weather was not the best 

when we got there. Mother Nature never disappoints though, when we 

reached the trans the sun was setting and a beautiful orange colour 

popped while a small cloud was passing the mount. We were able to 

see the peak with the snow on top and we were able to capture some 

amazing photos. 

Isaac Khasawneh 

70 


A COLD NEW ZEALAND EVENING 

F4, 1/320s, ISO100, 24mm 

When I saw this happening before my eyes (after being stood there for 

a good hour prior) I knew I had to get the shot of the farmer moving 

cattle as the sun set in the background. It was almost too good to be 

true! I think it really encapsulates New Zealand life, with the pylons 

being a reminder of modernisation in what seems like a prehistoric time 

(when you're in New Zealand countryside). This has become one of my 

favourite spots as it's only a short drive from my house! 

Jack Kingston 


A FOGGY MORNING ON KARAPIRO LAKE 

F3.2, 1/8000s, ISO100, 24mm 

I find myself in a perpetual state of awe living in New Zealand. The four seasons in one 

day makes for an ever changing landscape which is constantly stunning. With this 

winter photo, I woke up one morning to a blanket of cloud covering everything I could 

see. I knew this was a morning to head down to the lake to see what the view was like. 

It was only when l got to the waters edge that I saw the shot I wanted to take. 

Jack Kingston 

72 


WATERFALLS FALL FROM THE CLOUDS 

F7.1, 1/200s, ISO400 

I remember seeing this the first time I got out of the car on a wet and cold winter 

morning in 2018. I instantly knew I had to get my makeshift waterproof camera 

cover (a supermarket plastic bag) out and take some photos. Enroute, I kept seeing 

cars taking this downward winding road, disappearing into trees and the rainfall, so 

I was excited to see what was in store for me when I got to the bottom of the road. 

Jack Kingston 


MOUNT NGAURUHOE 

Driving along the desert road is always a treat with the stunning 

vistas and mountains. One winters day, it was very clear and Mount 

Ngauruhoe had a dressing of snow. 

Jo Wright aka Pixie Rose 

74 


MOUNTAIN HEART 

The gorgeous Tongariro region with Mount Tongariro one winters day 

when the mountain was steaming a little. For me, it was a stunning scene 

that looked like a heart. 

Jo Wright aka Pixie Rose 


SNOW BLIND 

In January I did a Winter in Yellowstone photography tour, something I 

had always wanted to do. We stoped by a river to watch two coyotes 

working the river. One was trying to decide where it should enter the river 

from the snowy river bank and it mucked around for 30 minutes or more, 

getting reading to jump and then chickening out. Eventually its partner 

tired of this and decided to trot along the river towards us. I followed it 

with my camera and was pretty happy to get this shot. 

Lynne Roberts 

76 


GHOST TREES 

Another shot taken on the Winter in Yellowstone photography tour. 

We left the hotel very early to head up to a spot known to be pretty 

spectacular after a cold night. The coldest it got while I was in 

Yellowstone was -19 C but on this morning it was probably around -15 

to -10 C. We were all rugged up and spent over an hour in this spot 

photographing the trees and creeks. 

Lynne Roberts 


WINTER WONDERLAND 

As part of the Winter in Yellowstone photography tour, we had a whole 

day to wander around the Old Faithful area with all its wonderful thermal 

features. It was nice to see the sun come up and bring a bit of relative 

warmth to a -8 C morning. 

Lynne Roberts 

78 


ALPINE SPIDER 

F5.2, 1/30s, ISO125, 59mm 

A young man from Hawkes Bay lugged a Spiderman costume to the 

Dome in Ruapehu's summit plateau so he could get a photo for his son. 

We had perfect camping conditions up there, which was just as well for 

Spiderman. 

Peter Laurenson 


THE DUNES ARE AWASH 

F11, 1/500s, ISO180, 110 mm 

Big waves hit Wellington's south coast recently and I spent ages 

watching them wash into the sand dunes. I like how the colour of the 

stormy sea and the grass in the dunes seem to complement each other 

and how they are separated by the rope fence. 

Peter Maiden 

80 


SNOWED IN FOR THE YEAR 

Winter in Leavenworth, Washington, USA in 2017. 

Sara Petercokeleyson 


FROST 

Taken in Leavenworth, Washington, USA in 2016. 

Sara Petercokeleyson 

82 


I'LL CATCH IT!!! 

F6.3, 1/1250s, ISO200, 50mm 

During the Wanaka Sled Dog Festival held at the Snow Farm in Cardrona, 

I was lucky enough to get to photograph many of the dogs. Here I 

captured Polar having fun in the snow with my Canon 6D MkII. 

Teresa Angell 


SNOW FARM CARDRONA 

A beautiful winter landscape of the Snow Farm at Cardrona taken with 

my Samsung Galaxy S8. 

Teresa Angell 

84 


LOOKING INTO WINTER 

Heading back from the Snow Farm at Cardrona during a snow storm, 

we were held up on the road as cars in front became stuck in snow 

drifts. I stayed snug and warm in the car capturing the outside conditions 

through the window using my phone camera. 

Teresa Angell 


”ONCE 

PHOTOGRAPHY 

ENTERS YOUR 

BLOODSTREAM, IT 

IS LIKE A DISEASE.” 

– ANONYMOUS 

86

NZPhotographer Issue 33, July 2020

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