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ISSUE 37, November 2020
CAPTURING FUR
AND FEATHERS
INTERVIEW WITH
KELLY PETTITT
FROM FANTASY TO FINE
ART PORTRAITURE
BY LINDA CUTCHE
COMPETITION
WINNERS & HIGHLY
COMMENDED
A DEEP DIVE INTO
UNDERWATER
PHOTOGRAPHY
BY IRENE MIDDLETON
NZPhotographer
November 2020
1
WELCOME TO ISSUE 37 OF
NZ PHOTOGRAPHER MAGAZINE
HELLO EVERYONE,
We're excited to announce the
winners of the NZ Photography
Competition in this bumper issue,
and also to showcase the highly
commended images. Judges had
a difficult time selecting 1 winner
for each category and then only 5
highly commended images so don't
feel bad if your image is not in the
magazine. To view all of the entries,
head to our competition album on
Facebook.
Competition aside, it's a great issue
for inspiration with Lorri Adams
inspiring us to give the zoom and blur technique a go, Linda
Cutche showing us her portraits, our interviewee Kelly Pettitt
giving us tips for bird and dog photography, and Irene Middleton
taking us underwater. In 4x4 we have a whole range of genres
too from family photography to landscapes and seascapes plus
urban photography.
In Excio Top 10 we're thrilled to be able to feature a photo of
a white tui by Vandy Pollard. Talking of Excio, whether you're
already a member or have been thinking of becoming a
member, take a read of Ana's article as there are some exciting
announcements!
Emily Goodwin
Editor NZ Photographer
NZPhotographer Issue 37
November 2020
Cover Photo
"They call this Silence,
We call this "Home"
Maria Ligaya Bumanglag
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
5
8
15
16
22
30
48
52
60
81
83
BEHIND THE SHOT
WITH LORRI ADAMS
FROM FANTASY TO FINE ART PORTRAITURE
BY LINDA CUTCHE
INSIGHTS FROM
@EXCIO PHOTO COMMUNITY
EXCIO TOP 10
CAPTURING FUR AND FEATHERS
INTERVIEW WITH KELLY PETTITT
MINI 4 SHOT PORTFOLIO
TUMBLEDOWN BAY
BY BRENDON GILCHRIST
A DEEP DIVE INTO UNDERWATER PHOTOGRAPHY
BY IRENE MIDDLETON
NZ PHOTOGRAPHY COMPETITION
THE IMPACT OF SOCIAL MEDIA
BY RICHARD YOUNG
PORTFOLIO BEST READERS' SUBMISSIONS THIS
MONTH 'MINIMALISM'
BEHIND THE SHOT
WITH LORRI ADAMS
22
CAPTURING FUR AND FEATHERS
INTERVIEW WITH KELLY PETTITT
A DEEP DIVE INTO
UNDERWATER
PHOTOGRAPHY
BY IRENE MIDDLETON
5
52
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FANTASY TREE
REFLECTION
F22, 1/3s, ISO100
Behind The Shot with Lorri Adams
LORRI, TELL US WHO YOU ARE AND WHAT YOU DO!
Wellington born and bred, I was transplanted into
small town NZ, Kawerau in the Bay of Plenty. Down
from a busy, happy, noisy household of 5, it’s now just
me and the cat.
Since retiring I have more time for the things I enjoy
including crocheting, sewing, walking (plenty of lovely
spots for walking here with the river only 2 minutes
from my home) but I do still miss the clients from my
last full-time job working in residential homes caring
for intellectually disabled folks – those guys were all
awesome to work with and support.
HOW AND WHEN DID YOU GET STARTED
WITH PHOTOGRAPHY AND HOW HAS THAT
DEVELOPED AS A HOBBY?
My dear mum had a Kodak Brownie 620, which
intrigued me, she first allowed me to take photos
with it, and I was so proud the day I “graduated” to
loading the film for her. I was given my first camera
for my 12 th birthday – a very happy day for me. Over
the years my interest in photography has waxed
and waned, but somewhere along the way, I began
taking a camera with me all the time. I have captured
some great candid photos of family, friends, and
workmates, some more embarrassing than others, all
because I had a camera with me.
I got my first digital camera in 2003, a little point and
shoot, and then a DSLR in 2011- I love digital for the
ability to process my own images, and have them
much sooner than in the film days.
Much the same as decades ago, I find I never go
anywhere without a camera these days, even if it is
just the one on my phone. The more things change,
the more they stay the same.
WOULD YOU SAY YOU HAVE A PHOTOGRAPHY
STYLE OR A PREFERRED GENRE?
While I do tend to take “standard” tourist photos when
I travel (although I do try to find a different angle,)
I find for my own personal satisfaction, I prefer creative
photography, where I can capture something that I know
NZPhotographer
November 2020
5
is completely original, and that when I share it with others
it gains attention. This “attention seeking” is the opposite
of how I am in “real life”- I am more a behind the scenes
type of person, preferring to just be “one of the crowd”.
WHAT ARE YOU SHOOTING WITH?
At the moment I’m shooting with a Nikon D5000,
(still) using the kit lens I bought with my D3100 quite
a few years back. I also have a 70–300mm zoom,
and have just inherited a Canon FD35–105mm f/3.5
so I will be buying an adaptor so I can have a play
around with that too. I also have various filters, macro
extension rings, and a lensball. Oh, and a fish-tank
for water drop/splash photography – when I bought
the tank from a friend she asked me what sort of fish
I was going to get and was rather puzzled when I said
I wasn’t, that it was going to be a photography prop!
TELL US ABOUT THIS PHOTO…
I had just discovered the zoom blur technique and
had a fun afternoon in mid-November playing around
with this technique. I had created a few images I was
pleased with in my front garden when I noticed the light
on the maple trees that are planted just over the fence
in the neighbouring property. It was a gorgeous scene
on a clear sunny afternoon, this shot actually taken at
3.45pm. I knew I had to capture the trees in all their glory
at this moment and had a feeling I could come up with
something with a fresh, clean, green feel to it.
The zoom blue technique is quite simple considering
the interesting results it provides – To achieve this shot
I focussed on the tree, made sure autofocus was off,
and zoomed the lens out while the shutter was open.
The trees have always provided such a glorious burst
of colour, especially when backlit by the setting sun,
from the reds and yellows of Autumn through to the
lush greens of Summer, but the light on this day was
just about perfect.
WHAT WAS HAPPENING BEHIND THE CAMERA?
I had to move my car from the carport so I could
get the image I was after and was hoping that my
(now ex) neighbour wouldn’t decide to interrupt my
fun (he had ruined more than one evening attempt
of capturing moon/planet combinations and other
things of interest in the night sky!)
As I was new to this technique I realised it would be
trial and error, hopefully more trial and less error.
I have to admit to a bit of chimping as I was taking
these photos, I needed to know if I was on the right
track, that I was getting the correct amount of blur,
and that the colour feel was what I was aiming for.
In the end I was very pleasantly surprised with what
I had achieved, I knew I had a couple of images
I could definitely work with to get to the end result
I was envisaging.
TALK US THROUGH THE POST-PROCESSING…
The original photo was okay, but definitely needed a
bit of tweaking in GIMP as the carport roof showed
as a grey blur and the concrete driveway was also
quite evident but I knew I had the basis for something
quite interesting. It didn’t take much in the way of
post-processing, I brightened the image slightly,
cropped to remove the shadowy carport roof, then
added a second layer, rotating that 180 degrees.
I added an alpha channel to the top layer, then
erased the lower half of that layer so I had a perfect
mirror image.
HOW HAPPY ARE YOU WITH THE FINISHED
IMAGE – ANYTHING YOU’D GO BACK AND DO
DIFFERENTLY?
I would like to try it from a different perspective,
lower down, higher up, different angle, not that
I am unhappy with this result, but I’m curious now
as to what else I could conjure up. I would also try
the reverse technique, instead of zooming (rotating)
the lens, I’d hold that steady and rotate the camera
body, I’ve done this with other subjects and have got
some fascinating results.
WHAT ELSE SHOULD WE KNOW ABOUT YOU?
To be honest, photography has kept me sane,
I suffer from depression, and have found that just
heading out with a friend with our cameras and
flasks of coffee plus snacks, just going where the
wind blows us, down random country roads to see
what catches our attention, these safaris have been
a godsend so many times. I always come back
refreshed and in a much calmer state of mind.
I suffered a little through the Level 4 lock-down
earlier this year, and had to content myself with solo
walks close to home, so, once back down to Level
2, a photo safari was one of the first things that was
organised.
WHAT’S NEXT FOR YOUR PHOTOGRAPHY?
My latest project is creative self portraits, trying
different techniques, although I’m yet to figure out just
how I can take a selfie using the zoom blur technique,
unless I involve mirrors.
WHERE CAN WE FIND YOU ONLINE?
http://excio.gallery/lorri
www.gurushots.com/random.diva/photos
www.viewbug.com/member/LA_Pix
6 November 2020 NZPhotographer
ONLINE
Portfolio & Processing
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This online—6 module course—guides you through
the process of creating a portfolio to showcase
your unique style and vision.
It opens up the world of expressive photography, using
an intent to guide the direction of your processing.
For more information click here
www.photographyworkshops.co.nz
NZPhotographer
November 2020
7
From Fantasy to Fine Art
Portraiture
by Linda Cutche
URBAN GODDESS
Model: Kelly O’Brien
F5, 1/500s, ISO100
8 November 2020 NZPhotographer
My journey into photography started when
I met my partner Peter, who always had
a camera wherever we went. He was not
only documenting our time together, but also
the surrounding landscapes of the places we
visited. Prior to that moment, I had dabbled with
taking photos of family events and holidays, but
nothing beyond the basics. My interest grew as I
was inspired by his work, so I picked up a camera
and started for the first time to take images with
purpose, mainly macros from nature.
Later, after a few years of depending on Peter’s
advice on camera settings, and growing
in confidence, I decided to try my hand at
landscapes. My love of photography was ignited
but back then, I could never have dreamt that my
baby steps would one day be rewarded with some
international recognition – I have had honourable
mentions in the Black and White Spider awards,
bronze medals in the Epson Panorama Awards, and
the main ones like IGPOTY (International Garden
Photographer of the Year) where I was a finalist in
the Macro Project and commended in the Beautiful
Gardens category and part of the winners book.
Also, for the Sony World Photography Awards I
got third place in the National Award section, in
National Geographic, my landscape image was
chosen as one of five to promote their worldwide
Travel Competition and was later purchased for the
2018 National Geographic book “Spectacle” and
their 2020 calendar “Beautiful Landscapes”!
Portrait photography is a very recent addition to
my portfolio, but is something I have been drawn
to for a long time - my heart was always in it, but I
thought portrait photography was technically too
demanding and time-consuming so I put it on the
back burner until my retirement reignited the old
flame and gave me the opportunity to continue my
journey in this direction.
It has been a tough learning curve, with logistics
and planning that far surpasses landscape or
macro photography. When you think about it, a
landscape is always there, willing and waiting,
leaving only for you to rendezvous with a
favourable light. Portraiture is an entirely different
ball game, in a way like moviemaking - you come
up with a theme or idea, and translate it into a
sequence of actions, like a script which includes
everything from your model poses to choice of
location which is critical for your storytelling ability.
OLD LIGHT
Model: Scout Liu
F1.4, 1/100s, ISO360
NZPhotographer
November 2020
9
Early exercises of photographing family and friends
were not beneficial for my technique, I needed to
produce something that I felt was uniquely mine,
in style and substance and looking at work by the
famous portrait photographers like Annie Leibovitz
and Peter Lindbergh inspired me to explore new
avenues of visual expression.
I decided to join Facebook pages to ask if any
models would work on a TFP basis (Time for Prints,
where photographers and models agree on print as
payment for a shoot) and was lucky enough to get
a reply from Scout Liu who agreed to work with me.
My world changed, as I found someone to discuss my
ideas with and benefited from her insightful feedback.
I discussed with Scout my love of old paintings and
compositions, particularly the ones where the subject
is surrounded by colourful textures and illuminated
with a delicate light. We decided to do a modern
version of this, working on the outfit and layout to get
the desired effect. The image “Old Light” was the
brainchild of this creative collaboration.
As the story goes, a world of dreams and a practical
one are often out of step with each other, which
in my case resulted in a very clumsy start. Logistics
were a significantly bigger part of the endeavour
than I thought and I would find myself not completely
prepared for photoshoots. The leading idea was
there, but the operational difficulties made me rely on
my model to bring it to a satisfactory conclusion. After
that, I put extra focus on planning, including location,
costume, and makeup choices. With the first positive
results behind me, my pool of models got larger and
I was able to create different themes based on the
variety of their looks.
It is worth mentioning that this genre of photography
includes some costs with clothes, makeup, props and
sometimes locations themselves having to be paid for.
To remedy this I decided to use public spaces or my
home as a makeshift studio. I find that second-hand
shops are the best place for outfits, but if one is blessed
with sewing skills, they can make their own. Some
models do have a wardrobe which provides extra
options when trying to create different ‘looks’ too.
In my image ‘Urban Goddess’ I had the idea to recreate
a scene from Greek mythology within a contemporary
context. I searched for a location and found that
Massey Memorial in Wellington would be the closest to
what I wanted. With model Kelly O’Brien, I finalised the
details like makeup, hair, and outfit. The moody day
provided changeable light and a sense of drama which
perfectly complemented the scene in the image.
I often search for locations before the shoot which
involves photographing the places without the subject
just to find out how the delicate interplay between
shapes, shadows, and light looks on the screen. A good
example of this is the image ‘White Fairy 101‘. The outfit
was a result of a second-hand shop visit, while the
location needed to contribute lush vegetation with a
INDIGENOUS GLOW
forest-like background. I found one at Karori cemetery.
It was a kind of fantasy shot I like and the one my
model Kelly O’Brien wanted to have in her portfolio.
Finding the location is the foundation of the concept
with the rest of the creative endeavour revolving
around it. I find that this helps ‘sell’ the driving idea
behind the project to your model(s) helping them
understand costume and makeup choices as I
generally choose a style of makeup but rely on the
model to produce it exactly or as close as possible to
my suggestion. Knowing the theme and location also
motivates the models in that all-important acting role
in front of the lens.
I have found that this style of photography satisfies the
dreamer in me, cultivates my creativity, and inspires
me to keep advancing. In some way it brings out
the child in me, reminding me of a time when I was
young and played dress-up with my sister Christine in
our imaginary role-play! The images you’ve seen here
are a mature reflection of those memories, imaginary
worlds of childhood and nostalgia for the times in our
lives when you could have anything you wanted by
simply reshaping your dreams to fit your desires. Yes, it
can be challenging, but is also very rewarding when it
all comes together.
www.facebook.com/linda.cutche
F1.4, 1/100s, ISO2000
www.instagram.com/cutchelinda
Model: Kayla Tui
ABOVE IT ALL
MODEL KELLY O’BRIEN
F5, 1/400s, ISO100
WHITE FAIRY
MODEL: KELLY O’BRIEN
F2.8, 1/400s, ISO100
NZPhotographer
November 2020
11
WATER BABY
Model: Scout Liu
F2.8, 1/50s, ISO1100
12 November 2020 NZPhotographer
NO LOOKING BACK
Model: Melissa More
F1.4, 1/160s, ISO100
NZPhotographer
November 2020
13
PHOTO COMMUNITY
example
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Showcase not just your services,
but your passion about
#PhotographyForGood too.
Professionally
designed web page
you can start sharing
straight away.
All your articles,
interviews and
publications in
one place.
Show your
potential clients
you have the same
values as them.
VIP MEMBERSHIP
14 November 2020 NZPhotographer
PHOTO COMMUNITY
Do Good. For Good. Feel Good.
TAKING THE LEAP: BUILDING
OUR EXCITING COMMUNITY
TOGETHER.
With Covid continuing to cause
chaos and uncertainty in our lives
many people experience uncertainty
due to a drop or total loss of income.
We encourage you not only to
continue to dedicate time to doing
what you love, but also to explore
new opportunities that move your
photography beyond being 'just'
a hobby. We have been busy
coming up with some exciting new
developments over the last month
after realising that the best thing
Excio can do as a community is to
join forces with you, the individual
photographer, to encourage
success. That's why we have
refocused our strategy on featuring
and promoting our members even
more – Here's what we've been
working on over the last month with
more exciting opportunities coming
soon!
1. LISTING YOUR
#PHOTOGRAPHYFORGOOD
SERVICES
Whether you are a professional or
amateur photographer, if you have
something to offer photographywise,
be that in that form of photo
sessions, workshops, prints or
products, you can now list your
services on Excio. Once you send
us your information by filling out a
form on Exciohub, we will create a
professional looking page for you
that lets people know what you have
to offer plus, links to all articles and/
or interviews you have taken part in
either on the Excio blog or here in the
NZP magazine.
2. PUBLISHING YOUR STORIES
All Excio members have the
opportunity to be featured on the
the Excio blog whether taking part
in an interview, sharing a recent
trip or project, or something else. By
showcasing not just your services
but the fact that you are passionate
about #PhotographyForGood you
increase your chances of getting
potential clients or sales from
people who want to work with a
photographer who has the same
values as them.
3. DOING #GOOD THROUGH
PHOTOGRAPHY
We celebrated Pink Shirt Day with
our members last month, our Feel
Good Photography online gallery
[https://feelgood.photography]
turning pretty pink! A huge thanks
to all members who submitted
their pink photos for display. If
you haven't heard of it, Pink Shirt
Day is all about uniting forces and
standing up against bullying in
whatever form it may take. We’ve
seen bullying in photography
groups and believe there should be
zero tolerance for it. Here at Excio
we are all learning, growing, and
celebrating #PhotographyForGood
achievements together.
4. EXCIO BI-MONTHLY JOURNAL
From January 2021 we will be
launching a bi-monthly journal to
help get even more wonderful
photographs and stories from Excio
members seen and heard by our
global audience.
Ana Lyubich
Co-founder of the Excio
Photo Community and
NZPhotographer Magazine,
Ana is a passionate
photographer and
photography mentor. She
loves exploring the unseen
macro world and capturing
people’s genuine emotions.
Ana is always happy to help
other fellow photographers so
don’t hesitate to get in touch
with her at ana@excio.io
@excionz
www.excio.io
We have redesigned our membership plans to make them more affordable - you can now join
us from only $39/year. We've also updated our website to bring more members’ stories up front
for everyone to see. “We grow by lifting others” since we all learn from each other by sharing
our personal experiences, stories, and tips. We love discovering new talents and look forward to
sharing your photography journey too. Explore membership benefits here and join us to do #good.
PHOTO COMMUNITY
From more than 20,000 photographs published on Excio
by our members, these 10 made it to the top this month.
Top 10
16 November 2020 NZPhotographer
WERNER KAFFL
LONELY WAVE
Wellington south coast, one single wave
shooting out within some relatively calm waters.
http://excio.gallery/werner
JACQUI SCOTT
SUNRISE ON MT SEFTON
On a field trip with the camera club I was up early
to catch the sunrise. The sheep didn't seem to be
worried about me and decided to hang around.
https://excio.gallery/jacqui
NZPhotographer
November 2020
17
VANDY POLLARD
LEUCISTIC OR WHITE TUI
A rare Leucistic or White Native Tui
pondering what all the media fuss is
about as it fed on the yellow pollen
of Harakeke flowers this evening at
Mount Victoria in Wellington. Bird
Leucism is a genetic mutation that
results in a total or partial reduction
of colour in a bird’s plumage. The
reduction of colour is due to an
inadequate deposition or fixation of
pigments only in the bird’s feathers.
Other parts of the bird’s body usually
have normal coloration but this Tui
has unusually light eyes, beak, and
legs.
http://excio.gallery/vandy
IVAN D
HONEY DROP
With a macro lens and honey you
can create beautiful macro art.
http://excio.gallery/ivan
18 November 2020 NZPhotographer
MELYSSA F.T.
A GUARDIAN OF THE PEOPLE
Black and White Series - Part 14.
https://excio.gallery/melyssa
CHARLOTTE E. JOHNSON
MEDUSA
Model: Elle Alexeenco
Makeup: Sinead Dudley
http://excio.gallery/cejphoto
NZPhotographer
November 2020
19
KIM FREE
FUR SEAL PUP
A very cute and inquisitive NZ Fur Seal pup at Kaikoura.
https://excio.gallery/kimfree
MARINA DE WIT
RED POPPY
A macro image of a Red Poppy
- I loved the dramatic feel.
http://excio.gallery/marina
20 November 2020 NZPhotographer
MICHAEL COOKSON
ST CLAIR
The famous poles at St Clair beach. I'm surprised these
have lasted so long taking a constant pounding from the
sea!
https://excio.gallery/michael
DHAIRYA
MACRO PHOTOGRAPHY
During the pandemic I thought about capturing
droplets so I tried macro photography with my mobile.
http://excio.gallery/dhairya
NZPhotographer
November 2020
21
Capturing Fur and Feathers
Interview with Kelly Pettitt
The photo of me that you see here was actually a
recent assignment from my Diploma in Professional
Photography course which required submission of a
self portrait revealing something about myself. Like
many photographers, you’ll always find me behind
the camera and very rarely in front of it, so I chose to
‘hide’ behind a veil in a darkened room to portray my
reluctance at being in the spotlight and to show how
uncomfortable I am with being photographed, even
with just myself in the room and the camera on timer!
As for my ‘day job’ I have been in the same
administrative role for close to 12 years now, but that
role diversified several years ago to include graphic
design and typesetting, amongst other things, when
my employer became an author and needed
someone to design covers for her novels and prepare
them for print.
As much as my day job and general day to day
life allow, I am working towards creating my own
photography business and I hope to split my time
between dog and bird/nature photography.
KELLY, LET US KNOW ABOUT YOU AND YOUR
JOURNEY WITH PHOTOGRAPHY…
I live on the beautiful Kapiti Coast, an hour’s drive
north of Wellington, with my partner and our two
greyhounds Casey and Fury. My love of photography
began in the 1980’s with my first camera, a Kodak
Instamatic Pocket film camera, with which I took
many, many terrible photos. There’s bound to be
several photo albums floating around somewhere to
testify to this! The purchase of a digital DSLR camera
back in 2008 reignited my interest in the creativity of
photography and the rest, as they say, is history!
I’m about to complete a Diploma in Professional
Photography through the Photography Institute which
I started just prior to the end of May this year. This has
been a great course to work through and has given
me a good solid base to start thinking about the next
stage of my photography career.
WHAT ARE YOU MOST DRAWN TOWARDS
CAPTURING?
I enjoy the challenge of photographing birds and
trying to capture something a little bit different. I also
love details. Seriously, love them. The closer I can
get to a subject to capture those details the better!
This has led to a love of macro photography, but
recently I’ve become obsessed with the feather detail
of birds – especially the delicate little filament neck
feathers of the tui, which many people have never
seen.
I have a busy nectar feeding station close to my
house and I’ve spent many hours watching the never
ending succession of tui and tauhou coming in to
feed. They both have a habit of flinging droplets of
nectar water into the air after each drink so capturing
this act has been its own unique challenge over
the past month or so and I’ve amassed quite a few
images of them ‘blowing bubbles’.
Last, but not least, I adore photographing dogs –
whether my own or other peoples. Each dog has its
own set of quirks, so each session is never quite the
same – some only have eyes for their mum or dad,
some just want to sleep, and some will do absolutely
anything to get into my treat bag!
22 November 2020 NZPhotographer
DELICATE
F10, 1/250s, ISO1000
WHAT ARE YOU SHOOTING WITH?
I’ve been with Sony since my first and their first DSLR,
the A100. I then moved to the Sony A65. I now shoot
with the Sony A7iii which I love, paired with either the
24–70mm f2.8 GM for studio work or the 70–200mm f2.8
GM for birds and wildlife. I’ve recently acquired a 2x
teleconverter for the 70–200mm which has enabled
me to get even closer to capture the details that
drive me! I also own a 100mm f2.8 macro lens from my
previous kit and an A to E mount adapter, but I hope
to upgrade at some point to the native 90mm f2.8
macro.
WHAT HAS BEEN THE MOST DIFFICULT PART OF
PHOTOGRAPHY FOR YOU TO GET TO GRIPS
WITH AND HOW DID YOU DO THAT?
It took me quite some time to venture away from the
relative safety of Auto and delve into the complex
world of Manual. Once I had wrapped my head
around the theory of the exposure triangle and put
it into action, I’ve never looked back. I didn’t always
get my settings right in the beginning though, and
even now I tend to push the boundaries from time to
time!
NZPhotographer
November 2020
23
Studio lighting is my latest challenge. It’s a
complex beast to tame and I don’t always
get that right either, but I’m learning with
each and every session and hope one day
to call myself proficient!
TELL US ABOUT YOUR STUDIO SETUP…
I have a small studio set up in a spare
room at home. I quickly outgrew the
first and smaller of our spare rooms and
made the decision that utlising the larger
room was far more advantageous for
me than leaving it for the occasional
guest! My basic set up includes a Godox
AD200 pocket flash in a 120cm octobox
as my main light and two Godox TT600s
speedlights in 80cm gridded octoboxes as
fill and rim lights.
I have a raised platform for my furry
subjects to stand on and several floor and
backdrop options. I’m constantly adding
to my studio in the way of accessories
and backdrops – of which you can never
have too many, something my partner and
I don’t necessarily agree on!
TESSI
F8, 1/200s, ISO100
BARNEY
F8, 1/200s, ISO250
TELL US ABOUT THE DOG CATCHING
A TREAT PHOTO – HOW MANY
ATTEMPTS DID IT TAKE TO PERFECT
THAT SHOT?!
This is Barney, a Labrador cross who
I recently photographed. True to Labrador
form, he was a pro after only a few throws
and it took maybe half a dozen shots to
get the ‘money’ shot of him mid treat
catch. If it takes longer to get the perfect
shot, it often says more about my throwing
than the dog’s catching ability!
ON YOUR EXCIO PROFILE YOU
HAVE A QUOTE BY RADITYA DIKA
THAT SAYS “YOU DON’T HAVE TO BE
BETTER THAN EVERYONE ELSE, YOU
JUST HAVE TO BE DIFFERENT” – WHY
DOES THIS RESONATE WITH YOU AND
HOW DO THE WORDS INFLUENCE
YOUR PHOTOGRAPHY?
I think we spend much of our lives trying to
keep up with, or get ahead of our peers,
and while we’re striving to achieve this, we
lose sight of what sets us apart and makes
us unique. In the photography world what
sets us apart is our individuality, our vision
24 November 2020 NZPhotographer
and how we see the world around us, and I always try
to create an image that is unique to me.
So what I take from this quote is stop looking
at everything as a race and change your
perspective – you don’t need to be better than the
next photographer, you just need to be different!
WHAT DID YOU GET UP TO DURING LEVEL 4
LOCKDOWN?
My day job is considered an essential service, which
meant I was required to work from home, but I did
manage to spend some quality time in my studio
when I wasn’t working. It was a great chance to play
around with lighting and settings to try and achieve
different outcomes. Sadly, my dogs didn’t appreciate
the practice time as much as I did, which became
obvious as time went on with their lack of enthusiasm.
There are only so many photos you can take of a
sleeping dog!
CAN YOU CHOOSE A FAVOURITE PHOTO? TELL
US ABOUT THAT…
Those who know me well will tell you I’m never 100%
happy with any of my photos because I always think
I can do better. This has the positive effect of ensuring
I work harder to achieve a better result, and the
negative effect of never having a long term favourite!
My current favourite is a studio photo I took just out of
lockdown of our elderly miniature fox terrier, Scooby.
We lost her quite recently at the grand old age of
16 years and 11 months, so it’s very special to me
for sentimental reasons. As she was mostly blind and
deaf for her last few years, it was always extremely
difficult to get her to engage with the camera. I love
that I was able to capture the split second she looked
directly at me and also that it appears as though she
is sitting on a cloud – something I find now is quite apt.
My next favourite photo is one I haven’t taken yet!
SCOOBY
F8, 1/200s, ISO100
NZPhotographer
November 2020
25
PORTRAIT OF A TAUHOU
F4, 1/1600s, ISO1000
26 November 2020 NZPhotographer
THE CALL OF THE KĀKĀ
F3.2, 1/250s, ISO100
KŌTARE SONG
F2.8, 1/1000s, ISO400
NZPhotographer
November 2020
27
WHAT TIPS CAN YOU GIVE OUR READERS FOR
TAKING PORTRAITS OF THEIR OWN PETS?
All pets are different, and some have more ability to
focus than others, so keep your sessions short and fun.
Make sure you have high value treats, or a favourite toy
just for photo time so your pet will be happy to model
for you.
Be patient! Things don’t often go as planned, so
sometimes you need to just go with the flow. This can
sometimes have a much better outcome than what
you had originally planned.
Be prepared to make some weird and wonderful
noises to get your pet’s attention. Calling their name
will often result in them coming to you, which is often
not what you want at all! Download an app with
animal noises if you’re not comfortable making your
own sounds, you can get some great expressions with
a rooster call or a yowling cat for example. Make sure
to have any sound come from close your lens – you
want your pet looking at you, not the phone sitting on
the floor next to you. Don’t use the same sounds too
often as your pet will get used to them and then ignore
them completely.
Praise your pet often. Stop every now and then, give
them a pat or a cuddle and tell them what a great job
they’re doing. A happy pet is a photogenic pet!
Keep the eyes as your focal point. Unless you’re trying
to achieve something else specifically, keep those eyes
as sharp as you can, this is something that can make or
break an otherwise great photo.
Lastly, just have fun! Pets will pick up on your vibe, so if
you’re relaxed and enjoying yourself, so will they.
ANY TIPS FOR READERS TO CAPTURE THEIR OWN
IMAGES SHOWING BIRDS FLINGING WATER DROPS?
For those wanting to try this, a fast shutter speed of at
least 1/1000 and a tripod are a must! Photographing
the tuis in the rain has also occupied much of my time
recently and an unexpected ray of sunshine through the
clouds one wet day allowed me to capture an almost
magical moment I’m sure I’ll never be able to recreate!
AS AN EXCIO MEMBER, WHAT DO YOU MOST
ENJOY OR VALUE ABOUT THE COMMUNITY?
There are so many wonderfully talented photographers
in the Excio community with such a wide range of
diversity. It’s the perfect place to gain inspiration and
to lose yourself in another photographer’s world, to
see through their eyes. Excio is such a positive and
supportive space for any photographer, at any level.
WHAT ELSE SHOULD WE KNOW ABOUT YOU /
YOUR PHOTOGRAPHY?
I’m always striving for that next great shot – one that
makes people go ‘wow!’ and perhaps shows them
something they’ve never seen before. I’m a firm
believer that if I ever stop learning and growing with
my photography, it’s time to give it up, and I don’t plan
on that happening anytime soon! Also, I’m rubbish at
naming photographs – as evidenced on Excio!
WHERE CAN WE FIND YOU ONLINE?
www.facebook.com/KellyPettittPhotography
excio.gallery/kelly
FOREVER BLOWING BUBBLES
F5.6, 1/1000s, ISO1000
28 November 2020 NZPhotographer
2017
2018
2019
2020
Digital Cameras
Digital Cameras
Digital Cameras
Digital Cameras
Digital Cameras
Digital Cameras
Digital Cameras
Digital Cameras
*1 When using high-speed continuous shooting (extended) with single-point AF, 12-bit lossless compressed RAW (L)
and a 128GB type-B CFexpress card. *2 HDMI external monitor/recorder required.
* In high-speed continuous shooting (extended), with 12-bit lossless compressed RAW (L) and Sony CEB-G128 CFexpress card in use.
NZPhotographer
November 2020
Learn more at store.mynikonlife.co.nz or your local Nikon NZ Authorised Retailer.
29
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 here.
DRAGAN KECA
On the West Coast Road
GEOFF HAGLUND
Perfect Morning
MATT JONES
City By Night
ZHANNA YASINETSKAYA
Childhood
30 November 2020 NZPhotographer
DRAGAN KECA
32 November 2020 NZPhotographer
An amateur landscape photographer from Auckland,
photography has been a part of my life for a long time. I used to
develop black and white prints in an improvised lab in the small
bathroom of my flat in Belgrade, Serbia. The development of
digital photography brought me back to photography and my
new country, New Zealand, is providing endless inspiration as I
look for ways to capture the nature and scenery.
@dragan.keca.7
ON THE WEST COAST ROAD
Images in this series were made during my recent trip to the
South Island. It was a grey and gloomy day, and I decided to
drive from Christchurch to Arthur's Pass - something that can
improve one's mood in any weather. A dusting of snow on the
mountains provided an interesting contrast and added life
into the colour scheme. Gold, brown, and grey are, for me,
the colours of the Southern Alps, an irresistible combination
that's harsh and rich at the same time.
All images were made with my Sony Alpha SLT-A99v camera
and Tamron 28-75mm F/2.8 lens, without filters, and edited in
Photoshop. The last image was only possible because of an
almost complete lack of traffic on the road that day.
NZPhotographer
November 2020
33
GEOFF HAGLUND
36 November 2020 NZPhotographer
I had been told that I have an eye for photography,
yet it was only in 2016 that I started to pay attention to
what I was doing. I was always traveling by myself and
photography was a way to share the beautiful things I saw
with family and friends. Recently I have discovered long
exposure photography which allows me to enjoy a dreamy
view of the world and living in New Zealand, I am blessed
with an abundance of photogenic opportunities.
@geoffrey_haglund_photography
PERFECT MORNING
It was 4am when I made it outside and noticed there were no stars.
I was not shooting stars, but no stars means clouds... perhaps I was
being a little adventurous for my first attempt at long exposure
photography.
Arriving at location, the clouds started to blow away so now I just
had to wait for the dawn. I started my first exposure 20 minutes
before first light, happy with how it was looking in camera. I panned
to the right and could not help myself, recomposing, another long
shot. I was keen to have a look at my shots on the computer so I
packed up, pleased with my first long exposure effort, and turned
around to go back to the car.
OMG how did I not see that! I unpacked my gear and set it up
again for the third great shot of the morning... Walking down the
wharf to the car there was another great shot waiting for me, no
long exposure this time.
The valuable lesson I learnt on this perfect morning is to take time
and look all around you, rather than “focus” solely on your original
objective.
NZPhotographer
November 2020
37
MATT JONES
40 November 2020 NZPhotographer
I am a final year high school student at Hutt Valley
High School, Lower Hutt and have been studying
photography for 3 years. I will be going onto Massey
University in Wellington next year, to study for the
Bachelor of Design with Honours, Visual Communications
Design course. I enjoy photo editing, particularly
overlays and light leaks. Outside of photography, I am a
keen football player and enjoy listening to rap music.
CITY BY NIGHT
These photographs are part of my final NCEA Level 3 Art Photography portfolio. They are
all urban images taken in Wellington city centre at night and include people, buildings,
and street scenes. I used a wide angle lens to capture as much of the city architecture as
possible.
The photographs incorporate different techniques such as motion blur, grain effects, and
vignetting. I used different overlays, light leaks, and post production filters to achieve a
rugged grungey look to the photographs.
I enjoy taking urban images at night, combining them with elements of streetwear,
and city life. I like to take photographs that include people, but that also maintain their
anonymity.
NZPhotographer
November 2020
41
ZHANNA YASINETSKAYA
44 November 2020 NZPhotographer
Like many other female photographers, I started looking into
photography after the birth of my children. In the beginning, I used
to photograph absolutely everything that surrounded me and tried
to get good at macro and long exposure shots. However, over
time I have focused on capturing children. I am not a fan of studio
portraits with a solid background, to me they feel dull and lifeless, so
kids in beautiful outdoor locations are my forte.
@zhannayasinetskaya
CHILDHOOD
My main goal when photographing kids is to show their real
emotions and innocence. Children grow very quickly, changes
happening in the way they look, their habits, and their hobbies.
Unfortunately, we cannot stop time to enjoy all the little things that
take place in all those stages. Therefore, I decided to save all those
precious and bright moments with the use of photography.
Through each photo taken I create a living album of the family
and the journey of growing up. The album is full of emotions and
memorable moments.
NZPhotographer
November 2020
45
Tumbledown Bay
by Brendon Gilchrist
BOAZ SEA-STACK
F9, 30s, ISO200
Banks Peninsula on a map, looks rather small but the
reality of the peninsula is that is it huge with 66 named
bays in total, many of them small and only accessible
by boat, but the ones that are easy to gain access to
each have there own unique features. Tumbledown
Bay is one of the smaller bays on the southern side of
Banks Peninsula. I had been here once before maybe 6
years ago when I was still using a very basic crop sensor
camera (Sony A57) with a simple wide angle lens. I had
a tripod back then but no filters so I’d been wanting to
return here for many years to recapture it.
Fast forward to this trip and I was more prepared –
I understand light more now, how filters work, and know
what I want to capture. That’s not to say I know
everything though, something I truly love about
photography is the constant learning and understanding
of every aspect that goes into photography.
We set off late afternoon, the drive taking us 1 hour
13min. It is an easy drive but once you get to the turn
of from Little River, the road starts to become narrow
and winding as you climb up before descending
Te Oka Bay road. There wasn’t a huge amount of
traffic on the road so we managed to get there in a
reasonable time, the sky was looking interesting but
the low cloud on the horizon told me that the sunset
wasn’t going be great but I always have hope that
something will happen.
Before you drop into the bay there’s a small car
park, we made this our first stop and walked the 50
meters or so to a cliff face that overlooks a very tiny
island called Jachin Island. It is a great subject to
photograph while watching the birds flying around
it. Stopping here was a bonus for me, especially with
filters so I could photograph this rock as well as the
surrounding views.
Next stop was the icon of Tumbledown Bay – the
weirdly shaped sea-stack that is called Boaz. The walk
here is over no formed track, more like a sheep track,
it’s pretty easy when dry but I wouldn’t recommend
walking it if it has been raining or is windy. The rocks
are well used by fishermen, one part has fixed ropes to
help people climb down easier as it is steep. Walking
towards the sea-stack is pretty easy too, a 15 minute
walk or so that is mostly flat with one downhill on the
way and an uphill on the way back.
Once you reach the big rock you realize how massive
it is, from a distance it seems tiny, but the reality is that
it is far from that. There are not many options to take
photographs here as there is a cliff face that leads
steeply into the ocean, you can either be level with it
or walk a little further down and be almost at its base.
48 November 2020 NZPhotographer
JACHIN ISLAND
F16, 30s, ISO64
I knew I wanted some long exposures shots – not
too long to completely blur the water to nothing
but enough to make it look like there was water
movement within the frame so that viewers can kind
of see movement but whilst still keeping the image
as real as possible which is my style – I try to keep
my images exactly how as I saw it and how others
will too, I don’t want people to go to locations and
be disappointed that the real life scene is not the
same as the photo. Sunset was nearing by now and
although the clouds above me looked great, ready to
light up, there was too much cloud on the horizon to
allow that to happen.
We stayed until sunset just in case something
happened, but it didn’t. I was still happy though, I was
able to capture something new and I could enjoy an
amazing place away from the city for a few hours.
Not capturing sunset gives me an excuse for another
trip here, maybe even a paddle around this area.
19th - 25th
November 2020
Seven day North Island Volcanic Photo Tour
Join Ken Wright and Shaun Barnett on this seven-day, round-trip
photography tour from Auckland. Take in many of the most magnificent
volcanic landscapes of New Zealand, including the World Heritage
Tongariro National Park and Mt Taranaki — arguably the country’s most
shapely mountain — before looping back around to Auckland.
www.photographyworkshops.co.nz
info@photographyworkshops.co.nz
021 0845 7322NZPhotographer
November 2020
49
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50 November 2020 NZPhotographer
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NZPhotographer
November 2020
51
A Deep Dive Into Underwater
Photography
by Irene Middleton
52 November 2020 NZPhotographer
SUNBEAMS
F8, 1/60s, ISO125
NZPhotographer
November 2020
53
An underwater photographer is a unique
combination of diver, marine biologist,
physiologist, engineer, oceanographer, lighting
technician, explorer, and artist. It is a challenging
genre of photography, but it is also, in my opinion, one
of the most rewarding to master.
10 years ago I snapped my first underwater images
with my little compact camera, they were blurry,
overexposed and out of focus but I was hooked! As
an avid scuba diver and marine scientist, underwater
photography seemed like a natural extension.
However, I didn’t make things easy on myself, I
did things a bit backward by learning underwater
photography first and then applying the techniques
I mastered in the watery realm to my topside image
making. Thankfully, I was lucky to have my husband by
my side underwater, a fantastic mentor and teacher
he was instrumental in not only making me a better
scuba diver but also inspiring my photography.
Now it’s my turn to pay some of my experience
forward and inspire photographers to delve into a
new realm of photography that lies at most New
Zealander’s doorsteps!
When you think of underwater photography your
mind might conjuror up visions of sparkling tropical
reefs, whales in warm clear waters, or manta rays
gliding over a coral bommie. You would be right;
these are the types of images you would routinely
see on Instagram and are often an underwater
photographers dream scenario; but to be honest, the
marine environment around New Zealand is just as
exciting, more varied, and in these Covid affected
times, a more realistic place to look for underwater
photography opportunities.
As New Zealanders, we are privileged to have over
15,000km of coastline available to explore, and
over 90% of us live within 50km of this coastline.
Furthermore, our marine environment is varied
and spans from subtropical islands off northland
to sub-Antarctic bays on Stewart island, bringing
with it a huge variety of organisms and habitats to
photograph. Although there are challenges and
costs associated with diving and photographing our
local marine environment, the benefits and creative
opportunities are more than worth it.
BOTTOM OF THE
RAINBOW
F8, 1/100s, ISO125
54 November 2020 NZPhotographer
I am lucky enough to live in close
proximity to one of the most varied
marine reserves in our waters; the Poor
Knights Islands. Some of the most popular
macro subjects at these islands, and
around New Zealand, include brightly
coloured sea-slugs called Nudibranchs
and the delicate little fishes called Triplefins.
We also have a high diversity of
encrusting life soft corals, anemones,
and sea-squirts that rival the invertebrate
life on coral reefs. In Northern New
Zealand the fish life is incredibly diverse
with a mixture of tropical and temperate
species occupying the reefs.
The more time you spend in the water
the more likely you are to encounter
rarities and understand the behaviours
that allow you to capture exciting
images. As in the terrestrial environment,
capturing behaviour makes for dynamic
images, whether that is breeding,
predation or schooling behaviour.
Underwater photographers have been
encountering interesting and beautiful
underwater behaviours in New Zealand
for decades and in some cases, they
have even been able to pin down the
timing of these events. One example is
the anemone spawning event in the Bay
of Islands, this spectacle rivals the coral
spawning events seen overseas and the
local dive operators drop photographers
onto the dive site within minutes of the
spawning commencing. It’s a stunning
sight to see despite the fact it happens
in the middle of winter.
By diving the same locations over the
last 10 years my husband and I have
also been able to anticipate where
and when we might encounter unique
species or behaviours. Nautilus shells
had been encountered sporadically
at the Poor Knights Islands but very few
people had photographed the live
animals, we spent time researching their
biology and the patterns of any known
sightings and decided that our best
chance was to head out to deep water
past the Poor Knights in the middle of
the night during a full moon. We turned
on our spotlights, dropped into the dark
waters and waited, at around 2am we
were rewarded with a swarm of over
50 Nautilus rising from the depths to just
below the surface offering a fleeting
opportunity to capture some rare
photographs.
CUP CORALS
F11 1/200s, ISO100
ANEMONE SPAWNING
F16, 1/250s, ISO100
GLASS CEILING
F6.3, 1/100s, ISO100
NZPhotographer
November 2020
55
MAUVE STINGER
F6.3, 1/100s, ISO100
You will also often spot us in areas other divers avoid
like the plague; often near the surface in the middle of
a raft of jellyfish or salps. These gelatinous critters get
stuck in your hair, dive gear and some pack a nasty
sting so why on earth are we here? Well, over the
years we started to notice that juvenile deepsea fishes
and squids are using these rafts of jellies for protection.
We have photographed species that were previously
only known from depths well past scuba dive limits
within a meter of the surface.
Although warm tropical seas and clear waters are lovely;
I will always prefer to dive close to home. As a marine
scientist the thing I love most is starting to know an area,
understand the ecosystem and start to recognise unique
species or behaviours. I genuinely think that the most
amazing images are captured when you are fully immersed
in your environment, and that the challenges of diving in
temperate waters pushes photographers to be creative
and truly show their appreciation for their homeland!
take a camera underwater you need to be confident
in your abilities as a diver, freediver, or swimmer.
Safety should always be your number one priority and
adding a technical task when you are unsure of your
ability to maintain your buoyancy, gauge your air
pressure, or undertake safety stops should not even be
an option. However, if you are comfortable as a free-or
scuba diver and you are looking at starting to capture
some of your underwater encounters there are several
pathways you can go down regarding gear.
THE PRACTICALITIES OF UNDERWATER
PHOTOGRAPHY
Just like any other form of specialised photography;
underwater photography requires time, experience
and monetary investment. Before even attempting to
56 November 2020 NZPhotographer
CASTLE ROCK
F6.3, 1/80s, ISO125
If you already own a DSLR, mirrorless, or compact
camera one of the most popular options is to buy a
waterproof case or ‘housing’ for your existing camera.
These housings range from simple plastic housings
rated to 10m depth to machined aluminium housings
that technical divers routinely take to over 75m depth.
New housings for DSLRs and mirrorless cameras can
cost upward of $10,000 so if you are unsure or unable
to lay out this much, a good place to look for housings
is online forums or second-hand online retailers.
Housings are camera specific so people will upgrade
often, and you can nab a bargain online if you are
willing to use a camera that might be one step down
from the top of the range. I have bought most of my
housings secondhand from overseas or from fellow NZ
photographers that were looking to upgrade.
If you are using a DSLR or mirrorless camera
underwater you will need to invest in specific ‘ports’
for each of the lenses you will be using. Even many
compact cameras require additional ‘wet lenses’,
converters attached to the front of a housing to widen
the frame of view or focus more closely in macro
scenarios. Most DSLR or mirrorless shooters will invest
in a good macro lens and a wide angle or fisheye
lens; and there is no reason not to use lenses you
already use topside underwater. Many land-based
nature photographers will already have a macro lens
in their arsenal, and as an underwater photographer,
particularly in our often-greener temperate waters,
a shorter focal length macro lens like a 60mm is
easier to use. This lens can be used for anything from
photographing nudibranchs or tiny crustaceans to
stunning fish portraits. One other essential lens that
you might be less likely to own already is a fisheye
lens. These are the widest lenses available typically
covering 180 degrees; meaning you can easily
capture a whole reef scene, large animal or school
of fish. However, the main selling point for these
lenses is their ability to focus incredibly close to the
foreground, this allows the photographer to compose
an eye-catching shot that has depth to balance out
the incredibly wide field of view. If you are shooting
with a compact camera adding a supplementary
wide-angle waterproof ‘wet lens’ to the housing
can achieve similar results to a DSLR with a fisheye
lens however, you may encounter more distortion.
To keep your lenses safe underwater most housing
manufacturers make interchangeable ‘ports’ which
are specific to each lens, macro ports are often as
small as possible to allow you to get close to the
subject you are photographing and wide angle lenses
are housed in dome ports, half a sphere of acrylic or
glass that allows for the super wide field of view.
NZPhotographer
November 2020
57
As it is in all environments, light is the very essence of
underwater photography, unfortunately it is also one
of the most challenging aspects to master. Almost all
underwater images you have ever seen make use of
just two types of light, ambient light or sunlight and
artificial light from flash guns also known as strobes.
Ambient light photography is technically similar to
outdoor photography on land and because colour
is lost as you go deeper, ambient light photography
is often used to capture shallow reef scenes, schools
of fish or large megafauna near the surface. Macro
photography is the opposite end of the scale; to
achieve a suitable depth of field a narrow aperture is
required, this in turn further limits the available light. To
counteract this, underwater photographers generally
use paired strobes to illuminate the image. Strobes
are a powerful instantaneous light source; and their
impact on the image are controlled by aperture,
distance from the subject the angle of the strobes
and strobe power. Strobes bring colour back into
an image; red, pink, and orange light disappear at
depths over 3m, with blue and green light penetrating
much further. Without strobes images very quickly
become monochromatic and lose contrast and
impact. Although underwater macro photography
is reliant on artificial light; wide-angle photography
requires the photographer to balance ambient blue
hues with strobe lighting to create a dynamic high
contrast scene.
When using strobes in turbid conditions, which we
often encounter in New Zealand, the main enemies of
any underwater photographer are backscatter and
overexposure. Backscatter occurs when light from
the strobes bounces off particles in the water column
creating distracting specks of light in the image.
Although post-processing can take care of some
backscatter; moving close to your subject to minimise
the amount of water, and particles that can be lit up
by your strobes, and correct positioning of your strobes
to illuminate your subject and not the water column
are the most effective tools to minimise backscatter.
Another consideration is that you want to illuminate
your image to restore colour, but you still want to
maintain a natural look, to do this you will need to
balance ambient light with artificial strobe lighting.
The settings and techniques you use to achieve
this are context specific and down to your creative
preference so will require some pracitse – I suggest
you just get out there and play.
Researching your local area so that you can
anticipate what you might encounter and planning a
targeted dive to capture certain organisms, scenes,
or behaviours is productive particularly as you cannot
change your lenses mid dive! Of course, the marine
environment is changeable, so you will need to be
flexible underwater and use all your creativity to
capture stunning images if the organisms you were
hoping for don’t turn up on the day.
Consider not only the photographic targets but also
the weather, your dive limits, and the water itself. If the
visibility looks uninspiring choose macro and get close,
you will be surprised by the fact you have not moved
from one patch of rock for a whole dive. If you are
diving an area known for currents, you might want to
do an exploratory drift dive without your camera and
take your camera with you when the tide has stopped
running. And if you are lucky enough to be diving the
stunning caves or arches of the Poor Knights, always
pack a fisheye lens but don’t forget that you can get
close with this lens too!
If you’re feeling inspired to capture our underwater
world, find a great buddy, a dive club, or trusted dive
operator then choose a local spot and start getting to
know it and the amazing marine creatures that call it
home!
Irene is a marine biologist who left her job in marine biosecurity to
complete a PhD investigating the effects of climate change on the
New Zealand Fish community. She was a finalist in the 2017 New
Zealand Geographic photographer of the year and won the novice
category in the international Ocean Art competition in 2015. Irene is a
freelance nature and underwater photographer and has been a regular
contributor to NZ Geographic magazine over the past 3 years along with
contributing to other international publications.
www.instagram.com/seacologynz.irene
www.seacologynz.com
58 November 2020 NZPhotographer
CHRISTMAS HOLIDAYS
READERS'
SUBMISSIONS
This month we want to see how
you celebrate Christmas and
summer (or winter!) holidays. All
styles and genres welcome!
Submit by 15 November for a
chance to be featured in the last
NZPhotographer issue of 2020.
Submit at www.nzphotographer.nz
NZPhotographer
November 2020
59
NZ Photography Competition
Creative & Fine Art Category
1ST PLACE
RYAN DE DOMINICIS
with "Lia’s Bedroom"
HIGHLY COMMENDED:
Matt Davey with "Mt Cook Abstract"
Jason Retter with "Deep in Green"
Matt Davey with "Wanaka Basin"
Ann Kilpatrick with "All Mountains and Lakes"
Rach O’Carroll with "Blue Halcyon"
COMPETITION SPONSORS:
60 November 2020 NZPhotographer
1st Place
LIA'S BEDROOM
During lockdown, we embarked on a family project, photoshopping my
daughter's bedroom into various locations. This particular image shows a stormy
day in Fiordland. All images used were taken by myself.
Ryan De Dominicis
NZPhotographer
November 2020
61
MT COOK ABSTRACT
Arriving at Mt Cook I found the majority of the mountain was covered in
cloud so while waiting for the clouds to clear I experimented with some ICM
photography on the surrounding mountains.
Matt Davey
HIGHLY
COMMENDED
62 November 2020 NZPhotographer
DEEP IN GREEN
With ferns being a large part of New Zealand fauna, I have been itching to
capture them in all their glory. Viewing the plant in its entirety left me unsatisfied
and I started to find the most beauty in its parts. I found this, the space where
fern met fern intriguing, as if they sought companionship with kin.
Jason Retter
HIGHLY
COMMENDED
NZPhotographer
November 2020
63
WANAKA BASIN
Overlooking the Wanaka Basin from the Snow Farm road. I had a cloudless
evening which I find always makes for some great ICM photos.
Matt Davey
HIGHLY
COMMENDED
64 November 2020 NZPhotographer
ALL MOUNTAINS AND LAKES
This was taken on a walkabout around Queenstown after the recent Antarctic
blast that happened at the end of September 2020. I was experimenting with
multiple exposures, this was done in camera. There are so many mountains and
lakes in the South Island, so I thought why not put them together differently.
Ann Kilpatrick
HIGHLY
COMMENDED
NZPhotographer
November 2020
65
BLUE HALCYON
On a recent trip south, we stopped for the night at Twizel enroute to Aoraki Mt
Cook. We were up early to photograph the sunrise... unfortunately, it was misty
and we didn't even see it. As I looked out over Lake Pukaki with the misty blues and
the clear water over the rocks I decided I would make a fine art composite out
of what I could see. Blue Halcyon is a composite of two in-camera images, the in
focus foreground rocks and an ICM of Lake Pukaki with the misty mountains in the
background. My aim was to capture the still, peacefulness of the morning.
Rach O'Carroll
HIGHLY
COMMENDED
66 November 2020 NZPhotographer
NZ Photography Competition
Nature & Landscapes
Category
1ST PLACE
LEANNE SILVER
with “St Bathans Hoar Frost”
HIGHLY COMMENDED:
Sergio Acevedo with “A Remarkable Sunset”
Glen Thomson with “Gannet and Chick”
Léo Fontanel with “Jannie Seddon Shipwreck”
Mitchell Clark with “Post Australian Bush Fire
Textures on the Fox Glacier”
Léo Fontanel with “Roys Peak”
COMPETITION SPONSORS:
NZPhotographer
November 2020
67
1st Place
ST BATHANS HOAR FROST
In July this year many parts of Central Otago were plunged into a
visually spectacular hoar frost. This shot was taken on the shores of
St Bathans' Blue Lake (looking decidedly not blue!) in bitter sub-zero
temperatures as the fog momentarily lifted.
Leanne Silver
68 November 2020 NZPhotographer
A REMARKABLE SUNSET
This was my first time in the South Island and that landscape covered
with textures and golden colour really caught my attention. I was
freezing cold but knowing this could be my one-time chance to
capture it kept me outside waiting for the perfect moment.
Sergio Acevedo
HIGHLY
COMMENDED
NZPhotographer
November 2020
69
GANNET AND CHICK
First time out with a new 500mm prime lens, just hoping to get
some practice in before a trip to South Africa. The gannet colony
at Muriwai was teaming with chicks and I didn't have to wait long
before these two put on a show.
Glen Thomson
HIGHLY
COMMENDED
70 November 2020 NZPhotographer
JANNIE SEDDON SHIPWRECK
This photo of the Jannie Seddon shipwreck is a blend of two exposures
taken on a tripod in the exact same position. The first one was taken
at dusk to capture the foreground (F10, 1,3s, ISO50) and the second
one a few hours later to capture the milky way (f4, 30s, ISO 8000). I
then blended these exposures in Photoshop using luminosity masks and
adjusted the white balance to obtain a moody picture.
Scouting and planning were necessary to obtain this result: Weather,
tide, moon phase, and position of the milky way were all factors taken
into consideration.
Léo Fontanel
HIGHLY
COMMENDED
NZPhotographer
November 2020
71
POST AUSTRALIAN BUSH FIRE
TEXTURES ON THE FOX GLACIER
Mitchell Clark
HIGHLY
COMMENDED
72 November 2020 NZPhotographer
ROYS PEAK
This photo was taken at dawn on top of the iconic Roys Peak in
Wanaka. It is always very hard to make something different in a famous
location which is why I tried to play with the composition, including the
snow as a foreground element to lead the eye into the scene.
Léo Fontanel
HIGHLY
COMMENDED
NZPhotographer
November 2020
73
NZ Photography Competition
People & Portraits Category
1ST PLACE
Graeson Papuni-Mclellan
with “Kao wai au, Ko am I?”
HIGHLY COMMENDED:
Kirsty Wilson with “The Sullen Teenager”
Toni Webster with “Portrait of a Boy -1”
Nicky Foden with “A Winner’s Smile”
Katie Fiedler with “Jump for Joy”
Tony Gorham with “The Sun Flower”
COMPETITION SPONSORS:
74 November 2020 NZPhotographer
1st Place
KO WAI AU, WHO AM I?
This photograph is of my beautiful cousin Tandi. I took her down to our local beach, Opape
where we have strong geological links to through our whakapapa. We had an amazing morning
shooting various different shots at this beach. As I photographed we shared korero about our
whenua and whakapapa who we are and where and whom we descend from, I explained to her
the importance of our whenua and whakapapa. I believe the korero we shared and the places
we shared them at gave her a sense of identity and belonging to our home Opotiki-mai-tawhiti,
although she did not grow up here, her mātauranga she attained during this shoot helped her get
that feeling. Therefore this image depicts that feeling of being proud of who she is a descendent
of Tutāmure, Muriwai among our other tipuna and atua, a mana wahine, and a proud indigenous
woman.
Graeson Papuni-Mclellan
NZPhotographer
November 2020
75
THE SULLEN TEENAGER
My teenage son hates having his photo taken so it was a privilege to capture this
in black & white which is a genre I have been working on.
Kirsty Wilson
HIGHLY
COMMENDED
76 November 2020 NZPhotographer
PORTRAIT OF A BOY - 1
A quick moment captured of my son as he enjoyed the
view out of a window in a lodge in Porter's Pass, South
Island.
Toni Webster-Young
HIGHLY
COMMENDED
NZPhotographer
November 2020
77
A WINNER'S SMILE
A friend of mine had just won her hockey game at the World Masters
Games in Auckland on 22nd April 2017.
Nicky Foden
HIGHLY
COMMENDED
78 November 2020 NZPhotographer
JUMP FOR JOY
A post-lockdown jump for joy!
Katie Fiedler
HIGHLY
COMMENDED
NZPhotographer
November 2020
79
THE SUN FLOWER
A group shoot to Franklin flower fields. Emma looked stunning in
the straw hat.
Tony Gorham
HIGHLY
COMMENDED
80 November 2020 NZPhotographer
The Impact of Social Media
By Richard Young
Social media has had a large (mainly negative)
impact in the individuality of photographers’ work
today, especially in landscape photography. For
many, it seems the goal is not to create an image with
personal meaning, but to create an image that will
receive the highest number of “likes” on social media,
this the measure of its success.
A personal image that expresses our vision might
receive little attention on social media; it may not
deliver the instant ‘wow’ factor of the sweeping vista
everyone else is posting. Craving that magnificent
scene and the recognition that comes with its
capture, some photographers allow their portfolios to
become little more than a stamp collection of iconic
locations rather than a body of work encompassing
style and vision. Simply posting images to impress
others and get the most ‘likes’ is like trying to make
yourself happy by buying material items. For a time, it
may feel good, but it will not lead to lasting happiness.
Of course, there are many benefits to social media,
and it has certainly helped to raise the popularity
of photography as a hobby over recent years but it
should be used carefully. It is far from the best place
to view photographers’ work as a collective body, nor
is it the best place to showcase your own style and
vision. For this purpose, books, exhibitions, and fine art
prints are the better mediums to pursue.
NZPhotographer
November 2020
81
THE IMPACT OF ICONIC LOCATIONS
When photographers visit well-known locations, their goal is
often to capture the perfect shot of an iconic view. They’re
afraid to return without it. However, a true artist will be more
afraid to return without an image expressing their personal
vision, and the urge to capture popular scenes can be little
more than a distraction. This raises the question: should we
be photographing in famous locations if we really wish to
develop a unique body of work?
The popularity of landscape photography, as well as the
sharing of images on social media, affects both where
we shoot and how we capture such images. We may be
envisioning the image we want before we even arrive. For
a clear example of this, you only have to think about “That
Tree” on the shores of Lake Wanaka here in New Zealand.
The widespread nature of such images has opened up
a very real challenge for the landscape photographer. If
we choose to visit iconic locations, how can we capture
photographs that carry our own style or interpretation of
these landscapes? Simply going there and capturing a
technically-perfect image to represent it is not enough
and besides, it has already been done by so many
before us. When we make a photograph, we want it to
be about our experience, not just about the place.
This goal can be tricky in frequently-photographed
landscapes; if you’re not careful, there will be little in your
image to make it stand out from all the others. I don’t
mean to put you off with this reality, but rather, to ready
you for a good challenge. With enough creativity, there
will always be an opportunity for your style and vision to
shine. Where others may end up with the exact same
images as each other, strive to tell your own unique story.
EXPRESSIVE PHOTOGRAPHY - LEARN THE ART OF EXPRESSIVE PHOTOGRAPHY AS PART OF
RICHARD YOUNG’S 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.
PORTFOLIO
BEST READERS' SUBMISSIONS THIS MONTH
'MINIMALISM'
WALK WITH ME
By chance, the highway we were meant to be travelling detoured us to
Page, Arizona. Upon finding out the infamous Antelope Canyon was in
town it was decided we would stay a few days to take in all that was to
offer! I most certainly was not upset by the detour, it ended up being one
the most amazing parts of our trip.
Alexandre Bon
NZPhotographer
November 2020
83
BRIDGE
F25, 1/8s, ISO200, 110mm
One of my favourite photos, shot as we drove across the Rakaia I think.
Ann Kilpatrick
84 November 2020 NZPhotographer
FLYING AWAY
F5, 1/4000s, ISO100
I took this photo of a flying tern in the Bay of Plenty. I really like how
the bird has lined up with the blue in the sky.
Tanya Rowe
NZPhotographer
November 2020
85
I CAN'T, I HAVE A BOARD MEETING
F11, 1/1000s, ISO2500, 78mm
This was shot off the New Brighton Pier in Christchurch. I was there to take
some long exposure shots of the pier at sunrise. It was a beautiful late Autumn
morning and when I looked out to the water I noticed this surfer. The whole
scene was so beautifully calm, and at that moment I felt like I understood
surfing just a little bit better.
Dionne Solly
86 November 2020 NZPhotographer
MYSTIC MURIWAI
Muriwai Beach “painted with my camera”, taken while attending a
workshop to learn about Intentional Camera Movement. I love the
results created with the long exposure and ICM, the smoothness,
mystery and opportunity for the viewer to finish the story.
Wendy Pemberton
NZPhotographer
November 2020
87
PINK REFLECTION
F8, 1/1200s, ISO400, 40mm
I had been playing around with different items that reflected or mirrored well
and really like the way this spoon reflected its surroundings.
Dionne Solly
88 November 2020 NZPhotographer
SILHOUETTE
F18, 1/500s, ISO100
I took this photo on my first overnight hike out to Cape Brett in Northland.
My friend went to sit on top of this hill to photograph the sunset and
unknowingly became the perfect subject of my photo.
Erin Cooksley
NZPhotographer
November 2020
89
STRENGTH AMID ADVERSITY
F5.6, 1/250s, ISO200
The sting of rain hurled into our face by hurricane-force winds. Shingles and shutters tore
away from homes, Trees bent nearly in half, the skies started to get dark and there was
poor visibility. Homes flattened, crops destroyed.
It has been just over three weeks since a category 4 storm - Cyclone Gita - ripped
through the island nation of Tonga, yet when we spotted these children spending the
afternoon trying to scoop out the water from their parent's boat, it gave us a sense of not
only resilience, but hope.
Maria Ligaya Bumanglag
90 November 2020 NZPhotographer
THE MAN ON THE BEACH
F6.3, 1/1000s, ISO100, 160mm
I was with a group of fellow female photographers hoping for a reasonable sunset when
I spied this man sitting alone in the middle of the beach one late afternoon. Although
there were plenty of people out walking, none were passing close to him so I grabbed
the photo opportunity.
Raewyn Smith
NZPhotographer
November 2020
91
EYEFUL TOWER
F25, 1/8s, ISO200, 110mm
The sculpture is an eye grabbing marvel on the landscape.
From all angles, up close or from a distance, it has a
unique attraction.
Derek Teague
92 November 2020 NZPhotographer
THEY CALL THIS SILENCE, WE CALL THIS "HOME"
As time lapses endlessly, We lie here, glaring at the brooding presence of the sky,
punching majesty above us. The amber lukewarm sun flashes elegantly in the pale
blue sky as clouds cascade to and fro. The swirling perfume of the time-worn forest
nearby was very sweet, The water was shimmering like sprinkled stardust. Above
us, are birds, gliding on the wind, zooming across the sky, tirelessly. It wasn't long
enough, Stillness took over, It lingered in the air, thick and heavy, like a blanket.
It was still, utterly still. It was an eerie sort of tranquility, But we like it. They call this
Silence, We call this "Home"
Maria Ligaya Bumanglag
NZPhotographer
November 2020
93
"THE TRUE MYSTERY OF THE
WORLD IS WHAT CAN BE SEEN,
AND NOT THE INVISIBLE."
OSCAR WILDE
94 November 2020 NZPhotographer