NZPhotographer Issue 43, May 2021

ISSUE 43, May 2021 

CREATING PORTRAIT FAIRYTALES 

INTERVIEW WITH KAROLINA FERBEI 

FINDING FLOW IN 

THE LANDSCAPE 

BY RICHARD YOUNG 

NZPhotographer 

FROM THE ROAD: DUBAI 

BY SUSAN BLICK 

GETTING THE MOST FROM 

NATURAL LIGHT 

BY CHARLOTTE E. JOHNSON 

May 2021 

1

WELCOME TO ISSUE 43 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

I'm excited to announce more details 

of the NZ Nature Photography Summit 

taking place 10th-12th September 

with Craig Potton, Andris Apse, Edin 

Whitehead, and Richard Young as our 

4 keynote speakers. Turn to page 4-5 to 

find out more and reserve your spot at 

this very special event. 

You'll notice that we don't have an 

article from Brendon this month, after 

writing for us every month since issue 1 in 

November 2017, we've finally exhausted 

Brendon's idea bank but don't worry, he'll 

still be popping back from time to time. 

I'm excited to welcome Susan Blick back 

after her bi-monthly travel series got cut short when Covid reared its ugly 

head causing the world to shut down. Thankfully, she's now back On The 

Road, sharing her insights into Dubai with us this issue. 

This issue also has plenty of portrait photography thanks to our interview 

with fairytale creator Karolina Ferbei ready to inspire and Charlotte 

Johnson's indepth article on getting the most from natural light providing 

the how-to. For the landscape photographers, Richard writes about 

finding flow whilst Ana's article discussing why we need photos should 

inspire every photographer no matter their preferred genre... all this and 

more! 

OUR CONTRIBUTORS 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 43 


Cover Photo 

Next generation 

by Ann Kilpatrick 

Publisher: 

Foto Lifestyle Ltd 

Website: 

nzphotographer.nz 

Graphic Design: 

Maksim Topyrkin 

Advertising Enquiries: 

Email 

hello@nzphotographer.nz 

FOLLOW US 

Susan Blick 

Susan is an award-winning 

landscape photographer 

from New Zealand and 

Australia who travels 

extensively and leads 

international photo tours. 

She is currently based in 

Istanbul, but is spending time 

across the region throughout 

the year. 

Charlotte E. Johnson 

Charlotte is an award-winning, 

photographer specializing 

in fine art photography and 

portraiture. She is a Lensbaby 

Ambassador and an Adobe 

Certified Expert in Photoshop. 

She offers workshops and 

personal tuition options as 

well as mentoring and image 

critique 

Richard Young 

Richard is an award-winning 

landscape and wildlife 

photographer originally 

from the UK. The found of 

New Zealand Photography 

Workshops, he helps people 

improve their photography 

whilst experiencing 

New Zealand's stunning 

locations. 

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.

CONTENTS 

7 

10 

18 

22 

31 

32 

38 

44 

64 

BEHIND THE SHOT 

WITH SANDRA BENSON 



RISING STAR: 

SEBASTIAN TIPPETT 

GETTING THE MOST FROM NATURAL LIGHT 

by Charlotte E. Johnson 

WHY DO WE NEED PHOTOGRAPHS? 

EXCIO TOP 10 


by Susan Blick 

MINI 4 SHOT PORTFOLIO 

FINDING FLOW IN THE LANDSCAPE 

by Richard Young 

73 PORTFOLIO 

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BY SUSAN BLICK 

FINDING FLOW IN THE LANDSCAPE 

BY RICHARD YOUNG 

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38 

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SUBSCRIBE

Join us in Te Anau for the very first 3 day 

NZ NATURE 

PHOTOGRAPHY 

SUMMIT 

FIORDLAND 

10th - 12th of September 2021 

Experience the stunning natural beauty of the 

Te Wahipounamu World Heritage Area, including 

photography excursions for sunset over Lake 

Manapouri and Milford Sound, along with a cruise 

on Milford Sound. Learn from and be inspired by 

top New Zealand nature, landscape and wildlife 

photographers on 4 summit sessions with talks, 

mini workshops and live Q&A. 

Summit ticket includes: 

• 4x Summit Sessions 

• 2x Nights Accommodation 

• 2x Full Breakfasts 

• Milford Sound Day Trip & Cruise 

• Screening of Ata Whenua film 

• Free return transport from 

Queenstown available 

https://nzphotographer.nz/summit 

Register Here

Summit Session 1 

Coversvation Photography 

with Craig Potton 


Expressive Photography 

with Richard Young 


Andris Apse 

Stories from Fiordland 


Wildlife Photography 

with Edin Whitehead 

Field trip 1 

Lake Manapouri Sunset 

Feild trip 2 

Milford Sound Cruse and Sunset

Astro Masterclass 

Workshop – Mt Cook 

4-Day Photography Workshop 7-10 & 12-15 August 2021 

Our Astro Masterclass Workshop is based in Mt Cook 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 

Joel Staveley 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. 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 

(0064) 21 0845 322

Behind The Shot 

with Sandra Benson 

Awesome Pink Sky 

Canon 90D, 18-55mm lens @ F9, 1/25s, ISO800, 18mm 

TELL US ABOUT YOU AND YOUR JOURNEY WITH 

PHOTOGRAPHY! 

When I left school my first two jobs were in the One Hour 

Photo industry, processing 35mm films. Other people’s 

cats, dogs, kids, cars... cats, dogs, kids, cars... Although it 

was repetitive, it did teach me a lot about composition, 

and the difference between a snap and a well 

composed photo. 

I worked for three and a half years in a Kodak Express outlet, 

and another 4 years being the sole operator of a Konica 

Photolab, which was part of a larger shop. During this time I 

purchased my first cameras, and always had a camera with 

me. I took photos of everything. I also had the opportunity 

to photograph a clutch of weddings, which I enjoyed. 

Once I left the workforce and had children, I decided that I 

disliked handing over my wedding photos over to someone 

else to process, so I didn’t continue in this field. I left on the 

cusp of the digital transformation and before long my 

35mm cameras were obsolete. By this point I had made the 

decision to Home Educate my sons, and as a single income 

family, spending money on decent cameras to bring me up 

to date with technology, wasn’t in the budget. 

One of my hobbies over the years has been painting, 

acrylic on canvas. After my mother passed away in 2019, 

I spent a lot of time painting sunsets. I also spent many 

evenings taking photos of sunsets on my phone, to have 

material to work from. My husband has loved the joy 

painting has given me, but when I came home one day 

and said that as much as I love painting sunsets, I loved 

photographing them more, we agreed that I could buy a 

decent camera. 

I ended up choosing a Canon 90D with the 18-55 

kit lens and a 55-250mm lens initially, making the 



7

purchase a week after lockdown when the whole 

country was having a sale. I also purchased an 

Acer Nitro 7 gaming laptop and a separate 28” 

screen and have since purchased a 15-85mm lens 

as well. Within a week of my initial purchases, I was 

photographing RAW - Induction by fire! I had never 

previously used any digital post processing however, 

much of the language from my 35mm processing 

days abounds, and has made the transition to postprocessing 

in Gimp easier. 

TELL US ABOUT YOUR SUNSET CHASING… 

My sunset chasing has quickly become an 

obsession, heading out two, three, four even five 

evenings a week. I quickly discovered the secret 

sauce of photography that my younger self didn’t 

know… the magic of Golden Hour! Within 15 

minutes of my home, in Whanganui, I have the 

choice of 4 beaches, 2 lakes, and a river. Although 

I would like to go and photograph the rest of the 

country, I have discovered there are benefits to 

capturing the same places again and again. I now 

pay more attention to the play of light, how the sun 

moves across the sky during the course of a year, 

the cycles of the moon, the changing seasons, the 

tides and the clouds. 

TELL US ABOUT CAPTURING THE SHOT TITLED 

'AWESOME PINK SKY' 

September 16th 2020 was much like any other 

evening at my favourite beach, a pleasant evening 

with the promise of warmer weather to come. I 

was happy photographing the sunset when I felt a 

presence behind me. I looked above me and saw 

this captivating pink cloud moving across and filling 

the sky. Suddenly a man appeared beside me, he 

gasped in awe at the sky, and ran down the beach, 

I assume to get ahead of the cloud. We have a joke 

in my house, that if the kids suggest that I run, I tell 

them not to swear at me, so I didn’t follow him. 

So, I found myself under the cloud wondering 

how to photograph it. After a couple of different 

compositions, I lined up next to a footbridge to 

anchor the scene. To my delight the guy who had 

run down the beach came back and appeared in 

my frame, I captured several images as he walked 

across the bridge. He apologised but I laughed and 

showed him the image for without his silhouette 

there is nothing to indicate the size of the cloud. It is 

the possibility of capturing breath-takingly gorgeous 

nights like this that has given me the mindset that 

almost every evening is worth heading out for. 

WHAT POST-PROCESSING DID YOU DO? 

Aside from a slight adjustment to the S-curve, and healing 

a couple of spots in the foreground, post-processing 

of this image was minimal. I am well aware that postprocessing 

is my weakest area, but the best way to 

learn is frequent repetition, and to have fun! My folder 

of images titled ‘For when I learn more editing skills’ is 

growing, as I can see what I want to achieve with some 

of my photos but don’t have the necessary skills, yet. 

WHAT DO YOU THINK YOU WOULD DO 

DIFFERENTLY IF GIVEN ANOTHER CHANCE AT 

CAPTURING THIS EXACT SAME SCENE? 

This shot is my home screen on my laptop so I’m 

already happy with it however, if I could re-take this 

exact shot I’d increase the depth of field, ideally I’d 

also own a wide-angle lens! Two of my goals for this 

year are to learn focus stacking and how to create 

panos. This cloud would have looked great in a 

Panoramic format. However, there is every possibility 

that had I been capturing a pano, I would have missed 

the candid nature of the man appearing in my frame. 

ANY FINAL WORDS? 

I am loving having a camera in my hands again and 

the ability to creatively express myself. I have also 

discovered that there is a great deal of joy in sharing 

that creativity with others. I joined Excio because they 

state “We are on a mission to change the way creative 

talents are rewarded.” If I have learnt anything in life, 

it is to follow passionate people. Passionate people 

inspire and encourage others, and get things done. I 

sincerely hope that Excio are successful in their mission - 

creative talents ought to be rewarded. 

WHERE CAN WE FIND YOU ONLINE? 

www.facebook.com/sandralovessunsets 

www.instagram.com/sandralovessunsets 

excio.gallery/sandra 

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9

Creating Fairytales 

Interview with Portrait 

Photographer Karolina Ferbei 

KAROLINA, TELL US ABOUT YOU AND YOUR 

JOURNEY WITH PHOTOGRAPHY! 

I was born to a Russian family living in Kazakhstan. I 

moved back to Russia with my parents at the age of 

10, although I travelled back to Kazakhstan to visit my 

grandparents every summer. I studied engineering 

and worked as civil engineer for 11 years, moving to 

New Zealand to continue my studies in engineering in 

2017. 

My dear partner gave me a Nikon D3400 as a birthday 

present in 2019. I mostly used it for landscape and 

macro photos, photography being just a hobby then. 

I was following many photographers and always 

admired the joy and freedom they had working for 

themselves. 

At the end of 2020, I felt really unhappy at my full-time 

job and knew it was time to do something on my own, 

something which gave me the freedom to express 

myself. The phrase “If you try you have two options 

– it will work out or it won’t work out but if you don’t 

try, there is only one option” was going around my 

mind all the time so I knew I must do it. I tried to paint, 

even having my work in a gallery exhibition, but I soon 

discovered photography is where my heart lies. 

During this time of knowing I wanted to do something 

creative, an advertisement caught my eye for an 

online course led by a top Moscow photographer 

who specialises in creative women portraits. I dived 

into this world of fairytales and creativity, also buying 

a new camera, the Nikon D780 with 50mm lens, the 

course blowing my mind and setting me on the right 

path. 

Just 5 months after I got into creating photographic 

art portraits, Nikon NZ shared my work on their official 

Instagram and Facebook pages. The same afternoon, 

a chair of the Tauranga Photographic Society called 

me and asked if I would be a speaker at one of their 

meetings, discussing my portrait photography. 

Later, I wanted to participate in a local exhibition in 

Tauranga organised by a successful local landscape 

photographer - I was declined due to the exhibition 

being for beginners only, the organizer telling me 

“you are not a beginner at all” which I found really 

flattering. She asked me to be part of her workshops 

instead and to teach portrait photography in the near 

future. 

I’ve also participated in ‘the 35 Awards’ online 

photography competition which has more than 

100,000 participants around the world - my photo 

passed 2 voting stages entering the final stage which 

only 3% out of the 100,000 photographers achieve. 

Since I’ve only been doing my portrait photography 

for 6 months I think these are tremendous results! 


Lavender Dreams 

Nikon D780, 50mm lens @ F2, 1/2500s, ISO100

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHIC STYLE? 

I describe myself as an art photo portrait 

photographer. I don’t capture reality, I capture 

fairytales! I do a lot of editing so that my portraits 

become a work of art for people to admire, bringing 

joy, admiration, and boosting positive emotions. 

I enjoy making my models feel, and look, like a 

goddess – enabling them to be the main character 

of a fairytale or daydream. It gives me great joy to 

create long-lasting beauty in the form of framed prints 

that my clients can display at home and look at for 

many years to come. 

DO YOU PREFER INSIDE OR OUTSIDE 

PHOTOSHOOTS? 

I love them both, each of them having pros and cons 

so I usually shoot outdoors in summer and in my studio 

(located in the garage) in winter. 

Shooting outside is great for scenic shots with flowing 

fabric and amazing views but it is weather dependant 

with only certain parts of the day suitable for achieving 

great shots. Shooting inside has the advantage of shelter 

and controlled light (I have one continuous light as main 

lighting and one LED video light for backlight), no matter 

the weather or time of day I can schedule session and 

it will happen without unforeseen circumstances, the 

disadvantage is lack of sufficient space and variety of 

scenery though I have just bought a couple of backdrops. 

YOU ALSO SHOOT FAMILY PORTRAITS, DON’T 

YOU? 

Yes, I do family and children portraits. My favourite 

sessions are at the beach with families. These are 

always relaxed with a lot of laughter, the kids playing 

around in the water, and time just goes by so I don’t 

even notice the hours passing, the 1 hour paid session 

soon turning into 1.5 hours since I enjoy the process so 

much. 

Happy Together 

Nikon D780, 50mm lens @ F3.5, 1/400s, ISO250

Pure Beauty Studio Shot 

Nikon D780, 50mm lens @ F2.5, 1/100s, ISO500

Back to Nature 

Nikon D780, 50mm lens @ F2, 1/200s, ISO200 

WHO COMES UP WITH THE THEME? 

I think through the whole idea, from location, to 

colour palette, hairstyle, and accessories. I also ask 

makeup artists to be creative and suggest ideas. 

I love New Zealand’s nature and enjoy hiking 

every weekend - hiking helps me to discover new 

spots for photography and find inspiration for my 

next idea. If I’m ever stuck for ideas I just take a 

long walk at a scenic spot and the ideas are soon 

flowing. 

I was most recently inspired by the beauty 

of Hamilton Gardens, an amazing place for 

photography, and as I write this, I am in the 

process of organising my next photo there. It will 

be an elegant fairytale style shoot with a soft pink 

gown and a lot of fabric flowing around. I also 

collaborated with a florist and jeweller to have 

an amazing setup with flowers and accessories to 

really add to the final image. 

TELL US ABOUT SOME OF YOUR PAST FAIRYTALE 

PHOTOSHOOTS... 

I like to wander around town looking for new 

locations - One day I went to visit one of the oldest 

trees in NZ, the Pohutukawa tree on Pitau Rd at 

Mount Maunganui. This massive creature of nature 

inspired me instantly and so the idea for my ‘Back 

to Nature’ shoot was born, the red and green 

colour palette seen in my mind’s eye to resonate 

with the brown of the tree trunk and the green 

leaves. 

For the shoot ‘Girl on a Boat’ I was out walking 

near my home in Welcome Bay, Tauranga and saw 

a beautiful old fashioned boat. I took a picture 

of it and posted it on my local Facebook Group 

to see if I could find the owner as I had an idea 

in mind for a fairytale photoshoot. The owners 

found me quickly through people on Facebook 

and I discovered that John built the boat around 

40 years ago. He and his wife are retired and 

were very happy for me to use the boat for the

Top & Bottom: Girl on a boat 

Nikon D780, 50mm lens @ F2, 1/320s, ISO200

Geisha 

Nikon D780, 50mm lens @ F2, 1/640s, ISO160 

photoshoot, John also helping us through the 

whole shooting process on the day. I found the 

dress at a local bridal designer who provided it to 

me in exchange for images. 

WHAT DID YOU STRUGGLE WITH MOST 

WHEN STARTING OUT WITH PORTRAIT 

PHOTOGRAPHY? 

I struggled with focus a lot when I had my first camera, 

the Nikon D3400, which had a crop sensor. I later 

found out that you can get good quality images 

even with crop cameras, the trick is to have sufficient 

lighting on the object, so I bought a portable LED light 

to use outdoor. 

ANY INSPIRING WORDS TO LEAVE US WITH? 

Many people don’t start doing something creative, 

because they think they don’t have a talent. One 

photographer told me that talent can be developed 

- It is all matter or practice. To make the learning 

process faster, find a good mentor and learn from the 

experts. Don’t be afraid to put your work out there 

and be criticised - criticism is good for development, 

but only take criticism from experts, from those who 

understand what photography is about. Remember, 

there are no strict rules in the world of photography. 

Any image that can cause a strong emotion can be 

called a good photograph, even if it violates rules. 


www.instagram.com/karolinafe.photography 

karolinaferbei.wixsite.com/ 

karolinaphotography 

excio.gallery/karolina 


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17

Rising Star: Sebastian Tippett 

Seb is a 17 year old student taking photography as a subject at Kāpiti College. A 

wannabe photographer since he was a toddler with a toy camera, Seb progressed 

from that toy camera to a point-and-shoot. Now with a DSLR, he is working on honing 

his skills and, in the process, has discovered a passion for creative still life shots. 

SEB, TELL US A BIT ABOUT YOUR LIFE... 

Growing up on the Kāpiti Coast, five minutes from the 

ocean and five minutes from the hills, has been great. 

Kāpiti has the unique ability to be rural enough to 

feel welcoming and calm, and yet has development 

and proximity to Wellington to support creativity and 

passion. 

I enjoy art, photography, calligraphy, and I’m an avid 

Marvel fan. I’ve never been shy of extracurriculars, 

being part of scouts when I was younger and now 

venturers. I play football, debate, and did seven years 

of Judo from the age of seven to fourteen. 

WHEN DID YOU FIRST PICK UP A CAMERA? 

My love of photography started as toddler, a toy 

camera that couldn’t actually take photos was given 

to me and I carried it with me everywhere - a would 

be photographer! My first experience with an actual 

camera was a point and shoot Sony Finepix when I was 

about 7. My dad gave one to me and my older brother 

and despite the megapixel count of less than my age, 

I loved that camera. Finally being able to actually take 

images and explore the possibilities of the digital image 

captivated me, even at that young age. 

HOW HAS YOUR PHOTOGRAPHY JOURNEY 

PROGRESSED SINCE THEN? 

When I was 12 my dad took me down to the local 

Harvey Norman and bartered a Fujifilm finepix JZ100 

from $150 to $120 for me. With some more capabilities 

and potential, that camera gave way to more 

experimentation. There was no manual mode, but I 

was able to fiddle with some settings and managed 

to get a shutter speed of a few seconds to light paint 

with a torch. There was just something about taking 

photos, documenting anything and everything, 

playing around with every possible setting in that 

simple point and shoot camera that hooked me. 

WHAT ARE YOU SHOOTING WITH NOW? 

Currently I’m shooting on a Nikon D3400 that I’ve 

had for three years. I had wanted a DSLR for a while 

prior to that, having exhausted the capabilities of my 

phone camera, so getting even the most entry level 

DSLR opened up a world of photographic possibilities 

and since then my passion for photography has only 

increased. 

WHAT PHOTOGRAPHY GENRES ARE YOU 

MOST INTERESTED IN, HAVE YOU FOUND YOUR 

PREFERRED STYLE? 

I don’t think I can describe my style of work, and I 

think it’s naïve for any young photographer to claim 

they have a definite style. As with many my age, 

we are exploring this massive and diverse world of 

photography. Locking down a particular style is not 

in our priorities, rather exploring the styles, techniques, 

and conventions out there. We’re figuring out what 

we enjoy, and from that, eventually deriving a style. 

However, to try and put a label on my style, I would 

say I like taking photos that are a bit left of field, not 

what you’d immediately expect. 

As for genre, I really enjoy exploring a wide range 

including landscapes, animals, and capturing quirky 

angles of suburbia but it’s creative still life is where I 

think my creativity really comes through. 

WHERE DO YOU FIND INSPIRATION? 

I get a lot of my inspiration from the internet, I 

find it’s great for finding unique styles, discovering 

photographers, and developing your skills. 

Looking more local than that, where I’m based is 

tremendously inspirational - the Kāpiti coast has some 

great landscapes, nature, and beaches, all of which 

translate well into my photography. 

Travel is also useful, NZ has some great inspiration out 

there within both the realms of nature, and dense 

urban frameworks. Places I’ve travelled like Kāpiti 

island, Waiheke island, Taupo, Te Mata peak and NZ 

bushwalks also provide opportunity and inspiration. 

WHAT PHOTO PROJECTS HAVE YOU BEEN 

WORKING ON RECENTLY? 

One of my most recent projects was my level 2 

portfolio last year. It was based on our pandemic 

and subsequent lockdown in NZ last year. I wanted 

to explore some photography around what will be an 

event we’ll all remember for a lifetime. 

Another was a series of landscape shots at Te Mata 

peak in Hastings last October. There I stayed from late 

afternoon into the night, capturing the sunset and 

grassy hills, and eventually the city lights and night sky 

as the city and mountain transitioned to night and the 


Top: Pandemic Plantation 

Bottom: Self-Isolated Skating

Te Mata Trig Station 

cars filtered out, returning to the solace of civilisation. 

This observational photography was very enjoyable, I 

was able to explore the place while getting to know 

the mountain and the comings and goings of the 

other visitors. 

WHAT DO YOU MOST STRUGGLE WITH IN 

PHOTOGRAPHY? 

As I touched on before, I really think the thing I 

struggle with most is myself! I’m constantly thinking my 

photography isn’t good enough, isn’t perfect, and 

therefore is bad. I’ll compare myself to others far to 

much which diminishes my own achievements. I think 

overall we need to just put up a level of ignorance 

to these kind of thoughts, not let them get the better 

of us or keep us down. Better to accept the good 

enough, the imperfections, and use them to move 

forward and improve, rather than halt our progress. 

DO YOU HAVE A FAVOURITE PHOTO THAT 

YOU’VE TAKEN? 

There are a lot of photos I’ve taken that I like however, 

I’m sure as is the case with many photographers, 

my innate perfectionism means I can never feel like 

I have a favourite. I’m constantly chasing my next 

‘best’ photo and I always think that’ll be my favourite. 

Looking past that perfectionism, recently I’ve really 

come to like the photos I took for my photography 

board, as well as a photo playing with light trials at Te 

Mata peak (above) using an exposure of 86 seconds. 

WHAT ARE YOUR HOPES AND DREAMS FOR 

THE FUTURE – DO YOU THINK YOU’LL HAVE A 

CAREER IN PHOTOGRAPHY? 

As with most young people the question of “what are 

you doing after school?” is a tough one. Photography 

is something I enjoy massively whether or not I do 

develop that passion into a career. I can guarantee 

I’ll be taking photos all my life and continuing that 

passion one way or another. 


www.instagram.com/the_tippett_restrospective 


Lockdown Cement 

High Country Deer, 

4 Day Expressive 

Retreat 

Join us on New Zealand’s premier deer photography experience on 

our 4 day Expressive Photography Retreat in the wild high country of 

Rangitikei. We will be based on a 5000 acre private wilderness area 

which has abundant herds of Red, Fallow, Sambar and Sika Deer as 

well as a Wapiti which openly roam in their natural habitat that is void 

of any fencing or paddocks. The stunning landscape of this property, 

the rolling hills, the native bush, 

mountain ranges and the 

beautiful Rangitikei river, 

provides the perfect backdrop 

to capture the wildlife that this 

property has to offer. 

28th - 31st May 2021, 

31st July - 3rd August 2021 

(0064) 21 0845 322 


www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 


21

Getting The Most From Natural Light 

by Charlotte E. Johnson 

LIGHT TYPES 

Top left: Hard light. Top right: Soft, diffused light. Bottom left: Flat light. Bottom right: Shade. 

Observe the difference in the transition of light to shadow on the model’s cheek between the top left and 

top right images (hard vs soft light). See how diffused lighting retains shadows and depth in the model’s 

face compared to flat light and how muddy the image shot in shade looks compared to the others. 

Model: Monnie Jay. 

OVERVIEW 

Natural light can be the most beautiful form of light under the right conditions but, most of the time, it’s not 

quite as simple as heading outside and snapping a photo. Our strong New Zealand sunlight often results in less 

than flattering results for portraiture – think shiny skin and harsh shadows. You could wait for an overcast day 

when the sun is hidden behind clouds to take your photos but, whilst this lighting won’t give your subject harsh 

shadows, it doesn’t allow much contrast and is quite flat. 

The examples above are the exact opposite of each other; what is known as ‘hard light’ e.g. direct sunlight, 

and ‘soft light’ e.g. an overcast day. You can tell the difference by looking at the transition between light 


and shadow. Photos with very little or no transition were taken in hard light, whereas a gradual transition is 

the result of soft (or at least softer) light. Soft light is much more commonly used for portraiture as it is typically 

more flattering, especially for anyone with blemishes, wrinkles, or shiny skin. Despite this, hard light shouldn’t 

be entirely overlooked though it can be more difficult to work with and you might need to do more post 

processing. Because of the look of hard light, you may feel you can’t capture a good portrait in bright sunlight. 

In this article, I want to share several tips and tricks I’ve found for using any kind of daylight for portraiture, 

including (and especially) bright sunlight. 

THE HUMBLE REFLECTOR 

If you search online for how to photograph people in bright sunlight, one of the most common responses is 

to move your subject into shade. Whilst this will avoid the pitfalls of harsh light, it is a bit boring and you may 

as well have stayed indoors. Shaded areas don’t offer much contrast or depth to the lighting and can even 

cause your auto white balance to take on a blue or green tint, making skin tones appear muddy. To make 

your subject pop in shade, you need to introduce some light via either a reflector or a flash. Every portrait 

photographer should own a 5-in-1 reflector. They’re cheap, compact, and oh-so versatile. This is where you go 

and check the back of your ‘photography cupboard’ to dig out and dust off the reflector you bought all those 

years ago but never used. Hint: if it’s really old, open it up outside as they can go flakey! 

The 5-in-1 reflector has a reversible zipped cover with silver, white, gold, and black sides and the cover fits over 

a collapsible frame with diffusion cloth. They come in a range of sizes and shapes – a large reflector will be a 

softer light source than a small reflector but can be more difficult to handle. You probably know all this already, 

so here’s a handy table with more information that perhaps you weren’t aware of. 

USES PROS CONS 

SILVER 

Highly reflective, neutral colour. 

Use to create highlights or fill 

shadows. Relatively hard light with 

contrast. 

Can be used from a 

greater distance than a 

white reflector. 

Be careful not to reflect light 

into your subject’s eyes. 

WHITE 

Subtle reflection of light, neutral 

colour. Useful for creating 

highlights or filling shadows. Soft 

light. 

More flattering than the 

silver cover for shiny skin, 

wrinkles, or blemishes. 

Must be positioned much 

closer to the subject than a 

silver reflector, limiting the 

type of shot captured. 

GOLD 

Same as silver but with a warm 

tone. 

Can be used to add 

warmth to an image or 

simulate golden light. 

Has a bad reputation due to 

over-use in the 70’s. Needs 

to be used appropriately. 

BLACK 

Absorbs light. Used to create 

subtle, soft shadows. 

Useful for creating depth 

in flat light. 

As with white, must be 

positioned close to the 

subject. 

DIFFUSION 

Diffuses light like a softbox. 

Softens hard light. Ideal 

for use with direct sunlight. 

Smaller sizes may not entirely 

cover your subject whilst 

larger sizes are more difficult 

to hold in position. 

As well as the uses above, a reflector can be used as a plain background in a pinch, a ‘flag’ (something that 

blocks light), a windbreak, or to create a breeze to give movement to hair which is how I often use mine, I call 

it wafting the model! Of course, all these things are much easier if you have a second pair of hands, but you 

could (and I do) just clamp a reflector to a stand or tripod. 

There is a right way and a wrong way to use a reflector to light your subject. Put simply, never angle your 

reflector to bounce light upwards. This creates a Halloween-horror look, similar to holding a flashlight under 

your chin. Shadows are in the wrong place and catchlights are in the bottom of the eyes. We are so used to 



23

the sun being above us and angling shadows down that the opposite does not sit well with our brains. Instead, 

the reflector should be above our subject, bouncing light downwards. But where exactly should you hold it? 

Look at your photos: a good rule to follow is that the main catchlights should be visible between 10 and 2 in 

your subject’s eyes. As with anything, there are exceptions to this rule, but this would be if you’re using multiple 

light sources for a more complicated setup (or if you ask your model to pose upside down… speaking from 

experience). 

DIFFUSION – SOFTENING LIGHT 

When you use a diffuser with a strong light source, it softens that light. Clouds are nature’s diffuser for the hard 

light of the sun. Lighting modifiers employ layers of diffusion fabric, just like the fabric on the 5-in-1 reflector 

without the covers. You can also use sheer curtains, a white bed sheet, a frosted window, etc., to diffuse light. 

Have you ever noticed how soft the light is in bathrooms? You will now! 

Diffused light is not as intense as direct light, gives no glare and is scattered/less directional. When you use 

a diffuser to soften bright sunlight, you will need to increase your exposure compared to shooting in direct 

sun because you are reducing the intensity and direction of that light. How is this different to photographing 

in shade? Firstly, you can position your subject wherever you want and aren’t limited to where the shade is. 

Secondly, I much prefer the look of diffused bright light vs shade. It has more colour, warmth, brightness and still 

has soft highlights and shadows which are not present in shade. Saying all that, if you have a group of subjects 

to photograph in the middle of a bright day, your best option is probably going to be to shove them into a big 

area of shade! 

Photographing in natural light doesn’t mean you always have to have your subject standing in the sun. Some 

of the most beautiful soft light can be seen through a window or in a sheltered area with smooth, light-coloured 

walls. You can test just how reflective a wall is by placing your hand up to it and watching the change in light 

as you move it closer/further away. Think of the wall as being a huge, white reflector. You can use this by asking 

your subject to stand next to a wall, lean against it or position them in a space surrounded by light-coloured 

walls. You can create this look in a studio by using something called a v-flat which is simply a pair of large, 

rigid, rectangular sheets joined together in a hinge so they stand up in a V or L shape. Just be careful your 

lighting doesn’t become too flat. Rotate your subject around and watch how the light changes on their face. 

Make shadows by introducing a flag (blocking light) or the black side of a reflector or add/enhance some in 

post-production. 

FLAT LIGHT 

Left: Straight out of camera. Middle: Processed image. Right: Black and white conversion of processed image. 

For this image captured in flat light, I have added contrast, colour, and shadow in post-processing to create depth and contour. You can see this 

more clearly in the black and white conversion without the distraction of colour. 

Model: Eleanor Oxley. 


Utilizing window light can give amazing results. Generally, window light is very soft and diffuse, 

typically half the brightness compared to outside, so you will need to adjust your settings to 

compensate. You can diffuse it further if you wish, as mentioned above. Because it is much less bright, 

you may find you need to increase your ISO quite a bit, especially if you only have a small window 

relative to the space you’re in. This can result in a quality to the images reminiscent of film. Window 

light tends to fall off quite quickly, meaning you will get deep shadows and dark backgrounds, 

particularly where you are using just one window. This can make for some wonderfully moody portraits 

and still life images. In addition, window light tends to have a ‘painterly’ quality because this is what 

was used by many well-known artists when lighting their subjects. 

WINDOW LIGHT 

Left & right: This room was flooded with light from multiple windows on the same wall, lighting both the model and background. 

Middle: Here the model and environment are lit from a single window. 

Models: Liam du Preez (left), Anita van der Mespel (middle), & Ishant Ghulyani (right). 

You can position your subject a few steps back from the window, putting yourself between them and the 

window (without blocking the light) as this will light your subject most broadly. Vary the look by moving 

your subject closer or further away from the window, turning them, changing your own position and angle, 

and filling in shadows with a reflector. Filling in shadows and to what degree is completely dependent on 

personal taste and the intention for the image but be careful not to fill your shadows so much that they are 

no longer shadows. If you have several windows on different sides of your room, experiment with controlling 

the light by selectively closing curtains or blinds. You can also create a strip of light by not closing them all 

the way. Even direct sunlight shining in through a window can be used to creative effect – see the creative 

lighting section in this article. 

BACKLIGHTING – SHOOTING INTO THE LIGHT 

When the sun is at a lower angle in the sky, you can position your subject with their back to it so that you 

are shooting into the sun. This creates what is called a backlight effect. You’ll notice your subject has light 

wrapping around them, creating a rim of brightness. Exposing for the bright background will make your 

subject very underexposed so you need to light them separately, either with a reflector or other light source. 

Placing this slightly to one side will help to create shape to your subject as opposed to placing it front-on. 

Otherwise, you can expose the shot as a silhouette. 



25

HARD LIGHT AND BACKLIGHT SHADOWPLAY 

Left: Backlighting from the sun creates a rim of light around the subject, separating her from the background and casting a long shadow. 

Middle: Strong sunlight on the white wall has a similar effect to a backlight. 

Right: Backlighting using a window with natural light bouncing in to fill shadows. 

Model: Anita van der Mespel. 

You can even experiment with creating flare and sunburst effects when using backlighting. Simply position 

your subject so that the sun is slightly peeking out from behind them. A higher f-stop in this situation will create a 

sunburst effect (variable depending on the number of aperture blades in your lens) whereas a lower f-stop will 

create more of a hazy effect. Modern lenses are fastidiously manufactured and coated in order to specifically 

avoid lens flare but you can increase the chances of getting one by removing your lens hood and playing 

around with the angle you’re shooting at. There are also tools like the OMNI filter system by Lensbaby designed 

specifically to generate lens effects or the Black Pro-Mist filters by Tiffen which create a hazy look. Another way 

to get lens flare is to use a vintage lens with an adapter as these don’t have the anti-reflective coatings of 

modern lenses. 

You can also photograph a subject backlit indoors by positioning them in front of a bright window. Instead 

of using a reflector to light your backlit subject, you could use a flash. I’ll be talking all things flash in a later 

article but, for now, try experimenting with the pop-up flash on your camera if you have one. If it’s not bright 

enough, move closer to your subject. If the light is too hard or bright, try diffusing it with a piece of baking paper 

attached with a rubber band. You can also get some subtle colour effects by using colour gels on your flash 

(and now you have an excuse to buy those chocolates that are wrapped in coloured cellophane). 

CREATIVE LIGHTING – MANIPULATING LIGHT 

Strong, direct sunlight (hard light) can be used to great creative effect and you can try this indoors or out. You 

will have seen how bright sun shining directly in through a window casts patterns on the room inside. Any item 

with a pattern, provided that pattern is thick enough to block light, can be used for creative lighting. You can 

buy what is called a ‘gobo’ (short for go-between) for some studio lights and projectors to make light patterns, 

but I encourage you to have fun experimenting with your own finds or creations. For example, horizontal blinds 

create that classic film-noir look but, if you don’t have these, you can create it by taping up strips of cardboard 

or similar to your window. The sharpest results are achieved by moving your gobo close to the subject (or vice 

versa) which is why those film-noir images have the subject right up against the window blinds, peering through 

them. I have had success creating patterns with a tennis racket, fishnet tights, cardboard strips and cutouts… 

but my favorite is lace. Have a look to see what you have around the house that might create an interesting 

pattern. Hint: it needs to be large enough to create a pattern to cover your subject as it’s best to avoid being 

able to see the edges. 


CREATIVE LIGHTING 

Left: The model holds a piece of lace above her head to create the pattern on her face. 

Middle: Dappled lighting creates patterns on the floor whilst the Lensbaby OMNI filter creates an effect along the right of the model’s body. 

Right: A diffuser softens hard midday sun whilst the Lensbaby OMNI filter is used to create flare and add a splash of colour. 

Models: Katie McLaren (left) and Monnie Jay. 

When experimenting with patterns, make sure you expose for the highlights and lift the shadows 

in post if needs be. Creating an image with strong highlights and shadows can often trick your 

camera so you may need to shoot in manual mode. Try using spot metering and placing the spot 

on a highlight. Switch to manual focus if the camera is having trouble in auto. If you’re unsure about 

camera settings and metering, take a peek at my article in Issue 41: ‘The Exposure Triangle’. 

You can use any number of objects to inject creativity into your natural light photos. One of my 

favorites has to be a glass prism. Held up to the lens, it creates reflections of the scene within the 

scene. You can buy these online or try any piece of interestingly-shaped glass. An old CD can be 

used to reflect light into the lens and create flare. Cover a part of your lens with a colour gel (or 

chocolate wrapper) to infuse colour into the shot. Try venturing to your local film camera seller and 

rooting through the bargain bins for funky filters like star filters, kaleidoscopes, or buy a cheap UV filter 

and smear on some Vaseline (leaving the center clean) to get a blurred effect around the edge. Try 

shooting through different materials to create depth and interest in your shots or purchase a creative 

filter, lens, or system. All these things work best with a wide aperture/low f-stop and a longer lens e.g. 

85mm so the edges of what you’re putting in front of the lens are not as obvious. 

GOLDEN HOUR 

No doubt you have heard about golden hour or magic hour. It is the hour-or-so (actually closer to 

30minutes) after sunrise and before sunset in which everything is bathed in a beautiful, golden light. 

Because of the angle of the sun, the light is softer (more diffuse) and more directional – far more 

flattering than at other times of day. We can’t help but associate the warm hue with comfort and 

happiness. Because of this, many photographers will say it is their favorite time of day to photograph 

any subject. 

At golden hour, everything I have mentioned so far is at your disposal due to the low angle of the 

sun; diffused light, backlighting, silhouettes, lens flare, and sunbursts. It’s the perfect time to use your 

reflector or other light source to fill in some shadows or add light to a subject if needed. 



27

GOLDEN HOUR 

Left & middle: Placing the sun behind the model creates a backlit effect, separating them from the background. The model was then lit from the 

front with flash, centered (left), or with a continuous light source to one side (middle). 

Right: The model poses side-on to the setting sun. Observe how the angle of light in the middle and right images shapes the models more than the 

centered flash in the left image. 

Models: Monnie Jay (left & right) and Emma Malone (middle). 

Because of the directional quality of the light, golden hour is ideal for testing how light shapes your subject. 

However, you only have a short window of time and you must be careful not to let it slip away. Plan ahead 

as much as you can. Scout locations beforehand and check where the sun will be positioned using an app 

or previous visit. Be aware that you’ll need to set your exposure to balance between your subject and the 

brightness of the sky and you’ll likely need to play with recovering shadows and highlights in post. To capture 

the most information from the scene, it is best to shoot in RAW format rather than JPEG. It is useful to have an 

idea of your camera’s dynamic range (the range of exposure which can be captured) so you know how best 

to expose your image e.g. full frame cameras typically have a higher dynamic range (capture more stops of 

light) than crop-sensor cameras and therefore can recover more highlight and shadow detail. 

SUMMARY 

So, what is the best time of day for portraiture? Well, that completely depends on what look you’re going for. 

Ask yourself the following questions: 

• Do I want hard light or soft light? 

• What tools and assistance do I have available to me? 

• Do I want to add a creative element? 

• Do I want to achieve a particular mood or lighting style? 

• What is the weather going to be like?! 

I’ve given you the knowledge to capture portraits at any daylight hour, now you need to decide which one will 

suit your photos the best. Grab a willing test subject and practice, practice, practice! 

BUILD YOUR PHOTOGRAPHY SKILLS AND CONFIDENCE WITH CHARLOTTE'S WORKSHOPS 

AND TUITION SPECIALISING IN PORTRAITURE, LIGHTING AND PHOTOSHOP. INVEST IN 

YOURSELF! VISIT HER WEBSITE FOR MORE INFORMATION. CEJPHOTO.COM 




29

LEARN MORE 

www.excio.io 

30 May 2021 NZPhotographer 

Photo by Jakub Soltysiak

WHY DO WE NEED 

PHOTOGRAPHS? 

With billions of photographs 

uploaded daily to social media, 

it may seem that we already 

have a photo of everything. From 

shots of the Nebulas to archaic ruins 

underwater, from remote destinations to 

daily news shots, people with cameras 

are capturing all possible aspects of 

our life. So why do we need more 

photographs? 

You may think that by taking photos 

of things already documented and 

seen a million times (That Wanaka 

Tree!) that we are contributing to the 

overall mass of content by sharing 

our own images on social media and 

publishing our images elsewhere. Even 

if we don't publish anywhere, we end 

up with images accumulating on our 

hard drives or cluttering the ‘cloud’ 

so what's the point of taking more 

photos? It is a question that we all ask 

from time to time whether it’s bought 

on by the change of seasons or a 

midlife crisis but it made me think more 

about photography and the role we, as 

photographers, play in our world. 

Something makes us wake up at 

3am for that sunrise and spend nights 

freezing under the stars photographing 

the Milky Way. Something makes us 

spend hours in front of our computers 

downloading, editing, filtering, 

stacking... What is it? 

We create photos for ourselves. 

Photographs we take are our personal 

reflection, our story, our life. We depict 

and show our surroundings, our family, 

and our love and passions as we 

experience them there being no other 

photograph in the world that can 

replace our moment, no matter if it is 

taken at the same place at the same 

time and your photography closely 

resembles someone else's photo. 

Imagine if you weren’t allowed to take 

photos of your kids, your family, friends? 

You may still have memories but even 

the most vivid memories fade so what is 

left? Photographs! 

Taking photographs makes us feel 

good. It is an achievement. Whether 

it is a spontaneous photo or the one 

you plan for months, it makes us feel 

creative, alive and that explains 

why subconsciously we search for 

recognition and gratification (how 

many likes did I get in the last 5 

seconds..?). 

There is also someone, somewhere 

who needs to see your images whether 

right now or in the future. Don’t 

underestimate your power to change 

the lives of others. Despite billions 

(trillions?) of photographs out there, 

someone will come across your work 

and it will have a ripple effect. It can 

make them think, make them smile, or 

maybe this is something they have been 

searching for? Maybe they explore 

the world through your photographs? 

You are also creating a time machine, 

leaving a legacy - just think how grateful 

we are of all those early photographs! 

Imagine if we didn't have them, we 

would be far behind with science and 

history would be based only on our 

assumptions and guesses.... 

There are many other reasons I counted 

for myself, that may be different for 

each of us, but one thing remains 

clear – we need to keep taking more 

photographs, we need to publish them 

but mindfully and responsibly - Instead 

of uploading thousands of average 

shots, share your best 10, instead of 

focusing on how many likes the photo 

will get, focus on how it impacts the 

environment and people in your frame. 

At Excio, we are helping you help others 

through photography. No matter what 

you do – exhibit, sell, or simply share your 

photographs, your photography has 

a direct impact on the lives of others. 

Learn more here – Photographers For A 

Better World 

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 

www.excio.io 

@excionz 



31

PHOTO COMMUNITY 

From more than 20,000 photographs published on Excio 

by our members, these 10 made it to the top this month. 


WATER BALLOONS 

CONNULL LANG 

To capture the moment the water balloons popped 

we used laser beam trigger and an extremely high 

tech pin on a stick. With the balloons suspended from 

my basement ceiling, we used a relatively long shutter 

speed and triggered a Speedlight to freeze the moment. 

excio.gallery/connull 

SCARLET 

LYNN FOTHERGILL 

A creative and expressive teen, 

Scarlet has a love of the vintage era. 

excio.gallery/lynn 



33

AUTUMN 

MARINA DE WIT 

Coloured fallen leaves in our 

garden, I love the rich tones. 

excio.gallery/marina 

FUR SEAL PUPS 

JAMIE FRASER 

Fur Seal pups photographed in Doubtful Sound. 

excio.gallery/fraserfotography 


WHITE WASH 

PAMELA JOHNSTONE 

A different take on a very small 

waterfall as the water flows. 

excio.gallery/pamela 

ME AND MY APPLE 

LEANNE SILVER 

A feeding station on the deck of 

a house in the aptly named Kaka 

Ridge Road in Stewart Island was 

visited by a pair of kaka. One chased 

the other off and then proceeded to 

start to eat the entire apple before 

flying off with what was left. I can't 

help but sense a certain smugness as 

he (or she) surveyed their prize! 

excio.gallery/leanne 



35

OH MY 

VICKI FINLAY 

Which one to choose and single 

out of this beautiful bunch of 

gorgeousness! This is something a 

little different for me and I am super 

pleased with how they turned out. 

excio.gallery/vicki 

WINTER FEASTING 

VANDY POLLARD 

These tiny Tauhou, only weighing nine grams, 

arrive in winter to feast on the Coprosma berries 

in my garden. Native plants are such a resource 

for Birds at this time of year when food is scarce. 

excio.gallery/vandy 


NANA'S WATCH 

ANN KILPATRICK 

This is my nana's watch, given to her by my grandad as an engagement present. They were married 

in the early 1900's. Nana's watch still works, she used to let my twin and I play with it in church. 

excio.gallery/ann 

AS THE SEA RETREATS 

TINA MACRAE 

As the sea retreats. 

excio.gallery/macrae 



37

From the Road: 

Dubai 

by Susan Blick 


Yes! I’m on the road again and as I write this I'm in the UAEs’ glittering city of Dubai! With the 

pandemic winding right down here (over 50% of the population are fully vaccinated plus 

priority vaccinations in the hospitality and the tourism sector), I was antsy to get back out on 

the road exploring destinations willing to have me while I do my best to follow all protocols. 

From a photography standpoint, Dubai can be 

divided into four quarters to be explored: 

1. Downtown - all high rise and glamour. 

2. The Creek Area - the old city and its soul. 

3. The Beach Promenade - clear blue water and 

compositions that just ooze sunset. 

4. The Desert - wildlife, dunes and eco-experiences. 

DOWNTOWN 

Blue hour from the Shangrila’s 42nd floor terrace 

Canon 6D Mk1 + Canon 16-35mm @ F/7.1, 2.5 sec, ISO100, 20mm 

Most large cities, and Dubai is no exception, look better 

at night. Be dazzled by the bright city lights of which 

Dubai isn’t lacking and put up your tripod for images that 

are sure to wow. Some of the best vantage points are 

from hotel decks and balcony rooms, so choosing where 

to stay is your first priority. It’s hard to beat the Shangrila’s 

42nd floor terrace where you’ll get the best unobstructed 

views of the city’s road networks coupled with the Burj 

Khalifa, this is a fabulous spot for sunrise or sunset’s blue 

hour. Book a room and go to reception 30 minutes before 

sunrise and ask for access to the terrace – the staff are 

quite obliging. Nearby, also on Sheikh Zayed Road, is the 

Sky Lounge on Level 43 at the Four Points Sheraton. The 

lounge is open to the public, just remember that smart 

casual dress is required. This location will provide you with 

an awesome long exposure light trail shot looking straight 

down Dubai’s flashiest street. Another super spot not far 

away is the Look Up Rooftop Bar at La Ville Hotel and 

Suites. Buy a drink after 6pm and settle into sunset looking 

at the city skyline with the Burj Khalifa centre stage. Again, 

smart casual is required here. Take your tripod to all three 

locations for the best city lights shots. A wide angle lens 

will help you take in the expanse of the city, but from the 

Look Up Rooftop Bar a midrange telephoto will work well 

too. Other hotels with viewing decks and great room 

balconies worth considering when booking are Rixos 

at Jumeriah, Four Seasons downtown, Damac Maison 

Distinction, and the Address Sky View hotel. 

DUBAI CREEK 

This is the traditional quarter where the Arabian 

architecture will have you drifting back to a time long 

ago. You’ll see old dhow sailing vessels as you weave 

through narrow alleyways filled with crevices and 

corners begging for you to photograph them. Everyone 

is familiar with Dubai’s high rises, but less so with its 

wind towers and courtyard houses. Visit the Al Fahidi 

Historical Area and Al Seef along the creek’s banks 

for the best spots to photograph this architecture. 

There’s no entry fee and the picture spots are endless. 

As is usually the case, a lens with zoom function is 

best for street photography. I use my 24-105mm on 

most occasions. Shoot on shutter priority with a shutter 

speed of around 1/200th to ensure your pictures are 

sharp and choose an iso of 200, this will give you a little 

more leeway in darker sections of souks. The traditional 

buildings in this area were made from coral stone and 

mortar and make for interesting detail shots of the fort’s 

walls, towers and inner sanctums. Stumble across the 

Arabian Teahouse, or search it out on Google maps - 

It’s a great place to take a break and it itself is worthy 

of some photography with beautiful white trellises 

covered in colourful bougainvilleas. 

Along the creek you’ll also find numerous souks, the 

spice souk is my favourite, and at the end of the 

souk there’s a lovely corniche. Take an abra to cross 

the creek and transcend time, it’s a boat ride that’s 

one of the best value experiences you’ll have in the 

world’s third richest country. The people photography 

in the souk area is among the best you’ll get but 



39

Nooks and crannies inside old Al Seef village 

Canon EOS M50 MK1, Canon 24-105mm @ F7.1, 1/200s, ISO100, 35mm 

The architecture of Al Fahidi historical area 

Canon 6D MK1, Canon 16-35mm @ F7.1, 1/400s, ISO100, 32mm 

remember, photographing people in the Middle East 

is more restrictive than many other places. Women for 

one generally won’t want you to photograph them, 

and no matter the gender, it’s always best to ask first. 

Try to start a conversation if the opportunity presents, 

and before your new friend leaves, ask for a picture. It 

works a charm - people are usually quite willing. 

Further South along the creek you’ll come to the 

dhow wharf - visit at golden hour and stay on for 

sunset if time permits. Numerous boats are coming 

and going, and many are moored, making for great 

compositions. Across the creek, you’ll have a superb 

view of the Burj Khalifa and a section of the skyline. 

A minimum of a 100mm lens is required to shoot the 

skyline from this vantage point, and up to 200mm will 

have you framing it more tightly. 

THE BEACH 

The turquoise blue waters of the Arabian Sea are 

without doubt simply stunning. Catch the metro on a 

day pass for best value out to Jumeriah Beach. There’s 

a large boardwalk running parallel to the beach with 

numerous cafes and restaurants dotting the foreshore. 

Walk to the end of the beach to The Address Beach 

Resort and from here you can cross the pedestrian 

bridge to Bluewater’s Island. Incredible photographic 

opportunities present and it looks its best from golden 

hour through to sunset. Take in sunset from the Address 

Beach Resort’s Lounge Cafe, well worth the NZD100 

you’ll pay for two drinks and snacks. Get up from your 

table and walk just ten paces for a composition across 

the Arabian Sea and of the reflective pool sculptures 

so elegantly positioned on the deck. Be aware that 

DSLRs are frowned upon at this establishment so keep 

your camera concealed until ’the moment’ arises or 

bring your best camera phone skills along. Back down 

at sea level, try a long exposure of the gentle waves 

and capture the warm light on the waves’ crests. Here 

your wide-angle lens and a graduated filter will help 

you capture the sky perfectly. Frame your image to 

include the new Dubai Eye, or Ain Dubai in Arabic, to 

give your image depth and a distant subject. 


Top: Gorgeous spices and herbs fill the souk 

Canon 6D MK1, Canon 16-35mm @ F2.8, 1/160s, ISO250, 26mm 

Bottom: Islamic verses’ sculpture 

at sunset with Al Ain in the distance 

Canon 6D MK1, Canon 16-35mm @ F5.6, 1/100s, ISO160, 18mm

THE DESERT 

Well-known for its mega-projects, Dubai is also carving a 

path in sustainable and eco-friendly tourism having given 

over 5% of the emirate to the Dubai Desert Conservation 

Reserve and one safari company, Platinum Heritage, has 

ditched dune bashing and nature degradation in favour 

of conservation. Jump aboard their 1950’s open top 

Landrovers and photograph fauna, such as, oryx, camels, 

and gazelles, and hardy flora like the Ghaf tree. As is true 

of all wildlife photography, a long lens is preferable, at 

least 100mm to 300mm. 

Platinum Heritage is the top respected outfit running 

eco-based and culturally-sensitive safaris, their outings 

also providing a chance to photograph the local 

Bedouin people and some of their traditions, like 

coffee, tea, and bread-making, and notably the drum 

dance Al Ayyala. The dance is so culturally significant 

that UNESCO added it to their list of Intangible Cultural 

Heritage Items of Humanity! A lens with a wide 

aperture is required as the dances and demonstrations 

are done after dark. Bring a flash if you have one, 

dial it down to not push back the ambient light too 

much and you’ll capture the action favourably. If 

landscapes are more your thing, wander off at sunset 

for that classic sand dune ripple shot. Use a wide angle 

lens and get down low to the dune to pronounce the 

ripples, try to find a dune with curvature and follow the 

crest of the dune through your frame, this will add that 

leading line element to your shot. 

TOP INSIDER TIP 

Hook up a car from your hotel for a quick jaunt to 

Half Desert Road. If you have a drone with you, all the 

better. Fabulous shots of desert sands taking back what 

is theirs, leaving new road networks in their wake await. 

You could also ask a taxi to take you, with 30 minutes 

wait time for photos, expect to pay around 200 dirhams 

(NZD70) for the outing. 

CONCLUSION 

Dubai is a large city that can feel overwhelming 

especially on your first visit. It’s hot and often dusty. Be 

sure to use the metro as this will help you get to most 

places conveniently. Taxis cost a pretty penny, so it 

pays to do your homework before you head out. 

Golden hour through to blue hour are the best times to 

shoot your chosen frames. And if you can drag yourself 

out of bed for sunrise you won’t be disappointed, 

beautiful soft tones and a glorious low light will greet 

you as you see in another day. Conversely, the midday 

sun is usually too harsh and much too hot to be out 

and about in. Get yourself on ‘Dubai schedule’ waking 

late, going to bed late, and you’ll get the best from this 

magical place on the Arabian peninsula. 

The destinations for the next installments of “From The 

Road” will be determined by a country’s ability to 

accept travellers. As readers, you could be in for some 

unique and incredibly interesting locations! 

Follow my travels and updates on instagram 

@phomadic 

Crossing the Dubai Desert Conservation Area 

Canon EOSM50 MK1, Canon 24-105mm @ F8, 1/320s, ISO100, 24mm 

Drone aerial above Half Desert Road 

F2.8, 1/4000s, ISO104, 4.5mm 

Sunrise from the Shangrila’s 42nd floor terrace 

Canon 6D MK1, Canon 16-35mm @ F6.3, 1/200s, ISO100, 16mm

2017 

2018 

2019 

2020 

Digital Cameras 








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43

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. 

IN THE NAME OF ADVENTURE 

Bianca Bratton 

THE THRILL OF THE CHASE 

Lynn Fothergill 

WELLINGTON’S SOUTH COAST 

Graeme Howan 

OUR NATURAL WORLD 

Noel Herman 


BIANCA BRATTON 


Originally hailing from Sydney’s Northern Beaches, I was captured by 

the incredible scenery of the Southern Alps and the inclusive outdoor 

communities that call Wanaka and Queenstown home. After making the 

move across the ditch 4 years ago, I have never looked back. As a self 

taught, amateur photographer, I am constantly inspired by the volume 

of talented creatives living in NZ and am consistently working to improve 

and challenge myself with my camera, particularly with landscape, 

Astrophotography, and action sport images. 

@biancakbratton 

IN THE NAME OF ADVENTURE 

This small island in the South pacific, Aotearoa, is a particularly 

special place. With braided rivers and deep valleys, the glaciers 

of the main divide, white sand beaches of Northland and the 

snow covered mountains of the Southern Alps, this land is rich and 

diverse. The inherent nature of kiwis to explore is apparent in our 

comprehensive hut systems and conservation efforts. 

Battered by vicious storm systems from the south, often 

experiencing 4 seasons in a day, the fertile landscapes and 

vistas are ever-changing. Adopting personalities of their own, the 

mountains and the seas are a constant for change. It has been the 

uniqueness to every day, every minute spent in the mountains, in 

particular, that has been the catalyst for my continuous pursuit of 

time in the alpine. 

An outdoor enthusiast first and foremost, it has only been of recent 

years that my camera has become a vessel for transporting others 

to the places I roam, for storytelling and as a memory bank of my 

own to reminisce on the adventures. With each escape to the 

mountains, comes new friendships, hardships, and awe inspiring 

landscapes. The ability to capture the essence of these is a 

constant thrill and often provides an even bigger challenge than 

the hike/bike or climb itself. 



47




49

LYNN FOTHERGILL 


Above all I love photographing people, in a range of contexts - portraits 

yes, but also travel, street, sport and event. But I find joy in a range of 

genres really - birds and wildlife, dogs and other animals. I play with 

creative techniques from time to time, and am always trying to improve 

my landscape work! This year, the business side of Serendipity Photography 

is on hold due to commitments in my full time job. I’m looking forward to 

photography being again, primarily, my creative, joyful outlet. 

www.serendipityphotographynz.com 

THE THRILL OF THE CHASE 

Before this experience, I had never watched a polocrosse game, 

despite loving horses all my life. I also love the chase of a good 

action shot, and this was my aim for the day. I was shooting with 

both my trusty 100-400 f4-5.6 lens as well as my favourite 70-200 f2.8, 

one on a Canon 5DMkIV and the other on my old 6D Mark I. 

After observing this fast paced sport and learning the ebb and flow 

of the game, I’d select one aspect to focus on, before moving to 

change perspective. My favourite part to photograph was the line 

up, when the ball was thrown in either to start a chukka, or after a 

ball went out of the field of play. All kinds of mayhem to capture! 

The environment and atmosphere on the day was in my favour; 

cloudy but dry, with the hooves on the hard, dusty ground making 

for some great dynamism in the shots. There were also some epic 

expressions on show! 

I am super keen to photograph a polocrosse event again now 

that I know more about it, with the view to taking a documentary 

approach to the event next time. 



51




53

GRAEME HOWAN 


I have had an interest in photography since my high school years when 

I joined the College Photography club. I really enjoy travel photography 

and in recent years have travelled to England, Taiwan and most recently 

Canada where I journeyed on the Rocky Mountain Experience from 

Vancouver through the Canadian Rockies for two days. Due to Covid my 

travelling was put on hold last year but I have enjoyed spending the time 

taking photos of my now 2-year-old granddaughter. 

www.facebook.com/graeme.howan 

WELLINGTON’S SOUTH COAST 

These photos were taken on a coastal long exposure course 

which was a gift from my family. I really enjoyed the opportunity 

to expand my photography knowledge with the course giving me 

the opportunity to experiment with ND filters which I had not used 

before. 

The following photos were taken on a Lumix G7 with a Leica 2.8 

12mm–60mm lens. The rock formations are so full of different shapes 

and colours and the scenes change all the time depending on the 

weather and time of day. 

I learnt how everyday objects like the two different wharf photos 

can be used for great subjects. 

Wellington’s Southern Coast is a place I now enjoy returning to 

frequently. 



55




57

NOEL HERMAN 


As a teenager, my dad gave me a Kodak Box Brownie camera which 

I absolutely loved. Cameras and photography have given me the 

incentive to go mountaineering, rafting rivers, crawling down wet caves, 

and tramping in New Zealand’s beautiful forests. Most of the cameras 

survived, as did I, to walk the length of our country the hard way. Ironically 

my working life has mostly been in the sawmilling industry but thankfully it 

was in the period of the “Pinus Radiata” trees and not native flora. 

excio.gallery/noel 

OUR NATURAL WORLD 

What a huge and wonderful backyard we have in New Zealand just waiting 

to be explored by anyone willing. Whether you work or play, nature is 

constantly there waiting for you to take notice, displaying all its magical 

elements. 

Photography encourages you to go further, look closer and actually feel the 

elements - like rain, sun, humidity and the cold. I like to immerse myself in all 

these things and revel in the challenges they present. 

The following four images represent but a fraction of discoveries made on 

my journey of life which I have been at for nearly three quarters of a century. 



59




61

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63

Finding Flow in the Landscape 

by Richard Young 

Composition in the landscape photograph is challenging. 

Often, the landscape is complex and trying to find a 

way to balance out elements within the frame can not 

simply be approached with "rules of composition" or set 

techniques. While there are many aspects of landscape 

photography that can be easily learnt, most of these are 

related to the technical approach and not to the art of 

composition. This is because there can be no one set 

formula to produce desired results, partly because our 

approach to composition is so closely linked to our vision 

and the story we wish the image to tell. Saying this, there 

are many small aspects of composition that can help 

convey our message, one of these is flow. Knowledge 

of how flow works within the landscape can help us to 

compose in the field with a powerful effect. 

In art, flow describes how the eye moves around an 

image. When used effectively, flow will lead the viewer 

through a scene, holding their attention. The eye tends 

to be drawn to a specific point in an image at first 

glance; from there, the eye travels to a nearby point of 

interest, and it will continue to move on and on as the 

flow allows. The flow of an image can make or break it; 

if there is no natural next point for the eye to seek out, 

the viewer might lose engagement. Likewise, if the eye 

is drawn to an unintended area, the subject or story 

may not be conveyed effectively. Poorly thought out 

flow might lead the eye out of the frame altogether 

- prematurely finishing the reading of an image. In 

Western cultures, we read from left to right. We start at 

the top left-hand corner of a page, and our eye moves 


horizontally across the page, making its way down line 

by line until we reach the bottom right-hand corner. By 

default, we tend to use the same pattern to read images, 

so it's useful to consider how this will affect flow within a 

photograph - the eye's direction of travel influences how 

we assess and interact with what we see. Sometimes, the 

flow pattern of a photograph will be clear, defined by 

strong compositional elements, while other times, it will 

be so subtle as to go unnoticed, even while guiding our 

journey through the image. Not everyone will read an 

photograph the same way - you might move through it 

differently than someone else, just as you both might differ 

in your overall interpretation of what you see. 

When we envision the landscape as an abstract 

collection of shapes and tones, flow will often become 

much more apparent. While flow can be found by 

the shape and direction of one object it can also be 

achieved through a combination of elements working 

together to guide the eye along a path. This can be 

created through the structure of the subject, or from 

the space between subjects - the eye moving from one 

object to the next, or moving through a line of negative 

space. For example, on the coastline, this could be found 

in a line of rocks, the tide mark, or some seaweed. Flow 

can serve as a compositional device in your photograph 

- search for lines and curves within the landscape; 

change your position, angle, and height to find their ideal 

placement within the frame. 

By understanding some basic flow lines, we can work 

with foreground detail or subject placement to help 

lead the eye through the shot or define a subject. 

LINEAR FLOW LINES 

We tend to think of linear lines as man-made, because shapes in nature tend to be organic rather than straight. 

While physical straight lines such as those seen in architecture (such as a jetty) create powerful flow lines, these 

are not always found within the natural landscape. Linear flow can also be achieved through a combination of 

elements working together to guide the eye along a straight path.

CURVED FLOW LINES 

Curved flow lines are created in the same way as linear flow lines, but while straight lines can make parts of an 

image feel separated, curves create more harmonious connections, especially when capturing the natural 

landscape. A curved flow tends to be more subtle and less defined than its linear counterpart; it can gently 

lead us on a journey without us being aware that we're being led at all. Once we start to look for curves in 

nature, we will find them everywhere: from the arch of the tide line to the shape of a hanging branch. 


S-CURVE FLOW LINES 

The S-curve flow pattern is an extension of the curve - our eye follows it as it winds through an image. Its shape 

slows our scan, causing us to explore a larger portion of the frame than we might normally. Like the simple 

curved flow, the S-curve gives a sense of depth, drawing us deeper into the image, leading the eye around 

and then back into a photograph. S-curves can be easily found within the natural landscape, from the 

meander of a river to patterns in windswept sand. 



67

USING FLOW LINES AS LEADING LINES 

A leading line is a powerful compositional tool that can draw us into a photograph; it can guide the viewer to a 

subject or give a sense of depth to an image. Because we naturally scan from left to right and from bottom to 

top, some of the strongest leading lines start from the bottom left corner within a photograph, draw us in - this is 

why we call them "leading lines". Try to avoid leading the viewer right to an edge or corner of the frame; doing 

this can upset the balance of an image and even lead to the eye moving out of the frame altogether. 

RICHARD YOUNG IS A FULL TIME LANDSCAPE PHOTOGRAPHER WHO TEACHES PHOTOGRAPHY 

ON WORKSHOPS WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS. 

WWW.PHOTOGRAPHYWORKSHOPS.CO.NZ 


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69

WINTER 

READERS' 

SUBMISSIONS 

Winter is coming bringing 

some exciting photo 

opportunities! Show us how 

does the winter look like for 

you? All styles and genres 

welcome! Submit by 15 May 

for a chance to be featured 

in the next issue of 

NZPhotographer. 

Submit at www.nzphotographer.nz 


PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'TEXTURES' 

NEXT GENERATION 

F3.2, 1/400s, ISO100, 105mm 

A garden walkabout, experimenting and practicing with a new lens when these 

seed heads caught my eye. They do such a good job of creating the next 

generation. 

Ann Kilpatrick 



71

MILLINER'S ARTISTRY 

F7.1, 1/8s ISO1600, 55mm 

A friend invited me to visit the WOW exhibition at Te Papa. I wasn't keen initially but 

ended up really enjoying it, so much that I went back a second, quieter, time to 

take a few more photos. This is the Lady Warrior by Rinaldy Yunardi. 

Ann Kilpatrick 


SECURE WEB DESIGN 

I came across an abandoned farm house in Central Otago and was impressed by 

the security system. If anyone tries to turn the doorknob the spider's web network is 

activated and the spider comes running out of the keyhole to scare burglars away! 

Greg Hughson 



73

SOLAR HEAT TEXTURE 

This abstract image was created using the liquify persona of Affinity photo. If you 

gaze at it long enough you will see a glowing red solar circle through a matrix of 

textured windows. 

Greg Hughson 


RIPPLES IN THE SAND 

Strolling along Taieri Beach, these ripples in the sand were screaming out to be 

photographed. The texture was quite seductive. 

Peter Maiden 



75

EFFERVESCENCE 

Panasonic TZ220 @ F6,1, 1/500s, ISO800 

This image is a section of one of the water fountains in the Octagon, Dunedin when 

the angle of the light seemed to be just right. I love the textural contrast between 

the silkiness of the flow and the fizziness of the bubbles. 

Suzanne Renner 


RUST 

Taken at Horopito Motors wreakers yard, I was attracted by the rust 

colour and the light. 

Robert Brown 



77

GROUP HUG 

Canon 80d, 24-105mm @ F4, 1/5s, ISO100, 67mm 

These gorgeous blooms are all from the same type growing in my garden - Dahlia 

Cafe au Lait. The colour variation and texture is what makes them so interesting, 

even as they age. This shot was taken in my studio (read coffee table), trying out my 

new tripod. 

Raewyn Smith 


CRINKLED POPPIES 

F6.3, 1/1000s, ISO500, 178mm 

Photographing a recently opened poppy shows the 

crinkles from it being tightly folded up within its bud. 

Tanya Rowe 



79

"THE GOAL IS NOT TO BE PERFECT BY THE END. 

THE GOAL IS TO BE BETTER TODAY." 

SIMON SINEK 

Photo by Shayne Avery

NZPhotographer Issue 43, May 2021

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