NZPhotographer Issue 46, August 2021
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ISSUE <strong>46</strong>, <strong>August</strong> <strong>2021</strong><br />
THE WONDERS OF OUR<br />
WORLD INTERVIEW WITH<br />
DEB FORD<br />
PRODUCING A COFFEE<br />
TABLE BOOK: A CHALLENGE<br />
WORTH SWEATING FOR<br />
BY PETER LAURENSON<br />
RECONSIDERING OUR<br />
APPROACH TO LANDSCAPE<br />
PHOTOGRAPHY<br />
BY RICHARD YOUNG<br />
FREE EDITING<br />
SOFTWARE OPTIONS<br />
BY FAIRLIE ATKINSON
WELCOME TO ISSUE <strong>46</strong> OF<br />
NZ PHOTOGRAPHER MAGAZINE<br />
HELLO EVERYONE,<br />
First of all a disclosure – this issue<br />
includes spider photos so if you're an<br />
arachnophobe beware of pages 27<br />
and 29 of Deb Ford's interview, we don't<br />
want to give you an unexpected fright,<br />
especially if you're viewing online at<br />
100%!<br />
If you're experiencing the 'Winter Blues'<br />
I hope this issue will inspire you to try<br />
something new with your photography<br />
whether that's picking up your camera<br />
and trying a new genre, going to a<br />
photo-worthy location and consciously<br />
choosing not to take any photos,<br />
or sitting down at your computer to<br />
produce a new version of an old capture, or even a photo book. It's<br />
also totally fine to concentrate on something besides photography for a<br />
while – if you're not feeling it, don't force it.<br />
Over on our Facebook page, we're running a photo competition with<br />
Peter Laurenson's brand new photography book up for grabs. I invite<br />
you to sort through your archives and consider your own 'Worth The<br />
Sweat' journeys and submit your image along with the story behind it to<br />
our pinned post on Facebook by the 20th <strong>August</strong> for the chance to win<br />
a copy of 'KHUMBU Gateway to Mount Everest, Pathways to Kinship'.<br />
OUR CONTRIBUTORS<br />
Emily Goodwin<br />
Editor NZ Photographer<br />
<strong>NZPhotographer</strong> <strong>Issue</strong> <strong>46</strong><br />
<strong>August</strong> <strong>2021</strong><br />
Cover Photo<br />
Gothic Blossoming<br />
by Suzanne Renner<br />
Publisher:<br />
Foto Lifestyle Ltd<br />
Website:<br />
nzphotographer.nz<br />
Graphic Design:<br />
Maksim Topyrkin<br />
Advertising Enquiries:<br />
Email<br />
hello@nzphotographer.nz<br />
FOLLOW US<br />
Peter Laurenson<br />
Peter Laurenson is an occasional<br />
climber, traveller, photographer, and<br />
writer. His adventures, which span<br />
30+ years, come together on his<br />
website 'OccasionalClimber'. Peter<br />
is also Editor of FMC's Backcountry<br />
Magazine and writes for Wilderness<br />
Magazine and, occasionally, other<br />
publications, alongside his bi-monthly<br />
articles here.<br />
Fairlie Atkinson<br />
Fairlie Atkinson teaches<br />
Photography and Design at Kapiti<br />
College. She is also a keen fine<br />
art photographer, and has used<br />
her work to raise awareness and<br />
money for conservation. She is a<br />
keen advocate of the movement<br />
#photographyforgood and<br />
encouraging teen photographers<br />
to find their voice using a lens.<br />
Richard Young<br />
Richard is an award-winning<br />
landscape and wildlife<br />
photographer originally<br />
from the UK. The found of<br />
New Zealand Photography<br />
Workshops, he helps people<br />
improve their photography<br />
whilst experiencing<br />
New Zealand's stunning<br />
locations.<br />
All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior<br />
consent of the publisher.<br />
Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.
CONTENTS<br />
5<br />
8<br />
14<br />
32<br />
40<br />
52<br />
57<br />
58<br />
70<br />
BEHIND THE SHOT<br />
WITH BHUVANESH RATHORE<br />
FREE EDITING SOFTWARE OPTIONS<br />
by Fairlie Atkinson<br />
MINI 4 SHOT PORTFOLIO<br />
PRODUCING A COFFEE-TABLE BOOK A<br />
PHOTOGRAPHER’S CHALLENGE WORTH<br />
SWEATING FOR<br />
by Peter Laurenson<br />
THE WONDERS OF OUR WORLD<br />
INTERVIEW WITH DEB FORD<br />
RISING STAR: GRACIE ROZING<br />
INSPIRATION ZERO – 7 WAYS TO STAY MOTIVATED<br />
by Ana Lyubich<br />
EXCIO TOP 10<br />
RECONSIDERING OUR APPROACH TO<br />
LANDSCAPE PHOTOGRAPHY<br />
By Richard Young<br />
81 PORTFOLIO<br />
BEST READERS' SUBMISSIONS THIS MONTH<br />
MEMBERSHIP<br />
THE WONDERS OF OUR WORLD<br />
INTERVIEW WITH DEB FORD<br />
RISING STAR: GRACIE ROZING<br />
RECONSIDERING OUR APPROACH TO<br />
LANDSCAPE PHOTOGRAPHY<br />
BY RICHARD YOUNG<br />
40<br />
52<br />
70<br />
FREE 12$ MONTH 120$ YEAR<br />
• Online issue<br />
• High res PDF download<br />
• Access to all back issues<br />
• Competition entry<br />
($15 per entry)<br />
• Readers gallery ($5 per entry)<br />
• 4x4 gallery submission<br />
• A chance to be featured<br />
in interviews, cover photo,<br />
behind the shot and articles<br />
• Online issue<br />
• High res PDF download<br />
• Access to all back issues<br />
• Competition entry<br />
(1st entry free)<br />
• Readers gallery (1 free entry<br />
per month)<br />
• 4x4 gallery submission<br />
• A chance to be featured<br />
in interviews, cover photo,<br />
behind the shot and articles<br />
• Online issue<br />
• High res PDF download<br />
• Access to all back issues<br />
• Competition entry<br />
(1st entry free)<br />
• Readers gallery (1 free entry<br />
per month)<br />
• 4x4 gallery submission<br />
• A chance to be featured<br />
in interviews, cover photo,<br />
behind the shot and articles<br />
SUBSCRIBE
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SAVE $100 on the full ticket price!<br />
NZ NATURE<br />
PHOTOGRAPHY<br />
SUMMIT<br />
FIORDLAND<br />
Join NZ Photographer Magazine in Fiordland for the first<br />
NZ Nature Photography Summit.<br />
10th - 12th of September <strong>2021</strong><br />
Experience the stunning natural beauty of the<br />
Te Wahipounamu World Heritage Area, including<br />
photography excursions for sunset over Lake<br />
Manapouri and Milford Sound, along with a cruise<br />
on Milford Sound. Learn from and be inspired by<br />
leading New Zealand nature photographers including<br />
Craig Potton, Richard Young, Andris Apse and Edin<br />
Whitehead on 4 summit sessions with talks, mini<br />
workshops and live Q&A.<br />
Summit ticket includes:<br />
• 4x Summit Sessions Tickets<br />
• 2x nights accommodation,<br />
Double/twin room.<br />
• 2x Full Breakfasts per person<br />
• 1x Lake Manapouri Sunset Trip<br />
• 1x Milford Sound Sunset Trip<br />
• 1x Milford Sound Cruise<br />
• 1x Screening of Ata Whenua film<br />
• Native tree planting in Fiordland<br />
to offset Carbon<br />
• Free return transport from<br />
Queenstown available<br />
https://nzphotographer.nz/summit<br />
Register Here
Behind The Shot<br />
with Bhuvanesh Rathore<br />
Expression of Maha Kali (An Indian Mother Goddess) <br />
NIKON D5300, AF-S DX NIKKOR 55-300mm F/4.5-5.6G ED VR lens<br />
@ F5.6, 1/500s, ISO250<br />
BHUVANESH, TELL US A BIT ABOUT YOU...<br />
I am from Udaipur, India (a.k.a city of Lakes), living<br />
in Wellington, New Zealand with my wife. I am a<br />
software engineer and I very much enjoy problem<br />
solving like any other techie.<br />
Photography and videography are my alternate<br />
universe; it is the other me who loves capturing every<br />
little thing that surprises me as I try to keep a moment<br />
alive in my pictures and videos. I go by the name<br />
'butterclick' online, it was a pun intended - thinking<br />
about camera clicks and the results being “as smooth<br />
as butter”.<br />
I am still searching for my area of interest, I like to<br />
explore different forms of photography. I love shooting<br />
nature as it varies and beautifies with every changing<br />
month. In the future, I would also love to travel and<br />
capture more festive portraits across the globe.<br />
TELL US ABOUT THIS PHOTO...<br />
I was at the city of Hyderabad in the state of<br />
Telangana, India in <strong>August</strong> 2018 for “Bonalu” an<br />
annual Telugu festival which is celebrated at<br />
Golconda Fort.<br />
Bonalu is a Hindu Festival where the Indian Goddess<br />
Maha Kali is worshiped and celebrated to ward<br />
off diseases and usher in good health, peace, and<br />
prosperity. It’s an annual festival celebrated during July/<br />
<strong>August</strong> in the twin cities Hyderabad and Secunderabad<br />
and other parts of Telangana state, India.<br />
I was at the fort at 11am and monsoon was at its best,<br />
the gloomy weather creating perfect lighting conditions.<br />
In this photo the person represents Pothuraju who is<br />
considered the brother of the Mother Goddess. They<br />
wear a traditional red dhoti, ghungroo (bells) near<br />
their ankles, and apply turmeric to the body. Their<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
5
faces are adorned with colourful paint and big bold<br />
moustaches, combined with their blood-red tongue<br />
and blue skin, they portray a fierce demeanour of<br />
“Maha Kali” symbolizing ‘win over evil’. Pothuraju<br />
dances to the resounding drums and trumpets, and<br />
are completely in trance as they lead the procession<br />
with lashing whips and emerald neem leaves<br />
(margosa) tied around their waists.<br />
You cannot miss the vibrant colours and are<br />
immediately captivated by the resonating drums<br />
and the dancing. There came a moment when I saw<br />
the fierce expression and the aggression of Maha<br />
Kali in their eyes, they were amazingly living the<br />
prosperous life of Pothuraju in complete devotion<br />
and commitment. And that’s when I captured in my<br />
frame.<br />
TELL US MORE ABOUT THE LOCATION...<br />
Golconda Fort is undoubtedly one of the most<br />
magnificent fortress complexes in India, its history<br />
dating back to the early 13th century. It was initially<br />
called Shepherd’s Hill, meaning Golla Konda in the<br />
Telugu language. Historically, the Golconda region<br />
was renowned for its diamonds, derived from the<br />
conglomerate rocks of the nearby hills, including the<br />
world-famous Koh-i-noor diamond.<br />
HOW HAPPY ARE YOU WITH THIS SHOT?<br />
IS THERE ANYTHING YOU WOULD DO<br />
DIFFERENTLY IF GIVEN A SECOND CHANCE?<br />
I have always loved this version of this photograph the<br />
most. This was one of my first portraits from my initial<br />
days of learning photography and it has given me a<br />
lot of motivation to try and capture more different art<br />
forms and festivals across the globe.<br />
This photo would still be expressive if you took out the<br />
colours and made it black and white because of the<br />
emotion in it. This is something I might explore in the<br />
future with my festival portraits.<br />
ANY FINAL WORDS TO LEAVE US WITH?<br />
With this photograph I want to pay my gratitude<br />
towards the people who celebrate this amazing<br />
festival every year and keep a centuries old tradition<br />
and culture alive. I also want to spread the word that<br />
celebrating the traditions brings different communities<br />
together by spreading happiness and love.<br />
WHERE CAN WE FOLLOW YOU ONLINE?<br />
@butterclickphotography<br />
@butterclick<br />
excio.gallery/butterclick<br />
26th November - 2nd December <strong>2021</strong><br />
7 Day Northland<br />
& Bay of Islands<br />
Photo Tour - <strong>2021</strong><br />
EXPERIENCE<br />
Join Ken Wright and Shaun Barnett on a seven-day photography<br />
workshop showcasing the best of Northland’s scenery. This location<br />
offers ideal locations for long exposure photography, wild coastlines,<br />
waterfalls, and classic jetty shots.<br />
Historically, Northland was the main hub for activity in New Zealand—<br />
and to date, it retains numerous remarkable landmarks: Russell, the<br />
former capital; the Treaty of Waitangi grounds, the home of modern<br />
New Zealand; giant sand dunes created by volcanoes; the meeting<br />
place of the Pacific Ocean and the Tasman Sea; stunning bays;<br />
waterfalls; Kauri forest—Northland has it all!<br />
The never-ending summers of Northland make it a beautiful<br />
place to relax. As it is a deceptively-large region, we have<br />
set aside plenty of time to explore and capture some of<br />
the lushest environment in the country.<br />
6 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong><br />
www.photographyworkshops.co.nz<br />
info@photographyworkshops.co.nz<br />
027 261 4417
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Experience exceptional. Experience Epson.<br />
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<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
7
Free Editing Software Options<br />
by Fairlie Atkinson<br />
In my last two articles I looked at ways we can light still life and people with what we have in<br />
our homes. Lockdown was a time for exploring what we could do on a budget and the results<br />
were great. But just like with lighting, props, and backdrops, we can also edit on a budget.<br />
While Photoshop is the best tool on the market for editing photos for professionals, the price<br />
can be out of the reach of amateur, hobbyist and student photographers. In this article I will<br />
introduce to you three free editing software tools that my students introduced to me.<br />
PXLR<br />
First out of the gate, and in my humble opinion the<br />
best one, is Pxlr. Pxlr is web based with no sign up<br />
or sign in and you start by just uploading a photo.<br />
I had a play with the filters and quite liked the<br />
vignette. I also tried out removing a background<br />
and the dispersion tool. I think uncomplicated<br />
reasonably solid backgrounds can be easily<br />
removed. Ones like the leafy background in my<br />
image are more problematic and take longer.<br />
Once I got to the dispersion tool I was super<br />
excited as I have tried using Actions in Photoshop<br />
with no luck, and have created dispersion<br />
images painstakingly from Youtube tutorials. My<br />
results are utterly amateurish compared to what<br />
a professional can do (but I intend to practice<br />
more!). I brushed the area I wanted to ‘disperse’<br />
with great excitement, and up came a large<br />
watermark and a pop up that I needed to<br />
upgrade to premium for that effect. Damn. Too<br />
good to be true!<br />
All in all though, I really like this software though it<br />
does have pop up ads. You can crop, play with<br />
saturation, contrast, blur, and clone and heal just<br />
like in Photoshop. So as a basic editor it’s great<br />
and feels like a nice free simplified version of<br />
Photoshop.<br />
This is what the Pxlr interface looks like after you upload your image. Very similar to Photoshop with similar tools on the left with menu<br />
above and more tools on the right.<br />
8 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
Pxlr's background removal in progress.<br />
The dispersion tool on Pxlr.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
9
POLARR<br />
Next I tried Polarr which is a complete departure from<br />
the Photoshop interface. And unfortunately, because I<br />
am so used to Photoshop, I did not find it very intuitive.<br />
However, some of my students who have no experience<br />
with Photoshop love it and find it easy to navigate and<br />
simple to use. I found the floating image information<br />
graph that could not be gotten rid of a real distraction.<br />
I also found the menus to the right side of the screen a<br />
bit confusing but the menu on the left is very simple and<br />
easy to use.<br />
This is again a basic free editing software, that will<br />
do things like adjust contrast, saturation, shadow,<br />
intensity, blur etc. It also has some very cool filters<br />
and overlays, and a border feature I rather liked. The<br />
downside in the free version is that you’re restricted to<br />
one download of an edited image a day, so choose<br />
wisely.<br />
Fun overlays with the annoying photo info graph that won’t go away plus the pop up to upgrade.<br />
All the great features you see in RAW and Photoshop are on little sliders on Polarr.<br />
10 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
FOTOR<br />
Fotor is last on my list of free editing software to try.<br />
Again, we have an interface which is a departure<br />
from Photoshop but has many of the basic tools. The<br />
icons are all on the left and all have their own drop<br />
down menu so that’s nice and easy to use straight<br />
away. Annoyingly it has ads and the limited feature<br />
but hey, they have to make some money somehow,<br />
and if the ads don’t bother you, there are enough<br />
editing tools in the free version for this to be a very<br />
good free alternative to Photoshop.<br />
As always, I like to check the basic ‘adjustments’<br />
panel first and then I go straight the effects and filters.<br />
I want to know what will make this a bit different or<br />
enhance my images in a way that isn’t going to be<br />
laborious and time consuming to do. I confess I kind<br />
of love the ‘beauty’ effects on this software. I have<br />
added eye shadow to the gecko in the screenshots<br />
on the next page.<br />
The Fotor interface - Nice and simple.<br />
Fotor has good retro filters which I'm a sucker for!<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
11
The beauty tools on Fotor. This is the eyeshadow one and I went a bit mad and applied it above and below!<br />
A fun framing tool on Fotor. Look away if you are a purist!<br />
Another fun thing about about Fotor is the framing<br />
tool. There are not many free ones, and many<br />
photographers shudder with horror at the thought of<br />
adding a frame to their images, but it's a fun tool.<br />
CONCLUSION<br />
Essentially what you need to ask yourself is ‘what do<br />
I want from my editing tool?’. If you want to make<br />
some simple adjustments or corrections, all three<br />
of these tools are great. If you want to experiment<br />
with filters, effects and frames, again these tools are<br />
fantastic and can do a better job than a phone<br />
editing app as there are more nuances to the tools.<br />
The tools mentioned here are free (though all have<br />
an upgrade option to access everything they offer)<br />
and run on a browser which means you can use<br />
a Chromebook to edit and don’t have to buy an<br />
expensive laptop with lots of memory to install and run<br />
Photoshop and Lightroom.<br />
However, if you want to create images where you<br />
have very specific control over the adjustments and<br />
effects, or want to create fine art photography, then<br />
these editing tools may be too simple for you. Either<br />
way, they are great to play with and worth the time to<br />
explore since you don’t need to part with any money<br />
to try them out.<br />
12 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
13 Days - Subantarctic<br />
Islands Photography<br />
Expedition - <strong>2021</strong><br />
22 December <strong>2021</strong>– 3 January 2022<br />
EXPERIENCE<br />
We have the opportunity to join Heritage Expeditions on a tour of the<br />
Subantarctic Islands. On this 13 day tour, we will have both Richard Young<br />
and Edin Whitehead as your guides and photography experts on the trip.<br />
We will have use of the ships lecture theatre to use in the evenings/while<br />
sailing to hold tuition and review sessions which will focus on capturing<br />
amazing wildlife and landscape photographs.<br />
New Zealand and Australia’s Subantarctic Islands are tiny havens for some<br />
of the most abundant and unique wildlife on the planet. They are composed<br />
of six groups of Islands. We will be visiting; the Snares, the Auckland<br />
Islands, Campbell Island and Macquarie Island. Here flora and fauna are<br />
densely concentrated: the number of indigenous plants and seabirds found<br />
is far greater than that found on similar groups in the South Atlantic and<br />
Indian Oceans.<br />
PLACES VISITED<br />
The Snares<br />
Macquarie Island<br />
Campbell Island<br />
Auckland Islands<br />
The Subantarctic Islands not only play an important role in the Southern<br />
Ocean ecosystem - they also have a rich human history. From their<br />
discovery 200 years ago, they were exposed to an era of exploitation. In<br />
time we began to understand their true worth and treasure them for their<br />
intrinsic value as wild and beautiful places. Visiting them is a pleasure and a<br />
privilege. You will not be disappointed.<br />
www.photographyworkshops.co.nz<br />
info@photographyworkshops.co.nz<br />
027 261 4417<br />
<strong>NZPhotographer</strong><br />
Click here for<br />
More Information<br />
<strong>August</strong> <strong>2021</strong><br />
13
Mini 4 Shot Portfolio<br />
Our 4x4 feature showcases 4 mini portfolio’s of both<br />
professional and up and coming New Zealand<br />
photographers. The 4 images are linked in some way,<br />
allowing you to get an understanding of what each<br />
photographer is most passionate about capturing.<br />
For a chance to get your own 4x4 feature in a future<br />
issue of the magazine, become a subscriber here.<br />
AT THE END OF THE WHARF<br />
Denise Poyner<br />
WILD HORSES OF ST JAMES<br />
Gavin Martin<br />
TARAPURUHI<br />
Jacqui McGowan<br />
COASTAL<br />
Jill Fearne<br />
14 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
DENISE POYNER<br />
16 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
I am very much an amateur photographer, now dabbling in<br />
photography in a deeper way. I have taken 'snapshots' for a<br />
long time but recently I wanted to improve my photography,<br />
particularly in the sense of sharpness and composition. It<br />
helps to know a good photographer to utilize as a mentor,<br />
and to have much better gear. I like to photograph birds but<br />
have recently tried landscape and macro photography.<br />
AT THE END OF THE WHARF<br />
At the end of the Shelly Beach wharf near Helensville, there’s a<br />
show of two types of fishers.<br />
The first fishers are the people. They come early in the morning to<br />
try their luck. Sometimes there can be several people but on this<br />
occasion there were only two, the woman eventually catching a<br />
kahawai.<br />
The second fishers are the white-fronted tern. These charming<br />
birds put on a show of flying, feeding, and preening. They swiftly fly<br />
around, landing here and there to preen themselves or to present a<br />
fish to a prospective mate. Photographically they are great subjects<br />
albeit a challenge because of how quickly they move.<br />
I enjoy visiting Shelly Beach. It’s quiet and it’s easy to soak up an<br />
hour or two figuring out shots to take.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
17
GAVIN MARTIN<br />
20 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
I live and work in the stunning alpine village of Hanmer Springs in the South Island.<br />
My photographic career has evolved over several years and I have been very<br />
fortunate to have been able to work and play in rural New Zealand. Raised in<br />
Christchurch, I shifted into the country as a young adult where I worked in wild<br />
animal pest control and had the privilege of working on several farms in some<br />
stunning locations before moving to Hanmer Springs several years ago where I<br />
became involved in the adventure tourism industry. My choice of careers and<br />
location have allowed me to indulge in my passion for photography.<br />
www.gavinmartinphotography.com<br />
WILD HORSES OF ST JAMES<br />
Every second year wild horses are mustered in from what was New<br />
Zealand's largest privately owned high country station.<br />
Farmed by the legendary Jim Stevenson from 1927 until the property was<br />
sold to the Government in 2009 and turned into a DOC conservation<br />
estate, St James is nestled against the northern end of the Southern Alps<br />
and encompasses the Spenser Range of mountains.<br />
It's a majestic and rugged area of over 80,000 hectares and supports a<br />
herd of 80 Wild horses who have roamed the Upper Waiau River & Ada<br />
Valley area for over 80 years. The numbers are kept in check with the<br />
biannual sale carried out by descents of Jim Stevenson.<br />
The horses are mustered and driven around 60 km’s from ’The Ada’ to the<br />
yards in the Clarence Valley where people come from near and far to<br />
admire and purchase the hardy sought after horses.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
21
JACQUI MCGOWAN
I bought my first digital camera in 2003 and now use a Nikon Z6<br />
mirrorless with a variety of lenses. I enjoy both capturing images<br />
and processing them on the computer for a variety of uses. I have<br />
been a member of Whanganui Camera Club for 20+ years and<br />
appreciate the interaction with members who have an incredible<br />
range of interests, creativity and technical expertise. I particularly<br />
enjoy photographing nature, activities around Whanganui, and<br />
assisting newer members with basic understanding of their cameras.<br />
TARAPURUHI<br />
Toutouwai, Hihi, and Tieke have all been successfully relocated in Bushy<br />
Park Tarapuruhi bird sanctuary near Whanganui. After volunteer duties<br />
I explore the bush and wetlands. Capturing images in the dense, dark<br />
bush is a challenge. I use only natural light so with my 400mm, F6 Sigma<br />
lens I sometimes need to use 4000 ISO.<br />
The Hihi gather around the sugar-water stations and the Toutouwai wait<br />
nearby as I scratch leaf matter to disturb insects. The raucous Tieke are<br />
more elusive. The Kereru often swoosh around in the sunlight so I just need<br />
a fast shutter speed to capture them.<br />
Local Iwi - Ngā Rauru Kiitahi, gifted the name ‘Tarapuruhi’ meaning -<br />
‘Place of abundant birdlife’.
JILL FEARNE
I am a beginner photographer with a passion for the outdoors. I<br />
am still exploring and take photos of everything. I love discovering<br />
what I do not know. I have always taken lots of ‘snaps’ but only<br />
got into thinking about my photography and using a DSLR 3 years<br />
ago. Photography has given me the gift of ‘seeing’ the world.<br />
There are opportunities for photos everywhere and I wish I had<br />
more time to explore this beautiful world we live in!<br />
@jill.fearn.5<br />
COASTAL<br />
My series depicts photos that I have had fun taking. I am typically a<br />
morning person and love the morning light. I enjoy slow shutter speed on<br />
water as I adore the effect it gives - creating colour and movement that<br />
sometimes can’t be seen with the naked eye.<br />
The first photo (next page) was taken in the evening and is of the Three<br />
Sisters in Taranaki. I particularly love this photo because of Mt Taranaki<br />
being showcased in the background.<br />
The second photo was taken at Nugget Point, Clutha. It was just before<br />
sunrise and is a multi-focus staked photo hence the detail that is depicted<br />
in the picture.<br />
The third photo was taken early morning at Greenpoint Ship Graveyard<br />
near Bluff. I took hundreds of photos of these boats but this one is my pick<br />
because of the colours and clarity of the boats.<br />
Lastly, number four was taken early morning at Waikawa Marina, Picton.<br />
Nature, the natural New Zealand environment, and water is always a<br />
drawcard for me. Having lived most of my life by the sea and in around<br />
boats, the marinas and harbours are always interesting to me.
Producing a Coffee-Table Book<br />
A Photographer’s Challenge<br />
Worth Sweating For<br />
by Peter Laurenson<br />
32 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
Dusk from Kala Patthar<br />
(5,545m). Mount Everest is the<br />
black pyramid left of centre.<br />
<strong>August</strong> <strong>2021</strong><br />
33
Ama Dablam (6,856m), viewed from 4,800 metres, above Base Camp.<br />
Since February 2020 I’ve been writing about<br />
photographic locations worth sweating for here in<br />
<strong>NZPhotographer</strong> – wonderful places that demand<br />
a little pain in order to enjoy the gain. Places that take<br />
more effort to reach than the immediate-gratificationselfie-seeking<br />
hordes are prepared to make. This<br />
article is, for me, about the ultimate worth sweating for<br />
destination. In fact, it encompasses seemingly endless<br />
magnificent photographic locations visited over a 32<br />
year journey, culminating in a hard-back, coffee table<br />
format book with a difference.<br />
Set in Khumbu, the region to the south of Mount<br />
Everest in Nepal, home to the Sherpa people, my 220<br />
page book is entitled KHUMBU Gateway to Mount<br />
Everest Pathways to Kinship. Containing over 200<br />
images and about 45,000 words, it’s impossible for me<br />
to tell you the whole story in an article like this and<br />
nor do I wish to – hopefully a description of it might<br />
be enough to encourage some readers to want to<br />
buy a copy! Either way, as photographers like me, I<br />
think that many of you will find it interesting to read<br />
about what it takes to produce such a book. Aside<br />
from the satisfaction derived, getting powerful images<br />
off devices and in to print, it allows compelling story<br />
telling and a special kind of reader enjoyment.<br />
My love affair with Khumbu started back in May 1988,<br />
when as a 26-year-old, I first visited Khumbu on my<br />
O.E. Since then I’ve been back another six times to<br />
Khumbu, plus three other times to Nepal, twice to the<br />
Karakoram, twice to Tibet and twice to northern India.<br />
All these trips informed the experiences and thinking<br />
that comes together in my book.<br />
34 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
My son Will approaching Luza (4,410m) at sunset in December 2017.<br />
1988 was the year I really got in to photography. In<br />
anticipation of my imminent O.E, in 1987 I attended<br />
a basic night course at Wellington High School that<br />
introduced me to how to manually use an SLR camera –<br />
setting shutter speed and F-Stop to get the right exposure<br />
and composition. Digital didn’t exist back then, and<br />
learning how to manually shoot film and slides really was<br />
a great foundation for me. During 1988 I took thousands<br />
of images, plenty of them not working out – I actually over<br />
exposed quite a few of my Khumbu images on that first<br />
visit, as I grappled with the extremes of light and shadow<br />
that you encounter in the high mountains. But I learnt<br />
heaps too and honed my technique with several of the<br />
images from 1988 featuring in my new book.<br />
I became Dad to Ben in 1994, Ed in 2000 and Will in<br />
2002, each son joining me on visits to Khumbu as they<br />
turned 15 which I mentioned in my interview in issue 24<br />
which touched on my passion for capturing Khumbu.<br />
I first started trying to write about my Himalayan<br />
experiences back in 1996, under a working title<br />
Pilgrimages to the Roof of the World. That got no<br />
publisher support but did result in my first website,<br />
which has since died. My first coffee table style<br />
book - Occasional Climber: A journey to Mount<br />
Clarity followed in 2013 with my current website<br />
occasionalclimber.co.nz coming soon after where<br />
you will find a lot of information and images about the<br />
Himalaya and Khumbu.<br />
In February 2017 I was invited by Shaun Barnett to join<br />
him on a tramp in the Ruahine Ranges. Shaun is one of<br />
New Zealand’s best known backcountry photographer/<br />
writers and he knows our backcountry better than most,<br />
so his trips tend to be real gems. I’ve been on quite a<br />
few with him since and we’ve become good friends.<br />
Shaun helped me shape the concept of KHUMBU<br />
Gateway to Mount Everest Pathways to Kinship and<br />
then agreed to be my editor in 2018.<br />
Inspired by having such skills backing me, I started<br />
writing in earnest in 2019, had a final visit to Khumbu in<br />
December 2019 (luckily just ahead of Covid-19), then<br />
completed my work mid 2020. This included actually<br />
designing and laying out all my text, pictures and<br />
maps in InDesign, which really bought the book to<br />
vivid life. The design process also formed an essential<br />
part of editing and unifying my own work. Selecting<br />
224 images from the thousands I’d taken over the<br />
years, then working out how these best fitted with the<br />
narrative, was a mammoth task.<br />
This still wasn’t enough initially to secure publisher<br />
support. My first attempt, following a wait of about<br />
two months, resulted in a ‘no, there isn’t a big enough<br />
market and there is too much work still to do in culling<br />
back text and images by about ten percent’.<br />
At this point I realised that my book might never see<br />
the light of day in the form I aspired to, so at great<br />
expense I had several prototypes printed so that I<br />
could at least hold a copy in my hands in the form I<br />
wanted it to be; and so I could give each of my sons<br />
a copy and also let me 102-year-old Grandad see it<br />
before it was too late.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
35
At their 130 year-old Tibetan-style home in Jorsale in November 1995.<br />
From left: Phura Diki, Lakpa Tenzing (cousin), Pasang Dorje, Pasang Chhuldin, and Nima.<br />
As it turned out, producing these prototypes was<br />
a game-changer, allowing me to demonstrate far<br />
better the potential of my project. I secured Bateman<br />
Book’s support in October 2020. Having actual printed<br />
prototypes also made final fine-tuning more accurate<br />
and complete. With the Bateman team’s backing I<br />
was then able to secure publication grants from both<br />
Federated Mountain Club’s Mountain and Forest<br />
Trust and New Zealand Alpine Club’s Dow Hall fund<br />
which, aside from helping financially, gave me a real<br />
confidence boost in terms of peer credibility and<br />
endorsement.<br />
Around this time Guy Cotter agreed to write his foreword<br />
for my book. Guy is one of New Zealand’s leading<br />
mountaineers and mountain guides. He is also Director<br />
and CEO of Adventure Consultants, who guide on<br />
Everest and other nearby peaks, so Guy knows Khumbu<br />
and quite a few Sherpa better than most, making him<br />
ideally qualified to write the foreword.<br />
If you get hold of a copy of KHUMBU Pathways to<br />
Kinship (there’s one up for grabs if you submit your<br />
own ‘Worth The Sweat’ photos’ to the competition!)<br />
you’ll immediately see that it’s very visual. I can take<br />
good photographs, but there are already lots of books<br />
filled with nice photographs of parts of the Himalaya<br />
so I knew that if my book was to deserve a reader’s<br />
attention it had to be more than just another visually<br />
beautiful coffee table production.<br />
What distinguishes my book from others is its multi-layered<br />
story. Spanning seven trekking journeys over more than<br />
thirty fascinating years, it’s a journey through tourism<br />
expansion, the emergence of guided climbs to the<br />
summit of Mount Everest, economic and technological<br />
development, and environmental and cultural change.<br />
And trekking in the mighty Himalaya is really just the<br />
entre! On my second visit to Khumbu, in November<br />
1995, I stopped at Jorsale village for the night and<br />
ended up staying at a teahouse. There I met a little<br />
Sherpa girl named Phura (who was just a few months<br />
older than my son Ben) along with her mum Nima and<br />
dad Pasang Dorje. That night marked the beginning<br />
of a friendship, spanning two countries far apart,<br />
which has slowly grown as our families themselves<br />
have grown over the decades. So my story is also<br />
about a journey of kinship between a Kiwi family and<br />
a Sherpa family; and a journey shared by a father and<br />
each of his three sons. The combination of time spent<br />
and personal contact with my Sherpa friends has also<br />
helped me to include lots of fascinating information<br />
about Khumbu and the Sherpa people.<br />
With help from Wellington-based Roger Smith at<br />
Geographx we created a map of Khumbu, which<br />
features in the book’s Introduction. At the risk of<br />
blowing my own trumpet, I haven’t found a better<br />
‘at-a-glance’ map of Khumbu. You can easily locate<br />
all the trekking trails and view points, passes, major<br />
36 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
Window on a different life - a young boy from Dingboche considers a picture of my boys and me in April 2006.
Looking north-east to Cho La and south to Khumbi Yul Lha, from 4,950 metres on the Everest Wifi highpoint above Pangka.<br />
glaciers, rivers, peaks, and villages, plus heights in<br />
metres above sea level.<br />
While my book is not intended to be a comprehensive<br />
trekking guide, I do think that a sense of place is<br />
important and that readers will appreciate knowing<br />
clearly what they’re looking at and reading about. To<br />
further assist this, for a selection of the many stitched<br />
panoramic images featured in the book, I’ve added<br />
peak and place names (as seen above). That said,<br />
there are many other images included primarily for<br />
their aesthetic rather than their informational qualities.<br />
With the arrival of Covid-19 last year, I worried that<br />
the pandemic would inevitably delay completion<br />
of my book. In actual fact, Covid-19 turned out to<br />
work well for this project. Firstly I used the seclusion<br />
of the initial nationwide lockdown to build the maps<br />
and select and consistently process images from<br />
32 years of photography (spanning film, slides and<br />
pixels, and five different cameras!) – so that when<br />
viewed in the same book, they all have a cohesive<br />
feel. Secondly, Covid-19 became an unexpected<br />
‘circuit breaker’ that provided a poignant point to<br />
end my story – actually even better than my planned<br />
conclusion, which was to be a trip with my partner<br />
Cathy to finally meet my Sherpa friends and therefore<br />
close the ‘kinship’ loop. That trip will now happen post<br />
pandemic and post publication.<br />
As events unfolded last year, it dawned on me that,<br />
just as Covid-19 had become a ‘circuit breaker’ on<br />
humanity’s fossil-fuel-powered, insatiable consumption<br />
and shameful wastefulness, even since the evidence<br />
of our planet’s human-induced warming has become<br />
indisputable, Covid-19 had also pushed pause<br />
on what was looking like death by unrestrained<br />
economic endeavour for the essence of Khumbu.<br />
The final Chapter is now titled ‘A New Dawn’, because<br />
that is indeed what we all now face. Whether this<br />
new dawn is luxuriant and restorative, or bleak and<br />
destructive, depends upon us all. The choices we<br />
make will determine the global outcome; and the<br />
same can be said for Khumbu.<br />
My hope is that KHUMBU Pathways to Kinship (available<br />
to order from www.batemanbooks.co.nz from 2nd<br />
<strong>August</strong>) will help to inform and encourage readers to<br />
make those choices that will sustain and nurture the<br />
unique and very special place called Khumbu, that I<br />
have come to know and love. More photos can be<br />
seen at the links below.<br />
www.occasionalclimber.co.nz/<br />
browse-images-2/roof-of-the-world/<br />
excio.gallery/occasionalclimber-khumbu<br />
YOU HAVE THE OPPORTUNITY TO WIN A COPY OF KHUMBU GATEWAY TO MOUNT EVEREST<br />
PATHWAYS TO KINSHIP IN THE ‘WORTH THE SWEAT’ PHOTO COMPETITION WHICH RUNS 1 ST – 20 TH<br />
AUGUST OVER ON OUR FACEBOOK PAGE.
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
39
The Wonders Of Our World<br />
Interview with Deb Ford<br />
my admiration and love of photography went by the<br />
wayside as I got older and life got busier.<br />
Currently I work as a registered nurse in an acute<br />
mental health ward. It’s challenging, hectic but also<br />
rewarding. Just recently I have also started as a casual<br />
lecturer at CQUniversity assisting with residential<br />
schools for nursing students. This is something that I<br />
never expected to do but I love being able to play a<br />
small role in teaching future nurses, and maybe trying<br />
to sway them into nursing in the field of mental health!<br />
I seem to be one of those ‘later in life’ people as I did<br />
my nursing degree when I was in my 40’s and started<br />
photography in my late 40’s. Both of these were things<br />
I had always wanted to do but hadn’t gotten around<br />
to. Photography is my absolute passion now, I love it<br />
and can’t imagine my life without it and my absolute<br />
dream would be to travel the world, camera in hand,<br />
capturing images of scenery, wildlife, the people and<br />
the places.<br />
DEB, TELL US ABOUT YOU AND WHEN YOU GOT<br />
STARTED WITH PHOTOGRAPHY...<br />
I’m mum to 2 gorgeous children (now adults), and<br />
am married to a fantastic man who may roll his<br />
eyes occasionally when I whip out my camera but<br />
who is wonderfully encouraging and supportive. I<br />
live in Mackay, Queensland, Australia and have just<br />
recently turned the fabulous 50. I celebrated this by<br />
going away with my husband and my camera club<br />
to a beautiful seaside town and then to an island<br />
getaway. The camera was kept very busy capturing<br />
the gorgeous scenery and wildlife that we came<br />
across!<br />
I first picked up a digital camera about 2 years<br />
ago, I had always loved photography and it was<br />
just the right time for me to get a new camera and<br />
start learning photography properly. When I was a<br />
teenager and in my early 20’s, I was always carrying<br />
around a point and shoot film camera, capturing<br />
images of the people and events in my life at this time.<br />
I was also an avid magazine reader and would always<br />
admire the many fantastic images in magazines but<br />
I never thought photography would impact me so<br />
personally. It gives me so much joy and I love that<br />
I can show people things in detail via my macro<br />
photography and give them a better appreciation<br />
of the critters of the world. It’s made me much more<br />
observant and I notice so much more beauty in<br />
the world and that is something that I am extremely<br />
grateful for. I share my images online because I love<br />
them and I want other people to stop and just enjoy<br />
the feeling that an image can give. If even one of my<br />
images impacts someone, whether it be that it makes<br />
them stop and think, or helps them to focus more on<br />
the wonders of nature, or even just puts a smile on<br />
their face then I’m grateful.<br />
WHAT ARE YOU MOST PASSIONATE ABOUT<br />
PHOTOGRAPHING?<br />
I haven’t come across a genre of photography that<br />
I don’t love as of yet, but my particular passion is<br />
macro images of insects. There’s just something so<br />
fascinating about seeing the little critters up close!<br />
Wildlife and street photography are another two of my<br />
photography passions. There’s something exhilarating<br />
and breathtaking about being out in nature, seeing<br />
wildlife and capturing images of them.<br />
Meanwhile, street photography fascinates me, I love<br />
capturing images of real life and people. I live in a small<br />
town which makes this much more challenging but you<br />
can always find something if you keep an eye out.<br />
40 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
Top: Long Legged Fly<br />
Canon R5, Canon EF 100mm f/2.8L Macro IS USM lens<br />
@ F3.2, 1/640s, ISO200, 100mm<br />
Bottom: Escape Into The Sunset<br />
Canon R5, Canon RF 24 – 240mm f/4 – 6.3 IS USM lens<br />
@ F11, 1/20s, ISO1000, 24mm
Picnic Bay Jetty<br />
Canon R5, Canon RF 24-240mm f/4 – 6.3 IS USM lens<br />
@ F11, 6s, ISO200<br />
WHAT GEAR DO YOU HAVE?<br />
I have 2 cameras, the Canon EOS R and the Canon<br />
R5. My favourite lens is my Canon EF 100mm f/2.8L<br />
IS USM macro lens (although I am very impatiently<br />
waiting for the RF version to be released!). I also have<br />
the RF 24–105mm f/4L IS USM and the 24–240mm<br />
version also. Additionally, I also have a Canon EF 100–<br />
400mm f/4.5 -5.6L IS 11 USM which is a fantastic bird<br />
lens! And last is the Canon RF 35mm f/1.8 Macro IS STM<br />
lens which I primarily use for street photography.<br />
I currently use Cokin Filters for my landscape<br />
photography, although I am often guilty of forgetting<br />
to take my filters with me and frequently capture<br />
sunrises and sunsets without them. I frequently use a<br />
flash for my macro photography which is the Canon<br />
Speedlite 430EX 111-RT. This is used in conjunction with<br />
various diffusers including the MagMod Professional<br />
Flash Kit. I am still searching for the best diffuser so if<br />
anyone has any suggestions let me know!<br />
I have plans to try the Pringle can DIY diffuser which a<br />
lot of people swear by - Google it if you are interested!<br />
I have also purchased the GODOX 86011S TTL<br />
Speedlite which just arrived when I was writing this so I<br />
haven’t had time to try it out yet. As for camera bags,<br />
what can I say – I have an extensive collection and as<br />
with most photographers, I am always searching for<br />
that elusive bag that meets all my needs!<br />
YOU’RE RELATIVELY NEW TO PHOTOGRAPHY,<br />
HOW HAVE YOU BEEN LEARNING AND<br />
IMPROVING? WHAT WAS THE ‘AHA’ MOMENT<br />
THAT REALLY STEPPED UP YOUR TECHNIQUE?<br />
Photography has been a big learning curve, the more I<br />
learn the more I want to learn! I joined the Mackay Camera<br />
Group, which I love so much, the members have all been<br />
very supportive and encouraging and I was thrilled to<br />
recently be nominated and accepted as Vice President.<br />
Additionally, I have done several courses, read a lot about<br />
photography and watched many Youtube videos.<br />
42 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
The Allure Of The Night<br />
Canon EOS R, Canon RF 24-240mm f/4 – 6.3 IS USM lens<br />
@ F8, 1/80s, ISO6400<br />
When I first started I thought I would never be able<br />
to get my head around shooting in manual mode<br />
and learning how the exposure triangle works was a<br />
challenge. Initially, I frequently shot in auto mode (I<br />
know, shock horror!) and then one day I challenged<br />
myself to stop shooting in auto and use manual. It<br />
took a few attempts but one day it just seemed to<br />
make sense and I found I was adjusting my settings<br />
and getting photos that turned out well. This was the<br />
moment that made me realise that I could do this and<br />
get the images I pictured in my head when taking the<br />
shot!<br />
HAVE YOU TAKEN PART IN ANY<br />
COMPETITIONS?<br />
Competition photography is something that I have had<br />
some success with recently. Early this year I placed in the<br />
top ten in the Animal and Nature section of Photographer<br />
of the Year 2020 with my macro portfolio of images titled<br />
‘Small Creatures”. I was also lucky enough to receive a Top<br />
20 award in Capture Magazines Australasia’s Top Emerging<br />
Photographer <strong>2021</strong> in the animal category with my portfolio<br />
titled “The little things’. Additionally, I have had some success<br />
in local competitions and received several photo of the<br />
month awards in my camera club’s monthly competition.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
43
Top: Guarding Her Babies<br />
Canon R5, Canon EF 100mm f/2.8L Macro IS USM lens<br />
@ F11, 1/250s, ISO100, 100mm<br />
Bottom: Jumping Spider & Its Prey (Mopsus Mormon)<br />
Canon R5, Canon EF 100mm f/2.8L Macro IS USM lens<br />
@ F11, 1/250s, ISO100, 100mm
Watching Me Watching You - Species of Jumping Spider<br />
Canon R5, Canon EF 100mm f/2.8L Macro IS USM lens<br />
@ F6.3, 1/250s, ISO100, 100mm
TELL US ABOUT ONE OF YOUR FAVOURITE<br />
PHOTOS...<br />
One of my favourite photos would have to be a photo<br />
of the humble fly. It was the first ‘good’ shot I got when<br />
learning macro and I did a few jumps of joy when I<br />
captured it. This photo cemented my love of macro<br />
and capturing images of insects close up! Incidentally,<br />
it also led to a strange obsession – I love to capture<br />
images of flies. I have many, many photos of all sorts<br />
of flies. Weird I know, but seriously there are so many<br />
different species with amazing colours in the fly family!<br />
WHAT MACRO PHOTOGRAPHY TIPS CAN YOU<br />
SHARE WITH US?<br />
If you are shooting macro shots of insects out in nature<br />
take a lot of shots, you can always delete them!!<br />
Also keep up that shutter speed unless you have hit<br />
that wonderful jackpot combination of an insect not<br />
moving and no wind!!<br />
Move in very slowly with insects and if you are<br />
photographing dragonflies and want to capture their<br />
image front on, move in from the side first and very<br />
slowly move around to the front of them as they adjust<br />
to your presence.<br />
I recommend carrying little clamps to move stray<br />
leaves or stems etc out of the way so you don’t have<br />
to remove these things in post production. You can<br />
buy macro clamps for this but I have utilized objects<br />
from home, such as some hair clips and borrowing<br />
some bendy wire from my husband’s shed.<br />
If you are just starting to do macro be prepared for a lot<br />
of blurry images and missed focus, macro takes practice<br />
and it can be discouraging at first but stick with it! A lot<br />
of people will say you must use a tripod for macro, I’m<br />
a bit of a rule breaker in this area as I never use a tripod.<br />
I much prefer having the freedom to move around<br />
quickly and all my macro shots are handheld. I’m<br />
lucky in that I have a reasonably steady hand and my<br />
camera and lens have great image stabilization.<br />
The Humble Fly<br />
Canon EOS R, Canon EF 100mm f2.8L Macro IS USM lens<br />
@ F11, 1/50s, ISO125
Orb Weaver Spider<br />
Canon R5, Canon EF 100mm f/2.8L Macro IS USM lens<br />
@ F11, 1/250s, ISO125, 100mm
WHAT HAVE BEEN YOUR BIGGEST<br />
CHALLENGES IN PHOTOGRAPHY AND<br />
HOW ARE YOU OVERCOMING THOSE?<br />
People photography has been my biggest<br />
challenge, there’s just something about the<br />
pressure of getting those good shots so you<br />
don’t disappoint people that makes me anxious.<br />
I’ve been doing a few shoots as a second<br />
shooter for weddings and doing sessions for<br />
friends and family to help me overcome this<br />
fear.<br />
Funnily enough I love street photography and<br />
have never really suffered that anxious feeling<br />
when shooting people street photography wise.<br />
I have no fears going out and about and taking<br />
photos of people in the street and will happily<br />
approach someone asking to take their photo. I<br />
enjoy observing people and street photography<br />
is just a step up from that.<br />
Another challenge I faced recently was<br />
breaking two bones in my leg while hiking and<br />
Tears Of Happiness<br />
Canon R5, Canon RF 24-240mm f/4 - 6.3 IS USM lens<br />
@ F6.3, 1/2000s, ISO400<br />
taking photos. There was an extensive recovery<br />
period in which I was confined to months in a<br />
wheelchair and on crutches. This was endlessly<br />
frustrating and I wasn’t about to do as much<br />
photography wise as I wished. I was very lucky<br />
in that my husband came up with the idea of<br />
‘wheelchair walks’ where he would take me<br />
out on all the nature walks in my area and I<br />
would shoot images from the comfort of the<br />
wheelchair. This helped save my sanity in so<br />
many ways, I was still able to capture images<br />
and enjoy wandering in nature. There were still<br />
many frustrations as I wasn’t able to manouvre<br />
myself around to capture my maco insect<br />
images well. I can still remember how excited<br />
I was when I could walk unaided and the first<br />
time I was able to get down on the ground (and<br />
back up again!) to photograph an insect in<br />
some low lying bushes. That was such a happy<br />
moment and I even did a quick ‘happy dance’<br />
jig to celebrate lol.<br />
48 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
WHAT TIPS/TRICKS HAVE YOU PICKED UP<br />
FROM BEING A SECOND SHOOTER AT<br />
WEDDINGS? DO YOU THINK YOU’D LIKE<br />
TO BECOME A WEDDING PHOTOGRAPHER<br />
ONE DAY?<br />
I did pick up a few great tips when shooting<br />
weddings. Firstly, always be ready to snap that<br />
shot. Secondly, continually scour the crowd<br />
for the ‘moments’, for example, the shot of<br />
a beaming great grandmother as her great<br />
grandchild is placed in her lap. The shot of a<br />
proud mother or father smiling and crying happy<br />
tears. The hug of absolute joy between friends.<br />
Second shooting gave me better insight into<br />
finding the special moments and emotions that<br />
can make a photo grab at your heartstrings.<br />
Although I enjoyed it I don’t think that being a<br />
wedding photographer is something that I would<br />
like to do, it can be quite stressful and extremely<br />
hectic and there’s a lot of pressure to capture<br />
the moments.<br />
AS AN EXCIO MEMBER, WHAT DO YOU<br />
MOST ENJOY ABOUT THE COMMUNITY?<br />
I love it - Excio is a fantastic initiative for<br />
photographers. It differs from other social media,<br />
such as Instagram, in that it is based solely on<br />
showcasing photographers and their images,<br />
building a community that allows people to<br />
showcase their skills, learn from others and<br />
support like-minded photographers. I absolutely<br />
love looking at all the images from the other<br />
talented members and seeing how they have<br />
captured moments in the world. Supporting<br />
charities is also an important element of Excio<br />
that I love.<br />
HOW DO YOU SUPPORT / PLAY A ROLE IN<br />
#PHOTOGRAPHYFORGOOD?<br />
#PhotographyForGood is a fantastic initiative<br />
that the world really needs right now. Covid has<br />
impacted everything and this has an affect on<br />
our mental health even if we have had minimal<br />
impact from Covid. Photography is something<br />
that allows people to view amazing images of<br />
moments in time, it showcases the beauty in<br />
the world and allows people to focus on the<br />
wonders of the world and the people in it.<br />
For me personally, photography is my happy<br />
place. I work a stressful job (Mental Health<br />
Nurse) and doing photography has increased<br />
my appreciation of the world and what’s in<br />
it. I observe so much more of the wonders<br />
of nature, I pay more attention to people<br />
and I see more of the kindness in the world.<br />
#PhotographyForGood not only allows people<br />
to appreciate the world we live in but it also<br />
helps support charities that make a difference.<br />
WHAT ELSE SHOULD WE KNOW ABOUT<br />
YOU OR YOUR PHOTOGRAPHY?<br />
I have a bit of a weird quirk when it comes to<br />
going out to take photos. I always arrive at my<br />
destination coffee in hand and have learned<br />
to shoot while holding my coffee cup! If I’m<br />
shooting in town I’ll grab a takeaway on my<br />
way to where I’m shooting, if I’m shooting out<br />
of town I fill my insulated travel mug and take<br />
it with me. I have the art of holding a camera<br />
and my coffee cup down pat and can shoot<br />
pretty much anything while holding my coffee<br />
and having a sip in between shots. The things a<br />
caffeine addict will do!!<br />
WHAT ARE YOUR PHOTOGRAPHY HOPES<br />
AND DREAMS FOR THE FUTURE?<br />
Ah so so many hopes and dreams for the future.<br />
I would absolutely love to become a wildlife/<br />
nature photographer full time and travel around<br />
the world capturing moments. Something else<br />
I would love to do is more street photography<br />
with different cultures around the world, I love<br />
people and enjoy talking with different cultures<br />
to learn more about them and I would love to<br />
showcase this in imagery. One of my biggest<br />
hopes is to watch the Northern Lights and<br />
capture this amazing phenomenon with my<br />
camera. I was going overseas last year to do this<br />
but obviously had to cancel when Covid reared<br />
its ugly head but I will do it one day!<br />
ANY INSPIRING WORDS TO LEAVE US<br />
WITH?<br />
I came across this quote a while back by Aaron<br />
Siskind and I love it...<br />
“Photography is a way of feeling, of touching,<br />
of loving. What you have caught on film is<br />
captured forever... It remembers little things,<br />
long after you have forgotten everything”.<br />
WHERE CAN WE SEE MORE OF YOUR<br />
PHOTOS?<br />
@Deb-Ford-Photography-106143827985435<br />
@debfordphotography<br />
excio.gallery/deb<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
49
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<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
51
Rising Star: Gracie Rozing<br />
Now in year 13 at Kāpiti College, 17 year old Gracie uses photography to portray<br />
emotions. Her camera helps her to express herself, connect with others, and work<br />
through her mental health issues. Her photographic work is more than a ‘pretty<br />
picture’, it asks the viewer to reflect on the emotions captured and the emotions felt<br />
within themselves when viewing her images too.<br />
GRACIE, TELL US ABOUT YOUR JOURNEY WITH<br />
PHOTOGRAPHY SO FAR...<br />
My interest in photography and the wider world<br />
of creative arts first became obvious to me in<br />
year 11 when my friends in the year 12 design and<br />
photography class would show me the work they had<br />
produced using design programmes such as adobe<br />
photoshop. However, it was the visual messages and<br />
feelings that my friends and other students were able<br />
to portray through their photography boards that<br />
really influenced my drive to pursue photography.<br />
When I first joined the photography class in year 12 I<br />
was excited yet unsure of what was to come, though<br />
I quickly fell in love with the subject as I started to pick<br />
up basic camera techniques and learn new skills.<br />
I have been suffering from a real creative block this<br />
year - Some of my close friends have left school, and<br />
my design and photography teacher from year 12,<br />
who is one of my biggest influences, is on leave this<br />
year. It was these people with whom I used to spend<br />
a lot of time bouncing ideas off of - We would look<br />
at other photographers and their work and then<br />
talk about what I wanted to capture in my images.<br />
I always find it worthwhile to bounce ideas off other<br />
people who are close to me as they are often the<br />
ones I want to use as my models and they know me<br />
really well.<br />
I have struggled with various mental health issues<br />
throughout my life too. Photography has been my<br />
way of showing what I feel at times. It’s also my way<br />
of connecting with other people who feel that way<br />
too. Photography has given me a creative outlet and<br />
the confidence to push my boundaries a bit when<br />
it comes to showing howI feel which I can now do<br />
through my images. My photography classroom is my<br />
safe place and it is certainly the subject that I enjoy<br />
the most at school.<br />
Detached<br />
52 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
Purity<br />
WHAT ARE YOU SHOOTING WITH?<br />
My collection of photography equipment is rather limited<br />
compared to other photographers; When I was 15, my<br />
grandmother gifted me her Canon EOS 1100D camera<br />
as I was taking the level 2 design and photography class<br />
the next year, and she felt that I could put it to better<br />
use than her. At that time I had never experimented with<br />
photography on anything other than my Iphone and was<br />
excited to get to know the camera.<br />
YOU SEEM DRAWN TO PHOTOGRAPHING<br />
PEOPLE RATHER THAN NATURE OR<br />
LANDSCAPES – WHAT IS IT ABOUT PORTRAIT<br />
PHOTOGRAPHY THAT CAPTIVATES YOU?<br />
It’s true, I am more drawn towards portrait photography<br />
and photographing real people rather than landscape<br />
and nature photography styles. I find that through<br />
portraiture I am able to capture the raw connections<br />
between people and their emotions, which is something<br />
I am captivated by. I want to portray the emotions I feel<br />
in my life or take a photo that other people can look at<br />
and recognise an emotion that they themselves have<br />
felt. I want them to look at my photos and actually think<br />
- Not just to enjoy what they look like, but to think about<br />
the emotion they feel when looking at them.<br />
TELL US ABOUT ONE OF YOUR FAVOURITE PHOTOS...<br />
The shoot I did last year with the girl in the wings is<br />
my favourite shoot so far. My model and I planned<br />
the outfit and composition, and we were in the<br />
studio for hours trying different things with light and<br />
camera settings. We also played with cellophane over<br />
lights to create different colours. Overall I was really<br />
happy with the result and felt proud of what we had<br />
accomplished.<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
53
Fallen Angel<br />
WHAT HAVE YOU STRUGGLED WITH THE MOST IN<br />
LEARNING PHOTOGRAPHY?<br />
Figuring out how to use the different camera settings and<br />
operating in manual mode have always been a challenge<br />
for me. I have also had trouble adapting to the different<br />
styles of photography and it took me a while to figure out<br />
what worked for me. When I began learning how to use my<br />
camera I experimented a lot with still life and portraiture as<br />
I found it less challenging than other styles of photography<br />
and felt as if I was able to utilize it to express my ideas and<br />
creativity in a way that I was comfortable with. Over time I<br />
have tried to expand my photography and have done some<br />
landscape, though for me personally I have found that it is<br />
portraiture which allows me to portray the feelings behind my<br />
images in a way that is clear to me.<br />
DO YOU WANT PHOTOGRAPHY TO BE PART OF YOUR<br />
CAREER PLAN IN THE FUTURE?<br />
At this stage I don’t have a clear idea of what my future with<br />
photography or future in general looks like. Though, I think that<br />
I will always want to see things through the lens of a camera<br />
now. I believe I can appreciate what other photographers do<br />
now, and I will always have this skill that will allow me to be<br />
creative.<br />
WHERE CAN WE SEE MORE OF YOUR PHOTOGRAPHY?<br />
@grac1esphotography<br />
Lust<br />
54 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
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<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
55
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www.excio.io<br />
56 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong><br />
Photo by Jakub Soltysiak
INSPIRATION ZERO – 7 WAYS TO<br />
STAY MOTIVATED<br />
Exposure to sunlight increases<br />
the release of a hormone<br />
called serotonin in your brain - a<br />
happiness hormone. But with more<br />
rainy days and cold weather still on<br />
the horizon for at least another month<br />
here in NZ it is totally natural for us<br />
creatives to feel a little uninspired,<br />
less focused, and more anxious.<br />
Photography is a great way to boost<br />
your mood but what can you do<br />
when you don’t feel like picking up<br />
your camera? Some tips and tricks<br />
that worked for me are as follows:<br />
1. See what others are doing. Nothing<br />
beats a good book and a cup of<br />
tea/coffee in a comfy chair on a<br />
gloomy wet day and photography<br />
focused books and magazines are a<br />
great way to find inspiration and learn<br />
from others. If physical copies aren’t<br />
your thing, just grab your phone and<br />
scroll through Instagram or check out<br />
the Excio app. You might also visit a<br />
gallery, or view our own online gallery<br />
and support a good cause at the<br />
same time. Inspiration is not the same<br />
as imitation! Try not to copy the exact<br />
style or composition, instead using<br />
someone else’s work as a guide try<br />
and create your own series.<br />
2. Narrow down your options. Set<br />
yourself a limit on something e.g.<br />
measure a 1x1 sqm area in your<br />
home or backyard and photograph<br />
whatever is already there.<br />
Alternatively, ditch the tape measure<br />
and dive into still life photography,<br />
picking one type of object to<br />
photograph - It can be anything<br />
from food, to flowers, to household<br />
objects; kitchenware, instruments,<br />
garden tools, even books – why not?<br />
3. Try miniature photography. There<br />
are heaps of miniatures on AliExpress<br />
if you don’t have any (it may take<br />
some time for delivery) or you can<br />
buy some locally. It doesn’t have to<br />
be people figurines – It could be toys,<br />
objects, animals and so on.<br />
4. Experiment with liquids. If you are<br />
an Excio member you can read a<br />
blog post from Kelly Vivian on how<br />
she photographed M&Ms last year –<br />
super creative and easy to try. Get<br />
some food colouring, oils or paint and<br />
set free your imagination.<br />
5. Work with your archives. If you<br />
have some spare time it is a great<br />
exercise to go through your hard<br />
drives and work on some old files<br />
– delete the duplicates taken ‘just<br />
in case’ or experiment with editing<br />
some shots you initially overlooked<br />
and add a new creative look to<br />
them, perhaps something different to<br />
your usual style.<br />
6. Set realistic goals and take one<br />
step at a time. When you think about<br />
picking up your camera but are not<br />
sure what to photograph try focusing<br />
on small goals like photographing ten<br />
different types of flowers, 5 birds, or<br />
a series of black and white shots etc.<br />
Just be sure to decide how many<br />
photographs will be in your series –<br />
our brains work better when given<br />
exact milestones.<br />
7. Stop thinking about photography!<br />
Sometimes the feeling of not keeping<br />
up with everything that’s happening<br />
(photo challenges, competitions,<br />
editing, etc) is enormous and the<br />
pressure grows which makes it harder<br />
and harder (in your mind) to get<br />
back into photography. Stop blaming<br />
yourself – it’s not a big issue at all and<br />
you can resume all your activities<br />
as soon as you are ready and you<br />
feel like it. Quite often it is very useful<br />
to actually get distracted and do<br />
something different, something<br />
you’ve wanted to do for a long time<br />
(I’m not talking about your day job<br />
or house chores!). Go to the cinema,<br />
organize a party with friends, paint or<br />
sew, go skydiving – do something that<br />
will help you feel refreshed and you<br />
will soon find that the photography<br />
motivation comes right back!<br />
Ana Lyubich<br />
Co-founder of the Excio<br />
Photo Community and<br />
<strong>NZPhotographer</strong> Magazine,<br />
Ana is a passionate<br />
photographer and<br />
photography mentor. She<br />
loves exploring the unseen<br />
macro world and capturing<br />
people’s genuine emotions.<br />
Ana is always happy to help<br />
other fellow photographers so<br />
don’t hesitate to get in touch<br />
with her at ana@excio.io<br />
www.excio.io<br />
@excionz<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
57
PHOTO COMMUNITY<br />
From more than 20,000 photographs published on Excio<br />
by our members, these 10 made it to the top this month.<br />
58 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
A PAIR OF YELLOW-EYED<br />
PENGUINS (HOIHO) MEET UP<br />
ROBERT SANSON<br />
Seen in this photo are a pair of Yellow-eyed Penguins (Hoiho) who have met up again<br />
at the end of the day after a long day fishing out in the Southern Ocean, off the coast<br />
of Southland, New Zealand. Their diet consists predominantly of fish. They are the rarest<br />
species of penguin in the world, found only in New Zealand, and sadly, their numbers<br />
are declining due to habitat loss, predation of their young on land and predation in the<br />
ocean due to barracuda and leopard seals. However, it is believed that most deaths are<br />
due to getting caught in set nets around the coastline.<br />
excio.gallery/robert<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
59
KITEKITE FALLS<br />
PAUL BELLI<br />
Kitekite Falls, Piha. What a gorgeous spot and a gorgeous<br />
waterfall, it was well worth the walk which<br />
was approximately 25mins from the car park.<br />
excio.gallery/belli<br />
60 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
PARISIENNE OPTIONS<br />
SIMON HERTNON<br />
Summer. A pause to check a phone. Open<br />
space ahead. What happens next? Taken at<br />
Luxembourg Gardens, Paris on my iPhone 6<br />
excio.gallery/simon_hertnon<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
61
WHITE WATER<br />
ROSE-ANNE SHAW<br />
Gulls enjoying the strong wind and surveying the surf.<br />
excio.gallery/roseanneshaw<br />
62 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
RARANGI MOONRISE<br />
SUE HENLEY<br />
Rarangi beach is a rugged and wild beach on<br />
Marlborough's beautiful East coast in New Zealand.<br />
excio.gallery/henley<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
63
THE NOT SO UGLY DUCKLING<br />
ENZO GIORDANI<br />
A mid-winter cygnet braves the cold weather at<br />
Western Springs, New Zealand.<br />
excio.gallery/enzo<br />
64 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
BLUE HAZE<br />
M & A WHYTE<br />
These little alpine flowers were taken at Mt Hutt ski field in the<br />
summer, I then transformed them into art.<br />
excio.gallery/whyte<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
65
AUTUMN TONES<br />
PAMELA JOHNSTONE<br />
The beautiful gold tones of Autumn leaves pilled up after a light drizzle of rain.<br />
excio.gallery/pamela<br />
66 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
SNOWDROP<br />
VICKY FINLAY<br />
Snowdrops are my favourite Spring flower, every year I try to<br />
capture the essence of Spring and what is to come. Maple<br />
Glen Gardens spoiled us for choice - Such a magical place.<br />
excio.gallery/vicki<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
67
NOT YOUR USUAL CATHEDRAL COVE<br />
ALICIA JOUBERT<br />
Early mornings at Cathedral Cove are my favourite – that light!<br />
excio.gallery/adventurelief<br />
68 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
69
Reconsidering Our Approach To<br />
Landscape Photography<br />
By Richard Young<br />
70 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
71
I have not been writing much lately. It is easy to<br />
produce a quick article to meet a deadline, but it is<br />
not so easy to write something worth saying. Will it just<br />
add to all the other noise that is already out there?<br />
That is always the fear - and I find the same applies to<br />
the production of photographs, which is why there are<br />
times in my own photography practice where I don’t<br />
shoot anything seriously for months at a time. This<br />
may seem hard to believe from a full-time landscape<br />
photographer but if I don’t have anything new to say,<br />
I’d rather not say anything at all.<br />
Much like writing an engaging piece, making an<br />
original photograph requires a lot of energy and<br />
the right headspace, which can be hard to find<br />
when focusing on teaching, running a business, and<br />
other projects. I can capture a stunning landscape<br />
any day of the week, but a stunning capture<br />
doesn’t guarantee depth of expression. In fact, it’s<br />
not uncommon for me to find myself in just such a<br />
landscape, in excellent shooting conditions, without<br />
ever unpacking my camera. I study the light and work<br />
out what I’m trying to say. I may see a shot that will<br />
work, but I question if it is worth me taking it: is it a shot<br />
I need? What will its end-use be? Will I even ever use it<br />
or will it just add to the noise of all the other unsorted<br />
files on my hard drives?<br />
Today, life tends to take place in a rushed manner. It’s<br />
hard to leave this attitude behind, even when we go<br />
out to photograph wild places. Our instinct is to turn<br />
up, capture the image, and go. Little regard tends<br />
to be given to our impact on the landscape we are<br />
“capturing” or our reasons for photographing it to<br />
start with. But when I am out shooting, I actually spend<br />
more time engaging in the landscape - studying<br />
it, working out how to compose it, seeing how the<br />
light reacts with it - than I do taking photos. I enjoy<br />
the thought process behind the creation of a work<br />
as much as I enjoy the end product. Of course, this<br />
thought process of ‘what I am trying to express?’ will<br />
not be obvious to the viewer, so how can I express it<br />
in the resulting photograph? If we give ourselves time<br />
to connect with our landscape, take it in, and decide<br />
72 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
the story we wish to tell, it can lead us to a more<br />
sustainable approach and a more original body of<br />
work.<br />
I’m lucky enough to be based in what many consider<br />
one of the top countries for landscape photography:<br />
New Zealand. Its iconic locations have been shared<br />
worldwide and used to help drive tourism as the<br />
country’s largest export earner pre-COVID. Most<br />
landscape photographers worldwide will recognise<br />
or be able to name our most famous locations, and<br />
many have visited these places themselves. The same<br />
few locations tend to top the list for visitors (including,<br />
of course, a particular famed tree often simply<br />
referred to as “That Tree” - you know the one I’m<br />
talking about!).<br />
But does this stunning natural canvas lead to the best<br />
landscape photography? Does it make it easy to<br />
be a landscape photographer here? Surely with the<br />
advantage of all these iconic landscapes, there’s<br />
no shortage of material for Instagram posts? This<br />
may be the case, but I also believe it is one of the<br />
very reasons for the lack of originality in much of the<br />
landscape photography produced in New Zealand.<br />
Many stunning images are produced, but often there<br />
is little to set them apart from one another, apart from<br />
the latest capture trends and, at times, questionable<br />
post-processing techniques. This leads to quality of<br />
work being judged for the craftsmanship in its creation<br />
over anything else. Has landscape photography<br />
become simply a craft? One that can be taught from<br />
a YouTube video? Is there a “recipe” that will produce<br />
the desired results? Or is there a more engaging way<br />
to approach and capture the landscape? As much<br />
as learning craft is important (it gives us the tools to<br />
work with) executing that craft to capture the same<br />
landscapes as everyone else will not result in an<br />
original body of art.<br />
To be considered a work of art, a piece must be<br />
driven by intent; a desire to express something through<br />
its creation. This intent should go beyond simply<br />
<strong>NZPhotographer</strong><br />
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capturing the most beautiful rendition of a muchphotographed<br />
scene. Finding this intent is no new<br />
challenge in landscape photography (and one of the<br />
reasons it has long struggled to be accepted as art)<br />
but it is a challenge that has only been compounded<br />
by the likes of Instagram. Sure, that sweeping vista<br />
captured as an HDR, long-exposure panorama will<br />
get people’s attention. But for how long? What really<br />
makes it stand out from the last image posted of the<br />
same location? Has landscape photography just<br />
become one big competition, played out across<br />
an online platform judged by the “likes” of unknown<br />
users, who are in turn equally addicted to the splitsecond<br />
engagement of each image?<br />
While it’s true that New Zealand is producing lots<br />
of stunning landscape photography, I feel there<br />
is considerably less original work being produced<br />
here compared to, say, the UK, despite the range<br />
of landscapes being arguably less diverse in the UK<br />
than those found in New Zealand. The UK has some<br />
beautiful wild places, but the scale cannot compare<br />
to the volume of untouched wilderness that still lies<br />
within NZ national parks. Perhaps the greater volume<br />
of original work is partly due to greater population size:<br />
with 68 million people in the UK compared to our 5<br />
million, there are obviously a lot more photographers<br />
in the UK, so if even 1% of these were to produce<br />
something truly original, that would be a large body<br />
of original work. But this also works in the opposite<br />
way; with so many people shooting, it can be hard to<br />
produce something unique.<br />
I think one thing that has happened here in NZ (along<br />
with other popular landscape photography locations,<br />
such as Iceland) is that production of original work<br />
has been sidelined by the race to capture the iconic<br />
locations that so many are visiting. The draw to<br />
capture them has become central to our approach<br />
to the landscape, and even if the captures are<br />
exceptional, they show scenes that have been seen<br />
so many times before. The abundance of similar<br />
images makes me question whether I still wish to<br />
capture the “iconic locations” of NZ anymore. Much<br />
74 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
of my early work was built around these vistas and<br />
while I’m happy with the images, there are only a<br />
couple that offer a truly personal expression of the<br />
landscape. The others could easily be recaptured to<br />
similar or better quality on a return journey and could<br />
be captured just as easily by another accomplished<br />
landscape photographer. This being the case, how<br />
can I make my images stand out from the work of<br />
others?<br />
I often travel to these iconic NZ landscapes<br />
(sometimes multiple times a year) to guide groups<br />
on tours and workshops. The participants are mainly<br />
motivated by the goal of capturing these scenes<br />
for themselves, and sometimes they produce a<br />
representation that is “better” than what I have in my<br />
own portfolio. I don’t usually shoot the scene myself<br />
on these trips, as my focus is on helping those I am<br />
there to teach and guide. I also feel I won’t be saying<br />
anything new by simply capturing a better shot than<br />
I already have. That being said, there are times, such<br />
as sitting in a conference room the following day<br />
reviewing the stunning photographs captured by the<br />
group, that I do wish I had “got the shot” as well. But<br />
what I really enjoy about working as a tutor is having<br />
the opportunity to visit these amazing locations with<br />
people from all around the world, and discovering<br />
everyone’s unique visions, something which comprises<br />
a very important part of the workshop environment.<br />
There are times when the whole group sets up their<br />
tripods in a line to capture the same vista but there<br />
are also times, at other locations or with a more<br />
considered approach to what they are capturing,<br />
when everyone ends up with their own unique image.<br />
I particularly enjoy taking people to lesser-known<br />
locations for this reason. While everyone has a hit-list of<br />
images they hope to capture on the trip, the unknown<br />
locations are often the real gems. Arriving with no<br />
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preconceptions allows visitors to explore, experiment,<br />
and express their own vision.<br />
Despite some of the limitations, I still enjoy visiting<br />
iconic landscape photo locations (provided they<br />
are not too crowded) and believe they serve as an<br />
important learning step for photographers starting<br />
to engage with the landscape. It can be useful for<br />
photographers to pitch their own ability to capture a<br />
scene against that of others to learn the craft, and I<br />
get excited in helping people capture such images.<br />
Teachers of photography often focus heavily on<br />
technique, but what I enjoy most is teaching people<br />
to see: to break down the scene in front of them,<br />
decide the story, determine the key elements of<br />
their photograph, and figure out how to express their<br />
vision. Time and time again, even when I’m sure I’ve<br />
visited a location far too many times to see a fresh<br />
interpretation, someone always finds a way to create<br />
something totally new. Maybe they have seen some<br />
small detail that others overlook, or maybe they just<br />
approach the view in front of them in an unusual way.<br />
THE IMPACT TO THE LANDSCAPE<br />
As a NZ based landscape photographer, I have seen<br />
the impact photography has had on well-known<br />
locations. In today’s world of social media, it is hard<br />
to keep a beautiful location secret for long: as soon<br />
as it is picked up by well-known “influencers”, the<br />
crowds start to arrive. In this rush to get the next best<br />
shot, are we considering our actions to the landscape<br />
we are shooting and sharing? Photography is a<br />
powerful marketing tool that can be used to present<br />
products in a way that is irresistible to the consumer,<br />
and over recent years, some of our natural resources<br />
- our landscape have been treated like a product,<br />
something that can be packaged up and sold. The<br />
likes of tourism boards have quickly jumped behind<br />
this: realising the marketing power of photography to<br />
attract more visitors to a destination, using Instagram<br />
76 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
posts by wide-reaching influencers to attract as many<br />
visitors as possible to honeypot locations.<br />
Looking at this post-COVID, people are starting to<br />
question the benefits of bringing in more visitors. What<br />
impact are all these people having on the locations<br />
they visit? How does the experience match the dream<br />
view that has been sold to the viewer - captured in<br />
the best light, by a skilled photographer, excluding<br />
the large crowd of other people that were also there.<br />
Does the actual experience match up to this image?<br />
Most likely not; the visitor might even leave feeling<br />
a little disappointed. As landscape photographers,<br />
we must consider the part we play in this. Although<br />
we may wish to share the beauty we find and gain<br />
exposure, we also need to consider how our actions<br />
impact the locations we’re shooting.<br />
As someone whose company involves guiding<br />
photographers to locations as part of my job, I feel<br />
responsible for assessing and managing the impact<br />
of the visit. This is something we have worked hard<br />
on at New Zealand Photography Workshops: we<br />
have worked hard to obtain DOC (National Park)<br />
concession permits for the locations we use, so that<br />
visitor numbers can be managed, along with any<br />
negative impact to sensitive landscapes. Our aim is<br />
not just to reduce our impact on the location, but<br />
to positively affect it. As part of this sustainability<br />
philosophy, we sponsor and donate to various<br />
programs throughout the country, including bird<br />
conservation and habitat protection for marine<br />
species, with the aim to leave a positive local impact<br />
wherever our tours visit. We also offset all the carbon<br />
from our tours by planting native trees in national<br />
parks and conservation areas (which will also<br />
positively impact our future photography, since there<br />
will be more trees and native wildlife to photograph).<br />
Of course, there is more work to be done than we<br />
can do alone: we need to see significant cultural<br />
changes, both here in New Zealand and on a global<br />
level, to the way we treat the places we photograph.<br />
This is why New Zealand Photography Workshops<br />
decided to join Nature First as a silver partner, not<br />
only adopting their principles, but helping to educate<br />
others on the importance of these values when we<br />
engage with groups on our workshops. While all of<br />
the principles are equally important, I wish to focus<br />
on the need to #UseDiscretionIfSharingLocations. This<br />
can reduce the impact of too many people visiting<br />
a particular location. Perhaps it can also positively<br />
impact our photography, helping us approach<br />
location choice from a more personal perspective,<br />
rather than chasing the latest honey pot.<br />
A couple of months ago, I was chatting to the exmanager<br />
of a local tourism board while we were<br />
both camping out at a remote and photogenic hut.<br />
We were speaking about the damage that could be<br />
done if this became an “Instagram location” - it was a<br />
remote area that could not handle large numbers of<br />
visitors. He shared how he had seen the impact of this<br />
in his past actions, actively using Instagram influencers<br />
to promote the area as a top tourism destination<br />
in New Zealand. The board had supported famous<br />
influencers to post from a local mountain peak with<br />
stunning vistas and a well-known tree sitting in a lake.<br />
The plan worked a treat, and these locations became<br />
globally recognisable but it led to an uncontrolled<br />
number of people visiting, which in turn led to parking<br />
problems, toilet problems, and track erosion, which<br />
has become a considerable problem to manage.<br />
I’m sure the hut where we were camping had been<br />
photographed before, it might have even been<br />
shared on social media channels, but we decided<br />
we would keep it a secret. If we felt the need to post<br />
at all, we would be cryptic in its naming, referring<br />
only to the region of the country and excluding the<br />
sign on the door that would enable it to be found. As<br />
landscape photographers, when we post images with<br />
the location attached, it is important to consider not<br />
only the other photographers this will attract, which<br />
has a multiplying effect, but also general members<br />
of the public. After all, most of these are now<br />
“photographers’” too, armed with their cellphones.<br />
A few weeks after my visit to hut, while running a tour<br />
to a nearby area, I saw first-hand how quickly visitors<br />
can impact a location. In moody light, we drove out<br />
to a collection of historic miners’ huts nestled into an<br />
impressive wild mountain landscape. Just the day<br />
before, I had talked to the group, asking them to<br />
#UseDiscretionIfSharingLocations for the places we<br />
would visit during the workshop. It was important not<br />
to damage these places for others, and we were,<br />
after all, guests to the landscape; we intended to<br />
leave it how it was found. But when we arrived at<br />
the huts that day, another “special interest group”<br />
had taken them over - a group of 4WD enthusiasts.<br />
While I am sure many partake in this activity with<br />
consideration for the impact of their actions (we were<br />
responsibly driving a 4WD to get out here ourselves),<br />
this group was not. As a photography destination<br />
that day, and likely for some time until it recovers,<br />
the location was very unphotogenic. The visitors<br />
had managed to drive their 4WD and dirt bikes right<br />
between all the huts, turning the land around them<br />
into a churned-up muddy bog. I’m sure they were<br />
having a great time and that when they share the<br />
location with friends, many more will be back, but at<br />
what cost?<br />
When incidents like this happen, local authorities<br />
need to change the access to the location, which<br />
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impacts future photography. A classic example is a<br />
very iconic church known for being captured under<br />
the Milky Way here in New Zealand. Due to the sheer<br />
impact of the number of people walking around it,<br />
mainly to take photos, it has now been fenced off<br />
for protection, affecting how well it can be both<br />
experienced and photographed. I have witnessed<br />
other actions just as damaging to a location by<br />
photographers: sometimes these are the selfish<br />
actions of one thoughtless individual, but more often<br />
the actions of people who are quite unaware of their<br />
impact of visiting or sharing a location. They might feel<br />
their footprint is light, but the same footprint multiplied<br />
by the 100 other photographers who visited that day<br />
is not.<br />
WHO ARE WE REALLY PHOTOGRAPHING<br />
FOR?<br />
There is a stunning vista across a certain New<br />
Zealand lake that has become a “must capture”<br />
location for any landscape photographer. The<br />
other day, I found myself searching for images of<br />
it on Google, and was surprised to find that two of<br />
the first shots that came up were my own. One is<br />
an image I held dear for many years; if you asked<br />
me a few years ago, I might well have told you that<br />
this was a unique and personal expression of this<br />
vista. But when I look at this image now, although<br />
it does still bring me happiness, I see there is little to<br />
set it apart from the many captured there in great<br />
light by other skilled photographers. We are often<br />
afraid to return from well-known locations without<br />
the perfect shot of an iconic view. However, a true<br />
artist will be more afraid to return without an image<br />
expressing their personal vision, and the urge to<br />
capture popular scenes can be little more than a<br />
distraction. This raises the question: should we be<br />
photographing famous locations at all if we wish to<br />
develop a unique body of work?<br />
78 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
The popularity of landscape photography and<br />
the sharing of images on social media affect<br />
both where we shoot and how we capture such<br />
images. We may be envisioning the image we<br />
want before we even arrive. For a clear example of<br />
this, you only have to think about “That Tree”. The<br />
widespread nature of such images has opened up<br />
a genuine challenge for landscape photographers.<br />
If we choose to visit such iconic locations, how<br />
can we capture a unique interpretation of these<br />
landscapes? Simply showing up and capturing<br />
a technically perfect image to represent it is not<br />
enough and besides, it has already been done by<br />
so many before us. When we make a photograph,<br />
we want it to be about our experience, not just<br />
about the place. A personal image that expresses<br />
our vision might well receive little attention on social<br />
media; it may not deliver the instant ‘wow’ factor of<br />
the sweeping vista everyone else is posting. Craving<br />
that magnificent scene and the recognition that<br />
comes with its capture, some photographers have<br />
allowed this to become the primary driver behind<br />
their work.<br />
Over the past couple of years, I have largely<br />
stopped sharing my work via online platforms or<br />
social media. This is partly due to a personal choice<br />
to be more engaged with life experiences and<br />
people rather than engaging with my phone or<br />
computer (which I already spend far too much<br />
time on). This choice has given me more freedom<br />
with the work I produce - making an image I want<br />
rather than what I feel will get likes or sell as a<br />
print. This approach has had a positive effect on<br />
how I evaluate my own work for originality and<br />
quality. I feel a lot happier with the photographs<br />
I am making, and feel much less pressure to “get<br />
the shot”, which allows me to enjoy my time in the<br />
landscape. Simply posting images to impress others<br />
and get the most ‘likes’ is like trying to make yourself<br />
happy by buying material items. It may feel good<br />
for a time, but it will not lead to lasting happiness; it<br />
is more likely to lead to social pressure and anxiety.<br />
Of course, completely avoiding social media<br />
may not be feasible for those who rely on their<br />
photography for an income, as there is a strong<br />
connection between self-promotion and sales.<br />
Often I hear people say they wish to become<br />
a professional photographer or start to sell their<br />
work, and while this is an admirable goal, it is worth<br />
considering what the cost will be to your work and<br />
the enjoyment you experience from creating it.<br />
Choices may start to be driven by business or likes.<br />
At some point, you will have to decide which is<br />
more important to you: the business or the personal<br />
expression?<br />
Today, much of my work is centred on a more<br />
expressive approach to landscape photography -<br />
making photographs about the landscape rather<br />
than capturing images of the landscape. There<br />
is a real difference between the two. This can<br />
be very hard to achieve in well-known locations,<br />
our approach influenced by all the other images<br />
we have seen, and this reality has somewhat<br />
reduced my desire to visit such places. But they<br />
are iconic for a reason, and if we can disconnect<br />
from what has been captured there before, it is<br />
still very possible to produce something original.<br />
I once made photographs solely to celebrate<br />
the beauty of a landscape as a grand vista, but<br />
I take a very different approach now and enjoy<br />
representing well-known landscapes in a way that<br />
makes the location unlikely to be recognised. For<br />
it is not the location that the image is about, but<br />
my expressive engagement with it. Over the last<br />
year, I have captured many well-known locations<br />
(some represented in the photographs in this<br />
article) in such a way that makes it very hard, if not<br />
impossible, for a viewer to guess where they were<br />
taken. This was not my original goal in the capture,<br />
but rather the result from engaging more closely<br />
with them.<br />
So next time you plan a photography trip, arrive<br />
at an iconic location, or prepare to post an image<br />
online, ask yourself ‘who are you photographing<br />
for?’ If it’s for yourself, then be true to this and let it<br />
guide your work. Consider how you can approach<br />
landscape photography more thoughtfully and<br />
expressively, less reliant on the views of others, and<br />
you might find it leads to more original work and<br />
a greater enjoyment of the time you spend in the<br />
landscape creating it.<br />
RICHARD YOUNG IS ONE OF THE KEYNOTE SPEAKERS AT THE NZ NATURE SUMMIT TAKING PLACE<br />
THIS SEPTEMBER. HIS SUMMIT SESSION WILL FOCUS ON A MORE EXPRESSIVE APPROACH TO<br />
LANDSCAPE PHOTOGRAPHY, AND WITH HIS EXPERT TEACHING BACKGROUND, IT PROMISES TO<br />
BE A UNIQUE LEARNING EXPERIENCE. IF YOU HAVEN’T GOT YOUR TICKET YET, HEAD OVER TO<br />
NZPHOTOGRAPHER.NZ/SUMMIT<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
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PATTERNS<br />
READERS'<br />
SUBMISSIONS<br />
Photograph patterns! Show<br />
us how many you can find<br />
and photograph - all styles<br />
and genres welcome! Submit<br />
by 15 <strong>August</strong> for a chance to<br />
be featured in the next issue<br />
of <strong>NZPhotographer</strong>.<br />
Submit at www.nzphotographer.nz<br />
80 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
PORTFOLIO<br />
BEST READERS' SUBMISSIONS THIS MONTH<br />
'FLORA'<br />
GOTHIC BLOSSOMING<br />
This is a composite of several photos taken of a tree in the Dunedin Botanical Garden last spring. At<br />
the time, my Affinity zoom group was exploring the Pep Ventosa technique of layering images of<br />
varying opacities to create impressionistic effects. For me, this resulting image appealed for its dark<br />
ground base colours rising into light airiness.<br />
Suzanne Renner<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
81
WHITE SCIENCE<br />
Circles and lines, patterns, drops of water defying gravity, a rainy day straggly flower but<br />
so interesting if you look and think about how it came to be. I was practicing with a new<br />
lens on a rainy day, in the Botanical Gardens. Funny how photographs remind you of the<br />
weather.<br />
Ann Kilpatrick<br />
82 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
TRAPAEOLUM (NASTURTIUM)<br />
What's not to like about this easily grown and brightly flowering plant?! Reputed as being<br />
the perfect 'decoy' plant that attracts beneficial insects and also keeps pests away from<br />
food plants, the leaves and flowers are edible and the seeds are often made into 'capers'.<br />
Gail Orgias<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
83
BIG REACH ON THE BEACH<br />
Reaching to get as close to the sun as a bit of Pohutkawa can, to become the big and<br />
bold and red highlighting our beaches. Taken in South Auckland at the end of March.<br />
Karen Bowmer<br />
84 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
PLANET GREENS<br />
Branches parallel to the ground and spreading, spreading, spreading, doing what trees<br />
do - protecting. Cool shade and rustling leaves not captured here, we all know it. Taken in<br />
South Auckland near the Waikato River at the end of February.<br />
Karen Bowmer<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
85
THE WEIRD AND THE WONDERFUL<br />
I was attracted to this flower as I had never seen anything quite like it before... It appealed<br />
to my sense of quirky. Taken on a recent visit to North Stradbroke Island.<br />
Lyn Alves<br />
86 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
A GOOD YEAR FOR THE ROSES<br />
Mid winter and the roses are past their best but even the rose hips make an interesting<br />
subject before pruning.<br />
Raewyn Smith<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
87
MAGNOLIA PATTERN<br />
The magnolias bloom early in spring. This was an opportunity to find out what my camera<br />
can do, testing out multiple exposures in camera.<br />
Ann Kilpatrick<br />
88 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
COLOUR OF SUMMER<br />
It's the middle of winter, but seeing this hibiscus flower bought back memories of summer<br />
and long lazy drawn out days.<br />
Lyn Alves<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
89
AZALEA<br />
An azalea in our garden.<br />
Steve Webster<br />
90 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
SIMPLICITY<br />
An abstract photo of one of my wife's lily flowers. I liked the subtle colours,<br />
yet strong lines of the image.<br />
Steve Webster<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
91
HELLEBORES<br />
An anticipated sight during the cold winter months is the appearance<br />
of hellebore flowers; although, trying to photograph their beauty in my<br />
garden is difficult because of their hanging heads. I chose a mono and<br />
HDR treatment for this image to accentuate the shadows and highlights<br />
produced by the flowers and their placement.<br />
Suzanne Renner<br />
92 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>
COSMOS<br />
I love the shape of the Cosmos flower and the shades of white that the<br />
macro lens captures. This image is 10 images stacked.<br />
Wendy Pemberton<br />
<strong>NZPhotographer</strong><br />
<strong>August</strong> <strong>2021</strong><br />
93
"IF YOU WANT TO BE A<br />
PHOTOGRAPHER, FIRST<br />
LEAVE HOME."<br />
- STEVE MCCURRY<br />
Photo by Pamela Johnstone<br />
94 <strong>August</strong> <strong>2021</strong> <strong>NZPhotographer</strong>