NZPhotographer Issue 61, November 2022

ISSUE 61, November 2022 

GETTING BACK INTO PHOTOGRAPHY 

INTERVIEW WITH ALUN POWELL 

WHAT’S IN THE BAG 

WITH EDIN WHITEHEAD 

PERSPECTIVE ON 

PROJECTION PORTRAITS 

BY FAIRLIE ATKINSON 

PAINTERLY PORTRAITS FROM OUR 

IMAGINATION AND CREATION 

BY SHELLEY HARVEY

WELCOME TO ISSUE 61 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

Before you delve into this month’s 

content, I have an important 

announcement - from 1st 

December, we are moving to a 

subscription-only model. If you 

currently read the magazine for 

free, we invite you to subscribe 

now to avoid missing out on the 

December issue and all the great 

content we have planned for 2023. 

We’re offering a 25% discount 

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Alternatively, you can purchase our 

monthly subscription. 

It was a difficult decision for us but as I am sure you understand, 

a lot of time and effort goes into producing the magazine 

each month. We aim to make NZPhotographer even better 

in the future and to continue to help you progress with your 

photography skills and knowledge. To achieve that, this move 

was necessary, and I hope we will get your full support. 

OUR CONTRIBUTORS 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 61 

November 2022 

Cover Photo 

Falling Feathers 

by Jack Horlock 

Publisher: 

Foto Lifestyle Ltd 

Website: 

nzphotographer.nz 

Graphic Design: 

Maksim Topyrkin 

Advertising Enquiries: 

Email 

hello@nzphotographer.nz 

FOLLOW US 

Fairlie Atkinson 

Fairlie Atkinson teaches 

Photography and Design at 

Kapiti College. She is also a 

keen fine art photographer, 

and has used her work to raise 

awareness and money for 

conservation. She is a keen 

advocate of the movement 

#photographyforgood and 

encouraging teen photographers 

to find their voice using a lens. 

Susan Blick 

Susan Blick is an awardwinning 

landscape and 

travel photographer, plus 

travel vlogger and writer from 

Australia and New Zealand. 

Susan was New Zealand 

Geographic’s Landscape 

Photographer of the Year 

in 2015. She is currently 

based in Vietnam and runs 

international photo tours. 

Shelley Harvey 

Shelley Harvey is a creative 

photographer based in Twizel. A fully 

trained hair & makeup artist, she has 

been involved in photography for 

the last 8 years. Over this time, she 

has won many awards nationally 

and internationally. She is also the 

Country Membership Director for the 

Photographic Society of America, 

helping to expand the Society 

throughout New Zealand. 

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

consent of the publisher. 

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

CONTENTS 

4 

6 

13 

18 

31 

42 

60 

64 

80 

BEHIND THE SHOT 

with Dianne Whitehead 


with Edin Whitehead 

RISING STAR 

with Bridget Sinclair 

INTERVIEW: GETTING BACK INTO PHOTOGRAPHY 

with Alun Powell 

PAINTERLY PORTRAITS FROM OUR 

IMAGINATION AND CREATION 

by Shelley Harvey 

MINI 4 SHOT PORTFOLIO 

PERSPECTIVE ON PROJECTION PORTRAITS 

by Fairlie Atkinson 

FROM THE ROAD: THE LAST TWO YEARS 

by Susan Blick 

AI PHOTOGRAPHER: NEW CAREER ON THE HORIZON 

by Ana Lyubich 

83 PORTFOLIO 

BEST READERS’ SUBMISSIONS 

MEMBERSHIP 


WITH EDIN WHITEHEAD 

GETTING BACK INTO PHOTOGRAPHY 

INTERVIEW WITH ALUN POWELL 

PERSPECTIVE ON PROJECTION PORTRAITS 

BY FAIRLIE ATKINSON 

6 

18 

60 

12$ MONTH 120$ YEAR 

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• Access to all back issues 

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• 4x4 gallery submission 

• A chance to be featured in interviews, cover 

photo, behind the shot and articles 

• Online issue 

• High res PDF download 

• Access to all back issues 

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(1st entry free) 

• Readers gallery (1 free entry per month) 

• 4x4 gallery submission 

• A chance to be featured in interviews, cover 

photo, behind the shot and articles 

SUBSCRIBE

Behind The Shot 

with Dianne Whitehead 

Innocence 

Canon 6D, Canon 24-105mm lens @ F4, 1/60s, ISO800, 66mm 

TELL US ABOUT YOURSELF AND YOUR 

JOURNEY INTO PHOTOGRAPHY SO FAR… 

I have always loved taking photos, but it was not 

until I got my first DSLR (about 10 years ago) that 

I realised photography was much more than just 

recording events. I have a cousin who is also keen 

on getting out with her camera, and we did a 

photography beginners course together. I found it 

exciting but, at the same time, rather daunting as 

there seemed to be so much to learn. 

Then I began a 365 project, putting an image up 

every day on the 365 Project website for a year… 

nine years later and I’m still participating! I find it 

makes me look for things to photograph each day 

and serves as a photographic diary too. I have 

seen a huge improvement in my photography 

4 November 2022 NZPhotographer

over this time. I am also a member of The Waiuku 

Camera Club and enjoy the company and 

challenge of taking images for their competitions. 

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHY? IS THERE A GENRE YOU’RE 

MOST PASSIONATE ABOUT? 

For me, photography is a form of recreation 

that brings me peace and puts the world into 

perspective. 

I find myself drawn to the landscape and nature 

genres as these take me to places where I can slow 

down, observe, wait for the light and give myself 

some space in a busy world. I don’t really have 

a specific style, except to say that I prefer ‘real’ 

looking images and don’t spend a lot of time on 

the computer editing and manipulating my photos. 

WHAT ARE YOU SHOOTING WITH? 

I generally shoot with a Canon 6D. To go with that, 

I have a 70-200mm, 100mm, and a wide-angle lens 

(which I admit to not using as often as I thought I 

would). I also have a Manfrotto 190 tripod. I also 

shoot with a Sony Alpha 6000, which is a nice light 

option. I am seldom without a camera, so I carry 

a Lumix TZ220 in my handbag, and of course, my 

phone is never far away either. 

TELL US ABOUT YOUR PHOTO 'INNOCENCE'... 

For a long time, I have wanted to try to get a nice 

silhouette image of someone’s face and decided a 

child’s face would look nicest. 

It is always nice to try something different, so when 

my 22-month-old grandson was staying at the end of 

August, and we had a lovely sunrise, I tried a silhouette 

shot, and this is the result. 

Rudy had just woken up, so I quickly gathered him up 

and stood him outside against the gorgeous sunrise sky. 

He was still somewhat sleepy and stood looking at the 

cows over the fence, so stood nicely and didn’t move. I 

love the messy wispy hair and especially the bit sticking 

out at the back; this photo was taken before he’d had 

his first haircut making it a great image to look back on 

when he’s older, and his hair is not so wispy. His cute 

wee face looked so nice against the colours, and to 

me, this image represents the innocence of childhood. 

His parents were delighted with this photo, and 

it made a nice framed print to give to them. My 

daughter has shown it to friends with children of a 

similar age, and now they all want one! 

and so suitable for a silhouette image. The cows over 

the fence were being nosy and served as a great 

distraction for my cute wee subject, meaning he 

stood nicely. I had to stand him on the outside table 

to get a better angle to remove trees and buildings, 

which would have made the image too busy. 

All photographers realise how quickly the colour 

can change at sunrise and sunset, so there was a 

bit of urgency to take the image. 

I used Av for this shot so I could get the photo 

without any hesitation. I had the ISO at 800 

because I knew my subject wasn’t likely to stand 

still for long and that the colours wouldn’t last either 

- another couple of minutes and the image would 

have been very bland. 

WHAT EDITING DID YOU DO TO THIS PHOTO? 

Very little editing was done to this image. I just 

tweaked the colours and contrast a little in 

Photoshop Elements. Taking the image is the fun 

part of photography, not spending ages on the 

computer; however, learning Photoshop properly is 

one of my next learning goals! 

WHAT TIPS CAN YOU SHARE WITH READERS 

FOR ACHIEVING A SIMILAR PORTRAIT? 

I think it is important to keep silhouette images 

simple and uncluttered whilst capturing strong 

colours. Composition is important in silhouettes too, 

so that the image looks balanced. 

A good strong silhouette image needs to be taken 

with the subject between the photographer and 

the light. Focus on the edge of the subject, where 

it is against the light because the camera will have 

difficulty focussing on the dark subject. 

On a final note, the winter months are good times 

for sunrise silhouette images, as you don’t have to 

get out of your cosy bed so early! 

WHAT ELSE SHOULD WE KNOW ABOUT YOU? 

I continue to learn about photography, reading 

lots and looking at videos for inspiration. We have 

a camper van, and photography is a great hobby 

while my husband is happily fishing. Taking photos 

makes me slow down and appreciate all the 

wonderful things around me. 

BEHIND THE SHOT IS PROUDLY 

SUPPORTED BY 

WHAT WAS HAPPENING BEHIND THE 

CAMERA? 

We live in a rural setting and have wide views to the 

east, which means we see some fabulous sunrises. 

The sunrise on this particular morning was beautiful 

NZPhotographer 


5

What’s In The Bag 





7

What’s In The Bag 


THE CAMERA BAG 

To be honest, most of the time, my camera gear lives 

in a hard case. My day job as a seabird biologist 

involves a lot of jumping on and off of islands in small 

inflatables, and a waterproof, well-padded hard case 

(that floats) is the best option for keeping my gear 

safe! 

When I’m out for a proper photography mission, I use 

a LowePro Whistler 35L. It’s the perfect size for me and 

has robust waist straps which take the load off my 

shoulders for long days in the field. I can fit just about 

every item of camera gear I regularly use inside, but I 

mostly pack it light with just what I need for the day. 

My other workhorse bag is an old (and sadly 

discontinued) LowePro DryRover, with a waterproof 

lower compartment for gear, and a spacious 

upper compartment for other bits and pieces. It’s 

getting a bit old and salt-corroded now! It’s perfect 

when conditions are a bit dicey (on a small boat or 

inflatable), but I need to access pre-assembled gear 

to shoot with quickly. 

WHAT’S IN THE BAG? 

As of this year, I’m transitioning to being a dualsystem 

shooter with the mirrorless Nikon Z9 and the 

DSLR Nikon D500. I’ve shot with the D500 for six years, 

and I’m not getting rid of it! It’s an amazing body for 

wildlife, birds in particular, and I’ve never felt limited 

by its capabilities or image quality. The Z9 is a great 

tool for a wildlife photographer, but I don’t need 

20 frames a second or full-frame 48MP images in 


many circumstances. I regularly use my D500 body 

for biology fieldwork, as it’s a much lighter, more 

compact, and I have enough spare batteries to last 

me through at least a week without charging. If I’m 

shooting high-stakes bird photography (for work or 

fun!), it’ll be with the Z9. 

I love the versatility of shooting with a full-frame body 

that can easily swap to a cropped sensor mode for 

extra ‘reach’. The autofocus technology with eye 

detection is amazing. I’m also exploring the ability 

to take high-quality videos while looking through the 

viewfinder, which is impossible with a DSLR. Moving to 

an electronic viewfinder has been an adjustment, but 

I can swap between the two pretty seamlessly now. 

I must stress that you don’t need the latest gear 

to take great images. It’s nice to have but not 

necessary. For most of my photographic life, I’ve shot 

with second-hand, hand-me-down equipment, and 

it’s never held me back. I’ve been waiting a while 

for mirrorless technology to catch up with the solid 

reliability of DSLRs for wildlife photography, and the 

Z9 is finally that step change. It’ll be interesting to see 

how the technology develops over the next few years. 

Lenses 

I’m still using all my F-mount lenses with the Z9 via an 

FTZ II adapter, although I’ve had the chance to shoot 

with some of the new Z lenses and have been very 

impressed! They’ll be on my wish list for a while. My 

go-to lens for the past six years has been the Nikon 

80-400mm f/4.5-5.6. Versatility is key to my work, from 

intimate portraits to wider environmental ‘birdscapes’. 

My other favourite lens is the 300mm f/4, for absolutely 

unrivalled sharpness. If I’m packing light for a research 

trip, the 300mm is the lens I reach for every time. 

Sometimes if I need a bit more reach, I’ll pair it with a 

1.4x teleconverter. 

For wide and occasional astrophotography work, I use 

a 12-24mm f/4. This DX lens is limited in that regard, but 

it’s light and sharp enough for my needs. When I have 

to really travel light, I have an old 18-200mm f/3.5-6.3. 

This lens is getting on a bit and isn’t very sharp at the 

long end, but it’s a great all-rounder for tramping with 

when I don’t feel like taking the whole lot! 

I very rarely use a tripod, except for night work. I have 

a small SIRIU T-025X travel tripod which works for my 

forays into astrophotography. I’m not sure it’ll be up to 

the weight of the Z9, though I haven’t tried it yet! 

Other Gear 

Carrying telephoto lenses around on a neck strap 

isn’t fun. I have a CarrySpeed shoulder sling strap 

that distributes weight a bit better for carrying the 80- 

400mm around, which clips onto a dovetail lens plate 

attached to the small foot of the lens – I find this extra 

length makes it much more comfortable to hold. I’ve 

actually managed to wear through the metal ball 

and socket joint on one of these straps, and I’m on to 

my second. Otherwise, I have neoprene OpTech neck 

straps that are a bit more comfortable to wear than 

plain webbing ones. 

Spare batteries and spare cards are a must. Usually, 

these are tucked inside a small waterproof drybag, 

along with a few smooth microfiber cloths for cleaning 

lenses. Things that I always have in my bag (regardless 

of whether I’m biologist-ing or photographing!) 

include a knife, a multitool, and some good duct 

tape. I once forgot to pack my camera strap and 

managed to rig up a serviceable sling strap out of 

duct tape, so it’s definitely a worthy inclusion! 

The top of my bag always has sunscreen, snacks, and 

safety gear (PLB, first aid kit, head torch). The front 

pocket can swallow a lot of things as well – there’s 

usually a water bottle, waterproofs (top and bottom), 

a beanie, a rain cover for the camera, and sometimes 

my pair of binoculars (Nikon Prostaff P511 8x42) as well 

if I need to be identifying distant flying things. 



9

Toroa / White-capped Albatross 

Nikon D500, 80-400mm lens @ F6.3, 1/4000s, ISO800 

PUTTING THE GEAR INTO PRACTICE - 

ON LOCATION AT ŌTEPOTI, DUNEDIN 

Ōtepoti is an absolute hotspot for big charismatic 

wildlife, albatrosses, sea lions, and penguins, as well as 

being close to the Orokonui Ecosanctuary, which is a 

great place to get close to some more elusive birds. I 

am a seabird scientist, so most of my favourite photos 

come from boat trips with Monarch Wildlife Cruises, 

going out past Taiaroa Head to meet up with the 

albatrosses at sea. 

Getting good behavioural images is all about your 

knowledge of the birds and being able to anticipate 

what they’re going to do, as seen with my whitecapped 

albatross shot. It comes with time in the field, 

and there’s no substitute for it! A variable zoom lens is 

perfect for conditions like these where the action can 

be distant, but as the birds approach, you may need 

to zoom out to get the framing you want. 

Sometimes I need the wide end of the 80-400mm! 

Having Buller’s albatross an arms-length away made 

me wish I’d swapped out for the 12-24mm for a while 

– definitely next time. I love the perspective of having 

the birds soaring directly overhead, and having the 

flexibility to zoom back out to 80mm was perfect for 

this. 

Meanwhile, Cape petrel are gorgeous little birds and 

a constant companion at sea. My goal is to illustrate 

birds in their habitats, and on this choppy day, the 

waves gave plenty of opportunities for a splash 

background. Timing is a mix of reflexes, luck, and 

learning to anticipate how the birds will interact with 

the wind and waves. 

Edin is a seabird scientist and conservation photographer based in Tāmaki Makaurau 

/ Auckland. Both her research and photography focuses on pelagic seabirds - 

shearwaters and petrels - as well as conservation issues for wildlife. 

www.edinz.com twitter.com/edinatw @edinzphoto 

@edinzphoto

Top: Toroa / Buller’s Albatross 

Nikon Z9, 80-400mm lens @ F5.6, 1/6400s, ISO1600 

Bottom: Cape Petrel 

Nikon Z9, 80-400mm lens @ F5.6, 1/3200s, ISO1600

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Rising Star; Bridget Sinclair 

Bridget is a 17-year-old who inherited the photography gene from her mum. With a 

love of the land, she seeks to capture the essence of a place whilst exploring space, 

light, and texture in her landscape photography. 

BRIDGET, TELL US ABOUT YOU AND YOUR 

JOURNEY INTO PHOTOGRAPHY… 

I’m from a farm in South Otago; this is where I discovered 

a love for the landscape. My mum has always been a 

photographer, so I have been brought up with getting 

my photo taken and seeing what my mum photographs. 

She has taught me a lot, and now I have the privilege 

to use her equipment! I do lots of photography with my 

mum. She always gives me advice on how to improve 

and always critiques my work. I have also learnt from my 

photography teacher at school and my photography 

mentor, Olivia Turner. She helped me a lot with different 

ideas, and she taught me how to plan shoots so that I 

don’t go out with no clue what I want to photograph. 

Combined, these people have all challenged me to 

take photos that I will be proud of. I teach myself more 

every time I take a photograph, whether it’s about the 

camera setting or where I am in comparison to the 

focal point. I also like to scroll Instagram and look online, 

exploring landscape photographers’ websites. This gives 

me new inspiration and makes me think creatively about 

what I would like to shoot next. 


I’m shooting with a Canon EOS 6D with a Canon EF 70- 

300mm ƒ4-5.6 IS II USM, Canon EF 500mm ƒ4L IS, and 

a Canon EF 50mm ƒ1.8 II. I also use a tripod for night 

photography and long exposures. 

WHAT DO YOU MOST ENJOY TAKING 

PHOTOGRAPHS OF, AND WHY? 

I find that landscape photography is important 

because you are capturing the scenery in front of you. 



13


This inspires me, and I find it very interesting to be able 

to capture the essence of a place and explore the 

sense of space, light and texture. I like that anywhere 

you go you can take photographs, and this is one of 

the biggest things my mum and I bond over. One of 

our trips this year was to photograph Highland cattle. 

We go off on adventures and explore places that we 

have never been to before. Taking photographs that 

people like is very rewarding, especially when you see 

people embracing what you see in an image. 

WHAT HAVE YOU STRUGGLED WITH THE MOST 

IN PHOTOGRAPHY, AND HOW DID YOU 

OVERCOME THAT? 

I think the most challenging thing for me is using the 

manual camera settings. It took me a while to get my 

head around the basics. Also, figuring out what it was 

that I wanted to photograph. 

TELL US ABOUT A COUPLE OF YOUR FAVOURITE 

PHOTOS… 

I have a lot of favourite photos, but the ones I’m most 

proud of are from a shoot with a herd of Highland 

cattle at golden hour. This really complimented the 

images because of how the light was shining on their 

hair; it really showcased the texture. I went on to edit 

these and put some into black and white, and I was 

very happy with the result. 

I’m really happy with these photos because they were just 

what I was looking to achieve and more. I think that when 

I take pictures I’m really proud of, it pushes me to create 

even better photographs the next time I’m shooting. 

WHAT ARE YOUR AMBITIONS FOR THE FUTURE? 

I will definitely continue to widen my knowledge in 

photography, but in terms of future careers, I think I 

would want to have a job in the agricultural industry. 

From this, I will get contacts with lots of farms and will 

then be able to take photographs on them. Another 

option is to get a photography degree and then find 

a job photographing something to do with agriculture 

or some sort of landscape. 

WHAT ELSE SHOULD WE KNOW ABOUT YOUR 

PHOTOGRAPHY? 

I usually only enjoy landscape photography, but recently 

I have started taking a variety of different photos and 

found different ways of exploring things. I have started to 

explore more with things in the environment, such as old 

buildings on farms and run-down fences, things like that. 

I find that they have lots of character, and there is so 

much to photograph around them. 

WHERE CAN WE FIND YOU ONLINE? 

@bugs.picss 



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17

Getting Back Into Photography 

Interview with Alun Powell 

ALUN, TELL US ABOUT YOURSELF… 

I landed in Perth, Australia from Wales, UK, aged 19, 

to start a six-month travel adventure around Australia. 

However, I liked it so much, I stayed a little longer. In 

fact, I’ve lived here ever since! Luckily, I’ve travelled 

a lot since and seen much of Australia and numerous 

other countries. My family, including one daughter 

and one son, are also now back living in Perth. 

A career in International Logistics has facilitated 

my love of travel and photography, photography 

providing a great contrast to my fairly hectic business 

life. I find the time spent in the ‘great outdoors’ very 

relaxing. I find I’m totally absorbed in the moment 

when shooting landscapes or wildlife; ‘work’ doesn’t 

even enter my head. 

HOW AND WHEN DID YOUR JOURNEY WITH 

PHOTOGRAPHY START? 

I took a course in photography in my late teens, 

however, ‘life’ (career, sport, family etc.) somehow 

sidelined photography. I always enjoyed ‘taking 

snaps’ whilst travelling but even up until four or 

five years ago, I was just taking jpegs with a basic 

super-zoom (straight from camera) with no editing. 

However, after trips to North Sulawesi and especially 

Botswana in 2019, just prior to Covid, I decided I loved 

the photography aspect so much that I’d spend more 

time learning and exploring. 

To be honest, we were extremely lucky to be living 

in Western Australia during Covid as lockdowns 

weren’t too often or too severe. For the most part 

travel within the state was still possible so during this 

time I managed a few trips along the South West 

Coast and thoroughly enjoyed both the hiking and 

particularly shooting seascapes. Living on a threeacre 

block and adjoining a National Park was also 

extremely fortunate. In the short lockdowns we did 

have, I took the time to try bird photography as we 

have so many visiting our garden. This genre was 

certainly challenging with the dense trees and more 

particularly, the need for patience which is not usually 

my strongpoint! 

Over the following months, I read numerous articles, 

magazines, books etc, combined with some online 

learning and there has certainly been plenty of trial 

and error too but on the whole, I can say my journey 

with photography has been self-taught, learning ‘on 

the go, in the field’ but also from reviewing my images 

and learning from my mistakes. 

WHAT DO YOU PREFER CAPTURING AND WHY? 

The vast majority of the photos I take are nature 

related, simply because I love the outdoors. Getting 

back into photography has in many ways pushed 

me to get out exploring even more. The essence of 

photography for me is about me seeing a particular 

vista, a fleeting moment or a unique perspective 

and (hopefully) capturing it, for me! Whilst that may 

sound selfish, I first and foremost like the shots to relate 

what I witnessed. And yes, it’s nice to share that 

shot with family and friends. Well, unless it is a bird or 

reptile shot, then my daughter will certainly not be 

interested! Luckily my wife still will be. My 15-year-old 

stepdaughter is the first testing point for my shots as 

she’s very artistic and has an excellent eye… and is a 

harsh critic. 

I’m nowhere near experienced (or skilled) enough 

to have developed my own style, yet. I simply enjoy 

landscape and wildlife photography the most. I also 

need to learn more about processing my images – this 

is a huge weak point, but realistically I’m far happier 

being out on the beach at dawn, even in pouring 

rain, trying to capture a magic moment, than sitting in 

front of my iMac. 


Top: Mellow Gecko 

Fuji X-T4, Fuji XF 80mm Macro F2.8 lens @ F11, 1/250s, ISO160 

Bottom: Hungry Duo 

Fuji X-T4, XF 100-400mm F4.5 zoom lens @ F7.1, 1/20s, ISO400, 128mm

Lucky Bay, Esperance 

Fuji X-T4, Fuji XF 16-55 F2.8 lens with ND and Polariser @ F8, 3s, ISO160, 20mm 




21


Last year I splashed out on the medium format Fuji 

GFX100S, having had a Fuji XT4 for a few years. 

The GFX is an amazing camera, particularly for 

landscapes. I didn’t like the idea of learning new 

menus, controls, settings etc. so sticking with Fuji was 

the best solution, and has been a very good decision. 

The XT4 is still my ‘go to’ for animals and birds. So now 

my kit consists of: 

• Fuji GFX100S with a GF 23mm plus a GF 45-100mm 

zoom 

• Fuji XT4 with a XF 100-400mm zoom (plus 1.4 

teleconverter) plus a XF80MM Macro and a 

number of other focal lengths – which now with 

the GFX, have actually become somewhat 

redundant. 

• Tripod – Three-legged thing, and Peak Design 

travel 

• Filters – PolarPro: UV, Polariser, plus variable NDs 

(2-5 & 6-10 stops) 

• Bag – Peak Design Rucksack 

TELL US ABOUT YOUR BOTSWANA SAFARI 

EXPERIENCE… 

Botswana was a fantastic experience. We loved the 

people, the landscape and of course the incredible 

array of wildlife. The trip was in 2019 and inspired 

me to get back into photography for real. The 

Okavango Delta was stunning! Although suffering 

a severe drought at the time of our visit, we still got 

up close to the action, albeit having to walk more 

than using mokoros (canoes). The flight into our 

camp (two of us and a pilot) and especially the 

flight out of our camp to Kasane in an approaching 

thunderstorm, was breathtakingly beautiful. Flying 

so low over huge numbers of elephants in the Delta 

was an experience I’ll never forget. Definitely the 

best flight of my life – and I’ve done too many. 

Beats any first-class trip hands down! 

WHAT STRUGGLES DID YOU HAVE WITH 

PHOTOGRAPHY ON SAFARI? 

Struggles: Dust! I would definitely not recommend 

changing a lens or SD card in the field without 

extreme care. Plus, camera shake - for example as 

a large male spotted hyena turns and walks back 

towards you, when you are thirty metres from him, 

behind your camera, on foot, in a wide open plain. 

Our (unarmed) guide wasn’t phased, whispering, 

“Don’t worry, he’ll walk away again now Alun.” 

Needless to say… out of focus shots. And some just 

of the sky! 

Elephant 

Fuji X-T4, Fuji XF 100-400mm F4.5 zoom lens @ F5, 1/1000s, ISO160, 190mm

After Battle Drink 

Fuji X-T4, Fuji XF 100-400mm F4.5 zoom lens @ F8, 1/500s, ISO1600, 380mm 

TELL US ABOUT A FAVOURITE PHOTO FROM 

SAFARI... 

Without doubt, a lion on the Chobe River. We were on 

a boat and the lion, bleeding in quite a few places, 

from what sounded like a fight with another lion earlier 

(maybe a younger challenger?), appeared through 

the thick scrub to take a drink in the river right in 

front of us. We were so close. Whilst I was transfixed 

watching him, I at least managed some shots which 

still rank as my personal favourites simply because 

they capture something tangible of an experience - 

a moment I will never forget. And that was a pivotal 

point in my photography journey, the moment I 

became truly passionate about capturing these 

tangible moments of my memories. 

HOW MUCH TIME HAVE YOU SPENT IN NEW 

ZEALAND FOR PHOTOGRAPHY? 

For many years all my visits to New Zealand (both 

to the North and South Islands) were work-related 

but fortunately, I did manage some travels outside 

the cities. I travelled to Auckland for work in June 

this year and decided to add on a few days to look 

around and do some photography - my first go at 

photography in New Zealand. Unfortunately, the 

weather wasn’t brilliant (lots of rain and grey clouds). 

I believe there is a spectacular mountain called Mt 

Taranaki outside New Plymouth, however, I never saw 

it! Thankfully, I still managed some shots and my gear 

definitely got wet weather tested. 



23

Cathedral Cove 

Fuji GFX100S, Fuji GF 23mm F.4 lens with ND Filter @ F9, 120s, ISO200 

Cathedral Cove was on my ‘NZ priority shot’ list. I’d 

researched the location and was disappointed to 

think the tides wouldn’t be right during my 2-day visit 

and might prevent access to get the best sunrise 

and sunset shots. However, during the first afternoon, 

I was relieved to see that the tide would be fine at 

sunset after all. The weather was the next issue; heavy 

squalls! Fortunately, I still managed some shots as the 

wind abated between rain showers; some late cloud 

colour was very welcome. 

This two-minute exposure was a gamble as I kept 

thinking the wind would pick up and completely blur 

the overhanging trees. Luckily it remained relatively 

light, so there is only fractional movement – if you look 

closely enough! The next evening the sky colours were 

vivid, but I actually prefer the softer colours seen in this 

shot. 

The images of stunning New Zealand landscapes I saw 

in this magazine actually inspired me to put a New 

Zealand Photography Workshops Tour at the forefront 

of my travel wish-list. And, after a few Covid restrictions 

related false starts, I travelled to Queenstown in 

September for a six-day tour along the West Coast of 

the South Island followed by a tour of the South Island, 

with my family who joined me in Nelson. 

TELL US MORE ABOUT YOUR RECENT TRIP TO 

THE SOUTH ISLAND… 

I was prepared for extremely wet weather each day, 

but the weather was great the entire time. That said, 

the change in light was incredibly fast and nothing 

like I’d experienced before. You had to be ready and 

keep a 360-degree watch at all times so as not to miss 

a unique opportunity. 

Not knowing the locations, I found my preconceived 

ideas were often wrong in terms of the best focal 

length lens to utilise for the scene. The vista in front of 

me regularly suited a longer lens. For myself, it certainly 

wasn’t a case of ‘shoot widest’ for landscape. Oh, 

and the sandflies were definitely an unwanted hassle! 

I picked up a lot of very useful technical information 

and advice on the workshop but the most important 

aspect that I believe will help me in future was the 

process our tour leaders, Ken Wright and Glen Howey, 

employed with their set-ups and their composition. 

Their attention to detail was remarkable, yet done at 

a fast pace - years of experience, no doubt! I should 

also add that their professionalism, and especially 

their passion for their craft, was both infectious and 

inspiring. 


Top: The Last Glow, Lake Tarawera 

Fuji GFX100S, Fuji GF 23mm F.4 lens with ND Filter 

@ F9, 30s, ISO100 

Bottom: Icebergs at Tasman Lake, Aoraki / Mt Cook 

Fuji GFX100S, Fuji GF 45-100mm F.4 zoom lens 

@ F8, 1/40s , ISO125, 36mm

Hut On Okarito Lagoon 

Fuji GFX100S, Fuji GF 100-200mm F5.6 lens @ F11, 7s, ISO100, 105mm 




27

Helicopter At Fox Glacier 

Fuji GFX100S, Fuji GF 45-100mm F.4 zoom lens @ F10, 1/170s , ISO100, 79mm 

One highlight of the trip for me was a helicopter trip to 

shoot from the top of Fox Glacier in absolute perfect 

conditions. It was quite simply breathtaking. I also 

like a shot I captured during the earlier part of the 

workshop, taken of a hut on Okarito Lagoon. Another 

shot I captured prior to the workshop was of icebergs 

in Tasman Lake. These were both awesome locations. 

All in all, the entire trip far exceeded my expectations 

– it was epic! The incredible variety of landscapes 

and seascapes within such miniscule distances was 

astonishing. I’m already thinking through an itinerary 

for my next visit. 

HOW DO YOU MAKE PHOTOGRAPHY A 

PRIORITY NOW - RATHER THAN LETTING LIFE 

TAKE OVER SO THAT YOU CAN’T GET OUT? 

I’ve just recently decided to cut down my working life 

to part-time. This will allow me to devote more time 

to getting out there and doing more photography. 

And probably won’t allow me to make excuses for not 

learning about processing! I will definitely be looking to 

combine my photography with more travel. Iceland is 

certainly on the bucket-list in this respect. I’m actually 

a little disappointed that I never kept up my interest 

in photography and utilised it during visits to places 

like the Galapagos Islands, Costa Rica, Peru, Chile, 

Norway etc., but at least I still have some cool ‘snaps’. 

CAN YOU SHARE SOME LANDSCAPE 

PHOTOGRAPHY TIPS WITH US? 

One thing I’ve definitely come to learn is that planning 

for your landscape shots can be very important – 

such as working out sunrise/sunset angles, weather 

forecasts, cloud levels/types etc. Being out there 

and using your eyes is even more important – often 

the best light from where you planned the shot can 

actually be 180° behind you. I honestly don’t believe 

anyone can know exactly what the light will be doing 

at any particular sunrise or sunset – and that’s why it›s 

so interesting! 

Something else I’ve picked up is not to pack up and 

go home when the sun sets or you think the light has 

died; an extra five or ten minutes more can often 

throw up something amazing. (Yes, I’ve already learnt 

that the hard way!) That said, composition is still the 

number one fundamental, and something I prioritise 

to improve during and after every single shoot. 


Busselton Jetty 

Fuji GFX100S, Fuji GF 23mm F.4 lens with polariser @ F8, 1/320s, ISO100 

It’s vital to know your camera settings/controls inside 

out and to have your gear well organised – especially 

if the weather is inclement! The last thing you would 

need setting up in cold, wet, windy, semi-dark 

conditions is issues with setting up your camera and 

tripod so practise at home until you can do it with your 

eyes closed! 

WHERE DO YOU RECOMMEND KIWIS HEAD 

TO FIRST WHEN PLANNING A PHOTOGRAPHY 

TRIP TO PERTH, OR WESTERN AUSTRALIA AS A 

WHOLE? 

Distances are the main issue in Western Australia 

(WA). Whilst there’s little traffic, the distance between 

attractions can be huge (unless flying of course). 

If on a short timescale it’s probably best to stick to 

the southwest corner of WA. The area along the 

coast from Busselton to Albany has some fantastic 

coastal scenery, from awesome beaches to huge cliff 

faces and caves (the superb wineries are an added 

bonus). Further east at Esperance, if you have time, 

you will find the most stunning white sand (relatively 

people-free) beaches. At Lucky Bay, you should be 

able to get the iconic image of Kangaroos on the 

bright white beach, with the turquoise waters! 

IF YOU DIDN’T LIVE IN WESTERN AUSTRALIA, 

WHAT WOULD YOU BE DRAWN TO 

CAPTURING? 

I’m really taken and interested in landscape shots 

that involve mist. I love the look and feel it can 

create. I see some fantastic images from overseas, 

especially in UK outdoor publications. Unfortunately, 

mist is somewhat of a rarity here in Perth (to say the 

least). But New Zealand does seem to provide these 

awesome photographic opportunities - another great 

reason to spend more time visiting! 

WHERE CAN WE FIND YOU ONLINE? 

Like my processing – it’s not been a priority and is 

definitely not a strong point. However, I do now at 

least have a (very low-key) Instagram page! 

@alseven_images 



29

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Painterly Portraits From Our 

Imagination and Creation 

by Shelley Harvey 

Old Masters 

Nikon D810, 50mm prime lens @ F2, 1/640s, ISO100 



31

As this is the last article in this series, and I have 

covered many important aspects of working with 

models, it’s time to let your imaginations run wild! 

Being creative hasn’t always come naturally to me. 

I remember many years ago, viewing the girls at my 

school who attended art class with such great envy. 

I could not draw or paint, and although the art room 

at school fascinated me with its wide array of creative 

tools, I felt I didn’t have a creative bone in my body. 

Indeed, it wasn’t until I started my hairdressing career 

(photography still being an inaccessible yet coveted 

medium back then) that I found a way to express 

myself creatively. Through make-up and clothing, I 

discovered I could show the world a creative side of 

myself that I never thought existed. Still, it wasn’t until 

nine or so years ago, when I went back to high school 

as an adult student to learn photography, that I started 

to realise the limitlessness of the art of photography and 

the fun that can be had in the digital darkroom. 

I believe that today, my photography is made 40% incamera 

and 60% in-post. I always work in Photoshop 

and have the Nik Filters by DXO Labs plug-in. I love 

the use of textures in photography, the way a texture 

can create more depth and interest to my work and 

lifts it from snapshot to fine art. Combined with image 

manipulation, this can transform an ordinary image 

into an artwork that begins to look and feel like a 

painting. 

APPLYING TEXTURES 

Over the years, I have created a large file full of 

textures that I have harvested with my camera of 

many different surfaces, shapes and subjects. I have 

certain ‘go-to’ textures which I know will work well, 

but more often than not, I spend a lot of time playing 

around to find a texture that will suit the individual 

image I’m working on. 

Using your own images as textures is essential because if 

we take one from the internet, we can come up against 

copyright issues. Also, if you are competing in exhibitions, 

all images must be generated by you. So I invite you to 

grab your camera and start shooting concrete, wood, 

and fabric, never letting yourself walk past a textured, 

weathered wall again without taking a photo of it! One of 

my favourites is when my dog licked the window during 

a really good frost, and the sun hit it, giving me a great 

foggy streaky texture. Another texture I use was captured 

a few years ago, at Christmas time. I sat mesmerised by a 

snow globe lit inside while a motor constantly whirled glitter 

up and around inside the globe. Taking this opportunity, I 

took some images of the glitter, purposely shooting it out of 

focus as this produced a stunning Bokeh effect. 

To give you an example of some of my workflow, in 

my image, ‘You Cannot Read Me’, I first covered 

my model in wet newspapers to create a contrast 

to the softness of her skin. Partway through the 

session, I asked her to start peeling and ripping at 

the newspaper to create more of a back story to the 

image. 

I set up this session using a white gazebo and natural 

light, with the model raised off the ground on a 

short table. The original RAW image is somewhat 

uninteresting and appears a little like a snapshot, but 

I knew I could take it to a fine art level by utilising my 

post-processing skills. 

Dog Licked Window 

Snow Globe

You Cannot Read Me 




33

I started the process by cropping the image to the desired 

size, then using a 50% grey layer set to blending mode 

soft light. I used the Burn Tool to correct some areas on 

her body that were slightly overexposed. Using the Select 

Subject Tool in the properties menu, I selected my subject 

to isolate her from the background, and then I dropped a 

dark red mottled paint texture behind her to change the 

background. 

Creating a Stamp Visible layer (this layer presents a 

composite of all the chosen visible layers without flattening 

the image and losing your previous working layers), I took 

this layer into Nik Filters by DXO Labs, Colour Efex Pro 4, 

and using the Detail Extraction Filter and control points, 

proceeded to extract detail on the newspaper areas only. 

Next, I used the Darken/Lighten Centre Filter to help my 

subject ‘pop’ more from the background. Pro Contrast 

Filter was used to correct some colour cast and enhance 

the contrast. Then finally, the White Neutraliser Filter was 

used to remove some of the warmth from my model’s skin. 

The whole image was then converted to Black and White 

using Nik Filters Silver Efex Pro 3, and a texture image of 

some old, riveted metal doors was added. I adjusted the 

panels of the rivets over the body to cut the body into 

sections for effect. These doors are normally grey, but I 

adjusted the colour so they would have a more yellow/ 

gold tone. 

I liked how the image looked at this stage, but I decided 

to push it a little bit more. Again, I created a Stamp Visible 

layer and applied a Radial Blur to the new layer, added 

a layer mask which I inverted, and then proceeded to 

use the brush tool set to white and brushed sections of the 

panels within the image to give a sense of movement. 

Finally, I added another texture layer. This time a picture of 

a concrete surface, which I applied this texture over the 

entire image. 

By playing, adding, and subtracting textures and 

techniques like this, we can achieve an image that is no 

longer represented as a ‘snapshot’ photo but has become 

a work of art. 

I have found Nik Filters by DXO Labs to be an invaluable 

and integral ingredient in my post-processing techniques. 

Their filter presets are changeable and pliable to fit every 

individual’s taste and requirements. 

I don’t limit my use of textures to just fine art nude and 

abstract, I also apply them readily in my portraiture to help 

add interest and dimensional depth. However, when using 

textures in this way, I am always careful to mask the effect 

off the skin to keep the skin as clear and pure as possible. 

In my image ‘Portrait of Georgia’ seen on the next page, 

I have added a couple of texture images, mainly to help 

change and soften the background. I selected a sunset sky 

image first and, using a layer mask, I gently brushed this in 

around my model. Next, I took the bokeh glitter shot from 

the snow globe I described earlier and used it as one of the 

overlying textures in this image. 



35

Portrait of Georgia 



The Silent Scream 

Nikon D810, 50mm prime lens @ F2.2, 1/125s, ISO300 



37

Dance of Life 

Nikon D810, 24-70mm lens @ F13, 1/5s, ISO40 

ICM AND DOUBLE EXPOSURE 

Intentional Camera Movement, ICM, is another 

technique which isn’t only confined to landscape 

photography. I really enjoy playing around with this 

technique when working with models, as it gives a 

fantastic, ethereal sense of movement within the 

image. 

I often find I get many images that aren’t successful, 

but there is always one that comes out sensational. 

Therefore, don’t give up! 

In my image ‘Dance of Life’ which was taken in full 

daylight under the shade of a tree, I had my camera 

set at F13, 1/5s, ISO40. By hand-holding and spinning 

my camera whilst trying to keep the lens in a centred 

position, I achieved a beautiful blurry movement, 

creating a slightly abstract image, but one in which 

you can still make out the details of a girl with flowers 

in her hair. I then applied a leather grain texture using 

a closeup photo of a black leather chair to this image 

in-post. 

It is often a good idea to explain to your model what 

you are trying to achieve, as the practice of wobbling 

the camera can look quite bizarre from a model’s 

point of view! 

With cameras being as clever as they are today, we 

can access many different techniques to change the 

dynamics of what we see before us. One of these is 

the double exposure setting. 

My image ‘Mad Science’ was a bit of a fluke and is 

a series of three multiple exposures made in-camera. 

I really enjoy the chaos in this image that wouldn’t 

be present if it had been a single exposure. My postprocessing 

techniques for this creation were the same 

as for most of my other images - I tend to always 

convert my images to black and white, then decide 

whether the colour or black and white version is 

visually stronger. 


Top: Mad Science 

Nikon D810, 14-24mm lens @F2.8, 1/400s, ISO2500 

Bottom: The Guardians 

Nikon D810, 24-70mm lens @ F5.6, 1/200s, ISO100

Abandonment 

Nikon D810, 50mm prime lens @ F2.8, 1/200s, ISO320 

I don’t utilise the in-camera double exposure feature 

as much as I should, preferring to create my own 

double exposures in the digital darkroom as I feel I 

have much more control of where the multiple images 

sit within the frame when working in-post. I can also 

soften the effect and opacity of the overlaid images 

and place them exactly where I want them in the 

image. 

Many cameras have the option to live view on 

the LCD screen, where you can place the second 

exposure before you push the shutter release (Fairlie 

Atkinson covered this in issue 54), but my camera 

doesn’t. However, it’s a fantastic feature to utilise as 

you have much more control over where the images 

overlap, so it’s worth checking if your camera has this 

option. 

COMPOSITES 

Making composites of my images is another way I 

like to express my creativity. By collating a variety 

of different images and combining them into one 

through post-processing, you can tell the viewer a 

story or add items to an image that is not physically 

possible to stage on set. For example, it may not 

be feasible to fly your model to Paris and get the 

Eiffel Tower in the background along with a hot air 

balloon. Or perhaps your creation needs to feature 

skydivers falling around your model, or you’re going 

for a crazy cat lady theme and want ten cats in the 

piece, some of which are perched on your model. 

You can see how your imagination can run wild 

when creating composites! So if you have your own 

images of all of the above, you can always merge 

them into one image in Photoshop as a composite. 

The key with composites is to play and add items that 

may question the viewer as to why these things exist 

within your image, as I’ve done with my image ‘The 

Guardians’. 

My image, ‘Apostasy’, is a very simple yet effective 

composite with the background I have created 

around my model, enhancing her rather than 

competing with her. 

The original image of my model was set against a 

busy background of trees and didn’t really work as 

a stand-alone image. I loved the muted tone of the 

fabric that billows over her head, so I took my colour 

palette for the image from that. 


Apostasy 

Nikon D810, 24-70mm lens @ F4, 1/800s, ISO200 

The final image consists of six main images; the model, 

the sky, the railway lines, the old shed and some 

white clouds. I often use my brush tool to drop in a 

brighter circle of light on a separate layer behind my 

model. By altering the position of the layers and their 

opacity, they start to blend into one another and take 

on an altered reality. For me, composites should be 

believable and have the viewer believe what they 

see is reality. Like all my images, the final composite 

was run through Nik Filters to finesse, and then a 

couple of texture layers were added at the end of 

post-processing. 

A texture layer is designed to enhance your work 

and not obscure it; that is where the blending modes 

come into play in the layers menu. When working on 

an image like this, it is important to piece together 

the images in your composite before applying the 

final editing techniques to it; that way, it will result in a 

cohesive image. Be very aware of blending the edges 

of your different layers – you may not see them initially 

until you place another three or four layers over the 

top and end up with some funny lines in odd places! 

Our imagination knows no bounds with composites, 

and we can have so much fun. I find that composites 

can be a great side project to work on as you can 

keep adding more as your mind expands on ideas. 

Just note that the file size can become huge when 

working on composites due to the number of layers. 

I highly recommend saving the file regularly as you 

make changes in case Photoshop should decide to 

crash or there is a power outage, as you can lose 

hours and hours of work. 

CONCLUSION 

Having finally found a medium to express my creativity, 

I hope my mini-series on fine art portraiture inspires your 

creative journey too. To learn more with me, come 

along on one of my intimate weekend workshops on the 

beautiful shores of Lake Benmore, Twizel. All 2023 dates 

for both my Fine Art Nude and Imagination and Creation 

Workshops are available to view on my website. 

shelleyharveyphotography.com 



41

Mini 4 Shot Portfolio 

Our 4x4 feature showcases 4 mini portfolios of both 

professional and up and coming New Zealand 

photographers. The 4 images are linked in some way, 

allowing you to get an understanding of what each 

photographer is most passionate about capturing. 

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

issue of the magazine, become a subscriber here. 

PEDESTRIAN 

Mark McGuire 

BIRDS OF AOTEAROA 

Mel Brennan 

WHAT’S IN THE WINDOW? 

Melanie Dick 

FALKLANDS ISLAND PENGUIN ROOKERY 

Mike Milsom 


MARK MCGUIRE

I turned my attention to photography after teaching design for 25 years at 

the University of Otago. Because taking photographs is a solitary activity, 

I joined the Dunedin Photographic Society to socialise, join group outings, 

and learn from more experienced photographers. I used my iPhone almost 

exclusively for many years before purchasing a Sony full-frame mirrorless 

camera and a few lenses in 2018. I have concentrated primarily on urban 

and street photography. 

@mark_mcguire 

PEDESTRIAN 

For me, the practice of photography isn’t primarily about the photographs. It’s 

about developing a heightened sense of awareness and appreciation of my 

immediate, everyday surroundings. A camera is a tool that helps me look with 

purpose and see more clearly. The best subjects, like the best people, don’t try to 

attract attention. But if we’re receptive and open-minded enough, we can find 

amusement, entertainment, and delight in the most unlikely places. 

Pedestrian is a word that can describe a street photographer, a subject within the 

frame, and the ordinary origins of an extraordinary scene. 

These images were captured while walking the streets of Dunedin, Wellington, and 

Auckland. 

• Southern Cross Jewellers, Dunedin, 

4th June 2022 

• Auckland Transport Train, Parnell, 

Auckland, 16th June 2022 

• Cuban Court, Cuba Street, 

Wellington, 23rd August 2022 

• Santa Parade Float, Dunedin, 18th 

September 2022




47

MEL BRENNAN 


Photography has always been a passion of mine. I started 

my photography journey capturing the beauty around 

me and have since become a portrait photographer 

while continuing to capture the landscapes and nature 

around me. Capturing birds takes me away from the 

craziness of life and gives me a chance to be still and 

quiet to capture the best images possible. 

@creative_captures_by_mbp 

BIRDS OF AOTEAROA 

Birds are my absolute favourite thing to photograph. We are so lucky here in Aotearoa to have many 

different birds. From our native birds to our common birds. I love taking time to capture every bird I can 

find when out on a photography mission. 

This mini portfolio showcases four native New Zealand birds. A talkative Pīwakwaka (Fantail), Dabchick 

and its reflection in the water, a Kererū with its beautiful colours, and a stunning close-up of a Kea. 



49




51

MELANIE DICK 


I’ve been a keen photographer since receiving my first Pentax DSLR from 

my brother before heading off on my OE. I’m now a total Olympus convert 

and love shooting with my EM5 MKIII. I’ve been a member of the Dunedin 

Photographic Society for about 12 years and enjoy the great friendships 

this has brought, along with the expansion of my photographic knowledge 

and skills. My favourite thing to do is wander the streets with my camera 

and capture random street scenes and abstract architectural shots. 

@scenemyway 

WHAT’S IN THE WINDOW? 

I have a bit of a fascination with windows and particularly the things people leave in them. This series is a 

selection of my many window images. 

The first one that piqued my interest was the photo of the pink lady. This was taken during a walk around 

Christchurch. I was initially drawn to the fantastic yellow lampshades and then spotted the little pink 

lady on the windowsill. 

I love the collection of items in the second window - where’s the other green glove?! The cloud window 

is a little different, but my eye was caught by how the reflection of the cloud lined up perfectly with the 

smashed window, creating some sort of portal to another dimension. 

During lockdown in 2020, people were popping teddy bears in their windows for kids (and 

photographers) to find around their neighbourhood. This polar bear was one of my favourites from 

wandering around my local streets. 



53




55

MIKE MILSOM 


I am an enthusiastic amateur. I have been keen on photography ever since my 

purchase of a Canon FTb in the early 1970’s when working on ships. My camera 

these days is a Canon EOS 7D (mark 1) with a range of lenses. Having joined 

the ranks of the Covid period ‘retirees', I now have more time to further develop 

my skills and extend my photographic portfolio across landscapes and birds in 

particular, especially now that the world is re-opening to travel. 

FALKLANDS ISLAND PENGUIN ROOKERY 

In late 2018, I was lucky enough to be on an expedition to the South Atlantic and 

the Antarctic and called into the Falklands Islands. Whilst there, I visited Bluff Cove, 

a penguin rookery with breeding pairs of Gentoo and King penguins. The timing of 

our visit was right for the incubation and hatching of the chicks. 

The four shots in this mini-portfolio attempt to capture some of the isolation and 

grandeur of the site and the magnificence of these birds. 

Following the shoot, I sampled the locally made Diddle-Dee berry jam with 

a warm cuppa! From the Falklands, I travelled further south to the Antarctic 

Peninsula, where photographic opportunities abounded around every corner. 



57

Perspective On Projection Portraits 

by Fairlie Atkinson 

If you’re a portrait photographer looking to achieve 

something with a difference, projection portraits are 

not hard to achieve whether you’re working from 

home or in your own studio. 

The first step is to darken the room. Try and shut out 

all external light if you can. We were working in a 

classroom at a public high school during school hours, 

so this was hard, but we managed to cover all the 

windows and doors with black paper and cardboard. 

The next thing you need is an untextured wall. This is 

relatively easy in a studio, but as seen in September’s 

issue, not everyone has a studio, so many people 

have become very good at leveraging the spaces 

around them. In the case of your home or garage, 

find a space with a wall onto which you can project 

an image without it becoming distorted. 

We were lucky enough to have an overhead school 

projector hung from our ceiling in the classroom. 

However, you can pick up a relatively cheap portable 

projector these days and simply plug it into your 

laptop. Saying that, I wouldn’t rush out to buy new 

equipment, look at borrowing, hiring or even buying 

something small second-hand that can be set up with 

minimal preparation in a room in your home first. 

Choosing what to project will depend largely on 

what your model is wearing. You can project just 

about anything onto bare skin, but with clothing, dark 

colours work best and provide the best contrast, even 

when the projected image is dark. Projecting images 

onto white clothing is not very successful unless all the 

colours in your image are dark. 

We all shot on 55mm lenses on a variety of cameras, 

and I would recommend starting with the same if you 

are not in a studio or you may not get far enough 

back from your subject to be able to create a 

statement with your image. 

In our first example, students wanted to project their 

home town onto their bodies to create an image of 

belonging. We projected directly onto the whiteboard 

to see whether it would work as a backdrop. While the 

whiteboard worked well, the white clothing washed 

out the colour of the sea and created a perspective 

of negative space where there should have been 

water. As you can also see, shooting with the 

projection onto the whiteboard (and probably any 

reflective surface) means you have to move around 

and find an angle where there is no reflective glare 

from the projection onto the whiteboard. 


Of course, using a flash was impossible, so we stuck 

with very low f-stop numbers and low shutter speeds. 

Next, we tried darker clothing and a darker image 

projected onto a black backdrop. The black backdrop 

really absorbed the light, and we discovered that 

some colours change when projected onto a black 

backdrop and that the hues are very different from 

what you see on the computer screen compared to 

what appears on the model. We found yellows, greens 

and reds became less rich and looked like they had 

been blended with yellow. So yellow became more 

neon, red became more of an orange hue, and green 

became quite lime in colour. Therefore, very bright 

contrasting colours or bold patterns work best when 

projected on a black background. 

When we projected again onto the whiteboard, with 

our model wearing dark clothing, we achieved the 

results we were looking for. 

Here we have two images that were a fun experiment 

into the world of projection, which we hope will inspire 

you! 

The first (above) was the finalised attempt at projecting 

an image of a place with meaning onto the subject. 

The second (left) goes one step further by removing 

the projected background behind the model in-post 

and replacing it with a solid black background. 



61

Next, we had a look at projecting textured images 

and patterns to try and compose fine art portraits 

with a textured look to them. In this image above, we 

found a copyright-free image of a camera lens with 

texture. 

It’s a bit whimsical and looks like our model may be 

sucked up by an alien ship at any time, but it works! 

The repeating circular shapes in the background 

complement the shape of the model’s face, the soft 

wave of her hair, and the roundness of her shoulders. 

Our next challenge was to see if we could merge 

two concepts into one image; we achieved this by 

projecting wings onto the subject. Because we were 

using the whiteboard, we had to find an image with 

a dark background. I rather like how we can see the 

feathers on the model’s skin. Although we know it is 

not real, the image still evokes many thoughts about 

flying, angels and even harpies. 

CONCLUSION 

This was a hugely entertaining experiment and one 

that I would highly recommend if you’re seeking a 

new surge of creativity with your portraiture. As with 

everything I write about, experimentation is the key to 

fun and success. If something doesn’t work, tweak it or 

try it from another angle! But most importantly, have 

fun doing it! 


Deep South 

5 Day Tour 

Milford Sound - Catlins 

1st- 5th March 2023 

Join Ken Wright & Glen Howey to experience some of New Zealand’s iconic landscapes 

and build a stunning portfolio of the deep southern landscapes. Based in the lower South 

Island, you will get to shoot a diverse range of landscapes and experience some of the most 

famous destination of the Deep South. 

On this tour, you will venture into the untouched wilderness of Fiordland and Milford Sound 

which is a trip like no other, Milford is famed as one of the world’s most spectacular 

landscapes. Then move through to the Catlins Coast, which is full of surprises, including 

fossilised forests and outstanding coastal scenery. 



63

From The Road: 

The Last Two Years 

by Susan Blick 


Aoraki Mt Cook National Park 

Canon 6D Mk1, Canon 24-105mm F4L IS USM lens @ F6.3, 1/100s, ISO100, 32mm 



65

As I sit down to write my last article of ‘From The 

Road’, I find the world has gone full circle with travel 

almost back to ‘normal’. 

For the last two years, I’ve had to research every 

destination I’ve been to very thoroughly to know what 

exactly the restrictions were and what was required 

of me. I’ve done hundreds of PCR tests and had three 

vaccinations, and for a while, the Covid paperwork 

was more critical than whether or not one had a 

visa! Therefore, it is such a relief to see that every day 

another country joins the list of those not requiring any 

health documents. 

Those of you back home in New Zealand who adore 

travel photography must be thrilled that travel 

restrictions have finally been removed and that almost 

every country is now open for tourism. I can well 

imagine many of you are getting ready and planning 

your 2023 adventures! And I don’t blame you. Three 

years have passed, but now you’re free to see the 

world and spread your wings once more. Some of 

you might be a bit cautious, but I can honestly tell you 

there’s little to worry about. From where I sit on this 

side of the world (Ho Chi Minh, Vietnam), it really does 

seem to be all done and dusted. 

With that being said, now seems a natural time for 

me to stop sharing my travels with you and for you to 

go out and make some memories of your own, but 

first, let me recap my adventures and share some 

travel trips, by the end of this article, I hope you’ll be 

booking flights! 

THE LAST 18 MONTHS 

There’s no denying I had a blast in 2021, as I 

managed to visit more countries than I ever had in 

any other year, and that’s saying something because 

I usually visit several every year! 

I started 2021 living in Aoraki Mt Cook National Park, 

but couldn’t bear the ongoing 1 pm announcements, 

so I sneaked out of New Zealand between lockdowns 

(it really did feel like sneaking out, too); scurrying into 

Auckland’s International Airport during one of the 

many lockdowns to leave for Dubai. 

After a month in Dubai, I visited countries I wouldn’t 

typically have spent so much time in, such as 

Ukraine, Bosnia Herzegovina, Albania, and Iraq twice 

each. I even went back to Egypt for the fourth time. 

I went to Turkey several times and applied for 

residency, which was approved. I then based myself 

in Istanbul for the next 12 months. During this time, I 

travelled quite a bit in Turkey, though not as much as 

I would have liked. I visited Cappadocia, went out 

East to Van and Diyarbakir, and took some weekend 

trips away to the Princes’ Islands. The year passed too 

quickly, and before I knew it, my residence permit 

expired, and it was time to write a new chapter. 

I’ve since moved to Ho Chi Minh City, Vietnam, 

where I have taken up residence. I plan to spend 

the next couple of years here and will explore the 

region while documenting my travels on my YouTube 

Channel, GirlsOnTheLoose. 

It was a real privilege to live within Aoraki Mt Cook National Park for 6 months. 

Canon 6D Mk1, Canon 24-105mm F4L IS USM lens @ F6.3, 1/100s, ISO100, 32mm

Dubai, United Arab Emirates. 

On the balcony at the Shangri-la Hotel overlooking the most photographed intersection in the city. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F7.1, 2.5s, ISO100, 20mm

Merlion Park, Singapore. 

The image that says Singapore all the way with the iconic statue of the 

Merlion and the business district surrounding Marina Bay. 

Samsung A71, F1.8, 1/1400s, ISO32



69


Luxor Temple, Egypt 

This temple was built 3,400 years ago by the most ubiquitous builder of all Egyptian pharaohs, 

Ramses II. I really recommend visiting this temple late in the day and shooting until sunset. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F/4.5, 1/125s, ISO200, 16mm 



71


Istanbul, Turkey 

A city that transcends culture and empire. This shot was taken on Galata Bridge, the 

activity here really encapsulating the energy of one of the world’s premier cities. 

Canon 6D Mk1, Canon 24-105mm F4L IS USM lens @ F9, 1/500s, ISO100, 24mm 



73

Cappadocia, Turkey 

Over 350 hot air balloons lift off every calm morning at sunrise. Even if you don’t pay 

the outrageous fee of Euro 250 for a flight, the scene from the cliffs on the edge of 

town are wonderment enough. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F3.5, 1/320s, ISO320, 35mm 




75

Ho Chi Minh City, Vietnam 

Ba Thien Hau Temple, a Chinese-style temple built in 1760 in the centre of Cholon. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F5, 1/125s, ISO100, 35mm 




77

POST-COVID TRAVEL TIPS 

When heading out for your first international trip post- 

Corona, a definite recommendation is to take as 

little gear as possible. Unfortunately, the new level 

of control authorities gained during the pandemic 

has not been lost on security lines at airports. They 

definitely seem more rabid than they did in the past! 

If you’re travelling with a tripod, no matter how small, 

check it in; the same goes for a drone, but you must have 

all batteries for this and your other photographic gear in 

your carry-on as they risk causing fires if placed in cargo. 

Having your drone (minus the batteries) in checked 

baggage makes you more likely to have it overlooked. A 

friend of mine, just this week, was on a 3-hour layover at 

New Delhi airport and had his drone “stolen” at security 

because he had it in a carry-on. The guys on the x-ray 

machine said it was a security risk. Obviously not, but 

they took it, and there was nothing he could do. If you’re 

heading to the Middle East however, leave your drone 

at home - they are illegal in many countries, particularly 

Egypt and Iran, so check before you go. 

TRAVEL PHOTOGRAPHY TIPS 

Remember, when you’re on vacation, don’t expect 

too much from yourself. If it’s your first time in a country 

or at a destination, you really can’t expect to get the 

hero shot the first time out. Slow down and take in the 

experience, don’t put too many places on your mustsee 

list; otherwise, it will all flash by in a second, and you 

won’t get those great shots, nor will you be present in 

that special moment at that place you so longed to 

see. Remember, be here now, be there later. 

Try to plan your day around the best times to shoot, 

don’t go to a special place in the middle of the day 

if photographing it is your aim. Wake early, go to bed 

early, and you’ll be ready for that beautiful soft light 

right after sunrise and right before sunset. 

It’s always good to research taking your tripod before 

you head out for a sunset shoot in a square, at a 

temple or a site. In some countries, they don’t mind 

at all; in others, they’re dead set against it and often 

for illogical reasons. I was surprised here in Vietnam 

that I was allowed to take it up to the SkyDeck on 

the 49th floor for a late afternoon shot overlooking 

the city. And in Luxor, Egypt, I only had to pay a small 

extra fee, and I could take it into the 3,400-year-old 

Luxor Temple for a sunset shot. On the other hand, 

I remember trying to use it at Britomart in Auckland 

and was chased away by a security dude! More 

recently, in Dubai, where they are very paranoid 

about DSLR cameras and tripods, I had been invited 

to shoot sunset at the Address Beach Hotel but was 

then told I couldn’t use my tripod, what?! Therefore, I 

often search the site’s website ahead of a visit, some 

will clearly say no tripods are allowed. If there is no 

mention, you can search Tripadvisor and add ‘tripod’ 

to your search engine query. If you do rock up with 

your tripod and they won’t let you take it in, most 

ticket offices will hold it for you until you exit. 

Karachi City, Pakistan - Environmental Portrait 

Canon 6D Mk1, Canon EF50mm F/1.4 USM lens 

@ F1.8, 1/400s, ISO320 

Travel photography has to be the most pleasurable of 

all forms of photography. It’s broad and encompasses 

landscapes, street, and environmental portraits in 

which you tell people’s stories in the place they live 

or work; many countries allow you the opportunity to 

photograph people going about their everyday lives. 

This is such a gift for the travelling photographer. 

If you want to get your shutter mojo back 

after lockdown, aim for a country where street 

photography is easy and fun - anywhere in Asia and 

even parts of Africa. That way, you know you’ll come 

home with lots of great images. 

CONCLUSION 

I hope you have enjoyed my series “From the Road” 

and that it provided you with travel inspiration 

and kept the flame lit for your lust for international 

destinations and cultures during that awful period 

of the pandemic. For me, it has been a pleasure 

recounting my experiences over the past two years, 

and I truly hope you are inspired to head out and 

create your own epic travel moments. 

So, without further ado, it’s ciao from me for now, 

this is the end of “From the Road” however I will be 

back from time to time writing some travel features 

for the magazine as I find new inspiration in the next 

year. Thank you all for reading, and good luck in your 

exploration of this beautiful planet. 

www.youtube.com/girlsontheloose1

Creative Masterclass 

2nd -5th June 2023 



79

AI Photographer: New Career on 

the Horizon 

by Ana Lyubich 

Since you’re into photography, the chances are 

high that you will have heard about Artificial 

Intelligence (AI) images taking the creative industry 

by storm. Suddenly, everyone with a computer 

is not only a ‘photographer’ but an illustrator 

too! Does this mean there won’t be a need for 

creative professionals in these fields soon, now that 

everyone can type a few words and get a super 

realistic image in high enough resolution in just 60 

seconds? 

Although the sudden popularity of AI image 

generation might seem like it happened overnight, 

it took two decades to develop. It started with 

image recognition, training machines to identify 

what was displayed on images and to know when 

a dog was a dog, not an elephant, etc. Google 

Image search is a great example. Next, the 

technology was applied in the real world, various 

apps started using image recognition to solve some 

important problems, e.g. helping blind people 

‘see’, the app helping to identify objects around 

them. 

We all know the saying, ‘There’s an app for that,’ 

but with the development of neural networks and 

AI, it is really time to say ‘there is an AI for that’. 

There are many different AI algorithms, whether 

you need to write or edit a piece of text, do 

analysis, forecast, or search for an image. 

Now we see the subsequent development in AI, 

where it not only recognises what already exists 

and analyses images but can also create new 

work. It is developing fast in the image creation 

realm, so should we worry as photographers? Will 

we still be needed to capture photographs in 10 

years? 

Just like cinema vs theatre, TV vs cinema, and 

Internet vs TV, global changes mean shifts happen. 

However, everything fits into its niche in the end, 

and we still love going to the theatre, watching 

movies on big screens, watching Netflix on TV, and 

checking reels online. The same is happening now 

with AI. Yes, it is a huge development, a growing 

trend, and no doubt will be transformational for 

most people, but I don’t think it will bring an end to 

the era of photography as we know it and here is 

why. 

AI, no matter how good, will never be able to take 

your wedding or family photos, present you with 

photographs of events happening in real-time, or 

create that truly local Wellington photo while you 

sit in your New York office. While it is capable of 

generating images, it can’t compete with a real 

person taking a photo who puts their soul into it. So 

as long as you continue to capture authentic, fresh 

photographs, your work will stay in demand just like 

it has always been. 

AI image generators, including Midjourney, DALL-E 

etc., are still great to use as a source of inspiration, 

though. For us photographers, coming up with 

‘what to photograph’ is quite often a challenge, so 

why not try and pick the brain of this new ‘Artificial 

Intelligence’ - type a few words of what you would 

love to capture and see what comes up! Then try 

to replicate it in real life. Maybe it will spark an idea 

for your next photography project. 

In saying that, the image you see here is probably 

the only one that will appear in the pages of 

NZPhotographer. Being a photography magazine, 

we still require photographs to be the original work 

of those who take them, not a mix-and-match result 

of millions of images taken from the world wide web 

by some kind of robot! The ethical part of AI is an 

entirely different topic, and we will cover that in the 

next article. 

Join our conversation about AI and other topics on 

ExcioHub (https://hub.excio.io) – join for free and 

stay in the know about what’s happening in the 

photographic community. 

Co-founder of the Excio Photo Community and NZPhotographer Magazine, Ana Lyubich 

is a passionate photographer and photography mentor. She loves exploring the unseen 

macro world and capturing people's genuine emotions. Ana is always happy to help 

fellow photographers so don't hesitate to get in touch with her at ana@excio.io 

80 November 2022 NZPhotographer 

@excionz



81

FESTIVE SEASON 

READERS' 

SUBMISSIONS 

Hard to believe but 

Christmas and New Year 

celebrations are 

approaching fast! Submit 

your photos by 15 

November 2022 for a chance 

to be featured in the next 

issue of NZPhotographer. 

Submit at www.nzphotographer.nz

PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'BLACK & WHITE' 

FALLING FEATHERS 

This image is a story of trial and error. It is a one-second exposure at F8, 50mm and ISO100 with two led strips for the 

ambient light and a second curtain flash to capture the feather. I had to drop the feathers so that they fell into the 

plane of focus at exactly the right point to catch the flash in the right portion of the frame. It took a while... 

Jack Horlock

CLOUDS OVER TEKAPO 

This image was taken on my first ever visit to Lake Tekapo this year - there were no crowds that 

day, and these amazing clouds were hanging over the lake next to the picturesque Church Of 

The Good Shepherd. 

Anna Bootle 


WINDY SOUTH 

Wind-affected trees at Slope Point, which is the southernmost tip of the South Island. 

Bruce Hancock 



85

LAKE HAKANO IN INFRARED LIGHT 

I have been experimenting with an infrared filter recently. Not only can you capture surreal 

colour photos, but also some nice black and white ones too. This one was shot with a Hoya R72 

filter with a long shutter speed of 250s. 

Carole Garside 


GROUP TALK 

I took this image at a local Jumping Winter Series Day in the Wairarapa. It’s of a group of 

young riders talking together after finishing their round, but I focused on the riders’ horses as 

they waited for the next round. 

Corina Bellis 



87

TOWARDS MANA AT DUSK 

Mana island taken from Plimmerton boat ramp at dusk. 

Dafydd Davies 


DRIFTWOOD ON FAREWELL SPIT 

On a tour of Farewell Spit in Golden Bay, we stopped to photograph the Gannets on this old 

piece of Willow driftwood. It was pure fluke that I photographed a gannet flying through the 

gap - and was fortunate that I had my camera set on 1/1000 of a second! 

Heather Colling 



89

LIBRARY WINDOWS 

A friend and I were lucky enough to visit a local school, these are the 

lovely old windows in the school library. 

Ann Kilpatrick 


REFLECTIONS 

Urban Landscape taken in Auckland City, inspired by a recent online course. The 

coloured glass reflects the sun, clouds and surrounding buildings. 

Wayne Henson 



91

KEEPING UP WITH DAD 

Boys will be boys. A father and son were practising their motorbike skills while also striking 

a united pose for the camera. 

Karen Miller 


SHOOTING HOOPS ON A FOGGY MORN 

It was one of those foggy mornings we have in Auckland back in early August. I work as a 

Deputy Principal in a primary school, and for some reason, I had my camera at school. I see 

this view from my office window daily, but never before had it looked quite like this. I could 

see what this image would look like before I clicked the shutter - a moody silhouette. The boys 

knew I was there, but they just kept playing their game, allowing me to capture an authentic 

moment. My initial processing was just a straight monochrome, but later I developed it into a 

triptych to enhance the storytelling aspect of the image. 

Lynn Fothergill 



93

OFF WITH THEIR HEADS 

This image has grown on me. It is busy with many distractions for the viewer. There are lines, curves, triangles 

and multiple perspectives. The sign writing on the windows appears both forward and backwards. What has 

captured my interest in this image is that we have two mannequins in the shop window, and neither of them 

have heads. But one mannequin has been dressed in a t-shirt which has a graphic interpretation of a face on it. 

At the time, I did not realise this. Is this an intentional attempt to give the mannequin some sort of head? 

Tulipa Briggs 


STRAND ARCADE, QUEEN STREET, AUCKLAND CBD. 

The Strand Arcade is one of the oldest arcades in Auckland’s CBD. The arcade dates 

back to 1910 and many of the 1900’s elements are still visible. 

Mick Sharpe 



95

THE BEAUTY OF DANCE 

Captured at a workshop I recently attended, capturing the beauty of dance. Taken from a 

ladder with a Sigma 35mm lens, Canon 6d MkII. 

Raewyn Smith 


BAREFOOT DANCER 

A beautiful barefoot dancer doing splits while performing at the Gisborne Ballet Group Activity 

Weekend in August 2022. The simplicity of this ballet portrait gives it great strength. 

Hannah Jairam 



97

SPHERES 

These spheres form part of an approach to the National Museum in Canberra. This section is only a 

short part of a new 50m long walkway to the museum. The photo is a combination of contrasting 

shapes and textures. 

Steve Webster 


LAKE MANAPOURI 

I arrived at Lake Manapouri after 2 days of rain. The setting sun behind me was catching the 

clouds across the lake. It look spectacular, so I grabbed my tripod and an ND filter and set up on 

the lake shore. 

Sharon Souproanuck 



99

THE MOERAKI BOULDERS 

I have visited this beach a few times and really enjoy going at either end of the day, where more 

often than not, you can have the place to yourself. This particular evening I was sharing this spot 

with a fellow photographer, and I simply loved the moody feel of the beach, the rocks and the 

atmosphere. Black and White simply adds to the feeling that I had on this particular trip. 

Lyn Alves 


COLLINGWOOD BEACH | GOLDEN BAY 

Combining my love of Intentional Camera Movement with black and white editing is something 

I love to do, especially as it’s not often seen. It has to be the right image, one that offers up the 

opportunity for a high contrast of black and white. What I think also makes this image work is the 

natural z of the water taking your eye on a journey, making it a winner for a black and white edit. 

Rina Sjardin-Thompson 



101

"In the right light, at the 

right time, everything is 

extraordinary." 

Aaron Rose 

102 November 2022 NZPhotographer 

Photo by Jarrod Harris

NZPhotographer Issue 61, November 2022

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