Issue 17 July 28th 2010
Helping you take
adventure Competition winner
north Shore national Salon
12 Pic of the bunch
24 Cool Stuff
ack in Issue 1 we celebrated the success of 4 Kiwi photographers who had
been included in the 10th anniversary M.I.L.K. book. We also interviewed
Geoff Blackwell, the brains behind two of the most well-known international
competitions that have come out of New Zealand.
Well, we’re very pleased to announce that we have been given a copy of the beautiful
hard-cover book to give away to one lucky subscriber. Simply go on to our Facebook
page and leave a comment under the “Win Some MILK” post, and one lucky reader will
be drawn at random and win this amazing collection for their coffee table at home.
We have some great stuff in this issue, starting with the winning images from the
North Shore National Salon of Photography, which I helped judge.
There’s also an opportunity for you to learn about Urban Photography, and as
always we encourage you to take what we have here to the street, quite literally, and
get your cameras clicking!
Cover Image: Single Image Competition
Winner Shaun Holmes
ABOUT Whether you’re an enthusiastic weekend ADDRESS NZ Photographer,
snapper or a beginner who wants to learn C/- Espire Media,
more, NZ Photographer is the fun e-magazine PO Box 137162, Parnell,
for all Kiwi camera owners – and it’s free! Auckland 1151, NZ
EDITOR Ollie Dale, ANZIPP
NZ Photographer is an Espire Media publication
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Prints OPen COlOur GOld Medal
Liz Hardley FPSNZ, LRPS
Portrait of a Young Boy
gold Medal and Progear Trophy
By Ollie Dale
was recently invited to be one of in judging; having the guts to stand up for
6 judges at the 2010 North Shore something you like to see it go on to success.
National Salon of Photography. The Congratulations to those who entered,
Salon is in its 16th year this year, and is a and to the images here that we celebrate
well-respected annual competition. for their success!
This year’s entries broke all records, with
over 2100 images entered. There were ----------------------
several categories, in both ‘mounted prints’ and
‘digital’ divisions. Prints OPen COlOur GOld Medal
I really enjoyed looking through all the Liz Hardley FPSNZ, LRPS
entries and discussing them with my fellow Portrait of a Young Boy
judges. As a judge it’s our job to be ruthless, gold Medal and Progear Trophy
and to judge the images according to their
merit but also amongst the images that they The image was taken at the Stroke and Stride
share the category with. Every one of us had swim-run event at Mission Bay, Auckland
to give and take, as we all had our own last year on my Nikon D200. The light that
preferences, but I felt that we were all given evening was excellent for taking portraits of the
a chance to stand up for the images we competitors, and I thought that this was one of
individually liked. my best images. However, with some work in
One image in particular was nearly Photoshop, including the addition of a texture
overlooked but I felt strong enough about it layer, I created what I felt was an even better
to stand up for it, and it eventually won its image, which was both ethereal and haunting,
category – and that’s where the pleasure lies and had the feel of a Renaissance painting.
NZ Photographer NZ Photographer
Prints OPen MOnOChrOMe GOld Medal with limited dodging and burning.
Stephen Cox Camera: Canon IXUS 960 IS
A weekend walk with our dog took us to Prints set subjeCt ‘arChiteCture’ GOld Medal
the long abandoned shipwreck, Gairlock. Mike Thornton
Charlie the dog discovered the bloated, The British Museum
balding sheep carcass and with correct This is in the Great Court of the British Museum
positioning and a low angle I was able in London. It’s a massive area but I wanted to
to get a good connecting line from the capture as much of the essence of the design
sheep to the wreck. During processing in as I could. I didn’t have a very wide-angled
Lightroom and Photoshop I decided on a lens available so the best way to achieve a
tinted monochrome print to convey both framing that took in as many angles and different
desolation and abandonment. surfaces as possible was to move in close and
Camera: Canon IDS Mark 2; 24 – 105 mm lens point the lens up. To me the image is all about
the dynamics of the shapes formed by the terrific
Prints set subjeCt ‘ClOse uP’ GOld Medal ceiling structure and the shadows, so I decided
Stephen Cox on monochrome to avoid the blue sky being
Breakfast too dominant. I like the balance and contrast
Monday morning amongst the familiar between straight lines and curves. I cropped to
scramble of weekday breakfast; suddenly make sure the dark area wasn’t too significant
low winter sun penetrated the room a proportion. I’ve used selective burning-in to
illuminating a marmalade jar. Grabbing provide some depth, a little dodging to ensure
my point and shoot I simply captured the that some highlight detail was retained in the
moment as it happened. The image was darker building section; and a vignette to help
processed in Lightroom and Photoshop drag the eye back in from the corners.
diGital OPen COlOur GOld Medal for Photoshop which I had yet to experiment diGital OPen MOnOChrOMe GOld Medal
Elizabeth Passuello FPSNZ, FNPSNZ, EFIAP with and I deemed this fern photo suitable for Maree Turner APSNZ, NZIPA
Fern Fantasy such experimentation. The original photo of Raw
Fern Fantasy came about as a result of me the fern was a fairly straight-forward image of Raw is part of a series I’m still creating to
needing one more image to complete my the frond so I started experimenting with the represent the unseen emotional turmoil that is
entry in the general section of the 2010 filter, adjusting it several times until I had the being experienced by some during the recession.
Trierenberg Super Circuit... and I wanted effect I wanted; nothing too over-the-top as I Most of it is mainly behind closed doors. We’re
something new and a little different to my still wanted to retain something of the design reading about it & seeing some of it on the news
usual style of photography. and form of the fern in the original image. but we’re not feeling it. There is some very real &
I had recently purchased a new plug-in filter Fern Fantasy was thus created. raw emotion being felt out there.”
Friends of the Light
diGital set subjeCt ‘red’ GOld Medal
Friends of the Light
Strong light is usually irresistible to me if there
is a camera close to hand. And there was
this time as my two friends ambled along Te
Horo beach. Deep in conversation, they were
oblivious to me behind them, searching for
that right aperture/shutter combination. Faster,
slower, wider, stopped down - which pairing
will capture the moment the best?
This image is one of many that have
come from a year of experimenting with
in-camera techniques. Techniques like slow
film speed (I’m old enough to still call it that,
even though I’m all digital now!) neutral
density filters, and slow shutter speeds to
diGital set subjeCt ‘MOveMent’ GOld Medal sun light caught the edges of the sails capture different impressions of movement
Jean Moulin APSNZ giving a glow- like appearance. and light not seen by the eye at the time.
Towards the Finishing Line Using a 300mm lens, and a slow shutter For me, there is magic for me in capturing
The image was taken from the wharf speed technique, I was able to capture a moments like these. Exposing for the shadow
at Murrays Bay Beach of a yacht race feeling of movement and a sense of being side gives a blinding, high key ground for the
organised by the local Yacht Club. I was amongst the action. faceless figures to float on. What will the light
attracted by the sail shapes also how the wash out? What stays to be seen? I love it.
Towards the Finishing Line
Image by INfocuS keyNote mIchael grecco ©
epson/NZIPP Iris Professional Infocus conference
Photography awards 12-14 September, QueenStown
9-11 September, QueenStown the premier professional photography
the annual Iris awards celebrate the creative conference, which includes two days of
excellence of professional photographers in international and local speakers, industry
New Zealand. exhibition, off-site practical workshops, Iris
awards gallery, social functions, masterclass
this is your best opportunity in 2010 to gain and gala awards dinner.
wide spread exposure by becoming an
award-winning photographer. the programme includes international celebrity
photographer michael Grecco, australian
entry is open to all professional photographers, Wedding and Portrait photographers Graham
with judging held in an open forum over three monro and robert piccoli, alongside a variety
days. come along and see the best of New of local photographers and business experts.
for more information visit:
New Zealand Institute of
Professional Photography www.nzipp.org.nz
rom the Author: This photo was taken
on part of the Lee River in Nelson
on the 31st of January 2010 around
lunch time. A few mates and I were killing
some time practicing back flips off the rock,
and when I took the photo I was in the
water looking up.
Well done Shaun Holmes for a great
Action image for this month’s issue – nicely
caught and with a great sense of timing, and
especially summery in the middle of winter.
Camilla wins this issue’s cover and a $100
voucher from the fabulous people at Giclée
Print. For all YOUR fine art and canvas printing
needs, visit www.gicleeprint.co.nz
wOrDs & images By Ollie Dale
ack in Issue 4 of NZ Photographer PhOtOGraPhy differ?
(September 9th 2009) we interviewed Street Photography tends to be more
TrustMe, a street artist, who gave us people-based, is most often candid, and
all some great tips on photographing Street quite often includes some statement of
Art. Recently someone asked me what the society or people in general. It can also
difference was between Street Photography be location specific, but usually always
and Urban Photography, and it stumped me. includes some human element to the image.
Just like there’s a difference between Urban Photography is more landscape-
musical genres – e.g. it used to be called based, including buildings, bridges,
“Punk” but now you can choose from landmarks, statues etc. and doesn’t
Hardcore Punk, Ska-punk, Pop Punk, Post- necessarily need a human element at all.
punk, Christian Punk, Proto Punk, Skate So, ironically, the Street Art article
Punk, Dance-punk etc. – there are also in Issue 4 falls more into the Urban
subtle differences within photographic category, which means we still have
genres that define and differentiate them. room to do a future article on Street
sO, hOw dO street and urban Photography... watch this space.
what is urban? camera you like, but one thing you’ll • Shoot Construction Sites: without
Think ‘city’ or ‘town centre’ or ‘main street’, find very useful is a tripod. If you’re putting yourself in danger, look to
depending on where you live in New more advanced and you use a DSLR, capture buildings as they are built
Zealand. If you live in the suburbs then then you may want to include filters or before they’re finished. Even the
you’re in a sub-urban part of your city, but such as polarising filter, a neutral demolition of old buildings can make
you may still find urban scenes nearby density filter or a graduated filter. great images.
Really, Urban Photography is about You may want to take all your lenses, • Be the Early Bird: getting in to town
capturing and commenting on the human or simply only a wide angle – that’s first has many benefits – the light
race’s tendency to have a centralised area up to you and your style. in the morning is some of the best
for trade, commerce, education and retail • Use All Parts of the City: Don’t light you’ll get all day; you can
therapy, and how that looks where you live. just stand on ‘Main Street’ and quite often get wide urban spaces
Every city’s different, so don’t think that there photograph the buildings everyone with no one in them; different
is a set formula for how you capture your can see, look for opportunities to things happen within the city before
own area’s urban-ness, but here are a few photograph the things that no one everyone arrives, and you can get
general tips to help you out: sees, or that everyone walks past opportunities that you won’t get for
• Gear to Take: You can use any without looking at. the rest of the day.
photography to take a long time,
and look to re-visit the same places
at different times of day to get the
• Look for Human Evidence: Urban perspective on something – climb to add something special.
photography doesn’t usually have something (safely!), use height to • Check if you need Permission: Some
people in it, but you can just as your advantage, get down low, think parts of the city may need property
easily photograph things that imply of another way to shoot the same releases if you’re going to use your
that people are always here or are scene you’ve just photographed. image for anything other than your
responsible for the other elements in • Look for Shapes and Contrasts: use personal collection. If in doubt, ask!
your image. the shapes of your environment to You can also look to get permission
• Use Alternative Angles: look for construct your image, and look for from building owners for access to
opportunities to get a different contrasts in colour, texture and light their property if your award-winning
shot needs to be taken within their out for you. Don’t go too far off the interesting and tell a story, or that
property’s boundary. beaten track, and don’t trespass on simply record for history’s sake.
• Stay Safe: cities aren’t the safest private property. Concentrate on the landscape around
places, especially after hours, so • Take Urban Photographs: take you and use people only when they
consider shooting in a group, or photos that depict your local urban add to your image or for a specific
taking a friend with you to watch landscape. Take photos that are reason. Be prepared for urban
Ollie dale is the director and lead Photographer at PhotonZ ltd. based out of a studio in Parnell, Ollie concentrates his time
on Commercial and People photographic projects. every now and then he also turns his mind to editing this fine publication,
and hopes the readers get a lot out of it! for more visit www.photonz.com
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By Pete west
ou can find your image’s resolution are linked (fig 2), which means that you can and it now says, ‘Pixel Dimensions 16.6M
by going to Image > Image Size. At alter the size or resolution but the total file-size (was 3.83). This means by increasing the
the top it shows you that the file size will remain the same. The larger you make the resolution the file size has increased by
is 3.83meg and the document size is 47.41 resolution the smaller will be the dimensions of almost 12 meg. The original file was 3.83
x 35.14 cm at a resolution of 72 pixels per the picture. Also the smaller the resolution, the meg. You can also increase the dimension
inch, which is the usual resolution of computer larger will be the dimensions. If you look at fig sizes, again this will increase the file size,
screens and web images. 3, you can see that the resolution has been decreased dimensions will give you a
Underneath to the left are 3 ticked boxes. increased to 300 dots per inch (dpi) and the smaller file size.
The ‘Scale Styles’, and ‘Constrain Proportions’ dimensions have automatically reduced BUT In fig 5 (at the bottom of the panel) you have
are fairly obvious, but the third ‘Resample the file size is still the same. a choice of ways in which the image is treated,
Image’ is not. You’ll notice that in the ‘Document In fig 4 with the resample box ticked, the depending on what you’re doing with it.
Size’ box the width and height box are linked, dimensions remain linked BUT you can set Next month we’ll go into the consequences
leaving the resolution free to be altered. the resolution to whatever you want, (here of increasing a file size and what the
With the resample box unticked all 3 boxes it’s 150 dpi). Look at the top of the box program does to make the file bigger
Pete west emigrated from the uK in 2002 and taught Photoshop at natcol for 3 years.
he works freelance producing aircraft illustrations and photographic articles on airshows
for magazines in the uK and brazil. www.flickr.com/photos/oneleggedpom/
There’s no better way to learn than
by having your work critiqued! In
this section you get to have your
work critiqued by professional
photographers Lisa Crandall and
Lisa Crandall is a multi-award
winning portrait photographer.
In 2008 she was named ‘People
Photographer of the Year’ at Iris,
NZ’s professional photography
awards. Her studio, ImageMe
www.imageme.co.nz is located
in Takapuna in Auckland. She also
runs photography workshops, and
is an Associate of the New Zealand
Institute of Professional Photography
Ollie has been a professional
photographer for seven years, and has
clients such as the NZ Herald, Visa,
Microsoft, Westpac, Unitec and BMW.
He is also a qualified commercial
member and Associate of the New
Zealand Institute of Professional
yOUr wOrK CriTiQUeD
CaMera: Nikon D60 there are amazing, this was not the first time closer I was rewarded by a stunningly
shutter: 1/640 sec I’ve been up there at sunset. Some of my beautiful landscape/seascape. I love the
aPerture: f/4 favourite shots at this spot were not taken with warm light from the setting sun hitting the
isO: 800 the DSLR I used for this shot. left-hand side of the hills, and the distant
authOr: Eddie Kyle lisa’s COMMents: This is a lovely sunset waves turned golden.
shot, congratulations to the photographer The dead tree has nice curves but I do feel it
frOM the authOr: I took this photo (A) at a for the beautiful colours captured. The first is overly dominant in this composition. I felt a little
deserted airstrip in the Kaipara area, right thing I saw when I looked at it was the frustrated looking at this photo, as the scene is
on sunset. The colours in the fading light up silhouetted dead tree, but when I looked so stunning and I would have liked to see more.
In general, photographers try to the left and reframed with the tree on the
avoid a central composition, right-hand side of your viewfinder. Also, if
and a common way to you had taken a couple of steps back from
compose this shot would the tree and used a slightly longer lens, the
be to take it in landscape background would have loomed up and the
orientation and have the tree would have been less dominating.
dead tree on the side of the Turning now to exposure, the sky is well
image, framing the scene. exposed; the hills at the bottom of the
Because it leans in to the image however are a little dark. By using a
left, the tree would look best graduated neutral density filter and adjusting
on the right-hand side of the the exposure accordingly, you could retain
frame. (OP1) this exposure on the sky and lighten the
I can see the sun was setting bottom third of the image.
just outside the left side of The tree itself is a silhouette - with no detail -
the frame, and you may which turns it into a simple graphic element,
have been trying to avoid and may well be what you wanted. If you
lens flare. If you didn’t want did want to see some detail in the tree you
to turn your camera toward would probably need to use a tripod, take
the sun, perhaps you could a couple of images at different exposures (a
have taken a step or two to lighter one would show the detail in the tree)
and blend later on the computer.
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CaMera: Nikon D40 do others see my image differently without of all the ‘stuff’ in the foreground.
shutter: 1/1250 sec the emotional attachment that I have? There are different elements to your image
aPerture: f/5 Usually the answer is yes – our work is easy – the sun, the fog, the sky, the foreground,
isO: 200 to get attached to because we were there, etc. I think your balance is slightly off. Your
authOr: Elanor Schroder we took the image, we know how much horizon-line is almost in the middle of the
effort we put in to the post production to image, not on a third line (see rule of thirds),
frOM the authOr: I took this photo (1) from get it looking its best, etc. Hence the value which chops the image in half but doesn’t
my verandah one morning – I saw the sun in submitting your work to be critiqued to add anything.
rising over the fog as I was getting ready for someone who is not emotionally attached in The most distracting element of the image
work. Normally all we see is a view of West any way – i.e. asking your mother wouldn’t is the silhouetted tree in the centre of the
Auckland, with lots of houses, but this day be a good idea. shot – there’s not much you can do about it
they were all hidden under the fog. So, let’s look at your image without any other than re-compose/crop your shot into
I have edited the colour slightly in Photoshop emotional attachment. something other than the original:
(2). I would be really interested to hear what I actually prefer the colour of the original – Crop the lower part of the image off to
you think. Does it have any real appeal as your adjustment has introduced a magenta reduce the weight of the image overall
a photograph or do I like it just because it’s hue, which actually “cools down” the (OP1) Crop into the right side of the image
my view? image, and sunrises and sunsets need to (OP2) I daresay that the best picture would
be warm, usually. have been from your neighbour’s house
Ollies’s COMMents: You’ve asked a very Now to the composition... You’ve chosen this in the foreground – an open view across
good question there – and it’s something that composition because it’s your usual view, and the fog would have made for a much less
we should all be wary of as photographers. that morning you had a glorious sunrise – distracting image.
Am I emotionally attached to an image, and unfortunately it hasn’t really worked because
Call fOr entries: Get your images critiqued by professionals – send an image to email@example.com with a
brief description of how and why you took the shot, and we’ll tell you what we think and if it could be improved.
The views and opinions expressed in this section are only two people’s ideas on photographic imagery. You may have different,
constructive ideas about how good or not the images are, and what could be done to them. You’re welcome to send those ideas in to
firstname.lastname@example.org. We agree that the opinions contained in this critique section are by no means the only opinions that
could be held about these images.
ime for y’all to get out to your from the fabulous people at Giclée Monday the 13th of September, 2010.
nearest Urban area and get Print. For all YOUR fine art and Winner will be published in Issue
snapping! Send us your best canvas printing needs, visit www. 19, out on Wednesday the 22nd of
image that illustrates what ‘urban’ means gicleeprint.co.nz. September, 2010
to you, and remember that thinking and One entry per person, and you
shooting ‘out of the box’ will give you must be in New Zealand or hold a
the best chance of winning! NZ Passport at the time of entry to
Even if you don’t win you may still get qualify to win.
published on our Best of the Rest page. Images must be 100dpi, 1600
Be in to win cover of Issue 19, pixels wide, and sent to competitions@
and the fabulous $100 voucher nzphotographer.co.nz by 5pm on
a QUiCK remiNDer…
till Life – what is it? Well, go back to
Issue 16, read up, and get your images
in to us at NZ Photographer!
Be in to win cover of Issue 18, and the
fabulous $100 voucher from the fabulous
people at Giclée Print. For all YOUR fine art
and canvas printing needs, visit HYPERLINK
gicleeprint.co.nz (INSERT LOGO HERE)
One entry per person, and you must be in
New Zealand or hold a NZ Passport at the
time of entry to qualify to win.
Images must be 100dpi, 1600 pixels wide,
and sent to competitions@nzphotographer.
co.nz by 5pm on Monday the 16th of August,
2010. Winner will be published in Issue 18,
out on Wednesday the 25th of August, 2010
NZ Photographer NZ Photographer
The cool stuff in this section comes to you with help from the
knowledgeable people at www.engadget.com. Each issue Ollie,
our illustrious editor, trawls through the amazing photographic
gadgets and gizmo’s to bring you the best of the best. Enjoy!
ony recently released their NEX-3 their own Sony SLR lenses, with the only above) by one Jeremy Salvador has turned
and NEX-5 cameras, touted as the insignificant drawback being a loss of into a collaboration between production
World’s smallest interchangeable- autofocus control, but hey, you know how to company Vid-Atlantic and OWLE itself on a
lens digital cameras (they’re not DSLRs manually focus, don’t you? more finely tuned, iPhone 4-friendly prototype
because they don’t have mirrors). We at Source: NZ Photographer that delivers some truly impressive results.
NZ Photographer have managed to get Sadly, the actual iPhone 4 version of the rig
our hot little hands on the NEX-5, which verything you know about awkwardly won’t be available for a while yet, but you
Gadget-guru Brian Foose will be reviewing attaching SLR lenses to iPhones is can get an idea of what will be possible with
in the Issue 18. It’s a crazy little thing that, wrong. This is how you do it. What it in this video.
with the right optional adaptors, can mount started out as a quick and less-than-perfect Source: Engadget
both Canon and Nikon lenses, as well as mod of OWLE’s Bubo iPhone mount (pictured
in THE nExT iSSUE oF
How To: Food Photography Still Life Competition Winner
Sony NEX-5 Hands-on Plus much more...
The iPad as a Photographer’s Tool issue 18, out wednesday 25th august 2010
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