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EDITORIAL

Cover image: Amber Griin

dphoto.co.nz

ISSN 1176 - 6948

HOW TO SUBSCRIBE
D-Photo magazine is published six times per year in both
print and digital formats. To select the subscription option
that is right for you, more information can be found by
visiting our online store, magstore.nz.

EDITOR
Lara Wyatt, editor@dphoto.co.nz

SUBEDITOR Jacqui Madelin

PROOFREADER Helen Adams-Blackburn

DESIGN Hine Morgan

STAFF PHOTOGRAPHER Adam Croy

ADVERTISING MANAGER

THANKS David Burns, dburns@parkside.co.nz

CLIENT SERVICES MANAGER

Rebecca Frogley

FOR THE
ACCOUNT EXECUTIVE / ADVERTISING COORDINATOR

Tom Ofenberger, advertising@parkside.co.nz

ADVERTISING PRODUCTION Rebecca Frogley

MEMORIES CONTRIBUTORS
Rebecca Frogley, Adrian Hatwell,
Mareea Vegas, Hans Weichselbaum, Leon Rose

Im a magazine hoarder from way back, which means I keep every single magazine I have D-Photo magazine is published by

bought in pride of place in my home. In fact, it was only last year that I managed to be
convinced that it was a good idea to get rid of my magazine collection from when I was a
teenager. But one collection I will never get rid of is my stack of D-Photo especially from Phone: 09 360 1480, Fax: 09 360 1470
the time that I have been editor. That colourful tower of beauties is now one of my most PO Box 46,020, Herne Bay, Auckland
prized possessions. However, my editor stack will no longer be growing, as this issue is the Email: info@parkside.co.nz
very last one with me at the helm. Web: parksidemedia.co.nz

As I mentioned way back in my rst issue as editor, I feel pretty honoured that I was able to PUBLISHER
add the editor feather to my cap when I was only a couple of years out of university. It was Greg Vincent, gvincent@parkside.co.nz
quite a leap of faith putting someone with little experience of the media world in this seat, GENERAL MANAGER, BUSINESS DEVELOPMENT
but I hope that those who gave me this opportunity believe they made the right decision, Michael White, mwhite@parkside.co.nz
and more importantly, I hope that you, the reader, have enjoyed the magazines weve put
GENERAL MANAGER, OPERATIONS
together during my time. Ive had an absolute blast meeting Kiwi photographers who have Simon Holloway, sholloway@parkside.co.nz
travelled the world, bringing back photos of lands and people that many of us would never
SUBSCRIPTION MANAGER
experience or meet without these images. Photographers from clubs all around the country Liz Brook, subs@parkside.co.nz
have shared their thoughts on their groups, and provided huge amounts of fantastic advice
PRINTING PMP Maxum
for people just jumping behind the camera for the rst time, and I have thoroughly enjoyed
DISTRIBUTION Gordon and Gotch
meeting all the up-and-comers in the photographic industry I can guarantee that youve
Phone: 09 928 4200
got some pretty special people and works coming your way.

During my time at D-Photo, I really wanted to bring you a good mix of works to admire,
as well as plenty of handy tips and tricks for you to try your hand at. While youve been
learning the ropes from our articles, Ive learned so much at the same time! I loved being
able to provide a platform for photographers to share their exhibitions, their projects and
their advice, and I really hope youve enjoyed the journey weve created for you over the
past two years.
Thank you for sharing your photographs and stories with me Ill be keeping a close eye
on D-Photo, and I look forward to seeing what everyone in the New Zealand photographic
NOTICE TO ADVERTISERS
Parkside Media uses due care and diligence in the preparation of
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contained herein. Parkside Media reserves the right to refuse any
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community continues to create in years to come. are not necessarily those of Parkside Media, the publisher, or the editor.
All material published, gathered, or created for D-Photo magazine is
copyright of Parkside Media Limited. All rights reserved in all media.
Lara Wyatt No part of this magazine may be reproduced in any form without the
express written permission of the publisher.

EXPERIENCE D-PHOTO ON MOBILE

Download the D-Photo New Zealand Within the app, click on an issue
app from the App Store or Google Play and choose whether to purchase the
(search D-Photo New Zealand). individual magazine or to subscribe.

4
 www.Tamron.co.nz

STILL THE BEST.

AWARDS 2016 AWARDS 2016 AWARDS 2015 AWARDS 2014

AWARDS 2017
BEST DSLR PRIME LENS OF 2016 BEST ENTRY LEVEL DSLR LENS OF 2016 BEST CSC ENTRY LEVEL LENS OF 2015 BEST EXPERT DSLR LENS OF 2014
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 CONTENTS ISSUE 78

58 30

48
IN THE KNOW
6 COMMUNITY PERSPECTIVE
See what D-Photo readers have been
working on and where theyve been
8 2017 SIGMA D-PHOTO AMATEUR
PHOTOGRAPHER OF THE YEAR
Get the latest news from the 2017 Sigma
D-Photo Amateur Photographer of the
Year competition, and check out some
stunning entries
10 FOCUS
Recognizing photographic achievement
and bringing you the latest photography
world news
16 WHATS ONLINE
Find out what our top stories are over
at dphoto.co.nz
BE INSPIRED
18 WORTH 1000 WORDS
Discover the story behind three
stunning photographs
22 ENCOURAGING CURIOSITY
Janet Lilo
30 FOLIO
We talk to award-winning photographer
Amber Griin about her dance photography
portfolio, her upcoming presentation at the
NZIPP Infocus Wellington conference, and
how she started her photography career
38 SUBSCRIBE AND WIN
Subscribe to D-Photo this issue and be in to
win a Nikon Keymission 170, worth $699
40 DISCIPLINED EYE, WILD MIND:
CREATIVE PHOTOGRAPHY
Adrian Hatwell talks to three award-winning
creative photographers Kevin Gilbert,
Catherine Cattanach, and Janyne Fletcher
about mastering the art of creativity
48 WOMENS RIGHTS: AN ANALYSIS
IN PHOTOS
We caught up with Sharifa Karimi to talk
about her 2016 Hasti? Are you there? Hastam.
I am here exhibition, and where she is taking
her photography now
52 BUYERS GUIDE: PACKING FOR THE
OUTDOORS
Explore our in-depth guide into the latest and
greatest products that would be handy on your
next outdoor photography adventure

4
 22
66
57 PRODUCT SPOTLIGHT
Learn about the latest gear and accessories
58 INTRODUCING NATURE
PHOTOGRAPHY SOCIETY OF NZ
D-Photo spoke with two well-established
members of Christchurchs Nature
Photography Society of NZ
Pam Cumming and Pol Syrett
62 A STUDENT-DIRECTED SHORT FILM
ABOUT SHORT FILMS
Learn about SAE Institute New Zealand
lm arts student Nic Brooklands short
documentary called The Small Short
66 TRUTHFUL REPRESENTATION
Mareea Vegas speaks with photographer
Frances Carter about returning to
New Zealand after spending time in New York
70 10 TERMS BEGINNER
PHOTOGRAPHERS SHOULD KNOW
We picked out 10 terms we think all
beginner photographers should know
74 GEARDUCATED:
Leon Rose sets out on a full-day shoot,
testing Vanguards newest range of Alta Sky
photography bags.
80 THE RISE OF THE PLATFORMS
We take a look at how social media is evolving
to create great platforms photographers can
utilize to get their work noticed
84 BEYOND THE RAINBOW: INFRARED
PHOTOGRAPHY, PART TWO
In this second instalment, Hans
Weichselbaum digs deeper into the
phenomenon of infrared photography
90 EXPLAINED
The D-Photo team talks through colour
temperature and how to ensure youve
got it right, every time
92 D-PHOTO KIDS PHOTO COMP
We present the top three images from this
round of the D-Photo Kids Photo Comp.
WHATS COMING UP
94 CALENDAR
Make sure you have all these important
dates in your diary
96 PARTING SHOT
Find out what weve planned for the next
issue of D-Photo
5
 FEEDBACK

Congratulations to

COMMUNITY our latest subscriber

winner!
Bob Cumming won the
Ona Kingston Leather Laptop Bag

PERSPECTIVE
We want to show of our readers work, so, each issue,
that was ofered as a subscription
prize in D-Photo Issue No. 76.
We hope you enjoy
your new bag, Bob.

we showcase what youre working on and publish the

communication we have with you. Make sure you keep us
informed by emailing editor@dphoto.co.nz

MOMENTO YOUR
MOMENTS WINNER
Our recent Momento Your Moments photo competition saw an abundance of images
entered into the Nature and Wildlifethemed contest. We pored over all the entries, and
the overall winner selected was Gavin Gillson, with this stunning image of a peacock. Gavin
was awarded a $150 Momento gift voucher to put towards the creation of his own photo
book. Congratulations, Gavin!

Gavin Gillson

6
 L E
SA

L E
SA

L E
SA

A L E
S
 FOCUS NEWS
2017 SIGMA D-PHOTO AMATEUR
PHOTOGRAPHER OF THE YEAR
PRIZES ANNOUNCED
Theres still a month left to enter the 2017
Sigma D-Photo Amateur Photographer of
the Year competition, with entries closing
at 5pm on June 23. A huge number of
stunning images are being submitted, and
its about time we let you in on what you
could win if youre selected as a category
winner in this years competition.
CATEGORY WINNERS AND
TWO RUNNERS-UP WILL WIN
THE FOLLOWING PRIZES:
MONOCHROME CATEGORY
SPONSORED BY ILFORD
FIRST PRIZE: Veo 265
carbon-bre tripod, one
Lume Cube, worth $640
SECOND PRIZE: Uprise 28
Gadget Bag, CX 204 AP tripod,
Ilford sample pack of inkjet
paper, worth $290
THIRD PRIZE: Quovio 26
Gadget Bag, Ilford sample pack
of inkjet paper, worth $170
LANDSCAPE CATEGORY
SPONSORED BY SIGMA
FIRST PRIZE: Quovio 41 Gadget
Bag, CX 204AP tripod, two-pack
Lume Cube, worth $650
SECOND PRIZE: Uprise 28
Gadget Bag, CX 204AP tripod,
Ilford sample pack of inkjet
paper, worth $300
THIRD PRIZE: Reno 48
Backpack bag, Ilford sample
pack of inkjet paper, worth $165
ACTION CATEGORY
SPONSORED BY NIKON
KEYMISSION
FIRST PRIZE: Nikon KeyMission
360, worth $899
SECOND PRIZE: Nikon
KeyMission 170, worth $699
THIRD PRIZE: Nikon KeyMission
80, worth $547
8
2017
For us here at D-Photo, bringing this
competition to you is always a highlight
of the year, and wed like to thank
competition chief sponsor Sigma, and
category sponsors Nikon KeyMission, DJI,
Progear, SAE Institute NZ, Tamron, Ilford,
Epson, Profoto and Nikon, for supporting
the competition.
CREATIVE CATEGORY
SPONSORED BY PROGEAR
FIRST PRIZE: $900 Progear store
credit towards any Elinchrom,
Novoex, Benro and, Lee Filters
products
SECOND PRIZE: $400 Progear
store credit towards any
Elinchrom, Novoex, Benro, and
Lee Filters products
THIRD PRIZE: $200 Progear
store credit towards any
Elinchrom, Novoex, Benro, and
Lee Filters products
PEOPLE CATEGORY
SPONSORED BY PROFOTO
FIRST PRIZE: Xcenior Trolley
Bag, Veo 235 AP tripod,
worth $620
SECOND PRIZE: Heralder 28
Gadget Bag, CX 204 AP tripod,
Ilford sample pack of inkjet
paper, worth $280
THIRD PRIZE: Uprise 28 Gadget
Bag, Ilford sample pack of inkjet
paper, worth $165
VIDEO CATEGORY AERIAL CATEGORY JUNIOR CATEGORY
SPONSORED BY SAE SPONSORED BY DJI SPONSORED BY SAE
INSTITUTE NZ INSTITUE NZ
FIRST PRIZE: DJI Osmo+,
FIRST PRIZE: SAE Auckland worth $1199 FIRST PRIZE: an SAE Auckland
Scholarship, worth $1000 SECOND PRIZE: Lowepro Scholarship, worth $1000
SECOND PRIZE: SAE Auckland Dry Zone Dule Bag, 20-litre, SECOND PRIZE: an SAE
Scholarship, worth $750 worth $219 Auckland Scholarship,
THIRD PRIZE: SAE Auckland THIRD PRIZE: Sandisk 64GB worth $750
Scholarship, worth $500 Extreme Pro, worth $119 THIRD PRIZE: an SAE Auckland
Scholarship, worth $500
 2017 OVERALL
COMPETITION WINNER
This years overall competition winner will receive
an SD Quattro camera, complete with a 30/1.4 lens,
plus $2400 of assorted Sigma lenses of their choice.
This grand prize is worth up to $4099.

ENTRY DETAILS
Submit online any time before 5pm, Friday, June 23 at
dphoto.co.nz/apoty-2017

Winners announced in D-Photo Issue No. 79.

VOUCHER

SCHOLARSHIP

TRAVEL CATEGORY MACRO CATEGORY NATURE CATEGORY READERS CHOICE

SPONSORED BY NIKON SPONSORED BY TAMRON SPONSORED BY EPSON AS VOTED BY YOU, THE READER
FIRST PRIZE: $800 Nikon FIRST PRIZE: Tamron SP 90mm FIRST PRIZE: Epson P405 To have your say in who wins
voucher for your preferred lens, worth $1199 printer, worth $899 this prize, head to the individual
retailer SECOND PRIZE: Manfrotto SECOND PRIZE: Epson XP-960 category galleries and cast your
SECOND PRIZE: $500 Nikon Befree Live Kit, worth $458 printer, worth $499 vote by clicking the heart on your
voucher for your preferred THIRD PRIZE: Manfrotto Pixi and THIRD PRIZE: Epson XP 540 favourite image(s). The image
retailer Lumie combo, worth $156 printer, worth $179 with the most votes at the end of
THIRD PRIZE: $200 Nikon the competition will receive a
voucher for your preferred
one-year subscription to D-Photo.
retailer

9
 FOCUS NEWS

OPEN DAY:
EXPLORE SAE
CREATIVE
MEDIA
INSTITUTE
If youve been intrigued about what goes on in a
lm studio, you should consider heading to SAE
Creative Media Institutes Open Day on June 10.
SAE will open the doors to its Heather Street,
Auckland campus from 11am3pm, inviting the
public to cast their eyes on the state-of-the-art lm Tours will be led throughout the day by together on a small campus, which
equipment its students get to make the most of. SAE lecturers and campus staf, who gives students a truly unique learning
will give short presentations about all environment. Taking part in our open
The day is open to all ages, and anyone who is programmes available, and potential day will give potential students an
interested in a career in the audio or lm industry careers in the industry. excellent grasp of what life would be like
can just show up any time during the day to join in should you choose to come and study
on one of the campus tours. SAE campus manager Dr Suzette Major with us.
says the open day is a rare opportunity to
Youll be guided around all SAEs studio facilities, gain an insight into life as an SAE student. For more information about SAE and the
including the new lm studio, which is under open day, head to auckland.sae.edu, or
construction and due for completion later this year. We are a tight-knit community working call 09 373 4712.

EXPLORE THE
TARANAKI ARTS TRAIL

Many artists throughout Taranaki

will open their studio and workshop
doors to the public over June 1011,
so you can get the chance to see
them in action, and experience
where they work.

The free event was established

in 2014, and has occurred every
June since. The arts trail aims to
encourage a greater understanding
in the community regarding the
processes involved in and the
skills required when creating a
work of art.

Photography is just one discipline

that you will be able to explore
during the event, joined by ceramics,
bre, glass, painting, printing,
sculpture, and more. To nd out
more about the Taranaki Arts Trail,
head to taranakiartstrail.co.nz.
The Virtue

10
 INDUSTRY NEWS

AUCKLAND FESTIVAL OF
PHOTOGRAPHY FAST-APPROACHING
With the announcement earlier this year that
Janet Lilo is the Annual Commission recipient
(see a full interview with Janet on page 22),
the festival is already of to a very exciting
start. The programme for the June 124
event looks just as thrilling as ever, with a
huge array of exhibitions and experiences for
the public to become immersed in.

The annual Nikon Auckland Photo Day on

June 10 will see participants given just 24
hours to capture an image that reects
Auckland to them.

The event was initiated in 2004, and after a

brief hiatus in 2015, it was relaunched in 2016

Sylvie Whinray
and here it is, back for 2017.

The festival sees exhibitions that fall under the

Auckland Festival of Photography umbrella
showcased all over Auckland, and its nearly immersion for those who get involved. If head to photographyfestival.org.nz and start
a full month of extreme photography youd like to explore the full programmes, lling in your diary.

Triple Exposed, Miriam Strong

NEW ZEALAND NATIONAL

AWARD WINNER ANNOUNCED
The worlds largest photography competition
the Sony World Photography Awards
recently announced the winner of the 2017
New Zealand National Award.
Miriam Strong, originally from Wellington
but currently living in London, took out
top honours with her image titled, Triple
Exposed. Shes no stranger to the award, as
she has previously won the New Zealand
National Award. Her 2017 winning entry
was taken on a lm camera during the
summer of 2016 in London. It features three
images exposed on the same piece of lm:
a backyard and houses, a silhouette portrait,
and mint in a pot.
Strong says, Im thrilled to be awarded the
New Zealand National [Award] for the second
time. I have always loved the selections and
exposure the Award gives to photographers.
Being shown in front of my peers is such a
fantastic experience and opportunity.
This years runners-up for the New Zealand
National Award were Linda Cutche in second
place for the image, Wanaka Tree, and Matt
Lance Draper in third place for the image,
Character.
All winning and shortlisted works were
shown at the Sony World Photography
Awards and Martin Parr 2017 exhibition.

11
 FOCUS NEWS

BEST ANTIPODEAN
PHOTO BOOKS
ANNOUNCED
CITY GALLERY
WELLINGTON
PRESENTS
SHANNON
TE AOS 2011
PERFORMANCE
Shannon Te Aos 2011 video performance,
Untitled (McCahon House Studies), is being
shown at City Gallery Wellington until July
30. Te Aos work will be presented alongside
City Gallery Wellingtons showing of Colin
McCahons On Going Out with the Tide. As
the subject of the show is appropriations of
Maori culture,
Te Aos work fits perfectly. Art writer Martin
Patrick says that Te Aos work creates
chaotic entanglements of past and present,
then and now, Pakeha and Maori, bicultural
nation states and indigenous traditions,
belief systems, and protocols.

Untitled (McCahon House Studies) sees

Te Ao occupy McCahons former family
home in Titirangi. It is the location in which
McCahon made much of his work back
in the 1950s. It is now a museum with an
artist residency. During the performance,
Te Ao addresses the demands of creativity
and family, all drawing on McCahons life
experiences.
To find out more about the performance,
visit citygallery.org.nz.
The winners of the Australian Photobook
of the Year Awards 2016 and the New
Zealand Photobook of the Year 2016 were
recently announced.
This years New Zealand Photobook
of the Year was shared between two
photographers: Simon Devitt, and
photography studies graduate Evangeline
Davis. Devitts self-published his winning
book Rannoch was described by judging
chair Jonty Valentine as, A thoughtful
architectural essay marrying an exploration
of the building with an intimate portrait of
New Zealand arts philanthropist Sir James
Wallaces life within the space.
Davis book Touchy was produced for
her final assessment at Wellingtons
Massey University. The diary-style book
explores the transition from girlhood to
womanhood and confronts distorted
ideals of beauty and femininity. Judging
comments included describing Touchy
as well resolved and carefully edited. The
design playfully used repetition, close-ups,
full-bleed pages, and double-page spreads
to present multiple narrative threads.
Finally, the Australian Photobook of the
Year award was won by the photo book
Astres Noir. The book is a result of the
collaboration between Melbourne-based
German photo artist Katrin Koenning,
Bangladeshi photographer Sarker Protick,
and French publisher Chose Commune.
Judging chair Heidi Romano said, The
judges were drawn to the mesmerizing
photos of the everyday, and the way
they were transformed into new and
unexpected forms, creating a book thats
surprising and surreal, with a sequence
that is elliptical and perfectly strange.
Congratulations to this years winners!

12
CAMERA
OBSCURA
WHANGAREI
UPDATE
Whangareis Camera Obscura is
progressing; D-Photo spoke with
project leader and photographer
Diane Stoppard about how its
coming along, and how D-Photo
readers can help

D-Photo: For those who arent aware of

it, can you explain the Camera Obscura
Whangarei project in a little detail?

Diane Stoppard: The Camera Obscura

Sculpture in Whangarei is an eight-metre steel
sculpture within which is a camera obscura.
Echoing Richard Serras steel work, this
sculpture reflects the maritime history
of the Hatea River and celebrates the unique
Te Matau a Pohe bascule bridge in Whangarei.
The project team is led by [myself, and]
includes architect Felicity Christian and
sculptor Trish Clarke. [We combine our]
respective skills to create a visually strong
and architecturally unique interactive art
experience for New Zealand. Using the
newest CCTV technology, the images created
by the obscura are projected onto the screen
on the exterior of the sculpture, whilst
projecting images to the world via the web.
It looks as if things are tracking along very
nicely for the Camera Obscura Whangarei!
How did the PledgeMe campaign go, and
what will that money go towards?
A very successful PledgeMe campaign
generated $30,000, and through the
generosity of the local, national, and
international community, the funds have
reached $42,812 just shy of the $50,000
community contribution aimed for. The
project has attracted international interest,
with significant obscura artists following and
supporting the project.
The project is currently being costed by the
generous business community of Whangarei.
As the steel work is complex, the project
is very lucky to be supported by Culham
Engineering, which has donated the steel
($46,000), and has the technology to roll the
metal into the organic form of sculpture.
We are still seeking the final community
contribution. Supporters of this project can
make donations and be recognized for future
generations. A $200-plus donation [will see]
your name etched in the base of sculpture,
and $1000-plus puts your name on the
large steel door. To support the project go
to cameraobscura.nz, or post cheques to
Camera Obscura PO Box 3223, Onerahi,
Whangarei 0142, with your details. This is
an opportunity to be involved in an exciting,
innovative photographic project for
New Zealand.
When is the projected date to get the
Camera Obscura installed and functioning?
We plan to meet the November funding
round for large projects and, when successful,
construction will start in March 2018, with an
opening projected for October 2018.
Do you have anyone youd like to thank, in
terms of getting this project to fruition?
The local support from the Whangarei people
and business community has been huge. This
community-led project has been significantly
supported, and we have recognized that
support on the website. You can also follow
our progress on our YouTube channel,
Camera Obscura NZ.
This sculpture will join a handful of
international sculptural camera obscura, and
be one of the largest in the world. We have
yet to find one using the CCTV technology
by adding this dimension, we create an
art experience where the viewer becomes
a performer in the space, while making a
social comment on the use of CCTV in our
society. I urge New Zealands photographic
community to get behind this very visual
project.

Can you outline how the camera obscura will

work, and what it will show?
The public will journey into the sculpture to
arrive in a white room (with soft corners and
organic seating), onto which the view of the
bascule bridge, sky, road, river and walkers, is
projected all over the floor, wall, and ceiling.
Using the science of light, when creating a
hole (or square) in the wall of a lightproof
space, the view outside is projected upside
down and back to front within that space.
The same way the human eye or camera
lens works.

What else is on the to-do list? Do you have

any more campaigns coming up? Is there any
way for the public to help?

13
 FOCUS NEWS
COMING SOON:
INFOCUS AND EXPOSURE:
THE NEW ZEALAND
PHOTO SHOW
One of New Zealands most anticipated
photographic events is back in Wellington
this year: New Zealand Institute of
Professional Photography (NZIPP)s
Infocus Wellington.
The 2017 event combines the Epson/
NZIPP Iris Professional Photography
Awards, and Exposure: the New Zealand
Photo Show, to inspire and educate Kiwi
photographers the established and the
aspiring, alike.
This years speaker line-up includes a
range of experts in their eld, including
light-painting artist Denis Smith, wedding
photographers Kelly Tunney and Huy
Nguyen, previous NZIPP winner Amber
Griin, and top Australian advertising
photographer, Lisa Saad.
NZIPP Infocus Wellington has brought
Exposure: the New Zealand Photo
Show back for its second year. A diverse
show centred in photography, Exposure
combines the sheer delight and power
of the photographic image, exposing the
latest and greatest gear at the tradeshow
and exposing the power of possibility. The
show also features education and tools
for photographers of diferent levels.
14
It is for the curious, the aspiring
photographer, those that love the gear,
and those that appreciate the high level of
craft of the professional photographer.
For more information on Infocus Wellington,
and Exposure: the New Zealand Photo
Show, head to infocus.org.nz.
GERARD EMERY
HONOURED
WITH PSNZ
SERVICE MEDAL
Within the rapidly changing, and sometimes
unpredictable, world of photography, its
strongest supporters, often each with their
individual passions for the craft, continue to
add fuel to its re.
The Photographic Society of New Zealand
(PSNZ) bestows a number of service
awards to members who have made a
signicant contribution to the Society. Of
these awards, the PSNZ Service Medal is
one that has been given out so few times
that you can count them on one hand.
Gerard Emery, of CR Kennedy photographic
distributors, is the latest recipient of the
award. The prestigious medal is awarded for
service of an outstanding nature.
Presented at an exclusive CR Kennedy
Honours Banquet, PSNZ President, Peter
Robertson, noted that CR Kennedy
has continued to support the Society
throughout the diicult times facing
the photographic industry. Robertson
also noted the hard work put into the
relationship between the PSNZ and the
distributor, saying it ensures, that this
support develops into a mutually benecial
long-term relationship a romance, rather
than a one-night stand.
Of Gerard himself, Robertson says, [he is]
is a strong advocate for the Society within
his industry, constantly pushing, prodding
and cajoling his colleagues to support us. In
both spirit and action, he is one of us.
Leica APO-Summicron-M 50mm f/2 ASPH Lens
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 WHATS ONLINE THIS MONTH

DPHOTO.CO.NZ
JOSHUA DONNELLY
REVIEWS PANASONICS
LUMIX GH5
Panasonic launched its new
Lumix GH5 in Queenstown
recently, and Joshua Donnelly
headed down to check out what
the camera has to ofer. He took
one for a spin, brought back
stunning images, and shared his
conclusions with us. You can
nd out what he thought by
heading to dphoto.co.nz and
searching GH5.

Joshua Donnelly

2017 SIGMA D-PHOTO AMATEUR

PHOTOGRAPHER OF THE YEAR
Were already seeing plenty of gorgeous entries into the 2017 Sigma D-Photo Amateur Photographer of the Year
competition and theres still heaps of time to get your entries in. The competition closes on June 23, but dont
2017 forget, if you want to be in the running to win the Readers Choice competition, the earlier your image is entered,
the longer its online and the more likely it is to bring in plenty of votes. Get entering now at dphoto.co.nz!

16
WORTH 1000 WORDS STORIES BEHIND THE PHOTOS

WORTH 1000 WORDS

Theres a phrase that weve all heard before a picture paints 1000 words but those words
may be diferent for each person. Sometimes, you might create your own meaning for a
photograph you encounter; however, it can be nice to know the true story behind an image,
and what was running through the photographers mind as they captured it.

Canon EOS 50D, 98mm, f/11, 1/1250s, ISO 400

Photographer: Robert Downie
Location: Northern British Columbia, Canada

D-Photo: Whats the name of this photo?
Robert Downie: Muriwai Gannet Colony
Can you describe where you were when you
captured this image?
[I was at] Muriwai Gannet Colony, Muriwai
Beach, North Island, New Zealand.
What stood out to you that this would make
a great shot? What inspired you to take this
photograph?
A lot of my work attempts to use the
natural compression distortion that comes
with a telephoto focal length to create
perspectives of nature and landscapes that
are not immediately apparent to people. This
particular shot was an attempt to play with the
apparent depth perception between the three
vertical layers of the ying gannet, the nested
gannets, and the ocean below.
How much planning went into it?
Very little! I was visiting family who had moved
to Muriwai Beach. I had never been to the
colony before, so I simply headed down with
my camera and spent about an hour down
there watching.
What is the message that you hope people
take from seeing this image?
The message is simply for people to realize the
diversity of life on our doorstep. Its incredible
that this colony is only an hour drive from the
centre of a major city [Auckland].
Can you outline the gear you used when
taking this photograph?
It was taken handheld with a Canon EOS
50D and Sigma 70200mm f/2.8 EX DG
OS HSM lens.
What did you do to edit this image, and why
did you make the adjustments that you did?
Minimal editing was undertaken to this
image, other than minor adjustments to
the brightness level of the highlights in the
gannets and the white water below.
What interested you in pursuing
photography?
As a keen traveller and adventurer, I have
been fascinated by photography from an
early age, and have 20 years of adventure
travel photography experience across more
than 30 countries. The ability of photography
to inspire action in the viewer by shedding
light on the more remote and fragile parts of
the natural world has driven most of the major
conservation eforts over the past century.
Equally important is its ability to highlight
divergent cultures and philosophies, and
help foster tolerance in an otherwise
intolerant world.
If people want to see more of your work,
where can they find you?
My portfolio can be viewed at
robertdowniephotography.com, and
I can be found on social media as
@intrepidphotos on Instagram and
500px, and @robertdowniephotography on
Facebook. I am also the founder of
intrepid.photos, an adventure photography
resource centred around personal interviews
with world-class photographers.

18

Photographer: Rachel Stewart
Location: Papamoa, New Zealand
D-Photo: Whats the name of this
photograph?
Rachel Stewart: Winter Sunrise amongst the
Icebergs, Tasman Glacier Lake.
Can you describe where you were when you
captured this image?
I had just made a mad dash to the Tasman
Glacier Lake running, tripping, sliding on
ice, falling over boulders to get down to
the river outlet. The sky was already starting
to change colour when I arrived at the car
park. The walk usually takes around 20
minutes Im pretty sure I made it in five!
What stood out to you that this would make
a great shot? What inspired you to take this
photograph?
I saw [that] there was a reflection, icebergs,
and a rocky foreground. The colour was
starting to light up the tip of Mount Cook,
and the surrounding mountains framed
the composition nicely. I was immediately
inspired by the incredible scene that was
unfolding in front of me. This was nature at
its finest.
How much planning went into it?
I didnt have a lot of time to think, as the sky
was changing colour quickly. I looked for the
best spot where I could get the reflection,
and where I could centre some sheets of ice
in my foreground. I also needed to make sure
I could get Mount Cook in the frame. Luckily,
this spot is photogenic from any angle, and
doesnt require too much planning.
What is the message that you hope people
take from seeing this image?
I hope that they can see just how incredible
nature is, and how beautiful our country is. I
also hope that this image can be a reminder
of how fragile our planet is. The Tasman
Glacier Lake didnt exist in the 1970s, and
now grows by 500mm800mm per year,
with the retreat of the Tasman Glacier. Global
warming is a real threat to our mountains
and glaciers.
Can you outline the gear you used when
taking this photograph?
Canon 6D
Canon F4L1740
Manfrotto 190 Go! carbon-fibre tripod
LEE filters little stopper
LEE filters 0.9GND soft
Self-timer
What did you do to edit this image, and why
did you make the adjustments that you did?
I processed this image through Lightroom.
In edit, I brought out the shadows, brought
down highlights slightly, adjusted and
corrected colour, contrast, and sharpening.
Because I use filters with most of my
Canon 6D, 17mm, f/11, 8s, ISO 100
photography, they sometimes either leave
a colour cast that needs correcting, or they
slightly dull the natural colours that were
there. I guess I also have a certain style or
look to my photos, and my edit process is
similar with all pictures.
What interested you in pursuing
photography?
During my 20s, I did a lot of travelling and
hiking overseas throughout South East Asia,
USA, Malaysia and Borneo, Australia, and the
Pacific Islands, but of course I never had a
good camera with me always the way! I
loved taking photos, however, and it wasnt
until a few years later, while taking snaps
along the beach at sunset, that I started to
really grow a love for it. Photography began
as a passion for me, a hobby. I could not have
imagined that it would grow to what it has.
Nature has always been my number-one
inspiration when it comes to photography. I
love exploring the unknown and finding the
all-important elements that connect humans
with nature.
If people want to see more of your work,
where can they find you?
You can find me on:
rsnzphotography.com
instagram.com/rachstewartnz
facebook.com/rachstewartnz
19
WORTH 1000 WORDS STORIES BEHIND THE PHOTOS
Photographer: Mareea Vegas
Location: Red Beach, Auckland
D-Photo: Whats the name of this
photograph?
Mareea Vegas: Untitled (from the series
Houses on the Coast).
Can you describe where you were when you
captured this image?
Where the houses meet the beach in Orewa,
there is a grass walkway that can be used
by the public. From the perspective of this
image, it may seem as though Im actually on
this property, but due to that frontage being
very open, and with no fencing, I was able to
shoot quite tight on the subject.
What stood out to you that this would make
a great shot? What inspired you to take this
photograph?
Well, I would say that light is perhaps my
biggest inspiration. And Im not sure that
there are many people who dont love
looking at imagery inspired by our beautiful
golden hour. Whether Im shooting or not, I
often wake up early just to sit and meditate
on the rising sun over the ocean, and as
we now live out at the beach Im usually
walking most sunsets. Theres that time right
in between dusk where Ive always
felt uncomfortable. Things are fading into
darkness, and not everything can be easily
made out. I guess I took this shot just before
then. The light was brilliant that night, and
lately, Ive been feeling more inclined to
20
capture our beautiful coastal houses and
bachs before they are possibly replaced
by lookalike suburban developments. This
sunset brought out so much detail on the
side of this house: reflections of power lines
that are creating symmetry in the shot, a
retired campervan parked on the street,
longing for more summer adventures, and
the silhouette of an instantly recognizable
Norfolk Pine. Theres a lot of detail in here,
and on a more basic level, the feeling of the
image leaves me yearning for a good ol Kiwi
summer. Theres something I also love about
the old beaten-up wire fence and the space
to the right. So many of these awesome
details are disappearing, and the space is
disappearing. So, perhaps I am finding a way
to continue to connect with a New Zealand
that we are rapidly losing.
How much planning went into it?
No planning at all.
What is the message that you hope people
take from seeing this image?
Beauty is everywhere.
Can you outline the gear you used when
taking this photograph?
Nikon D800 with a 50mm f/1.4 Nikon
Nikkor lens.
What did you do to edit this image, and why
Nikon D800, 50mm, f/8, 80s, ISO 200
did you make the adjustments that you did?
I warmed the image up a little to satisfy that
feeling of a beautiful summer sunset, added
some contrast and blacks overall, and some
clarity to the window to accentuate the detail
in the reflection. The image was cropped in
camera, as shot.
What interested you in pursuing
photography?
Originally, my father taught me as a young
girl on his 1967 35mm Pentax Spotmatic. We
would shoot out at Muriwai Beach almost
every weekend, and I remember it as a time
where I really learned how to manually use
a camera and compose a shot. Once you
receive a few rolls of blank or overexposed
film back, you learn pretty quickly. I took art
subjects through college and went on to
major in photography at art school in the
mid 90s. Thats where I then learned how
to develop film, darkroom techniques, as
well as creating conceptual works, etc. I find
the act of photography itself almost like a
meditation. Through the lens, and a single
moment, I am able to concentrate solely on
the present.
If people want to see more of your work,
where can they find you?
mareeavegas.com, Instagram:
@mareeavagueass, or on Facebook:
facebook.com/mareeavegas.
PROFILE JANET LILO

ENCOURAGING
CURIOSITY
Janet Lilo is the 2017 recipient of the Auckland Festival of Photographys
Annual Commission by Baker+Douglas, and spoke with D-Photo about
her award, her practice, and her plans for the future

22
There are no connes on Janet Lilos
work. An artist of multi disciplines, she
has explored and worked in a huge
range of realms including, but not limited
to, photography, video, installation,
object, and drawing. And for her Annual
Commission exhibition for this years
Auckland Festival of Photography, she will
mix up a couple of those disciplines to
present something truly unique for those
who visit her work in Silo 6 at Silo Park in
Wynyard Quarter, Auckland in June.
In true form, I am still working on this
project, so nothing is set in stone no
pun intended with the silos, Lilo
jokes. What I can say is that it will be a
photographic installation, responding
to the theme of identity and sculptural
interface of the silo space.
Not only is Lilo responding to the festivals
theme of Identity, but she is also factoring
in the logistical elements of the silo in
which she will showcase her work. Every
single thing that could impact the way
she communicates her message is being
accounted for, suggesting her exhibition
will be an exciting and unique experience
for those who participate.
The silos are quite diicult for
photography, as it is a heritage site that
cant be drilled into, so hanging anything
is a challenge. There are also other
features to consider, such as the daunting
architecture of concrete, circular rooms,
existing roller garage, and arc doors. These
things matter. In terms of content, I have
decided that I dont want to present images
of real people or landscapes, as an ultimate
challenge to myself in representing
identity. I also want the audience to
somehow complete the work with their
presence therefore becoming an integral
part of it. Expect something diferent.
Associate Professor Linda Tyler, who
was one of the selection committee for
the Annual Commission, says of Janets
work, Janet Lilo uses photography in
an experimental and sculptural way,
experimenting with both digital and
analogue processes. Having explored
popular cultural inuence from television
and music on subcultures in Aotearoa
in the past, her focus on the theme of
identity in her proposal for the annual
commission chimed in perfectly with this
years theme. Additionally, her proposal
addressed the silo site, conjuring with
23
PROFILE JANET LILO
its associations of storage to derive
associations of stockpiling against a
future scarcity.
This praise is mighty impressive, and Lilo
is very appreciative of the opportunity the
Annual Commission has presented her,
saying that she feels humbled to have
been selected against two other amazing
photographers who could easily be in this
position to answer these questions.
As is often the case, its diicult for artists
to pinpoint exactly what their style of art
actually is. Janet is not immune to this
phenomenon, mainly because she dabbles
in so many artistic spectra.
Its hard to really say what I think my
style is when stepping outside of myself
to objectively respond. I work in a range
24
of media, from photography to video,
installation, object, and drawing
but essentially it is process driven,
before any preconceived notion of
aesthetics, she explains.
And even when it comes to the creation of
her work, Janet often doesnt quite know
what the outcome of her projects will be
until the very end.
Im interested in experimental
documentary. When I begin a project, I
never know what it will really look like
until its done and I dont want to, either.
I like to try diferent things all the time, but
essentially, my process is always the same;
a relentless journey of experimentation
and play. Like any artist, there are always
parameters that frame the possibility,
such as budget, time, space, and
25
PROFILE JANET LILO

26
expectation. Is it a solo show? Is it group?
Is it local, global, or both? I just try to do
my best within those, and nd ways to
exceed odds.
When it comes to her photography work,
Janet was introduced to the concept, and
formulated many of her ideas around the
way she would adopt photography into
her practice, when she took a foundation
art course at AUT in 2001. From there, she
completed a Bachelor and her Masters in
Visual Arts. During those six years at art
school, she worked in a range of media, and
photography became a serious part
of that process, as what she calls a
drawing tool.
Since then, I continued to use it often, and,
as a result, formulated an esoteric visual
language for myself so you could say
there are elements of art school training
and self-taught butchery at play.
I grew up in a family of six children,
and my parents didnt have much money.
They worked extremely hard to give us what
we needed, and Im forever thankful for that.
When I was around eight years old, we got
a camera. Before the age of ve, there are
no images of me, and a smattering between
there and age 10 so Ive always wondered
what I looked like as a small child.
Embedded in memory, my siblings and I
would spend whole entire evenings going
through the same small collection of photos
with the same enthusiasm of intimacy and
wonder every time. For that reason, my
mother made a very special efort when we
got older, to have one family photo a year
taken until we left home. The most epic
family portrait was taken in the mid 90s
at Stuart Riddell in Howick ... I am 14 years
old, half lying and sitting upright like a cat
on the forest oor. The rest of my family
are all positioned meticulously. The image
nish is airbrushed matte and the portrait is
overwhelmingly huge. After years of small
instalments, my parents nally paid it of
and received the portrait when I was about
22. I swear, it is the best and worst family
portrait ever.
Perhaps it is this close, intimate connection
with photography from earlier years that
27
PROFILE JANET LILO

28
has seen Janet continue her interest in the
medium. Whatever the reason, it is a medium
that she continues to explore to this day.
I enjoy the endless possibility of
photography as an ongoing practice. I enjoy
the personal and collective narratives. In
the digital age, I enjoy how challenging it is
to make good images in a time where we
are completely saturated by them. Most of
all, before I even think about photography,
I enjoy the privilege of being able to look at
things around me with great curiosity.
This curiosity has led her to explore her
community in a way that can be quite a
scary process for many people going up
to random people on the street and asking
to take their photograph.
For more than a decade, one of the
things Ive done is taken random portraits
of people [hundreds, if not thousands],
mostly strangers Ive met on the street or
in a random context. I would then email,
Facebook, or print these images to send
back. I also have a polaroid camera where
I could pass on [images] instantly. These
images are floating around uncredited in
physical and digital spaces and I love
that. My favourite exhibition spaces are
unknown.
Janets goals for her future are wide and
varied in keeping with having many touch
points across the artistic practice realm, she
isnt limiting herself to just one facet of work
and creation.
My personal goal is to never lose the
love of looking, being curious and playful
in approach. Id like to do more work in
my local community arts scene, but also
produce solo projects at a larger scale,
internationally.
Explore Janet Lilos Annual Commission by
Baker+Douglas exhibition at the Auckland
Festival of Photography from June 120
at Silo 6 at Silo Park, Wynyard Quarter,
Auckland. Find more of her work at
janetliloart.com.
29
FOLIO AMBER GRIFFIN

30
BODIES IN MOTION
We were lucky enough to talk to award-winning photographer Amber Griin
about her dance photography portfolio, her upcoming presentation at the NZIPP
Infocus Wellington conference, and how she started her photography career

Whitireia Year 2 graduating class of 2014, commercial image to advertise the WPAC end of year show

31
FOLIO AMBER GRIFFIN
Alayna Ng, artwork from The First Collection
Many people who are mere hours away
from working on a huge dance event,
photographing hundreds of dancers from
all over Australasia, and producing tens of
thousands of images to process, would spend
those last precious moments panicking,
perhaps warding of all distractions that might
prevent them from getting into the zone.
32
Award-winning photographer Amber Griin,
however, managed to nd a spot of time to
talk to us about her work, while prepping for
the ve-day dance event in Wellington.
For as long as I can remember, I have been
an image-maker. Growing up, I was always
encouraged to create incessant colouring-
in became drawing, then drawing became
painting but it wasnt until university that
I discovered the magic of a photographic
darkroom, Amber explains. Photography was
never ofered as a subject at my high school,
meaning that I learned the foundations of
colour, light, and compositional balance
through both painting and sculpture practices.

I believe that this wonderful foundation
formed the core of my art practice, and it has
been instrumental in everything Ive done.
Though Amber says that she could happily
while away days on end in the darkroom,
experimenting with all manner of chemical
processes, the darkroom wasnt where she
was destined to remain as she is, in her words,
a sensitive creature, and the chemicals were
not kind to my skin.
In the second year of my degree, when
we were properly introduced to digital
photography, my hallelujah arrived. Exploring
all that I could do with Photoshop became an
Loughlan Prior and Alayna Ng, artwork from The First Collection
obsession. For my work, the combination of
photography and post-production is the best
medium that I can access to bring my ideas
to life.
As soon as Amber completed her degree, she
shifted to Auckland and started working in
the advertising industry. Finding it diicult
33
FOLIO AMBER GRIFFIN

Lara Strong, creative dance portrait

34
to kick-start her career as a photographer in a new city
where she didnt know anyone, she spent five years
as a graphic designer by day, but would work as a
photographer doing weddings and events, and create
her own artwork in her spare time.

I eventually got so sick of sitting behind a desk all day on

someone elses time that I decided to take a leap of faith
and start my photography business. In the beginning, I
did everything, and I was fortunate to have a few residual
clients from my time working with the agencies, who
helped to keep my new business afloat. I invested a lot of
time and energy into setting up a dance portrait facet to
my business, which, for a long time had me convinced
that I was a portrait photographer. It was, in fact, the
NZIPP Iris Awards that helped me to realize that I was
really more commercially focused, Amber reflects.

The NZIPP/Epson Iris Awards that Amber refers to was

the 2016 edition, at which she received the NZIPP
Commercial Photographer of the Year award for
photographs from her dance photography portfolio.
Amber will make a return to the annual NZIPP event this
year, this time as a speaker for the Infocus convention
held in Wellington in June.

I am so honoured and excited to be speaking at Infocus

this year. I will be sharing my story of establishing
and surviving in a photographic niche and (hopefully)
inspiring young photographers to realize their own
unique niche. As the industry continues to evolve,
I have learned much over the last few years about
how to remain adaptable and relevant amongst the
ever-changing tides. I will be sharing ideas, tips, and
techniques that have helped me along on my own
photographic journey and I hope, through sharing this
knowledge, that I will inspire others to specialize and
discover ways to dominate their own niche.

Alayna Ng, commercial image for 2016 Pinot Ros by Jackson Estate

35
FOLIO AMBER GRIFFIN
In terms of her niche, Amber says that in
her dance photography, she always strives
to capture the peak of the movement while
simultaneously finding the most beautiful line
and light.
I believe that achieving these three elements
within an image is what defines my style as a
dance photographer, she explains.
Last year, her work was discovered at her
2015 exhibition in Wellington by Blenheim
winery, Jackson Estate. From this discovery,
it commissioned Amber to create an artwork
that would be showcased on its Pinot Rose
2016 vintage.
36
Jono Selvadurai and Alice Macann, artwork from The First Collection
It was a dream project, because they gave
me complete creative control with just
enough limitations to keep me focused.
Because they showed such faith in my work,
I only gave them one image option and,
fortunately, they loved it.
Its actually been a very exciting few years
for Amber. In 2015 she was awarded the
gold medal for the commercial category
of the World Photographic Cup (WPC) in
Montpellier, France. Expecting it to be a
once-in-a-lifetime experience, she made
the decision to travel to the other side of the
globe at the last minute.
It was amazing. I met some incredibly
talented people, and the city was so beautiful,
I cant wait to return! Then, after winning
NZIPP Commercial Photographer of the
Year 2016 and NZIPP Wellington Regional
Photographer of the Year 2016, I found out
that my Alayna Ros image had made it
into the finals of the WPC again this year.
I travelled to Yokohama, Japan, with my
partner, our six-month-old son, and my
parents, and was awarded the silver medal
for the commercial category. Ive also just
received notification that I have four images
in the finals of the Siena International
Photography Awards 2017.

Besides the many awards, Amber also
managed to nd the time to showcase her
work at her rst exhibitions, held at Exhibitions
Gallery of Fine Art in August 2015, and then
again in its Newmarket, Auckland gallery in
2016.
It was an amazing opportunity to push myself
into creating something that I had never done
before, and to explore some photographic
techniques in depth. Creating the exhibition
was very experimental, and I was very
fortunate to have worked with some of our
countrys most amazing dance talents. The 12
works were all released in three diferent-sized
editions, and they have sold incredibly well.
Adriana Harper, artwork from The First Collection
Sam Wilson, artwork from The First Collection
Although Amber will share plenty of tips and
tricks for aspiring photographers at the NZIPP
Wellington Infocus conference, we asked her
for a quick piece of advice.
Establishing and dominating your niche is the
key to surviving in this industry. So, nd your
niche and learn your craft maybe not in that
order! But whatever you do, dont tarnish your
reputation by putting yourself out there too
early. Practice, learn, and become the best at
what you do so that when you are ready to
take on the big jobs, you can do so with full
condence of knowing that what you supply
will be excellent.
Although she cant spill the beans about what
shes been working on, Amber has a busy
commercial photography schedule on her
plate this year but she still plans to hold her
second ne-art exhibition, which she says is
due for release in 2018. So, watch this space,
as there is destined to be an abundance of
beautiful artworks coming from Amber Griin.
Amber Griin will speak at NZIPPs Infocus
Wellington 2017 event, which runs from
June 1519.
All images Amber Griffin, all photography
and retouching by Amber Griffin.
37
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STYLE CREATIVE PHOTOGRAPHY

Kelvin Gilbert

DISCIPLINED EYE,
WILD MIND: CREATIVE
PHOTOGRAPHY
Adrian Hatwell talks to three award-winning creative photographers
Kelvin Gilbert, Catherine Cattanach, and Janyne Fletcher about
mastering the art of creativity

40
It is one of humanitys most valued attributes,
though perplexingly troublesome to pin down
creativity. A way of thinking, a kind of energy, an
expression of passion. For many an artistic soul,
creativity is the stuf of a life well-lived. But exactly
what it is, how it can be recognized, and whether
or not it can be learned are questions without
easy answers. Luckily, when it comes to bringing
creativity to bear in the photographic process,
we have three of the countrys leading creative
shooters willing to help us wrestle with these
important, if elusive, concepts.
Resisting definition
Trying to put a denition to creativity is something
of a self-defeating exercise, but most people will
have an innate feeling for it. It may not be an easy
thing to put into words, but asking those who
peddle in it professionally to give it a stab can
be illuminating.
For commercial photographer Kelvin Gilbert,
creativity is a matter of constantly challenging
himself to push against technical boundaries, while
giving himself the freedom to pursue the things he
is passionate and inspired by.
Catherine Cattanach
Its more than just simply taking a photo, its about
seeing the world in a diferent light and knowing
how you want to show it to the viewer, Gilbert
explains. Whether it be a single in-camera image
that has been planned out and shot in a way that
makes it unique, or a multiple-image composite
that takes many hours of processing to complete
to show your own view of the world.
Often, the idea of creating something original,
shooting something in a way that has never
been seen before, is conated with the notion of
creativity. But photographer Catherine Cattanach
has learned to push past this limiting notion of
creativity, after the quest to make something
100 per cent original became paralysing.
Now Im a bit easier on myself, and I think creativity
simply means moving beyond the obvious, and
allowing yourself to have a play, Cattanach
elaborates. It means accumulating a whole heap
of inspiring things that speak to your soul, whether
those be photographs or photographic techniques,
paintings, music, lms, or aspects of nature, and
then letting your brain remix those inuences to
come up with something authentic.
41
STYLE CREATIVE PHOTOGRAPHY

Janyne Fletcher

42

Photographer Janyne Fletcher nds it helpful
to not be overly precious about what is or is
not considered creative, and instead focuses
on investing a sense of herself into her work.
Often times she nds creative work will
provoke something more in the viewer, beyond
what is on the surface, but she warns against
using that as a yardstick for creativity.
Theres nothing wrong with something that
just has really strong graphics, where theres
nothing more to it than being a very strong
visual, Fletcher says. Its not telling a massive
long story or anything like that. Ive done plenty
of those, I understand it can be for want of a
better word decorative.
Finding inspiration
Inspiration is important, but it amounts to
nothing if not put into practice. By the same
token, practice without inspiration can lead to a
rut shooting similar subjects in familiar styles
Janyne Fletcher
with predictable results. Creativity requires
time and experience, both with and without a
camera, to ourish.
Busy professional photographers can often nd
it diicult to make time to shoot work that isnt
necessarily paying the bills, but Cattanach says
making the efort is an essential part of keeping
her creativity ablaze.
Every time I make the time to do a shoot just
for me, I get so red up and I have a brilliant
time. It feeds my creative soul, and I think, this
is awesome I should do more of this
But it is not necessarily the times when she
is completely free to do her own thing that
impart the best results. A few limitations or
challenges can provoke the creative brain
into exploring fresh terrain or discovering a
new angle.
43
STYLE CREATIVE PHOTOGRAPHY

Catherine Cattanach

Kelvin Gilbert

44
 Problem-solving also often leads me into creativity,
theres nothing like few limitations and constraints to
make you really focus, Cattanach says.

In the age of digital photography, the ability to

perform digital post-production has made a huge
impact on the creative possibilities in photography.
While some traditionalists lament the intrusion of
digital editing on the craft, other artists have fully
embraced the new creative possibilities aforded
through technology. Gilbert is one such digital
adherent, frequently creating beguiling imagery
that would be impossible with just a camera alone.

There are no longer any limits or boundaries thanks

to digital post-production, its like they say: the only
limitation is your own imagination, he explains.
Digital editing gives you the ability to enhance or
even create moods and emotions, vital to todays
creative photography.

For those about to begin exploring digital editing, he

recommends starting with Adobe Photoshop and
coming to grips with high-frequency separation,
colour grading, non-destructive editing workow,
clear-cutting, and compositing techniques.

Fletcher is also an advocate for the creative power

of digital editing she thinks she might actually be a
frustrated painter, the way she enjoys playing with her
images in Photoshop. Without any specic workow,
she will begin with an idea in mind and experiment in
post-production until she has achieved it. Or created
a disaster.

Dont be afraid of making mistakes and really taking

it to the limit, having a few complete stuf-ups,
Fletcher says. Because thats how you learn how to
push those boundaries.

In fact, having the courage to fail is a theme echoed

by all three photographers when it comes to
being creative. Seeking out constructive feedback,
specically from people you respect and trust, can
be invaluable in artistic development, but creativity is
ultimately an expression of self. Or, as Cattanach puts
it: Give yourself licence to experiment, and stand
by your convictions if a photograph is working for
you, its a success.
Janyne Fletcher

45
STYLE CREATIVE PHOTOGRAPHY
Janyne Fletcher
Based in Central Otago, Janyne Fletcher
has been a professional photographer for
over a decade. Her creative photography
has won awards with both the New Zealand
and Australian Institute of Professional
Photographers.
janynefletcher.co.nz
Kelvin Gilbert
Kelvin Gilbert runs his commercial
photography business, Novo Imaging,
from Palmerston North. His creative and
46
Kelvin Gilbert
commercial work has won accolades, both
locally and abroad, including a listing in the
Lrzers Archive of the best digital artists
worldwide. novoimaging.co.nz
Catherine Cattanach
Catherine Cattanach is a Wellington-based
portrait photographer. Her award-winning
creative work has earned her the title of
Creative Photographer of the Year in the
2016 New Zealand Institute of Professional
Photographys Iris Awards.
catherinecattanach.com
This is your freedom
This is our passion
This is X1D
www.hasselblad.com/x1d

CRK Ltd 09 276 3271

3 Hotunui Drive, sales@crknz.co.nz
Mt Wellington, Auckland www.crknz.co.nz
 ONE TO WATCH SHARIFA KARIMI

WOMENS RIGHTS:
AN ANALYSIS IN PHOTOS
In 2016, Sharifa Karimi (now 27
years of age), exhibited her series,
Hasti? Are you there? Hastam. I
am here, as part of the Auckland
Festival of Photography. We caught
up with Sharifa to talk about this
exhibition, and where she is taking
her photography now.

D-Photo: What initially sparked your interest

in photography?
Sharifa Karimi: With photography, I felt like
there was no limit to my expression. There is
more flexibility with this medium compared
to others. At the same time, I dont really
consider myself as just a photographer,
because I put so many hours into staging my
photographs. Only when I am satisfied with
the depth, texture, composition, etc, will I
take the photo.
Are you self-taught, or did you do a course?
I did my Bachelors of Visual Arts and Design,
majoring in Photography at Unitec.
Can you tell us a bit about your 2016
Auckland Festival of Photography exhibition?
[In 2016] Lake House Arts [in Takapuna] had
an opening for a graduate exhibition. After
sending them my CV and portfolio, I got
asked if I was interested in being part of the
festival, and did a solo show.
Where did the concept come from, and how
did the creation process flow?
Three pieces of my art were from the end-
of-year graduation show from the university
(Obedience). In a way, I felt that project
needed to continue it felt unfinished.
Having the opportunity to do the solo show
was a great opportunity for me to continue
creating more work related to the same topic
(female rights).
How would you describe the style of
photography in this exhibition? Do you have
a specific genre that you like to work in, or
are you open to everything?
My work is based on debate, analysis, and
discussion around womens rights. The
current circumstances of women who are
struggling for their basic rights are created
by culturalism and traditionalism. My work is
focused on manifesting the core of this issue.

48
49
 ONE TO WATCH SHARIFA KARIMI
I consider my process as both analytical and
intuitive. Analytical, because I critique my
work based on data and information, and
analyse the womens rights issue in Asian
countries. At the same time, its intuitive,
because during the process of my research,
I have determined the main theme of my
practice and the direction that I want to
explore. At any stage of my work, I would
go back to the main theme of my work
and make sure that I am not deviating from
that focus. My ultimate aim was to explore
gender equality between the roles of men
and women in several countries. Most
importantly, my objective was to highlight
the extent and intensity of cruelty most of
these women go through on a daily basis. It
makes me extremely sad that these women
live their whole lives as victims, and the
cycle continues with the next generation. At
the same time, this research has increased
my knowledge and awareness towards
domestic violence, and has made me more
compassionate towards such an important
global issue.
Where do you see your photography taking
you career opportunities, travel, etc?
I dont view photography simply as a career
I hope to bring a voice to those who
50
cannot speak for themselves, and in doing so,
create awareness.
What projects do you have on the go at the
moment. What have you got in mind that
you havent started yet?
My works, in many ways, are very personal,
and have a great deal of sentiment. I have a
lot in mind, but I dont commit myself until I
feel ready with an idea.
Can you tell us a bit about where you
generate your ideas for projects?
What creates the spirit of my work is a topic
or an issue that has continuously lit a fire
within me. It is an issue that has not received
a great deal of attention from the world, and
it is the subject of womens rights in Asian
and Middle Eastern countries. [During] the
past three years of studying at Unitec, I have
been working around the topic of gender
equality and female rights in Asian countries.
The focus of this project has been oppression
of women and cultural belief of people when
it comes to what the main role of a woman
really is in a society. The theoretical context
which I consider significant in my work is the
perception or mentality of a society regarding
the physical or intellectual ability of women in
that society. I have been working with fabric,
wrapping up my model in it to symbolize the
identity of a woman in relation to the veil and
its complexity. I do not wish to stereotype,
or create an over-simplified idea about the
veil. However, I would like my photographs
to put emphasis on the fabricated culture
and the corruption it can cause in the
treatment of women in that environment.
My work physically symbolizes a womans
identity in relation to her culture. Distorted
by fabrics, the figures in the photographs
portray a sense of imprisonment, a sense
of oppression. My photographs are inspired
by my own upbringing as a female child in
Afghanistan: my position led me to question,
to doubt, and to challenge the position of
women in the Middle East.
What gear are you making use of the most at
the moment?
I use a Canon 7D MKII, an 85mm prime lens,
a 50mm prime lens, and an 18135mm
zoom lens.
Any gear on your to-buy list?
A Canon 1D, and more lenses.
Although Sharifa wont participate in the
festival this year, we are looking forward to
seeing where her photography journey takes
her in the future.
51
BUYERS GUIDE OUTDOOR PRODUCTS

PACKING FOR
THE OUTDOORS
No matter the season, getting out of the studio and exploring the
unlimited potential that the outdoors ofers your shoots is incredibly
rewarding. Whether you take products out into the wilderness to be
photographed in context, or perhaps you want to photograph your
friends and family frolicking on the beach, its always a great idea to
ll your kit with a variety of gear to make sure youre covered for all
situations.

Youll need to consider stability options, where youll get your lighting
from direct sunlight or via a lighting set-up a way to keep your kit
safe and secure, plus all the additional accessories thatll keep your gear
in tip-top condition as well as add interesting efects to your imagery.

Explore our in-depth guide into the latest and greatest products that
would come in handy on your next outdoor photography adventure.
Happy browsing!

52
SIGMA 14MM f/1.8 ART SIGMA 2470MM f/2.8
DG HSM OS ART
The new Sigma 14mm f/1.8 DG HSM Art
is now available for you to pre-order. The You can now pre-order the Sigma 24
worlds rst 1.8 prime lens at a 14mm focal 70mm f/2.8 DG HSM OS Art lens, which has
length, the lens features the same large been designed for the latest high-megapixel
aspherical element as seen in the Sigma DSLRs. This zoom lens features a constant
1224mm f/4 Art. This element allows aperture of 2.8 right throughout the zoom
the lens to control distortion, while the range. The versatility this promotes is carried
hyper-sonic motor (HSM) provides fast and through to the new optical-stabilization
accurate autofocus. Three premium FLD and system, which helps to compensate for
four SLD glass elements control chromatic camera shake, making sure your images
aberration and sagittal coma are. Its an come out crisp and clear. The Sigma 24
ideal lens to consider if youre on the lookout 70mm Art is very durable perfect for your
for something to accompany you while outdoor shoots as it features a rugged
shooting landscape, astrophotography, metal barrel. The aspherical elements in
documentary, or architecture. this lens undergo a high level of polishing,
producing elements thicker in the centre
For more information on the than on the edges. This process enables you
Sigma 14mm f/1.8 DG HSM Art, to capture images at a high quality, that also
visit your local photo dealer. feature beautiful circular bokeh.

For more information on the

Sigma 2470mm f/2.8 DG HSM OS Art,
see your local photo dealer.

SIGMA 135MM f/1.8

DG HSM ART
Get your hands on the Sigma 135mm F1.8 SIGMA 100400MM
DG HSM Art its available in stores now. f/56.3 DG HSM OS
The medium-range telephoto prime lens is
designed for your high-megapixel DSLR, and
CONTEMPORARY
features a new hyper-sonic motor, which The Sigma 100400mm f/56.3 DG HSM
delivers plenty of torque to your focusing OS Contemporary is a state-of-the-art
experience. The result is a very quick speed, telephoto zoom that brings a new level of
promoting stable performance even at lower portability and quality to the super telephoto
speeds. This prime lens features a dustproof market. Featuring Sigmas optical stabilizer
and splashproof mount so you can take (OS), the Sigma 100400mm f/56.3 DG
it out and about with you in any weather. HSM OS Contemporary is compact and
It also has a large 1.8 aperture so that you lightweight. Its also got a push/pull zooming
can have creative control over the photos function and a new hyper-sonic motor
you capture. Its a great lens for portrait (HSM), which encourage a very responsive
photography, as well as a great option for experience, and a 1:3.8 macro feature can
event photography plus many other be utilized from up close or from a further
situations youd like to give it a whirl with. distance.

For more information on the For more information on the

Sigma 135mm f/1.8 DG HSM Art lens, Sigma 100400mm f/56.3 DG HSM OS
visit your local photo dealer. Contemporary, visit your local photo dealer.

SIGMA SD QUATTRO H KIT 35MM ART

The Sigma sd Quattro is a unique APS-H sensor mirrorless camera, designed with the Foveon
Quattro sensor. Well known for its great image quality and colour delity, the sensor produces shots
that are comparable with that of a 51-megapixel DSLR with a Bayer-pattern sensor. It features a
two-mode autofocus system that uses phase detection and contrast detection to produce great
shots. Its a great companion when youre out on your adventures, as it is constructed with a
dust-proof and splash-proof magnesium alloy body ideal for rugged and harsh conditions. When
youre using the Auto mode, the 2.3-megapixel viewnder will switch between the eyepiece and the
LCD screen depending on whether youre holding the camera to your face, or have moved it away
from your face. It also features a Super Fine detail mode, which you can use to capture seven diferent
exposures in a single snap. The Sigma sd Quattro H has its own Flickr group, so to get involved, head
on over to ickr.com/groups/3120649@N24/pool.

For more information on the kit, visit your local photo dealer.

53
BUYERS GUIDE OUTDOOR PRODUCTS
TAMRON SP 70200MM F/2.8
DI VC USD G2
The new Tamron SP 70200mm f/2.8 Di VC USD G2 is a fast-
aperture telephoto zoom. It features fast autofocus and vibration
compensation, and it provides high image quality and enhanced
bokeh throughout.
The USD (ultrasonic silent drive) ring-type motor, along with two
high-performance microcomputers, ensures great focusing speed
and accuracy. The full-time manual focus override allows you to
make ne adjustments while using autofocus, without having to
switch from autofocus to manual focus mode.
The Tamron SP 70200mm f/2.8 Di VC USD G2 has an RRP of
$2499, and you can nd out more at your local authorized Tamron
retailer or at tamron.co.nz.
The Nikkor AF-S DX 18300mm f/3.56.3G ED VR has an RRP of
$1449. Find out more at nikon.co.nz or at your Nikon New Zealand
authorized retailer.
NIKKOR AF-S DX 18300MM F/3.56.3G
ED VR
The Nikkor AF-S DX 18300mm f/3.56.3G ED VR is a
compact, lightweight lens, able to produce high-quality
image and video thanks to its high-level optical performance.
Its great when shooting a diverse range of subjects and
situations. The Nikkor AF-S DX 18300mm f/3.56.3G
ED VR has been designed with innovations such as three
extra-low-dispersion glass elements, and no matter where you
go, the lens is easy to carry around. The high-powered 16.7x
zoom lens weighs around 550g, and measures approximately
78.5mmx99mm. This body was achieved by suppressing the open
aperture at the maximum telephoto position to f/6.3, so the lens
retains its portability without sacricing performance.
The Nikkor AF-S DX 18300mm f/3.56.3G ED VR has an RRP of
$1449. Find out more at nikon.co.nz, or at your Nikon New Zealand
authorized retailer.
To nd out more about any of these featured products, visit nikon.co.nz
54
NIKON D5600
Voted the best entry-level DSLR of 2017 by TIPA, the Nikon
D5600 allows photographers to explore their creative freedom.
The 24.2-megapixel camera features a vari-angle LCD monitor
that ips out and rotates. The camera also features Nikons
SnapBridge, which is ideal when youre out and about and want
to transfer images from your camera to a compatible smartphone
or tablet via Bluetooth. You can also transfer video, which can
be lmed at Full HD at 60fps, via the cameras built-in Wi-Fi. The
Nikon D5600 ofers a 5fps continuous mode and a 39-point
autofocus system, as well as an ISO range of 10025,600.
The Nikon D5600 (with 1855mm VR lens kit), has an RRP of
$1299. To nd out more, visit nikon.co.nz, or your Nikon New
Zealand authorized retailer.
TAMRON SP 150600MM F/56.3
DI VC USD G2
Voted as the best DSLR telephoto zoom lens of 2017 by TIPA, the
Tamron SP 150600mm f/56.3 Di VC USD G2 lens incorporates
three low-dispersion lens elements to eliminate chromatic aberration.
The lens features anti-reection technologies, which result in
backlit or semi-backlit images experiencing no ghosting or are
from reected light. When youre shooting with autofocus, theres a
full-time manual focus override that allows you to make ne
focusing adjustments without having to switch between modes.
Theres also a ex zoom lock mechanism which locks or unlocks
the zoom at any position when you slide the zoom ring. The Tamron
SP 150600mm f/56.3 Di VC USD G2 lens has an RRP of $2249,
and you can nd out more at your local authorized Tamron retailer,
or at tamron.co.nz.
The Nikkor AF-S DX 18300mm f/3.56.3G ED VR has an RRP of
$1449. Visit nikon.co.nz or your Nikon New Zealand authorized
retailer to nd out more.
SONYS A6500 MIRRORLESS CAMERA
Its compact in size and light in weight Sonys A6500 mirrorless
camera gives DSLRs a run for their money. It allows lenses to be
interchanged, and has a built-in viewnder and manual controls,
so you can get as creative as you could imagine. The A6500s fast
hybrid autofocus system combines the strengths of both phase-
and contrast-detection autofocus. With 425 phase detection
points (covering almost the entire image), and a high-speed
contrast-detection function, youre able to shoot at an impressive
11fps, but you can also get highly accurate movement tracking
for both stills and video. You can see the Sony A6500 in action at
youtube.com/imagingbysony.
Sonys A6500 has an RRP of $2399 (body only). To nd out more,
visit sony.co.nz.
SONYS RX100 V COMPACT CAMERA
Meet the Sony RX100 V a compact camera, ideal for capturing
movies and stills in great detail. This camera inherits the RX100
series 1.0-type image sensor, and advances upon the model
with fast 0.05-second autofocus, 315 autofocus points for a
highly comprehensive phase-detection coverage, continuous
shooting up to 24fps with AF/AE tracking, as well as the ability to
capture 4K movies. With a 2470mm (equivalent) Zeiss Vario-
Sonnar T* lens, youre covered, whether youre shooting anything
from landscapes to portraits. To see the Sony RX100 V in action,
visit youtube.com/imagingbysony.
Sonys RX100 V compact camera has an RRP of $1899, and you
can nd more information at sony.co.nz.
To nd out more about any of these featured products, head to sony.co.nz
SONYS X3000 ACTION CAM
The Sony X3000 Action Cam is an ideal companion for
your outdoor adventures, when you need something tough
enough (and small enough) to take with you wherever you go.
Its splashproof and freezeproof, so it can handle the tough
conditions you may end up in, and if youre heading somewhere
more extreme, just bring the underwater housing, rated to 60m.
Use it to document your adventures in high-resolution 4K, or use
4K time-lapse to shoot a series of stills of a scene over a period
of time. Its built-in optical stabilization and the wide-angle Zeiss
lens also allow it to capture stable wide-angle vistas of the beaten
track. You can see the Sony X3000 Action Cam in action at
youtube.com/actioncamfromsony.
Sonys X3000 Action Cam has an RRP of $699, and you can nd
more information at sony.co.nz.
SONY RX10 III BRIDGE CAMERA
WITH 25X ZOOM LENS
If youre after the control of a DSLR and the reach of three zoom
lenses, but you want something smaller and lighter, then the
RX10 III could be the camera for you. A large-aperture
24600mm f/2.44 optical 25x zoom lens and 1.0-type stacked
CMOS sensor work together to make your subjects stand out,
even when theyre shot in extreme close-up. Extended zoom,
fast speed, and complete silence make for high-level stills and 4K
video-shooting experience. To see the Sony RX10 III in action, go to
youtube.com/imagingbysony.
The Sony RX10 III has an RRP of $2699. Find out more at sony.co.nz
55
BUYERS GUIDE OUTDOOR PRODUCTS

MANFROTTO ADVANCED
ACTIVE BACKPACK II
Be prepared for any encounter
the Manfrotto Advanced
Active Backpack II has room
to hold a DSLR with a lens
attached and two additional
lenses. You can also pop
a flash inside a removable
camera insert that fits in a
retractable compartment. You
can fit your 15-inch laptop in,
too, or put a 17-inch laptop in
the divider at the back of the
top compartment. The black
water-repellent backpack has
a variety of compartments
and pockets to comfortably fit
plenty of accessories, like SD
cards and spare batteries.
The Manfrotto Advanced Active
Backpack II has an RRP of $
174.95. Find out more at your
local authorized Manfrotto
retailer.

MANFROTTO BEFREE
COLOUR TRIPOD
Ideal for your travel adventures,
the new Manfrotto BeFree
Colour Aluminium Travel Tripod
from Manfrotto is compact,
lightweight, and sturdy. Its
designed to support your
camera, no matter the conditions
even when youre heading
out on outdoor adventures. The
tripod features a lightweight
aluminium construction,
which allows it to maintain
durability and rigidity despite
its four-section design and
1.4kg frame. It reaches heights
that are comfortable for most
photographers, and can be set
to any position ranging between
a minimum height of 34cm
and a maximum of 144cm.
The four-section design, with
inverted legs, allows the tripod to
collapse down to just 40.9cm in
length, making it easy to store or
transport, and it even comes with
a fitted carrying case to make
transport easy.
The Manfrotto BeFree Colour
Tripod has an RRP of $319.95.
Find out more at your local
authorized Manfrotto retailer.

ATMOSPHERE AEROSOL
Photographers have lugged
fog machines, dabbled
in pyrotechnics, and
experimented with dry ice in
pursuit of capturing streams
of directional light in their
images. But with a new
aerosol product brought into
New Zealand for the first
time, its now just a matter of
popping a can in with your
equipment to add a moody
atmosphere to shots, no
matter where you end up.
The easy-to-use Atmosphere
Aerosol comes in an aerosol
container, and it can be
spritzed into your shot with
little fuss. Being smaller than a
typical 70200mm lens, itll fit
in your camera bag.
Simply shake the can, spray
it into a room or still area for
at least 20 seconds, and then
capture your photography.
The haze will linger, and you
can respray as required. One
eight-ounce can holds about
as much as a can of hairspray,
and it will spray continuously
for about five and a half
minutes. In an environment
with no wind or air flow, it will
hang around for hours and
better yet, its safe, non-toxic,
and clear.
Check out atmosphereanz.
co.nz, or find it on Instagram
(@atmosanz), for examples
of how Atmosphere Aerosol
can enhance your images.
You can also find Atmosphere
Aerosol at Auckland
Camera Centre, Progear
Photographics Auckland, and
Snapshot Hamilton or ask
your favourite photography
supplies outlet to stock it.

56
PRODUCT SPOTLIGHT SONY A9
THE A9:
A FIRST LOOK
AT SONYS
ALPHA
FLAGSHIP
Sonys become a linchpin of the new school
of graphers, pioneering mirrorless camera
manufacture, and marching out impressive
high-end mirrorless cameras such as the
much-loved A7S II.
Now, its latest entry into the mirrorless
line-up, the A9, is being received with a
greater buzz than ever and its being
championed as the manufacturers most
advanced full-frame camera for professional
photographers yet.
The mirrorless camera focuses on speed over
resolution, and poses a formidable challenge
to industry giants, Canon and Nikon, as it
takes a shot at whats often considered the
DSLRs areas of greatest strength.
Boasting a 24.2-megapixel 35mm sensor,
and a mirrorless shutter that keeps things
silent and vibration-free, the Sony A9 ofers
incredible imaging performance under
pressure. The camera enables photographers
to shoot at a blazing 20-frames-per-second
with continuous autofocus and autoexposure
Sony A9, Sony FE 100400mm F4.5-5.6 GM OSS, 274mm, 1/1250s, f/5.6, ISO 200
tracking for
up to 241 RAW
images.
This surpasses even the fastest shutter
speeds of our favourite DSLRs such as
the Nikon D5s 12 frames per second, and
16 frames per second with the Canon 1D
X II. Not only that, it is also without the
thick, audible clack from the mirror and/
or shutter apping up and down (while
using the electronic, instead of mechanical,
shutter).
Just as importantly, Sonys newest darling
shoots with very low viewnder lag. When
the shutter is released while shooting stills,
the electronic viewnder functions with
absolutely no blackout, giving the user
a seamless live view of their subject at
all times, and ensuring they never miss a
moment.
With Sonys Fast Hybrid AF system, the
A9 pairs the speed of phase detection AF
with the precision of contrast AF, ensuring
Sony A9, Sony FE 100400mm F4.5-5.6 GM OSS, 232mm, 1/800s, f/5.6, ISO 3200
unfailing focus in scenes where
it might otherwise be diicult to
achieve. And if thats not persuasive
enough, Sonys newest agship boasts
a massive 693 phase detection points
covering 93 per cent of the imaging area
the A9 trumps the
A7 IIs 117 phase detection point system.
Further aiding focus in diicult shooting
scenarios, the A9 excels in low light, and
is equipped with ISO sensitivity of up to
204,800. Again, its far more than what the
average grapher needs for nature or wildlife
shots, but is a huge perk when working in
the soft, nuanced light of dawn and dusk.
It all comes together by way of the models
Bionz X processor and stacked full-frame
CMOS sensor, which Sonys notes say deals
with data lighting fast at least 20 times
faster than its prior full-frame line-up.
Together, the features of the Sony A9 ensure
youll never lose sight of your subjects
even if theyre the fast or feathered kinds.
57
 CLUB NATURE PHOTOGRAPHY SOCIETY OF NZ

INTRODUCING
NATURE
PHOTOGRAPHY
SOCIETY OF NZ
D-Photo spoke with two well-established members of Christchurchs
Nature Photography Society of NZ Pam Cumming and Pol Syrett
about their love for photography, and how being involved with the club
has helped their photography blossom

Pam Cumming

58
 Pam Cumming
Pam Cumming
Pam Cumming
D-Photo: What inspired your interest in
photography and made you pick up your
first camera?
Pam Cumming: As children, it was always
exciting to go through a box of old photos at our
grandparents and learn about their family, and
what they did in their day. I had a grandfather
and a brother who were very interested in
photography, and developed and printed
their own images, and I guess my interest in
photography grew from that. I have no idea what
my first camera was, or the ones following that
in my younger years. I have been a Canon user
for many years now, but have worked with many
formats and brands.
Are you self-taught or have you been involved in
photography courses?
My first job was in radiography, and I enjoyed
developing the X-rays. From there, I worked for
photographers as a darkroom technician and a
photo finisher, so I would have picked up a lot
Pam Cumming
about photography there. I trained as a forensic
photographer, which was a five-year training
period. I have also attended workshops and
courses over the years, and a special one was
with Freeman Patterson in South Africa.
Who are the photographers that you draw
inspiration from?
Initially Sally Mason, Freeman Patterson, and
Andre Gallant but there are many more that I
admire now.
How do you keep yourself motivated to keep
shooting?
My participation in camera clubs, mixing with
photographers and listening to speakers, and of
course, social media, add to the motivation. I did
take a photograph a day continuously for a
two-year period with a website called Blip
and using the camera every day and looking
at other works gave plenty of inspiration and
motivation. Of course, you are always after that
special shot that is very elusive, so you are always
trying to improve. It is a bit like the fisherman with
the one that got away.
59
 CLUB NATURE PHOTOGRAPHY SOCIETY OF NZ
Is photography your day job, or do you t it
into your spare time around your 95 job?
After having been in the police for 12 years
I had an opportunity to train as a forensic
photographer, and I worked in this area for
21 years. I didnt pick up a camera very much
outside work, other than to record family and
events. I joined camera clubs about three years
before I retired, and have been hooked ever
since, taking photographs for me.
How did you become involved with the club,
and how long have you been a member?
I heard about the wonderful field trips, and
weekend trips away, so joined up. I have been
a member for about 17 years. I have served
on the committee and, at present, I am on the
Honours Board.
What are the skills and benets you have
gained from being a part of the club?
I have learned a heap more about the natural
world, been taken to places that are interesting,
and developed a love of the bush and finding
the jewels of the forest: fungi. Speakers who
are invited to the club are very interesting, and
there is variety in their photography. You always
pick up something.
Would you advise other photographers to
become a member of a club? If so, why?
[Its great for] companionship, and a place to
discuss and debate the world of photography.
Being with like-minded people, [its also] a
great place to have your work critiqued and, of
course, an opportunity to show your work.
60
Pam Cumming
Are there competitions and programmes that
the club ofers that you participate in? How do
theywork?
Nature Photography Society of NZ is a
non-competitive club. The only competition
is the Trenna Packer Salver, which is for all
clubs throughout New Zealand, and images
must be of nature from New Zealand and its
outlying islands. Six images are submitted from
each competing club. You can also sit for your
Honours, which can give you more credence
in the photography world. There are small
workshops held now and again.
How do you showcase your images to an
audience? Do you make use of various
forms of social media? If so, do you enjoy
using them?
I am not so good at showcasing my images, but
occasionally I show a few at the club, [or] I enter
the odd competition through Photographic
Society of New Zealand and Christchurch
Photographic Society. I do have a Flickr site, but
dont keep it up to date! I also have two private
Facebook sites, where a small group of us put
up images to show what we are doing and
have them critiqued. I have made a book, and
have had a few images printed to canvas, which
were in an exhibition. Nature Photography
Society of NZ, as a club, puts on an exhibition
every two years, and members are invited
to submit an image for this. We have had
exhibitions in libraries, Hanmer, and the last two
exhibitions were in the Christchurch Museum,
with 44 images all matted and framed.

Pol Syrett
D-Photo: What inspired your interest in
photography, and made you pick up your
first camera?
Pol Syrett: I took my first photographs
with my parents Box Brownie, but the first
camera I actually owned was a Brownie 127.
While everyone my parents included
photographed each other, their children,
pets, and friends, from the very beginning
I preferred to photograph nature: plants,
animals, and landscapes. My motivation, even
as a child, was to capture the moment and
preserve it forever.
Are you self-taught, or have you been
involved in photography courses?
I am mostly self taught. I photographed badly
for a long time, achieving the odd successful
image by sheer enthusiasm and luck rather
than through any learned skills. Since I
joined Nature Photography Society of NZ,
I have been on a number of short courses,
[including ones] with Tony Bridge, Freeman
Patterson, Sally Mason, Dave Wethey, John
Cosgrove, and Mike Langford. Ive also
learned a little from tutors at Photographic
Society of New Zealand conventions. I went
on a storm-chasing photographic tour in
the mid-western USA, where I learned some
important lessons (especially how to see an
image), from a professional photographer
who was a member of the group. Over the
years, fellow members of Nature Photography
Society of NZ have also helped me develop
my photography.
Who are the photographers that you draw
inspiration from?
I was first inspired by Galen Rowells writings
and images, enjoying the way he combined
climbing adventures with photography. I
appreciated his understanding and use of
the physics of light, and his improvisations,
such as making use of a rock or a tree when
he didnt carry a tripod. I also accepted his
enthusiastic challenge to un-set the sunset
by running uphill! Other photographers I
enjoy especially are Frans Lanting, David
Muench and, of course, Ansel Adams. It is no
coincidence that all these photographers are
from the western USA, which encompasses
my favourite natural areas in the world.
Pol Syrett
61
 CLUB NATURE PHOTOGRAPHY SOCIETY OF NZ
How do you keep yourself motivated to
keep shooting?
Club eld trips and personal trips away
always inspire me to take photographs, and
at home there are lots of interesting subjects
awaiting my attention, especially in our
garden and along the adjacent Port Hills. My
biggest problem is taking the time to create
a really good image, rather than being
satised with the grab shot that is so much
easier to do.
Is photography your day job, or do you t it
into your spare time around your 95 job?
I am fortunate to be retired from my day
job, but as I do have lots of other interests,
photography doesnt always get the focus
it deserves.
How did you become involved with the club,
and how long have you been a member?
I have been a member of Nature
Photography Society of NZ since 2005,
when I saw a yer in Photo and Video our
local photographic store and thought that
a nature photography society would be a
great place to meet like-minded people, and
to improve my photography. I have been on
the management committee for most of that
time, and done two stints as president.
What are the skills and benets you have
received from being a part of the club?
Nature Photography Society of NZ is the
62
Pol Syrett
rst club of any kind that Ive joined in
which I feel at home, and able to fully
participate. Although I had tried to join
various groups for diferent activities
previously, because I was still working, I
was unable to devote suicient time, and I
never found anywhere that I really tted in. I
have made friends here, have found people
to go photographing with, and learned
heaps. The only limitation is my own lack of
determination to practice new skills, as I tend
to stick to my old bad habits!
Would you advise other photographers to
become a member of a club. If so, why?
Clubs ofer opportunities to make friends,
to learn from other people, and apply ones
own skills for the benet of others. Getting
together over a cofee after a eld trip is a
great way to share ideas.
Are there competitions and programmes
that the club ofers that you participate in?
How do theywork?
[Since] Nature Photography Society of NZ
is not a competitive club, activities include
a monthly meeting that features a visiting
guest speaker, a show of members images,
and an opportunity for catching up over
supper. Field trips are very important too,
both day and weekend trips, with the
occasional longer trip further aeld. We are
fortunate to have some great trip leaders
who are willing to share their favourite

places with the rest of us. Last year, our trips
included visits to Arthurs Pass, St Arnaud,
Kaikoura, Karamea, Lake Brunner, Gore Bay, Cass,
Lake Coleridge, Hinewai Reserve, the northern
bays of Banks Peninsula, Motuara Island and,
around Christchurch, the Botanic Gardens, Port
Hills, Heathcote salt marshes, Edmunds Garden,
Woodham Park, and Orana Wildlife Park I
didnt get to go on all of them! We do hold a fun
competition in conjunction with our Christmas
party in December, for which prizes awarded
across various odd categories include chocolate
fish or chocolate santas. Every other year we put
on a themed public exhibition to showcase some
of our members best work.
How do you showcase your images to an
audience? Do you make use of various forms
of social media? If so, do you enjoy using these
platforms?
Pol Syrett
Pol Syrett
Apart from showing a few images at Nature
Photography Society of NZs monthly meetings,
and entering images for our exhibitions, I do post
on Flickr, Blipfoto, and 500px. I dont take this
too seriously, but I do find feedback from fellow
photographers viewing these images helpful.
For [our clubs] field trip images, we have a Flickr
group, which is great for checking to see how
other people recorded the trip. I use Blipfoto
mostly to help motivate me to photograph
regularly. Initially, I posted every day, and set
myself challenges (like using a tripod every day
for a month), but now I use it just when I feel I
need a little extra motivation and some feedback.
My next challenge is to progress beyond showing
projected images to displaying prints, with the
aim of having (eventually!), more control over the
final product. This is a steep learning curve for
me, but one I am keen to climb.
63
 EDUCATION BACK TO SCHOOL
A STUDENT-DIRECTED
SHORT FILM ABOUT
SHORT FILMS
With many photographers rapidly making a
move into the world of video and film, its always
very interesting to see whats being created in
the industry. One film we have discovered is
SAE Institute New Zealand film arts student
Nic Brooklands short documentary called
The Small Short.
During the documentary, viewers get to see
and hear Kiwi directors and actors discuss
the topic of short film. The main focus
was going to be on seven Kiwi short-film
directors who have established themselves,
but we thought it would be great to bookend
the questions with an actors point of view,
too. So we roped in a handful [of actors] as
well. There are three SAE alumni who appear
in there as well: Nicole Chen, Warren Mahani,
and Evan Paea, Brookland explains.
The documentary was filmed throughout
Auckland, with several of the interviewees
filmed in their natural environment. It
took much of 2016 to complete the film,
as there was a bit of coaxing and wrangling
that needed to be done to get camera time
with each of the creatives set to appear in
the film. Naturally, getting all these busy
actors, producers, and directors in one room
64
at the same time wasnt going to happen,
so we took our time until we could drag
them from their cameras and computers,
Brookland says. [We were] aiming to get an
understanding of whats so attractive about
short films, what are some of the pitfalls, and
a few glimpses of Kiwi actors and directors
who have used short film to get [to] where
they are in their career. I was as curious
to hear the answers as the boom guy and
cameraman we were all waiting to see
what the subjects were going to say.
The response that Brookland received from
those he approached to be involved was
upbeat and keen something that enabled
him and his team to capture great viewing
moments: I had worked with a few of the
individuals on projects before, and they were
more than happy to give up their time and
weigh in on short film in a candid, honest
way. Those who we hadnt worked with
seemed more than hooked by the idea and
were also happy to take time and answer a
few questions on camera.
The film, which was produced by
Brooklands own production squad, is to be
entered into film festivals once its received
some finishing touches.
He says, It is a great info piece for film
students or film fans wanting to learn what
short film is really like from people who have
been involved with short films for many
years, had award-winning short films in
Tropfest, [have been] selected for [the New
Zealand International Film Festival], and
other, overseas-based festivals. Students
and young film-makers get to hear from
successful individuals who were in their
shoes not so long ago.
HAZE
ZE
IN A CAN
Available for purchase at www.atmosphereanz.co.nz
For trade or retail enquiries, contact sales@atmosphereanz.co.nz
Check out our Instagram: @atmosanz
 PRACTICE MAREEA VEGAS

Mareea Vegas is an Auckland-

based photographer and
musician. Each issue, she
talks to a new photographer
bringing interesting
artistic ideas to the eld of
contemporary photography.
Through these discussions,
she hopes to inspire D-Photo
readers to branch out in their
photographic practice.
Mareeas own work spans a
variety of styles and formats,
with her singular approach
earning accolades and
commissions from the likes
of the AucklandArtFair,
the Auckland Festival of
Photography, and Nikon
NewZealand.

mareeavegas.com
TRUTHFUL
REPRESENTATION
Mareea Vegas speaks with photographer Frances Carter about returning to
New Zealand after spending time in New York, and her progression in the fashion
and portrait photography industry

Three years ago I was struck by the very rst
portrait I saw by Frances Carter. It possessed a
level of maturity, elegance and emotional depth
that seemed beyond someone still in their teens.
Now, at 23 years old, Carters fashion and portrait
portfolio boasts a steadily growing list of leading
New Zealand labels and magazines, her work
seamlessly and thoughtfully blending the line
between art and fashion.
An AUT graduate (Bachelor of Visual Arts), Carter
has recently returned to New Zealand after 13
months spent living in New York City (NYC). We
caught up for a chat in Auckland to discuss her
latest portrait works, and her ongoing quest to
truthfully depict those in and around her world.
D-Photo: Do you feel that the time spent in NYC
inuenced your photography in any way?
Frances Carter: Actually I hardly shot anything in
New York; I spent much more time just looking
around me. But now that Im back in New Zealand,
and with the huge privilege of studio access (thank
you, Kingsize Studios!), Im working out how to put
all that I saw back into my images.
How do you put elements from the past into
images that you are creating in the present?
Its more practical than it sounds looking for
certain colour combinations for example, or
working out how to create my favourite types of
light. I guess, like with portraits, I need to know the
subject before I can shoot it and it takes a long
time to get to know New York. If I went back Id
denitely have my camera out more.
How do you see your work in relation to that of
other photographers working predominantly
with portraiture?
I like to think that Im working alongside a growing
group of portrait photographers who have
ties to fashion, but are motivated by a drive to
represent a broader cast of characters. Without
tying ourselves to well-meaning, but often token,
terms like diversity or real women, were trying
to normalize the possibility that two historically
separate groups the people we photograph
and the people that ll our lives can and should
overlap as much as possible.
Is there then a diferentiation between your
personal work and commercial work, or are they
one and the same?
There is denitely a separation. When making
commercial work Im at the mercy of the clients
creative direction, which isnt a bad thing. I like
the challenge of creating to somebody elses
specications, because it means I can focus on
perfecting the technical aspects of the images. In
my personal work I dont have to think about what

66
67
 PRACTICE MAREEA VEGAS
we are trying to sell, the focus can be completely
on the subject rather than a product.
I find your portraits extremely personal. It almost
feels as though I know these people. Is this
intimacy something that you strive to achieve in
your work?
I consider it an honour to photograph the people
I do, and I have a responsibility to truthfully
represent them. Im trying to bring out something
that I see in the subject, but I want them to
retain control over the nal images. I think this is
especially important in the digital age. If someone
68
doesnt want me to publish an image, I wont
publish it. If someone approves an image and then
later decides theyre not comfortable with it, Ill
take it down. So, my hope is that the images you
see have a connection with the way the subject
wants to represent themselves, which ideally
results in that intimacy you mentioned.
Do people need a sense of your subjects back
story to fully understand or appreciate your work?
Its impossible for me to say, since I always have
that information. But I dont shoot purely for
aesthetic appeal when Im making personal work,
so it probably does make a diference to know
something about the person in the image. Im
shooting less for the present and more for the
future, so we have a document of the people
who are shaking the world up (or my world, at
the very least).
I like the idea of shooting for posteritys sake. Are
there photographers who you admire who have
documented previous generations?
Nan Goldin will always be my number one in
that genre.
Do you believe that you relate more closely to
film, in your process, than digital?
I dont have any loyalty to lm, although I can
appreciate why people wax lyrical about it (and
I dont want to see it disappear). I think whatever
medium you use, its always just a tool. I do like
the process of shooting on medium-format, and
I cant replicate those results on my DSLR, but I
wouldnt trade the level of control I have over the
digital RAW les for 35mm lm.
Can you talk about how your photography has
evolved from stills to moving image?
Honest answer is that the future of the
photographic industry is pretty unclear, and I want
to have a few diferent skills under my belt, just in
case! Im enjoying the learning curve, too.
Because we all want to know what you shoot
with, whats currently in your camera bag?
Mostly tools, actually: gafer tape, clamps, gel
scraps, Leatherman, Sekonic, batteries, card
reader, cable ties, grey card, etc. Camera-wise, I
have a Mamiya RZ67 that I should really use more.
For digital, its a Canon 5D and 2470mm [lens] I
like to get people moving around so a mid-range
zoom suits me best.
And, lastly, where would we find Frances at 10pm
on a Friday night?
Probably home alone always have to wake up
early for shoots on Saturdays!
69
TOP 10 PHOTOGRAPHY TERMS FOR BEGINNERS

10 TERMS BEGINNER
PHOTOGRAPHERS
SHOULD KNOW
When youre just starting out with any new hobby or interest, theres always an abundance of
information to digest and learn. Photography is no diferent, and learning your way around the
camera is only the start theres plenty of technical jargon and terminology to be made aware
of, so we picked out 10 terms we think all beginner photographers should know

1. Depth of field
Think of depth of eld as an area of focus.
Depending on what youre shooting, within
your image there will be a specic area that
will appear sharp and in focus. Because this
difers for each image, some images will be
described as having a shallow depth of eld
or a deep depth of eld. Shallow depths of
eld refer to images which have a small area
of focus, and deep depths of eld refer to
photos with a large area of focus. There are
ways to control the size of your depth of
eld, and that is by adjusting your aperture
and adjusting your focusing distance.
Experiment with larger apertures and closer
focusing distances to see how they afect
your depth of eld.
2. Aperture
Aperture is most easily remembered when
associated with an eye. The cornea of your
eye lets in light and then passes it through
to your iris, which expands or shrinks,
afecting the size of your pupil and therefore
controlling the amount of light through to
your eye. Your camera lens acts in a similar
way the lens collects light, and the hole
in your lens can be made bigger or smaller
in order to allow a certain amount of light
into your camera a large hole means a
large aperture, and a small hole means a
small aperture. Adjusting your aperture will
afect the depth of eld, so a larger aperture

70
will create shorter depth of field, so your
background will be blurrier, while a smaller
aperture will create a bigger depth of field,
and your background will be sharper.
3. Exposure
Exposure in photography is determined by
the aperture, ISO, and shutter speed (known
as the exposure triangle), and these three
elements combine to determine how light
or dark your created image will be. Each of
the settings needs to be weighed up in order
to make sure they all work together to create
a good exposure, so the aperture needs to
be set to allow the correct amount of light
in, while the shutter speed (also known as
exposure time) controls the length of the
exposure, and the ISO speed determines the
cameras sensitivity to light and a note to
remember: a lower ISO generally creates
less image noise.
4. ISO
ISO determines how sensitive your camera
is to incoming light so a higher ISO
means your camera will be more sensitive
to light, while a lower ISO means itll be less
sensitive to light. When your camera is more
sensitive to light (i.e. youve set a higher ISO),
youll be able to capture quality images in
low-light situations. There is also a base
ISO to be aware of, which is generally the
lowest ISO of your cameras sensor that will
71
TOP 10 PHOTOGRAPHY TERMS FOR BEGINNERS
create images at the highest quality this is
usually around ISO 100 to ISO 200.
5. Focus
Focus generally describes the level of
sharpness in your image if your image is
sharp and clear, its in focus; if its blurry, its
out of focus. Focus is heavily reliant on your
aperture, as it is dependent on how light
rays hit the image sensor. With a smaller
aperture, light is travelling through a smaller
hole towards the image sensor, so the light
rays are more concentrated when they hit
the sensor, therefore producing a more in-
focus image. Its also possible to experiment
with your images, as in many situations,
having the foreground in focus and the
72
background slightly out of focus can provide
your image with a diferent, interesting
dimension.
6. Noise
You know those images where things look a
bit grainy and distorted? Thats image noise.
Noise can be caused by a number of factors
including shooting at a higher ISO, cameras
with smaller sensors, and long exposure
times. Although you can make adjustments
when you are creating an image to limit
image noise, such as shooting at a lower
ISO, or using a camera with a larger sensor,
you can also utilize software when youre at
the post-processing stage to reduce grain in
parts of your image.
7. Rule of thirds
The rule of thirds is a common method
of composition when it comes to
photography. In many shooting situations,
it creates a
well-composed, well-balanced image. It
involves picturing a grid on your viewnder
that is split into nine parts, or cubes. The
theory is that lining up points of interest in
your scene with the intersecting lines of
the grid will make for a more interesting
image. Also, typically with the rule of thirds,
your subject will take up just two thirds
of the grid, leaving room for interesting
backgrounds, and making images less
awkward by placing everything in the centre
of the image.
8. White balance
Theres nothing quite as disheartening as
seeing a scene or subject lled with colour
that youd just love to capture, and then
looking at your image later to realize that
none of the colours came out as they
appeared in real life. This is the reason why
white balance is important. Adjusting your
white balance will enable you to get colours
as accurate as possible. Diferent cameras
have diferent methods of making these
adjustments, however, some have preset
white balance settings to use in diferent
shooting situations, such as automatic,
settings for indoor shooting, settings for
shooting in direct sunlight, plus plenty
more. Theres always the manual method,
which makes use of white or grey cards
that you hold up to your camera in diferent
lighting situations to teach the camera what
white actually looks like in that scenario,
so it will adjust your settings to get the
correct colour.
9. Shutter speed
Weve mentioned shutter speed earlier,
and that it is also known as exposure time.
In other words, shutter speed refers to the
length of time that your cameras shutter
remains open to allow light into the camera.
Altering the length of your shutter speed
allows you to create diferent efects in your
imagery, for example, a short shutter speed
will freeze action in an image, while a longer
shutter speed will create a motion blur.
Shutter speeds are measured in fractions of
a second, such as 1/250s, but you can have
extremely long shutter speeds that will be
measured in seconds, or even minutes
10. RAW
If youve been shooting in JPEG and have
wondered what shooting in RAW means,
wonder no longer. RAW les give you
more wiggle room when it comes to post-
production of your images, and can take the
quality of your shots to a whole other level.
A RAW image le has minimally processed
data, so you can edit it to completion later
on. While you do always aim to get it right
in camera, shooting in RAW gives you a
better chance of perfecting anything you
didnt quite get right, such as the tone of
the image, lighting, shadow removal, and
anything else youd like to adjust.
Of course, theres still plenty out there for
you to learn, but if youve got these basics
down, youll nd the world of photography
a lot less confusing, and you will have built
yourself an excellent knowledge base to
expand on as you become more and more
experienced. Email editor@dphoto.co.nz
to let us know any tips you found especially
useful while learning.
73
 GEARDUCATED

During 20 years of
experience in commercial
photography, Leon Roses
unique shooting style
has fullled the visions of
advertising agencies, design
houses, and corporate
customers. An early adopter
of digital photography,
Leon has been involved in
digital capture for the past
10 years. His latest project,
a monograph on Muay Thai
kickboxing in New Zealand,
Live, Train, Fight like Thai,
was published with PQ
Blackwell, and rounds
out his commercial and
personal portfolio.

SKYS THE LIMIT

Leon Rose heads out on whats usually back-breaking work a full-day
shoot with a bundle of gear in tow. But, equipped with the new range of
Vanguards newest range of packs, shootings a breeze.

Most photographers have a problem nding
the perfect pack. Throwing too much money
away each year on the quest for the perfect
bag, many graphers have a bag for travel, a
bag for the everyday, a bag for conventions
thats at least four diferent bags, simply to lug
the same gear around.
Its no wonder many photographers acquire
so much gear over time pixel-peeper
camera bodies are doubling in MPs, and
lens manufacturers are releasing great glass,
year after year. Photography backpacks, too,
have evolved signicantly over time, allowing
numerous congurations of camera gear,
accessories, and laptops to suit any graphers
requirements. Despite so many options, it too
often seems as though you cant have it all
smaller day packs skimp on the camera gear
storage space, and large strap-equipped packs
arent ideal for holding travel accessories,
water bottles, and lunches.
in its place. For this, the Vanguard Alta Sky
series backpacks certainly deliver.
At rst glance, both models are essentially
the same in every way other than
dimensions, with the 51D being the larger of
the two. The 45D carries one pro-DSLR body,
with a 70200mm lens attached, while the
51D ofers the option to t in a second body,
if needed.
Together with the capacity to t a DSLR body
and multiple lenses, the 45D comfortably
ts a 13.3-inch laptop, while the 51D can
accommodate a 15-inch model. Really, you
only notice the diference in size when you
compare the compartment sizes the lens
pockets are noticeably smaller on the 45D,
and squeezing the Canon 5D MkIII, paired
with its 70200mm lens, into the side
opening is a bit tight with a double battery
grip attached.

The Vanguard Alta Sky range are bags, yes,
but not just any bags. If you are like me, and
you are always in a hurry to get to the next
job or project, you will need a place for
everything, and more importantly, everything
Featuring innovative two-thirds, and one-
third division, the larger compartment of
Vanguards Alta Sky 51D pack can be fully
accessed from the rear, quickly reached from
the side, or separately opened from the top.

74
 Looking over the Kaipara Harbour from State Highway 16
Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 85mm, 1/320, f/11, ISO 250, Photoshop stitch of 11 frames

Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 80mm, 1/100, ISO 800
The Vanguard Alta Sky 45D in action

75
 GEARDUCATED

The Vanguard Alta Sky 45D in action

Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 80mm, 1/160, f/5.6, ISO 250

Rainbow Falls, Kerikeri

Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 145mm, 145mm, 1/320, f/5.6, ISO 800

76

The smaller compartment, perfect for
lenses and lens accessories, enjoys quick
individual opening from the bottom front.
With this in mind, I packed all my other
favourite lenses in the bottom compartment
my 24105mm, my 1635mm, my t comfortably sideways within the pack,
100mm Macro, and my 50mm f/2.5 Macro, a
polarizer, and an LED light, just in case. Last,
but not least, I packed my drone, too. The
controller and iPad mini tted perfectly into
the top compartment, while the DJI Phantom
securely strapped on the front via two exterior
clipped straps, covered with the drop-down
tripod holder. The same ap that secured
and covered the drone folds down and has
a pocket for the feet of your tripod to rest in,
while the straps used to secure my drone can
then secure your tripod.
Even after adding all this gear into the kit, I
could still comfortably t my laptop in the
dedicated padded sleeve closest to my
back. After all this, I weighed the pack and
found it was 13 kilos and there was still
room for another two lenses, or a lens and
a speedlight.
Reserving the 45D pack primarily for my
main shooter the Canon 5D MkIII DSLR
with Canon 70200mm f/2.8 L-series lens
The Kerikeri Stone Store
DJI Phantom Advanced, 1/190, f/2.8, ISO 100
attached Vanguards Alta Sky 45D ofered
ample room within its lower third. Though a
larger lens, the 70200mm f/2.8 is a personal
favourite as it allows me to shoot a great
range of images, and its perfect for panorama
landscapes when shooting hand-held. It
while I could easily access it through the
side opening.
This allowed all the other gear needed for the
day trip to sit easily within the top two-thirds
of the 45D day pack some bits and pieces
for the kids, as well as our lunch, and some
snacks for throughout the day.
We spent the day walking through some of
Kerikeris idyllic spots, and I found the 51D
to be extremely comfortable, even fully
loaded. We trekked through the Rainbow Falls
Walk back to Kerikeri, which is a lovely walk
through native bush, past the falls which
were majestic after all the rain we have had
lately before we made our way to the
old p site above the Stone Store, where I
nally got a chance to launch my drone over
the picturesque inlet with yachts moored
in the foreground as the sun started to set.
Throughout the journey, the packs kept
things comfortable with ergonomic back
and harness systems, featuring a well-padded,
77
 GEARDUCATED

Gibbs Farm from State Highway 16

Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 200mm, 1/2500, f/5.6, ISO 250

breathable 3D back. Uniquely shaped, easy to adjust shoulder

straps perfectly contour to your back and torso, via adjustable
sternum straps and a well-padded supporting waist belt.

Functionally, these packs are very versatile, and just as suitable

as a general travel pack as a dedicated camera kit. Theyre
perfectly designed to cater for your equipment and the other
essentials you will bring on your trek both packs also feature
a good-size stretchy water bottle pocket, and a place to store
your phone/iPod with a headset port which will conveniently
extend the cable from the internal smartphone pocket. For your
memory cards, there are numerous storage pockets, including
a dedicated one located in the access point on the side of the
larger two-thirds compartment, which are labelled full/empty
media storage.

Vanguards newest range of Alta Sky backpacks satisfied my

every need both as a travel pack on my day out with my
family, and as a dedicated camera bag while shooting. It made
travelling easy, even though I had a slew of gear in tow and
kept everything on hand for when I needed it.

Needless to say, Im sold and I think the 51D is the backpack

for me: its time to replace my older backpacks for something
that holds all the answers.

For more information on the new range of Vanguard Alta Sky

bags, and to purchase, visit crknz.co.nz. Vanguard Alta Sky 45 backpack Vanguard Alta Sky 51D large backpack

78
 Fantail at Rainbow Falls (Close up)
Canon 5D Mk III, Canon 70200mm f/2.8L IS USM, 200mm, 1/125, f/2.8, ISO 800

79
 TRENDS SOCIAL MEDIA

THE RISE OF
THE PLATFORMS
Social media has made instant gratication an everyday occurrence
for users, and that has extended to the world of photography. We take
a look at how social media is evolving to create great platforms for
photographers to utilize to get their work noticed

Once upon a time, to share a photograph
you had created with friends and family, let
alone the general public, you would have to
snail-mail a physical copy in an envelope,
and the recipient might not receive it for up
to a week. Nowadays, you can take a photo
on your camera or phone, apply a lter,
or carefully post-process your shot, then
instantly upload it to your choice of social
media for everyone to see.
The platforms available for photographers
to showcase their creations are seemingly
endless, and they all function in slightly
diferent ways, but, at the end of the day,
they present a way of getting your style of
photography noticed by not just your friends
and family unless your privacy settings are
set up like Fort Knox but also by the wider
world. Who knows what opportunities could
come your way from people whove seen
your work and loved it.
Facebook
There are a number of ways in which you
can utilize Facebook to share your images:
on your personal page, on a business page
that you create, or even in a group. If youre
after a platform on which to share your work
with your friends and family, posting to your
personal page would be the way to go, as
you can customize your privacy settings to
ensure that only people youre friends with

80
on Facebook will see anything you post.
If youre keen to get your name out there
a bit more, set up a business page, as then
anyone on Facebook can see your images,
like them, and share them, and youll be
able to grow a fan base that actively follows
your photographic journey. There are also
plenty of Facebook groups to join. Beginner
photography groups let you ask questions
and get advice, critique groups allow you to
upload your images and ask for feedback,
while general groups are for people with
a passion for photography who want to
network and share what theyre working on.
If these ideas sound like a bit of you, just do
a bit of Facebook searching until you nd the
group, or groups, that suit you.
Instagram
The home of photographs of your dinner
and seles but its much more than that!
If youre seeking a fun way to increase your
fan base, then Instagram is a great platform
to explore. It involves uploading edited/
ltered images or maybe #nolter photos
if youd prefer and sharing them with your
followers. If you want a quick way to increase
your fan base, make sure you make use of
hashtags, which are an easy way for people
to search for your photographs. Hashtags
for New Zealand nature photographers
could be something as simple as #nature or
#nznature. Experiment with your hashtags
and youll see your fan base grow steadily.
You can use it in whichever manner you feel
youd like to showcase your work, whether
you want to upload behind-the-scenes shots
from your latest shoot, or use it as a journal
of things youve been photographing. Maybe
you want to get feedback on your latest body
of work, or ideas youve had. If youve got a
website you want people to visit, make sure
you include it in your bio.
Pinterest
Pinterest is a platform that some
photographers may nd slightly scary, as
its one that encourages users to pin other
peoples work to their own Pinterest boards.
If you decide to use Pinterest as a social
media outlet for your work, and you dont
like the idea of your images going far and
wide without recognition, make sure you
pop a watermark on your photos so viewers
will always know where they came from.
Basically, with Pinterest, you can create as
many boards as you like so perhaps a
board per body of work and then you
upload your nished images to these boards,
encouraging the Pinterest community of
110 million plus (2016 stats) to view, interact,
and share them with their followers. You
can build a following of photographers and
photography lovers, and you can also create
a list of people you want to follow, and
interact with their images. You can also link
all your images back to your website, so you
can generate a decent amount of traic to
your site, and perhaps even spark business
through this.
81
 TRENDS SOCIAL MEDIA
500px
If you hope to get your images noticed,
while also lining up the potential to make
a bit of cash from your work, 500px may
be your platform of choice. Within 500px,
there is a Marketplace section on which all
the uploaded images will be stored, and
users can search for the type of images they
like, and from there can decide whether to
purchase them. Within 500px you also have a
prole page on which you can upload a bit of
information about yourself, house all of your
uploaded images, and even direct people to
your website. To use 500px, you rst decide
whether you want a free account or a paid
membership. Depending on your needs,
you may only require a free account, which
allows you to upload 20 images per week,
with the ability to license them through the
Marketplace. The other memberships ofer
you a range of interesting features check
them out before you make your decision.
Flickr
Flickrs home page tells you straightaway that
it is home to 13 billion photos and two million
groups. If you want to integrate your work
into the photography community, Flickr is
denitely a ghting option to consider. It has
two main focuses: as a platform that enables
you to share your photographs with your
chosen audience, whether thats publicly
or privately, and to provide a new way to
organize your created content. You can easily
search through all the content on Flickr
unless it is private for specic people or
photographs. When you nd an image you
82
like, you can see who shot it and follow them
to ensure you see more of their photographs.
Theres usually camera information on what
settings were used when creating the image,
and you can comment and provide feedback
on the image. Its a great interactive and
engaging photo community.
YouTube
The photography world is no longer limited
to still images; theres also the ever-
expanding world of video! One of the largest
platforms on which to get your video content
seen is YouTube. Once your video is lmed
and processed and if you want more than
your friends and family to witness it its
time to upload it to YouTube and share it far
and wide. The great thing about YouTube
clips is that they can be embedded into your
website,
or shared on your Facebook page as well
as on a raft of other social media channels,
such as Twitter, Pinterest, and Tumblr and
you can even email them to your family and
friends, or your subscriber list if you have a
good following.
Weve only touched on a few forms of social
media that will help you to get your images
seen around the world, or even by just your
friends and family, so its well worth exploring
all the other websites and apps out there
until you nd something that aligns perfectly
with your needs. Social media is an ever-
evolving place, so if youve been weighing
up the options, and whether its worth being
involved or not, wed recommend you jump
in now so you dont get left too far behind.
 INFOCUS
2017
WELLINGTON DREAM BIG
IRIS
AWARDS

EXPOSURE
T HE NZ PHOTO SHOW

SHED 6, WELLINGTON
EXPOSURE 15-18 JUNE
IRIS AWARDS 15-17 JUNE
INFOCUS 18-19 JUNE 2017
INFOCUS.ORG.NZ

SPONSORS
 IMAGE HANS WEICHSELBAUM

BEYOND THE
RAINBOW
Hans Weichselbaum has
INFRARED
PHOTOGRAPHY
been on the digital-imaging
scene since Photoshop3
in 1994. He has shared his
expertise in workshops
countrywide and in
articles for three diferent In this second instalment, Hans Weichselbaum explores the
publications. phenomenon of infrared photography, digging deeper and discovering
Hans is a perfectionist just what infrared photography does with normal colours
and passionate about
photography. His background
in science and philosophy
lets him look outside the
box when problem-solving.
His business specializes in
Photoshop tuition, high-
quality lm scanning, large-
format printing, and colour
calibration.

hans@digital-image.co.nz

Image 1 Auckland Domain in infrared light

In the rst part of this series, we looked at
some practical infrared photography using
a modied camera. In this second part,
well explore the possibilities a bit further,
and nd out what infrared does to all our
familiar rainbow colours. Dedicated infrared
photography doesnt come cheap, so well
also look at how you can simulate a genuine
infrared image by starting from a normal,
everyday shot.
People have always been fascinated by the
world of the invisible. The visible rainbow
spectrum is only a tiny sliver of the entire
electromagnetic spectrum, stretching from
X-rays to radio waves. In Image 2, you can
see the part of the spectrum coming from the
sun that is important to us photographers:
The ultraviolet region is not very interesting
to photography, unless you want to see the

Image 2 the suns spectrum that is useful for photography

84
world through the eyes of a bee. This band is
well blocked out by the lter in front of your
sensor. If you want to dabble in ultraviolet
photography, you need to remove this lter.
Secondly, you need a (very expensive) quartz
glass lens and then youll nd there is not
much ultraviolet around anyway, because
the atmosphere lters out most of the
ultraviolet from the sun.
So, we are basically left with the infrared
region to explore. Keep in mind that more
than half of the suns radiation reaches us
in the form of infrared theres a lot of
infrared around!
Image 2 also shows you the near-infrared
band thats interesting for us photographers,
stretching from about 700nm to 1000nm.
Beyond that comes the far-infrared radiation
band the region used for thermal
photography, which is not shown in
this diagram.
Infrared photography literally opens up a
whole new world, because its a world of the
unseen. If you are into ne-art photography,
you should have a serious look at infrared.
It will make your landscape photography
stand out, but it also works for portrait and
wedding photography.
The quickest, easiest, and least expensive
way of getting into infrared photography
is to use an infrared lter on your lens
assuming that you can t a lter on your lens.
The ultraviolet lter that you put on your lens
blocks out the ultraviolet, and you might be
forgiven for thinking that an infrared lter
does the same, blocking out the infrared part
of the spectrum. However, its the opposite.
Infrared lters are transparent to infrared
and block out the visible light spectrum! Its
a bit confusing, but once you get your head
Image 4 transmission characteristics of some infrared filters
Image 3 an infrared filter
around the concept, it makes sense. You
dont want to capture the visible rainbow
colours, but only the infrared spectrum
thats reected from your subject.
Image 3 shows you an R72 lter, which
blocks out the visible spectrum with a
cut-of around 720nm. Image 4 depicts
the transmission characteristics of a number
of infrared lters. You can see that all of
them have zero per cent transmission for
light below about 700nm. These lters
are really black but never use them to
look directly into the sun. The infrared light
that gets through the lter will damage
your eye!
All digital sensors are very sensitive to
infrared, and you might think that putting
an infrared lter on your lens will do the
trick. Even though it does work, all cameras
also have an infrared block lter mounted
in front of the sensor. There is always some
infrared light trickling through, but very little.
This means that you have to push the ISO
really hard and still need exposure times that
run into seconds, even in plain sunlight. For
Image 5 a black camera bag under infrared
ordinary photography, youll need a camera
that has been specially modied for infrared.
Most infrared photographs are black and
white, although you can bring in some
colour if you go for a lter with a cut-of
below 700nm. The obvious question
that comes to mind is: how does infrared
photography represent our familiar rainbow
spectrum on a white-to-black greyscale?
I went to great lengths to nd this out by
taking shots of a colour chart under infrared.
However, this exercise is not really useful
because it all depends on the material
the colours are printed on, not so much
the colours themselves. If the material is
reective to infrared, it will show up as
light grey or white. A good example is my
photography bag, which is fairly black in
ordinary light, but comes out as white under
infrared (see Image 5). The manufacturer
obviously used a material that reects
infrared, otherwise my camera gear would
cook in the sun. I assume that the bag could
have been tinted blue or red and would still
have shown up as white under infrared.
85
 IMAGE HANS WEICHSELBAUM

Image 6 a green leaf under normal light Image 7 a green leaf under infrared

What immediately sets most infrared

photos apart from normal black-and-white
shots is that green vegetation comes out
as very light. Green plants reect infrared,
producing the so-called wood efect. The
contrast was very obvious when I put a
leaf on the matching green colour patch
of a colour chart (see Images 6 and 7).
However, the green patch on the colour
chart could have turned out lighter or
darker under infrared, depending on the
material used.

Another interesting characteristic of

infrared light is its ability to smooth out
skin tones. Thats why portrait and wedding
photographers love to work with infrared.
You get a milky smooth skin, and all the
freckles are gone. The eyes can get too
dark and overemphasized, so some
post-processing might be necessary.

My shot of Brooke was perfect straight out

of the camera (see Image 8). Her skin was
smooth to start with and the infrared light
couldnt really show of its ability to get rid
of skin imperfections. Her blue eyes didnt
need any post-processing, either, but you
do need to watch out if your model has
very dark eyes. Incidentally, photographing
under ultraviolet light does the opposite
it accentuates skin imperfections and
will show freckles that arent even visible
in normal light.

The best time of day for infrared

photography is midday under full sun.
Ideally, you should have a clear sky with
some clouds for efect. Overcast skies often
leave things looking at without enough
contrast, although you might prefer that
for portrait shots. A cloudless sky often
Image 8 infrared portrait looks like a vast black void and isnt very

86
Image 9 garden in normal light
interesting. A few clouds come in handy for
infrared photography.
Infrared simulation with Photoshop
If your camera is not suitable for infrared
photography, or if youre waiting for a new
infrared lter to arrive, why not try to simulate
the efect in Photoshop? Do keep in mind
that infrared photography captures subtle
tonalities that dont show up in a shot taken
in daylight. No amount of digital editing can
retrieve these nuances, but we can get
a reasonably good approximation to the
real thing.
The key tool for transforming a colour photo
into an infrared black-and-white simulation
is Photoshops Channel Mixer. The idea is to
take the green channel to the maximum 200
per cent, and reduce both the red and blue
channels to compensate.
Make a duplicate layer. This is not strictly
necessary if you work with adjustment
layers, but its always handy if a mistake
slips in.
Open the Channel Mixer from the
adjustments panel, or go to Adjustments
> Channel Mixer. Choose the black-and-
white infrared preset and you will see
the green channel slider jumping to its
maximum setting of 200 per cent (see
Image 10). The optimal settings for the
other two channels will depend on your
particular image, but the percentages
should add up to around 100 per cent.
The Constant slider allows you to x the
overall tonality. Dont forget to check the
Monochrome box.
Make the image layer active again by
clicking on it. Then select the green
channel in the channel palette and add
Gaussian blur (radius around ve pixels).
Go straight to Edit > Fade, reduce the
opacity to 30 per cent, and set the blending
mode to Overlay. Also try blending in
screen mode. This will give the green Image 10 the Channel Mixer for infrared simulation
channel the typical luminous glow.
Click on RGB in the channel palette, then
return to the layer palette.
Noise can be added to simulate lm grain.
I like to insert a hue/saturation adjustment will give you superior results, but it is
layer between the Channel Mixer and the time-consuming and does not lend
image layer to have more control over the itself to a simple action.
tonalities of the various colours, e.g. blue
often needs to come out darker. See my result of the infrared simulation in
Image 11, and compare it with the genuine
This is a simple recipe that can be made into infrared photography seen in Image 12.
an action. You can go a step further and The characteristic glow of the real thing
prepare separate selections, e.g. a selection is missing in the simulation. There was an
for the vegetation and another one for the overcast sky, so the typical black sky wasnt
sky, and then work on them individually. This there, either.
87
 IMAGE HANS WEICHSELBAUM
Image 11 garden in simulated infrared
Image 12 garden shot with infrared-modified camera
The Lightroom enthusiast will find a preset
in the Develop module called Infrared.
This is a good starting point for any further
colour tweaking for best result. If you
have the Nik Software plug-in, which you
can download free, youll find an Infrared
Film preset in the Color Efex module.
After selecting the filter, the software
88
gives you tons of additional controls to
tweak brightness, contrast, shadows, and
highlights.
I hope that this in-depth introduction to
infrared photography will encourage you
to have a serious look at digital infrared
photography. A simple infrared filter
on your lens, plus a tripod, can get you
started. If you like the results, you might
consider getting one of your old redundant
cameras converted into a dedicated
infrared shooter. I can highly recommend
Kolari Vision (kolarivision.com), if you are
seriously thinking of getting into infrared
photography.
Get the Whitecliffe Edge
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EXPLAINED COLOUR TEMPERATURE

COLOUR
TEMPERATURE
We strip through the jargon to break down colour temperature what it is,
what to look out for, and how to ensure youve got it right, every time

2500K 4500K

7500K 9000K

The technical denition of colour
temperature is full of terms such as the
Planckian curve, or chromaticity space
in short, its very confusing, a wee bit stale,
and leaves most feeling even more baled
than before. Its for this reason that many
photographers stick to Auto White Balance,
even when they might otherwise work
exclusively in manual modes.
In laymans terms, colour temperature
describes the way in which diferent light
sources produce diferent-coloured light,
due to the various proportions of the three
primary colours red, green, and blue
that form white light. A candle emanates a
warm, orange glow, for example, while the
rays of the midday sun on a clear day emit
a bluish tint. the metal turns white, and at its hottest, it
When the colour temperature is high, more
blue light exists, and when the colour
temperature is low, theres more red. These
diferent colours can be expressed using a
number, measured in Kelvins a term that
you probably came across back in your high
school science class, but have probably long
forgotten. The scale is an extension of the
Celsius scale, based on the colour of the
light, and was conceived by determining
the colour of a black-body radiator as it
heated to varying temperatures. At lower
temperatures, the chunk of metal glows red,
then orange, then yellow. As it gets hotter,
emanates blue. This change in colour is what
we use as a basis for the colour temperature
of light in photography.
So, why does any of it matter? Well, while the
human eye adjusts continually to changing
light conditions, digital cameras are simply
not as good at adapting chromatically, nor
are their sensors quite so lenient. Instead,
cameras handle colours by identifying the
colour cast, then adding the same amount
of the opposite colour to try and create a
neutral image, where whites look as white

90

as possible. This is your white balance
setting, and if you are recording any format
other than RAW, this setting permanently
determines the colour balance of your
recorded image. Though Auto White
Balance yields great results in daylight
situations, it doesnt do quite so well in low
light, or mixed lighting (where it tends to
produce an average). As a result, images are
sometimes unwittingly drenched in a colour
cast that is, an overall blue or orange tint.
So, if youre tired of nding that your images
are veiled in an unnatural hue, if you want
consistency in colour across your images so
that its easier to make batch edits or sync
through its settings or dial in your Kelvin
temperature, and experiment with how
white balance afects images in real time
via the cameras back LCD screen. The
medium-format mirrorless Fujilm GFX 50S
boasts a 3.2-inch 2.36m-dot touchscreen
LCD thats also available for image playback,
menu navigation, and live view shooting.
This LCD features a unique tilting design
which moves both 45 degrees downward
and 90 degrees upward for shooting from
high and low angles, and it tilts 60 degrees
to the side to benet shooting in the
vertical orientation when in live view. Plus,
with several dedicated dials for adjusting
exposure settings, and a top LCD screen that
Temperature Source
settings across the board, or if you want to
17001800K Match flame
shoot true, accurate colour heres where
manual white balance comes in. 1850K Candle flame
20003000K Incandescent lamps, sunset, and sunrise
The Kelvin temperature scale for
2700K Soft white fluorescent and LED lamps
photography most commonly ranges from
around 1700K to 9000K, so keeping some 3000K Warm white fluorescent and LED lamps
key values in mind will also go a long way. 3200K Tungsten lamps
In short, incandescent light is 3200K, white Moonlight
41004150K
uorescent light is 4200K, sunlight is 5500K, Cool white/daylight fluorescent lamps,
5000K
daylight with cloud cover is 6000K, and daylight at noon
shade is 7000K. 55006000K Sun filtered through clouds, electronic flash
6500K Daylight, overcast
The quickest way to get your head
65009500K LCD screens, shaded outdoor areas
around manual white balance is to turn
your cameras live view mode on, click 1500027000K Clear blue sky
Final image 5500K, Adam Croy
displays white balance and exposure data,
the GFX 50S makes manual easy.
Further ensuring that nothing comes in the
way of exact image rendition, the heart
of the GFX camera system boasts a 43.8
x 32.9mm 51.4-megapixel CMOS sensor,
which pairs with the X-Processor Pro image
processor to produce an extremely wide
dynamic range and high resolution, as well
as an extended sensitivity range of ISO 50,
right through to a massive 102,400.
To nd out more about the imaging
capabilities of the Fujilm GFX 50S, head to
fujilm.co.nz.
91
 KIDS PHOTO COMP

1st WINNER
Hayley Maxwell
Title: Time for cake
Camera info: Canon 80D, 27mm, f/3.2, 1/500s, ISO 800

THE
BLACK-AND-WHITE
EDITION
This issue, there was a common theme among the winning images their
monochrome tone. These three photographs really popped and jumped
out at us; congratulations to this issues winners

Judges comments
First of all, we loved the angle at which this image was taken a birds eye view on dinner time. At
the moment that this image was captured, the childs face really does communicate a story. Its like
the child is peering up with an element of confusion on their face, wondering what mummys doing
up there with her camera. The black-and-white tone really helps make this image pop definitely
one for the 21st birthday party! Congratulations, Hayley!

92
2nd SECOND PLACE
Fern McAulay
Title: Pure Happiness
Camera info: 50mm, f/5, 1/320s, ISO 200

About the judge

This issue, the D-Photo team
decided to tackle the very
diicult task of selecting the
Kids Photo Comp winners.

3rd THIRD PLACE

Natalie Bleackley
Title: Blankie
Camera info: 50mm, f/5, 1/320s, ISO 200

Win a one-year subscription

to D-Photo magazine
The winner of the next round of our
KidsPhoto Comp will receive a one-year
subscription to D-Photo.

How to enter: Submit your best child-

focused images to the next Kids Photo Comp
over at dphoto.co.nz/competitions.

Deadline: Friday June 23, 5pm.

Submission details: Each image should

be submitted with a title, the name of the
camera model and settings used (see this
months winners for particulars), and your
full contact details. Images should be around
A4 size at resolution 300dpi if its less
than 1MB in size, its likely to be too small. All
images should be unpublished originals of
copyright-free subjects. Visit dphoto.co.nz
for full terms and conditions.

93
 CALENDAR EVENT GUIDE
CALENDAR
Weve collated a selection of events for you to add to your planners. Keep your diary up to date with our events
calendar and be sure to check out our website for any updates as we hear about them: calendar.dphoto.co.nz
Being Chinese in Aotearoa:
A Photographic Journey
Auckland War Memorial
Museum
February 10December 31
DATES TO NOTE
Being Chinese in Aotearoa: A Photographic
Journey, Auckland War Memorial Museum
February 10December 31
Explore the rich and varied stories of Chinese
New Zealanders in Being Chinese in Aotearoa:
A Photographic Journey celebrating 175
years of Chinese life in New Zealand, through
close to 100 compelling and rarely seen
photographs, you can follow the story from
the rst settler, Appo Hocton, who arrived
in 1842, to new migrants in the 2000s; from
pioneering goldminers and merchants to
architects and entrepreneurs; from early
settlers to established communities. For more
information, visit aucklandmuseum.com
Stills to Motion Workshop
The Maritime Room, Auckland
May 1819
Side Project Films lead videographer, Ben
Journee, will host a two-day workshop for
professional wedding photographers who
are interested in venturing into videography.
During the two-day event, youll learn about
the diferences between stills and motion,
storytelling techniques, editing theory, the
gear, camera settings, and be given plenty of
other tips to get you producing high-quality
videos. There will be a maximum of 30
94
students, so get in touch with Ben at
ben@sideproject.org.nz to register your
interest and to ask for pricing.
Korean Photography
Association Exhibition
Mairangi Arts Centre, Auckland
May 1728
The sixth annual exhibition of the Korean
Photography Association of New Zealands
(KPANZ) work is being held in the Main Gallery
at Mairangi Arts Centre from May 17 to 28.
KPANZ is a photography club that comprises
Korean photographers who are living in
New Zealand. For further information about
the exhibition, head to mairangiarts.co.nz.
Laurie Thomas New Zealand
Landscape Salon
Christchurch Photographic Society
May 26
Named in honour of a Christchurch
Photographic Society member who was one
of the pioneers of The Photographic Society of
NZ, the Laurie Thomas Salon is a celebration
of pictures of the New Zealand landscape.
This year is the 21st in a series that began as a
nationwide colour slide competition in 1997.
To nd out more, visit lauriethomassalon.com.
Greengrocers were very much a family business, 1920.
Alexander Turnbull Library
New Zealand Art Show
TSB Bank Arena, Wellington
June 25
Whether youre an art lover, collector, investor,
or someone looking for inspiration, the
New Zealand Art Show is destined to have
something that will interest you. With the
TSB Arena taken over by an array of artwork,
including New Zealand art, original art,
contemporary art, plus plenty more, youll be
able to explore your weekend away, and maybe
even make a purchase or two to take home
with you. If youre interested in seeing this years
selection of works, make sure you head along
to the event. For more information, go to
artshow.co.nz.
Taranaki Arts Trail 2017
June 10-11
Over the weekend of June 1011, the
Taranaki Arts Trail will allow the public the
opportunity to meet with more than 70 artists
in their studio or workshop. The studios
and workshops will be open from 9.30am
to 4.30pm both days of the weekend, and
the public is invited into the artists spaces
to learn about their processes and how they
create their artwork. Photographers involved
in this years event include Derek Hughes,
www.progear.co.nz
Michelle Wilson, Fiona Clark, Pip Guthrie, Brooke
Lean and Gina Fabish. For further information,
head to taranakiartstrail.co.nz.
Nikon Auckland Photo Day
Auckland
June 10
An open-access public competition run over
a period of 24 hours run in conjunction with
the Auckland Festival of Photography, Nikon
Auckland Photo Day challenges locals to capture
an image which reflects their Auckland. Groups,
individuals, families, children anyone with
access to a camera is encouraged to submit
the scenes, people and places that reflect their
Auckland region. For more information, visit
photographyfestival.org.nz.
World Press Photo Exhibition 2017
Smith & Caugheys, Auckland
July 114
The winning World Press Photo Exhibition 2017
images will be on display at Level 6 of Aucklands
Smith & Caugheys. Head along to the event
while its on its Auckland stint or keep an
Taranaki Arts
Trail 2017
June 1011
eye out for dates to see when its coming to a
city near you and experience the best visual
journalism of the past year. The exhibition will
be open Monday to Wednesday from 9.30am
6.30pm, Thursday and Friday from 9.30am9pm,
Saturday from 10am6.30pm, and Sunday from
10.30am6pm. For more information, head to
the World Press Photo Facebook page.
Wildlife Photographer of the Year
Auckland War Memorial Museum
July 7December 7
A must-see for nature lovers and photographers,
the Natural History Museums ever popular
Wildlife Photographer of the Year returns to the
Auckland War Memorial Museum for an exclusive
showing of 100 stunning new photographs. For
more information, visit aucklandmuseum.com.
Infocus Wellington 2017
Shed 6, Wellington
June 1519
Professional photographers, aspiring
photographers, and photography students
alike will descend on Shed 6 in Wellington for
the Infocus Wellington 2017 event this June.
Organized by the New Zealand Institute of
Professional Photography (NZIPP), the event
will host an array of guest speakers to enlighten
attendees on a raft of photography topics, plus
the Exposure trade show, and the judging and
presentation of the annual Epson/NZIPP Iris
Professional Photography Awards. To find out
more about the guest speakers, the event itself,
or how to register, head to infocus.org.nz.
Dunedin Art Show 2017
Edgar Centre, Andersons Bay
September 2124
The inaugural Dunedin Art Show 2017 uses the
catchphrase, Art for Everyone. Those who
attend the event are able to view and purchase
a large range of Kiwi-made artworks from
Otago artists, as well as artists from across New
Zealand. The plan is to have art take over the
2000-square-metre event centre. If youd like to
apply to have your work shown at the art show,
head to dunedinartshow.co.nz. Alternatively, you
can find more information about the event itself
and ticket prices at the website.
Derek Hughes
95
 PARTING SHOT

COMING UP

Jared Buckley

TRAVELLING
RAROTONGA
In the next issue of D-Photo we talk to Jared Buckley, who recently travelled to
Rarotonga for a work trip, and managed to find time to wander the island to compose
a photo story depicting the heart and identity of the small Pacific nation. Take a journey
through Buckleys images and learn about Rarotongas people and scenery, and see just
what makes the island a photographers paradise.

SUBSCRIBE
ALSO NEXT ISSUE
TODAY
DONT MISS OUT ON THESE EXCITING
UPCOMING FEATURES IN D-PHOTO.
Well also bring you all you need to know about the latest trends in the photography VISIT MAGSTORE.NZ OR CALL
world, information on exciting events and top-10 tips, well meet up-and-coming 0800 727 574 TO SUBSCRIBE NOW!
photographers, plus much, much more dont miss it!

96
 ow
rN
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rd
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