D-Photo - July 2016

Zeiss Otus
Otus available for Canon (.ZE) & Nikon (.ZF2)
28mm f1.4
55mm f1.4
85mm f1.4
Use the ZEISS Otus and make absolutely no compromise. Whether you are shooting landscape, Portrait, architecture or interiors, during the day or at
night these lenses will provide you with high resolution and outstanding definition regardless of the situation. The Otus range has made the new
benchmark for prime lenses.
Zeiss Milvus
21mm f2.8
Milvus available for Canon (.ZE) & Nikon (.ZF2)
35mm f2
50mm f1.4
50mm f2
85mm f1.4
100mm f2
The excellent image performance of the ZEISS Milvus lenses is sharply focused on the requirements of current and future high-performance digital cameras.
Legendary Zeiss rendering, updated for modern image sensors gives you magnificent optics in a compact and rugged chassis.
Zeiss Loxia
Loxia available for Full Frame Sony A7 (FE)
21mm f2.8
35mm f2
50mm f2
ZEISS Loxia lenses were specifically designed for Sony 7 cameras. This means that they can make the most of the mirrorless full frame system, while giving
you all the creative possibilities of classic photography with manual focus at the same time.
Zeiss Batis
Loxia available for Full Frame Sony A7 (FE)
18mm f2.8
25mm f2.5
85mm f1.8
The ZEISS Batis range of High speed, fast autofocus, opticaly stablised lenses. An easy to use telephoto or wide angle for Sony 7 cameras. The perfect
companion for landscape, architecture, portrait, event, and wedding photography.
Available at these retailers:
Phone: 09 276 3271 Email: sales@crknz.co.nz Web: www.crknz.co.nz
Do you have a Sony

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Because your world

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Now available in New Zealand, the SIGMA MC-11 Mount Adapter allows Canon Mount SIGMA ART, Contemporary and Sport
lenses to work with AF on Sony E mount cameras. You now have a new range of lenses from 20mm f1.4 to 150-600mm!*
See your dealer for full compatibility information.
*MC-11
CRK Ltd
3 Hotunui Drive,
Mt Wellington, Auckland
09 276 3271
sales@crknz.co.nz
www.crknz.co.nz
FIND YOUR OWN

INSPIRATION
Photographer: @itchban
0800 624 522

www.aucklandcamera.co.nz
AUTHORISED
NZ DEALER
EDITORIAL
Cover image: Paul Daly
dphoto.co.nz
ISSN 1176 - 6948
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EDITOR
Lara Wyatt, editor@dphoto.co.nz
SUBEDITOR Jacqui Madelin
PROOFER Odelia Schaare
SELFMOTIVATION
DESIGN Mark Tate

STAFF PHOTOGRAPHER Adam Croy
ADVERTISING MANAGER
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CLIENT SERVICES
Rebecca Frogley, advertising@parkside.co.nz
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ADVERTISING PRODUCTION Rebecca Frogley
A to-do list 30 tasks long, constantly thinking of personal projects you want to work on
and complete, as well as factoring in time to see family and friends does this sound
familiar? The life of a creative is hectic but incredible. Unlike many other jobs, its nigh on
impossible to just tick off your daily tasks, go home, and be content more often than
not, youre already conjuring up your next project or shoot or an event that you want to
bring to fruition.
What also comes with this creativity is the need to be incredibly self-motivated. In this
world of creativity, youll be hard-pressed to nd someone who will hold your hand all the
way and tell you what to do next to reach your goals youre going to have to do most
if not all of that yourself: but how?
Im a huge fan of quotes; if youve been to the D-Photo Facebook page over the past
few months, I am sure youll be aware of that. Theres something about the way that
each person interprets them, and has a different take-away to what someone else may
have, that is interesting to me just look at the comments under some of the D-Photo
Facebook quotes: a few people get really passionate about how ridiculous they are, while
100 people like them! It may not entirely be self-motivation, as youre being inuenced
or motivated by someone elses words, but I really do nd that when I am in a bit of a rut,
jumping on the web and having a look at some of the motivational quotes out there really
pushes me back into the productivity realm I need to be in to achieve my creative goals.
CONTRIBUTORS
Andy Belcher, Rebecca Frogley, Adrian Hatwell,
Mike Langford, Kelly Lynch, Chris McLennan,
Mead Norton, Paul Petch, Jackie Ranken,
Mareea Vegas, Hans Weichselbaum
D-Photo magazine is published by
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Email: info@parkside.co.nz
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Michael White, mwhite@parkside.co.nz
ADMINISTRATION info@parkside.co.nz
PRINTING PMP Maxum
Self-motivation is different for everyone, though. Youve got your intrinsic motivation
and extrinsic motivation to start with and I think many of us incorporate a little bit of
both into our creative goals. Intrinsic motivation means that you basically carry out a
task based on the satisfaction youll get from achieving or completing this goal. Extrinsic
motivation is based on your receiving some sort of reward for the tasks completion. After
talking to many photographers during my time at D-Photo, one of the main themes I have
come to expect is a statement about it all starting with a passion for photography, and
then that passion initiating the jump into creating a career out of it theres your initial
intrinsic motivation (doing it for the love) followed by an extrinsic motivation (doing it to be
paid).
DISTRIBUTION Gordon & Gotch

Phone: 09 928 4200
NOTICE TO ADVERTISERS
Parkside Media uses due care and diligence in the preparation of this
magazine, but is not responsible or liable for any mistakes, misprints,
omissions, or typographical errors. Parkside Media prints advertisements
provided to the publisher, but gives no warranty and makes no
representation as to the truth, accuracy, or sufficiency of any description,
photograph, or statement. Parkside Media accepts no liability for any
loss which may be suffered by any person who relies either wholly or in
Just looking around at how much beauty, culture, and thought provocation comes from
creative works, it doesnt take much more for me to stay motivated, knowing that, in our
photography community, were communicating so many important messages, as well as
bringing huge amounts of happiness to everyone who comes in contact with our work.
part upon any description, photograph, or statement contained herein.

Parkside Media reserves the right to refuse any advertisement for any
reason. The views expressed in this magazine 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. No part of this magazine
Lara Wyatt
Editor
may be reproduced in any form without the express written permission

of the publisher.
CONTENTS ISSUE 72
32
52 WORTH 1000 WORDS
Discover the stories behind stunning
photographs from around the world
COMMUNITY PERSPECTIVE
This page is owned by you: we want to
see your work, where youre going, what
youre shooting, and what youre thinking
10 FOCUS
We nd all the news you need to know,
including info on conferences to attend
and competitions to enter, and we
discover photographic achievement
14 WHATS ONLINE
We keep you abreast of what you can nd
over at dphoto.co.nz: extended galleries,
reviews, interviews, and more
16 PROFILE: RUSS FLATT

Adrian Hatwell talks to Russ Flatt about
his upcoming Auckland Festival of
Photography Annual Commission and
how hes interpreting the theme of Home
24 FOLIO: DAVID HALLETT

Kelly Lynch talks with David Hallett about
his passion for bird photography and
discovers more about his photojournalism
career
32 ONE TO WATCH: ALEX MOORE

We talk to Alex Moore about his
photography journey so far and where he
plans to take his talents in the future
38 STYLE: PORTFOLIO CREATION

Folio consultant Christina Force runs us
through her top tips for creating a portfolio
that meets your individual requirements
and stands out from the crowd
46 CLUB: KATHY ELLISTON

Bay of Islands Kaikohe Photography
Club member Kathy Elliston recounts how
her interest in photography began, and
how being a part of her local photography
club has helped her
82 HOW TO
Want more information on how to get quality
shots from your drone? Mead Norton answers
readers questions on drone photography
54 SUBSCRIBE AND WIN

Subscribe to D-Photo and be in to win a
Canon EOS 700D, worth $1150
56 BUYERS GUIDE: OUTDOOR

PHOTOGRAPHY
We hunt out the greatest offerings that
you need to know about to ensure your
shots captured outdoors live up to your
visualizations
84 CRITIQUE
Mike Langford shares his tips on improving
readers images
86 IMAGE
Hans Weichselbaum offers you an insight into
the various modules of the newly free Google
Nik Collection
90 KIDS PHOTO COMP

59 PRODUCT SPOTLIGHT
Want to know what new equipment is on
offer right now? We select our top nds
and keep you informed
60 ON LOCATION
Shooting on location at the Noosa Festival
of Surng, Chris McLennan offers insight
into how to capture creative action shots
64 TECHNIQUE
Jackie Ranken discusses creating an
exhibition, drawing insight from combined
exhibitions with Mike Langford
Guest judge Isabella Harrex picks this issues

winners
92 EXPLAINED
Each issue, well take a look at a photography
term, explain it, and showcase examples of
the term in action
94 Q&A: CLIVE BARTLEET

We talk to recently retired Rangitoto College
teacher Clive Bartleet about his involvement
in bringing photography to New Zealand
schools
95 CALENDAR
68 CAPTURE
Andy Belchers daughter, OceanBelcher,
recounts her rst encounter with event
photography and how she solved the
various in-action issues she faced
70 BEHIND THE LENS
Make sure you have all the important dates in

your diary
96 PARTING SHOT
Next issue, we delve into the world of sports
photography and talk to Danelle Bohane and
up-and-comer Monica Kwon, plus much more
Want to see results and waste less time?

Paul Petch explores the idea of valuing
your time when quoting
72 PRACTICE
Mareea Vegas nds out how photographer
Cline Say brings her life experiences and
her photography together
76 GEARDUCATED
Rebecca Frogley puts Ilford paper to the
test with black-and-white printing
72
Unrivalled speed
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with our 4D FOCUS system featuring the worlds
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*Among interchangeable-lens digital cameras as of February 3, 2016. Measured using CIPA-compliant guidelines, and internal measurement method with an E PZ 16-50mm F3.5-5.6 OSS lens mounted,
Pre-AF off and viewnder in use. Sony, and their logos are registered trademarks or trademarks of Sony Corporation. All other logos and trademarks are the property of their respective owners.
FEEDBACK
COMMUNITY
PERSPECTIVE
We want to show off your work, so each issue we showcase
what youre all working on and publish the communication
we have had with you make sure you keep us informed by
emailing editor@dphoto.co.nz
Congratulations to
Robert Presland
Benny Tan
John Carlyle
who was selected as

the winner of last issues
subscription prize a
Fujilm X-T10 worth
$1539.99.
In only a few pages time (check out page10),

youll discover the incredible prize pool you could
be in to win just by submitting your images to the
2016 Sigma D-Photo AmateurPhotographer of the
Year competition. If you havent entered already,
head along to dphoto.co.nz/apoty2016 and get
started. If youre stuck for a bit of inspiration,
some of our picks from the submission galleries
are shown above and left.
Abraham Mora
Wynston Cooper
Have you entered yet?
Instagram inspiration
Make sure you share your photos with us
on Instagram by including #nzdphoto
in your captions. We share a new photo
@dxxra
every day, so follow @dphoto_magazine

to stay inspired and see what
photographers in New Zealand and
@paulo_pics_nz
@perspektive_emily
around the world are up to. Below are a

few photos weve regrammed since last
issue for you to peruse.
@tamzin.nz
SECONDS TO SET UP.

A GOLDEN HOUR CAPTURED.
Befree Carbon tripod, the reliable travel companion.
FOCUS NEWS
MASSIVE $16,000-PLUS PRIZE POOL

ANNOUNCED FOR AMATEUR
PHOTO COMP
All you need to do is open any of the category
pages over at dphoto.co.nz/apoty2016 to
see the volumes of stunning images being
submitted every day into the 2016 Sigma
D-Photo Amateur Photographer of the Year
competition. And now, were excited to be
able to share with those who have already
entered, and those patiently waiting to see
what theyll be in to win, what this years prize
pool has to offer.
For us here at D-Photo, bringing this

competition to New Zealands amateur
photography community is always a
highlight of the year, and we would like to
thank competition chief sponsor Sigma,
and category sponsors DJI Drones, White
Studios, Universal College of Learning
(UCOL), Progear, Tamron Lenses, Ilford Paper,
Vanguard, Profoto, and Nikon for supporting
this competition.
This years overall competition

winner will receive a fantastic
Sigma lens kit consisting of a Sigma
1020mm f/3.5 lens, Sigmas
new 50mm f/1.4 Art lens, a Sigma
105mm f/2.8 OS Macro lens, and a
Sigma 50mm f/1.4 lens. This whole
kit is worth up to $4000.
INDIVIDUAL CATEGORY WINNERS AND TWO

RUNNERS-UP WILL WIN THE FOLLOWING PRIZES:
AERIAL CATEGORY
SPONSORED BY DJI DRONES
FIRST PRIZE: DJI Phantom 3 4K,
worth $1599
SECOND PRIZE: Lowepro Drone
Guard BP, worth $329
THIRD PRIZE: $200 Canon

voucher
LANDSCAPE CATEGORY
SPONSORED BY PROGEAR
FIRST PRIZE: $900 worth of Lee
lters
THIRD PRIZE: Sandisk 64GB

Extreme Pro Micro SD Card, worth SECOND PRIZE: $400 worth of
Lee lters
$179
THIRD PRIZE: $200 worth of Lee
lters
CREATIVE CATEGORY
SPONSORED BY WHITE
STUDIOS
FIRST PRIZE: $1000 excl. GST of

rental credit, valid for 12 months
MACRO CATEGORY
SPONSORED BY TAMRON
LENSES
FIRST PRIZE: Tamron SP 90mm

SECOND PRIZE: $400 excl. GST
f/2.8 DI Macro 1:1 Canon or
of rental credit, valid for 12 months Nikon, worth $1295
THIRD PRIZE: $250 excl. GST of
SECOND PRIZE: Manfrotto Large
Active Befree Messenger Bag
JUNIOR CATEGORY
SPONSORED BY UCOL
FIRST PRIZE: $800 Canon
voucher
SECOND PRIZE: $500 Canon
voucher
(grey), worth $212

THIRD PRIZE: Manfrotto Pixi Evo
2 Section Mini Tripod for DSLR,
worth $79.95
SECOND PRIZE: Vanguard Uprise

28 Gadget bag, plus 25-sheet
pack of Ilford Smooth Pearl inkjet
paper, valued at $185
THIRD PRIZE: Vanguard Vojo 22
BK Gadget bag, valued at $135:
SECOND PRIZE: $400 excl. GST

of rental credit, valid for 12 months
THIRD PRIZE: $250 excl. GST of
TRAVEL CATEGORY
SPONSORED BY NIKON
FIRST PRIZE: Nikon 1 J5 10
30mm PD Kit, worth $899
SECOND PRIZE: Manfrotto Befree

Aluminium Green Tripod with
quick-release ball head, worth
$299
FIRST PRIZE: Vanguard Veo
265AB tripod, plus 8MB Eye Mobi THIRD PRIZE: Lowepro ProTactic
BP 350 AW, worth $299
card, valued at $440
NATURE CATEGORY
SPONSORED BY VANGUARD
SECOND PRIZE: Vanguard Uprise

28 Gadget bag, plus 25-sheet
pack of Ilford Smooth Pearl inkjet
paper, valued at $185
THIRD PRIZE: Vanguard Vojo
22BK Gadget bag, valued at $135
PEOPLE CATEGORY
SPONSORED BY PROFOTO
MONOCHROME CATEGORY FIRST PRIZE: $1000 excl. GST of

SPONSORED BY ILFORD PAPER rental credit, valid for 12 months
ENTRY DETAILS
Entries can be submitted online at dphoto.co.nz/apoty2016 at
any time before 5pm, Monday, June 13.
10
FIRST PRIZE: Vanguard Veo

265AB tripod, plus 8MB EyeFi
Mobi card, valued at $440
READERS CHOICE
AS VOTED BY YOU, THE READER
To have your say in who wins
this prize, head to the individual
category galleries and cast your
vote by clicking the heart on your
favourite image(s). The image with
the most votes at the end of the
competition will receive a one-year
subscription to D-Photo.
IMPORTANT DATES
June 13: submissions close.
July 11: winners announced in D-Photo Issue No. 73.
HERITAGE BUILDING
TURNED ANS WESTRA
LIVING MUSEUM
Renaissance Photography Prize Best Single Image 2015, Juliana Kasumu
(United Kingdom) with Irun Kiko
GET YOUR PHOTOS

SEEN BY GLOBAL
EXPERTS
Entrants can choose to enter either

the Single Image category (with
its themes of Earth, Relation, and
Private), or the Series category (with
its Open theme). All nalists of the
Renaissance Photography Prize will

be exhibited at the Getty Images
Gallery in London.
This years judges include Gregory
Barker from HotShoe magazine,
Emma Bowkett from FT Weekend
Magazine, Louise Clements from
QUAD and FORMAT, Tom Hind
from Getty Images, Marloes Krijnen
from FOAM, Chris Littlewood of
Flowers Gallery, Shoair Mavlian
from Tate Modern, and Fiona
Shields from The Guardian.
For more information on entry
fees and how to enter, visit
renaissancephotography.org.
{Suite}s owner and director,

David Alsop, says that for
nearly 60 years Ans Westra
has used her vision as a
photographer to capture vivid
glimpses of New Zealand life.
Ans is a brilliant observer
whose work has been pivotal
in documenting Aotearoa life
and landscapes, particularly
that of tangata whenua. Over
time her photos have become
a great source of community
and national pride, Alsop said.
The space will allow greater

public access to Ans
photography, and a rotating
selection of her work will be on
display, while an online archive
of the artists images will be
available to browse thanks to
a recent agreement with the
Alexander Turnbull Library that
will result in the digitization of
Ans collection.
Alsop said, A private museum
dedicated to one artist is
unprecedented in New
Zealand, but we feel the beauty
and integrity of Ans work
needs to be appreciated by as
many people as possible.
The gallery is located above
{Suite} Gallery, 243 Cuba
Street, Wellington, and more
information can be found at
suite.co.nz.
Marama Fox, co-leader of the

Maori Party, who spoke at
the gallerys official opening,
says she believes Ans has
contributed greatly to New
Zealands culture and heritage.
Ans strength is an ability to
portray our culture as it is, not
projecting images as an object
for tourism, but for the people
in the images, she said.
Ans Westra
The opportunity has arisen for

you to have your photography
seen by a global audience,
and be judged by inuential
international photography critics.
The Renaissance Photography
Prize, which is open for entries
now until June 14, showcases
photography from both emerging
and established photographers,
and raises funds to support young
women with breast cancer.
A heritage building on
Wellingtons Cuba Street is
now dedicated exclusively
to prominent New Zealand
photographer Ans Westras
works, showcasing her
illustrious career. The
living museum has been
coordinated by Wellingtons
{Suite} gallery and opened on
April 20 timed to coincide
with the artists 80th birthday.
KIWI PHOTOGRAPHERS RECOGNIZED GLOBALLY

Every year, a photographer
chosen from each of 60
countries from Argentina to
Australia is recognized with
a National Award as part of
the Sony World Photography
Awards, to acknowledge the
single best image submitted by a
photographer from the entered
nations.
The 2016 New Zealand National
Award has gone to Miriam Strong,
an Auckland photographer
currently based in London. Her
image, titled New Heights, shows
a street performer in Montmartre,
Paris, and incorporates a view of
the city in the background. New

Heights was selected as the best
photograph entered by a New
Zealand photographer from all
of the Sony World Photography
Awards 10 Open categories.
This years runners-up included
Levana Sietses in second place,
and Peter Kurdulija in third.
The prize included a Sony
A6000, and Strongs image was
shown at the 2016 Sony World
Photography Awards Exhibition
at Somerset House in London.
New Heights will also be
published in the annual awards
book.
Miriam Strong, New Zealand, winner, National Award, 2016 Sony World
Photography Awards
11
FOCUS NEWS
STAY IN THE KNOW ABOUT

AUCKLAND FESTIVAL OF
PHOTOGRAPHY 2016
ARE YOU THE

NEXT TRAVEL
PHOTOGRAPHER
OF THE YEAR
The Auckland Festival of Photography

team has been working hard behind the
scenes to make this years festival as great
as ever.
If Madrid is on your travel bucket list, its time

to gather your creations and submit them
to the Cathay Pacic Travel Media Awards
2016, as this years Cathay Pacic Travel
Writer of the Year and the Cathay Pacic
Travel Photographer of the Year will each win
double tickets to Madrid.
The event will be held on June 224,

and the Nikon Auckland Photo Day will
be June 11. The 24-hour day in the life
competition was initiated in 2004, and
asks Aucklanders to capture images that
reect their city. This years competition
sees the introduction of a new category
you can now capture and submit moving
images (videos, time-lapses, short lms).
Also, for the rst time, all the winners
from the 11 years of the photo day will be
exhibited at The Cloud in Auckland, from
June 1824.
The 2016 festival programme has been
released, with photographers basing
their exhibitions around this years theme
of Home, and the Silo 6 exhibition will
feature the works of Ian Strange, Shan
Turner-Carroll, Anna Carey, Lin + Lam,
Arthur Ou, and Sim Chi Yin. The works

of James Voller will be on display a brief
walk away from Silo 6, in Silo Park itself,
and spread throughout Auckland there
will be a huge array of satellite exhibitions
for you to experience.
Keep an eye on photographyfestival.
org.nz for updates on workshops
to get involved with, and for further
announcements.
Sim Chi Yin/VII Photo Agency The Rat Tribe (Pulitzer

Centre for Crisis Reporting
There are various awards to be won during

the presentation evening in Auckland, on
August 19, including the awards in the
photography stable: the Heritage Boutique
Collection for the Best Travel Image taken in
New Zealand, the Air Vanuatu and Mangoes
Resort Award for the Best Travel Image taken
outside New Zealand, the AA Directions
Award for the Best Travel Image with People,
the NZ Maori Tourism Award for the Best
Travel Image that captures the essence of
Maori, and the NZ Herald Travel Award for
the Best Unpublished Travel Image.
Youve got until June 17 to get your
submissions in, so head to travcom.org.nz for
more information, and how to enter.
Discover a deeper black

NZIPP INFOCUS 2016: VICKY PAPAS VERGARA
D-Photo: It looks like 2016 has started out
to be a very successful year for you! Can you
describe what it means to you to have your
work recognized with the various awards
youve received?
Vicky Papas Vergara: I only started
photography when I was 41, and I am
46 now I was always so scared to let
my creative side out, and I dont shoot as
often as a full-time photographer, so being
recognized shows me that I have improved
the standard of my work, and its a huge deal
for me.
What was it about ne-art portraiture that
captured your attention?
It really evolved into ne-art. I picked up a
camera to photograph children, and then I
realized I had an eye for it. Im a hairdresser,
and I do make up, and Im good with draping

and styling, so I started photographing
women. I worked with Peter Coulson,
and his work was elegant and arty, so I
started shooting women in a classic and
timeless way. And when my Photoshop
skills improved Id edit my images in a
painterly way so then I turned to ne-art
photography.
Youll be making two presentations at the
NZIPP Infocus conference this year? What
are you excited about bringing to, and
teaching, the attendees during the live
shoot and the talk?
Ill be doing a live demo and will teach the
notion of freestyling without pressure,
because I dont think we should put pressure
on ourselves to create. Ill be teaching how
to create wearable art on a budget using
objects around you from nature. Ill show
how to pose a model in classic, timeless
poses, and Ill share my story the trials and
tribulations.
THE NEW EPSON SURECOLOR SC-P800 A2+
12
For more information on the NZIPP Infocus

conference, visit infocus.org.nz.
Vicky Papas Vergara
With less than a month to go until the June

1620 NZIPP Infocus 2016 conference kicks
off at Shed 6 in Wellington, we caught up
with photographer Vicky Papas Vergara.
www.epson.co.nz
INDUSTRY NEWS
SHARE YOUR MOMENTS AND BE IN TO WIN

Been carrying your camera around with
you everywhere you go, snapping away
and capturing memories of your everyday
life? Starting on May 16, we will hold four
rounds of the Momento Your Moments
Photography Competition, and those photos
youve been collecting will be perfect to
enter with.
The contest focuses on sharing your
everyday moments, like walking the dog,
taking the kids to the playground, or going
out for a social evening with your friends,
and each round of the competition will see
the winner awarded with a $150 Momento
voucher, while the runner-up will receive
a $50 Momento voucher to create a photo
book.
For the duration of the competition series,
all D-Photo readers receive a 15-per-centoff discount when buying Momento photo
books and boxes head to dphoto.co.nz/

competitions/yourmoments for your
coupon code, and to enter the competition,
and apply your code at momento.co.nz.
FIVE MINUTES WITH MISH ONEILL

110-lm cartridge, and will use it to shoot
the majority of the images for that show. The
theme is Home, so I want to sneak the camera
into small places, for example a terrarium, and
share the terrariums point of view of the home.
ONeill was also involved in her rst lookbook
studio shoot on pinhole for Ovna Ovish. She
shot its lookbook last year, and was this time
invited back as a creative to shoot pinhole
images.
The seasons collection is about being
anonymous, so the softness of a pinhole image
really worked with the concept, as the girls
dening features blend with the background
and in one of the images her head disappears
altogether, ONeill explained.
Back in Issue No. 68 we spoke with Mish

ONeill about the camera obscura she set
up in Rarotonga. We caught up with the
photographer about what shes been working
on since then.
D-Photo: What projects have you got on the
go at the moment, and what inspired you to
tackle them?
Mish ONeill: I have been meeting with the
Wallace Arts Trust team at the Pah Homestead
[in Auckland] about my next big project. I
will be working in the turret over four days,
capturing various different views and images of
the surrounding grounds. I will primarily work
with large-format colour photographic paper
that is processed at PCL Imaging. On June 2
from 11.30am until 2pm, the turret will be open
to the public to experience a camera obscura.
Youre studying on the Whitecliffe MFA
programme at the moment. Can you explain

what that involves, and how long youll be
doing this?
It is a two-year low-residency programme.
We meet four times a year for a week-long
seminar. The rest of the time you live in the
real world and make time to meet with your
contextual and research mentors I am lucky
to have Darren Glass as one of them. We also
get two guest tutors each seminar, so youre
constantly surrounded by, and in conversation
with, inspiring artists.
To follow what ONeill is working on, head

along to the New Perspectives exhibition at
K29 and 30 Station Square in Newmarket,
Auckland, or follow her on Instagram
(@mishoneillphotography).
What projects have you got in mind to start

working on?
I am working towards a group show for the
Auckland Festival of Photography called New
Perspectives, curated by Libby Cavenett.
The group has come together as we are all
assistants working in (or trying to get work
in) Auckland. I have made a camera out of
13
WHATS ONLINE THIS MONTH
DPHOTO.CO.NZ
1
Nina Wild
Hilary Lakeman
INTERNATIONAL
SPOTLIGHT: NINA WILD
WINNER INTERVIEWS
ENTER ONLINE
Throughout the 2016 Sigma

D-Photo Amateur Photographer
of the Year competition, well talk
to the 2015 category winners
about what winning meant to
them, and where they are now.
The 2016 Sigma D-Photo

Amateur Photographer of
the Year competition is open
until June 13, and you can
enter your photographs into
the various categories at
dphoto.co.nz/apoty2016. Interactive
galleries and easy-to-use entry
forms to enter your images from
Facebook and Instagram await!
BEHIND THE
EXHIBITION
The International Spotlight

column showcases artists work
from around the globe, and
recently we spoke with Germanys
Nina Wild about her photography
and working with people and
animals.
IMMEDIATE
ADVICE
In this day and age, anything and everything can be found
online within seconds. With this in mind, weve decided to
ensure youll have immediate access to information about
the new gear on the block by featuring all of our reviews
online. Each issue, well give you a snapshot of the equipment,
applications, and books that weve reviewed, and youll nd
the extensive coverage over at dphoto.co.nz/reviews.
14
Conor Clark
This time, we explore:

Rebecca Frogley explores
the features and
capabilities of the
Sigma 2435mm f/2
DG HSM Art lens,
and brings you an
in-depth look at
why this lens may be
a great addition to
your kit.
The Auckland Festival of

Photography is looming, and we
talk to many of the photographers
who will be exhibiting during the
festival to nd out more about
their shows and any upcoming
projects theyre working on.
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PROFILE RUSS FLATT
Lawnmower (2010)
HOME AWAY
FROM HOME
This years Auckland Festival of Photography Annual Commission recipient, Russ
Flatt, discusses his interpretation of the theme of Home with Adrian Hatwell
Speaking of photographys duty to
capture a moment before it vanishes,
HenriCartier-Bresson once cautioned, We
cannot develop and print a memory. But
we can certainly give it a go, as Auckland
photographer Russ Flatt has made beautifully
clear over the last few years. Flatt, a highly
regarded fashion shooter, recently turned his
attention to art photography, with a series
of personal projects mining his childhood
memories to produce arresting phototableaux. The works have met with no
shortage of acclaim, including netting Flatt
the coveted Annual Commission as part of the
2016 Auckland Festival of Photography.
Established in 2011, the Annual Commission
was the rst, and is the only, award of its kind
16
specically for photography-based artists in

Aotearoa. Recipients are commissioned to
create new work that is unveiled during the
city-wide festival, which will this year take
place during June 224. The award tends to
mark a signicant step in the career of the
receiving artists; past winners include Roberta
Thornley, James K Lowe, Jennifer Mason, Tanu
Gago, and PJ Paterson. Flatt is happy to be
keeping such company, the award coming at a
perfect time in his unfolding ne-art practice.
One of the great things is, because its a
commission, I have a budget to play with,
which is quite a new experience for me, Flatt
explains cheerily, adding that his usual funding
strategy involves the punishing of personal
credit cards.
Bedroom (2013)
Its really nice to have a little bit of time and

space to develop some ideas and execute
them.
Each year, the festival is themed around a
concept, which the commissioned artist
is encouraged to engage with. For 2016,
that theme was Home, and a better t to
Flatts artistic leanings you could not want,
with many of his intricately constructed
scenes playing out across quintessentially
suburban backdrops. Flatts rst solo show,
Perceiving Identity, was made up of detailed
environmental recreations of remembered
moments from Flatts adolescence, including
intimate slices of home life.
One of these images sees an adult couple

being intimate in a bedroom, while a young boy
lies hidden beneath the bed. Lit and staged to
suggest the aesthetics of documentary, it is a ne
example of the photographers playful mingling
of authenticity with the constructed nature of
memory and identity. Flatt included this image
in his submission to the AnnualCommissions
judging panel, and it has since been used
prominently in publicizing the event.
That image has given me a starting point for
where the work I make for the commission
will come from. Im taking ideas of suburban
home life as a kind of anchor to the work, Flatt
explains.
17
PROFILE RUSS FLATT
Half A Person (2015)
While the Perceiving Identity exhibition also

comprised some portrait and documentary
images, the photographer will stick solely to
environmental tableaux for his commissioned
work.
Im going to make it quite tight. I only have
three wall spaces, so I can make between
three and ve works. My goal is for each work
to be able to sit alone as a powerful image,
he says.
His second solo show, Paper Planes,
showcased his body of work that most
explicitly deals with the idea of home. The
photo series continues to explore memories
18
of childhood through intricately constructed

narrative scenes, this time in a range of
domestic settings: a family assembles in the
living room for a group portrait, lawns are
mowed, a young boy rides on the back of
his fathers bicycle, fences are chatted over,
bedroom windows are escaped through.
Each image is heavy with its own ambiguous
story.
I think the works need a certain tension, a
strong family narrative, to be successful in my
eyes, Flatt explains. Then its up to the viewer
to gure out what it means to them. I try not to
give too much away in the narrative, to leave it
open to interpretation.
Sundae (2013)
A distinct trait tying all of the photographers

personal work together is his use of recurring
cast members most prominently, a young
model who stands in for the artist as a child.
When I catch up with Flatt to discuss the
commission work, he has not yet begun
shooting, but the ideas are all there. It will be
set in the late 1980s, and will again feature
the boy and his parents, and probably the
inclusion of a grandmother and a childhood
friend.
Its going to be fraught with comedy and
anxiety, Flatt says.
Using a returning cast presents the

photographer with certain difficulties. The
young boy at the centre of the series is now
15years old, which means he has outgrown the
artists remembrance of that time period. Its a
challenge that Flatt looks forward to grappling
with. Its good, the memories are not so literal
now, they are getting to be very mashed up and
fragmented. More experimental. Its fun now. In
the beginning it wasnt, but it is now, he says.
At the time of our interview, the
photographers top priority is nding a
location for the project. With Paper Planes, he
19
PROFILE RUSS FLATT
When I say jump (2015)
Swimming Pool #3 (2013)
Car (2013)
was lucky enough to happen upon an ideal

space at the perfect time: a street of heritage
houses that had been completely cleared
out for relocation following the closure of
the RoyalNewZealand Air Force base in
Hobsonville, Auckland.
The following week after I shot, they basically cut
the houses in half and shifted them off and sold
them, Flatt says. I was lucky I had that street to
play with. But they made me pay for it, for sure.
To shoot the newly commissioned work, hes
hoping to nd a house already infused with
20
a late 80s vibe, to cut down on the need for

set dressing. His hunting ground has been the
property listings on Trade Me, where he hopes
to nd an empty house with owners who are
open to the idea of a shoot before selling. Its
not an approach the photographer has used
before, but he feels it makes sense: I kind of
gure, if somebody is selling a house and it
hasnt sold yet, and its sitting there, and they
want some money I would do it.
Property hunting is far from the only
thing on the busy photographers to-do
list. As well as creating new work for the
Dais (2015)
AucklandFestivalofPhotography, Flatt is
also working on another solo project entitled
NightBus to be shown at Tim Melville
Gallery which explores the world of
underage nightclubbing.
Its about a young boy [who] travels from
suburbia on the night bus to a club on a school
night, explains Flatt. The only way to gain
admission to the nightclub is to be underage.
Swerving from the memory-based practice
that informs his Annual Commission work,
Night Bus will be a ctionalized exploration
akin to Flatts third solo show in 2015 (and his
rst solo dealer gallery show at Tim Melville
Gallery, Nationals, which delved into the world
of competitive artistic roller skating. A mix of
in-the-ring portraiture and formally posed
environmental studies, the series takes viewers
into a world of skates and sequins infused with

a heady adolescent mix of awkwardness and
condence.
Although the scenario for Nationals was
completely fabricated so Flatt could have
complete control over the narrative, there is a
personal connection to the niche 80s sport
the photographer himself was a gure roller
skater in childhood. That experience no doubt
contributed to the strong documentary feel of
the project, which leaves viewers wondering
if they are looking at real roller skaters or
models.
Flatts Annual Commission work will be
unveiled on June 2 at Aucklands Silo Park,
where attendees will view the works inside
one of the now-empty waterfront silos that
once housed the cement from which much of
21
Bicycle (2010)
PROFILE RUSS FLATT
C5H11ONO (2015)
Positive Mental Attitude (2015)
Auckland City was constructed. From there,

the work will wing its way to China to be
part of a group show, thanks to the Auckland
Festival of Photographys connections with
the Asia Pacic Photoforum organization. The
international prospect has the photographer
very excited, as he had been thinking about
his career in a very local context up to this
point: You get in that space, and you make,
and you show, and you forget theres the rest
of the world out there. Thats the beauty of
livinghere.
22
And its not just the photographers images

that will travel, either. As a winner in last years
Wallace Art Trust awards, Flatt will y to the
US later this year, where he will embark on a
three-month artist residency in Vermont.
With a practice rooted deeply in experience
and memory of childhood in Aotearoa,
Flatt will export exquisite, specic slices of
home throughout the world. And we of the
hometown audience will watch eagerly to see
what international eyes make of these regional
peculiarities and universal similarities.
FOLIO DAVID HALLETT
Nikon D300, 600mm, f/6.3, 1/2500s, ISO 640
PATIENCE IS KEY
Photographer and bird magnet David Hallett talked to Kelly Lynch about his latest
book and his career as a photojournalist
While speaking on the phone with

photographer David Hallett, mid
conversation, we were interrupted by
squawks so loud that his voice was drowned
out. The raucous note was from a blackbacked gull and its mate, banging against
Halletts window. Of course, they know
Hallett is a bird lover, and they were just
doing what theyve done for the past ve
years: entering his kitchen and making
themselves athome.
24
or wait, conned in a camouage hide, for

however long it takes to get the shot. He
said that after his arrival it can take 40to
50minutes for the birds to resettle and
accept him as part of thescene.
But Hallett aspires to much more than
just being close up to capture birds
behaving naturally: he waits for the
essential combined elements of light and
composition before making an image
worthy of hisattention.
They are only one of the 125bird species

Hallett has painstakingly photographed in
the wild across the breadth of the country
and featured in his latest beautiful book,
Native Birds of NewZealand.
Photographing birds has been a

hobby throughout his long career as a
photojournalist, and, a few years ago, he
realized he had signicant material with
which to make a coffee-tablebook.
Photographing in the birds natural

environment, Hallett will stand in cold water
juggling camera gear for up to four hours
Theres no doubt that successfully

photographing all of NewZealands bird
species is a feat, and requires specialist
25
Nikon D300, 300mm, f/5.6, 1/250s, ISO 400
FOLIO DAVID HALLETT
Nikon D300, 400mm, f/6.3, 1/800s, ISO 500
skills. Hallett advised, Bird photography

requires patience, but, more importantly,
knowledge of the subject you want to
photograph if you know what the bird is
likely to do, you are able to plan ahead to be
in the right place. Most birds wont like being
chased around, so its a matter of getting
to position, sitting still, and letting the bird
come toyou.
tested during his varied assignments as

aphotojournalist.
He conceded that he has grown more

patient over time, and, while he doesnt sit
up in trees or use high-powered technical
equipment, he does employ his skill of
innite patience, something regularly
After seven years, he left Taranaki to head off

on his OE, travelling to Hong Kong to stay
with friends. While there, the Vietnamese
boat people began to arrive illegally, some
in derelict, sinking boats. Hallett stayed and
Canon EOS 1D Mark II, 190mm, f/4.5, 1/6400s, ISO 400
The most difficult bird [to photograph]

would be the yellowhead. They are very few
in numbers, and they feed in the canopy of
the South Island beech trees. Its one bird I
have never had much luck with but it just
needs moretime.
His photography career began in the

1970s in his hometown, New Plymouth,
when he left school and began work
as a photography cadet at the Taranaki
newspapers. At the time, this covered
stories for the Taranaki Daily News and the
now-defunct Taranaki Herald. I wanted a
job that was outdoors but didnt want to get
my hands dirty photography tted the bill
perfectly, he told me, hailing it as a great
job. He loved meeting people, not knowing
what was going to happen each day, and, If
it was newsworthy, you werethere.
26
Nikon D300, 250mm, f/5, 1/3200s, ISO 1000
Nikon D300, 400mm, f/4, 1/160s, ISO 400
photographed the events as they unfolded

for the next six months, sending the images
to a London newsagency.
When he arrived in London, Hallett made his
way to the news agency to collect his pay
cheque. It was a Friday, and they asked what
his plans were while staying in England.
When he replied that he didnt have any,
he was told there was a job waiting for him
with them on Monday. He spent his rst
weekend in London guring out how to get
to and fromwork.
The job was inspiring: he was shooting
news, features, and a lot of high-end sport.
While he knew Wimbledon, Twickenham,
and Wembley existed, to be physically in the
stadiums, on the sideline, photographing
Nikon D300, 380mm, f/4.5, 1/2000s, ISO 1000
the action was a dream come true.

But, eventually, the lure of summer
barbecues, beaches, and the relaxed
lifestyle of NewZealand saw him return
and become a news photographer at the
AucklandStarTimes.
In any free time he had, Hallett would
head to the South Island to do some
y shing and photography. After the
Auckland StarTimes closed in 1991, one
of the papers senior sports writers began
a magazine called Fish and GameNZ, and
Hallett started photographing stories for it.
He later went on to produce his rst book,
Moods of NewZealand FlyFishing.
Based in Auckland, Hallett freelanced
concentrating on the things that interested
27
FOLIO DAVID HALLETT
Nikon D300, 600mm, f/4, 1/4000s, ISO 400
him, yachting and y shing. He covered

the Americas Cup in San Diego when
NewZealand won in 1995 and then again in
Auckland in2000.
He teamed up with John Kent, and,
together, they produced Classic Fly Fishing
in NewZealand Rivers, which won a
Montana Book Award in 2004. They then
produced another book, called Fly Fishing in
NewZealandLakes.
Hallett said he almost always pre-visualizes
the images that he wants to capture. Half the
fun is working out how to get it. Its always
satisfying when you meet the challenge, he
explained. Although, at times, while trying
to get that shot, something else happens
that is even better, as was the case with his
image that won the NewZealand Geographic
Nikon D300, 21mm, f/13, 1/320s, ISO 1000
28
Wildlife Award in 2012. He was concentrating

on photographing spoonbills, when, next to
him, welcome swallows began courting, and,
with gear at the ready, he captured the rarely
seen action in a timelessshot.
Hallett has been a nalist numerous times and
winner twice at the Qantas MediaAwards,
while working as a photojournalist at
Canterburys ThePress, a position he took
after 10years of freelancing in Auckland
became excessively busy. He was the winner
of the Best Single Breaking News Picture
in2004, and Best Single Picture in2010 for his
image of eastern bar-tailed godwits ying in a
row. It is these accolades, judged among his
industry peers, that are particularlyrewarding.
In recognition of these awards, Hallett
commented, Youll always do a better job if you
Nikon D300, 95mm, f/16, 1/400s, ISO 1000
are interested in the subject. His website is

conrmation of this, with pages of stunning
imagery of NewZealand, showcasing its
moody landscapes and naturalhistory.
During his holidays while working
at ThePress, he photographed in
FiordlandNational Park and, along with
writer and editor Yvonne Martin, produced
another attractive coffee-table book,
calledFiordland.
When The Press suffered severe budget
cuts, Hallett took redundancy. A fortnight
later, he was approached by Penguin Books
to photograph Canterbury high-country
station Erewhon, again, together with
Martin, producing another book this one
titled Seasons of Erewhon. He estimates
he would have made 30 to 40trips to the
station in one year to capture key calendar
events like mustering andhaymaking.
Martin calls Hallett Saint David, in reference
to his endless patience. She said hes
legendary: David doesnt just have a gift,
he has a whole bag of them. On top of the
photographers ability to read light, he also
has an innate sense of timing. For the cover
photo of the Erewhon book, he worked
out where the horse riders were going to
appear over a ridge he was spot on and
captured the shot. Similarly, during the
autumn muster at Erewhon, he gured out
where merinos were going to descend from
the hill tops, chased by wily dogs and men,

and that is where he waited and waited,
Martinexplained.
It is from these experiences that Hallett
condently now self-publishes books
through his company, Sandy Publishing.
He assured me that its easy if you
learn the language of book making,
and that you need to have a good
printer (his is in HongKong). He also
recommends employing a distributor to
do the marketing, telling me, You need
to produce a professional product. What
he humbly leaves out of the equation is
what all his books have appealing and
engagingimagery.
Hes not a gear guy, convinced that its
the 15cm behind the camera that really
makes the difference. He carries two
Nikon DSLRD7200 bodies, and varies the
lenses on them. His longest lens is a Nikkor
600mmf/4 followed by a 200400mm,
80200mm, 3570mmf/2.8, and a
60mm macro. Hes also very happy with
a newly acquired 1424mm f/2.8 lens. He
carries two speedlight ashes, and uses a
monopod and a tripod to help him keep the
ISO down essential, he said, for coffeetablebooks.
Where does Hallett nd his inspiration? A
book of winning images produced annually
from the UKs NaturalHistoryMuseum
29
FOLIO DAVID HALLETT
Nikon D300, 600mm, f/6.3, 1/4000s, ISO 600
Nikon D300, 550mm, f/5.6, 1/500s, ISO 400
WildlifePhotographer of the Year competition.

Also, French photographer Henri CartierBresson, who he described as one of the
greatest photographers thatlived.
What now? Hes been away a lot working on
material for his next few books. What are the
subjects? Hallett wont say, but he knows
30
hes onto something different, something

special, and well have to be patient until
October 2016, when theyll be revealed
whatever the subjects, theres no doubt
theyll be well worth thewait.
You can see more of Hallets work over on
his website: davidhallett.co.nz.
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ONE TO WATCH ALEX MOORE
Nikon D810, 24mm, f/10, 1/250s, ISO 320
DIPPING A TOE
INTO MANY WATERS
Hes tried his hand at nearly every photography style you can think of in
only four years: Alex Moore tells us about how his photography adventure
began and where he visualizes going
The student has become the teacher in the
case of Alex Moores photography career.
Four years ago, he and his partner were on
a trip to Waiheke Island and accompanying
them on this journey was his dads
Olympus Pen camera. At that stage, it was
Moores partner who had the interest in
photography, so she was stopping to take
photos of the owers and the sights that
the Waiheke vineyards had to offer.
She was showing me the photographs that
she had taken, and I was like, Oh my God,
let me have a try with that! So, I grabbed the
camera off her, and I started taking photos
of all the scenery on Waiheke, and I was like,
this is actually really amazing, Moore says of
that rst experience with a camera in hand.
The initial step in this newfound journey
was a trip to the bookstore to purchase a
photography magazine, and Moore pored
over the pages, absorbing as much knowledge
32
about techniques, styles, and equipment

that he could. Ever since then, he says he
has aspired to be like those people hes seen
featured in the glossy pages of magazines
and has focused his time on learning how
they manage to capture the shots that they
do. And hes done it all off his own bat, too,
as hes completely taught himself all the
techniques and styles that hes experimented
with thusfar: I didnt take any courses I
only did a graphics and design course at
Yoobee School of Design, and we only did a
photography paper in there. That was basically
where I wanted to kick off my photography
career, because I really loved photography
after studying it, Moore says. Our graphics
and design teacher showed me what he could
do with photography, and I just thought it was
amazing, so I ran all around Auckland and took
photos of places that Id been.
Moore has experimented with nearly every
style or subject that you can imagine
Nikon D810, 31mm, f/22, 223s, ISO 31
Nikon D810, 31mm, f/22, 223s, ISO 31
like him hes one of my big inspirations,

that guy Most of my portfolio is HDR I
know a lot of photographers dont like the
HDR style, but sometimes it works in some
ways its an amazing technique.
I denitely love the HDR style, he says.

When I heard of Trey Ratcliff, he really
inspired me to go out and take photographs
You just have to take one look at Moores

Instagram page (@alexmoorephotography)
to see that hes also very much into his travel
Nikon D800, 150mm, f/3.5, 5s, ISO 100
landscapes, weddings, nature and wildlife,

portraits, cars, astrophotography, highdynamic-range imaging (HDR), and travel.
Its all been explored, with HDR up there as
one of his favourite styles to work with.
33
Nikon D800, 70mm, f/10, 1/400s, ISO 500
Nikon D810, 95mm, f/10, 1/80s, ISO 64
and landscape photography and, even

being fairly new to the Instagram world, hes
enjoying the opportunity to get his work seen.
He says, A lot of people said, Oh dont waste
your photos on Instagram, youre giving
your photos away, and all that stuff. But then
other people said its really good to get your
work out there, and thats what Ive done
recently just hashtagged you guys in some
of my photos, and youve published them as
well, so thats quite cool. I like Instagram, its
denitely good to follow photographers and
get inspired by people.
Not only does Moore want people to see his
images in the social media world, but hes also
got dreams and the beginnings of turning
those dreams into reality to get his work out
there in the form of photo books and galleries.
Id love [photography] to be my career path
maybe one day have a gallery and show
people the place that we live in. Its quite
scary though; theres a lot of competition. Id
denitely love to set up a photo book. I talked
to my dad about it, because we love to go to
34
Queenstown and the South Island, and Ive

actually made a photo book of our travels
down there. He said it would be amazing to try
and sell it to people, he says.
Moore is currently working at Mercedes-Benz
Newmarket as a car groomer (which works
out well with his interest in car photography),
but is still managing to squeeze in some
family and child portraits, as well as wedding
photography jobs he has one coming up
in Matakana when we speak. And, when it
comes to the gear for his wedding shoots, hes
going in well prepared: Ive got two full-frame
Nikons: the big brother D810 and the D800.
I use both of them for my weddings. Ive got
a 2470mm that I use, and a 70200mm. Its
important to have good gear so I can blow up
those quality images.
But hes got his eye on a piece of kit slightly
more extreme
Id love to get into sports photography. I go
down to the local rugby club and take photos
of the players so [a piece of equipment
I would love to have] would have to be a
35
Nikon D810, 50mm, f/2.8, 1/80s, ISO 320
Nikon D810, f/2.8, 30s, ISO 1600
Nikon D810, 35mm, f/6.3, 30s, ISO 31
36
massive 300mm, which is huge bucks. Its

amazing when you go to a rugby game and
you see those photojournalists with the
massive lenses its like, holymoly!
taking photos of the Skytower and the

landscape, anything I could possibly shoot.
Im teaching her as well, which is awesome
she got me into it, and now I can teach her.
In the meantime, Moore will continue to

get out and about, shooting everything
and anything to keep enhancing his skills
and hes even found a way to pass on his
newfound knowledge. I drive my girlfriend
crazy, he says, like, Im out in AucklandCity
To see more of Moores

work, visit his website at
alexmoorephotography.co.nz, follow his
Instagram (@alexmoorephotography), or nd
him on Facebook by searching AlexMoore
Photography.
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Phone: 09 276 3271 Email: sales@crknz.co.nz Web: www.ilford.com
STYLE PHOTOGRAPHY PORTFOLIO CREATION
SHOWCASING
THYSELF
Weve heard your calls for an intro to creating a photography portfolio, so
weve enlisted the help of folio consultant Christina Force to run through how
to create a portfolio that will t you and your needs
Weve all seen billboards featuring the
stunning photos presented in various
magazines, but how do photographers
get their work under the noses of those
who make the decisions on who to hire
for one of these shoots? And, even more
importantly, how does that successful
photographer make their work stand out?
Various elements can affect the way
a photographer sets themselves apart
from the others competing for particular
38
jobs, and one very important factor is

their photography portfolio. There is
no one-size-ts-all solution to creating
a portfolio that stands out a lot of
thought and consideration needs to go
into what you want to achieve so you can
correctly format and style it in a way that
will achieve your goals. Christina Force,
folio consultant, gives us some insider
knowledge into ensuring you design your
portfolio to re your best shot at being
plucked from the crowd.
To portfolio or not to portfolio

Whether youre considering creating a
portfolio for your own personal reection
or for potential clients to see, Force
recommends that all photographers have
some sort of portfolio available for people
to peruse and, with digital increasingly
becoming the way of the future, creating
one online is essential.
They should all have a website and feature

a portfolio on that denitely. A printed
folio is a bit more specic, and it depends
on what they want to achieve and who
they want to target, Force explains.
But, before photographers decide how
they would like to present their work,
they also need to be incredibly aware
39
out their look and feel; they need to show

their best work without being inuenced
by anything; they need to be true to
themselves, Force says.
Styling your portfolio

Once a photographer has established the
individual style that represents the work
they love to create and who their target
audiences will be, plenty of consideration
must also be applied to the way the
portfolio is presented to ensure it will grasp
the attention of those they want to be
associated with.
of who they are as photographers, and

what their preferred style of photography
would suit in terms of brands or
organizations that they would like to work
with.
You need to decide who youll show your
portfolio to by how you see your standing
point, and what sort of work you want to
do. Photographers need to understand
who they are as photographers and gure
40
Force suggests that your intended purpose

and audience whether you want to
create works for editorial in magazines,
work with corporations, or align yourself
with brands (which may have an ad
agency) should affect how you present
your portfolio to capture the attention of
specic target audiences.
For ad agencies, you denitely need a
good website rst you wont get in the
door without a strong website she says.
You dont need loads and loads and loads
of photos on the website, but you do need
to keep it consistent, quality, and reect
what you do [then y]oure more likely to
get in the door.
Once youve got your foot in that door,

consider whether showing your portfolio
on an iPad or digital device is the best
idea. Although ad agencies might say
that showing your portfolio on an iPad is
ne, Force says to remember that theyve
probably already looked at your website
on their own device, so you may just
be showing them the same thing in the
same format again: Theyll probably say,
Cool, thats great. But if you present a
beautifully printed, bound representation
of your art, youre more likely to get
more engagement and more likely to be
remembered.
My feeling is that, these days, everyone
is more forced towards technology, so it
tends to be more special when something
is printed. You can make waves, show [that]
its important and that they have to take a
look it feels special. A print portfolio is
tactile, engaging, and emotive.
What makes an image worthy?

Selecting the images for a portfolio must
stem from what the photographer has
established as their individual style and
who they would like to create work for.
The work that they love doing should
dictate what they are working on. The two
should be aligned, and thats how they

should decide who they are targeting. They
should aim to reach their goals and do
the work they love and be paid for it, says
Force.
Creating a portfolio that captures attention
from the get-go is very important, and, to
do this, Force advises the following: For
print portfolios, I always suggest a beautiful
cover. Invest your money in a cover
41
brand it, name it. Create a portfolio where

pages can be removed and the order you
put your pages in can be changed then
you get more control over what you put in.
Its not so much a photo book although
there is a place for those books but Id
suggest theyd be more for higher-end
commissionjobs.
Providing that instant wow factor is
essential for a great-performing portfolio,
and, to achieve this, taking time to consider
your images and how they work together
42
to give a clear indication of your personal

style is important.
Often, Ill suggest that you need to have
a great hero image or showpiece. Show
specic images that have been nicely
edited. You need to make people want to
see [your portfolio] and back it up with
quality work, Force says.
You need to show a collection of your
work, create a customized book but
dont make it until you know what shots to
include. For example, why would you make

a portrait book if all the images you end up
choosing are landscape?
And ensure its set out in a way that makes
it easy for your clients to understand: You
dont want them having to gure out some
mathematical equation to be able to get
past the cover ensure there is ease of
access for them.
Portfolio prerequisites
However, as Force advises, it doesnt
matter how experienced a photographer
is, everyone goes off track and forgets who
they are. Its important to understand that
you cant do it all on your own, and its OK
to call on the help of someone else a
folio consultant or otherwise.
But, whoever you choose, make sure they
are incredibly successful, she cautions.
If its a photographer, make sure they are
well established. You dont want to be
misguided. With every image, there is so
much emotional baggage that comes with
any photo. People like me see the image
for what it is we werent there to smell
and taste the cake youve captured, and we
werent there to experience the beautiful
day. All I can know is what I see and the
client will be the same. You need objective

opinions, and relying on your partner or
friends isnt always the best idea.
Understanding that a career in
photography is not all about taking
photographs is vital to being able to
ensure your masterfully created portfolio
transitions into paid opportunities.
Talent is only a small part. You need to be
able to communicate in a world that has
high expectations. Theres this view about
ad photographers, that they get paid and
43
THE PORTFOLIO
PROCESS
Sometimes its nice to tick things off a checklist,
so we asked Force to put together her top tips
on how to create a portfolio that is perfect for
your specic requirements.
Dene your best work and the most
dominant style.
Dene your personal and professional goals
where you would like to be based, what
kind of team you like working with, etc.
Dene which clients/brands will be most
likely to pay you to shoot assignments in
your style, and which t with your goals.
Ensure this is reected in your website
build a folio of work that reects your goals
and style and is accessible to your target
clients.
Build a print folio only when youve done
these things and have established what your
target client wants to see in a printed folio, if
anything.
Start by selecting the key images (or get
someone else who understands your target
market to do this for you).
Collate them in a way that ows well use
theme, tone and colour, and composition to
connect each page.
Use this as a guide as to how to assemble
your folio in terms of format, layout, and size.
Lay up pages and use a PDF or something
similar to replicate the ow and see how it
looks before printing.
thats not fair, but there is so much work

that goes into the acquisition of these
jobs, the treatments, and showing you
can do what the client wants, compared
to editorial, where you get a lot more say
and responsibility. With ads, you have to
double-check, and have it approved by the
agency, as well as every man and his dog,
Force explains.
And, last but by no means least, to get
those all-important real-world skills,
Force says that photographers should
align themselves with a successful
photographer in their area of interest, and
assist: Theyll be able to teach them good
habits, business skills, provide experience
in working, and see a side of things that
are crucial No ones really bad; its just
about experience. There are always gems
of wonderfulness, but you really need
personality and work experience.
44
Research and test papers: what texture best

enhances your shots? Also, make sure you
take into account the type of binding youll
use (mounted or not?).
Talk to a binder about your options. A good
binder will be able to help you with your
page preparation and will also make you
a custom cover. Decide on the branding,
nish, size, etc., of your cover using your
images, page size, paper type, and layout as
a guide.
Print out your shots (if youre not using tear
sheets) on the paper youve selected, using
a reputable printer (person, or your own
machine).
Do a nal edit of your work once its printed
to make sure the ow is still working. Be
prepared to move shots around, replace
them, or even throw them out if they dont
look as good in print or if the quality isnt
good enough.
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CLUB BAY OF ISLANDS KAIKOHE PHOTOGRAPHY CLUB
Canon EOS 5D Mark III, 50mm, f/10, 1/200s, ISO 160
WITH A
PHOTOGRAPHERS
EYE
Kathy Elliston, a member of Bay of Islands Kaikohe Photography Club,
explains how joining the club has enhanced her skills and increased her passion
for photography
From being a kid and experimenting with an
instant Polaroid camera that her mum had
purchased onwards, Kathy Elliston has always
been passionate about photography. At rst,
she incorporated a youthful playfulness into
what she would take photos of, and says that
she always enjoyed having fun with a camera. It
was a six-month overseas family trip at the age
of 12 that saw her purchase her rst camera of
her own, which she paid for with the spending
money she had for the trip.
This camera became attached to my hip
throughout our journey and [was there] after
returning home, too, where it was well used
daily, Elliston says.
46
She has completely self-taught herself the

photography techniques that she employs in
her everyday photography, and says she enjoys
the continuation of her learning and growth in
the photographic arena.
The widespread information found online was
my rst starting point. It enabled me to research
and learn a wide aspect of photography that
I wished to start with and grow from there,
she explains. But shes not doing it completely
in isolation she is learning and sharing
her journey with a friend in Auckland, which
inevitably aids their motivation and passion
for their craft, as theyre always sharing stories
about what theyre doing and learning.
47
Canon EOS 5D Mark III, 80mm, f/4.5, 1/2000s, ISO 400
Together, we share our experiences and

knowledge of all things photography. We have
utilized online courses; Creativelive tutorials;
other workshops; and, of course, getting out
there and doing it is the best of all.
Making use of the skills she has learned over

the years, Elliston turned to photography
when she was made redundant after the birth
of her youngest of three sons. It became a
huge part of her everyday life, and, when she
found herself with greater time on her hands,
it increased her desire to take her photography
to a higher level.
48
I currently enjoy photographing weddings and

various elds of portraiture, including family
and children from as young as newborn. People
photography is where my heart lies, and to
be able to document and make these lifetime
memories for families is very much a privilege,
Elliston says.
Taking a leap in a new direction, she is taking
that passion for capturing lifetime memories
to a new level as she ventures into birth
photography, which she describes as a great
love she will offer this to families in the Bay
of Islands.
To capture those rst raw moments and
emotion is incredible, she says, and really one of
the most amazing moments in any persons life.
The Bay of Islands Kaikohe Photography Club

meets on the second Thursday of each month
at Cherry Park House at Waipapa Landing,
Kerikeri. When Elliston made the discovery last
year that the club now met where she lives, she
signed up straight away.
To be able to spend time with others interested
in photography is really neat. Our members
vary in ages me in my early 30s through
to those in retirement it is a great place to
share information and guidance with each
other, as well as have some fun. Whether new

to photography or very experienced, the only
requirement to have is that interest and curiosity
for it, Elliston explains.
Every month, the club creates a topic for
members to focus on shooting. When they
meet, members are invited to submit up to
three images based on the set theme as well
as an open category two images being the
maximum in any one category. From there, the
judge makes suggestions on how to improve
49
the image, as well as pointing out what stands

out. The club also hosts eld trips, workshops
and guest speakers, so there is always plenty to
get involved with and keep you shooting.
Elliston says, Our recent trip to Kawakawa,
a local town, had us trying new things and
techniques with street photography, meeting
many fun locals and travellers along the way.
These group outings are a great way to try
things that you may not have alone.
Elliston has a new outlook on the world around

her now that shes so entrenched in the
photography realm, and, from the sounds of it,
she wouldnt have it any other way.
I enjoy experimenting every day with new ideas,
new situations, and various shooting conditions.
Everything looks different for me now
[through] my photographers eye, that is while
out and about, I constantly see these idyllic
places, and my mind goes straight to how that
So, is joining a photography club something

you should do? Elliston says that if its been on
your radar, you should denitely give your local
club a call: Most clubs will gladly invite you to
join them and have a look and see if you may
like it before joining as a member. I have been
fortunate to meet a group of wonderful and
like-minded people to share photography with,
and I am sure others will do, too.
50
would look fabulous in a photograph, she says.

To see more of Ellistons work, head to
her Facebook page (search Kathy Elliston
Photography), as she is working on developing a
website at the moment. For more information on
the Bay of Islands KaikohePhotographyClub,
go to boiphotoclub.co.nz.
NZS LEADING NIKON AND

TAMRON SERIES RESELLERS

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 different for everyone. You may create your own meaning for a photograph that you
encounter; at other times, its nice to know the true story behind the image, and what was
running through the photographers mind as they captured it. We talk to two photographers
from around the world about the story behind their photographs
Photographers name: Peter Rees Location: Waiheke Island

D-Photo: Whats the name of this
photograph?
Peter Rees: Whakanewha Sunset.
Can you describe where you were when
you captured this image?
I was at Whakanewha Regional Park, on
Waiheke Island.
What stood out to you that this would make
a great shot? What inspired you to take this
photograph?
I always notice the light rst, and then the
composition. I noticed the stream leading
through the composition, the dynamics
created by the cloud trails, and the ground
texture in comparison to the sky I could
go on!
How much planning went into the
image?
There was quite a bit it was being shot
as part of a video promotion, so the
photography had to look well organized.
52
What is the message that you hope people

take from seeing this image?
Natural beauty wherever you are; a sense of
balance, harmony, and appreciating the world.
Can you outline the gear and settings you
used when taking this photograph?
The camera I used was a Nikon D800, and
the lens was a Nikkor 1424mm 2.8 at
14mm. I set an aperture of f/9 and had a
shutter speed of 1/800s and an ISO of 100.
What did you do to edit this image, if
anything, and why did you make the
adjustments that you did?
Not a great deal Im enjoying lm looks
at the moment, so this was given a real
Kodacolor Gold look in Lightroom. I increased
the photo in contrast, in saturation, and
lightened the foreground to increase aerial
perspective. I then cropped the image to 16x9.
What interested you in pursuing
photography?
As a professional ne-art painter,

photography like a sketchbook always
assisted in the collecting of visual ideas for
paintings. In the last few years, photography
has taken over almost completely! I now
work professionally from my studio on
Waiheke Island. I have a broad range of
clients, including vineyards, architects,
accommodation, property, etc., and I also
sell limited-edition prints of my landscape
work, as well as teach bespoke courses for
intermediate to advanced photographers
on Waiheke Island. I still paint, and, in my
view, the relationship between painting and
photography is completely symbiotic.
If people want to see more of your work,
where can they nd you?
To view more of my work, head to my
Facebook page, facebook.com/
peterreesphotography; to my website,
peterreesphotography.com; or [you
can] see my work on Instagram
(@peterreesphotography).
Photographers name: Gilbert Lennox Location: Ireland

D-Photo: Whats the name of this
photograph?
Gilbert Lennox: The Edge.
Can you describe where you were when you
captured this image?
This dramatic basalt headland in
NorthernIreland is called Binevenagh.
It marks the western edge of the
AntrimPlateau the land falls away sheerly.
There is a scenic (and muddy) walk up
to the mountain, but it is also possible to
access this point from the car park beside
Binevenagh Lake, a favourite local shing
spot. A grass pathway leads out to the cliff
edge a 10- to 15-minute walk. It can be
dangerous, especially in high winds, so
caution is required. In the wind, I made the
last few metres on my hands and knees!
What stood out to you that this would make
a great shot? What inspired you to take this
photograph?
Binevenagh has been designated as an area
of outstanding natural beauty. The panoramic
view from the summit is stunning one can
see the Roe Valley, across Lough Foyle to
Inishowen (Donegal) in the west, and then
along the famed North Coast and, on a good
day, Scotland. On this occasion, I wanted to
capture the headland against the setting sun,
and the sense (almost) of falling off the edge
of Ireland.
How much planning went into the image?

The planning involved using The Photographers
Ephemeris to conrm the position of the sun and
checking the weather. Timing was very important.
It took me about an hour to reach this point. In
addition, sunsets can be deceptive in this part
of the world, and, very often, a bank of low grey
cloud appears at the crucial moment; blots out
the sun; and prevents any golden-hour effect
after the sun goes down. The bank of cloud is in
this image however, I got there just in time to
catch the sun before it disappeared into the grey.
What did you do to edit this image, if

anything, and why did you make the
adjustments that you did?
Mostly Lightroom especially the highlight
and shadow-recovery sliders plus some
increase in exposure, as my settings proved a
little underexposed, and I used Nik software
for contrast and some noise reduction. I didnt
want Binevenagh to appear in silhouette, so I
wanted to recover some of the shadow detail.
In a high-contrast image like this, nding the
balance is not easy!
What is the message that you hope people take

from seeing this image?
For me, it is the sense of scale near/far,
high/low, massive/tiny the sense of natural
grandeur and human smallness. One of the
reasons that I come here quite often is [that]
I think it is healthy for us humans to feel that
smallness and to cultivate our sense of awe.
What interested you in pursuing

photography?
I was very interested in photography as a
schoolboy and as a young man I am now in
my 60s but, while I dabbled in wedding[s]
and portraiture, my real love was for nature
and wild, open spaces. I was also very
busy with work and family life. I sold all my
lighting, tripods, and camera gear and gave
up photography for a long time. The advent
of digital opened a new opportunity for me,
as well as the obvious need for a hobby and
creative outlet. I dipped my toe in the waters
and fell in!
Can you outline the gear and settings you used

when taking this photograph?
A Nikon D810, which I love because of its fantastic
dynamic range, a Nikkor 2470mm zoom at
24mm, a setting of ISO 320 at f/13, 1/320s, and [it
was shot] handheld[, as] there was such a strong
wind whipping across the headland that a tripod
would have been a challenge. I used a higher ISO
than normal in order to give both good depth of
eld and a fast enough shutter speed to minimize
the impact of hand shake.
If people want to see more of your work,

where can they nd you?
Visit gilbertlennoxphotography.com, and
I am also on Facebook: facebook.com/
GilbertLennoxPhotography.
53
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BUYERS GUIDE OUTDOOR PHOTOGRAPHY
D-PHOTOS GUIDE
TO OUTDOOR PHOTOGRAPHY
No matter the weather, getting outdoors and discovering intriguing locations
and subjects to shoot can be refreshing. We hunted out the best gear to add to
your kit when youre making your expedition into the outside world
NIKON D750 DSLR BODY
TAMRON SP 1530MM F/2.8 DI VC USD LENS
Nikons D750 DSLR is an FXformat camera well-suited to

both still imaging and video
recording, and specically
designed to match any shooting
scenario with the right optical
performance. Paired with any of
the versatile array of full-frame
or DX-format Nikon lenses, the
D750 is capable of capturing
striking portraits and dramatic
landscape shots.
Poised between the more affordable D610 and the pro-grade, highresolution D810, the D750 features a 24.3-megapixel CMOS sensor,
and an EXPEED 4 image processor capable of producing highresolution imagery with smooth colour gradations, low noise, and
brilliant clarity. With a high ISO sensitivity that reaches to an expandable
51,200, and great autofocus capability, youll be able to capture shots
that match your vision, whether shooting in bright light or deep
darkness. Plus, with a continuous shooting rate of up to 6.5 frames per
second, this agile performer ensures no opportunities are lost.
All of these features are packed within one of the most lightweight
packages of the Nikon FX range, so the D750 can be hand-held without
strain during prolonged shoots.
With an RRP of $3149, the Nikon D750 DSLR is available at leading
photographic retailers throughout the country. For more information
on the Nikon D750 DSLR body (VBA420AA), visit nikon.co.nz.
As the available array of ultra-wide full-frame lenses becomes evergreater, it now requires an excellent lens to grab attention and the
Tamron SP 1530mm f/2.8 DI VC USD lens does just that. Able to capture
wide vistas and sky-high architecture, the 1530mm is testament to
Tamrons ongoing commitment to innovation and excellence in design.
As part of Tamrons Special Performance (SP) lens series, this zoom lens
rivals the performance of xed-focal-length lenses from 15mm to 30mm,
thanks to its unique eXpanded Glass Molded (XGM) aspherical lens
element that effectively controls aberrations and enhances sharpness.
Several Low Dispersion (LD) elements in the 1530mms 18-element,
13-group optical design tame distortions that are commonly associated
with wide-angle lenses making the
1530mm a beautifully-engineered
piece of glass.
As this lens benets from Vibration
Compensation (VC) Tamrons
proprietary image stabilization
mechanism the effects of camera
shake are reduced, resulting in sharp
images even in low light or when
relying on slower shutter speeds.
The Tamron SP 1530mm f/2.8 DI
VC USD lens (TAA012) has an RRP
of $1999, and is available at leading
photographic retailers throughout New
Zealand. For more information, visit
tamron.co.nz.
MANFROTTO 190GO! ALUMINIUM 3-S KIT WITH

XPRO THREE-WAY HEAD
LOWEPRO PROTACTIC BACKPACK RANGE
Manfrotto completes its pro-enthusiast offering

with a more compact and easy-to-transport
version of the successful 190 XPRO making
the Manfrotto 190Go! Aluminium 3-S Kit an
ideal companion when youre scouting for the
perfect landscape shot.
Manufactured in Italy, and using a rugged
aluminium body for reliability and durability,
the Manfrotto 190Go! provides a compact
support that weighs just 1.5kg and is only 50
centimetres in length, but can extend out
to nearly three times that size. Twist locks
allow for easy opening and closure of all
sections at once with a single hand, ensuring
quick operation. Plus, its 90-degree column and the four
leg angles enable the lens to get low to the ground for dramatic
architectural shots.
Combined with the XPRO three-way head, the 190Go! delivers great
precision and tilt-motion assistance. With three levelling bubbles
on the head, composition can be precisely pitched, while friction
controls on the XPRO three-way heads tilt and portrait axes help
balance the weight of the camera so that ne framing adjustments
can be made with the locking knobs open.
The Manfrotto 190Go! Aluminium 3-S Kit with XPRO three-way
head (MK190GOA4TB-3W) has an RRP of $549, and is available at
leading photographic retailers throughout New Zealand. For more
information, visit manfrotto.com.
56
The name Lowe is almost synonymous with the outdoors,

with mountaineer Greg Lowe having been among the rst to
manufacture close-tting internal-frame backpacks for climbers
and hikers. Using the same design principles to create a range of
protective camera bags, Lowepro was born bringing together
accessibility, versatility, comfort, and organization, with the love of
photography.
The Lowepro ProTactic backpack range, available in 450 and 350
variants for DSLR users, and the 250 variant designed specically for
mirrorless, offers protection to your gear while on the move.
Breathable back panels and a central air channel dissipate heat
and moisture, while Lowepros
ActivZone System harness delivers
targeted support to the shoulders,
lumbar area, and waist for comfort.
In addition, an all-weather cover
safeguards its contents against even
the most extreme elements. Plus,
with Lowepros MaxFit System of
padded, adjustable interior dividers,
gear is tted snug and securely, with
the conguration customizable to
suit any kit.
The Lowepro ProTactic backpack
range (LP36771/LP36772/LP36921)
retails from $279, and is available
at leading photographic retailers
throughout the country. For more
information, visit lowepro.com.
SIGMA 150600MM F/56.3 DG

OS HSM CONTEMPORARY
SIGMA 20MM F/1.4 DG HSM ART
Joining the Global Vision line-up, the 150

600mm f/56.3 DG OS HSM Contemporary lens
from Sigma can handle long-reach photographic
situations and is ideal for getting closer to New
Zealands native wildlife. Maximum portability
meets with the utmost image quality in this
variable aperture hyper-telephoto zoom lens.
The 150600mm Contemporary lens features
an optical layout consisting of 20 elements in
14 groups, with a single F Low Dispersion (FLD)
and three Special Low Dispersion (SLD) glass
elements ensuring the exquisite capture of
birds in ight, even against bright skies. Boasting
updated Sigma technology, the lens features
a quiet and optimized Hyper Sonic Motor
(HSM) and a new Optical Stabilizer system (OS),
ensuring that fast-moving wings are captured
in striking clarity. The Sigma 150600mm
Contemporary also touts a new zoom-lock
switch that can be locked at any focal length,
while a manual override switch is incorporated
for improved focusing control.
With an RRP of $1899, the Sigma 150600mm
f/56.3 DG OS HSM Contemporary is a versatile
lens for any pro-enthusiast kit.
Wearing the Sigma Global Vision Art designation,

the Sigma 20mm f/1.4 DG HSM Art pairs
sophisticated optical design with a robust physical
construction.
Championing a large, double aspherical lens
59mm in diameter, the 20mm prime offers brilliant
results in natural light. Lenses of this type have
previously been considered extremely difficult to
manufacture, but Sigma took on the challenge
to realize the f/1.4 ultra-wide-angle lens that
offers excellent optical performance making it
well-suited to shooting within the nuanced tones
of low-light conditions, while providing greater
control over the focus position when using shallow
depth of eld techniques.
Utilizing a combination of two F Low Dispersion
(FLD) and ve Special Low Dispersion (SLD)
elements, the lens allows for outstanding
image quality throughout the focal range, while
minimizing the appearance of spherical aberration,
axial chromatic aberration, and eld curvature
issues that many wide-angle lenses suffer
from. Plus, 15 elements within 11 groups provides
consistent peripheral brightness from edge to
edge including the full-frame corners.
With an RRP of $1599, Sigmas 20mm f/1.4 DG
HSM Art lenss excellent optical performance
expands the possibilities for shooting within the
muted light of dawn and dusk.
SIGMA MC-11 MOUNT

CONVERTER
SIGMA 120300MM F/2.8 DG OS

HSM SPORT
For the very rst time, Sony DSLM full-frame

mirrorless cameras have full access to Sigmas
extensive range of lenses with the MC-11 mount
converter. Providing E-mount compatibility to
19 Sigma Canon Mount (EOS) lenses, the MC-11
makes the Sigmas much-loved Art, Sport, and
Contemporary ranges fully compatible with Sony
mirrorless camera bodies.
While many adapter options readily exist, few go
beyond simply aligning the ange back distance.
The MC-11 aligns both the mechanics of the lens
and the complex software of the body making
Sigmas latest move a game-changer within the
full-frame mirrorless eld.
Offering performance thats only rivalled by
Sonys own native lenses, the MC-11s purposebuilt lens-control data system is engineered to
maintain autofocus functionality. In addition, the
MC-11 mount converter works in conjunction
with Sigmas lens optical stabilization (OS),
and when used with Sonys in-camera image
stabilization, it supports angle-shake correction.
With an RRP of $499, the Sigma MC-11 is
sure to satisfy the growing number of Sony
camera users who have been asking for more
lens options, and now have access to Sigmas
signature quality and performance.
Engineered for dynamic capture and split-second

timing, Sigmas Sports line delivers optical
performance that can capture fast-paced action,
frozen in time. As the rst lens introduced under
the Sport designation, and also the third iteration
of its design, the Sigma 120300mm f/2.8 DG
OS HSM Sport is a precision-engineered piece of
glass.
With a wide f/2.8 aperture, and equipped with
state-of-the-art technology, the Sport lens begs
to capture movement. To ensure consistently
sharp images, the 120300mm features a Hyper
Sonic Motor (HSM), which allows for fast and
accurate autofocusing, and an Optical Stabilizer
(OS), which compensates for camera shake while
shooting by hand.
Solidly built, the 120300mm is housed within
a dust- and splash-proof casing making this
lens ideally suited for the outdoors, and able to
withstand less-than-perfect weather conditions.
Better still, its joint parts including the mount,
focus, and zoom rings are sealed to provide
resistance and improve overall durability, while its
textured rings and well-placed switches ensure
efficient operation so that you never miss a shot.
With an RRP of $4499, the Sigma 120300mm
f/2.8 DG OS HSM Sport offers a versatile focal
range for all types of action photography.
For more information on Sigmas Art, Sport, and Contemporary lens ranges now optimized for Sony E-mount with the MC-11 mount converter
visit crknz.co.nz, or see your local independent photo retailer.
57
BUYERS GUIDE OUTDOOR PHOTOGRAPHY
ROGUE FLASHBENDER 2 XL PRO LIGHTING

SYSTEM
Most people equate portraits with ambient light, but the reality is that it
doesnt always veil a subjects face in a attering way. The light needed is
often absent, of the wrong kind, or is in the wrong place. And its for this
reason that on-camera reectors and modiers are ash fundamentals
to complement light that already exists outdoors.
The second-generation Rogue FlashBender system is based on a
shoe-mounted, pliable, at-panel reector, and also includes a soft box
diffuser attachment for softening the light, plus a strip-grid attachment
for directional concentration of light.
Measuring 254x280mm, the reector provides a wide, softly diffused
light, while malleable rods inside the reector allow it to be sculpted
to form a variety of shapes even a narrow snoot. In an update to its
original design, the reector now attaches to the shoe-mount ash via
a belt and buckle system, and is 20 per cent lighter meaning that less
stress is put on the ash head, and it remains securely in place while
shooting.
While widely versatile, the kit still retains the portability and easy set-up
thats characteristic of FlashBenders the entire system can t into a
bags laptop compartment, or fold at for storage.
VISIBLEDUST CLEANING KITS

When shooting in the great outdoors, dust and dirt can be a digital
cameras downfall. Interchangeable lens systems make it near
impossible to stop foreign particles from entering the camera, and
it doesnt take long until they stick to the sensor. When shooting
the vast blue skies of landscapes, or capturing insects within the
narrow depth of eld of macro, these dark ecks and imperfections
become all too visible.
VisibleDust offers a range of products tailored to both DSLR and
mirrorless camera cleaning; both wet cleaning to remove oily
smears, and dry cleaning to remove dust and sand. Illuminate and
locate contaminants using the Quasar Plus Sensor Loupe 7x, a
xed-focus magnier featuring Bright Vue technology and six LED
lights. To combat dust, reach for the Arctic Buttery a 16mm
motorized sensor brush with specially congured bristles that
become charged, making them attractive to dust. Or, if the problem
is oil-based, combine VisibleDusts Smear Away solution and Green
Series swabs to safely remove tougher stains or smears.
VisibleDust cleaning products range between $18 and $257. For
more information, and to purchase, visit progear.co.nz.
For more information on the Rogue Flashbender 2 XL Pro lighting

system, which has an RRP of $200, visit progear.co.nz.
PROFOTO B1 500 AIRTTL BATTERY-POWERED

FLASH
This powerful portable
unit is a light that has
changed the way many
photographers work.
Based on Profotos
popular D1 Air series
of monolights, the B1
has the same durable,
polymer housing,
integrated 77-degree
reector, and built-in
Air receivers as the D1
but with two marked
differences wireless
portability and through-the-lens (TTL) camera/ash integration.
The Profoto B1 is battery powered and wirelessly synced, while still offering
powerful core performance. Ten times as powerful as your average speed
light, it recycles in under two seconds, and can deliver up to 20 ashes
per second in Quick Burst Mode. Flash duration is a rapid 1/1000th of
a second, while its Freeze Mode function captures objects in motion in
ashes as short as 1/19,000th of a second.
With its wireless TTL battery pack, the B1 is not a standard lighting kit
given the exibility of shooting in-studio or far away, its a single indoor/
outdoor strobe solution.
Complete the kit and get full wireless TTL operation with the purchase of
a dedicated Air Remote TTL transmitter, compatible with Canon or Nikon
cameras. When its attached to the cameras hot shoe, theres no need for
light metering meaning that even the rst shots a keeper.
PROFOTO B2 250 AIR TTL TO-GO KIT

After the wide success of the B1, Profoto has since released another
game-changing product, the Profoto B2 a small and lightweight
off-camera ash system thats designed specically for on-location
shoots. Its so compact, in fact, that Profoto describes it as the rst
off-camera ash that can be used on-camera, too.
Designed to add a little or a lot of extra light, the B2 can be utilized
as a subtle ll or can stand on its own, as its built-in reector casts a
wide and even spread of light. While at 250 watts it delivers half the
power of its forerunner, it has all the features that made the B1 much
loved by photographers. Like its big brother, the B2 also features TTL,
as well as high-speed sync for shutter speeds of up to 1/8000th of a
second.
With the To-Go kit containing the B2 250 Air TTL battery pack, a B2
head, lithium-ion battery, and location bag, it has photographers
sorted for any situation where and how you shoot is up to you.
White Studios is the New Zealand dealer for Profoto gear. For the full range of Profoto ash kits and modiers
available for both purchase and hire visit whitestudios.co.nz.
58
PRODUCT SPOTLIGHT
ADD THE CANON EOS-1D X MARK II TO YOUR
KIT FOR THE OLYMPICS
Canon has achieved a new benchmark
for speed with its EOS-1D X Mark II
having the ability to shoot at 14 frames
per second with full autofocus / auto
exposure (AF/AE) tracking, and at 16
frames per second when in Live View
mode. With the Olympics coming up
this year, this camera would be ideal
for capturing athletes in action, with
the assurance that you will not miss
a moment and the result will be
sharp thanks to the cameras autofocus
precision. The next step up from
the EOS-1D X, this model features a

20.2-megapixel full-frame CMOS sensor,
as well as the ability to capture 4K video
at a frame rate of 60p. Youve also got
a wide ISO range from 100 to 51,200
(expandable from 50 up to 409,600), and
the ability to shoot Full HD (1920x1080p)
video at 120 frames per second, which is
ideal for slow-motion capture.
The EOS-1D X Mark II will be available
from April 2016, and more information
can be found at canon.co.nz.
FLATTER YOUR SUBJECTS WITH

THE PROFOTO OCF BEAUTY
DISH
ENHANCE YOUR SKILLS WITH THREE LITTLE WISHES

WORKSHOPS
When Profoto released its Softlight Reector in

1980, fashion photographers soon nicknamed it
the beauty dish, due to its unique ability to veil
the face in soft, attering light. Since then, the
beauty dish has grown to become one of the
most iconic tools for creating striking portraits
with light thats creamy, yet crisp.
Profoto has now released the OCF Beauty Dish
a collapsible and more portable version of its
classic precursor. Tailor-made for on-location
photography, the OCF Beauty Dish is both
lightweight and compact it weighs in at just
under half a kilo and collapses to t within a
small backpack. Plus, its unique design allows it
to snap onto its speed ring without any bending
and fumbling with rods, guaranteeing a fast and
easy set-up.
Available in both white and silver, the OCF Beauty
Dish comes with a deector plate, optional
diffuser, and carrying bag.
White Studios is the New Zealand dealer for
Profoto gear. For the full range of Profoto ash
kits and modiers available for both purchase
Recently purchased yourself a camera,

received a special Mothers Day gift, or
have picked up your DSLR for the rst
time in a while and want to know how to
use it to its and your full potential?
The team at Three Little Wishes and their
combo workshops offer a series of classes
providing a comprehensive way of learning
plus youll receive a great discount by
partaking in a combo experience rather
than attending workshops individually.
The Bronze programme offers the
fundamentals of shooting with your DSLR
and is an ideal choice if you want to learn
how to use your DSLR to capture great
photographs.
The Silver programme offers the basics, as
well as teaching you Photoshop skills. With
the added three-hour post-processing
session that this programme offers, youll

be able to take your photography to the
next level.
The Gold programme offers the basics,
plus a couple of specialist workshops for
those who are interested in wedding and
real estate photography.
You can work at your own pace, so
whether you want to learn in eight weeks
or 12 months, you can, however, most
students complete the programmes within
three to six months. Thanks to Canons
support, throughout the workshops all
students will be able to experiment with a
wide range of Canon gear that they may
not have used before.
For more information, visit
threelittlewishes.co.nz.
59
ON LOCATION CHRIS MCLENNAN
Chris McLennan is a
NewZealandbased
commercial travel
photographer, servicing
clients all over the globe.
With more than 50 different
countries on his list of shoot
locations, his images and
stories bring the world just
that little bit closer. When
hes not working on an
assignment, Chris also hosts
intrepid-style photo tours
to exciting and photogenic
travel spots such as Alaska,
Africa, Papua New Guinea,
and New Zealand. He is an
ambassador for camera
brand Nikon and holds
endorsement relationships
with Lowepro, Lexar,
AquaTech, and HP. For an
example of his work, watch
his YouTube video sensation
Car-L meets the Lions, which
has received 7 million views
and has been featured
by both local and
international press and media
worldwide.
Featuring a smaller part of the overall action creates a different feel to the image
Nikon D810, Nikkor 400mm, f/5.6, 1/2000s, ISO 160
cmphoto.co.nz
HANGING TEN
Chris McLennan pans the Noosa Festival of Surng for creative action
shots and lets you in on his shooting secret
Keeping busy as a commercial
photographer often comes with the
perception that we must forgo creative
opportunities to meet a clients specic
brief. But retaining that creative
point of difference is what makes
us irreplaceable, as well as helping
photographers stay relevant and
necessary in an ever-changing digital
industry. Just about anything you can
imagine has probably already been
done in Photoshop or Illustrator (and
been posted on Instagram), but that
doesnt stop us imagining and trying
to create new pictures. This, for me,
is what the fun and the challenge of
good photography is all about.
60
Earlier this year, I was over in Australia

to photograph a surng event in
Noosa, with the added bonus of being
able to take my 15-year-old daughter
along (shes a junior lifeguard and lover
of the surf) for her rst ever photo
shoot as official camera assistant.
We checked into the stunning Viridian
Noosa Residences and headed straight
for the beach. Camera check.
Jandals and sun hat check. Daughter
nowhere to be seen. She was
already down at the beach and loving
it. Who said this was a work trip?
Originally established as an amateur
surng competition by the local surf
A competitor in the VetShop DogSurng Workshop

heads out through the surf
Nikon D810, Nikkor 400mm, f/4, 1/3200s, ISO 200
club back in 1992, today, the Noosa

Festival of Surng includes pro-level events
alongside unique amateur contests and
speciality exhibitions that give it huge crowd
appeal. I didnt stop to count, but spectators
on the beach looked to be in the thousands,
while the cafes and shops along the main
drag were all bursting at the seams.
Out on the water, the waves were small but
the weather was ne, and the competition
was running at full tilt, with more than
800 entries representing 15 countries
across the different disciplines. Celebrating
its 25th year, this is truly an event that
recognizes the diverse culture of surng:
shortboarding, longboarding, paddling,
tandem you name it.
The highlight is denitely the VetShop
Dog Surng Workshop when the beach
is standing-room only, with thousands
of people knee-deep in the water and
cameras at the ready as the four-legged
competitors (and their human companions)
A surfer with wings due to the slow shutter effect

61
ON LOCATION CHRIS MCLENNAN
The movement blur of this panned surfer as he sneaks beneath a small barrel wave
The board actually disappears in this slow-shutter-speed image quite a neat optical illusion
ride the waves ashore. Judging by the skills

and athleticism we witnessed, Id say this
was a favourite among the competitors
and their humans seemed to enjoy it, too!
From the Old Man Open to the Body Bash,
the Finless Challenge, the Logger Pro, and
the SUP BOP race, the line-up was varied
and there was denitely something on
display for everyone.
My daughter and I got busy photographing
the festival atmosphere: the kids, oldies,
dogs, and surfers out in the water; the
crowds lining the beach; and the smiling
62
faces under sun hats and sun umbrellas

everywhere. And then it was time to see
some action, getting shots of the different
events as the contestants vied with each
other among the crowded waves.
During the surf event, the swell was quite
small, so I decided to try something
different to dramatize the surf images,
using a slow shutter speed together with
my Nikkor 400mm lens. Although I dont
use it on every shoot, when I do, this lens
is so unbelievably sharp and fast I simply
dont want to put it down! It was late in
Making magic out of the small waves as they break at sunset

While the traditional action shots are all important,

having a bit of creative fun and delivering something
different is also just as rewarding
Nikon D810, Nikkor 400mm, f/4, 1/1600s, ISO 20
the evening and the light was dropping,

so, using Aperture Priority (Av) mode, I
reduced the ISO to give me the slower
shutter speeds I was after. I then panned
the surfer to keep the main subject sharp,
while adding movement blur to the
background and the breaking waves. The
results were a lot of fun, and something
creative and different to sit alongside my
more traditional action shots of the surf
event.
In fact, one of my favourite images from
the week is a series of golden baby waves
taken at sunset using the same approach. I

shot in Av mode; reduced the ISO to get a
slow shutter speed; and, this time, panned
the actual wave itself, which resulted in
a simple image with a nice feel to it. Its
important to take every opportunity to try
new things, as, even if the images dont
always work or the results arent what you
were expecting, the process itself is all part
of the learning curve, and you will know
what to do differently next time. As they
say in surfer speak, lifes a beach, so get
out there and enjoy it.
63
TECHNIQUE JACKIE RANKEN
TEN YEARS
ON DISPLAY
Leading professional
photographer Jackie Ranken
covers the fundamental
techniques and ideas
behind a range of different
photography styles each
issue.
One of the countrys most
respected photographers,
Jackie is the current
New Zealand Landscape
Photographer of the Year and
is a Canon Master. She also
runs the Queenstown Centre
for Creative Photography
with her husband,
MikeLangford.
jackieranken.co.nz
Jackie Ranken sheds light on the notion of exhibiting, referring to her

exhibitions with Mike Langford to inspire action in potential exhibitors
We all know that photography has changed

since the digital revolution. There are so many
more people with cameras, and many of
them call themselves photographers but
are they? One of the big leaps to becoming a
photographer is to print your work. I believe
that a photograph is not a photograph until it
is printed. I believe that this nal expression in
print should be celebrated, and the best way
to do that is to exhibit.
Your rst exhibition may be stuck to the door
of the fridge with magnets, or Blu-Tacked to
the back of the toilet door where everyone
will have time to see it, or you might be ready
to be part of a group show or have your own
solo exhibition. What matters is that you do
it. Preferably before your hard drive fails or
your images get lost among the multitude of
les that you make.
In this article, I will discuss two recent
exhibitions that Mike Langford and I have had
and hope that the resultant discussion will
prompt you to organize your own show.
Our exhibition idea was based on the
concept of celebrating 10 years of
photography in New Zealand. Mike and
I run photography workshops based in
Queenstown and internationally. As a result,
we are often in the same place at the same
Red Couch (above) and Chair and Couch (right)
64
time, or photographing the same subject

at different times. We wanted to celebrate
our 10 years together, so we found images
from those 10years when this had occurred
and called the exhibition Symbiosis, our
denition of this term being a cooperative,
mutually benecial relationship between two
people or groups. We believed that seeing
two prints, one by each of us, side by side,
would add more interest for the viewer,
as each photograph is a reection of the
photographers individual ideas at the time
of shooting, and our personal styles show
through.
Many of the images that we selected
had already been printed as entries for
photographic print competitions like the
New Zealand Institute of Professional
Photography (NZIPP) Iris Professional
Photography Awards or the Australian
Professional Photography Awards. Mikes
RedCouch, for example, was part of his
NZIPP Photographer of the Year portfolio
it was a photograph from a series
called Vanishing Landscapes. The idea
of our Symbiosis collection was that I
would explore my image library to nd a
companion shot to show with each of Mikes.
You can see that the photograph that I chose
to show next to Red Couch was made a few
years after Mikes. The chair and couch were
Milford Sound Beach Tree (left) and Milford Umbrella (right)
still there, but they had become weathered

and look very different in a black-and-white
interpretation.
of seeing a photographic image on paper. The

lesson that we learned was that we could, and
should, reshow work whenever possible.
An important image for me was my

MilfordSound Umbrella photograph, captured
in 2006. This won me print awards in
NewZealand and Australia, and is one of my
signature photographs. In 2015, Mike made a
homage to this by photographing the other side
of the tree. The aesthetics of both images are
closer in style because the intent behind the
shot was to reference a style and look, to be the
same the same but different.
This year, we decided to create a second

collection, Symbiosis II, from images made
approximately in the last two years. The
whole show was printed using Canons
new Pro 1000 A2 printer. I used the printers
built-in colour calibration that runs through
DigitalPhotoProfessional software, and
found the process a breeze. The Lucia Pro II
colour pigment inks and Chroma Optimizer
make beautiful art prints on the Canon
PhotoPaper Pro Premium Matte paper made by
Hahnemhle.
In this rst show, we exhibited 38 photographs

and hosted the exhibition three times: the rst
show was in Brisbane, Australia, then twice in
Queenstown at different art spaces. The rst
show was printed to t into a set of gallery
60x50cm frames that we hired. The prints had
a wide border that acted as a matt, creating
space between the image and the frame. In
Queenstown, we simply hung these same
prints with a 3mm acid-free foam-core backing
board, and clipped them to the walls. On both
occasions, we opted to have no glass, so that
there would be no distracting reections, and
the viewer could really enjoy the experience
Clouds in the Nevis Gorge is a great

representation of Mikes way of interpreting the
landscape. He loves strong graphics and simple
clean compositions. Look at the way the V of
the valley corrals the uffy white clouds into a
ock. The key to the image lies in the shadows,
with the road leading the eye up the hill. His
use of low-key tones is very different from my
high-key Flying Telephone. This image is part of
a series called Other Realities. The phone was
actually thrown in the air and captured with a
fast shutter speed. I like people to bring their
Clouds in the Nevis Gorge (left) and Flying Telephone (right)
65
TECHNIQUE JACKIE RANKEN
own interpretation and imagination to what

they see in my photography. I remember
the making of the shot with a smile, and the
sound of the phone dinging as it landed in
the soft snow. I totally enjoy the process
of nding new ways of photographing in
familiar places.
Mike and I have photographed the
MoerakiBoulders many times, and each
time we visit the site, the light and the
height of the tide have been different. We
are different, too, and each year we learn
more about who we are and endeavour to
rene our sensibilities. I am always looking
to nd a fresh approach, and, on this
occasion, I had brought with me a piece of
wire that I had found along the road. This
wire became a signature for a series called
Wire. I really like to make work to t into
ongoing series of images, as it helps me to
push my own boundaries, and allows me
to explore my own photographic journey.
Mikes photo of the Moeraki Boulders is
a long-exposure interpretation like mine,
with the slow shutter speed softening the
look of the waves as they move forward
and backwards around the rocks. But, in his
case, colour is an important element. He
has added saturation to the broken boulders
in the foreground, which makes them look
like golden nuggets. These warm colour
tones come forward to the eye, while the
cool blue/green colour tones of the ocean
on the horizon line recede backwards. The
graphics of the three main rocks link these
elements together.
Moeraki Boulders (above top) and Wire (above)
Our collaboration in these exhibitions illustrates

how we have both developed our individual
styles while at the same time inuencing each
other, and absorbing the benecial inuences
of each other into our work.
TOP TIPS ON HOW TO

SAVE MONEY ON A
SHOW
Print your own work.
To avoid framing costs, hang your work with
clips.
Exhibit with a friend or group.
Symbiosis II signing
66
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CAPTURE OCEAN BELCHER
JOINING THE PARTY

Andy Belcher passes the pen to daughter Ocean Belcher this issue, and she
recounts her rst assignment as event photographer during a university
orientation party
Ocean Belcher
recently won the Music
category of the 2015
EventPhotographyAwards
in London and, following in
the footsteps of her father,
Andy Belcher, is in pursuit
of a rewarding photography
career. With a background
in digital content production
and blogging, Ocean
combines her passion for
writing and photography
to tell colourful stories that
evoke emotion.
anoceanaway.net
Off in the distance, you could hear the bass

thumping as a sea of Greek gods converged
on the university campus. With their young
bodies wrapped in crisp white sheets, the
new wave of student intoxication prepared
for the ultimate rite of passage: their
university toga party.
They were clad in their chosen linen
item, commandeered from the laundry
cupboards of their grandparents or the
local halls of residence, and it seemed
that every young person in town had
also selected some questionable green
hairpiece in a quest to become Apollo.
But not me. I was on the ultimate quest
to make some extra pocket money, drink
my weight in free cocktails, and get some
photography experience on the side.
And thus began my journey as an event
photographer. Not realizing at the time that
I might have bitten off more than I could
chew, I called my dad, Andy Belcher, for a
few last-minute pointers, and followed the
sea of students into the depths of this latenight dance party.
10.5mm, f/2.8, 1/40s, ISO 400, using Speedlight ash
Music vibrated the oor beneath my feet,

while drunken sweaty students gyrated
around me, and I was totally in the zone.
However, this wasnt an easy environment
to work in, with ever-changing ambient
light, pulsating strobe lights, people
constantly bumping into me, and a hazy
layer of dry ice clouding my vision.
68
Wanting to capture the vibrant neon

backgrounds while having my subjects
correctly exposed, I opted for the widest
lens and aperture possible. I quickly learned,
however, that built-in ash and wide-angle
lenses are not ideal business partners.
When doing some in-camera editing, I
realized that my lens was casting curved
shadows on my subjects. To combat this,
I popped a ash straight on the hot shoe
and used a bounce card while the ash was
directed at the ceiling. This worked like a
charm.
I also had to be mindful to choose a
shutter speed slow enough to capture the
surrounding ambient light while being quick
enough to avoid subject blurring taking a
tripod into a packed nightclub was denitely
not an option.
At the end of the evening, I had a range of
vibrant shots that truly captured the energy
of the event. My favourite is the intimate
image of a young couple embracing. The
passion in this moment combined with the
intensity of the surrounding event really
stirred me as a photographer, and many
people I speak to feel they are intruding
on a personal moment when viewing this
image.
All in all, experimentation is key. Take lots of
photos, have fun, and dont be afraid to get
caught up in the action.
KEEP PHOTOS ALIVE

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As the creative thought

process is just as important
as good technique,
photographer PaulPetch
gives voice to the thoughts
from which great images
are born. Paul is a freelance
commercial photographer
based in Auckland
specializing in a wide
array of styles, including
commercial portraiture,
sports, documentary, and
event photography. He is also
a successful graphic designer,
art director, and photography
tutor.
natureismetal.com
BEHIND THE LENS PAUL PETCH
SALVAGING TIME
Feel like youre expending time and not seeing the results for your hard yards?
PaulPetch explains what could be causing this dilemma
Time is my most valuable resource in life, and as
a photographer. Yet it is squandered as though it
costs nothing. It took me quite a while to appreciate
that time is my most valuable resource. As an adult
with family and responsibilities, they come rst,
and, if I allow my time to be wasted as a freelance
photographer, my life suffers, too. Dont ever think
that a one-hour shoot is ever just onehour with
your camera in hand. Theres also getting your gear
ready, working out the creative direction, travel,
set-up, admin, post-processing, delivery, and lets not
forget the headspace pre and post shoot that should
be taken into consideration. And these all take time.
I have a simple equation for my price estimations:
Cost of shoot divided by two (half is GST and income
tax). Then divide the result by the hours that it takes
to do the shoot (including admin, editing, etc.). Now,
lets take a job that you quoted $200 for. First, $100
of that goes on tax. Say theres four hours on site and
three hours post-processing and sorting the admin
side of things. This works out to be $14.20 per hour.
Meanwhile life goes on, and you miss out.
Unfortunately, in real life we cannot recharge our
time. Once weve spent it, it is gone forever. So, when
I quote for jobs, I price accordingly I consider the
energy I will spend delivering the goods, and ask
myself, is it really worth it? Paying bills is my main
motivation, so, after I do the maths, will the income
from the job help my business survive? Then I look
at the personal take-away that I may get from the
experience. Are these experiences better than time
with family? Time spent keeping healthy? Time away
from work?
So, how do I charge for my time? Well, I use a
half-day or full-day rate to avoid the inevitable, We
want you to shoot X, and we reckon it will only
take an hour. I always start with a minimum of two
70
hours shoot time and two hours admin, post, and

delivery. A full day is simply double these resources.
I always attach my standard Advertising and
Illustrative Photographers Association (AIPA) terms
and conditions with my commercial estimations
no exceptions. And I outline exactly what the
client is going to get from the shoot, including the
costs, client brief, number of images, location, and
anything we have discussed by mail leading to the
estimation. All of which sets expectations, clearly
guides us, and makes sure we work to budget and
deliver on time.
Always being on the go is tough spiritually,
physically, and mentally. Since I started to shift my
focus to appreciate that time is my biggest asset, Im
a better photographer and person. If you want to
make it as a commercial photographer, the path is
not easy. At every corner, people want to take your
time. People want to exchange their time for yours.
We dont have innite hours, so focus on whats
important in life, and photography, and be a part of
that not all of it.
Some weeks, I nd myself a little overwhelmed,
and, when I step back, I can see it is purely based on
doing too much. So, I stop and refocus. I do this for
my photography, too. Should I be working for next
to nothing for someone else, or am I better to head
off and shoot what I love, investing that time into my
own skills and experiences? When I am teaching,
meeting new people, and talking to other creative
people, I feel fully alive. I feel like I am fullling
my true purpose to engage with others, build
communities, and help others build their condence
as photographers. The more I took notice of what I
love to do, rather than what I thought I needed to do
as a photographer, I started to shoot more paid work
that I loved. More work to pay my bills so that I can
then keep shooting what I love.
Whitecliffe Photo Media graduates are creative,

articulate and technically skilled image-makers.
They have a clear understanding of industry
standards and they possess the vision and selfbelief essential for effective communication in
the contemporary environment.
PHOTO MEDIA OPEN DAY 2016 Tuesday 2 August

PROSPECTUS www.whitecliffe.ac.nz/prospectus or 09 309 5970
ow ing!
N
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o sr
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u
H a fe
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KELVIN TSE
Get the Whitecliffe Edge
PRACTICE MAREEA VEGAS
Mareea Vegas is an Aucklandbased 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
BETWEEN
TWO WORLDS
Mareea Vegas asks photographer Cline Say how she has brought her
life experiences and photography together to create a series of stunning
projects
There is a felt intimacy in the photographic
works of Cline Say, with the recent
loss of her father triggering an emotional
transformation for the 2016 Unitec
graduate that propelled her through
complex emotions to land in a place
that she says allowed an uncomplicated
reconnection with lifes simpler moments.
A French native, Say returned to her
roots on the Brittany coastline in 2015
to care for her ailing father a journey
that sparked an important conversation
between father and daughter on the notion
of life and death, and led to a photographic
exploration of the landmark history
of World War IIs iconic AtlanticWall.
Returning to New Zealand for the nal
year of her degree, Say explains that
the unexpected trip back to France
was ultimately a journey of discovery
enabling a spiritual metamorphosis
during the nal year of her degree
and a personal revelation about what
photography really means to her.
D-Photo: How have the issues examined in
your work changed during the three years
of your bachelors degree?
Cline Say: To me, studying is about
discovery and a lot of experimenting to
develop your own style and nd out what
really interests you. Before studying, I
was mainly doing street photography and
staying very distant from the subjects I was
72
shooting just observing with the camera

what was happening around me. The three
years of study [have] taught me how to go
beyond my comfort zone and to get closer
to the subjects. Ive discovered that I like
to share people stories, stories which are
close to my heart as opposed to looking at
strangers from a distance. This discovery
especially came through in my second year
after doing a series of street portraiture. I
felt that there was something missing when
working with complete strangers, people
that I would just spend a few minutes with
and never see again. I needed to feel the
personality involved with the subjects,
spend more time with them, and create a
relationship of trust.
Through creating this trust with your
subject, what concepts did you explore?
I was rst inspired by a French movie called
Amour (Love) [directed] by MichaelHaneke,
starring Emma Riva and one of my
favourite actors, Jean-Louis Trintignant.
Its a heart-rending, poignant movie about
what someone will do for love during one
of the most challenging situations in life,
and it really resonated with me. It made
me think about the duration of love, how
you can still be important for each other
after so many years. Maybe I wanted to be
reassured that love still exists in old age,
that it is not only something for young
people. I wanted to work with a couple
who had been together for a long time to
try to nd the answers to these questions.

I didnt know them before starting the
project, but the more time I spent with
them, the more I entered into their world
and established this relationship of trust.
The photographs were made into a photo
book, with text alongside telling the story
of the beginning of their relationship.
My other ongoing project, Femmes, relates
to the subject of breast cancer. Its very
personal to me, as, before Unitec, I trained
and worked as a radiographer, specializing
in breast screening, so I was able to join
my two skill sets together. The work has
several messages, and this new desire to
connect and express these has helped
me to convey information. I really wanted
to respect the dignity of each woman, to
show more than the physical scars that are
left. I wanted the viewer to engage with
the work and be touched by each womans
story, and to show that breast cancer does
not look any one way from the outside
and it can affect anyone, whether you have
a family history of it or not.
Women affected by the disease are our
mothers, sisters, daughters, aunties,
grandmothers, and friends. Theyre
everyday women and they have to live the
everyday life. Its been important to me
to give a message of hope by sharing the
story of four women there is life after
breast cancer; [there] is not only a fatal
outcome as well as encouraging women
to go for screenings!
questions. However, as I was creating this

photographic work, I was more interested
in how their breast-cancer journey may
have changed their private lives. They
denitely felt more condent when I told
them that I didnt want to associate their
face and their chest in the same frame, and
that I would keep their anonymity. I really
wanted to concentrate on the woman
herself. Therefore, when I exhibited, I
combined a taped interview with their
portrait image, and placed their breast
images separately.
How has your knowledge as a medical

professional inuenced your approach to
personalizing this photographic work?
Why did you choose to process the breast

images in black and white but leave the
portraits in colour?
I felt compassion, but I think my

background training helped me take a
position where I wasnt so emotionally
attached or affected. My experience
denitely helped me to understand what
theyd been through with regards to their
treatment, so I could ask appropriate
I felt that I was removing the medical

aspect of those images by processing
them in black and white. Ive aimed to
give a more artistic rendering to the body,
reclaiming the beauty. Also, by framing
the images this way, we concentrate just
on the chest, keeping the body and face
anonymous. This was also a way for me

to respect the privacy of the women. I felt
really empowered by this project, and the
reaction of the viewers was so positive that
I plan to extend the work. Unfortunately, I
havent been able to yet, as my own family
was hit by cancer, and a lot of things have
changed for me.
Your next two series, Blockhaus and
VisagesMultiples are very personal in
meaning to you. What can you tell us about
them?
I had to go back to France unexpectedly
last year, as my dad was diagnosed with a
terminal cancer. I wasnt sure that I could
complete my third year of study, so I started
thinking about what I could do in France
if I couldnt get back to NewZealand.
I grew up on the coastline of Brittany,
which was part of the AtlanticWall during
the SecondWorldWar. The coast is full
of bunkers built by the Germans. Theyre
everywhere. They are part of the landscape.
73
PRACTICE MAREEA VEGAS
Some bunkers are in original condition,

and some have been recycled into houses
or clubs, and, more recently, local artists
have painted some. I thought it would be a
nice series of work to document all those
bunkers, as they belong to our history and
are integrated into my everyday landscape.
I would photograph them on cloudy days
and show the pictures to my dad. It became
an ongoing conversation between us,
and, when he was able to go for a walk, he
wanted to take me to places where I could
discover new bunkers. To me, those images
in Blockhaus are illustrating so much more
than just World War II bunkers. They will
always remind me of my father, even though
the series relates to a very difficult time.
My father passed away in June last year,
only four months after his diagnosis, so,
after several months in France, I came
back to Auckland to face the challenge
of completing the degree while in a state
of grief. It was then important for me to
make work that continued to somehow
connect me to my father. Visages Multiples
is the title of my latest body of work, and
it expresses my mixed feelings about life
and death but it also refers to a book of
poems that my father wrote when he was
a young man. His poems were deep and
complex, also mentioning the notion of life
and death. Therefore, his book of poems
became the centrepiece of my project, a
metaphorical and psychological work that
explores my internal dialogue between my
fathers poetry; my emotional experience
of grief; and my reconnection to small,
beautiful moments in life. The work was
presented as an installation including
photographic prints, the recording of my
voice reading the poems of my father, and
the original book as an artwork. The aim
was to create an intimate atmosphere in
which I could share my personal journey
with the viewer.
74
The images in the Visages series are striking,

presenting a mixture of space, stillness,
sadness, and energy. Did the moments nd
you or vice versa? And, on a technical level,
how important were your camera settings
to the creation of the images?
It is a mixture of both. At the beginning of
this project, I was overwhelmed by feelings
relating to the complexity of life and the
question of the afterlife, so I was looking for
dark and mysterious moments. Gradually,
I started to reconnect with beauty and
lifes simpler moments, which evolved into
simpler imagery. However, I found myself
wanting to be more experimental the whole
time. So yes, the moment would nd me,
too, as I was playing more with the camera.
The result for me was one of shooting more
instinctively and intuitively. The camera
settings would depend on the effect that I
would want to have or try. It was changing
all the time. The work of Rinko Kawauchi
has inuenced and inspired me for this
project. She said, For a photographer,
its a necessity that you can shoot stuff
magically, accidents are necessary. So, I let
the unexpected happen, but, afterwards,
I used careful selection and looked for a
relationship between the images to illustrate
the story I wanted to tell.
How do you remain close to France through
your work? Has living in NewZealand
changed the kind of work you are
producing?
The question of displacement has never
been a concern for me. I have never felt
the need to express a kind of connection
to my homeland until last year. It was
the rst time after many years of living in
New Zealand that it felt very difficult to be
separated from my family. The ocean is
a place for me to connect to my origin. I
produced a series of atmospheric images
by the ocean: this is where the photograph
Illusion from Visages Multiples emerged. I

dont think this is going to be an ongoing
theme in my work, as my surroundings
have never been my main source of
inspiration. The theme that I worked on
over the past few years could have been
produced anywhere; it wasnt specically
connected to New Zealand.
With photography as a way for you to
process emotions and issues in life, what
will your next project as a new graduate
look like?
There are a few works that Id like to
expand on, such as the breast-cancer
project, nding more bunkers on my next
trip back home, and my exploration of
metaphorical imagery. Id like to keep
producing work around issues that intrigue
me specically on a psychological level.
As for now, Im working on the last pictures
I took of my father to create a body of work
for the [Auckland] Festival of Photography
in June.
Because all our readers would love to know
what you shoot with, whats currently in
your camera bag?
Youll nd my Canon 5D Mark III, a few
different lenses, my Speedlite ash, a
light meter, some lters, and a zoom
microphone, as I have been working with
sound a lot.
Finally, where would we nd Cline Say at
10am on a Sunday morning?
On a Sunday morning, you are more
than likely to see me running along the
waterfront, as I am often training for
running events!
You can see more of Says work at
celinesayephotography.com or at the
Auckland Festival of Photography exhibition,
New Perspectives, at CircleGallery in
Newmarket, June 1418.
PRINCIPAL
PLATINUM
GOLD
SILVER
VENUE PARTNER
GEARDUCATED
Rebecca Frogley is a neart photographer and a

member of the team here at
D-Photo. Rebecca holds a
rst-class honours degree in
photography from the Elam
School of Fine Arts, and
has shown photographic
works in exhibitions both in
NewZealand and abroad.
Each issue, Rebecca
explores a single
photographic theme via
a range of photographic
equipment. Through these
experiments, she looks at
the possibilities of what can
be achieved by applying
simple photographic
techniques within everyday
shooting scenarios.
Digital print on Ilford Galerie Prestige Gold Mono Silk
MONOCHROME
MASTERY
Rebecca Frogley experiments with a range of Ilford Galerie inkjet photo papers to
uncover the lasting value of black-and-white photography in the digital age.
In 1935, the invention of the multi-layered
reversal lm, Kodachrome, prompted one of
the most pervasive shifts photography had
experienced yet nally bringing colour to
the art form. While its complex processing
requirements and the growth of alternative
photographic materials ultimately rendered
Kodachrome obsolete, its impact upon the
photography of its time was undeniable.
Now fast forward to today through our
widespread transition into the digital sphere
and black-and-white photography might,
to some, seem as though its fallen by the
wayside.
While shooting in black-and-white may have
nostalgic connotations for some, its remained
76
stubbornly resilient. In fact, the list of master

photographers alive or dead who have
seen black-and-white not as a technical
limitation, but rather as a creative choice,
are many and include Ansel Adams, Cartier
Bresson, Anne Larson and Hiroshi Sugimoto,
just to name a few. So, rather than query
why monochrome still exists perhaps a far
more meaningful question may be, why is
monochrome still so prevalent today, given
weve been able to shoot in colour for so
long?
Through dissipating colour and relying upon
light and composition alone, monochrome
can express emotion in a direct and eloquent
way offering a purer rendition of a
Digital print on Ilford Galerie Prestige Smooth Cotton Rag
photographic subject, if you will. Portraits in

black-and-white can intensify the emotive
charge without the distraction of colour,
the emphasis hones in on character and
expression, revealing the soul of the sitter.
Rendering architecture and urban cityscapes in
monochromatic tones can bring greater focus
to compositional elements, such as focal points,
leading lines and graphic shapes. And dissolving
colour from travel photography can produce
evocative and authentic documentary images:
its almost as though it is ingrained in our psyche
to trust and believe in these photographs.
Modern inkjet printing with Ilford Galerie

Prestige
Gelatin silver black-and-white prints of the lm
era were once recognized as the ultimate printed
form of photography, known for their wide tonal
range, beautiful paper surfaces, and permanence
ratings. When they were eclipsed by consumer
colour photography, favour shifted to inkjet
papers and inks, which have since evolved
dramatically. Now, at-home inkjet printers are
the modern darkroom producing brilliant
results without the need for an enlarger, orange
safelight, or trays lled with toxic chemicals.
Weighing in on the developments of at-home

printing, Ilford has combined state-of-the-art
inkjet technology with more than a century of
experience in image making to provide a range
of products tailored to the needs of amateur
and pro-enthusiast photographers. Its Galerie
Prestige Smooth Silk Discovery and Fine Art
Discovery packs are among the many great
paper options on offer. Each contains a selection
of different papers ve sheets of each to
allow you to experiment with different paper
types without having to commit to purchasing
large quantities. While many brands offer a
variety of paper types, ranging from obscure
textured papers to numerous distinctions of
glossy, its sometimes hard to know what will
suit your unique project. These packs are ideal
in helping select a paper weight and nish
that will suit both the dynamic qualities of the
photograph, as well as the prints intended
display outcome.
To match each of these papers, Ilfords website
hosts downloadable proles designed to
perfectly sync with Epson, Canon, and HP
desktop printers, ensuring accurate and detailed
prints, every time. Simply put, these proles
contain instructions on how a given make and
77
GEARDUCATED
Digital print on Ilford Galerie Prestige Cotton Artist Textured
model of printer, using a specic ink set, should

spray ink on a particular paper to achieve colour
accuracy. Created by printing numerous colour
swatches, measuring, and comparing the results,
they promise colour delity and a dynamic tonal
range from input to output. Simply download
the prole from Ilfords website and install it on
your computer to achieve the perfect printed
outcome.
The Galerie Prestige range of paper

weights and nishes
Pairing a brilliant image with its ideal substrate
can be the nishing touch that enhances the
unique qualities of a photograph. Varying in
nishes from matte through to high-gloss
and weights measured in gsm inkjet photo
papers offer a wide variety of options.
Commonly chosen for exhibition and archival
purposes, bre papers are coated with baryta,
a substrate, which produces a high level of
78
reectivity for vivid colour reproduction. The

310gsm Gold Fibre Silk features an inkjet layer
coated directly onto a true baryta layer, in order
to produce the creamy whites and velvety
blacks that are characteristic of traditional silver
halide photographic printing.
Cotton rag papers offer a beautifully tactile
quality. Ilfords Gallerie Prestige 310gsm Cotton
Rag ne-art printing papers are 100-per-cent
cotton, Fourdrinier-made, and boast over
98-per-cent opacity. Available in either smooth
or textured nishes, they have no optical
brighteners maintaining neutral, realistic
tones across an accurate dynamic range.
Matte nishes reduce glare by deecting
light, and are a good option for photographs
that are frequently handled, as their surface
texture doesnt suffer from the same ngerprint
problems associated with glossy. Mould-made
from 100-per-cent-cotton rag paper, Cotton
Artist Textured offers extra dimension for
Digital print on Ilford Galerie Prestige Gold Fibre Silk
artisan printers. Its coarse structured surface

allows for a beautiful traditional watercolour
look and feel, while still reproducing pin-sharp
details and colour consistency.
As a dedicated black-and-white paper, and
one of the lighter weights of the Ilford range,
the 270gsm Gold Mono Silk is a unique inkjet
paper that is designed specically for rich,
monochromatic prints. Its deep, rich blacks
and bright whites, and seamless transitions
between tones are reminiscent of traditional
darkroom printing papers a throwback to
the bygone era.
Archival quality to last the test of time

Most inkjet prints are much more durable
than colour photo prints, with many able
to last more than 100 years without visible
degradation. The lifespan of an inkjet print is
very dependent on the inks and media used,
which is why the Galerie Prestige range is acid-
and lignin-free offering greater longevity

than ordinary papers. Nonetheless, prints can
still be compromised by light, humidity, heat
and contaminants when theyre not handled
and stored correctly.
Its common knowledge that exposure to
sunlight can cause differential fading and
this particularly affects magenta dyes. To
protect prints against premature fading, frame
them behind archival glass with spacers, and
display out of direct sunlight. Cyan dyes,
on the other hand, are most susceptible to
chemical contaminants and, as they fade,
prints turn orange. As for discolouration, be
aware of the role that oxidation has to play in
altering dye chemistry. Certain paper-and-ink
combinations are highly sensitive to ozone,
which reaches high concentrations around
refrigerators and air conditioners. This is
why ironically enough you should never
display unprotected inkjet prints on the fridge
door.
79
GEARDUCATED
GALERIE PRESTIGE FINE

ART DISCOVERY PACK,
CONTAINING:
ILFORD GALERIE PRESTIGE

SMOOTH SILK DISCOVERY
PACK, CONTAINING:
Cotton Artist Textured
Smooth Pearl
Gold Fibre Gloss
Smooth Gloss
Textured Cotton Rag
Gold Fibre Silk
Smooth Cotton Rag
Gold Mono Silk
Try the Ilford Galerie Discovery packs, and

download your perfect-match printer prole
from ilford.com/printer-prole-list. For more
80
information on the full Ilford range, available

at independent photo stores throughout the
country, visit crknz.co.nz.
I want to help you master this

1u-[|ol-h;-bbm]-m7b=;v|;
b|_o|l-hbm]mm;1;vv-ulbv|-h;v Paul Petch.
www.natureismetal.com
NATURAL LIGHT
FOOD PHOTOGRAPHY WORKSHOPS
NEXT WORKSHOP: TUESDAY, MAY 24
Whether you are a food blogger, a budding food photographer, or you just love
photographing delicious creations our workshops offer the tips and tricks to
create stunning photographs which will leap off the page and say eat me!
W W W.T HR EELIT T LEW ISHES.CO. NZ
HOW TO MEAD NORTON
PREPARE
FOR LIFT OFF
Mead Norton is a commercial
photographer originally from
Texas, now living in Rotorua.
An outdoors and adventure
specialist, Mead has shot for
a range of clients, events,
and publications, both locally
and internationally, as well as
hosted various workshops on
the craft.
His portfolio comprises
a wide array of subjects,
including winter sports,
biking, running, triathlon,
water sports, travel, and
portraiture a repertoire
that has won him a long list
of happy clients as well as
various industry awards.
Not only does Mead
contribute valuable technical
articles to D-Photo, but
he also regularly publishes
helpful posts on his blog.
meadnorton.com
Mead Norton brings you all you need to know about your drone and how to
stay on the right side of drone rules
Can you describe what sort of weather
conditions are great for drone use and what
weather conditions to avoid?
Usually with aerial images, a clear sunny day
is best for taking and ying a drone, but you
also can get some really spectacular images
when a storm is brewing. If you do y your
drone before or after a storm, just make
sure that the wind is not too strong, and
remember that even if it is not very windy
at ground level, the wind at higher altitudes
tends to be much stronger.
There were some changes to the rules
regarding drone use recently. Can you
describe what these new regulations entail?
Basically, the Civil Aviation Authority (CAA)
has set up two categories for ying drones:
Civil Aviation Rule Part 101 and Part 102.
Most drone users will only need to be aware
of Rule 101, which states that as long as you
follow the 12 regulations, you can y your
drone without needing any formal certicate
from the CAA. If you want to operate your
drone outside of the 12 regulations, then
you will need to apply for a certicate under
Rule102. Here are the 12 regulations:
3. Fly only in daylight.

4. Give way to all manned aircraft.
5. Be able to see the aircraft with your
own eyes (e.g. not through binoculars,
a monitor, or smartphone), to ensure
separation from other aircraft (or use an
observer to do this in certain cases).
6. You must not y your aircraft higher than
120 metres (400 feet) above ground level
(unless certain conditions are met).
7. You must have knowledge of airspace
restrictions that apply in the area in which
you want to operate.
8. You must not y closer than
fourkilometres from any aerodrome
(unless certain conditions are met).
9. When ying in controlled airspace, obtain
an air-traffic-control clearance issued by
the Airways Corporation of New Zealand.
10. Do not y in special-use airspace
without the permission of the
controlling authority of the area (e.g.
military operating areas, low-ying
zones, or restricted areas).
11. You must have consent from anyone
you want to y above.
12. You must have the consent of the
property owner or person in charge of
the area you are wanting to y above.
You can nd more information about
the CAA rules and regulations at
caa.govt.nz/rpas.
DJI FC300X, 4mm, f/2.8, 1/2000s,

ISO 100
82
1. You must not operate an aircraft that is

25kg or larger, and always ensure that it is
safe to operate.
2. At all times, you must take all practicable
steps to minimize hazards to persons,
property, and other aircraft (i.e. dont do
anything hazardous).
What are my options when it comes to my

photographs being considered aerial? Do
I need to be using a drone / shooting from
a plane, or can I just be located somewhere
high above the ground?
As long as you are connected to the ground in
some way or another in a cherry picker, up
in a tree, on top of a ladder, even suspended
from a rope the CAA does not consider you
to be airborne, so you do not need to worry
about the CAA regulations. But, if you are
shooting from a high vantage point, common
sense should prevail. Be sure not to be over
unsuspecting subjects after all, if you were
to drop a lens or even a memory card or other
accessory, not only would you have to replace
the item you dropped, but it could seriously
injure anyone who happened to be below you.
What sort of settings would I be looking at
using when shooting aerial photographs,
DJI FC300X, 4mm, f/2.8, 1/1600s, ISO 200
DJI FC300X, 4mm, f/2.8, 1/1600s, ISO 200
and can these be changed easily, or do I

need to set them before I start ying?
Changing the settings while ying depends
on what drone you have and how much
control the drone software gives you. It
used to be that with the original drones,
which took a full DSLR (before GoPro-sized
cameras could capture high-quality images),
it was very difficult to adjust the settings
once the drone was in the air, but now, most
drones use small GoPro-type cameras,
or even DSLR or mirrorless cameras, with
Wi-Fi connections so that you can not only
change the settings on the camera while in
the air, but you can also see what the camera
sees in real time as you are shooting both
video and stills.
What sorts of locations would you
recommend someone experimenting with
aerial photography start with?
If you are just starting out with a drone, I
recommend going to a large park-like setting
on a day that the park is not very busy, and
practising ying it in all directions. Just get
used to controlling the drone. Even though

todays drones are pretty foolproof to launch
and land, it will take a while to get used to
the sensitivity of the controls, and operating
a camera on six different axis dimensions:
forward, back, left, right, up, down. Also,
be sure that you are at least four kilometres
away from the nearest airport. Another
reason to go out where there are not a lot of
people is that even though there are quite a
few drones out there, they still tend to draw
attention, and, if you are just starting out, you
should practice with all your focus on ying
the drone, rather than getting distracted by
people asking you questions about it.
How much pre-planning should I be doing
before I head out for an aerial photography
session?
There is a fair bit of pre-planning required
before doing an aerial shoot anyone who
owns a drone should check out airshare.co.nz
and be sure to register with the site and
log all their planned ights. This will help
you determine if you will be operating in a
controlled or uncontrolled airspace (within
four kilometres of any aerodrome), and help
the CAA track ights in general.
Ive heard of drones and quadcopters are
there differences between the two or are
they the same thing?
Drone is a generic term for any unmanned
aircraft. Quadcopter is a subcategory under
drones that is made up of any aircraft with
four propellers basically the starting point
for any ying camera set-up since they
provide the basis of the most stable platform
DJI FC300X, 4mm, f/2.8, 1/2000s, ISO 100
to get level-steady shots. As you go up in size

in terms of the camera you want to use, the
drones can get quite a bit bigger, with some
using six, or even eight propellers to ensure
even more stable ights, providing more
power to y faster when tracking moving
subjects and to stay in a single spot when the
wind gets stronger.
How easy are they to y? Would you
recommend attending a workshop to get
started?
It depends on what kind of ying you want
to do with your drone. If you are happy to
just start with basic, simple ights, then most
of the drones today can be own within an
hour of reading through the manual and
checking out the rules and regulations. But,
if you want to do more complicated ights
for example, follow fast-moving subjects
or y in close spaces then I would highly
recommend you get some training. A local
model airplane club is a good place to start
to nd more experienced pilots and to nd
out where you can get training from.
83
CRITIQUE MIKE LANGFORD
CRITIQUE
Mike Langford discusses readers images and suggests how they
could be improved to their full potential
Mikes passions are travel/
landscape photography and
travel-book publishing he
has more than 26books
to his name. He is a Canon
Master, Grand Master and
Fellow of the Australian
Institute of Professional
Photography (AIPP),
and a Grand Master and
Honorary Fellow of the
New Zealand Institute of
Professional Photography
(NZIPP). He has been a
professional photographer
for over 30years, and an
International Awards judge
and lecturer for 25years. He
has won multiple national
and international awards
for his travel and landscape
photography. He is codirector of the Queenstown
Centre for Creative
Photography with his wife,
JackieRanken.
Before
Wanaka bench
mikelangford.co.nz
Free advice
If you would like to submit
a photo for Mike to critique,
simply email your image
(around A5 size at 300dpi)
to editor@dphoto.co.nz with
the subject Critique, along
with any information or
queries you care to include.
84
There is almost always a shot within a shot

not necessarily a better one but, nonetheless,
another shot. In this case, I think the shot
within is stronger and more direct, as it makes
me want to go and sit on that bench and
soak in the atmosphere of this approaching
storm. By cropping into the central subject
of the bench, we are forced to commit to
it as being the subject of the photograph.
What is most delicious about this shot is the

gentle caress of the overhanging branch
above, which brings the eye back down to
the bench. By increasing the contrast, the
brooding atmosphere becomes more intense.
The tighter crop makes the dropping branch
stronger and also gets rid of the distracting
tyre tracks in the foreground, which dont add
to the overall composition.
After
Before
After
Bear arms
What I like most about this image is its
humour, with the garbage collectors in
their uniforms looking in at the guards in
theirs. The only real thing I can comment
on with this image is that the photographer
might have moved just a few centimetres
to the left, so that the fth guard on the
right would have been separated out from

the gate. This would have also separated
the gate out from the entranceway in the
background. I know that sometimes it is not
possible to move even just a bit, but its still
something to keep in mind. I have made the
exposure just a little brighter so I can see a
Long exposure
smidge more detail in the guards uniforms,

and eliminated the fth guard from the
shot using Photoshop, which isnt really
what I would suggest, as I like to try to get it
right in camera but thats all. A fun shot,
nonetheless.
Before
The biggest problem with this shot is

the exposure, which is about two stops
underexposed (six clicks of either your shutter
or aperture to the left, or changing your ISO
from 100 to 400). This could have been caused
by the inability of the camera to calculate the
exposure due to its length, so always check
your exposure against your histogram, then
adjust your exposure accordingly.
To correct this resultant problem, I took the
image into Photoshop and created a Curves
Adjustment Layer, moving the white point to
the very edge of the histogram. Having done
this, I then had almost white waves, but my
rocks were still a little at looking. To help
make this look a little more visually dynamic,
I pulled the middle of my adjustment curve
down, so the greys became darker.
After
The only other thing I did to make this image

stronger was to crop off some of the grey water
at the top. This now makes the white water and
dark rocks the larger part of the image where
the most interesting part of the image is.
Just a little word of warning when you are
doing long exposures of this nature: if your
shutter is open too long, you could lose
structure in the wave part of the image,
and everything will start to look soft and
uninteresting.
85
IMAGE HANS WEICHSELBAUM
Hans Weichselbaum has

been on the digital-imaging
scene since Photoshop3
in 1994. He has shared his
expertise in workshops
countrywide and in
articles for three different
publications.
Hans is a perfectionist
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, highquality lm scanning, largeformat printing, and colour
calibration.
hans@digital-image.co.nz
INTRODUCING THE
FUNDAMENTALS OF
THE GOOGLE NIK
COLLECTION
The esteemed Google Nik Collection is now offered as a free download.
Hans Weichselbaum gets back to basics with the various modules the
program offers
The Google Nik Collection originated way
back in 1995 as Nik Collection, developed
by Nik Software. Over the years, this
company established itself as the leader
in digital photographic lter development.
Professional photographers have used Nik
lters for many years, and it was mainly the
high price tag of US$500 that kept them out
of reach for most amateurs. Nik Collection
was a bundle of individual modules that
you could buy separately, but it made more
sense to fork out the full price.
Google bought Nik Software in September
2012, and you can imagine the delight
of the photographic community when
it announced a price drop to US$150!
There were rumours that it was only
really interested in the Snapseed app, also
developed by Nik Software in 2011 for
mobile devices.
Image 1 the Google Nik lters in

alphabetical order
86
Whatever the reason, we photographers

beneted. But it was even more of a surprise
when Google declared, on March24,
2016, that the software will be available
as a free download. Under the new name
of GoogleNik Collection, the bundle
consists of seven individual modules:
AnalogEfexPro2, ColorEfexPro 4,
Dne2, HDR Efex Pro2, Sharpener Pro 3,
SilverEfexPro 2, and Viveza 2.
You simply download the entire collection
from google.com/nikcollection, run the
EXE le, and the lters will automatically
install on any of the following imageediting applications you might have on
your computer: Photoshop, Photoshop
Elements, Lightroom, and Aperture. Once
you re up your favourite image editor,
youll have all the highly priced Nik lters at
your ngertips.
In this article, Ill give you a brief overview of

all the modules, and explain how Nik can save
you lots of time and hard work especially
when it comes to making local adjustments.
In follow-up articles, well look at some of the
modules in more detail, explore all the bells
and whistles, and compare them with the
editing tools you already have.
But there is more! The program allows you

to apply control points where you can set the
amount of noise reduction selectively to a
limited area. All Google Nik modules use this
control-point technology, also called U Point
technology. This is a really cool feature which
sets Nik apart from other plug-ins, and we
need to take a closer look at it.
Dne 2
You can drop a new control point anywhere

in your image. The program looks at the RGB
values at that particular point and selects
similar pixels within a certain radius. If you
click on the point, a tree of options pops up
(Image 3). The top slider denes the size of
the area, and the other two sliders control
contrast and colour noise. In other modules,
you will nd ve or more controls. You can
move those control points around, duplicate,
This module helps you control digital noise,

and, since noise reduction should be the rst
step in your workow, it makes sense to start
here.
First, you need to nd your plug-ins. This is
simple: with an image open in Photoshop,
read down the Filter menu, and you will see
a new listing called Nik Collection (seen in
Image 2 the Dne 2 interface
Image 1), then choose the module you want

to use from the pop-up menu. In Lightroom,
you need to click on Photo in the menu bar
and select Edit In.
and tweak them individually. This is a lot

easier than the usual masking in Photoshop. It
is simple, and works surprisingly well.
Image 2 gives you a screenshot of the Dne2

module in action. This particular photo was
taken at the Palmerston North airport at night
with a Canon S90 at ISO 800. There is plenty
of noise.
The program gets to work by measuring
the noise. It does this by default, and only
very seldom will you nd it necessary to
intervene. The arrows in the image point to
squares that Dne has identied as smoothtextured areas. The noise in those areas is
analysed, then the optimum amount of noise
reduction is calculated and applied globally.
There are two sliders for you to ne-tune the
correction: contrast noise and colour noise.
Image 3 the control point for the images sky area
87
IMAGE HANS WEICHSELBAUM
Image 4 the Viveza 2 module
Viveza 2
Color Efex Pro 4
The Viveza module lets you control colour and

light, globally or in selected areas this should
be the second step in your workow.
The next step in your workow is to optimize

the colours. The Color Efex module is great
for just a quick colour tweak; however, with
55lters up its sleeve, it can really do anything
from applying traditional photo lters to creating
really funky artistic effects.
Image 4 shows you the interface using the

side-by-side preview option. The rst box on
the right lets you apply global adjustments for
brightness, contrast, saturation, and structure.
The structure slider is interesting: it works
like a local contrast enhancement, similar to
high-pass sharpening, or the Clarity slider in
the Adobe Camera Raw module. The second
box summarizes the control points, and, at the
bottom, you can see the Loupe View.
This module really shines once you start
adding control points. In my example, the
green leaves needed a strong boost in
saturation. A global saturation push would
have blown out the skin tones; therefore, the
skin colours were tweaked with an additional
control point.
Image 5 solarization effect applied with the Color Efex module
88
On the left of your screen, you get a list of

available lters, either all of them in alphabetical
order or grouped into categories like Portrait,
Landscape, Wedding, etc. Just click on any
lter and it is immediately applied, and each
lter comes with a whole lot of individual
subcategories on the right, which you can
tweak as well. In short, the options are endless.
Image 5 shows you the solarization lter applied
to the right side of the image.
Silver Efex Pro 2

We have come a long way since we had to work
through the channel mixer to get to a decent
black-and-white interpretation of a photo.
Photoshops black-and-white adjustment layer

does an excellent job, and I couldnt imagine
any further improvement. Well, open up Niks
SilverEfex module (seen in Image 6) and run
through the options lined up on the left side.
You will nd ready-made samples for your
image that you didnt know existed.
The layout is similar to that of the Color Efex
module, with a list of all the lters to the left,
grouped into Modern, Classic, Vintage, and
Favourites categories. The right-hand side panel
gives you a foretaste of the amount of netuning available with this module. Well denitely
earmark this module for an in-depth article on
black-and-white conversion!
HDR Efex Pro 2

This module allows you to combine a series of
shots taken with different exposures into one
image. In Photoshop, go to File > Automate >
Merge HDR Efex Pro. From here, select your
image series from the Merge Dialog and click
Image 6 the Silver Efex Pro 2 module
Image 7 the Nik Output Sharpener in action
OK. There is a Smart Object option that lets you

open and adjust your edits at any time in the
future. This even includes changing the position
and adjustments made with the control points.
Youll nd two tick boxes: one for alignment (in
case you didnt work with a tripod) and one for
Ghost Reduction Method necessary if you
have moving objects in the scene. It comes with
two options: Global or Adaptive.
As in other modules, you can select a preset as a
starting point, then move to the right-hand panel
where you can do global adjustments to balance
detail and tonality. There is a Tone Compression
slider to increase or decrease the dynamic
range. This even allows you to squeeze an HDR
look out of a single shot.
In short, the number of controls can seem
overwhelming, and we denitely need to have a
comprehensive inside look and comparison of
HDR techniques in an upcoming article.
Sharpener Pro 3
OutputSharpener, which applies the more

aggressive sharpeningdose.
The interface is quite straightforward (as seen
in Image 7). The program asks you which type
of output device you are using: monitor, inkjet,
continuous tone, etc. After selecting inkjet,
you can set the viewing distance, the paper
type, and the printer resolution. Then you
get four sliders to adjust sharpening strength,
structure, local contrast, and focus. These are
global adjustments, but you are free to apply all
those parameters locally through Niks U Point
technology. I used three control points for my
portrait: two for the eyes and one for the mouth.
Analog Efex Pro 2

This is a specialized module to simulate old
classic lm photography. The Color Efex module
(seen in Image 8) already has a number of
lm and old-photo presets, and it also allows
you to add lm grain, vignette, and other
effects. Analog Efex summarizes all the tools
you need to mimic effects from the days of
lm photography. There are lots of presets to

choose from before diving into ne-tuning and
personalizing your photo. Apart from the basic
lightness and contrast adjustments, you can add
lm grain, and dirt and scratches, and nish off
with an eye-catching vignette. With the control
points, you can apply or remove effects to only
part of the photo.
To summarize, the Google Nik Collection gives
you one of the greatest photo-editing tool
collections, totally free. The only condition is
that you need one of the host applications:
Photoshop, Elements, Lightroom, or Aperture.
For the experienced Photoshop user, there is
nothing you can do with the Nik Collection
that you cant do in Photoshop alone if you
are prepared to put in the time and effort. The
less experienced user will certainly benet,
but even the Photoshop guru cant ignore the
convenience and the time saving. And hey
just think of the many ideas youll get simply by
scrolling through the scores of previews.
Nik Software was probably best known

for its excellent sharpening algorithm in
NikSharpenerPro the sharpening tool for the
professional.
Optimal sharpening is probably the most difficult
task in digital imaging, especially when the
image is heading for a printer. This module will
help you by taking the guesswork out of this allimportant step in your workow.
There are two parts to this module, the
RawPre-Sharpener and the Output Sharpener.
As you can guess, the rst one should follow
immediately after the RAW-conversion step,
and after the noise-reduction step. I am
only going to demonstrate here the second
Image 8 the Analog Efex Pro module
89
KIDS PHOTO COMP
1st
WINNER
Martin Bosch
Title: Posing
Info: Canon 1DS Mark II, 135mm, f/4.5, 1/80s, ISO 400
POSED
PERFECTION
A bright, colourful, and beautiful theme shines in Martin Boschs
photograph, and, as a result, he takes rst place in this edition of the
D-Photo Kids Photo Comp
Judges comments
I just love this photo! Im always drawn to images that show emotion and personality, and this one
illustrates these little girls perfectly. The colours are gorgeous. I love the gradient in the background
it really sets off the pink and the warm, saturated edit is lovely. The girls are framed beautifully
and the depth of eld is perfect. Side lighting, again, adds to the image, bringing lovely contours to
the girls faces. The only things I would suggest are small ones: clone out the two strands of hair on
the right-hand side, and, if there is room in the original, widen the crop ever so slightly so as not to
cut off the girls shoulders too much. Well done!
90
2nd
SECOND PLACE
Roxanne Crawford
Title: My Nova
Info: Canon 650D, 50mm, f/-2.8, 1/800s, ISO 200
About the judge

Isabella Harrex is an editorial
and commercial portrait
photographer based in the sunny
bays of Dunedin. After eight years
of photographing everything
from advertising to weddings
and dealing with the daily stress
of deadlines and piles of editing,
Isabella is now enjoying the slow
life with her new baby, Daisy,
and loving working on editorial
photography for magazines,
combined with commercial and
corporate marketing imagery.
You can see her latest work at
isabellaharrex.com
3rd
THIRD PLACE
Jess Shirley
Title: Conversations in the Field
Info: Canon 5D Mark III, 135mm, f/2.2, 1/250s, ISO 100
Win a Moleskine Photo Book

valued at $160
The winner of the next round of
the KidsPhoto Comp will receive a
MoleskineMonograph, combining the quality
print-on-demand service of MILKBooks
with classic Moleskine features, including
rounded corners, ivory-coloured acidfree FSC paper, an elastic closure, and an
expandable pocket. For prize details, see
moleskinephotobooks.com.
How to enter: submit your best childfocused images to the next Kids Photo Comp
over at dphoto.co.nz/competitions.
Deadline: Friday, June 17, 5pm.
Submission details: each image should be
submitted with a title, the location, a brief
description, the camera model and settings
(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.
91
EXPLAINED MOIR
MOIR
Youve probably noticed it before: strange waves of tone rippling over fabric, or
distorted lines in architecture. We enlisted Sonys new star the a7R II for an
in-depth look at how to avoid this optical artefact in your photography.
Pronounced mwa-rei, this optical artefact

occurs when a ne pattern such as a
tightly woven fabric or close, parallel lines in
architecture match the precise pattern of
the imaging sensor. When these two patterns
meet, a frequency clash occurs, producing
a third, electronically generated pattern
moir.
92
If you cant spot the textures that can lead to

this effect, theres a quick check that will let
you know while youre shooting: take a test
photo, and use the magnify function to zoom
in on your LCD screen. Very nasty moir might
be visible even at 50 per cent or less, however,
if at 100 per cent you can see this effect on
the cameras display, youll know that its an
intrusive aberration.
While moir doesnt affect lm nearly as much

as lms photo-sensitive grains are arranged
in a much more random, organic way digital
photography is susceptible to its presence.
The optical artefact is exaggerated when the
frequency of detail in a scene exceeds the digital
sensors pixel pitch, and its ability to resolve real
information. Its for this reason that we tend to
nd that the higher the resolution of a sensor,
the fewer instances of moir occur.
This is part of what makes the Sony a7 series a
game-changer within the mirrorless eld. The
full-frame a7R II features a 42.4-megapixel, fullframe CMOS sensor that boasts high sensitivity,
response and renement. Paired with Sonys
newly developed BIONZ X image processor,
they work together to produce impressive
image capture, with smooth colour gradations,
rich tonality, and detail. Plus, with ve-axis
SteadyShot in-camera image stabilization, the
a7R II compensates for vertical, horizontal,
pitch, yaw, and roll movements, resulting in
brilliant clarity.
Even with great gear such as this Sony kit, it

helps to use a couple of practical techniques
to minimize moirs effects. If moir is visible
in your image, change your distance from
the subject. As moir only occurs when the
pattern you are photographing exceeds sensor
resolution, sometimes all you have to do is
move milimetres away from your subject, or
simply change the angle of the camera to
eliminate it completely. If youre fully committed
to your composition, stop down your aperture
and allow diffraction to kick in. Like optical
lters, diffraction essentially reduces resolution,
but it also erases moir. But its a last resort
if you cant change your subject-to-camera
distance or adjust your focal length for whatever
reason, this technique surely works.
Keep an eye out for moir next time youre
shooting, and share your images with us via
the D-Photos Facebook page or Instagram. For
more information on the Sony a7R II, and to
purchase, visit sony.co.nz.
Until very recently, virtually all camera

manufacturers utilized anti-aliasing or optical
low pass lters in their designs in an attempt to
overcome moir. While they were effective in
combatting this optical artefact, they ultimately
sacriced image quality in return. But of late
weve seen more cameras introduced without
these lters and the a7R II is one such
camera. Its sensor structure instead works
with gapless on-chip lens design and an antireection coating, to improve light collection
and enhance detail.
93
Q&A CLIVE BARTLEET
SPARKING PHOTOGRAPHY
IN KIWI SCHOOLS
Clive Bartleet talked to Lara Wyatt about his career at Rangitoto College and the inuence he
had in securing photography as a respected subject in New Zealand schools
It all started with the statement, We built
photography in New Zealand schools,
and, from there, my brief conversation
with CliveBartleet was one of the most
inspirational I have had in some time.
I spoke with Bartleet after discovering
that he had recently retired from his
40-year career as an official arts teacher
at RangitotoCollege. He explained that
when he started working at the school, he
had the role of visual arts teacher, which
involved teaching students from Year 9
through to Year 13 the topics of painting
and art history: At that time, photography
in New Zealand was randomly organized
by schools. I graduated from art school
with a ne-arts diploma in photography,
which was the equivalent to a degree then,
as I had a passion for it back then. It was
then that I started to look and see, as an
educator, how to introduce photography
into schools.
Bartleet taught an afternoon extension class
on photography for interested students
an extracurricular option, not a part of the
school curriculum. However, after a while,
he was no longer satised with that and
wanted to make photography a legitimate
subject within the schools curriculum.
[It was] when UE [University Entrance]
became sixth form. I applied for the right to
teach photography, and it was granted, and,
from there, it all really gained momentum.
We [photography educators] wanted to
make sure that photography was a standalone subject and couldnt be taken over
by media studies or science because, at
94
that time, with the dark rooms, it was very

chemistry based, Bartleet explained.
To ensure that photography was perceived
as the legitimate subject that it is now
viewed as today, Bartleet and a panel of
educators researched extensively how to
ensure what they were trying to achieve
could be implemented.
We undertook discussions and looked at
including photography under the umbrella
of visual arts, he told me. This included
painting, sculpture, and this would develop
the nature of photography.
John Turner, who was head of photography
at the time, travelled to America and learned
about its Society of PhotographyEducation,
and he said, Ill bring this back to
NewZealand and discuss [it] with interested
people of which I was one. A group of
us expanded and explored the topic of
photographic education, and the passion
spread. We also were keynote speakers at a
range of art conferences, and wed support
teachers in adding photography as a subject
in their schools. There was a strong core
of educators, and that is how I think of
myself not a teacher, an educator. We
became photography educators inspiring
photography in education.
And inspiring photography is exactly what
Bartleet has done throughout his 40-year
career and is continuing to do in his
retirement.
Im doing a little bit of teaching at Dilworth
[School], and I am telling them that they are
emerging magicians. They say, Oh sir, thats

really cool, but how? What do you mean
magicians? And Ill tell them, If you can
control, space, light, and time, you must
be a magician; not everyone can do that
justyou.
Capturing and nurturing the wonder
and imagination of a child and student is
something that Bartleet clearly loves to
achieve when hes teaching, and, even
with the transition into the world of digital
photography, he has discovered that the
magic of photography can still stimulate that
wow factor.
Id take a group [of students] and show
them a dark room (Rangitoto College
still has them). Id have the negatives and
show them when things transform. It blew
their minds; you could hear them taking
in a breath of wonder. Id think to myself,
Wonder is not dead; children can still
experience wonder. You can still inspire
children with cool stuff, Bartleet said.
Even though hes ended his lengthy
teaching career, it doesnt appear Bartleet
will slow down anytime soon, what with
his aforementioned tutoring at Dilworth
School and helping photographers put
together photography books, as well as
being willing to do one-on-one teaching
with people who want to learn about
photography.
Without wanting to sound immodest, I
really did bring photography to New Zealand
schools. It was a leisure thing, and then we
brought a spark, and we all caught it.
CALENDAR EVENT GUIDE
CALENDAR
Abraham Mora
James Simmons
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: dphoto.co.nz
2016 SIGMA D-PHOTO AMATEUR

PHOTOGRAPHER OF THE YEAR
NZIPP INFOCUS WELLINGTON 2016
When: Entries close June 13 Where: dphoto.co.nz/apoty2016

The 2016 edition of New Zealands largest amateur photography
competition is open for submissions. This years categories are
Creative, Junior, Landscape, Monochrome, Nature, People, Travel, and
the brand-new categories of Aerial and Macro. The prizes, totalling a
huge pool of $16,000-plus, are announced on page 10, and you can
nd more information on how to enter, as well as see galleries of the
submitted images, online at dphoto.co.nz/apoty2016.
When: June 1620 Where: Wellington

This years New Zealand Institute of Professional Photography (NZIPP)
Infocus conference will see speakers including SusanaBarbara,
VickyPapas Vergara, Troy Goodall, James Simmons, Niki Boon,
GrantSheehan, and Jonathan Suckling present and share their
knowledge with attendees during the Wellington-based event. The
2016 Iris Professional Photography Awards, also organized by the
NZIPP, will be on display during the conference for attendees and
members of the public to admire.
DATES TO NOTE
June 224
Until June 14
May 16 August 1
The programme for the 2016 Auckland Festival

of Photography has been nalized, with a huge
array of exhibitions to be held throughout
Auckland from Matakana to Papakura for
photography enthusiasts and admirers to
experience. To start adding exhibitions to your
diary, head to photographyfestival.org.nz to see
the full calendar of events.
Entries to the 2016 Renaissance

PhotographyPrize competition are now open
and will close on June 14. This competition
showcases work from emerging and established
photographers from around the world, while
funds raised will go towards supporting young
women with breast cancer. All nalist images
will be displayed at the Getty Images Gallery
in London. To nd out how to enter, visit
renaissancephotography.org.
The Momento Your Moments Photography

Competition is now open for entries at
dphoto.co.nz. When youre out and about
exploring your local community or having a metime moment during your busy day, take a snap
and upload it to the Momento Your Moments
gallery to be in to win great prizes. Anything that
illustrates a moment in your day, we want to see it.
The competition closes on August 1.
June 11
Until August 14
As part of the Auckland Festival Photography
this year, the 24-hour Auckland PhotoDay
returns and will be held on June 11.
Photographers are invited to shoot a photo on
that day and submit it to the competition. All
the winners from the 11 years of the photo day
will be exhibited at The Cloud in Auckland from
June18 to 24. More information can be found
at photographyfestival.org.nz.
Until July 10
On display at City Gallery Wellington until
July10, Bullet Time showcases the work of
NewZealand video artists Daniel Crooks and
Steve Carr alongside two pioneers of motion
studies, Eadweard Muybridge (18301904) and
HaroldEdgerton (19031990). The exhibition,
which has been curated by Robert Leonard, places
Crooks and Carrs work in context of the works
created by the two historical photographers.
New Plymouths Govett-Brewster Art Gallery at the

Len Lye Centre is showcasing an exhibition called
Emanations: The Art of the CameralessPhotograph.
Curated by GeoffreyBatchen, the exhibit is
described as the most complete study of cameraless photography to date, with historical works held
in New Zealand and Australian national and state
collections being showcased to outline the history
of photography. For more information, head to
govettbrewster.com.
Buying, selling and trading nice

cameras with nice people for 26 years.
Email us with a list of what you want, and
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95
PARTING SHOT
COMING UP NEXT
Monica Kwon
Joshua Donnelly
EXPERIENCING JAPAN
From serene temples to the bustling metropolis of Tokyo, Cathay Pacic
TravelPhotographer of the Year Joshua Donnelly takes us on a journey exploring photogenic
Japan.
ONE TO
WATCH
A nal-year photo and media student at
Whitecliffe College of Art and Design,
MonicaKwon takes time out to talk about her
photography and her career goals.
SUBSCRIBE
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DONT MISS OUT ON THESE EXCITING

UPCOMING FEATURES IN D-PHOTO.
VISIT MAGSTORE.NZ OR CALL
0800 727 574 TO SUBSCRIBE NOW!
ALSO
NEXT
ISSUE
Danelle Bohane
DREAMY WEDDINGS
All you aspiring wedding photographers out there, prepare yourself for our
interview with Auckland-based photographer Danelle Bohane.
96
Get ready to be blown away

by the winners gallery of the
2016 Sigma D-Photo Amateur
Photographer of the Year
competition!
Explore our guide to sports
photography to get you in the
mood for the Rio Olympic
Games 2016.
Sandra berg
Now
Buy the B1 or B2.
Get the OCF Beauty Dish
for free.
The new OCF Beauty Dish will bring out the beauty of
your subject like no other Light Shaping Tool. Buy a B1 or
B2 Off-Camera Flash kit at your nearest dealer
before June 7, and get the OCF Beauty Dish White 2
and an OCF Speedring for free.
profoto.com/offcameraflash

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16 PROFILE: RUSS FLATT

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32 ONE TO WATCH: ALEX MOORE

38 STYLE: PORTFOLIO CREATION

46 CLUB: KATHY ELLISTON

54 SUBSCRIBE AND WIN

56 BUYERS GUIDE: OUTDOOR

90 KIDS PHOTO COMP

Guest judge Isabella Harrex picks this issues

94 Q&A: CLIVE BARTLEET

70 BEHIND THE LENS

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