D-Photo - September 2017premium workhorse zoom lens designed for the latest high megapixel DSLRs. A...

Fly Further

Aviator DroneBackpack

StreetShoulder Bag

Aviator Collection Street CollectionMB MS-SB-GRMB BP-D1

3N1Backpack

ProLight CollectionMB PL-3n1-36

Active IIBackpack

Advanced CollectionMB MA-BP-A2

Photography doesn’t just happen on the ground. Fly further with Manfrotto. We have designed a special bag for your drone, made to get you where you need to be.

Heads AheadChoose the right head to perfectly satisfy all your photographic needs.

Never compromise, our heads will help you capture the image of your imagination.

1/125th sec. f/5.6 ISO 800Selected photographers were given an assignment to shoot images that inspired them and embraced the following

concepts: simplicity, design, optical quality and accessibility.

Progearwww.progear.co.nz

3 Railway St, Newmarket

09 529 5055

Hasselblad X1D-50c Medium Format Mirrorless

At less than half the weight of a conventional digital medium

format camera, the mirrorless X1D is a game changer in the world

of photography.

Inspired by our iconic design heritage, the camera is ergonomic

and compact, offering a handling experience unlike any other.

Handmade in Sweden, the X1D combines Scandinavian sensibility

with beautiful performance.

Small enough to take anywhere, powerful enough to capture

anything.

Photographer - AORTA AORTA is a photographic duo consisting of Marco Grizelj and Kristian Krän.

The Modern

WorkhorseAvailable for Canon and Nikon.

The Sigma 24-70mm F2.8 DG HSM OS Art is a

premium workhorse zoom lens designed for the

latest high megapixel DSLRs.

A constant aperture of 2.8 through the zoom

range makes this a highly versatile tool and a

brand new Optical Stabilization (OS) system

helps compensate for camera shake. Though a

common focal length, the Sigma 24-70mm Art

brings a new level of usability and durability

featuring a rugged metal barrel and an

emphasis on image quality.

Sigma introduce a new type of glass which

undergoes a highly precise level of polishing,

producing elements thicker in the center than

on the edges. This process creates stunning

image quality and beautiful circular bokeh.

CRK Ltd

3 Hotunui Drive,

Mt Wellington, Auckland

09 276 3271

[email protected]

www.crknz.co.nz

Available in Black. Large case and hood included.

24-70mm F2.8 DG HSM ArtA

Widest

Brightest

Available for Canon and Nikon.

The Sigma 14mm 1.8 DG HSM Art is the worlds

first 1.8 prime lens at the 14mm focal length.

This fast wide prime features the same large

aspherical element touted in the Sigma

12-24mm F4 Art to control distortion and create

stunning imagery.

An updated Hyper Sonic Motor (HSM) provides

fast and accurate autofocus. Three Premium

FLD and 4 SLD glass elements control chromatic

aberration and sagittal comma flare.

The Sigma 14mm 1.8 DG HSM Art is designed to

resolve the latest high megapixel DSLR sensors.


14mm F1.8 DG HSM ArtA

CRK Ltd

3 Hotunui Drive,


09 276 3271

[email protected]

www.crknz.co.nz

CONTENTS

16 Profile | Simon Devitt

Photographer Simon Devitt works closely with New Zealand’s most prestigious architects to capture beautiful buildings, as well as the people that inhabit these structures. We find out how Simon expresses life within his photographs both with, and without, human subjects.

24 Folio | Richard Wood

NZIPP Professional Photographer of the Year, Richard Wood, started learning about photography under the dim light of a red bulb. Now, he creates his texturally rich imagery within a digital darkroom. We look at three of his 2017 winning images, for of each of which he used the Great Masters as his muse. 33 Winners announced | 2017 Sigma Amateur Photographer of the Year

Amateur and enthusiast photographers from all around the country have gathered their best images and submitted them in the running to be named our photographer of the year. We announce the 33 winning images.

58 Exposure | Guy Needham

Travel photographer Guy Needham has developed a deep affinity for indigenous cultures, with his latest expedition to remote West Sumatra culminating in a series of intimate portraits of the province’s indigenous people.

74 Q&A | Marc Thompson

Mareea Vegas talks to recent graduate Marc Thompson about finding purpose in the pedestrian through his latest series of spatial shots.

84 Full review | Canon EOS 6D Mark II

Calling astrophotographers, landscape shooters, and light chasers alike: we review the camera puts full-frame performance into a compact, fully featured DSLR.

86 Best tech | our 2017 camera buyers guide

We seek out this year’s best camera gear so you don’t have to — a must-read if you’re thinking of an upgrade.

96 Explained

We bring you the low-down on LEDs — the affordable, constant light source that’s an essential addition to any photographer’s kit.

58

16

FEATURES

TECH

4 D-PHOTO.CO.NZ | NO. 79

64 Sky-high scenery

Drone pro Louie Tong takes us through how the highs and lows of aerial photography, offering his top tips on how to capture awe-inspiring imagery. 68 Simple, one-light setups

Fashion photographer Brett Stanley demonstrates how to create bold and dramatic portraits — with only one light. 92 Gearducated

Photographer Leon Rose heads out on a shoot with three versatile pieces to his kit — a tried-and-true trio that allows him to stay agile while remaining prepared for any photographic contingency. 78 Focus news

The latest local news, events, and photo competitions to ensure you stay abreast of all the action. 80 Event report | the 2017 Vienna PhotoBook Festival

Despite our remoteness, our photobooks punch far above their weight; the 2016 Momento Pro Australia and New Zealand Photobook of the Year Award finalist books travelled to the 2017 Vienna PhotoBook Festival. 81 Event report | the 2017 Epson NZIPP Infocus, Iris Awards, and Exposure show

The country’s premier professional photography event, the 2017 Epson NZIPP Infocus, Iris Awards, and Exposure show, once again proved to be a action-packed weekend of inspirational speakers, industry events, and live demonstrations.

82 PSNZ perspective

We bring you an inside-look at what’s coming up within the Photographic Society of New Zealand’s calendar. This issue, we check-in with the Tauranga Photography Club to find out more about the club’s 2017 Audio-Visual Salon.

81 Calendar

Keeping you up-to-date with photography exhibitions, workshops, and industry events throughout the country.

33

68

92

HOW-TO

COMMUNITY

5

EDITORIAL

dphoto.co.nz

ISSN 1176 - 6948

HOW TO SUBSCRIBE

D-Photo magazine is published six times per year in

both print and digital formats. To select the subscription

option that is right for you, more information can be

found by visiting our online store, magstore.nz.

EDITOR

Rebecca Frogley, [email protected]

SUBEDITOR

Jacqui Madelin

PROOFREADER

Odelia Schaare

DESIGN

Hine Morgan

ADVERTISING MANAGER

David Burns, [email protected]

ADVERTISING COORDINATOR

Archie Vincent, [email protected]

ADVERTISING PRODUCTION Hine Morgan, [email protected]

CONTRIBUTORS

Adam Croy, Adrian Hatwell, Brett Stanley,

Leon Rose, Louie Tong, Mareea Vegas

D-PHOTO MAGAZINE IS PUBLISHED BY

Phone: 09 360 1480, Fax: 09 360 1470

PO Box 46,020, Herne Bay, Auckland

PUBLISHER

Greg Vincent, [email protected]

DIRECTOR, BUSINESS DEVELOPMENT Michael White, [email protected]

GENERAL MANAGER Simon Holloway, [email protected]

SUBSCRIPTIONS MANAGER

Liz Brook, [email protected]

PRINTING PMP Maxum

DISTRIBUTION Gordon and Gotch

Phone: 09 928 4200

NOTICE TO ADVERTISERSParkside 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 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 may be reproduced in any form

without the express written permission of the publisher.

Cover image: Sarah Caldwell, Houston Main Street Metro

EXPERIENCE D-PHOTO ON MOBILE

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

PIXELS TO THE PEOPLE … I was at the New Zealand Institute of Professional

Photographers (NZIPP) Infocus conference last month when I overheard Simon Devitt

say, “Everyone’s a photographer; it’s a very democratic sport”.

I’m not one for labels — well, unless they’re inscribed on my camera gear — but,

upon pondering the thought for the few days following, I figure they’re probably right.

Taking photos is no longer reserved for just the well-to-do few — it’s now everyone’s

domain. Cameras are built into the screens of each of our devices, while the dedicated

technology is screaming past the 50MP barrier and is more affordable than ever.

Correspondingly, it’s the age of social media and insta-overload, and millions of pictures

are being uploaded every minute.

Photography has become a visual cacophony, and some might think that this makes it a

little harder for the cream to rise to the top. Contrarily, I’m certain that it’s our all-too-

camera-ready culture that really allows great images to stand out.

Sure, there might be many more mis-focused shots, or selfies, or photos that are simply

not very interesting at all. But these sit against a very special few, each of which wrestle

a single moment free from its position within time and space, to hold it absolutely still.

Such images remind us that a photograph has the power to do infinitely more than

document — it can evoke emotion in us and alter our perceptions. And, sometimes, a

photograph can stretch our minds with a new experience, for it to never go back to its

old dimensions.

Many such images were entered into our 2017 Sigma Amateur Photographer of the

Year competition. One stand out for me was Andy Lukey’s image, The Fish-and-Chips

Crew, which contrasted the fluorescent hum of modernity with nature’s adaptable and

resilient, flapping, flocked chaos, providing a startling new perspective on a well-known

reality. The striking image, captured at dusk outside a burger joint, reframed our Nature

category in a way I simply couldn’t have expected.

See you out shooting,

Rebecca Frogley

Editor


It’s here.

Pre-Order now for a Limited Edition, Leather Lucky Strap.*

*Terms and conditions apply, see in store for details.

www.aucklandcamera.co.nz

tographer: @matjoez

FULL FRAME FROM A NEW ANGLE

Photographer: @matjoez

a t

0800 624 522

YOUR SHOTS

EARL COOK

YO U R S H OT S

NIKON D3100, NIKON AF-S DX NIKKOR 55–200MM 1.4–5.6G LENS, 180MM, F/8, 1/800S, ISO 100

Earl had been trying for this shot for a while and already had his location planned — the summit of Mount Albert. After rushing up the short track to the summit, he found the city completely obscured by fog, so quickly located another vantage point, which provided a higher outlook. Using a tripod with its centre column up high, Earl had a clear view of the city — but wouldn’t for long. Employing a cable release to prevent any camera shake, he swiftly focused and captured the shot within the few seconds available before the fog rose once more and again obscured the skyline’s view.“There’s something about shooting in fog,” says Greg, “and I love the way it adds mystery to the image.”

Each issue, we show off a selection of our readers’ images and the stories behind them. Use the hashtag #nzdphoto across Facebook or Instagram for a chance to be featured.

/dphotonz

/D-Photo Magazine


MATT BARNES

NIKON D750, TAMRON SP 70–200MM F/2.8 DI VC USD LENS, 75MM, F/8, 1/100S, ISO 400

This photo was captured on a recent trip back to Matt’s hometown in Tasman. On a crisp, clear winter evening, he was sitting on the couch when he saw an intense pink hue begin to develop behind the clouds. Knowing he hadn’t a moment to lose, Matt jumped in the car and headed to the inlets outside Motueka to capture the amazing colour cast. The resulting image was captured handheld on the side of the road, by the water’s edge.“The spontaneity of the story of taking this image is the essence of what I love about photography — it creates that desire to go out and capture every interesting moment,” says Matt. “Whether that be exploring the stories of abandoned buildings, interacting with strangers on the street, or, as in this case, getting out there and enjoying our beautiful country — photography is the catalyst for so many of those experiences for me.”

JASON RETTER

CANON EOS 7D MARK II, CANON EF24–70MM F/4L LENS, LEE FILTER SYSTEM, 50MM, 1/5S, F/11, ISO 100

The concept for this image was obtained quite by accident — Jason was travelling home and caught a glimpse in his rear-view mirror of a magnificent view: the Desert Road leading to the near-perfect cone of Mount Ngauruhoe. However, his option to turn back in order to capture his envisioned shot was hampered by the weather. This image was finally taken the morning after returning to the same section of Desert Road, following the mountain’s first snowfall. With this part of the roadside being quite elevated, Jason scrambled up the bank until he was positioned high enough to capture this composition.

13

YOUR SHOTS

GREG ROX

NIKON D750, TAMRON SP 24–70MM F/2.8 DI VC USD LENS, SINGH-RAY NEUTRAL DENSITY (ND) GRAD TWO-STOP FILTER, 35MM, F/11, 1/30S, ISO 50

It was in the later part of the afternoon, prior to the golden hour, when Greg ventured out for an afternoon hike along the West Coast’s Te Henga Walkway, a clifftop walk that runs alongside Bethells Beach south of Muriwai Beach. It wasn’t supposed to be a long walk, but Greg continued further along the coastal clifftop, which is rugged and steep in sections, to an observation point that revealed stunning views of Auckland’s rugged coastline. That was the location for this shot — a high-vantage view of O’Neill Bay and Bethells Beach and the choppy Tasman Sea.“I had only set off for an afternoon hike that wasn’t supposed to be a long one, but I went further and further till we hit this point,” said Greg, “so I guess you can say I stumbled upon it.”

GLENDA REES

CANON EOS 7D, CANON EF 100–400MM F/4.5–5.6L IS II USM LENS, 400MM, F/5.6, 1/160S, ISO 800

Glenda captured this tomtit on a trip to the Waikaia Bush at Piano Flat, northern Southland, on a photographic trip intended to trial different exposure techniques in the low-light conditions of the native bush.While the Waikaia Bush is generally home to a number of friendly robins, on that particular day, they weren’t to be seen. As a result, the tomtits were a bit friendlier than usual — the bright and boisterous robins, at least when they are about, boss the tomtits away.Glenda used a fill flash to lighten the background, experimenting with aperture priority to see if hand-holding was possible at lower shutter speeds. This shot was one of several frames of tomtits that she captured that day. “This one I particularly liked, because the background was uncluttered and there were no other overhanging branches,” explained Glenda. “The perch just appeared to be perfect as a frame for such a tiny bird, so I waited several minutes for it to pose accordingly, and the resulting image was sharp enough to keep.”


P A N T O N E ®

C O V E R A G E *

%

*PANTONE® and other Pantone trademarks are the property of Pantone LLC.

• Superior D-max with outstanding image stability

• Ultimate gamut with up to 99% Pantone coverage

• Comprehensive warranty & service packages up to 5 years

• Advanced calibration, print layout and job costing functionality

• Available in 24", 44" and ALL NEW 17"

Learn more, visit www.epson.co.nz/prographics

THE NEW EPSON PROGRAPHICS RANGE

The Widest Gamut in Large Format

PROFILE | SIMON DEVITT


Simon Devitt teaches photography to would-be architects at The University of Auckland. In the course of his career, he has experienced a phenomenon that all educators eventually come to know: moments when the student becomes the teacher. During one class, Devitt had a student, who was just coming to grips with the potential of the art form, comment that the world of photography is bigger than the world itself.

“He’s absolutely right,” the photographer exclaims. “As soon as you pick up a camera, the world gets 10 times bigger, and you go, holy shit! What do I choose? What do I leave out?”

These are questions that Devitt has been wrestling with himself, ever since his world was first enlarged by photography at the age of four or five. While most children find themselves bored to tears in front of family slideshows, he was transfixed by his father’s holiday shots, fascinated by the opportunity to view himself and the world he occupied in picture form.

From then on, Devitt became a neighbourhood wanderer. With camera in hand, he hunted down those sacred moments when subject and light harmonize. And he hasn’t slowed down to this day.

Working as a professional photographer for 22 years, Devitt’s architecture-centred work has been featured in many magazines, both national and international, and he works closely with New Zealand’s most prestigious architects. As well as teaching university classes, Devitt also publishes his own award-winning photo books. He has even founded an annual photography award, the Simon Devitt Prize for Photography, now in its ninth year.

But, for all this success, Devitt does not feel too different from that young man who would rove the streets, teaching himself the camera’s workings. The awareness and focus that drove him out to explore public spaces in his youth are the very same things that propel his exquisite work today.

Photographer Simon Devitt works closely with New Zealand’s most prestigious architects to capture beautiful buildings, as well as the people that inhabit these structures. We find out how Simon expresses life within his photographs both with, and without, human subjects

WO R D S | A D R I A N H AT W E L L

P L AC E A N D T H E H U M A N T R AC E

17

SIMON DEVITT, SEASCAPE, LANDSCAPE, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 200MM, F/10, 1/200S, ISO 100

SIMON DEVITT, SCRUBBY BAY, LANDSCAPE, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 43MM, F/10, 1/125S, ISO 100



“It’s no different to what I do now, except [that] now I am invited into people’s homes,” the photographer says with a grin. “It is about people, landscape, and the built environment. Those three things can’t exist without each other, so that’s where the richer, deeper, story can be told.

“That’s my playground.”

And it is a playground that is constantly expanding. Working with architects to document their constructions, Devitt travels all over the country and takes international trips several times a year. He shares this playground with many others involved in the work, collaborating not just with architects but also with lighting engineers, designers, furniture makers, landscape architects, and magazine and book publishers.

While the photographer is living a dream job, he feels the weight of his responsibility acutely: a building can’t travel to the rest of the world but pictures can, so it’s up to Devitt to represent the combined work of all the people involved as authentically as possible.

“Sometimes, the pictures will last longer than the buildings, so it is important to me — a responsibility I have — to tell that story with pictures in a way that the viewer understands a little bit of what it is like to be there,” he explains. “What it feels like to be there.”

Over the years, Devitt has developed a series of organic processes for capturing the built environment and the way it interacts with its natural context, as well as how people use, and are affected by, these designs. His charge is to capture the moments in which these dynamics are expressed and in which those stories are told. This requires connecting very intimately with a scene: “I am really aware that the camera I have in front of me is the best way I can be present [in] every moment. To me, that’s exactly like meditating.”

However, working commercially, Devitt isn’t always able to dictate the ideal conditions in which to shoot. Time can be a factor — sometimes people will be home for a shoot; at other times, the space will be empty — and New Zealand weather is notorious for not

A building can’t travel to the rest of the world but pictures can, so

it’s up to Devitt to represent the combined work of all the people

involved as authentically as possible.

SIMON DEVITT, MAI MAI HOUSE, DINING ROOM, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L II USM LENS, 26MM, F/10, 30S, ISO 100

19

SIMON DEVITT, WORKROOM, AFTER, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L USM LENS, 33MM, F/10, 3.2S, ISO 100

SIMON DEVITT, KNOLL RIDGE CAFE, INTERIOR, CANON EOS 1DS MARK II, CANON TS-E 17MM F/4L TILT-SHIFT LENS, 17MM, F/10, 1/40S, ISO 100



taking direction. Some of these issues can’t be predicted until he turns up for the shoot.

“It’s about being aware of the ingredients I have, being aware of the ingredients I can alter, and the ones [that] I can’t,” he says, serenely. “It is my responsibility to ask for whatever I need, to get whatever I want.”

Reflecting the character of a space and the impact it has on the lives lived out there is an integral part of Devitt’s arresting images. As he doesn’t always know whether he will have the opportunity to shoot the inhabitants while there, the photographer has developed ways of expressing life both with and without human subjects.

“Without people, you get the opportunity to allude to the presence more, [to] suggest something has happened. With the people, it is a bit more emotive, and it’s a different way to tell a story.

“Both are beautiful, both have their own power.”

It is this power that Devitt seeks to teach to his students through the 12-week course that he runs at The University of Auckland’s School of Architecture and Planning. His class typically comprises around 25 students, all eager architects with varied amounts of experience behind a camera. His goal is not to turn these students into architecture photographers but to teach them to use their formative architecture skills in aid of photographic storytelling.

This is not an easy ask, but Devitt has honed the curriculum to help learners discover the same sort of energy that informs his photography. He does this in a way that, on the surface, sounds antithetical to creativity: by constraining his students.

“The world has its own way of constraining us, and we don’t have any choice over it; we fight it, or we walk with it down the street. And then learning to apply our own constraints is what I think is really useful, in terms of creative output.”

One of the constraints Devitt employs with his students is to take away their freedom of

As Devitt doesn’t always know whether he will have the opportunity to

shoot the inhabitants while there, the photographer has developed ways

of expressing life both with and without human subjects.

SIMON DEVITT, BRAKE HOUSE, EXTERIOR TO INTERIOR, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L II USM LENS, 33MM, F/10, 30S, ISO 100

21

SIMON DEVITT, HUT ON SLEDS, TAKE AWAY, CANON EOS 1DS MARK II, EF24–70MM F/2.8L USM, 57MM, F/10, 1/30S, ISO 100



movement. He leads the class on a walk through downtown Auckland, getting each student to stop at a particular spot along the way. They are told to remain in that spot — they can rotate around but are not allowed to walk — for three hours and to document their experience.

“Sitting still has value in it, especially as a photographer,” Devitt explains. “For most of them, it is an exercise in fighting off boredom, but, for others, it is learning about things they didn’t [previously] notice.”

Another constraint he employs is a return to film shooting. In one lesson, he gives his students a disposable camera each, has them come up with an idea they can define in three words, and sends them out with a roll of film to make it happen. Not being able to see their pictures right away is an alien experience to most, but delayed gratification serves a purpose.

“When they see the pictures a week later, their eyes just light up. Something else happens — this magical thing,” he says.

The magic is fully explored in the final learning experience for the class: creating their own photo book. It’s a form that Devitt himself is a master of — his latest publication, Rannoch, documenting the home and life of arts patron Sir Ian Wallace, was named joint winner of the most recent New Zealand Photobook of the Year award. As the architecture students learn new ways to consider photography and create compelling narratives, interestingly, most of them do not create books of architecture photography.

But it’s no surprise to Devitt, who tells his students that he doesn’t really care what their subject is — he is purely interested in how the images work together and the reaction that he and other viewers might have to them: “The idea is more important than the subject matter. It’s about authenticity; it’s about connection; it’s about what it is to be a human being.

“Everything else is a distraction.”

See more of Simon Devitt’s work at simondevitt.com.

SIMON DEVITT, EELS NEST, STREET 1, CANON EOS 1DS MARK II, CANON TS-E 24MM F/3.5L TILT-SHIFT LENS, 24MM, F/3.5, 1/250S, ISO 400

SIMON DEVITT, EELS NEST, STREET 2, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 32MM, F/10, 1/200S, ISO 100

© The Beautiful Collective

DO YOUR

PHOTOS JUSTICEIN PREMIUM PHOTO BOOKS

For

prof

essi

onal

s, s

elf

publ

ishe

rs, s

tude

nts

& c

lubs

App

ly a

t w

ww

.mom

ento

pro

.co.

nz/

dp

hot

o

For photography lovers of every age

Get started at www.momento.co.nz/dphoto

* See online for terms and conditions

FOLIO | RICHARD WOOD


Wood takes clear inspiration from history in much of his work.

Whether via homage to a historical figure or his own take on a

mythological idea, the artist has frequently used the past as a

foundation for his own creations.

NZIPP Professional Photographer of the Year Richard Wood started learning about photography under the dim light of a red bulb. Now, he creates his texturally rich imagery within a digital darkroom. We look at three of his 2017 winning images, for which he used the great masters as his muse

W H E N A R T I M I TAT E S A R T

Words | Adrian Hatwell

25

RICHARD WOOD, LADY WITH AN ERMINE, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, F/13, 1/160S, ISO 200



If you’ve been reading D-Photo for a while or have had even a cursory interest in New Zealand photography in recent years, you are likely to be familiar with the work of Richard Wood. The Hastings-based photographer was recently named New Zealand Photographer of the Year, and not for the first time — it is an accolade the New Zealand Institute of Professional Photography (NZIPP) has already bestowed on Wood twice before.

The title is not only rich in acclaim but demonstrable business advantage, too. Wood has found that each win at the annual Iris Professional Photography Awards brings with it an influx of new commercial work from clients increasingly further afield. And he’s not the only one well aware of what’s up for grabs — each year, the competition between the organization’s members gets tougher as the work gets better.

However, though taking home the top title might be an increasingly difficult feat, Wood says the euphoria of the win won’t diminish with time. “It doesn’t feel any different from the first,” he beams. “It’s still such an honour.”

Freshly home from the awards ceremony and still abuzz with success, we asked the photographer to share the stories and thinking behind some of his standout Iris images.

LADY WITH AN ERMINE

Wood takes clear inspiration from history in much of his work. Whether via homage to a historical figure or his own take on a mythological idea, the artist has frequently used the past as a foundation for his own creations. “It pushes the brain harder,” he explains. “Bringing through ideas from history and mythology allows you to take people to

Wood’s portrait isn’t just a nod to the artist’s own distinct

style; it references an ongoing discussion of the details of Frida

Kahlo’s life, which have come to light decades after her death.

another place. It allows you to create another world.”

While many of the photographer’s past images refashion an idea through his unique lens, this work is Wood’s most explicit instance of imitation as flattery — he set himself the task of painstakingly recreating, as faithfully as possible, Leonardo da Vinci’s oil painting Lady With an Ermine in photographic form.

Enlisting a taxidermy ferret that has long lived on a shelf in his home, Wood called up his trusty stylists, located a suitable young model, and began his exercise in visual control. To accurately imitate the romantic quality of the portrait, the light, tone, design, and composition had to coalesce seamlessly, creating the painterly period feel: “I was literally sitting there with a hairdresser to my right, and a makeup artist to my left, staring at a picture, holding it up to the model, and painstakingly moving her millimetre by millimetre by millimetre.”

Through this intricate process, Wood made a discovery that simple appreciation of the painting had not revealed — the contrapposto posture of the subject is anatomically impossible to replicate in real life. Just as da Vinci used his painterly licence, the photographer took to his digital easel to finish the homage, working the figure’s shoulders, back and neck into an immaculate reflection.

That fastidious eye for detail compelled the judges to bestow the portrait with the highest possible accolade, a Gold with Distinction award.

FRIDA KAHLO

Some of Wood’s work goes beyond historical reference, becoming more of a conversation with the past. This year’s

Silver with Distinction–winning image of Frida Kahlo, entered in the Illustrative category, is a prime example.

The image presents a model with a resemblance to Kahlo seated for a portrait. On her stomach is a cutaway — much in the style of Kahlo’s own self-portraits — revealing a foetus in her womb. Behind her lurks Santa Muerte, the female personification of death in Mexican folk religion. Unlike the Anglo personification of death, Santa Muerte represents healing and protection, as well as delivery to the afterlife.

Wood’s portrait isn’t just a nod to the artist’s own distinct style; it references an ongoing discussion of the details of her life, which have come to light decades after her death. Kahlo always painted her pain in an intensely personal way, but there remained biographical ambiguity as to whether her child-centric suffering was the result of miscarriage or abortion. The mistitling of works, along with correspondence only recently uncovered, has spurred the debate anew, and Wood invites us to make our own considerations with his image.

“The holy death is encouraging her with the sickle,” he says. “You could read it as ‘I’m going to take that child that’s in your belly’, or the irony that she can keep the child but, at the end of the day, death is going to take them anyway.”

Wood found himself contemplating Kahlo on a recent trip to Mexico, where he was fortunate enough to visit her home. As well as being the creative impetus for the work, the house also made a literal contribution to the image: the background is Kahlo’s actual garden, shot by Wood during the visit.

27

RICHARD WOOD, FRIDA KHALO, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, 1/160S, F/10, ISO 200



RICHARD WOOD, SAMURAI, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, F/9, 1/160S, ISO 160



SAMURAI

Any creative knows an idea is a slippery thing, and projects very seldom turn out just as they begin in the mind. Wood experienced a nice illustration of this fact while putting together the image that would eventually become his Gold-winning samurai group portrait.

Here, the photographer started with the idea of going on a historical deep-dive. He was inspired by the work of 19th-century British photographer Felice Beato, who was one of the first to bring East Asia to the rest of the world in photographic form. Beato was able to chronicle some of the final days of the Japanese samurai class in photographs and also pioneered a technique for hand-colouring black-and-white photos — probably influenced by time spent around Japanese watercolourists and woodblock artists.

“My original idea was, hey, why don’t I do something completely out of the box for me and do something like that?” Wood recalls. “Do it really old school, shoot it on film, do a bit of hand colour, play with that theme?”

He shot the first portrait, the samurai in the centre of the shot, with the intention of creating an entry to the Classic Portrait category. That would mean making the picture with a single capture, without any significant alterations in post.

“What was initially a classic portrait — and this happens to me every year — I got to that point, and thought … why not? Why not make it something more?”

In the end, Wood could not resist the pull of his innate style. An additional four samurai were shot, and a backdrop taken at Rotorua’s Redwoods Forest was dropped in behind. The plan for hand colouring was usurped by the artist’s signature tonal control in the digital darkroom.

The photographer knows the ‘trolls’ will always come after him for his inclination to embrace digital editing in his photographic process, and accuse him of being ‘digital artist’ rather than a photographer. On the whole, Wood lets his acclaimed work speak for itself, but nobody can be expected to turn the other cheek every time.

“It’s like, yeah, sure, to be honest, mate, I couldn’t use a bloody camera if I tried, you’re right,” he intones sarcastically, ahead of a mischievous chuckle.

To see more of Richard Wood’s award-winning imagery, visit richardwood.co.nz

RICHARD WOOD, SHIELD MAIDEN, CANON EOS 5D MARK III, CANON EF 50MM F/1.4 USM LENS, 50MM, F/10, 1/160S, ISO 400

The Game has changed. Medium Format Re-invented.

The FUJIFILM GFX 50S delivers the world’s best image quality. It combines outstanding resolution of 51.4 megapixels with exceptional tones, advanced colour reproduction and

high-performance lenses. This level if image quality is purely motivational. The world around you changes the moment you hold this camera in your hand. Appreciate all that can be

achieved with Fujifilm’s new medium format mirrorless camera system, GFX.

Available exclusively from these stores

GREAT NORTH RD

Lightweight

Monster

Available for Canon and Nikon.

The Sigma 100-400mm 5-6.3 DG HSM OS

Contemporary is a state-of-the-art telephoto

zoom that brings a new level of portability and

quality to the super telephoto market.

Touting Sigma’s Optical Stabilizer (OS), the

Sigma 100-400mm 5-6.3 Contemporary is highly

compact and lightweight compared to similar

products on the market.

A push/pull zooming function and a new Hyper

Sonic Motor (HSM) allow for a more responsive

approach to photography while a 1:3.8 macro

feature can be utilized from up close or from a

further distance.

CRK Ltd

3 Hotunui Drive,


09 276 3271

[email protected]

www.crknz.co.nz


100-400mm F5-6.3 DG HSM OSC

2 0 1 7 S I G M A A M AT E U R P H OTO G RA P H E R O F T H E Y E A R

Amateur and enthusiast photographers from all around

the country have gathered their best images and submitted

them to the expert judgement of our panel of industry

leaders — Brett Stanley, Charles Howells, Katherine Williams,

Kaye Davis, Mark Gee, Michael Miller, Richard Wood,

Peter Robertson, and Simon Devitt.

For several years, the Sigma Amateur Photographer of the

Year has been the country’s largest amateur photography

contest and certainly the most popular online gallery of its

kind. Each year, the quantity of entries increases, and so,

too, the calibre of images improves. 2017’s contest received

a record 9337 submissions across the 11 categories, many of

which prove that advanced photographic technologies and

techniques, such as focus stacking, aerial imaging, and time-

lapse, are no longer reserved for the pros.

In this year’s winning imagery, we see the normally invisible

hairs that cover a wasp’s shell rendered in brilliant detail; our

wild and ravaging coastline depicted from a new vantage

point above; and the command of the human eye depicted

by way of a glance, a stare, and sometimes simply the lack

thereof. Together, these images form an intimate look into the

lives and landscapes shared by everyday New Zealanders.

With the support of our premier sponsor Sigma, and

category sponsors DJI, Epson, Ilford, Nikon,

Nikon Keymission, Profoto, Progear, SAE Institute, and

Tamron, we were able to offer the largest prize pool this

competition has ever seen — nearly $19K’ worth of prizes.

Including both latest-release and long-loved gear from all the

best photographic brands, the prize pool up for grabs was

enough to make any photographer’s mouth water.

Congratulations to the winning images of our 2017

Sigma Amateur Photographer of the Year competition.

SCHOLARSHIP

33

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

BILL HODGES / SURFBOAT CHAOS

1st

CANON EOS 50D, CANON EF 100–400MM F/4.5–5.6L IS USM LENS, 365MM, 1/6400S, F/5.6, ISO 400

“All the drama and action of the battle between man and the sea captured here with the ever-present danger of collision and capsize.”Peter Robertson

AC T I O N C AT EG O RY S p o n s o r e d b y N i k o n K e y m i s s i o n


2ND / LEZANNE GIBBS / THE MAN WHO COULD FLY

CANON 5D MARK III, CANON EF 70–300MM F/4–5.6L IS USM LENS, 188MM,

1/1600S, F/5.6, ISO 250

“Fantastic action photo! The composition really captures the moment, with the lines of the water jets leading your attention to the person who is frozen in time. The high contrast black-and-white processing really suits this image and isolates the main subject with no other distractions.”Mark Gee

3RD / LOUISE KIBBY / RIDING THE SURF

CANON 5D MARK III, CANON EF 70–200MM F/2.8L USM LENS,

200MM, 1/1250S, F/2.8, ISO 100

3rd

2nd

“The wonderful shape of the surfer and surf board, that appears almost like a sea creature, is effectively defined above the crest of the wave and draws the eye straight to the heart of the action. The warm colour palette creates a rich location and slight left of centre composition holds the eye.”Katherine Williams

35

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR A E R I A L C AT EG O RY S p o n s o r e d b y D J I

MARK SMITH / THIS LITTLE TRACTOR

1st

DJI PHANTOM 3 PRO, DJI FC300X, 4MM, 1/1250S, F/2.8, ISO 100

“Simplistic yet engaging image. Monochromatic palette balances the graphical nature of the composition well, with a focus on texture through tone and content. Timing and composition carefully considered.”Kaye Davis


3RD / TERRY URBAN / NATURE’S PATTERNSDJI PHANTOM 4, DJI FC6310, 9MM, F/6.3, 1/800S, ISO 200

“It stood out for its originality.”Garth Badger

2ND / CAMERON MCGEORGE / WATER WHEEL

DJI MAVIC PRO, DJI FC220 26MM F/2 LENS, 26MM, 1/620S, F/2, ISO 100

“The minimalist colours and simple shape of this photo signals a poetic sensibility.”Michael Miller

3rd

2nd

37

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR C R E AT I V E C AT EG O RY S p o n s o r e d b y P r o g e a r

EMRE SIMTAY / STRETCHING THE TRUTH

PANASONIC DMC-GX7, PANASONIC LUMIX G VARIO 45–150MM F/4–5.6 LENS, 124MM, 1/1250S, F/6.3, ISO 200

“The splitting of space makes for a playful photo that I kept coming back to.”Michael Miller

1st


2ND / MINA MIMBU / HOME

SONY ILCE-7RM2, SONY FE 70–200MM F/4 G OSS LENS,

70MM, 1/400S, F/4, ISO 400

“Fantastic piece of storytelling that also leaves the viewer guessing and wanting more. It can be viewed from many spectrums of thought or emotion. A stunningly simple piece of work that yet evokes much thought. Also a well-rounded piece of composition and tone.”Richard Wood

“Image considered and well created. Dynamic colour enhances the graphical aspects, which portray yin and yang and opposites through tonal and elemental placement.”Kaye Davis

3RD / DAVID STEER / BLUE HOTEL

CANON 5D MARK III, CANON EF 70–200MM F2.8L USM

LENS, 200MM, 1/1250S, F/2.8, ISO 100

3rd

2nd

39

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR J U N I O R C AT EG O RY S p o n s o r e d b y S A E

DYLAN MARTIN / THE WINDOW TO THE SOUL

CANON EOS 6D, CANON EF 50MM F/1.4 USM LENS, 50MM, 1/160S, F/2.8, ISO 640

“A deceptively simple portrait that evokes deeper questions about who is watching who, and why.”Peter Robertson

1st


3RD / MAX HENRY KILLOH / DUALITYNIKON D3300, NIKON AF-P DX 18–55MM F/3.5–5.6G VR LENS,

25MM, 1/10S, F/4.5, ISO 400

“The young photographer set out to capture something creative with this double-exposure shot and has executed his vision very well, from photographing each exposure and getting the lighting right to the technical aspect of using the flow of the body to blend the two exposures together. This photo demonstrates the entrant is producing photography beyond his years.”Mark Gee

2ND / BIEN CHAPPLE-LAW / RISE

DJI PHANTOM 3 PRO, 20MM, 1/120S, F/2.8, ISO 100

“Stunning capture of colours.”Garth Badger

3rd

2nd

41

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR L A N D S C A P E C AT EG O RY S p o n s o r e d b y S i g m a

ANDY THOMPSON / HAWEA INVERSION

CANON EOS 5D MARK IV, CANON EF 70–200MM F/2.8L IS II USM LENS,

CANON EF EXTENDER 1.4X III, 280MM, 1/640 SEC AT F/11. ISO 100

“These moments are fleeting and difficult to prepare when the landscape changes so dramatically. Beautifully captured and stunning composition. Just enough, and nothing more.”Simon Devitt

1st


“I love the simple lines disappearing into the foggy centre of this photo.”Michael Miller

2ND / LARRYN RAE / INTO THE MIST

CANON 5D MARK III, CANON 16–35MM, 16MM, 30S, F/5.6, ISO 4000

3RD / NEE CHRISTOPHER LAGRIA / MT COOK SUNRISER

CANON EOS 5DS R, CANON EF 16–35MM F/2.8L III USM LENS,

35MM, 6S, F/16, ISO 100

“A classic mountain landscape evoking all its glory, grandeur, and cold.”Peter Robertson

3rd

2nd

43

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR M AC R O C AT EG O RY S p o n s o r e d b y Ta m r o n

MURRAY MCCULLOCH / VESPULA VULGARIS

NIKON D7000, VENUS OPTICS LAOWA 60MM F/2.8 2X ULTRA-MACRO LENS, 60MM, 1/50S, F/5.6, ISO 100

“Defines macro.”Garth Badger

1st


2ND / JO OTTEY / THE LONG ROAD

CANON EOS 6D, LAOWA 60MM F2.8 MACRO 2:1 LENS, 60MM, 1/160S, F/4, ISO 400

“Macro photography frequently hosts a lot of trickery in its images, but this photo is honest in its curling shape and lonely subject.”Michael Miller

“Simple but very effective macro shot which refracts a much larger background object though the foreground droplet. Technically challenging to get right, with good composition and use of colour.”Mark Gee

3RD / ROXANNE CRAWFORD / REFRACTIONS

CANON EOS 6D, CANON EF 100MM F/2.8L MACRO IS USM LENS,

100MM, 1/100S, F/6, ISO 400

3rd

2nd

45

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR M O N O C H R O M E C AT EG O RY S p o n s o r e d b y I l f o r d

SARAH CALDWELL / HOUSTON MAIN STREET METRO

SONY A7R II, VOIGTLANDER SUPER WIDE–HELIAR 15MM F/4.5 III LENS, 15MM, 1/160S, F/8, ISO 100

“Beautiful detail throughout and compositionally makes a very interesting image. A very high level of care and craft has gone into this photograph. Fantastic treatment of tones, leaving details within all shadows and highlights.”Richard Wood

1st

GRAND PRIZEWINNER congratulations, Sarah


2ND / NICK FARRELLY / THE DEVIL’S LAIR

FUJIFILM X-T1, FUJIFILM XF 18–55MM F/2.8–4 LENS, 37MM, 1/125S, F/11, ISO 200

“The gentle and soft black and white treatment gives a very timeless feel to this photograph. A circular feel is given through framing choice which holds the eye to the waterfall ... shutter speed provides plenty of detail in water, yet retains the misty softness which makes this photograph a pleasure to view.”Katherine Williams

“Playing on the children's story, this photo has a charismatic subject and a delicate sense of framing.”Michael Miller

3RD / SHARAD DOHARE / FIRST DAY OF WINTER

CANON EOS 600D, CANON EF-S 18–55MM F/3.5–5.6 IS STM LENS, 18MM, 1/125S,

F/11, ISO 100

3rd

2nd

47

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR N AT U R E C AT EG O RY S p o n s o r e d b y E p s o n

1st

BEN JACKSON / TINY BUT MIGHTY

CANON 7D (M1), CANON EF 70–300MM F/4.5–5.6 IS USM LENS, 270MM, 1/1600S, F/8.0, ISO 100

“What a stunning and beautiful image. Timing, composition, and colour palette of the shot [are] … spot on, with nothing to distract the viewer but what the story is about. Artistic and thoughtful capture.”Kaye Davis


2ND / ROBERT SAUNDERS / YOUNG FALLOW DEER,

LIGHTLY OBSCURED BY BRACKEN AND NETTLE

CANON EOS 7D MARK II, CANON EF 28–300MM F/3.5–5.6L IS USM LENS, 270MM,

1/400S, F/6.3, ISO 400

“Great depth of field, great composition.”Garth Badger

“In an otherwise potentially very ordinary moment, this becomes something quite exceptional and highly evocative. I wish I had taken this image.”Simon Devitt

3RD / ANDY LUKEY / THE FISH-AND-CHIPS CREW

OLYMPUS OM-D E-M1, OLYMPUS M.12–40MM F/2.8 LENS, 30MM, 1/500S,

F/3.5, ISO 400

3rd

2nd

49

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR P EO P L E C AT EG O RY S p o n s o r e d b y P r o f o t o

DUSTIN MCNEILAGE / JOHNSON, WHIRINAKI RIVER

NIKON D750, NIKKOR 24–70MM F/2.8 LENS, 70MM, 1/640S, F/2.8, ISO 200

“Truly fantastic portraiture that captures the power of youth.”Michael Miller

1st


2ND / EDITH LEIGH / COLOUR PLAY

CANON EOS 6D, CANON EF 50MM F/1.4 USM LENS, 50MM, 1/60S, F/3.2, ISO 250

“Wonderful creative aspect given to the image through the technique used that reflects the nature of a child rather than depicting the child itself. The colour palette adds to the sense of liveliness and vibrancy of a young child.”Kaye Davis

“A fascinating people shot, taken in a street-photography environment. Every piece/item in this composition fits. There is a story here made up of so many elements that each and every viewer may conclude in their own way … This is politics, storytelling, and humour all in one capture.”Richard Wood

3RD / NICK MARSH / THERE GOES THE NEIGHBOURHOOD

CANON EOS 6D, CANON EF 28–135MM IS ISM LENS, 115MM, 1/125S, F/5.6,

ISO 100

3rd

2nd

51

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR T RAV E L C AT EG O RY S p o n s o r e d b y N i k o n

JAVAN NG / MORNING RUSH HOUR AT GRAND CENTRAL TERMINAL IN NEW YORK

NIKON D750, NIKON 24–120MM F/4.0 LENS, 24MM, 1/30S, F/8, ISO 640

“I've been to this station dozens of times and I've wanted to see, let alone capture, this moment. Beautifully rendered and captured at a magical time of day. Lovely image.”Simon Devitt

1st


2ND /ROB LYNCH / ON THE GHATS OF THE GANGES

NIKKORMAT FT2, NIKON NIKKOR 50MM F/1.2 LENS,

KODACHROME ISO 64 SLIDE FILM

“Composition and action [are] … the strength in this image, which really portrays the culture and activity around that. Some sharpness issues but possibly more from subject movement that could be improved, but the image tells a great story, is tonally well controlled and composed.”Kaye Davis

“A moment, a look, beautifully captured in warm tones and great lighting.”Peter Robertson

3RD / GARY CLODE/ GIRL WITH CANDLE

CANON EOS 5D MARK III, CANON EF 24–70MM F/2.8L II USM LENS,

70MM, 1/60S, F/2.8, ISO 1600

3rd

2nd

53

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR V I D EO C AT EG O RY S p o n s o r e d b y S A E

CONNOR LEE PRITCHARD / SO MANY COLOURS

SHOT ON A SONY A7S II

“Intense but fun lighting make for a colourful and cheeky piece of cinematography.”Michael Miller

1st


2nd

3rd

2ND / NAZAR ABBAS / NEW ZEALAND COLOURS

SHOT ON A CANON 5D MARK II AND DJI PHANTOM 4

“Some beautiful moments captured and a lot of restraint shown in a relatively new medium (drone). Nice delivery using an unobtrusive soundtrack.”Simon Devitt

3RD / JACK BURDEN / COROMANDEL NIGHTS

SHOT ON A CANON EOS 6D

“Slow-panning, fast-paced time-lapse balanced with up-tempo instrumental music are used to showcase the beach scenes. Interest elements of people, lights, shooting stars, and a stunning Milky Way bring the video together harmoniously.”Katherine Williams

55

2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

J U D G E S ’ C O M M E N T S

“The quality of the work across every category makes this prize extremely valuable and necessary

to showcase the incredible talent we have in our small country.” SIMON DEVITT

International photographer of architecture, lecturer in architectural photography at The University of Auckland, and patron of

the Simon Devitt Prize for Photography

“The entries this year were very thought-provoking. There were some very clever, technical, well-

composed photographs.” GARTH BADGER

Advertising, fashion, and music photographer, and owner of Auckland’s Thievery Studios

“The quality of the best images was very high indeed.” PETER ROBERTSON

President of the PSNZ

“There were some very strong images.” CHARLES HOWELLS

Top fashion and beauty photographer, and owner of Auckland’s White Studios

“Some strong ideas and imagery coming through. Also some originality rather than repeated

work. Photographers need to be aware of distracting elements in images and cropping choices.

Sometimes these issues can drag down a potentially winning image. Great to see some innovation

coming through. When using post-production, be sure to take it past an experimental stage and

into a refined craft of the elements chosen.” RICHARD WOOD

2011, 2014, and 2017 New Zealand Professional Photographer of the Year, portrait and fashion photographer

“The overall quality of work was extremely high, which made judging both challenging and

rewarding. There are some very entrancing shots that reward the viewer who spends the time to

absorb them fully.” MICHAEL MILLER

Experienced director and producer, and Head of Department (Film) at SAE Auckland

“It was certainly a pleasure judging the 2017 D-Photo Sigma Amateur Photographer of the Year.

I was surprised by the high quality of all the finalists, and I really had to think about my choices and

evaluate each image carefully. It’s encouraging to know that this is the level of amateur photography

in New Zealand, and I can’t wait to see what future years’ competitions bring as that bar gets

higher.” MARK GEE

2013 Astronomy Photographer of the Year, astrophotographer, and time-lapse film-maker

“It has been a privilege and delight to judge this year’s entries, which really showed not just how

much talent there is out there, but also the enthusiasm for and love there is for the photographic

medium. The entries overall reflected great control of camera technique, composition, lighting, and

vision. Each category presented diverse and well-considered imagery, and included images that

also reached a high level of creativity and photographic craft. Congratulations to all the winners!” KAYE DAVIS

New Zealand Institute of Professional Photography (NZIPP) Grand Master, and 2013 New Zealand Professional Photographer of

the Year

“The winners showcase exhibits a high calibre of photography being captured by amateur

photographers of New Zealand. I was very impressed the diversity of imagery and it’s great to see

some creative ideas being presented. Overall an excellent level of technical ability with the winners

being those who focused on bringing originality and creative control from the minds eye through to

final capture. ” KATHERINE WILLIAMS

President of the New Zealand Institute of Professional Photography (NZIPP), and 2016 New Zealand Professional Photographer

of the Year.


Focal length: 18mm Exposure: F/4 1/10 sec

Handheld (Digital SLR camera with sensor equivalent to APS-C size)

CASHBACK

18-270mm F/3.5-6.3Di II VC PZDThe Tamron 18-270mm high-power zoom lens boasts the PZD (Piezo Drive) internal autofocus drive with an unshakable Vibration Compensation. This lens is the cumulation of uncompromising research and development to make a lightweight, compact, all-in-one super zoom lens.

$100Available for Canon | Nikon | Sony

100CASH

VIA REDEMPTIONTAMRON LENSES UNTIL THE 31st OF AUGUST BACK

$

SP AF 70-300mm F/4-5.6Di VC USDThe Tamron SP 70-300mm F/4-5.6 Di VC USD. Featuring an XLD lens element delivering best in class resolution in a fast, easy to use package that includes VC image stabilization and Tamron’s USD (Ultrasonic Silent Drive).

Focal length: 300mm (equivalent to 465mm) Exposure: F/5.6 Aperture fully opened 1/1000 sec

Handheld (Digital SLR camera with sensor equivalent to APS-C size)

CASHBACK$100

Available for Canon | Nikon | Sony

GET INTO YOUR LOCAL AUTHORISED TAMRON RETAILER TO FIND OUT MORE* TERMS AND CONDITIONS APPLY.

VISIT WWW.TAMRONREWARDS.CO.NZ FOR FULL DETAILS.PROMOTION VALID 01/07/2017 UNTIL 31/08/2017.

16-300mm F/3.5-6.3Di II VC PZD MACROThis Tamron superzoom spans an astonishing range of focal lengths from a truly wide 16mm through to 300mm telephoto. At wide-angle it covers sweeping panoramic landscapes and intimate interiors; as a telephoto it can capture powerful close-ups of distant subjects.

CASHBACK$100

Available for Canon | Nikon | Sony Focal length: 103mm Exposure: F/11 1/80 sec

ON SELECTED AWARD WINNING

**

EXPOSURE | GUY NEEDHAM


Travel photographer Guy Needham has developed a deep affinity for indigenous cultures, which has seen him study and live with those whom he travels to around the globe. Needham’s latest expedition to remote West Sumatra has culminated in a series of intimate portraits of the province’s indigenous Mentawai people

T H E M E N TAWA I I N M O N O C H RO M E

WO R D S | A D R I A N H AT W E L L

GUY NEEDHAM, THE MENTAWAI, UNTITLED 5, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 82MM, 1/100S, F/4, ISO 320




The Mentawai people, indigenous to an archipelago of islands in Indonesia’s West Sumatra province, cut visually striking figures. Their slight bodies are tough and leathery from self-sufficiently working the land, clothed in handmade cloths and with intricate line-work tattoos traced over sinewy musculature. They’re often bedecked with ornate handcrafted headpieces and jewellery, while some chisel their teeth to sharpened points in the name of beauty. It is not hard to see how this singular culture, almost untouched by the modern world, captured the fascination of Auckland-based photographer Guy Needham.

Looking in on a different culture can hold a strong allure, especially for photographers. Differences in aesthetics, ritual, and routine, and expressions of identity often present a beguiling tapestry for the visually fixated. But it’s also a scenario rife with cultural snares for an observer only interested in the superficial risks offending, misrepresenting, or even exploiting the subject, however unintentionally.

This needn’t mean photographers should shy away from exploring lives and experiences different from their own: for Needham, it simply means approaching a project from a place of knowledge, humility, and respect. In his travels around the Pacific and beyond, he has developed a deep affinity for indigenous cultures and finds demonstrating good faith and reliability instrumental in working within diverse communities.

The accumulation of this practice is his Tribes

series, which has seen Needham study, travel to, and live with various indigenous populations around the globe, including the Huli of Papua New Guinea, the Hamar of Ethiopia, and, most recently, the Mentawai. The photographer sees this ongoing project as not simply a matter of documenting disparate cultures but challenging his own world view and notions of identity born from hegemonic Western culture.

“I wanted to go beyond voyeuristic passing, to take imperfect images, ones that can only be earned with trust,” he explains.

The first step towards that trust was finding out as much as he could about the Mentawai

people, along with locating an appropriate guide for the excursion. Just getting to the cluster of islands required three flights, a ferry trip, a ride in a motorized canoe, and a two-hour trek on foot. But it was worth it for the photographer to be able to spend almost two weeks living among the semi-nomadic people, staying in a communal longhouse made of bamboo and grass, called an uma.

While there, Needham ate what the Mentawai ate, including sago grubs (comparable to New Zealand’s huhu grubs) and fried pith of the sago palm, and he slept on the floor of the uma with the local families.

“Typical days were [spent] watching sago being pressed, bark being stripped off for loin cloths, treks into the jungle to hunt birds or deer, and fishing in the local rivers,” he recalls. “I simply tagged along trying not to fall off rotting logs, get bitten by leeches, or lose my walking stick in the mud.”

Being a solo adventurer on these expeditions, Needham has to put his faith in local guides and fixers to help get him where he needs to be. For any photographer travelling outside of their home field, a guide can be invaluable, particularly if translation is necessary. However, not all guides are as interested in their clients’ requirements as might be wished. While Needham has had plenty of dealings with excellent fixers, his voyage to the Mentawai did not involve such.

“This time, I got one who was more interested in getting the most out of the trip himself, and not letting me know what was going on,” he laments. “I just made the most out of a bad situation, and asked questions of others whenever I could.”

Fortunately, his sub-par guide happened to have a porter and chef with him who spoke passable English and was willing to help the photographer out when necessary. But Needham has also found an earnest attempt at learning some of the local language, along with humble improvisation, can go a long way: “I’ve found over the years that if you try a few words and mangle them, people will forgive you. The worst that will happen is they [will] give you a funny look … Sign language was also good for a laugh,

While there, Needham ate what the Mentawai ate, including sago grubs

(comparable to New Zealand’s huhu grubs) and fried pith of the sago palm,

and he slept on the floor of the uma with the local families.







the fingers on the palm falling over is universal for ‘I slid off’.”

Living in the isolated jungle, the Mentawai communities hold tight to a traditional way of life, including animist religious beliefs that do not conform to any of the official religions sanctioned by the Indonesian government, which has been a source of conflict. The culture is not completely removed from the modern world, however: two of the families Needham stayed with had played host to Western visitors before, and knew which facets of Mentawai life would probably need explaining to an outsider.

“I was a novelty, because I have dark skin but was wearing ‘white-man clothes’ and spoke ‘white-man words’,” says the photographer. “The main things I did was try to be a courteous guest, ask interesting questions, and join in with celebrations — my rousing rendition of

Pokarekare Ana was in reply to their bird-dance song.”

In addition to navigating cultural particularities, the photographer also had West Sumatra’s distinct environment to contend with when

shooting. It’s given over to dense tropical forests; the climate is very damp; and, because he visited during the province’s wet season, Needham was explicitly advised by his guide that he “[couldn’t] expect to get dry” for the duration of the trip.

The wet conditions meant waterproof casings for both his Canon 5D Mark III and 60D, as well as making sure that waterproof liners and bags kept every bit of sensitive gear dry. The lush foliage of the jungle made for dark lighting conditions, so fast glass was a necessity, but relying solely on prime lenses was not an option. Not only would constantly changing lenses eat away at shooting time but it would also increase the chance of moisture making its way inside the camera and wreaking havoc. Needham ended up selecting the Canon EF 24–105mm f/4L IS II, EF 70–200mm f/2.8L II, and EF 50mm f/1.2/L for the trip.

“There was also no electricity in the jungle so I had to stock up on batteries for my DSLRs,” he adds. “At the same time, I couldn’t appear to be any sort of journalist, as Indonesian authorities in the area get a little nervous, so I ended up looking like a well-equipped tourist.”

Regardless of how well an adventure is planned, though, the whims of fate are wont to play a role. A seasoned traveller should be flexible enough to roll with the punches, but sometimes happenstance can knock down even the hardiest of wayfarers. Needham was bluntly reminded of this on his latest voyage, when a fever left him delirious for several days.

“At one stage, I woke up to find a medicine man pushing into my stomach while chanting a spell,” the photographer remembers. “As I opened my eyes, the first thing I saw was my watch on his wrist, and I wondered what the hell was going on … The next day I was told [that] he was the same man I’d met a week earlier and given my watch to — he’d heard I was sick so had come to help.”

When coming on these sorts of unplanned challenges, Needham advises would-be explorers to let go of plans and “wing it”, as long as they hold to the central tenets of culturally sensitive photography: be open with your hosts, generous with your time, and always remember that these are people before they are ‘subjects’.

“It will show in your photography,” he says.

Photographer Guy Needham will be showing the latest exhibition in his Tribes series,

The Mentawai of Indonesia, at Auckland’s Studio 541 gallery in Mount Eden, from

October 25 to November 12. Visit guyneedham.com for further details.


1

2

HOW TO | LOUIE TONG


Louie Tong takes us through the highs and lows of aerial photography, offering his top tips on how to capture awe-inspiring imagery

S K Y- H I G H S C E N E RY

65

BEFORE YOU GET STARTED If you’re just getting into aerial photography, there’s a bit more to flying your drone than you think, including important rules and laws regarding areas where you can and cannot fly. These can be found on the maps on airshare.co.nz, and are colour-coded to designate what parts of the country are control zones, low-flying zones, military operating areas, and restricted areas. It’s very important to become well-versed on these laws before flying. As a casual drone operator, you will be governed by our Civil Aviation Authority’s Part 101 rules for unmanned aerial vehicles (UAVs) — these can be found at caa.govt.nz.

PREPARATION The shots I capture primarily consist of the coastal regions around wider Auckland. Generally I try to get to the location an hour before sunrise or sunset to prep — meaning very early 4am starts to get up and drive to an area, which often allows for the time for a short trek to certain spots such as Duder Regional Park, where the highest point is a 20- to 30-minute walk from the carpark. Additional time to consider is that for the assembling of the drone; lugging the equipment to the spot; and, finally, set-up for shooting. You’ll find that sometimes the light diffusion just before sunrise, due to clouds being on the horizon, will cause the whole sky to light up a bright orange, pink, or red — that’s worth getting up early for.

I have three sets of batteries for each drone: the first one is sometimes used for scouting or reconnaissance; and the second and third ones are used to get the final shots. Something seemingly trivial to keep in mind as well is that, in colder, winter environments, the batteries need to be warmed up before use. Some older drone models will not even start if the batteries are too cold.

I was very fortunate to have been a relatively early adopter of the DJI Inspire 1 when it was first introduced to Australasia. The

X5/X5S sensor paired with the 12mm Olympus F2.0 is a huge upgrade on the proprietary X3 sensor. The Inspire 2 drone itself is a huge improvement, with more accurate GPS and stability and the addition of 4K video at 60fps with 40mb high-res stills.

The DJI Mavic Pro is a cost-effective option, and it’s light enough to carry around with you on hikes. It’s the same size and approximate weight as a drink bottle, and the 12MP sensor is capable of capturing 4K video at 30fps, as well as high quality stills. The gimbal system is also very robust for its size, and the drone itself can actually handle relatively strong winds.

KNOW YOUR SUBJECT Since so much of New Zealand has yet to be ‘discovered’, we’re blessed that not too many of these beautiful locations are saturated with people all of the time. A good habit to get into is to use Google Maps and its 3D satellite functionality. By doing this before the shoot day, you can reduce the surveying time required on location. Certain beaches have unique characteristics, hence need to be shot from a certain angle, and this gives you a good idea of what it will be like on the day.

STYLE I come from an architectural background, having completed my master’s in

3

4

5

HOW TO | LOUIE TONG


LOUIE’S GEAR LIST

DJI MFT 15MM F/1.7 ASPH PRIME LENS

67

OLYMPUS M.ZUIKO DIGITAL 45MM F/1.8 LENSDJI INSPIRE 1 WITH X5

DJI INSPIRE 2 WITH X5S

OLYMPUS M.ZUIKO DIGITAL ED 12MM F/2 LENS

SPARE PROPELLERS / SPARE MEMORY CARDSTHREE SETS OF BATTERIES EACH

DJI MAVIC PRO

architecture. I feel very fortunate to have gone through this practice, as the spatial awareness I attained through it informs the treatment of my photography. My vision is to create the iconic shot for each of the locations I shoot at — the image that pops up in people’s minds when someone mentions a certain place. By shooting in the golden hour, during sunrises and sunsets, it really sets apart the look of the photos you take.

The addition of a constant third (Z) axis is an extra element that an aerial photographer has to take into consideration. A traditional photographer typically worries about the composition, but, when you throw in the vertical axis, you have to consider how the change in vertical angle will affect certain photographic elements such as the shadow and, particularly, the silhouette/shape of the subject. Combine this with the constraints in technology currently — that is, battery life — and weather conditions, and this means that an aerial photographer has to be incredibly efficient, as the window of shooting is dependent on so many of these parameters. An architectural graduate using 3D CAD software can orbit and pan their model around freely, much like how you operate a drone in unconstrained/open air space.

POST-PRODUCTION My post-processing is relatively minimal, and I tend to simply use a neutral preset to make the general treatments of each of the photos consistent with each other — the exposure, contrast, tone curve, and detail treatment.

Colour is graded independently and differently for each shoot, as it is generally affected by the weather and light conditions. When shooting in the light of the golden hour, as I tend to, the colour is usually quite intense already, and, as a result, I never need to touch the saturation.

Cropping and composition are extremely important. There are often many angles to the same shot, but knowing what to include and how to frame a shot is fundamental to achieving a truly awe-inspiring shot.

BE CONSIDERATE There has been a lot of bad press surrounding drones lately, so, while you’re out and about, be respectful of the people and environment around you. Don’t go flying close to others’ private property without permission, or wildlife, or even across a busy road. One of my goals is to dispel this bad light on drones and their privacy issues — when used correctly they’re an amazing photographic tool that unlock a whole new dimension of creativity.

IMAGE 1 DJI INSPIRE 1, X5 SENSOR (M4/3), OLYMPUS 12MM, F/2.0 LENS, 12MM, 1/340S, F/5.6, ISO 100 SUNRISE AT RAGLAN BEACH IMAGE 2 DJI INSPIRE 2, X5S SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/240S, F/5.6, ISO 100 TOP-DOWN VIEW OF LEISURE ISLAND IMAGE 3 DJI INSPIRE 2, X5S SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/120S, F/6.3, ISO 100 TE ARAI PERSPECTIVE IMAGE 4 DJI INSPIRE 1, X5 SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/120S, F/7.1, ISO 100 WHATIPU BEACH PERSPECTIVEIMAGE 5 DJI MAVIC PRO, CMOS SENSOR, PROPRIETARY 28MM, 1/100S, F/5.6 AERIAL WEST PERSPECTIVE OF DUDER REGIONAL PARK

HOW TO | BRETT STANLEY


Fashion photographer Brett Stanley

demonstrates how to create bold,

dramatic portraits — with only one light

S I M P L E O N E- L I G H T S E T- U P S

1

69

As photographers, we rely on light to create

our images; without it, we would just have

black frames. In fact, ‘photography’ actually

means to ‘draw with light’. We use light in

different ways every day, and its manipulation

is what allows us to give the same subject a

different look without moving the subject.

Think of landscape photography: the same

scene can look very different over the course

of 24 hours, and it’s all down to light.

The direction, colour, quality, and quantity of

light are what give everything we see its specific

look. Change any of these parameters, and you

change the appearance of the subject — which is

great, because it gives us loads of options when

we want to get creative with our photography!

In this article, I want to show you two very

different shots that I took, explain how I lit

them, and then give you options for ways to

recreate them using a few different tools.

LIGHTING AT NIGHT My passion for

photography comes from shaping light. I love

being able to get creative with it to create

a certain look, and my influences for this

primarily come from cinema, in which lighting

is used to create the mood of the scene. A

lot of that lighting is artificial, but set up in

such a way that it mimics the light that would

be there if it were a real scene. For example,

the light on an actor’s face that looks like it’s

coming from a lamp in the room but might be

off-camera. This is called ‘motivated lighting’

— it’s fake, but your brain believes it because

it seems to be coming from somewhere that

there could be a light source in real life.

Shooting at night means that you can control

the artificial light more easily than during the

day, and in the photograph of skater Richie

(opposite page), the main light source is off-

camera right. It could be from a street light,

2

or even the sun between some buildings, but

is, in fact, from a small Speedlight strobe (or

flash) mounted on a stand. This image was

taken at night near the opening of a large

tunnel in downtown Los Angeles. There was

light from the nearby streets, but it wasn’t

very interesting or bright enough, and I

really wanted to capture Richie in this pose

as he wrapped his wrist. I quickly set up my

Speedlight with a remote trigger connected

to my camera, so that it would fire when I

clicked the shutter, and put it down the tunnel

pointed towards him a little. I wanted to only

light half of him to give the scene some depth,

and I used a lower shutter speed to capture

some of the ambient light to lift the shadows

on his other side. The side light gave the

image a nice contrast and balance, while it

left the other side of the image darker, really

drawing attention to my subject, which is

what we want for all our images.

HOW TO | BRETT STANLEY


3

4

71

ALTERNATIVE SOLUTIONS If you don’t

have access to a Speedlight or strobe, you

could create a similar look with a bright torch

or LED panel, and you could have a friend or

assistant hold the light instead of a stand.

Another easy way to get this effect is to find a

nice street light.

LIGHTING IN THE DAY Creative lighting

during the day with artificial light sources is

harder due to the power of the sun. You need

something very bright for it to have any effect

in full sunlight, especially with Speedlights

or strobes. For this image of Onrico (top

left) it was mid-afternoon, and the sun was

extremely bright. If I’d photographed him

with just the sun alone, he would have either

had harsh shadows on his face or had to look

straight towards the sun, creating a rather flat

lighting, which I wanted to avoid.

IMAGE 1 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 51MM, 1/160S, F/4.5, ISO 200 IMAGE 2 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 48MM, 1/25S, F/5, ISO 800

IMAGE 3 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 66MM, 1/200S, F/6.3, ISO 100IMAGE 4 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 51MM, 1/200S, F/6.3, ISO 100

BRETT’S GEAR LIST

EINSTEIN E640 FLASH UNIT CANON SPEEDLITE 580EX E-TTL II FLASH

PHOTOFLEX OCTODOME3 LARGE SOFTBOX MATTHEWS REVERSE LIGHT STAND

My solution was to treat the sun as one of my

lights and bring in something artificial to fill in

the shadows, in this case a powerful strobe

with a large soft box. I could have used the

sun as my main light, which was off-camera

left, then had my strobe fill in the shadows,

but that would have had Onrico looking at

the sun again, causing him to squint and not

be relaxed. So, I turned him around — this

meant that the sun was above and behind

the model, with my strobe and soft box off

to camera left. The effect was a harsh light

from behind, with strong shadows, and a

very soft light in front softening the shadows

and letting us see the detail in his (mostly)

relaxed face.

ALTERNATE SOLUTIONS The strobe I used

for this shot was a Paul C Buff Einstein, a very

powerful flash that on full power could match

the bright sunlight, but if you don’t have

access to this, a very cheap option to recreate

this lighting style is to bounce the sunlight

onto the model’s face using a reflector. This

works well, because it’s going to match the

colour and intensity of the sunlight. A white

reflector will keep the colour of the sunlight,

or you can use a gold or silver reflector to

warm up or cool down, respectively, the

bounced light.

Looking into the reflected light for too long

can damage the eyes, so have someone

holding it who can turn it away when you’re

not shooting to give the model a rest.

There are so many ways to modify light in a

creative way — it’s all about being inventive

and taking inspiration when it comes. Look

around for the way light bounces and

modifies naturally, such as off a shiny floor

or through the branches of a tree. I warn you

though, it is addictive!

THE DJI OSMO MOBILE turns your smartphone into a smart

motion camera, making every moment you shoot look smooth,

professional and ready to share. Shoot cinematic videos anytime,

or use its intelligent functions to track your subject, capture

stunning motion time-lapses or even stream a moment live

around the globe. Control your phone like a professional camera

with manual ISO, shutter, and white balance settings.

NEW AUCKLAND STORE The new DJI store in Eden Terrace, Auckland, aims to enable and empower photographers to achieve

what was once out of reach. They do this by offering expert advice, trusted support, and superior

specialist service. The store provides DJI’s industry-leading drones and aerial photography systems to

professionals, enthusiasts, and businesses across New Zealand.

Visit the store at 96 New North Road, Eden Terrace (open Monday to Saturday) or find out more online

at djistore.co.nz.

SUBSCRIBE TODAY — GO TO MAGSTORE.NZ OR PHONE 0800 727 574

SUBSCRIBE TO D-PHOTO MAGAZINE AND BE IN TO WIN

A DJI OSMO MOBILE

Card number (Please make cheques payable to Parkside Media Ltd)

Amount: $

Name on card:

Signature:

Cheque Credit card

SUBSCRIBE NOW

PAYMENT DETAILS

Visa M/Card Amex

Online: magstore.nz

Phone: 0800 727 574

Fax: 09 360 1470

Email: [email protected]

Post: Parkside Media Subs, Freepost 3721,

PO Box 46020, Herne Bay, Auckland 1147

See www.magstore.nz for full terms and conditions

Expiry date

TO SUBSCRIBE TO PRINT OR DIGITAL COPIES OF D-PHOTO GO TO MAGSTORE.NZ OR COMPLETE THE FORM BELOW AND POST IT IN TO US

NOWDIGITAL S U B S C R I P T I O N SDIGITAL & PRINT COMBOS U B S C R I P T I O N S

SUBSCRIBE BY DIRECT DEBIT To take advantage of our special direct debit rate of $22 every six months, download the direct debit form at www.magstore.nz/directdebit to fill out and send to us along with your details on the form below. Or call us on 0800 727 574, or fill in your details below and post them to us, and we’ll send you back an authority to complete and return.

YOUR DETAILS Fill in the form below whether you’re requesting a direct debit form, sending in your direct debit form, gifting a subscription to a friend, or taking up one of our other

great subscription rates:

Name:

Phone: ( )

Mobile: ( )

Email:

Address:

Post code:

Please send me a direct debit form

My direct debit form is enclosed

GIVE D-PHOTO AS A GIFT

Fill in the section below if you’d like to give a

subscription to someone else:

Please send a gift card to me or my friend

Their name:

Phone: ( ) Mobile: ( )

Email:

Address:

Post code:

Signing up for a direct debit subscription? If you’ve filled in the information above you’re finished! Cut it out and send it in. Otherwise select the subscription option and payment option you’d prefer from the choices below.

NON–DIRECT DEBIT SUBSCRIPTION RATES AND PAYMENT DETAILS

One year, print (six issues) $49 — save $10 (17%)

One year, print plus digital combo (six issues) $55 — save $28 (34%)

One year, digital, NZ and rest of world (six issues) $24

Two years, print (12 issues) $89 — save $30 (25%)

Two years, print plus digital combo (12 issues) $99 — save $68 (41%)

Australia, one year, print (six issues) $97

Rest of the world, one year, print (six issues) $149

Terms and conditions: 1. Offer available to New Zealand delivery addresses only. 2. Prize sent to

subscription recipient unless specified otherwise. 3. Offer only available on subscriptions purchased

from Parkside Media. 4. Valid on print subscriptions only. 5. Offer ends Sunday, September 10, 2017.

6. DJI Osmo Mobile, worth $559.00. 7. See magstore.nz for full terms and conditions.

$49 SAVE 17% ON THE RETAIL PRICEWhen you purchase a one-year subscription

$89 SAVE 25% ON THE RETAIL PRICEWhen you purchase a two-year subscription

WORTH $559

$22PAY JUST $22 BY DIRECT DEBIT EVERY SIX MONTHSDownload the direct debit form at magstore.nz/directdebit to fill out and send to us

Q & A | MAREEA VEGAS


M O D E S T M I N I M A L I S M

Mareea Vegas talks to Marc Thompson about finding purpose in the pedestrian through his latest series of spatial shots

75

A beautiful sense of calm and space still emanates from Marc Thompson’s methodically composed images. I last spoke with the Whitecliffe graduate two years ago, when his work was very much inspired by futurism and the typology of industrial buildings.

Thompson has spent many of his days since then abroad, travelling from New Zealand to Iceland and down to Spain, including most places in between.

I caught up with him over WhatsApp to find out in which ways his practice has changed, how travel has affected his work, and why he has moved from large-format analogue to digital photography.

MAREEA VEGAS: One of the things that interests me about your new works is the move to a portrait crop. Could you talk about the reasons for this?

MARC THOMPSON: This is mainly an adaptation for the way in which the work is viewed. For the most part, I post my images online, and the majority of the work is seen through Instagram. I’ve found that a portrait crop not only works well for the environment that the work is viewed in, but it has also created some interesting compositions when investigating a particular subject matter. I was finding that when I used a landscape crop, the things which were making the subject matter interesting (and giving it that slight touch of ambiguity) were getting lost somehow. I felt I was losing control of the subject matter, by leaving in aspects that would ultimately clutter the shot.

MV: Has your relationship to structure and the exploration of your practice through it changed in any way over the last couple of years?

MT: I guess that I have, in the past, mostly followed a topographic way of photographing scenes, and, recently, I’ve probably started to bend the strict methodology behind that way of shooting. I think ‘ambiguity’ and the ‘mundane’ might be ideas that are creeping in more in more. I find the majority of these works end up being crops of areas or compositions which might generally be overlooked, but [that] there ends up being some really interesting things to be found within them.

Futurism and autonomy [were together] … always something which informed my past work, and I think there are still hints of that presently, though probably a more general sense of ambiguity within a structure (line/shape), with a minimalist construction, has become something that I seek out more and more.

MV: How has your own travel informed these works?

MT: Travelling has been a huge influence on my practice. I initially wanted to document my time overseas in a fairly broad sense, but, as time went on, it became more refined. This was also in part due to discovering some great online communities of photographers, such as @lekkerzine, @paperjournalmag, and @rsaminimal on Instagram, which are tackling similar subject matters. The use of hashtags and tagging to get involved in the online community has opened my work up to fellow photographers, and vice versa. I’m not entirely sure how my practice has gone from a Futuristic-type approach to a more minimal one, but there is definitely still an undertone of Futurism within some of the work.

Q & A | MAREEA VEGAS


77

MV: How important is it for you to define your practice?

MT: I think it’s quite important to be able to define your practice in some way or another, be it through subject matter or approach. Personally, being able to define my practice gives me more direction and a way to identify and connect more with a broader community. These are things that help more and more when predominantly publishing work online and interacting with online communities.

MV: Did you still shoot analogue film while travelling?

MT: While abroad, I shot everything on digital, using either my Panasonic Lumix or just my phone. I would have loved to have taken a 5x4 large-format camera with me, but that just wasn’t possible with the type of travelling I was doing. I still approached my subject matter with an analogue sense though, as in, slow and methodically, like I was shooting on film. I guess I picked up this methodology from shooting lots of large-format work, and it continues to carry over, no matter what device or format I’m using.

MV: In your previous images, you were working with a rapidly changing New Zealand landscape and perhaps mentally processing these changes

PANASONIC LUMIX GH4

PANASONIC LUMIX G 20MM F/1.7 II ASPH LENS

MARC’S GEAR LIST

COKIN FILTERS

CANON FD 28–85MM F/4 LENS

CANON EF 50MM F/1.4 USM LENS

through the work. In what ways are you widening your lens now?

MT: I’ve definitely broadened my subject matter since being placed in different landscapes. I still have an underlying interest in architecture, and I was spoiled for when it came to travelling through Europe. I think there are different aspects of each landscape or structure that initially attract me to them, so large sections of my time travelling would be spent seeking these structures out, or at least recognizing them when I came across them.

MV: I love the colour palette and how it ties the entire series together. Did the idea evolve, or was the intention always there?

MT: That’s something which is definitely an ever-present aspect of the subject matter in my work, and I think it might potentially be informed by my relationship to structure, even though, initially, I was more interested in the faceless futuristic aspect of these buildings. It seems that all of these areas, which are made for practicality, will always carry these striking bits of colour, mainly yellow. They are obviously there for a practical safety reason, but they have an unintentional aesthetic beauty and complexity to them. It’s a great practical function that works so nicely to piece the general monochromatic tones of the works together.

MV: Does your moving-image work carry the same concepts as your still photography?

MT: With my moving-image work, it tends to sit more on the commercial side. While at university I had a few attempts at converting my ideas to a moving-image setting (making them all very quiet, and quite devoid of any movement) but I have never been 100-per-cent satisfied with the results, though it’s definitely something that I think about quite a lot when taking photos.

I guess, ultimately, I associate moving image with dynamic cuts and movement, so when working with this particular subject matter, I find that this is missing.

It’s possible that maybe my subject matter works well in a still-photography sense, but not so much in a moving-image sense. Hopefully, I’ll stumble upon something that will work well and help to develop the subject matter further, through moving image.

MV: Finally, where would we find Marc now at 8pm on a Monday night?

MT: I start an online Te Reo course this month through Te Wananga o Raukawa, so I’ll probably be studying.

FOCUS NEWS

Alan Gibson, for The New Zealand Herald

A L A N G I B S O N H O N O U R E D AT T H E C A N O N M E D I A AWA R D S

The 2017 Canon Media Awards, held in June, announced The New Zealand Herald photographer Alan Gibson as Photographer of the Year.

Stand-outs in Gibson’s portfolio include the captured heartbreak of a family mourning the deaths of an elderly couple at the hands of a methamphetamine-fuelled stranger, a sculptor at work at night in his home-made foundry, and a surfer caught on the crest of a giant wave off the Kaikoura Coast. The judges said that Gibson’s portfolio was an excellent demonstration of photojournalism across all genres and that his use of light and moment made him a worthy winner among a strong field.

Kim Conner, CEO of Canon New Zealand, says he was incredibly inspired by the talented photographic and videography winners who captured moments that have moved the nation throughout the past year. “Canon have proudly supported the Canon Media Awards for the last 11 years, celebrating New Zealand’s finest journalists,” says Conner.

Best News Photo was awarded to Blair Pattinson of the Otago Daily Times for his iconic news picture of Queenstown police wrestling two criminals to the ground after a long car chase that was ended due to a herd of sheep being on the road. Mike Scott of The New Zealand Herald won Best Photo Essay with his riveting portrayal of young girls in rural China having their hair chopped off to make wigs for the Western market. Best Photo (Junior) was awarded to Christel Yardley of the Waikato Times for her image capturing a tender moment between an elderly woman caring for her husband after he was abused at a rest home.

T U R N I N G PA S S I O N I N TO P R O F I T

There’s a rising tide of challenges against photographers looking to turn their passion into a career — going out on your own requires a massive leap of faith; the sales side simply isn’t for everyone; and, of course, marketing is a constant grind. Another practical problem that many photographers struggle with is what to actually do once they’ve got a booking. It’s no wonder, therefore, that so many struggle with seeing their passion turn a profit.

But it doesn’t have to be impossible.

Which is where Mark Lindberg comes in, with what he calls a “check-up from the neck up”. Running a successful business takes incredible amounts of hard work, determination, and mental strength. The overwhelming amount of information out there, coupled with all the ideas running through your mind, sometimes makes it hard to know exactly what choices to make.

Mark Lindberg is is backed by over two decades of experience, and works with photographers one-on-one to build and re-energize photography businesses. With his direction, both pro and enthusiast photographers can identify their strengths, challenges, and goals to develop real strategies that will make their dream photography business a reality.

For more information, visit beautifulimages.co.nz, or, give Mark a call on 021 304 424 for a half-hour complimentary Check-Up From the Neck Up mentoring session and also get his Knowing Your Numbers spreadsheet to help get started.

MARK’S TOP THINGS TO CONSIDER WHEN STARTING YOUR OWN PHOTOGRAPHY BUSINESS

PHASE ONE• Get a mentor to help you stay on track

• Know your numbers (ask Mark to send you his spreadsheet)

• Decide on your business structure and how you are going to sell yourself (your value proposition)

• Identify your market (don’t try to be all things to all people)

• Develop a brand strategy and client engagement chain (CEC)

• Design your logo and collateral

• Get the right gear

PHASE TWO• Determine your product and pricing strategy, and link

it to your CEC.

• Set up a website and social media presence

• Design your client’s journey and tie it to your value proposition.

• Create a marketing plan that gets bookings

PHASE THREE• Set your intention and short term goals

• Organize bank, legal, and accounting

• Setup a Customer Relationship Management system (CRM)

• Join a professional organisation, such as the New Zealand Institute of Professional Photography (NZIPP), or the Australian Institute of Professional Photography (AIPP)


R OTO R UA P H OTO G RA P H E R W I N S S O N Y A L P H A AWA R D S

D J I STO R E O P E N S I N C E N T RA L AU C K L A N D

The beginning of June saw the announcement of the 2017 Sony Alpha Awards, which showcased the very best of New Zealand and Australian photography shot using the Sony (Alpha) camera range. Celebrating its second year, the awards received over 1500 entries from professional and amateur photographers vying to be recognized for their captivating imagery. Professional photographers Craig Parry and Mark Galer selected the winning images across the eight categories, crowning Rotorua photographer John Ford the winner of the Nature category, as well as the overall Grand Prize winner.

John described his shoot: “My wife, Catherine, and I are sheep and cattle farmers just south

of Rotorua, and I took this image early one morning this April when I shifted our main mob of ewes into a fresh paddock. After opening the gate for the sheep, I went up to the top of the hill and waited for them to spread out over the paddock as the sun came up on my right. I must have taken about 50 photos altogether, and this image is the best of them. It is a panorama of three photos taken on my Sony 6000 with the 18–50mm kit lens ... I stitched [the photos] together and adjusted shadows, etc. in Lightroom CC. It is a classic case of ‘f/8 and be there’, and the small size and convenience of the Sony 6000 made this easy.”

Each winner across the eight categories was

awarded $2K’ worth of Sony camera products. John, the Grand Prize winner, received $3K’ worth of gear. In addition, he will also be embarking on a once-in-a-lifetime overseas photography workshop with Sony Global Digital Imaging ambassador Craig Parry.

John said of the experience, “It was a huge thrill to win the Nature section of the Sony Alpha Awards and for Sony to fly Catherine and I over to Sydney for the awards evening, and ... absolutely amazing to then be picked as overall winner. After my family, my two passions in life are farming and photography, and to win this competition with an image taken on our farm was just perfect.”

DJI, the world’s leader in civilian drones and aerial imaging technology, has officially opened its newest retail frontage — a 65-plus square-meter store in Auckland’s Eden Terrace. It’s the first DJI Authorized Retail Store in New Zealand.

The centrepiece of the store is an 8m2 flight cage, where customers can learn from drone pilots, have their questions answered by technical support staff, and see DJI drones in action.

John Ford, Grand Prize and Nature first place

On display, and for sale, will be DJI’s full range of aerial platforms and handheld products, including Spark, a new and easy-to-use mini camera-drone that lifts off from the palm of your hand. Customers can also try on the DJI Goggles for a fun and immersive drone-flying experience with the Phantom 4 Advanced or Mavic Pro.

“We are very excited to work with our dealer partner to expand DJI’s retail footprint in New Zealand and to provide a place where people can discover and experience the joys of flight. Whether it’s learning how to operate a drone for the very first time or getting inspiration from other aerial photographers, they will be amazed at what this technology can do for them,” said Kevin On, DJI’s director of communication.

“From its volcanic plateau, miles of coastline with gorgeous sandy beaches, to the magnificent glaciers, you’ll find a variety of awesome landscapes in New Zealand, making it an ideal canvas for creators, artists, and photographers,” he added.

Head to 96 New North Road, Eden Terrace, Auckland, Monday to Saturday, to check out the store for yourself.

79

The Momento Pro Australian and New Zealand Photobook of the Year Awards 2016 finalist books travelled to the Vienna Photo Book Festival as their first international showcase

The Vienna Photo Book Festival included international and high-profile talks and presentations, showcasing photo books and prints from all corners of the globe. A visual feast of compelling printed photography was enjoyed by fans, experts, collectors, publishers, and the curious public across two event-filled days.

It was the festival’s fifth annual event, and boasted over 100 table displays of everything from prints, to booksellers of new and antiquarian books, student groups, and educational institutions. It also, equally significantly, provided the first international showcase of the ANZ Photobook of the Year Award 2016 finalist books.

Both the Australian Photobook of the Year Awards 2016 and its New Zealand counterpart, presented by Momento Pro, support excellence and innovation in photo book creation, and showcase the work of Antipodean photo artists to local and international audiences. The Australian Photobook of the Year award was won by Melbourne-based photo artist Katrin Koenning, Bangladeshi photographer Sarker Protick, and French publisher Chose Commune, with their collaborative project and photo book Astres Noir. The title of New Zealand Photobook of the Year was shared between two photographers at very different stages of their career — with established architectural photographer and lecturer Simon Devitt’s Rannoch, and recent Massey University photography graduate, Evangeline Davis’ Touchy — each of which tell a unique story through the established and enduring photographic genre of portraiture.

Self-publisher and commentator on photobooks, Doug Spowart, accompanied the photo books to the event, where he was also invited to present on the activity and innovation of the Antipodean photo book community —all of which were met with an overwhelmingly positive reaction. It confirmed that just as we perform to a high calibre in various sporting and scientific pursuits, Australasia punches far above its weight, and stands up to its Northern Hemisphere counterparts in the arts. “We received many statements from viewers complimenting the quality of our books,” Doug said of the reaction. “The award-winning books, Touchy, Rannoch, and Astres

Noirs were popular, however people did stand at the table, pick up books, and look through them all!”

Iconic British documentary photographer, photojournalist, and photobook collector, Martin Parr, was one of many who applauded the Antipodean photobooks. For the last decade, Martin’s made it his quest to position the book centre stage within photographic culture, and with an extraordinary collection of nearly 12,000 photo books that occupy his Bristol home, it’s safe to say he’s seen a fair few.

The 2017 New Zealand Photo Book of the Year Awards are open for entries on Friday, September 1, with $10,000 in prizes from Momento Pro on offer to assist finalists to produce and promote their publications.

Visit photobookoftheyear.co.nz to find out more.

A N T I P O D E A N - M A D E A N D I N T E R N AT I O N A L LY AC C L A I M E D

FOCUS NEWS


I N N OVAT I O N I N AV

The Tauranga Photographic Society holds an international competition to encourage and acknowledge the photographers working in the art of the audio-visual. We find out about the Tauranga Audio-Visual Salon, as well as the club’s upcoming audio-visual workshop and presentation

One of the photography scene’s lesser-known genres is steadily growing in profile, as evidenced in the high bar set by both international and local artists in the latest round of a locally hosted photography salon dedicated to the art of the audio-visual (AV).

An AV combines still photography, audio components, and motion techniques in aid of telling a cohesive story. Each year, the Tauranga Photographic Society holds an international competition to encourage and acknowledge the photographers working in the form.

Entries into the 2017 edition of the Tauranga Audio-Visual Salon were a step up in quality from last year’s batch, said club member Trish McAuslan, pointing out the large number of entries that only just missed out on awards this year.

“We thoroughly enjoyed the creativity and diversity of ideas of many of the audiovisuals in this year’s competition,” she says. “The skill of storytelling with well-taken still images, and maybe a little video, is continuing to develop.”

This was clearly illustrated by this year’s Champion Audio-Visual, Red Wrens of Caba, by Australian photographer Sally Hinton. The presentation,

which also took out the newly introduced World of Nature category, explores the precarious lives of red-backed fairy wrens in their fragile Cabarita Beach environment.

“One of the outstanding features of Sally’s sequence was the quality of the production,” explains McAuslan. “She supported the story with excellent still photography and short video sequences, backed by an audio track, which included appropriate music, sounds, and narration.”

Hinton also took out the Documentary category with an emotive look at Hiroshima’s ground-zero remembrance, the Peace Memorial Park. Marcel Batist of the Netherlands won the Theme category with a greenhouse-focused presentation, and South African Luana Laubscher celebrated women in her piece Lalena, to take the Music, Poetry, and Song category.

The Novice Award is a category established to grow participation by local artists in the AV field, open only to New Zealanders who have not previously had an entry successfully accepted into the competition. This year, that honour went to Jane Mackay of the North Shore Photographic Society.

“Jane took blue as her theme to take us on a visual

journey through Venice,” McAuslan says. “Her

photos took us from the gondolas on the main

island to the glassworks in Murano and the coloured

houses of Burano.”

To further encourage work in the form, the Tauranga

Photographic Society will be holding a workshop to

demystify both the creative and technical aspects

of producing an AV. The workshop will be held on

the afternoon of Saturday, August 5, just ahead

of the salon’s presentation at the Tauranga Arts

and Crafts Centre — for details, head online to

taurangaphoto.org.nz.

The presentation event is worth a look for any

interested photographers, as it is likely to be the

last time many of the international entries will be

viewable to a local audience.

“It is this international involvement that gives us

the opportunity to see what the top AV workers

in other countries are producing, which, in turn,

encourages us to continue to develop our own

skills,” says McAuslan.

Sally Hinton, Red Wrens of Caba

Jane Mackay, Venezia Blu Effect

81

FOCUS NEWS

www.epson.co.nz THE NEW EPSON SURECOLOR P-800 A2

E V E N T R E P O RT 2 0 1 7 E P S O N N Z I P P I N F O C U S , E X P O S U R E , A N D T H E I R I S AWA R D S

The New Zealand Institute of Professional Photography (NZIPP) Infocus conference is the biggest weekend in the country’s photography calendar. This year’s event, held on June 14–19 at Shed 6 on Wellington’s waterfront, leaped into gear with an impressive line-up of local and international speakers

©Lisa Saad, The Anonymous Man #34

Amber Griffin, Mali Comlekci from the New Zealand School of Dance Lindsay Adler, World of Wearable Art, The Floating, by Yanjingting Chen, worn by Lucy Aitchison, dressed by Felicity Mountford, makeup and hair by Damask Dewhirst and Ellie Whiting

Heather and Doug Records, The 2017 Epson NZIPP Infocus conference

Covering a diverse range of photographic subjects, the five-day Infocus conference, Iris Awards, and the various events that surrounded it offered education and inspiration in abundance — enough to get any photographer’s head and heart racing.

“This year’s event has been by far the most epic that [the] NZIPP has ever hosted, with our loyal sponsors supporting our vision in bringing to New Zealand a photographic event that was truly world class,” said Kaye Davis, NZIPP honours chairperson.

“We were able to offer enthusiasts, professionals and the general public five days of inspiration, education, and bringing people together, through an amazing speaker line-up, workshops, live shoots, demonstrations, an awards gallery, and a trade show.”

Keynote speakers Lindsay Adler, Esther Bunning, Simon Devitt, Lisa Saad, Sharon Thompson, and Craig Wetjen, among others, dealt with a diverse range of photographic subjects throughout.

The 2016 International Photographer of

the Year, Lisa Saad, took attendees on an emotional journey back to where her award-winning The Anonymous Man series originated. Through a mix of spoken-word poetry and audiovisual sequences, Lisa explained the health concerns and heartache that led her to find solace in creating her layered, illustrative photographic works. A printed image produced by Lisa in Wellington during Infocus, entitled The Anonymous Man #34, also formed a stunning art piece in celebration of the event.

A stand-out for many was a collaboration between New York fashion photographer Lindsay Adler and World of Wearable Art (WOW). Lindsay captured garments from the WOW collection in a creative fashion shoot in her hallmark clean, bold, and graphic style. Using the Canon 5D Mark IV, Profoto D2 kit, and a tripod, Lindsay’s demonstration culminated in still images and a cinematograph.

A special event, Amber Griffin Does Ballet on Cable St, saw the 2016 Commercial Photographer of the Year and 2017 Commercial Category winner run through two

live shoots using the Profoto B1X and high-speed airTTL. During her later presentation, Amber spoke on why she feels that establishing and dominating her niche within dance photography was the key to her success in the photographic industry.

Emotional energy was heightened as Craig Wetjen shared his ongoing photographic project and book Men and Their Sheds. By being invited into the sheds — and, equally, the lives — of men throughout Australia, Craig’s images provide an intimate, often entertaining, insight into the issues that primarily affect men. Sharon Thompson’s presentation was equally powerful; a documentary photographer by trade, she shared her stillbirth photography and spoke on turning tough times into triumph, fears into fortitude, and how to put your heart back into your art.

Photographers left Wellington with notebooks filled and blood pumping, yet the NZIPP said that next year’s Infocus is set to be bigger and better than ever, with preparations already underway. There’ll be “another must-attend event in July, 2018,” said Kaye.

Discover a deeper black



G E T I N TO T H E F U L L - F RA M E GA M E

Calling astrophotographers, landscape shooters, and light chasers alike:

Canon’s EOS 6D Mark II camera puts full-frame performance into a

compact, fully featured DSLR

Nearly five years after the original EOS 6D full-frame camera was launched, Canon has unveiled a successor. The EOS 6D Mark II improves on the past model in practically every way, offering increased resolution, faster autofocus, and higher sensitivity. It’s a considerably more powerful camera than its predecessor, all while retaining the light weight and good handling users loved about the original.

At first glance, the EOS 6D Mark II is exactly what you’d expect — the physical interface of the camera is largely unchanged from that of the original 6D. Even when the two cameras are compared side by side, there are more

similarities between the models than there are differences.

Canon’s recipe clearly works: the body is ergonomically efficient and intuitive, and anyone with experience of a recent EOS-series DSLR will be able to find their way around the camera without any trouble at all. For this reason, there’s a large proportion of APS-C shooters for who the EOS 6D Mark II would be a very sensible upgrade — besides a quick crash course on focal lengths, there’d be virtually no learning curve.

At its heart, the new Canon EOS 6D Mark II boasts a 26.2MP full-frame CMOS sensor,

paired with a DIGIC 7 image processor for sharp, vivid image rendition. With incredible low-light performance, the camera’s native ISO sensitivity span of 100–40,000 allows flexibility, so that photographers can shoot with the confidence that details will be retained even in the darkest nights. That’s a dramatic increase from the 32,000 maximum sensitivity of the original 6D, once championed as a low-light marvel. Astrophotographers, get excited: this camera is capable of taking dark frames, bias frames; flat frames; and, most important, the light frames you need.

With Canon’s ultra-fast Dual Pixel autofocus system, photographers can command greater

CANON EOS 6D MARK II

Sensor size .......................................35.9x24mm

Megapixels ..................................................... 26.2

ISO .....................100–40,000 (exp. 102,400)

Shutter .................................................... 1/4,000s

Burst shooting ............................................ 6.5fps

Autofocus ...................................45-point PDAF

Dimensions ................................. 144x111x75 mm

Weight ............................................................ 765g

PRODUCT REVIEW | CANON EOS 6D MARK II

control over their creative vision. With 45 cross-type autofocus points at its disposal covering 80 per cent of the image plane, the EOS 6D Mark II accurately locks on to subjects, even in the lowest lighting. Now fully articulating and touch-sensitive, the camera’s rear vari-angle LCD offers the option to set focus point by touch, too. This addition brings the EOS 6D Mark II in line with recent Canon DSLRs — but it’s the first fully articulating screen of its kind on a full-frame DSLR. Whether you’re shooting a starry night or the city lights, there’s never been more flexibility in getting your shot.

LIKE WHAT YOU SEE? WELL, DON’T JUST TAKE OUR WORD FOR IT — NEXT ISSUE, ASTROPHOTOGRAPHER MARK GEE REVIEWS THE CANON EOS 6D MARK II. GRAB A COPY TO FIND OUT WHAT HE HAS TO SAY.

85

As Canon’s first camera to offer both 4K time-lapse movie mode and a built-in intervalometer, getting creative is made even easier. In addition, the EOS 6D Mark II can record consecutive frames in pre-selected intervals, and track auto exposure for each image taken during the time-lapse sequence, allowing photographers to capture day-to-night time-lapse sequences and proving that this camera is versatility at its finest.

On top of having Wi-Fi, as before, new wireless features include Bluetooth 4.0

and NFC, making it a lot easier to set up, shoot remotely, and sync with your phone. Plus, with Canon’s Camera Connect app, images can travel from the shutter straight to social media. And, if you’re travelling, the camera’s built-in GPS keeps track of location, allowing you to pinpoint that favourite spot or shooting location.

For more information on the Canon EOS 6D Mark II, available at leading photographic retailers from the end of July, visit canon.co.nz.

CANON EOS 6D MARK II, CANON EF 70–200MM F/4L IS USM LENS, 165MM, 6S, F/11, ISO 100

BEST TECH | OUR 2017 CAMERA BUYERS GUIDE


N I KO N

Nikon marks its centennial anniversary in 2017: for 100 years, the brand has brought

performance to the passionate via its ever-evolving line-up of entry-level, enthusiast,

and professional-grade cameras

Packed with an array of powerful features in an incredibly compact frame, the Nikon D750 is the ideal companion on any shooting expedition. As the smallest and lightest Nikon FX-format model, it makes no compromises when it comes to performance. Boasting a range of features inspired by the D4S and D810, Nikon’s D750 boasts an impressive 24.3MP full-frame sensor, an Expeed 4 image-processing engine, and full HD video capabilities. In addition, the camera is fast and responsive: it can shoot at up to 6.5fps at full resolution.

The D750’s nimble design employs a tilting LCD for ease of shooting and versatility, as well as built-in Wi-Fi for on-the-spot sharing. All in all, it’s an exceptional imaging system that’s

well-suited to any shooting scenario and will benefit photographers and videographers alike.

With a 20.9MP CMOS sensor and the Expeed 5 image-processing engine contained within a sleek profile and monocoque construction, the Nikon D7500 is designed to be agile. The camera is designed for photo- and videographers alike, with a continuous shooting rate of 8fps, a native sensitivity range of up to ISO 51,200 that can be expanded up to a massive 1,640,000, as well as 4K UHD video and time-lapse recording capabilities.

The camera champions a Multi-Cam autofocus system for fast performance and accurate subject tracking capabilities. The D7500 provides the option to use nine, 21, or

NIKON D750Full-frame freedom

Pair it with: Pair it with:

TAMRON

18–400MM F/3.5–6.3 DI II VC HLD

TAMRON

24–70MM F/2.8 DI VC USD G2

NIKON D7500Low-light marvel

Sensor .................................................... Full-frame

Resolution ................................................24.3MP

ISO ...................100–12,800 (50–51,200 exp.)

Shutter ..................................................... 1/4000s

Burst shooting ............................................ 6.6fps

Autofocus ........ Advanced Multi-Cam 3500 II

Lens mount ...........................................................F

Sensor ......................................................... APS-C

Resolution ............................................... 20.9MP

ISO ........... 100–51,200 (50–1,640,000 exp.)

Shutter .....................................................1/8000s

Burst shooting ................................................8fps

Autofocus ........ Advanced Multi-Cam 3500 II

Lens mount ...........................................................F

Spanning an impressive wide angle–

to–super telephoto range, the Tamron

18–400mm is endorsed as the world’s

first 22.2x ultra-telephoto all-in-one

zoom.

For more information, visit tamron.co.nz.

This high-speed standard zoom lens

maximizes the potential of the latest

high-pixel-density cameras.

all 51 distinct focus points for precise accuracy, while 15 cross-type points are also integrated within this array to capture centrally located subjects in brilliant detail.

Complementing the image capabilities, a bright pentaprism optical viewfinder offers 100-per-cent frame coverage and 0.94x magnification for clear, realistic viewing in any lighting condition, while a tilting 3.2-inch 922K-dot touchscreen makes for intuitive live view shooting and playback control.

Plus, for image sharing on the go, the device supports Bluetooth, Wi-Fi, and Nikon Snapbridge.

Find out more at nikon.co.nz.

87

S O N Y

Sony’s become a linchpin for the ‘new school’ of ’graphers — pioneering

mirrorless camera manufacture and marching out impressive high-end cameras

The 9 is Sony’s latest entry into the mirrorless line-up. It’s being received with a greater buzz than ever — and championed as the manufacturer’s most advanced full-frame camera for professional photographers yet.

With a focus on speed, the 24.2MP camera enables photographers to shoot at a blazing 20fps with continuous autofocus (AF), with auto-exposure tracking for up to 241 RAW images. It shoots completely silently, too, thanks to its electronic shutter and no mirror.

Just as important, Sony’s newest darling shoots with very low viewfinder lag. When the shutter is released while shooting stills, the electronic viewfinder functions with absolutely no blackout, giving the user a seamless live view of their subject at all times and ensuring that they never miss a moment.

In addition, Sony’s Fast Hybrid AF system boasts a whopping 693 phase-detection points covering 93 per cent of the imaging area, and it’s equipped with ISO sensitivity of up to 204,800. It all comes together by way of the model’s Bionz X processor and stacked full-frame CMOS sensor, which Sony’s notes say deals with data lighting fast — so that you never lose sight of your subjects, even if they’re fast or of the feathered variety.

The truth is simple: better images begin with bigger sensors, and the 7 II outclasses many cameras in its category. It’s the first full-frame camera to boast five-axis image stabilization and is a successor to the device that managed to squeeze a 35mm sensor into a mirrorless body for the very first time.

With compensation equivalent to using a 4.5x faster shutter speed, its sophisticated stabilization lets you zoom, capture close-ups, and shoot night scenes with greater clarity than ever before.

Plus, with a 24.3MP sensor paired with

Sony’s ultra-fast Bionz X image processor, the 7 II boasts an ISO sensitivity range of 100–25,600, and it has an enhanced Fast Hybrid AF system that is about 30-per-cent faster than the previous model.

The Sony 6000 weighs in at about half the heft of a DSLR, but, though it’s a small camera, it’s enormous in potential.

The camera’s 24.3MP APS-C-sized sensor and Bionz X image processor work together to produce high-resolution well-detailed imagery, with minimal noise and notable low-light quality and sensitivity to ISO 25,600.

Its Fast Hybrid AF system combines the strengths of both phase- and contrast-detection. The result is not only an impressive 11fps burst mode and focus in as little as 0.06 seconds, but highly accurate movement tracking for both stills and video, too.

A pocket-sized travel companion, Sony’s Cyber-shot DSC-HX90V is one of the smallest super-zoom cameras available.

The camera’s Zeiss Vario-Sonnar T* 30x optical zoom lens extends a legacy of high-precision optics to capture clear, sharp, undegraded images throughout an equivalent 24–720mm focal range at a modest maximum aperture of f/3.3–6.4.

It inherits some of the features from the premium RX camera series, including an excellent pop-up electronic viewfinder and a control ring around its lens. Plus, with GPS, Wi-Fi, a pop-up OLED electronic viewfinder, and a three-inch LCD that tilts 180 degrees upwards for selfies, it’s the ultimate compact travel camera.

Find out more at sony.co.nz.

SONY 9Speed mastered

SONY 7 IIThe first full-frame camera with five-axis image stabilization

SONY 6000Half the size and weight of a DSLR

SONY DSC-HX90VPocket-sized travel companion



S I G M A

H A S S E L B L A D

While it might be best known for being a leading third-party lens producer, Sigma has also had a

constant, low-key presence within the camera market. Sigma’s latest line-up of interchangeable-lens

cameras, the Sd Quattro and Sd Quattro H, offer superb image quality — even at low ISOs

Hasselblad has had a rich 75-year history in imaging, but the company’s recent move to mirrorless looks to excite a new generation of Hasselblad users, as the company continues to push the limits of photography to new heights.

The Hasselblad X1D combines portability with excellent optical quality, for which the brand is renowned. At less than half the weight of a medium-format DSLR, the mirrorless model packs a 50MP CMOS sensor into a footprint smaller than most full-frame cameras.

The camera’s shutter-speed range covers 1/2000s to 60min, with the ability to capture up to 14 stops of dynamic range. The X1D

achieves unprecedented detail — from the deepest shadows to the brightest highlights.

The X1D’s high-resolution rear LCD offers touch control for all aspects of the camera’s features, while it has an XGA electronic viewfinder for bright, crisp viewing, even under difficult lighting conditions.

Hand-made in Sweden, and inspired by the company’s iconic design heritage, the camera’s rugged body is milled from aluminium to provide a durable build and high-end finish.

For more information, please visit your local photographic retailer.

In line with Sigma’s dedication to optical excellence, Sigma’s SD Quattro camera is a new mirrorless model that leverages the power of high-quality lenses. Boasting a Foveon sensor that uses the light-absorption properties of silicon, the Sigma SD Quattro offers an excellent image quality.

Unlike conventional designs that place filters in front of the sensor, the SD Quattro’s inner eye interprets colours by recognizing their different energy levels — or, more practically, how different coloured light penetrates the sensor to different depths. As a result, at

base ISO, its resolution and colour-capture are fantastic, surpassing the imagery of APS-C Bayer CMOS sensors, and even surpassing some full-frame Bayer CMOS sensors by a whisker.

The mirrorless Sigma SD Quattro H camera wields a 25.5MP Foveon XD Quattro sensor that captures light and perceives colour differently to conventional cameras and is thus capable of producing files with much higher levels of detail than you’d expect from the same number of megapixels. The ‘H’ in the camera’s name refers to the use of an APS-H sensor, which

is 30 per cent larger than an APS-C, with a 1.35x crop.

The Quattro H has a dust- and splash-resistant magnesium alloy body, and is backed by a 1.62M-dot LCD rear screen. Plus, with a full-depth SA mount, the mirrorless camera is compatible with more than 39 lenses — meaning that the Quattro H possibly has the widest choice of own-brand lenses compared with any other mirrorless camera.

For more information, please visit your local photographic retailer.

Pair it with:

HASSELBLAD XCD 30MM F/3.5

HASSELBLAD XCD 45MM F/3

Pair it with:SIGMA 30MM F/1.4

DC HSM ART

Pair it with:SIGMA 35MM F/1.4

DG HSM ART

SIGMA SD QUATTRO HIncredible image detail

SIGMA SD QUATTRONot your conventional camera

89

Fujifilm’s done more than simply throw more pixels at the X-T2. Though it’s similar in design to the X-T1, the X-T2 boasts some considerable upgrades from its predecessor, making the camera an all-rounder that’s equally at home with ultra-wides, large telephotos, and everything in between.

Equipped with a 24.3MP X-Trans CMOS III sensor, paired with Fujifilm’s own X-Processor Pro engine, the camera captures fine detail quickly and with low noise, at sensitivities up to an extended range of ISO 51,200. This powerful combination allows for rapid image capture at up to 8fps, and a maximum shutter speed of 1/8000s. It also gives grunt to the camera’s 4K video capabilities, and an Intelligent Hybrid AF system, which boasts an incredible 325 points to ensure accurate, fast tracking, even in low light.

As the X-T2’s slightly smaller, slightly less-expensive sibling, Fujifilm’s X-T20 replaces the X-T10 and brings with it a host of new features. Staying true to the X-series functional design ethos, it combines an SLR-style viewfinder and Fujifilm’s tactile and timeless dial-based operation.

While a compact companion, it packs a punch, with the same 24.3MP sensor–and–processor combo boasted by the X-T2. As a result, the camera offers burst shooting of up to 8fps, sophisticated 325-point continuous AF, and 4K video capabilities.

While the GFX 50S shares a lot of what users love about the X-series line-up, it’s created a category of its own — it’s Fujifilm’s first medium-format camera since the days of film.

Characterized by its large sensor and advanced imaging capabilities, the Fujifilm GFX 50S combines an outstanding 51.4MP CMOS sensor and an X-Processor Pro image processor to render brilliant colour, as well as an extended sensitivity range from ISO 50 right through to a massive 102,400. It also makes for crisp brights and deep, velvety shadows, rendered by way of an extremely wide 14 stops of dynamic range.

A pleasure to shoot with, the GFX 50S offers a large 3.69-million dot OLED electronic viewfinder, and a tilting 3.2-inch LCD touchscreen that supports working from high and low angles.Forward-thinking and with film-inspired design, the GFX 50S is a master of image-making.

To find out more, visit fujifilm.co.nz.

F U J I F I L M

Combining traditional styling with cutting-edge innovative technology,

Fujifilm’s X and newly appointed GFX series of mirrorless cameras will

reignite your passion for photography

Sensor ......................................................... APS-C

Resolution ................................................24.3MP

ISO ................200–12,800 (100–51,200 exp.)

Shutter .....................1/8000s (1/32000s elec.)


Autofocus ................................ Intelligent Hybrid

Lens mount .......................................................... X

FUJIFILM X-T2 An all-round achiever

FUJIFILM X-T20 Compact and competitively priced

FUJIFILM GFX 50SInsanely high ISO

Sensor ......................................................... APS-C

Resolution ................................................24.3MP

ISO ....200–12,800 (expand 100–51,200 exp.)

Shutter .................... 1/4000s (1/32,000s elec.)


Autofocus ................................ Intelligent Hybrid

Lens mount .......................................................... X

Sensor .........................................Medium Format

Resolution .................................................51.4MP

ISO ............... 100–12,800 (50–102,400 exp.)

Shutter ...................... 1/4000s (1/16000s elec.)

Burst shooting ................................................ 3fps

Autofocus ....................................... TTL-contrast

Lens mount ..........................................................G



PANASONIC LUMIX G85The adventure-seeker

PANASONIC LUMIX LX10Small in size, but by no means short on features

PANASONIC DMC-FZ1000Excellent performance throughout the zoom range

PANASONIC LUMIX GH5A new flagship

PANASONIC LUMIX GX85Packed with powerful features

PANASONIC LUMIX TZ110Pocket-sized perfection

PA N A S O N I C

Classic styling meets cutting-edge technology with the Panasonic Lumix range. The

line-up has the ideal camera to suit your needs — whether you’re looking for a compact

camera for travelling or a mirrorless model that lets you take photos like a pro

With 20.3MP still-image, backed up by 4K video, capability, the Panasonic Lumix GH5 is ideal for photographers whose interests enter the realm of moving-image work.

The GH5 features the latest iteration of Panasonic’s Depth From Defocus AF system, which speeds up focusing by using pairs of images and an understanding of a lens’s out-of-focus rendering to create a depth map of the scene. With a solid weather-sealed magnesium alloy body and dual UHS-II SD slots, it’s built to meet the needs of travel and adventure ’graphers.

With full weather sealing and a compact and mobile design, the Panasonic Lumix G85 is one to take with you on any adventure. The G85 is a video and photo all-rounder, boasting a 16MP sensor, with no low-pass filter, so that you can capture sharp, detailed imagery, wherever your journeys take you. The camera combines five-axis dual image stabilization for powerful handshake correction, compensating shots up to five f-stops, and 4K video capabilities to ensure you’re taking striking moving images — not blurry ones.

The Panasonic GX85 is small and compact, but packed with powerful features — it’s the street photographer’s companion. At its core is a 16MP five-axis stabilized Four Thirds sensor, with dual image stabilization technology. Pair that with its continuous shooting capabilities — up to 10fps with single-shot AF — as well as up to 40fps when using an electronic shutter function — and there are no excuses for losing track of your subject. Boasting a compact build and intuitive layout, with a 2.7MP electronic viewfinder and a tilting three-inch touch LCD, the camera allows new shooting angles, offering added flexibility.

The TZ series has always stood for ‘Travel Zoom’, and the TZ110 brings the series up-to-date with a larger, one-inch MOS sensor, and a powerful 10x zoom lens. The camera’s Leica DC Vario-Elmarit lens has a maximum aperture range of f/2.8–5.9, and, with an equivalent 25–250mm focal length, it offers a highly versatile range. Thanks to its built-in electronic viewfinder, and a touchscreen LCD, framing and control are easy.

Small in size but by no means small on features, the Panasonic Lumix LX10 is a 20MP large-

sensor compact, with a bright, 24–72mm equivalent, zoom lens. The nifty little number boasts Panasonic’s suite of 4K features for video and still capture, a built-in aperture control ring, and pop-up flash. The approach is a little different with this camera, as the LX10 doesn’t have a viewfinder. Instead, it offers a touchscreen interface and a 180-degree flip-up LCD, ensuring you’re ready for any shooting scenario.

While it offers several high-performing features for still photography, the Panasonic Lumix FZ2500’s video capability really packs a punch — making it the ideal hybrid camera choice for amateur filmmakers and photography enthusiasts alike. The camera boasts a large 1-inch 20.1-megapixel sensor and bright 20x zoom f/2.8-4.5 lens, offering ultra-high speed Depth from Defocus focusing, and macro photography that gets as close to its subject as 3cm. Powered by Panasonic’s proprietary Venus engine, the camera shoots UHD 4K, and can output 10-bit video via its HDMI port.

Find out more at panasonic.co.nz.

91

VOIGTLANDER BESSA-R4M WIDE ANGLE 35MM RANGEFINDERHead into the rangefinder realm

P R O D U C T S P OT L I G H T

Haze in a can

Photographers have long lugged around fog machines, dabbled with pyrotechnics, and experimented with dry ice with the aim of capturing streams of directional light in their images. But, with a new aerosol product brought into New Zealand for the first time, it’s never been easier.

Atmosphere Aerosol can be spritzed into your shot with little fuss, and, being smaller than a typical 70–200mm lens, it fits in any camera bag. It’s safe, non-toxic, and clear, and, when sprayed, a small non-harmful amount of gas propels the spray and quickly dissipates, leaving the haze in the air.

One eight-ounce can holds about as much as a can of hairspray, and will spray continuously for about five-and-a-half minutes. The haze will linger for several moments, and, in an environment with limited air movement, it’ll hang around for hours.

For examples of the product in action, check out Atmosphere Aerosol on Instagram (@atmosanz), or visit atmosphereanz.co.nz.

VO I GT L A N D E R

A manual-focus rangefinder camera crafted by one of the oldest brand names

in photography, the Voigtländer Bessa-R4M Wide Angle 35mm is compact

and lightweight

Rangefinder shooters will love that this camera has built-in parallax-projected frame-lines for 21, 25, 28, 35, and 50mm lenses. This feature offers tremendous convenience — ditch the accessory viewfinders and simply frame and focus directly from the built-in one. Its widest 21mm frame-line, paired with a mechanical shutter release — making it possible to use the camera even without batteries (albeit, sacrificing metering) — is, above all, designed with lush landscapes and sweeping vistas in mind.

Aside from the wide-angle viewfinder, all other features of the R4M are identical to those of the Bessa-R3A — including a bright viewfinder and quiet shutter. It has a simple LED metering display along the bottom of the viewfinder that displays exposure information in .5 exposure values, glowing red for under-/overexposure and green for correct exposure.

The Bessa-R4M’s rewind crank features

a double joint for extra compacting,

and a locking switch below to prevent

accidental opening. A manual viewfinder

distance-adjustment switch sits next to

the non-dedicated hot shoe, while the

camera’s power button is a simple switch

wrapped around the shutter release.

Rubber wraps around the midsection of

the camera for added grip, and a subtle

thumb grip is located on the film door,

while the elegant chrome lettering of

‘Voigtländer’ adorns the top plate.

It uses a bayonet Leica M-type lens

mount that accepts all 39mm screw-

mount lenses (with the appropriate

adapter) from the manufacturer, Canon,

and Leica, as well as M-type bayonet

lenses from Leica, Minolta, and Konica.

Visit progear.co.nz to find out more.

Film format ..................................................35mm

ISO ......................................................... 25–3200

Shutter .................................................... 1/2000s

Autofocus ........................................................ No

Lens mount ......................................................VM

Dimensions ..............................135.5x81x3.5mm

Weight ........................................................... 440g

1

GEARDUCATED | LEON ROSE


Photographer Leon Rose heads out on a shoot with

three versatile pieces to his kit — a tried-and-true

trio that allows him to stay agile while remaining

prepared for any photographic contingency

T R I E D - A N D -T RU E T R I O

No matter how well you may plan or try to

control a situation, there will always be an

element of the unexpected in photography.

That’s one of the big appeals to many

photographers. With the right kind of a gear,

you can be ready to take advantage of those

unforeseen moments and deliver great images

no matter the conditions.

But you can’t carry everything. So, I’m looking

at three pieces of gear to see if they can do

the job of many others — that is, clever and

efficient equipment that won’t overburden my

kit bag.

ONE-STOP PORTRAIT GLASS The first

thing I noticed when I unwrapped the Sigma

135mm f/1.8 DG HSM Art lens was the 1130g

weight. It boasts a lot of glass — 13 elements in

10 groups — and it feels like it. This is a big plus

for me. I have always loved heavy kit, because

I find it easier to keep steady. But if you are a

smaller photographer doing a lot of location

portraits, you might find this lens a bit heavy

for handheld work over long periods.

Essentially, this is a portrait lens with a lovely

ability to perform bokeh effects. Admittedly,

it’s very hard to fault. To my surprise, I found

it can also shoot close to macro, with the

closest focal distance being 87.5cm. I did

have to adjust to a different way of working

because of its focus-limiter switch when

shooting close up. The focus-limiter has three

options: 0.875m to infinity, 1.5m to infinity,

and full range — a great function once you get

your head around it, allowing for faster, more

accurate focusing.

The angle of view at 135mm is perfect for

portraits — and this lens is pin-sharp. On my

first test day, I shot a series of portraits and

still-life images at a magnificent English-style

garden at Riverhead. Not only is the lens

extremely sharp, but its focus speed and

accuracy are also very impressive. I tested

it through its aperture range of f/1.8–16

successfully. However, you just can’t help

but open up and use that beautiful bokeh

effect. I also tested the lens’s ability to handle

backlight by shooting straight into the sun and

found that it coped exceptionally well, both

in focusing accurately and delivering accurate

light metering from my point of focus.

I recommend this lens, especially if you are a

portrait shooter and not afraid of heavier kit.

I’m thinking I might part company with my

85mm f/1.8 and my 100mm L-series macro

and step up to one of these.

A STABLE ENVIRONMENT For an all-in-

one tripod with a ball-head option for great

flexibility that’s small and light enough to

take anywhere, the Vanguard Alta Pro 2 263

AB100 tripod is worth a look. I carried out two

test shoots with the AB100: some close-ups

of flowers and leaves at the garden in Albany,

and a studio test, using the overhead position.

The tripod is an aluminium build and the

weight (7kg) is perfect for ease of use on

location and during travel but not so light

as to be a danger to your equipment. The

central column offers as many options as

you could want to position your camera

in. Using just one tightening knob, you can

position your camera from 0- to 90-degrees

above or below the central column position,

and, using the central column adjustment

knob, you can freely rotate anywhere in a

360-degree rotation.

The rotation knob is firm and easy to adjust.

The rotation guides (in 2x180-degree

increments) would be very useful for

2

4

3

93

5 6

GEARDUCATED | LEON ROSE


SIGMA 135MM F/1.8 DG HSM ART LENS

VANGUARD ALTA PRO 2 263 AB100 TRIPODLUME CUBECANON EOS 5D MARK III

panoramic stitches, but, when using the

tripod on location, I was always trying to

use the wrong knob to release the ball and

readjust. Although this is something that I

would get used to, the tension adjustment felt

unnecessary and confusing.

The not-so-simple three-legged device offers

massive versatility, particularly due to the build

of its legs, which have three sections with two

adjustment locks. The rubber lock turns easily

and firmly with a good grip and only requires a

90-degree turn to lock and unlock. This is, by

far, the best locking system that I have used.

It’s comfortable and locks into place firmly and

easily.

If you are looking for an all-in-one package that

suits location and indoor photography, the

AB100 is a great option.

LIGHTWEIGHT LIGHT Last, but absolutely

not least, I played with one of my long-time

favourites: the Lume Cube — a fantastic piece

of kit to have on you at all times. I already own

one of these and have been planning to get a

second one for a while.

It looks like a small LED in a cube shape, but it

does so much more. With a 1.5x1.5-inch LED,

it boasts an impressive 1500-lumen output

and Bluetooth connectivity — but its real

trick is acting as both a continuous video light

and as a flash. The cube weighs only 100g,

is shockproof and waterproof to 30m, and

throws light out in a 60-degree beam.

The real technology is accessed via the cube’s

app: there is a free version and a pro version,

which gives you control of up to five units at

a time. With the app, you have control of the

power output in brightness and the duration

of the strobe, from 1/8000 of a second to

30 minutes. Also, you can set it to continuous

or 0.5–10Hz output.

The app also gives the ability to turn each

unit on or off separately, and you can also

use red-eye mode and turn the Opto trigger

on from here. The Opto trigger can sense an

external flash-head firing and uses its strobe

function as a slave flash, allowing you to carry

a Speedlight and a Lume Cube or two as a

lighting kit anywhere you go.

The cube has a built-in lithium-ion polymer

rechargeable battery, which is charged via

IMAGE 1 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/4.0, 1/500S, ISO 200 IMAGE 2 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/640S, ISO 125

IMAGE 3 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/100S, ISO 200 IMAGE 4 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/2500S, ISO 1000 (PROCESSED WITH NIK COLOR EFEX PRO 4)

IMAGE 5 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/2.8, 1/30S, ISO 800, WITH LUME CUBE IMAGE 6 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/5.6, 1/60S, ISO 320, WITH LUME CUBE

USB. You will get about 40 minutes at full

power, or two hours at 50-per-cent power, but

I found that if I powered them off small power

banks, the time was unlimited.

The thing I love the most about these is their

size. You can take them anywhere and always

have a light source. If you carry a power

bank around with you, it’s an easy process to

recharge, even without AC power, thanks to

the USB recharge port.

I bought my first Lume Cube to help me shoot

a food event where the client specified keeping

the moody look of Clooney restaurant. I

popped the Lume Cube on my camera via

a hot-shoe attachment and shot on 2000

ISO, wide open all night. The images looked

great and no hard flash was required. All in

all, I think these little guys are a must-have

innovation. They are not expensive and can

get you out of some really tight spots.

All three of these pieces of equipment were a

great complement to my all-round shooting

style, allowing me to shoot with versatility in

a range of situations, from outdoor still life to

studio photography.

Online photo lab

Great prices

Professional service

Easy to use site

Visit ezyprints.co.nz Upload your images

and your prints will be delivered to your door

10x8 laminated photos for

team and school photographs

GET YOUR IMAGES BACKRecover lost images from all types of computer media

DISASTER? CALL NOW0800 5678 34 0800 LOST FILES

NO RESULT - NO FEEComputer Forensics NZ Ltd

Working for you since 1999

www.datarecovery.co.nz

We bring you the low-down on LEDs — the affordable constant light source that’s an essential addition to any photographer’s kit

Over the past decade, light-emitting-diode (LED) technology has come into its own. As a lighting technology, you will find LEDs in everything from tiny indicator lamps in devices to large-scale interior light fit-outs and external signage. In addition to brightening our everyday lives, LED panels are increasingly finding favour as a light source for photographers.

Traditionally, the first step for photographers looking to experiment with introduced light has been flash lighting. Built-in camera flashes can give a rudimentary indication of how a scene can be changed with introduced light, with an entry-level external flash unit being the logical follow-up. But, as technology evolves and becomes more affordable, other options open up in the form of constant lighting.

While flash lighting fires very brightly for an extremely short span of time to coincide with the camera’s shutter, constant lighting stays on, well, constantly. This has previously been the purview of film and video, as a scene being recorded obviously has to remain consistently lit for the duration. On film sets, this has been traditionally achieved with powerful tungsten lights that produce a bright,

continuous light on set. Tungsten lights are a fine option for your average big-budget film, but they are power-hungry, expensive, and run extremely hot, and are not the kind of equipment a small-budget production can often use.

So, alongside the rise of the independent film industry, a category of cheaper, more convenient constant lighting sources has emerged. And to the fore comes the ubiquitous LED.

LEVERAGING LED An LED panel has a number of advantages over the likes of tungsten lighting rigs. It is a lot smaller, lighter, and more portable than the cumbersome alternatives, which can be very appealing to a production that has to move a lot or has limited space to operate from. Being a far more energy-efficient technology, LEDs run on less power and don’t reach the dangerously hot temperatures a tungsten bulb can. This means less need for batteries and no need to worry about gloves (or accidental burns) when altering the lighting set-up. LED panels are also, in general, a lot cheaper than tungsten lights.

These advantages hold equally true for still photographers looking to get creative with lighting.

L E D L I G H T I N G

EXPLAINED


For one, the realms of video and still-image production increasingly overlap. Professional photographers are frequently asked to create video footage for clients along with still imagery, and a shoot lit with constant lighting can seamlessly move between the two.

But even without considering video, there are advantages to lighting stills with constant LEDs. When a scene is constantly lit, the effects of the light are immediately obvious and can be tweaked and experimented with in real time (as opposed to only showing up with the brief firing of the flash). This allows the photographer to arrange and adapt the scene in much the same way a film director would.

POWERFUL YET PORTABLE While large powerful LED panels have become available as professional video lighting alternatives, the flexible technology has also allowed the creation of smaller units of professional quality, at an enthusiast-friendly price. Such convenient panels can easily be used to enhance natural light, fill details lost in shadow, or cast striking catchlight in the eyes of portrait subjects.

The rub is that, as the technology becomes more affordable, many budget LED models may not be up to the task — they can be of inferior build quality, flicker inconsistently, be insufficiently powerful, or create unwanted colour casts in images. It’s important to choose a product from a high-quality reliable brand, such as Manfrotto’s Lumimuse series of LEDs.

THE MANFROTTO LUMIMUSE Designed with the needs of both professionals and enthusiasts in mind, these units are smaller than a smartphone and charge via USB, so neither light nor additional batteries will weigh down a gear bag. Though sturdily compact, the little panels punch well above their weight grade: the entry-level three-lamp Lumimuse 3 LED has a respectable 220-lux output, while the top-tier eight-lamp Lumimuse 8 goes up to 550 lux.

But light output alone is not enough to distinguish a light source for photography. The light needs to be of superior colour accuracy, so as to faithfully reveal the colours of a scene and the all-important skin tones of its subjects. The ‘colour rendering index’ (CRI) is a measure used to assess this character. The highest possible

value is 100, and a discerning photographer will seek to use a light source of no less than 90CRI. The Manfrotto Lumimuse models all boast output greater than 92CRI.

The Lumimuse series also introduces a host of other creative features, to give the user real flexibility in light options. A snap-on filter mount allows the insertion of up to three different filters at a time, which can alter the diffusion and temperature of the light. Each model also comes with dimming features: the Lumimuse 3 and 6 have three stages of brightness, and the Lumimuse 8 offers four. The LED units also have a standard 6.4mm thread, so they can be positioned atop tripods or lighting stands, or fixed to the camera via a hot-shoe mount. Of course, they are slight enough to be handheld with ease as well.

A modest addition to any kit bag, a good LED unit will open up a wide array of creative options for constant-light shooting.

For more information on the Manfrotto Lumimuse series, visit manfrotto.com, or head to your local photo retailer.

MANFROTTO LUMIMUSE 3 ON-CAMERA LED LIGHT

MANFROTTO TWISTGRIP UNIVERSAL SMARTPHONE CLAMP

MANFROTTO PIXI ORIGINAL MINI TRIPO

97

On loan from the Natural History Museum in London, the world-renowned exhibition, Wildlife Photographer of the Year, is being showcased at the Auckland War Memorial Museum.

The travelling, free exhibition opened in Auckland on July 7 and features 100 awe-inspiring images of the natural world. With imagery that depicts both the majesty and vulnerability of life on our planet, the photo show displays fascinating animal behaviour and breathtaking wild landscapes — from spotted hyenas to humpback whales, and urban leopards to wild orangutans.

“It’s a privilege to be able to offer this world-class exhibition free to Aucklanders,” said museum director Dr David Gaimster.

“Auckland Museum is a dynamic space, and we strive to create an ever-changing programme of special exhibitions and events for the people of this city.”

Wildlife Photographer of the Year Auckland War Memorial Museum

July 7–December 3

AUD

UN

RIK

ARD

SEN

, NO

RWAY

, WIL

DLI

FE P

HO

TOG

RAPH

ER O

F TH

E YE

ARW

ILLE

M K

RUG

ER, S

OU

TH A

FRIC

A, W

ILD

LIFE

PH

OTO

GRA

PHER

OF

THE

YEAR

July 22

Event: An Evening with Bellamy HuntMetro Gallery, Auckland

Bellamy Hunt, the camera collector behind the website Japan Camera Hunter, scours Japan’s many camera stores for collectible Nikon and Leica models. For one night only, Hunt will share his knowledge and experience in an exclusive event sponsored by Leica New Zealand. For more information and to purchase tickets, visit metrogallery.co.nz.

Until July 23

Exhibition: 2017 Otago Wildlife Photography Exhibition

Explore the natural world as captured by Otago’s amateur photographers and videographers in the 18th annual Otago Wildlife Photography Exhibition. This year’s competition saw a record 2174 photography and 52 video entries across six categories — Animal, Plant, Pets, Night Skies, Human Impact on the Environment, and Wildlife in Action. To find out more, visit otagomuseum.nz.

Until July 29

Exhibition: Dreaming in the Anthropocene, Chris Corson-ScottTrish Clark Gallery, Auckland

This rich suite of Chris Corson-Scott’s new works is presented as an Auckland Festival of Photography keynote exhibition under the theme of identity. Through the compelling body of work, Corson-Scott calls our attention to the past reality before it disappears entirely, and reminds us of our collective dependence on and necessary care of the natural world. For more info, visit trishclark.co.nz.

Until July 30

Exhibition: World Press Photo Exhibition 2017Smith and Caughey’s, Auckland

This year’s winning World Press Photo Exhibition 2017 images will be on display at Level 6 of Auckland’s Smith and Caughey’s. The World Press Photo competition is the world’s leading contest for professional press photographers, photojournalists, and documentary photographers. The 2017 contest drew entries from around the world, and 5034 photographers from 126 countries submitted 80,408 images. The jury gave prizes in eight categories to 45 photographers from 25 countries, including Kiwi photojournalist Robin Hammond. For more details, head to worldpressphoto.co.nz.

July 30

Event: Nairn Street Preservation Society: Pinhole CameraNairn Street Cottage, Wellington

Join Photographers Paul Thompson and Benjamin James in a workshop where you will make your own pinhole camera. Learn about the way a camera obscura works as you create your own pinhole camera, take an image, and develop it with common household products. For all the info, visit museumswellington.org.nz.

Until July 31

Call for entries: 26th Annual New Brighton Photographic Club National Photojournalism CompetitionHosted by the New Brighton Photographic Club, this competition welcomes entries from all

Wildlife Photographer of the Year is

developed and produced by the Natural

History Museum, London, and provides

a global platform that has showcased

the natural world’s most astonishing

and challenging sights for over 50 years.

The competition launched in 1965 and

attracted 361 entries, having since grown

to receive almost 50,000 entries from 96

countries.

Jan English, head of touring exhibitions at

the Natural History Museum, said, “Wildlife

Photographer of the Year celebrates the

very best nature photography, and it is

consistently one of our most successful

touring exhibitions, enjoyed by millions

every year. These images tell thought-

provoking stories about our planet that

prompt us all to think differently about the

natural world and the future we want to

create.”

CALENDAR


New Zealand photographers, members of the Photographic Society of New Zealand (PSNZ) worldwide, and members of PSNZ-affiliated clubs in New Zealand. Images can be entered into one or both of two categories — Street Photography and Social Commentary, or Sport and Action. For more information and terms and conditions, head to newbrightonphotoclub.org.nz.

Until August 24

Call for entries: PSNZ Southern Regional Convention Salon

With entries open to all PSNZ and camera-club members registered for the convention, the annual Southern Regional Convention Salon is an excellent way to have your best photographs recognized. To find out more and to enter, visit southern.photography.org.nz.

Until August 27

Exhibition: The Evolving UniverseExpressions Whirinaki Arts and Entertainment Centre, Wellington

See full-colour images from high-powered terrestrial and orbiting telescopes first-hand in this exclusive–to–Upper Hutt exhibition, on loan from the Smithsonian in Washington DC, US. Through breathtaking photographs taken by the largest telescopes in the world, this photo-based show offers brilliant images of supernovae, stellar nurseries, and nebulae. Visit expressions.org.nz for more information.

Until September 3

Exhibition: #keeponkimiora, Edith AmituanaiHastings City Art Gallery, Hastings

In March this year, Edith Amituanai was in Hawke’s Bay for five weeks as Hastings City Art Gallery’s first artist-in-residence, working with students at Kimi Ora Community School. The result is #keeponkimiora, presenting a series of powerful images of the students in their everyday life and play. As part of the residency, Amituanai introduced the students to photography, and they were able to take her camera home with them, capturing images of their homes, ’aiga, whanau, and school. To find out more, visit hastingscityartgallery.co.nz.

Until November 19

Exhibition: To All New ArrivalsAuckland Art Gallery Toi o Tamaki

Themes of voyaging, migration, and arrival have been explored by artists from the beginning of New Zealand’s art history. To All New Arrivals presents many examples of this kind of art, alongside more recent work, some of which directly references the creations of earlier artists. For more details, head to aucklandartgallery.com.

Until December 3

Exhibition: Marti Friedlander — JourneysAuckland Art Gallery Toi o Tamaki

For more than six decades, Marti Friedlander’s lens followed the lives of ordinary New Zealanders and helped shape an awareness of our diverse communities with an eye for the wild and spontaneous. Although she is perhaps best known for her iconic image of a herd of sheep, Friedlander also worked offshore creating important bodies of work in the Pacific and Israel. Marti Friedlander —

Journeys follows the artist outside Auckland, to the islands of the Pacific and beyond. To find out more, go to aucklandartgallery.com.

August 1–31

Call for entries: Nelson National Triptych Salon

The Nelson National Triptych Salon is New Zealand’s only national photo competition dedicated solely to the triptych format. Entries may be submitted as prints or digitally projected images, but must take the form of a triptych — that is, entries must consist of three and only three photographs displayed on a common background. The salon was initiated and is organized and run by the Nelson Camera Club, is sponsored by Canon and Post Haste, and its subject matter is open. This year, in addition to awards for the top print and top digital entries, a special award will be made to the triptych that best depicts a well-known phrase or saying of the entrant’s choice. For further details, visit nelsoncameraclub.co.nz.

August 8–27

Exhibition: New Work, Kate van der DriftSanderson Contemporary Art Gallery, Auckland

Van der Drift’s poetic images are just one part of a rich multidisciplinary practice that includes drawing, writing, and performance. The photographed landscapes are printed and worked into by hand, then van der Drift subtracts landscape features by adding atmospheric elements and painting thin layers of whitewash onto the surfaces. For more information, visit sanderson.co.nz.

September 20–26

Event: West Coast Wilderness Photography TourQueenstown

Join Shaun Barnett and Richard Young on this seven-day photography tour of the South Island’s wild West Coast. Timed to take place at the end of winter, when the light is crisp and low, the West Coast Photography Tour will offer excellent opportunities to capture the wild beaches of the area, its forests, and waterfalls, as well as views of the snow-covered Southern Alps. For details, head to photographyworkshops.co.nz.

September 21–24

Event: 2017 Dunedin Art ShowEdgar Centre, Andersons Bay, Dunedin

The inaugural Dunedin Art Show 2017 has as its catchphrase “art for everyone”. Those who attend the event will be able to view and purchase a large range of Kiwi-made artworks from Otago artists, as well as artists from across New Zealand. The plan is to have art take over the 2000m2 event centre. To find out more about attending or apply to have your work shown at the art show, head to dunedinartshow.co.nz.

September 28

Event: Golden Bay Photography WorkshopGolden Bay, Nelson

Photograph stunning limestone formations, lush native forests, and ever-changing sand dunes alongside pro-photographers Dave Buckton and Richard Young on a four-day

workshop. In a chartered boat exploring photography locations and marine wildlife in the world famous Abel Tasman National Park, you’ll be able visit beaches and bays that would normally take days to walk into and gain access to short walking tracks that lead to some of New Zealand’s most picturesque locations. Visit photographyworkshops.co.nz to find out more.

October 13–15

Event: PSNZ Southern Regional Convention SalonRichmond Town Hall, Nelson

Hosted by the Nelson Camera Club, all PSNZ and camera-club members are invited to attend this fun, practical, and educational event. Speakers are set to include Esther Bunning, Keith Hawke, Ken Ball, and Wendy Verity. Plus, three field trips will offer something to suit everyone’s genre of photography, and will include the machinery of the Wakefield Steam Museum and the lighthouse on Boulder Bank at sunrise. Throughout the whole weekend, there’ll be a print exhibition of all the awarded images selected from the Southern Regional Salon, before the awards get presented on the Sunday morning. To find out more and to register, head online to southern.photography.org.nz.

October 18

Event: Three Little Wishes Macro

Photography WorkshopParemoremo, Auckland

Discover how to capture the secrets of the tiny world around you with the help of the Three Little Wishes team of professional photographers and tutors. You will learn how to use the features on your camera for eye-catching close-ups, what lenses to use, simple lighting techniques, and how good composition can transform your shots. Visit threelittlewishes.co.nz to find out more.

October 25–November 12

Exhibition: The Mentawai of Indonesia, Guy NeedhamStudio 541, Auckland

Photographer Guy Needham’s photo series illustrates the lives of the indigenous Mentawai people, who live on an island group 150km off the coast of Sumatra, Indonesia. Considered one of the planet’s most ancient tribes, today they are still found deep in the island jungle. The resulting exhibition is a testament to their simple way of life and pure sense of self. For more information, visit studio541.co.nz.

November 14–17

Event: Queenstown Centre for Creative Photography Autumn Colours WorkshopQueenstown

Learn new skills and hone the old in a workshop hosted within Otago’s Arrow River, Skippers Canyon, and Wakatipu Valley. Get to know your camera, develop your camera skills, and develop your own personal photographic aesthetics with Canon Master photographers Mike Langford and Jackie Ranken. For more information, visit qccp.co.nz.

99

OUR SHORTLIST IMAGES | 2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

Ben Karalus Tony Smith Josh Thomas Bri Woolnough Roger Hammond

Robert Saunders Marvin Cordon Chris Chao David Bowie Adrian Hodge

Jai O’Hagan Calden Jamieson Merryn Carr Ellen Rendle Daniel Lee

Jackson Munday Roy Cernohorsky Martin Kohn Cynthia Qiu Jason Stitt

Gail Orgias Thomas Trevilla Tony Smith Kate Burton Sarah North

Rachel Stewart Chris McKay Kurt McManus Arthur Hon Michael Hayward


Tanya Rowe Matt Corbett Yuto Matsuda Kylie Dowd Roger Twiname

Philippa Wilson Peter Kurdulija Gail Orgias Corrie van Wyk Brendon Doran

Dan Bean Wein Katrina Easton Julie Fitz-Gerald Kerry Saul Kirsty Halliday

Kevin Chong Tony Whitehead Luke Larking Geoff Soper David Willing

Irene Middleton Geoff Tutty Rob Lynch Nicole Pye Hilary Lakeman

Sandra Batley Bin Bai John Burland Clive Collins Marvin Cordon

101

OUR SHORTLIST IMAGES | 2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

Hark Ho Mike White Renier Figuracion Brendan Reeves Jackie Lentell

Kim Falconer Chris Watson Sue Riach Stephen Leaper Adil David

Craig Latimer Mark Smith Liz Hardley Doris Tutty Leon Berard

Stephen Kyungkyu Shyn Geoff Tutty Ross Pichler Juliet Russell Marvin Cordon

Cam Creswick Kirill Povarintsev Dominique Papoutsou Kate Beauchamp Tony Smith

Emiko Cowell Paul Aslop Judy Stokes Luke Larking Kate Parsonson


Julie Fitz-Gerald Robert Stephenson Georgia Hendrie Marina Sebie Quentin Doig

Thomas Trevilla Anthanee Fermanis Gregory Young Tara Swan Kieran Read

Sung Taek Tony Park Debbie Brown-Smith Lorri Anne Adams Sam Mayhew Hendrix Brendon Arnold

George Botha Shelley Harvey June Brunken Christine Jacobson Brendan Reeves

Marvin Cordon Mandy Hague Rod Hill Nick Marsh Leicel Ibarra

Merryn Carr Tony Whitehead Marcus Bokkerink Rachel Stewart Toya Heatley

103

LAST SHOT | NEXT MONTH

INSIDE OUR NEXT ISSUE … Talman Madsen

— the Kiwi photographer who captured every

sunrise and sunset for an entire month —

brings us a step-by-step guide on how to

capture dramatic skies.

We talk to self-taught landscape

photographer Rach Stewart about her

signature long-exposure style, and how she’s

reached 170,000 followers and counting

on Instagram.

The new-release Canon EOS 6D Mark II is

put to the test in the hands of award-winning

astrophotographer Mark Gee. He gives us a

full review on the shooting experience.

TALMAN MADSEN / DIIMEX.COM, SONY 7R II, SONY FE 70–200MM F4 G OSS LENS, 139MM, 1/100S, F/8, ISO 160

RACH STEWART, CANON 5D MARK IV, CANON 16–35MM F2.8 MARK II LENS, 32S, F/10, ISO 100, SIX-STOP FILTER


TRAVEL $5,000BE IN TO WIN

Buy any Sony camera from a participating retailer between 1 July and 31 August 2017 and register online at sony.co.nz/travelpromo to enter the draw to be into win a $5000 Travel Voucher or 1 of 5 headphones (headphones valued at $329.95).

Conditions apply, see website for details.

WIN A $5,000 TRAVEL VOUCHER OR 1 OF 5 HEADPHONES

D-Photo - September 2017premium workhorse zoom lens designed for the latest high megapixel DSLRs. A...

Documents

Transcript of D-Photo - September 2017premium workhorse zoom lens designed for the latest high megapixel DSLRs. A...