Issue 17
July 28th 2010
Helping you take better photos
How To:
Urban Photography
Adventure Competition Winner North Shore National Salon Photoshop Tips
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CONTENTS 18 Urban
Photography
4
12
North Shore National Salon Pic of the Bunch
28 Critique 20 Critique 26 Photoshop Tips
24 34 Cool Stuff Cool Stuff
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Editorial B
ack in Issue 1 we celebrated the success of 4 Kiwi photographers who had been included in the 10th anniversary M.I.L.K. book. We also interviewed Geoff Blackwell, the brains behind two of the most well-known international
competitions that have come out of New Zealand. Well, we’re very pleased to announce that we have been given a copy of the beautiful hard-cover book to give away to one lucky subscriber. Simply go on to our Facebook page and leave a comment under the “Win Some MILK” post, and one lucky reader will be drawn at random and win this amazing collection for their coffee table at home. We have some great stuff in this issue, starting with the winning images from the North Shore National Salon of Photography, which I helped judge. There’s also an opportunity for you to learn about Urban Photography, and as always we encourage you to take what we have here to the street, quite literally, and get your cameras clicking!
Cover Image: Single Image Competition Winner Shaun Holmes
ABOUT Whether you’re an enthusiastic weekend snapper or a beginner who wants to learn more, NZ Photographer is the fun e-magazine for all Kiwi camera owners – and it’s free! EDITOR
ADDRESS NZ Photographer, C/- Espire Media, PO Box 137162, Parnell, Auckland 1151, NZ WEBSITE www.nzphotographer.co.nz
Ollie Dale, ANZIPP
editor@nzphotographer.co.nz GROUP EDITOR Trudi Caffell ART DIRECTOR Jodi Olsson ADVERTISING ENQUIRIES Phone Richard on 09 523 4112 or email richardl@espiremedia.com
NZ Photographer is an Espire Media publication
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FEATURE
Prints Open Colour Gold Medal Liz Hardley FPSNZ, LRPS Portrait of a Young Boy Gold Medal and Progear Trophy
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North Shore National Salon By Ollie Dale
I
was recently invited to be one of
in judging; having the guts to stand up for
6 judges at the 2010 North Shore
something you like to see it go on to success.
National Salon of Photography. The
Congratulations to those who entered,
Salon is in its 16th year this year, and is a
and to the images here that we celebrate
well-respected annual competition.
for their success!
This year’s entries broke all records, with
‘digital’ divisions. I really enjoyed looking through all the
Prints Open Colour Gold Medal Liz Hardley FPSNZ, LRPS
entries and discussing them with my fellow
Portrait of a Young Boy
judges. As a judge it’s our job to be ruthless,
Gold Medal and Progear Trophy
and to judge the images according to their merit but also amongst the images that they
The image was taken at the Stroke and Stride
share the category with. Every one of us had
swim-run event at Mission Bay, Auckland
to give and take, as we all had our own
last year on my Nikon D200. The light that
preferences, but I felt that we were all given
evening was excellent for taking portraits of the
a chance to stand up for the images we
competitors, and I thought that this was one of
individually liked.
my best images. However, with some work in
One image in particular was nearly
Photoshop, including the addition of a texture
overlooked but I felt strong enough about it
layer, I created what I felt was an even better
to stand up for it, and it eventually won its
image, which was both ethereal and haunting,
category – and that’s where the pleasure lies
and had the feel of a Renaissance painting.
NZ Photographer
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----------------------
several categories, in both ‘mounted prints’ and
Dec 2
This year’s entries broke all records, with over 2100 images entered.
over 2100 images entered. There were
Stephen Cox Shipwrecked
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Stephen Cox Breakfast
Stephen Cox Breakfast
Prints Open Monochrome Gold Medal
with limited dodging and burning.
Stephen Cox
Camera: Canon IXUS 960 IS
Shipwrecked A weekend walk with our dog took us to
Prints Set Subject ‘Architecture’ Gold Medal
the long abandoned shipwreck, Gairlock.
Mike Thornton
Charlie the dog discovered the bloated,
The British Museum
balding sheep carcass and with correct
This is in the Great Court of the British Museum
positioning and a low angle I was able
in London. It’s a massive area but I wanted to
to get a good connecting line from the
capture as much of the essence of the design
sheep to the wreck. During processing in
as I could. I didn’t have a very wide-angled
Lightroom and Photoshop I decided on a
lens available so the best way to achieve a
tinted monochrome print to convey both
framing that took in as many angles and different
desolation and abandonment.
surfaces as possible was to move in close and
Camera: Canon IDS Mark 2; 24 – 105 mm lens
point the lens up. To me the image is all about the dynamics of the shapes formed by the terrific
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Prints Set Subject ‘Close Up’ Gold Medal
ceiling structure and the shadows, so I decided
Stephen Cox
on monochrome to avoid the blue sky being
Breakfast
too dominant. I like the balance and contrast
Monday morning amongst the familiar
between straight lines and curves. I cropped to
scramble of weekday breakfast; suddenly
make sure the dark area wasn’t too significant
low winter sun penetrated the room
a proportion. I’ve used selective burning-in to
illuminating a marmalade jar. Grabbing
provide some depth, a little dodging to ensure
my point and shoot I simply captured the
that some highlight detail was retained in the
moment as it happened. The image was
darker building section; and a vignette to help
processed in Lightroom and Photoshop
drag the eye back in from the corners.
Mike Thornton British Museum
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Elizabeth Passuello Fern Fantasy
Digital Open Colour Gold Medal
for Photoshop which I had yet to experiment
Digital Open Monochrome Gold Medal
Elizabeth Passuello FPSNZ, FNPSNZ, EFIAP
with and I deemed this fern photo suitable for
Maree Turner APSNZ, NZIPA
Fern Fantasy
such experimentation. The original photo of
Raw
Fern Fantasy came about as a result of me
the fern was a fairly straight-forward image of
Raw is part of a series I’m still creating to
needing one more image to complete my
the frond so I started experimenting with the
represent the unseen emotional turmoil that is
entry in the general section of the 2010
filter, adjusting it several times until I had the
being experienced by some during the recession.
Trierenberg Super Circuit... and I wanted
effect I wanted; nothing too over-the-top as I
Most of it is mainly behind closed doors. We’re
something new and a little different to my
still wanted to retain something of the design
reading about it & seeing some of it on the news
usual style of photography.
and form of the fern in the original image.
but we’re not feeling it. There is some very real &
Fern Fantasy was thus created.
raw emotion being felt out there.”
I had recently purchased a new plug-in filter
Maree Turner Raw
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Lloyd Houghton Friends of the Light
Digital Set Subject ‘Red’ Gold Medal Lloyd Houghton Friends of the Light Strong light is usually irresistible to me if there is a camera close to hand. And there was this time as my two friends ambled along Te Horo beach. Deep in conversation, they were oblivious to me behind them, searching for that right aperture/shutter combination. Faster, slower, wider, stopped down - which pairing will capture the moment the best? This image is one of many that have come from a year of experimenting with in-camera techniques. Techniques like slow film speed (I’m old enough to still call it that, even though I’m all digital now!) neutral density filters, and slow shutter speeds to Digital Set Subject ‘Movement’ Gold Medal
sun light caught the edges of the sails
capture different impressions of movement
Jean Moulin APSNZ
giving a glow- like appearance.
and light not seen by the eye at the time.
Towards the Finishing Line
Using a 300mm lens, and a slow shutter
For me, there is magic for me in capturing
speed technique, I was able to capture a
moments like these. Exposing for the shadow
at Murrays Bay Beach of a yacht race
feeling of movement and a sense of being
side gives a blinding, high key ground for the
organised by the local Yacht Club. I was
amongst the action.
faceless figures to float on. What will the light
The image was taken from the wharf
attracted by the sail shapes also how the
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wash out? What stays to be seen? I love it.
Image by INfocuS keyNote mIchael grecco Š PrINcIPal SPoNSor:
epson/NZIPP Iris Professional Photography awards 9-11 September, QueenStown
the annual Iris awards celebrate the creative excellence of professional photographers in New Zealand. this is your best opportunity in 2010 to gain wide spread exposure by becoming an award-winning photographer. entry is open to all professional photographers, with judging held in an open forum over three days. come along and see the best of New Zealand photography. New Zealand Institute of Professional Photography
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Infocus conference
12-14 September, QueenStown
the premier professional photography conference, which includes two days of international and local speakers, industry exhibition, off-site practical workshops, Iris awards gallery, social functions, masterclass and gala awards dinner. the programme includes international celebrity photographer michael Grecco, australian Wedding and Portrait photographers Graham monro and robert piccoli, alongside a variety of local photographers and business experts.
for more information visit: www.nzipp.org.nz
COMPETITION WINNERS
Richard Brown
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Shaun Holmes
F
rom the Author: This photo was taken on part of the Lee River in Nelson on the 31st of January 2010 around
lunch time. A few mates and I were killing some time practicing back flips off the rock, and when I took the photo I was in the water looking up. Well done Shaun Holmes for a great Action image for this month’s issue – nicely caught and with a great sense of timing, and especially summery in the middle of winter. Camilla wins this issue’s cover and a $100 voucher from the fabulous people at Giclée Print. For all YOUR fine art and canvas printing needs, visit www.gicleeprint.co.nz
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Sharon Wright
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Sean Coleman
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HOW TO
Urban Photography words & images by ollie Dale
B
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ack in Issue 4 of NZ Photographer
photography differ?
(September 9th 2009) we interviewed
Street Photography tends to be more
TrustMe, a street artist, who gave us
people-based, is most often candid, and
all some great tips on photographing Street
quite often includes some statement of
Art. Recently someone asked me what the
society or people in general. It can also
difference was between Street Photography
be location specific, but usually always
and Urban Photography, and it stumped me.
includes some human element to the image.
Just like there’s a difference between
Urban Photography is more landscape-
musical genres – e.g. it used to be called
based, including buildings, bridges,
“Punk” but now you can choose from
landmarks, statues etc. and doesn’t
Hardcore Punk, Ska-punk, Pop Punk, Post-
necessarily need a human element at all.
punk, Christian Punk, Proto Punk, Skate
So, ironically, the Street Art article
Punk, Dance-punk etc. – there are also
in Issue 4 falls more into the Urban
subtle differences within photographic
category, which means we still have
genres that define and differentiate them.
room to do a future article on Street
So, how do Street and Urban
Photography... watch this space.
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What is Urban?
camera you like, but one thing you’ll
Think ‘city’ or ‘town centre’ or ‘main street’,
find very useful is a tripod. If you’re
putting yourself in danger, look to
depending on where you live in New
more advanced and you use a DSLR,
capture buildings as they are built
Zealand. If you live in the suburbs then
then you may want to include filters
or before they’re finished. Even the
you’re in a sub-urban part of your city, but
such as polarising filter, a neutral
demolition of old buildings can make
you may still find urban scenes nearby
density filter or a graduated filter. You may want to take all your lenses,
Really, Urban Photography is about
•
Shoot Construction Sites: without
great images. •
Be the Early Bird: getting in to town
capturing and commenting on the human
or simply only a wide angle – that’s
first has many benefits – the light
race’s tendency to have a centralised area
up to you and your style.
in the morning is some of the best
Use All Parts of the City: Don’t
light you’ll get all day; you can
therapy, and how that looks where you live.
just stand on ‘Main Street’ and
quite often get wide urban spaces
Every city’s different, so don’t think that there
photograph the buildings everyone
with no one in them; different
is a set formula for how you capture your
can see, look for opportunities to
things happen within the city before
own area’s urban-ness, but here are a few
photograph the things that no one
everyone arrives, and you can get
general tips to help you out:
sees, or that everyone walks past
opportunities that you won’t get for
•
without looking at.
the rest of the day.
for trade, commerce, education and retail
Gear to Take: You can use any
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•
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photography to take a long time, and look to re-visit the same places at different times of day to get the perfect light.
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•
Look for Human Evidence: Urban
perspective on something – climb
photography doesn’t usually have
something (safely!), use height to
people in it, but you can just as
your advantage, get down low, think
parts of the city may need property
easily photograph things that imply
of another way to shoot the same
releases if you’re going to use your
that people are always here or are
scene you’ve just photographed.
image for anything other than your
responsible for the other elements in •
•
Check if you need Permission: Some
Look for Shapes and Contrasts: use
personal collection. If in doubt, ask!
your image.
the shapes of your environment to
You can also look to get permission
Use Alternative Angles: look for
construct your image, and look for
from building owners for access to
opportunities to get a different
contrasts in colour, texture and light
their property if your award-winning
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•
to add something special.
•
shot needs to be taken within their
out for you. Don’t go too far off the
interesting and tell a story, or that
property’s boundary.
beaten track, and don’t trespass on
simply record for history’s sake.
Stay Safe: cities aren’t the safest
private property.
Concentrate on the landscape around
places, especially after hours, so
Take Urban Photographs: take
you and use people only when they
consider shooting in a group, or
•
photos that depict your local urban
add to your image or for a specific
taking a friend with you to watch
landscape. Take photos that are
reason. Be prepared for urban
Ollie Dale is the Director and Lead Photographer at PhotoNZ Ltd. Based out of a Studio in Parnell, Ollie concentrates his time on Commercial and People photographic projects. Every now and then he also turns his mind to editing this fine publication, and hopes the readers get a lot out of it! For more visit www.photonz.com
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TIPS
1
2
3
RESOLUTION By Pete West 26
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Y
ou can find your image’s resolution
are linked (fig 2), which means that you can
and it now says, ‘Pixel Dimensions 16.6M
by going to Image > Image Size. At
alter the size or resolution but the total file-size
(was 3.83). This means by increasing the
the top it shows you that the file size
will remain the same. The larger you make the
resolution the file size has increased by
is 3.83meg and the document size is 47.41
resolution the smaller will be the dimensions of
almost 12 meg. The original file was 3.83
x 35.14 cm at a resolution of 72 pixels per
the picture. Also the smaller the resolution, the
meg. You can also increase the dimension
inch, which is the usual resolution of computer
larger will be the dimensions. If you look at fig
sizes, again this will increase the file size,
screens and web images.
3, you can see that the resolution has been
decreased dimensions will give you a smaller file size.
Underneath to the left are 3 ticked boxes.
increased to 300 dots per inch (dpi) and the
The ‘Scale Styles’, and ‘Constrain Proportions’
dimensions have automatically reduced BUT
are fairly obvious, but the third ‘Resample
the file size is still the same.
Image’ is not. You’ll notice that in the ‘Document
In fig 4 with the resample box ticked, the
In fig 5 (at the bottom of the panel) you have a choice of ways in which the image is treated, depending on what you’re doing with it.
Size’ box the width and height box are linked,
dimensions remain linked BUT you can set
leaving the resolution free to be altered.
the resolution to whatever you want, (here
of increasing a file size and what the
it’s 150 dpi). Look at the top of the box
program does to make the file bigger
With the resample box unticked all 3 boxes
Next month we’ll go into the consequences
3
4
Pete West emigrated from the UK in 2002 and taught Photoshop at Natcol for 3 years. He works freelance producing aircraft illustrations and photographic articles on Airshows for magazines in the UK and Brazil. www.flickr.com/photos/oneleggedpom/
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5
CRITIQUE
There’s no better way to learn than by having your work critiqued! In this section you get to have your work critiqued by professional photographers Lisa Crandall and Ollie Dale. Lisa Crandall is a multi-award winning portrait photographer. In 2008 she was named ‘People Photographer of the Year’ at Iris, NZ’s professional photography awards. Her studio, ImageMe www.imageme.co.nz is located in Takapuna in Auckland. She also runs photography workshops, and is an Associate of the New Zealand Institute of Professional Photography (ANZIPP). Ollie has been a professional photographer for seven years, and has clients such as the NZ Herald, Visa, Microsoft, Westpac, Unitec and BMW. He is also a qualified commercial member and Associate of the New Zealand Institute of Professional Photography (ANZIPP).
Sized Up
YOUR WORK CRITIQUED Camera: Nikon D60
there are amazing, this was not the first time
closer I was rewarded by a stunningly
Shutter: 1/640 sec
I’ve been up there at sunset. Some of my
beautiful landscape/seascape. I love the
Aperture: f/4
favourite shots at this spot were not taken with
warm light from the setting sun hitting the
ISO: 800
the DSLR I used for this shot.
left-hand side of the hills, and the distant
Author: Eddie Kyle
LISA’S COMMENTS: This is a lovely sunset
waves turned golden.
shot, congratulations to the photographer
The dead tree has nice curves but I do feel it
From the author: I took this photo (A) at a
for the beautiful colours captured. The first
is overly dominant in this composition. I felt a little
deserted airstrip in the Kaipara area, right
thing I saw when I looked at it was the
frustrated looking at this photo, as the scene is
on sunset. The colours in the fading light up
silhouetted dead tree, but when I looked
so stunning and I would have liked to see more.
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OP 1 In general, photographers try to
the left and reframed with the tree on the
avoid a central composition,
right-hand side of your viewfinder. Also, if
and a common way to
you had taken a couple of steps back from
compose this shot would
the tree and used a slightly longer lens, the
be to take it in landscape
background would have loomed up and the
orientation and have the
tree would have been less dominating.
dead tree on the side of the
Turning now to exposure, the sky is well
image, framing the scene.
exposed; the hills at the bottom of the
Because it leans in to the
image however are a little dark. By using a
left, the tree would look best
graduated neutral density filter and adjusting
on the right-hand side of the
the exposure accordingly, you could retain
frame. (OP1)
this exposure on the sky and lighten the
I can see the sun was setting
bottom third of the image.
just outside the left side of
The tree itself is a silhouette - with no detail -
the frame, and you may
which turns it into a simple graphic element,
have been trying to avoid
and may well be what you wanted. If you
lens flare. If you didn’t want
did want to see some detail in the tree you
to turn your camera toward
would probably need to use a tripod, take
the sun, perhaps you could
a couple of images at different exposures (a
have taken a step or two to
lighter one would show the detail in the tree) and blend later on the computer.
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CRITIQUE
1
Camera: Nikon D40
do others see my image differently without
of all the ‘stuff’ in the foreground.
Shutter: 1/1250 sec
the emotional attachment that I have?
There are different elements to your image
Aperture: f/5
Usually the answer is yes – our work is easy
– the sun, the fog, the sky, the foreground,
ISO: 200
to get attached to because we were there,
etc. I think your balance is slightly off. Your
Author: Elanor Schroder
we took the image, we know how much
horizon-line is almost in the middle of the
effort we put in to the post production to
image, not on a third line (see rule of thirds),
From the author: I took this photo (1) from
get it looking its best, etc. Hence the value
which chops the image in half but doesn’t
my verandah one morning – I saw the sun
in submitting your work to be critiqued to
add anything.
rising over the fog as I was getting ready for
someone who is not emotionally attached in
The most distracting element of the image
work. Normally all we see is a view of West
any way – i.e. asking your mother wouldn’t
is the silhouetted tree in the centre of the
Auckland, with lots of houses, but this day
be a good idea.
shot – there’s not much you can do about it
they were all hidden under the fog.
So, let’s look at your image without any
other than re-compose/crop your shot into
I have edited the colour slightly in Photoshop
emotional attachment.
something other than the original:
(2). I would be really interested to hear what
I actually prefer the colour of the original –
Crop the lower part of the image off to
you think. Does it have any real appeal as
your adjustment has introduced a magenta
reduce the weight of the image overall
a photograph or do I like it just because it’s
hue, which actually “cools down” the
(OP1) Crop into the right side of the image
my view?
image, and sunrises and sunsets need to
(OP2) I daresay that the best picture would
be warm, usually.
have been from your neighbour’s house
OLLIES’S COMMENTS: You’ve asked a very
Now to the composition... You’ve chosen this
in the foreground – an open view across
good question there – and it’s something that
composition because it’s your usual view, and
the fog would have made for a much less
we should all be wary of as photographers.
that morning you had a glorious sunrise –
distracting image.
Am I emotionally attached to an image, and
unfortunately it hasn’t really worked because
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2
OP 1
OP 2
Call for entries: Get your images critiqued by professionals – send an image to critique@nzphotographer.co.nz with a brief description of how and why you took the shot, and we’ll tell you what we think and if it could be improved. The views and opinions expressed in this section are only two people’s ideas on photographic imagery. You may have different, constructive ideas about how good or not the images are, and what could be done to them. You’re welcome to send those ideas in to editor@nzphotographer.co.nz. We agree that the opinions contained in this critique section are by no means the only opinions that could be held about these images.
COMPETITIONS
Competition (single Image)
T
ime for y’all to get out to your
from the fabulous people at Giclée
Monday the 13th of September, 2010.
nearest Urban area and get
Print. For all YOUR fine art and
Winner will be published in Issue
snapping! Send us your best
canvas printing needs, visit www.
19, out on Wednesday the 22nd of
gicleeprint.co.nz.
September, 2010
image that illustrates what ‘urban’ means to you, and remember that thinking and
One entry per person, and you
shooting ‘out of the box’ will give you
must be in New Zealand or hold a
the best chance of winning!
NZ Passport at the time of entry to
Even if you don’t win you may still get published on our Best of the Rest page. Be in to win cover of Issue 19, and the fabulous $100 voucher
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NZ Photographer
qualify to win. Images must be 100dpi, 1600 pixels wide, and sent to competitions@ nzphotographer.co.nz by 5pm on
Still
Competition (single Image)
A quick reminder…
S
till Life – what is it? Well, go back to Issue 16, read up, and get your images in to us at NZ Photographer!
Be in to win cover of Issue 18, and the
fabulous $100 voucher from the fabulous people at Giclée Print. For all YOUR fine art and canvas printing needs, visit HYPERLINK “http://www.gicleeprint.co.nz” www. gicleeprint.co.nz (INSERT LOGO HERE) One entry per person, and you must be in New Zealand or hold a NZ Passport at the time of entry to qualify to win. Images must be 100dpi, 1600 pixels wide, and sent to competitions@nzphotographer. co.nz by 5pm on Monday the 16th of August, 2010. Winner will be published in Issue 18,
NZ Photographer
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Mar 24
out on Wednesday the 25th of August, 2010
GADGETS
COOL STUFF
The cool stuff in this section comes to you with help from the knowledgeable people at www.engadget.com. Each issue Ollie, our illustrious editor, trawls through the amazing photographic gadgets and gizmo’s to bring you the best of the best. Enjoy!
S
ony recently released their NEX-3
their own Sony SLR lenses, with the only
above) by one Jeremy Salvador has turned
and NEX-5 cameras, touted as the
insignificant drawback being a loss of
into a collaboration between production
World’s smallest interchangeable-
autofocus control, but hey, you know how to
company Vid-Atlantic and OWLE itself on a
manually focus, don’t you?
more finely tuned, iPhone 4-friendly prototype
lens digital cameras (they’re not DSLRs because they don’t have mirrors). We at NZ Photographer have managed to get
Source: NZ Photographer
with the right optional adaptors, can mount
E
both Canon and Nikon lenses, as well as
mod of OWLE’s Bubo iPhone mount (pictured
our hot little hands on the NEX-5, which Gadget-guru Brian Foose will be reviewing in the Issue 18. It’s a crazy little thing that,
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NZ Photographer
that delivers some truly impressive results. Sadly, the actual iPhone 4 version of the rig
verything you know about awkwardly
won’t be available for a while yet, but you
attaching SLR lenses to iPhones is
can get an idea of what will be possible with
wrong. This is how you do it. What
it in this video.
started out as a quick and less-than-perfect
Source: Engadget
NEXT ISSUE
In the next issue of NZ Photographer…
How To: Food Photography
Still Life Competition Winner
Sony NEX-5 Hands-on
Plus much more...
The iPad as a Photographer’s Tool
Issue 18, Out Wednesday 25th August 2010
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NZ Photographer