NZ Photographer Issue 17

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

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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

Jean Moulin Towards the Finishing Line 10

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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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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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June 23

NZ Photographer