Brought to you by
ISSUE 16, February 2019
INTERVIEW WITH PETRA LEARY THE MAGIC OF MOERAKI BOULDERS BY BRENDON GILCHRIST
BEHIND THE SHOT WITH ALAN BLUNDELL HOW TO CAPTURE: LONG EXPOSURE LANDSCAPE
WITH RICHARD YOUNG February 2019
1
WELCOME TO ISSUE 16 OF NZ PHOTOGRAPHER MAGAZINE
HELLO EVERYONE, In this issue, we take to the air to interview award-winning drone photographer Petra Leary and look down on her unique view of New Zealand. Brendon takes us on a Summer trip down memory lane to photograph the iconic Moeraki Boulders, and we go to the Rodeo with Alan Blundell in Behind The Shot. Meanwhile, Richard shows us how to capture the best long exposure shots, get out there and give it a go whilst the weather is good in the Southern hemisphere! On our quest to inspire 20,000 photographers by 2020, Ana shares some inspiring words and encourages you to always think outside the box and be brave, putting your work out there for critique in order to improve. This leads me to mention the return of our revamped Expert Critique section, now called the Photo Review Session which will be appearing periodically here in the magazine but also over on the blog. We know you're all out enjoying yourselves in the sunshine (camera in hand, of course!) from how few readers' submissions we received this month! Next month we'll be taking a look at the Love competition entries (there's still time to enter!) but we look forward to seeing how and where you all spent your Summer in future editions.
Emily Goodwin
Editor NZ Photographer General Info: NZPhotographer Issue 16 February 2019 Cover Photo by Petra Leary www.petraleary.com
2
NZPhotographer
Publisher: Excio Group
Editor: Emily Goodwin
Website: www.excio.io/nzphotographer
Graphic Design: Maksim Topyrkin
Group Director: Ana Lyubich ana@excio.io
Advertising Enquiries: Phone 04 889 29 25 or Email hello@excio.io
REGULAR CONTRIBUTORS
Brendon Gilchrist
Ana Lyubich
Richard Young
Brendon is the man behind ESB Photography. He is an avid tramper who treks from sea to mountain, and back again, capturing the uniqueness of New Zealand’s unforgiving landscape.
Co-founder of Excio, Ana's photography journey started many years ago with one of the first Kodak film cameras. She loves exploring the unseen macro world and capturing genuine people's emotions.
Richard is an awardwinning landscape and wildlife photographer who teaches photography workshops and runs photography tours. He is the founder of New Zealand Photography Workshops.
nzphotographer
nzp_magazine
nzp@excio.io
Š 2019 NZPhotographer Magazine All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior consent of the publisher. Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.
February 2019
3
CONTENTS
14
6 8 10 14 25 29 32
INTERVIEW WITH PETRA LEARY
25
MIND GAME: OUR COMFORT ZONE by Ana Lyubich HOW TO CAPTURE: LONG EXPOSURES with Richard Young IMPROVING YOUR PHOTOGRAPHY PHOTO REVIEW SESSION
BEHIND THE SHOT WITH ALAN BLUNDELL
INTERVIEW WITH PETRA LEARY BEHIND THE SHOT With Alan Blundell
THE MAGIC OF MOERAKI BOULDERS BY BRENDON GILCHRIST
THE MAGIC OF MOERAKI BOULDERS by Brendon Gilchrist BEST READERS' SUBMISSIONS THIS MONTH
10 IMPROVING YOUR PHOTOGRAPHY PHOTO REVIEW SESSION
29
FRESH SHOOTS PHOTO COMPETITION
We’re inviting photographers to highlight all the wonderful things that make the Wellington Botanic Garden much more than a garden, while encouraging photographers to focus on the garden season by season. For prizes and full Terms & Conditions see: www.excio.io/freshshoots The competition is split into quarterly competitions based on each of the seasons:
Summer
Autumn
15 December 22 March 2019
23 March 21 June 2019
Winter 22 June 20 September 2019
CATEGORIES
NATURE
PEOPLE & EVENTS PARTNERS
CREATIVE
Mind Game: Our Comfort Zone
by Ana Lyubich
W
“To see, we must forget the name of the things we are looking at.“ Claude Monet
e all know that excited feeling we get when we capture a great image – it’s a feeling of achievement, accomplishment and success. Everyone experiences that buzz, no matter what their goals or aspirations are, whether you’re an amateur photographer taking photos in your back yard or a pro who thinks he just got an award-winning documentary shot. Many of us get so consumed in our photography that the end result, the photo itself, carries a tiny piece of ourselves within it. We treat our shots as “our babies” and when we hear people discussing them, critiquing them, or giving us feedback (whether we asked for it or not!) we can start to feel anxious, feeling the need to defend and protect our work. In a worst case scenario, we might even hang up our camera altogether for a few weeks or even months, taking negative critique too much to heart.
6
NZPhotographer
Of course, everyone wants to hear good things about their work, no one want’s to hear someone say that they wouldn’t hang it on their wall, that it’s too dark, not sharp enough etc but at the end of the day by subconsciously lingering in the places (online or offline) where our photos are as appreciated as we allow them to be, we limit ourselves. For example, when you post a new photo onto your personal Facebook page it’s very likely that you’re only going to receive positive comments plus a variety of likes and hearts, no one who is a friend is going to tell you how terrible a shot it is! But whilst receiving positive feedback makes you feel good, it also makes you think that you are good enough as you are and that there is no need to push yourself further to seek out new challenges that help you learn, improve, and grow as a photographer.
NEVER UNDERESTIMATE YOUR BAD SHOTS. They may not be your pride and joy, never seeing the light of day on your website or social media feeds but they are good enough for you to base your opinion on, enabling you to see what works and what doesn’t. Remember, you are not building your personal brand, you are building your portfolio – Your photography is not about you as a person, it’s about your work. Your images are your ambassadors. Trust and respect will come. Listen to what people say, select the most useful feedback from what you hear and focus on improving next time. It applies to everything you do and everything you hear about your work. The exchange of controversial ideas is necessary for the intellectual and spiritual development of not just photographers, but pretty much everyone.
PRACTICE TAKES TIME AND PATIENCE. When you start taking photos without consciously seeking the approval of others i.e not only taking photos that will get you more likes on social media, you will start seeing things through your viewfinder differently. You will no longer be bound by certain
trends, tastes, or techniques. You won’t need to oversaturate your photographs or only take photos with bright colours because that is what people like more on Instagram. The person who is not afraid of public opinion and judgement has more chance of becoming a leader in our modern overcrowded photography space. So let your mind wander. Our expectations and beliefs filter the way we see the world, constricting our awareness to the known and expected and that is a killer when it comes to photography and creativity as a whole.
KEEP YOUR MIND AND EYES OPEN. Being a good photographer is not just about being open to breaking the rules, but about the way you see things. Use your imagination and let your eyes roam over the shapes, colours, lines and textures. Break the rules. Once you start making a habit of thinking outside of the box, it will become your natural way of seeing things. Remember that the best thing about photography is that there are no bounds, anything is possible and the unexpected is welcome.
February 2019
7
HOW TO CAPTURE: LONG EXPOSURES
Long Exposure Landscape Photography Tips with Richard Young
Sunset over Rangitoto Island, Auckland
F11, 30s, ISO64
LONG EXPOSURE LANDSCAPE PHOTOGRAPHY
SUBJECT FOR LONG EXPOSURES
By using longer shutter speeds you can capture movement within the landscape. Long exposures are best suited to landscapes with dynamic movement (e.g. the coast, waterfalls and rivers), however, you can also capture movement in the sky and foliage.
Look for compositions that include stationary objects (eg. rocks on the beach) as the primary focal point of the image, so you don't just end up with a whole picture of blurred water with no clear subject or focal point. Consider how much movement you want in your image and the direction of its flow - is it complimentary to your subject?
DARK SKY
SIMPLIFY THE COMPOSITION
To create a long exposure without overexposing the image, you either need to work in low light (after sunset) or use Neutral Density (ND) filters. Using strong ND filters (10 stop) will allow you to create long exposures even on a bight sunny day. Lighter, less powerful ND filters (4 & 6 stop) are better suited to shooting in lower light or overcast days.
One reason for using long exposures in landscape photography is to simplify the composition. Although shooting moving water with faster shutter speeds can result in some brilliant images, working with long exposures can remove all the detail from the water which allows the subject to become highly defined, creating depth within the image.
MASTER LONG EXPOSURE PHOTOGRAPHY AND GET TO TRY OUT THE LATEST BENRO ND FILTERS ON A 1-DAY LONG EXPOSURE WORKSHOP IN AUCKLAND OR WELLINGTON WITH NEW ZEALAND PHOTOGRAPHY WORKSHOPS
WHAT IS LOVE? Photo Competition
WWW.EXCIO.IO/LOVE
WE WANT TO SEE YOUR LOVE STORY Whether that's romantic love, parents' love, the love and trust between animals and humans or even the heartache, that love causes.
NZ$ 150 CASH PRIZE 1 JAN 2019 - 20 FEB 2019 T&Cs apply. See www.excio.io/love.
February 2019
9
Improving Your Photography Photo Review Session
by Excio
LARGER THAN LIFE BY AMOL NAKVE REVIEW BY:
Almin Vranac 2013 Winner of Sony’s ‘Record Your Move’.
INITIAL THOUGHTS The shallow depth of field in this photo is really on point, making the main object in this frame really stand out which is the main purpose for nature/macro photography. One little bit of advice would be to shift
10 NZPhotographer
the focus a little more to be on the droplets (as they’re the most intriguing part of the photo), but this is a personal taste thing, it’s good as it is too. The second thing that is really nice in this photo is the idea of the main object itself. I think a bitten out leaf with a morning rose droplet hanging from it makes a really nice and interesting artistic composure. I also like the vibrant and rustic looking colours, they add a special touch to the photo.
IMAGE 1 TAKING THIS PHOTO TO THE NEXT LEVEL; IMPROVEMENTS The first thing that instantly catches my eye is the composition and angle of this photo. The rule of thirds means we should always divide our shot, placing our main objects on the lines or where the lines meet.
For this particular photo, the main object is the leaf that is mainly in focus, but we have to keep in mind that the leaf is located on the branch and that branch has another leaf that is behind it. If we view the branch as a base for our main object, it means that we have to capture its other elements too (the other leaf that is cropped out). That means the correct positioning would be placing the branch on the second line (making the line ‘cut’ through the center of the branch) and keeping all of its elements in the frame. You could do this simply by looking for a better angle when shooting but at the same time, keeping the same DOF and main leaf in focus.
IMAGE 2
IMAGE 3 For the sake of aesthetics, a shot always looks better and more appealing to the eye if it’s symmetrical. What does that mean here? It means that the second leaf should have been in the frame. That does not mean that the main focused leaf should not, by any means, be less in the focus, it just means that we should never crop out the elements of the base of our shot (in this photo, the branch).
IMAGE 4 Last but not least - the background. While the shallow DOF does a pretty good job of masking out the distracting objects in our scene, there are still some objects that are not far enough away from our main focused object to be completely blurred out, but yet they’re not close enough (or important enough) to be focused crisply and to be the main part of our scenery. These objects almost always are a distraction and interfere with the harmony of the scene. In this particular photo.
12 NZPhotographer
IMAGE 5 HOW TO AVOID OR FIX THESE MISTAKES NEXT TIME: The basic way is simply to take a shot without these distracting objects in the scene. This is the easiest way, but some times it can be very limiting and there will be some times that you just can’t keep everything in a scene (the composition, good focus, symmetry etc.) while still trying to keep unwanted objects out of the scene. This is where photo editing software comes into play to ‘save’ a photo. I have started removing the distracting objects as you can see here.
IMAGE 6 In my opinion the photo looks more straightforward, direct and professional after removing the unwanted items. It makes not only the main object stand out, but makes the background be in perfect harmony also.
Visit our blog to see how other photographers thought this photo could be improved.
IF YOU LIKE TO TAKE YOUR PHOTOGRAPHY TO THE NEXT LEVEL, YOU CAN GET FRIENDLY ADVICE AND SUPPORT WITH EXCIO: WWW.EXCIO.IO
Interview
with Drone Photographer Petra Leary
Interview with Petra Leary HI PETRA, CAN YOU TELL US WHO YOU ARE AND WHAT YOU DO?! I’m an Auckland based freelance Drone / Aerial photographer which I absolutely love and feel very lucky to do as I’m obsessed with anything drone related! Other than drones, I like to skateboard, build Lego, and hang out with my dog Kodak. I was born in a barn in Grey Lynn and have lived in the Auckland area my whole life but I often travel to other areas of New Zealand or around the world, as I write this I’m making my way across Japan.
WHAT ARE YOU SHOOTING WITH? Up in the air, I’m shooting on the DJI Phantom 4 Pro and the DJI Mavic Pro 2. I generally keep my drones pretty basic but do use the Polar Pro ND and PL Filters. And then if I’m shooting something like my Lego Courts or studio work I shoot on my Sony A7Rii + Zeiss 16–35mm or Zeiss 50mm.
16 NZPhotographer
WHEN DID YOU GET STARTED IN PHOTOGRAPHY AND HOW DID THAT LEAD TO DRONE PHOTOGRAPHY? I really got into photography about 5 or 6 years ago, I’ve always loved views from heights so originally I would just scale whatever was around (cranes, buildings etc.) to get as high as possible and capture images looking down. That was a lot of fun but was definitely restricting in terms of framing an image well due to the risk of being caught and/or arrested. My first experience with drones was thanks to a friend who gave me a turn on his, once I flew it I knew straight away I had to get one. I literally bought one the same day!! I think my love for video games also had something to do with the instant addiction to drones, it’s really a pretty similar concept in terms of controlling and operating the aircraft, but with the added bonus of being able to capture what you see.
February 2019
17
HOW WOULD YOU DESCRIBE YOUR PHOTOGRAPHY STYLE? I think I tend to focus largely on a sense of minimalism and geometry in my work, My background is in graphic design so I feel that really translates into my photos. I also have a real obsession with things being straight and balanced which you can see in the majority of my photography. Things that are bold, bright, simple or symmetrical definitely catch my eye when I’m out shooting! I also like to play with combining traditional photography with digital illustration or 3d rendering occasionally, you’ll notice it in some of my work.
WHERE DO YOU FIND INSPIRATION FOR CREATING YOUR UNIQUE SHOTS? I like to try and keep progressing with my work, I don’t think every image I create is completely unique but I like to try and find something that makes it stand out, sometimes it’s just an interesting colour or pattern tied into the photo or placing a strange object into the frame. I’m always looking for weird and different shapes in the everyday landscapes and think I really just draw
18 NZPhotographer
inspiration from what I experience daily. To me, the ugly and dated architecture can sometimes be my favourite subjects or the road markings, or public space designs being added to the cities.
COURTS OR POOLS, WHICH CAME FIRST AND WHICH DO YOU PREFER CAPTURING? From memory, I’m pretty sure courts came first! I think one of the first courts I shot was on north shore in Auckland. As for a preference, that’s a super hard one! I love shooting both, there’s something extremely satisfying for me seeing the geometry and simplicity of a court, and the fact that even though they all follow a very basic formula, I’ve never found 2 that are identical. With pools, it’s a similar feeling, they can be brand new and sparkling or completely empty and cracked and worn but still look awesome.
TELL US MORE ABOUT TAKING PHOTOS WITH A DRONE – WHAT SHOULD PEOPLE KNOW, WHERE SHOULD THEY START?! I think first off you want to get a hang of actually flying the drone. I jumped in head first and had some close calls with crashes, give the simulator a go as it will make things a lot easier to understand.
February 2019
19
20 NZPhotographer
Once you’ve got that hang of controlling it I’d say just play. I’ve said it before most probably, but I really feel like people tend to go straight for the stock standard drone photo of a person and a beach, use your drone as you would a normal camera but as if you’re walking on the roof, you don’t necessarily need to be shooting from super high up, try playing with lots of subjects and shooting from all sorts of heights.
I’d have to say Instagram has been a huge factor in the majority of features and publications I have been in, I tend mostly to just focus on building my portfolio of work on Instagram and my website and I think that’s where people come across it. To date, all the publications and features I’ve been in have been all from people contacting me, including this interview, I’ve never asked or gone looking for them.
WHAT AWARDS HAVE YOU WON WITH YOUR WORK AND WHICH ONE ARE YOU MOST PROUD OF?
So my main piece of advice would be just keep at it and work on creating your own unique style. If you have something different your are more likely to stand out from everyone else!
DJI Skypixel Photo Contest 2017–1st place Portrait Category Auckland Camera Centre 2018 Photo Contest – 1st Place Abstract Category NZ Geo Photographer of the year 2018 – Honourable Mention Aerial Category The DJI Skypixel is really the main one for me, it opened up some incredible opportunities globally and I think it’s probably got a lot to do with where I’m at now.
YOU SEEM TO GET YOUR WORK FEATURED IN A LOT OF PUBLICATIONS, CAN YOU TELL US HOW YOU PROMOTE YOUR WORK AND SHARE SOME TIPS? I’ve had some great opportunities the last couple of years and have recently been working on some really fun projects including the new campaign for Love Taupo with Osborne Shiwan and DGLT, plus my year long project with Metro Magazine which you can see in their December issue, a project which I was super excited to see come together :)
CAN YOU CHOOSE A FAVOURITE PHOTO? That would probably have to be one of the photos I’m most known for, even though it’s pretty played out now. It's the close up of the Potters Park Basketball Half Court (page 19). There's something about the colours and the symmetry that I love.
WHAT ARE YOUR PLANS FOR THIS YEAR? 2019 is going to be packed with travel for me. Once I’m done in Japan I’ll be heading to Australia to work with Ford AU for a couple of weeks. I’m also working towards another solo show this year, dates to be confirmed, as well as some other very exciting projects but those are to be announced later so stay tuned!
WHERE CAN WE FIND YOU ONLINE? www.instagram.com/petraleary www.petraleary.com
February 2019
21
22 NZPhotographer
F7.1, 1/320s, ISO200
24 NZPhotographer
Behind The Shot With Alan Blundell25 February 2019
Behind The Shot With Alan Blundell HI ALAN, PLEASE INTRODUCE YOURSELF, LETTING US KNOW WHO YOU ARE AND WHAT YOU DO! My name is Alan Blundell and I’m a 53-year old father of 4. I “grew up” in Wainuiomata, and now reside in Wellington city. I have worked in Architecture for most of my career, aside from a 10-year sabbatical I took to design, build and run a hotel in Oriental Parade. Since the sale of that venture, I have returned to work in the construction sector, while spending as much time as possible learning how to take photos. I have been shooting with some intent since 2016, mostly ‘street’ style photography – the candid capture of unmediated or chance encounters in public spaces that throw up some interesting type of juxtaposition, event or behaviour. I love the challenge of anticipating a person’s expression or movement in a particular situation or scene and freezing that moment and find that it’s the smallest (sometimes unexpected) detail that makes the shot but I am quite a shy person and still battle between moving around in a crowd observing and capturing ‘candid’ moments, vs the value of the right amount of engagement in order to learn more about my subjects.
TELL US ABOUT THE EVENT YOU WERE AT AND THIS PHOTO… My wife and I were holidaying in the Far North at a place called Coopers Beach when we spotted a little A4 flyer advertising the Xmas Rodeo programme for that region. Oruru, basically a stock and station yard 10km down the road from Taipa, was hosting the next round. Given the ongoing publicity around animal welfare in Rodeo, I was keen to see first-hand how those organising and competing in such an event ensured their own and their animals’ safety. There was a lot of referencing (by the venue announcer) of the reasons behind each type of contest as a practical skill, and how the rider, horse and cattle were tested and responded. It was very interesting. The dedication of the Rodeo community to their animals, the way they dressed and ran the very family-oriented event was fascinating. I was conscious of the fact there have been a lot of animal rights protestors at some of the bigger city events and roving around with a camera attracted a few sideways looks. I tried to engage where possible with the locals – mainly family members of those involved, to learn more about the circuit, and reassure them we were just tourists coming to have a look at something we don’t see every day. They were really friendly and talkative. For the contest that I caught here, a cowboy has to try to stay on a bucking bull. This capture shows the rider falling from the bull and being dragged as his hand was wedged in the rope he was initially using to hold on to. There was a rush by the support staff on foot to the right
of the bull, (rodeo clowns), to free the rider somehow and protect him from the bull after dismount, this is done by running a distraction until the riders on horses can corral the bull back into the enclosure.
WHAT WERE YOU SHOOTING WITH? I shot with two lenses that day on my Fuji X-T20: the 56mm f1.2 with ND filter, and the 55–200mm f3.5–4.8 which is what I took this particular photo with. Both have a crop factor of 1.4 so the full-frame equivalents were around 85mm and 80–300mm. I was actually testing out the variable ND filter that my kids bought me for Xmas. The 62mm ND2-ND400 Marumi was picked out to fit on my f1.2mm 56mm FUJI lens. It was needed as shooting wide open on bright sunny days such as this means there is just too much light which causes over exposed images. Using the filter acted like a pair of sunglasses allowing preservation of the depth of field in shots.
WHAT WAS HAPPENING BEHIND THE CAMERA? The weather was bright and sunny, with lots of dust being kicked up by the events. Getting close-up meant dealing with this dust whilst also shooting through or around heavy timber and wire mesh safety railings set up around the perimeter of the arena. I had to pick a hole to shoot through and hope that as the rapidly moving riders and action came into frame, something interesting would happen! My set up/ positioning was initially to look for a good backdrop for shots of the action, interesting structures/fences and some spectators to help build the scene. Then it was a question of tracking the subject with all the jumps, twists and turns, waiting for that “decisive moment” to snap the action. I used the continuous tracking focus feature on the camera to give myself the best chance of capturing something meaningful. This shot has some great detail, the dust being thrown up by the falling rider, the facial expressions of the clowns realising he is in trouble etc. I was really pleased with the results of the day and pretty happy with my kit selection and the quality/hit-rate of shots for the 3 hours we were there.
WHERE CAN WE FIND YOU ONLINE? www.facebook.com/bokehstreet www.instagram.com/bokehstreet www.bokehstreet.com albums.excio.io/profile/Bokeh Street
MORE THAN A WORLDWIDE GALLERY GET AN INSTANT PORTFOLIO RECEIVE EXPERT FEEDBACK CURATE YOUR OWN GALLERY ENJOY EXCLUSIVE DISCOUNTS & OFFERS
JOIN NOW Membership only $49/year
Learn
Grow Exhibit February 2019 27 www.excio.io
The Magic of Moeraki Boulders by Brendon Gilchrist
28 NZPhotographer
F16, 1.6s, ISO100
February 2019
29
F4.5, 10s, ISO3200
H
ave you ever had that experience where one particular place keeps drawing you back over and over again due to how unique and special it is?
The Moeraki Boulders on Koekohe Beach in Coastal Otago do that to me. Formed 60 million years ago, the spherical balllike boulders lie on a small part of the beach, some together and some apart, some small, some as big as 2 meters wide. They are an interesting subject to photography but they’re also interesting in themselves when you consider how amazing nature is. When I was growing up my Dads Grandparents lived in Hampden, a short 10-minute drive from this beach and I spend many nights here visiting from Dunedin where I once lived. I never had a camera as a child but I always remember our trips here, they were always special being with Grandma and Grandad collecting firewood, walking and running on the beach, talking, and enjoying these moments. Fast forward 20 years and this beach attracts me for the memories but also for the boulders to photograph whether captured at sunrise, sunset, or even the dead of night thanks to Astrophotography. There are so many options and sometimes, if you’re lucky, you get the beach to yourself though not for sunrise, this being
30 NZPhotographer
one of New Zealand’s Top 10 Beaches and a hot spot with photographers!
SHOOTING DAY OR NIGHT I have found that the best sunrise shots happen when the tide is either coming in or going out, about halfway through the 6-hour cycle between high and low. I have yet to capture a really epic sunrise here but I have had some pleasing average ones, often having to use my imagination and think fast. One time, the sun was coming up and there were no clouds in the sky so the sun was like a big ball. Since the boulders are also big balls I decided why not capture the sun halfway over the horizon looking like another big boulder in the distance. During another sunrise, the clouds were too thick and the tide was out but the patterns in the sand were too perfect not to capture. Night time photography is also a pleasure here, very often you will find you have the beach to yourself and you can create so many different compositions with so many different results, it is endless. It’s even possible to see the Aurora from here if you are lucky. The last time I was here at night I set up a time lapse and then walked away and enjoyed observing the night sky. It’s so beautiful even with the full moon, the waves crashing around the boulders, the stars moving and the peacefulness of the place.
BEYOND THE BOULDERS Moeraki is not only well known for its boulders, but it’s also a very popular place to go out on a fishing charter which opens up wildlife photography opportunities. On a fishing trip with my Dad and Brother, we caught many Blue Cods and Red Cods and I also had the chance to photograph Albatross at close range as they were following our boat for an easy feed. It was incredible to see these huge birds so close. As we moved from location to location searching for fish they would follow us, gliding so effortlessly as they soared that their wings would gently touch the wave. It is a known fact that the Albatross can fly for many many miles without flapping its wings, the only known bird to do so, but it was a pleasure to witness it up close. The coast from the water looks so different looking back in and sometimes dolphins are in the area so it’s well worth grabbing a boat and heading out with your camera, even if you have no interest in fishing! At Katiki Point, the southern point of the Moeraki Peninsula, you will find the endangered and rare yellow-eyed penguins plus the common New Zealand fur seals. These two species live side by side and are not predator or prey to each other. The location near the lighthouse is where you can get up and close to see the penguins, the best time is a few hours after sunrise and a few hours before sunset when you will
see them enter or exit the ocean. I have been here a number of times and never left unsatisfied, always able to capture the birds walking or climbing. If you pick the seasons right you will also get to photograph baby seals playing in the pools below, but don’t forget your telephoto lens as I don’t think you can get very close to them without the mothers getting upset.
4 TIPS FOR CAPTURING MOERAKI • Get to the boulders early before everyone else does, at sunrise you’ll need to claim your spot. • For the best seascape shot, get your feet wet and shoot a long exposure with the water rushing past. Watch the water to see how it moves before wading in and pressing the shutter, you might be able to create a leading line. • An 80–200mm 2.8 lens is good for most wildlife photography at Moeraki but for capturing the albatross on the water, a wider lens will likely be needed. • When choosing between sunrise or sunset, I would personally capture the wildlife in the evening as whilst the reverse sunsets at the boulders are good, the sunrises are much much better.
February 2019
31
F9, 1/800s, ISO125
PORTFOLIO
BEST READERS' SUBMISSIONS THIS MONTH
A TEAR Photographer, Retoucher: Tanya Mishchuk Model: Beatrys Ponzoni Makeup Artist: Heather Newcombe
Tanya Mishchuk
GHOST TREE F4.8, 1/500s, IS0720
SACRAMENTO, CALIFORNIA, USA
I went out in the rain to photograph the leaves floating in a black bottomed swimming pool, then inverted the image to bring the reflected tree upright.
Andy Popadiuk
MATAI FALLS F4.5, 1/6s, ISO100
THE CATLINS NATIONAL PARK
One of the beautiful falls in The Catlins, a 30 min walk through native bush.
Hilary Lakeman
LATTE BREAKERS F7.1, 1/400s, ISO250
CARMEL RIVER STATE BEACH, CALIFORNIA, USA
An overnight storm forced the lagoon to breach the sandbar and dump volumes of silt and sand into the bay (an annual event). In the afternoon large swells rolled in and churned it all up, while turkey buzzards patrolled for anything edible that might have washed up.
Andy Popadiuk
TUI FEEDING ON FLAX F6.3, 1/160s, ISO160
WAIRAKEI RESORT, TAUPO
I was lucky enough to play golf at the Wairakei resort. I actually took this shot in the car park even before we entered into the predator proof fenced area.
Carole Garside
QUEENSTOWN TRIP F18, 1/320s, IS0200
WAIRAKEI RESORT, TAUPO
This picture of Lake Wakatipu was taken during our trip from Queenstown to Glenorchy.
Gary Reid
LEVITATION F4, 1/3000s, ISO200
FEATHERSTON
A 2 week old fawn watches the photographer as she floats in canter.
Greg Arnold
IN SHE COMES F14, 1/13s, ISO50
CABLE BAY, NELSON
Some of the best water movements & textures I have captured. Taken an hour or so before sunset with some nice warm and dark light, It was the first set up I did on this afternoon shoot and ended up being the only good shot out of 2 hours of non stop shooting along this coastline.
Jesse Hebberd
STRETCH UP YOUR LONG NECK F11, 1/500s, ISO250
FALKIRK, SCOTLAND
"Stretch up your long necks to greet the sun" says a sign at The Kelpies in Falkirk, Scotland. That was the inspiration for this shot. The Kelpies are amazing sculptures by Andy Scott, a must see if in Scotland.
Peter Maiden
NIKSEDELIC GLENORCHY F14, 1/13s, ISO50 We were on a trip to Milford Sound, camped at Twenty Five Mile Stream Glenorchy. We reached the campsite at midnight and settled down asap to wake up early for the dawn. I clicked a few interesting pictures of snowcapped mountains with the dawn sky, testing my friend as a subject.
Nihad Mahamood
THE RESTORATIVE POWER OF A TRANQUIL HOUR F7.1, 1/80s, ISO100
DUNEDIN
Kayakers are gliding on the still surface of Otago Harbour. The great city of Dunedin is visible in the distance.
Peter Kurdulija
SURF SUNDAY F14, 1/5000s, ISO160
MURIWAI BEACH
Early Sunday morning, the beach fills with silhouettes of surfers and boards as they make their entry into the west coast waves of Muriwai Beach.
Rachel Elder
PHOTOGRAPHERS MAY OR MAY NOT MAKE A LIVING BY PHOTOGRAPHY, BUT THEY ARE ALIVE BY IT.
ROBERT ADAMS 52 NZPhotographer