NZPhotographer Issue 2, December 2017

ISSUE 2, December 2017

INTERVIEW WITH RINA SJARDIN-THOMPSON BEHIND THE SHOT WITH KAREN MCLEOD

Q&A WITH PAUL ROBERTSON EXPLORING EAST CAPE

TAKING ON TARANAKI

BY BRENDON GILCHRIST

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From the Editor Dear reader, We were thrilled to receive so much kind feedback after the release of our first issue.

Your helpful comments and continuous support motivated us to make the second issue even more magnificent than the first!

In this issue, we’re proud to share various photographers’ thoughts, expert critiques, travel inspiration, and more. We had the honour of interviewing talented individuals, discovering brand new tips to share with you, and growing our community. The photos gracing these pages were carefully selected to inspire you as much as possible.

Taya Iv, Editor

Join the conversation! nzphotographer nzp_magazine nzp@excio.io Get in touch!

General Info: NZPhotographer Issue 2 December 2017 YOUR SOURCE OF INSPIRATION Cover Photo

by Rina Sjardin - Thompson – Kahikatea Astro Publisher: Excio Group Website: www.excio.io/nzphotographer

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Group Director: Ana Lyubich ana@excio.io NZPhotographer

As I write this, I’m reminded of the true value of beginnings. NZ Photographer Magazine is only a couple of months old now, yet it has already grown into something significant.

Within a few weeks, our team has gotten to know an abundance of talented individuals.

We’ve had the opportunity to give artists a chance to be truly heard. What a humbling experience this has been for us. It wouldn’t have been possible without you, dear reader. Thank you for being a part of our community. Thank you for being you.

We look forward to seeing your work in future issues!

Editor: Taya Iv Graphic Design: Maksim Topyrkin Contributing Writers/Photographers: Rajib Mukherjee, Ray Harness, Brendon Gilchrist Editorial Assistant: Emily Goodwin Advertising Enquiries: Phone us on 04 889 29 25 or send us an enquiry hello@excio.io

© 2017 NZPhotographer Magazine

TABLE OF CONTENTS 4 INTERVIEW WITH RINA SJARDIN-THOMPSON 10 Q&A WITH PAUL ROBERTSON 20 BEHIND THE SHOT WITH KAREN MCLEOD 22 TAKING ON TARANAKI 26 50 YEARS OF PHOTOGRAPHY WITH RAY HARNESS EXPLORING EAST CAPE 30 Emily Goodwin NOISE REDUCTION TECHNIQUES FOR LOW LIGHT PHOTOGRAPHY 34 Rajib Mukherjee 36 EXPERT CRITIQUE 41 PORTFOLIO BEST READERS' SUBMISSIONS THIS MONTH Brendon Gilchrist

All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior consent of the publisher.

About NZPhotographer 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!

Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.

Photo by Diane Beguely Kingfisher

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Interview with Rina Sjardin-Thompson Her Journey from Farmyard to Fulltime Photographer

Can you tell us a little about yourself and how you became interested in photography?

I was born in Rotorua, moved to Australia when I was 16, finished school there, left school at 18, 6 months later I got married and worked alongside my husband in our bricklaying business and then I worked in a behaviour management unit as part of the Queensland Education Department.

After 25 yrs in Australia I came home, back to Rotorua and worked in management of a retail store until I found my feet again and settled.... problem was I didn’t settle, I moved to Hanmer Springs where I met a bloke from the West Coast. When I realised he was 5th generation on his farm at Bruce Bay I realised he was not going to pack up to be with me so I moved to Fox Glacier and eventually to Bruce Bay. This was where I started taking pictures.... how on earth could you not!!! Every morning I’d wake up, go to the loo and look out the window to see the Mahitahi River winding its way out of the mountains, Mt Hooker permanently covered in snow, albeit a strip down the middle in summer, the Flagstaff Creek coming out of the foothills and Hereford cattle grazing beneath 1000yr old Kahikatea trees..... oh and occasionally a few deer!!! Truly amazing scenery.

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There was a small 4-megapixel camera in the drawer and I used that to snap away around the farm... quite the culture shock for me having come from Brisbane/Gold Coast Australia to the very rural Bruce Bay and onto a farm no less. I had a lot to learn. My then partner needed photos of his prized bulls for catalogues and images taken from around the farm for advertising his bull sales so I began to take the camera everywhere I went – I was never without it. I upgraded to a DSLR and took that everywhere with me... I had caught the bug. Bitten and smitten you could say!

My first competition came with the invitation to enter a small local calendar competition – The top 13 images being used to create the calendar... I had 4 images go into that calendar including the cover... then people started asking for a particular image of the two bulls fighting in the river so I was giving them away.... Then it was suggested I enter a bigger regional competition which I did. I entered 3 images in each category and won 1st, 2nd, 3rd in each category I’d entered.... that was when I thought “ok, maybe I can take a photo” and from there the sales started.

It was good to test the waters with these smaller comps but now the only competition I enter is the NZ Geographic Competition. I love that NZ Geographic have restrictions on the processing of entries and they hold you to a certain standard thereby making it a soughtafter title for photographers. Love that.

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What happened next, how did photography become your career?

I began loading my images onto Flickr and I created a Facebook page, though this wasn't for photos. It was to keep in touch with friends whilst travelling but very quickly became about photos and soon after it became my office, gallery, and portfolio! I have no website as I think FB does a better job and I can communicate instantly with people and potential clients.

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I had an experience where I was doing the photos at a family reunion in Fox Glacier.

A woman came up to me and said, “I love all the photos you put on FB Rina.”

I frowned as I looked at her name badge as I didn’t recognise the name. So I asked her, “How did you find me?”

She replied, “I have a sister in Scotland who has a friend in England who has a friend in Australia who is friends with my friend Paula....” I realised that Facebook would have to stay!

What tips do you have for our readers on turning a hobby or interest into a career?

It’s a journey and its a process. Unfortunately, there are no shortcuts you have to do the hard yards to learn how to use your camera. For me things have worked a little differently than most as I pretty much fell into photography as I have with all my careers. There was never a master plan, never a burning desire, never a marketing strategy, never a conscious decision to go down this road – In fact, for me, its more like my camera is taking me on a journey, not me taking my camera. I now go where the work takes me and I love that... I’m literally just going with the flow!

“THERE ARE NO SHORTCUTS BUT TO DO THE HARD YARDS” Rina Sjardin - Thompson

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Tell us about getting published in New Zealand Geographic...

What can I say? Apart from having someone purchase your images to hang in their lounge, being asked to publish in NZ Geographic is kind of the ants pants really. It’s the one place, other than National Geographic, where everyone wants to “be seen”.

For me, I was gobsmacked and didn’t really realise what they saw in that image until I saw it published and read the text they wrote with it!!! They found me through Flickr where they’d periodically choose images that they faved which in itself was pretty cool.

What’s your proudest moment in the photography world?

I’m not sure it has happened yet. I’ve met some amazing people and had some great adventures and even introduced others to where I live to enjoy the adventure with me... to be honest, I don’t really understand the fuss that goes along with photography... as if we are any different to a plumber or labourer doing their job. Egos are rife in this industry and I struggle to work out why there is a certain strut that photographers can take on when lugging around a big camera with a larger lens... they are all just tools to help us do our job.

I suppose if I were to be “proud” it would be that I am doing this full time when there are so many other talented photographers out there that can’t or are

“IF YOU ARE NOT ALREADY A PHOTOGRAPHER, NZ WILL TURN YOU INTO ONE”

Rina Sjardin-Thompson

not. The other possible proud moment would be when I am teaching in workshops and I see students get it. When they figure something out they thought they couldn’t do or when you see them growing and producing good work! That’s pretty satisfying I think.

What equipment do you use?

I use a Canon 6D and L series lenses. 24 -105mm, 100mm macro, 100 – 400mm (my walk around lens), and 16 – 38mm.

I don’t use filters other than an ND8 for water....

So you can see my kit is as simple as I am and as simple as my work is. But I like it like that... and you know what... it works for me.

I usually would say it doesn’t matter what gear you have until you know where you are going with your interest in photography, can afford all the good gear or want to concentrate on something specific. I’m more interested in how people see the world and fill the frame more than what gear they captured it with.... too many times I see people bragging about what gear they have so the expectation is they MUST have great images.... not so!!!

Where’s your favorite place to shoot in NZ? Without a doubt the West Coast. It is the MOST underrated, underutilised area in NZ for photography.

It’s not an easy place to live if you’re not used to being without all manner of creature comforts but that’s part of what the West Coast is all about.... This place is just amazing!

Any locations still on your ‘to shoot’ list?

People have asked me why I’m not travelling the world with my photography. I kinda think that I am already where the rest of the world wants to be

whether they are purely a tourist or a photographer....

If you weren’t already a photographer, NZ will turn you into one!!!

I’ll go wherever the work takes me but I feel that I could take photos for the next 50 years (I will be 103 by then)... and still not cover NZ and all it has to offer!

So no, I am totally happy to be a homebody!

Tell us about your workshops...

Four years ago I started teaching beginners who were terrified of their cameras and its settings so I wanted to change that for people... After doing them on my own for 2 yrs I invited Mikey MacKinven to join me to teach astrophotography and editing. I have designed a few different styles of workshops for Epic Photography Workshops ranging from beginners long weekends to the longer 7 day epic workshop which include doors off heli shooting, a night in an alpine hut and a few hrs on the ice enjoying one of the 2 glaciers we have here.

I have started to work with Rachel Gillespie from NZ Adventures to run Female Photography Adventures which have proved to be a huge response... These are long weekends run each month in different areas of the country. These are with beginners in mind, the intention being to build confidence not only in their photography but also within themselves. Through workshops, we also offer mentorships so that they are not left on their own once the workshop is done!!

As I have said previously that I will go where the work takes me, I am in the middle of organising workshops/ tours overseas: • South Australia with local photographer Dave Birch • Africa with host Tracy Pepper • Canada with local host and guide Paula Sheridan of Okarito Boat Tours

“GOOD GEAR DOES NOT TRANSLATE INTO GOOD PHOTOS” Rina Sjardin-Thompson composition but if you purely look for the light, that’s all you need to create magic... See step 1.

That also goes for editing as well. As I said, less is more.

4. Chase The Light. The light is what will make or break your image.

What other tips do you have?

1. Never wear white around water. It is a guarantee that you will fall in, be wiped out by a wave, get caught in heavy rain... only to find your whites are no longer white but opaque.... True story!!!

2. Chocolate. Never leave home without it – You always walk further than you think you did and you’ll need it for the return trip!!!

3. An over inflated ego is not attractive, in fact, it’s downright ugly so stay modest.

4. Don’t rely on others to motivate you... You have to get you out of bed in the morning. You have to want to learn and you have to do the do.... and only you. Photography is essentially a lone activity and if you can’t motivate yourself to get out then its not going to work for you.

5. When you are mustering cattle, fall off your horse, and 2 fighting bulls come at you – RUN!!!! Don’t stand there taking the photo and have your partner telling you to “F@%K the photo get out of the F@#Kn way!!! NB: That image became my 5th best selling image!

What are 4 basics of landscape photography that our readers should know?

Where can we find you online?

1. Be Patient. Rather than hit the location, grab a shot or two then hit the road, spend the time “getting to know” and getting “the feel” of the place.... Your images will be sooo much better for the time spent connecting to your landscape.

“Rina Sjardin-Thompson... “Find me on Facebook”.

My business cards simply say, as does the text on my high vis vest for sports photography,

www.facebook.com/rinathompsonphotography

2. Get Out. People have asked how I get consistently good photos. That’s easy. You have to get off the couch and go out and you also have to develop new habits like taking the camera with you all the time. Re-train yourself if you have to, to take advantage of the best light the day has to offer you.

3. Keep It Simple. I think we tend to overcomplicate things and look for the most jaw-dropping

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Q&A with PAUL ROBERTSON 10 NZPhotographer

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lens (which I absolutely love using), and two Tamron lenses - SP 24-70mm f/2.8 (I use this lens the most) and SP 150-600mm f/5-6.3.

I only buy new lenses that can be mounted on a full frame Canon so that I don’t have to start over again when I upgrade my mount.

My flash is a Canon Speedlite 600 EX-RT and it’s great – I never liked the built-in camera flash.

I also have two tripods, a cheap wireless remote and a few filters (Marumi ND and Polariser), plus a light reflector and a portable soft box stand that I use for off-camera flash.

You seem to shoot all genres, what’s your favourite? And least favourite?

Yes, I like all sorts of genres and styles, whether it be a perfectly lit formal studio portrait, or a raw grainy black and white landscape or street photo, so I have not been able to bring myself to specialise in any particular genre or style.

What I love to do most is to create images that are very unique in some way and also have a wide appeal; images with good light and a bit of a story, and often that involves having a person, or group of people, for subjects in the photo.

Can you tell us a little about yourself and how you became interested in photography?

I live in Palmerston North and am married with one daughter. By day I work as an administrator in the transport industry.

I have liked visual arts in general since as long as I can remember. I used to do a lot of art as a child, and I also spent many hours looking at my set of wildlife encyclopaedias and other books with lots of photos.

I got my first camera at age 11 or 12, it was a Hanimex Hanimette 110 pocket camera, and I still have it. It was not until digital cameras arrived that I really began to start doing a lot of photography though, despite having owned two film SLR’s.

Do you have any professional training?

In photography, no - I am self-taught. I shoot mostly on manual mode, and I do a lot of manual focusing too, so I have learnt all that pretty well.

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I did do some private evening art classes once, and a Graphic Design paper at Massey University some years back, and both were very helpful for learning theory and understanding a lot about good composition and so on, which is knowledge that I am able to transfer into my photography.

A good and well-shot long exposure landscape with perfect light and a dramatic sky, for example, is always very nice to look at, but if you can place an interesting person into the

right spot in the scene then that makes it that much more interesting and appealing. The biggest challenge with that though is finding willing subjects for the photo and then making it all happen.

As for my least favourite - Well, I dislike badly lit and poorly framed photos, and selfies from phone cameras. In fact, I have an old ‘brick’ phone (grey Nokia, it has no internet or camera), and that’s just the way I like it - No photos with that!

You won a photo competition in 2016 which then turned into an exhibition - Can you tell us a little about that experience?

It was Alliance Française’s competition and the subject that year was ‘Sport Objectif’. A friend saw the competition advertised in the local newspaper and mentioned it to me. So I entered two photos I shot in March last year of the annual beach horse racing event at Castlepoint.

All local winners’ photos from around the world are sent to Paris for the international competition and the overall winner receives a trip to Paris. After I had entered, I told the people at Alliance Française that I had been to Paris fairly recently and I offered to take a couple of my printed photos from Paris in for them to see, as well as a few other photos from my Camera Club competitions.

With the technical side of photography (learning about making good use of a DSLR, and lenses and flash, and framing and light, etc), it’s largely been a mix of trial and error, and learning from others, both from tutorials on the internet and from other members of the Manawatu Camera Club.

What equipment do you use?

I use a fairly inexpensive - and now ageing Canon EOS 600D. I have the two kit lenses that came with it; the Canon 18-55mm EF-S f/3.5-5.6 IS II and 55250mm EF-S f/4-5.6 both for APS-C sensor only.

I have since purchased three more lenses; a Canon macro EF 100mm f/2.8 L IS USM prime

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So I did just that and when they saw my work they immediately invited me to exhibit 18 of my Paris photos.

Deciding on 18 prints was difficult when I shot around 1,800 photos in Paris. I had some favourites that were on the top of my list though, and I chose another 40 or so, which I processed and then gave them all to Alliance Française to make the final selection of 18. My two winning ‘Sport Objectif’ photos were exhibited at the same time, so there were 20 photos on display in all. I know they had difficulty choosing the final set, but their choices were perfect. They very kindly organised the printing and the mounting and all the associated costs too.

The exhibition was to run for three weeks, but the exhibition that was to follow was cancelled, so my photos remained on show for a further three weeks. I sold a number of prints, mainly Paris photos, but also one of the horses. It was a real buzz. I think every keen enthusiast should give it a go at least once if they have the chance, and enter competitions as, as you can see, sometimes it can lead to other opportunities!

This year Alliance Française asked me if they could get even larger prints done for their library. I was

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more than happy to oblige, so they have a half dozen or so permanently on display there now.

How did you start working with Dionisi Boutique?

I entered the Alliance Française competition again this year, and I won it again. The subject for the 2017 competition was ‘Fashion and Dress Code’ and I asked one of the young woman at Alliance Française, Florence, if she would like to model for one photo (you have to enter two photos).

It turned out that Florence makes clothes and she used to operate a small fashion website when she was in Lyon before she came to New Zealand.

So, she made an amazing dress without a sewing machine, and then she modelled in the hills one cold Sunday afternoon for me.

In September this year Florence launched Dionisi Boutique and I offered to shoot photos for her website. So things just took off from there really. We did a shoot in September at Castlepoint Beach with Florence and an old treadle sewing machine belonging to my wife, and also the main fashion shoot with another amazing model for Dionisi Boutique at the same time.

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So, just by getting out and doing projects, and entering competitions, and asking people to get involved, sooner or later you find things just start to happen more and more.

Any tips for getting a model release? Do you create your own or use one found online?

What tips do you have for working with models on location?

Other than that, I have no tips really - just make sure you cover all the points well to make sure everything is in order, so there is no risk of any problems later on.

Be nice, be courteous, and make it fun. I am pretty down to earth and I joke around a lot. That seems to work well, making models feel comfortable and keeping them smiling.

When I want a more serious face instead, it’s generally not too difficult to get that between the smiles and the laughter.

As for posing a model, it’s important to know what you want out of a model in advance and to make sure you have done your research. This is really crucial when you’re shooting someone who is new to modelling, but even a more experienced model - as we had at Castlepoint - usually needs a certain amount of guidance. Dancers are generally really good models because they are confident and they tend to hold graceful poses without much thought or effort.

The easiest thing to do is to find one online. I did that, then I made a few changes to suit my needs.

It’s pretty straightforward really, but it is important to do for any commercial work and for entries into big competitions. The main thing to keep in mind, I think, is that a model release is for the benefit and fairness of all parties involved in the project, not just for the photographer’s benefit.

How do you go about building a rapport with the model?

Talk! Invest some time to get to know each other a little bit and make sure both parties have a reasonably good understanding of what the other has in mind. This can take place in advance, or on the day of the shoot if need be. Just be open and always be honest. And always keep it professional and never try to pry into a model’s private life. But also have fun, don’t be a dull bore.

Do you prefer shooting on location, or in the studio, and why?

I love on location shoots. Studio sessions have their place and I enjoy them too, but I like putting people in nice scenes and using good natural light. Of course, on location sessions take more time due to travel, and you’re always reliant on the weather being kind, and the window of good light doesn’t last as long as you’d like...

How much post-processing do you do, and what software do you use?

I don’t like spending a lot of time on post-processing so I try really hard to get great shots straight from the camera to keep the post work down as much as possible.

I frame up my shots very carefully so that I rarely need to crop, and I am always on the lookout to avoid any distractions in the scene. So, I try to take just as much notice of the background as I do of the subject. But of course, there is always some post required.

I use an old version of Photoshop and that’s pretty much it. Most people I know use Lightroom, or both LR and PS, but I know PS really well and I can get the results from that alone for my needs.

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I do quite a lot of bracketing/HDR and for processing that I also use PS, or Nik Collection HDR Efex Pro. I always shoot Camera RAW and I use PS’s tool to process that too, then I bring the image into PS itself and I usually finish off with some Adjustment Layers.

Most images only take about 5-10 minutes to process, but occasionally I’ll spend an hour or more processing some images, when I want to produce something that’s a bit more special.

Any funny stories or horrific moments that you can now look back on and laugh at?

I am quite shy by nature but I love shooting street photography. There was one moment in the Paris Metro. It was my first time in Paris and only the second day, and a lady was singing on the train. I took a photo of her performing and within a minute or two she approached and was saying something, presumably in French, and I didn’t have a clue. My wife was on to it though, the performer was asking for money, so it was all a bit awkward for a moment. Over the following days, there were other times where I would have liked to shoot similar scenes on the Metro, but I was hesitant, especially since I had been severely warned by my wife to keep my camera tucked away after the first little incident.

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What is your favourite photograph ever, that you have taken?

prints. I have also given prints away to a lot of friends and family members as well.

That’s a very easy question to answer, it’s titled “Donnez-m’en aussi!” (or in English, “Get me Some Too!”).

Where can we find you online?

I often tell people that it’s the best photo I am ever going to take, like when I am long gone that’s the one photo people will remember me by, I hope! It was pure luck to be in the right place at the right time in Paris, to be by the shop and have the Dalmatian and his master come along, and the light was just perfect. I love this photo so much that that is how I still feel about it after shooting it in Paris back in November 2014.

It was my signature photo at my Paris photo exhibition in 2016 and I have sold a number of

I am mainly interested in printed photographs and print competitions, so I don’t have a strong presence on the internet.

I guess the best place to look for me at the moment is on Instagram (www.instagram.com/ paulrobertsonphotonz) which I only started using very recently so there is not a lot there just yet; and the studio and Castlepoint Beach fashion photos on www.dionisiboutique.com. And on Excio too of course. You can also watch for some of my photos appearing in the camera club’s website galleries, linked below.

www.manawatucamera.net.nz

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CANON EOS 70D WITH CANON 15-85MM LENS WITH A POLARIZING FILTER. IT WAS 9.25AM AND THE SUN BEHIND THE FOG WAS VERY BRIGHT SO MY SETTINGS WERE 1/125 SEC F18 ISO 200 15MM FOCAL LENGTH.

Behind The Shot with Karen McLeod “Tree in Fog #1” taken 19.07.17 – Gained Judges Commendation at Art Waikino at Labour Weekend this year.

Did you plan this shot or was it more of a lucky moment?

This one was definitely a lucky moment. I live in Whitianga and was due to be in Auckland for some meetings. I had already left earlier than needed time wise for the drive as it was a foggy morning and I had been waiting for an opportunity like this to capture some sunlight coming through the trees in another location. Even though I must have driven past this tree literally hundreds of times I had never noticed it before, until at 100k’s I finally caught sight of it out of the corner of my eye. About 1km up the road, I told myself I had to find somewhere to turn around and go back.

Finally doing so and the having to go back the other way a considerable distance to find yet another place to safely turn around I was in luck that there was a good area to pull right off the highway and get a clear view of the tree.

What was happening behind the camera that we can’t see?

Thankfully I was on my own, but felt a little pressured with time and even though off the road, the cars speeding past at 100ks rubber necking to see what I was doing were a worry.

If you could re-take the photo, what would you change? Or are you 100% happy with it?

I took 14 images of the tree from slightly different angles and focal lengths.

This was the 6th shot and I don’t think I could re-take it and improve it. The conditions were just right and the sun was at the perfect level.

Was any editing done after?

I used Adobe Lightroom to adjust the white balance, contrast & remove some dust spots, then Photoshop to remove a couple of shining cow pats, diffuse the sun spot a little more and crisp up the colour to what I saw.

Anything else we should know about this shot?

Every time I drive past that tree now, I slow down to look and have even stopped to take a couple of photo’s, but it is not the same as it was that morning. Those other days it has returned to being just a tree, a somewhat unnoticeable tree. It was the day after my birthday that I got this image, so I just accepted the gift of time & place and am grateful for the opportunity.

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TARANAKI CAMERA SETTINGS Nikon D750 f9, 1/80s,ISO 100

Taking on Taranaki

by Brendon Gilchrist Brendon Gilchrist takes us to Taranaki this month. Taranaki is located on the Western side of North Island and is both a coastal and mountainous region, dominated by Mount Taranaki, the second highest mountain on North Island. The promo slogan ‘Like No Other’ used to describe this place is suitably apt, this place is something else!

T

aranaki; One big mountain in the sky that beholds and takes your breath away. A place where there is so much to discover the question is ‘Where do I begin?’.

forest, take in the view of Taranaki seen through Te Rewa Rewa wave bridge and do the slightly more adventurous 15minute walk/climb up Paritutu Rock to see the stunning views all around – It’s very rewarding.

The main city of New Plymouth is a great place to base yourself and blesses you with so much to see and do. Stroll through Pukekura park with its lush

Moving away from the main city... If you want to get Into the wild without having to walk too far to get to

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something beautiful then there are many beaches that allow for some amazing views.

Tongaporutu is one place, the Three Sisters Beach and Elephant Rock (which sadly lost its nose recently) really is stunning but do be aware of the tide as you don’t want to get stuck!

Waterfalls are also plentiful with Dawson Falls, Bells Falls, and Rerekapa Falls just to name a few.

The most famous place is Pouakai Tarn. Located on the Pouakai Crossing, this is one of the most beautiful and unreal locations I have visited. The tarn is small but don’t judge it by how small it is until you see the reflection of the mountain in it. Sometimes it is so still it looks like you can see all the fine details of the mountain in the tarn - A really incredible feeling. Be sure to forget about photography for a moment to

take in what you are looking at, to be in that moment of pure bliss. Being respectful of what you are seeing will change what you shoot, how you shoot it and help you forget about your other world for a moment.

It takes skill, experience, and understanding, to successfully climb Taranaki, I have only climbed in Summer but it’s on my ‘To Climb’ list for Winter.

Taranaki needs to be respected, it is not just a mountain, it is alive, it breathes... and it’s dangerous.

The ocean being close by means that the weather changes not in minutes but in seconds and has trapped many unsuspecting hikers and climbers many many times. Summiting this mountain in summer or winter has many risks (and should not be climbed alone) but the ones who take it are rewarded with stunning views that will take their breath away.

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TARANAKI CAMERA SETTINGS Nikon D810, f16, 3 seconds, ISO 64

TARANAKI CAMERA SETTINGS Nikon D750, f16, 1/80s, ISO 250

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50 Years of Photography with Ray Harness

As I was going through my photographic gear the other day, my mind was drawn back to my first foray into the wonderful world of photography, and the cameras I have owned along the way. Allow me to invite you on a trip down Memory Lane...

My first camera was a Coronet Commander. 120 roll film, 2 f stops 8 and 16, and shutter speeds of 1/60th and 1/125 of a second. I bought it from a local market in 1968. It came with no instructions, trial and error gave me good photos, but I needed to learn about the correct combinations of aperture and shutter speed. My learning came from a great little book called “ Eye am the Camera�.

My second camera, a Christmas present from my Mother in 1974, was a Halina 110 cartridge, twice used and then discreetly discarded, (sorry Mum).

My third camera was my first SLR. A Zenit E sporting a 50mm, F2.8 lens and a Selenium match-needle light meter in the top plate.

So 1978 saw my introduction to having control of more creative photography, with shutter speeds of 1/30th to 1/500th

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of a second and aperture up to F16.

The Helios lens was really quite good, especially considering my previous equipment. Solidly built, Russian made, it served me faithfully until I felt it was time to step up to a higher spec camera to further my photographic experience.

Enter the Ricoh KR-10 in 1983. Aperture priority, automatic metering (centre weighted), shutter speeds to 1/1000th of a second, and an excellent lens.

This camera was one of my favourites, great handling, accurate metering, and precise shutter speeds. Many, many rolls of film went through this great camera, and rarely a failure. Happy days until catastrophe struck. Running upstairs to the maternity ward to see my first born, I tripped and the camera met concrete.

Game over, so, onto the next one!

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A friend had a fairly new Canon T-70 for sale, as he wanted to upgrade to the T-90. So in 1987 I purchased said camera, supplemented with an 80 – 200 Vivitar zoom. I had not read any reviews of the camera, other than basic specs (oh, it incorporated a motor drive for continuous shooting) but I was never really enamoured of the camera, and due to personal circumstances sold my gear on.

Four years were to pass before I bought a second hand Yashica F-4. Aperture priority again, handling similar to the KR-10 but, for me, lacking the precision and quality of the Ricoh. It served me well until I stumbled across a camera I had lusted after for many years!

A well used Nikon F2 appeared at a local car boot sale in 1996 at a bargain price which INCLUDED a Tamron 80-210mm lens, I was in! The F-2 came with the Nikkor f1.4 50mm lens, which in practice proved absolutely superb in function and picture quality.

The camera, although well used, still performed up to its almost legendary status. You may consider this a retrograde step in functionality, as it was a purely

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manual camera, but in quality of photographs, it is without doubt, the best film SLR I ever owned. It did mean re-acquainting myself with my Weston 5 light meter, but that was no chore. The following year saw the acquisition of the Photomic head which gave me TTL metering though aperture and shutter speed still had to be set manually.

I did, whilst owning the Nikon, take my first step into digital cameras, with a Ricoh RDC-6000. At 2.1 mp, it was fairly well specified but gave poor performance.

With failing eyesight, I bought a Nikon F65, with 28100 and 70-300 zoom in 2002. A capable camera, the autofocus being a boon for me, but the camera, sadly not awe inspiring.

Finally, my 60th birthday present last year, a beautiful Nikon D70, in great condition, and a very nice camera indeed. With the G type zooms from the F-65, and the stunning 18-70mm lens that came with the camera, I am now coming of age with the digital era.

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near-deserted roads. If you like slow-travel and can afford more time, do it!

Starting North West at Whanarua Bay you’ll find yourself experiencing a microclimate.

With a particularly soft light, what better way to start this photographic journey than with some atmospheric seascape shots, at dawn perhaps, if you can be dragged out of bed so early!

Maraehako Bay is the next port of call, a tucked-away town that almost seems stuck in a time warp. The historically important Raukokore Anglican church is close-by with its see-it-to-believe-it location next to the sea. If you’re super lucky you might be able to see penguins nesting on the shore beneath the church, and if you can’t see them you’ll surely be able to smell them!

If you don’t have any luck with a penguin shot you’re more than likely going to get some great horse photos as they roam free here.

The famous East Cape lighthouse is certainly not a place to dismiss from your

itinerary, despite the 700 steps you need to climb – The panoramic view, once you’re up there, is simply breathtaking, particularly if you’re there when the sun comes up and you can boast being one of the first people to capture a brand new day on camera.

Once you’re done at the lighthouse, drive back to Te Araroa and stop to take some shots of the 600 year old Pohutukawa tree. Visit at Christmas time and you might be able to capture it in bloom.

As we now make our way down, hugging the East Cape coastline towards Gisborne, a stop at Tikitiki to see St Mary’s Church is recommended for history and architecture lovers. The 1920’s church has a European design from the outside, but inside you’ll find Maori carvings, tukutuku panels, and kowhaiwhai patterned rafters.

Tologa Bay is famous for its 660m long pier, apparently the longest pier in the Southern Hemisphere. With neighbouring picturesque white cliffs and a black sand beach, you won’t go wrong to base yourself here for a

Exploring East Cape A region seldom explored by visitors, East Cape is an outdoor photographer’s playground with much to offer. Tucked away on the isolated far east corner of New Zealand’s North Island it has everything from crashing waves to rolling hills, galloping horses, more sheep than you can count and you might even be lucky enough to spot a nesting penguin or two...

With 350km of wild and rugged coastline to explore, the colours of this stunning landscape are just waiting to be caught on camera! A mix of larger surf beaches and smaller secluded bays and coves with driftwood aplenty are sure to make any seascape photographer happy.

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East Cape has a rich cultural heritage too, this being the landing place of the first Maori canoes over 800 years ago as well as the place where Captain Cook set foot back in 1769.

A recommended 3-5 days is needed to explore this remote and rugged area as you drive long stretches of winding,

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night to enable some stunning seascape photography from the pier at sunset.

Cooks Cove Walkway is also here, a beautiful 5.8km hike that will have you following in Captain Cook’s footsteps.

Photo opportunities can be enjoyed from the viewing point overlooking the township with plenty of sheep and landscape photography too. If you’re fit enough, continue the trek to the bay via ‘the hole in the wall’ and then the monument as it’s well worth it. Note that the track is closed during lambing season. Visit Tologa Bay at Christmas/New Year and you’ll be able to capture the Kaiaua Beach Horse races too.

Heading inland next, Eastwoodhill Arboretum is well worth the detour.

Covering 131 hectares it offers amazing opportunities for capturing some unique species of trees and plants as well as opportunities to practice your bird photography. Make a note that there’s reasonably priced accommodation on-site too with the picturesque Rere Falls on the same road. Part of Te Urewera, the largest native forest area on the North Island, is included in East Cape too and The Lake Waikaremoana Great Walk is a must-do covering 44 kilometres of tramping track.

If you’re going all out you might keep on driving down to Moerere with the hot springs before hitting the Mahia Peninsula, now that would be an epic road trip!

Emily Goodwin

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Noise Reduction Techniques for Low Light Photography In a previous article on low light photography, I pointed out that there are many noise reduction techniques that you can use during post-processing in order to produce a cleaner and much more attractive looking image. In this article I shall be discussing a few simple techniques that you can use in Adobe Lightroom.

T

he need for noise reduction comes from our over-indulgence to shoot with a high ISO number. I know modern DSLR’s have crazy low light sensitivity and they perform really well in these traditionally difficult lighting situations. But the fact

Technique 1 – Adjusting the Luminance and Color Sliders.

Noise is typically two types – Luminance and/or Color. Luminance noise is what you see when you push the exposure during post-processing.

These would begin to appear in the darker areas of the image as specs of white dust as you push the exposure.

On the other hand, color noise is typically the type of noise that you would see as colored specs in your image. They can appear anywhere and are usually dull specs of different colors. Both these types of noise have the effect of reducing the overall contrast and sharpness of your images.

To remove them you can tweak the Luminance and the Color sliders under the Detail panel of the develop module of Lightroom. Sometimes there might be both luminance and color noise in your images. In that situation, you may have to tweak both the sliders. In other cases, you may need to tweak only one of the sliders.

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remains that high ISO only induces more noise. So invariably, you will need to have some sort of noise reduction technique in order to produce images that are presentable.

Technique 2 - Using the Radial Filter or the Adjustment Brush.

Sometimes noise is apparent only in limited areas, the sky for example. At other times it’s all over but noise reduction cannot be risked on the entire image for risk of losing details. You need a different approach to reduce noise in both these situations. Both the Radial Filter as well as the Adjustment Brush work great for these sort of local adjustments of noise.

Select your preferred tool. Let’s say that you choose the Adjustment Brush Tool. Make sure you check ‘Show Selected Mask Overlay’ and choose ‘Noise’ from the sliders.

Next, choose the strength of noise reduction that you need to give to the image, also check ‘Auto Mask’ just in case you are removing noise from delicate areas where you have highly detailed areas interspersed with detail-less areas. Auto Mask will ensure that it selects the edges to limit the effect of noise reduction only to the intended areas.

When ready you can start painting over the areas where you need to reduce noise. Uncheck ‘’Show Selected Mask Overlay ‘ to see the effect. Drag the Noise slider to increase or decrease the effect. Hit done when you are happy.

In some areas, you won’t need to use Auto Mask at all. The sky, for example, will show up noise in some situations. You can easily remove this noise by using the Adjustment Brush tool. You don’t need to check Auto Mask. Simply click the amount of noise reduction and then start painting.

Technique 3 – Convert the Image into Black and White.

Sometimes the noise is too much to be corrected using just the Luminance and Color sliders. The solution is to then convert the image into black and white if you don’t want to use Photoshop.

This is a technique that never seems to fail.

To do this I prefer to convert the image into black and white by tweaking the Saturation sliders of the color channels individually. After that, I adjust the Luminance slider to ensure that I have the right tonal range among the different colors within the black and white image.

Another advantage of converting the image to black and white is that I can really push the sharpness slider all the way without making the resulting artefacts get too apparent.

Regardless of the technique that you use to lessen noise, there is always a flip side. In this case that is the loss of detail in your image. Noise reduction uses a software process whereby the pixels are ‘smoothened’. This effect, when applied to the whole of the image produces an

image that appears like melted plastic. So, it is always best to find the right balance. This will happen over time as you edit and then compare your images with those shot and processed by others.

Rajib Mukherjee

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Dejan Kijevcanin – Sunrise Land

Marina De Wit - Peonies

Expert Critique Taya Iv

Emily Goodwin

Taya Iv

Emily Goodwin

Dejan perfectly captured the breathtaking landscapes of Greece. I love the relationship between every colour in this image - the gentle orange tones in the sky beautifully complement the darker blues in the water. The only thing I’d like to point out is harshness of the shadows in the smaller rocks. Everything else is perfect!

Dejan’s ‘Sunrise Land’ is absolutely stunning – However, my eye is instantly drawn to the horizon... It looks off, as though it’s tilting ever so slightly to the left – It’s important to get those horizons dead straight as this is where the eye is instantly drawn. Moving on, we have a good composition with interesting foreground and background along with good focus. I did spot a halo around the rocks on the left (against the land in the background) which is caused by too much highlight recovery, also the white point is on the low side so you needn’t have recovered so much but this is me being picky! I personally love it! I think you can go far with your work – and I’d be happy to hang this in my home!

Marina’s graceful image is worthy of being shown off in exhibitions and museums. Her peony series is mysterious, sharp, and visually appealing. I love the placement of the flowers and how confident the overall composition looks. However, I agree with Emily’s note on the darkness of the image. While the vignette adds an interesting touch, the photograph itself looks a little too underexposed. Regardless, this photo is a perfect example of a photographic masterpiece.

Marina really has caught the feel of the old masters with her ‘Peonies’ piece. It’s difficult to critique a photograph at the best of times but when that photo has become art it becomes even more subjective to personal opinion! The soft lighting and post process is well done, and the focus is good considering the lighting conditions. Personally, I think this is a little too dark (I’d be interested to see how it prints out since each screen is different) and that we lose too much detail from the stems and vase. Looking carefully, I did note that the vignette catches the flower on the left, but overall the vignette is good and draws the eye in. Niggles aside, I’d say you pulled off your brief fantastically, put this into an old gilt frame and you have yourself a masterpiece!

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December 2017 37

If you haven't worked out what you'd like for Christmas yet, or if you still need to buy for a fellow photographer, here are a few ideas, both practical and fun, covering all price points.

Book Night Sky Photography: A Field Guide for Shooting After Dark by Jennifer Wu and James Martin

Vivitar DSLR Camera Raincover Don't let the rain stop you any longer! $34

Here at NZP headquarters we're thinking wishfully and hoping Santa has us on his Good list! Taya, our editor, would be quite happy to receive any experimental lenses such as Lensbaby while Emily, our editorial assistant, would love to get some kit for her upcoming travels, and is also eyeing up that gorgeous pink camera bag below!

$31.87

Lensbaby Wide Angle Telephoto Kit

Book The Art of Landscape Photography by Ross Hoddinott and Mark Bauer

$104

$30.56

ZOMEI Q666C Carbon Fibre Camera Tripod/ Monopod kit

Kelly Moore Ponder Camera Bag

$245

Grizzly Camera Bean Bag Rest One of those items that you don't think you need, until you've had it and discover you can't live without it!

The Photographer's

Christmas Wish List

$499

$77.95

Get those horizons straight each and every time. $16.95

Epson Expression Premium ET-7700 Eco Tank Printer $1486.66

Help! I'm a serial shooter too!

Toshiba Canvio Connect II Book 30-Second Photography: The 50 Most Thought-Provoking Photographers Styles Techniques Each Explained in Half a Minute by Brian Dilg $19.72

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Spirit/Bubble Level

$40.97

Don't get them muddled up when you go to grab on the go! $32.07

$221

$19.97

I Shoot People Mug

Camera Lens Travel Mug

Men's Outdoor Leisure Photography Vest Waistcoat

Novelty Miniature Camera Clock

Lens Cap Holder Clip Belt

$76.96

$169.84

All products available and prices correct at time of publication. NZPhotographer will receive compensation if you purchase any products using the affiliate links above, this does not affect the price you pay and you're welcome to use our suggestions but find a different retailer. However, if you do want to support us, we thank you!

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PORTFOLIO

Best readers' submissions this month

Brigit Platt Sunset Over Porthmeor Beach On holiday in St Ives, Cornwall, one evening there were the most breathtaking colours in the sky as the sun was setting over the beach.

CAMERA ON IPHONE

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Barbara Kerr

Bruce Miller

Southern Black Backed Gull

Himachal Pradesh

Friendly gull just posed for us, even turned his head a little!

This is a sunset view from the 10th Century Baijnath temple, Kangra, Himachal Pradesh.

SONY A380 ON AUTO SETTING ISO400 1/125S F8 35MM

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December 2017 43

Bruce Miller

Alistair Boyd

Tibetan Lady I set up a tripod mount opposite a shuttered store which I used for a dark backdrop. Then I just waited for pedestrians to walk into the composition.

The Winery A small, intimate family cafe / winery in Croatia.

MAMIYA / LEAF MP50

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December 2017 45

Ciara Gibson

Dejan Kijevcanin

Titahi Bay Sheds

Summer Sunrise

Taken on an evening, this is the cover photo of my fund-raising calendar for my school choir trip to Europe.

Summertime. A young woman walking on a beach at sunrise.

CANON EOS 80D F/4/, 1/320S, ISO100, 105MM

F/9, 1/50, ISO100

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December 2017 47

Demelsa Burnand

Diane Beguely

Rugged

Lake Waikare

This is an image of the coast north of Patea Beach. This is the rugged West Coast with cliff's, black sand and enormous waves. This was taken one August afternoon and it was a wild day. Patea is where I grew up and I love the views up and down the coast - So moody and dark and rugged that you can't help but pay attention!

We live in the lovely rural town of Te Kauwhata in the Waikato. There are loads of photographic opportunities in this rural setting and one of my favourites is to drive around our local lake and capture the many landscape vistas. This shot was taken in the early evening causing the light to cast shadows across part of the paddocks.

I was just learning when I took this photo and I'm pretty sure it was on Auto - Not that I use that much anymore, but this is one of my all time favourite photos.

1/40, AV:13, ISO100

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EJ Mathers Big Apple Skyline If you can make it here, you can make it anywhere...

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Leopard

Gary Reid

Leopard laying around.

Canon 30D, F/10, 1/125

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Emanuel Maisel

Karamu Walkway

Emanuel Maisel Last Light Surfing

This was taken up at the Karamu walkway. Shot as I was about to walk back.

Think I was more fascinated by the surf doing a last moment Surf than the sunset. It was one of those moments... the sunset across the Bay or stick to surfers.... the surfers won.

F/6.3, ISO100, 1/400s

F/6.3, ISO160, 1/320s

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December 2017 53

Gary Reid

Emanuel Maisel

Raglan Sunset Whale Bay last light on the way home. I looked back, saw the scene and pulled off the road nearly going down the hill. The clouds were in explosion mode.

F/7.1, ISO200, 1/125s

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Chameleon We watched the Chameleon slowly cross the road then climb into the tree. I waited until it got to window height of the car before taking this photo.

Canon 30D, F/10, 1/1000

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Eva Polak Mr.Robot

Light and‌

Another image from my moss series. This looks to me like a robot from the War Of The Worlds movie.

Another image from my moss series. I like to play with water, light and colour together with a very shallow DoF to create fun and interesting shapes.

F/8, 1/50s

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Eva Polak

F/1.4, 1/1000s

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EJ Mathers

North American Landscapes - Montreal The Canadian city of Montreal shot as an 8 image panorama from atop Mont Royal.

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December 2017 59

Jeff Ross

John Kelly

Motukeikei

Radiant Tui

Trying out my ND400 filter on Canon EOS 5D Mklll

Saw this radiant Tui sunning itself. When I put it on the computer I saw the bee added a nice touch also.

F/11, 20s, ISO100, 100mm

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F/2.8, ISO100, 1/1250s

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Lance McCaughan

Linda Cutche

Golden Light Over Muriwai Gannet Colony

That Wanaka Tree

Muriwai Gannet Colony at sunset. It was cold and windy but I saw a chance to get a scene with a type of lighting I like in a style of old oil paintings.

I am drawn to this beautiful tree as it changes with the seasons, weather and time. I find it challenging as it has been photographed extensively and is a draw card for tourists to visit the Wanaka area.

F/5.6, ISO400, 1/200s

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F/20, ISO100, 1/3s

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Lynette Vallely

Marina De Wit 5 Tulips

Stormy Swells

5 orange tulips in glass jars, I loved the bright color and the sideways composition, it is as if they are leaning towards the light, looking and yearning for something better to come...

Captured at Castlecliff Beach Whanganui on a beautiful stormy day.

F/22, ISO 500, 1/160, Focal length 200, Bias +0.3

NIKON D7200, F/8, 1/250, ISO100. NIKON MACRO 105MM, F/2.8

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December 2017 65

Lynette Vallely

Peter Booth

Silver Eye With Winter Treat

Italy

Silver eyes were regularly visiting the coconut feeder I hung in my garden.

Fortress City, Umbria.

F/6.3, ISO4000, 1/2500, Focal lenght 200

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December 2017 67

Peter Booth Bird And Berry A bird with a berry in her beak on a San Moritz walk.

Peter Kurdulija Perpetual Void West Coast, New Zealand.

NIKON D7100, NIKKOR 18-200MM, F/8, 1/400s, ISO200

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December 2017 69

Sundown at Te Anau

Peter Kurdulija

It is the simple things that make our souls smile, like an evening walk by a great lake while inhaling the random snowflake augmented virgin air, floating down from the nearby mountains.

A sense of wonder is provided by spectacular nature and the late golden sunlight that can visually elevate its mundane man made contributions, resulting in an impressive sight.

NIKON D200, NIKKOR 18-200MM, F/7.1, 1/200SEC, ISO100

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December 2017 71

Teresa Angell

Ray Salisbury

European Greenfinch

Window into Wharariki

Started with a goal to capture the greenfinch in our garden in flight. Concealing myself in a bird hide over many days, over many months looking to perfect the capture I managed to get this one.

Ultimate goal is to capture two birds facing each other in flight.

Seen this shot on the Windows 10 screensaver? This is my improved version, but employing HDR blending techniques to bring out the detail in the shadows.

CANON EOS 7D MARK II, EF70-200mm F4L lens at 135mm, F/7.1, ISO400, 1/2000

Staying in the local lodge, I returned to the sea cave mid-morning at mid-tide. Using a shower cap to stop the drip, drip, dripping onto my DSLR, I bracketed my exposures to cover the high dynamic range.

CANON 5D MARK 3, F/11, ISO100, Varied shutter speeds, Exposure Blend

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Ray Salisbury

Steve Harper

Sunstar on Fifeshire Rock

Branches and Morning Light

The Fifeshire and Arrow both hit this Nelson landmark in 1842 after settlers disembarked. On this evening, the sun kissed the rock, as I utilised a narrow aperture to create the sunstar effect.

Double exposure sunrise and tree branches.

CANON 5D MARK 3, F/32, ISO100, 1/20s, 120mm

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Morning Meditations

Steve Harper

A morning view East from Maungakiekie.

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F/16, ISO100, 1/3s, 24mm lens

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Teresa Angell Bullers Albatross While attending a PSNZ Convention I took a trip to Kaikoura and went out to see the albatross at sea. I was impressed with the grace of the birds and caught this one casually swimming up close to the boat.

CANON EOS 7D, EF 100-400mm lens at 400mm, F/7.1, ISO200, 1/1000s

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Peter Booth Archway Sunset Sunset in Tuscany.

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