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f you’ve read any of the camera reviews I’ve done in AP over the last few years you may have noticed my daughter Lydia (now 3 ½) makes an appearance in many of them. When I became a parent I was always keen to capture my own family, and as my own life transitioned into family life my daughter quickly became my most photographed subject. It’s lucky then that photographing her easily gives me the greatest joy in photography.

So when my second daughter Clara came along in May this year I decided that this time I wanted to record her birth. This is partly because Lydia’s birth was so intense that photography was the last thing on my mind, but also because I know that for many parents, photography has a tendency to fall down the priority list by the time baby number two (or more) comes along. I figured if I could start with a bang, I’d have a bit of momentum to keep photography fresh into the first few months as well, and hopefully I’d end up with a pretty unique record of one of the defining moments in any parent’s life along with it.

I went in prepared. I’d researched the kind of images I might be able to take and spent hours visualising how it would unfold on the day. I had one lens, one camera body and one charged battery. I was nervous like any new father, but also keenly aware that when it came to the photography there would be no second chances – miss focus or have the wrong settings and the moment would likely be gone.

As it turned out, I was right. Events move incredibly fast and husbands are not the priority in the delivery suite. I was given a stool to sit on, and strict instructions to stay on it. It meant I really only had one angle to shoot from, which was perhaps a good thing - I just had to work with what I had and get on with it. All those years of writing reviews and knowing my gear intimately paid off in spades - I was able to change settings in the heat of the moment with a minimum of fuss and capture events just as I had hoped.

In the end however, my favourite shots weren’t even the shots of the delivery. They were the moments before and after - a shot of the medical staff huddled around my wife Laura outside the birthing suite, or Laura recovering as Clara slept next to her. On the day I was an observer, but also actively involved in a way that few photographers ever truly get to be.

I’m sure I’ve said it before, but it’s the photographs of our families and loved ones that are the images to treasure the most, and as photographers we’re uniquely skilled to capture these moments.

Take them, because they are one of the most special gifts we can give. C

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$061-& of years since we first heard about the New Big 5

project, the initiative has announced the ‘new Big 5’, a list of animals for wildlife photographers to pursue trophy photos of.

Historically the term has roots in the colonial era and was used by trophy hunters in Africa when referring to the five most prized and dangerous animals to hunt on foot. This group consisted of the elephant, rhino, leopard, Cape buffalo, and lion.

The New Big 5 project is an attempt to reclaim the term for conservation purposes, and is supported by over 250 prominent photographers, conservationists and wildlife charities.

More than 50,000 people voted for animals, with the elephant, lion, polar bear, gorilla and tiger, anounced as the

new Big 5. All are keystone species listed by the International Union for Conservation of Nature as either critically endangered, endangered or vulnerable.

One of the hopes of the project is that it will further encourage photographic tourism globally. Photographer Graeme Green, who organised the initiative, said it could bring money to pay for conservation work that benefits animals on the wildlife bucket list, creating a positive alternative to trophy hunting.

“While the big charismatic species are great ambassadors, we need to increase awareness about all creatures,” said photographer Ami Vitale, one of the contributors to the initiative.

You can find out more about the New Big 5 at www.newbig5.com.

A(03*--" #: 5)& 8"5&3 *."(& 8*/4 */5&3/"5*0/"- &/7*30/.&/5"- 1)050 "8"3% 5)& Prince Albert II of Monaco Foundation has just unveiled the winners of its inaugural Environmental Photography Award. The theme for this first edition of the competition was ”Humanity & Wildlife: Crossed Destines, Shared Territories”.

Chosen from a pool of 5,600 entries, Kathleen Ricker was selected as the first-ever gand prize winner. She won the award for her entry titled Gorilla by the water, which she captured during a trek in the Ugandan mountains.

As overall winner Ricker takes home the title of PA2F Environmental Photographer of the Year 2021 as well as a cash prize of €6,000.

You can see all the finalists at exposition.fpa2. org/online-exhibition/ ] ] +6-: ] "6453"-*"/1)050(3"1): $0.

E X PA N D YO U R C R E AT I V E P L AYG R O U N D

Why do you create? Whatever your reasons, do full justice to your creative voice with striking, high-quality images brought by the combination of a full-frame sensor and superb NIKKOR Z lenses. An ode to every kind of creator, the Z 5 gives you a whole new range of possibilities from impressive portraits with beautiful bokeh to richly coloured landscape shots – all from a portable, tough, easy-to-handle body. City or nature, day or night, wherever inspiration strikes – the world is your playground.

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.*/%4)*'5 4 /&8 305"5*0/ #"$,1"$,4 '&"563& "/ */(&/*064 8": 50 "$$&44 :063 (&"3 5)*/, Tank Photo has launched a new series

150-500mm F/5-6.7 Di III VC VXD (Model A057)

For Sony E-mount.

Di III: For mirrorless interchangeable-lens cameras.

of its ‘Rotation’ Backpacks, which incorporate a rotating belt pack that can house essential camera gear and are easily accessed without placing the bag on the ground.

The company is calling the bags the ‘ultimate adventure pack’, and all feature a rotating belt pack that can house essential camera gear, such as a DSLR or Mirrorless body, several lenses and a variety of accessories. This Rotation180 system uses an integrated magnetic closure on the belt pack lid, enabling camera access from stowed to shooting position in less than 3 seconds.

To use it, the wearer simply rotates the integrated belt pack to the front of their body to access their camera.

The MindShift Rotation Backpack Series is available in three sizes ranging from 22, 34 and 50+ litres of capacity. Each backpack includes a camera belt pack, a 10-point adjustable harness system and room for personal gear.

The smallest, the 22L model with Belt Pack (6 Litres), will fit one ungripped Mirrorless or DSLR camera kit with 2-3 lenses or a 24-70mm f/2.8 attached to the body, with 16 litres of capacity for personal items in the main storage space.

The largest, the 50L+, will fit a wealth of gear, one gripped Mirrorless or DSLR kit with 3-5 lenses or 70-200mm f/2.8 attached along with personal items.

The Rotation 22L has an RRP of $455, the 34L, $555 and the 50L+ $795 AUD. You can find out more about the new bags at thinktankphoto.com.

$"/0/ $0/'*3.4 5)& &04 3 *4 $0.*/( 400/ $"/0/ has confirmed it is working on a new full-frame mirrorless camera, the EOS R3.

Aimed at professional sports, wildlife and news shooters, the EOS R3 will feature a back illuminated, stacked CMOS sensor, a DIGIC X imaging processor, up to 30 frames-per-second (fps) shooting with AF/AE tracking, eye, head and body detection and an innovative new autofocus Eye Control Function not seen since the the EOS Elan 7NE back in 2004.

The EOS R3 is expected to sit slightly below the EOS-1D X Mark III, but above the EOS R5 in the hierarchy of Canon models.

The R3 will sport an entirely new 35mm full frame, back illuminated, stacked CMOS sensor developed by Canon. Powering the camera

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is a DIGIC X image processor that realises its impressive burst rate - up to 30 fps with AF/ AE tracking when using the electronic shutter, a statistic only Sony’s A1 can match currently.

Canon says the R3 will also offer new technology to manage rolling shutter/image warping - a common challenge with electronic shutters, and will be capable of capturing moving subjects with ‘reduced noise’ in lowlight environments such as indoor areas or nighttime scenes.

Onboard, there’s a next generation Dual Pixel CMOS Auto Focus (AF) system capable of tracking subjects’ eyes and heads as well as new capability to detect subject torsos, with Canon also confirming development is underway to enable detection of additional subject types too.

Interestingly, the EOS R3 will also feature an AF technology we haven’t seen for decades - Eye Control. First seen in Canon’s EOS 5 way back in 1992 before disappearing for good in 2004, the EOS R3 will be the first digital camera to offer Eye Control AF. This will allow users to select and move the AF point using their eye, via the viewfinder.

Canon couldn’t confirm with us when it will launch, but it is expected to be later this year.

You can stay updated on all the R3 developments by signing up to Canon’s email list at canon.com.au/preference-and-settings/in-focus.

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

26*$, 4/"14

Made for Mirrorless.

1"/"40/*$ "//06/$&4 5)& () ."3, ** () */$0.*/( 1"/"40/*$ has announced not one, but

28-75mm F/2.8 Di III RXD (Model A036) For Sony E-mount.

Di III: For mirrorless interchangeable-lens cameras.

two new GH series cameras - the streamingfocussed GH5 Mark II, and the GH6, which Panasonic says will feature a brand-new sensor and downscaled 5.7K video, and is expected to launch by the end of the year.

The Mark II has the same body and sensor as the GH5, but its internals have been revamped, inheriting features from Panasonic’s S-series of bodies. The standout feature is 4K 60 frames a second (fps) at 10-bit 4:2:0, an upgrade on its predecessors 8-bit recording. On the Mark II, recording can also be done internally and externally simultaneously.

Like on the GH5, there’s a cinema 4K mode, which provides a wider-than-16:9 aspect ratio, but on the Mark II this also now supports 30p and 25p, where the GH5 maxed out at 24p.

Matching the S-series, there’s now Cinelike D2 and V2 profiles, along with V-Log L, which was previously a paid upgrade for the GH5.

Panasonic are keen to emphasise the streaming capabilities of the new body, and on paper at least, they are impressive - over WiFi is it possible to stream to platforms like YouTube, Facebook and Twitch directly, with the level of streaming compression able to be adjusted at various levels and resolutions, depending on the platform.

Streaming keys can also be input manually both in-camera and via the Lumix Sync smartphone app. Panasonic says that the ability to hardwire to a phone or even directly to a LAN via USB will also come with a future firmware update.

Panasonic says the autofocus has also been improved - there’s head, body and animal detection, and tracking should now be twice as fast as the GH5, with the system looking for objects 60 times a second. Panasonic also

says that the system should lock on to subjects better, and will perform better when tracking people who are farther in the distance as well.

The GH5 Mark II’s in-body stabilisation has also received a boost. While the original GH5 had 5-stops of stabilisation, the Mark II can compensate up to 6.5 stops with certain lenses. There’s a few other interesting new features too, including USB-C power delivery, a higher capacity battery, a brighter and higher res rear LCD, and tweaks to the colours to provide clearer indications when recording.

And finally, the GH6 is coming. Details are still pretty light, but it will feature a new Venus image engine and a new sensor, and will have the capability to record 10-bit 4K at 120fps and 10-bit 5.7K at 60fps. As you’d expect, there will be no recording time limits either. Interestingly, these specs are very similar to the Sony A7S III (which also sells for much more).

The GH5 Mark II will be available from July for $2,699 body only, and the GH6 is TBC by the end of the year.

You can find out more about the new camera(s) at Panasonic.com.au.

/&84 $031 -&54 .03& 45"'' 1)050(3"1)&34 (0 /&84 Corp has let go more of its staff photog-

www.tamron.com.au

raphers, with the media company’s in-house photographer workforce now a mere shadow of what it once was.

According to sources speaking to The Guardian, about eight photographers who work for the Geelong Advertiser, the NT News, the Hobart Mercury and a number of regional Queensland mastheads including the Townsville Bulletin, the Gold Coast Bulletin and the Cairns Post were told their positions would be made redundant during meetings last week.

Over the last two years News Corp has been steadily converting its in-house photographic teams to a freelance model. In November, News Corp made 25 job cuts, with 16 of these photography positions, and in June 2020 the company let go veteran photographer Gary Ra-

mage, a Walkley Award winner who was also the company’s Chief Photographer at the time.

Through making Ramage redundant last year, Australia’s largest media company now has no in-house staff photographers covering Canberra, instead relying on agency photographers and freelancers to fill the role.

News Corp’s in-house photographers once numbered more than 100.

Despite the redundancies, the moves come following suprisingly positive first quarter earnings briefings for News Corp, with Australasia chief executive Michael Miller telling staff recent results meant the company could create another 100 new editorial roles this year, on the back of agreements struck with Google and Facebook and an increase in paid subscribers. C

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

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f you were to ask me what the biggest jump in photography in the last 10 years has been, I’d argue it’s not sensors or lenses, but artificial intelligence. Today, so many of the tools our cameras use are enhanced by AI, and companies are pouring millions into developing technologies that seek to improve our hit rate when shooting, or help us automate mundane tasks.

On the flipside of this is the idea that AI technology takes away from the creativity of the individual behind the camera – and that by using these technologies we’re moving away from the ‘essence’ of photography where the camera is simply a tool to see the world. In a way though, these are similar arguments we heard when moving from film to digital and when the first autofocus systems came onto the market.

It’s worth mentioning that many of the AI developments that are changing photography were initially developed for smartphones. Computational photography has been instrumental in allowing smartphones to simulate depth of field, dial in a manual exposure or capture RAW photos, and inevitably some of that technology has now begun to cross over to the mirrorless cameras most of us now use today.

4)005*/( Buy yourself a new camera with any form of eye or face detection and you are using an AI technology. My first DSLR was a Nikon D1X that I bought in 2003 for $10,000. At 5.3MP and with a drive speed of just three frames per second, it offered low information, slow capture rate and terrible focusing. Today, my new Sony A1 shoots at 30fps with a 50MP sensor and includes AI enhanced autofocus that can recognise the eye of a human, bird or other animal and lock to it tenaciously.

Is it 100% successful? Of course not but when compared to the early generation of autofocus technology it is truly outstanding. Purists might argue that this technology takes away the skill nec] ] +6-: ] "6453"-*"/1)050(3"1): $0.

essary to capture something like a bird in flight, but in my opinion, it just opens up my creativity – after all, if I know the camera I use is capable of capturing an image not possible a decade ago, I’d be crazy not to try and take it!

Even if photographing animals isn’t your thing, it’s likely that capturing your family is. So often I am asked, “how do you photograph kids, they move so much”? AI enhanced autofocus, whether in our cameras or smartphones, is definitely the solution to make it easier and nail those hard to capture moments. It’s a major reason why I use my smart phone for candid and general shoots today.

"'5&3 5)& 4)005 One of the earliest implementations of AI was in helping us to store and look for images, first with software like Google Photos and now in popu-

lar programmes like Adobe Lightroom.

Today, AI has automated the mundane tasks of keywording our images, and facial recognition means that photos of the same person can be grouped together with the click of a button. Think of how much time this will save you – now, if I’m asked for an image of a bear, I just type ‘bear’ into Lightroom and let the software do the rest.

When it comes to editing, techniques that were time consuming, complex and difficult to learn are now becoming (or have become) much easier. Photoshop now has a sky replacement feature, and AI will also automate things like panorama merging, automatically ‘filling in’ detail into blank sections of a photo.

The question here of course is if we automate actions such as these, does it take away from our own creativity? I know from experience that there are

many parts in the editing process that are not enjoyable when you have to do them repeatedly over and over, and if we can automate some of these tasks, it can free us to apply our creativity elsewhere.

How you use the advances in technology is up to you. For me, they are another tool I’ve embraced, and one I now dedicate time to learning and using. C

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etting a pin-sharp animal action shot’s a lot less of a challenge these days with modern digital cameras’ excellent focus tracking, fast frame rates and high ISO capabilities. New tech that locks focus on a subject’s eye before you locate it yourself, or starts recording an action sequence before your reflexes fully react to it, is already looking to make once blue-ribbon nature shots of explosive interaction or the frozen-in-time wing-beats of fast-flying birds the stuff of everyday.

But while it’s certainly miles easier to achieve technically perfect images of a speeding creature than when we started out using film, it’s now becoming a lot more difficult to make your audience look twice because there’s such a slew of successful action shots around.

A ‘spray and pray approach’ might net okay results, but is unlikely to bag awards. Little more than a speedrecord, a fine, crisp-as-toast animal action picture on its own is not quite going to cut it today.

So while it’s really great that today’s cameras have our backs when shooting wildlife action, we still find ourselves looking hard for that elusive wow factor to ensure our action images pack an extra punch.

#&$0.& " 41&&% '3&", Speed is of the essence. Don’t skimp on it when you’re shooting wildlife action. Animals and birds almost always move more quickly than you count on, so if your results aren’t sharp routinely it’s most likely you didn’t have enough shutter speed to start with. Go for a higher speed than you reckon you’ll need rather than undercooking it when you start out. Shoot at wide apertures, even in bright conditions, and don’t be afraid (or forget!) to increase your ISO as light levels fall, to increase the shutter speed available to you – especially at the ends of the day.

When you get more proficient it’s always tempting to cut corners; you’re confident in your panning and tracking techniques and reluctant to increase ISO because you’re bothered about noise in your pictures. In our experience on safari with other photographers there’s a bit of resistance to utilising the excellent capabilities at high ISO of leading DSLRs to the full, despite this being a feature they’ve shelled out for. That can prove costly in more ways than one when you consider how few topnotch action sequences in nature are dress rehearsals.

Rather a sharp shot with a bit of noise you can tweak in post processing than no photograph at all.

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The big question of course is how fast is fast enough?

Clearly, it’s going to vary according to your subject and the situation, but it’s obvious that the faster the subject the higher your shutter speed needs to be. A sprinting cheetah is Usain Bolt compared to a large raptor hovering, almost motionless, on the thermals. While you can sometimes nail a super-sharp shot of slower moving subjects at shutter speeds of around 1/500sec, we’d recommend speeds of 1/800sec or 1/1000sec for a better starting point. For turbo-charged subjects, including small birds with fast wing-beats, you’ll need to be thinking more in terms of at least 1/2,000sec or 1/2,500sec.

Our own approach? Well, because we need to be on the alert for sudden action pretty much all of the time we’re out in the field we generally shoot wide open in aperture priority mode most of the time with our ISO at 800 (we will then adjust it down, or up as we go). We use just a few centre-weighted focus points so we can keep better control where the camera locks on a moving subject – we’re aiming for the head or eye. And we use backbutton focusing so we’re ready for a sudden burst of action even when shooting static subjects. We hand-hold too for most of our action shots so we can pan smoothly all around us; wherever the action breaks out.

A final word of caution. Never rush things – you’re much more likely to fumble and fluff it. You need to be smooth, calm and steady for the best results.

13&%*$5 5)& '6563& Successful wildlife photography’s all about anticipation.

You’ll never nail great action shots if you don’t know what to expect next from the subject you’ve got your

camera trained on. Handily there’s tons of stuff you can do to increase your chances of success without leaving home. Read up and research your subject so you know its behaviour traits and characteristics. There’s lots of info online – including video - to brief you how your chosen subject looks and behaves when it moves; whether it’s flight patterns, wing motion, hunting strategies, attack modes and running strides, for example.

Pay particular attention to the behaviour cues that precede animal action – a perched bird will often ruffle its feathers and defecate before taking to the air, for example. If you can learn to read the signals your subject gives that it’s just about to move you are much more likely to get the shot. A male lion drenched in a summer thunderstorm, for example, will almost always shake out the droplets from its mane when the shower stops, or leap over small water courses and puddles rather than get its

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“SPEED IS OF THE ESSENCE. DON’T SKIMP ON IT WHEN YOU’RE SHOOTING WILDLIFE ACTION. ANIMALS AND BIRDS ALMOST ALWAYS MOVE MORE QUICKLY THAN YOU COUNT ON, SO IF YOUR RESULTS AREN’T SHARP ROUTINELY IT’S MOST LIKELY YOU DIDN’T HAVE ENOUGH SHUTTER SPEED TO START WITH.”

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paws wet. Antelope species are active early morning, leaping about and chasing and locking horns in tests of strength a bit like in a boxing gym…hippos yawn more towards sunset…raptors fly down to drink in the middle of the day…kingfishers have their hunting perches…

Reading up on these things helps you discover where to look for the action and when it’s likely to happen.

Good fieldcraft will also alert you to other helpful factors like wind direction which is crucial if you’re serious about photographing birds in flight. Birds generally take off and land into the wind which gives you a helpful steer about which direction they’re likely to go.

You can lock focus faster and compose your shot accordingly. It may mean seem a bit nerdy but you’re less likely to waste time on a subject that’s going to give you a bum shot (literally) when it flies off away from you.

Use the heads-up your subject gives you wisely. Be focused on it and ready to start firing on burst almost immediately after you’ve got the signal – but no sooner. This should allow you to capture the full sequence of behaviour. You can then hopefully sit back with a warm-glow at the editing stage deciding which frame best captures the peak of the performance.

Given that nailing perfect animal action can still be tricky, even with today’s camera technology to assist you, we suggest you grab all the extra help you can to make things easier for yourself. You can dramatically increase your success rate, and get lots of important practise, by putting yourself in situations where animal action is plentiful and guaranteed rather than investing too much time in one subject that may or may not perform.

Wildlife-watching reveals many fascinating dynasties and dramas that play out in these situations providing you with a rich seam of potential for winning action shots. Breeding colonies and waterpoints, for example, where jostling crowds of animals or birds are likely to mass and come into direct conflict can be goldmines. Here you should find lots of busy wildlife behaviour from outright aggression to energetic or comic playfulness.

The aftermath of a lion kill when we’re on safari, for example, attracts a crazy cast of carrion-eaters to the stage once the big cats have departed. Each has its niche in the natural cycle of things and plays a scripted part you can soon learn to recognise and be ready for. It might start out mild-mannered, but like many a bar-room brawl it usually kicks-off royally sooner or later. Situations like this make photographing action a whole lot simpler with abundant opportunities for great action pictures – and space enough to make mistakes while still coming away with keepers.

Make a beeline in these wildlife melees for the bruisers, bullies and all-round alphas that are likely to want to throw their weight around. Identify the young pretenders that want a piece of their action. Watching animals over many years has shown us that there are lots of larger-than-life-personalities out there in nature and some individuals just want to make trouble or boss the show. Even if you come away with few pictures, which is unlikely, your appreciation for the animal kingdom will increase tenfold.

In particular tune into the action around you that’s repeated – whether it’s birds tracing the same flight path back to their colony or a bad-boy baboon continually

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“DRAMATICALLY INCREASE YOUR SUCCESS RATE, AND GET LOTS OF IMPORTANT SITUATIONS WHERE ANIMAL ACTION IS PLENTIFUL AND GUARANTEED RATHER ONE SUBJECT THAT MAY OR MAY NOT PERFORM.”

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PRACTISE, BY PUTTING YOURSELF IN THAN INVESTING TOO MUCH TIME IN

tormenting its elders in the troop. These ‘repeaters’ stack the odds in your favour because you can perfect your techniques as more or less the same piece of action runs through over and again as if on a loop.

Don’t be too ambitious when shooting action. We know from bitter experience that trying to nail your subject so it fills the frame perfectly can be hugely frustrating when you keep clipping off wing-tips and tails etc. Make life easier for yourself by giving your subject enough space in the frame so you get it all in comfortably. You can always crop later if you want to, and besides, action images tend to work better if you leave subjects room in the frame to move into.

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As we suggested at the beginning, sharpness alone is no longer enough to win plaudits when it comes to wildlife action now our cameras do so much of the work. A bird simply frozen in flight is perfectly fine, but todays’ audience is demanding more. What is it about the aerial grace, acrobatic prowess or swooping menace of an individual species that’s attracting you to photograph it in the first place? Consider what more you can do to bring that out. Positioning in the frame, wing shape, location, light conditions, skyscape and weather – these are all things you can harness to add to the viewer’s experience of your subject moving through the space.

Framing (and editing) choices like these have a big effect on whether a modern wildlife action image is successful or not and none of these decisions as far as we know could be made by your camera at the time of going to press! Look at what else, other than pin-sharp perfection, you can bring to the table, to make a pleasing or arresting animal action image.

Imagine an exotic bird flying through the lush green canopy of a tropical forest. A tight-in shot that freezes its flight and showcases its bright colour against a wash of green background would be one way to go, but what if you pulled back and showed a large swathe of the forest with the bird, much smaller, like a small jewel, flying through a vast jungle wilderness.

Two different possibilities from one photo opportunity that each communicate something quite different to the audience.

Plumes of dust, trails of water droplets, splashes of white water or flying mud, rolling eyes, flared nostrils, flexed muscles, teeth bared, expressions of terror or predatory aggression – aim to freeze these things as well as subject movement for greater impact in your shots.

Dare to be different. Most folk tend to shoot birds in flight against an azure blue sky. Confound expectations on occasion and photograph birds instead against intense grey storm-clouds or flat overcast skies (pale birds against a pale background can look wonderfully elegant and delicate). Freeze animal action that’s moving towards you rather than across the frame. It’s extremely powerful when you pull it off as it feels as though it’s bursting out of the frame.

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Add value to action images by putting extra time in, pushing yourself and waiting for that ultra-special bit of behaviour, not so routinely captured. Instead of just getting a bird in flight, next time set yourself the task of getting a bird in flight carrying its prey or some nesting material for additional visual interest. Instead of getting a bird simply soaring across the sky aim for lift-off and landing action; the latter can look stunning with wings at full stretch and feet extended ready to brake. Try for more than just one bird and photograph aerial combat, courtship, or juveniles chasing a parent bird on the wing for example. If you put in enough time you’ll be rewarded eventually with something different and exciting.

4-08 %08/ 50 61 5)& "/5& If sharpness is now less of the prize it once was in action pictures why not abandon it altogether and go to the opposite extreme? Freezing motion stops time and allows us to stare in detail at the decisive moment, which is awesome, but it doesn’t really give us a feel for that rush of speed when an animal flashes by at full pelt. This is where panning shots and motion blur have a powerful part to play as the antidote to the crisp, stop-motion action we’re all more used to seeing in nature photography.

Which is why, when the light’s going, or on dull days, when we can’t achieve the high shutter speeds we need for sharp action we don’t pack up and go home.

We can still get excited about photographing animal

action. We simply dial down our ISO and close the aperture to achieve shutter speeds of anywhere around 1/15sec to about 1/50sec and go on the hunt for something a bit different and creative.

Dramatically slowing your shutter speed and panning in parallel to, and at the same speed as, your subject allows you to differentiate a moving subject brilliantly from its background (which is rendered as a series of streaking colours) and creates a visually arresting sense of that subject’s movement at the same time.

The skill in pulling these shots off is to retain some sense of sharpness in the head or the eyes of your subject, although you’re perfectly free to push the limit and go for an image where very little or nothing at all is in your image is in sharp focus.

At its most extreme – with everything a frenetic blur and subject and setting abstracted - it can totally upend our view of the natural world with common birds and animals rendered as surreal streaks of colour. It’s your choice how edgy you want to be. The challenge is to produce something that appeals on an aesthetic level even if your subject’s not at first glance clear to your audience.

Portraying the natural world without clear definition and sharpness removes all the helpful direction posts for a viewer. It’s a bit unnerving - which is perhaps why these types of action shots often divide opinion.

But in a world craving fresh ways of expression for the all the wild wonders of nature in action we’re more than okay with that. C

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T

he essence of landscape photography isn’t perfect sunrises. It isn’t advanced techniques or the latest gear.

It’s not even grand locations.

Instead, landscape photography is a lens through which to view the world – both literally and figuratively.

As much as anything it is a mindset through which you can weather challenges, expand your creative vision, and appreciate moments other people may consider mundane or imperfect.

And, as you improve your landscape portfolio, you may just find you improve your approach to everyday life as well. Here’s how.

/"7*("5*/( 5)& 614 "/% %08/4 Shit, as they say, happens. Thick clouds. Closed roads. Snoozed alarms. Rogue waves. Full SD cards. Depleted batteries.

In an ideal world, these wouldn't happen – certainly not to you or me. But in the seven years I’ve been refining my craft, the most important traits I’ve sought to develop aren’t technical or creative, but those of acceptance and perseverance.

2020 was particularly turbulent for many of us. While those I know were fortunate to keep their health, at times I found the Melbourne lockdown particularly challenging. As a landscape photographer, I’m used to chasing the weather and venturing out on a whim in pursuit of ‘getting the shot’. Yet through the lockdown I soon came to accept the limitations of the situation. The five-kilometre travel radius was far from ideal, but hey, it was what it was.

Instead of being consumed by frustration I, like many other photographers in similar situations, began to use the time to comb through my back catalogue and remaster older images.

I took time to evaluate and refine my post-processing and researched new locations to explore when the time was right.

These were the things I could have some influence over, so that’s where I invested my efforts and creativity.

How might you navigate similar challenges? Take time and pause to regather your thoughts – whether that be for a moment after your sunrise shoot is clouded-in, or for longer periods after larger setbacks. Then, after the acute ] ] +6-: ] "6453"-*"/1)050(3"1): $0.

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While every month or two the heavens would align just right, more often the sky either fizzled out or failed to produce the colour I had hoped for.

Too often I would wait for the grand waterfall in full flow or the height of the tide to be just right. Often, I would (and still do) idealise the ‘perfect scene’ in my mind, only to be disappointed when reality didn’t quite meet that expectation. If only there was more cloud in the sky. If only the swell was larger to crash against the rocks.

Chasing idealised visions of a scene, I’d either a) go out anticipating perfect conditions, only to be disheartened when it didn’t materialise, or b) I wouldn’t go out at all if there weren’t signs of a banger on the way. I’m not sure which was worse. Both mindsets have been harmful to my development as a photographer, hampering my creativity and expression.

When we don’t go out, when we don’t share, when we don’t take the shot, we deprive ourselves of valuable learning experiences. How can we improve without feedback to inform whether our image was better or worse, or if a new technique or composition worked well? Side note, when seeking feedback, consider widening the scope of voices inputting on your work. Social media followers, while encouraging, can become an echo-chamber of ‘banger shot’, or ‘epic light’ type feedback. While uncomfortable, it might be more productive to share your work with local photography groups or actively asking your peers how they might have captured or processed the scene differently.

The approach I’ve found to help escape being disheartened by imperfection is to stop viewing photography as a zero-sum game. Rather than view our images as either perfect or not good enough, embrace opportunities to create something simply for the fun of it. It might work, it might not. But give yourself the freedom to fail from time to time—not every scene will be a banger.

By limiting our time in the field to ‘great light’, you limit your opportunities. Opportunities to be more versatile. Opportunities to gain new experiences. Opportunities to expand, refine, and execute your photographic vision. disappointment has subsided, consider and explore what other creative avenues are still available. Yes, particular misfortunes are disheartening, but they don’t need to be all-consuming. Pack the wrong lens on a trip? Take it as an opportunity see the sights from a perspective you hadn’t considered before.

The sheer volume of unknown and unpredictable elements in landscape photography makes resilience a particularly useful asset. If you can learn to focus on the things you can control, and accept the things you can’t, you will be a better landscape photographer. I don’t think it’s drawing too long a bow to argue that if you can apply that skill more widely, it will make you a better person too.

&91&$5"5*0/4 $3&"5& -*.*5"5*0/4 I used to fixate on burning sunrises and sunsets. Almost obsessively, I would track the clouds each day, searching for the signs of a promising explosion of colour.

%&5"*-4 ."55&3 Early in my photography journey, I’d stumble on a glorious sunset or a sweeping lookout view. Look at the majesty of nature! The colours, the light, the formations. So, what did I do? I’d capture the entire scene.

Yet on reflection, these images often lacked a compelling foreground to help ground the scene. Or they might show so much that they failed to tell a single coherent story. When it comes to landscape photography, you can have too much of a good thing.

Arriving at a location with great light can be overwhelming. It’s fleeting, and so it’s easy to rush and settle for a wide, open composition. So, when there’s an epic sunset on the cards, capture it! Get the obvious shot, but only spend five minutes on that. But then explore the scene further. Perhaps there are striking reflections on the slick rocks, or the light’s

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“AS STORYTELLERS, IT’S UP TO US TO LOOK FOR THOSE COMPELLING ELEMENTS IN AN ENVIRONMENT THAT HOLD UP ON THEIR OWN, THAT SUPPORT AND ENHANCE THE BROADER LANDSCAPE...”

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isolating a particular tree within the grand forest.

Might these details be strong enough to carry the image on their own?

Anyone can capture and appreciate a picture-perfect sunset. The light, the colour, the cloud formations.

These are moments of pure awe for all who experience them. But as photographers, we can go further. We can, and ought to, look for the finer features.

As storytellers, it’s up to us to look for those compelling elements in an environment that hold up on their own, that support and enhance the broader landscape.

If golden light reflecting in a river’s ripples catches your eye, photograph it. If a lone, gnarled tree branch captures the essence of the surrounding forest, bring out the telephoto lens and isolate it by itself.

Make time and train your eye to appreciate the details others would overlook.

#30"%&/ :063 )03*;0/4 I grew up on the South Coast of NSW and honed my photography in early morning seascapes. I soon learned how to read the clouds and forecast the tide and swell to capture the coast at its most photogenic. It’s easy to fall into a groove of what we know—it’s comfortable.

This comfort zone will be unique for each of us, whether that be rainforests, long exposures, or astrophotography. But familiarity, while easy, can lead to complacency. If all you’ve shot is seascapes, then your first visit to the alpine peaks of New Zealand may be challenging.

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To strengthen our compositions and prepare ourselves for new environments, I encourage you to embrace unfamiliar conditions as opportunities to grow and refine your approach. Personally, I’ve challenged myself to explore more of the Australian Bush. I’d previously avoided photographing our forests as I thought they were too messy and chaotic. Yet our forests are unique in their wildness – and there’s value in that. I’ve found that branches and ferns can serve as windows of beauty and order in the harshness of the bush.

Consider challenging yourself to head out during less-than-ideal conditions. When time allows, explore landscapes in the middle of the day, after (or for those more adventurous, during) rain, or even under moonlight. Without a colourful sky acting as a crutch to make the scene interesting, how else might you compose it to make it compelling? For seascapes, try shooting handheld and getting closer to the action. For forest scenes, consider shooting with a telephoto lens to focus in on the subject and exclude secondary distractions. When all else fails, shoot abstract – capture intimate details in the water, stone and bark that home in on key elements of the landscape.

5*.& 50 %&7&-01 Like learning astrophotography or reading the clouds, there isn’t one secret trick (contrary to the clickbait articles) that will help you take amazing photos. It can be a struggle some days and often there are setbacks. I know I’m still refining my approach to photography (and life) each day. But photography does offer us the perspective to traverse the ups and downs while appreciating the smaller moments of beauty along the way.

This article shouldn’t be taken as a prescriptive guide. Each of us has to find our own unique way of experiencing and capturing the world. That’s one of the reasons so many landscape photographers are passionate about their craft. It’s a medium for personal expression.

When I started writing this, I didn’t plan to be so introspective. I’m not an overtly philosophical person.

But, if I think about my development as a landscape photographer I can’t help but reflect on my personal development as well. The two have grown in parallel and I’m sure I’m not the only photographer to have experienced a similar progression. C

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s sitting weeks go, this one couldn’t get much worse for the Prime Minister.

Heavy rains and flooding have failed to wash away the stench of recent parliamentary sex scandals, and rather than front the media on the latest (a staffer allegedly performing a sex act) Scott Morrison has opted to spend the morning flying over flood affected regions of Western Sydney.

The press gallery, a large section of parliament house where numerous news organisations have offices and studios, would typically be abuzz in the early morning as politicians make breakfast television appearances and give door stops to journalists, but today the corridors are quiet. We have time for a coffee.

My plan had been to spend a day with The Guardian photographer Mike Bowers, but he’s been sent to cover the floods in Taree. It’s Alex Ellinghausen from the Sydney Morning Herald who arrives at the Senate entrance to escort me through security. Although it’s only 7.20am, Alex has already reviewed the morning’s news, checked the day’s assignments and informed the news desks at The Age, Sydney Morning Herald and the Financial Review what he plans to cover that day.

“Every day there are so many jobs, it is simply impossible to cover every single press conference here”, he tells me. “You prioritise what are the most pressing issues of the day and you do your best to cover them”.

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We grab a coffee from Aussies Cafe and head over to the Serjeant-at-Arms office where I need to get permission to make photos in the house. Despite the freedoms we perceive the media has, strict rules govern what can and cannot be photographed in the house.

Alex, who has been photographing Parliament since 2011, remarks, “You can’t just walk up to anyone’s office or corridor and make photos. There are designated zones within the building where you are allowed to make photos, and if you disobey the rules the Serjeantat-Arms or the Black Rod will give you a written warning or revoke your access pass”.

With access approved and cameras at the ready, Alex heads off to photograph Senate Estimates while I join his colleague, Sydney Morning Herald photographer Dominic Lorrimer to photograph Tanya Plibersek as she talks to media in a corridor.

As we arrive other photographers and TV crews are already recording the scene. Large windows looking out into a courtyard provide good natural light for photography but as Dominic begins shooting I notice another photographer, Getty freelancer Sam Mooy shooting from the side, his camera pressed hard up against a sign. Three metres in front of his subject (at 90-degrees to his position) he has positioned a Godox AD200 flash on a light stand that is firing remotely as he makes photos (see previous page). As I am to learn, photographers in the House are constantly trying to make extremely boring situations look interesting.

Minutes after photographing Plibersek we join Alex in the Blue Room to photograph the Minister for Health, Greg Hunt, as he gives a press conference.

The room is not very big and by the time a dozen or so journalists are seated and a few television camera operators have taken their positions, it is standing or

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“COVERING POLITICS IS ABOUT DROPPING EVERYTHING IMMEDIATELY WHEN YOU GET THE CALL. YOU MIGHT GET AN HOUR’S NOTICE FOR SOME EVENTS BUT OTHER TIMES YOU’LL GET JUST 10 MINUTES NOTICE...”

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kneeling room only for the six photographers covering this event. While Alex works from the back of the room with a 70-200mm lens, Dominic joins other photographers on their knees near the front to look for interesting wide shots. Moving about is done with caution, lest you stand in front of a live television camera.

Halfway through the ‘presser’ I notice Alex and Dominic are reviewing images on the back of their cameras and then looking down at their smartphones. They have transferred their best photos from this event across to an app on their phones, added a caption and sent the files as large JPEGs to their news desks in Sydney and Melbourne in a process that takes less than two minutes. While there is always a rush to get photographs to a news desk, Alex explains that getting the photos away quickly allows them to be ready for the next job. “Covering politics is about dropping everything immediately when you get the call. You might get an hour’s notice for

some events but other times you’ll get just 10 minutes notice, and if you are doing a job outside the building you’re really hustling to get back in time”.

From the Blue Room we go to the Mural Hall, where Liberal MP David Littleproud is announcing disaster relief measures, and then across to the House of Representatives where a lone Labor MP is giving a speech to a near empty chamber. I’m told most other MPs will be watching this speech from their offices.

About 10.30am things quieten down and I join Dominic in a courtyard for a break. Although based in Sydney, Dominic travels to Canberra to help Alex during sitting weeks. “In Sydney a photographer might shoot three assignments a day, simply because it takes so long to get places, but here, when Parliament is sitting, we can shoot upwards of 10 or more jobs a day. We try to give our picture editors as many options as possible because we never know what the lead story will be at the end of the day.”

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

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“I RECKON GUYS WHO DO THIS ARE BETTER PHOTOGRAPHERS THAN THE GUYS IN IRAQ OR AFGHANISTAN. MY MUM COULD TAKE A GREAT PHOTO IN AFGHANISTAN; I MEAN, IT’S A PHOTO EVERY CORNER. BUT YOU COME HERE AND TAKE A PHOTO OF THE PM TALKING AT A LECTERN AND TRY TO MAKE THAT INTERESTING!”

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

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] ] +6-: ] "6453"-*"/1)050(3"1): $0.

As we talk, Sam Mooy joins us. He too travels from Sydney to Canberra whenever the house is sitting.

“Yeah, I absolutely love it. It’s challenging trying to make pictures out of essentially nothing”.

At 11.45am we head into the Labor Caucus room where numerous politicians have gathered to hear Labor MP Chris Hayes announce his retirement. Shutters clatter incessantly as Opposition Leader Anthony Albanese walks into the room, and as soon as he takes the lectern, the gathered photographers are back on their knees again, mindful of the politicians, journalists and TV cameras behind them. Again, every photographer is looking to make interesting photos, but this time it is at the end of the event as various MPs gather to embrace Mr Hayes that the more interesting photos are to be had; smiles and unguarded emotions are a photojournalist’s click bait.

Having left the caucus room, I join Australian Associated Press photographer Mick Tsikas as he edits photos at his desk. While some photojournalists only file a few images from each event, AAP photographers file the majority of images they shoot in case they have future value (Mick cites US photojournalist Dirck

Halstead who, after a two-week search, found photos in his archive of Clinton and Lewinsky together). The AAP photographers at parliament spend a lot of time editing photos (cropping and tonal adjustments only) and just as much time adding captions to every image.

“Everything has a proper name” says Mick. “Half the job is photographing but the other half is captioning, and that is really important. The captions have to be ‘who, what, where’ and they have to be correct”.

Mick describes the job as fun for the first five minutes, but the rest of it is a slog. “You really have to love photography; we’re just taking headshots and you’ve really got to be trying every time to make something out of nothing. That’s the challenge. I reckon guys who do this are better photographers than the guys in Iraq or Afghanistan. My mum could take a great photo in Afghanistan; I mean, it’s a photo every corner. But you come here and take a photo of the PM talking at a lectern and try to make that interesting!”

As Mick finishes editing photos at his desk, his colleague, fellow AAP photographer Lukas Coch, walks into the office looking weary. At 6.00pm the previous night he was tapped to be the pool photographer for

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

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the PM’s visit to the floods and by 8pm he was on an RAAF VIP flight to Sydney. Early that morning he was in an Army helicopter making photos of Scott Morrison looking concerned.

We walk out into a hallway where we can talk without disturbing the six journalists who are busy writing and I ask Mick whether there is any friendship between the photographers and the politicians? “No, you put a line in the sand, we’re not friends with them. You have to, otherwise they will call you up and say, ‘I thought we were mates?’”. Do people come back at you about a photo they didn’t like? “All the time, especially the Prime Ministers. I did that photo of Michaelia Cash snarling, and she looks like she stepped in something every time she looks at me now! I always say, I didn’t make you do that!”

Gary Ramage, a former chief photographer with News Corp, joins us. He too has upset a PM or two in his time.

“I took a photo of John Howard playing cricket in Pakistan. The ball the kids gave him was made of tape and when he went to spin it, it stuck in his hand and dropped in his feet, but it went front page of The Australian, and he never forgave me. But, there are also the happy

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moments we get to see, like recently when Anika Wells gave a speech in the house while holding her two babies!”

As Alex tells me later, “You get a lot of highs and lows here, and the beauty of photojournalism is you often get to tell a story that your journalist colleagues might not necessarily be able to tell. When a politician gets asked a question, they can deflect it, they can change the subject, or they’ll say something that’s not related, but the body language often betrays them. It’s the little moments that we’re looking for that reveal and tell the story to the reader. It’s a great tool to have”.

Mick quips “The journalists have got 300 words; we’ve got a photo; 1000 words!”

As 2pm nears we go back into the House for Question Time and everyone knows it is going to be a raucous session. As MPs flood the chamber, Alex, Sam, Mick and Gary position themselves at the press gallery end of the Senate chamber, a 30-metre wide balcony positioned directly behind the Speaker of the House. While in the Public Gallery, Lukas and Dominic make photos from the opposite direction. As questions begin to fly, each photographer begins scanning the floor below, looking for telling moments. Until a decade ago photographers

could only photograph an MP with the call, but nowadays any MP on the floor can be photographed, be it the PM ignoring a question or crossbenchers colluding on a vote. The challenge though, is trying to keep an eye on everything. As one photographer commented, “It’s like photographing rugby league without the ball”.

With Question Time over it is time for me to pack my bag and head home. Alex was also packing his gear into an exceptionally large Think Tank roller case, ready to shoot one more assignment for the day. As we walk out past security he comments, “The misconception of covering politics is that it’s boring; it’s middle-aged people standing at lecterns and giving speeches, but everything that we cover here has real-world impact on lives around the country. The things that are getting debated here – JobSeeker, JobKeeper, conduct in the workplace – it’s people’s livelihoods. And the environment, refugee rights, indigenous affairs – there are so many things that get decided here and it’s a huge privilege to cover it. It’s not just boring pictures of people”.

I walked away from Parliament also feeling privileged – to have spent a day with some of Australia’s best photojournalists. My day with them was anything but boring! C

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FUJIFILM X-E4

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apanese company Fujifilm has a track record of delivering excellent cameras that focus on usability and image quality while still being compact, and in many ways the X-E4 is the perfect distillation of this thinking – it’s the smallest X-mount camera on the market, but makes few sacrifices in regard to performance to deliver one of the more well-rounded photography experiences you can find today.

Inside, The X-E4 features the same 26-Megapixel X-Trans CMOS 4 sensor as that in the flagship X-T4, with fast 0.02 second autofocusing along with Fujifilm’s superior colour science found in all its professional X-Series cameras.

And, like its predecessor 2017’s X-E3, the new model continues with a rangefinder style design which looks very sleek.

5)& #0%: The first thing I noticed when picking up the X-E4 was just how compact and lightweight it is. It’s actually slightly smaller than the X-E3 (although a tad heavier), and is reminiscent of the Fujifilm X100F, although it is a bit smaller than that too and doesn’t have a defined grip like that camera does. This lack of a grip could be a problem for some users – at times I struggled to keep a firm hold of the body when shooting with larger lenses like the Fujifilm XF 56mm f/1.2, so it’s something you might want to consider if you have large hands.

However, despite the lack of a grip, the faux leatherette looks great, and the magnesium-alloy top plate has lovely lines. On the rear, the 180-degree tilting 3" LCD screen is a real joy and sits flush against the camera body. As you would expect, all the dials have the right

amount of resistance and can be easily accessed without much muscle memory.

Compared to its predecessor, Fujifilm has removed the 'M-C-S' (Manual, Continuous and Single) focus mode control which was found on the front of both the X-E2 and X-E3. It’s a curious decision as this took up relatively little real estate and the camera already suffers from a lack of customisable buttons if you did wish to re-allocate it. The rear dial has also been scrapped, and the result is a much more minimalist body than its predecessors.

The decision to do this is a bit of a double-edged sword – the X-E4 looks great, but also now has real limits to how customisable it can be made.

Finally, it’s worth mentioning that unlike the X100V, there’s no weather sealing on the X-E4. This may not matter to some, however for me, it's nice having a camera you can rely on in harsh environments, and especially so when it’s a ‘go everywhere’ sort of pocketable camera like the X-E4.

"650'0$64 Just like the Fujifilm X-T4, the X-E4 boasts excellent autofocus performance and includes the usual focus modes you would expect. Switching to AF-C mode allows users to track their subjects by positioning the AF square over their subject which is

] ] +6-: ] "6453"-*"/1)050(3"1): $0.

initiated by half-pressing the shutter and/ or the ‘AFL’ button on the rear panel where the right thumb rests naturally.

Like all new Fujifilm cameras there’s also face and eye detection that can be switched on separately when using any of the AF modes. Personally, it works well, although I don’t think it’s quite as refined as on Sony and Canon’s latest mirrorless cameras. However, the single point in AF-C is very accurate and was my preferred way to lock focus in most shooting scenarios I encountered.

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In terms of burst shooting, the X-E4 isn’t as powerful as the higher-end models. It can handle up to 8fps with the mechanical shutter, whereas the X-T4 maxes out at 15fps. Switching to the electronic shutter is where the X-E4 matches its siblings - offering a pretty impressive blackout free shooting at 20fps in full-res and 30fps in low-res 1.25px crop mode, but at these frame rates the buffer can become an issue. I’d love to see a faster card slot than UHS-I, which is probably a contributing factor to the buffer filling relatively quickly. However, the likely use case for a camera like this is most likely not fast-moving subjects, and in most cases it’s more than capable.

*."(& 26"-*5: Don’t be fooled by its small size - the X-E4 packs a punch and doesn’t disappoint when it comes to image quality.

You can expect the same image quality from the X-E4 that you’ll find in its siblings the X-S10 and X-T4, and the 26MP APS-C sensor gives excellent dynamic range when shooting raw, allowing sufficient processing latitude for recovering details in post before introducing unwanted artefacts.

The X-E4 has the full array of Fujifilm film simulation offerings too, including the latest Eterna Bleach Bypass simulation. There is a whopping 18 different film simulations now, but like always, shooting raw overrides any colour profile settings, so for some users these presets will be a nice to have rather than something they use much at all.

As you can see from the images here, low-light performance is decent. I found images shot up to ISO 6400 held up nicely, while any higher the images began ] ] +6-: ] "6453"-*"/1)050(3"1): $0.

to show noticeable noise. This is pretty consistent with other X-series cameras I’ve used (including my own X-T3). Of course, people’s opinion of what is too much noise will often differ, so take this with a grain (pun intended) of salt.

7*%&0 The X-E4’s video features that will be familiar to users of the X-S10 and X-T30.

This includes uncropped 4K shooting up to 30p using the entire width of the sensor, which is impressive, although I would love to see slightly longer recording times as it maxes out at 30 minutes.

The X-E4 also supports F-log, 10-bit external output, 1080p to 240p for slow motion recording and both USB-C and 3.5MM mic input. A couple of drawbacks are the lack of built-in stabilisation, which both the X-S10 and X-T4 have, and when shooting in full HD footage it is somewhat prone to moiré, although this is less noticeable when shooting 4K, so it’s not a deal breaker by any means.

07&3"-As with the rest of Fujifilm’s recent models, the X-E4 is a lovely camera to use. It looks fantastic, is well-built and is nice to hold once you get used to the grip.

However, there are a few compromises – the decision to take away customisable buttons is a strange one, and performance when it comes to burst shooting won’t set the world on fire.

Overall, the X-E4 is a very capable camera, but it may be a little too minimalist for some users, especially those who like to tweak settings as they shoot. For everyone else, they’ll find a lot to like with the X-E4. C

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want to charge the phone while listening through wired headphones.

If we were to offer one criticism of Nokia’s design, it would be the dedicated Google Assistant button on the left side. Hitting it launches the assistant but also pauses any app you’re using on the phone at the same time. It’s a bit of a frustration as the button is easily bumped, and you can’t reassign it either - a bit of a lost opportunity as it would make a great button to assign to the camera if you could.

Finally, it’s worth mentioning the slick design of the camera array on the backside. It sits almost flush to the phone and has a nice, minimalist design.

NOKIA 8.3 5G

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t wasn’t all that long ago if you wanted the bleeding edge of smartphone imaging you really needed to look at the established players like Samsung and Apple and their flagship phones with their corresponding (and huge) price tags.

These days though, it’s a different playing field. A host of companies now offer great devices for less cash, and Nokia’s 8.3 5G smartphone is one of the most promising out there - packing in the latest 5G technology, Qualcomm’s speedy Snapdragon 765G chipset, a solid camera and a stunning design at a price that won’t break the bank.

5)& %&7*$& In the hand, the 8.3 is a stunning smartphone to both hold and admire, with a blue metal central band and Gorilla Glass on the rear of the phone. Like a Model T Ford, it’s only available in one colour; a ‘refracted light’ blue shade which Nokia parent-company HMD Global calls Polar Night. The front screen, a huge 6.81-inch Full HD+ display, has a bezel-less design and is bright and clear.

Physically, the 8.3 is neatly designed with a fingerprint sensor positioned on the right side of the handset, allowing you to wake the phone and unlock it with one press. There’s also a dedicated 3.5mm audio jack which is great if you ] ] +6-: ] "6453"-*"/1)050(3"1): $0.

The rear camera array on the Nokia 8.3 5G comprises a Zeiss 64MP f/1.89 main camera, a 12MP ultra-wide camera with an aperture of f/2.2, a 2MP macro camera and a 2MP depth sensor.

The main camera shoots 16MP by default but switches to the 64MP main file in Pro mode. I found images in both modes pretty much indistinguishable, and so stuck to 16MP for most of my testing as I didn’t want to fill up the phone’s storage too quickly with 20MB images.

Images retain plenty of detail, and even the default JPEGs respond pretty well to editing as well.

It’s worth mentioning just how sharp the lenses are, with even the ultra-wide-angle mode displaying impressive front-to-back sharpness. If landscapes are your thing, you’ll be impressed at how good a job the 8.3 performs with its in-camera focus stacks.

Speaking of the ultra-wide mode, it’s fantastic. I found it a really creative setting to use as the field of view is massive – 16mm equivalent, but without any of the shortcomings of camera lenses of that focal length like softness at the edges. It’s easy to switch to the ultra-wide mode too, and there’s basically no loss in quality over the other modes.

There’s also a night mode, although my results with this were a bit more mixed. Although it improved my images captured at night and in low light, the files did lose a bit of detail, although noise is pretty well managed. Still, it’s

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a nice feature to have even if it’s not as advanced as in competitor smartphones.

Finally, the front-facing selfie camera delivers great results, with images holding up nicely when pixel-peeping.

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7*%&0 Video specs max out at 4K 24fps and a 21:1 cinematic mode, although there’s also a new Action Cam mode that’s designed to capture smooth video, which uses a higher frame rate of 60fps to improve footage of fast-moving subjects.

Otherwise, if slow-mo is your thing, there’s 1080p video at up to 240 fps, and 720p at up to 960 fps. In testing I found results solid, especially in good light. No complaints here.

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#"55&3: -*'& After reading independent tests that described its battery life as class-leading, my hopes were high for the Nokia 8.3 5G. You’ll be pleased to know it more than lived up to my expectations, regularly delivering a full days use in a single charge, and offering hugely improved performance over my previous phone, the Google Pixel 4XL. If battery life is important to you, you’ll find the 8.3 very impressive.

8)"5 "#065 ( It would be remiss for me not to mention the 5G capabilities of Nokia’s flagship. Few smartphones in Australia currently offer 5G, but if having this tech in your device is important to you you’ll find the 8.3 a good cost-effective option.

Nokia says the phone is capable of using a range of frequency bands on the market and it will continue to be supported in the future as well. Your access to 5G will of course vary by location, but you can expect the service to become more common in the future.

5)& 83"1 61 The Nokia 8.3 5G is a great smartphone that delivers solid results at a much more palatable price tag than many of its rivals. If you’re looking for a smartphone with excellent image-quality and niceusability, you could do much worse than add Nokia’s flagship to your shortlist. C

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f you’ve been searching for a premium monitor, boasting some of the most impressive specs around, then your search is over. Look no further - ASUS’ 32-inch 4K HDR PA32UCG-K is the monitor you’ve been waiting for.

Positioned at the premium end of the market, the company’s newest flagship boasts an impressive array of features along with a price tag to match. I’m not kidding when I tell you that a “wow” escaped my lips when I first powered it up, and if you’re the kind of photographer who demands the best, then this is the monitor for you.

Geared towards an HDR workflow, the PA32UCG-K is perfect for colour critical work, whether photographic or motion, and photographers and cinematographers will be impressed with its capabilities.

Not only is this the world’s first panel to boast a peak brightness of 1600 cd/ m2, sustained at 1000 cd/m2, it has an industry leading refresh rate of 120Hz. Colour purists can rest easy knowing that the panels come factory pre-calibrated, along with a detailed report. ] ] +6-: ] "6453"-*"/1)050(3"1): $0.

In fact, the comprehensive three-page report reveals testing done to reflect industry-leading Delta E < 1 colour difference for both Adobe RGB and sRGB. The report for this panel reviewed showed the average Delta E for sRBG as 0.55 and 0.32 for Adobe RGB.

4&55*/( 61 As with other ASUS monitors we’ve reviewed, set up was straightforward.

However, given the size and weight of the the PA32UCG-K, you’d be wise to have a colleague on hand to assist with attaching the panel to the stand.

The base feels super solid, which is just as well given the size and weight of the panel. The stand also features a hole for cable management. But, if you prefer to have it wall mounted, this is also an option.

Finally, the monitor also comes with an easy-to-attach hood ideal for reducing ambient light and reflections for greater accuracy and more realistic colours.

1&3'03."/$& A 10-bit IPS panel, this ProArt panel offers superb contrast and colour from any angle and relies on ASUS’ Off-Axis

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Contrast Optimization (OCO) technology to deliver superb contrast and colour from any angle, perfect for when viewing images with clients.

Boasting a contrast ratio of 1,000,000:1, you’ll be assured of sensational contrast between the deepest black and brightest whites. And, knowing that the panel comes factory pre-calibrated to the highest standards, means you can be assured of colour fidelity right out the box.

05)&3 '&"563&4 The ASUS PA32UCG-K also boasts a wealth of features to thrill those working with motion, including support for Dolby Vision, HLG, and HDR-10. The panel comes with a certified high-speed HDMI cable designed to take full advantage of the new HDMI 2.1 standard which allows the panel to display 4k images at up to 120fps, compared with up to 60fps with HDMI 2.0. Importantly, the high refresh rate also makes the panel more comfortable to work on for extended hours.

Compared to conventional panels of the same size, the PA32UCG-K has three times the number of LEDs, and its reliance on MiniLED technology with 1152 backlight zones means that there’s considerably less light bleed for the crispest of images.

The Picture-by-Picture (PbP) mode allows you to view up to four different settings simultaneously by placing multiple input sources onscreen sideby-side. This will be of benefit to many photographers who may like to plug another laptop into the panel to view how an image appears in both sRGB and Adobe RGB, for example.

As with other ASUS panels, the PA32UCG-K features ASUS’ UltraLow Blue Light technology which allows you to dial down the amount of blue-light emissions from the screen.

Obviously, this is not something you want to do when doing colour-criti-

cal work but it’s crucial for late night sessions, when sifting through your e-mails or other admin tasks and is beneficial to your vision. The filter can be set from zero to five. Adjusted via the on-screen display menu, you can also set a user-designated quickaccess shortcut.

536& $0-0634 If colour accuracy is crucial to you and your workflow, you’ll be pleased to learn that the PA32UCG-K offers impressive coverage of Adobe RGB (99.5%), sRBG (100%), and DCI-P3 (98%) – the cinema colour range. Even the best monitors require regular colour calibration, and just so that you have no excuses at all, the PA32UCG-K ships with an X-Rite i1 Display Pro colourimeter to calibrate your monitor. Being a hardware calibrated monitor, as opposed to lower-end offerings that are software calibrated, ASUS ProArt Calibration technology saves all colour profiles on the ProArt monitor’s internal scaler IC chip, instead of on your computer.

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stick for navigation along with five buttons and standby power button.

The multitude of connectivity options make for a seamless creative workflow and include one HDMI (v2.1), two HDMI (v2.0), DisplayPort 1.4, two Thunderbolt 3 USB-C, and a USB hub with three USB-A ports. USB-C power delivery sits at a healthy 60W, so it is possible to power your laptop.

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There’s no doubting that the PA32UCGK is a premium offering, with industryleading features and amazing build quality, and it’s also perfect for an HDR workflow where colour accuracy is critical. That said, it’s not something for the budget-conscious, and as a result is priced at the upper end of image-editing monitors. However, with industry-leading features and boasting a number of world-firsts, it’s likely to be high on the list of those demanding the very best.

Finally, what’s the worst part of this review? Knowing I’d have to part with the panel eventually, along with the fact that it made working on my laptop feel like staring into an abyss. C

The monitor has a minimalist design.

All the controls are located on the rear right of the monitor and include a joy-

More information http://bit.ly/ASUS-PA32UCG-K

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found Africa to be one of the most exciting places to visit in the world. My last trip, which seems so long ago now took me to Tanzania and the Serengeti. I met up with a bunch of old friends that I have had the pleasure to have done other photography workshops and tours with, as well as some new friends. We were distributed over two popup-roof game vehicles. We spent a few days exploring the area before we set off to the Serengeti. The roads were rough, and back breaking and we were told there was no guarantee we would see the great migration.

Fortunately, as we got to the plains the abundance of animals was staggering, with zebras and wildebeest as far as you could see.

Each day we would set off from our tented camp site after breakfast to see what we could find. Like any country in Africa, it does not disappoint when it comes to wildlife. We saw lions, spotted hyenas and a variety of antelopes. On this particular day we came across a cheetah stalking a herd of Thompson Gazelles. The tall grass of the Serengeti helped to conceal her movement.

We took lots of photos of her moving through the grass and wildflowers. She would pause every now and then to just sit and look up through the grasses.

Then suddenly, for no particular reason the gazelles got wind of her.

They bolted, and a chain reaction happened. The gazelles startled the zebras and they ran. In turn, the zebras startled a massive herd of wildebeest and they ran. Straight towards us.

As I looked around, I saw we were one of about sixteen vehicles lined up on the road. The stampede of gnus kept coming and we kept firing away with our cameras. There was a lot of dust and noise. Then the lead wildebeest looked up and saw the wall of vehicles in front of them. Some stopped while others veered off to the left. It was an exhilarating moment I will never forget. The leader of our group was in the same car as me and captured a video of the event. When he played it back, all you could hear was the rapid fire of two Canon 1DXs – mine and my friend’s. C $"/0/ &04 % 9 ."3, ** $"/0/ .. ' - *4 ** 64. -&/4 ! .. 4 !' *40

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xperts often advise us to research as much as possible before visiting any new destination, so that we have an idea of the best locations and times to get photos. It’s often said you should try to capture images that tell viewers about the places, rather than just showing what they looked like. But what happens when you have no control over where you go?

A few days before writing this piece, I attended a presentation at my local photographic society entitled ‘Travel Photography with a Focus’. The speaker explained how he identifies a number of themes before traveling, with a view to taking images that fit each of those themes. He acknowledged that it doesn’t always work out; but illustrated how successful it is possible to be.

I’ve had the good fortune to visit numerous places in Australia and overseas, usually arranging my own itinerary. Even on two group trips to India I was mostly with photographers from

the APS. I organised the tours directly with a company that had experience taking photographers around. We made it clear to our guides that when anyone wanted to stop for a photo opportunity, that is what would happen - even if it meant arriving at our next destination well behind schedule. We were also able to determine the times of day we would visit particular locations and how long we would spend at them.

However, when I travelled to China it was as part of a group tour organised by a company I’d not previously dealt with - and probably wouldn’t again.

I had no control over where and when I would visit places, nor how long I would be at any one place. I had to wing it and really not think about it as a travel photography opportunity, but just as a glimpse of China during which I would be able to get some images to remind me of where I had been. With around forty participants, I couldn’t always get a window seat on the coach and the windows didn’t open so were quite unsuitable for shooting through anyway!

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pearls, jade, silk and even Chinese medicines, there were some photo opportunities, but I was always itching to get outside and find other subjects. When we went to the 88th floor of a tower in Shanghai, I was more interested in finding interesting shapes to photograph than in the views.

When we went to some superb indoor performances – Chinese musical theatre, Kung Fu and acrobatics – I was delighted that photography was permitted. It was especially great when I was seated in a theatre’s second row and had terrific opportunities to shoot the action.

Inevitably, I captured plenty of typical tourist shots and some of cute kids in the streets. I was also a subject myself several times when Chinese men wanted their wives to photograph me posing with them! However, I was determined to get some images that would not be taken by any of the non-enthusiast photographers in the tour group, and the challenge of this was a useful learning experience. Looking through all the images I brought home, I’m surprised at how pleased I am with a number of them! C

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THE CYCLING CLASSIC

FOR QUEENSLAND

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AU

RALIAN OWN ST

D O P E R AT E D

14-15 AUGUST 2021 REGISTER

NOW:

+ BRAND-NEW HILL CLIMB EVENT

n o o s a c l a s s i c . c o m . a u SUPPORTING PARTNERS

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YAFFA 13330

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