NZPhotographer Issue 24, October 2019
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ISSUE <strong>24</strong>, <strong>October</strong> <strong>2019</strong><br />
INTERVIEW WITH<br />
PETER LAURENSON<br />
PHOTOGRAPHING PEOPLE<br />
BY DON MCLEOD<br />
HOW LONG IS “LONG<br />
ENOUGH”?<br />
BY KEN WRIGHT<br />
<strong>October</strong> <strong>2019</strong> 1
WELCOME TO ISSUE <strong>24</strong> OF<br />
NZ PHOTOGRAPHER MAGAZINE<br />
HELLO EVERYONE,<br />
Did you realise that this edition<br />
marks the 2nd year of New Zealand<br />
Photographer magazine under<br />
the hands of Excio? Time certainly<br />
flies when you're having fun! As we<br />
finalise plans for next year we want<br />
to hear your thoughts on what you<br />
enjoy and which pages you skip (if<br />
any!) so please do take part in our<br />
survey if you haven't already.<br />
This issue is all about photographing<br />
people, with a healthy dose of travel<br />
inspiration and a dash of nature<br />
thrown in too so as to keep the<br />
outdoor-loving introverts happy as<br />
well.<br />
We get to know Peter Laurenson<br />
in our cover interview, finding out<br />
about his love of Khumbu in Nepal<br />
and his passion for climbing and<br />
photographing the people and<br />
places he visits. We welcome Susan<br />
Blick back to the magazine as she<br />
shares her story of photographing<br />
one of the world's last remaining<br />
homogeneous tribes.<br />
Don McLeod shares his experiences as a press photographer and family<br />
photographer to give us some tips on photographing people – The magic<br />
happens when you build a relationship with the person you are photographing,<br />
before pressing the shutter. This is similar to that Parmeet Sahni tells us in her articles,<br />
as she explains how to get people to relax so that you can capture that candid<br />
moment that makes a memory.<br />
Don't worry if photographing people is not your thing, Brendon takes us on a trip<br />
to Milford Sound whilst Ken Wright answers the question 'How long is long enough?'<br />
in regards to long exposure photography. If you're not bursting to try your hand<br />
at portrait shots, you'll be bursting to get down to the nearest beach or waterfall<br />
– Show us what you were inspired to capture by tagging us on social media or<br />
sending us an email.<br />
Emily Goodwin<br />
Editor NZ Photographer<br />
General Info:<br />
<strong>NZPhotographer</strong> <strong>Issue</strong> <strong>24</strong><br />
September <strong>2019</strong><br />
Cover Photo<br />
Final pitch<br />
by Peter Laurenson<br />
Publisher:<br />
Excio Group<br />
Website:<br />
www.excio.io/nzphotographer<br />
Group Director:<br />
Ana Lyubich<br />
Editor:<br />
Emily Goodwin<br />
Graphic Design:<br />
Maksim Topyrkin<br />
Advertising Enquiries:<br />
Email hello@excio.io<br />
2<br />
<strong>NZPhotographer</strong>
REGULAR CONTRIBUTORS<br />
Brendon Gilchrist<br />
Brendon is the man<br />
behind ESB Photography.<br />
He is an avid tramper<br />
who treks from sea to<br />
mountain, and back<br />
again, capturing the<br />
uniqueness of New<br />
Zealand’s unforgiving<br />
landscape.<br />
Ana Lyubich<br />
Co-founder of Excio, Ana's<br />
photography journey<br />
started many years ago<br />
with one of the first Kodak<br />
film cameras. She loves<br />
exploring the unseen<br />
macro world and capturing<br />
genuine people's emotions.<br />
Richard Young<br />
Richard is an awardwinning<br />
landscape and<br />
wildlife photographer who<br />
teaches photography<br />
workshops and runs<br />
photography tours. He<br />
is the founder of New<br />
Zealand Photography<br />
Workshops.<br />
nzphotographer nzp_magazine nzp@excio.io<br />
© <strong>2019</strong> <strong>NZPhotographer</strong> Magazine<br />
All rights reserved. Reproduction of any material appearing in this magazine in<br />
any form is forbidden without prior consent of the publisher.<br />
Disclaimer:<br />
Opinions of contributing authors do not necessarily reflect the<br />
opinion of the magazine.<br />
<strong>October</strong> <strong>2019</strong><br />
3
CONTENTS<br />
PHOTOGRAPHING ONE OF THE WORLD’S<br />
LAST REMAINING HOMOGENEOUS TRIBES<br />
by Susan Blick<br />
12<br />
PHOTOGRAPHING PEOPLE<br />
BY DON MCLEOD<br />
6<br />
12<br />
22<br />
26<br />
28<br />
36<br />
52<br />
58<br />
66<br />
72<br />
75<br />
PHOTOGRAPHING PEOPLE<br />
by Don McLeod<br />
PHOTOGRAPHING ONE OF THE WORLD’S<br />
LAST REMAINING HOMOGENEOUS TRIBES<br />
by Susan Blick<br />
BEHIND THE SHOT WITH GREG ARNOLD<br />
FRESH SHOOTS AUTUMN PEOPLE’S<br />
CHOICE AWARD WINNER: PATRICK SCHNEIDER<br />
#WOMENINPHOTOGRAPHY GETTING TO KNOW<br />
LEANNE SILVER OF ARGENT PHOTOGRAPHY<br />
INTERVIEW WITH PETER LAURENSON<br />
SOAKING UP MILFORD SOUND<br />
by Brendon Gilchrist<br />
MAKING MEMORIES IN THE STUDIO<br />
with Parmeet Sahni<br />
HOW LONG IS “LONG ENOUGH”?<br />
By Ken Wright<br />
“LURKING SYNDROME” IN PHOTOGRAPHY<br />
by Ana Lyubich<br />
BEST READERS SUBMISSIONS THIS MONTH<br />
6<br />
FRESH SHOOTS AUTUMN<br />
PEOPLE’S CHOICE AWARD<br />
WINNER: PATRICK SCHNEIDER<br />
66<br />
HOW LONG IS “LONG ENOUGH”?<br />
BY KEN WRIGHT<br />
26
1 Day Workshops<br />
Learn how to take full creative control<br />
and capture your own unique images.<br />
Different one day options:<br />
Creative Photography<br />
Long Exposure<br />
Fine Art Printing<br />
2 Day Workshops<br />
Small Group Photography Weekends<br />
Lightroom Processing<br />
Tongariro Landscapes<br />
Kaimai Waterfalls<br />
Cape Palliser<br />
Bay of Plenty Seascapes<br />
and waterfalls<br />
4 Day Masterclass<br />
Be inspired with our master class<br />
workshops, which are designed to be<br />
educational vacations, where you are<br />
immersed in a specific area<br />
of photography.<br />
Long Exposure - Coromandel.<br />
Landscapes - Aoraki, Mt Cook.<br />
Astro - Aoraki, Mt Cook.<br />
Autumn Colours - Wanaka.<br />
Wildlife - Otago Peninsular<br />
Photography Tours<br />
Taking you to the best locations<br />
the country has to offer.<br />
Draw inspiration from capturing<br />
New Zealand’s most iconic<br />
landscapes alongside some of<br />
our more hidden gems.<br />
20 Day: South Island Highlights<br />
20 Day: North Island Highlights<br />
17 Day: Ultimate New Zealand<br />
12 Day: New Zealand Icons<br />
15 Day: New Zealand<br />
Coastal Landscapes<br />
15 Day: North Island Landscapes<br />
7 Day: Wild South Island<br />
7 Day: West Coast Wilderness<br />
7 Day: South Island Beaches<br />
& Bays<br />
7 Day: Volcanic North Island<br />
7 Day: Northland & Bay of Islands<br />
4 Day: Fiordland<br />
www.photographyworkshops.co.nz<br />
info@photographyworkshops.co.nz<br />
021 0845 7322
PHOTOGRAPHING PEOPLE<br />
by Don McLeod<br />
“When you take a photograph of someone, you take a photograph of<br />
their soul” Winna Efendi<br />
Photographing people is exciting and<br />
challenging, as you set out to tell a special story.<br />
Of all forms of photography, photographing<br />
people has been, for me, the most rewarding as well<br />
as at times the most demanding. It has challenged<br />
me to be very mindful of each person’s situation and<br />
to work to develop an understanding relationship<br />
with the person so that I am able to identify<br />
something special about them.<br />
It is that special moment, whether it be love,<br />
concern, power, talent or some other emotion, that<br />
I have strived to capture with my camera.<br />
For many years I had the privilege of photographing<br />
individuals, weddings, children, family activities, press<br />
work and even developed basic x-rays for the local<br />
Medical Centre putting my darkroom skills to use!<br />
With my work as a press photographer I had to<br />
portray events and stories of people within a<br />
community, telling the story through photography<br />
whether that be the horse event, the road accident,<br />
or the production put on by the local drama club.<br />
My community at the time was a medium size town<br />
but as the saying goes “A photograph is worth a<br />
thousand words.” It reiterated the importance of<br />
connecting with people, helping them become<br />
confident in relating their story, controversial or not.<br />
THE CHALLENGE TO CONNECT<br />
The term People/Portraits denotes a challenge, to<br />
share something about a person in a visual format.<br />
The pleasure is threefold for “The photographer”,<br />
“The person”, and “The viewer”.<br />
There may be joy, happiness, sadness but it is a story<br />
you are making and telling.<br />
It matters not what we use to make that visual result,<br />
but rather that we follow a few simple steps:<br />
1. Build a relationship wherever the photograph is<br />
being taken.<br />
2. Take time to visualise what you see or hear before<br />
pressing the button.<br />
CHILD AT BEACH<br />
F6.3 1/1000s, ISO400<br />
3. Seize the split second opportunity. Capture and<br />
make that special shot.<br />
4. Print the special photographs.<br />
PHOTOGRAPHING CHILDREN<br />
People and Portraits is broad in the sense that<br />
we encounter people of all ages, in a variety of<br />
situations. Photographing children is very rewarding<br />
and a good place to start.<br />
Photographs of children do not always need to be<br />
posed, as often they pose naturally for you. Take for<br />
example, this photo of a child at the beach. What<br />
do you see on her face? Can you see that she is<br />
6<br />
<strong>NZPhotographer</strong>
CHILD ONE<br />
CHILD TWO<br />
CHILD THREE<br />
F5.6 1/30s, FP3 film 125 F4 1/30 FP3 film 125<br />
F5.6 1/60s, FP3 film 125<br />
relaxed and happy, being patient but also telling the<br />
photographer to ‘Get on with it’?!<br />
The above three photographs are typical of<br />
children early evening prior to bedtime. During this<br />
time families take time out to connect with their<br />
children, with a story, or other quiet activity. As a<br />
photographer, it is time to seize an opportunity to<br />
portray another aspect about a child. It may seem<br />
like making a record, but in reality it can be very<br />
special.<br />
When I photographed these children they were<br />
relaxed, quiet and, posed naturally. Any attempt to<br />
pose them could have distracted them from being<br />
themselves. As photographers, we are setting out to<br />
capture that something special about the person,<br />
and while the use of unusual items to adorn the child<br />
happens, it could be seen as missing out on the real<br />
person.<br />
The ‘child one’ photograph was captured using<br />
natural light from a window. Look at the eyes and<br />
the white dot in each eye. This adds a sparkle and<br />
helps lighten up the face when set against a darker<br />
background. Eyes of people often show emotions<br />
and feelings which is exciting to portray.<br />
The ‘child two’ photograph was captured using<br />
natural light as the child sat casually with her special<br />
teddy. It was her moment of quiet before bed. In the<br />
post darkroom chemical processing, a sepia stage<br />
was added as well as a little softening. The darkroom<br />
step doubled the time, but adding sepia in the<br />
computer editing stage is much simpler these days!<br />
The ‘child three’ photograph shows a spontaneous<br />
split second action by big brother, as he decided<br />
to check out the progress of his little sister’s teeth.<br />
Nothing posed, just a spontaneous set of actions<br />
caught on camera. Again it could be seen as a<br />
record shot, but the family still laugh about the<br />
natural action.<br />
Children have that sense of un-predictability, but<br />
also a sense of love and freedom. Many times have<br />
I, as a photographer rather than a Father, had to<br />
photograph an active child having fun around the<br />
garden. What I always found was, as Yousuf Karsh<br />
said, “That small fraction of a second” needed<br />
to capture a special photograph of a child can<br />
bring us back to reality, but we need patience and<br />
understanding to achieve a photograph that brings<br />
joy to the family, and often to the child later in life.<br />
POSED PORTRAITS<br />
It will be noted that my work endeavours to<br />
use natural lighting as my belief is that it gives<br />
authenticity to the photograph. That does not mean<br />
that I don’t use other lighting though, because I do.<br />
The examples I give on the next page are examples<br />
of capturing folk as they are and attempting to find<br />
something special as mentioned earlier.<br />
<strong>October</strong> <strong>2019</strong> 7
8<br />
<strong>NZPhotographer</strong><br />
CHINESE MAN<br />
F5.6, 1/30s, ISO125
Chinese Man<br />
This delightful Chinese man was a<br />
rehabilitation hospital patient. I met him<br />
often with my work as a health professional<br />
and was thrilled when he allowed me to<br />
take his photograph. His eyes and facial<br />
expression are how I know him. They capture<br />
my attention every time I look at this<br />
photograph. It is an expression of his wisdom<br />
and love which in reality it was. In a sense, it<br />
is a portrait without anything other than who<br />
and where he was sitting.<br />
Father John<br />
Father John was photographed inside<br />
the Monastery of the Holy Trinity Meteora<br />
in northern Greece on part of a 3 week<br />
vacation with my wife.<br />
We were met by Father John at the entrance<br />
of the 400 metre high monastery (a 95 minute<br />
climb from the town of Meteora along<br />
forested and rocky paths). Even though we<br />
had a language challenge, we understood<br />
each other well. A lot was achieved over<br />
our first Greek coffee with Father John, with<br />
whom we built a special relationship, so<br />
necessary to get the photograph shown.<br />
FATHER JOHN<br />
F5.6, 1/30s, ISO100<br />
The natural lighting captured my attention<br />
immediately. As he walked in, I asked him<br />
to stop, his hands fell into a natural position,<br />
and an expression of warmth came across his<br />
face. One interesting aspect is the fact that<br />
he had lost an eye from cancer, which the<br />
lighting hides. The photograph was taken on<br />
film in natural light. A few months later I was<br />
able to get a print back to him via a fellow<br />
traveller.<br />
Ballerina<br />
This shot of the beautiful ballerina was taken<br />
with my 6x6 Rollei camera on Ilford FP3.<br />
She was visiting our small town in the Bay of<br />
Plenty for a ballet performance and despite<br />
spending the night with us, I only had 10<br />
minutes to capture some photographs using<br />
a single light the next morning.<br />
I had seen during the ballet performance the<br />
evening before that ballerinas have many<br />
emotive poses when dancing. As we talked<br />
that next morning she moved into a few<br />
poses for me, and between us we liked the<br />
one portrayed. The single light helped show<br />
the personality we had got to know about<br />
her. Getting to know a person is so vital and it<br />
was proved again here.<br />
BALLERINA<br />
F5.6, 1/30s, ISO125<br />
<strong>October</strong> <strong>2019</strong> 9
STREET PHOTOGRAPHY<br />
People on the street provide a set<br />
of opportunities to portray people<br />
candidly. This type of photography is<br />
exciting and rewarding though a little<br />
stealth is required at times because the<br />
subject may be unaware of your actions.<br />
The street photographer has to develop<br />
skills in observation and technique. Some<br />
of those techniques require careful<br />
handling. It brings to the fore, the need<br />
to be aware of cultural issues, as not<br />
all situations will be accepting of their<br />
photograph being taken. Saying this,<br />
in all my street photography ventures<br />
I have rarely been turned down if I have<br />
first engaged with the person/people.<br />
I refer back to my earlier comment that<br />
it forces you to develop a relationship.<br />
Panama Boy<br />
Walking through the back streets in<br />
Panama I noticed this young boy all<br />
dressed up in soccer gear walking with<br />
his father. The father indicated soccer<br />
was his son’s dream career and after a<br />
few minutes, the father and boy agreed<br />
that I could take his photograph. The<br />
young boy just naturally reacted so<br />
proudly.<br />
Monk & Child<br />
This photo was taken in Laos. We had<br />
been up early for the alms walk and<br />
were exploring the temples, engaging in<br />
a basic sign language conversation with<br />
a small family. The young monk obviously<br />
belonged to the family. After a short<br />
sign talk asking their permission to take<br />
a photograph, the young Monk sat and<br />
casually put his arm around the young<br />
child, which enabled me to photograph<br />
them both as attached. I love how the<br />
warmth of their relationship came so<br />
naturally.<br />
All of these situations were spotted so to<br />
speak, and with thoughtful engagement<br />
a photographic opportunity was seized.<br />
CONCLUSION<br />
Time immemorial has seen artists /<br />
photographers making “Portraits of<br />
People” I challenge you to leap into<br />
a new way of portraying people by<br />
building relationships before pressing the<br />
shutter.<br />
PANAMA BOY<br />
10<br />
<strong>NZPhotographer</strong><br />
F9, 1/80s, ISO500
MONK & CHILD<br />
F4.5, 1/80s, ISO400<br />
<strong>October</strong> <strong>2019</strong> 11
Photographing On<br />
Last Remaining Ho<br />
12<br />
<strong>NZPhotographer</strong>
e of the World’s<br />
mogeneous Tribes<br />
by Susan Blick<br />
<strong>October</strong> <strong>2019</strong> 13
TSERING<br />
F2.5, 1/640s, ISO100,80mm<br />
+ lume cube & reflector<br />
14<br />
<strong>NZPhotographer</strong>
Iwas recently in the very North-Western tip<br />
of India, about 7 hours north of Srinagar on<br />
the Kashmir Line of Control in Ladakh, India.<br />
Ladakh sits right in the middle of the World’s<br />
highest mountain range, the Himalayas. It’s<br />
completely inaccessible overland for eight<br />
months of the year, totally cut off from the world<br />
bar infrequent flights.<br />
This isolation has allowed the preservation of<br />
people known as Dropkas in Ladakhi which<br />
means nomad or Turk, not from the modern day<br />
Turkey, but a Kingdom of Turkic or Dardic people<br />
who once ruled the Karakoram in the time of<br />
the Greeks.<br />
The Dropkas (Aryans as we know them in<br />
English) are ethnically, socially, linguistically and<br />
culturally completely different from all of the<br />
other inhabitants surrounding them. They are<br />
the decedents of the men from Alexander the<br />
Great’s army who could travel no more and<br />
were tired, sick or injured. These decedents live<br />
mainly in three small villages in the only fertile<br />
valley in all of Ladakh. They originally migrated<br />
from the Gilgit area of Pakistan, wandering<br />
Westward looking for better hunting grounds<br />
and pastures and eventually stumbled upon<br />
and settled in this valley squashed between the<br />
Indian and Pakistani Line of Control.<br />
I had read a lot about the Aryans before<br />
traveling to the region and I was keen to<br />
document one of the World’s last remaining<br />
homogeneous tribes.<br />
Just getting there is a story in itself, but<br />
photographing them wasn’t as straightforward<br />
as one might expect either. First of all, the<br />
people are hard to find. Their village lies on a<br />
steep cliff face and at an altitude of around<br />
3,500m, it makes it very hard to sniff them out.<br />
Secondly, they seem to slip in and out of their<br />
houses without being seen, camouflaged-well<br />
in their traditional dress and blending with the<br />
forest surrounds and giant granite boulders that<br />
nestle their village. The lane ways are devoid of<br />
people and in the night they tell me Himalayan<br />
wolves and shanko (high-altitude feral dogs)<br />
as big as lions roam the mountains in search of<br />
wildlife and domestic animals.<br />
Add to this, the fact that in the past, Dropkas<br />
believed that cameras could steal your soul, so<br />
most people still aren’t all that keen on being<br />
photographed! Nevertheless, I needed these<br />
photos as I had come so far.<br />
I had hired a fixer to help me organise for the<br />
shoot, a fellow photographer born and bred in<br />
Ladakh who took on the role of translator and<br />
photography assistant. Together we hunted<br />
around for some local women willing to pose<br />
for some photography. These women would<br />
be our main models, but they weren’t models<br />
at all. We needed to spend a lot of time with<br />
them, drinking butter tea, chatting, getting to<br />
know each other before they finally start to<br />
relax enough to be willingly photographed.<br />
Their stories are interesting and added to the<br />
experience, an investment in time and effort.<br />
Tsering was the first lady I found to photograph.<br />
She told me she had lived all her life in this<br />
village and had rarely left it, visiting Leh just<br />
once when she was young. She had no real<br />
interest in the modern world and didn’t want<br />
to join the rest of us on our march into the<br />
complicated realm of modernity. For a moment<br />
I felt envious of her simple life; a sustainable<br />
existence growing barley, apricots, nuts and<br />
cherries sufficed. She had had numerous<br />
children, the actual number lost in translation<br />
as she had also mothered others in those<br />
early years, and a few had died shortly after<br />
childbirth. Nonetheless, she liked her life as it<br />
was. I thoroughly enjoy encounters like this and<br />
I wanted to photograph her with dignity, and<br />
showcase the beauty of the dress she proudly<br />
wore.<br />
At altitude, the light outside is mostly too harsh<br />
for portraiture and inside the houses, it’s pitch<br />
black bar for some small windows so lighting<br />
is a huge issue! I’d traveled here with a Lume<br />
Cube and an improvised reflector, a sheet of tin<br />
foil found en route. Lume Cubes are fantastic<br />
for on the road, but I do recommend having<br />
two. Regardless, I needed to shoot most of the<br />
interior portraits at a very wide aperture, and<br />
needed to crank my iso up to 1250 on occasion<br />
in order to get enough light onto the sensor – a<br />
battle between too much noise and not enough<br />
depth of field!<br />
After running off quite a few shots inside, we<br />
took a break to find a new location as I wanted<br />
some environmental portraits. I didn’t just<br />
want to shoot these people with just a ‘clean<br />
background’ indoors as I think photographing<br />
culturally requires or dictates the necessity to<br />
show something of where the people live, where<br />
they are from, the environment in which they<br />
inhabit.<br />
<strong>October</strong> <strong>2019</strong> 15
A MOMENT TO RELAX<br />
F1.8, 1/640, ISO100, 50mm<br />
16<br />
<strong>NZPhotographer</strong>
We headed outside and wandered about. The<br />
sun had gone behind some clouds so I was<br />
feeling better about the outside shots now. We<br />
found a nice cliff edge and while we discussed<br />
compositions and posing one of the ladies sat<br />
down and looked incredibly beautiful with soft<br />
light around her. She’d finally relaxed and I turned<br />
to take my shot. Sometimes it’s the moments<br />
between the moments that provide the best<br />
images and I think the photo 'A Moment To Relax'<br />
is still my favourite shot from the few days I spent<br />
in the village.<br />
Next up, I wanted an environmental portrait<br />
of a Dropka man and two women so as to<br />
showcase their traditional dress. Dropkas wear<br />
such elaborate costumes with each piece having<br />
significance beyond aesthetics or practicalities.<br />
Silver and turquoise amulet boxes are worn<br />
around their necks, sometimes filled with the<br />
ashes or fragments of ancestors. The silver reflects<br />
evil away from the body not letting it enter and<br />
turquoise protects from demons and is a poison<br />
detector that was traditionally used to line the rim<br />
of tea cups.<br />
The headdress worn by both men and women<br />
that you see in ‘Telling the Story’(next page) is<br />
called a Ko. The Ko is adorned with flowers both<br />
artificial and real, coins and silver, again for<br />
purposes of protection. Men wear a crimson tunic<br />
called a goucha and women wear a tunic called<br />
a kuntop, loaded with beads, coral, shells, and<br />
silver over which sits a goatskin cape.<br />
I feel that placing your subjects in their ‘natural<br />
environment’ can really help form a story to<br />
support your photography.<br />
The following day we visited a 400-year-old house<br />
with a mud-packed floor and I felt like I had gone<br />
back in time. The woman of the house, Dolma<br />
had never had her photo taken before so I had<br />
to sit with her for some time chatting via my<br />
translator asking all sorts of questions getting to<br />
know her, and even then it was hard to get her to<br />
relax in front of the camera. All she wanted was<br />
for me to photograph her most prized possession,<br />
a copper ladle.<br />
Kitchens are the most important rooms in Ladakhi<br />
houses, some can fit up to 50 people and are<br />
where the family lives, eats and sleeps during<br />
the bitter winter months as they’re the only<br />
rooms with a fire. I sat with her on a filthy, matted<br />
goatskin, and admired her ability to prepare<br />
any sort of meal at all in this rudimentary space.<br />
Photographing here was perhaps the most<br />
difficult of all as it was very dark indeed. Even with<br />
my Lume Cube, a reflector, and some light rays<br />
from a side window I had to up my ISO and to be<br />
honest it still wasn’t sufficient. I hate high ISO so<br />
didn’t want to go any higher than 800. Yes, ideally<br />
a speedlight and a softbox would have worked<br />
well, and in the future I may well travel with one<br />
for my groups, but on the flip side, you do lose<br />
some ambiance when using too much artificial<br />
light.<br />
While I had been photographing Dolma, her<br />
husband had started spinning a prayer wheel<br />
in the back corner of the kitchen. The adjacent<br />
window was now letting in some brighter light and<br />
I noticed the highlights on part of his face. He<br />
looked very photogenic. I chatted to him about<br />
the conversion from animism to Buddhism that<br />
some of the Aryans are going through and this<br />
helped to focus his attention and for him to relax.<br />
Getting to know your subject, spending some time<br />
talking with them, is integral and a nice way to<br />
build rapport before you start pointing a camera<br />
in their direction. Dolma’s husband continued<br />
to spin the prayer wheel and I took a number of<br />
shots attempting to get just enough blur on the<br />
wheel as it spun in order to show movement. The<br />
lighting was beautiful, but still quite contrasty<br />
against the darker side of the room.<br />
Three days later we left the village and headed<br />
back to Leh and I thought to myself how<br />
privileged I had been. I captured a moment in<br />
time that may never be seen again. As remote<br />
tribes like these have more contact with the<br />
outside world it will undoubtedly impact their<br />
culture. It’s quite a dilemma in fact, as the act of<br />
recording culture also aids in its demise.<br />
While there I looked hard at them and thought<br />
how unconnected and unchanged they were,<br />
but in actual fact, change has come, is coming<br />
and will continue to come. When you have the<br />
opportunity to do something like this you feel<br />
humbled but also curious for more. In order to<br />
complete this chapter in my own photographic<br />
exploration I plan to visit their original home in<br />
Gilgit, Pakistan in the not too distant future.<br />
www.instagram.com/phomadic<br />
www.susanblick.com<br />
www.facebook.com/susanblickphoto<br />
albums.excio.io/profile/Susan Blick Photography<br />
<strong>October</strong> <strong>2019</strong> 17
TELLING THE STORY<br />
F2.5, 1/640, ISO100, 50mm + reflector<br />
18<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 19
DOLMA’S LADLE<br />
Dolma proudly holds her ladle for me to<br />
photograph.<br />
F2.0, 1/100s, ISO640, 50mm<br />
THE LADAKHI KITCHEN<br />
Dolma shows me where she spends most of her<br />
day, in front of the stove<br />
F2.0, 1/125s, ISO800, 50mm + lume cube & reflector<br />
20<br />
<strong>NZPhotographer</strong>
A CANDID MOMENT<br />
Dolma’s husband having a good<br />
laugh as he makes a humorous<br />
comment at my expense.<br />
F2.8, 1/160s, ISO1250, 70mm<br />
<strong>October</strong> <strong>2019</strong> 21
Behind The Shot with Greg Arnold<br />
22<br />
<strong>NZPhotographer</strong>
THE BEAUTIFUL TRAVELLERS<br />
F5.6, 1/1000s, ISO640
GREG, TELL US THE BACKGROUND OF HOW<br />
THIS PHOTO CAME TO BE!<br />
A group of us were travelling as the guests of Prof.<br />
Guan Kaiyun (deputy director of the Xinjiang Institute<br />
of Ecology and Geography, part of the Chinese<br />
Academy of Sciences) through the North West of<br />
Xinjiang Provence, generally in the area of the historic<br />
Silk Road.<br />
We were being shown a number of the outreach<br />
projects of the Institute, including the planting and<br />
irrigation of sand retention shelter that measured 100m<br />
wide (both sides) on a 450km motorway running right<br />
through the Taklamakan desert.<br />
Plants had to be chosen that could handle the<br />
extreme conditions plus irrigation with subterranean<br />
salt water and pumping stations needed to<br />
established every 5–10km. Getting all this done within<br />
an almost impossible time frame, was an extraordinary<br />
feat!<br />
SO HOW DID YOU COME TO BE PART OF THIS<br />
GROUP AND TRIP IN THE FIRST PLACE?<br />
Many years ago, the Pukeiti Rhododendron Trust<br />
(through the efforts of Lynn and Robyn Bublitz)<br />
established a friendship with a young Chinese Botanist<br />
(now Professor Guan). There have been a number<br />
of exchange tours based on this friendship over the<br />
years. I missed a previous trip because of a M/C<br />
accident, but was fortunate enough to be invited<br />
onto this trip, 2 years later.<br />
WHAT GEAR DID YOU TAKE WITH YOU?<br />
I was planning to take almost exclusively street/<br />
portrait shots on this trip so I had chosen kit that gave<br />
me the best portability and quality (while still being<br />
reasonably inconspicuous).<br />
I had my RX1Rii (35mm/2, FF and capable of good<br />
close work if I needed it) and A6500 with 55/1.8<br />
(a wicked lens with fast focusing, image stabilisation<br />
and with a useful aps-c, portrait angle of view). These<br />
were cameras I was familiar with and both cameras<br />
could use the same filters (ND+ CP), hoods and flash.<br />
All of this fitted together in a tiny ONA canvas bag and<br />
could be remotely controlled by my phone if needed.<br />
WHAT WAS GOING ON BEHIND THE CAMERA<br />
WHEN YOU TOOK THIS PHOTO?<br />
Our bus had stopped in a small town near the borders<br />
of Mongolia and Kazakhstan. Alongside us was a rather<br />
Heath Robinson (house/sleeper) bus with a young boy<br />
staring out the rear-side window at our strange looking<br />
group. I wanted the photo of the boy and got myself<br />
close enough before I pulled my camera into view.<br />
From his expression, we seemed to look like a travelling<br />
foreign circus, he didn’t appear aware of his photo<br />
being taken. That was all I could see to photograph at<br />
that time, as his bus had the curtains drawn and was<br />
between me and the late afternoon sun.<br />
Feeling pleased with getting that shot, I got on our bus<br />
which was about to move on. As soon as our motor<br />
started the curtains in the ‘house bus’ opened and<br />
the occupants of both buses were looking at each<br />
other like two passing trains.<br />
I had been shooting with Manual exposure, but<br />
there was no time to consider changing any camera<br />
settings and so ‘The Beautiful Traveller’s’ photo was<br />
taken through two sets of bus windows and looking<br />
straight into the sun.<br />
I have no idea who these people were, what their<br />
ethnicity was, or where they were going though at a<br />
guess they seemed to be heading toward Mongolia.<br />
From the friendliness that radiated from their faces,<br />
I’d have changed buses and travelled with them in a<br />
heartbeat!<br />
WERE YOU HAPPY WITH THE SHOT? WHAT, IF<br />
ANYTHING, WOULD YOU CHANGE IF YOU<br />
COULD HAVE CONTROLLED THE SITUATION?<br />
Considering the unexpectedness of this scene<br />
unfolding before my eyes I was happy with the<br />
capture, but the quality reflects my haste and the<br />
difficult conditions.<br />
If I’d had time, I would have liked to have gotten out<br />
of our bus, changed cameras and used a polariser<br />
and a deeper lens hood. Even better, I’d have loved<br />
to have changed buses for some portrait shots…<br />
I mean who wouldn’t; they were beautiful people!<br />
DID YOU TAKE THIS PHOTO IN BLACK AND<br />
WHITE OR CONVERT IT LATER? HOW MUCH<br />
EDITING DID YOU DO?<br />
The sun on the windows turned the image milky, so<br />
to salvage it I tried to make the shot look ‘film like’ to<br />
hide its obvious flaws. I pulled as much contrast out of<br />
the ‘washed out’ shot as I could and added a touch<br />
of ‘dehaze’, but I was fighting noise as well as poor<br />
definition.<br />
It was going to be an awful colour shot, so I edited<br />
it in Silver Effex Pro to get any extra contrast I could,<br />
without losing all my mid tones. From memory, I played<br />
with selective colour filters and used a ‘film effect’<br />
preset.<br />
TELL US WHAT IT WAS LIKE PHOTOGRAPHING<br />
OVER THERE, ANY PROBLEMS?<br />
In the Xinjiang Provence, we were pre-warned “under<br />
no circumstances photograph the Police of Army”.<br />
One of our group didn’t see a SWAT dressed security<br />
Policeman (with automatic weapon) get on our bus<br />
at a road check point while he was photographing a<br />
<strong>24</strong><br />
<strong>NZPhotographer</strong>
cotton seed-head in his hand. The Policeman’s reaction<br />
was severe and only after our hosts intervened and the<br />
photo was shown to not be a security threat, did he<br />
leave and the camera was returned to its owner.<br />
In the city of Kashgar we were told not to go into town<br />
(except in groups) with words to the effect: “because<br />
there are people here who would like to embarrass the<br />
Chinese Government, and Western tourists could be<br />
made targets to that end”.<br />
Having said that and having seen the incredible level<br />
of security everywhere, I never felt in danger at any<br />
time. In Kashgar, Police sirens wailed all night, just to<br />
let everyone know that they were there. There was a<br />
Kindergarten next to our mid city hotel and at school<br />
closing time (8pm) there were Army Personnel Carriers<br />
and Police SWAT teams to guard the children’s pick up.<br />
WHAT ELSE WOULD YOU LIKE TO SHARE WITH US<br />
ABOUT YOUR TRIP?<br />
The population in this area of China is a historic meld<br />
of genes from all the countries that are in proximity.<br />
Traders have been travelling this route for centuries and<br />
borders have changed with political power changes.<br />
The majority of the population is Turkic speaking<br />
Muslims know as Uyghurs. The Uyghur independence<br />
movement calls the area “East Turkistan”.<br />
The Uyghurs were not only photogenic but very friendly<br />
and this was one of a number of photo moments in<br />
China, that for me was heartwarming.<br />
The Institute (Prof. Guan, Dr Li, and Dr Liu especially) were<br />
generous and wonderful hosts. The people we met were<br />
fantastic and the scenery and the food were amazing.<br />
It was such a privilege to visit China. I’d go back (even<br />
to do the same trip again) in a heartbeat, but I doubt it<br />
would be possible without such influential hosts.<br />
albums.excio.io/profile/GregA<br />
BEHIND THE SHOT IS PROUDLY<br />
SUPPORTED BY<br />
<strong>October</strong> <strong>2019</strong> 25
LADY NORWOOD’S<br />
BEAUTIFUL PATTERN
Fresh Shoots Autumn People’s<br />
Choice Award Winner:<br />
Patrick Schneider<br />
HI PATRICK, TELL US ABOUT YOU AND HOW<br />
YOU GET INTERESTED IN PHOTOGRAPHY…<br />
I grew up on the lakes of Switzerland where I got a<br />
taste for windsurfing, nature, and adventure. I first<br />
visited New Zealand in 2015 and fell in love with the<br />
place, moving here a year later in 2016. I’m 41, a<br />
sparky and have worked in the trade for over 20 years.<br />
I have a lovely partner who is from the Cook Island<br />
which is where we are soon going to live and work.<br />
As a keen windsurfer, my friends and I have always<br />
been interested in getting good action shots of<br />
ourselves but I also like to take pictures of other<br />
people surfing, windsurfing, or kitesurfing – I enjoy trying<br />
to capture people’s expressions of joy and happiness<br />
while they are out playing with the elements.<br />
25 years ago we didn’t have the technology of today<br />
so we had to be creative. We started out by wrapping<br />
plastic bags around the camera to protect it from the<br />
flying sand on the beach. But the noise coming from the<br />
flapping bags in the wind was very annoying so our next<br />
move was to cut and glue some thicker plastic bags<br />
together to protect the camera. In the end, we had<br />
some solid weather-resistant camera housing made out<br />
of mono-film, which we had plenty of thanks to all the<br />
broken windsurf sails! This wasn’t our most deluxe model<br />
though, we also got creative with an old outdoor light<br />
which had an attached round food container for the lens<br />
(like they have from Sistema) and on the end, I attached<br />
a round glass with silicon to seal it against splashing water!<br />
WHAT ARE YOU SHOOTING WITH NOW?<br />
I recently sold my Canon 70d so am currently taking<br />
all images with my DJI Mavic Air drone which is<br />
something totally different to regular photography.<br />
Imagine seeing the world from the perspective of<br />
a bird or sitting in a helicopter and taking pictures.<br />
It opens a totally new dimension of taking pictures.<br />
I enjoy flying the drone but on the other hand, I find<br />
original photography more relaxing as I’m constantly<br />
aware (scared) of the possibility of crashing the drone<br />
or of it losing signal.<br />
TELL US ABOUT THE DAY YOU TOOK THIS SHOT<br />
AT WELLINGTON BOTANICAL GARDENS…<br />
When I was visiting the garden a few weeks before<br />
taking this picture, I was walking through the rose garden<br />
and was wondering how it would look from a birds<br />
perspective. What pattern would a bird see… I decided<br />
to find out and went back on a sunny, part cloudy, not<br />
too windy day with my drone.<br />
I did some research on Google Maps prior to my<br />
return trip to look for a remote elevated spot where<br />
I could launch the drone. I thought around midday<br />
would be a good time to avoid big patches of<br />
shadows on the ground.<br />
On the day, after I launched the drone, I was constantly<br />
checking the view on the screen of my mobile phone to<br />
see what the picture would look like. I was pretty happy<br />
when I saw the pattern of the rose garden and was<br />
surprised how equally accurate all those little rose beds<br />
are! I took some shots and had a quick look at them,<br />
I realized that I needed to fly a little higher to see more of<br />
the garden. I changed aperture and shutter speed and<br />
took some more shots. I could see that I had now found<br />
the composition that I was looking for and thought that<br />
with a little bit of editing and cropping I could end up<br />
with a nice picture for the competition.<br />
In all honesty, I hardly know anything about<br />
photography and am not really interested in the<br />
technicalities, I just like to take some cool pictures<br />
sometimes!<br />
HOW DID IT FEEL FINDING OUT THAT YOUR<br />
PHOTO HAD WON THE PEOPLE’S CHOICE<br />
AWARD FOR THE AUTUMN COMPETITION?<br />
Winning something is always an exiting feeling. I like<br />
the thought that other people enjoyed my picture,<br />
it gives an inner satisfaction that others were moved<br />
by what I captured as I too had been inspired seeing<br />
pictures from the other photographers.<br />
HOW DID YOU FIND OUT ABOUT THE<br />
COMPETITION IN THE FIRST PLACE?<br />
My partner loves flowers and herbs so I wanted to<br />
surprise her with a tour of the Botanic Gardens. When I<br />
was Googling the location I saw the Fresh Shoots<br />
competition and thought I should give it a go.<br />
WHAT’S NEXT FOR YOU?<br />
I would like to buy a Sony 6000 with water housing and<br />
am soon heading to Rarotonga, Cook Islands so you<br />
can expect to see photos from above and below the<br />
water on my social media accounts in the future.<br />
WHERE CAN WE FIND YOU ONLINE?<br />
www.instagram.com/pat_photo_grapy<br />
www.facebook.com/<br />
PATPhotography‐594430407410<strong>24</strong>0
28<br />
<strong>NZPhotographer</strong>
#WomenInPhotography<br />
Getting To Know Leanne Silver<br />
of Argent Photography<br />
ABANDONED LIGHTHOUSE<br />
Burnham on Sea, UK<br />
F11, 20s, ISO100<br />
<strong>October</strong> <strong>2019</strong> 29
At the moment, I am slowly making the transition<br />
from hobbyist to calling myself a ‘real’ photographer.<br />
I provide images for a monthly feature in a local<br />
community newspaper called the Westerly which<br />
has a print run of around 12,000. Taking photos (and<br />
getting paid) for the Westerly images was a bit of a<br />
turning point for me, as it is a regular commitment<br />
that requires care and effort, and was what initially<br />
encouraged me to think more about taking my<br />
photography further.<br />
It is still very part-time, but an important step<br />
I am taking is to to learn about the business of<br />
photography – I did a workshop with Canon which<br />
was very helpful. Someone recommended that<br />
I join NZIPP as an affiliate member as they have a<br />
lot of helpful resources, and I went to the national<br />
conference in June which was very inspirational.<br />
LEANNE, TELL US A LITTLE ABOUT YOU…<br />
I am an Aucklander, currently living in Hobsonville<br />
Point with my husband, one adult son and<br />
a diabetic dog. We have five adult children<br />
altogether, and also are doting grandparents to<br />
six mokupuna. I have spent most of my adult life<br />
juggling raising a large family with various jobs –<br />
mainly working as a guitar teacher, and then some<br />
time as an executive assistant and then an office<br />
manager. A couple of years age when our dog<br />
became diabetic I decided that it was a good time<br />
to re-evaluate how much time I wanted to spend in<br />
traffic every day!<br />
TELL US ABOUT YOUR PHOTOGRAPHY<br />
JOURNEY…<br />
I have had a passing interest since the children were<br />
young, but it wasn’t until my husband bought me a<br />
Canon 80D on our first trip to Europe a few years ago<br />
that I fell in love with photography. I did a couple of day<br />
courses and discovered that you could combine travel<br />
with photography, that was when I became totally<br />
hooked!<br />
My photography is evolving on an almost daily basis<br />
as I learn new skills and try new creative ideas. I work<br />
under the name Argent Photography, and I finally<br />
have a website to display some of my work, which is<br />
a big step for me.<br />
TELL US MORE ABOUT TAKING THE PHOTOS<br />
FOR THE NEWSPAPER AND WHERE THAT HAS<br />
LED YOU…<br />
My friend Sue writes the monthly feature for the<br />
Hobsonville Point page and last year she asked me if<br />
I would come on board and provide the photos. Sue<br />
writes on a wide range of things with a local focus<br />
– events, local restaurants and businesses, human<br />
interest stories etc. It’s been a great discipline as<br />
I don’t always have input into the topic, so have to<br />
find creative ways to represent some of the topics –<br />
we did one on local street names which was quite a<br />
challenge! It’s gone from a single to a double page<br />
spread this year, and I usually provide 6–8 images for<br />
each article.<br />
I have also done a couple of interior and product<br />
shoots… The product shoot came out of an article<br />
in the Westerly. We had featured a local business<br />
called Healthy Dog & Co which makes healthy<br />
and natural dog biscuits. Helen was in the process<br />
of re-doing her packaging and contacted me for<br />
product images for her new website.<br />
The interior shots were for The Hangar, a fantastic new<br />
co-sharing space on the waterfront at Catalina Bay<br />
(which is part of the Hobsonville Point development),<br />
I have a family member involved with the project,<br />
and the team knew I was a local photographer, so<br />
they asked me to take some shots for an upcoming<br />
website.<br />
WHAT ARE YOU SHOOTING WITH NOW?<br />
I still have my 80D (a lot of the images on these<br />
pages were taken with that) but a few months ago<br />
I bought a second-hand Canon 5D MKIV. I am<br />
slowly adding to my lenses; my current favourites are<br />
at opposite ends of the spectrum – a 150–600mm<br />
Tamron, and a second-hand 90mm Tamron macro<br />
lens.<br />
30<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 31
AFTERNOON NAP<br />
F3.2, 1/100s, ISO200<br />
DO YOU HAVE A YOUR PREFERRED GENRE?<br />
You’ll see from my range of images that I don’t have<br />
a preferred genre as yet! I started with landscape<br />
photography which I still love, but I am currently<br />
enjoying exploring macro, wildlife and documentary<br />
style family photography (e. g. baking session, last day<br />
of kindy, walks on the beach).<br />
TELL US ABOUT YOUR FAVOURITE PHOTO…<br />
My favourite image (currently) is the photo of our latest<br />
Grandchild who you see above. The photo was taken<br />
when he was just a week old. He was asleep in his<br />
bouncer in the afternoon sun and I realised that the light<br />
coming in was pretty much perfect. I had my camera<br />
and a 50mm lens, which was perfect. I love how totally<br />
asleep he is and the details like the down on his cheeks.<br />
WHAT CHALLENGES HAVE YOU HAD TO<br />
OVERCOME IN PHOTOGRAPHY AND HOW<br />
HAVE YOU DONE THAT?<br />
I guess starting later in life (I’m in my fifties) has been<br />
quite a challenge, as everyone else seems to have<br />
been taking photos since they were teenagers! Not<br />
knowing a lot about the craft initially has meant that<br />
I have had to be disciplined and push myself hard to<br />
learn as much as I can in the shortest time.<br />
I did the Photography Institute Diploma initially which<br />
really helped me set my foundations. But one of the<br />
best things I have done this year is to join my local<br />
camera club. I have also attended several workshops,<br />
reached out to photographers who are further along<br />
in their journey; and, like many photographers, I spend<br />
way too much time watching YouTube tutorials.<br />
ANY TIPS FOR KEEPING YOUR MOTIVATION<br />
LEVELS UP?<br />
I don’t often have a creative slump as there’s always<br />
something new to discover and learn, but if I am<br />
feeling a bit unmotivated, I will take my camera out<br />
and try something different – maybe only taking one<br />
lens, or going somewhere I haven’t been before. I find<br />
that once I am out and about, something usually gets<br />
me interested in exploring further. I have also joined<br />
several FB groups which have thematic or weekly<br />
challenges which has been a great way to help me<br />
think about subjects in different ways and I also get<br />
inspired by other people’s images.<br />
32<br />
<strong>NZPhotographer</strong>
TRANQUILLITY<br />
F11, 15s, ISO100<br />
ON THE ROCKS<br />
F11, 4s, ISO100<br />
<strong>October</strong> <strong>2019</strong> 33
34<br />
<strong>NZPhotographer</strong><br />
CHRYSANTHEMUM<br />
F10, 1/30s, ISO800
HOW HAVE YOU BENEFITED FROM BEING PART<br />
OF LESLEY WHYTE’S WOMEN IN PHOTOGRAPHY<br />
GROUP?<br />
I first went along to one of Lesley’s coffee catchups<br />
last year and loved meeting other female<br />
photographers. Lesley has a passion for connecting<br />
women and helping them find their photography<br />
confidence and strengths. Being able to share ideas,<br />
ask questions, and hear other people’s stories in a<br />
relaxed environment has been invaluable.<br />
Recently, Lesley organised an evening with Rhonda<br />
Cockerton, a police forensic photographer. I think<br />
it’s safe to say all of us who attended were both<br />
challenged and inspired to learn about an unheralded<br />
but vital role photographers play behind the scenes.<br />
WHAT DO YOU THINK THE ADVANTAGES ARE<br />
OF BEING A FEMALE PHOTOGRAPHER?<br />
Over my many years as a mum I have learnt how to juggle<br />
competing priorities, this skill is very helpful when you are<br />
trying to fit photography deadlines in with a busy life!<br />
But also, as both a mother and a grandmother,<br />
I am comfortable around babies and children and<br />
I think that helps both them and their mums to relax.<br />
I also think that sometimes a female photographer<br />
(particularly a slightly older one) can be less daunting<br />
– I am reluctant to have my own photo taken so I can<br />
empathise with women who feel the same way.<br />
WHAT’S NEXT FOR YOU?<br />
I have a couple of potential projects/collaborations<br />
in the pipeline, and have started working with Lesley<br />
Whyte as her business expands – so I’m very excited<br />
about what the future holds!<br />
WHERE CAN WE FIND YOU ONLINE?<br />
www.instagram/argent_photography<br />
www.facebook.com/argentphotographynz<br />
www.argentphotography.me<br />
albums.excio.io/profile/argentphotography<br />
PROUDLY BROUGHT TO YOU BY:<br />
DOING THE ROUNDS<br />
F5.6, 1/1600s, ISO320<br />
<strong>October</strong> <strong>2019</strong> 35
Interview with Peter Laurenson<br />
2 year posting as Regional Manager South East Asia in<br />
Singapore. After 6 years with NZTB I decided that I’d had<br />
enough corporate politics and set up a small marketing<br />
consultancy – MPWR. That went well for quite a while,<br />
but after 12 years and the advent of the GFC (global<br />
financial crisis) I joined Zealandia on a 3 year stint as the<br />
marketing, sales and fundraising manager.<br />
After Zealandia I went back into part time marketing<br />
consultancy with Aspire, plus started to devote more<br />
time to tramping, climbing, photography, writing and<br />
volunteer work. In regards to climbing, I was a late starter,<br />
only joining a NZ Alpine Club alpine instruction course<br />
when I was 40 but since then, I’ve made up for lost time.<br />
In recent years I’ve been editor of NZ Alpine Club<br />
Wellington’s monthly Vertigo bulletin and I have<br />
written over 30 articles for Wilderness Magazine. At<br />
the beginning of <strong>2019</strong>, I took on the role of editor for<br />
Federated Mountain Club’s Backcountry. This has drawn<br />
all my skills, experience and interests together in one<br />
really stimulating role.<br />
PETER, WHAT’S YOUR BACKGROUND?<br />
I grew up in New Plymouth, in the shadow of Mount<br />
Taranaki/Egmont until, in 1980, I went to Massey University<br />
in Palmerston North to study marketing for 4 years. After<br />
graduating I went to Wellington and worked at Unilever<br />
for 3 years before heading off on 5 years of O.E. in 1988.<br />
It took 9 months backpacking up through SE Asia, India,<br />
Nepal, a bit of Europe en-route to Turkey, Israel and<br />
Egypt, before reaching London in time to qualify for a 2<br />
year working permit.<br />
I scored a really good marketing role there and ended<br />
up working in London for 3 years, with a lot of travel in the<br />
UK and around Europe while there. Then in 1992 my wife<br />
at the time and I decided that England wasn’t the place<br />
to have kids, so we set off on a 10 month return leg – first<br />
3 months in east Africa, then 2 months covering places<br />
in Europe we hadn’t visited yet, then overland from<br />
Karachi, up the Karakoram Highway and in to China.<br />
3 months backpacking in China rounded off the return<br />
journey.<br />
Back in Wellington, I gained a spot on the senior<br />
management team at the New Zealand Tourism<br />
Board. This resulted in a lot more international travel<br />
(but no longer overland with a backpack), including a<br />
WHERE DOES PHOTOGRAPHY FIT INTO YOUR<br />
STORY?<br />
Apart from terrible snaps on a horrible cheap instamatic<br />
as a teenager, I began what has become a never<br />
waning and constantly enriching interest in still<br />
photography in 1987, in the year before I headed off on<br />
my O.E.<br />
I figured I should get some skills to be able to capture<br />
my adventures on film. So I bought a Chinon CP 7m<br />
SLR (couldn’t afford anything better) and attended<br />
a basic photography night course at Wellington High<br />
School. That was the single best thing I could have done<br />
because it introduced me to manual shooting – F stop,<br />
shutter speed and exposure setting long before digital<br />
came on the scene.<br />
HOW WOULD YOU DESCRIBE YOUR STYLE OF<br />
PHOTOGRAPHY?<br />
The genre I identify most closely with is National<br />
Geographic – vivid, candid, lifelike, enquiring, dynamic.<br />
I don’t just take photos, I create images.<br />
The purpose behind my ‘creations’ is to convey visually<br />
what it was that made me FEEL impressed, amazed,<br />
happy, shocked. I’m not hung up on simply representing<br />
faithfully what the eye could see. Sure, over manipulation<br />
can turn an image into a freak show and I certainly don’t<br />
seek to do that. But if it was the colours on an ice face<br />
at dawn that drew me in, then I’m not ashamed to use<br />
considered post-processing to bring that to the fore. It’s<br />
about capturing what my heart FELT.<br />
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OUR MOUNTAIN<br />
A lot of my photography occurs on mountain slopes<br />
in places where a big heavy DSLR tends to stay in the<br />
pack. While I love using my Nikon D750, I frequently use<br />
a mirrorless compact camera (currently a Lumix TZ220)<br />
in the hills. I still shoot Camera RAW files using spot meter<br />
and manual settings, but some still may deem my gear<br />
as amateurish. I also use a tripod much less than many<br />
‘respected’ photographers but as a consequence, I am<br />
able to capture a lot more action than some do.<br />
I take a lot of panoramic series that I stitch in Photoshop<br />
later – I’ve often found that a standard landscape or<br />
portrait format is too limiting when trying to capture the<br />
vast magnificence of our natural world. There is certainly<br />
an art to getting the most from a stitch series, I love it!<br />
DO YOU HAVE A FAVOURITE PHOTO?<br />
A favourite photo? That’s tough – I’ve probably taken<br />
over 250,000; and how do you define ‘favourite’ –<br />
technically, artistically, emotionally, circumstantially,<br />
symbolically? Here are 2 candidates.<br />
‘Our Mountain’ is a favourite because it symbolises my<br />
ideal situation. Although I grew up in the shadow of<br />
Mount Taranaki, it wasn’t until age 33 that I eventually<br />
climbed it. So to share the summit with all three of my<br />
sons – at the time aged 7, 9 and 15 – was a moment I’ll<br />
always treasure. The photo is not technically or artistically<br />
great and its symbolism and circumstance are really only<br />
significant to those in the picture, but it makes me smile<br />
every time I walk past it on our living room wall to see us<br />
at 2,450m on the crater rim of Mount Taranaki, taking<br />
a breather before going up another 100 metres to the<br />
summit.<br />
‘Red Divide’ (next page) is my second favourite because<br />
it is my most peer-recognised image – it was the winner<br />
of the alpine landscape category and overall winner<br />
(John Harrison Memorial Trophy) in the national photo<br />
competition of the NZ Alpine Club in 2014.<br />
HOW ABOUT PICKING A FAVOURITE<br />
DESTINATION?<br />
That one’s easy, it’s Khumbu in Nepal which is one of<br />
the most beautiful places on earth. Its mountains are<br />
the tallest, its people as fascinating as they are friendly,<br />
and it’s surprisingly accessible whilst photographically<br />
it’s unsurpassed. But mass tourism, and in the case of<br />
Khumbu, guided climbs on Mount Everest, are changing<br />
the Khumbu experience for the worse.<br />
I’ve been going there since 1988 and my seventh visit will<br />
happen this December. It’s the place where I’ve taken<br />
each of my three boys when they turned 15. I still need to<br />
take Cathy and will do so in 2020 or 2021.<br />
<strong>October</strong> <strong>2019</strong> 37
RED DIVIDE<br />
3 Stitched Landscape Shots<br />
The main divide of New Zealand's Southern Alps, viewed from near Pioneer Hut (2,200m) on the west, most<br />
weather exposed side, at dawn. Mount Tasman, New Zealand's second highest peak, is far right. Both weather<br />
and snow conditions weren't much good for climbing on this trip, but this sunrise was a nice consolation - a<br />
bluebird morning would not have been as spectacular.<br />
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<strong>October</strong> <strong>2019</strong> 39
GOKYO<br />
A stitch of 2 landscape shots<br />
A dusk view from Gokyo Ri (5,357m) back down to Gokyo and the third lake 600 metres below, Khumbu, Nepal.<br />
On this evening Mt Everest was obscured by clouds, but other closer giants such as Cholatse and Tawoche still<br />
loomed large. The sunset coloured clouds also balanced the prayer flags nicely.<br />
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<strong>October</strong> <strong>2019</strong> 41
MIRROR ON THE MASSIVE<br />
A stitch of 5 portrait shots<br />
The view across Kongde Lake (4,600m) to the Everest Group and other peaks of Khumbu, Nepal. This view is<br />
not seen by many visitors to Khumbu. It’s off the beaten track and really can only be visited on the way out<br />
when you’re properly acclimatised. But if you’re after a round trip rather than entry/exit via Namche Bazaar,<br />
then this is a good option. And you really do get a ‘big view’ of the heart of Khumbu from this point.<br />
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<strong>October</strong> <strong>2019</strong> 43
DEVOTION<br />
TELL US ABOUT CAPTURING CULTURES AND<br />
PEOPLE AROUND THE WORLD…<br />
In the pursuit of great landscapes, I’ve often<br />
encountered fascinating cultures and people.<br />
As you’ll see on the following pages, sometimes<br />
people are the ‘main event’, such as at a Buddhist<br />
reincarnation festival at Tsurphu Gompa in Tibet.<br />
Other times people make up part of a bigger<br />
picture, such as in Hushe village at 3,050m in<br />
Northern Pakistan where I took the 'Top Gun' photo.<br />
In places like the Himalaya it’s sometimes hard to<br />
separate people from the landscapes they inhabit<br />
and, actually, combining the two can produce the<br />
most memorable images of all. Each person has<br />
their own character. But people can also embody<br />
the character of the places where they live.<br />
My photos ‘Devotion’ and ‘Intrigued’ show Tibetan<br />
pilgrims, many in their ‘Sunday best’, gathering<br />
at Tsurphu Gompa to witness the ordination of<br />
their young reincarnate. Traditions run deep in the<br />
hearts, minds and everyday behaviours of Tibetans.<br />
You can see the veneration in the eyes of this<br />
crowd.<br />
When I stop to think about travel portrait<br />
photography I like to think that my purpose is to<br />
capture the character of the person or people and<br />
their environmental and/or cultural context. Take<br />
images that are story openers. In truth though, quite<br />
often portraiture in a travel setting is more about<br />
being lucky enough to be in the right place at the<br />
right time. I usually know generally what I’m after,<br />
but sometimes when a specific image appears in<br />
my viewfinder it is simply opportunistic.<br />
If you have time, it’s possible to make personal<br />
contact with a subject and build rapport before<br />
taking any photos. This is ideal and often essential if<br />
you want really candid, ‘look into the lens’ images.<br />
But if you want ‘spur of the moment’ shots, it is often<br />
more authentic to be a silent observer – a big zoom<br />
can be very useful. In any given situation sensitivity,<br />
ethics and culture should be considered when<br />
deciding if it’s appropriate or not to take people<br />
shots without their express permission.<br />
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INTRIGUED<br />
<strong>October</strong> <strong>2019</strong> 45
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TOP GUN<br />
‘What’s going on… let me see!’ This inquisitive, bright-eyed, little<br />
Muslim ‘Top-gun’ symbolises the future of his mountain people.<br />
Although he lives in an almost medieval village, he wears a cap<br />
advertising a high-tech jet fighter movie! As such, he is being<br />
exposed to two entirely different worlds.<br />
<strong>October</strong> <strong>2019</strong> 47
OF THE LAND<br />
Travelling as an independent backpacker in 1992, leaving the Friendship Highway that carries on to<br />
Nepal at Xegar, I visited Everest Base camp on foot, passing through and staying at extremely basic<br />
villages along the route. Here is an old Tibetan lady that I stayed with one night. Behind her is a<br />
view back across the Tingri plains towards the trail leading to Khumbu La and Khumbu in Nepal. Her<br />
weathered features manifest the harsh environment she and her people live in.<br />
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<strong>October</strong> <strong>2019</strong> 49
GLANCE<br />
A young Nepali girl at the Saturday market,<br />
Namche Bazaar, Khumbu, Nepal.
FURTIVE?<br />
At the Saturday morning market, Namche<br />
Bazaar, Khumbu, Nepal.<br />
HOW DID YOU DISCOVER EXCIO & NZP?<br />
I actually fell in to Excio by accident, by mistaken<br />
identity, when I thought Excio’s NZ Photographer<br />
magazine and associated competitions were part<br />
of NZ Photography Workshops, a company I had<br />
become involved with.<br />
At this point I wasn’t aware of Excio but when the<br />
penny did drop, I was attracted by Excio’s ‘mission<br />
statement’ that identified the importance of the stories<br />
behind images and the need to go beyond superficial<br />
social media popularity to do real good. When I made<br />
contact with Excio my questions were quickly and<br />
comprehensively answered by not just a real person,<br />
but the CEO and Co-founder of Excio, Ana.<br />
Compare this to my experience with ViewBug and you’ll<br />
understand why I’m excited to join the community!<br />
I signed up as a ‘free member’ to ViewBug over 3 years<br />
ago – I was intrigued to see what an online photographic<br />
community might lead to. ViewBug has been good for<br />
me in that it’s encouraged me to rekindle my interest<br />
in photography beyond the mountains and I’ve also<br />
picked up some very helpful post processing ideas.<br />
But I’ve always resisted becoming a ‘paid up member’<br />
on ViewBug because it’s become obvious that this is<br />
how you buy profile and (perceived) popularity, which is<br />
mostly superficial or even plain delusionary.<br />
I’m looking forward to exploring how Excio can<br />
work for me and how I can return the favour. I enjoy<br />
entering photo competitions, sharing my images<br />
and receiving constructive feedback about them,<br />
especially if those people know about photography.<br />
I enjoy seeing other photographers’ work too, as a<br />
source of technical and creative inspiration.<br />
WHAT PLANS DO YOU HAVE FOR THE REST OF<br />
THE YEAR?<br />
I’ll be writing for the Excio blog as well as here on NZ<br />
Photographer in the coming months. Beyond Excio I<br />
have a book to complete. It will be my second,<br />
this time hopefully supported by a strong publisher.<br />
My first book – Occasional Climber: A journey to<br />
Mount Clarity, was a self published effort (2014) that<br />
achieved very minor success but gave me many<br />
insights and much satisfaction. Of the 150 copies<br />
printed, I have 22 copies remaining (you can find out<br />
more on my website, but no pressure).<br />
And of course, I will continue to get into the hills<br />
and climb as long as my body lets me. Each trip will<br />
be added to my website, OccasionalClimber as a<br />
resource for others.<br />
WHERE CAN WE FIND YOU ONLINE?<br />
www.occasionalclimber.co.nz<br />
albums.excio.io/profile/Occasionalclimber
Soaking Up Milford Sound<br />
by Brendon Gilchrist<br />
Let me tell you about the lessons I learned and<br />
the sights I saw at one of the wettest places in<br />
the world, happily soaking up (quite literally!)<br />
all the moods and features of this characterful<br />
place where nature rules and humans only visit to<br />
admire the glory and power of this mystical place.<br />
In a place so isolated and with no reception to<br />
the outside world, Milford Sound sees almost 1<br />
million visitors per year but it is not a true Sound,<br />
it is a Fiord. Discovered by John Grono in 1812,<br />
Milford Sound was originally named Milford Haven<br />
as when John and crew entered the Fiord they<br />
felt safe and sound from the weather that is out<br />
in the Pacific Ocean – That is how it became a<br />
Sound and not a Fiord even though both are<br />
correct terms.<br />
Wet weather for a cruise at Milford Sound would<br />
typically be a tourist’s worst nightmare but not<br />
for me, far from perfect weather was exactly<br />
what I wanted and had planned for, purposefully<br />
taking the 2pm sailing with Southern Discovers<br />
when the weather forecast said the rain would<br />
be at its worst! Why? Because I have seen and<br />
photographed Milford in all conditions except in<br />
the rain and was keen to see the Fiord in rough<br />
waters and to capture the raw beauty that only<br />
bad weather provides.<br />
Usually, there are only a couple of permanent<br />
waterfalls in the Fiord but on this day there were<br />
many, making it one of the most spectacular<br />
sights I have ever seen; the water tumbling out<br />
of the sky, down the cliffs, and into the ocean –<br />
You could almost see the life cycle of a rain drop!<br />
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MILFORD MYSTERY<br />
F10, 1/320s, ISO400<br />
Some of the waterfalls only start when the rain<br />
starts and stop when the rain stops, there is<br />
nothing above them to form a lake of water to<br />
create a permanent waterfall so I was privileged<br />
to see something quite unique.<br />
The journey out to the Pacific Ocean was the<br />
most spectacular, seeing the waterfalls with the 4<br />
sisters each flowing, each with its own personality<br />
but sadly I missed the shot of the 4 Sisters<br />
capturing only 3 Sisters instead.<br />
Once we hit the Pacific Ocean the waves started<br />
to get bigger, the boat bouncing through the<br />
waves. I was a little disappointed that we didn’t<br />
see any dolphins as they are amazing to watch<br />
when they are in front of the boat, jumping<br />
around and having fun.<br />
As the boat turned and powered through the<br />
waves to the other side of the Fiord, it marked the<br />
halfway point of our trip. By this time I was soaked,<br />
and so was everyone else! It was the greatest of<br />
all challenges to capture this majestic place whilst<br />
keeping the camera dry and the rain droplets off<br />
the lens – my two cleaning cloths were soaked<br />
through by the end.<br />
On the return trip down the right side of the Fiord<br />
we encountered Stirling Falls which is a 151 metre<br />
drop, the water falling straight off the high cliffs<br />
and into the ocean – A very impressive sight.<br />
2 hours later and our cruise was coming to an<br />
end. I wanted to shout ‘nooo, that was too fast’<br />
however, the memories of what we saw will last a<br />
lifetime.<br />
<strong>October</strong> <strong>2019</strong> 53
3 SISTERS, 1 MISSING!<br />
F9, 1/320s, ISO400<br />
My meeting with Milford Sound, or Piopiotahi as<br />
it’s called in Maori (which means ‘a single Piopio’<br />
which is a long extinct native bird) was meant to<br />
continue but alas, fate had other ideas. You see,<br />
I had wanted to shoot sunset in Milford but there<br />
was no dorm accommodation left, the closest<br />
accommodation being an hour away. The road out<br />
shuts at 5pm and only reopens when the roading<br />
crew have flown over the avalanche paths to make<br />
sure it is safe to reopen so there was no way I could<br />
get my shots. Rather than be negative about it, I’ll<br />
have to take it as an opportunity to come back<br />
again!<br />
3 TIPS FOR TAKING PHOTOS ON A WET<br />
MILFORD SOUND CRUISE<br />
• Take several lens cloths else you might end up using<br />
your t-shirt to wipe your lens dry! A rain jacket for your<br />
camera is also a good idea.<br />
• Have your camera settings setup to capture the<br />
beauty as (even on a clear day) the boat only<br />
slows down for the important parts and you don’t<br />
want to miss the shot – Use autofocus and a higher<br />
shutterspeed to compensate for the boat speed so<br />
you don’t get blurry shots.<br />
• For the best position, stand at the back of the boat away<br />
from the wake that the boat generates from its blades.<br />
54<br />
<strong>NZPhotographer</strong>
MILFORD SOUND WATERWALL<br />
F6.3, 1/250s, ISO400<br />
1 Day Auckland Workshop<br />
20th <strong>October</strong> <strong>2019</strong><br />
8th March 2020<br />
1 Day Wellington Workshop<br />
27th <strong>October</strong> <strong>2019</strong><br />
5th April 2020<br />
Fine-Art Printing Workshop<br />
Join us for a one day fine-art printing workshop and learn how set<br />
up print files, using a colour managed workflow to turn them into<br />
professional grade prints. Our workshop has been designed to simplify<br />
the printing process, you will come away with the knowledge to print your<br />
own prints at home or to be sent to a lab.<br />
www.photographyworkshops.co.nz<br />
info@photographyworkshops.co.nz<br />
021 0845 7322<br />
<strong>October</strong> <strong>2019</strong> 55
Want your photography<br />
to have impact?<br />
Join Excio today for global reach<br />
and showcase your message.<br />
We’re different from magazines and social media.<br />
Take a look<br />
56<br />
www.excio.io<br />
<strong>NZPhotographer</strong>
excio.io<br />
#photographyforgood<br />
<strong>October</strong> <strong>2019</strong> 57
Making Memories In The Studio<br />
Something I have learned over the years is that<br />
nothing is impossible when you’re passionate<br />
and driven.<br />
Having a collection of photographic memories was<br />
always very important and precious to me. Before<br />
migrating to New Zealand, I had tens of thousands<br />
of printed photographs. Memories of my childhood,<br />
my marriage, my family, all our milestones. Their<br />
value in my life was irreplaceable. When we<br />
decided to pack up everything in India and move,<br />
I had to leave a majority of those images behind. It<br />
gave me an understanding of how much memories<br />
can mean to a person, I soon purchased a DSLR<br />
camera to restart my collection once again.<br />
My journey into professional photography began<br />
when I posted some photos on Facebook of my<br />
youngest daughter. A family friend asked me<br />
if I would be able to take some photos of her<br />
children and I accepted. She recommended me<br />
to a few friends for photos and as my photography<br />
started to take off I began to learn new things.<br />
The rest is history. When I look back at where I’ve<br />
come from, its always quite overwhelming. You<br />
see, upon my migration, I had spent a few months<br />
without a job and was battling depression. I kept<br />
persevering and setting goals though and now I’m<br />
a happy working mother with my own professional<br />
photography business with a focus on newborns,<br />
family, children, pre-wed, maternity, and event<br />
photography though I also have a passion for<br />
street photography.<br />
CAPTURING MEMORIES<br />
I feel that photography is an art in which there is an<br />
endless amount of inspiration. Every photographer<br />
has a distinct and unique style therefore, there is<br />
something to learn from everyone and there is a<br />
photographer in us all. Every time we think of a<br />
memory that makes us smile, we are visualizing a<br />
snapshot we took with our minds. If one is keen to<br />
pursue photography as a passion or a profession,<br />
there are no rules that they must follow to start. You<br />
should just follow your instincts and listen to your<br />
gut feelings.<br />
For me, informal shots are the most special ones<br />
to look back on. They capture the love and<br />
bond between the subjects better than formal<br />
shots. I also have a massive inclination to black<br />
and white. It just makes the image look so much<br />
more powerful. I especially love this quote by<br />
by Parmeet Sahni<br />
Ted Grant – “When you photograph people in<br />
color, you photograph their clothes. But when<br />
you photograph people in Black and white, you<br />
photograph their souls”.<br />
When I do photoshoots in my studio, I love<br />
using natural light. It’s slightly harder to control<br />
compared to studio lights but there’s a major<br />
difference in the end result – I feel that artificial<br />
lights give the photos a staged look, however, if<br />
that’s the aura you’re trying to achieve, studio<br />
lights make it very easy to illuminate the subject<br />
exactly how you want to.<br />
To achieve the candid style of my photos, I keep<br />
talking to my clients, making them laugh and<br />
giggle then, while they’re calm and almost<br />
unaware of the camera, the shot is taken without<br />
them even realizing. I’ll get them talking amongst<br />
themselves about a memory, or have them crack<br />
cheeky jokes. Sometimes, making your clients do a<br />
fake laugh cracks them up and they end up really<br />
laughing when you take the shot. This is especially<br />
helpful when photographing children as well as<br />
people who are camera-shy.<br />
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I make it a point to do professional photoshoots<br />
of my family at least once a year. My daughters<br />
are 7 years apart, 10 and 17 years old. Therefore,<br />
it’s rare for them to play nice for long durations.<br />
I ensure they don’t feel or look awkward in photos;<br />
instead of making them pose, I sit them down and<br />
tell them to talk to each other, and make jokes.<br />
Both my daughters are quite witty naturally, so<br />
they end up making comments about the other<br />
and cracking up. These are the moments I want<br />
to remember. I love seeing their bond, their smiles,<br />
and their memorable years in photographs. I’m<br />
sure these memories will be precious to them when<br />
they are older too. Their innocent bickering, them<br />
teasing each other, laughing with each other. That<br />
loving, sisterly bond.<br />
In photography, every client you work with is<br />
completely different and no two photoshoots are<br />
ever the same. I’ve had experiences capturing all<br />
kinds of people from babies who are only a few<br />
hours old and still in the hospital to seniors over<br />
the age of ninety who want their photo taken with<br />
their family before it is too late.<br />
<strong>October</strong> <strong>2019</strong> 59
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<strong>October</strong> <strong>2019</strong> 61
I also give back to the community by giving<br />
complementary photoshoots to people who<br />
I think will value them most. In my mind, I’m not<br />
gifting a photoshoot, I am gifting memories.<br />
At Soulful Memories Photography, there is<br />
no charge for Rainbow Baby photoshoots.<br />
A rainbow baby is “a baby born after a<br />
miscarriage, stillborn, or neonatal death”. It<br />
is called a rainbow baby because it is like a<br />
rainbow after a storm: something beautiful after<br />
something scary and dark. I also don’t charge<br />
for family photoshoots when a family member<br />
is battling a terminal illness. I feel as though it<br />
is my duty to use my skill and my profession to<br />
do some good around me. If I have the gift of<br />
giving memories, it makes me happy to use it for<br />
people who need it most.<br />
Despite what most people believe, newborn<br />
and kids photoshoots are the toughest of them<br />
all. With models, shoots are a breeze because<br />
you can tell them exactly what you want and<br />
they will pose and cooperate accordingly. With<br />
newborns, you don’t have that privilege, as<br />
these little angels always do as they wish. The<br />
feeling when you get a photo of a baby smiling<br />
is just unbeatable though and there’s so much<br />
triumph in making toddlers and kids comfortable<br />
in front of the camera.<br />
I have a few tricks up my sleeve which I have<br />
gathered over the years – I usually find myself<br />
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having to act like a clown behind my camera<br />
to coax a smile! To make distracted and bored<br />
toddlers look into the camera, I sometimes tie a<br />
small rattle or toy near the lense. Or sometimes<br />
I will ask them if they can see a birdie inside the<br />
camera. Other times, the parents will simply have<br />
to stand behind me dancing and jumping around<br />
to excite their little one!<br />
There have been many incidents when a baby<br />
has wet themselves or done a poo when they<br />
are posing nude, especially when they’re in their<br />
parent’s hands – It’s like they know exactly when<br />
the perfect time to go to the toilet is!<br />
A funny experience I had was during a cakesmash<br />
photo session. A boy was about to turn one<br />
and his parents were immensely excited for the<br />
shoot. They were so enthusiastic when it came to<br />
decorating the setup and were confident that<br />
their son would do a great job making a mess for<br />
the photos. However, when the time came, the<br />
poor chap got upset and just would not touch his<br />
gorgeous cake! We waited an hour for him to do<br />
something but he was just not having it. He played<br />
with everything that was around him but refused<br />
to do anything to the tempting cake right in front<br />
of him. At least his parents got a hearty dessert<br />
that night!<br />
STUDIO SETUP<br />
In my experience, photography is more about<br />
perspective and skill than fancy equipment<br />
making it possible for anyone to set up a home<br />
studio – A studio doesn’t have to be huge and<br />
filled with all the latest high-tech equipment.<br />
I myself did photoshoots in a home studio for a<br />
couple of years. As long as you have a source of<br />
natural light and a clear background, nothing is<br />
stopping you from taking amazing shots.<br />
You really don’t need a massive studio to do<br />
portraits. It is certainly possible to convert your<br />
spare room or basement into one. However, you<br />
must take measures to ensure your space is safe,<br />
especially if you plan to have newborns or small<br />
children inside. For example, check exposed<br />
sockets and wires, ensure there are no nails<br />
or screws in the walls, etc. Think about having<br />
access to your washroom where clients can get<br />
changed, or even a small changing room or a<br />
room partition for their privacy.<br />
I enrolled myself in many workshops and watched<br />
an endless amount of tutorials to prepare myself<br />
for setting up my home studio. I also asked<br />
many fellow photographer friends, checked<br />
on photography groups, as well as spoke to<br />
salespersons at stores to get multiple opinions,<br />
this helped me make an informed decision when<br />
it came to making the initial purchases. It’s<br />
definitely a big investment, but keep in mind that<br />
you don’t need to purchase everything tomorrow.<br />
Get the basics, and slowly build your way up.<br />
MY FIRST PURCHASES FOR THE STUDIO<br />
INCLUDED:<br />
• Backdrop Rolls (Black and White)<br />
• Backdrop Stand<br />
• Bigger Light Reflectors<br />
• A pair of Strobe Lights with Softboxes<br />
• Props for Newborn Photoshoots<br />
I already owned a good quality Canon camera<br />
but I added 3 lenses to my collection which are<br />
now my favourites:<br />
• Sigma 35mm 1:1.4 ((perfect for newborn<br />
photography)<br />
• Tamron 85mm F/1.8 (really good for portraits)<br />
• Canon <strong>24</strong>–70mm F/2.8 for wide angle.<br />
<strong>October</strong> <strong>2019</strong> 63
There are many inexpensive and creative<br />
substitutes for major parts of the setup if your<br />
budget won’t stretch that far. For example,<br />
instead of purchasing huge backdrop rolls and<br />
stands which take up ample space, invest in<br />
plain king-sized throws and pin them up on the<br />
wall using clips or pins. If you cannot place studio<br />
lights in your home studio because of monetary or<br />
space restrictions, photograph your subject near<br />
a window and use a portable reflector to balance<br />
and control the lighting. You can also get cheap<br />
storage / furniture / props from op shops until you<br />
are ready to buy more expensive items.<br />
Photography can indeed be a pricey profession<br />
at times but in the end, you get a good return on<br />
all the investments that you make.<br />
GROWING THE BUSINESS<br />
After getting my home studio set up, the next step<br />
was getting clients. Most of my previous shoots<br />
had been outdoors or at a client’s residence so<br />
this was the first time I was offering indoor shoots<br />
at my own place.<br />
Initially, to build my portfolio and to have sample<br />
photos on social media platforms, I did a few<br />
complimentary photoshoots which gave me the<br />
opportunity to experiment and get comfortable<br />
in the new space, and to find my style. Even<br />
today, if I wish to try something new or creative<br />
for the first time, I put out a model call for a free<br />
photoshoot on my Facebook page. The model will<br />
get free photos and I get to play around without<br />
being anxious about the end result.<br />
I uploaded regularly to Facebook and Instagram,<br />
sometimes twice a day to get traction, and<br />
eventually, inquiries started filling my inbox. In the<br />
midst of working a full time office job and taking<br />
care of my family, I purposefully didn’t opt for too<br />
many platforms, I wanted to provide quality over<br />
quantity.<br />
When I was deciding the pricing of my services,<br />
I decided to keep the costs as low as possible.<br />
My goal was not to make money but to provide<br />
as many memories as I could to as many families<br />
and lovely clients as possible. Therefore, I created<br />
different packages at different price points to<br />
suit the needs of every query that comes my<br />
way. Each package offers a different number<br />
of photos. In my family or newborn shoots, some<br />
packages are just for photos of the child, others<br />
include shots with immediate family and some<br />
with extended family members and so on. They<br />
are priced taking into account how many photos<br />
are taken, how many models there are, how long<br />
the session will take, etc.<br />
Today my Facebook page is my primary source<br />
of promoting and sharing my work and has more<br />
than 2k members and over 150 positive reviews<br />
and recommendations, that’s my treasure! On<br />
the days I feel low, I go through the reviews and<br />
they instantly fill me with encouragement and<br />
motivation.<br />
I must say, having a home studio can have its<br />
own challenges, especially when you have kids.<br />
I started out doing sessions over the weekend<br />
and before each session, I made sure my family<br />
knew about my schedule. They were always very<br />
respectful of mine and the client’s privacy. It’s not<br />
easy to make your kids sit still on sunny weekends<br />
though so we made sure I had time for my family<br />
and outings accordingly. Today I keep a calendar<br />
on my wall where my photoshoot session times<br />
are written down and everyone writes down<br />
which days they may be busy so we make sure we<br />
find a time when we can all go out somewhere<br />
nice together. It really helps to have the support<br />
of your family and to involve them in your work<br />
patterns.<br />
FINAL TIPS FOR NAILING THE SHOOT<br />
Before photoshoots, it is good to be organized and<br />
prepared. It’s important to have extra batteries and<br />
SD Cards at hand as you may not get time to look<br />
for these in the middle of a session. It’s also a great<br />
idea to prepare and layout any props that you will<br />
be using so that you know you have everything<br />
you need to get through. You should also look for<br />
ideas and plan poses beforehand to save time and<br />
be sure to take some test shots before you finally<br />
start rolling the session – this gives an idea to check<br />
your settings and if anything is ‘off’ (wrong settings<br />
left over from a previous session) you won’t lose<br />
anything.<br />
When you’re looking through the viewfinder, if<br />
you like what you see, just press the shutter. Don’t<br />
delete photos straight away because you don’t<br />
instantly like them. Instead, load them up onto your<br />
computer and look at them on a bigger screen.<br />
Play around with the image, find a story – Images<br />
don’t have meaning on their own, the viewer of the<br />
photo finds meaning in them – “Beauty is in the eye<br />
of the beholder”!<br />
Professional photography can seem a little<br />
daunting to outsiders, but we all start somewhere.<br />
The most important part is to make a start and then<br />
build along the way. Just take the leap, believe in<br />
yourself, and things will start falling into place. As<br />
they say, hard work pays off. If you are dedicated<br />
and open to learning – everything becomes<br />
possible. There may be obstacles along the way,<br />
but overcoming them is what makes one even<br />
more motivated.<br />
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<strong>October</strong> <strong>2019</strong> 65
HOW LONG IS “LONG ENOUGH”?<br />
USING ND FILTERS FOR LONG EXPOSURE IN LANDSCAPE<br />
PHOTOGRAPHY.<br />
By Ken Wright<br />
KAIMAI WATERFALL<br />
F20, 1/2s, ISO100<br />
All too often on social media, I see the wrong<br />
exposure used in the wrong location, the rush<br />
to use a ten stop to create an effect at the<br />
expense of the beauty and dynamics of the location.<br />
For me, a really long exposure is best used for<br />
landscapes that do not have a dynamic element,<br />
ie. calm seas, lakes, jetty and a slow moving sky with<br />
plenty of definition. Here we want to smooth out the<br />
sea, lake, remove the wind chopped ripples and get<br />
that lovely silky effect and movement in the sky.<br />
My colleague and fellow tutor at New Zealand<br />
Photography Workshops, Richard Young is very adept<br />
at “Long Exposures” anything 2-8 minutes and he<br />
is in his element where as I tend to operate at the<br />
other end of the scale, still classed as long exposures<br />
because you can’t handhold the camera.<br />
That’s not to say that I don’t do longer exposures like<br />
Richard, it’s about having enough knowledge to deal<br />
with what nature throws at you - Presented with a sea<br />
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<strong>NZPhotographer</strong>
with little or no water movement and I will be into a<br />
ten stop in a flash.<br />
However, most of my favourite locations that I visit<br />
for seascape photography in the Bay of Plenty have<br />
dynamic water movement over rock ledges and small<br />
offshore islands etc. These environments suit the shorter<br />
more explosive exposure. Repeatedly we find this falls<br />
into the 1/8, 1/4 or 1/2 second to precisely capture the<br />
wave movement as it hits a rock or spills over the edge<br />
and drains away to reveal a white water pattern, as<br />
you can see in my ‘Otarawairere Sunstrike’ image.<br />
Something that I have used to great effect is a<br />
composite of multiple waves based loosely on a<br />
timelapse. This allows me to capture the visual story<br />
over about 5 seconds made up of multiple shots of a<br />
1/4 second each.<br />
Presented with a sea with very little action, one small<br />
wave would look lame, so I figured that if I shot each<br />
wave that came in and then re assembled the image<br />
in PSD to create the visual story, then I could walk<br />
away with a credible image from that morning.<br />
<strong>October</strong> <strong>2019</strong> 67
OTARAWAIRERE SUNSTRIKE<br />
F22, 1/3s, ISO125, 16mm<br />
KAIKOURA LIMESTONE DRIFT<br />
F16, 1/8s, ISO100<br />
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CATHEDRAL COVE<br />
F4, 15s, ISO500, 25mm<br />
SO, HOW LONG IS “LONG ENOUGH”?<br />
This is a phrase I use all the time and simply means<br />
that the exposure only needs to be slower than the<br />
speed of water to capture an effect, anything longer<br />
is personal preference.<br />
With an explosive sea that’s moving fast the 1/4<br />
second seems to be the magic length, in the image<br />
‘Kaikoura Limestone Blast’ the sea is surging in at quite<br />
a pace, any longer on the exposure and we would<br />
not capture the blast against the rock.<br />
However, waves that are “drawing back”, need a<br />
longer exposure to capture the white water run trail,<br />
this tends to lean towards 1-2 second.<br />
A contradiction to this “rule” happened one morning<br />
while shooting a seascape at Cathedral Cove looking<br />
towards “Sail Rock”. It was about 5.30am, the natural<br />
light at that time was giving me a 15 second exposure,<br />
which was all good until the sea picked up pace and<br />
started surging into the cave. 15 seconds was turning<br />
it to mist and not conveying the wave exploding on<br />
the one lone rock. A wild guess at creating a precise<br />
exposure during a long exposure paid off - I lit the<br />
front edge of the wave with a high powered torch<br />
and followed the front edge of the wave as it moved<br />
across the mouth of the cave.<br />
One of the things that I have learned with dynamic<br />
seascapes is to read the waves - waves build in a<br />
cycle of seven of which 1 and 2 tend to be flat, 3<br />
starts to build, 4,5 and 6 are where the action is and<br />
seven could give you a bath! So always be aware<br />
of the size of the sea!<br />
As the sun comes over the horizon there is a natural<br />
increase in the wave pattern which intensifies<br />
through sunrise, when you think you have the wave<br />
patterns don’t become complacent, the seventh<br />
set of seven can be bigger than the rest and give a<br />
rogue wave so stay safe.<br />
WATERFALLS<br />
Waterfalls are one area where I often see<br />
photographers shooting too long an exposure. The<br />
longer the water runs the more it overwrites itself thus<br />
losing secondary detail.<br />
<strong>October</strong> <strong>2019</strong> 69
HOTWATER WATERFALL<br />
F14, 2.5s, ISO50, 16mm<br />
You have to get used to reading the speed of water<br />
movement in waterfalls, I tend to refer to this as a<br />
running tap or a lineal movement that repeats and is<br />
constant unlike the sea which is variable. An example<br />
that I show students is to scribble on a piece of paper<br />
with a pen, here is a light scribble (1/4sec) and you<br />
will see all the gaps in the water flow, a longer scribble<br />
for a second and we have nice flowing water and<br />
secondary detail, a longer scribble for 5 seconds and<br />
now we have completely overwritten the fall and<br />
have a black mess, so think of it in reverse as white<br />
water, 1/4 second is not long enough to give smooth<br />
water, 1-2 seconds are perfect for smooth white<br />
water and secondary detail and to reveal a vortex,<br />
5 seconds and you have lost all the secondary detail<br />
and ended up with shaving foam. The answer always<br />
lies in the 1-2 second area and is relevant to the<br />
volume and speed of water.<br />
I shoot at Tarawera Falls a lot, it’s 65m high and has<br />
a huge volume of water, a hydro engineer once told<br />
me that it was moving at ten tonnes a second which<br />
means a one second exposure is long enough. When<br />
photographing big waterfalls you also have to be<br />
mindful of wind movement generated by the fall, this<br />
can mean that there is a lot of foliage moving in the<br />
shot and we don’t want the viewer to think that the<br />
whole image is soft.<br />
SO, “HOW LONG IS LONG ENOUGH”?<br />
That’s up to you to decide based on the image<br />
you want to convey, but don’t let the story be<br />
overwritten by adding an effect, a ten stop is not<br />
always the answer. From Serene to Dynamic, your<br />
job is to visually tell the story of that location.<br />
JOIN KEN WRIGHT, A SENIOR TUTOR AT NEW ZEALAND PHOTOGRAPHY WORKSHOPS, ON A<br />
BAY OF PLENTY WATERFALL & SEASCAPE WORKSHOP AND IMPROVE YOUR LANDSCAPE AND<br />
LONG EXPOSURE PHOTOGRAPHY AS YOU GET TO GRIPS WITH DYNAMIC SEASCAPES AND<br />
CASCADING WATERFALLS.<br />
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TARAWERA RAINBOW<br />
F22, 1.3s, ISO50<br />
<strong>October</strong> <strong>2019</strong> 71
“Lurking Syndrome” in<br />
Photography<br />
by Ana Lyubich<br />
“We are not here to fit in, be well balanced, or provide example for others. We<br />
are here to be eccentric, different, perhaps strange, perhaps merely to add our<br />
small piece, our little clunky, chunky selves to the great mosaic of being”<br />
– Jim Hollis<br />
Have you ever sat next to someone on a train<br />
or bus who was going through their social<br />
media news feed without commenting or liking<br />
anything? That person was very likely a “lurker”.<br />
Wikipedia defines a “lurker” in the Internet world as<br />
someone who “observes, but doesn’t participate”.<br />
You may even be one yourself. Don’t worry, I’m guilty<br />
of it too which helps me speak on this topic from my<br />
own personal experience. It’s not uncommon, in fact,<br />
only 1% of followers of any social media platform<br />
or community are actively engaged members, 9%<br />
occasionally participate, while the rest… lurk.<br />
Since this month’s NZP topic is about people, and<br />
people are always at the heart of any community,<br />
it’s no surprise that I got thinking about photography<br />
communities. I’ve seen many, and am an official<br />
member of quite a few online communities (not<br />
including the creation and running of one myself!),<br />
but when it comes to participation – in most cases I<br />
like to see what other members are sharing, first of all<br />
for inspiration, and then I try to always “like” or “love”<br />
photographs that I really like – to show the sign of<br />
appreciation and to encourage photographers to<br />
create and share more.<br />
So why don’t 90% of followers participate? What are<br />
the barriers for engagement? As Brooke Ballard said,<br />
“Social media is about sociology not technology.”<br />
FEELING LIKE YOU’RE NOT GOOD ENOUGH...<br />
Imagine going to a party where you pretty much<br />
don’t know anyone... Not everyone is an outgoing<br />
extrovert and keen to engage with a perfect stranger.<br />
The same applies in online communities. The moment<br />
you join a Facebook photo group, for example, you<br />
see what other members are sharing. Doesn’t matter if<br />
you know them in real life or not, you start comparing<br />
yourself to others wondering “Are my images good<br />
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enough to be shared? Probably not… Let me try a<br />
few more times and then I’ll share…”.<br />
Personally, I haven’t ever seen a single portfolio (and<br />
believe me I look at many portfolios, daily) where<br />
there hasn’t been at least one good photo.<br />
So remember, when you’re hesitating about hitting<br />
that upload button; it doesn’t matter if you are just<br />
starting out or if you think you didn’t nail the shot, a<br />
photo doesn’t need to be perfect to be seen, it just<br />
needs to be your favourite at that moment in time.<br />
Share it and say why it is your favourite – words add so<br />
much to a photo that they can quite easily change<br />
the whole perspective, taking it to a whole other level.<br />
CONFESSION TIME<br />
Here are the confessions of some online lurkers from<br />
Reddit forums:<br />
“I think I’m super hilarious until I write out my reply<br />
and realise it’s really not funny at all. Backspace,<br />
backspace, backspace. Hang my head in shame<br />
and continue reading.” Dangerkittin<br />
“Honestly, I’ve never felt the urge to respond to<br />
something I feel strongly about because I know that<br />
thousands of other commenter’s share the same<br />
opinion and posted it.” Bruceagema<br />
The last confession is especially dangerous in the<br />
photography world. Our world is built on images and<br />
photographs. Who takes those images? Who shares<br />
the images of mundane surroundings, the most<br />
remote corners of the world or something deeply<br />
important? We do, us photographers. Well, the 10% of<br />
us who aren’t lurking!!<br />
If you take a photo of the Wanaka tree and don’t<br />
upload it because you think there are already<br />
thousands of others who took the same photo of
the same tree – you are absolutely 100% right. BUT it<br />
doesn’t mean you don’t need to share your photo.<br />
Just like fingerprints, no two photos of the same<br />
subject are ever the same so please do share your<br />
shot whilst telling your personal story that goes along<br />
with the photo – your why.<br />
GETTING THE COURAGE TO LEAVE THE<br />
SHADOWLAND<br />
The Shadowland is the same place as our comfort<br />
zone. We all know that it is comfy and cozy but<br />
doesn’t help our progress. Communities whether<br />
online or offline are there to help us grow, meet others<br />
and share common interests.<br />
The problem is that as time passes and you are<br />
no longer a “new member” of a community,<br />
psychologically it becomes harder and harder to<br />
engage. Do you just post something and say “Hi”?<br />
Do you say you just joined when it’s been six months<br />
already…? How do you start the conversation? What<br />
happens if the active members of the community<br />
don’t like what you say?<br />
Forget the ‘what ifs’, and know that you must start<br />
engaging in any community as soon as possible<br />
after you join. Get your foot in the door, no matter<br />
how uncomfortable it may feel. The risk at this stage<br />
is minimal, but the reward from participating in a<br />
community of like-minded people is enormous. Of<br />
course, there are some cases when you join a group<br />
and then find it doesn’t feel quite right. There’s no<br />
need to stay or force yourself into something you<br />
don’t like. Maybe you don’t share the same values as<br />
other members? Maybe the age of the participants<br />
is not right for you? Maybe you don’t get any new or<br />
useful information? That’s ok, with one click you can<br />
leave, unsubscribe and find a community that feels<br />
like home.<br />
I could easily spend hours talking about “lurking<br />
syndrome”, giving different examples and<br />
consequences, but I’d like to say to everyone<br />
reading this who recognized themselves as a lurker<br />
or even half-lurker – as soon as you acknowledge the<br />
reason why you are not actively participating in any<br />
community you belong to (and those reasons may<br />
not be from the list above), try to remember why you<br />
joined it in the first place and then be a bit braver<br />
and take the first step of saying “Hi!” and introducing<br />
yourself, even if you are not ready to (or don’t need<br />
to) share any of your photographs.<br />
I’m still on this path myself. If you want to share your<br />
experience – you are most welcome to send me an<br />
email, let’s bring more lurkers out of the Shadowland<br />
and more talented photographers to light.
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74<br />
<strong>NZPhotographer</strong>
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<strong>October</strong> <strong>2019</strong> 75
76<br />
<strong>NZPhotographer</strong>
CHEERS<br />
F8, 1/320s, ISO3200, 220mm<br />
At the Martinborough Meandering Vineyards Day<br />
this stranger had eyes on me (my camera) from<br />
across the room, I had to take the shot!<br />
Ann Kilpatrick<br />
<strong>October</strong> <strong>2019</strong> 77
BOHO<br />
F4, 1/1600s, ISO320, 50mm<br />
A fun Mama Mia inspired photo<br />
shoot for this young lady's 18th<br />
Birthday.<br />
Anne Zablan-Balila<br />
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PORTRAIT OF AN ARTIST<br />
I spotted this artist out doing a painting on the rocks at Island Bay. I chatted to him for a while and took a few<br />
close up shots but when looking back at him when I was further down the beach I thought a long shot would<br />
look rather cool. It seems to have more atmosphere when framed by the trees and breaking waves in the<br />
background. Apologies to the artist for forgetting his name!<br />
Peter Maiden<br />
<strong>October</strong> <strong>2019</strong> 79
80<br />
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A SILENT MELODY<br />
1/50s, ISO400, 44mm<br />
Model: Georgia<br />
Makeup Artist: Serenity Hair & Beauty<br />
Hair: Michelle Paulin<br />
Anupama Wijesundara<br />
<strong>October</strong> <strong>2019</strong> 81
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STEAMPUNK PASTELS<br />
F11, 1/200s, ISO200, 80mm<br />
This is the second year I have attended the<br />
Glenbrook Steampunk Express. The day is full<br />
of wonderful people dressed up in their best<br />
steampunk outfits and includes a ride on a<br />
steam train with a stop over at the engine<br />
workshops. I was standing on the railway line,<br />
looking up at these two ladies on the platform.<br />
Carole Garside<br />
<strong>October</strong> <strong>2019</strong> 83
BACK TO ME<br />
F1.4, 1/1250s<br />
After having a child your body changes and this sometimes<br />
affects the confidence of a woman. I took this photo to show<br />
how beautiful and mysterious you can still be.<br />
Linda Cutche<br />
84 <strong>NZPhotographer</strong>
WAITING<br />
F3.5, ISO400<br />
This shot was taken at a small gathering<br />
before my daughters formal. She was<br />
waiting for her boyfriend to come so she<br />
could pin his buttonhole flower on.<br />
Di Lewis<br />
<strong>October</strong> <strong>2019</strong> 85
TALKING WITH FIRE<br />
F5.6, 1/500s, ISO6400<br />
The Smithy at Howick Historical Village.<br />
Hender Park<br />
86<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 87
INVERSION<br />
F4, 1/1600s, ISO320, 50mm<br />
This is a portrait which was part of a series<br />
I did on how we manipulate our bodies to<br />
become like Barbie dolls. This is the final<br />
image in the series, I wanted it to look like<br />
she was more machine, or artificial than<br />
real, thus the inverted effect.<br />
Janisha Patel<br />
88<br />
<strong>NZPhotographer</strong>
SUBJECTIVE SUCCESS<br />
F4, 1/1600s, ISO320, 50mm<br />
This photo is an extract from a photo zine that I created earlier on this year called<br />
Subjective Success. It questions the relationship that is created by the media and<br />
pop culture between fame, money, and success. It shows the ideas of identity with<br />
success, and the concept of 'being someone', and uses the bright neon lights as<br />
symbolism for the scene of the fast life.<br />
Iolo Adams<br />
<strong>October</strong> <strong>2019</strong> 89
EDGE OF ADULTHOOD<br />
F4.8, 1/8000s, ISO6400<br />
17yr old Sebastian exudes the innocence and energy<br />
of a young man burgeoning on adulthood.<br />
Kelly Vivian<br />
90<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 91
SOUL CONNECTION (SISTERS)<br />
F7.1, 1/200s, ISO200, 34mm<br />
This image is of two lovely sisters who found a special connection that they<br />
forgot already existed. In our fast moving life we forget to connect with our own<br />
folks. My sessions are designed to ignite that spark between two souls again<br />
and again and again. I love the innocent expressions I caught on the camera<br />
once they got really comfortable with each other.<br />
Mandy Sidhu<br />
92 <strong>NZPhotographer</strong>
BUILDING UP COURAGE<br />
F5.6, 1/160s, ISO200<br />
This image was taken at a Camera Club set up<br />
shoot with models.<br />
Murray Lowe<br />
<strong>October</strong> <strong>2019</strong> 93
TIES TO<br />
FEMININITY<br />
This is an image looking at our<br />
duality and how femininity, or the<br />
pubic notion of it, can sometimes<br />
bind our self image.<br />
Marianna Johnson<br />
94<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 95
96<br />
<strong>NZPhotographer</strong>
MORE LONDON<br />
F8, 1/400s, ISO200<br />
Taken in the More London Precinct on the South<br />
Bank, I was taken by the vivid red colour of the<br />
building and the shadow cast on it, as well as the<br />
people walking across the frame.<br />
Michael Bouchier<br />
<strong>October</strong> <strong>2019</strong> 97
98<br />
<strong>NZPhotographer</strong>
THE ART OF BEING DIFFERENT<br />
F3, 1/160s, ISO800<br />
Peter Kurdulija<br />
<strong>October</strong> <strong>2019</strong> 99
HAPPY FATHERS DAY<br />
It's about the good memory of father and daughter time.<br />
Twingle Mathali<br />
100<br />
<strong>NZPhotographer</strong>
<strong>October</strong> <strong>2019</strong> 101
"PHOTOGRAPHY IS ABOUT<br />
CAPTURING SOULS NOT<br />
SMILES"<br />
102<br />
<strong>NZPhotographer</strong><br />
DRAGAN TAPSHANOV