NZPhotographer Issue 56, June 2022

ISSUE 56, June 2022 

GETTING EYE-TO-EYE AND 

SOUL-TO-SOUL WITH WILDLIFE 

INTERVIEW WITH KIM FREE 

DEVELOPING A STORY 

BY ALAN BLUNDELL 

EXPLORING PHOTO 

ARTISTRY THROUGH 

CREATIVE COLLAGES 

BY FAIRLIE ATKINSON 

A MISTY MORNING 

BY RICHARD YOUNG

WELCOME TO ISSUE 56 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

Welcome to another issue of 

NZPhotographer magazine! We’ve got 

another mixed bag of content, a little 

something for everyone, whether you 

love Astro, landscapes, wildlife (just wait 

till you see the seal pups!), or want to take 

on a bit of a challenge. 

Our Rising Star, Tom Rae, will have you 

looking up at the night sky with your 

camera, whilst our interview with wildlife 

photographer Kim Free might inspire 

you to use your photography to help 

conservation efforts. Meanwhile, our 

Behind The Shot feature with Gary Reid 

will have you reaching for the cookies 

and milk - just remember not to start munching until you’ve actually taken 

the photos! 

We’re also out exploring New Zealand; Richard Young takes us to one of 

his favourite photography locations for Autumn and also shares a video 

of another of his extreme printing expeditions, this one at Lake Wanaka. 

Meanwhile, Peter Laurenson encourages us to climb Ben Lomond to get 

panoramic views across Queenstown. 

There’s more too! Fairlie Atkinson is walking us through creating a photo 

collage, and Alan Blundell finishes his street photography series with an 

invitation to go one step further than individual shots and develop a photo 

project that tells a story. 

OUR CONTRIBUTORS 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 56 

June 2022 

Cover Photo 

Two Drops 

by Jack Horlock 

Publisher: 

Foto Lifestyle Ltd 

Website: 

nzphotographer.nz 

Graphic Design: 

Maksim Topyrkin 

Advertising Enquiries: 

Email 

hello@nzphotographer.nz 

FOLLOW US 

Fairlie Atkinson 

Fairlie Atkinson teaches 

Photography and Design at Kapiti 

College. She is also a keen fine 

art photographer, and has used 

her work to raise awareness and 

money for conservation. She is a 

keen advocate of the movement 

#photographyforgood and 

encouraging teen photographers 

to find their voice using a lens. 

Alan Blundell 

Alan Blundell is a photographer 

based in Wellington, New 

Zealand. From a background 

in Architecture, the former 

Hotelier and Father of 

4, decided to start a 

photography blog in 2016 using 

the handle ‘bokeh street’ to 

showcase his work with LEICA + 

FUJI camera gear. 

Peter Laurenson 

Peter Laurenson is an occasional 

climber, traveller, photographer, and 

writer. His adventures, which span 

30+ years, come together on his 

website 'OccasionalClimber'. Peter 

is also Editor of FMC's Backcountry 

Magazine and writes for Wilderness 

Magazine and, occasionally, other 

publications, alongside his bi-monthly 

articles here. 

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

consent of the publisher. 

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

CONTENTS 

4 

9 

14 

19 

25 

26 

36 

56 

61 

BEHIND THE SHOT WITH GARY REID 

EXPLORING PHOTO ARTISTRY THROUGH 

CREATIVE COLLAGES 

by Fairlie Atkinson 

RISING STAR; TOM RAE 

PHOTOGRAPHIC LOCATIONS WORTH SWEATING 

FOR: BEN LOMOND, QUEENSTOWN 

by Peter Laurenson 

ON LOCATION WITH RICHARD YOUNG 

EXTREME PRINTING: LAKE WANAKA 




MINI 4 SHOT PORTFOLIO 

DEVELOPING A STORY 

by Alan Blundell 


by Richard Young 

69 PORTFOLIO 

BEST READERS’ SUBMISSIONS 

MEMBERSHIP 

RISING STAR; TOM RAE 





BY RICHARD YOUNG 

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Behind The Shot with Gary Reid 

GARY, REMIND US WHO YOU ARE AND 

WHAT YOU DO! 

I am originally from South Africa and have been 

living and working in New Zealand along with 

my wife for the last 17 years. Before I started 

photography, I had a passion for wildlife, which 

began while I was still in primary school. So, when I 

started my photographic journey, it was natural to 

combine the two. 

I love the creativity that photography in all its forms 

produces, from being able to take my camera and 

go for a walk in search of something to photograph 

to coming up with a concept that may require 

multiple photos to be creatively combined in 

Photoshop, as in the case with this shot. 

Although I am a self-taught photographer, I have 

been fortunate to have met and got to know a few 

professional photographers at various stages of my 

photographic journey and have been able to pick 

up huge amounts of information and guidance 

from them. 

Coming from a film and slide background has 

taught me that mistakes cost money. Digital makes 

it so much easier, but the same principles apply, so 

planning is essential no matter what you’re shooting 

- don’t rush into creating a photo. 

WHAT ARE YOU SHOOTING WITH? 

I use a Canon 7D as my main camera. I also have 

Canon 30D and Rebel as my backups. Lenses 

consist of 50mm, 17-85mm, 70-300mm, 160-500mm, 

and I also have a flash, tripod and monopod, and 

studio equipment. 

WHAT WAS THE INSPIRATION FOR THIS 

PHOTO? 

I often see how something can be reproduced 

using a camera, whether I’m looking at other 

photographers’ images or concepts and gaining 

ideas that I can then try to replicate, or taking 

inspiration from paintings and trying photographic 

versions of artworks. 

I got the idea for this photoshoot from a photo I 

saw many months ago on Pinterest while looking 

for ideas and recreated it in January while I was on 

leave, using my garage as a studio. 

WHAT WAS YOUR SETUP FOR THIS SHOOT? 

The background was cardboard painted black, set 

on a black tabletop. Two studio lights with softboxes 

were placed on either side and slightly in front of 

the cardboard, with my camera mounted on a 

tripod with a remote trigger. I also had six packets 

of Oreo biscuits and 2l of milk to hand! 

I had to predetermine the position of the Oreos. For 

the Oreos that look like they will fall into the glass, 

I punched holes in the cardboard background 

with a toothpick. Using a drill bit the size of the 

toothpick, I then hand-drilled holes in each Oreo 

biscuit and mounted them onto the cardboard 

using toothpicks. It took quite a few test shots to get 

the lighting just right before I started pouring the 

milk! 

Pouring the milk was the tricky bit. I had to take the 

photos (using the remote trigger) as I was pouring 

whilst also trying to catch the milk splashing onto 

the biscuits (to create the droplets) and at the 

same time trying to get the milk into the glass and 

not all over the table and the other Oreos. 

It got messy, requiring cleaning up after each test 

shot before being able to repeat the process. As 

you can imagine, it took multiple shots before I got 

it just right. 

It was surprisingly quick to set up and photograph, 

probably no more than 2hours, it was the postprocessing 

part that was time consuming, taking 

me close to a day to complete. 

WHAT HAPPENED IN-POST? 

First, I had to select one photo that would be the 

base or main photo. Then I had to select and blend 

in other photos, a photo with a sharper Oreo, or 

a different photo with more or better-placed milk 

droplets etc. In the end, I used a combination of 

four different photos. 

Using Photoshop, I selected the parts of each of 

the other two photos that would be needed and 

inserted them into the main photo by creating 

layers. Working on one layer at a time (there were 

about six layers), each layer had to be resized 

and repositioned, and the background of some 

of the layers (milk and parts of the glass) removed 

using the eraser tool. The layers were then merged 

together. Next, I repaired or fixed any irregularities 

on the photo using the clone tool. I blended 

the milk layers together using the healing brush, 

clone, and brush tools. Finally, using the brush tool 

I worked on the background. This step alone must 

have taken me about 4 hours as it meant going 

around each milk droplet, each Oreo, as well 

as the glass trying to keep the sharpness before 

blending in the background to create an infinity 

look. Once all of the above was done, I turned to 

fine-tuning the photo’s colour and contrast. 

4 June 2022 NZPhotographer

Falling Oreos 

Canon D7 Mark II, 17-85mm lens with x2 studio 

flashes and softboxes @ F14, 1/200s, ISO200

A few of the processes spoken about here had to 

be repeated, worked on, or modified because they 

did not look right. It was only then that the layers 

were merged. I was trying to create the look of the 

Oreos falling into and around the glass while the 

milk was being poured, so I had to try to imagine 

what it would look like and how the droplets would 

fall. 

IS THERE ANYTHING YOU WOULD DO 

DIFFERENTLY IF YOU WERE TO RECREATE THIS 

SHOT? 

One thing that would have made the shoot easier 

(and a lot less messy!) would have been to have 

a helper to pour the milk while I concentrated on 

taking the photos and being able to direct them. 

I would also have liked to have had a glass tabletop 

to give a bit of a reflection. 

WHAT TIPS CAN YOU SHARE WITH READERS 

FOR CAPTURING A PHOTO LIKE THIS? 

Don’t be afraid to try something different in 

photography. Look for a concept you would like to 

try, research how the shot can be achieved (don’t 

be scared to ask other photographers how they 

captured their photos), and then go for it. 

Although this was quite a simple shoot, I would not 

have got as good a result without pre-planning, 

and the setup would have taken longer, so I advise 

not to rush into doing a photo like this. 

WHERE CAN WE SEE MORE OF YOUR 

PHOTOS? 

girimages.wixsite.com/mysite 

@girimages 

excio.gallery/gary 

BEHIND THE SHOT IS PROUDLY 

SUPPORTED BY 

5 Day Tour 

Ashburton Lakes 

- Arthurs Pass 

14th - 18th July 2022 

NZ Winter Landscape Photo Tour 

Join Ken Wright & Shaun Barnett on this 5 day Winter Landscape adventure, 

on this trip, you will have the opportunity to capture Canturbury’s High 

Country and the Southern Alps at its wintery best. You will find yourself 

immersed in the majestic beauty of the Southern Alps, capturing snowcapped 

peaks from the famous Arthur’s Pass. You’ll experience the endless 

composition opportunities that present themselves at the magnificent 

limestone battlements and boulders of the Kura Tawhiti / Castle Hill 

Conservation Area. 

6 June Click 2022here for NZPhotographer 

More Information 

027 2614417 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz

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7

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Exploring Photo Artistry Through 

Creative Collages 

by Fairlie Atkinson 

If you’re a closet photo hoarder unable to decide 

what to keep and what to discard, maybe trying a 

photo collage is the way to go. You might want to try 

a few different collage methods, which I outline in this 

article, along with the software to help you achieve 

this. 

Why collages? I often use them to display a series of 

related events or a collection of work to avoid posting 

multiple images on social media. I also find that 

collages are a nice way to explore mixed media, and 

you might decide to go the extra step in printing your 

photos and exploring ways of using them with paint, 

dye or other mediums. 

So how do you determine what goes into a collage 

and what doesn’t? Start with a theme or a related 

set of images. A simple collage will show a series 

of images, usually of the same subject, taken from 

different angles, but you might opt to start with 

something more creative like a colour themed 

collage. 



9

Top: My 'Covid Collection' made into a collage. 

Bottom: My horse collage made using Photoshop.

PLANNING YOUR PHOTO COLLAGE 

If you’re starting from scratch with the idea of shooting 

specifically for a collage, think of the layout and what 

kind of images you want in it. Do you want them all 

square, landscape, or portrait-oriented, or do you want 

them to be a mix of orientations? This will determine how 

you shoot your subject. 

Most people create a collage after taking and editing 

their images, which often becomes a creative exercise 

in cropping and moving images to fit on a canvas in 

Photoshop. My ‘Covid Collection' (seen top left) is a prime 

example of that. I was asked to pull together a collage of 

my images taken during lockdown, and I had to do some 

creative sizing and cropping to make sure they all fit on 

a canvas that could be printed. If I had planned for this, I 

would have made sure I composed and shot each image 

with more negative space around the subject for easier 

collaging. I would have also made sure that every image 

was the same orientation or, at least, that I had planned 

out the orientation of each image before shooting it. 

CREATING A PHOTO COLLAGE IN PHOTOSHOP 

If you have never made a collage in Photoshop, you can 

do it by creating a canvas and dragging and dropping 

your images onto it. Select File > New or Create > New and 

choose the print size. Drag and drop your images onto the 

canvas using the move tool to move them around and 

command or control+T to manipulate their sizes. 

If you have not planned your collage before taking the 

images, you may want to trim some of the background 

around the subject. You can do this by selecting the 

elliptical tool, dragging it over the section, and then 

selecting edit and cut. 

CREATING COLLAGES WITHOUT PHOTOSHOP 

There are quite literally hundreds of collage apps that 

are ideal if you don’t plan to print your image and just 

want to display it on your social media or website. 

I tried out BeFunky.com, which is a nice piece of online 

software. There is no need to download it or sign up. I 

uploaded my images, and it created a layout for me based 

on my uploads. I could then drag and drop them in. It’s 

not possible to edit your photos with this software, but you 

can move your picture around within the individual frames. 

Once happy, you can output the image as a jpeg onto your 

computer or export it directly to Google Drive. 

Another collaging software I liked using was Photocollage.net. 

It has hundreds of templates, and the 

software will autofill the spaces for you. You can also 

move the images once inside the boxes. When you finish 

the collage, it will ask you to pay for the digital version, 

butI found this website very useful for giving me layout 

ideas - sometimes, you need to see a series of photos 

laid out a few different ways before deciding on the final 

one. If you are working in Photoshop, using this website 

to experiment with layouts without having to deal with 

layers and moving things around in Photoshop is really 

useful - It allows you to do all your visual planning before 

working in Photoshop. Scrolling through all the template 

layouts is also a good planning tool before you even start 

shooting. Choosing a layout you like and shooting each 

image according to your collage plan makes putting an 

aesthetically pleasing collage together much easier. 

Using BeFunky.com to create a collage online.

COLLAGE PIONEERS 

Before the recent invention of auto collage software, 

there were photographic pioneers of the photo 

collage. David Hockney is probably one of the bestknown 

people. He took lots of photos of the one 

subject, but from different angles and knitted them all 

together in a collage. What’s really interesting about his 

work is that his collages are not squares or rectangles. 

They are an organic growth of knitted images. 

I have imitated his style for this article (see photo on 

page 13) by taking around 30 images using the same 

settings (F5.6, 1/100s, ISO800, 55mm) for each shot 

but varying my light source and the subject’s pose. I 

selected 15 of the 30 images for the final collage. 

I shot from different angles by moving around my 

subject and then doing the same thing by popping pink 

cellophane over the softbox light in the studio. Hockey 

did not chop up his photos, but I did choose to crop my 

individual photos into various rectangular shapes. I then 

placed each image in what I felt was an organic merger 

to create an overall aesthetic based on Hockney. Some 

people do this with polaroids and glue them together. 

Either way, it’s not as neat or rigid as collaging in the 

traditional sense, but I like the look of something that 

emerges from the screen or page in a chaotic flow like this. 

Another pioneer of collage is John Baldessari. In the 1980s, 

he started a movement by putting colourful price stickers 

on photos. He stated he could not understand why painting 

was defined as art, but photography was defined as 

photography. He wanted to combine the two and explore 

a new genre. He photographed anything and everything 

that took his fancy and covered the subject’s faces with 

price stickers and later on with paint. This is an ideal place to 

start experimenting with printed or digital collage; either print 

your photo and replace a part of it with a coloured shape 

like Baldessari has or make a digital version in Photoshop. 

Open your chosen image in Photoshop or another 

image editor, select adjustments, desaturate, and then 

select the shape tool and draw a coloured shape over 

the desired spot. Below is one I tried in Baldessari’s style 

following that process. 

There is no reason to limit yourself to just popping 

coloured shapes on your photos. Some photographers 

are now starting to replace entire subjects with printed 

newspapers or colour them in with paint. I have also 

seen photographers print their photos, glue them to 

a cardboard backing and then sew patterns into the 

image. To my mind, this combines the best of what 

Beladessari was referring to. 

Traditional collage in art is to glue different images 

and materials together to form a picture and then 

add paint, dyes, or ink. Photography that is used as the 

base layer for a collage can create a powerful mixed 

media piece, especially if you can think of a way that 

The physical additions to your printed image can add 

emphasis to the conventions of Art. Hannah Hoch, 

John Stezaker, Jese Treece, and Annegret Soltau are all 

collage artists who used photography and other media 

to produce some incredible work, Google them and be 

inspired! 

My digital collage based on Baldessari’s style.

My take on Dave Hockney's collaging technique. 

CONCLUSION 

Keep in mind that you can be a photographer and 

an artist. Photo artistry is a common term now and 

mainly describes digitally produced photographic art. 

But you are also an artist if you are a photographer. 

You’re just using your camera to create art rather than 

your hands. But if you want to explore both, collage is 

your starting point. Happy collaging! 



13

Rising Star; Tom Rae 

Tom is a 17-year-old landscape and astrophotographer who captures images of the 

world around us from the South Island of New Zealand. Being under the night sky 

gives him an indescribable sense of awe. He hopes his images will inspire others to 

look up at the night sky and ponder their place in the universe. 

Solitude: Nikon Z6, Sigma 28mm F1.4 art lens 

Sky: A 4 row panorama with each row containing 8 frames @ F2.8, 45s, ISO1250 

Foreground: A single row panorama containing 12 frames (with the camera mounted vertically) @ F2.8, 50s, ISO2000 

TOM, TELL US ABOUT YOU AND HOW YOUR 

PHOTOGRAPHY JOURNEY STARTED… 

I was first introduced to a camera in 2017, where I 

mainly took landscape images and edited them in 

artistic ways. I loved the way you could pretty much 

create anything you could imagine. After I began 

my journey with a camera, photography joined 

with something I’ve always been fascinated with 

ever since I was a little kid - the night sky. I find that 

photographing it is an experience like no other, and it 

is what I mainly focus on in my work today. 

Being in nature and under the night sky is probably 

my favourite thing about photography. I just love 

being out exploring, enjoying the world around us and 

thinking about our place in the universe. Experiencing 

the incredible view of our night sky creates a feeling 

that cannot be replicated. Behind the camera, there 

is an intense and indescribable sense of awe, wonder, 

and gratitude. I think my appreciation for nature and 

curiosity for the night sky, combined with my love 

for art and creative freedom, drives my motivation. 

I also love to inspire people through my images by 

producing the best work I possibly can and showing 

people what is really out there past the lights of our 

cities. 

WHAT ARE YOU SHOOTING WITH? 

I am currently shooting with a full-frame mirrorless 

camera (Nikon Z6) and a number of wideaperture 

prime lenses, which I use primarily for 

astrophotography. 

When you shoot long exposure images of the night 

sky, you can get what’s known as star trailing when 

the earth rotates in space. To counteract this, I use a

Origins 

Nikon Z6, Sigma 28mm F1.4 art lens, blend of 2 images 

@ F2.2, 120s, ISO1000, 28mm 



15

The Tree 

Nikon Z6, Nikkor Z 24–70mm F4 lens @ F8, 25s, ISO250, 40mm 

star tracker mounted on my tripod to keep the stars 

still and sharp while shooting with ultra-long exposures, 

allowing me to shoot longer exposures of the night sky 

and produce cleaner images. 

HOW DID YOU LEARN PHOTOGRAPHY? 

I have been self-taught ever since I first picked up a 

camera! There has been a lot of trial and error, but I 

am happy with my progress so far! 

WHAT HAVE YOU STRUGGLED WITH THE MOST 

IN YOUR PHOTOGRAPHY? 

Being young has been a struggle for me, especially 

with astrophotography, because I have to rely on my 

parents to take me to dark sky locations away from 

the light pollution of cities. In astrophotography, these 

dark skies may be many hours’ drive away, and on top 

of this, the moon phase and weather have to be right, 

which leaves a very small window of opportunity for 

taking photos. I am grateful to my parents as they are 

as supportive as they can be of this, and I really try to 

make the most of the few nights I have under the stars. 

TELL US MORE ABOUT YOUR ASTRO SHOTS… 

A lot of my recent Astro shots contain a human figure. 

I think including a human in relation to something so 

vast and incomprehensible helps people connect to 

the image and experience the feeling of awe I get 

standing in the frame under the stars. By including a 

person in the image, my main aim is to inspire people 

to think deeper about life, our earth, and the universe 

beyond. 

WHAT ARE YOUR AMBITIONS FOR THE FUTURE, 

AND DO YOU THINK PHOTOGRAPHY WILL PLAY 

A ROLE IN YOUR CAREER CHOICES? 

I would like my images to really bring a strong 

philosophical and environmental perspective to the 

viewer in my future work, for the photos to address 

issues in the world, and to inspire people to think 

further into our place in the universe and enjoy the 

short space of time we have to experience it. 

I am still experimenting with photography. Sometimes 

I will produce images in a scientifically accurate way, 

and other times I just go wherever my creative vision 

takes me. 

I am still not entirely sure what I want to do in my 

career, but I think whether it is science or art based, 

photography will play a role in it - I absolutely love all 

aspects of photography and believe it will continue to 

be a big part of my life! 

WHERE CAN WE FIND YOU ONLINE? 

@txmrae 

@txmrae 


10 Day Winter & Astro 

Photography Tour 2022 

30th July - 8th of August 

EXPERIENCE 

You will start this spectacular tour by joining Glen Howey and 

Blair Quax for an Astro Masterclass Workshop, based at Mt Cook. 

The village is located within the Aoraki Mackenzie International Dark 

Sky Reserve, the world’s second-best area for viewing the night 

sky. Designed to extend your skills in both Astro and timelapse 

photography, the workshop dates have been picked to ensure a new 

moon and winter offers the best conditions for astrophotography. 

During the workshop we will visit a private observatory, to learn more 

about the night sky and photograph the constellations. 

For the next phase of this tour you will have Ken Wright and 

Shaun Barnett join you on this adventure. On this part of the tour, 

you will have the opportunity to capture Canturbury’s High Country 

and the Southern Alps at its wintery best. The itinerary takes you 

through the Canterbury High Country, past Mount Somers, and 

further inland to the Ashburton Lakes. This is a remarkable area of 

placid lakes and high country wetlands, all set in the huge basin 

between the Rakaia and Rangitata Rivers, both of which drain 

the central Southern Alps. You will then find yourself immersed in 

the majestic beauty of the Southern Alps, capturing snow-capped 

peaks from the famous Arthur’s Pass. You’ll experience the endless 

composition opportunities that present themselves at the magnificent 

limestone battlements and boulders of the Kura Tawhiti / Castle Hill 

Conservation Area before we end our experience in Christchurch. 

Click here for 

More Information 

027 2614417 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 



17

Ben Lomond, From The Approach Trail 

Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens @ F20, 1/80s, ISO100, 27mm 


Photographic Locations Worth Sweating 

For: Ben Lomond, Queenstown 

by Peter Laurenson 



19

Above: Wide View South From Ben Lomond Summit 

Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens, stitch of 4 landscape images @ F18, 1/100s, ISO100, 27mm 

One of the best views you can get of Queenstown 

and its beautiful surrounds is from a 1,748 metre peak 

just four kilometres northwest of the town centre 

named after Ben Lomond in Scotland by the early 

shepherd Duncan McAusland. 

The 1,438 metre elevation gain of the Ben Lomond 

track certainly tends to induce quite a bit of 

sweating, especially during the summer months. From 

Queenstown’s CBD it’s a 6–8hour, 11 kilometre return 

journey. You can start at the Skyline Gondola car park 

(310m), following the Tiki trail or from the bottom of the 

Skyline Access Road. Both trails take you up through 

Douglas fir and pockets of mountain beech to the top of 

the Skyline Gondola (812m), but by taking the gondola, 

you cut off 500 metres of climbing. Be wary of mountain 

bikers as there are many mountain bike trails bisecting 

the foot trail. Above the gondola you breach the treeline, 

heading up a well-formed track marked by orange poles, 

crossing open tussock and shrub-clad hillside. 

While access is relatively easy, Ben Lomond is still 

high enough that the temperature on the summit is 

much lower than down in the town. It can often be 

fully snow-clad in winter conditions. There is no water 

supply on the track, but toilets have recently been 

installed at the saddle (1,316m). 

Even at the saddle (a 3–4 hour round trip), you can 

enjoy good views back to Queenstown, Lake Wakatipu, 

Ka-kamu-a-Hakitekura/Cecil and Walter Peaks and 

Kawarau/Remarkables to the south and Mount Aspiring/ 

Tititea (3,033m), Mount Earnslaw/Pikirakatahi (2,830m) and 

many other peaks of the Southern Alps to the north, but 

by climbing the final 432 metres, taking about another 

hour, the even better views are definitely worth sweating 

for. This section of the trail is still easy to follow but certainly 

the most challenging section of the route. If it’s snowy, 

crampons and a walking axe are recommended, and 

you must be aware of avalanche danger. 

Allow time to spend soaking up the magnificent vista 

from the summit. Queenstown is deemed by many as 

the jewel in New Zealand’s tourism crown, and from 

this vantage point, it’s hard to deny. On the summit 

is a detailed directional sign indicating what the 

numerous peaks are in every direction, enabling you 

to know what you’re actually looking at. 

While I’ve been up Ben Lomond in both summer and 

winter, I haven’t been on the summit for dawn or dusk, 

but I know it would be a superb spot to be at during 

fine weather. A good head torch would be entirely 

sufficient to descend in the dark as far as the gondola, 

which operates late into the evening. A glass of 

chardonnay (or whatever your preferred poison might 

be) before you drop back down to Queenstown 

would be a nice way to finish off too. 


View North To Mt Earnslaw From Ben Lomond Summit 

Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens @ F18, 1/160s, ISO100, 52mm


View South From About 1,000m, Above Skyline Gondola 

Nikon D70S, Sigma AF 28–70 F3.5 lens, stitch of 3 landscape images 

@ F22, 1/125s, ISO200, 27mm 



23

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25

Getting Eye-to-Eye and 

Soul-to-Soul with Wildlife 

Interview with Kim Free 

the Sustainable Business Network, we continuously look to 

lessen our environmental impact. 

KIM, TELL US ABOUT YOU… 

I was born in Christchurch and grew up on a farm 

and horse stud beside the Waimakariri River in North 

Canterbury. My Dad ran the farm, and my Mum bred Welsh 

Ponies. We had an absolute menagerie of various pets - 

cats, dogs, horses, lambs, rabbits, and birds. I always loved 

helping out on the farm. I’m sure my great appreciation for 

nature, strong work ethic, and deep love for animals were 

primarily due to this very fortunate childhood. 

I shifted a few times when I left home but ended up back 

in the same area, where I now live with Stu, my husband of 

19 years, our dog Brody and our miniature cows, Max and 

Jed. We are incredibly fortunate to have properties on the 

beautiful West Coast and Kaikoura as well, so we move 

between them as time permits. 

My husband and I are owners of a manufacturing 

company within which my role is finance executive. I am 

also responsible for our objectives and initiatives relating to 

conservation and sustainability. This is, without doubt, the 

part of my role I find the most rewarding. As members of 

26 June 2022 NZPhotographer 

HOW AND WHEN DID YOUR PHOTOGRAPHY 

JOURNEY BEGIN? 

Growing up, I always had a camera and took countless 

photos of my animals. The film was expensive to develop, 

and I’m sure my parents got sick of paying for another 24 

photos of pretty much the same thing - either my horse 

from every angle or my dog just sleeping, not exactly prizewinning 

shots! 

It was about twelve years ago that photography became 

a passion after I purchased my first iPhone. Using the phone 

99% of the time as a camera rather than a phone, I knew 

this was what I wanted to do. And so, the photography 

obsession (and spending) began. I decided to enroll in 

an online photography course and bought my first DSLR 

camera, a Canon 650d. It was incredible and a steep 

learning curve coming after taking photos on my iPhone. 

Despite the outlay for the course, I only completed a 

couple of modules. I just wanted to start taking photos. I 

didn’t gel with learning about the history of photography or 

how a camera works. Instead, I read books and watched 

a lot of videos, and I mean a lot. Then I would get out there 

and apply or try to apply what I had learned. I had always 

loved horses, so I started in equine photography, and more 

by good luck than good management, I was hired to 

shoot a few horse events. These events pushed me out of 

my comfort zone, especially as I was taking images to be 

sold, and I was new to photography. Even though these 

were incredible experiences and ones for which I am very 

grateful, they made me realise that it wasn’t the type of 

photography I wanted to do. 

After some soul searching, I decided I wanted to shoot 

landscapes. I loved it, and it was then I started gaining 

some confidence. It was a great time; my husband and 

I travelled all over the South Island looking for locations 

to shoot. We did any nature walk we could find and 

had many fun experiences and adventures. I had some 

amazing results with landscapes, and I still love capturing 

stunning scenes, but I was drawn to wildlife photography, 

particularly marine wildlife, and I have not looked back. 

I have had an incredible journey so far, and I never 

dreamed anything would come out of my photography. 

But having photos published, exhibited, licensed, winning 

competitions, and being paid to write about Wildlife 

Photography, I couldn’t be happier with how it’s gone. I 

can’t wait to see where it takes me from here.

Catch Of The Day 

Canon R3, Canon RF600mm lens @ F5.6, 1/3200s, ISO800, 600mm 

WHAT ARE YOU SHOOTING WITH TODAY? 

Since my first DSLR camera, I have always been a Canon 

fan and have not used anything else. I am currently 

shooting with the Canon R3 and R5. I made the move to 

mirrorless last year, and I love it. 

I upgraded from a 5D Mk IV to the R5, and I was 

thrilled with how amazing it is. With the eye-tracking, 

my percentage of keepers skyrocketed. Then, when 

the R3 was announced, I decided I would upgrade to 

this body, and I have to say it completely surpassed 

my expectations. The tracking and eye control focus, 

combined with that incredible speed is an absolute 

game-changer. 

My lenses are the Canon RF 400mm F2.8, Canon RF 

600mm F4, Canon RF 100-500, the Canon RF 70-200 F2.8 

and my most recent addition, the Canon RF 100mm F2.8 

Macro lens. Until I got the 400mm and 600mm, I always 

shot handheld, but due to the size of these lenses, I 

now use a monopod; otherwise shaking and tired arms 

are a given. I have the Gitzo Carbon, 4 section, with a 

Wimberley WH200 gimbal head and a quick release plate. 

Although I’ve had to go through a period of adjustment, 

I’m now really starting to get used to it. 

The RF 600 lens on the R3 is my go-to at the moment. 

With the 600’s incredible reach and the R3’s eye-tracking 

& focus, it’s unbeatable for photographing wildlife, 

particularly birds in flight. I love that I can look at the bird 

through the viewfinder, and my focus is locked no matter 

where I am looking, so shooting fast-moving birds like 

gannets who can dive in a split second is incredible. I also 

believe you can’t go wrong spending money on good 

glass. I might upgrade my camera body in a year or two 

as new tech comes out (I’m reading rumours that an R1 is 

coming from Canon, so when that is announced, that will 

be something I can guarantee I will be lusting after!) but 

I will be using lenses like the RF400 and 600 for a very long 

time. 

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHY, AND WHAT KEEPS YOU PICKING 

UP THE CAMERA? 

Animals are my passion, but I don’t want to confine myself 

to one particular photography style. Most often, my goal 

with shooting is to capture as much detail as possible. I 

love close-up shots. I try to show the details of the animal’s 

fur, feather details, skin texture, colours and facial features. 

These things can’t easily be seen from a distance, and 

people are often surprised by how much incredible 

beauty is there, little details they did not know about. I 

always try to create interesting images, and I like to plan 

how I want the photo to look, what’s in the foreground or 

background, the depth of field and framing. 

Photography is very mindful for me. I love the eye-to-eye 

and soul-to-soul connection with wildlife that photography 

gives me, and I try to convey this in my images. The wildlife 

itself drives me to get up early for sunrise shoots or shoot 

out in freezing cold temperatures or rain. 



27

Little Shags 

Canon R5, Canon RF100-500 @ F10, 1/640s, ISO800, 500mm 

I aim to draw the viewer into my photos so they feel 

emotion when looking at them. Photography has 

given me incredible insight into the lives of these 

beautiful beings, and I have learned so much from 

observing them. 

I hope my images will inspire others to care. Things are 

pretty grim for many species. I hope my photos may 

encourage people to care about the environment 

and become proactive in protecting the beautiful 

wildlife we are so privileged to share this earth with. 

WHAT WAS YOUR MOST SIGNIFICANT 

PHOTOGRAPHY LEARNING CURVE, AND HOW 

DID YOU OVERCOME THAT? 

One of the most significant learning curves for me was 

learning to keep calm and check my settings. Wildlife 

is completely unpredictable; you never know when 

the perfect scene will present itself and may only 

have a split second to get the shot. It’s so easy to get 

caught up in the moment and start shooting without 

checking the settings or framing. So many times, in 

the beginning, I would mess up the shot, my shutter 

speed would be too slow, and the eyes would end up 

out of focus. I’d spend the whole day photographing, 

then rush home excited by what I had shot, only to be 

bitterly disappointed when I uploaded my card. 

To overcome this, I developed a simple mental 

checklist to assess the scene; what’s the light like? 

How fast is the movement? What sort of shutter speed 

will I need with this lens? 

Nowadays, I have my camera set up next to me in the 

car when we are travelling. I have it set up for what 

I’m hoping to see, and if an opportunity presents itself, 

I’m ready to go. There is nothing worse than fumbling 

around to assemble bodies, lenses and monopods just 

in time to see the subject disappearing into the distance. 


Juvenile Kea 

Canon R5, RF100-500 lens @ F6.3, 1/500s, ISO640, 200mm 

CAN YOU SHARE SOME WILDLIFE 

PHOTOGRAPHY TIPS WITH US? 

I’m always happy to share techniques. Although 

I’ve learned a lot from my own experience, I’ve also 

learned a lot from other photographers openly sharing. 

Learn as much as you can about all the species you 

hope to photograph. Know your subject - when are 

they active? What do they eat? Where are they likely 

to be, and when? 

Be patient. Wildlife photography can involve waiting for 

hours on end for something to happen. I have learned 

that giving up too early should be avoided. 

Set your shutter speed high enough. There is no point 

even taking a shot if your shutter speed is so slow the 

image will be blurry unless you are purposely trying to 

get a motion blur shot. 

Have your gear ready - As I mentioned before, I have 

my camera set up in the car now as I have often 

missed a great shot while trying to get my gear set up. 

Consider what’s in the background. If possible 

position yourself so the environment isn’t too busy and 

distracting. Sometimes moving just a couple of inches is 

all you need to do to get a clean background so that 

you avoid things like a branch looking like it is coming 

out of the animal or a small part of another animal in 

the shot. 

If you are taking full body shots, make sure you have 

the entire animal or bird in the frame; it can be easy to 

cut off the tip of a wing or tail, so check framing first. 

If there are shadows, move around until yours points 

towards the subject, this will help avoid having half the 

animal’s face in darkness. Big solid dark lines down an 

animal’s face or body from shadow will never look as 

beautiful as a clear, well-lit image. 



29

Little Ears 

Canon R5, Canon RF 100-500 lens 

@ F7.1, 1/100s, ISO640, 500mm 


Seal Pup Stare 

Canon R5, Canon RF100-500 @ F7.1, 1/800s, ISO2000, 400mm 

TELL US ABOUT YOUR LOVE OF 

PHOTOGRAPHING FUR SEAL PUPS… 

Anyone who follows my Instagram feed will know that 

I am obsessed with fur seal pups! They are the most 

incredible little animals. They have such personalities it 

is hard not to fall in love with them! 

I always sit down quite a distance from the pups 

and watch and wait. Pretty soon, little heads start to 

pop up from behind rocks and slowly get closer and 

closer. The challenge with most wild animals is getting 

close enough to get a shot, but fur seal pups are the 

complete opposite. It’s often a challenge shooting with 

long lenses as they are so cheeky and curious that they 

will advance to check you out, even going as far as 

to stick their head into the lens hood, as happened to 

me once! I usually find myself tripping over things in an 

effort to get far enough away to get them in the frame. 

I have spent so much time observing them that I 

have recognised certain pups when returning to a 

particular area. They may all look similar at first glance, 

but in fact, they are all so different, from the different 

colours of their fur to their facial markings. 

Fur seals are incredibly playful, and this makes for 

some amazing photos when they are practising their 

swimming in little rock pools or play fighting with 

another pup, or my favourite, when they look at you 

with their head upside down. 

I find spending sunrise with baby seals is one of the 

most amazing experiences. They are all quite active 

at that time of the morning, and usually, a lot will 

have just come back in from a swim, so their fur will 

be a gorgeous glistening gold. It makes for fantastic 

images, and who doesn’t love looking at cute baby 

animals! 

I aim to draw the viewer into my photos so they feel 

emotion when looking at them. Photography has 

given me incredible insight into the lives of these 

beautiful beings, and I have learned so much from 

observing them. 

I hope my images will inspire others to care. Things are 

pretty grim for many species. I hope my photos may 

encourage people to care about the environment 

and become proactive in protecting the beautiful 

wildlife we are so privileged to share this earth with. 



31

Fiordland Crested Penguin 

Canon 5D Mk IV, Canon 100-400 lens @ F8, 1/200s, ISO800, 312mm 

WHAT IS THE MOST CHALLENGING WILDLIFE 

SHOOT YOU’VE HAD? 

One particular shoot comes to mind that was quite a 

challenge. I had decided I needed to shoot Fiordland 

Crested Penguins so we planned a trip and drove over 

six hours to stay in Haast. We got up at 3am to head to 

the track leading to the beach, which was a 2.5km walk. 

Our headlamps decided to go flat mid-walk, so it was 

virtually pitch black. We were trying to run as much as 

possible, but lugging camera gear on a slippery bush 

walk was not ideal. We were tripping over everything, 

and I had new hiking boots that seemed intent on 

making me slip over on the slightest mossy area. There 

were also wild pigs rummaging around and making noise 

from beside us in the dark; this was a little intimidating, 

but we finally made it to the beach, covered in mud, a 

little bruised and tired. It was right on first light, and this is 

when the penguins head to sea, so I was quickly setting 

up my camera when, from a considerable distance, I 

saw a little shadowy figure waddling down the beach 

and disappearing into the sea, and that was it, no more 

penguins. I hurriedly took a shot, but my ISO was so high it 

looked like an unrecognisable blob. The funny thing was, 

a few years later, we literally met the elusive Fiordland 

Crested Penguins face to face when one showed up in 

broad daylight about a one minute walk from our place 

at Motukiekie Beach. He not only stood there posing but 

actually kept coming closer and closer until I had to back 

off to get it in the frame. I was finally able to get all the 

photos I wanted. 

TELL US ABOUT YOUR PASSION FOR WILDLIFE 

CONSERVATION, HOW DO YOU HELP, AND 

HOW DO YOU THINK OTHER PHOTOGRAPHERS 

CAN PLAY A PART IN PROTECTING 

ENDANGERED SPECIES? 

I think the horrifying realisation that some species will 

soon cease to exist is what really jarred me. I just find that 

concept so heart-breaking. How we got to the point 

that we are causing species extinction is sickening. 

As Robert Swan said, ‘The greatest danger to our 

planet is the belief that someone else will save it». I 

think this rings true for many people. We say, «That’s 

terrible; someone should do something». It’s easy to 

think, «What difference can one individual make?» but 

if enough individuals are all doing something, that can 

make a huge difference. 

This made me question what I could do. The easy 

thing we can all do is donate time or money to 

support the incredible organisations already doing 

amazing things to protect wildlife, and I’m proud 


Sumatran tiger 

Canon 5D MkIV, Canon 100-400 lens 

@ F6.3, 1/640s, ISO1000, 400mm 

Rhino 

Canon 5D MkIV, Canon 100-400 lens 

@ F8, 1/320s, ISO640, 400mm

Silverback Gorilla 

Canon 5d Mk IV, Canon 100-400 lens @ F6.3, 1/200s, ISO320, 400mm 

to support as many of them as possible. If there is 

something else I can do to help, I do it. 

I’m presently involved with supplementary feeding 

sea birds that are suffering from starvation, 

penguin conservation on the West Coast, and Kiwi 

conservation in the upper North Island. I also sponsor 

many wild animals through fantastic organisations 

such as Animals Asia, Save the Chimps, David 

Sheldrick Wildlife Trust, & the Dian Fossey Gorilla Fund. 

I also organise fundraising for various charities. I am 

a long-standing direct action crew member of Sea 

Shepherd, a long-time supporter of the Orangutan 

Project and the West Coast Penguin Trust. 

Early on, I decided to donate 100% of my earnings 

from photography back to wildlife conservation. 

Because of my photography, I have been able to 

contribute to various worldwide charities. I have 

been able to donate over $10,000 to help fund the 

construction of a new native bird breeding centre at 

Orana Park. This centre will focus on breeding native 

birds like Kiwi, Whio, and Pateke for release into the 

wild. 

Ocean conservation is also a cause that holds a 

place in my heart. The situation with plastic in our 

oceans and the unnecessary deaths of marine 

mammals and seabirds is devastating. I decided to 

pursue this more, and I hold three Padi qualifications 

in Marine Conservation. Stu and I also regularly do 

beach cleanups, and we always take rubbish bags 

with us when we go out to beaches. We have filled 

several bags with micro-plastics and household plastic 

rubbish, even on some remote West Coast beaches. 

I have witnessed some very distressing scenes as a 

photographer. Doing nothing about it is not an option. 

Many people are probably completely unaware 

of some of the struggles wildlife face. Images are 

powerful motivators, and I believe that photographers 

can make a difference by bringing these issues to the 

forefront. If your images can motivate even one person 

to want to help, that is something to be proud of. 

TELL US MORE ABOUT YOUR WORK WITH 

ORANA WILDLIFE PARK… 

Working with Orana Park is extremely rewarding and 

always exciting; I’m very happy to volunteer my time 

to the park. They have such a great team who are 

just a joy to work with and their breeding programs for 

endangered species are such a worthy cause. 

We always plan the shoots but, as with all wildlife, no 

amount of planning guarantees it will be easy to get 


Bathed In Light 

Canon R3, Canon RF400 lens @ F2.8, 1/6400s, ISO400, 400mm 

the shot. I’ve had some fantastic experiences doing 

this though; I’ve been locked into a glass enclosure 

with lace monitors, fed tigers by hand, sat behind a 

netting fence while a cheetah ran directly at me, 

photographed a five-day-old iwi chick who did not 

want to stay on set and kept wandering off, and shot 

tigers swinging by their teeth on a piece of meat hung 

from a pole. I shoot everything from the big cats to 

whio and orange fronted kakariki. They are all species 

that need to have their moment in the spotlight. 

My photos are mainly used for media releases and 

promotion on social media channels. Some prints are 

also available in the gift shop. 

WHAT ELSE SHOULD WE KNOW ABOUT YOU OR 

YOUR PHOTOGRAPHY? 

Something about me - I love home renovation. Stu 

and I are currently undertaking two renovations, 

which is a mammoth job as we are doing the majority 

of the work ourselves. Still, it is so gratifying when you 

start to see incredible transformations. I get to put my 

photography to use on one of the renovations as I am 

putting a photo book together for the entire project, 

so I am really enjoying doing that. There is pretty much 

no downtime in my life, but I enjoy being busy! 

WHAT ARE YOUR PLANS, PHOTOGRAPHICALLY 

SPEAKING, FOR THE REST OF THE YEAR? 

I have been researching particular animals and birds 

I want to photograph, so the plans for this year will be 

travelling around to make that happen. 

ANY INSPIRATIONAL WORDS TO LEAVE US 

WITH? 

I don’t think there is anything I could say that hasn’t 

already been said more eloquently than I could put 

it, but I guess the main points would be; This is your art, 

do it your way. Try not to be influenced by others or 

how many likes you get on social media, for example, 

but rather do what makes your heart sing. Know your 

reason for doing it and what you’re prepared to do 

for that reason. Don’t give up. 

WHERE CAN WE FIND YOU ONLINE? 

@kimfreephotography 

kimfree.500px.photography 

@kimfreephotography 

excio.gallery/kimfree 



35

Mini 4 Shot Portfolio 

Our 4x4 feature showcases 4 mini portfolio’s of both 

professional and up and coming New Zealand 

photographers. The 4 images are linked in some way, 

allowing you to get an understanding of what each 

photographer is most passionate about capturing. 

For a chance to get your own 4x4 feature in a future 

issue of the magazine, become a subscriber here. 

KIWI LEGENDS 

Lou Kibby 

IMAGE NEW ZEALAND 

Eva Zhou 

A LIGHT IN THE DARKNESS 

Noelle Bennett 

MEMORIES OF THE MANIOTOTO 

Ted Grenfell 


EVA ZHOU 


Born and raised in Guangzhou, China, I have been living in Auckland 

for 20 years. New Zealand perfectly balanced the city-girl inside me 

and nurtured the laid back, carefree and restful characteristics in my 

soul. Photography is one of my favourite ways to express my creativity. 

Travelling and capturing the moments in the journey gives me pure joy. 

Colours and the light in nature are the main inspirations for my photos. 

www.newcreationimage.com 

IMAGE NEW ZEALAND 

Over the past two years, in between the lockdowns, I captured these photos while 

travelling to see the sunrises and sunsets. 

The beauty of nature has no regard for any lockdown. When it is time to shine, it shines 

– sometimes in unexpected moments, coming with lovely surprising forms too. It never 

ceases to amaze those who behold it, and it heals them too. 

The landscape of New Zealand has no doubt given me the strength and 

encouragement to continue the journey. I believe that as the world reopens, this beauty 

will welcome and refresh many souls too. 



39




41

LOU KIBBY 


I grew up on the west coast of Scotland but have spent the last 25 years 

in New Zealand. My interest in photography started when my daughter 

was born and I purchased my first digital camera to capture images to 

share with my family. My passion for photography grew from there. I love 

getting outside, close to nature, but the challenge of capturing action 

images in low light is what I truly enjoy, so you can imagine I am at my 

happiest at live gigs. 

@Lou Kibby Photography 

KIWI LEGENDS 

Live gig photography started for me in Raglan with the legendary Sir 

Dave Dobbyn! 

Photography at a gig is always a challenge due to low light, coloured 

light, no flash and restricted space. Constantly watching what is 

happening on stage and around you is paramount to getting an 

exceptional shot. This type of photography lends itself to black and white 

images as they give a real feeling of the atmosphere and drama of the 

gig. 

My chosen four images show Sir Dave Dobbyn’s first gig as “sir”, Ross 

Burge on the drums, Jo Barus on the bass guitar, and Sir Dave Dobbyn’s 

tools of the trade. 



43




45

NOELLE BENNETT 


I have been doing photography for a little under ten years, getting my 

first camera in late 2012. Since then, I have had an immense amount 

of fun, as well as experiencing a fair degree of frustration as I have 

gradually started to get to grips with a variety of photographic genres. 

My favourite genre? Well, in all honesty, I think I would have to say my 

favourite is whatever genre I am working with at the time. 

www.noellebennettphotography.com 

A LIGHT IN THE DARKNESS 

My photographic journey has given me some very special experiences 

in lots of different ways, and many have happened as a result of posing 

the ‘What if...?’ question to myself. It’s at times like these that I find myself 

thinking of something Vincent Munier said, which was, «When you reveal 

everything, you kill imagination. I live in a world of imagination and that is 

where I want to stay». 

And that is how it was with this series. I had rediscovered the joy of 

photographing flowers after far too long ignoring them in favour of so 

many other apparently more exciting subjects and techniques. The sun 

was low in the sky, casting some parts of the flowers into sharp relief whilst 

almost totally obscuring other areas of them and, in doing so, adding just 

a hint of mystery. The details and shapes that were visible, and in many 

cases accentuated by this selective lighting, were simply stunning. And 

what about the parts that were not revealed? Well, maybe I’ll just leave 

those to your imagination! 



47

TED GRENFELL 


I am a portrait, lifestyle, landscape and food photographer. Originally 

from Oamaru, I started a photography business in Titirangi with my late 

wife Cath in 2014 and now work out of my North Dunedin studio gallery. 

I enjoy shooting with studio lights and love colour, especially reds and 

oranges. I find the lights give me greater control over the narrative... 

and colour, well, colour is colour! My style tends to be a combination of 

‘lifestyle’, and ‘fine-art’ photography – with a touch of creative lighting. 

grenfell.co.nz 

MEMORIES OF THE MANIOTOTO 

I was first introduced to the Maniototo on an organised tour by Christchurch 

based photographer Scott Fowler back in 2019. Based at Wedderburn, we visited 

various parts of the district, and I immediately fell in love with some old shearers’ 

huts in front of the Hawkdun Range. A spot often referred to as “somewhere near 

Taupo”. 

I’ve managed to return there a few times, each visit different to the last. 

We caught a brilliant sunrise one time, but unfortunately, that tour was cut short by 

a COVID lockdown. We had been hunting snow but with no joy. 

After lockdown, I returned with friends, and we were there when the Maniototo 

was hit by 2021’s largest snowstorm. The morning was still and peaceful, and 

wading knee-deep through the snow from the main track, I stood once again in 

front of the huts, managing to get some shots in just before the snow melted and 

slipped off the roof of the front building. 

No two visits to that spot are ever the same, and I‘ll be back there again in mid- 

June, chasing snow in the Maniototo once more! 



51

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www.nzphotographer.nz

Developing a Story 

by Alan Blundell 

In the last article of this series, we will look at ‘Developing a Story’ – how to progress 

from taking single shots to thinking about building a body of work over a longer 

period, with several images, telling a story as part of a project. 

WHY A PROJECT 

Up to this point, the focus has been on trying to combine 

a huge number of attributes into that single image. Of 

course, it’s almost impossible to build all the elements 

above into one moment and crystalise them into a 

perfectly formed frame. So much is left unsaid at times 

- why was this happening, where, and how? There is a 

place to leave the viewer of your images to speculate, 

but what if you wanted to control the narrative and tell a 

more complete story about a particular subject or idea? 

This is where street photography can morph into more 

of a documentary project. 

PLANNING A PROJECT 

So, how does one go about setting up a project? My 

advice would be to choose something or someone 

that you are passionate about. In your mind, there 

should be a reason why you would want to share 

what you know, have discovered or are seeking to 

learn about a particular subject. 

Start by jotting down an outline using the following 

broad: 

• What attracts you to this? 

• Why do you feel the need to share? 

• How will you convey the story, feelings, and 

emotions attached to your idea? 

THE ENVIRONMENT 

Generally, a street or documentary project will have 

a setting and a subject. Remember, this isn’t like the 

spontaneous single shots you have been used to 

taking. Spend some time visiting the location before 

you start shooting for what might last anything from 

a whole day to several weeks. Look at all the details 

around the edges of your project or subject that help 

set the overall scene. Talk to any of the people that 

might feature in the project and ask them what they 

feel about the situation – this can provide valuable 

insights into how you might end up conveying the 

story. 

COPY 

I’ve found that writing, even small amounts of text 

that accompany my photos, to be hugely beneficial 

in helping to galvanise thinking about my work. My 

view is that even if you don’t publish the copy with 

the images, it’s worthwhile to make notes about your 

thinking – what motivated you to the subject as a 

whole, and what were the small details you chose to 

include in the group of images you shot. How did all of 

this thinking galvanise your project idea? 

CURATION 

Once you have taken as many shots as you feel 

are adequate to convey your story, print them off 

at postcard size and lay them out on a big table. 

Eliminate images that don’t ‘speak’ to you about the 

subject, and decide on a minimum number of really 

special images, as few as three and as many as a 

dozen, that take the viewer through a journey from 

start to finish. 

ELIZABETH’S KITCHEN 

I’ll briefly share a small project I completed a couple 

of years back. 

Just before COVID hit in 2019, I met 92-year-old 

Elizabeth struggling with her groceries at the top of 

some stairs leading down to her home in Kelburn. After 

giving her a hand and learning she was living alone, 

we exchanged details. We kept in touch during the 

lockdown, and I was able to help her with the odd 

shop, drop her off some books to read, and so on. It 

was a very challenging time for her. 

When the lockdown concluded in 2020, Elizabeth 

wanted to have my wife and me around for a 

cuppa to say thanks. I took my camera in the hope 

of her agreeing to a few shots in her meticulously 

kept kitchen. Although there wasn’t much time 

to plan and shoot this series, I entered the series of 

photos below in a competition and made the final. 

It was nice to be able to chat with Elizabeth in her 

environment and hear some of her stories of how she 

emigrated from the UK, her family, and life in NZ. 

56 June 2022 NZPhotographer

Top: All original utensils, everything meticulously clean 

and placed in an orderly manner. This isn't staged, it's how 

the wall looked when we arrived for a cuppa – I couldn’t 

actually believe it! 

Bottom: Enjoying a cuppa at the generously round 

kitchen table with Elizabeth's custom-built airing 

cupboard in the background!

Top:Elizabeth's bright, stylishly cut platinum hair, and her 

wonderful deep teal coloured jumper shaped like the 

chair-back around the curve of her shoulders. 

Bottom: A freshly washed French tea towel adorns the tray 

stacked with a series of unmatched containers, each a 

long-time item that she has never bothered to coordinate.

Elizabeth standing beside one of only two windows in the space. The view out offers a glimpse of the nearby university campus. 

THAT’S A WRAP! 

I’ve really enjoyed sharing what I have learned so 

far on my journey as a street and documentary 

photographer. Like a surfer looking for the perfect 

wave, my appetite to keep improving and evolving 

remains. 

Missed an article? You can review all of the previous 

articles in my street photography series in the back 

issues of NZPhotographer (issues 51-56) by becoming a 

subscriber. 

Keep honing your skills and style by taking pictures on 

a regular basis, and like me – I’m sure you’ll learn a lot 

along the way! Please share your work with me, and 

feel free to ask questions via @bokehstreet on Instagram 

or Facebook. You can also sign up for one of my Street 

Walk Sessions to learn more in person; particularly now 

events are starting to come back online. 



59

A Misty Morning 





61

A Misty Morning 


There’s a small patch of forest on the edge of the Clutha River that I visit each 

autumn to photograph as the magical mist envelops it. 

I may have spent more time photographing in this 

forest than any other. I’ve been coming here now 

since 2017 and usually bring at least two groups 

here as part of our Autumn Masterclass Workshops 

- often photographing here a few times between 

the workshops as well. To the passerby, this patch of 

forest might go unnoticed; there’s little to set it apart 

from any other patch of woods. But come autumn, a 

magical display happens here each year - one that’s 

driven not only by the fabulous colours as the leaves 

all turn to gold but also by the conditions produced 

by the weather as the seasons change. On the right 

morning, a magical mist envelops and floats through 

the forest. These are conditions that many would 

leave to luck to find, but by spending so much time 

here in this forest, I’ve become pretty accurate at 

predicting them from the weather forecast. 

This year, when autumn rolled around again, I started 

looking forward to returning, but at the same time felt 

maybe it was done for me. Perhaps this is a location 

I’d photographed too many times - had it become 

scripted in the way I approached it? Maybe this 

autumn, I needed a new patch of forest that could 

change my perspective. So, during the summer 

months, whilst out wandering or mountain biking, 

I searched for a new patch of forest and found a 

couple with real potential. 

When autumn arrived, I started thinking about 

exploring these - then, as soon as the forecast 

signalled the change of morning mist, I jumped in 

my van, keen to get shooting. As I drove through 

the darkness, I found myself changing course; I was 

drawn to my old stomping grounds, where I’d taken 

hundreds of photos many times before - I wanted 

to make a quick stop there just to see what the 

colours and conditions were like this year. I ended 

up spending the morning there, and I realised this 

wasn’t a location I’d ever become tired of - It was 

somewhere I could return to many times over multiple 

years and always see and approach differently. 

Looking back at my pictures from previous years, I 

realised that no two years’ pictures were the same. 

Yes, the conditions were slightly different. Some years 

offered more vibrant colours and more dense mist, but 

it wasn’t really the colours or mist that have changed 

as much as the way I see and approach it each 

year. Sometimes, having a familiar location - one 

that you know, one that you go back to - can help 

you grow and be important for your development as 

a photographer. I also realised that this « location» 

wasn’t what I came here to photograph; it was more 

about the time of year and the conditions. Remove 

that, and the magic is entirely lost. It wasn’t physical 

subjects - the trees themselves - or the magical 

conditions on any given day that made each year’s 

photographs so different, but my ever-changing 

response to them. 

I photographed the forest on six different misty 

mornings this year Twice while teaching workshops 

when I didn’t really have a camera in hand, and four 

times on my own where I had time to be immersed in 

my own photography. I almost wished I’d managed 

to get out there a few more, but the conditions did 

not allow it. Just as the colours had reached their 

peak, a big storm blew in and stripped most of the 

trees of their leaves, and a period of mild weather 

followed, which meant no mist. Reviewing this year’s 

photographs, there are definitely shots I’m happy 

with and ones that have been very different from 

anything I’ve captured here before - especially 

compared to my approach here in 2017. It’s not that 

I no longer like my pictures from 2017; they’re just 

different. When I approached the forest the first time, 

these older images meant a lot to me, and this year’s 

photographs feel much closer aligned to my current 

vision. 

Each year I’ve visited, I have made an image I’m 

happy with, if only happy in the moment I captured it. 

When returning again in the future, having reviewed 

the image retrospectively, I decided I wanted to 

approach shooting it again with a fresh perspective. 

So is this forest an easy location to shoot? Is this a 

place that one can visit with autumn colours on a 

misty morning and produce stunning photographs? I 

feel it’s anything but easy; it’s challenging. The forest is 

complex; it’s busy. It can be pretty chaotic, but that’s 

one of the reasons I enjoy it. It’s one of the reasons I 

feel it challenges me and offers so much each year 

- the pictures here are not obvious, and you have to 

work hard for each image. Minor changes to position 

make considerable changes to your composition, and 


Autumn 2022 

Clutha River, Otago. 

choices like lens focal lengths can become critical 

to your approach. You really do have to search for 

your subject. This is why I enjoy coming back here 

repeatedly. I’m not coming back here to take the 

same obvious picture. I come here each year, and I 

capture something new. It’s also why I enjoy teaching 

here. During one recent workshop, I witnessed an 

‘Aha’ moment on the faces of some of the group 

when I helped them isolate a subject from within the 

forest, and they were able to make an image that 

could have been easily overlooked on the back of 

their cameras. It’s all too easy to get overwhelmed 

photographing in the forest, struggling to see the 

wood from the trees. 

Over the years, I’ve got to know some of the trees 

here. Although, saying that, I don’t think there’s one 

that I’ve photographed more than once. Sometimes, I 

walk past a tree and recognise it, ‘That’s the one from 

last year’, but I don’t feel the need to photograph 

it again, although it does offer a sense of hope and 

a fond memory of seeing it. There is one tree in this 

forest though - a tree I’ve tried to photograph many 

times and still have not made the image I envisage 

of it. I often joke to people that this tree continues 

to be my nemesis each year. I’m sure I will make the 

photograph of it that I wish to one morning, but that 

will now have to wait until next autumn when I’m sure I 

will be back here again. 



63


Autumn 2017 

Clutha River, Otago. ~ Richard Young

Autumn 2017 

Clutha River, Otago. ~ Richard Young 



65



Clutha River, Otago. ~ Richard Young


Clutha River, Otago. ~ Richard Young 



67

TEXTURES 

READERS' 

SUBMISSIONS 

Look around you and 

photograph any textures 

you can find! 

Submit by 15 June 2022 

for a chance to be 

featured in the next issue 

of NZPhotographer. 

Submit at www.nzphotographer.nz 


PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'WATER' 

TWO DROPS 

I captured this image whilst setting up to shoot some colliding water drops. I would normally 

just delete the shots I take when getting the timing right for the drops to collide but this one just 

appealed to me, so I kept it. I really like the symmetry of the reflected crown from the drop that 

has landed offset by the misshapen second drop. The colour of the second drop also pops out 

from the negative space of the grey background. Shot using bulb mode with the action frozen 

by two off-camera speedlites. 

Jack Horlock 



69

THE POWER OF OWHAROA FALLS 

This is a popular spot to swim and have family time together, but on this particular day, I had it all 

to myself. The power of the water on these falls is something to be seen and heard but is also very 

meditative, as the sound of water can be. 

Lyn Alves 


A FIERY WATERFALL 

Photo taken at the Festival of Lights in New Plymouth which is on each year 

over December and January. 

Nikki Popata 



71

AFTER THE RAIN 

Is a flower more beautiful before or after a shower of rain? I think it might be after! Photo taken at 

Turanga Gardens, Gisborne. 

Hannah Jairam 


LET THE LIVING WATERS FLOW 

A relaxing spot in Kerikeri - The Rainbow Falls is undoubtedly a sight to see. 

Anthony Alarcon 



73

WARM WATER 

I recently had an evening to myself while staying at Waihi Beach so naturally I headed out to see 

what I could find. This is one of several ICM shots I took on the main beach at sunset. 

Jarrod Harris 


DOUBLE DROP GREEN 

Waterdrop photography is not easy but very contagious and a little frustrating!! This was one of 

my first images with the new Canon R6. 

Lou Kibby 



75

DUCK WATER FIREWORKS 

I was on an early morning photography trip to McLaren Falls Lakes to take some shots of the 

Autumn colours across the lake when I noticed a group of Mallard Ducks messing around and 

washing their feathers. The sun was just starting to rise above the trees when I noticed the ducks 

causing these amazing light shows that looked like fireworks in the water. I waited patiently 

behind a tree so as not to spook the ducks, shooting directly into the sun. 

Mark Trufitt 


AUTUMN REFLECTIONS 

The beauty of the autumn colours were reflected in this garden pool. 

Margaret Jones 



77

OVERFLOW 

This image is of a small section of the Devil’s Punchbowl Falls, Arthur’s Pass. Although the falls as 

a whole are dramatic in their force and spectacle, a close-up of this uneven and mossy rock 

formation over which the water flows and drips provokes a more pleasurably intimate feeling. 

Suzanne Renner 


MARAETOTARA FALLS 

These easy-to-get-to falls in Hawkes Bay are hugely popular for families and day walkers as there is a 

great swimming spot right at the base of the waterfall. Thank goodness we had finished shooting just 

as some swimmers came by. I love the tiered and angular features of these falls and the way the 

water is unevenly distributed across the width from a trickle to torrents. 

Sue Martin 



79

ROLLING ROCKY TIDE 

After taking photos of the iconic Waipapa Lighthouse, I walked down to the bay below and 

enjoyed watching the strong tide roll in. As it was very rocky, I believed it made for a more dramatic 

photo. The larger clumps of rocks in the background added a little more drama to the photo. 

Sue Martin 




81

BIRCHVILLE DAM WATERFALL 

Taken mid-morning at Birchville Dam with an ND 10 stop Nisi filter. 

Dafydd Davies 


A GIZZY DAY ENDING 

This photo was taken during an evening dog walk in Gisborne. I don’t often take a tripod with 

me on a dog walk, but I had just purchased a 5 stop ND filter I wanted to play with! Edited 

mainly using Photoshop and Luminar Neo. 

Chris Page 



83

HOT WATER WAVES 

Intentional Camera Movement at Hot Water Beach on Coromandel peninsula 

using my 70-200mm lens at f/45, 1/30s, ISO100. 

Wendy Pemberton 




85

"ONE OF MY GUIDING PRINCIPLES IS DON’T 

DO ANYTHING THAT OTHER PEOPLE ARE 

DOING. ALWAYS DO SOMETHING A LITTLE 

DIFFERENT IF YOU CAN… I THINK THAT THIS 

KIND OF GOAL FOR ONE’S WORK, HAVING 

OBVIOUSLY THE MAXIMUM RISK, WOULD 

HAVE THE MAXIMUM REWARD NO MATTER 

WHAT THE FIELD MAY BE." 

SEYMOUR CRAY 

PHOTO BY SHAYNE AVERY

NZPhotographer Issue 56, June 2022

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