NZPhotographer Issue 56, June 2022
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ISSUE <strong>56</strong>, <strong>June</strong> <strong>2022</strong><br />
GETTING EYE-TO-EYE AND<br />
SOUL-TO-SOUL WITH WILDLIFE<br />
INTERVIEW WITH KIM FREE<br />
DEVELOPING A STORY<br />
BY ALAN BLUNDELL<br />
EXPLORING PHOTO<br />
ARTISTRY THROUGH<br />
CREATIVE COLLAGES<br />
BY FAIRLIE ATKINSON<br />
A MISTY MORNING<br />
BY RICHARD YOUNG
WELCOME TO ISSUE <strong>56</strong> OF<br />
NZ PHOTOGRAPHER MAGAZINE<br />
HELLO EVERYONE,<br />
Welcome to another issue of<br />
<strong>NZPhotographer</strong> magazine! We’ve got<br />
another mixed bag of content, a little<br />
something for everyone, whether you<br />
love Astro, landscapes, wildlife (just wait<br />
till you see the seal pups!), or want to take<br />
on a bit of a challenge.<br />
Our Rising Star, Tom Rae, will have you<br />
looking up at the night sky with your<br />
camera, whilst our interview with wildlife<br />
photographer Kim Free might inspire<br />
you to use your photography to help<br />
conservation efforts. Meanwhile, our<br />
Behind The Shot feature with Gary Reid<br />
will have you reaching for the cookies<br />
and milk - just remember not to start munching until you’ve actually taken<br />
the photos!<br />
We’re also out exploring New Zealand; Richard Young takes us to one of<br />
his favourite photography locations for Autumn and also shares a video<br />
of another of his extreme printing expeditions, this one at Lake Wanaka.<br />
Meanwhile, Peter Laurenson encourages us to climb Ben Lomond to get<br />
panoramic views across Queenstown.<br />
There’s more too! Fairlie Atkinson is walking us through creating a photo<br />
collage, and Alan Blundell finishes his street photography series with an<br />
invitation to go one step further than individual shots and develop a photo<br />
project that tells a story.<br />
OUR CONTRIBUTORS<br />
Emily Goodwin<br />
Editor NZ Photographer<br />
<strong>NZPhotographer</strong> <strong>Issue</strong> <strong>56</strong><br />
<strong>June</strong> <strong>2022</strong><br />
Cover Photo<br />
Two Drops<br />
by Jack Horlock<br />
Publisher:<br />
Foto Lifestyle Ltd<br />
Website:<br />
nzphotographer.nz<br />
Graphic Design:<br />
Maksim Topyrkin<br />
Advertising Enquiries:<br />
Email<br />
hello@nzphotographer.nz<br />
FOLLOW US<br />
Fairlie Atkinson<br />
Fairlie Atkinson teaches<br />
Photography and Design at Kapiti<br />
College. She is also a keen fine<br />
art photographer, and has used<br />
her work to raise awareness and<br />
money for conservation. She is a<br />
keen advocate of the movement<br />
#photographyforgood and<br />
encouraging teen photographers<br />
to find their voice using a lens.<br />
Alan Blundell<br />
Alan Blundell is a photographer<br />
based in Wellington, New<br />
Zealand. From a background<br />
in Architecture, the former<br />
Hotelier and Father of<br />
4, decided to start a<br />
photography blog in 2016 using<br />
the handle ‘bokeh street’ to<br />
showcase his work with LEICA +<br />
FUJI camera gear.<br />
Peter Laurenson<br />
Peter Laurenson is an occasional<br />
climber, traveller, photographer, and<br />
writer. His adventures, which span<br />
30+ years, come together on his<br />
website 'OccasionalClimber'. Peter<br />
is also Editor of FMC's Backcountry<br />
Magazine and writes for Wilderness<br />
Magazine and, occasionally, other<br />
publications, alongside his bi-monthly<br />
articles here.<br />
All rights reserved. Reproduction of any material appearing in this magazine in any form is forbidden without prior<br />
consent of the publisher.<br />
Disclaimer: Opinions of contributing authors do not necessarily reflect the opinion of the magazine.
CONTENTS<br />
4<br />
9<br />
14<br />
19<br />
25<br />
26<br />
36<br />
<strong>56</strong><br />
61<br />
BEHIND THE SHOT WITH GARY REID<br />
EXPLORING PHOTO ARTISTRY THROUGH<br />
CREATIVE COLLAGES<br />
by Fairlie Atkinson<br />
RISING STAR; TOM RAE<br />
PHOTOGRAPHIC LOCATIONS WORTH SWEATING<br />
FOR: BEN LOMOND, QUEENSTOWN<br />
by Peter Laurenson<br />
ON LOCATION WITH RICHARD YOUNG<br />
EXTREME PRINTING: LAKE WANAKA<br />
GETTING EYE-TO-EYE AND<br />
SOUL-TO-SOUL WITH WILDLIFE<br />
INTERVIEW WITH KIM FREE<br />
MINI 4 SHOT PORTFOLIO<br />
DEVELOPING A STORY<br />
by Alan Blundell<br />
A MISTY MORNING<br />
by Richard Young<br />
69 PORTFOLIO<br />
BEST READERS’ SUBMISSIONS<br />
MEMBERSHIP<br />
RISING STAR; TOM RAE<br />
GETTING EYE-TO-EYE AND<br />
SOUL-TO-SOUL WITH WILDLIFE<br />
INTERVIEW WITH KIM FREE<br />
A MISTY MORNING<br />
BY RICHARD YOUNG<br />
14<br />
26<br />
61<br />
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Behind The Shot with Gary Reid<br />
GARY, REMIND US WHO YOU ARE AND<br />
WHAT YOU DO!<br />
I am originally from South Africa and have been<br />
living and working in New Zealand along with<br />
my wife for the last 17 years. Before I started<br />
photography, I had a passion for wildlife, which<br />
began while I was still in primary school. So, when I<br />
started my photographic journey, it was natural to<br />
combine the two.<br />
I love the creativity that photography in all its forms<br />
produces, from being able to take my camera and<br />
go for a walk in search of something to photograph<br />
to coming up with a concept that may require<br />
multiple photos to be creatively combined in<br />
Photoshop, as in the case with this shot.<br />
Although I am a self-taught photographer, I have<br />
been fortunate to have met and got to know a few<br />
professional photographers at various stages of my<br />
photographic journey and have been able to pick<br />
up huge amounts of information and guidance<br />
from them.<br />
Coming from a film and slide background has<br />
taught me that mistakes cost money. Digital makes<br />
it so much easier, but the same principles apply, so<br />
planning is essential no matter what you’re shooting<br />
- don’t rush into creating a photo.<br />
WHAT ARE YOU SHOOTING WITH?<br />
I use a Canon 7D as my main camera. I also have<br />
Canon 30D and Rebel as my backups. Lenses<br />
consist of 50mm, 17-85mm, 70-300mm, 160-500mm,<br />
and I also have a flash, tripod and monopod, and<br />
studio equipment.<br />
WHAT WAS THE INSPIRATION FOR THIS<br />
PHOTO?<br />
I often see how something can be reproduced<br />
using a camera, whether I’m looking at other<br />
photographers’ images or concepts and gaining<br />
ideas that I can then try to replicate, or taking<br />
inspiration from paintings and trying photographic<br />
versions of artworks.<br />
I got the idea for this photoshoot from a photo I<br />
saw many months ago on Pinterest while looking<br />
for ideas and recreated it in January while I was on<br />
leave, using my garage as a studio.<br />
WHAT WAS YOUR SETUP FOR THIS SHOOT?<br />
The background was cardboard painted black, set<br />
on a black tabletop. Two studio lights with softboxes<br />
were placed on either side and slightly in front of<br />
the cardboard, with my camera mounted on a<br />
tripod with a remote trigger. I also had six packets<br />
of Oreo biscuits and 2l of milk to hand!<br />
I had to predetermine the position of the Oreos. For<br />
the Oreos that look like they will fall into the glass,<br />
I punched holes in the cardboard background<br />
with a toothpick. Using a drill bit the size of the<br />
toothpick, I then hand-drilled holes in each Oreo<br />
biscuit and mounted them onto the cardboard<br />
using toothpicks. It took quite a few test shots to get<br />
the lighting just right before I started pouring the<br />
milk!<br />
Pouring the milk was the tricky bit. I had to take the<br />
photos (using the remote trigger) as I was pouring<br />
whilst also trying to catch the milk splashing onto<br />
the biscuits (to create the droplets) and at the<br />
same time trying to get the milk into the glass and<br />
not all over the table and the other Oreos.<br />
It got messy, requiring cleaning up after each test<br />
shot before being able to repeat the process. As<br />
you can imagine, it took multiple shots before I got<br />
it just right.<br />
It was surprisingly quick to set up and photograph,<br />
probably no more than 2hours, it was the postprocessing<br />
part that was time consuming, taking<br />
me close to a day to complete.<br />
WHAT HAPPENED IN-POST?<br />
First, I had to select one photo that would be the<br />
base or main photo. Then I had to select and blend<br />
in other photos, a photo with a sharper Oreo, or<br />
a different photo with more or better-placed milk<br />
droplets etc. In the end, I used a combination of<br />
four different photos.<br />
Using Photoshop, I selected the parts of each of<br />
the other two photos that would be needed and<br />
inserted them into the main photo by creating<br />
layers. Working on one layer at a time (there were<br />
about six layers), each layer had to be resized<br />
and repositioned, and the background of some<br />
of the layers (milk and parts of the glass) removed<br />
using the eraser tool. The layers were then merged<br />
together. Next, I repaired or fixed any irregularities<br />
on the photo using the clone tool. I blended<br />
the milk layers together using the healing brush,<br />
clone, and brush tools. Finally, using the brush tool<br />
I worked on the background. This step alone must<br />
have taken me about 4 hours as it meant going<br />
around each milk droplet, each Oreo, as well<br />
as the glass trying to keep the sharpness before<br />
blending in the background to create an infinity<br />
look. Once all of the above was done, I turned to<br />
fine-tuning the photo’s colour and contrast.<br />
4 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Falling Oreos<br />
Canon D7 Mark II, 17-85mm lens with x2 studio<br />
flashes and softboxes @ F14, 1/200s, ISO200
A few of the processes spoken about here had to<br />
be repeated, worked on, or modified because they<br />
did not look right. It was only then that the layers<br />
were merged. I was trying to create the look of the<br />
Oreos falling into and around the glass while the<br />
milk was being poured, so I had to try to imagine<br />
what it would look like and how the droplets would<br />
fall.<br />
IS THERE ANYTHING YOU WOULD DO<br />
DIFFERENTLY IF YOU WERE TO RECREATE THIS<br />
SHOT?<br />
One thing that would have made the shoot easier<br />
(and a lot less messy!) would have been to have<br />
a helper to pour the milk while I concentrated on<br />
taking the photos and being able to direct them.<br />
I would also have liked to have had a glass tabletop<br />
to give a bit of a reflection.<br />
WHAT TIPS CAN YOU SHARE WITH READERS<br />
FOR CAPTURING A PHOTO LIKE THIS?<br />
Don’t be afraid to try something different in<br />
photography. Look for a concept you would like to<br />
try, research how the shot can be achieved (don’t<br />
be scared to ask other photographers how they<br />
captured their photos), and then go for it.<br />
Although this was quite a simple shoot, I would not<br />
have got as good a result without pre-planning,<br />
and the setup would have taken longer, so I advise<br />
not to rush into doing a photo like this.<br />
WHERE CAN WE SEE MORE OF YOUR<br />
PHOTOS?<br />
girimages.wixsite.com/mysite<br />
@girimages<br />
excio.gallery/gary<br />
BEHIND THE SHOT IS PROUDLY<br />
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<strong>June</strong> <strong>2022</strong><br />
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8 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Exploring Photo Artistry Through<br />
Creative Collages<br />
by Fairlie Atkinson<br />
If you’re a closet photo hoarder unable to decide<br />
what to keep and what to discard, maybe trying a<br />
photo collage is the way to go. You might want to try<br />
a few different collage methods, which I outline in this<br />
article, along with the software to help you achieve<br />
this.<br />
Why collages? I often use them to display a series of<br />
related events or a collection of work to avoid posting<br />
multiple images on social media. I also find that<br />
collages are a nice way to explore mixed media, and<br />
you might decide to go the extra step in printing your<br />
photos and exploring ways of using them with paint,<br />
dye or other mediums.<br />
So how do you determine what goes into a collage<br />
and what doesn’t? Start with a theme or a related<br />
set of images. A simple collage will show a series<br />
of images, usually of the same subject, taken from<br />
different angles, but you might opt to start with<br />
something more creative like a colour themed<br />
collage.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
9
Top: My 'Covid Collection' made into a collage.<br />
Bottom: My horse collage made using Photoshop.
PLANNING YOUR PHOTO COLLAGE<br />
If you’re starting from scratch with the idea of shooting<br />
specifically for a collage, think of the layout and what<br />
kind of images you want in it. Do you want them all<br />
square, landscape, or portrait-oriented, or do you want<br />
them to be a mix of orientations? This will determine how<br />
you shoot your subject.<br />
Most people create a collage after taking and editing<br />
their images, which often becomes a creative exercise<br />
in cropping and moving images to fit on a canvas in<br />
Photoshop. My ‘Covid Collection' (seen top left) is a prime<br />
example of that. I was asked to pull together a collage of<br />
my images taken during lockdown, and I had to do some<br />
creative sizing and cropping to make sure they all fit on<br />
a canvas that could be printed. If I had planned for this, I<br />
would have made sure I composed and shot each image<br />
with more negative space around the subject for easier<br />
collaging. I would have also made sure that every image<br />
was the same orientation or, at least, that I had planned<br />
out the orientation of each image before shooting it.<br />
CREATING A PHOTO COLLAGE IN PHOTOSHOP<br />
If you have never made a collage in Photoshop, you can<br />
do it by creating a canvas and dragging and dropping<br />
your images onto it. Select File > New or Create > New and<br />
choose the print size. Drag and drop your images onto the<br />
canvas using the move tool to move them around and<br />
command or control+T to manipulate their sizes.<br />
If you have not planned your collage before taking the<br />
images, you may want to trim some of the background<br />
around the subject. You can do this by selecting the<br />
elliptical tool, dragging it over the section, and then<br />
selecting edit and cut.<br />
CREATING COLLAGES WITHOUT PHOTOSHOP<br />
There are quite literally hundreds of collage apps that<br />
are ideal if you don’t plan to print your image and just<br />
want to display it on your social media or website.<br />
I tried out BeFunky.com, which is a nice piece of online<br />
software. There is no need to download it or sign up. I<br />
uploaded my images, and it created a layout for me based<br />
on my uploads. I could then drag and drop them in. It’s<br />
not possible to edit your photos with this software, but you<br />
can move your picture around within the individual frames.<br />
Once happy, you can output the image as a jpeg onto your<br />
computer or export it directly to Google Drive.<br />
Another collaging software I liked using was Photocollage.net.<br />
It has hundreds of templates, and the<br />
software will autofill the spaces for you. You can also<br />
move the images once inside the boxes. When you finish<br />
the collage, it will ask you to pay for the digital version,<br />
butI found this website very useful for giving me layout<br />
ideas - sometimes, you need to see a series of photos<br />
laid out a few different ways before deciding on the final<br />
one. If you are working in Photoshop, using this website<br />
to experiment with layouts without having to deal with<br />
layers and moving things around in Photoshop is really<br />
useful - It allows you to do all your visual planning before<br />
working in Photoshop. Scrolling through all the template<br />
layouts is also a good planning tool before you even start<br />
shooting. Choosing a layout you like and shooting each<br />
image according to your collage plan makes putting an<br />
aesthetically pleasing collage together much easier.<br />
Using BeFunky.com to create a collage online.
COLLAGE PIONEERS<br />
Before the recent invention of auto collage software,<br />
there were photographic pioneers of the photo<br />
collage. David Hockney is probably one of the bestknown<br />
people. He took lots of photos of the one<br />
subject, but from different angles and knitted them all<br />
together in a collage. What’s really interesting about his<br />
work is that his collages are not squares or rectangles.<br />
They are an organic growth of knitted images.<br />
I have imitated his style for this article (see photo on<br />
page 13) by taking around 30 images using the same<br />
settings (F5.6, 1/100s, ISO800, 55mm) for each shot<br />
but varying my light source and the subject’s pose. I<br />
selected 15 of the 30 images for the final collage.<br />
I shot from different angles by moving around my<br />
subject and then doing the same thing by popping pink<br />
cellophane over the softbox light in the studio. Hockey<br />
did not chop up his photos, but I did choose to crop my<br />
individual photos into various rectangular shapes. I then<br />
placed each image in what I felt was an organic merger<br />
to create an overall aesthetic based on Hockney. Some<br />
people do this with polaroids and glue them together.<br />
Either way, it’s not as neat or rigid as collaging in the<br />
traditional sense, but I like the look of something that<br />
emerges from the screen or page in a chaotic flow like this.<br />
Another pioneer of collage is John Baldessari. In the 1980s,<br />
he started a movement by putting colourful price stickers<br />
on photos. He stated he could not understand why painting<br />
was defined as art, but photography was defined as<br />
photography. He wanted to combine the two and explore<br />
a new genre. He photographed anything and everything<br />
that took his fancy and covered the subject’s faces with<br />
price stickers and later on with paint. This is an ideal place to<br />
start experimenting with printed or digital collage; either print<br />
your photo and replace a part of it with a coloured shape<br />
like Baldessari has or make a digital version in Photoshop.<br />
Open your chosen image in Photoshop or another<br />
image editor, select adjustments, desaturate, and then<br />
select the shape tool and draw a coloured shape over<br />
the desired spot. Below is one I tried in Baldessari’s style<br />
following that process.<br />
There is no reason to limit yourself to just popping<br />
coloured shapes on your photos. Some photographers<br />
are now starting to replace entire subjects with printed<br />
newspapers or colour them in with paint. I have also<br />
seen photographers print their photos, glue them to<br />
a cardboard backing and then sew patterns into the<br />
image. To my mind, this combines the best of what<br />
Beladessari was referring to.<br />
Traditional collage in art is to glue different images<br />
and materials together to form a picture and then<br />
add paint, dyes, or ink. Photography that is used as the<br />
base layer for a collage can create a powerful mixed<br />
media piece, especially if you can think of a way that<br />
The physical additions to your printed image can add<br />
emphasis to the conventions of Art. Hannah Hoch,<br />
John Stezaker, Jese Treece, and Annegret Soltau are all<br />
collage artists who used photography and other media<br />
to produce some incredible work, Google them and be<br />
inspired!<br />
My digital collage based on Baldessari’s style.
My take on Dave Hockney's collaging technique.<br />
CONCLUSION<br />
Keep in mind that you can be a photographer and<br />
an artist. Photo artistry is a common term now and<br />
mainly describes digitally produced photographic art.<br />
But you are also an artist if you are a photographer.<br />
You’re just using your camera to create art rather than<br />
your hands. But if you want to explore both, collage is<br />
your starting point. Happy collaging!<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
13
Rising Star; Tom Rae<br />
Tom is a 17-year-old landscape and astrophotographer who captures images of the<br />
world around us from the South Island of New Zealand. Being under the night sky<br />
gives him an indescribable sense of awe. He hopes his images will inspire others to<br />
look up at the night sky and ponder their place in the universe.<br />
Solitude: Nikon Z6, Sigma 28mm F1.4 art lens<br />
Sky: A 4 row panorama with each row containing 8 frames @ F2.8, 45s, ISO1250<br />
Foreground: A single row panorama containing 12 frames (with the camera mounted vertically) @ F2.8, 50s, ISO2000<br />
TOM, TELL US ABOUT YOU AND HOW YOUR<br />
PHOTOGRAPHY JOURNEY STARTED…<br />
I was first introduced to a camera in 2017, where I<br />
mainly took landscape images and edited them in<br />
artistic ways. I loved the way you could pretty much<br />
create anything you could imagine. After I began<br />
my journey with a camera, photography joined<br />
with something I’ve always been fascinated with<br />
ever since I was a little kid - the night sky. I find that<br />
photographing it is an experience like no other, and it<br />
is what I mainly focus on in my work today.<br />
Being in nature and under the night sky is probably<br />
my favourite thing about photography. I just love<br />
being out exploring, enjoying the world around us and<br />
thinking about our place in the universe. Experiencing<br />
the incredible view of our night sky creates a feeling<br />
that cannot be replicated. Behind the camera, there<br />
is an intense and indescribable sense of awe, wonder,<br />
and gratitude. I think my appreciation for nature and<br />
curiosity for the night sky, combined with my love<br />
for art and creative freedom, drives my motivation.<br />
I also love to inspire people through my images by<br />
producing the best work I possibly can and showing<br />
people what is really out there past the lights of our<br />
cities.<br />
WHAT ARE YOU SHOOTING WITH?<br />
I am currently shooting with a full-frame mirrorless<br />
camera (Nikon Z6) and a number of wideaperture<br />
prime lenses, which I use primarily for<br />
astrophotography.<br />
When you shoot long exposure images of the night<br />
sky, you can get what’s known as star trailing when<br />
the earth rotates in space. To counteract this, I use a
Origins<br />
Nikon Z6, Sigma 28mm F1.4 art lens, blend of 2 images<br />
@ F2.2, 120s, ISO1000, 28mm<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
15
The Tree<br />
Nikon Z6, Nikkor Z 24–70mm F4 lens @ F8, 25s, ISO250, 40mm<br />
star tracker mounted on my tripod to keep the stars<br />
still and sharp while shooting with ultra-long exposures,<br />
allowing me to shoot longer exposures of the night sky<br />
and produce cleaner images.<br />
HOW DID YOU LEARN PHOTOGRAPHY?<br />
I have been self-taught ever since I first picked up a<br />
camera! There has been a lot of trial and error, but I<br />
am happy with my progress so far!<br />
WHAT HAVE YOU STRUGGLED WITH THE MOST<br />
IN YOUR PHOTOGRAPHY?<br />
Being young has been a struggle for me, especially<br />
with astrophotography, because I have to rely on my<br />
parents to take me to dark sky locations away from<br />
the light pollution of cities. In astrophotography, these<br />
dark skies may be many hours’ drive away, and on top<br />
of this, the moon phase and weather have to be right,<br />
which leaves a very small window of opportunity for<br />
taking photos. I am grateful to my parents as they are<br />
as supportive as they can be of this, and I really try to<br />
make the most of the few nights I have under the stars.<br />
TELL US MORE ABOUT YOUR ASTRO SHOTS…<br />
A lot of my recent Astro shots contain a human figure.<br />
I think including a human in relation to something so<br />
vast and incomprehensible helps people connect to<br />
the image and experience the feeling of awe I get<br />
standing in the frame under the stars. By including a<br />
person in the image, my main aim is to inspire people<br />
to think deeper about life, our earth, and the universe<br />
beyond.<br />
WHAT ARE YOUR AMBITIONS FOR THE FUTURE,<br />
AND DO YOU THINK PHOTOGRAPHY WILL PLAY<br />
A ROLE IN YOUR CAREER CHOICES?<br />
I would like my images to really bring a strong<br />
philosophical and environmental perspective to the<br />
viewer in my future work, for the photos to address<br />
issues in the world, and to inspire people to think<br />
further into our place in the universe and enjoy the<br />
short space of time we have to experience it.<br />
I am still experimenting with photography. Sometimes<br />
I will produce images in a scientifically accurate way,<br />
and other times I just go wherever my creative vision<br />
takes me.<br />
I am still not entirely sure what I want to do in my<br />
career, but I think whether it is science or art based,<br />
photography will play a role in it - I absolutely love all<br />
aspects of photography and believe it will continue to<br />
be a big part of my life!<br />
WHERE CAN WE FIND YOU ONLINE?<br />
@txmrae<br />
@txmrae<br />
16 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
10 Day Winter & Astro<br />
Photography Tour <strong>2022</strong><br />
30th July - 8th of August<br />
EXPERIENCE<br />
You will start this spectacular tour by joining Glen Howey and<br />
Blair Quax for an Astro Masterclass Workshop, based at Mt Cook.<br />
The village is located within the Aoraki Mackenzie International Dark<br />
Sky Reserve, the world’s second-best area for viewing the night<br />
sky. Designed to extend your skills in both Astro and timelapse<br />
photography, the workshop dates have been picked to ensure a new<br />
moon and winter offers the best conditions for astrophotography.<br />
During the workshop we will visit a private observatory, to learn more<br />
about the night sky and photograph the constellations.<br />
For the next phase of this tour you will have Ken Wright and<br />
Shaun Barnett join you on this adventure. On this part of the tour,<br />
you will have the opportunity to capture Canturbury’s High Country<br />
and the Southern Alps at its wintery best. The itinerary takes you<br />
through the Canterbury High Country, past Mount Somers, and<br />
further inland to the Ashburton Lakes. This is a remarkable area of<br />
placid lakes and high country wetlands, all set in the huge basin<br />
between the Rakaia and Rangitata Rivers, both of which drain<br />
the central Southern Alps. You will then find yourself immersed in<br />
the majestic beauty of the Southern Alps, capturing snow-capped<br />
peaks from the famous Arthur’s Pass. You’ll experience the endless<br />
composition opportunities that present themselves at the magnificent<br />
limestone battlements and boulders of the Kura Tawhiti / Castle Hill<br />
Conservation Area before we end our experience in Christchurch.<br />
Click here for<br />
More Information<br />
027 2614417<br />
www.photographyworkshops.co.nz<br />
info@photographyworkshops.co.nz<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
17
Ben Lomond, From The Approach Trail<br />
Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens @ F20, 1/80s, ISO100, 27mm<br />
18 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Photographic Locations Worth Sweating<br />
For: Ben Lomond, Queenstown<br />
by Peter Laurenson<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
19
Above: Wide View South From Ben Lomond Summit<br />
Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens, stitch of 4 landscape images @ F18, 1/100s, ISO100, 27mm<br />
One of the best views you can get of Queenstown<br />
and its beautiful surrounds is from a 1,748 metre peak<br />
just four kilometres northwest of the town centre<br />
named after Ben Lomond in Scotland by the early<br />
shepherd Duncan McAusland.<br />
The 1,438 metre elevation gain of the Ben Lomond<br />
track certainly tends to induce quite a bit of<br />
sweating, especially during the summer months. From<br />
Queenstown’s CBD it’s a 6–8hour, 11 kilometre return<br />
journey. You can start at the Skyline Gondola car park<br />
(310m), following the Tiki trail or from the bottom of the<br />
Skyline Access Road. Both trails take you up through<br />
Douglas fir and pockets of mountain beech to the top of<br />
the Skyline Gondola (812m), but by taking the gondola,<br />
you cut off 500 metres of climbing. Be wary of mountain<br />
bikers as there are many mountain bike trails bisecting<br />
the foot trail. Above the gondola you breach the treeline,<br />
heading up a well-formed track marked by orange poles,<br />
crossing open tussock and shrub-clad hillside.<br />
While access is relatively easy, Ben Lomond is still<br />
high enough that the temperature on the summit is<br />
much lower than down in the town. It can often be<br />
fully snow-clad in winter conditions. There is no water<br />
supply on the track, but toilets have recently been<br />
installed at the saddle (1,316m).<br />
Even at the saddle (a 3–4 hour round trip), you can<br />
enjoy good views back to Queenstown, Lake Wakatipu,<br />
Ka-kamu-a-Hakitekura/Cecil and Walter Peaks and<br />
Kawarau/Remarkables to the south and Mount Aspiring/<br />
Tititea (3,033m), Mount Earnslaw/Pikirakatahi (2,830m) and<br />
many other peaks of the Southern Alps to the north, but<br />
by climbing the final 432 metres, taking about another<br />
hour, the even better views are definitely worth sweating<br />
for. This section of the trail is still easy to follow but certainly<br />
the most challenging section of the route. If it’s snowy,<br />
crampons and a walking axe are recommended, and<br />
you must be aware of avalanche danger.<br />
Allow time to spend soaking up the magnificent vista<br />
from the summit. Queenstown is deemed by many as<br />
the jewel in New Zealand’s tourism crown, and from<br />
this vantage point, it’s hard to deny. On the summit<br />
is a detailed directional sign indicating what the<br />
numerous peaks are in every direction, enabling you<br />
to know what you’re actually looking at.<br />
While I’ve been up Ben Lomond in both summer and<br />
winter, I haven’t been on the summit for dawn or dusk,<br />
but I know it would be a superb spot to be at during<br />
fine weather. A good head torch would be entirely<br />
sufficient to descend in the dark as far as the gondola,<br />
which operates late into the evening. A glass of<br />
chardonnay (or whatever your preferred poison might<br />
be) before you drop back down to Queenstown<br />
would be a nice way to finish off too.<br />
20 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
View North To Mt Earnslaw From Ben Lomond Summit<br />
Nikon D7000, Nikon AF-S DX Nikkor 18-105 lens @ F18, 1/160s, ISO100, 52mm
22 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
View South From About 1,000m, Above Skyline Gondola<br />
Nikon D70S, Sigma AF 28–70 F3.5 lens, stitch of 3 landscape images<br />
@ F22, 1/125s, ISO200, 27mm<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
23
REGISTER FOR<br />
YOUR ROLL PAPER<br />
UNIT FOR $1<br />
Purchase an Epson SureColor P906<br />
printer and for $1 receive a Roll<br />
Paper Unit ( $299 RRP )<br />
11th April <strong>2022</strong> − 30th <strong>June</strong> <strong>2022</strong><br />
This offer is valid for purchases made between 11th April <strong>2022</strong> and 30th <strong>June</strong> <strong>2022</strong>, through an approved Epson Reseller. Register your printer at<br />
www.epson.co.nz/promotions by 15th July <strong>2022</strong> & have your proof of purchase received by 29th July <strong>2022</strong> to receive your Roll Paper Unit for $1.<br />
All eligible products must be of New Zealand specification intended for sale in the New Zealand market place. One claim per eligible product per<br />
household or organisation. Not to be used in conjunction with any other offer.<br />
24 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
On Location with Richard Young<br />
Extreme Printing: Lake Wanaka<br />
“This might not be the most extreme place I have set up the Epson P906 printer, but<br />
here above Lake Wanaka has to be the most beautiful.”<br />
Join Richard Young in this YouTube video as he spends the night camping up above Lake Wanaka<br />
with an Epson P906 printer to make a huge panoramic print in this extreme printing video.<br />
Watch now on YouTube:<br />
www.youtube.com/watch?v=N4824tmwNR4<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
25
Getting Eye-to-Eye and<br />
Soul-to-Soul with Wildlife<br />
Interview with Kim Free<br />
the Sustainable Business Network, we continuously look to<br />
lessen our environmental impact.<br />
KIM, TELL US ABOUT YOU…<br />
I was born in Christchurch and grew up on a farm<br />
and horse stud beside the Waimakariri River in North<br />
Canterbury. My Dad ran the farm, and my Mum bred Welsh<br />
Ponies. We had an absolute menagerie of various pets -<br />
cats, dogs, horses, lambs, rabbits, and birds. I always loved<br />
helping out on the farm. I’m sure my great appreciation for<br />
nature, strong work ethic, and deep love for animals were<br />
primarily due to this very fortunate childhood.<br />
I shifted a few times when I left home but ended up back<br />
in the same area, where I now live with Stu, my husband of<br />
19 years, our dog Brody and our miniature cows, Max and<br />
Jed. We are incredibly fortunate to have properties on the<br />
beautiful West Coast and Kaikoura as well, so we move<br />
between them as time permits.<br />
My husband and I are owners of a manufacturing<br />
company within which my role is finance executive. I am<br />
also responsible for our objectives and initiatives relating to<br />
conservation and sustainability. This is, without doubt, the<br />
part of my role I find the most rewarding. As members of<br />
26 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong><br />
HOW AND WHEN DID YOUR PHOTOGRAPHY<br />
JOURNEY BEGIN?<br />
Growing up, I always had a camera and took countless<br />
photos of my animals. The film was expensive to develop,<br />
and I’m sure my parents got sick of paying for another 24<br />
photos of pretty much the same thing - either my horse<br />
from every angle or my dog just sleeping, not exactly prizewinning<br />
shots!<br />
It was about twelve years ago that photography became<br />
a passion after I purchased my first iPhone. Using the phone<br />
99% of the time as a camera rather than a phone, I knew<br />
this was what I wanted to do. And so, the photography<br />
obsession (and spending) began. I decided to enroll in<br />
an online photography course and bought my first DSLR<br />
camera, a Canon 650d. It was incredible and a steep<br />
learning curve coming after taking photos on my iPhone.<br />
Despite the outlay for the course, I only completed a<br />
couple of modules. I just wanted to start taking photos. I<br />
didn’t gel with learning about the history of photography or<br />
how a camera works. Instead, I read books and watched<br />
a lot of videos, and I mean a lot. Then I would get out there<br />
and apply or try to apply what I had learned. I had always<br />
loved horses, so I started in equine photography, and more<br />
by good luck than good management, I was hired to<br />
shoot a few horse events. These events pushed me out of<br />
my comfort zone, especially as I was taking images to be<br />
sold, and I was new to photography. Even though these<br />
were incredible experiences and ones for which I am very<br />
grateful, they made me realise that it wasn’t the type of<br />
photography I wanted to do.<br />
After some soul searching, I decided I wanted to shoot<br />
landscapes. I loved it, and it was then I started gaining<br />
some confidence. It was a great time; my husband and<br />
I travelled all over the South Island looking for locations<br />
to shoot. We did any nature walk we could find and<br />
had many fun experiences and adventures. I had some<br />
amazing results with landscapes, and I still love capturing<br />
stunning scenes, but I was drawn to wildlife photography,<br />
particularly marine wildlife, and I have not looked back.<br />
I have had an incredible journey so far, and I never<br />
dreamed anything would come out of my photography.<br />
But having photos published, exhibited, licensed, winning<br />
competitions, and being paid to write about Wildlife<br />
Photography, I couldn’t be happier with how it’s gone. I<br />
can’t wait to see where it takes me from here.
Catch Of The Day<br />
Canon R3, Canon RF600mm lens @ F5.6, 1/3200s, ISO800, 600mm<br />
WHAT ARE YOU SHOOTING WITH TODAY?<br />
Since my first DSLR camera, I have always been a Canon<br />
fan and have not used anything else. I am currently<br />
shooting with the Canon R3 and R5. I made the move to<br />
mirrorless last year, and I love it.<br />
I upgraded from a 5D Mk IV to the R5, and I was<br />
thrilled with how amazing it is. With the eye-tracking,<br />
my percentage of keepers skyrocketed. Then, when<br />
the R3 was announced, I decided I would upgrade to<br />
this body, and I have to say it completely surpassed<br />
my expectations. The tracking and eye control focus,<br />
combined with that incredible speed is an absolute<br />
game-changer.<br />
My lenses are the Canon RF 400mm F2.8, Canon RF<br />
600mm F4, Canon RF 100-500, the Canon RF 70-200 F2.8<br />
and my most recent addition, the Canon RF 100mm F2.8<br />
Macro lens. Until I got the 400mm and 600mm, I always<br />
shot handheld, but due to the size of these lenses, I<br />
now use a monopod; otherwise shaking and tired arms<br />
are a given. I have the Gitzo Carbon, 4 section, with a<br />
Wimberley WH200 gimbal head and a quick release plate.<br />
Although I’ve had to go through a period of adjustment,<br />
I’m now really starting to get used to it.<br />
The RF 600 lens on the R3 is my go-to at the moment.<br />
With the 600’s incredible reach and the R3’s eye-tracking<br />
& focus, it’s unbeatable for photographing wildlife,<br />
particularly birds in flight. I love that I can look at the bird<br />
through the viewfinder, and my focus is locked no matter<br />
where I am looking, so shooting fast-moving birds like<br />
gannets who can dive in a split second is incredible. I also<br />
believe you can’t go wrong spending money on good<br />
glass. I might upgrade my camera body in a year or two<br />
as new tech comes out (I’m reading rumours that an R1 is<br />
coming from Canon, so when that is announced, that will<br />
be something I can guarantee I will be lusting after!) but<br />
I will be using lenses like the RF400 and 600 for a very long<br />
time.<br />
HOW WOULD YOU DESCRIBE YOUR<br />
PHOTOGRAPHY, AND WHAT KEEPS YOU PICKING<br />
UP THE CAMERA?<br />
Animals are my passion, but I don’t want to confine myself<br />
to one particular photography style. Most often, my goal<br />
with shooting is to capture as much detail as possible. I<br />
love close-up shots. I try to show the details of the animal’s<br />
fur, feather details, skin texture, colours and facial features.<br />
These things can’t easily be seen from a distance, and<br />
people are often surprised by how much incredible<br />
beauty is there, little details they did not know about. I<br />
always try to create interesting images, and I like to plan<br />
how I want the photo to look, what’s in the foreground or<br />
background, the depth of field and framing.<br />
Photography is very mindful for me. I love the eye-to-eye<br />
and soul-to-soul connection with wildlife that photography<br />
gives me, and I try to convey this in my images. The wildlife<br />
itself drives me to get up early for sunrise shoots or shoot<br />
out in freezing cold temperatures or rain.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
27
Little Shags<br />
Canon R5, Canon RF100-500 @ F10, 1/640s, ISO800, 500mm<br />
I aim to draw the viewer into my photos so they feel<br />
emotion when looking at them. Photography has<br />
given me incredible insight into the lives of these<br />
beautiful beings, and I have learned so much from<br />
observing them.<br />
I hope my images will inspire others to care. Things are<br />
pretty grim for many species. I hope my photos may<br />
encourage people to care about the environment<br />
and become proactive in protecting the beautiful<br />
wildlife we are so privileged to share this earth with.<br />
WHAT WAS YOUR MOST SIGNIFICANT<br />
PHOTOGRAPHY LEARNING CURVE, AND HOW<br />
DID YOU OVERCOME THAT?<br />
One of the most significant learning curves for me was<br />
learning to keep calm and check my settings. Wildlife<br />
is completely unpredictable; you never know when<br />
the perfect scene will present itself and may only<br />
have a split second to get the shot. It’s so easy to get<br />
caught up in the moment and start shooting without<br />
checking the settings or framing. So many times, in<br />
the beginning, I would mess up the shot, my shutter<br />
speed would be too slow, and the eyes would end up<br />
out of focus. I’d spend the whole day photographing,<br />
then rush home excited by what I had shot, only to be<br />
bitterly disappointed when I uploaded my card.<br />
To overcome this, I developed a simple mental<br />
checklist to assess the scene; what’s the light like?<br />
How fast is the movement? What sort of shutter speed<br />
will I need with this lens?<br />
Nowadays, I have my camera set up next to me in the<br />
car when we are travelling. I have it set up for what<br />
I’m hoping to see, and if an opportunity presents itself,<br />
I’m ready to go. There is nothing worse than fumbling<br />
around to assemble bodies, lenses and monopods just<br />
in time to see the subject disappearing into the distance.<br />
28 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Juvenile Kea<br />
Canon R5, RF100-500 lens @ F6.3, 1/500s, ISO640, 200mm<br />
CAN YOU SHARE SOME WILDLIFE<br />
PHOTOGRAPHY TIPS WITH US?<br />
I’m always happy to share techniques. Although<br />
I’ve learned a lot from my own experience, I’ve also<br />
learned a lot from other photographers openly sharing.<br />
Learn as much as you can about all the species you<br />
hope to photograph. Know your subject - when are<br />
they active? What do they eat? Where are they likely<br />
to be, and when?<br />
Be patient. Wildlife photography can involve waiting for<br />
hours on end for something to happen. I have learned<br />
that giving up too early should be avoided.<br />
Set your shutter speed high enough. There is no point<br />
even taking a shot if your shutter speed is so slow the<br />
image will be blurry unless you are purposely trying to<br />
get a motion blur shot.<br />
Have your gear ready - As I mentioned before, I have<br />
my camera set up in the car now as I have often<br />
missed a great shot while trying to get my gear set up.<br />
Consider what’s in the background. If possible<br />
position yourself so the environment isn’t too busy and<br />
distracting. Sometimes moving just a couple of inches is<br />
all you need to do to get a clean background so that<br />
you avoid things like a branch looking like it is coming<br />
out of the animal or a small part of another animal in<br />
the shot.<br />
If you are taking full body shots, make sure you have<br />
the entire animal or bird in the frame; it can be easy to<br />
cut off the tip of a wing or tail, so check framing first.<br />
If there are shadows, move around until yours points<br />
towards the subject, this will help avoid having half the<br />
animal’s face in darkness. Big solid dark lines down an<br />
animal’s face or body from shadow will never look as<br />
beautiful as a clear, well-lit image.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
29
Little Ears<br />
Canon R5, Canon RF 100-500 lens<br />
@ F7.1, 1/100s, ISO640, 500mm<br />
30 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Seal Pup Stare<br />
Canon R5, Canon RF100-500 @ F7.1, 1/800s, ISO2000, 400mm<br />
TELL US ABOUT YOUR LOVE OF<br />
PHOTOGRAPHING FUR SEAL PUPS…<br />
Anyone who follows my Instagram feed will know that<br />
I am obsessed with fur seal pups! They are the most<br />
incredible little animals. They have such personalities it<br />
is hard not to fall in love with them!<br />
I always sit down quite a distance from the pups<br />
and watch and wait. Pretty soon, little heads start to<br />
pop up from behind rocks and slowly get closer and<br />
closer. The challenge with most wild animals is getting<br />
close enough to get a shot, but fur seal pups are the<br />
complete opposite. It’s often a challenge shooting with<br />
long lenses as they are so cheeky and curious that they<br />
will advance to check you out, even going as far as<br />
to stick their head into the lens hood, as happened to<br />
me once! I usually find myself tripping over things in an<br />
effort to get far enough away to get them in the frame.<br />
I have spent so much time observing them that I<br />
have recognised certain pups when returning to a<br />
particular area. They may all look similar at first glance,<br />
but in fact, they are all so different, from the different<br />
colours of their fur to their facial markings.<br />
Fur seals are incredibly playful, and this makes for<br />
some amazing photos when they are practising their<br />
swimming in little rock pools or play fighting with<br />
another pup, or my favourite, when they look at you<br />
with their head upside down.<br />
I find spending sunrise with baby seals is one of the<br />
most amazing experiences. They are all quite active<br />
at that time of the morning, and usually, a lot will<br />
have just come back in from a swim, so their fur will<br />
be a gorgeous glistening gold. It makes for fantastic<br />
images, and who doesn’t love looking at cute baby<br />
animals!<br />
I aim to draw the viewer into my photos so they feel<br />
emotion when looking at them. Photography has<br />
given me incredible insight into the lives of these<br />
beautiful beings, and I have learned so much from<br />
observing them.<br />
I hope my images will inspire others to care. Things are<br />
pretty grim for many species. I hope my photos may<br />
encourage people to care about the environment<br />
and become proactive in protecting the beautiful<br />
wildlife we are so privileged to share this earth with.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
31
Fiordland Crested Penguin<br />
Canon 5D Mk IV, Canon 100-400 lens @ F8, 1/200s, ISO800, 312mm<br />
WHAT IS THE MOST CHALLENGING WILDLIFE<br />
SHOOT YOU’VE HAD?<br />
One particular shoot comes to mind that was quite a<br />
challenge. I had decided I needed to shoot Fiordland<br />
Crested Penguins so we planned a trip and drove over<br />
six hours to stay in Haast. We got up at 3am to head to<br />
the track leading to the beach, which was a 2.5km walk.<br />
Our headlamps decided to go flat mid-walk, so it was<br />
virtually pitch black. We were trying to run as much as<br />
possible, but lugging camera gear on a slippery bush<br />
walk was not ideal. We were tripping over everything,<br />
and I had new hiking boots that seemed intent on<br />
making me slip over on the slightest mossy area. There<br />
were also wild pigs rummaging around and making noise<br />
from beside us in the dark; this was a little intimidating,<br />
but we finally made it to the beach, covered in mud, a<br />
little bruised and tired. It was right on first light, and this is<br />
when the penguins head to sea, so I was quickly setting<br />
up my camera when, from a considerable distance, I<br />
saw a little shadowy figure waddling down the beach<br />
and disappearing into the sea, and that was it, no more<br />
penguins. I hurriedly took a shot, but my ISO was so high it<br />
looked like an unrecognisable blob. The funny thing was,<br />
a few years later, we literally met the elusive Fiordland<br />
Crested Penguins face to face when one showed up in<br />
broad daylight about a one minute walk from our place<br />
at Motukiekie Beach. He not only stood there posing but<br />
actually kept coming closer and closer until I had to back<br />
off to get it in the frame. I was finally able to get all the<br />
photos I wanted.<br />
TELL US ABOUT YOUR PASSION FOR WILDLIFE<br />
CONSERVATION, HOW DO YOU HELP, AND<br />
HOW DO YOU THINK OTHER PHOTOGRAPHERS<br />
CAN PLAY A PART IN PROTECTING<br />
ENDANGERED SPECIES?<br />
I think the horrifying realisation that some species will<br />
soon cease to exist is what really jarred me. I just find that<br />
concept so heart-breaking. How we got to the point<br />
that we are causing species extinction is sickening.<br />
As Robert Swan said, ‘The greatest danger to our<br />
planet is the belief that someone else will save it». I<br />
think this rings true for many people. We say, «That’s<br />
terrible; someone should do something». It’s easy to<br />
think, «What difference can one individual make?» but<br />
if enough individuals are all doing something, that can<br />
make a huge difference.<br />
This made me question what I could do. The easy<br />
thing we can all do is donate time or money to<br />
support the incredible organisations already doing<br />
amazing things to protect wildlife, and I’m proud<br />
32 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Sumatran tiger<br />
Canon 5D MkIV, Canon 100-400 lens<br />
@ F6.3, 1/640s, ISO1000, 400mm<br />
Rhino<br />
Canon 5D MkIV, Canon 100-400 lens<br />
@ F8, 1/320s, ISO640, 400mm
Silverback Gorilla<br />
Canon 5d Mk IV, Canon 100-400 lens @ F6.3, 1/200s, ISO320, 400mm<br />
to support as many of them as possible. If there is<br />
something else I can do to help, I do it.<br />
I’m presently involved with supplementary feeding<br />
sea birds that are suffering from starvation,<br />
penguin conservation on the West Coast, and Kiwi<br />
conservation in the upper North Island. I also sponsor<br />
many wild animals through fantastic organisations<br />
such as Animals Asia, Save the Chimps, David<br />
Sheldrick Wildlife Trust, & the Dian Fossey Gorilla Fund.<br />
I also organise fundraising for various charities. I am<br />
a long-standing direct action crew member of Sea<br />
Shepherd, a long-time supporter of the Orangutan<br />
Project and the West Coast Penguin Trust.<br />
Early on, I decided to donate 100% of my earnings<br />
from photography back to wildlife conservation.<br />
Because of my photography, I have been able to<br />
contribute to various worldwide charities. I have<br />
been able to donate over $10,000 to help fund the<br />
construction of a new native bird breeding centre at<br />
Orana Park. This centre will focus on breeding native<br />
birds like Kiwi, Whio, and Pateke for release into the<br />
wild.<br />
Ocean conservation is also a cause that holds a<br />
place in my heart. The situation with plastic in our<br />
oceans and the unnecessary deaths of marine<br />
mammals and seabirds is devastating. I decided to<br />
pursue this more, and I hold three Padi qualifications<br />
in Marine Conservation. Stu and I also regularly do<br />
beach cleanups, and we always take rubbish bags<br />
with us when we go out to beaches. We have filled<br />
several bags with micro-plastics and household plastic<br />
rubbish, even on some remote West Coast beaches.<br />
I have witnessed some very distressing scenes as a<br />
photographer. Doing nothing about it is not an option.<br />
Many people are probably completely unaware<br />
of some of the struggles wildlife face. Images are<br />
powerful motivators, and I believe that photographers<br />
can make a difference by bringing these issues to the<br />
forefront. If your images can motivate even one person<br />
to want to help, that is something to be proud of.<br />
TELL US MORE ABOUT YOUR WORK WITH<br />
ORANA WILDLIFE PARK…<br />
Working with Orana Park is extremely rewarding and<br />
always exciting; I’m very happy to volunteer my time<br />
to the park. They have such a great team who are<br />
just a joy to work with and their breeding programs for<br />
endangered species are such a worthy cause.<br />
We always plan the shoots but, as with all wildlife, no<br />
amount of planning guarantees it will be easy to get<br />
34 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Bathed In Light<br />
Canon R3, Canon RF400 lens @ F2.8, 1/6400s, ISO400, 400mm<br />
the shot. I’ve had some fantastic experiences doing<br />
this though; I’ve been locked into a glass enclosure<br />
with lace monitors, fed tigers by hand, sat behind a<br />
netting fence while a cheetah ran directly at me,<br />
photographed a five-day-old iwi chick who did not<br />
want to stay on set and kept wandering off, and shot<br />
tigers swinging by their teeth on a piece of meat hung<br />
from a pole. I shoot everything from the big cats to<br />
whio and orange fronted kakariki. They are all species<br />
that need to have their moment in the spotlight.<br />
My photos are mainly used for media releases and<br />
promotion on social media channels. Some prints are<br />
also available in the gift shop.<br />
WHAT ELSE SHOULD WE KNOW ABOUT YOU OR<br />
YOUR PHOTOGRAPHY?<br />
Something about me - I love home renovation. Stu<br />
and I are currently undertaking two renovations,<br />
which is a mammoth job as we are doing the majority<br />
of the work ourselves. Still, it is so gratifying when you<br />
start to see incredible transformations. I get to put my<br />
photography to use on one of the renovations as I am<br />
putting a photo book together for the entire project,<br />
so I am really enjoying doing that. There is pretty much<br />
no downtime in my life, but I enjoy being busy!<br />
WHAT ARE YOUR PLANS, PHOTOGRAPHICALLY<br />
SPEAKING, FOR THE REST OF THE YEAR?<br />
I have been researching particular animals and birds<br />
I want to photograph, so the plans for this year will be<br />
travelling around to make that happen.<br />
ANY INSPIRATIONAL WORDS TO LEAVE US<br />
WITH?<br />
I don’t think there is anything I could say that hasn’t<br />
already been said more eloquently than I could put<br />
it, but I guess the main points would be; This is your art,<br />
do it your way. Try not to be influenced by others or<br />
how many likes you get on social media, for example,<br />
but rather do what makes your heart sing. Know your<br />
reason for doing it and what you’re prepared to do<br />
for that reason. Don’t give up.<br />
WHERE CAN WE FIND YOU ONLINE?<br />
@kimfreephotography<br />
kimfree.500px.photography<br />
@kimfreephotography<br />
excio.gallery/kimfree<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
35
Mini 4 Shot Portfolio<br />
Our 4x4 feature showcases 4 mini portfolio’s of both<br />
professional and up and coming New Zealand<br />
photographers. The 4 images are linked in some way,<br />
allowing you to get an understanding of what each<br />
photographer is most passionate about capturing.<br />
For a chance to get your own 4x4 feature in a future<br />
issue of the magazine, become a subscriber here.<br />
KIWI LEGENDS<br />
Lou Kibby<br />
IMAGE NEW ZEALAND<br />
Eva Zhou<br />
A LIGHT IN THE DARKNESS<br />
Noelle Bennett<br />
MEMORIES OF THE MANIOTOTO<br />
Ted Grenfell<br />
36 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
EVA ZHOU<br />
38 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Born and raised in Guangzhou, China, I have been living in Auckland<br />
for 20 years. New Zealand perfectly balanced the city-girl inside me<br />
and nurtured the laid back, carefree and restful characteristics in my<br />
soul. Photography is one of my favourite ways to express my creativity.<br />
Travelling and capturing the moments in the journey gives me pure joy.<br />
Colours and the light in nature are the main inspirations for my photos.<br />
www.newcreationimage.com<br />
IMAGE NEW ZEALAND<br />
Over the past two years, in between the lockdowns, I captured these photos while<br />
travelling to see the sunrises and sunsets.<br />
The beauty of nature has no regard for any lockdown. When it is time to shine, it shines<br />
– sometimes in unexpected moments, coming with lovely surprising forms too. It never<br />
ceases to amaze those who behold it, and it heals them too.<br />
The landscape of New Zealand has no doubt given me the strength and<br />
encouragement to continue the journey. I believe that as the world reopens, this beauty<br />
will welcome and refresh many souls too.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
39
40 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
41
LOU KIBBY<br />
42 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
I grew up on the west coast of Scotland but have spent the last 25 years<br />
in New Zealand. My interest in photography started when my daughter<br />
was born and I purchased my first digital camera to capture images to<br />
share with my family. My passion for photography grew from there. I love<br />
getting outside, close to nature, but the challenge of capturing action<br />
images in low light is what I truly enjoy, so you can imagine I am at my<br />
happiest at live gigs.<br />
@Lou Kibby Photography<br />
KIWI LEGENDS<br />
Live gig photography started for me in Raglan with the legendary Sir<br />
Dave Dobbyn!<br />
Photography at a gig is always a challenge due to low light, coloured<br />
light, no flash and restricted space. Constantly watching what is<br />
happening on stage and around you is paramount to getting an<br />
exceptional shot. This type of photography lends itself to black and white<br />
images as they give a real feeling of the atmosphere and drama of the<br />
gig.<br />
My chosen four images show Sir Dave Dobbyn’s first gig as “sir”, Ross<br />
Burge on the drums, Jo Barus on the bass guitar, and Sir Dave Dobbyn’s<br />
tools of the trade.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
43
44 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
45
NOELLE BENNETT<br />
46 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
I have been doing photography for a little under ten years, getting my<br />
first camera in late 2012. Since then, I have had an immense amount<br />
of fun, as well as experiencing a fair degree of frustration as I have<br />
gradually started to get to grips with a variety of photographic genres.<br />
My favourite genre? Well, in all honesty, I think I would have to say my<br />
favourite is whatever genre I am working with at the time.<br />
www.noellebennettphotography.com<br />
A LIGHT IN THE DARKNESS<br />
My photographic journey has given me some very special experiences<br />
in lots of different ways, and many have happened as a result of posing<br />
the ‘What if...?’ question to myself. It’s at times like these that I find myself<br />
thinking of something Vincent Munier said, which was, «When you reveal<br />
everything, you kill imagination. I live in a world of imagination and that is<br />
where I want to stay».<br />
And that is how it was with this series. I had rediscovered the joy of<br />
photographing flowers after far too long ignoring them in favour of so<br />
many other apparently more exciting subjects and techniques. The sun<br />
was low in the sky, casting some parts of the flowers into sharp relief whilst<br />
almost totally obscuring other areas of them and, in doing so, adding just<br />
a hint of mystery. The details and shapes that were visible, and in many<br />
cases accentuated by this selective lighting, were simply stunning. And<br />
what about the parts that were not revealed? Well, maybe I’ll just leave<br />
those to your imagination!<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
47
TED GRENFELL<br />
50 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
I am a portrait, lifestyle, landscape and food photographer. Originally<br />
from Oamaru, I started a photography business in Titirangi with my late<br />
wife Cath in 2014 and now work out of my North Dunedin studio gallery.<br />
I enjoy shooting with studio lights and love colour, especially reds and<br />
oranges. I find the lights give me greater control over the narrative...<br />
and colour, well, colour is colour! My style tends to be a combination of<br />
‘lifestyle’, and ‘fine-art’ photography – with a touch of creative lighting.<br />
grenfell.co.nz<br />
MEMORIES OF THE MANIOTOTO<br />
I was first introduced to the Maniototo on an organised tour by Christchurch<br />
based photographer Scott Fowler back in 2019. Based at Wedderburn, we visited<br />
various parts of the district, and I immediately fell in love with some old shearers’<br />
huts in front of the Hawkdun Range. A spot often referred to as “somewhere near<br />
Taupo”.<br />
I’ve managed to return there a few times, each visit different to the last.<br />
We caught a brilliant sunrise one time, but unfortunately, that tour was cut short by<br />
a COVID lockdown. We had been hunting snow but with no joy.<br />
After lockdown, I returned with friends, and we were there when the Maniototo<br />
was hit by 2021’s largest snowstorm. The morning was still and peaceful, and<br />
wading knee-deep through the snow from the main track, I stood once again in<br />
front of the huts, managing to get some shots in just before the snow melted and<br />
slipped off the roof of the front building.<br />
No two visits to that spot are ever the same, and I‘ll be back there again in mid-<br />
<strong>June</strong>, chasing snow in the Maniototo once more!<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
51
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Developing a Story<br />
by Alan Blundell<br />
In the last article of this series, we will look at ‘Developing a Story’ – how to progress<br />
from taking single shots to thinking about building a body of work over a longer<br />
period, with several images, telling a story as part of a project.<br />
WHY A PROJECT<br />
Up to this point, the focus has been on trying to combine<br />
a huge number of attributes into that single image. Of<br />
course, it’s almost impossible to build all the elements<br />
above into one moment and crystalise them into a<br />
perfectly formed frame. So much is left unsaid at times<br />
- why was this happening, where, and how? There is a<br />
place to leave the viewer of your images to speculate,<br />
but what if you wanted to control the narrative and tell a<br />
more complete story about a particular subject or idea?<br />
This is where street photography can morph into more<br />
of a documentary project.<br />
PLANNING A PROJECT<br />
So, how does one go about setting up a project? My<br />
advice would be to choose something or someone<br />
that you are passionate about. In your mind, there<br />
should be a reason why you would want to share<br />
what you know, have discovered or are seeking to<br />
learn about a particular subject.<br />
Start by jotting down an outline using the following<br />
broad:<br />
• What attracts you to this?<br />
• Why do you feel the need to share?<br />
• How will you convey the story, feelings, and<br />
emotions attached to your idea?<br />
THE ENVIRONMENT<br />
Generally, a street or documentary project will have<br />
a setting and a subject. Remember, this isn’t like the<br />
spontaneous single shots you have been used to<br />
taking. Spend some time visiting the location before<br />
you start shooting for what might last anything from<br />
a whole day to several weeks. Look at all the details<br />
around the edges of your project or subject that help<br />
set the overall scene. Talk to any of the people that<br />
might feature in the project and ask them what they<br />
feel about the situation – this can provide valuable<br />
insights into how you might end up conveying the<br />
story.<br />
COPY<br />
I’ve found that writing, even small amounts of text<br />
that accompany my photos, to be hugely beneficial<br />
in helping to galvanise thinking about my work. My<br />
view is that even if you don’t publish the copy with<br />
the images, it’s worthwhile to make notes about your<br />
thinking – what motivated you to the subject as a<br />
whole, and what were the small details you chose to<br />
include in the group of images you shot. How did all of<br />
this thinking galvanise your project idea?<br />
CURATION<br />
Once you have taken as many shots as you feel<br />
are adequate to convey your story, print them off<br />
at postcard size and lay them out on a big table.<br />
Eliminate images that don’t ‘speak’ to you about the<br />
subject, and decide on a minimum number of really<br />
special images, as few as three and as many as a<br />
dozen, that take the viewer through a journey from<br />
start to finish.<br />
ELIZABETH’S KITCHEN<br />
I’ll briefly share a small project I completed a couple<br />
of years back.<br />
Just before COVID hit in 2019, I met 92-year-old<br />
Elizabeth struggling with her groceries at the top of<br />
some stairs leading down to her home in Kelburn. After<br />
giving her a hand and learning she was living alone,<br />
we exchanged details. We kept in touch during the<br />
lockdown, and I was able to help her with the odd<br />
shop, drop her off some books to read, and so on. It<br />
was a very challenging time for her.<br />
When the lockdown concluded in 2020, Elizabeth<br />
wanted to have my wife and me around for a<br />
cuppa to say thanks. I took my camera in the hope<br />
of her agreeing to a few shots in her meticulously<br />
kept kitchen. Although there wasn’t much time<br />
to plan and shoot this series, I entered the series of<br />
photos below in a competition and made the final.<br />
It was nice to be able to chat with Elizabeth in her<br />
environment and hear some of her stories of how she<br />
emigrated from the UK, her family, and life in NZ.<br />
<strong>56</strong> <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Top: All original utensils, everything meticulously clean<br />
and placed in an orderly manner. This isn't staged, it's how<br />
the wall looked when we arrived for a cuppa – I couldn’t<br />
actually believe it!<br />
Bottom: Enjoying a cuppa at the generously round<br />
kitchen table with Elizabeth's custom-built airing<br />
cupboard in the background!
Top:Elizabeth's bright, stylishly cut platinum hair, and her<br />
wonderful deep teal coloured jumper shaped like the<br />
chair-back around the curve of her shoulders.<br />
Bottom: A freshly washed French tea towel adorns the tray<br />
stacked with a series of unmatched containers, each a<br />
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.<br />
THAT’S A WRAP!<br />
I’ve really enjoyed sharing what I have learned so<br />
far on my journey as a street and documentary<br />
photographer. Like a surfer looking for the perfect<br />
wave, my appetite to keep improving and evolving<br />
remains.<br />
Missed an article? You can review all of the previous<br />
articles in my street photography series in the back<br />
issues of <strong>NZPhotographer</strong> (issues 51-<strong>56</strong>) by becoming a<br />
subscriber.<br />
Keep honing your skills and style by taking pictures on<br />
a regular basis, and like me – I’m sure you’ll learn a lot<br />
along the way! Please share your work with me, and<br />
feel free to ask questions via @bokehstreet on Instagram<br />
or Facebook. You can also sign up for one of my Street<br />
Walk Sessions to learn more in person; particularly now<br />
events are starting to come back online.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
59
A Misty Morning<br />
by Richard Young<br />
60 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
61
A Misty Morning<br />
by Richard Young<br />
There’s a small patch of forest on the edge of the Clutha River that I visit each<br />
autumn to photograph as the magical mist envelops it.<br />
I may have spent more time photographing in this<br />
forest than any other. I’ve been coming here now<br />
since 2017 and usually bring at least two groups<br />
here as part of our Autumn Masterclass Workshops<br />
- often photographing here a few times between<br />
the workshops as well. To the passerby, this patch of<br />
forest might go unnoticed; there’s little to set it apart<br />
from any other patch of woods. But come autumn, a<br />
magical display happens here each year - one that’s<br />
driven not only by the fabulous colours as the leaves<br />
all turn to gold but also by the conditions produced<br />
by the weather as the seasons change. On the right<br />
morning, a magical mist envelops and floats through<br />
the forest. These are conditions that many would<br />
leave to luck to find, but by spending so much time<br />
here in this forest, I’ve become pretty accurate at<br />
predicting them from the weather forecast.<br />
This year, when autumn rolled around again, I started<br />
looking forward to returning, but at the same time felt<br />
maybe it was done for me. Perhaps this is a location<br />
I’d photographed too many times - had it become<br />
scripted in the way I approached it? Maybe this<br />
autumn, I needed a new patch of forest that could<br />
change my perspective. So, during the summer<br />
months, whilst out wandering or mountain biking,<br />
I searched for a new patch of forest and found a<br />
couple with real potential.<br />
When autumn arrived, I started thinking about<br />
exploring these - then, as soon as the forecast<br />
signalled the change of morning mist, I jumped in<br />
my van, keen to get shooting. As I drove through<br />
the darkness, I found myself changing course; I was<br />
drawn to my old stomping grounds, where I’d taken<br />
hundreds of photos many times before - I wanted<br />
to make a quick stop there just to see what the<br />
colours and conditions were like this year. I ended<br />
up spending the morning there, and I realised this<br />
wasn’t a location I’d ever become tired of - It was<br />
somewhere I could return to many times over multiple<br />
years and always see and approach differently.<br />
Looking back at my pictures from previous years, I<br />
realised that no two years’ pictures were the same.<br />
Yes, the conditions were slightly different. Some years<br />
offered more vibrant colours and more dense mist, but<br />
it wasn’t really the colours or mist that have changed<br />
as much as the way I see and approach it each<br />
year. Sometimes, having a familiar location - one<br />
that you know, one that you go back to - can help<br />
you grow and be important for your development as<br />
a photographer. I also realised that this « location»<br />
wasn’t what I came here to photograph; it was more<br />
about the time of year and the conditions. Remove<br />
that, and the magic is entirely lost. It wasn’t physical<br />
subjects - the trees themselves - or the magical<br />
conditions on any given day that made each year’s<br />
photographs so different, but my ever-changing<br />
response to them.<br />
I photographed the forest on six different misty<br />
mornings this year Twice while teaching workshops<br />
when I didn’t really have a camera in hand, and four<br />
times on my own where I had time to be immersed in<br />
my own photography. I almost wished I’d managed<br />
to get out there a few more, but the conditions did<br />
not allow it. Just as the colours had reached their<br />
peak, a big storm blew in and stripped most of the<br />
trees of their leaves, and a period of mild weather<br />
followed, which meant no mist. Reviewing this year’s<br />
photographs, there are definitely shots I’m happy<br />
with and ones that have been very different from<br />
anything I’ve captured here before - especially<br />
compared to my approach here in 2017. It’s not that<br />
I no longer like my pictures from 2017; they’re just<br />
different. When I approached the forest the first time,<br />
these older images meant a lot to me, and this year’s<br />
photographs feel much closer aligned to my current<br />
vision.<br />
Each year I’ve visited, I have made an image I’m<br />
happy with, if only happy in the moment I captured it.<br />
When returning again in the future, having reviewed<br />
the image retrospectively, I decided I wanted to<br />
approach shooting it again with a fresh perspective.<br />
So is this forest an easy location to shoot? Is this a<br />
place that one can visit with autumn colours on a<br />
misty morning and produce stunning photographs? I<br />
feel it’s anything but easy; it’s challenging. The forest is<br />
complex; it’s busy. It can be pretty chaotic, but that’s<br />
one of the reasons I enjoy it. It’s one of the reasons I<br />
feel it challenges me and offers so much each year<br />
- the pictures here are not obvious, and you have to<br />
work hard for each image. Minor changes to position<br />
make considerable changes to your composition, and<br />
62 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
Autumn <strong>2022</strong><br />
Clutha River, Otago.<br />
choices like lens focal lengths can become critical<br />
to your approach. You really do have to search for<br />
your subject. This is why I enjoy coming back here<br />
repeatedly. I’m not coming back here to take the<br />
same obvious picture. I come here each year, and I<br />
capture something new. It’s also why I enjoy teaching<br />
here. During one recent workshop, I witnessed an<br />
‘Aha’ moment on the faces of some of the group<br />
when I helped them isolate a subject from within the<br />
forest, and they were able to make an image that<br />
could have been easily overlooked on the back of<br />
their cameras. It’s all too easy to get overwhelmed<br />
photographing in the forest, struggling to see the<br />
wood from the trees.<br />
Over the years, I’ve got to know some of the trees<br />
here. Although, saying that, I don’t think there’s one<br />
that I’ve photographed more than once. Sometimes, I<br />
walk past a tree and recognise it, ‘That’s the one from<br />
last year’, but I don’t feel the need to photograph<br />
it again, although it does offer a sense of hope and<br />
a fond memory of seeing it. There is one tree in this<br />
forest though - a tree I’ve tried to photograph many<br />
times and still have not made the image I envisage<br />
of it. I often joke to people that this tree continues<br />
to be my nemesis each year. I’m sure I will make the<br />
photograph of it that I wish to one morning, but that<br />
will now have to wait until next autumn when I’m sure I<br />
will be back here again.<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
63
64 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong><br />
Autumn 2017<br />
Clutha River, Otago. ~ Richard Young
Autumn 2017<br />
Clutha River, Otago. ~ Richard Young<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
65
66 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong><br />
Autumn <strong>2022</strong><br />
Clutha River, Otago. ~ Richard Young
Autumn <strong>2022</strong><br />
Clutha River, Otago. ~ Richard Young<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
67
TEXTURES<br />
READERS'<br />
SUBMISSIONS<br />
Look around you and<br />
photograph any textures<br />
you can find!<br />
Submit by 15 <strong>June</strong> <strong>2022</strong><br />
for a chance to be<br />
featured in the next issue<br />
of <strong>NZPhotographer</strong>.<br />
Submit at www.nzphotographer.nz<br />
68 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
PORTFOLIO<br />
BEST READERS' SUBMISSIONS THIS MONTH<br />
'WATER'<br />
TWO DROPS<br />
I captured this image whilst setting up to shoot some colliding water drops. I would normally<br />
just delete the shots I take when getting the timing right for the drops to collide but this one just<br />
appealed to me, so I kept it. I really like the symmetry of the reflected crown from the drop that<br />
has landed offset by the misshapen second drop. The colour of the second drop also pops out<br />
from the negative space of the grey background. Shot using bulb mode with the action frozen<br />
by two off-camera speedlites.<br />
Jack Horlock<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
69
THE POWER OF OWHAROA FALLS<br />
This is a popular spot to swim and have family time together, but on this particular day, I had it all<br />
to myself. The power of the water on these falls is something to be seen and heard but is also very<br />
meditative, as the sound of water can be.<br />
Lyn Alves<br />
70 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
A FIERY WATERFALL<br />
Photo taken at the Festival of Lights in New Plymouth which is on each year<br />
over December and January.<br />
Nikki Popata<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
71
AFTER THE RAIN<br />
Is a flower more beautiful before or after a shower of rain? I think it might be after! Photo taken at<br />
Turanga Gardens, Gisborne.<br />
Hannah Jairam<br />
72 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
LET THE LIVING WATERS FLOW<br />
A relaxing spot in Kerikeri - The Rainbow Falls is undoubtedly a sight to see.<br />
Anthony Alarcon<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
73
WARM WATER<br />
I recently had an evening to myself while staying at Waihi Beach so naturally I headed out to see<br />
what I could find. This is one of several ICM shots I took on the main beach at sunset.<br />
Jarrod Harris<br />
74 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
DOUBLE DROP GREEN<br />
Waterdrop photography is not easy but very contagious and a little frustrating!! This was one of<br />
my first images with the new Canon R6.<br />
Lou Kibby<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
75
DUCK WATER FIREWORKS<br />
I was on an early morning photography trip to McLaren Falls Lakes to take some shots of the<br />
Autumn colours across the lake when I noticed a group of Mallard Ducks messing around and<br />
washing their feathers. The sun was just starting to rise above the trees when I noticed the ducks<br />
causing these amazing light shows that looked like fireworks in the water. I waited patiently<br />
behind a tree so as not to spook the ducks, shooting directly into the sun.<br />
Mark Trufitt<br />
76 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
AUTUMN REFLECTIONS<br />
The beauty of the autumn colours were reflected in this garden pool.<br />
Margaret Jones<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
77
OVERFLOW<br />
This image is of a small section of the Devil’s Punchbowl Falls, Arthur’s Pass. Although the falls as<br />
a whole are dramatic in their force and spectacle, a close-up of this uneven and mossy rock<br />
formation over which the water flows and drips provokes a more pleasurably intimate feeling.<br />
Suzanne Renner<br />
78 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
MARAETOTARA FALLS<br />
These easy-to-get-to falls in Hawkes Bay are hugely popular for families and day walkers as there is a<br />
great swimming spot right at the base of the waterfall. Thank goodness we had finished shooting just<br />
as some swimmers came by. I love the tiered and angular features of these falls and the way the<br />
water is unevenly distributed across the width from a trickle to torrents.<br />
Sue Martin<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
79
ROLLING ROCKY TIDE<br />
After taking photos of the iconic Waipapa Lighthouse, I walked down to the bay below and<br />
enjoyed watching the strong tide roll in. As it was very rocky, I believed it made for a more dramatic<br />
photo. The larger clumps of rocks in the background added a little more drama to the photo.<br />
Sue Martin<br />
80 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
81
BIRCHVILLE DAM WATERFALL<br />
Taken mid-morning at Birchville Dam with an ND 10 stop Nisi filter.<br />
Dafydd Davies<br />
82 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
A GIZZY DAY ENDING<br />
This photo was taken during an evening dog walk in Gisborne. I don’t often take a tripod with<br />
me on a dog walk, but I had just purchased a 5 stop ND filter I wanted to play with! Edited<br />
mainly using Photoshop and Luminar Neo.<br />
Chris Page<br />
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
83
HOT WATER WAVES<br />
Intentional Camera Movement at Hot Water Beach on Coromandel peninsula<br />
using my 70-200mm lens at f/45, 1/30s, ISO100.<br />
Wendy Pemberton<br />
84 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>
<strong>NZPhotographer</strong><br />
<strong>June</strong> <strong>2022</strong><br />
85
"ONE OF MY GUIDING PRINCIPLES IS DON’T<br />
DO ANYTHING THAT OTHER PEOPLE ARE<br />
DOING. ALWAYS DO SOMETHING A LITTLE<br />
DIFFERENT IF YOU CAN… I THINK THAT THIS<br />
KIND OF GOAL FOR ONE’S WORK, HAVING<br />
OBVIOUSLY THE MAXIMUM RISK, WOULD<br />
HAVE THE MAXIMUM REWARD NO MATTER<br />
WHAT THE FIELD MAY BE."<br />
SEYMOUR CRAY<br />
PHOTO BY SHAYNE AVERY<br />
86 <strong>June</strong> <strong>2022</strong> <strong>NZPhotographer</strong>