NZPhotographer Issue 58, August 2022

ISSUE 58, August 2022 

CAPTURING THE REAL NEW 

ZEALAND LANDSCAPE; 

INTERVIEW WITH 

GEOFFREY HAGLUND 

AN INTRODUCTION 

TO CREATIVE HUMAN 

PHOTOGRAPHY 

BY SHELLEY HARVEY 

WHAT’S IN THE BAG 

WITH GLEN HOWEY 

BEHIND THE BACKDROP 

BY FAIRLIE ATKINSON

WELCOME TO ISSUE 58 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

I’m excited to announce a new miniseries 

starting this month with fine art 

portrait photographer Shelley Harvey who 

will teach us the ins and outs of working 

with models and what it takes to create 

compelling portraits. Her work includes 

natural light portraits, steampunk-style 

portraits, fine art nudes, and composites, 

so expect lots of inspiration and practical 

tips and tricks over the coming months. 

For our landscape lovers, Peter Laurenson 

is helping us discover the Ruahine 

Ranges, Glen Howey is letting us look 

into his camera bags whilst sharing some 

stunning fog photos, and our feature 

interviewee Geoffrey Haglund is showing us the finer, realistic details of 

the New Zealand landscape. 

We’re also inspiring you to have fun with your camera and play a little this 

month - pull out the glitter and create a photoshoot like no other, go in 

search of backdrops in public places, or give multiple exposures a whirl. 

With August being Mindfulness Month and many of us using photography 

as an escape from the stresses of life, there’s an opportunity to take part 

in a photo challenge too. 

OUR CONTRIBUTORS 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 58 

August 2022 

Cover Photo 

Ground Level 

by Karen Miller 

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. 

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. 

Shelley Harvey 

Shelley Harvey is a creative 

photographer based in Twizel. A fully 

trained hair & makeup artist, she has 

been involved in photography for 

the last 8 years. Over this time, she 

has won many awards nationally 

and internationally. She is also the 

Country Membership Director for the 

Photographic Society of America, 

helping to expand the Society 

throughout New Zealand. 

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 

6 

12 

24 

30 

40 

58 

62 

65 

BEHIND THE SHOT 

WITH ANN KILPATRICK 

BEHIND THE BACKDROP 

by Fairlie Atkinson 

CAPTURING THE REAL NEW 

ZEALAND LANDSCAPE; INTERVIEW 

WITH GEOFFREY HAGLUND 

RISING STAR; LILY KNOX 

PHOTOGRAPHIC LOCATIONS WORTH 

SWEATING FOR: RANGIOTEATUA BIVVY 

by Peter Laurenson 

MINI 4 SHOT PORTFOLIO 



CELEBRATING MINDFULNESS MONTH 

WITH AN EXCIO PHOTO CHALLENGE 

by Ana Lyubich 

AN INTRODUCTION TO CREATIVE 

HUMAN PHOTOGRAPHY 

by Shelley Harvey 

72 PORTFOLIO 

BEST READERS’ SUBMISSIONS 

RISING STAR; 

LILY KNOX 

PHOTOGRAPHIC LOCATIONS WORTH 

SWEATING FOR: RANGIOTEATUA BIVVY 

BY PETER LAURENSON 



24 

30 

58 

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in interviews, cover photo, 

behind the shot and articles 





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Behind The Shot with Ann Kilpatrick 

Living Art 

Tiles: Nikon D850, 28-300mm Nikon lens @ F7.1, 1/160s, ISO1600, 85mm Trees: Nikon D850, 28-300mm Nikon lens @ F7.1, 1/8000s, ISO1600, 44mm 

ANN, TELL US ABOUT YOURSELF AND YOUR 

JOURNEY INTO PHOTOGRAPHY SO FAR… 

I retired in June 2019 and have been able to spend a 

lot more time on photography as a result. I have always 

photographed the candid moments going on around 

me. As I age, those recorded moments become more 

precious for the memories they evoke. I bought a DSLR 

in 2015, so to make best use of that investment, I have 

been actively learning about photography, online, in 

the classroom at structured courses, and at workshops. 

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHY? 

I think my style is still evolving as I am very much still 

learning. As above, I enjoy photographing the candid 

moments that occur around our property, within 

our family, and out on the street. My photography is 

simple, I try to make the subject obvious and to create 

a good quality image. 

I am enjoying learning how to use my camera more 

creatively and to manipulate images in Photoshop. I 

am still very much a learner in this regard. However, 

it is very therapeutic to make an image which tells a 

story through photography and helps one to move 

forward in a more positive frame of mind. 

WHAT ARE YOU SHOOTING WITH? 

I shoot with a Nikon D850 and various lenses: 50mm 

prime, 16-35mm, 105mm prime and a very flexible 

28–300mm. I practice with a specific lens consistently 

for a while to best understand what I can do with it. 

I have a set of Benro filters which I don’t use often 

enough and various CPL and other filters. I borrow my 

husband’s Manfrotto tripod a lot and there’s also a 

Godox flash that I need to master. 

TELL US ABOUT YOUR PHOTO, ‘LIVING ART’ 

This photo is a multiple exposure made in camera. My 

camera will allow me to make a series of images with 

a range of multiple exposures in each image. Often, I

will set my camera to make a series of multiple images 

with usually two exposures in each image. Then I will 

shoot away and review the multiple exposures later to 

see what images I made, essentially by chance, that I 

like, or which ones “worked”. 

For this image I liked the look of the tiles on the wall and 

decided to try a more deliberate approach for multiple 

exposure. I shot the tiles and then selected “multiple 

exposure mode” selecting the tiles as my “first exposure”. 

My camera gives me a choice of overlay modes: Add, 

Average, Lighten or Darken. This meant I could take the 

first exposure of the tiles, then go outside and shoot a 

range of images using the tiles as the first exposure and 

various plants and trees in our garden as the second 

exposure. Using the “select first exposure” option, and 

my preferred overlay mode, I had more control over the 

composition and look of the final image. 

I was deliberately trying to learn and apply a new 

way of working as I made this image, and I had been 

thinking about the tiles and potential images that 

might work with them for a while. It was a process of 

trial and error and applying my camera to blend art 

and nature in a way that worked for me and created 

the image I had imagined in my head. 

I didn’t do much editing at all, mainly just used the 

standard sliders in Lightroom, increasing the whites 

and reducing the highlights, adding some clarity and 

dehaze, some sharpening and some noise reduction. I 

also removed some spots off the wall. 

WHAT TIPS CAN YOU SHARE WITH READERS 

FOR ACHIEVING A SIMILAR SHOT? 

Check to see if you can easily make multiple 

exposures in camera with the model that you have. 

Try the different overlay modes to learn how they 

impact your image. This might also help you to 

understand some of the blend modes in Photoshop. 

Have fun, experiment with your camera - turn on the 

multiple exposure mode and shoot away to see what 

comes up. Then, once you understand what your 

camera can do, be more deliberate. 

WHERE CAN WE FIND YOU ONLINE? 

excio.gallery/ann 

BEHIND THE SHOT IS PROUDLY 

SUPPORTED BY 

@annk_photography 

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10 -13th November 2022 

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5

Behind The Backdrop 

by Fairlie Atkinson 

Backdrops are often something we think we need to have 

when we start out in portrait or still life photography. A 

quick Google search shows rolls of paper, or pop up, pop 

out, roll up canvases or fabric backdrops. You can even 

buy backdrops with entire scenes or textures painted on 

them. None of them come cheap. A small roll of coloured 

paper for a backdrop in a studio setting usually sells for 

well over one hundred dollars. When you’re a student, 

hobbyist, or amateur photographer, having a variety of 

backdrops can be an expensive endevour and for some 

an unaffordable one. But affordable backdrops for portrait 

and still-life photography are not as hard to find as you 

might imagine, you just need to look around you. 

BACKDROP CHALLENGE 

I set myself a challenge to show you just how easy it 

is to find free or cheap backdrops. I grabbed a friend 

who is just starting out as a hobbyist photographer, 

and I decided to use a public building to take still life 

and portrait images. We only used what we had on 

hand and some wrapping paper that I picked up from 

a small grocery store in the vicinity. I also bought an 

orange and a capsicum, and Ryan modelled for me 

around the building. In the back of my car we had 

an umbrella and assorted detris from my children. The 

umbrella was uplifted and we decided to use that too. 

BACKDROPS FOR STILL LIFE 

In the library wing of the building we came accross 

some desk dividers with colourful fabric on them. So 

Ryan and I decided to shoot the orange on orange 

paper with an orange backdrop. We set up the paper 

like this. Ryan shot this on my Nikon D850 with a 70- 

150mm lens. He shot from right down on the table 

looking directly at the orange. There was quite a lot of 

light coming in from the glass windows and overhead 

so he shot on aperture priority mode and set it to f4.5. 

The first attempt (seen below) was ok, but I did not 

like the contrast between the textured background 

and the smooth paper. For our second attempt we 

moved the paper to lean up against the divider 

and shot again on the same settings, the resulting 

photo seen on the right. If you want to practice still 

life arrangments, you can’t go wrong with matte 

coloured paper. I have even used a cardboard 

box and pegged coloured paper to it to create a 

backdrop for still life - It’s cheap and effective. 

We also tried the same thing with the capsicum. 

We found a chair with a nice textured fabric that I 

thought would contrast nicely with the smooth surface 

of the capsicum. This time Ryan shot the capsicum 

from an angle slightly above so as not to capture the 

busy fabric on the back of the chair and we used 

one of the most basic photographic concepts for the 

backdrop; contrast. 

Contrast can be found in the form of colour or texture 

and just an idol glance around your home will have you 

finding things you can experiment with for contrast. Try 

photographing a handful of white raw rice on a black 

surface, such as a piece of smooth black fabric paper 

folded in half to provide a base and backdrop. Peg the 

top half of the fabric or paper to a small box and fold 

the other half onto the table so it becomes like a chair 

for the rice. Or if you want to get technical, try white 

grains of rice on a smooth white plate. The plate will 

become your backdrop if you shoot from above or from 

the same angle as the capsicum and you fill the frame. 

6 July 2022 NZPhotographer



7

BACKDROPS FOR INDOOR PORTRAITS 

Moving away for a moment from my public space 

challenge, I want to talk about two very, very handy 

things. Curtains and sheets. These have provided the 

most wonderful backdrops, coveralls, and wraps for my 

projects. One genre of photography I do not have any 

equipment for is newborn shoots. So when I am asked to 

do this I always ask that the client have a large, ironed 

white sheet on hand. Why ironed? Ironed means I don’t 

have to spend hours Photoshopping out creases! 

Above you can see a shot I took a few years ago 

which is very stylised. The wee baby is lying propped 

up slightly on a cushion on a sofa. She has a little 

headband on with a flower and a feather, but the 

entire photo is one sheet draped and tucked over her 

and the sofa. 

You can also use dark or light curtains as backdrops, 

or a black matte A1 piece of black paper taped to a 

wall also works! Just try and avoid the folds unless you 

feel they add to the image. Always try and pull the 

backdrop straight and tight behind your subject to 

provide that solid background. 

Dark clothing can also work, especially for small pet 

portraits. I shot the image of a guinea pig at Staglands 

in Wellington. My son happened to be standing in 

shadow and had a dark jumper on at the time. I 

didn’t need to edit the photo as the light fell on the 

gineapig and his dark clothing provided a wonderful 

backdrop. 

BACKDROPS FOR OUTSIDE PORTRAITS 

Going back to the public building Ryan and I were 

in for the backdrop challenge, I decided to shoot 

outside, using just the walls of the building itself as I’ve 

discovered that walls of any texture make brilliant 

backdrops. We found a number of textured walls. 

Walls that dont reflect the light or that contrast nicely 




9

with your subject are great - Brick, concrete, wood, or 

matte metals are all good as backdrops. Think about 

all the advertising for streetwear clothing out there. 

Notice the backdrops used, they are often urban walls 

of all kinds of textures. 

The reason walls are great is that they are often one 

neutral colour and the colour and the texture provide 

a great contrast to either your model or what they are 

wearing. I asked Ryan to wear a simple white t-shirt to 

show how easy it is to find a backdrop that works. 

Both these walls were on different sides of the building. 

One was textured concrete and the other was 

concrete block. The textured concrete was in full 

sun and the concrete block was under an overhang 

which provided some shade but did not throw 

shadow. The neutral background contrasts with the 

bright white of his t-shirt. The textures of the walls also 

contrasts nicely with the smooth fabric. 

CONCLUSION 

So, do you need to buy a load of expensive readymade 

backdrops? 

The answer is no. You don’t even need to buy new 

sheets and curtains in different colours as secondhand 

shops have them available for only a few dollars. In 

fact, I have found frames, rolls of paper, table cloths, 

and lengths of lace that make perfect backdrops for 

photo shoots. But before you rush out to the shops, 

have a look around you. Are there buildings or walls 

in your area with interesting textures or colours? Have 

you tried setting up staging for still life at home? What 

do you have lying around that you can use? 

As Shakespeare said “the world is mine oyster” and I 

am sure he meant by this that your surrounds are just a 

backdrop waiting to be found. 


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Capturing The Real NZ Landscape 

Interview with Geoffrey Haglund 

I take photos to tell the story of a moment in time. I 

used to do a lot of local travel and “adventuring” on 

my own, and it was difficult to explain my perspective 

of what I had seen to my friends, so I started to take 

photos. Photos enabled me to share my perspective 

of these moments in time. 

WHAT DO YOU ENJOY CAPTURING, AND HOW 

WOULD YOU DESCRIBE YOUR PHOTOGRAPHY? 

I primarily shoot landscapes that can be seen while 

walking through the bush rather than large vistas, mini 

waterfalls (30 cm tall) that could be huge without the 

context of the surrounding area. 

I’m more likely to shoot what I see while walking to 

the top of a mountain rather than what I can see 

from the top of the mountain, because I like the finer 

detail. Shooting birds is a by-product of my landscape 

photography. 

I would describe my photography as “realistic”. I’m 

not fond of unrealistic editing; it isn’t a reflection 

of that moment in time if it has been edited into 

an unrealistic representation. There would be an 

argument that long exposure photography is an 

unrealistic representation of a moment in time, but 

that all depends on how long the moment is. 

GEOFF, TELL US ABOUT YOU AND YOUR 

JOURNEY WITH PHOTOGRAPHY… 

I was born and raised in Masterton, NZ. After finishing 

school, I went to university in Palmerston North and got 

a degree in IT. Following that, I worked in Auckland’s 

IT/Banking industry for 20 years before deciding that 

a quieter life might be a better option. I now live in 

Woodville with my partner and three cats. I have a 

couple of small businesses, which include trying to sell 

some of my photographs. 

Photography was something that always followed 

me, and now it is something that walks beside me, 

sometimes leading me into another adventure 

exploring our fantastic country. Growing up, my dad 

was a pharmacist, and in those days, you had your 

film developed by the pharmacist, which meant that 

I always had access to a camera and cheap prints. 

Capturing moments is something that I have always 

done; however, it wasn’t until around 2010 that I 

began to take an interest in the “art” of photography. 

WHAT ARE YOU SHOOTING WITH? 

I’m in the Canon camp. I have a Canon 5D Mk IV 

and a variety of lenses; the Canon EF 70-200 f2.8 L IS II 

USM, Canon EF 24-70 f2.8 L II USM, Canon EF 16-35 f4 

L IS USM, Canon EF 100 f2.8 L Macro IS USM, and the 

Tamron SP 150-600 f5-6.6 Di VC USD G2. I also have LEE 

100 filters and a Manfrotto tripod. 

WHAT PHOTOGRAPHY CHALLENGES HAVE 

YOU OVERCOME OVER THE YEARS, AND 

HOW? 

There have been three main challenges that spring to 

mind. 

The first was trying to understand why I liked one 

image over another almost identical one. Sometimes 

it is the compression caused by a long lens, and 

sometimes it is the framing, the rule of thirds, etc. My 

background is in IT, so I appreciate the technical side 

of things. Understanding the theory of photography 

was quite a challenge as there is a lot of it and many 

opinions. 


“Unnamed Falls" located near the Waikato Falls. 

Canon EOS 5D Mark IV, EF70-200 f2.8L IS II USM lens @ F10, 133s, ISO100, 200mm

Kaka Flying 

Canon 5D Mk IV, Canon EF70-200mm f2.8L II USM lens @ F5.6, 1/2500s, ISO4000, 130mm 

The second main challenge was trying to understand 

printing. This might seem like an odd answer to this 

question, but you can’t touch your images unless 

you print them. I have some photos that have been 

printed at 4m x 2m where you view them up close, 

unlike a billboard, so learning how to print them was 

very challenging and interesting. 

The last main challenge is switching between 

landscape and bird photography. With landscape 

photography you have a lot of time to plan, set up, 

and refine your shot. With bird photography you can 

plan all you want, but often the moment is over in 

the blink of an eye. I found that YouTube is a great 

tool for overcoming these theoretical and practical 

challenges. There are so many opinions and different 

styles that not all, or perhaps even many, will resonate 

with you. Just find someone that resonates with you 

and enjoy what they are doing - you are not alone, 

and there is no need to reinvent the wheel. I follow 

a dozen or so photographers, including Attilo Ruffo, 

James Popsys, Mark Denney, Nigel Dansen, Simon 

Booth, and William Patino, to name a few. 


Marokopa Falls 

Canon 5D Mk IV, Canon EF24-70mm f2.8L II USM lens @ F8.0, 25s, ISO100, 39mm 

WHAT ARE YOUR TIPS FOR PEOPLE WHO 

ARE JUST STARTING IN LANDSCAPE 

PHOTOGRAPHY? 

Hmmm… Tips for landscape photographers. I am by no 

means an expert, but I’m not shy about having an opinion. 

You never hear about the “bad” photos. Don’t get 

disheartened if every photo isn’t a keeper. On a full 

day of shooting, I might keep 10 percent of the photos 

I take. My main issue with a planned shoot is that I get 

there too early. As the light gets better, I take my shot. 

And then the light gets better, I take another and at 

some point, I stop. This brings me to my next point, be 

patient. You can’t make the earth spin faster; the light 

will arrive when it arrives. 

It always pays to scout a location first. This isn’t always 

possible, but when it is, I go to the location with my 

camera and phone and look for what I think will be a 

good composition. Then I will use the PhotoPills app to 

see where the sun will be in relation to the composition 

at the time and day I am planning to return. Sometimes 

this will determine when I think it will be best to return. 



15

Waikato Falls 


Remember to always look around you. The “magic” 

might be happening behind you, especially if you are 

facing into the sun. However, some scenes just can’t 

be photographed. I was in an amazing tree fern forest 

one day, which would have made a perfect photo. 

The only problem was there was very low light and a 

slight breeze. In order to achieve a quality image, my 

ISO and shutter speed needed to be set just so, and 

the slight breeze then made every branch blurry. I 

could have waited for another day when there was 

no breeze, and I may yet get that shot, but sometimes 

your only course of action is to sit back and enjoy 

nature. 

My last tip is that you should like your own 

photographs. Don’t get trapped into producing 

images because other people like them. 

HOW DO YOU CONTINUE TO LEARN AND 

IMPROVE YOUR WORK? 

Understanding why I don’t like my image is important 

to me in terms of growing my photography. 

Understanding my camera is also important. Was 

“the shot” impossible, or could my camera have 

helped me? Recently I found a setting which changes 

how the autofocus behaves when tracking highspeed 

subjects, which will be helpful for my bird 

photography. 

Studying or enjoying other people’s bird photos has 

helped me strive for better images. Peter El Pedro 

Cox on Facebook, Tamzin Henderson, and Raf 

Raeymaekers on Instagram are my favourites. How To 

Photograph Birds In Flight is a resource that has greatly 

helped me in my quest to photograph birds. 


California Quail 

Canon 5D Mk IV, Tamron SP150-600mm f/5-6.3 Di VC USD G2 lens @ F6.3, 1/80s, ISO250, 600mm 

As I previously mentioned, YouTube is a great 

resource, but there are other resources on the 

internet. If I am trying to learn or improve something, 

it pays to phrase my search (question) differently. 

This rephrasing of the question has proved very useful 

to me and my understanding of what I am trying to 

solve. It is hard to think of an example when I am not 

searching for something, but because the search 

engines have become quite smart, it is possible just 

to use keywords rather than write a sentence. For 

example, I know that you should lock your mirror up 

when doing a long exposure shot to prevent light 

leakage, and I also know that I use live view when 

taking a long exposure shot. So, instead of searching 

for “how to set the mirror lock when using live view on 

a Canon 5D Mark IV” I can just search the keywords: 

mirror lockup canon 5d mark iv live view. 

Theory is good for me but not for everyone. I like to 

understand what I am doing and then go and do it. 

Other people like just to do it, which is also crucial as 

you must go and take photos in order to improve. 

CAN YOU SHARE SOME BIRD PHOTOGRAPHY 

TIPS WITH US? 

My first tip would be to just be quiet in our bush, and 

many birds will come to you. Whilst quietly setting up 

my landscape shots and waiting for the light to be 

just right, I have discovered that many of our birds will 

come and investigate what you are doing. Clomping 

along a track and making lots of noise will keep them 

at bay, but I was very surprised at how close these 

birds will get to you when you are quiet. 



17

Cinnamon Eyes 

Canon 5D Mk IV, Canon EF70-200mm f2.8L II USM lens @ F6.3, 1/1200s, ISO8000, 200mm 

I have found that shooting birds is a very fast 

activity, one moment they are there and the next 

they are gone, so understanding the settings in your 

camera is essential. My first bird photos, with my 

camera set up for landscapes were quite hilarious. 

Birds are generally very small so paying attention 

to the focus points you have active is also a 

priority. Also, have plenty of memory cards and 

batteries. When I visit the Wingspan Birds of Prey 

demonstrations with the New Zealand Falcon 

(Kārearea) or the Kaka display at Pukaha Mt Bruce, 

I might take over 1000 photos. 

That is another tip. If you can’t find birds in the 

area close to you, then you can usually find them 

in nature reserves like Zealandia in Wellington and 

Pukaha Mt Bruce in the Wairarapa. 

CAN YOU TELL US ABOUT A COUPLE OF 

YOUR FAVOURITE IMAGES? 

It really is hard to choose a favourite image. Okere 

Falls (seen top right) was a planned shoot and I was 

really happy with the outcome. Because it was still 

sunrise, there were some really nice bush scenes 

that we discovered whilst exploring the area. Some 

very educational billboards explained the area’s 

history which added to the whole experience. 

Marokopa Falls (seen on page 15) was another 

planned shoot that was very successful. After 

taking the shot, a group of 20 people turned up, 

so we were lucky with our timing, and there was a 

fantastic river cliff walk on the way home. Again, 

there were educational billboards in the area, so 

we learned a lot about the area. 

Cinnamon eyes (seen above) was a good learning 

experience. A baby fantail was following us in 

the bush, chirping all the time. It managed to sit 

still for long enough to get a shot, and while I was 

checking the image on the camera, the mother 

flew up and started feeding the baby. By the time I 

had the camera up again… she was gone. 


Top: Okere Falls 

Canon 5D Mk IV, Canon EF24-70mm f2.8L II USM lens 

@ F8.0, 30s, ISO100, 70mm 

Bottom: Okere Falls Bush Walk 


@ F8.0, 1/50s, ISO2000, 44mm

HOW DO YOU PROMOTE/SELL YOUR IMAGES? 

I have my work in local art shows, in four cafes in 

the lower North Island (Pukaha Mt Bruce, Café 88 in 

Woodville, Norsewood Café in Norsewood, and Hydro 

Eatery in Turangi), and I used to attend many market 

events with my work. 

Online selling via my Facebook page has not been 

successful. Unfortunately, the mediums I have chosen to 

present my work (Acrylic Glass and Brushed Aluminium 

Dibond plates) need to be seen in person. This means 

that when I photograph the finished product, it doesn’t 

look as good as the original photograph. Advertising the 

original photograph is somewhat misleading to me, as 

this is not what you are buying. 

WHY DID YOU CHOOSE ACRYLIC GLASS AND 

BRUSHED ALUMINIUM DIBOND PLATES OVER 

TRADITIONAL PRINTS? 

I first saw the Acrylic Glass and the Brushed Aluminum 

Dibond plates overseas, and they struck me as quite 

different - they were a point of difference. 

The Acrylic Glass has a glass surface but is light and 

tough from the acrylic. The image is printed on 

the rear of the surface, so the light passes through 

the image, similar to a computer screen. This gives 

a depth to the image, which is not present in a 

traditional photo, which of course, is viewed by 

reflective light coming off the surface. 

The Brushed Aluminium Dibond plate is not a smooth 

surface. It is similar to the surface of a vinal record. 

The image is printed on the top of the plate, and 

when the light hits the grooves, it reflects an additional 

depth to the image. As the light moves around the 

image or a person moves around the print with a fixed 

light source, the image comes to life, and different 

components are highlighted. 

The additional depth that these mediums created 

really appealed to me. The Brushed Aluminium plates 

are also weather and sun resistant, so they are perfect 

for hanging outdoors. 

HOW HAS COVID AFFECTED YOUR 

PHOTOGRAPHY? 

Covid has affected my photography on many levels. 

The regional travel restrictions obviously restricted my 

ability to travel around the country and capture images. 

The international travel restrictions and reduced numbers 

of aircraft prevented me from printing more images, 

as I needed to print my pictures overseas to achieve 

a cost-effective product. There is one place in New 

Zealand that could print some of my images; however, 

their wholesale cost is far greater than the selling price 

of my pictures. Markets were a place that I used to 

sell my pictures. However, the restrictions on local and 

international travel and the ability to have markets 

prevented my customers from seeing my work. 

NZ Falcon/ Kārearea 

Canon 5D Mk IV, Tamron SP150-600mm f/5-6.3 Di VC USD G2 lens 

Beige Background @ F6.3, 1/1250s, ISO320, 375mm 

Green Background @ F6.3, 1/2000s, ISO800, 350mm 

Now that restrictions are lifted somewhat, I find that 

purchasing my photography on the Acrylic Glass and 

the Brushed Aluminum Dibond plates is somewhat of 

an unaffordable luxury. 

I am now exploring more traditional mediums for the 

presentation of my images. This will make my online 

presence more “applicable” to what I am marketing. 

I have started to produce ranges of smaller yet still 

practical pieces in the form of coasters. There is a 

coaster set of bird portraits from Wingspan Birds of 

Prey, which I have donated to them, so any sales from 

these go to support their great efforts. 


Winter Blues (post edit) 


ARE THERE OTHER WAYS THAT YOU ‘DO GOOD’ 

WITH YOUR PHOTOGRAPHY? 

I have donated a large portrait of a Kaka to Pukaha 

Mt Bruce, which they have kindly displayed in their 

entranceway. I have also donated several images 

to my community committee for them to use as 

advertising for the town. 

WHAT IS THE MOST CHALLENGING SHOOT 

YOU’VE HAD, WITH THE MOST SUCCESSFUL 

OUTCOME? 

Two shoots spring to mind as the most challenging 

with successful outcomes. 

The first is the “Winter Blues” photo. This was my first 

long exposure shoot. It was freezing cold, and I was 

shivering so much that I was surprised I did not drop 

my filters through the cracks in the wharf. The sun was 

coming up quicker than I thought. Theory quickly 

turned into reality, and I had to make adjustments on 

the fly. There would be no opportunity for a “do-over” 

as the sun was up. It was also my first real dive into 

editing to bring out the details I knew were in there. 

Winter Blues (original) 


@ F10.0, 94s, ISO100, 24mm 

Many people say that the Lee filters add a blue hue 

(which they do), and I should have compensated for 

this, but it was cold. It was blue cold! I was happy with 

the result, which is why it is on my list of challenges with 

a successful outcome. 



21

Mt Ruapehu 

Canon 5D Mk IV, Canon EF16-35mm f/4L IS USM lens @ F9.0, 1/1250s, ISO320, 16mm 

The second shoot was over Mt Ruapehu. It was my 

first helicopter flight, which I had always wanted to 

do. I always thought I was scared of heights, and 

I discovered on the helicopter flight that I am not 

scared of heights…I am terrified of heights! 

This shoot was both a spectacular and terrifying 

experience. Shooting from a helicopter was an 

entirely different experience with a different set of skills 

that I wasn’t going to be able to practice; it was now 

or never. I did manage a few good shots and faced a 

personal challenge which is why this photo also makes 

it to my list of challenges with a successful outcome. 

WHAT ELSE SHOULD WE KNOW ABOUT YOU OR 

YOUR PHOTOGRAPHY? 

I’m just a guy who likes taking photos. I don’t think of 

myself as an artist. 

WHAT ARE YOUR PLANS FOR THE FUTURE? 

I will be exploring the Taranaki region this year and 

would like to spend some time shooting in the South 

Island. 

I also aim to change my Instagram and Facebook 

presence to be more about my photography as a 

whole, rather than focusing on available images for 

sale. 

Lastly, I plan to get better at naming my images! 

WHERE CAN WE FIND YOU ONLINE? 

@Geoffrey_Haglund_Photography 

@GeoffreyHaglundPhotography 


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23

Rising Star; Lily Knox 

Lily is an artistic 17-year-old from Dunedin who loves capturing people, colour, and 

light. This vibrant style emanates through her paintings and photography as she tests 

the boundaries of what is ‘too much’. She has only been practising photography for a 

little over a year but her talent shines through brightly already. 

LILY, HOW DID YOUR JOURNEY WITH 

PHOTOGRAPHY START AND WHAT DO YOU 

MOST ENJOY CAPTURING? 

I‘ve always been into art. My foundation with 

photography is rooted in my painting. I really love 

painting pictures involving colour and light. I guess 

that’s how I approach photography as well - How 

can I introduce the most colour, the most glitter, 

the most neon… and then I try and build a body of 

work from there. 

Everything I create ends up having some 

configuration of people, colour, and light. They’re 

so much fun to photograph. Light changes, people 

move - it makes for really awesome photography 

because no two photos are ever the same. I love 

the saturated, the exaggerated, and the line of 

too much. Too much colour, too much sparkle 

(and often, too many photos to sift through after a 

shoot!). 

I love photography because it really tests how I 

approach making imagery, and how to walk the 

line between real and imagined. Photography 

is like making magic, and it’s like painting, but 

much faster! There’s nothing like the exhilaration 

of checking a photo and seeing everything come 

together, or indeed something you’ve never 

imagined. I love the anticipation of going through 

my SD card later and seeing what I’ve made. It’s 

always a surprise, I love it. 

HOW DO YOU CREATE YOUR UNIQUE 

PHOTOS? 

In my camera bag, I have my trusty Nikon D5600 

camera and the kit lens it came with. I also have 

a prism I found at an op shop, a CD for making 

rainbows, and a $2 bottle of bubble mixture - 

sometimes the situation calls for bubbles! I also 

carry two small battery-operated builder’s lights 

which I have covered in red and green cellophane 

and often, indescribable amounts of glitter! 

I have a friend who models for me (shout out to 

my brilliant friend Nemo who modelled for me last 

year), and then we see what happens. 

Once, a photoshoot ended up with me taking a 

mirror off my wall and drizzling hand sanitiser over 

it to catch the light in a certain way - thankfully 

this was a lot easier to clean up than glitter, 

hair gel, sparkly paint, and spilt bubble-mixture 

misadventures. 

HOW HAVE YOU BEEN LEARNING 

PHOTOGRAPHY? 

I started learning photography at the start of 

2021, buying my camera with money saved up 

from babysitting over the summer. My amazing 

photography teacher Ms Pickering has taught 

me everything; learning photography at school is 

awesome. 

We’re lucky enough to have a studio at school, and 

last year I basically lived there. You pick up things 

by trial and error, by getting involved. My motto 

is ‘If you don’t know how to do something - try it 

out, see what happens!’ I encourage people my 

age to go into your school studio and give it a go! 

What’s the worst that could happen? In that way, 

for us school photography students, it’s a form of 

expression as much as it is a craft. 

WHAT DO YOUR PARENTS THINK OF YOUR 

CREATIVITY? ANY RAISED EYEBROWS WHEN 

IT COMES TO CLEANING UP GLITTER OR 

WHEN YOU TAKE OVER THE BATHROOM FOR 

A PHOTO SHOOT?! 

My family are awesome. Despite their sciencey 

backgrounds, Mum and Dad are both secretly very 

creative themselves (though they’d never admit it!). 

When I decided I was dropping maths and science 

(to more than a few raised eyebrows) my Mum and 

Dad were behind me 100 percent. They’ve been 

there for 17 years of paint splatters and glitter in 

carpets, and I’m so so grateful. My Mum definitely 

isn’t a fan of the whirlwind of mess I make, but 

they’ve always encouraged my creativity, and are 

so supportive. I run all my ideas past my Mum - she’s 

very logical, and a brilliant sounding board for my 

(often theatrical, over-the-top) ideas. Meanwhile, 

Dad’s always willing to give things a go, even if 

that’s something as small as driving around in the 

rain looking for pretty lights with me. I love them so 

much. I’m so lucky to have them. 




25

WHAT HAVE YOU STRUGGLED WITH THE MOST 

IN PHOTOGRAPHY? 

When you have a vision of what you want, it’s tough 

when you’re met with limitations. This was a struggle 

for me. 

The initial inspiration for my photography was vast, 

glittering neon street scenes from Tokyo and Seoul. 

They’re gorgeous. As it turns out, Dunedin doesn’t 

have big glittering neon streets. It doesn’t even have 

neon signs, really (trust me, I took my camera and 

looked). What Dunedin does have is petrol stations... 

lots of petrol stations. I taught myself the ins and 

outs of low light and colourful light photography by 

photographing petrol stations. I took heaps of photos. 

They’re kind of gross, industrial places, but when it’s 

been raining at night and the ground is glittery with 

puddle reflections and streaky lights, a petrol station 

(think: behemoth white and blue/green/red lights, fuel 

price signs, eerie liminal loneliness, maybe some mist if 

you’re lucky)... it looks kind of awesome. 

I guess it comes down to persistence. I don’t live in 

Tokyo, but do have some neon petrol stations. I don’t 

have an underwater camera, but I do have a fish tank 

with a glass front. In lockdown, I didn’t have a model, 

but I could cover my face in glitter and run back and 

forth on a self-timer. 

TELL US ABOUT SOME OF YOUR FAVOURITE 

PHOTOS… 

On the right is a series I did with my friend Nemo and 

a big half-filled fishtank. Nemo stuck her hand in the 

water, and we played around with the ripple effects 

and light distortion on the underside of the water’s 

surface. 




27

I honestly wasn’t sure about the fish tank shoot at the 

time - I got water everywhere, Nemo’s fake nails kept 

falling off (stuck on with blue tack, and no match for 

the water tank!), and most of the photos were just my 

own reflection on the glass. 

But it turned out there were some real gems in there, 

especially after I cropped them down and saturated 

them. I think there’s a really otherworldly feel with 

these ones, which I’m proud of because all the effects 

are real - the reflections aren’t manipulated, they’re 

just photos of Nemo’s hands breaking the surface of 

the water. 

Another shoot we did in my bathroom with an old 

slide projector and red and green battery lights on 

either side. I held a prism on the side of the lens to 

play around with light distortion. My uncle lent me the 

slide projector with instructions on how to stop the big 

yellow bulb from overheating. I borrowed some slides 

as well - you can see in the first photo, a photo of an 

astronaut being projected on my bathroom wall - 

his legs and a hand. It’s a souvenir photo slide of the 

moon landing that my uncle got from Houston in the 

seventies. I thought it was pretty neat. In the second 

photo, Nemo’s hand and face are being reflected by 

the prism, which I thought looked cool. 

WHAT’S NEXT FOR YOU - WHAT ARE YOUR 

AMBITIONS FOR THE FUTURE AND DO YOU 

THINK PHOTOGRAPHY WILL PLAY A ROLE IN 

YOUR CAREER CHOICES? 

Yes! But first, I’m taking a gap year, and I’m going to 

live in Seoul. I’ve always dreamed of living there, and 

hopefully (!!) I’ll get to see the big neon streets and 

signs that are such an inspiration for me. So definitely a 

year away, exploring the world. 

After that, I’m currently thinking of pursuing 

photography, maybe in Wellington. As for a career, 

it changes all the time. I might start a photography 

business, I might be a wedding planner, I used to joke 

that I might try to run for Prime Minister. 

What I do know is that whatever I end up doing, it’s 

going to be creative. I think I’ll be making stuff and 

trying to put together pictures and paintings, forever. 

In the much shorter term, I’d love to work at a local 

photography studio, or somehow spend some time in 

the midst of it all - seeing the behind the scenes and 

the professional process. I’m just a high school student 

with a camera. I have heaps to learn and I’m so keen 

to get started! 

WHAT ELSE SHOULD WE KNOW ABOUT YOU 

AND YOUR PHOTOGRAPHY? 

90 percent of the photos I took last year didn’t make it 

near my final school portfolio. I was just operating on a 

try-everything-do-everything basis, and seeing how to 

make crazy ideas work. 

I’ve learned that you’ve got to take photos of things 

you think are cool and treasure that, for you, if 

nobody else. Make everything you can. Life’s too short 

not to enjoy colour, and dance under the streetlights, 

and all of that! 

I guess what I’m saying is that it doesn’t have to be 

grand. Take heaps of photos, make what you love, 

and the rest will fall into place.

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29

Photographic Locations Worth 

Sweating For: Rangioteatua Bivvy 

by Peter Laurenson 


Dawn view from Pt 1635m, northwest to Ngauruhoe. 

Lumix TZ220, Leica AF 24-360mm F3.3 - 6.4 lens @ F8, 1/10s, ISO125, 277mm 



31

Dawn view from Pt1635, north to Waipawa Saddle in the dip and Te Atuaoparapara top left, Ruahines. 

Lumix TZ220, Leica AF 24-360mm F3.3 - 6.4 lens @ F8, 1/40s, ISO125, 24mm 

‘No pain, no gain.’ Camping a night out high on 

the Ruahine tops provides undeniable proof of 

that saying, because visiting those tops certainly 

demands parting with a good deal of sweat. But, 

if you time it right and have clear settled weather, 

there are few natural landscapes that can beat this 

one for magic hour loveliness. 

There are six points above 1,700 metres in the 

Ruahine Ranges. That’s where you can find some of 

the most spectacular alpine terrain and viewpoints 

outside Tongariro National Park on the North 

Island. In April I visited two of them – 1,704 metre 

Rangioteatua and its unimaginatively named 1,715 

metre companion A6G4, for an overnight bivvy 

(camp with no tent) above the clouds. 

In the warmer months this landscape is free of snow, 

but reaching it still requires more than a vertical 

kilometre of ascent. The most direct approach is 

from the gravel road end of North Block Road, 

accessed from Wakarara Road, in turn, accessed 

from State Highway 50, just north of Ongaonga in 

Hawke’s Bay. 

The route first traces the Waipawa River up to 

Waipawa Saddle at 1,326 metres. While the river 

is quite open to begin with, expect to get wet 

feet, and as you near the saddle it steepens and 

becomes loose underfoot, eventually joining a 

steep path up through dense leatherwood. From 

Waipawa Saddle head southeast up the scree 

slope towards Three Johns, but then turn southwest 

at about 1,500 metres to follow the main ridge up 

to Pt1635, and then on to Rangioteatua. The terrain 

is open, but not marked, so in the case of cloud, a 

map, navigational gear and the ability to use them 

is essential. 

While Waipawa Forks Hut offers shelter down at 740 

metres on the true right of Waipawa River, this is 

no use if you want to be up on the tops for sunset 

and sunrise. Up there the only ‘amenities’ are a tarn 

offering drinking water, situated just off the ridge, 

between Rangioteatua and A6G4, and flat tussock 

spaces offering a relatively soft surface to sleep on. 

On my visit, I climbed in dense cloud cover until 

above Three Johns. Then the clouds gradually 

cleared, revealing spectacular cloud-draped 

ridges and, for a brief time, even a brocken spectre 

(a rarely seen miniature rainbow in the shape of a 

halo, centred on my own shadow, projected on 

cloud cover beneath me). The drama of sunset up 


Three Johns at dusk, viewed from Pt1635, Ruahines. 

Lumix TZ220, Leica AF 24-360mm F3.3 - 6.4 lens, stitch of 2 landscape images @ F8, 1/800s, ISO125, 172mm 

high was further enhanced by the retreating 

clouds which caught the warm hues of the 

setting sun. I found it almost wasteful to close 

my eyes during the fabulously clear night as 

shooting stars, (sadly) multitudes of satellites, 

and the occasional grunts from a family 

of nearby deer kept me entertained. The 

chill breeze deterred me from trying some 

astrophotography during the small hours, but 

the onset of sunrise made it easy to climb 

from my sleeping bag at dawn. It really was 

a photographer’s paradise, which was mine 

alone. 

The quickest way out again would have 

been to retrace my steps of the day before. 

But I much prefer a circuit, where the wonder 

of new ground provides more motivation to 

keep moving. My route went on over A6G4, 

then down ridge to Smiths Stream Hut at 900 

metres. From there I paid my dues for having 

enjoyed such a wonderful time on the tops. 

As I slogged back up another river, then up 

and down repeatedly, across the grain of 

the land, back to my parked car I reflected ‘ 

Yes, it’s true – no pain, no gain’. 

Waipawa Saddle (1,326m) and the route leading up to Te 

Atuaoparapara top left, Ruahines. 

Lumix TZ220, Leica AF 24-360mm F3.3 - 6.4 lens 

@ F8, 1/800s, ISO125, 69mm

Dawn view from Pt1635, west to Mangaweka (right) and south to Rangioteatua (left of centre), Ruahines. 





35

Te Atuaoparapara (1,687m, left) and Three Johns (1,569m, right) at dusk, from Pt1635, Ruahines. 





37

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39

Mini 4 Shot Portfolio 

Our 4x4 feature showcases 4 mini portfolios 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. 

EDGE OF THE WORLD 

Bikram Ghosh 

THE MACKENZIE UNDER MOONLIGHT 

David Morley 

GOING WITH THE FLOW 

Heather Colling 

PASIFIKA PRIDE 

Kerry Burton 


BIKRAM GHOSH

My intention with photography is to portray the beautiful elements 

in nature. For me, photography invigorates the powerful, bold, 

exciting world that stands out in all its glory. The aim is to tell my 

viewers a flattering story that creates a sense of being in the fleeting 

moment that each image was captured. 

@bikram.imagery 

EDGE OF THE WORLD 

Here is a selection of my favourite images from various coastal locations, 

mostly along the east coast of the South Island. I named it “Edge of The 

World” because that is the exact feeling these locations gave me while I was 

capturing these images. 

Standing at the shore of the expansive ocean and looking at the sky 

meeting the horizon, I always find my inner kid bringing back those childhood 

imaginations. The imagination of what’s beyond that horizon or is that where 

we could touch the sky. Like the great Carl Sagan once said - “Imagination 

will often carry us to worlds that never were, but without it, we go nowhere.” 

Through my photography, I keep my finding serenity at the edge of the ocean 

- where the environment is always tranquil, and all you can hear are the 

crashing waves.

DAVID MORLEY

I am a long-term photography enthusiast, fascinated by the 

alchemy of capturing light and converting it into a physical print. 

The pleasure I derive from photography comes in two parts: I 

enjoy recording holiday travel, whether a short city break or a 

longer exploration of a new country; it is also my preferred form of 

relaxation, providing me with an opportunity to disconnect from 

work. Born in the East of England, I am currently enjoying life in 

Auckland and exploring New Zealand. 

www.davidmportfolio.com 

THE MACKENZIE UNDER MOONLIGHT 

The Dark Skies of New Zealand are amazing. Being able to see the Milky Way 

with the naked eye – even in Auckland, is simply breathtaking. 

I thought I’d timed a recent short break at Lake Pukaki perfectly to capture 

dark skies, but I was wrong. I misread my Photo Pils App and arrived in the 

middle of a full moon weekend! 

Undeterred, I set out after dinner each evening in the pitch dark to locations 

that overlooked Aoraki / Mount Cook National Park, Lake Pukaki and the 

Mackenzie Country to see what I could capture. Thirty seconds is all it took to 

turn night into day.

HEATHER COLLING

I am an amateur photographer living in Nelson, having emigrated 

to New Zealand from the UK 20 years ago with my family. Initially, I 

became interested in portrait photography, but this has changed 

over the years to landscapes and birds! Being unable to travel 

outside of New Zealand for the last 2 years has opened up a whole 

new world for me in exploring and photographing this stunning 

country in which we live. 

@heathercolling 

GOING WITH THE FLOW 

Whilst landscape photography is my main interest, my true passion is 

photographing water in the landscape; be that lake reflections, waterfalls, 

seascapes, or flowing rivers. 

I love the challenge of trying different lighting, shutter speeds, and ND filters in 

an attempt to get the optimum effect - an ongoing work in progress. 

It is rare that I am truly happy with the result. However, I get a huge amount 

of enjoyment from experimenting, which makes getting out of bed for those 

early morning shots so worth it!

KERRY BURTON

I have been taking intentional photographs for about 18 

months, but I have been a "people watcher" most of my 

life! For this reason, I find myself drawn to candid shots of 

people and street photography. I feel there is beauty in 

the ordinary and I try to seek this out. 

PASIFIKA PRIDE 

I was fortunate enough to be invited to document the Northern Region 

Polyfest 2021 at Te Rauparaha Arena, Porirua, along with my friend and fellow 

photographer Ann Kilpatrick. It was a full-day event, with 6 colleges in the 

Porirua region - Aotea College, Bishop Viard College, Mana College, Porirua 

College, Tawa College and Te Kura Maori o Porirua - coming together to 

celebrate and showcase their cultural diversity on stage with song, dance 

and music. The pride, mana, youthful excitement and general vibe of aroha 

was intense and truly infectious, and something which I hope I captured in my 

shots.

What’s In The Bag 

with Glen Howey 

58 July 2022 NZPhotographer

Glen Howey, a professional landscape, travel, and documentary photographer, plus 

New Zealand Photography Workshops tutor, gives an insight into what he shoots with 

and why. 

THE CAMERA BAG 

I actually have two completely separate camera bags 

and camera set ups. The first I house in a Lowepro BP 

Whistler 450 AW. Not only does it carry my main camera 

and four lenses but it also has orange trim. Those who 

know me realise just how important that is (Not to 

mention that it’s a damn good bag that fits both me 

and my kit perfectly). The second is a grab bag for those 

times you want to have a camera on you ‘just in case’. 

It looks like a 100-year-old leather bag purchased on 

a Rajasthani backstreet but is in fact a ten-year -old 

leather bag purchased on a Rajasthani back street! 

I’m the sort of photographer who likes to know exactly 

where everything is so using the camera can become 

second nature to me and a kind of meditation rather 

than fumbling around in the dark, both figuratively and 

literally. The Lowepro is the perfect serious camera bag 

for 99 percent of my landscape work while the other 

bag can go almost unnoticed when I’m travelling. 

WHAT’S IN THE BAG? 

I recently upgraded to a Nikon Z7 (prior to this I kept 

reverting to my old faithful Nikon D90 as I’d drowned a 

previous upgrade and didn’t like another!) I can now 

say that I have embraced the new world of mirrorless 

cameras and love what I’ve discovered. The Z7 has 

a powerful set of specs that I won’t bore you with 

here but it’s also very light, perfect since I do a huge 

amount of roaming with a camera on my back. 

Squeezed into the Lowepro I have four lenses: 14-30mm 

f4, 24-70mm f4, 70-200mm f4, and a 200-500mm f5.6. I 

figure I nearly have everything covered but would love 

to add a fast prime in there too however, you can’t 

have everything without turning into that bloke who’s 

exhausted just getting the camera kit out of the car. 

The second camera kit I have for those ‘just in case’ 

days is the baby Z; the Nikon Z50 with two kit lenses, 

16-50mm f/3.5-6.3 and 50-250mm f/ 4.5-6.3. It’s 

obviously not a pro kit but I learned many years ago 

that it’s not about the size of your camera… And on 

that note, the first half dozen times I picked up that 

little kit, I was sure I’d left the camera out only to 

discover it really is just incredibly light! 

But back to the Z7… not only do I love the results, I 

love the fact that the menus are simple, clear and 

logical. Something that a lot of camera manufacturers 

have not mastered. Even coming from a DSLR 

background the changeover was painless. 



59

Top: Nikon Z7, 70-200mm, F/4.0 lens @ F11, 1.6s, ISO64, 200mm 

Bottom: Nikon Z7, 14-30mm F/4S lens @ F11, 1/6s, ISO64, 14mm

I do use filters, NDs and Polariser, I have set Hoya screwon 

filters that I use personally, and a Benro Pro Kit that 

I use when teaching with New Zealand Photography 

Workshops. Both systems have their advantages and 

disadvantages when using them in the field. 

My main tripod (I have three different sized 

Manfrottos) is the Manfrotto 190. It’s almost older than 

I am and I’ve owned it twice (it’s a long story…). It 

refuses to break even though it has travelled to 50 

countries and been through most of Christchurch’s 

quake damaged buildings. As long as it doesn’t give 

up on me, I’m not giving up on it. 

PUTTING THE GEAR INTO PRACTICE - ON 

LOCATION ON THE CLUTHA RIVER, WANAKA. 

This is a great little spot 3 minutes cycle from my home, so 

in Autumn and sometimes Spring I get up at silly o’clock 

and wander out onto my porch to see if the river fog is 

building. If it is, I’m off! If it isn’t, I make coffee and crack 

open Lightroom and pretend I’m actually working. 

The thing about fog that gets me so excited is that it’s 

constantly changing, it almost breathes in and out. It 

slowly reveals great images and then closes in again to 

reveal a completely different great image. I find good 

images demand your attention. For me it’s playtime, 

and we should all embrace the basic need for creative 

play. Something we forget as we get older. 

When placing myself into the landscape I approach 

it in two different ways: the first, sitting on the edge 

of where the fog is and shooting the grand vista 

with either wide or telephoto lenses. Secondly, 

shooting quite literally in the thick of it. Again, it’s the 

sort of occasion where you can use both wide and 

telephoto lenses. The challenge here is seeing the 

layers rather than getting lost within them. 

On this occasion I worked on a number of images, 

including a cheeky little series I’m building called 

“Lighting by Land Cruiser” which I shoot right on the 

edge of darkness - more on this coming soon! 

Nikon Z7, 14-30mm F/4 S lens @ F11, 30.0s, ISO160, 14mm 

Glen has been working and teaching as a photographer, as well as being an 

orange junkie for the last 30 years. If you go looking you’ll find his images from all 

over the world as well as New Zealand. You’ll discover what he discovered when 

documenting the aftermath of the Christchurch quakes in his book, Please Demolish 

With A Kind Heart. You may even find his image of a drunk Cambodian policeman 

shooting at him if you look hard enough. 

https://www.photographyworkshops.co.nz/tutor/glen-howey

Celebrating Mindfulness Month 

With An Excio Photo Challenge 

by Ana Lyubich 

The idea of running, walking, or biking to raise funds 

for a charity is not new. While taking photographs 

of a ‘Relay for Life’ fundraiser a few weeks ago, I 

wondered why I hadn’t heard of any fundraisers 

where people would take photos instead of running 

or walking. It’s the same concept and usually even 

includes the walking part! I started searching for similar 

ideas but couldn’t find anything. Did that stop me? 

Of course not; as is always the case with Excio, if we 

can’t find something, we create it! 

A perfect opportunity arrived when I saw an 

announcement from The Mental Health Foundation 

about Mindfulness Month. We all know how 

photography serves as a welcome distraction from all 

the negativity we absorb throughout the day. As soon 

as we put a camera in our hands, the world disappears. 

Coincidentally, August is also the month we celebrate 

World Photography Day. Hence, it felt like the stars 

aligned with my idea, and we couldn’t have wished for 

a better opportunity to support such an important cause 

closely linked with why many of us do photography. 

So, how can you take part in the challenge? 

First, sign up via community.excio.io/mindfulnessmonth 

(non-Excio members are welcome), and we 

will send you further instructions on how to share 

your photographs. Even if you miss the start of the 

challenge by a couple of days – don’t worry. It is 

supposed to be fun, not a stressful exercise. Join 

any time. We will be sharing daily tips on what you 

can photograph to keep your creativity flowing, or 

you can follow your own path and take photos of 

someone/something you love. 

This challenge is about mindfulness, so photograph 

whatever makes you happy. We are all busy, and 24 

hours is never enough, so why not take a photo on 

your way to/from work, no matter if it’s on your phone 

camera. It is not about high-resolution, high-quality 

shots; this challenge is about enjoying photography as 

a mindfulness practice. 

Double the challenge – if you want to do an extra 

challenge, try to take some photographs for a good 

cause – this way, you will not only support the Mental 

Health Foundation but may also be able to help 

another charity in turn. Talk to a local op shop, animal 

shelter, or retirement village. Nothing feels better than 

making someone’s day brighter. Double win-win! 

We are also super excited to launch our new free 

online community space for fellow like-minded 

photographers right in time for World Photography 

Day and our Mindfulness Month challenge. Join 

us there; you will be one of the first to share your 

photographs in our new, fun space. 

The success with all these fundraising walk-a-thons and 

marathons comes down to our commitment – if you want 

to help raise funds for Mindfulness Month, just commit 

to taking one photo a day (although you’re welcome 

to take more!). Go one step further and donate to 

MentalHealth.org.nz (https://events.mentalhealth.org.nz/ 

fundraisers/Excio) or ask your whānau, family and friends 

to support your efforts by donating. 

Find more information about the challenge and join us 

here: community.excio.io/mindfulness-month 

Co-founder of the Excio Photo Community and NZPhotographer Magazine, Ana Lyubich 

is a passionate photographer and photography mentor. She loves exploring the unseen 

macro world and capturing people's genuine emotions. Ana is always happy to help fellow 

photographers so don't hesitate to get in touch with her at ana@excio.io 

@excionz 


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Learn more at community.excio.io/sell 



63

Print On Demand 

Why not read your favourite magazine in print? 

ORDER NOW 

www.nzphotographer.nz/order-print-nzp/ 


An Introduction To Creative 

Human Photography 

by Shelley Harvey 

Creative portrait photography is all about what 

inspires you. It is your interpretation of a concept, 

creating a piece of work which evokes emotion and 

inspires a viewer to want to keep looking at it and 

hopefully hang it on a wall in their home. 

I have been creating fine art portraiture for eight 

years, and all the while, my work has been an intuitive, 

evolutionary process. I am forever learning new 

techniques and finding new ideas to try. We should 

never stop trying to learn and move forward in our 

craft as trying something new, something which is 

challenging and perhaps uncomfortable, is never time 

wasted. Even if our best-laid plans fail, we will have at 

least learnt from the process. 

When we speak of portraiture, we often think of client 

sessions and family photos – fine art portraiture differs, 

as it is a work, a creation, we do for ourselves. We 

create the scene, create an emotion, and turn it into 

art. We have full creative licence to do as we please 

(always with the model’s consent, of course!) 

CONCEPT & CREATIVITY 

My style varies from shooting in natural light when I’m 

keen to capture catchlights in the eyes to shooting 

against dark backgrounds, which suits my darker, 

grungy style of photography. 

I always convert my work to black and white to see if 

the image becomes more powerful when the colour 

is stripped away. Take, for example, my image titled 

Scintillating Silver, where I took inspiration from my 

surroundings and the props I had on hand. Prior to my 

workshop, I found a cool piece of metal mesh in my 

husband’s shed. I instantly thought this could be used 

in an image! The mesh was pliable and didn’t have 

too many sharp edges that would scratch the model. 

Once on location, the idea came together when I 

had Millie in make-up and dressed in a silver bodysuit 

- that’s when the mesh was added. I love the texture 

the mesh brings to the image and also the ‘why 

factor’. I am always looking for items or objects I can 

add to an image to create a different look. 

When creating fine art portraiture, the original image 

SOC (straight out of camera) is often the foundation 

on which to build meaning that, although I plan the 

concept, some of my images from planned shoots are 

happy accidents. Sometimes I will use the full image; 

other times, I may focus on one area, as was the case 

in my image titled Fallen Angel, which has become 

all about the hands. This was not my original intention, 

but once I got into post-processing, I was mesmerised 

by the hands and the emotion they conveyed. The 

rest of the image suddenly became less important, 

hence the blurring of the rest of the subject. By using 

this process, the viewer is drawn to the hands, and 

a story begins to unfold. To me, this image signifies 

struggles of faith and power. 

Very rarely will I delete any images from a shoot as 

I will go back and use pieces from different images 

to create a composite, and as my post-processing 

techniques evolve, I always have stock to pull from to 

process in a different way. 

Preparation of the concept is imperative before I 

begin a shoot. There are several factors to consider, 

including location, natural or artificial light, props, 

wardrobe, hair, and makeup. Am I going for a set 

theme? Does this involve creating a period in time? 

What emotions am I trying to convey? Do I have a 

story in my mind that will be easy for the viewer to 

decipher, or do I want it left open for interpretation? 

I use many different resources to gather inspiration 

for my work, including Instagram, Facebook, other 

photographers, paintings, sculpture, magazines, 

books, movies, and even my models, especially 

Georgia Baynon, Zoe Phillips, and Millie Robert. 

Sometimes inspiration can come from an inanimate 

object that becomes a prop used in the shoot. We 

all have different ways of being inspired, and it’s not 

about where the inspiration comes from but where 

and how we use it to make it our own. I keep files on 

all my devices with images sourced from all over the 

place and use these to feed my imagination prior to 

running a workshop or going into a shoot. Creativity 

takes research - inspiration doesn’t always come to us 

out of thin air. 

Once the concept for a shoot is conceived, I start 

looking at how I can best shoot my idea. With all my 

photography, my models play the most vital role 

and choosing a model plays an integral part of the 

process. 



65

Fallen Angel 

Nikon D810, 50mm lens 

@ F1.8, 1/400, ISO200 


Scintillating Silver 

Nikon D810, 24-70mm lens 

@ F2.8 1/800s, ISO100 



67

Without them, my images would not be possible as 

each of my models brings something different and 

unique to the table - their look and the way they 

convey emotion reflects in the final image. My style 

changes accordingly with the varying looks and 

emotions they give of themselves, and it also depends 

on how far a model is willing to go to get the shot. 

It is imperative to have open communication with 

a model and to build a relationship with them. I 

am fortunate to be trained in hair and makeup, so 

I get the advantage of being able to enter their 

personal space and gain their trust. I always discuss 

expectations and remuneration with my model prior 

to a shoot. By doing so, my model is well informed 

and knows what to expect. Reiterating to them that if 

they are not comfortable with an idea or pose, they 

ALWAYS have the right to say NO! 

FINE ART NUDE PHOTOGRAPHY 

I have recently embraced a new genre, Fine Art 

Nude Photography. I view this as a celebration of the 

female form, creating images that are sensual, NOT 

sexual. To me, Fine Art nude is about empowering 

women, not exploiting them. 

This is where I get to play with light, bending it to 

enhance the curves of the femine form. There is a 

simplicity that evolves when you remove clothing, a 

pure reality. 

It is of utmost importance to have excellent rapport 

and communication with your model when 

entering this genre. I also suggest that models have 

a chaperone with them, as this protects you as a 

photographer and them as your model. It also brings 

about a level of comfort and trust, and the shoot will 

flow much smoother. I talk with my model about the 

concept and show them ideas and poses before they 

remove their robe. I am extra sensitive before invading 

their personal space to apply props, always being sure 

to ask the model’s permission before touching them to 

apply body paint etc. 

When creating composites from nude images, I try 

my best to explain my concept before beginning 

the shoot. Sometimes the photos we harvest seem a 

Watch Your Back 


@ F5, 1/2500s, ISO100

Zoe 


@ F2.8, 1/1600s, ISO100 



69

Bound For Take Off (Composite) 

Nikon D810, 24-70mm lens @ F.5, 1/250s, ISO125 

little crazy, and it is good to be able to get the model 

on board with your idea. Building composites like 

my image ‘Bound for Take Off’, I had an idea of a 

concept that fully came together in post. I had to be 

sensitive in the preparation of the image as I covered 

my model’s face with fabric and had to get into her 

personal space when I bound her with the red wool. 

Her chaperone was very helpful as he was the one to 

do the throwing of the fabric. 

The human form lends itself beautifully to creating 

‘Bodyscapes’ using light and shadow to create 

images that appear as landscapes. I use light and 

shadow to my advantage to censor my images, 

hiding sensitive content in the shadow. I really enjoy 

images created using body paint, string, fabrics etc. 

The placement of different props can translate in 

many ways when reading an image. The placement 

of red berries over the area of the womb, for example, 

can signify the female reproductive system. A partially 

draped or veiled nude becomes more artful than a 

fully exposed nude. By using fabric etc., you create an 

implied nude and then are left with an image more 

open to interpretation and more scope to manipulate 

the image in-post. 

I find that fine art nude images sit extremely well as 

black and white images. This creates more depth 

in your light and shadow and evokes more mystery 

and emotion. I also find that when the model’s face 

is covered or removed from a nude, it becomes less 

confronting to the viewer, and the emphasis is then on 

the shape and form. People are more likely to buy a 

fine art nude when there is no direct eye contact from 

the subject. 

Each and every shoot is different, and like a great 

novel, as the pages turn, my model comes to life, 

the stories begin to unfold. The nude is truly a blank 

canvas; your imagination is the only limit! 

Over the next few months, I’ll be taking you on a 

creative journey to learn more about fine art portrait 

photography and creatively capturing the human 

form. From the initial concept to working with models 

right through to post-processing, all will be revealed! 

@shelleyharvey01 

@shelleyharvey01 

www.shelleyharveyphotography.com

SPRING 

READERS' 

SUBMISSIONS 

With days becoming longer 

and warmer, the spring is 

just around the corner! 

Submit photos by 15 August 

2022 for a chance to be 

featured in the next issue of 

NZPhotographer. 

Submit at www.nzphotographer.nz 



71

PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'PERSPECTIVES' 

REFLECTIVE PERSPECTIVE 

Glass reflection image. Taken on a shop window, Queens Parade, Devonport. 

Mick Sharpe 


BUSSELTON BRIDGE ON A MOODY DAY 

I have visited this bridge on a few occasions, but never with the threat of rain. I loved the moody clouds 

and the sun desperately trying to peep through, which added to the photo’s atmosphere. A couple of 

shots were all I got in as the heavens opened up, and it was a mad dash back to shelter, but it was so 

worth the drenching. 

Lyn Alves 



73

WATER COLOUR 

Shot from above, taken whilst flying over the Coromandel Peninsula and Firth of Thames. 

Looking down you see unique patterns left from the receding tide, together with the sheen 

and colours of the water creating this abstract-looking image. 

Wendy Pemberton 


FIRST LIGHT 

Taken at York Beach Maine as sun was coming up. 

Barbara Hall 



75

FEET FIRST 

Feet are not considered the most photogenic of body parts, but I disagree. They tell 

their own story about the person, their life, and in this image, their connection to the 

south coast of Wellington, where they live. It was taken in the late afternoon to catch 

the rich light and give the background a little focus. 

Crispin Anderlini 


SHELBY 

This was great fun to make. The image of the car was taken at a focal length of 31mm, low down 

and very close in to force the perspective. The idea being to emphasise the powerful and assertive 

stance of the car; a Shelby Mustang GT500. It also gives it a bit of a cartoon-like quality, and the 

original background, which contained other cars and the crowds at a car show, didn’t really fit. So an 

unashamed composite exaggerates the cinematic feel. There are five components, the car and four 

background layers. The floor is actually the side of a wooden shed, the back wall the outside wall of a 

church, and then there are two smoke layers into which I burnt the light effect. Three of the layers have a 

mask for the car, and one of the smoke layers has the opacity reduced. The floor and back wall use the 

standard blend mode, and both smoke layers use the hard light mode. I don’t know what the owner of 

the car would make of it, but I did remove some stone chips for them! 

Jack Horlock 



77

LOOK UP 

Shot on a rainy day during a street photography course. It was lots of fun, getting 

down on the ground in the puddles and looking up for a different perspective. 

Ann Kilpatrick 


ART ON THE STATE 

This building, once called The State, is a landmark on Rangitikei Street, Palmerston North. One day I was 

looking for a photo of it that looked a bit different. This side view showed an artful texture somewhat 

overwhelmed by the building as a whole - It was the shot I was looking for. 

Jim Jefferies 



79

GROUND LEVEL 

It is amazing what you can find on the forest floor if you pause and take the time to look around. This 

mushroom was tiny, not more than an inch tall. I was able to get slightly downhill, and with my camera at 

ground level, I could capture it from below. 

Karen Miller 


THE REMAINS OF AUTUMN 

An almost ceremonial aspect to this image, showing a women in a flowing dress sitting in 

nature in a ring of antlers with a withered flower crown. Taken from above to capture the 

circular shape of the antler ring and add an interesting perspective. 

Shelley Harvey 



81

WINTER'S MORNING BEACHSIDE 

I loved the way the rails and ropes led me into the sea on a beautiful morning. Getting down low made 

the tidal water appear so much further out. 

Margaret Jones 




83

SYDNEY OPERA HOUSE 

When in Sydney, a visit to the Opera House is always on the "to do" list. I didn’t have a 

camera at the time, so I got up close and personal with my old Samsung phone (a GT- 

19100T) to get a different perspective from the norm. 

Ann Kilpatrick 


SILO PARK GANTRY 

Silo Park Gantry, Wynyard Quarter, Auckland. 

Mick Sharpe 



85

ROCKET SHIP 

Auckland Sky Tower, Victoria Street, Auckland. 

Mick Sharpe 


B405 

Life is art. Live yours in colour. Taken at the University of Auckland 

Hung Piew Tang 



87

INTO THE SKY 

This shot was taken on Mount Victoria in Wellington. There you can find the Richard Byrd 

Memorial which looks a bit like a pyramid. I rested my Nikon D3400 at the bottom of a shiny 

piece of metal which makes one of the sides of the triangles. Because I put the camera 

directly on ground level and aimed skyward at an angle of around 45 degrees, I could not 

use the viewfinder, or the screen, so it was a ‘blind’ shot. The clouds reflected nicely on the 

metal and there is a spiritual feel to this shot. 

Sebastian Schuster 


FOUR WINDOW REFLECTION 

I walked passed this view every time I left my accommodation. I was always fascinated with the light and 

the reflections that constantly changed on the four windows. I imagined who was in the rooms, visitors, 

families on holiday, or travellers on business, which was quite intriguing. 

Lyn Alves 



89

CAR PART 

In April, I attended a weekend photography workshop at Pounawea, a small seaside 

community in the Catlins area. Over the two days, attendees were given photographic 

tasks which were then presented back to the group or edited on our computers for a later 

showing. This photo of a car light was among those taken in response to the theme of 

Triangles. 

Suzanne Renner 


ON SCAFFOLDING 

In August 2020, a fire damaged the roof of St. Paul’s Cathedral in Dunedin. The exterior repair 

required complex scaffolding of considerable height. The angles and layers of metal pipes 

created an interesting backdrop to the workers in their high-vis jackets. 

Suzanne Renner 



91

"SEEKING IS ENDLESS. IT NEVER COMES TO 

A STATE OF REST; IT NEVER CEASES." 

SHARON SALZBERG 

PHOTO BY NOELLE BENNETT

NZPhotographer Issue 58, August 2022

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