NZPhotographer Issue 59, September 2022

ISSUE 59, September 2022 

ESCAPING STRESS WHILST 

EVOKING EMOTION; INTERVIEW 

WITH SHELLY LINEHAN 

CREATIVE STUDIO SPACES 

BY FAIRLIE ATKINSON 

FROM THE ROAD: 

HO CHI MINH CITY 

BY SUSAN BLICK

WELCOME TO ISSUE 59 OF 

NZ PHOTOGRAPHER MAGAZINE 

HELLO EVERYONE, 

In this issue, we’re talking about 

creating a home studio, whether 

that be your spare bedroom, 

living room, or a custom build 

space. Richard Young shows 

us what’s in his camera bag, 

and 17-year-old Callum Connell 

inspires us to get creative with our 

landscape photography through 

digital manipulation. 

Along with your favourite regular 

features, Shelly Linehan tells us 

how she started her photography 

business whilst working full-time as a veterinary nurse - hint; 

run your race and remember that Rome wasn’t built in a 

day! Susan Blick shows us the city she is now calling home; 

Saigon in Vietnam, and Shelley Harvey is back with the 

second article in her portrait series, discussing what it takes 

to create a compelling portrait from start to finish. 

All this and more - Enjoy! 

OUR CONTRIBUTORS 

Emily Goodwin 

Editor NZ Photographer 

NZPhotographer Issue 59 

September 2022 

Cover Photo 

A Wee Waxeye 

in Nectar Heaven 

by Lyn Alves 

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. 

Susan Blick 

Susan Blick is an awardwinning 

landscape and 

travel photographer, plus 

travel vlogger and writer from 

Australia and New Zealand. 

Susan was New Zealand 

Geographic’s Landscape 

Photographer of the Year 

in 2015. She is currently 

based in Vietnam and runs 

international photo tours. 

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 

26 

45 

54 

62 

68 

74 

BEHIND THE SHOT 

WITH CAROLE GARSIDE 

RISING STAR; CALLUM CONNELL 


EVOKING EMOTION INTERVIEW 


MINI 4 SHOT PORTFOLIO 

CREATING COMPELLING PORTRAITS 

by Shelley Harvey 

WHAT’S IN THE BAG 

WITH RICHARD YOUNG 

CREATIVE STUDIO SPACES 

by Fairlie Atkinson 

STEPHEN MILNER AND THE 

VOLCANIC AOTEAROA PROJECT 

FROM THE ROAD: HO CHI MINH CITY 

by Susan Blick 

85 PORTFOLIO 

BEST READERS’ SUBMISSIONS 

MEMBERSHIP 


EVOKING EMOTION INTERVIEW 


WHAT’S IN THE BAG 

WITH RICHARD YOUNG 

VOLCANIC AOTEAROA PROJECT 

12 

54 

68 

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Personally, I would prefer a Nikon! 

Nikon D500, 200-500mm Nikon lens 

@ F5.6, 1/50s, ISO400, 200mm 

Behind The Shot 

with Carole Garside

CAROLE, REMIND US WHO YOU ARE... 

I am a graphic designer by trade, but after being 

made redundant, I decided to take time out of the 

workforce. I still haven’t gone back! I have always 

owned some kind of camera from when my parents 

bought me a Kodak Instamatic for my tenth birthday. 

A legacy from an Aunt meant that I bought my first 

DSLR around the same time I stopped working. It was 

quite a steep learning curve from my previous bridge 

camera, but I turned it to manual mode, made myself 

shoot every day, and have not looked back since. 

Since my feature in issue 21, just over three years ago, I 

have qualified with a Level 5 diploma in photography 

through the Southern Institute of Technology. This was 

a great way to learn about different genres. It covered 

everything from street photography, portraiture, food 

photography, real estate, landscape etc. I entered the 

Pukekohe Creative Focus Salon last year for the first time 

and was really happy to receive a highly commended 

for one of my pieces. I also got my Licentiate through 

the Photography Society New Zealand in July of this year 

which I’m absolutely thrilled about. I am starting the Level 

6 diploma next month, which I expect will push me out of 

my comfort zone. 

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHY? 

I would describe my photography as fairly eclectic. I 

will give anything a try. Having said that, if I look back 

at my favourite shots, they tend to be nature and 

wildlife shots. I love photographing birds and fungi in 

particular. I’m always trying to improve my landscapes 

as we have such beautiful scenery here in New 

Zealand. I have also started dabbling in composite 

work, whether simply changing an untidy background 

with a texture or doing a full-out creative composite. 

WHAT ARE YOU SHOOTING WITH? 

I still have my first DSLR, a Nikon D7500, but I mainly use 

a Nikon D500 now. I seem to have acquired quite a 

stable of lenses. My latest one is a Nikon 70-200mm. 

I regularly use my Nikon 16-80mm, 200-500mm and 

105mm macro lens. I also have a Tamron 10-24mm 

wide angle and a Tamron 18-400mm (a good all 

round travel lens, but I seem to have retired it.) 

My current tripod is a Peak Design carbon fibre one. I 

changed from a Benro one, as it’s much lighter and packs 

away very compactly. I also have a Benro filter system with 

a couple of ND filters and a hard graduated one. 

TELL US ABOUT YOUR KAKARUWAI PHOTO… 

At the end of May, I was lucky enough to attend one 

of the New Zealand Photography Workshops, led 

by Richard Young to Stewart Island. This was a great 

opportunity to visit somewhere new and covered both 

landscapes and wildlife. 

The highlight of this trip for me was visiting Ulva 

Island to see the birdlife (and my personal goal of 

finding my first Entoloma hochstetteri (blue fungi). 

BEHIND THE SHOT IS PROUDLY 

SUPPORTED BY 

This photograph is of one of the South Island Robins 

(Kakaruwai) we saw on the island. They were 

generally very inquisitive but quite difficult to shoot in 

the darkness of the bush. This shot was taken out of 

the forest on the beach. 

After walking through bush and forest, we stopped 

on the beach for refreshment. This particular robin 

was hopping around on our camera equipment and 

rucksacks. For a minute, it actually sat on my back! 

I thought this shot was quite amusing, a robin showing 

off his photography skills! I was having to back away, as I 

still had my long 200-500mm lens on the camera, and he 

kept getting too close. I would have liked to stay longer 

on the island, but time was limited due to ferry timetables. 

WHAT EDITING DID YOU DO TO THIS PHOTO? 

I use both Lightroom CC and Photoshop CC for editing. 

As I was caught off guard, I still had the aperture set wide 

for the dim light in the bush. Consequently, the shot was 

a bit bright, especially the background. I used the curves 

adjustment layer in Photoshop just to darken it a little. No 

cropping was needed in this bird photograph, as it was 

actually too close for the lens I was using at the time. 

HOW HAPPY ARE YOU WITH THE SHOT? 

I wish the back of the camera was in focus, and I wish 

it was a Nikon, not a Canon! As I mentioned, it was 

such a surprise shot that I was still set up for shooting 

in the darkness of the bush. Given a chance, I’d 

have changed to a shorter lens as I couldn’t back far 

enough away from him without getting my feet wet. 

WHAT TIPS CAN YOU SHARE WITH READERS, 

GIVEN YOUR TIME ON LOCATION AND THE 

SURPRISE OPPORTUNITIES? 

First of all, be prepared; you just don’t know what will 

happen in a wildlife situation. We saw saddlebacks 

in the bush, but I just wasn’t quick enough to capture 

them. 

For bird photography specifically, the best tip I can 

give anyone is to use back button focus. It feels 

strange at first but will soon become a natural habit, 

and you will hit the focus on more shots. 

WHERE CAN WE SEE MORE OF YOUR PHOTOS? 

@CaroleGarsidePhotographer 

carolegarsidephotographer.co.nz 

excio.gallery/carole 

@yorkshire.kiwi

Rising Star; Callum Connell 

Callum is 17 years old and lives in Tauranga. He enjoys wildlife and landscape 

photography and has found a new lease of creativity through digital manipulation, 

resulting in his images being a combination of photography and design. 

CALLUM, TELL US ABOUT YOU AND HOW YOUR 

JOURNEY INTO PHOTOGRAPHY STARTED…. 

When I was 7 years old, my family and I spent two 

years living in England and travelling around Europe. 

When we first moved to England, my parents bought 

me and my sister our first devices – iPods. I loved the 

idea of taking photos and I would take them of all 

sorts of things wherever we went. At first, my photos 

were more based on keeping memories of England 

and our Europe trips than taking good photos, but 

after a couple of years of being back in New Zealand, 

I started getting an eye for taking better photos. 

When I was about 14, I got my first DSLR camera. I 

took it on any holiday we went on and even spent 

time taking photos of things in my backyard. I then 

decided in year 11 to take Art as a subject and 

focused my studies on photography, which took me 

to all sorts of different places not only in photography 

but also in digital manipulation. 

WHAT GEAR DO YOU HAVE TODAY? 

Today I have a camera bag which has my Canon 

800D camera with its standard lens, a wide-angle lens, 

and a zoom lens. I also sometimes use a polarizing 

filter and a variable neutral density filter. I also have a 

tripod that I use often, and an extra battery. 

6 September 2022 NZPhotographer

NZPhotographer 


7


WHAT DO YOU MOST ENJOY ABOUT 

LANDSCAPE PHOTOGRAPHY? 

When it comes to landscapes, sometimes what you see 

in a photo is not always the same as what you witness in 

person. I love the challenge of capturing the real beauty 

of something and the feeling of what you see in real life. 

HOW HAVE YOU BEEN LEARNING? 

I have taught myself a lot of what I know through a bit 

of trial and error mixed with a lot of research. But I have 

recently been learning a lot about photography and digital 

manipulation from my art teacher in my classes at school. 

WHAT HAVE YOU STRUGGLED WITH THE MOST? 

I have greatly struggled with finding time to go places 

where I want to take photos. I’m always looking for new 

things to photograph. I love landscapes and I try to 

capture some easily accessible landscapes more than 

once, but I love capturing new things. Initially, this slowed 

me down, and I found myself doing less photography. 

Because of this, I decided to do some research and 

look on social media and found some other styles of 

photography that I enjoy that I don’t have to go far to 

find, such as taking photos of my dogs. 

TELL US ABOUT YOUR FAVOURITE PHOTOS… 

A few of my favourite photos are pieces of digital 

manipulation. I created these as part of a school 

assignment that required me to show a level of 

compositional and technique exploration. 

I looked at other artists who manipulate their photos digitally 

and started trying it myself which opened up a world of 

possibilities, particularly how I can continue to manipulate 

and develop my photography beyond the lens. I see this 

work as a combination of photography and design. 

I have two favourite photos from this body of work. I like 

the landscape image (top left) with two inverted shapes 

with people in the foreground. Although it is simple, it 

has a nice composition with striking colours contrasting 

nicely to make the composition balanced. I also like the 

duplicated circle photo (bottom left) because it has a 

sense of movement and a visually appealing focal point. 

WHAT’S NEXT FOR YOU? 

I think I will always continue with photography as it 

is one of my favourite things and brings me so much 

enjoyment. I’m still unsure whether photography 

will affect my career choices in the future, but I do 

know that I still have plenty more places to go and 

adventures to have to find those perfect pictures. 

WHERE CAN WE FIND YOU ONLINE? 

@through_the_eyepiece_nz 

throughtheeyepiece.co.nz 

4 Day Masterclass 

Mount Cook 

Capture to Print 

17th-20th September & 

10-13th November 2022 

Click here for 

Landscape Masterclass - Mount Cook 

Based at Mt Cook, our Landscape Masterclass Workshop is designed as 

an ideal programme to expand your skills as a landscape photographer. 

With Rob Brown and Glen Howey as your tutors, you will learn to shoot a 

diverse range of subject matters including, mountains, glaciers, macro 

and nature photography. The workshop also includes a ski-plane flight 

over Mt Cook to do some aerial photography. We will base for 3 nights 

in the comfortable Hermitage Hotel in Mt Cook Village, with the use of a 

conference room for tuition and post-processing sessions. 

More Information 

027 2614417 

www.photographyworkshops.co.nz 

info@photographyworkshops.co.nz 



9

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11

Escaping Stress Whilst Evoking Emotion 

Interview With Shelly Linehan 

time after my studies had finished) that I picked up 

a camera and started taking images again. When I 

began to get back into photography, I learned that 

film cameras were out, and digital cameras were the 

new thing. This was all new to me, the basic camera 

fundamentals were the same, but now you had 

to develop your images via computer software at 

home instead of taking your film into a photo lab and 

waiting to get your photos back. Joining my local 

camera club helped me to learn these new digital 

skills and meet new people. 

I still work full time as a Vet Nurse in a busy mixed 

animal practice in Whangarei, but I now also run my 

photography business part-time. I sell landscape and 

fine art prints, calendars, gift cards etc., at markets 

and from my website/social media platforms. I also 

shoot family portraits and have just started to get into 

pet portraits which I’m very excited about. I have just 

gone down to 4 days a week in my day job, so this 

will give me more time to focus on my photography 

business. 

SHELLY, CAN YOU TELL US A BIT ABOUT YOU 

AND YOUR LIFE? 

I was brought up on a dairy farm just out of Dargaville 

on the west coast of the North Island. This was where 

I learnt the love of animals and discovered my love 

for the beach. I worked various jobs until I was 23, and 

then I started my Vet Nurse Career. 

Today I live on the beautiful Whangarei Heads on the 

east coast with my husband and my 3-legged rescue 

cat Stevie. I’m very lucky to live so close to the coast, 

within a 15-minute drive. I spend a lot of my spare time 

at the beach; it’s so relaxing just to get out and take a 

walk. 

WHEN DID YOUR PHOTOGRAPHY JOURNEY 

BEGIN, AND WHERE HAS IT LED YOU TODAY? 

My photography journey began when I was 16 years 

old, long before digital came along! I enjoyed getting 

out and photographing anything that interested me, 

including nature, landscapes, and people. When I 

started my Vet Nurse career, I put my camera down, 

and it wasn’t until many years (once I had more spare 

WHAT ARE YOU SHOOTING WITH? 

I use a Canon 5D MK4, mainly the Canon 24-70mm 2.8 

and the 70-200mm 2.8. I find most of my images are 

made with these two lenses. I also have a 16-35mm 

2.8 that I sometimes use for those ‘big landscapes’. I 

try to keep my kit as simple as possible as I don’t like to 

overcomplicate things. I use a set of Benro filters when 

taking landscapes to help darken down the bright sky 

to even out my exposures, so I don’t have to bracket. 

I also love to use the 6 and 10-stop filters to slow down 

and smooth out the water and give movement in the 

clouds. I use a Manfrotto tripod too that desperately 

needs replacing due to too much sand and saltwater! 

WHAT DOES PHOTOGRAPHY MEAN TO YOU? 

WHY DO YOU TAKE PHOTOS? 

I find photography very relaxing and calming. I have 

a stressful job at times, and if I go out with my camera, 

it helps me forget about work and all the worries and 

stresses that everyday life can bring. I love to travel 

around our country, discovering and photographing 

the new and beautiful landscapes that New Zealand 

offers. Capturing the magic light inspires me the most 

to get out and take photographs. 

Photography, to me, is very expressive; you have 

the freedom to do what you want and how you 

want. If you want to break all the rules, you can; 

no one is there to stop you. An example would be 


Protors Beach 

Canon 5DMKIV, 24-70mm lens @ F11, 1.6s, ISO100, 32mm 

ICM (intentional camera movement), where you 

can be as creative and artistic as you want. When 

I discovered the ICM technique, it was like a light 

bulb moment, and my photography changed for the 

better. 

I feel photography is an important part of our life; if it 

wasn’t for photography, how would we record these 

special scenes, moments and memories for future 

generations? 

HOW WOULD YOU DESCRIBE YOUR 

PHOTOGRAPHY? 

I guess I’m most known for my New Zealand 

landscapes; this is definitely the genre I prefer to 

photograph. It makes my heart sing, and I get really 

excited when I’m planning a trip away to a new 

place that I haven’t photographed before. 

I find it hard to talk about my photography. It is 

something I need to work on. I have asked other 

photographers to describe my photography style, and 

the one word that keeps coming back to me is fine 

art. This is a style that I have worked on and continue 

to work on to achieve. Not all of my landscape work 

is fine art, but I do strive to produce work that is at the 

fine art level in my eyes. 

To me, fine art photography means that the images 

are taken beyond the basic or literal photographic 

representation of a scene; they are not just snapped 

randomly. It goes beyond just capturing what is in 

front of the camera. I will consider factors such as 

lines, space, colour, depth, form, texture and most 

importantly, light. The images will convey a feeling 

and will have an artistic vision. Essentially, a fine 

art image to me is one that is original and evokes 

emotion in the viewer or makes them stop and pause 

for thought. 

WHAT PHOTOGRAPHY CHALLENGES HAVE 

YOU OVERCOME OVER THE YEARS? 

The biggest challenge I have overcome is having 

the time to get out and practice and enjoy my 

photography. Working full-time can be tiring, and 

by the end of the week, all I want to do is just relax 

at home. My husband and I own a lifestyle block, 

so there are always things to do around the home. I 

overcame this challenge by setting aside at least one 

hour each night to learn an aspect of photography, 

whether post-processing or learning more about 

the craft. I watched YouTube videos and other 

online tutorial videos when I wanted to learn a new 

technique or find inspiration. I also joined various 

Facebook photography groups to get feedback on 

my images. The most important thing to do to improve 

your photography is to get out and practice, practice, 

practice though. 

When I wanted to get out and do photography, I 

would set either one early morning or late afternoon 

aside on the weekends to go out and practice my 

landscapes. This still gave me time to do the house/ 

property chores. 



13

Mcgregors Bay 

Canon 5D MKIV, 24-70mm lens @ F11, 1/125s, ISO200, 27mm

Misty Morning 

Canon 5DMKIV, 70-300mm lens @ F9, 1/1000s, ISO400, 300mm 

WHICH DO YOU PREFER, MISTY MORNINGS OR 

STUNNING SUNSETS? 

This is a hard one! I just love them both, but if I had 

to choose, I think I would go with misty mornings as 

these don’t happen that often up here in Northland, 

especially out in the coastal areas as it doesn’t get as 

cold as down south. When we do get misty mornings, 

I get really excited and can’t wait to get out there 

and photograph the landscape as long as I don’t 

have to go to work. Misty mornings just give the 

landscape that little bit extra magic; they help simplify 

your landscape and can give an ethereal feel to the 

landscape. 

CAN YOU SHARE SOME LANDSCAPE 

PHOTOGRAPHY TIPS WITH US? 

Yes, I would love to share some of the knowledge I 

have learnt over the years. 

1. The first thing is just to get out there and give it a 

go, don’t overcomplicate things. Try to keep the 

landscape as simple as possible; less is more. 

2. The best times to photograph the landscape 

are in the golden hours, in the morning just 

before sunrise, an hour after, and a couple of 

hours before sunset. The light is softer and more 

atmospheric at these times because the sun is 

lower in the sky. 

3. Revisit locations to learn from what you have 

taken on previous trips and how you can improve. 

You will learn how weather and seasons can 

change a scene as you will never get the same 

result twice. 

4. The final tip is to get out there, have fun and learn 

from your mistakes. 

WHICH IS YOUR FAVOURITE TIME OF YEAR FOR 

CAPTURING LANDSCAPES? 

I find the winter months are my favourite time of the 

year to photograph landscapes as the air is clean and 

crisp, and you can get out in the middle of the day 

and capture a dramatic and moody image during 

the winter months. The weather in the winter months 

is very changeable. You can have a nice sunny day 

one minute and then stormy weather the next; this 

can bring a great atmosphere to your images. Just 

make sure you are prepared for all weathers and 

don’t take risks as no photo is worth a life. 



15

Whangarei Heads 

Canon 5DMKIV 70-200mm @ F16.5s, ISO100, 140mm 

I use the “YR” weather app to help predict what the 

weather will be like and what the clouds are doing. 

I also use the “Tides near me” app as I shoot a lot 

of seascapes, and I need to know what the tides 

are doing. This is important as you don’t want to get 

caught out with a high tide. 

TELL US ABOUT YOUR ICM PHOTOGRAPHY… 

A few years ago, a local camera club hosted a 

workshop about using the right side of your brain, the 

creative side. The workshop was hosted by Auckland 

photographer Bruce Burgess who taught us how to 

break all the rules in photography and introduced 

participants to ICM photography. 

I was just amazed at what you could achieve with 

practice. The images he showed us were just beautiful 

and so different from your traditional straight-out-ofthe-camera 

photos, the images weren’t sharp at all, 

but they had magic to them and lit up my eyes. 

ICM photography is an abstract style of shooting 

that has no rules. It is more dreamy and painterly 

and captures a feeling or expression, resulting in an 

abstract rendition of a scene. I just love doing this 

style of photography at the beach with early morning 

or evening light, it takes practice, but the results are 

worth it. 

TELL US MORE ABOUT SETTING UP AND 

RUNNING YOUR PHOTOGRAPHY BUSINESS… 

I have built up my photography business slowly over 

the last six years. 

Friends and family initially asked me to photograph 

their families, and I did this at a low cost when I started, 

just to cover my costs while I built up my portfolio; 

then, I started charging more. Word of mouth is great, 

and you get more work from this. I have a Facebook 

page that I try and post regularly to and also some 

local Facebook pages in the area. I have also started 

posting on my Instagram page in the last year. 

I have sold my landscape work at art shows and 

markets in the local area. I don’t sell a lot at the 

markets, mainly my gift cards, smaller prints, and 

calendars, I do these to get my name out there, and 

it seems to have worked. I’m now starting to sell more 

from my Facebook page and have started to get 

commissions for landscapes. 


Ruakaka Beach 

Canon 5D MKIV, 70-200mm lens @ F14, .5s, ISO100, 70mm

Paisley 

Canon 5DMKIV, 70-200mm lens @ F2.8, 1/250s, ISO400, 200mm

Awaroa Bay 

Canon 5DMKIV, 70-200mm lens @ F8, 1/2000s, ISO320, 130mm 

It has been a slow process, but I’m getting there. 

The tips that I can give others are to run your race, 

just take your time and don’t worry about what 

others think, and start building up your portfolio 

photographing friends and family. Have a Facebook 

page and make sure to post regularly, and post to 

other local Facebook pages so that people know who 

you are and what you do. I’m sure there is a lot more 

advice others could give, but this is what I have found 

to work for me while working full time. 

YOU’VE ALSO VENTURED INTO PET PORTRAITS 

RECENTLY? 

After working with animals all these years as a Vet 

Nurse, I decided that I would give pet portraits a go. 

Funny, now that I think about it, why didn’t I do this 

sooner? I just love animals, and taking their portraits for 

their owners is just the icing on the cake. 

I really love to take dog portraits, and I think they are 

my favourite pet to photograph. I do love cats, but 

they can be a bit harder to photograph as they have 

a mind of their own, and if they don’t like you, then 

there is no way you will be able to photograph them! 

When taking dog portraits, I will go to the owner’s 

home or a park or beach. 

Pet portraits are something I want to do more of in the 

future, it is not easy, but it does have great rewards. 

One day I would like to have a studio at my home so I 

can photograph dogs during the winter months when 

it is cold and wet outside. 

WHAT IS YOUR MOST CHALLENGING SHOOT 

WITH THE MOST SUCCESSFUL OUTCOME? 

I think the most challenging shoot I have done is one 

I did earlier this year. A friend invited me to go with 

her on a flight around Golden Bay to do some arial 

photography. I had never done any kind of aerial 

photography before, and the biggest challenge was 

motion sickness! This is something I struggle with a lot, 

so this was going to be a challenge, but I was very 

excited to try something new. 

We started our flight and flew over the beautiful 

Awaroa, this area of our country is so beautiful, the 

water was so green, it was magic to photograph. 

After a while, I started to feel unwell. Looking through 

the camera while flying around in circles was not such 

a great idea. I continued to hold myself together until 

we landed about 45 minutes later. Let’s just say it was 

a swift exit! Apart from getting motion sick, I had the 

best day and captured an image I absolutely love. 

CAN YOU TELL US THE STORY BEHIND ONE OF 

YOUR FAVOURITE IMAGES? 

I don’t really have one favourite image, but I have 

a series of images I took last year in July that I would 

have to say would be my favourite to date. 



19

Icy Waters Edge 

Canon 5DMKIV 16-35mm lens @ F11, 1/100s, ISO200, 16mm



21

Kelland Ponds 

Canon 5DMKIV, 24-70mm lens @ F11, 1/125s, ISO200, 48mm



23

Wairepo Arm 

Canon 5DMKIV 70-200mm lens @ F11, 1/250s, ISO400, 160mm 

One Saturday morning last July, I was lying in bed 

just scrolling through my Facebook feed when a post 

popped up about a hoar frost happening in Twizel. 

I got really excited and did a bit more homework 

and was told that the hoar frost should be around for 

another three days or so. I knew I had to get down 

there and photograph it; the one problem was that I 

needed to get time off work, so I rang my boss to ask 

for a week off, and he agreed, thank goodness. 

It was a mad rush as I only had one hour to pack 

my suitcase and camera bag, and then we were 

on our way to Auckland airport to catch my flight 

that evening. While my husband drove, I booked my 

accommodation and rental car. 

I arrived at Christchurch at 7pm and drove as 

far south as I could that night. The next day I left 

Geraldine at 6am and arrived at Twizel at 8.30am to a 

magical site of hoar frost. I spent all day around Twizel 

photographing the landscape that was covered in 

ice. I got to my accommodation just on dark, I was 

buggered! The next morning, I got up at daybreak 

and went back out to photograph more of the hoar 

frost. By early afternoon it was all gone. 

I was very lucky to spend nearly two days 

photographing a magical wonderland. I spent 

the rest of the week travelling around the area, 

photographing the landscape. I came home with 

memory cards full of landscape images that have 

become my favourite to date. 

WHAT ELSE SHOULD WE KNOW ABOUT YOU OR 

YOUR PHOTOGRAPHY? 

I travel at least once, if not twice a year, to the South 

Island. I don’t really like big crowds and prefer to go 

to places where there are fewer people. I have seen 

a lot of New Zealand, but I still have so much more 

to see. I love how diverse our landscape is and that 

both islands are so different. I think there will be a time 

when I’m ready to start travelling overseas, but for 

now, I’m happy to stay here and capture more New 

Zealand landscapes. 

ANY INSPIRATIONAL WORDS TO LEAVE US 

WITH? 

Well, I’m not sure if these words are inspirational, but 

they have helped me to get to where I am today. 

Photography is an art; it is your art. Do it your way, 

and don’t worry about other people’s thoughts. 

Photograph what makes you happy; shoot from the 

heart. Also, keep it simple. I strive for simplicity, and I 

try not to overcomplicate things which is easier said 

than done! 

WHERE CAN WE FIND YOU ONLINE? 

www.shelmarcphotography.co.nz 

@shelmarcphotography 

@shelly.linehan 

excio.gallery/shelly 


Click here for more 

informaition 



25

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. 

HAVING FUN WITH PHOTOGRAPHY 

Cherie Engelbrecht 

THE PENINSULA 

Kelvin Wright 

WARBIRD MAGIC 

Paul Johnston 

MY ‘DECISIVE MOMENTS’ 

Tulipa Briggs 


CHERIE ENGELBRECHT

I live in Wellington and have a busy life with family and work. 

Taking photos was something I only ever did when I travelled 

overseas but during Covid, a friend of mine commented 

that, while travel overseas was not possible, photography, 

as a hobby, definitely was. So I found myself heading for a 

workshop being held in the Catlins. After that, I was hooked! 

HAVING FUN WITH PHOTOGRAPHY 

Living in the Wellington suburb of Karori means Zealandia is very close by. It’s a 

place which, until recently, I had seldom visited. Now, I’m there every couple 

of weeks practising my new-found hobby. It’s also a great excuse for getting 

outside, especially in the winter months when it’s so easy to stay indoors. 

To begin with I borrowed photographic gear but, recently I bought a Nikon Z fc. 

I have really enjoyed learning how to use Lightroom and being able to focus on 

the textural elements of the photos that I have taken. It’s amazing when you can 

zoom in – so often you see different things each time you look at a photo. 

At the moment I’m focusing on taking photos and then learning how to make 

them better. Instead of rushing from A to B, I now look very differently at the world 

around me. 

The four photos show my journey to date. Two were taken during the Stewart 

Island workshop and the other two from regular visits to New Zealandia.

KELVIN WRIGHT

Although I have been taking photos for many years, the five 

years since retirement have seen my photography flourish. For 

me, taking photos is a spiritual practice; a way of truly seeing 

and engaging with the world. I live at the base of the Otago 

Peninsula, with its many beaches, tracks, hills, and varied 

wildlife. Birds constantly visit our garden, so it is landscapes 

and birds that are my primary photographic concern. 

THE PENINSULA 

The long narrow body of the Otago Harbour is enfolded on all sides by hills. 

Around its outer edges are a series of rocky beaches and several large tidal 

inlets. Dunedin nestles against the base of the harbour, with Port Chalmers 

nearby. Small settlements line the inner coastline. With seabirds, seals, 

forests, and much human activity, it is an endless source of photographic 

engagement. 

My favourite time for taking pictures is early morning when it is still enough for 

the hills and sky to be reflected in the water. All these pictures were taken soon 

after sunrise. I hope they suggest something of the beauty and variety of the 

place I call home.

PAUL JOHNSTON

My photography journey started as a youngster with a 

"hand me down" Instamatic. Fifty years later, I'm pleased 

to say my gear has greatly improved and I have been a 

Nikon shooter for about 20 years now. Although I have 

taken a lot of warbird photos in recent years, I’m also 

happy shooting flora and fauna, wildlife, and landscapes. 

WARBIRD MAGIC 

For the last 18 years, I’ve been a member of New Zealand Warbirds 

Association based at Ardmore Airport. This has enabled me to get up close 

and personal with all the aircraft there, being able to sit in them, fly in them (as 

a passenger) and sometimes work on them. Aviation photography has taken 

up the lion’s share of my hard drive! 

I enjoy air-to-air photography for its unique perspectives, different from what 

you can expect at ground level. Usually, the subjects with ever-changing 

backgrounds make great photos with just minimal enhancements required. It’s 

not always the most comfortable of experiences, but it does produce some 

great opportunities for exciting photography.

TULIPA BRIGGS

Since the days of using the dark room at school and hand 

processing my film and images, photography has been an enduring 

fascination for me. Following on from the early days of enjoying 

my new-found hobby, I have become proficient in using software 

programmes. I am a member of the Dunedin Photographic Society 

and the Photographic Society of New Zealand, for which I was 

recently awarded their Licentiate. 

MY ‘DECISIVE MOMENTS’ 

My street photography is influenced by Henri Cartier-Bresson, whose photos 

I became aware of whilst completing a Diploma in Digital Photography with 

the Southern Institute of Technology. I am fascinated by his candid street 

images. This, in turn, made me realise that subjects in photography can be 

taken anywhere. 

Street photography, for me, is about capturing raw, unedited, and unscripted 

parts of people’s day-to-day life. 

My four images were taken during a club photographic outing around the 

streets of Dunedin. I always aim to get that image which some others may 

overlook. Safety first, I have even dodged traffic to capture that perfect 

image. Using a small-sized camera helps as it allows you to attempt to be 

intimate with the subject. 

My post-processing skills have improved over the past years. This is due to 

the online focus groups that were formed by members of the Dunedin 

Photographic Society during the first Covid lockdown. The continuation of 

these have been valuable. 

Converting my images to monochrome or black and white adds to the effect, 

as leaving in the colour can be uncomplimentary or distracting.

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Creating Compelling Portraits 

by Shelley Harvey 

Hard at Play – Scene from a workshop. 

When capturing and creating a compelling portrait, 

emotion plays an integral role. For centuries art has 

been about evoking emotion and we should always 

ask ourselves, how do we want the viewer to feel 

and how do we want to feel? Are we reaching into 

the depths of our own past/present experiences and 

touching on emotion that is within us that we need to 

share to heal or empower ourselves? 

Often when I find myself in an emotionally dark place, 

my work comes through as light and happy, yet when 

life’s worries no longer weigh on my mind, my work tends 

to err on the dark side. Without psychoanalysing this 

emotional work pattern, I guess I am trying to lift my spirits 

when I am feeling vulnerable by making my work light 

and bright and then feel emotionally safe to visit darker 

emotions in my images when I am in a happy place. 

Themes and storytelling can assist in conveying 

emotion. Dark and grungy themes tend to evoke 

anger, oppression and suffering and sorrow, whereas 

light and playful themes will bring about contentment, 

happiness and joy. By putting thought into your 

theme or storyline you will result in a more emotionally 

charged image. 

PLANNING THE SHOOT 

Inspiration for a storyline can be found all around you. I 

brainstorm and write down ideas and concepts before 

going into a photo session - anything that comes to 

mind, and then build on that idea or emotion. I find 

keeping a diary on hand a great asset, so when I 

come across something that sparks my imagination (it 

could be a colour, prop, costume, makeup, hairstyle, 

or theme) I write it down. I find different styles provoke 

different emotions. A story can spiral from just one word 

or object. By writing it down, I can come back to it and 

begin to plan it into an upcoming session. This way, 

when I book a model, I have a reference of numerous 

ideas we can put into action on the day. 



45

Millie 

Nikon D810 @ F2.8, 1/200s, ISO800, 58mm

candidate for a model and you can approach them 

professionally. This is always hard and puts us out of 

our comfort zone. Handle the situation with tactfulness 

and diplomacy. Most people will be honoured you 

have asked them. 

When working with models, it is imperative to get them 

to sign a model release form. You can attain a basic 

one of these from the NZIPP website. This protects the 

model from having their image sold to other parties 

and used without consent. Essentially this form gives 

you, the photographer, the right to use the images for 

competitions and your own promotional use. Keep 

these forms on file as you may be asked to provide 

proof of them in some competitions. 

Tools of the Trade 

Face chart and make up used to create the photo ‘Millie’. 

If I need to source items for the session, I will start 

gathering and preparing in the weeks before. If I have 

an elaborate makeup style in mind, I will spend time 

creating a makeup face chart that I can refer to on 

the day while prepping my model. This saves a lot of 

time later, especially if you are under pressure as it is 

easy to get sidetracked and off-topic while on set. 

By using this type of planning and preparation, I can 

discuss with and show my model my ideas before 

starting. Explaining in detail the concept, emotion, poses 

and looks I expect from my model, also gives them the 

chance to bring their interpretation to the table, thus 

resulting in pure collaborative, emotive imagery. 

SELECTING A MODEL 

Your choice of model and the connection you have 

with them will influence the emotion in your final 

image. If you have never worked with the model 

before, take the time to meet up with them and have 

a coffee, discuss and agree on a fair fee to pay them, 

chat about their life and your own, and become 

their friend. Even if you’ve worked with your model 

numerous times before, communication in relation 

to the image concept before the day of the shoot is 

highly recommended so you can be assured that you 

are both on the same page. 

When looking for a model, there are a few platforms 

that you can use to source one. The following link is to 

a Facebook page: Models, Photographers, MakeUp 

Artists and Designers New Zealand www.facebook. 

com/groups/450284940227/ 

This is a great location to advertise for, or check for 

models in your location. Also great if you are looking 

for a stylist or makeup artist for the day of the shoot - 

view their portfolio or Instagram to see if they will be 

suitable for your style. Another tip is to always have 

your business cards on you because you never know 

when you’re out and about, you may see a great 

NATURAL LIGHT VERSUS ARTIFICIAL LIGHT 

I once read somewhere that when using studio 

lighting, we are trying our best to emulate natural 

light. You don’t need to have an elaborate studio 

to capture a beautiful portrait or a conceptual 

masterpiece. Where possible I will choose to use 

natural light and am not embarrassed to admit that 

I am still somewhat fearful of using studio lights, even 

though I do covet them all! 

In the planning stage of a session, I decide on the 

location I want to use – do I want to be inside or out? 

What light is available to me? If I am shooting outdoors, 

I always hope for a lovely overcast day to provide 

diffused light, but we all know we cannot predict the 

weather conditions. With that in mind, if I am looking for 

an environmental portrait, I will take portable diffusers 

with me and an extra pair of hands, just so I can shade 

and eliminate any hot spots of light on my model. I will 

also assess the location and if I can keep my model out 

of the direct sunlight and in the shade I will. 

If I am setting up for a workshop, I use a three-sided 

white gazebo as a portable studio. The light is soft 

and beautifully diffused within the gazebo and gives 

incredible catch lights in the model’s eyes. By having 

the gazebo set up beside our accommodation, I 

can power through a multitude of different scenarios 

and looks without having to travel around to different 

locations. This works really well when I am changing 

the model’s costume, props, hair and makeup a lot 

over the course of the day. 

I keep the plethora of costumes close by that I 

have accumulated over the years so that if an idea 

pops into my head I can quickly access items to 

fulfil my vision. I predominantly shoot against a dark 

backdrop, as this gives me the option to change out 

the background in post-processing or cut my model 

out and use them in a composite image. It also suits 

my darker style of photography. Another benefit of 

the outdoor pop-up studio is that it keeps the model 

out of whatever the weather gods decide to throw 

at me on the day. Great for keeping cameras and 

photographers dry too, should it decide to rain. 



47

MAKEUP & COSTUME 

I have always been fascinated with makeup, 

and over the past few years have discovered 

that simple vs elaborate makeup and face paints 

photograph best. 

When I am running a workshop, I will often start 

out with very little makeup and costume on my 

model and change it up as the day moves on, 

usually finishing with elaborate makeup at the end 

of the day. By making slight changes to makeup, 

attire, and props, combined with post-processing 

techniques after the event, you can change a look 

quite dramatically. 

In my Pirate series, I started the shoot with a simple, 

purposefully uneven, white face paint. Using Prosaide 

cream adhesive (an adhesive for prosthetics), 

I glued the eye patch in place and then tied a 

black band around it to keep it in place. The first 

look was just with the eye patch. Then I added the 

twig crown and some tulle took those shots, and 

finally added the hair pieces and some gold paint. 

Through the power of post-processing, we can 

really alter the final outcome of an image and it 

is often not what you visualise in your mind at the 

time. I find a lot of my creative process is done 

in-post. I love the use of textures as I feel it adds 

another dimension to the image and also helps 

push it towards fine art as opposed to portrait. 

In the image titled ‘The Landing’ I glued the 

butterflies to the model’s face and shot against a 

tea-coloured backdrop. In-post, using the select 

subject tool in Photoshop, I removed her from the 

background, allowing me to change it to better suit 

the image. Not very often do I leave texture layers 

on the skin, but I felt this particular image suited it. It 

is all personal preference when it comes to creating 

our art - if the final image doesn’t make me 

happy, how will it ever make anyone else happy? 

My advice is to always follow your intuition when 

creating your art - don’t just do it to please other 

people or you will never develop your own unique 

style. 

I don’t necessarily enjoy the makeup application 

process, but for me, it is a way to bring extra 

meaning and uniqueness to my photography. If 

you are unable to do the makeup yourself, use 

the Facebook link I mentioned earlier, where you 

can find makeup artists for paid or TFP (trade for 

promotion), to assist you with your vision. 

The costume is also an important factor to consider 

when creating a compelling story. Do try to keep 

all elements within the period you are trying to 

recreate. 

The Landing 

Nikon D810 @ F4, 1/200s, ISO640, 60mm

1 2 

3 4 

Pirate Series 1 Nikon D810 @ F4, 1/320s, ISO200, 62mm 

Pirate Series 3 Nikon D810 @ F4, 1/200s, ISO200, 66mm 

Pirate Series 2: Nikon D810 @ F4, 1/200s, ISO200, 58mm 

Pirate Series 4 Nikon D810 @ F4, 1/200s, ISO320, 36mm

Marauding Millicent 

Nikon D810 @ F2.8, 1/1000s, ISO100, 38mm

Head In The Clouds 

Nikon D810 @ F3.5, 1/200s, ISO100, 55mm 

I love the Steampunk movement and the eccentric, 

grungy style that combines historical elements with 

features inspired by science fiction. This is so easy 

to recreate for the camera – one only needs some 

face paint, steampunk goggles, a top hat and 

some fabric and you have created a storyline. 

PROPS & POSING 

Sometimes I like to use props in my scenes to help 

better convey a story. Props can be anything 

from furniture, fabric and inanimate objects found 

around the home. By using props, we can take 

an image from a head and shoulders portrait to 

an image that speaks to us and tells a story on a 

deeper level. Again, less is more – a strategically 

placed flower or a book may be enough to 

enhance the story or emotion you are wanting to 

convey. 

Models often find it easier to be holding something 

in an image as this gives the hands a purpose and 

you avoid those awkward hand moments that quite 

often arise, and they look more natural. Equally, 

by giving the model something to look at, it takes 

their gaze away from the camera and essentially 

results in a less confronting image to the viewer, 

more so than an image where the model is looking 

directly at you. In my image ‘Head In The Clouds’, I 

have added another element by having the hands 

holding the decanter with feathers. Although her 

face is covered it gives the hands purpose and 

helps to draw you into the image. The same applies 

in ‘Taking Stock’ and ‘My Mask and I’. In both of 

these images, the model’s eyes are diverted from 

the camera adding a sense of wonder and the 

images become less confronting. 

This brings me to some tricks and prompts I use 

when posing my models. If their hands are looking 

awkward and I am wanting them to scoop up some 

fabric or hold an item, I tell them to think they are 

cradling a fragile little bird, this helps to soften the 

hands into a gentle cupping pose and generally, 

after some laughing, the face also softens, showing 

a warm caring emotion. In contrast, a classic 

staunch pose which results in the model delivering 

a tonne of sass is to get them to put their hands 

on their hips, throw the hips forward while tucking 

the tummy into the spine and rolling the shoulders 

forward. This is also great for high fashion. 



51

Taking Stock 



Island Goddess 


Your model works hard for you, and generally, to get 

shape and form through the body, a pose will feel 

unnatural and uncomfortable for them. A phrase I 

often use is,’ if it’s straight – break it!’ If the model’s 

spine is straight, get them to ‘break’ it at the hips, push 

the shoulders down and roll them forward slightly to 

accentuate the collar bones. If the wrist is straight 

when placing hands near the face, get them to break 

the lines of the fingers and at the wrist. By doing so we 

start to create beautiful soft curved lines. When the 

little finger is facing the camera, this is ‘feminine’, if the 

thumb is facing the camera, it becomes masculine. 

These are just some of the small nuances to be aware 

of when posing a model–they can make or break an 

image. 

By doing the prep work prior to a shoot and having 

my original concept mapped out, once I’ve captured 

my pre-planned idea, I can then let my mind wander 

and try different ideas and scenarios that come up on 

the day. 

POST-SHOOT 

When doing beauty portraits, or any close-up 

portraiture where the skin is a strong focal point and 

you want a refined finish, you’ll come up against skin 

issues as, in the real world, no one’s skin is flawless. 

And, from the model’s point of view, when she sees 

the finished image, she doesn’t want to see all her 

spots and flaws, so I highly recommend learning the 

art of skin retouching. There are numerous tutorials 

available on YouTube, Creativelive.com etc, that are 

invaluable when it comes to the different techniques 

used to retouch the skin in-post. (Charlotte E. Johnson 

gave tips on retouching in issue 49 which you 

might want to check out.) These are all quite timeconsuming 

when editing your images and you will 

make a few mistakes in the beginning and possibly 

push the process too far. But, like anything, practice 

makes perfect and is well worth the hours put in to get 

a flawless finish on the skin. 

I highly suggest always giving your models digital 

copies of your finished images. And, if you do post 

their images on social media, be sure to tag them. 

One of the more special moments on a workshop is 

when the model sees the finished images, and they 

realise how truly beautiful they are and see the magic 

you have created together–again reinforcing the 

bond between you. This alone makes photography so 

intensely gratifying for me personally. 



53


What’s In The Bag 

with Richard Young 



55

THE CAMERA BAG 

Having a well-organised and not overloaded pack 

is really important for me. Knowing where every item 

of gear lives means you can be quick and efficient. 

I’m amazed sometimes at how long it can take some 

people to get their camera gear and accessories 

out of their packs and set up. For landscape 

photography, you need to be able to set up quickly 

when arriving pre-dawn at a location. Knowing where 

everything is is also key to getting set up in the dark. A 

slow set-up might mean you miss the best light! 

Having owned many backpacks from multiple 

brands, as I have during my career as a landscape 

photographer, I’ve decided that there is no perfect 

camera backpack. But I think the Lowepro Whistler 

450 is as close as it gets. There are a few features I 

think really make this backpack stand out from others. 

Firstly, it’s great for the storage of non-camera items. 

As a landscape photographer, I spend most of my 

time working out in the elements, which means I 

always need to carry gear like a raincoat and, quite 

often, a down jacket and extra layers of clothing. 

When I’m running workshops, I also need to add all 

the workshop gear along with three thermos flasks to 

make the whole group hot drinks at sunrise! Very few 

camera bags offer enough space to accommodate 

all of this, but the expandable back pocket on this 

backpack allows you to cram in a lot of stuff. The only 

downside of being able to load so much into it is that 

it can become so heavy that it is difficult to carry the 

bag! 

The pack has a good strap system which is important 

for me, being 6’3”. Many backpacks sit far too small 

and high up on my back with the waistbands sitting 

up around my waist instead of on my hips. The pack is 


ideal for long hikes over rough terrain, carrying heavy 

loads. 

Many camera-specific backpacks are not adequate 

for carrying a large tripod. Quite often, the straps are 

in the middle of the backpack and make for a very 

unbalanced transit of a tripod so far away from your 

back. The side straps on this backpack securely hold 

even the largest of tripods. 

WHAT’S IN THE BAG? 

My Nikon D850 is the landscape photographer’s 

workhorse. The D850 is the third 800 series camera that 

I’ve owned, after a D800E, and a D810. Moving from 

the D810 to the D850, the feature I found really made 

a difference was the tilting touch screen. I didn’t think 

I needed this, but it’s amazing for shooting low-angle 

shots, where otherwise you’d be struggling to look 

through the viewfinder, as I do still prefer to look 

through the viewfinder. The touch screen features are 

also great with the ability to focus anywhere within the 

image and use the live view autofocus system which is 

quick and effective. 

Over the past two years, I’ve spent a lot of time 

shooting with the mirrorless Nikon Z7. This is an 

astonishing camera, and I love some of the new live 

view features and image stabilisation. Also, combined 

with the Z series lenses, it’s a much more compact 

setup for landscape photography. Having said that, 

I do still prefer the use of an optical viewfinder when 

composing an image. I also prefer the slightly larger 

ergonomics of the larger DSLR-type camera. When 

used correctly, I don’t think there’s anything to set the 

Z7 and the D850 apart in terms of image quality. 



57

Lenses 

I’ve always been a fan of prime lenses for landscape 

photography, although today’s zoom lenses have 

developed miraculously in terms of sharpness and 

distortion. Prime lenses do still offer the ultimate 

construction with fewer elements resulting in the sharpest 

glass. Whilst I own five lenses for landscape photography, I 

will very rarely carry all of these lenses at once. 

Nikon 24mm f3.5D ED PC-E - The 24mm has always been 

my most used wide focal length lens. I love the perspective 

and depth of field it offers. I rarely work with focal lengths 

wider than this as I find the ultra-wide lenses often don’t 

shoot my style of photography. The tilt-shift features also 

enable me to control perspective and extend the depth 

of field if needed. Using tilt-shift lenses requires some honed 

skills and knowledge of the camera movements, so it’s 

not a simple lens to use. It is also a manual focus-only lens 

which for landscape photography I do not mind. 

Nikon 50mm f/1.8 G AF-S - This is far from my most 

used lens, but for the right subject and required 

perspective, I will often reach into my bag for it. 

Nikon 70-200mm f4 G ED VR - This lens is a real 

workhorse, and I often use it for picking out parts 

of the landscape and creating a more abstract 

approach to the landscape. This f4 lens is half the 

weight of the f2.8, and is also nicely a lot sharper at 

smaller apertures, so much better suited to landscape 

photography than its big brother. 

Nikon 300mm f/4 AF-S - I bought this after often 

not finding the reach on my 70-200 to shoot the 

compositions that I was seeing. It is also one of the 

sharpest lenses that Nikon makes. 

Nikon 18-35mm AF-S f/3.5-4.5G ED - While I will often 

not carry this lens, I use it for coastal photography 

and in more adverse weather conditions to which I 

don’t want to expose my 24mm tilt-shift to. This is a 

lightweight and incredibly sharp lens. In fact, one of 

the sharpest wide-angle zooms that Nikon makes. 

Nikon AF-S Teleconverter TC-14E III - I always have this 

in my pack for those times when my lens just isn’t long 

enough. It can be used on both my 70-200mm and 

my 300mm lenses; with the 300mm, it extends its reach 

to 420mm. 

Other Accessories 

I own two Benro tripods; one is more stable and the 

other is a smaller, more lightweight option. For my 

main tripod, I have a Benro Mach3 TMA38CL & V3 

Ball Head. It offers good stable-shooting conditions 

for coastal environments and in the wind. My smaller 

TMA328CL & V2 Ball Head offers a much more 

compact set-up for times when I’m walking long 

distances or travelling lighter. 

I use a lot of filters for my landscape photography, 

both solid ND filters and graduated ND filters. I have 

carried the Benro 100mm filter system for about the 

last six years, and I love the features and precise 

control it offers. For me, the biggest advantage of this 

system is the plastic frames around each filter, making 

them easy to handle and—with a fair amount of 

testing—quite drop-proof compared to others. I also 

love the latest edition of the magnetic polarising filter 

for the system, which makes it so easy to use. Three of 

my lenses have a 77mm filter size. My other two lenses 

live permanently attached with step-up rings on them, 

making them 77mm. I find this great for efficiency 

when using filters and It also enables me to have a 

77mm lens cap on every single lens; meaning that I 

can quickly swap lens caps when changing lenses. 

Other Items 

As previously mentioned, my bag is always loaded 

with a lightweight waterproof, a down jacket, hat and 

gloves – just in case I get caught out in some cool 

conditions, plus a small Blunt Metro umbrella which 

is great for shooting in a shower. At the top of my 

pack, I always carry a first aid kit, PLB (personal locator 

beacon), sun cream, a Swiss Army knife and a head 

torch, plus a lightweight towel for drying wet camera 

gear. I carry very few other gizmos and gadgets apart 

from spare batteries, memory cards, a shutter release 

cable and lens cleaning accessories. 

Spare Equipment 

I have a large and a medium Lowepro GearUp Box 

for my spare equipment. In the large GearUp Box, 

I keep a few things like my battery charger and a 

few accessories I don’t need out in the field. I also 

use it for storing lenses I’m not taking with me; it has 

enough spare room to put two lenses in. The medium 

GearUp Box contains my Vlogging kit. It’s got all the 

equipment I need to film myself for YouTube videos 

out on location. It contains a great little Nikon ZFC with 

the 16-50mm kit lens along with a Joby Beamo Mini 

LED light and microphone. 

PUTTING THE GEAR INTO PRACTICE - ON 

LOCATION AT SAINT BATHANS 

The gear shots for this article were taken while out on 

location at Blue Lake, Saint Bathans. It’s a classic New 

Zealand landscape location and one that I enjoy 

guiding groups to on some of our Central Otago 

workshops as I think it offers both the larger and 

endless small abstract views. 

Heading out here for an opportunist evening away 

in my VW Camper during mid-summer, I was not 

anticipating any interesting light, although some cloud 

cover provided some interesting light to work in. I 

managed to make a wide-angle vista of the scene as 

well as the chance to focus on some more personal 

Interpretations of the landscape with some longer 

lenses. Why the best gear might make a difference; 

training your eye to see the image and working with 

the right focal length lens for the shot makes the 

largest difference to your end photographs. 


SHOT 1 - NIKON 24MM F3.5D ED PC-E 

For me, a 24mm lens offers the perfect focal length for a wide landscape like this, any wider I often feel the 

foreground becomes a little too bold, and any distant subjects (like the hills) become too small. While there was 

a little colour at sunset, I preferred the more subtle light just before, when a small break in the clouds offered 

some nice depth to the vista. 



59

SHOT 2 - NIKON 50MM F/1.8 G AF-S 

Sometimes you just notice a smaller detail that grabs your attention more than the wider view. For me, 

landscape photography is as much about these images. Working with a fixed 50mm lens for a shot like this, 

then moving your tripod position to perfectly frame and balance the elements within the frame offers a great 

“natural” perspective. 


SHOT 3 - NIKON 300MM F/4 AF-S 

I love the way a longer focal length, like a 300mm lens, gives me the ability to isolate a small part of the 

landscape, removing it from its surroundings and context to offer a more abstract view. A still moment—plus the 

use of an ND filter to further smooth out any little ripples—enabled me to perfectly mirror a series of reflecting 

columns on the far side of the lake. 



61

Creative Studio Spaces 

by Fairlie Atkinson 

What is in a space? Many budding photographers start out thinking that a studio is a necessary 

part of setting up their portrait/family photography business. But that’s not quite true; it all depends 

on what you’re aiming to do. For some photographers, like portrait photographer Karolina Stus, her 

custom-built studio was a labour of love and is an integral part of her business. At the other end of 

the spectrum, documentary photographer Lianna Nielsen uses the space in her home to document 

what’s in front of her. And then there is Emma Monaghan, who has used a room, and a wall in her 

home to create a successful portrait business. These photographers demonstrate the spectrum 

of spaces from high-end purpose-built, all the way through to using the space in your home to 

document and create beautiful images whilst building successful businesses. 

THE UNSTAGED HOME STUDIO WITH 

LIANNA OF BLACK SAND STUDIO 

As an award-winning documentary family 

photographer, Lianna’s preferred studio is always the 

home. This includes her personal home studio where 

she undertakes the hardest project ever: creating an 

external memory of the chaos of raising three girls 

under the age of four (including twins). It is not pretty, 

the light is often hideous, and the ever-shifting visual 

clutter (thanks toddlers) makes it difficult to achieve 

the clean background photographers usually strive 

for. But actually, the story is often in the mess and the 

imperfect, and though it makes Lianna cringe as a 

mother, she documents it all as honestly as she can. 

Through these photographs, her children will be able to 

view the reality of their early days, and one day Lianna 

will be able to look back and reconstruct some clarity 

in the blur that is her sleep-deprived memory. Liana 

believes that if she captures her story honestly, it means 

she can be authentic in encouraging her clients to do 

the same. Then, little details that don’t seem important 

in the moment will remain in the photographs and 

suddenly gain meaning in years to come. 

blacksand.studio 




63

THE DIY HOME STUDIO WITH 

EMMA MONAGHAN 

Emma Monaghan is well known on the Kapiti Coast for 

her Pop-in Portraits and her successful photography 

business. She started taking photos when her children 

were small, which soon turned into a passion and 

career change. After studying photography, she 

set up her own home studio in order to be able to 

balance a career and childcare. 

She uses a wall in her guest room as her portrait 

photography space, along with a large softbox 

umbrella for light. There isn’t enough natural light 

from the windows in the room yet by using a Bowen’s 

Gemini light and the large white backdrop, Emma’s 

portraits are well-lit, crisp and clean. Emma’s guest 

bedroom has doubled as a home studio for the last 

four years and has also been used for private newborn 

shoots, and family and business portraits. The space is 

versatile in that Emma has kept it simple so that she can 

add or subtract from the backdrop. 

Using a clean, clear backdrop facilitates easy 

photoshopping of textures or logos onto client photos 

when needed. Popping a white seat in front of the 

white backdrop also removes any distraction from 

the subject itself. The focus is not on props, instead the 

colour in the clothing, the eyes and the skin of Emma’s 

subjects become the vibrant focal points for photos. 

In addition to baby and family portraits, in a space 

like this, it is easy to capture clean business portraits, 

where the person is the focal point, rather than what 

they are standing in front of. 

www.emmamonaghan.co.nz 




65


THE CUSTOM BUILT STUDIO WITH KAROLINA STUS 

Karolina Stus is an international award-winning fine art 

and portrait photographer. For years Karolina only had 

a small room in her house and then half of her garage 

to use as a studio. She had always dreamed of having 

her own creative space. So in 2020, Karolina made 

her dream come true. 

Currently, in her studio, Karolina has a snood light with 

a softbox attachment and a smaller softbox light. 

These soft lights fill in any gaps, but with all the natural 

light pouring in from both sides of the studio, the lights 

are only needed on cloudy overcast days or when 

Karolina wants to create a more atmospheric portrait. 

Karolina also has a beautiful textured backdrop she 

hangs behind her subjects to provide texture to her 

images and many props. She’s a self-proclaimed prop 

collector and uses them in many of her sessions too. 

Her studio is located in a nice quiet semi-rural location 

with plenty of natural light and nature all around. With 

that in mind, Karolina has started renting out her 

space to photographers who need a space with 

something a bit extra. She also wants it to evolve as 

a space for workshops and collective knowledge 

sharing feeling that Kapiti is currently lacking in 

creative spaces. 

karolinastus.pro 

CREATING YOUR OWN STUDIO 

So, where do you go from here? You have seen how 

Lianna uses her space to capture memories, but also 

as a vehicle to show her clients what she can do for 

them. You have also seen how Emma has managed 

to use a wall in her spare room to build a successful 

business. Lastly, we have looked at how Karolina has 

built a space she can work in but also share and bring 

creative people into. So ask yourself what you want to 

do with your space. Portraits? Documentary? Still life? 

A bit of everything? 

I would suggest three things to get you started. First, 

you will need a decent light source. I love using 

natural light as much as possible. But, if you can afford 

it, buy a snood with a softbox attachment. The snood 

is great for focusing light on the face or in certain 

areas, and adding the softbox diffuses and softens the 

light. 

A backdrop holder is the second piece of essential 

equipment for a studio space. Make sure it will extend 

as high as possible as when a client who measures 

185cm walks in, you don’t want to ask them to kneel 

because their head is higher than the backdrop! 

Lastly, you need the backdrop itself. You can drape 

a white sheet over the backdrop holder (see my last 

article on backdrops!) or buy a professional plain 

backdrop or textured backdrop. Failing this, a plain 

wall will do, but some paints reflect light which can 

create shadows, whereas a backdrop will soak up 

the light. 

Remember, this is a studio space that has to fit you 

and what you are interested in doing. As we have 

seen, these three photographers have created 

spaces to fit their needs and all three are enormously 

successful at what they do, but following what they 

have created may not be quite right for your own 

work.

Stephen Milner and the Volcanic 

Aotearoa Project 

A New Zealand Landscape Photographer Story 

into my new career. You see, the thing is, the outdoors 

and walking is the best thing for my injury. So, this year 

I decided to kickstart my new career by joining a 

group of inspiring people called Creative Waikato on 

its Elevate programme. The Elevate programme gives 

artists like me the tools we need to build a sustainable 

creative career. 

My connection with the landscape started at an 

early age. When I was a young boy, my brothers and 

I would spend every minute we had exploring the 

landscape around our home. Every day, we created 

new ways to relive our adventures. We enjoyed 

exploring somewhere new and building makeshift 

bush huts; our adventures were creative. My creativity 

is a passion true to my spirit and influenced me from 

an early age, through my education and into my 

adult life. My passion for exploration is the ember 

burning in my heart, and I always look forward to 

starting a new adventure. 

“My creativity is a passion that is true to my spirit and 

has influenced me from an early age.” 

In 2020, I had a life-changing back injury. Two surgeries 

later, I have had to walk away from my previous 

career as a construction project specialist. Despite 

the impact of this injury on my life and family, I see it 

as an opportunity to turn my landscape photography 

MY JOURNEY WITH PHOTOGRAPHY 

My creativity turned to photography in 2012 when I 

picked up my first camera at a university in the UK. 

As a confident self-learner, I quickly found ways to 

improve my photography. My camera has been with 

me on every adventure since 2012. My photography 

has taken me on a creative journey. It has been a 

journey that has taken me on many adventures to 

wonderful places. Over the last ten years, I have 

crafted my mind’s eye into something unique to me, 

and I feel very fortunate that I have my camera to 

share how I see the landscape with you. 

In 2013, my family became New Zealand residents, 

and in 2020 we became proud citizens. New Zealand 

is a beautifully diverse country, and I love exploring it 

with my camera. When I explore the landscape, my 

mind’s eye will abstract the landscape, and I use my 

camera to create a piece of art. My photography 

builds on your ancestral DNA connection with the 

landscape. My photography inspires, excites, uplifts, 

and calms. 

I am an award-winning photographer whose goal 

is to become a New Zealand Photographer with a 

difference. Since 2012, my mind’s eye has developed 

to create visionary photography. This is more than 

simply recording a landscape. It is essentially the art of 

using a camera to create collections of photos with a 

common theme that tell a story. 

“I empower my photography by using familiar forms 

and tones that add atmosphere to my work.” 

THE LAND OF THE LONG WHITE CLOUD 

Our beautiful Aotearoa is the land of the long white 

cloud. Aotearoa is New Zealand; it is the Maori 

name for the North Island and is now adopted as the 

official Maori name for the whole country. Aotearoa 

means long white cloud. The cloud formations from 


the volcanic activity in New Zealand were used to 

navigate to the land by early Maori settlers in about 

the fourteenth century. 

Volcanic activity has been part of the culture of 

Aotearoa since its early settlers, and it continues 

today. Volcanic activity is known worldwide for its 

destructive effects on the landscape and people. 

However, in Aotearoa, it is part of life. Volcanic 

activity is part of Maori legends of love and war; and 

how the land country was formed. The geothermal 

effect of volcanic activity is used as a heating source 

in their villages and for cooking and bathing. These 

benefits became a tourism industry that started in the 

1800s and still exists today. 

When I arrived in Aotearoa in 2014 for the first time, 

I feared its volcanic activity because I did not 

understand it. 

However, this soon became a passion after I 

completed the Tongariro Alpine Crossing for the first 

time in 2015. In 2018, I started visiting the area more 

often to photograph it. This fascination expanded to 

other volcanic locations and geothermal parks and 

became a project to which I dedicated myself. 



69

The explosion of White Island in 2019 reminded 

everyone of the powerful destructive capabilities of 

volcanic activity. Unfortunately, there were 22 deaths 

from 47 visitors that day, and the island remains closed 

because of ongoing activity and safety concerns. 

Whilst my first fears of volcanic activity were realised in 

the unfortunate events of 2019, when I visit Aotearoa’s 

volcanic landscapes, I feel alive and connected 

to them. I enjoy exploring wide-open landscapes 

and connecting elements in the landscape with my 

photography. These locations are remarkable in many 

ways. I felt compelled to capture them in different 

ways to create a body of work with a cohesive feel 

that tells a story of their beauty and why they are 

important to New Zealand. 

MY VOLCANIC AOTEAROA PROJECT 

Volcanic Aotearoa is a photography project that 

captures New Zealand’s volcanic landscape’s 

beauty, colours and organic shapes. It is a collection 

of photos that encapsulates a three-year study of 

New Zealand’s volcanic and geothermal national 

parks, conservation areas and one world heritage site. 

The Volcanic Aotearoa collection of images has 

always intended to shine a light on the power and 

beauty of New Zealand’s volcanic landscape. 


My book is not only a dedication to volcanic 

New Zealand, but it is also a dedication to film 

photography. 

In 2019, I decided to start using medium format 

analogue film for the project. All the photos were 

taken with film using three different film cameras; the 

Mamiya 7, the Hasselblad 503CW, and the Mamiya 6. 

PCL Imaging in Auckland developed the photos in my 

book, and I digitalised them using a flatbed scanner. 

I have enjoyed using film for this project; it has taught 

me many things. Film photography has its ways of 

shining a light on my technical and creative strengths 

and weaknesses. I have learnt to appreciate the 

value of a single photo. Film photography requires 

patience and perseverance to create compelling 

imagery. It has taught me things that modern-day 

digital cameras automate. I am grateful that film still 

exists for its teachings. I find that my digital work is 

better because of film photography as I create more 

portfolio-worthy photos. 

Volcanic Aotearoa is a beautifully crafted 285 x 

285mm case-bound hardcover book with over 100 

pages of photos, GeoNet information and Maori 

legend stories with the forward by Bruce Percy as 

follows: 



71

“If I were to say the word ‘volcano’ to you, I am 

confident that you would instantly ‘see’ a cone 

shape in your mind’s eye. The shape of any volcano 

is instantly recognisable to all of us. They have one of 

the most iconic shapes of our world. 

In Stephen’s images, he has settled upon using this 

iconic shape to unify his imagery. He understands that 

using form in this way can strengthen the work. For when 

we break down any image at all, they are constructed 

of the same basic building blocks of form and tone. 

Regardless of what we think we see, all photographs are 

representations, made up of these parts.” 

SUPPORT MY VISION 

To enable the highest quality standard at an 

affordable price, I am choosing to self-publish my 

book via a Kickstarter campaign, but I need your 

help to raise the money by 12th September to 

ensure I can get this project into people’s hands. 

Will you help me launch my career as a New 

Zealand photographer by buying my book on 

Kickstarter? The price for the book is $55NZD (RRP 

$70NZD) plus shipping. Shipping will be in December 

2022, providing I meet my target (if I don’t, all 

pledges are refunded). 

Please follow this link to support my Volcanic 

Aotearoa book. 

www.kickstarter.com/projects/volcanicaotearoabook/ 

volcanic-aotearoa-new-zealand-photography-book 


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Exceptional Function. 

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dedicated photo & matte black lines and a new 10-colour UltraChrome 

ink set, the Epson SureColor P706 and P906 redefine A3/A2 image quality 

in a compact, stylish form factor 30% smaller than the previous generation. 

Experience exceptional. Experience Epson. 

www.epson.co.nz/prographics 



73

From the Road: 

Ho Chi Minh City 

by Susan Blick 


The newest part of the city skyline, and one of Saigon's best 

locations for long exposure photography, with Landmark81 lit in 

pink and Thu Thiem bridge framing the skyscrapers. 

Canon 6D Mk1, Sigma 70-200mm DG OS HSM F/2.8 lens 

@ F4, 30s, ISO100, 70mm, Sirui tripod 



75

Bac (uncle) Ho as he was affectionately known, or Ho Chi Minh, was a Vietnamese revolutionary and the President of 

Communist North Vietnam from 1945 to 1969 when he died. He did not see the victory of the North over the South and the 

then unification of his country, but in his honour the name Saigon was changed to Ho Chi Minh City. Here his statue stands in 

front of the French colonial City Hall building in the center of the city. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F7.1, 1/250s, ISO100, 22mm 

Ho Chi Minh City or Saigon, whatever you choose to call 

this Vietnamese city, has a vibrant and pulsating vibe 

that personifies South East Asia, maybe more so than 

any other city in the region. It’s modern and traditional, 

chaotic yet somehow organised and believe me, a visit 

here will have you longing to return time and again. 

Luckily, I am now based here for at least the next 

two years. If you’ve been following my articles, you’ll 

know I have been based in Istanbul for the past 

twelve months, but now I’ve made the jump halfway 

around the world to settle in this great Asian city for an 

extended period. 

Now that the pandemic seems to finally be on the wane 

and those of you who were locked down can once 

again travel, I can honestly say that there’s no better 

region to break the shackles than here. Asia, particularly 

South East Asia, has everything the photographer and 

traveler could want - lots of smiling faces, alluring culture, 

intoxicating smells and tastes. Best of all, a trip here 

won’t startle your bank manager! 

When you touch down in this city of nine million, some 

scarred by the war, but ready to forgive and somehow 

forget, you’ll be greeted by many welcomes. Reply 

with an equally warm smile of your own whilst saying 

‘xin chao,’ meaning ‘hello’ and the good-natured 

Vietnamese will have you forgetting your work life and 

the stresses of home in no time at all. 

DISTRICT ONE 

District One is the downtown area, and it’s likely this 

is where you’ll book your accommodation. It’s a 

great place to get your bearings, with lots to see and 

photograph, in particular the French colonial buildings 

such as the Notre Dame Cathedral, the Saigon Post 

Office and the City Hall, all of which are within easy 

walking distance. 

If you want to splash out on accommodation, the 

5-star Caravelle Hotel on Lam Son Square is in the 

centre of downtown, right next to the Opera House, 

within a stone’s throw of everything District One 

has to offer and was where the International war 

correspondents stayed and reported the Vietnam 

War. From the hotel’s scenic rooftop, you can 

even see the iconic spot where the last American 

helicopter made its final evacuation as they pulled 

out of the country. 

Insider Tip: 

If staying at the Caravelle might break your budget, 

be sure to visit for happy hour and have a drink on 

the deck while shooting the city from above; there’s a 

great leading line view straight down Dong Khoi Road 

to Notre Dame Cathedral.

Top: Saigon Central Post Office, completed by the 

French in 1891 and still functioning today. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens 

@ F11, 1/500s, ISO100, 16mm 

Bottom: From atop the Caravelle Hotel looking 

down Dong Khoi Street to Notre dame Cathedral. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens 

@ F2.8, 1/125s, ISO100, 23mm

Also in District One, you’ll find the best option for 

360-degree views of the city in the Bitexco Financial 

Tower. The Skydeck is on the 49th floor and has 

immaculately clean glass, and, even better, using 

a tripod is allowed! The $25 entry ticket includes wifi 

and a bottle of water. The best time to come is just 

before golden hour and then to wait as the city’s 

lights come on. Use a wide to mid-range lens up 

here and an anti-reflection lens hood or lens skirt 

to stop those pesky glass reflections for your best 

imagery. 

Another photo outing is to take the Saigon Water 

Bus upriver. The city is situated on the banks of the 

Saigon River, which is a great way to see the city 

and its many neighbourhoods and photograph 

them from the water. You’ll pass under the new Thu 

Thiem 2 Bridge and pass Landmark 81. Here you 

can make a stop or continue on through Saigon’s 

Northern districts. There is a photogenic spot just a 

few hundred metres along the river near the water 

bus terminal, which is a great place to shoot the 

skyline when the city lights first come on. 

Insider Tip: 

The Thu Thiem 2 Bridge has stairs allowing you a great 

vantage from where to shoot. You’ll find many young 

locals here at sunset vying for Instagramable shots with 

their friends. Your best lens is anything from a mid-focal 

length to a telephoto in the 50mm to 200mm range. Of 

course, you could shoot wide and crop in-post if you’re 

not carrying additional lenses. Just be sure to pack your 

tripod for a long exposure shot of the skyline. 

DISTRICT FOUR 

Saigon is divided into districts, and venturing out from 

District One (D1) there are several districts that might 

take your fancy, each one offering something a bit 

different. In District Four (D4) you’ll find lots of street 

food, the alleyways here resembling an older, more 

traditional version of Saigon with lots of locals and side 

streets (known as hems) full of food stalls, all great for 

your photography. Put on your best walkabout lens with 

a wide aperture for the disappearing light, and head 

out at dusk to see this area at its best. Find your way to 

Vinh Khanh Street for classic Vietnamese seafood and 

all the hustle and bustle you can withstand. 

A street-side cook focuses his attention on his craft. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F3.2, 1/160s, ISO4000, 18mm 


The spectacular gardens and parkland beside Landmark81 with a beautiful Japanese garden and fish pond. 

Samsung A71

The neighborhood streets of Saigon are lined with small outdoor eateries with the famous mini plastic chairs. Colourful and 

easy to spot to attract diners on their way home, these places do a roaring trade in mostly takeaway. 

Canon 6D Mk1, Canon 16-35mm F/2.8L III USM lens @ F2.8, 1/100s, ISO1600, 16mm



81

BINH THANH DISTRICT 

This district has a mix of the very old Saigon and the 

very new. It’s said to be the heart of Saigon and is 

where I’m currently living. You’ll find the tallest building 

in Vietnam here which is also the 2 nd tallest in all SE 

Asia, Landmark 81. With 81 floors, you can get a great 

360-degree view of the city. The SkyView here is 

pricey, but for a cheaper (though still pricey option), 

head to Nest by Aia on the 48 th floor for an expensive 

café drink, but with all the open air views you could 

hope for. Hand-held photography is fine here, but 

with the glass wall and lack of space for a tripod, 

long exposures just won’t work. Next to Landmark 81, 

you’ll find the city’s most beautiful park with great 

views of the skyline from ground level and a beautiful 

Japanese garden complete with bonsai trees and a 

gorgeous pond. 

CHINATOWN (DISTRICT FIVE) 

In this district known as Cholon to the locals you’ll 

find several pagodas, a Chinese-influenced Catholic 

church, and lots of birds in cages; the locals proudly sit 

in outdoor coffee shops displaying their sweet singing 

creatures. This area is where you are most likely to see 

cyclos (local bikes with the passenger seated at the 

front). There’s also Binh Tay Market, a sprawling mass 

of cheap consumerism but always good for a photo 

or two. Wander through the neighbourhood, and 

don’t forgo walking the hems (side streets) as that’s 

where you’re most likely to get your people shots and 

a more classical Vietnam vibe. I often find it’s best 

to shoot in shutter priority here with my ISO on auto. 

Choose a shutter speed of around 1/160 or slower 

if you’re quick with the camera and have a steady 

hand, but whatever shutter speed you choose, ensure 

you get sharp shots. 

CONCLUSION 

No matter where you choose to base yourself in this 

city, you’ll find photo opportunities galore. It’s the 

throbbing heart of Vietnam, and although it doesn’t 

feel quite as traditional as Hanoi, it still has more than 

enough on offer. You’ll soon realise that regardless 

of how much time you plan to stay here, it won’t 

be enough, so getting to those first-timer highlights 

is important; you can delve deeper on extended or 

repeated visits. 

Hungry for more travel shots? Follow me on Instagram, 

or better yet, watch my videos on YouTube to better 

understand where I am and what I’m doing. 

@phomadic 

www.youtube.com/c/GirlsontheLoose1 


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83

ROADS 

READERS' 

SUBMISSIONS 

Whether it's a road to your 

next holiday destination or 

to your self-discovery, share 

with us what it looks like! 

Submit by 15 September 

2022 for a chance to be 

featured in the next issue of 

NZPhotographer. 

Submit at www.nzphotographer.nz 


PORTFOLIO 

BEST READERS' SUBMISSIONS THIS MONTH 

'SPRING' 

A WEE WAXEYE IN NECTAR HEAVEN 

The street that I live on is lined with these stunning cherry trees. The wee waxeyes flock to them at the 

begining of spring, where they are so busy drinking as much nectar as they possibly can. I simply love 

listening to them as they go about their day. 

Lyn Alves 



85

BUDDING PONGA TREE 

Image description: I took this picture on a very recent wander around the Nga Manu Reserve in 

Waikanae. I saw the ponga bud by chance and thought it might make a great shot. 

Dafydd Davies 


SPRING 

Finally Spring rears her head. The Kowhai is blooming and the Tui’s are feasting. 

Graham Jones 



87

DIETES BICOLOR 

Also known as the African Iris, or Yellow Wild Iris, this was the first flower that appeared in the garden this 

Spring, presenting a good opportunity for a macro shot. Several shots were stacked in Photoshop. 

Jack Horlock 


EARLY CHEER MANGAKAWA 

A very early spring photo taken at Gudex Reserve on Maungakawa. 

Bruce Hancock 



89

SPRING AND TUIS - A MATCH MADE IN HEAVEN. 

How does it get any better than the early spring days when this cherry tree blossoms and 

the tuis simply flock to devour as much nectar as they can. Tuis can be quite aggressive, 

but when there is an abundance of flowers to choose from, it’s all fun and games. 

Lyn Alves 


WALKING IN SPRING RAIN. 

A wet spring day didn’t stop this dog being taken for his walk in Central Park, 

Wellington. The bush always looks and smells luscious in spring. 

Peter Maiden 



91

MAGNOLIA, YOU SWEET THING 

This was taken at the Hamilton Gardens where there are a number of Magnolia trees. This particular one 

had some branches with flowers at eye level making it easier to get a nice photo. 

Nicola Guy 


SPRING HAS SPRUNG 

I was visiting Queenstown, about to go on a landscape photography workshop at Mt Cook and had 

some time to kill, so I visited the Queenstown Gardens. There was an abundance of Magnolias in flower, 

just stunning. I like how this magnolia has just started to open up with the furry sepals still supporting the 

bloom. 

Nicola Guy 



93

EARLY SPRING DUCKLING 

I was visiting a local stormwater reserve on an overcast day when I couldn’t believe ducklings had 

already hatched. I managed to take this as the duckling popped out after hiding in the reeds. 

Mark Trufitt 


PLEASE DON’T EAT THE DAISIES! 

This is the lovely Louie, patiently posing for a group of photographers 

at a recent meetup. He looks so happy that spring is on the way. 

Raewyn Smith 



95

"THE WHOLE POINT OF TAKING 

PICTURES IS SO THAT YOU DON'T 

HAVE TO EXPLAIN THINGS IN WORDS." 

ELLIOTT ERWITT 

PHOTO BY CYNTHIA STOKS

NZPhotographer Issue 59, September 2022

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