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Issue 13

April 14th 2010

Helping you take better photos



$6K From YOUR First Exhibition? How To: Motion Blur Frightening Technology


NZ Photographer

Apr 14

Smoke Art Winner

17 critique

CONTENTS 4 18 Lachy’s

Motion Blur



Pic of the Bunch

12 20


The Photographic Community


Keeping it clean


Apr 14

NZ Photographer


Cool Stuff

Editorial W

elcome back! First of all I’d like to congratulate Lachy Barclay for an extremely successful exhibition, which will be the first of many, no doubt. It’s a great success story that I’m proud to say NZ

Photographer was involved with. Read the article on page 18 for more. Secondly, welcome to Lisa Crandall: Lisa is a fabulous photographer who won NZIPP People Photographer of the Year (no mean feat) in 2008, and who has come on board as “the voice of reason” as another educated opinion in our critique section. I’m sure you’ll all enjoy someone other than me picking your work to pieces! Finally, and also very proudly, we clicked over our 2000th subscriber last week. Not bad! Thanks to you all we’re able to continue to grow our little empire. Roll on 3000!


clicked over ou 2000th subscriber r

you all we’re able to continue to grow our

little empire.

last week. Not bad!

Thanks to

Roll on 3000!

Cover Image: Single Image Competition Winner Lindsay Murray

Ollie Dale, ANZIPP GROUP EDITOR Trudi Caffell ART DIRECTOR Jodi Olsson ADVERTISING ENQUIRIES Phone Richard on 09 523 4112 or email

NZ Photographer, C/- Espire Media, PO Box 137162, Parnell, Auckland 1151, NZ

NZ Photographer is an Espire Media publication

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NZ Photographer





Apr 14

ABOUT Whether you’re an enthusiastic weekend snapper or a beginner who wants to learn more, NZ Photographer is the fun e-magazine for all Kiwi camera owners – and it’s free!

For more info contact


MOTION BLUR Tips and Tricks By Ollie Dale


ne way to bring life to still

that means that if you move the camera to

images is by adding some

keep up with your moving subject, suddenly

movement. Movement in an

your background becomes the moving part

the snail – your shutter would have to be

of your image. More on that shortly.

open for quite a while to get motion blur

image can add emotion, illustrate direction, create a flow, lead the viewer’s eye, and/

There are two types of motion blur – real,

you will get motion blur. Consider the Formula-1 race car versus

of a snail, whereas most people struggle

or fill an otherwise empty or dull area of an

and to put it bluntly, fake. Motion blur is

to get the Formula-1 car in the frame, let

image with something lively.

real as it occurs when taking a photo, and

alone still and sharp!

If you can’t get your head around how

motion blur as added in post production is

The trick to motion blur is practise – it’s

motion blur occurs, don’t worry, you’re

simply an effect. This article deals solely with

very tricky getting just the right amount of

not alone. Putting it as simply as I can, I

in-camera motion blur.

blur, especially if you’re trying to keep your

explain it like this: A photograph is a record of a brief

To achieve motion blur you need an

subject sharp and blur the background. To

element of your image that moves within the

do that you need to move your camera with

period of time – if an object moves relative

time your shutter is open – that’s why sports

the subject, which is called panning.

to the camera within that brief period of

photographers shoot at high shutter speeds

time, you’ll get motion blur.

to avoid this movement. The faster the

need to keep the subject in the same

moving part of your image, the more likely

position throughout the whole time your

The key point is ‘relative to the camera’ – 4

Apr 14

NZ Photographer

When you pan with your subject you




motion blur is

practise – it’s very

tricky getting

just the right amount of


shutter is open, and this sounds much easier than it actually is.

Follow a car as it drives towards you by rotating your body while keeping your

needs be, wait until dusk to enhance the

feet still. Keep the car in the centre of your

slow shutter speeds.

DSLR Owners:

viewfinder as it gets closer, and take the

Set your DSLR to 1/60th second, f/8, ISO

photo as it drives past you.

100 and go outside to the side of a street with a 50kph speed limit (you may need to adjust your aperture depending on how

will give you slower shitter speeds. If

Practise this over and over until you get a

Follow the directions as above, following cars as they pass you and finding the perfect time to photograph them.

focused image of the car. Experiment with slower shutter speeds

Once you‘ve perfected that, try shooting

bright the day is). Make sure you’re not

and different lighting conditions to really

other objects travelling at different speeds,

standing next to a Stop or Give Way sign!

get used to the effects.

adjusting your shutter speed accordingly.

Put your feet shoulder width apart, and

(somewhere around 35-50mm), set yourself up so that the passing cars will be about 5-10 metres away from you.

disappears, not enough and it looks like a

If you can set your camera to Manual

mistake rather than a purposeful effect.

Mode, do as above for the DSLR owners If you can’t, select a preset or scene such as night portrait, where your camera

The other version of motion blur is when the camera is still and objects move through the image. NZ NZPhotographer Photographer


Using a mid range lens, if you have one

Compact Camera Owners:

Dec Apr 214

spread your weight evenly between them.

Too much motion blur and the subject almost


Mar 3

NZ Photographer

In the same position as above, try holding your camera still as a car drives past. Find other scenes where things are

information and examples on the internet of motion blur, and a nice collection of 45 images can be found here – some great

moving and try shooting them (e.g. waves

inspiration and ideas for where motion blur

on a beach, kids playing sport, crowds at a

can take you.

shopping mall, etc.)

Check out this series I did watering

Send your best one in for our motion blur competition!

the garden. As you can see, you have many options when it comes to adding

Like anything else there is a wealth of

motion blur!

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NZ Photographer

Apr 14

Epson Stylus® Pro 3880


Pic of the Bunch Winner - Lindsay Murray 8

Apr 14

NZ Photographer

Melanie Beres


SMOKE ART Competition

challenge, and challenged


who wins this issue’s cover, and a $100

you were. Congratulations

voucher from the fabulous people at Giclée

to those of you who actually attempted the

Print. For all YOUR fine art and canvas printing

smoke art experiment and sent them in. We

needs, visit

There can be only one, however, and that one this time is:

outside the square and submitted the above shot – nice creative touch Melanie!

Special mention must be made, though, of long time subscriber and twotime winner Melanie Beres, who thought

NZ Photographer


hope you learned a lot!

Lindsay Murray

Apr 14

e knew this would be a


Keeping It Clean Looking after your digital camera By Ollie Dale


our camera is an expensive piece of technology which should be cared for – after all it is capturing

sold it to us, right? Hmmm... I try to take care of my cameras, and

And it’s not just the internal organs of DSLR cameras that need to be clean – the

I like to think I’m careful when I change

lens, on any type of camera, is critical

your family’s history, creating pieces of art,

lenses (which is one of the most dangerous

in getting a good photo – what hope

recording moments of time, and giving

times for your camera, if you have a

have you got of getting a good shot if

you something to do on the weekends. So,

DSLR), but invariably dust eventually finds

your lens has the territorial mark of a

surely, how to clean it is something we’re

its way onto your sensor, and suddenly

greasy-handed two year old all over it?

taught by the pimply-faced sales person who

you’ve got a problem.

(My last such mark was ice-cream on my


Apr 14

NZ Photographer

polarising filter...) To get some answers I contacted Canon NZ and asked them for their advice. Mieke Van Der Walle replied on their behalf: “My recommendation is always to use a soft microfiber cloth (the same that you use for your sun glasses etc) Wipe off the exterior body with the soft cloth, best not to use liquid, these cloths are pretty good at getting rid of grime and dirt. Don’t forget to wipe and clean around the lens mount, I find cotton buds are really good for this, as they get right in there. You can use a very small amount of meth spirits for this. Cleaning the lens is the most important part! Try to use a separate cloth for best results, lightly blow onto the elements and then using the cloth wrapped around your finger use circle motions, but ever so lightly. To make sure traces of finger prints etc. are removed, hold the lens underneath a lamp at a 45 degree angle – this will show up pretty much anything that’s still on there. If you own a DSLR and want to clean the

As regards to Sensor cleaning, never, ever try and do this on your own, it’s just not worth it! The sensor is very delicate and can end up costing you hundreds of dollars to fix for the slightest damage to it. Our technicians have gone through extensive training in order to be able to perform this procedure. DSLR self-cleaning units (inside the camera) are pretty good these days. The problems start with dust sticking to the sensor when people leave their camera switched on when they change lenses. CMOS and CCD sensors are electronically charged devices – they’re like mini vacuum cleaners. The most effective way to prevent dust is too switch the camera off before you change your lens, (make sure you always use dust caps on your lenses) and hold the camera body facedown while you change the lens.

On average you should only have to clean your sensor once a year (and this is in extreme cases) Most of our professionals who are using their gear every day get their sensor cleaned every six months.” Thanks, Mieke, for some great advice. If your compact camera needs an internal clean, say if you have dust, dirt, sand or other foreign bodies inside, don’t hesitate to get it cleaned by a professional, quickly. Sand and dirt can damage the fine working parts of your cameras, or scratch your lens and render the whole camera useless. If you insist on taking your camera to the beach, be very careful about when you use it, and where you leave it. One thing you might find at home that will help protect your camera on your next beach visit is a zip-lock bag, but make sure you clean your sandy, wet hands before you take your camera out!

NZ Photographer


try not to wipe it with cloths etc….

Apr 14

mirror a simple air brush can do the trick but


Sized Up

YOUR WORK CRITIQUED There’s no better way to learn than by having your work critiqued!In this section you get to have your work critiqued by professional photographers Lisa Crandall and Ollie Dale. Lisa Crandall is a multi-award winning portrait photographer. In 2008 she was named ‘People Photographer of the Year’ at Iris, NZ’s professional photography awards. Her studio, ImageMe is located in Takapuna in Auckland. She also runs photography workshops, and is an Associate of the New Zealand Institute of Professional Photography (ANZIPP). Ollie has been a professional photographer for seven years, and has clients such as the NZ Herald, Visa, Microsoft, Westpac, Unitec and BMW. He is also a qualified commercial member and Associate of the New Zealand Institute of Professional Photography (ANZIPP).

Camera: Nikon E5700

The DOF here is too shallow for a start,

smaller veins, the intense and contrasting

Shutter: 1/80 sec

leaving some of the leaf out of focus – light

colours, the gorgeous water droplets.

Aperture: f/3.7

was low so I decided to use the widest

Congratulations on seeing and capturing

ISO: 100

aperture to avoid camera shake. What else

this beauty. The only thing letting this image

Author: Agnes Arnold

could I have done to improve focus? Tripod

down is the technical side.

was out of the question as the leaf was half From the author: I wanted to capture the

way up the tree!

Firstly, the colours in this image are a bit cool (bluish). My guess is that the white balance was set to auto. The camera didn’t

gorgeous detail and patterns of this early autumn leaf on a rainy, dark day... I like this

lisa’s comments: There are so many things

warm the image up enough to compensate

image, the lines and colours seem okay,

to love about this image – the tight crop, the

for the blue light being reflected from the

but there is something missing... and I don’t

off-centre placement of the main vertical vein

sky onto the leaf. If you had used ‘shade’

know what!

in the leaf, the diagonal lines created by the

setting, the reds in this leaf would be


Apr 14

NZ Photographer

warmer and even more

OP 2

beautiful (see OP2 – I have warmed it up in Photoshop). From the metadata I can see that you were struggling with a lack of light, and this affected your settings. You had an aperture of f3.7, which is a very wide open aperture. This setting lets in a lot of light, but whenever you choose a setting to let in more light, there is a trade-off. In the case of aperture, the trade-off is a reduced depth of field (the slice of the world that is sharp in your photo). As you pointed

was out of the question. What is a safe

out, Agnes, the depth of field is really too

shutter speed to handhold at? The old rule

narrow in this photo for the subject. Large

of thumb (for 35mm film cameras) was: take

stunning photo of this leaf would be to

parts of the leaf and dewdrops are soft

your lens length and make it into a fraction.

photograph it when there is more light

because they are outside of the depth of

The fraction is the slowest shutter speed you

falling on it. You could either introduce light

field. It can be great to have a large part

should attempt handheld. This rule of thumb

yourself, or shoot at a brighter time of day.

of your photo soft if you want to create

still works pretty well for digital cameras (even

Photography is often an exercise in

a sense of distance, and make a sharp

those with smaller sensors). Your shutter speed

problem-solving, and deciding which

subject pop out against a soft background.

was 1/80 second and your lens length was

compromises you are willing to make in

However, that’s not the case in this image.

107mm. 107mm would suggest a shutter

order to get the perfect shot!

The leaf is basically flat to the camera, and

speed of 1/100th of a second or faster. So,

there is no background as such. A higher

your shutter speed was already on the slow

Ollie’s Comments: I couldn’t agree more with

f-stop number would have achieved a

side, and I think that a hint of camera shake

Lisa on this one – you’ve seen something

greater depth of field, and the whole leaf

has made your image a little bit soft.

really interesting in this leaf, and composed

would have been sharp.

So, if we can’t make the shutter speed

aperture and/or faster shutter speed. Pehaps the best way to get an absolutely

it very well. It seems your biggest challenges

longer, it’s time to turn to the ISO. The ISO

came from the lack of light.

(which cuts out light hitting your sensor) and

used was 100, which is a lovely low ISO.

Controlling the light is your job, as the

still achieve a good exposure (an image

Low ISOs give smooth images with lots of

photographer. Could you use an off-

that is not too dark)? There are three settings

fine detail. When you use a higher ISO

camera flash? Given the leaf has a very

that you can use to adjust the amount of

(say 800 and above) digital noise starts to

limited lifespan anyway, could you take

light hitting your sensor – aperture, shutter

creep in, and fine detail is lost. Because

the leaf off the tree (screams of protest from

speed and ISO.

this is a still-life with beautiful fine detail, you

all the greenies out there) and set it up

Let’s think about shutter speed. A longer

probably would not want to take your ISO

where the light was better and/or where

shutter speed would have let in more light.

really high. However, you could probably

you could use a tripod?

However – there is a danger of camera

take it to 200 or 400 (depending on your

Your composition is great though, so

shake. Putting your camera on a tripod can

camera’s performance) with very little visible

controlling the light and attaining more

deal to this problem. But as you mentioned,

difference. 400 ISO would let in four times

depth of field are where you need to work

the leaf was half-way up a tree and a tripod

as much light, letting you choose a higher

for next time.

But how can you set a higher f-stop


Camera: Canon EOS 400D

As I cropped the photo I rotated it clockwise

If you severely crop an image after you have

Shutter: 1/60 sec.

a little, to make those lines of the grater

taken it, then you throw away a lot of pixels,

Aperture: f/4.0

even more diagonal. I also brightened the

and your final image cannot be enlarged to

ISO: 400

image, bumped up the saturation to make

a big print. It is better, if possible, to ‘crop

Author: Mike Brown

the cheese more yellow, and darkened

in camera’ and go through this thinking

the top right corner a little, to stop the eye

process while you are taking the photo.

LISA’s Comments: I love it when

wandering out the frame.

photographers find an interesting subject in

Then I wondered if we need the edges of

Ollie’s Comments: I’m liking this double

everyday objects. This great shot celebrates

the grater at all. It’s always worth asking

critique idea – Lisa has pretty much said

the graphic qualities of some grated cheese

yourself ‘what’s the heart of my image?’

everything I wanted to – next time I’ll go

with the grater. There is colour, textures (the

Many images show more of the world than

first. Well done on the originality of this

cheese and the smooth metal of the grater)

they need to. A good crop can often help

shot. I like Lisa’s cropping of your original

and the nice diagonal lines of the grater.

an image communicate more clearly what

and I also think you’ve done really well

To emphasise these qraphic qualities further,

the photographer found interesting and

in making a very ordinary object look

I tried cropping the image (Op2). The crop

attractive about the subject.

interesting. The original definitely needed

has removed the out-of-focus cheese on the

In Op3 I cropped in even further to

warming up, and the tighter crop gets rid

right-hand side, which was less interesting.

emphasise the reflection of the cheese in

of some distracting elements.

Also, the composition is improved now

the grater. This has made the image more

Learn to see the pictures within your

because the image is no longer cut in half.

abstract, and the subject is less obvious.

pictures, and your creativity will be freed.


Apr 14

NZ Photographer

OP 2

OP 3

Call for entries: Get your images critiqued by professionals – send an image to with a brief description of how and why you took the shot, and we’ll tell you what we think and if it could be improved. The views and opinions expressed in this section are only two people’s ideas on photographic imagery. You may have different, constructive ideas about how good or not the images are, and what could be done to them. You’re welcome to send those ideas in to We agree that the opinions contained in this critique section are by no means the only opinions that could be held about these images.


Motion Blur Competition (Single Image)


he brief: Take an interesting image that utilises what you’ve learned from the Motion Blur article in this issue

the time of entry to qualify. Images must be 100dpi, 1600 pixels wide, and sent to competitions@

and that we could use on our cover, and the by 5pm on

most interesting image wins. Simple! Even if

Monday the 17th of May, 2010. Winner

you don’t win you may still get published on

will be published in Issue 15, out on

our Best of the Rest page.

Wednesday the 26th of May, 2010.

Be in to win cover of Issue 14, and the fabulous $100 voucher from the fabulous people at Giclée Print. For all YOUR fine art and canvas printing needs, visit One entry per person, and you must be in New Zealand or hold a NZ Passport at


Mar 3

NZ Photographer

Underwater Competition (Single Image) A quick reminder…


our Underwater image is due in

and you must be in New Zealand or hold a

our email inbox no later than 5pm

NZ Passport at the time of entry to qualify.

Monday the 26th of April, 2010.

Images must be 100dpi, 1600 pixels

We’re going to be a little bit lenient with

wide, and sent to competitions@

how you shoot your shot – obviously we by 5pm on

want you to actually be underwater, but

Monday the 26th of April, 2010. Winner

if you pop in to your local pet shop and

will be published in Issue 14, out on

shoot something through the fish tank we’ll

Wednesday the 5th of May, 2010.

probably never know… Be in to win the cover of Issue 14, and the $100 voucher from the fabulous people at Giclée Print. For all YOUR fine art and canvas printing needs, visit www.


NZ Photographer

Mar 24 One entry per person,

Lachy’s Exhibition $6 for a good cause


Apr 14

NZ Photographer


n issue 10 Of NZ Photographer we

Lachy was there, meeting and greeting

of the works. In total, 35 pieces were sold,

featured a story on Lachy Barclay, the 15

people and getting very excited every time

and in total $5940 was raised!

year old photographer from the Waikato.

someone made a bid.

On March 26th and 27th Lachy held his

Friends, family and strangers enjoyed the

The other exciting thing that we were all very grateful for was the anonymous donation of

first exhibition, in Auckland, aided by NZ

art, commented on the quality of Lachy’s

a new camera, which Lachy wore with pride

Photographer, where 15 of his works were

photography, and, most importantly, outbid

around his neck for the duration of the exhibition

for sale by silent auction in order to raise

each other for a chance to buy the canvases.

(and which he probably still hasn’t taken off!).

money for Lachy to buy a new camera.

The best sale was for the exhibit’s largest

The lovely people at the Dental Hygiene

piece, titled Morning Friends (the editor’s

Thank you to whoever that was – you have made a talented young man very happy.

Clinic (120 Remuera Road) donated the

personal favourite), which sold for $1500.

premises and were fantastic hosts to around

Numbered 1/5, all the exhibited pieces

updates on Lachy’s career, which has started

70 people over the two three-hour sessions.

sold, and so did some of the other versions

off extremely well.

Watch this space – we will bring you


NZ Photographer



Apr 14

Watch this space – we will bring you updates on which has started off extremely well.


The Photography Community

What’s new with photography clubs & societies around New Zealand


his month we’d like to share something

We’d like to invite NZ’s photographic clubs and societies to be a part of this magazine. Send us what’s coming up (usually we need about six weeks’ notice for upcoming events), your thoughts on a particular part of the industry, or even just your contact details. We’d like to highlight a club or society in every issue, and with only 16 issues a year it’ll be first in, best dressed.


Apr 14

NZ Photographer

sent in by Martin Sanders of the North Shore National Salon of Photography:

The North Shore Salon of Photography is now in its sixteenth year. Last year we

Movement and Red. Definitions and further information can be found on the web site There is a prestigious Gold Medal for the

introduced a very successful digital section,

winners of each category plus the Progear

which attracted over 800 entries out of the

Trophy for the best overall image.

final tally of approximately 1400. This year

We hold exhibitions of the award

the Print and Digital sections have plenty to

winning prints and digital images at the

challenge photographic skills.

Aotea Centre and Canon Head Offices.

Apart from Open Colour and

A presentation to the Gold Medal winners

Monochrome in both sections, PRINT

is made at a special club meeting with a

subjects this year are Close Up and

speech from a prestigious guest (last year it

Architecture, and DIGITAL subjects are

was Marti Friedlander).

The timetable for this year’s Salon is: 28th May

Closing date for entries

26th June

Salon Judging Day

12 to 23 July Exhibition of Salon prints th


and digital winning entries 4 August

Presentation to goldmedal winners and audio-visual presentation of winning entries at North Shore

13 August Publication of the Salon’s 2010 Catalogue Photographic Society’s “At Home” evening, The War Memorial Hall, The Strand, Takapuna 13 August Publication of the Salon’s 2010 Catalogue Kind regards, Martin Sanders Salon Secretary,

NZ Photographer


Apr 14

North Shore National Salon of Photography


COOL STUFF The cool stuff in this section comes to you with help from the knowledgeable people at www.engadget. com. Each issue Ollie, our illustrious editor, trawls through the amazing photographic gadgets and gizmo’s to bring you the best of the best. Enjoy!



This month Engadget seemed to be full of

Also, the other

very geeky stuff, from accessories for your

big industry news

iPad, to new touch screens and medium

is this week’s launch of the Adobe CS5

format camera backs... so instead I thought

Collection. In a sure sign of how we’ll be

I’d share a simple video or two. I don’t want

using their products in the future, Adobe

to tell you what I think about it until you’ve

are offering (only in Australia though) the

watched it, so watch BOTH of these clips

ability to subscribe to their Design Premium

and then log on to our Facebook Page and

CS5 package on a monthly or yearly

leave your comments. One thing I will say is

subscription. That will give access to the latest

that this is a sign of things to come!

versions of Photoshop, InDesign, Illustrator,

Movie 1 – The Third & The Seventh

Acrobat, Flash, Dreamweaver, Fireworks

Movie 2 – The Making of

and Bridge for (only?) AU$199/month or

The Third & The Seventh

AU$129/month on a 12 month contract.


Apr 14

NZ Photographer

My personal pick is that as soon as we all have fibre optic cables to our front doors Adobe will host its products online and monthly or yearly subscriptions will be the only way to access them, thus ridding the world of pirated versions of their products. Watch this space, and check out the link for more info on all the new products: products/creativesuite (Expect the new software to be available sometime in May).


In the next issue of NZ Photographer… The Creepy Crawly World of Bryce McQuillan Documentary Photography Underwater Competition Winner Plus much more... Issue 14, Out Wednesday 5th of May 2010

Have you subscribed to NZ Photographer? It’s free!


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Apr 14

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