April 14th 2010
Helping you take better photos
$6K From YOUR First Exhibition? How To: Motion Blur Frightening Technology
Smoke Art Winner
CONTENTS 4 18 Lachyâ€™s
Pic of the Bunch
The Photographic Community
Keeping it clean
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
last week. Not bad!
Roll on 3000!
Cover Image: Single Image Competition Winner Lindsay Murray
Ollie Dale, ANZIPP
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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
When you pan with your subject you
motion blur is
practise – it’s very
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.
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
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
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Pic of the Bunch Winner - Lindsay Murray 8
PIC OF THE BUNCH
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 www.gicleeprint.co.nz.
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
hope you learned a lot!
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
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!
try not to wipe it with cloths etc….
mirror a simple air brush can do the trick but
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 www.imageme.co.nz 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.
was low so I decided to use the widest
Congratulations on seeing and capturing
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’
in the leaf, the diagonal lines created by the
setting, the reds in this leaf would be
warmer and even more
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,
even more diagonal. I also brightened the
and your final image cannot be enlarged to
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.
Call for entries: Get your images critiqued by professionals – send an image to email@example.com 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 firstname.lastname@example.org. 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
nzphotographer.co.nz 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 www.gicleeprint.co.nz. One entry per person, and you must be in New Zealand or hold a NZ Passport at
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
nzphotographer.co.nz 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.
gicleeprint.co.nz. One entry per person,
Lachyâ€™s Exhibition $6 for a good cause
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
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.
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 www.northshoresalon.co.nz. 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
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,
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!
The THIRD & THE SEVENTH
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.
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: www.adobe.com/ap/ 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
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Published on Apr 14, 2010
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