ISSUE 5, March 2018
INTERVIEW with Eva Polak FACING FACEBOOK CHANGES BY EMILY GOODWIN
UNCOVERING INCREDIBLE INDIA with Susan Blick
LONG EXPOSURE HOW TO CAPTURE: PHOTOGRAPHY MILKY WAY PHOTOGRAPHS Astrophotography Tips by Richard Young
BY RICHARD BROOKER
From the Editor Dear reader, Welcome to Issue 5 of NZ Photography Magazine!
Taya Iv, Editor
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Get in touch! General Info: NZPhotographer Issue 5 March 2018 Cover Photo by Eva Polak
Publisher: Excio Group Website: www.excio.io/nzphotographer
This month, you'll get to experience the beauty of New Zealand as well as other parts of the world. You'll discover Gail Stent's stunning underwater photographs, find creative gems in our interview with Eva Polak, learn about Facebook changes and so much more. You'll also get to see our favourite submissions, all of which are bound to inspire you to go out with your camera.
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TABLE OF CONTENTS
4 BEHIND THE SHOT WITH GAIL STENT 6 A NATIONAL TREASURE AWAITS EXPLORERS TO ARTHURS PASS 8 INTERVIEW WITH EVA POLAK 16 BACK TO BASICS: UNDERSTANDING SHUTTER PRIORITY 18 UNCOVERING INCREDIBLE INDIA WITH SUSAN BLICK 28 FACING FACEBOOK CHANGES 30 HOW TO CAPTURE: MILKY WAY PHOTOGRAPHS 31 LONG EXPOSURE PHOTOGRAPHY 49 READERS SUBMISSIONS Brendon Gilchrist
Richard is an enthusiast photographer with too much time oh his hands! He’s fascinated with capturing movement in a still image.
Emily Goodwin Richard Young
Brendon is the man behind ESB Photography. He treks from sea to mountain, and back again, capturing the uniqueness of New Zealand’s unforgiving landscape.
Ray is an amateur photographer who has dabbled in photography for 45 years. He has a lot of pre-digital knowledge under his belt and enjoys capturing landscape scenes and animals.
Richard is an awardwinning landscape and wildlife photographer who teaches photography workshops and runs photography tours. He is the founder of New Zealand Photography Workshops.
Taya is a portrait photographer whose work has been featured in magazines and on book covers. In addition to taking photos, she loves reading, learning, and sharing her knowledge with people like you!
Emily fell into photography a little over 10 years ago. She is passionate about documenting her travels and loves to spend time in nature capturing the details as well as the wider views.
Behind The Shot with Gail Stent GAIL, CAN YOU TELL US A LITTLE ABOUT YOURSELF AND YOUR PHOTOGRAPHY CAREER? I have always been interested in photography and did a little darkroom work when I was in high school. When digital cameras came out I became really interested as all I needed was a camera and a computer. I had small children (twins) at that stage, so took a lot of photos of them and the dogs in-between being a mother with a part-time job. My photography really took off when I joined the North Shore Photographic Society. I taught myself Photoshop and that was really exciting as I was able to create composites which I love doing. I have developed my photography to such an extent that I now teach photography, Adobe Photoshop and Lightroom at Auckland Zoo, NZPhotography Tours and Mairangi Arts Centre. I also exhibit and sell my fine art pieces, as well as doing photo shoots for families and underwater portraits.
HOW DID YOU GET STARTED WITH YOUR UNDERWATER SERIES, AND WHY? In 2009 I went to the PSNZ National Convention in Whanganui where I listened to an Australian guest presenter, Narell Autio. She showed us her underwater photographs and I was captivated. Having spent my sporting life underwater as a synchronised swimmer, this felt like my domain. I immediately went out and bought a small Canon G10 camera with housing and started photographing my daughter and her teammates. However, it was only really in 2014 that I started creating this type of image.
CAN YOU TAKE US THROUGH SHOOTING THIS PARTICULAR SHOT? This shot was taken in an indoor pool. I think we shot for about 30-45 min - The girls get quite cold after that. I most often work with girls who are familiar with the underwater environment and brief them before we go in about what I want from them, facial features, body positions etc. When I work with non-swimmers, I usually go
into shallower water. I work with the model - We discuss how to make a better image e.g., closer to the surface, arm positions, etc. I use a mask and snorkel, so come up for air with the model and we discuss a repeat or the next move.
WHO IS THE MODEL AND HOW DID YOU START WORKING TOGETHER? The model in this image is Katie. I used to coach her synchronised swimming when she was younger - She is now a coach herself. She is very comfortable and relaxed underwater and I love working with her as she is very flexible and looks amazing in the water. I also use my daughter (when she’s in town) and my niece, as well.
WHAT EQUIPMENT ARE YOU USING? I started off with a Canon G10 and then moved to a Canon G16. I now use a Sony A7R ii with an Ikelite housing and a Sony FE 16/35 f4 lens. The difference in quality is amazing - My images are now on another level. I tend to use natural light, but also have a small Lume Cube light that is waterproof and has amazing power. I wear a short wetsuit as I get cold really easily, a weight belt to keep me under (I’m super buoyant!!), fins (so that I can get back to the surface!!) and a mask and snorkel. I don’t use full scuba gear as I need to communicate often with the model, so come up to the surface to breath and talk.
ANYTHING ELSE WE SHOULD KNOW? After the shoot, I always have to post process in Lightroom as well as Photoshop. Underwater, everything is blue, so I have to get the White Balance correct. I prefer doing this in postproduction. These days I often tend to convert to B&W or use textures as I find this gives another dimension to the image.
WHERE CAN WE FIND YOU ONLINE? www.gailstentphotography.com www.facebook.com/mifotoshows www.instagram.com/gailstent
A National Treasure Awaits Explorers to Arthurs Pass
By Brendon Gilchrist
n the heart of the Southern Alps, which is a short 1 hour 19 minute drive from Greymouth or a 2 hour drive from Christchurch, you will arrive at a small village called Arthurs Pass which is on the south western side of Arthurs Pass National Park. I have been hiking, climbing and exploring this National Park for many years. It has always drawn me as a place to go and explore. The diversity of attractions is so much more then what most people will ever think, but you need to walk or climb to reach these stunning destinations. Within the township you will often see Kea, standing on top of the railway station, hanging out at the cafe, or outside the Wobbly Kea. Yes, you read it right, that is the name of a cafe/restaurant in the village! Devils Punch Bowl is a large waterfall that towers 131 meters from top to bottom that can be accessed from the western end of the village, a one hour return walk from the car park. You'll find great views over to the other mountains, a lively forest of native birds, and a viewing platform looking towards the mighty Devils Punch Bowl. The famous Punch Bowl Branch can be viewed from here. A focal length on your camera of about 100mm will capture this world famous branch. Arthurs Pass offers something for everyone from easy day walks to difficult mountaineering and rock climbing routes. There are hiking huts, large tarns (Mountain Lakes) to camp beside and even hot springs. Where do you begin? Due to the diversity, it’s one of those places where you’ll see or do incredible things, but beware of the weather, as it can and will change quickly. To start off, Bealey Spur is an easy day walk that walks through lush bush then enters onto golden tussock tops overlooking the Waimakarir river and all its braids. The view is such a classic New Zealand south island river. The
hut was built in 1935 and used as a base for high country sheep farming until 1978 when it was retired and added to Arthur’s Pass National Park. It is a must do and a must see. On the other side of the scale is a hike to 3 Alpine Tarns which are located within Kelly Range and Carol Hut. It's a solid 3 hours to Carol Hut and an extra 1 hour walk will get you within reach of the parks best kept secret. You can camp almost anywhere near the Tarns. On the left side of the mountain, there is a large slip, if you are careful you can walk down and stand where water is gushing out the side of the mountain. You can feel the earth tremble below you. I remember the taste of the water was so fresh, suprisingly freezing cold even though it was summer. Arthurs Pass is also home to Canterbury Mountaineering. A base for so many peaks, from easy peaks like Avalanche Peak at 1883 meters high to the more advanced Mount Temple at 1913 meters mostly needing rope skills. There's also Mount Rolleston at 2275 meters, or the more longer access peaks of Mt Murchison at 2302 meters. From entry level climbing on rock and ice in winter to the more advanced climbing routes, there are just so many different peaks to think of, so many valleys to walk up, so much diversity in wildlife here. You'll find 5 different ski fields, forests, glacier's and beautiful streams and rivers, wide open fields of tussock grass, and tarns right below mountain peaks, or nestled in golden tussock grass. Standing on top of these mountains looking at more mountains will give you moments of pure joy as you ponder life and the world we live in. “We do not climb the mountain, the mountain climbs us.” I love this place. Due to its size (1,185 km2) it manages to have everything. There is no other park in New Zealand quite as unique as this one. I hope you will read this, see the photos, and then start to plan a trip to this unique place.
F/18, 1/20s, ISO400
F/16, 1.3s, ISO100
Interview with Eva Polak An Impressionist Photographer On An Imaginative Journey of Creativity. EVA, CAN YOU TELL US ABOUT YOURSELF? I made New Zealand my new home 20 years ago after leaving Poland. If you had told me the day I landed in Auckland airport that in a few years time I would run online impressionist photography courses, write books or speak in front of people about my work, I would laugh at you. None of it was even remotely in my plans. In fact I didn’t even speak English or own a camera back then. Thanks to photography I really found my place and my voice here. I live with my husband in West Auckland and work for a printing company during the day, the rest of my free time I dedicate to my photography.
WHAT CAMERA EQUIPMENT DO YOU HAVE? I have a Nikon D300 and D810 and several different lenses - I really love the Nikkor Nikon AF-S 70-300mm F/4-F5.6 lens as I can take images in the middle of the day without needing an ND filter. I use the Sigma AF 50mm F/2.8 Macro lens for most of my macro photography. I also have a collection of M42 lenses, mostly 50mm and 85mm. These lenses create an amazing variety of effects, from a buttery, soft bokeh to a crazy swirly bokeh and very interesting lens flares. If anyone wants to peek inside my camera bag and see what I do with each lens they can look here: http://evapolak.com/camerabag.html
HAVE YOU DONE ANY PHOTOGRAPHY COURSES AND TRAINING OR ARE YOU SELF TAUGHT? It all started in December 2004 when my husband gave me a small digital camera for Christmas. I was spending most of my free time with my camera, always taking photographs, reading about photography or planning my next photo shoot. I was enjoying myself immensely and I even entered a few local competitions with some success. After a year or so, I felt that I was ready for my first SLR camera. I wanted to have more control and be able to experiment with shutter speed and aperture. I also started to attend photography workshops and presentations. I was having fun experimenting with different types of photography, slowly buying new lenses and other equipment. By 2007 I was a pretty competent photographer. On one hand I was enjoying making images, but I also felt trapped and increasingly frustrated with all the “rules” of traditional photography. Around that time, I came across an advert for a workshop at Auckland University, The Art of Impressionist Photography. I knew instinctively
that this was something that I wanted to be doing. And the rest, as they say, is history. As I was experimenting with impressionist photography I very quickly realised that there are certain looks and effects that I’m attracted to. I started to study my own work, trying to really pin down my likes and dislikes. Soon I was using this process in my work to open up experimentation. I very quickly learned that what starts as ‘What if?’ could become an image that I love.
CAN YOU DESCRIBE IMPRESSIONIST PHOTOGRAPHY FOR US – WHAT DOES IT MEAN TO YOU? The wonderful thing about impressionist photography is the freedom that it gives you. There is no right or wrong way to create these images, just guidelines. Also, there is no need for expensive lenses or special equipment; you only need a camera with manual control settings. There is the freedom to work with precision and control, or to try a spontaneous, experimental approach. Creating impressionist work doesn’t mean just using special techniques. You still have to use your sense of composition and have a knowledge of light, colour and other elements of visual design to present your subject in the best possible way. Success in impressionist photography requires an understanding of the genre and knowledge of its strengths and limitations. It is not as easy as some people might think. The most essential ingredient that you need, to elevate your images from good to great, is expression. Actually, the fundamental building blocks of images go hand in hand with expression, because they allow the viewer to read and feel the photograph’s mood. If asked to define this style I would say that impressionist photography is the first step to abstraction, and the viewers have a clear idea as to what they are looking at and respond to emotionally. Photographs should only suggest detail, rather than focus on it.
DO YOU HAVE A FAVOURITE PIECE OF WORK THAT YOU HAVE CREATED? This is a very hard question as there are so many images that are important to me. Nearly every image leads to a new discovery or improvement of my work or steers me in a new direction. I like to work on long term projects and usually there is only one at a time. I spent more than three years just perfecting one technique - ICM (Intentional Camera Movement) with slow shutter speed. I really wanted to learn all aspects of this technique like light, different shutter speeds, different subjects, combinations with other techniques, etc. Then I moved into a different technique and discovered dandelions. I can clearly see how my approach to this one subject was changing and how my images were evolving. I finalised this project with a book, The Secret Life of Dandelions which you can get at http://evapolak.com/ The_Secret_Life_of_Dandelions.html I had a similar journey with moss. I created a book with this project as well, called Parallel Universes. http://evapolak.com/parallel-universes-book.html I believe that by focusing on one subject for a long time we can discover and capture the full potential of it.
WHERE’S YOUR FAVOURITE LOCATION FOR SHOOTING? The west coast of Auckland is definitely one of my favorite spots; it’s a very diverse environment of wild
spirit, rolling surf, dramatic cliffs, and distinctive black sand beaches. For me it is a magical place. I always go there to recharge and relax. I also love being in my garden and look at the world through a macro lens. Beauty is everywhere - we just need to open our eyes.
ANY TIPS FOR RUNNING A PHOTOGRAPHY BUSINESS? HOW DO YOU MANAGE YOUR TIME BETWEEN TEACHING, WRITING BLOG POSTS, PROMOTION AND ACTUALLY TAKING PHOTOS? The secret to any success, in my mind, is consistency. Small steps but frequent... I don’t have a lot of time between my full time job and my private life so I have to organise my time very carefully. My students are my priority. They are the most important people. I do my best to keep them happy and make sure that they are learning a lot. I try to make everything else as easy as possible for me... If I feel I have nothing to say I don’t write my blog post. I planted a lot of flowers in my garden so I don’t have to travel anywhere to take pictures which saves me time! I’m not the most organised person and I’m easily distracted. My effort this year will be in learning to focus so I can do more.
ANY TIPS FOR OTHER PHOTOGRAPHERS IN PROMOTING THEIR WORK AND MAKING MONEY WITH THEIR PHOTOS? There are many opportunities to make money with photography at the moment. The Internet makes it possible for us to reach a global audience. The trick is to treat photography as a product and then find the right people for that product. This is the hardest part, but if this first step is done right then everything else is easy. I research a lot of photographers and artists to find out how they run their businesses and if possible I adopt proven strategies. To me knowledge means power so I invest heavily in personal development.
YOU SEEM TO DO A LOT OF GROUP EXHIBITIONS, HOW DOES THAT WORK AND HOW DID YOU GET STARTED? I got together with three of my friends and we put together a proposal for the exhibition at UpStairs gallery in Titirangi. After the proposal was accepted I spent a lot of time researching and learning about exhibitions. My goal was not only to exhibit but also to sell my work, so I followed all the advice as best I could to reach my goal.
After a few solo exhibitions I received invitations to do other group shows. I always said, Yes. For the past few years I have been invited to do a few school fundraising shows. I love these opportunities as they are very well organised and run. I always encourage my students to exhibit their work, even if the exhibition will be just for family and friends. Having a show is an exciting and very special experience. Also it gives you a direction and focus.
YOU CRITIQUE PHOTOGRAPHY, CAN YOU TELL US A LITTLE ABOUT THAT? To me, looking at a photograph, especially an impressionist or abstract one, is like deciphering a visual message coded in lines, shapes, and colour. If the message is clear then the image is successful. If I have trouble understanding the story my job as a teacher and judge is to honestly point out the weaknesses and give my best advice for improvement. Most of the time I see the problem lies with the composition or overly relying on a specific technique to tell the story. For me the hardest part is to ignore my own preferences and honour someone else’s point of view and creativity. Art is very personal, and individual expression is very important. It should bring joy to one’s life. I’ve seen so many hearts broken by unthoughtful comments.
WHAT TIPS CAN YOU OFFER PHOTOGRAPHERS WHO WANT TO TRY THIS STYLE OF PHOTOGRAPHY? I would say “Just do it!” Take photographs as often as possible. Learn from your successes but also from your failures. Carefully study your own photos, and ask yourself a lot of “why” questions. Finding your own personal style is a lifelong, personal journey, so listen to your heart. As a great photographer, Ernst Haas, once said, “We see what we know until we know who we are, then we see what we feel.” Most of all, enjoy your journey!
WHAT ELSE SHOULD PEOPLE KNOW ABOUT YOU OR YOUR WORK? I’m very grateful to my students. Because of them my understanding of photography, my own processes and techniques are without doubt greater. So if you really want to learn something, teach someone else! I do small group (up to 10 people) weekend workshops 2-3 times a year. I like small groups as I can really give individual attention to each participant. But my main focus is on online courses. These are 5-6 weeks long and are very rewarding for me as I can see a huge improvement and development of each
student. I try to have no more than 10 students at one time so I have enough time for each student.
ANY FUNNY PHOTOGRAPHY STORIES TO SHARE? One afternoon I went to Piha to photograph the sunset. As it was a midweek day there was nothing happening there. The beach was deserted and the the weather didn’t really promise a spectacular evening. As I was strolling along the beach I noticed in the distance a figure swimming in the ocean. With the hope of making some images I got closer. To my surprise, through my 300mm lens I could clearly see that he was naked. I felt a bit uneasy. It is not in my nature to photograph unclothed people with my telephoto lens, even if I’m not capturing any details. Soon enough I noticed that he saw me. So, I turned around and walked away. This guy was very quick getting out of the water and dressing up. He caught me just before I got to my car and demanded to see my photos. I apologised and explained to him the nature of my work. The expression on his face was priceless as he discovered that any particular features of his were not recorded.
DO YOU EVER FEEL THAT YOU LOSE YOUR CREATIVITY? Of course, many times. I don’t think that there is an artist who is immune to that feeling. When that happened to me for the first time I was scared and I thought, “This is it. This is the end of my photography journey.” Now, I know that I just need to relax and rest.
WHAT ARE YOUR PLANS FOR THE REST OF 2018? I have so many projects I would like to finish this year. I have three or four books in the making at the moment... Wonderland’s Impressions - Creative Macro Photography, Dance Impressions - a collection of images I created going to ballroom competitions. Creativity Journal - Tips, ideas, exercises to keep
your creativity alive and last but not least Flowers Impressions - a flower a day stories. I’m also working on another online course - Composition in impressionist and abstract photography. I have a lot of ideas and sometimes this is a curse, as very little is actually done!
WHERE CAN WE FIND YOU ONLINE? www.evapolak.com www.facebook.com/evapolakimpressionist www.instagram.com/eva.polak
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BACK TO BASICS PART 3 UNDERSTANDING SHUTTER PRIORITY
n the last issue, we delved into Aperture Priority and Depth of Field. Now we explore Shutter Priority and its uses.
Shutter Priority is where you select the shutter speed and the camera takes care of the aperture, used when needed to capture subjects in motion. On most cameras, shutter priority is designated S or Tv on the program dial. The speed selected is shown on the top display panel (if the camera has one), in the viewfinder itself, and/or on the rear viewfinder. Once in shutter priority mode, the change to select the speed is usually made using the spin dial. Whether you are working with telephoto lenses, fixed or zoom, without the aid of a tripod and irrespective of subject matter, rule of thumb says shutter speed should equal or exceed the lens focal length. For example, shooting at 100mm should have a shutter speed of 100/ th of a second or faster. You need to consider what kind of picture you wish to take, to apply the kind of speed required to achieve the desired look. For extremely fast moving objects, you would generally need a fast shutter speed (i.e. to freeze motion on cars, fast-moving sports, birds in flight etc). Typically, fast cars would warrant a speed of 1/1500th of a second or more to freeze motion. To accentuate the actual speed the car is traveling at, a slower speed of say 1/750th of a second, with you following the car (panning the shot) should be enough to stop the action of the car, speed blurring the background to show the car’s motion.
by Ray Harness The same rules can be applied to wildlife photography, though your shutter speed may not need to be so extreme unless photographing birds in flight. In this case, you will be following the bird’s flight as they move around, so a fast speed is desirable, around 1/1000th to 1/1250th of a second, maybe more if using a long telephoto lens. You should also consider whether you are constricted by shutter speeds on your camera - This is where the use of the ISO setting can increase your speeds to what you may need. Increasing the ISO from 100 to 200 gives an immediate full stop of shutter speed from for instance 1/125th to 1/250th of a second. You do need to take into account that higher ISO numbers increase the level of noise in your pictures and it also reduces the camera’s dynamic range, though modern cameras have gone a long way towards minimising these negative effects. If you’re feeling a little daunted at using shutter priority mode don’t despair as many top photographers (even sports photographers) shoot purely using aperture priority. The latitude in aperture settings allows you to set an aperture that will produce the desired shutter speed unless you find yourself in a rare situation when you need a very specific speed. People ask what are the best apertures, or speeds to use in varying picture scenarios, but so much depends on the amount of light available that it is almost unanswerable. It’s something that you need to explore and pracise so get out there and have a go! If at first, you don’t succeed, try again, and again and again. You will achieve what you are aiming for with more experience behind the camera.
UNCOVERING INCREDIBLE INDIA with Susan Blick
ndia, incredible India they tell us in the advertisements and they’re not wrong. Most of us have probably thought about going to India at some point in our lives. After all, the saying goes, “You haven’t travelled till you’ve been to India”. Another one says, “You can’t die happy if you haven’t seen the Taj Mahal”. I’m not sure about that, but certainly going to India gives you new and thoughtful perspectives on life and faith. India is like a love-hate relationship. You love it when you arrive, then you can’t wait to leave. Once you have left, you’re planning a return. It’s a drug, a stimulant. It stimulates your senses, all of your senses. It fuels creativity and teaches patience. It’s what you need, if you don’t like being bored, and most of all, if you’re looking for something new to inspire your photography. I’ve been travelling to India since 1998. On that first visit I entered the country overland from Nepal and
traveled down to Varanasi and then West all the way to Jaisalmer and into the Thar Desert. By the time my month of travel was up, I was hooked! Since then I’ve been visiting on average every few years. I generally travel with a pretty compact photography kit, but naturally it depends what region I am visiting. For a street-based India tour I take either my Canon 6D or 5D Mark 3, the 16-35mm F/2.8 III for landscapes and the 24-105mm F/4 for street shots. If I am visiting a mountainous area like Ladakh I will trade the 24105mm for a longer telephoto like the 70-200mm F/2.8. I always take at least one neutral density filter, usually the 6 stop as it’s more versatile, and always a graduated filter, usually the soft grad 1.2. I used Lee Filters for many, many years, but have fairly recently moved over to Nisi as I find them far superior. I always travel with one of my tripods, usually the Sirui tripod with ball-head for international travel as it’s that much lighter.
This shot (above) was taken in Khari Baoli the largest spice market in all Asia. This humble Holy man sets up his little puja offering stall just after dawn and goes through a ritual that I was lucky enough to witness and experience. He only does this once a day. He awakens the Gods or spirits by using little balls of explosives - He throws them into the candle and they combust in a flurry of flames. He runs his hands through the flames. I squatted down the on road beside him and he happily allowed me to photograph his process. I find Indians are like this, they’re very welcoming and kind, so long as you show some respect. Afterwards, local shop owners came by and gave him small amount of rupees for which he blessed them. Moments like this stay with you!
I find the best time of day to explore in the city is early morning. Mornings are cool and people awake in a good mood. You feel at peace as you wander the streets looking for imagery. You’re welcomed with Namastes, and you feel you’ve found something more soulful than the cacophony that envelopes the streets by midday. People are going about their business, some are rushing to work, others are hanging around waiting to open shops. The streets are littered with paper and debris from the day before. Street sweepers come by and fine dust particles are lifted into the air with shafts of light reflecting through them. Who knew pollution could be so photogenic!
Transport in all its known forms pass by, with bullock and horse carts jostling for space on the crowded roads among cycle-rickshaws, cars, trucks and every man and street dog. There isn’t anywhere to look where nothing is happening. Your eyes, all your senses in fact, are beaming, you’ve never been more awake or alert to your environment. You feel consumed with adventure and excitement, and this is just the first day! I couldn't help but name this image (bottom left) The Backstreet Boys! As a foreigner with a camera you tend to attract attention. Mostly on the streets you find curious young to middle-aged men. They often want to know where you’re from, what you do, and if you have children. Having children is obviously more important in their culture than mine, they usually can’t fathom why I wouldn’t want to have kids! So it was during my wanders I came across this group of lads, doing what… I have no idea, but quickly they gathered around and I was like the paparazzi snapping away happily as they laughed and joked to stall holders either side of the street. They spoke broken English, and mixed with my bad Hindi, together we smiled and laughed as I captured this candid moment. Moments in India are almost always candid,
images are a record of a split second in time. A time that you forever recall with a smile. Painted in the colours of the Indian flag, a pedestrian swing bridge (above) stretches high over the river Ganges in Rishikesh. I sit at an open-air German Bakery sipping a cappuccino and watching pilgrims make their way across the bridge. Indian photographers wait to take Indian tourists’ photos, they print the shots while the tourists visit the temples. They’re only in town for 24 hours. I spent time chatting with them, they’re no different than the photographers we have in New Zealand at any tourist site like the Queenstown cable car or at the Sky Tower in Auckland. Vendors on this side of the bridge sell dried corn, peanuts, flowers and other knick-knacks to be offered up to the Gods for puja once the pilgrim makes it over to the temple on the other side. Before they reach the temple however they must run the gauntlet of Rhesus Macaque monkeys waiting to relieve them of their goodies. The monkeys work in gangs, and although mostly harmless they are quite frightening. If you’re carrying any food at all they will snatch the quarry from your hand.
The pulsating streets of New Delhi are alive with colour.
It’s quite humorous sitting back enjoying my morning coffee watching the next poor unsuspecting tourist being mugged in broad daylight by the monkeys! I love Rishikesh with its temples, Holy men, the Beatles, cows and monkeys… Life here in the foothills of the Himalaya is idyllic as the bells at the temple across the river chime in a spiritual trance the gorgeous days just saunter by. These days I’m running photo tours to some of the most photogenic and culturally significant parts of India and I’d love to take you with me. My tours are different from most. Firstly, they are reasonably priced, and secondly, we are travellers not tourists while in India. There is a huge difference and one you can best appreciate once there. We interact with common people and I take you into the back streets
where the photo ops are gold and the best memories are made. Join me on my next available departure in April 2019, when we’ll visit incredible Mughal dynasty sights like the Taj Mahal and the Jama Masjid. We’ll venture North, first to Rishikesh, where the Holy Ganges runs blue, and then into the Indian Himalaya taking in the great expanses of the mountainous landscapes that make up Ladakh, the number one up-and-coming travel destination in the World! For more information on traveling with me whether in India or NZ visit www.susanblick.com www.facebook.com/susanblickphoto www.instagram.com/phomadic
Susan Blick is an English teacher, and a landscape and travel photographer based in Auckland, New Zealand. She has visited 39 countries - many of them numerous times - and has resided in seven. She was New Zealand Geographicâ&#x20AC;&#x2122;s Landscape Photographer of the Year in 2015 and notably, won gold awards at the Sydney International Exhibition of Photography for Landscape and the Prix de la Photographie Paris in the Travel and Tourism category in 2015 and 2016 respectively. Susan enjoys documenting stories behind small NGOs (non-governmental organisations) and has studied visual journalism.
A Sadhu in Rishikesh enjoys his chillum of ganja
The Taj Mahal at sunrise, looking down the Yamuna River
An old man feels grief as his mother is burned on a funeral pyre in Agra.
The Taj Mahal at dusk
Sadhus line the side streets in Rishikesh, reminding you of chilled times and Rasta ways
A sadhu with the most beautiful smile - This man was genuinely filled with peace. March 2018
FACING FACEBOOK CHANGES
t the start of the year, Mark Zuckerberg announced it was time to ‘Fix Facebook’ due to most people’s newsfeeds being overrun with content from businesses and brands with posts from friends and family often getting buried. The news feed algorithm will be altered so that it no longer prioritises delivering relevant content, instead, the focus will be on creating meaningful interactions with friends and family and between users, such as members in groups. Essentially Facebook is going back to its roots, it doesn’t want to give users a passive experience anymore and will cut back on the amount of content a Facebook user sees from brands, businesses and media outlets knowing full well that this means people are going to spend less time on the platform. It would seem that using Facebook for entertainment purposes is going to become a thing of the past, mindlessly scrolling through and hitting like is no longer enough for FB though I’m sure they won’t be stopping the advertising and ability to boost posts with $$! What does this mean for photographers who have built a following on their FB page? It’s difficult to guesstimate just how bad the change is going to be, but it’s a safe bet to say it’s going to become more difficult (and probably more expensive) to get your photography seen by your fans - Anyone who relies
By Emily Goodwin solely on Facebook to promote their work could be in for a big shock and a crash in their earnings. Facebook has been experimenting with the idea of a second ‘explore’ feed where all ‘professional publishers’ posts (anyone who publishes from a Facebook page rather than a personal account) will be placed, meaning users have to navigate over to a 2nd tab to see updates from the pages they like and follow. Even if users do get used to the idea of a second news feed, we’re told that pages with posts that people don’t interact with or comment on are going to see the biggest decrease in distribution. At the same time, Facebook has said that posts that gain likes and shares but nothing else will be discouraged. This move is to help stop the spread of ‘fake news’ and clickbait posts. As a FB user that’s great, but as a photographer running a small-business it leaves me wondering how I can make my content engaging enough so that people will leave meaningful comments, without turning it into ‘engagement bait’ which is now a huge no-no. It would seem the way forward is through live video - Facebook users spend 3 times longer watching live video than a video that’s no longer live (or never was
live), and users comment 10 times more during live video which is classed as meaningful engagement. Many of us cannot afford to pay to ‘boost’ our posts or to advertise on FB which is the current trend if you want to be seen, so with the upcoming newsfeed changes I think many people will be jumping off the FB ship to find other ways to connect with their audience and promote their work. No matter what you decide to do here are some ideas and options for you on how to proceed: Continuing with Facebook: Do: • Get started with Live Video. • Ask followers questions or advice to create meaningful conversations. • Consider if you can promote your work purely through a personal account. • Consider creating a Group Page - Groups will likely get preference over pages. Don’t: • Post updates just for the sake of posting something new. • Create posts in order to get likes/shares – Posts now need to create meaningful conversation via comments.
Staying Connected Without Facebook: Here are some alternative options for you to stay engaged with your fans. We deliberately have not included social media sites since even Instagram has said they will be making changes by the end of the year to their feed. Excio – This is NZP’s very own sister app so we’re a little biased on how good it is! With Excio your images are displayed on users mobile phone home screens – No need for this visual loving audience to open an app or visit a website to see your new work, it appears slap-bang in front of their face every time they look at their phone with a description and links to your site/ social media pages – You can even add audio files to describe your work and connect with your audience that way! 500px – A portfolio site for photographers to display their best work with community and marketplace features. Blog/Website – The best thing about having your own website/blog is that it’s yours – A company cannot come along and change things up, well, excluding Google of course! Email Newsletter – An oldie but still a goodie since everyone is still connected to their inbox daily if not 24/7.
How To Capture: Milky Way Photographs ASTROPHOTOGRAPHY TIPS BY RICHARD YOUNG
Milky Way over Mt Sefton & Mt Cook 18mm lens, ISO 3200, f3.5, 25s
SHOOT UNDER A DARK SKY:
LOCATE THE GALACTIC CENTRE:
A dark sky without any light pollution is the most important requirement to see the Milky Way, let alone photograph it. For the darkest skies, you will also need to be shooting near or during a new moon.
The time of year will affect what parts of the Milky Way you can see. In New Zealand, the galactic core of the Milky Way is only visible from February to October, with June and July being the best when the core is at its brightest. Use a mobile app to help you plan your shot of the Milky Way.
FIND A SUBJECT:
DON’T BLUR THE STARS:
Just because you are photographing at night doesn’t mean you should forget about the foreground, it is this that will make the photograph. For the best shots, frame the Milky Way lining up over a landscape, mountain, hut or even a person. Don't forget the Milky Way will move across the sky during the night.
To photograph the Milky Way, you’ll need to use a high ISO (ISO 3200) and a large aperture (f2.8) to capture as much light as possible. Select the correct shutter speed so not to blur the stars, due to the rotation of the earth. There are various rules for how long this time is and it depends on your camera and lens focal length, 25 seconds is a good starting point on a wide angle lens.
JOIN NEW ZEALAND PHOTOGRAPHY WORKSHOPS ON AN 4-DAY ASTROPHOTOGRAPHY MASTERCLASS AT MT COOK ON THE 10TH - 13TH AUGUST 2018.
LONG EXPOSURE PHOTOGRAPHY
remember the moment this became a thing for me. A friend came down from Hamilton and together with a few other friends we went out to Princess Bay to take photos. Brent took his camera, placed it on a tripod down amongst the rocks and pools of water and casually announced that he would be taking a three-and-a-half-minute photo. Huh? Three and a half minutes? Well, three and a half minutes later, I was looking at the back of his camera and bam, long exposures became a thing. They are fascinating. You can SEE what is happening in a long exposure even through nothing is moving. They give a sense of motion, time, change and movement… all in a static image. Clouds drag their way across the sky, waves are perpetually crashing, rivers become glass… The first long exposure photograph I took is still a favourite of mine. I was down at Plimmerton foreshore experimenting with a 10 stop filter that I had purchased and was shooting the sunset. 105 seconds worth of water movement, cloud movement and a sun corona to boot.
By Richard Brooker
WHAT YOU WILL NEED. • Camera + Lens • A Tripod • A filter with a high enough ND value for the image you want to capture. • Patience. • Maybe a little luck.
WHAT TO DO. Decide what you want to photograph. As long exposure photographs are best used to portray movement, you want something in your scene that moves. Be it a car, a cloud, a wave, even a child, just something. The scene will also drive your lens selection but there is no requirement that you use a wide-angle lens. Primarily long exposures are landscapes so a wide-angle lens is used, but I have taken long exposures on focal lengths ranging from 16mm right through to 400mm.
Compose the photograph. A little backwards here. Take the photograph... before you take the photograph? Yes. This allows you to get composition nailed and workout the metering (it also lets you compose the picture without having the filter on the front – not as easy as it sounds). Attach your camera to a tripod (this is a must – it will avoid camera shake), set your aperture and ISO to achieve the affects you are looking for and take a note the shutter speed that results in a correctly exposed photograph. Photo looks good? Prepare for some long exposure magic. Attach the filter. Filters come in all shapes and sizes. If you are beginning I would recommend purchasing a cheaper set before spending serious money, find out whether the long exposure genre is for you. As you progress in skill, there are high-end kits available; Lee filters, Nisi filters. Each set has advantages and disadvantages. I currently have Nisi v5 filter set; a 6 stop, 10 stop and a 3 stop hard grad. I will explain more about those later. Work out the exposure time. A filter is, simply put, sunglasses for your camera. They filter out a nominal amount of light that will allow you to keep the shutter open for longer. They come in different strengths and can be measured in a couple of ways. Calculating the correct exposure time based on the strength of your filter is critical for maintaining the correct exposure. CLICK! Take the photo… do a happy dance… Be prepared to get frustrated, to give up, to think that it’s too hard. I did, several times… but each time I
quit, I came back. It takes perseverance to get right, but the results will be well worth it.
TECHNICAL: HOW TO CALCULATE THE CORRECT EXPOSURE TIME.
3 stop, 6 stop, 10 stop, ND8, ND64, ND1000, how does the strength of the filter affect the exposure time? Well… there is a formula. tn = t0 x 2stops This is simpler than it looks. The new exposure time, tn, is equal to the original exposure time (as worked out in your composing photograph), t0, times 2 to the power of the strength of your filter. For example, if your unfiltered exposure time is 1/100th of a second and you’re using a 10 stop filter, the corrected exposure time is calculated by: tn=(1/100 x 210) which results in an exposure time of 10 seconds. A ten second exposure can include quite a bit of movement. If your filter strength is measured using an ND value, they have already calculated the 2stops for you. The exposure time is now calculated by multiplying the unfiltered exposure time by the ND value: tn = (1/100 x 1000) which also results in an exposure time of 10 seconds. Easy!
EXAMPLES OF LONG EXPOSURES AT VARIOUS FOCAL LENGTHS.
Long exposures can be photographs of anything, but for me, right from day one, mine had to have water in them. Beaches, rivers, waterfalls, rain… I find the movement of water to be calming.
LONG EXPOSURES ARE GOOD FOR THE SOUL!
Plimmerton Boat Ramp
32 F/22,NZPhotographer 30s, ISO400
A river in the Tongariro National Park somewhere F/22, 2,5s, ISO50
Old Tokaanu Wharf F/11, 60s, ISO50
Ngatuhoa Lodge - Whio Falls: F/8, 20s, ISO100 This is a panorama of several photos.
Ngatuhoa Lodge – Pump House Falls: F/22, 8s, ISO 50
Tongariro National Park – Kaimanawa Road: F/11, 60s, ISO50
Tongariro National Park: F/5.6, 4s, ISO100
A vertical panorama March of2018 3 photographs. 37
Waikanae Beach F/22, 30s, ISO100
Te Mata Peak F/22, 20s, ISO100
Paraparaumu Beach F/7.1, 30s, ISO100
Lake Wairarapa F/18, 30s, ISO50
Titahi Bay F/11, 10s, ISO200
Plimmerton Bay F/11, 30s,Titahi ISO200
Cape Palliser F/8, 1s, ISO200
Plimmerton F/22, 5s, ISO1600
Plimmerton â&#x20AC;&#x201C; F/22, 2s, ISO 50
Plimmerton F/5.6, 5s, ISO100
EXTRAS: The following are not long exposure photographs, but they exhibit many of the same properties. These rely on the speed of the moving objects which allow a shorter shutter speed while obtaining the desired amount of movement. Neither of these was shot with a ND filter attached.
Home F/18, 1/15s, ISO50
Home F/2.8, 1/800s, ISO100
Best Summer Shot
Show us your best photographs taken this Summer and be in for the chance to win! 1st Place $100 printing voucher 2nd Place $50 printing voucher 3rd Place $50 printing voucher Prizes are proudly brought to you by Wellington Photographic Supplies
Competition runs 1st-20th March 2018 Submit up to 3 images
To enter or find out more, visit www.excio.io/submit
PORTFOLIO Best readers' submissions this month
MARAETAI WHARF 30S, NIKON D810 WITH B+W FILTER Love going to to this wharf to shoot the sunset.
Alex Moore March 2018 51
SUNRISE WRIGHTS LAKE 5166 F/8, 1/20s, ISO100 Sunrise on Wrights Lake, Sierra Nevada Mountains
Brian Fox March 2018 53
MA I RUNGA I MA F/9, 1/200s, ISO800 Ma i runga i ma (White on White)One of a series of White on White images of my favourite model Levana. White background, White make-up, White Clothes with varying backgrounds to enhance the High Key aspects of the shoot.
Cheryl Muirson March 2018 55
PADDLES 1/250s, ISO100 Shot at the Rangariri Pa site - this is where one of the fiercest battles of the Waikato war was fought between the Maori and the British with many casualties on both sides. Part of the Pa is now an historical reserve.
Diane Beguely March 2018 57
RUSSEL FALLS - TASMANIA F/14, 0.6s, ISO125 One of the most accessible, and beloved, waterfalls in Tasmania is Russell Falls, situated within the Mount Field National Park, and definitely spectacular!
Dominic Scott March 2018 59
'THE NUT' - STANLEY TASMANIA F/13, 30s, ISO200 'The Nut' - an old volcanic plug at Stanley in Tasmania photographed in early morning light.
Dominic Scott March 2018 61
THE SURVIVOR F/20, 13s, ISO50 Binalong Bay is situated at the southern end of the beautiful Bay of Fires. The area is one of the most scenic and beautiful places in Tasmania, from the blue sea and fine white sand to the orange-tinged boulders that hug the coast.
Dominic Scott March 2018 63
BAY OF FIRES - TASMANIA F/20, 13s, ISO50 Another shot taken at Binalong Bay at the southern end of the beautiful Bay of Fires.
Dominic Scott March 2018 65
HOGARTH FALLS - TASMANIA F/11, 30s, ISO100 One of Tasmania's 60 Great Short Walks, this walk starts at the top of Peoples Park in Strahan and is a gentle, meandering stroll through sweet-smelling bush to this delightful waterfall. Light conditions were good with overcast skies and occasional rain just to keep it interesting! I love the water swirl patterns the long exposure has created
Dominic Scott 66 NZPhotographer
LAKE PEARSON F/18, 30s, ISO100 Lake Pearson, Flock Hill Station, Cass. 5 shot panorama
LAST LOAD F/10, 1/80s Truck, Lees Valley
Dominic Stove March 2018 71
BUDDIES IN THE AIR F/8, ISO300 Close contact with a pair of Starlings
Eric Pollock March 2018 73
Fine art photograph of soft pink and yellow Peonies. This image is named after my mother in law, most of my recent floral images are named after influential woman in my family.
Marina De Wit
INA Fine art photography of soft pink and purple Peonies named after my mum.
Marina De Wit March 2018 77
CAREFREE F/5.6, 2000s, Auto ISO This photo depicts the character and freedom expressed in a way Dolphins do best
Mark Watson March 2018 79
CHEEKY F/10, 1/400s, ISO800 Sparrow showing off its breakfast
Steve Harper March 2018 81
LOOKING EAST F/8, 13s, ISO800 Looking east prior to sunrise from Maungakiekie, Auckland
Steve Harper March 2018 83
SKY AND WATER Reflection of the sky over water surface near Lake Campillo, at the south of Madrid, Spain.
Tomas Fernandez March 2018 85
THE CAMERA IS AN INSTRUMENT THAT TEACHES PEOPLE HOW TO SEE WITHOUT A CAMERA Dorothea Lange