APATURE AUTO BACKLIGHT BALANCE BOKEH BU BURST CAPTURE CHIMPING COMPO SITION CONT DIFF USE DOF DYNAMIC EXPOSE RANGE FLASH F FILTER FRAME HISTOGRAM HOOD JPEG LANDSC LCD LIGHT MACRO MATRIX METADATA OPTICAL O METERING NOISE PHOTOGRAPHY PIXEL PORTRA PRINT PROGRAM RAW RENDER SCENE SENSOR SPEED SHARP SLAVE SOFT STROBE TELEPHOTO RESOLUTION P H O T O G R A P H Y PI XEL PORTRA PRINT PROGRAM RAW RENDER SCENE SENSOR SPEED SHARP SLAVE SOFT STROBE SYNC TELEP TRIPOD RESOLUTION WIDE WORKFLOW VIEW VIN ZOOM ZIP APATURE AUTO BACKLIGHT BALANCE B BUFFER BULB BURST CAPTURE CHIMPING COMP CONTRAST DIFFUSE DOF DYNAMIC EXPOSE RAN FOLIO FILTER FRAME HISTOGRAM HOOD JPEG LA LCD LIGHT MACRO MATRIX METADATA OPTICAL O METERING NOISE PHOTOGRAPHY PIXEL PORTRA PRINT PROGRAM RAW RENDER SCENE SENSOR SPEED SHARP SLAVE SOFT STROBE SYNC TELEP
C hapt e r s
P hotography R u l e s
“if your pictures aren’t good enough you’re not close enough” 1. Move i n cl o s e r “if your pictures aren’t good enough you’re not close enough”. This is one of the quotes that every street photographer lives by and I try to apply it myself. Graphic designers often like their photograph to have alot of negative space so that they are able to apply text in the post production. However I like to fill my frame with my subject. There has been plenty of times when I review my images on the computer and get frustrated with myself because I didn’t get close enough at the time and have to resort to cropping the image (I don’t like to crop).
2. B e quick To me, it’s pretty shitty to see someone spend forever to take one photograph. Personally I see it as not being confident in your craft and will make models loose faith in your abilities. This is also evident in situations that require quick thinkin and reaction to capture something before it you miss the opportunity.
“pretty shitty to see someone spend forever to take one photograph”
“Rule of thirds!” 3. Com pose w i t h c a r e Get it right in the c amera! Don’t leave it to photoshop! Rule of thirds!
4. B e selective Decide what you want to photograph and make sure the audience know what the subject is. You can achieve this through making sure the background is distraction - free or with bokeh!
“ make sure the audience know what the subject is �
“If you miss the eyes, you miss EVERYTHING!” 5. Fo cus on y o u r s u b j e c t If you miss the eyes, you miss EVERYTHING! Artist like to state that “the eyes are the windows to a person’s soul”. I wouldn’t put it that way but I do believe that the eyes are one of the most important part of the photograph and if you miss it - you wrecked it..
6 . Experiment in time Experimenting with various shutter speeds of a common scene can add some new light into an existing idea.
Such as sporting shots with a slower shutter speed .
“add some new light into an existing idea�
“get right in the camera�
7. lo ok at the l i g h t Always be aware of where the light is falling (especially ambient light or golden light). Like composition, lighting is something you have to get right in the camera to save a shitload of post editing to fix up. The golden hour is especially important because you only have a short period to grab it before it turns to darkness.
8 . Watch the weather Nothing camera
worst
than
gear
“the eyes are one of the most important part of the photograph�
wet
getting and
all
your damged.
“Your photograph should be strong enough to stand on its own” 9. Keep i t si mp l e
If you feel you need to add wild post effects into your photograph then chances are it’s not good enough. Your photograph should be strong enough to stand on its own and this can be easily done by keeping it simple and straight to the point.
10. B e bold
Be daring. Do something and capture something that no one has seen before. This is how you can inovate and create. You are the photographer, the designer, the artist and creator.
“You are the photographer, the designer, the artist and creator.�
L i n go
F ast / S l ow : Used to describe the maximum aperture of a lens. A fast lens has a very low aperture (like f/1.2 or 2.8), which allows you to let in more light, and use a faster shutter speed. A slow lens (like f/5.6) shooting the same scene would require a longer shutter speed to get the same exposure. In general, a faster lens is more sought after.
C himpi ng:
Looking at the LCD after taking each and EVERY photo.
Pix el P eeper / P e e p i n g : The shameful act of zooming deep into a photo and critisings and picking out the grains and pixels of a photograph. Don’t be a pixel peeper.
P rime: A fixed focal length lens. Decades ago, prime lenses produces better quality than a zoom lens but these days the gap is narrowing. The vercitilaity of a zoom lens to me outweighs the fixed lenses unless you’re in a controlled environment like a studio.
Machine gunner : Taking 10 shots when you only need to take one
N ifty 50: The popular 50mm fixed focal length lens. Sought after for street photography as it mimics the human eye.
Ma gic/ G ol den H o u r : The hour or so before sunset (varies from 4pm - 6pm depending on daylight savings), and after sunrise, when the angle of the sun produces magical, golden light. A fantastic time to take photos outdoors.
B ok eh: A Japanese term used to describe the qual ity of the outof-focus areas in an image. If it’s particularly pleasing, you’ll hear “Sweet bokeh!” Pronunciation varies, usually either “boh-kay” or “boh-ke”. This shit will impress the heck out of anyone. It will get to job done and please the general fan.
U nc l e Bob: Generally used by wedding photographers to describe a relative with a camera who tends to get in the way of the hired photographer.
N oisy: The quality of an image in regards to the amount of digital noise—grainy artifacts in the photo. This is especially apparent on entry level cameras at ISOs abover 1600.
Sharp: Can describe a lens or an image. A lens can be considered sharp if it provides clear, crisp images. A photo can be sharp if it is perfectly in focus, and has clear detail.
Glass: Camera lenses. As in “Ooh, that’s some fancy new glass you got there!”
P hotography F o l io
T his w as fo r a g ym p rom ot ion f or t he M elbour ne M a r t i a l A r t s g y m . I w ant ed to try so meth ing diff er ent and c am e up wit h t h i s . F o r t u n a t e l y, “fight club ” is n ot too s pec if ic s o t his im age c an b e u s e d f o r m a n y purposes. This too k 3 at t em pt s bef or e Alex i’s k ic k la n d e d f l u s h o n t h e pads.
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/2 .8 1 /2 5 0 s ISO 2 5 0 0
A vide og rap he r friend of m ine point ed out t o m e t o t a k e a s h o t o f t h a t bloody g love as it m ay m ak e a good s hot . I t ook s o m e t i m e t o c o m p o s e it in time with th e bac k gr ound. This phot o was a b i g h i t i n t h e f i g h t comm un ity as it res onat ed wit h ev er y t r ainer, fi g h t e r a n d e n t h u s i a s t involved in th e com bat wor ld.
N i ko n D 7 0 0 0 2 4 - 7 0 f2 .8 3 0 m m a t f/5 1 /1 2 5 s ISO 1 0 0 0
I reccently go t the pr im e 85m m f 1. 4 lens . I w a s q u i t e f a m i l i a r and comforta ble with t his pat ic ular s how and v en u e s o I f e l t l i k e experime ntin g with the f 1. 4 f eat ur e. The r es ult s wer e q u i t e i m p r e s s i v e and will defin ate ly b e car r y ing t his one t o f ut ur e s how s .
N i ko n D 3 S 8 5 m m f1 .4 8 5 m m a t f/1 .4 1 /3 2 0 s ISO 2 0 0 0
T he 85mm he lps me c los e t he dis t anc e bet ween m y s e l f a n d t h e i n t i m a t e mom e nts du ring pre p t im e bet ween t he t r ainer an d f i g h t e r. T h e s e s h o t s seem to b e a lot shar per and hav e m or e dept h th a n m y u s u a l 2 4 - 7 0 w hen used to p ho togr aph t hes e s c enes .
N i ko n D 3 S 8 5 m m f1 .4 8 5 m m a t f/1 .4 1 /3 2 0 s ISO 2 0 0 0
Trainers like to wet the hair and head of t heir f ight er b e f o r e e a c h r o u n d t o relax th em. I kne w this was c om m ing and loc k ed o n t o t h e h e a d s o f t he fight ers as I waite d for t he f ir s t punc h of t he r ound t o s t a r t t h e w a t e r w orks. T he ba ckligh t rea lly adds t o t he phot o.
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
E rik Miskle la nd s a a f lus h elbow t o t he head of hi s i n t e r s t a t e o p p o n e n t . I would ha ve liked t o s ee t he r eac t ion of t he op p o n e n t b u t t h e w a t e r w orks ma de the ph ot o wor k .
N i ko n D 3 S 2 4 - 7 0 f2 .8 7 0 m m a t f/4 1 /6 4 0 s ISO 5 0 0 0
R omanian kickb oxer ta k es on loc al and int er nat ion a l f a v o u r i t e , B e n E dw ards. The main event of t he night and it did no t d i s s a p o i n t . B o t h boys t hro wing he avy a nd f as t blows f r om t he f ir s t r o u n d . I w a s a i m i n g f or t hese spra y sho ts a s I k new t hey would be heav y h i t t e r s .
N i ko n D 3 S 2 4 - 7 0 f2 .8 7 0 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
A ccomp lish ed Tha i b ox er, Ric har d Fanous t ak es a f i g h t o n 1 d a y ’ s n o t i c e against a kickbo xe r, Ric har d Tom . I ’v e s een Fa n o u s f i g h t n u m e r o u s times an d wa ited for him t o f ind his r hy t hm and s ta r t t o l a n d h i s k i c k s .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
Team C r o atia watch h elples s ly as t heir f ight er get s d o m i n a t e d a n d s topped sho rtly a fter. A t elephot o lens would hav e be e n h e l p f u l i n t h i s s it uat ion bu t it wou ld n ot hav e been wor t h t he has s le o f t r a n s p o r t i n g i t around an d kee pin g it saf e wit h m e at all t im es .
N i ko n D 3 S 2 4 - 7 0 f2 .8 7 0 m m a t f/4 1 /4 0 0 s ISO 4 0 0 0
18 yea r o ld Dyla n wat c hes ov er his f allen opponen t a f t e r h e k n o c k e d h i m out with a h ea dlo ck ( wit h s hinguar ds ! ) . His opp o n e n t l a i d m o t i o n l e s s for clo se to 3 0min ut es as t he r ings ide off ic ials an d d o c t o r s t r e a t e d h i m and calle d fo r a stre t c her. This was t he f ir s t t im e a n e v e n t l i k e t h i s h a s occurre d in Melb ou r ne.
N i ko n D 3 S 2 4 - 7 0 f2 .8 2 8 m m a t f/4 1 /3 2 0 s ISO 5 0 0 0
Veteran figh ter Dea n Pur don s ubm it t ing his opponent i n h i s d e b u t f i g h t i n less th an a min ute . His opponent , Pet er Dav enp o r t , w a s a f o r m e r rugby playe r who tho ug ht he would do ‘alr ight ’ again s t a n y f i g h t e r a n d s howed no respe ct.
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
T he p re-fig ht Wa i K hr u danc e r it ual being per f o r m e d b y i n t e r n a t i o n a l superstar Tum Sityodt ong f r om Thailand at t he 2 0 1 3 F i t X e x p o a t t h e Melb ou rne Exhib ition Cent r e. M any of t he s pec t a t o r s h a v i n g a s n e a k y look b eh ind the ba nner s hav e no c lue t hat he i s o n e o f t h e b e s t inter na tion al fig hte r s at his weight div is ion.
Nikon D3S 24 - 70 f2.8 42mm at f/4 1/400s ISO 4000
My first full b oxing sh ow. I t was t he s t ar t of t he 4t h r o u n d a n d I k n e w t heir heads wo uld still b e wet and t he f ir s t f ew blows o f t h i s r o u n d w i l l s prinkle o ut some wa ter ! I was luc k y t o c apt ur e t his w e l l t i m e d s h o t . P hot ograp hin g b oxing is s lighlt y eas ier as y ou don’t ha v e t o w o r r y a b o u t c apt uring th eir lo wer b ody.
N i ko n D 3 S 2 4 - 7 0 f2 .8 5 0 m m a t f/4 1 /6 4 0 s ISO 5 0 0 0
T he be st fema le fight I ’v e s een t o dat e. Bot h gir ls g o i n g t o e - t o - t o e w i t h one a no the r a nd sur pr is ing t he audienc e t o a goo d f i g h t . T h i s r e s u l t e d into a dra w.
N i ko n D 3 S 2 4 - 7 0 f2 .8 4 2 m m a t f/4 1 /4 0 0 s ISO 4 0 0 0
Local f avou rite, Alexi Pet r oulias per f or m ing t he way k h r u b e f o r e o n e o f his most h ard est figh ts . Following t he r ule of t hir ds , I a n t i c i p a t e d h i s movements to h ave h im look ing int o t he dir ec t ion of t h e m o s t n e g a t i v e s pace on th e le ft to fit the phot ogr aph. I t ’s us ually un a v o i d a b l e t o g e t a s hot wit ho ut the re fere e or c am er am an in t he bac k gr ou n d b u t f o r t u n a t e l y he did no t ob stru ct th e p hot ogr aph t oo m uc h.
N i ko n D 3 S 2 4 - 7 0 f2 .8 4 2 m m a t f/4 1 /4 0 0 s ISO 4 0 0 0
R ound 4 of the sem i- m ain ev ent of t he s how. R o y Wi l l s i s b e h i n d o n the score card a ga ins t v et er an J oel Fis her and f i r e s u p t o g e t a h e a d but the expe rien ce d Fis her ant ic ipat es his m ov es . T h i s w a s t h e s e c o n d last r o un d of the fig ht and I k new I had t o be s har p a s b o t h b o y s w i l l b e turnin g it u p.
N i ko n D 3 S 2 4 - 7 0 f2 .8 5 0 m m a t f/4 1 /6 4 0 s ISO 5 0 0 0
N ot a f an of p ho tog rap hing s om eone los ing af t er ge t t i n g b e a t e n a n d bloodied up , I no rmally f oc us m y at t ent ion on t he w i n n e r a n d t h e i r c elebration . Bu t wh en I s aw t he guy ’s bloodied m out h g u a r d d r o p , I k n e w I had t o act fast to cap tur e t he s c ene.
N i ko n D 3 S 2 4 - 7 0 f2 .8 5 0 m m a t f/4 1 /4 0 0 s ISO 4 0 0 0
My f r ien d an d train ing par t ner af t er his 4 r ound wa r. I r u s h e d i n t o c e n t r e ring afte r the be ll was r ung t o get his phot ogr ap h o f h i s b l o o d i e d c u t befor e it wa s wipe d c lean. The c ham pions hip belt i n t h e b a c k g r o u n d a n d the b loo d stain on the glov e is an added bonus !
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
T his norm a lly wou ld no t be a s hot t hat I ’d put up as y o u c a n ’ t c l e a r l y s e e t he f ighter th rowin g th e s hot . The wat er s pr ink le and t h e b l u r p u t s t h i s one int o o ne of my favour it e s por t s hot s .
N i ko n D 3 S 2 4 - 7 0 f2 .8 7 0 m m a t f/4 1 /5 0 0 s ISO 4 0 0 0
R oy Wills sh owcasing a per f ec t t ex t book k ic k ag a i n s t t h e S y d n e y b o y, Joe Co nh a. Th is re m ains one of m y f av our it e pho t o g r a p h s . I t w a s l a t e r used a s a do ub le s pr ead as t he pic t ur e of t he m o n t h i n I n t e r n a t i o n a l K ickb oxer Ma y/Jun e 2013.
N i ko n D 3 S 2 4 - 7 0 f2 .8 5 0 m m a t f/4 1 /5 0 0 s ISO 4 0 0 0
Queensland b oy, Bevan O ’M aley s weeps loc al f av our it e A l e x i P e t r o u l i a s w ith a co u nte r atta ck of his own. This would be one of th e r a r e o c c a s i o n s w here A le xi g ets rocke d and ev ent ually los es t he f igh t d u e t o l o o s i n g a massive ch un k o f his lip dur ing Bev an’s ons laught .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
A bbas Ah mad i’s exper ienc e and c om pos ur e pr ev ail e d a s h e f o u g h t a t o u g h 5-rou nd ba ttle with a r is ing s t ar f r om Wes t er n Aust r a i l i a . P h o t o g r a p h i n g a vetran like Abb as was a pleas ur e as ev er y t hin g t e c h n i q u e h e t h r e w w as pre cise a nd tex t book per f ec t .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
One of Au stra lia’s top T hai Box ing gy m s , The Pit . Th e c o r n e r m e n a n d t rainers che er e ach tim e t heir f ight er lands a c lea n s h o t o n t o t h e i r opponent to swa y th e ju dges t o t heir f av our and t he r e m i n d t h e m t h a t a shot has la nd ed . The s pec t at or s wat c h in awe as tw o f e r o c i o u s g i r l s f i ght in f r o nt o f the m.
N i ko n D 3 S 2 4 - 7 0 f2 .8 4 2 m m a t f/4 1 /4 0 0 s ISO 4 0 0 0
T his wa s th e re su lt of a TKO ( Tec hnic al Knoc k O u t ) s t o p p a g e d u e t o severa l ille ga l kne es t o t he head on t he gr ound. T h e c o r n e r m e n o f t h e defeated are pro tes t ing agains t t he r ef er ee f or n o t d i s q u a l i f y i n g t h e oppone nt. In the ir d ef enc e, t hey wer e f r om Cr oati a a n d t h e r u l e s w e r e not clea rly commu nic at ed.
N i ko n D 3 S 2 4 - 7 0 f2 .8 4 0 m m a t f/4 1 /3 2 0 s ISO 4 0 0 0
Vict orious Brazilian figh t er, Bor Br at z k noc k s out his o p p o n e n t o n t h e 23sec mark. I wa s lu cky t o hav e c hos en t o s t ay wher e I s t a y e d t h a t n i g h t as the ma jority of th e knoc k out s and winning blows to o k p l a c e d i r e c t l y i n f ront o f me. I h ad to r eac t quic k ly and s t ep bac k t o g e t t h e e n t i r e s c ene whe n h is co rne m en c am e int o f r am e t o c elebr a t e a s w e l l a s t h e ringside ph ysicia n a nd r ef er ee c hec k ing up on his opp o n e n t .
N i ko n D 3 S 2 4 - 7 0 f2 .8 2 4 a t f/4 1 /5 0 0 s ISO 4 0 0 0
T he rin gside d octor leaps t o t he edge of t he r ing a s h e k n o w s t h i s f i g h t w ill be over ve ry shor t ly and will need t o c hec k u p o n t h e f i g h t e r. T h e ref ere e wa tch es clo s ely and get s r eady t o s t ep i n w h e n h e f e e l s t h a t the figh ter can no longer def end him s elf and d o e s n ’ t n e e d a n y m o r e unnece ssary p un ish m ent . The r ings ide ladies a r e w o r r i e d o f g e t t i n g blood sp latte red o n t hem and us es t he m enu s heet t o s h e i l d t h e m s e l v e s .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
2012 Lond on Ju do Olym pian, I v o Dos Sant os r es or t s t o h i s b r e a d a n d butter, atte mptin g to ta k e down his opponent as he w a s g e t t i n g b e a t e n t o t he pun ch stan din g up. His opponent was t oo ex pe r i e n c e d a n d t o o k t he vict ory fro m way of TKO .
N i ko n D 3 S 2 4 - 7 0 f2 .8 4 0 m m a t f/5 .6 1 /5 0 0 s ISO 4 0 0 0
Local figh ter, Maseh f ight s his s ec ond f ight of t h e n i g h t i n t h e 4 - m a n tourn eme nt. Unle as hes a f ly ing k nee int he open i n g r o u n d a g a i n s t t h e Turk. Maseh ’s corn er and c r ew wat c h c ar ef ully an d p r e p a r e s t o g i v e h i m the n ext se t of in str uc t ions .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
E den S ayya di ca refu lly ev ades a headk ic k f r om Sam Ba r k o f S w i t z e r l a n d . S am’s co rne r ch ee r as t hey wer e hoping t hat it wou l d h a v e b e e n t h e f i nishing b low. This was t he f ir s t t im e I ’v e s hot a f ig h t i n a n i g h t c l u b v enue. T h ere were too m any dis t r ac t ions in t he bac k gr o u n d f o r m y t a s t e .
N i ko n D 3 S 2 4 - 7 0 f2 .8 3 5 m m a t f/4 1 /5 0 0 s ISO 5 0 0 0
A f t er a 5-ro un d wa r, Cr aig Clar k walk s away w i t h t h e w i n , a s h i n y new b elt an d a cou ple of deep c ut s abov e his ey e b r o w a n d s c a l p . T h e ringsid e do cto rs ch ec k up on him and ex plains t o t h e m e d s t u d e n t h o w he will stich it up . C r aig is a f r iend of m ine and I q u i c k l y w e n t b a c k s t a g e to cong ratu late him on t he win.
N i ko n D 3 S 2 4 - 7 0 f2 .8 2 9 m m a t f/4 1 /3 2 0 s ISO 5 0 0 0