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CONTENTS

58

16

FEATURES 16 Profile | Simon Devitt

Photographer Simon Devitt works closely with New Zealand’s most prestigious architects to
capture beautiful buildings, as well as the people that inhabit these structures. We find out
how Simon expresses life within his photographs both with, and without, human subjects.

24 Folio | Richard Wood

NZIPP Professional Photographer of the Year, Richard Wood, started learning about photography
under the dim light of a red bulb. Now, he creates his texturally rich imagery within a digital darkroom.
We look at three of his 2017 winning images, for of each of which he used the Great Masters as
his muse.

33 Winners announced | 2017 Sigma Amateur Photographer of the Year

Amateur and enthusiast photographers from all around the country have gathered their best images
and submitted them in the running to be named our photographer of the year. We announce the 33
winning images.

58 Exposure | Guy Needham

Travel photographer Guy Needham has developed a deep affinity for indigenous cultures, with his
latest expedition to remote West Sumatra culminating in a series of intimate portraits of the province’s
indigenous people.

74 Q&A | Marc Thompson

Mareea Vegas talks to recent graduate Marc Thompson about finding purpose in the pedestrian
through his latest series of spatial shots.

TECH 84 Full review | Canon EOS 6D Mark II

Calling astrophotographers, landscape shooters, and light chasers alike: we review the camera puts
full-frame performance into a compact, fully featured DSLR.

86 Best tech | our 2017 camera buyers guide

We seek out this year’s best camera gear so you don’t have to — a must-read if you’re thinking of
an upgrade.

96 Explained
We bring you the low-down on LEDs — the affordable, constant light source that’s an essential
addition to any photographer’s kit.

4 D-PHOTO.CO.NZ | NO. 79
 33

92

68

HOW-TO 64 Sky-high scenery

Drone pro Louie Tong takes us through how the highs and lows of aerial photography, offering his top
tips on how to capture awe-inspiring imagery.

68 Simple, one-light setups

Fashion photographer Brett Stanley demonstrates how to create bold and dramatic portraits — with
only one light.

92 Gearducated
Photographer Leon Rose heads out on a shoot with three versatile pieces to his kit — a tried-and-
true trio that allows him to stay agile while remaining prepared for any photographic contingency.

78 Focus news
COMMUNITY The latest local news, events, and photo competitions to ensure you stay abreast of all the action.

80 Event report | the 2017 Vienna PhotoBook Festival

Despite our remoteness, our photobooks punch far above their weight; the 2016 Momento Pro
Australia and New Zealand Photobook of the Year Award finalist books travelled to the 2017
Vienna PhotoBook Festival.

81 Event report | the 2017 Epson NZIPP Infocus, Iris Awards, and Exposure show
The country’s premier professional photography event, the 2017 Epson NZIPP Infocus, Iris Awards,
and Exposure show, once again proved to be a action-packed weekend of inspirational speakers,
industry events, and live demonstrations.

82 PSNZ perspective
We bring you an inside-look at what’s coming up within the Photographic Society of New Zealand’s
calendar. This issue, we check-in with the Tauranga Photography Club to find out more about the
club’s 2017 Audio-Visual Salon.

81 Calendar
Keeping you up-to-date with photography exhibitions, workshops, and industry events throughout
the country.

5
EDITORIAL

Cover image: Sarah Caldwell, Houston Main Street Metro

dphoto.co.nz

ISSN 1176 - 6948

HOW TO SUBSCRIBE
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both print and digital formats. To select the subscription
option that is right for you, more information can be
found by visiting our online store, magstore.nz.

EDITOR
Rebecca Frogley, [email protected]
SUBEDITOR
Jacqui Madelin
PROOFREADER
Odelia Schaare
DESIGN
Hine Morgan
ADVERTISING MANAGER
PIXELS TO THE PEOPLE … I was at the New Zealand Institute of Professional David Burns, [email protected]
Photographers (NZIPP) Infocus conference last month when I overheard Simon Devitt ADVERTISING COORDINATOR

say, “Everyone’s a photographer; it’s a very democratic sport”. Archie Vincent, [email protected]
ADVERTISING PRODUCTION
I’m not one for labels — well, unless they’re inscribed on my camera gear — but, Hine Morgan, [email protected]
upon pondering the thought for the few days following, I figure they’re probably right. CONTRIBUTORS
Taking photos is no longer reserved for just the well-to-do few — it’s now everyone’s Adam Croy, Adrian Hatwell, Brett Stanley,
Leon Rose, Louie Tong, Mareea Vegas
domain. Cameras are built into the screens of each of our devices, while the dedicated
technology is screaming past the 50MP barrier and is more affordable than ever.
D-PHOTO MAGAZINE IS PUBLISHED BY
Correspondingly, it’s the age of social media and insta-overload, and millions of pictures
are being uploaded every minute.
Photography has become a visual cacophony, and some might think that this makes it a
little harder for the cream to rise to the top. Contrarily, I’m certain that it’s our all-too- Phone: 09 360 1480, Fax: 09 360 1470
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camera-ready culture that really allows great images to stand out.
Sure, there might be many more mis-focused shots, or selfies, or photos that are simply PUBLISHER
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not very interesting at all. But these sit against a very special few, each of which wrestle
a single moment free from its position within time and space, to hold it absolutely still. DIRECTOR, BUSINESS DEVELOPMENT
Michael White, [email protected]
Such images remind us that a photograph has the power to do infinitely more than
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photograph can stretch our minds with a new experience, for it to never go back to its SUBSCRIPTIONS MANAGER
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PRINTING PMP Maxum

Many such images were entered into our 2017 Sigma Amateur Photographer of the
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Crew, which contrasted the fluorescent hum of modernity with nature’s adaptable and
resilient, flapping, flocked chaos, providing a startling new perspective on a well-known
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Parkside Media uses due care and diligence in the
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See you out shooting, warranty and makes no representation as to the truth,
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Rebecca Frogley relies either wholly or in part upon any description,
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8 D-PHOTO.CO.NZ | NO. 79
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 joez
tographer:
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t

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YOUR SHOTS

YOUR SHOTS

Each issue, we show off a selection of our readers’ images and the stories /dphotonz
behind them. Use the hashtag #nzdphoto across Facebook or Instagram
/D-Photo Magazine
for a chance to be featured.

EARL COOK

NIKON D3100, NIKON AF-S DX NIKKOR 55–200MM

1.4–5.6G LENS, 180MM, F/8, 1/800S, ISO 100

Earl had been trying for this shot for a while and already had his location
planned — the summit of Mount Albert. After rushing up the short track
to the summit, he found the city completely obscured by fog, so quickly
located another vantage point, which provided a higher outlook. Using a
tripod with its centre column up high, Earl had a clear view of the city — but
wouldn’t for long. Employing a cable release to prevent any camera shake,
he swiftly focused and captured the shot within the few seconds available
before the fog rose once more and again obscured the skyline’s view.
“There’s something about shooting in fog,” says Greg, “and I love the way it
adds mystery to the image.”

12 D-PHOTO.CO.NZ | NO. 79
JASON RETTER MATT BARNES

CANON EOS 7D MARK II, CANON EF24–70MM F/4L NIKON D750, TAMRON SP 70–200MM F/2.8 DI VC USD
LENS, LEE FILTER SYSTEM, 50MM, 1/5S, F/11, ISO 100 LENS, 75MM, F/8, 1/100S, ISO 400

The concept for this image was obtained quite by accident — Jason This photo was captured on a recent trip back to Matt’s hometown in
was travelling home and caught a glimpse in his rear-view mirror of a Tasman. On a crisp, clear winter evening, he was sitting on the couch when
magnificent view: the Desert Road leading to the near-perfect cone of he saw an intense pink hue begin to develop behind the clouds. Knowing he
Mount Ngauruhoe. However, his option to turn back in order to capture hadn’t a moment to lose, Matt jumped in the car and headed to the inlets
his envisioned shot was hampered by the weather. outside Motueka to capture the amazing colour cast. The resulting image
This image was finally taken the morning after returning to the same was captured handheld on the side of the road, by the water’s edge.
section of Desert Road, following the mountain’s first snowfall. With this “The spontaneity of the story of taking this image is the essence of what I
part of the roadside being quite elevated, Jason scrambled up the bank love about photography — it creates that desire to go out and capture every
until he was positioned high enough to capture this composition. interesting moment,” says Matt. “Whether that be exploring the stories of
abandoned buildings, interacting with strangers on the street, or, as in this
case, getting out there and enjoying our beautiful country — photography is
the catalyst for so many of those experiences for me.”

13
YOUR SHOTS

GREG ROX GLENDA REES

NIKON D750, TAMRON SP 24–70MM F/2.8 DI VC USD LENS, SINGH-RAY CANON EOS 7D, CANON EF 100–400MM F/4.5–5.6L IS II
NEUTRAL DENSITY (ND) GRAD TWO-STOP FILTER, 35MM, F/11, 1/30S, ISO 50 USM LENS, 400MM, F/5.6, 1/160S, ISO 800

It was in the later part of the afternoon, prior to the golden hour, when Glenda captured this tomtit on a trip to the Waikaia Bush at Piano Flat,
Greg ventured out for an afternoon hike along the West Coast’s Te Henga northern Southland, on a photographic trip intended to trial different
Walkway, a clifftop walk that runs alongside Bethells Beach south of exposure techniques in the low-light conditions of the native bush.
Muriwai Beach. It wasn’t supposed to be a long walk, but Greg continued While the Waikaia Bush is generally home to a number of friendly robins, on
further along the coastal clifftop, which is rugged and steep in sections, to that particular day, they weren’t to be seen. As a result, the tomtits were a bit
an observation point that revealed stunning views of Auckland’s rugged friendlier than usual — the bright and boisterous robins, at least when they
coastline. That was the location for this shot — a high-vantage view of are about, boss the tomtits away.
O’Neill Bay and Bethells Beach and the choppy Tasman Sea. Glenda used a fill flash to lighten the background, experimenting with
“I had only set off for an afternoon hike that wasn’t supposed to be a long aperture priority to see if hand-holding was possible at lower shutter speeds.
one, but I went further and further till we hit this point,” said Greg, “so I This shot was one of several frames of tomtits that she captured that day.
guess you can say I stumbled upon it.” “This one I particularly liked, because the background was uncluttered
and there were no other overhanging branches,” explained Glenda. “The
perch just appeared to be perfect as a frame for such a tiny bird, so I waited
several minutes for it to pose accordingly, and the resulting image was sharp
enough to keep.”

14 D-PHOTO.CO.NZ | NO. 79
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PROFILE | SIMON DEVITT

P L AC E A N D T H E H U M A N T R AC E

Photographer Simon Devitt works closely with New Zealand’s

most prestigious architects to capture beautiful buildings, as
well as the people that inhabit these structures. We find out
how Simon expresses life within his photographs both with,
and without, human subjects

WORD S | AD RIA N HATW ELL

Simon Devitt teaches photography to would- From then on, Devitt became a neighbourhood
be architects at The University of Auckland. In wanderer. With camera in hand, he hunted down
the course of his career, he has experienced a those sacred moments when subject and light
phenomenon that all educators eventually come harmonize. And he hasn’t slowed down to this day.
to know: moments when the student becomes
the teacher. During one class, Devitt had a Working as a professional photographer for
student, who was just coming to grips with the 22 years, Devitt’s architecture-centred work has
potential of the art form, comment that the world been featured in many magazines, both national
of photography is bigger than the world itself. and international, and he works closely with
New Zealand’s most prestigious architects. As
“He’s absolutely right,” the photographer well as teaching university classes, Devitt also
exclaims. “As soon as you pick up a camera, the publishes his own award-winning photo books.
world gets 10 times bigger, and you go, holy shit! He has even founded an annual photography
What do I choose? What do I leave out?” award, the Simon Devitt Prize for Photography,
now in its ninth year.
These are questions that Devitt has been
wrestling with himself, ever since his world was But, for all this success, Devitt does not feel
first enlarged by photography at the age of four too different from that young man who would
or five. While most children find themselves rove the streets, teaching himself the camera’s
bored to tears in front of family slideshows, workings. The awareness and focus that drove
he was transfixed by his father’s holiday shots, him out to explore public spaces in his youth are
fascinated by the opportunity to view himself the very same things that propel his exquisite
and the world he occupied in picture form. work today.

16 D-PHOTO.CO.NZ | NO. 79
SIMON DEVITT, SCRUBBY BAY, LANDSCAPE, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 43MM, F/10, 1/125S, ISO 100

SIMON DEVITT, SEASCAPE, LANDSCAPE, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 200MM, F/10, 1/200S, ISO 100

17
PROFILE | SIMON DEVITT

A building can’t travel to the rest of the world but pictures can, so
it’s up to Devitt to represent the combined work of all the people
involved as authentically as possible.

“It’s no different to what I do now, except [that] “Sometimes, the pictures will last longer than
now I am invited into people’s homes,” the the buildings, so it is important to me — a
photographer says with a grin. “It is about people, responsibility I have — to tell that story with
landscape, and the built environment. Those pictures in a way that the viewer understands
three things can’t exist without each other, so a little bit of what it is like to be there,” he
that’s where the richer, deeper, story can be told. explains. “What it feels like to be there.”

“That’s my playground.” Over the years, Devitt has developed a series

of organic processes for capturing the built
And it is a playground that is constantly environment and the way it interacts with its
expanding. Working with architects to natural context, as well as how people use, and
document their constructions, Devitt travels are affected by, these designs. His charge is to
all over the country and takes international capture the moments in which these dynamics
trips several times a year. He shares this are expressed and in which those stories are
playground with many others involved in the told. This requires connecting very intimately
work, collaborating not just with architects but with a scene: “I am really aware that the camera
also with lighting engineers, designers, furniture I have in front of me is the best way I can be
makers, landscape architects, and magazine and present [in] every moment. To me, that’s exactly
book publishers. like meditating.”

While the photographer is living a dream job, However, working commercially, Devitt isn’t
he feels the weight of his responsibility acutely: always able to dictate the ideal conditions
a building can’t travel to the rest of the world in which to shoot. Time can be a factor —
but pictures can, so it’s up to Devitt to represent sometimes people will be home for a shoot;
the combined work of all the people involved as at other times, the space will be empty — and
authentically as possible. New Zealand weather is notorious for not

SIMON DEVITT, MAI MAI HOUSE, DINING ROOM, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L II USM LENS, 26MM, F/10, 30S, ISO 100

18 D-PHOTO.CO.NZ | NO. 79
SIMON DEVITT, KNOLL RIDGE CAFE, INTERIOR, CANON EOS 1DS MARK II, CANON TS-E 17MM F/4L TILT-SHIFT LENS, 17MM, F/10, 1/40S, ISO 100

SIMON DEVITT, WORKROOM, AFTER, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L USM LENS, 33MM, F/10, 3.2S, ISO 100

19
PROFILE | SIMON DEVITT

As Devitt doesn’t always know whether he will have the opportunity to

shoot the inhabitants while there, the photographer has developed ways
of expressing life both with and without human subjects.

taking direction. Some of these issues can’t be It is this power that Devitt seeks to teach to his
predicted until he turns up for the shoot. students through the 12-week course that he
runs at The University of Auckland’s School of
“It’s about being aware of the ingredients I have, Architecture and Planning. His class typically
being aware of the ingredients I can alter, and the comprises around 25 students, all eager
ones [that] I can’t,” he says, serenely. “It is my architects with varied amounts of experience
responsibility to ask for whatever I need, to get behind a camera. His goal is not to turn these
whatever I want.” students into architecture photographers but to
teach them to use their formative architecture
Reflecting the character of a space and the skills in aid of photographic storytelling.
impact it has on the lives lived out there is
an integral part of Devitt’s arresting images. This is not an easy ask, but Devitt has honed the
As he doesn’t always know whether he will curriculum to help learners discover the same sort
have the opportunity to shoot the inhabitants of energy that informs his photography. He does
while there, the photographer has developed this in a way that, on the surface, sounds antithetical
ways of expressing life both with and without to creativity: by constraining his students.
human subjects.
“The world has its own way of constraining us,
“Without people, you get the opportunity and we don’t have any choice over it; we fight
to allude to the presence more, [to] suggest it, or we walk with it down the street. And then
something has happened. With the people, it is learning to apply our own constraints is what I
a bit more emotive, and it’s a different way to tell think is really useful, in terms of creative output.”
a story.
One of the constraints Devitt employs with
“Both are beautiful, both have their own power.” his students is to take away their freedom of

SIMON DEVITT, BRAKE HOUSE, EXTERIOR TO INTERIOR, CANON EOS 1DS MARK II, CANON EF 16–35MM F/2.8L II USM LENS, 33MM, F/10, 30S, ISO 100

20 D-PHOTO.CO.NZ | NO. 79
SIMON DEVITT, HUT ON SLEDS, TAKE AWAY, CANON EOS 1DS MARK II, EF24–70MM F/2.8L USM, 57MM, F/10, 1/30S, ISO 100

21
PROFILE | SIMON DEVITT

SIMON DEVITT, EELS NEST, STREET 2, CANON EOS 1DS MARK II, CANON EF 24–70MM F/2.8L USM LENS, 32MM, F/10, 1/200S, ISO 100

movement. He leads the class on a walk

through downtown Auckland, getting each
student to stop at a particular spot along the
way. They are told to remain in that spot —
they can rotate around but are not allowed
to walk — for three hours and to document
their experience.

“Sitting still has value in it, especially as a

photographer,” Devitt explains. “For most of
them, it is an exercise in fighting off boredom,
but, for others, it is learning about things they
didn’t [previously] notice.”

Another constraint he employs is a return

to film shooting. In one lesson, he gives his
students a disposable camera each, has them
come up with an idea they can define in three
words, and sends them out with a roll of film
to make it happen. Not being able to see their
pictures right away is an alien experience
to most, but delayed gratification serves
a purpose.

“When they see the pictures a week later,

their eyes just light up. Something else
happens — this magical thing,” he says.

The magic is fully explored in the final learning

experience for the class: creating their own
photo book. It’s a form that Devitt himself is a
master of — his latest publication, Rannoch,
documenting the home and life of arts patron
Sir Ian Wallace, was named joint winner of the
most recent New Zealand Photobook of the
Year award. As the architecture students learn
new ways to consider photography and create
compelling narratives, interestingly, most of
them do not create books of architecture
photography.

But it’s no surprise to Devitt, who tells his

students that he doesn’t really care what their
subject is — he is purely interested in how
the images work together and the reaction
that he and other viewers might have to
them: “The idea is more important than the
subject matter. It’s about authenticity; it’s
about connection; it’s about what it is to be a
human being.

“Everything else is a distraction.”

See more of Simon Devitt’s work at

simondevitt.com.

SIMON DEVITT, EELS NEST, STREET 1, CANON EOS 1DS MARK II, CANON TS-E 24MM F/3.5L TILT-SHIFT LENS, 24MM, F/3.5, 1/250S, ISO 400

22 D-PHOTO.CO.NZ | NO. 79
DO YOUR
PHOTOS JUSTICE
I N PRE MIUM PHOTO BOOK S

For photography lovers of every age

Get started at www.momento.co.nz/dphoto

For professionals, self publishers, students & clubs

Apply at www.momentopro.co.nz/dphoto

© The Beautiful Collective

* See online for terms and conditions

FOLIO | RICHARD WOOD

Wood takes clear inspiration from history in much of his work.

Whether via homage to a historical figure or his own take on a
mythological idea, the artist has frequently used the past as a
foundation for his own creations.

W H E N A RT I M I TAT E S A RT

NZIPP Professional Photographer of the Year Richard Wood started

learning about photography under the dim light of a red bulb. Now,
he creates his texturally rich imagery within a digital darkroom. We
look at three of his 2017 winning images, for which he used the great
masters as his muse

Words | Adrian Hatwell

24 D-PHOTO.CO.NZ | NO. 79
RICHARD WOOD, LADY WITH AN ERMINE, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, F/13, 1/160S, ISO 200

25
 FOLIO | RICHARD WOOD

Wood’s portrait isn’t just a nod to the artist’s own distinct

style; it references an ongoing discussion of the details of Frida
Kahlo’s life, which have come to light decades after her death.

If you’ve been reading D-Photo for a another place. It allows you to create another Silver with Distinction–winning image of
while or have had even a cursory interest world.” Frida Kahlo, entered in the Illustrative category,
in New Zealand photography in recent is a prime example.
While many of the photographer’s past images
years, you are likely to be familiar with the
refashion an idea through his unique lens, The image presents a model with a
work of Richard Wood. The Hastings-
this work is Wood’s most explicit instance resemblance to Kahlo seated for a portrait.
based photographer was recently named of imitation as flattery — he set himself the
New Zealand Photographer of the Year, On her stomach is a cutaway — much in the
task of painstakingly recreating, as faithfully style of Kahlo’s own self-portraits — revealing
and not for the first time — it is an accolade as possible, Leonardo da Vinci’s oil painting
the New Zealand Institute of Professional a foetus in her womb. Behind her lurks Santa
Lady With an Ermine in photographic form. Muerte, the female personification of death
Photography (NZIPP) has already bestowed
on Wood twice before. Enlisting a taxidermy ferret that has long in Mexican folk religion. Unlike the Anglo
lived on a shelf in his home, Wood called up personification of death, Santa Muerte
The title is not only rich in acclaim but his trusty stylists, located a suitable young represents healing and protection, as well as
demonstrable business advantage, too. model, and began his exercise in visual control. delivery to the afterlife.
Wood has found that each win at the annual To accurately imitate the romantic quality
Iris Professional Photography Awards brings Wood’s portrait isn’t just a nod to the artist’s
of the portrait, the light, tone, design, and own distinct style; it references an ongoing
with it an influx of new commercial work from composition had to coalesce seamlessly,
clients increasingly further afield. And he’s discussion of the details of her life, which
creating the painterly period feel: “I was
not the only one well aware of what’s up for have come to light decades after her death.
literally sitting there with a hairdresser to my
grabs — each year, the competition between Kahlo always painted her pain in an intensely
right, and a makeup artist to my left, staring
the organization’s members gets tougher as the at a picture, holding it up to the model, personal way, but there remained biographical
work gets better. and painstakingly moving her millimetre by ambiguity as to whether her child-centric
millimetre by millimetre.” suffering was the result of miscarriage or
However, though taking home the top title abortion. The mistitling of works, along with
might be an increasingly difficult feat, Wood Through this intricate process, Wood made correspondence only recently uncovered, has
says the euphoria of the win won’t diminish a discovery that simple appreciation of the spurred the debate anew, and Wood invites
with time. “It doesn’t feel any different from painting had not revealed — the contrapposto us to make our own considerations with
the first,” he beams. “It’s still such an honour.” posture of the subject is anatomically his image.
Freshly home from the awards ceremony impossible to replicate in real life. Just as
da Vinci used his painterly licence, the “The holy death is encouraging her with the
and still abuzz with success, we asked the sickle,” he says. “You could read it as ‘I’m
photographer to share the stories and thinking photographer took to his digital easel to finish
the homage, working the figure’s shoulders, going to take that child that’s in your belly’,
behind some of his standout Iris images. or the irony that she can keep the child but,
back and neck into an immaculate reflection.
LADY WITH AN ERMINE at the end of the day, death is going to take
That fastidious eye for detail compelled the them anyway.”
Wood takes clear inspiration from history judges to bestow the portrait with the highest
in much of his work. Whether via homage possible accolade, a Gold with Distinction Wood found himself contemplating Kahlo
to a historical figure or his own take on a award. on a recent trip to Mexico, where he was
mythological idea, the artist has frequently fortunate enough to visit her home. As well
FRIDA KAHLO
used the past as a foundation for his own as being the creative impetus for the work,
creations. “It pushes the brain harder,” he Some of Wood’s work goes beyond the house also made a literal contribution to
explains. “Bringing through ideas from history historical reference, becoming more of the image: the background is Kahlo’s actual
and mythology allows you to take people to a conversation with the past. This year’s garden, shot by Wood during the visit.

26 D-PHOTO.CO.NZ | NO. 79
RICHARD WOOD, FRIDA KHALO, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, 1/160S, F/10, ISO 200

27
FOLIO | RICHARD WOOD

RICHARD WOOD, SAMURAI, CANON EOS 5D MARK III, CANON EF 85MM F/1.2L II USM LENS, 85MM, F/9, 1/160S, ISO 160

28 D-PHOTO.CO.NZ | NO. 79
29
 FOLIO | RICHARD WOOD

SAMURAI

Any creative knows an idea is a slippery thing,

and projects very seldom turn out just as they
begin in the mind. Wood experienced a nice
illustration of this fact while putting together
the image that would eventually become his
Gold-winning samurai group portrait.
Here, the photographer started with the idea
of going on a historical deep-dive. He was
inspired by the work of 19th-century British
photographer Felice Beato, who was one of the
first to bring East Asia to the rest of the world in
photographic form. Beato was able to chronicle
some of the final days of the Japanese samurai
class in photographs and also pioneered a
technique for hand-colouring black-and-
white photos — probably influenced by time
spent around Japanese watercolourists and
woodblock artists.
“My original idea was, hey, why don’t I do
something completely out of the box for me
and do something like that?” Wood recalls.
“Do it really old school, shoot it on film, do a bit
of hand colour, play with that theme?”
He shot the first portrait, the samurai in the
centre of the shot, with the intention of creating
an entry to the Classic Portrait category. That
would mean making the picture with a single
capture, without any significant alterations
in post.
“What was initially a classic portrait — and this
happens to me every year — I got to that point,
and thought … why not? Why not make it
something more?”
In the end, Wood could not resist the pull of
his innate style. An additional four samurai
were shot, and a backdrop taken at Rotorua’s
Redwoods Forest was dropped in behind.
The plan for hand colouring was usurped by
the artist’s signature tonal control in the digital
darkroom.
The photographer knows the ‘trolls’ will always
come after him for his inclination to embrace
digital editing in his photographic process, and RICHARD WOOD, SHIELD MAIDEN, CANON EOS 5D MARK III, CANON EF 50MM F/1.4 USM LENS, 50MM, F/10, 1/160S, ISO 400
accuse him of being ‘digital artist’ rather than
a photographer. On the whole, Wood lets his
acclaimed work speak for itself, but nobody can
be expected to turn the other cheek every time.
“It’s like, yeah, sure, to be honest, mate, I
couldn’t use a bloody camera if I tried, you’re
right,” he intones sarcastically, ahead of a
mischievous chuckle.
To see more of Richard Wood’s award-winning
imagery, visit richardwood.co.nz

30 D-PHOTO.CO.NZ | NO. 79
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 2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

SCHOLARSHIP

Amateur and enthusiast photographers from all around hairs that cover a wasp’s shell rendered in brilliant detail; our
the country have gathered their best images and submitted wild and ravaging coastline depicted from a new vantage
them to the expert judgement of our panel of industry point above; and the command of the human eye depicted
leaders — Brett Stanley, Charles Howells, Katherine Williams, by way of a glance, a stare, and sometimes simply the lack
Kaye Davis, Mark Gee, Michael Miller, Richard Wood, thereof. Together, these images form an intimate look into the
Peter Robertson, and Simon Devitt. lives and landscapes shared by everyday New Zealanders.
For several years, the Sigma Amateur Photographer of the With the support of our premier sponsor Sigma, and
Year has been the country’s largest amateur photography category sponsors DJI, Epson, Ilford, Nikon,
contest and certainly the most popular online gallery of its Nikon Keymission, Profoto, Progear, SAE Institute, and
kind. Each year, the quantity of entries increases, and so, Tamron, we were able to offer the largest prize pool this
too, the calibre of images improves. 2017’s contest received competition has ever seen — nearly $19K’ worth of prizes.
a record 9337 submissions across the 11 categories, many of Including both latest-release and long-loved gear from all the
which prove that advanced photographic technologies and best photographic brands, the prize pool up for grabs was
techniques, such as focus stacking, aerial imaging, and time- enough to make any photographer’s mouth water.
lapse, are no longer reserved for the pros. Congratulations to the winning images of our 2017
In this year’s winning imagery, we see the normally invisible Sigma Amateur Photographer of the Year competition.

33
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR ACTION CATEGORY S ponsored by Nikon Keymission

1st

BILL HODGES / SURFBOAT CHAOS

CANON EOS 50D, CANON EF 100–400MM F/4.5–5.6L IS USM LENS, 365MM, 1/6400S, F/5.6, ISO 400

“All the drama and action of the battle between man and the sea
captured here with the ever-present danger of collision and capsize.”
Peter Robertson

34 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / LEZANNE GIBBS / THE MAN WHO COULD FLY 3RD / LOUISE KIBBY / RIDING THE SURF
CANON 5D MARK III, CANON EF 70–300MM F/4–5.6L IS USM LENS, 188MM, CANON 5D MARK III, CANON EF 70–200MM F/2.8L USM LENS,
1/1600S, F/5.6, ISO 250 200MM, 1/1250S, F/2.8, ISO 100
“The wonderful shape of the surfer and surf board, that appears almost
“Fantastic action photo! The composition really captures the moment, like a sea creature, is effectively defined above the crest of the wave
with the lines of the water jets leading your attention to the person who and draws the eye straight to the heart of the action. The warm colour
is frozen in time. The high contrast black-and-white processing really palette creates a rich location and slight left of centre composition holds
suits this image and isolates the main subject with no other distractions.” the eye.”
Mark Gee Katherine Williams

35
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR AERIAL CATEGORY S ponsored by DJI

1st

MARK SMITH / THIS LITTLE TRACTOR

DJI PHANTOM 3 PRO, DJI FC300X, 4MM, 1/1250S, F/2.8, ISO 100

“Simplistic yet engaging image. Monochromatic palette balances the

graphical nature of the composition well, with a focus on texture through
tone and content. Timing and composition carefully considered.”
Kaye Davis

36 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / CAMERON MCGEORGE / WATER WHEEL 3RD / TERRY URBAN / NATURE’S PATTERNS
DJI MAVIC PRO, DJI FC220 26MM F/2 LENS, 26MM, 1/620S, F/2, ISO 100 DJI PHANTOM 4, DJI FC6310, 9MM, F/6.3, 1/800S, ISO 200

“The minimalist colours and simple shape of this photo

signals a poetic sensibility.” “It stood out for its originality.”
Michael Miller Garth Badger

37
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR CREATIVE CATEGORY S ponsored by P rogear

1st

EMRE SIMTAY / STRETCHING THE TRUTH

PANASONIC DMC-GX7, PANASONIC LUMIX G VARIO 45–150MM F/4–5.6 LENS, 124MM, 1/1250S, F/6.3, ISO 200

“The splitting of space makes for a playful photo

that I kept coming back to.”
Michael Miller

38 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / MINA MIMBU / HOME 3RD / DAVID STEER / BLUE HOTEL

SONY ILCE-7RM2, SONY FE 70–200MM F/4 G OSS LENS, CANON 5D MARK III, CANON EF 70–200MM F2.8L USM
70MM, 1/400S, F/4, ISO 400 LENS, 200MM, 1/1250S, F/2.8, ISO 100

“Fantastic piece of storytelling that also leaves the viewer guessing

and wanting more. It can be viewed from many spectrums of thought “Image considered and well created. Dynamic colour
or emotion. A stunningly simple piece of work that yet evokes much enhances the graphical aspects, which portray yin and yang
thought. Also a well-rounded piece of composition and tone.” and opposites through tonal and elemental placement.”
Richard Wood Kaye Davis

39
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR JUNIOR CATEGORY S ponsored by SAE

1st

DYLAN MARTIN / THE WINDOW TO THE SOUL

CANON EOS 6D, CANON EF 50MM F/1.4 USM LENS, 50MM, 1/160S, F/2.8, ISO 640

“A deceptively simple portrait that evokes deeper questions about

who is watching who, and why.”
Peter Robertson

40 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / BIEN CHAPPLE-LAW / RISE 3RD / MAX HENRY KILLOH / DUALITY

DJI PHANTOM 3 PRO, 20MM, 1/120S, F/2.8, ISO 100 NIKON D3300, NIKON AF-P DX 18–55MM F/3.5–5.6G VR LENS,
25MM, 1/10S, F/4.5, ISO 400
“The young photographer set out to capture something creative with this double-
exposure shot and has executed his vision very well, from photographing each
exposure and getting the lighting right to the technical aspect of using the flow
of the body to blend the two exposures together. This photo demonstrates the
“Stunning capture of colours.” entrant is producing photography beyond his years.”
Garth Badger Mark Gee

41
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR LANDSCAPE CATEGORY S ponsored by Sigma

1st

ANDY THOMPSON / HAWEA INVERSION

CANON EOS 5D MARK IV, CANON EF 70–200MM F/2.8L IS II USM LENS,
CANON EF EXTENDER 1.4X III, 280MM, 1/640 SEC AT F/11. ISO 100

“These moments are fleeting and difficult to prepare when the

landscape changes so dramatically. Beautifully captured and stunning
composition. Just enough, and nothing more.”
Simon Devitt

42 D-PHOTO.CO.NZ | NO. 79
2nd

3rd

2ND / LARRYN RAE / INTO THE MIST 3RD / NEE CHRISTOPHER LAGRIA / MT COOK SUNRISER
CANON 5D MARK III, CANON 16–35MM, 16MM, 30S, F/5.6, ISO 4000 CANON EOS 5DS R, CANON EF 16–35MM F/2.8L III USM LENS,
35MM, 6S, F/16, ISO 100

“I love the simple lines disappearing into the foggy centre of this
photo.” “A classic mountain landscape evoking all its glory, grandeur, and cold.”
Michael Miller Peter Robertson

43
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR MACRO CATEGORY S ponsored by Tamron

1st

MURRAY MCCULLOCH / VESPULA VULGARIS

NIKON D7000, VENUS OPTICS LAOWA 60MM F/2.8 2X ULTRA-MACRO LENS, 60MM, 1/50S, F/5.6, ISO 100

“Defines macro.”
Garth Badger

44 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / JO OTTEY / THE LONG ROAD 3RD / ROXANNE CRAWFORD / REFRACTIONS

CANON EOS 6D, LAOWA 60MM F2.8 MACRO 2:1 LENS, 60MM, 1/160S, F/4, ISO 400 CANON EOS 6D, CANON EF 100MM F/2.8L MACRO IS USM LENS,
100MM, 1/100S, F/6, ISO 400

“Simple but very effective macro shot which refracts a much larger
“Macro photography frequently hosts a lot of trickery in its images, but background object though the foreground droplet. Technically
this photo is honest in its curling shape and lonely subject.” challenging to get right, with good composition and use of colour.”
Michael Miller Mark Gee

45
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR MONOCHROME CATEGORY S ponsored by Ilford

GRAND PRIZEWINNER congratulations, Sarah

1st

SARAH CALDWELL / HOUSTON MAIN STREET METRO

SONY A7R II, VOIGTLANDER SUPER WIDE–HELIAR 15MM F/4.5 III LENS, 15MM, 1/160S, F/8, ISO 100

“Beautiful detail throughout and compositionally makes a very interesting

image. A very high level of care and craft has gone into this photograph.
Fantastic treatment of tones, leaving details within all shadows and highlights.”
Richard Wood

46 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / NICK FARRELLY / THE DEVIL’S LAIR 3RD / SHARAD DOHARE / FIRST DAY OF WINTER
FUJIFILM X-T1, FUJIFILM XF 18–55MM F/2.8–4 LENS, 37MM, 1/125S, F/11, ISO 200 CANON EOS 600D, CANON EF-S 18–55MM F/3.5–5.6 IS STM LENS, 18MM, 1/125S,
F/11, ISO 100
“The gentle and soft black and white treatment gives a very timeless feel
to this photograph. A circular feel is given through framing choice which
holds the eye to the waterfall ... shutter speed provides plenty of detail
in water, yet retains the misty softness which makes this photograph a “Playing on the children's story, this photo has a charismatic
pleasure to view.” subject and a delicate sense of framing.”
Katherine Williams Michael Miller

47
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR NATURE CATEGORY S ponsored by Epson

1st

BEN JACKSON / TINY BUT MIGHTY

CANON 7D (M1), CANON EF 70–300MM F/4.5–5.6 IS USM LENS, 270MM, 1/1600S, F/8.0, ISO 100

“What a stunning and beautiful image. Timing, composition, and colour

palette of the shot [are] … spot on, with nothing to distract the viewer but
what the story is about. Artistic and thoughtful capture.”
Kaye Davis

48 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / ROBERT SAUNDERS / YOUNG FALLOW DEER, 3RD / ANDY LUKEY / THE FISH-AND-CHIPS CREW
LIGHTLY OBSCURED BY BRACKEN AND NETTLE OLYMPUS OM-D E-M1, OLYMPUS M.12–40MM F/2.8 LENS, 30MM, 1/500S,
CANON EOS 7D MARK II, CANON EF 28–300MM F/3.5–5.6L IS USM LENS, 270MM, F/3.5, ISO 400
1/400S, F/6.3, ISO 400

“In an otherwise potentially very ordinary moment, this becomes

something quite exceptional and highly evocative. I wish I had
“Great depth of field, great composition.” taken this image.”
Garth Badger Simon Devitt

49
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR PEOPLE CATEGORY S ponsored by P rofoto

1st

DUSTIN MCNEILAGE / JOHNSON, WHIRINAKI RIVER

NIKON D750, NIKKOR 24–70MM F/2.8 LENS, 70MM, 1/640S, F/2.8, ISO 200

“Truly fantastic portraiture that captures the power of youth.”

Michael Miller

50 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / EDITH LEIGH / COLOUR PLAY 3RD / NICK MARSH / THERE GOES THE NEIGHBOURHOOD
CANON EOS 6D, CANON EF 50MM F/1.4 USM LENS, 50MM, 1/60S, F/3.2, ISO 250 CANON EOS 6D, CANON EF 28–135MM IS ISM LENS, 115MM, 1/125S, F/5.6,
ISO 100
“A fascinating people shot, taken in a street-photography
“Wonderful creative aspect given to the image through the technique environment. Every piece/item in this composition fits. There
used that reflects the nature of a child rather than depicting the child is a story here made up of so many elements that each and
itself. The colour palette adds to the sense of liveliness and vibrancy of every viewer may conclude in their own way … This is politics,
a young child.” storytelling, and humour all in one capture.”
Kaye Davis Richard Wood

51
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR TRAVEL CATEGORY S ponsored by Nikon

1st

JAVAN NG / MORNING RUSH HOUR AT GRAND CENTRAL TERMINAL IN NEW YORK

NIKON D750, NIKON 24–120MM F/4.0 LENS, 24MM, 1/30S, F/8, ISO 640

“I've been to this station dozens of times and I've wanted to see, let alone capture, this
moment. Beautifully rendered and captured at a magical time of day. Lovely image.”
Simon Devitt

52 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND /ROB LYNCH / ON THE GHATS OF THE GANGES 3RD / GARY CLODE/ GIRL WITH CANDLE
NIKKORMAT FT2, NIKON NIKKOR 50MM F/1.2 LENS, CANON EOS 5D MARK III, CANON EF 24–70MM F/2.8L II USM LENS,
KODACHROME ISO 64 SLIDE FILM 70MM, 1/60S, F/2.8, ISO 1600

“Composition and action [are] … the strength in this image, which really
portrays the culture and activity around that. Some sharpness issues but
possibly more from subject movement that could be improved, but the “A moment, a look, beautifully captured in warm tones and
image tells a great story, is tonally well controlled and composed.” great lighting.”
Kaye Davis Peter Robertson

53
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR VIDEO CATEGORY S ponsored by SAE

1st

CONNOR LEE PRITCHARD / SO MANY COLOURS

SHOT ON A SONY A7S II

“Intense but fun lighting make for a colourful and cheeky piece of cinematography.”
Michael Miller

54 D-PHOTO.CO.NZ | NO. 79
 2nd

3rd

2ND / NAZAR ABBAS / NEW ZEALAND COLOURS 3RD / JACK BURDEN / COROMANDEL NIGHTS
SHOT ON A CANON 5D MARK II AND DJI PHANTOM 4 SHOT ON A CANON EOS 6D

“Slow-panning, fast-paced time-lapse balanced with up-

“Some beautiful moments captured and a lot of restraint tempo instrumental music are used to showcase the beach
shown in a relatively new medium (drone). Nice delivery scenes. Interest elements of people, lights, shooting stars, and
using an unobtrusive soundtrack.” a stunning Milky Way bring the video together harmoniously.”
Simon Devitt Katherine Williams

55
2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

JUDGES’ COMMENTS

“The quality of the work across every category makes this prize extremely valuable and necessary
to showcase the incredible talent we have in our small country.” SIMON DEVITT
International photographer of architecture, lecturer in architectural photography at The University of Auckland, and patron of
the Simon Devitt Prize for Photography

“The entries this year were very thought-provoking. There were some very clever, technical, well-
composed photographs.” GARTH BADGER
Advertising, fashion, and music photographer, and owner of Auckland’s Thievery Studios

“It has been a privilege and delight to judge this year’s entries, which really showed not just how
much talent there is out there, but also the enthusiasm for and love there is for the photographic
medium. The entries overall reflected great control of camera technique, composition, lighting, and
vision. Each category presented diverse and well-considered imagery, and included images that
also reached a high level of creativity and photographic craft. Congratulations to all the winners!”
KAYE DAVIS
New Zealand Institute of Professional Photography (NZIPP) Grand Master, and 2013 New Zealand Professional Photographer of
the Year

“The quality of the best images was very high indeed.” PETER ROBERTSON
President of the PSNZ

“It was certainly a pleasure judging the 2017 D-Photo Sigma Amateur Photographer of the Year.
I was surprised by the high quality of all the finalists, and I really had to think about my choices and
evaluate each image carefully. It’s encouraging to know that this is the level of amateur photography
in New Zealand, and I can’t wait to see what future years’ competitions bring as that bar gets
higher.” MARK GEE
2013 Astronomy Photographer of the Year, astrophotographer, and time-lapse film-maker

“There were some very strong images.” CHARLES HOWELLS

Top fashion and beauty photographer, and owner of Auckland’s White Studios

“The overall quality of work was extremely high, which made judging both challenging and
rewarding. There are some very entrancing shots that reward the viewer who spends the time to
absorb them fully.” MICHAEL MILLER
Experienced director and producer, and Head of Department (Film) at SAE Auckland

“Some strong ideas and imagery coming through. Also some originality rather than repeated
work. Photographers need to be aware of distracting elements in images and cropping choices.
Sometimes these issues can drag down a potentially winning image. Great to see some innovation
coming through. When using post-production, be sure to take it past an experimental stage and
into a refined craft of the elements chosen.” RICHARD WOOD
2011, 2014, and 2017 New Zealand Professional Photographer of the Year, portrait and fashion photographer

“The winners showcase exhibits a high calibre of photography being captured by amateur
photographers of New Zealand. I was very impressed the diversity of imagery and it’s great to see
some creative ideas being presented. Overall an excellent level of technical ability with the winners
being those who focused on bringing originality and creative control from the minds eye through to
final capture. ” KATHERINE WILLIAMS
President of the New Zealand Institute of Professional Photography (NZIPP), and 2016 New Zealand Professional Photographer
of the Year.

56 D-PHOTO.CO.NZ | NO. 79
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EXPOSURE | GUY NEEDHAM

T H E M EN TAWA I I N M O N O C H RO M E

Travel photographer Guy Needham has developed a deep affinity

for indigenous cultures, which has seen him study and live with
those whom he travels to around the globe. Needham’s latest
expedition to remote West Sumatra has culminated in a series of
intimate portraits of the province’s indigenous Mentawai people

WORD S | AD RIAN HATWE LL

GUY NEEDHAM, THE MENTAWAI, UNTITLED 5, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 82MM, 1/100S, F/4, ISO 320
GUY NEEDHAM, THE MENTAWAI, UNTITLED 12, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 32MM, 1/40S, F/4, ISO 160

58 D-PHOTO.CO.NZ | NO. 79
59
EXPOSURE | GUY NEEDHAM

While there, Needham ate what the Mentawai ate, including sago grubs
(comparable to New Zealand’s huhu grubs) and fried pith of the sago palm,
and he slept on the floor of the uma with the local families.

The Mentawai people, indigenous to people, along with locating an appropriate guide
an archipelago of islands in Indonesia’s for the excursion. Just getting to the cluster of
West Sumatra province, cut visually striking islands required three flights, a ferry trip, a ride
figures. Their slight bodies are tough and in a motorized canoe, and a two-hour trek on
leathery from self-sufficiently working the foot. But it was worth it for the photographer
land, clothed in handmade cloths and with to be able to spend almost two weeks living
intricate line-work tattoos traced over sinewy among the semi-nomadic people, staying in a
musculature. They’re often bedecked with communal longhouse made of bamboo and
ornate handcrafted headpieces and jewellery, grass, called an uma.
while some chisel their teeth to sharpened
points in the name of beauty. It is not hard to see While there, Needham ate what the Mentawai
how this singular culture, almost untouched by ate, including sago grubs (comparable to
the modern world, captured the fascination of New Zealand’s huhu grubs) and fried pith of the
Auckland-based photographer Guy Needham. sago palm, and he slept on the floor of the uma
with the local families.
Looking in on a different culture can hold a
strong allure, especially for photographers. “Typical days were [spent] watching sago being
Differences in aesthetics, ritual, and routine, and pressed, bark being stripped off for loin cloths,
expressions of identity often present a beguiling treks into the jungle to hunt birds or deer, and
tapestry for the visually fixated. But it’s also a fishing in the local rivers,” he recalls. “I simply
scenario rife with cultural snares for an observer tagged along trying not to fall off rotting logs,
only interested in the superficial risks offending, get bitten by leeches, or lose my walking stick in
misrepresenting, or even exploiting the subject, the mud.”
however unintentionally.
Being a solo adventurer on these expeditions,
This needn’t mean photographers should shy Needham has to put his faith in local guides
away from exploring lives and experiences and fixers to help get him where he needs to
different from their own: for Needham, it be. For any photographer travelling outside
simply means approaching a project from a of their home field, a guide can be invaluable,
place of knowledge, humility, and respect. In particularly if translation is necessary. However,
his travels around the Pacific and beyond, he not all guides are as interested in their clients’
has developed a deep affinity for indigenous requirements as might be wished. While
cultures and finds demonstrating good faith and Needham has had plenty of dealings with
reliability instrumental in working within diverse excellent fixers, his voyage to the Mentawai did
communities. not involve such.

The accumulation of this practice is his Tribes “This time, I got one who was more interested in
series, which has seen Needham study, travel getting the most out of the trip himself, and not
to, and live with various indigenous populations letting me know what was going on,” he laments.
around the globe, including the Huli of “I just made the most out of a bad situation, and
Papua New Guinea, the Hamar of Ethiopia, and, asked questions of others whenever I could.”
most recently, the Mentawai. The photographer
Fortunately, his sub-par guide happened to have
sees this ongoing project as not simply a
a porter and chef with him who spoke passable
matter of documenting disparate cultures but
English and was willing to help the photographer
challenging his own world view and notions of
out when necessary. But Needham has also
identity born from hegemonic Western culture.
found an earnest attempt at learning some
“I wanted to go beyond voyeuristic passing, to of the local language, along with humble
take imperfect images, ones that can only be improvisation, can go a long way: “I’ve found
earned with trust,” he explains. over the years that if you try a few words and
mangle them, people will forgive you. The worst
The first step towards that trust was finding that will happen is they [will] give you a funny
out as much as he could about the Mentawai look … Sign language was also good for a laugh,

GUY NEEDHAM, THE MENTAWAI, UNTITLED 9, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 24MM, 1/30S, F/4, ISO 125
GUY NEEDHAM, THE MENTAWAI, UNTITLED 8, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 32MM, 1/40S, F/4, ISO 160
GUY NEEDHAM, THE MENTAWAI, UNTITLED 1, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 105MM, 1/250S, F/4, ISO 100
GUY NEEDHAM, THE MENTAWAI, UNTITLED 15, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 190MM, 1/100S, F/4, ISO 3200

60 D-PHOTO.CO.NZ | NO. 79
61
EXPOSURE | GUY NEEDHAM

GUY NEEDHAM, THE MENTAWAI, UNTITLED 7, CANON EOS 5D MARK III, CANON EF 24–105MM F/4 L IS USM LENS, 98MM, 1/80S, F/4, ISO 250

Photographer Guy Needham will be showing the latest exhibition in his Tribes series,
The Mentawai of Indonesia, at Auckland’s Studio 541 gallery in Mount Eden, from
October 25 to November 12. Visit guyneedham.com for further details.

the fingers on the palm falling over is universal for shooting. It’s given over to dense tropical forests; Regardless of how well an adventure is planned,
‘I slid off’.” the climate is very damp; and, because he visited though, the whims of fate are wont to play a
during the province’s wet season, Needham was role. A seasoned traveller should be flexible
Living in the isolated jungle, the Mentawai explicitly advised by his guide that he “[couldn’t] enough to roll with the punches, but sometimes
communities hold tight to a traditional way expect to get dry” for the duration of the trip. happenstance can knock down even the hardiest
of life, including animist religious beliefs that of wayfarers. Needham was bluntly reminded of
do not conform to any of the official religions The wet conditions meant waterproof casings this on his latest voyage, when a fever left him
sanctioned by the Indonesian government, which for both his Canon 5D Mark III and 60D, as delirious for several days.
has been a source of conflict. The culture is not well as making sure that waterproof liners and
completely removed from the modern world, bags kept every bit of sensitive gear dry. The “At one stage, I woke up to find a medicine man
however: two of the families Needham stayed lush foliage of the jungle made for dark lighting pushing into my stomach while chanting a spell,”
with had played host to Western visitors before, conditions, so fast glass was a necessity, but the photographer remembers. “As I opened my
and knew which facets of Mentawai life would relying solely on prime lenses was not an option. eyes, the first thing I saw was my watch on his
probably need explaining to an outsider. Not only would constantly changing lenses eat wrist, and I wondered what the hell was going on
away at shooting time but it would also increase … The next day I was told [that] he was the same
“I was a novelty, because I have dark skin but the chance of moisture making its way inside the man I’d met a week earlier and given my watch to
was wearing ‘white-man clothes’ and spoke camera and wreaking havoc. Needham ended up — he’d heard I was sick so had come to help.”
‘white-man words’,” says the photographer. selecting the Canon EF 24–105mm f/4L IS II, EF
“The main things I did was try to be a courteous 70–200mm f/2.8L II, and EF 50mm f/1.2/L for When coming on these sorts of unplanned
guest, ask interesting questions, and join in the trip. challenges, Needham advises would-be
with celebrations — my rousing rendition of explorers to let go of plans and “wing it”, as long
Pokarekare Ana was in reply to their bird-dance “There was also no electricity in the jungle so I as they hold to the central tenets of culturally
song.” had to stock up on batteries for my DSLRs,” he sensitive photography: be open with your hosts,
adds. “At the same time, I couldn’t appear to be generous with your time, and always remember
In addition to navigating cultural particularities, any sort of journalist, as Indonesian authorities that these are people before they are ‘subjects’.
the photographer also had West Sumatra’s in the area get a little nervous, so I ended up
distinct environment to contend with when looking like a well-equipped tourist.” “It will show in your photography,” he says.

62 D-PHOTO.CO.NZ | NO. 79
HOW TO | LOUIE TONG

S K Y- H I GH SC EN ERY

Louie Tong takes us through the highs and lows 1

of aerial photography, offering his top tips on
how to capture awe-inspiring imagery

64 D-PHOTO.CO.NZ | NO. 79
BEFORE YOU GET STARTED If you’re just PREPARATION The shots I capture primarily X5/X5S sensor paired with the 12mm
getting into aerial photography, there’s a bit consist of the coastal regions around wider Olympus F2.0 is a huge upgrade on the
more to flying your drone than you think, Auckland. Generally I try to get to the proprietary X3 sensor. The Inspire 2 drone
including important rules and laws regarding location an hour before sunrise or sunset to itself is a huge improvement, with more
areas where you can and cannot fly. These prep — meaning very early 4am starts to get accurate GPS and stability and the addition of
can be found on the maps on airshare.co.nz, up and drive to an area, which often allows for 4K video at 60fps with 40mb high-res stills.
and are colour-coded to designate what parts the time for a short trek to certain spots such
of the country are control zones, low-flying as Duder Regional Park, where the highest The DJI Mavic Pro is a cost-effective option,
zones, military operating areas, and restricted point is a 20- to 30-minute walk from the and it’s light enough to carry around with you
areas. It’s very important to become well- carpark. Additional time to consider is that on hikes. It’s the same size and approximate
versed on these laws before flying. As a casual for the assembling of the drone; lugging the weight as a drink bottle, and the 12MP sensor is
drone operator, you will be governed by our equipment to the spot; and, finally, set-up for capable of capturing 4K video at 30fps, as well
Civil Aviation Authority’s Part 101 rules for shooting. You’ll find that sometimes the light as high quality stills. The gimbal system is also
unmanned aerial vehicles (UAVs) — these can diffusion just before sunrise, due to clouds very robust for its size, and the drone itself can
be found at caa.govt.nz. being on the horizon, will cause the whole actually handle relatively strong winds.
sky to light up a bright orange, pink, or red —
that’s worth getting up early for. KNOW YOUR SUBJECT Since so much
of New Zealand has yet to be ‘discovered’,
I have three sets of batteries for each drone: we’re blessed that not too many of these
the first one is sometimes used for scouting beautiful locations are saturated with people
or reconnaissance; and the second and all of the time. A good habit to get into is
third ones are used to get the final shots. to use Google Maps and its 3D satellite
Something seemingly trivial to keep in mind functionality. By doing this before the shoot
as well is that, in colder, winter environments, day, you can reduce the surveying time
the batteries need to be warmed up before required on location. Certain beaches have
use. Some older drone models will not even unique characteristics, hence need to be shot
start if the batteries are too cold. from a certain angle, and this gives you a good
idea of what it will be like on the day.
I was very fortunate to have been a relatively
early adopter of the DJI Inspire 1 when it STYLE I come from an architectural
was first introduced to Australasia. The background, having completed my master’s in

65
HOW TO | LOUIE TONG

66 D-PHOTO.CO.NZ | NO. 79
architecture. I feel very fortunate to have gone LOUIE’S GEAR LIST
through this practice, as the spatial awareness
I attained through it informs the treatment of
my photography. My vision is to create the
iconic shot for each of the locations I shoot
at — the image that pops up in people’s minds
when someone mentions a certain place. By
shooting in the golden hour, during sunrises
and sunsets, it really sets apart the look of the
photos you take.

The addition of a constant third (Z) axis is

an extra element that an aerial photographer
has to take into consideration. A traditional
photographer typically worries about the DJI INSPIRE 1 WITH X5 OLYMPUS M.ZUIKO DIGITAL 45MM F/1.8 LENS
composition, but, when you throw in the
vertical axis, you have to consider how the
change in vertical angle will affect certain
photographic elements such as the shadow
and, particularly, the silhouette/shape of the
subject. Combine this with the constraints in
technology currently — that is, battery life —
and weather conditions, and this means that
an aerial photographer has to be incredibly
efficient, as the window of shooting is
dependent on so many of these parameters.
An architectural graduate using 3D CAD
software can orbit and pan their model
around freely, much like how you operate a
drone in unconstrained/open air space. DJI INSPIRE 2 WITH X5S DJI MFT 15MM F/1.7 ASPH PRIME LENS

POST-PRODUCTION My post-processing is
relatively minimal, and I tend to simply use a
neutral preset to make the general treatments
of each of the photos consistent with each
other — the exposure, contrast, tone curve,
and detail treatment.

Colour is graded independently and differently

for each shoot, as it is generally affected by the
weather and light conditions. When shooting
in the light of the golden hour, as I tend to, the
colour is usually quite intense already, and, as a
result, I never need to touch the saturation.
DJI MAVIC PRO OLYMPUS M.ZUIKO DIGITAL ED 12MM F/2 LENS
Cropping and composition are extremely
important. There are often many angles to
the same shot, but knowing what to include
and how to frame a shot is fundamental to
achieving a truly awe-inspiring shot.

BE CONSIDERATE There has been a lot of

bad press surrounding drones lately, so, while
you’re out and about, be respectful of the
people and environment around you. Don’t
go flying close to others’ private property
without permission, or wildlife, or even across
a busy road. One of my goals is to dispel this
bad light on drones and their privacy issues
— when used correctly they’re an amazing
photographic tool that unlock a whole new
dimension of creativity. THREE SETS OF BATTERIES EACH SPARE PROPELLERS / SPARE MEMORY CARDS

IMAGE 1 DJI INSPIRE 1, X5 SENSOR (M4/3), OLYMPUS 12MM, F/2.0 LENS, 12MM, 1/340S, F/5.6, ISO 100 SUNRISE AT RAGLAN BEACH
IMAGE 2 DJI INSPIRE 2, X5S SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/240S, F/5.6, ISO 100 TOP-DOWN VIEW OF LEISURE ISLAND
IMAGE 3 DJI INSPIRE 2, X5S SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/120S, F/6.3, ISO 100 TE ARAI PERSPECTIVE
IMAGE 4 DJI INSPIRE 1, X5 SENSOR (M4/3), OLYMPUS 12MM F/2.0 LENS, 12MM, 1/120S, F/7.1, ISO 100 WHATIPU BEACH PERSPECTIVE
IMAGE 5 DJI MAVIC PRO, CMOS SENSOR, PROPRIETARY 28MM, 1/100S, F/5.6 AERIAL WEST PERSPECTIVE OF DUDER REGIONAL PARK

67
HOW TO | BRETT STANLEY

S I M P L E O N E- L I G H T S E T-U P S

Fashion photographer Brett Stanley

demonstrates how to create bold,
dramatic portraits — with only one light

68 D-PHOTO.CO.NZ | NO. 79
 2

As photographers, we rely on light to create LIGHTING AT NIGHT My passion for or even the sun between some buildings, but
our images; without it, we would just have photography comes from shaping light. I love is, in fact, from a small Speedlight strobe (or
black frames. In fact, ‘photography’ actually being able to get creative with it to create flash) mounted on a stand. This image was
means to ‘draw with light’. We use light in a certain look, and my influences for this taken at night near the opening of a large
different ways every day, and its manipulation primarily come from cinema, in which lighting tunnel in downtown Los Angeles. There was
is what allows us to give the same subject a is used to create the mood of the scene. A light from the nearby streets, but it wasn’t
different look without moving the subject. lot of that lighting is artificial, but set up in very interesting or bright enough, and I
Think of landscape photography: the same such a way that it mimics the light that would really wanted to capture Richie in this pose
scene can look very different over the course be there if it were a real scene. For example, as he wrapped his wrist. I quickly set up my
of 24 hours, and it’s all down to light. the light on an actor’s face that looks like it’s Speedlight with a remote trigger connected
coming from a lamp in the room but might be to my camera, so that it would fire when I
The direction, colour, quality, and quantity of clicked the shutter, and put it down the tunnel
light are what give everything we see its specific off-camera. This is called ‘motivated lighting’
— it’s fake, but your brain believes it because pointed towards him a little. I wanted to only
look. Change any of these parameters, and you light half of him to give the scene some depth,
change the appearance of the subject — which is it seems to be coming from somewhere that
and I used a lower shutter speed to capture
great, because it gives us loads of options when there could be a light source in real life.
some of the ambient light to lift the shadows
we want to get creative with our photography! Shooting at night means that you can control on his other side. The side light gave the
In this article, I want to show you two very the artificial light more easily than during the image a nice contrast and balance, while it
different shots that I took, explain how I lit day, and in the photograph of skater Richie left the other side of the image darker, really
them, and then give you options for ways to (opposite page), the main light source is off- drawing attention to my subject, which is
recreate them using a few different tools. camera right. It could be from a street light, what we want for all our images.

69
HOW TO | BRETT STANLEY

70 D-PHOTO.CO.NZ | NO. 79
ALTERNATIVE SOLUTIONS If you don’t My solution was to treat the sun as one of my access to this, a very cheap option to recreate
have access to a Speedlight or strobe, you lights and bring in something artificial to fill in this lighting style is to bounce the sunlight
could create a similar look with a bright torch the shadows, in this case a powerful strobe onto the model’s face using a reflector. This
or LED panel, and you could have a friend or with a large soft box. I could have used the works well, because it’s going to match the
assistant hold the light instead of a stand. sun as my main light, which was off-camera colour and intensity of the sunlight. A white
left, then had my strobe fill in the shadows, reflector will keep the colour of the sunlight,
Another easy way to get this effect is to find a but that would have had Onrico looking at or you can use a gold or silver reflector to
nice street light. the sun again, causing him to squint and not warm up or cool down, respectively, the
LIGHTING IN THE DAY Creative lighting be relaxed. So, I turned him around — this bounced light.
during the day with artificial light sources is meant that the sun was above and behind Looking into the reflected light for too long
harder due to the power of the sun. You need the model, with my strobe and soft box off can damage the eyes, so have someone
something very bright for it to have any effect to camera left. The effect was a harsh light holding it who can turn it away when you’re
in full sunlight, especially with Speedlights from behind, with strong shadows, and a not shooting to give the model a rest.
or strobes. For this image of Onrico (top very soft light in front softening the shadows
and letting us see the detail in his (mostly) There are so many ways to modify light in a
left) it was mid-afternoon, and the sun was creative way — it’s all about being inventive
extremely bright. If I’d photographed him relaxed face.
and taking inspiration when it comes. Look
with just the sun alone, he would have either ALTERNATE SOLUTIONS The strobe I used around for the way light bounces and
had harsh shadows on his face or had to look for this shot was a Paul C Buff Einstein, a very modifies naturally, such as off a shiny floor
straight towards the sun, creating a rather flat powerful flash that on full power could match or through the branches of a tree. I warn you
lighting, which I wanted to avoid. the bright sunlight, but if you don’t have though, it is addictive!

BRETT’S GEAR LIST

EINSTEIN E640 FLASH UNIT CANON SPEEDLITE 580EX E-TTL II FLASH

PHOTOFLEX OCTODOME3 LARGE SOFTBOX MATTHEWS REVERSE LIGHT STAND

IMAGE 1 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 51MM, 1/160S, F/4.5, ISO 200
IMAGE 2 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 48MM, 1/25S, F/5, ISO 800
IMAGE 3 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 66MM, 1/200S, F/6.3, ISO 100
IMAGE 4 CANON EOS 5D MARK II, CANON EF 24–70MM F/2.8L USM LENS, 51MM, 1/200S, F/6.3, ISO 100

71
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Q & A | MAREEA VEGAS

M O D ES T M I N I M A LI S M
Mareea Vegas talks to Marc Thompson about
finding purpose in the pedestrian through his
latest series of spatial shots

74 D-PHOTO.CO.NZ | NO. 79
A beautiful sense of calm and space MAREEA VEGAS: One of the things that
still emanates from Marc Thompson’s interests me about your new works is the
methodically composed images. I last spoke move to a portrait crop. Could you talk about
with the Whitecliffe graduate two years the reasons for this?
ago, when his work was very much inspired
by futurism and the typology of industrial MARC THOMPSON: This is mainly an
buildings. adaptation for the way in which the work is
viewed. For the most part, I post my images
Thompson has spent many of his days since online, and the majority of the work is seen
then abroad, travelling from New Zealand to through Instagram. I’ve found that a portrait
Iceland and down to Spain, including most crop not only works well for the environment
places in between. that the work is viewed in, but it has also
created some interesting compositions when
I caught up with him over WhatsApp to find investigating a particular subject matter. I was
out in which ways his practice has changed, finding that when I used a landscape crop, the
how travel has affected his work, and why things which were making the subject matter
he has moved from large-format analogue to interesting (and giving it that slight touch of
digital photography. ambiguity) were getting lost somehow. I felt
I was losing control of the subject matter,
by leaving in aspects that would ultimately
clutter the shot.

MV: Has your relationship to structure and

the exploration of your practice through it
changed in any way over the last couple of
years?

MT: I guess that I have, in the past, mostly

followed a topographic way of photographing
scenes, and, recently, I’ve probably started
to bend the strict methodology behind
that way of shooting. I think ‘ambiguity’
and the ‘mundane’ might be ideas that are
creeping in more in more. I find the majority
of these works end up being crops of areas
or compositions which might generally be
overlooked, but [that] there ends up being
some really interesting things to be found
within them.

Futurism and autonomy [were together] …

always something which informed my past
work, and I think there are still hints of that
presently, though probably a more general
sense of ambiguity within a structure (line/
shape), with a minimalist construction, has
become something that I seek out more
and more.

MV: How has your own travel informed

these works?

MT: Travelling has been a huge influence on

my practice. I initially wanted to document
my time overseas in a fairly broad sense, but,
as time went on, it became more refined.
This was also in part due to discovering some
great online communities of photographers,
such as @lekkerzine, @paperjournalmag,
and @rsaminimal on Instagram, which are
tackling similar subject matters. The use of
hashtags and tagging to get involved in the
online community has opened my work up to
fellow photographers, and vice versa. I’m not
entirely sure how my practice has gone from
a Futuristic-type approach to a more minimal
one, but there is definitely still an undertone
of Futurism within some of the work.

75
Q & A | MAREEA VEGAS

76 D-PHOTO.CO.NZ | NO. 79
MV: How important is it for you to define your through the work. In what ways are you widening MV: Does your moving-image work carry the
practice? your lens now? same concepts as your still photography?

MT: I think it’s quite important to be able to MT: I’ve definitely broadened my subject matter MT: With my moving-image work, it tends
define your practice in some way or another, since being placed in different landscapes. I to sit more on the commercial side. While at
be it through subject matter or approach. still have an underlying interest in architecture, university I had a few attempts at converting
Personally, being able to define my practice and I was spoiled for when it came to travelling my ideas to a moving-image setting (making
gives me more direction and a way to identify through Europe. I think there are different them all very quiet, and quite devoid of any
and connect more with a broader community. aspects of each landscape or structure that movement) but I have never been 100-per-
These are things that help more and more initially attract me to them, so large sections of cent satisfied with the results, though it’s
when predominantly publishing work online my time travelling would be spent seeking these definitely something that I think about quite a
and interacting with online communities. structures out, or at least recognizing them when lot when taking photos.
I came across them.
MV: Did you still shoot analogue film while I guess, ultimately, I associate moving image
travelling? MV: I love the colour palette and how it ties the with dynamic cuts and movement, so when
entire series together. Did the idea evolve, or was working with this particular subject matter, I
MT: While abroad, I shot everything on digital, the intention always there? find that this is missing.
using either my Panasonic Lumix or just my
phone. I would have loved to have taken a MT: That’s something which is definitely an ever- It’s possible that maybe my subject matter
5x4 large-format camera with me, but that present aspect of the subject matter in my work, works well in a still-photography sense, but not
just wasn’t possible with the type of travelling and I think it might potentially be informed by my so much in a moving-image sense. Hopefully,
I was doing. I still approached my subject relationship to structure, even though, initially, I’ll stumble upon something that will work well
matter with an analogue sense though, as in, I was more interested in the faceless futuristic and help to develop the subject matter further,
slow and methodically, like I was shooting aspect of these buildings. It seems that all of through moving image.
on film. I guess I picked up this methodology these areas, which are made for practicality, will
from shooting lots of large-format work, and it always carry these striking bits of colour, mainly MV: Finally, where would we find Marc now at
continues to carry over, no matter what device yellow. They are obviously there for a practical 8pm on a Monday night?
or format I’m using. safety reason, but they have an unintentional
aesthetic beauty and complexity to them. It’s a MT: I start an online Te Reo course this
MV: In your previous images, you were working great practical function that works so nicely to month through Te Wānanga o Raukawa, so I’ll
with a rapidly changing New Zealand landscape piece the general monochromatic tones of the probably be studying.
and perhaps mentally processing these changes works together.

MARC’S GEAR LIST PANASONIC LUMIX G 20MM

F/1.7 II ASPH LENS CANON FD 28–85MM F/4 LENS

PANASONIC LUMIX GH4

CANON EF 50MM F/1.4 USM LENS COKIN FILTERS

77
FOCUS NEWS

TURNING PASSION INTO PROFIT

There’s a rising tide of challenges against

photographers looking to turn their passion into a
career — going out on your own requires a massive
leap of faith; the sales side simply isn’t for everyone;
and, of course, marketing is a constant grind.
Another practical problem that many photographers
struggle with is what to actually do once they’ve got
a booking. It’s no wonder, therefore, that so many
struggle with seeing their passion turn a profit.
But it doesn’t have to be impossible.
Which is where Mark Lindberg comes in, with what
he calls a “check-up from the neck up”. Running
a successful business takes incredible amounts of
hard work, determination, and mental strength. The
overwhelming amount of information out there,
coupled with all the ideas running through your
mind, sometimes makes it hard to know exactly what
choices to make.
Mark Lindberg is is backed by over two decades
of experience, and works with photographers
one-on-one to build and re-energize photography
businesses. With his direction, both pro and
enthusiast photographers can identify their strengths,
challenges, and goals to develop real strategies that
will make their dream photography business a reality.
Alan Gibson, for The New Zealand Herald
For more information, visit beautifulimages.co.nz,
or, give Mark a call on 021 304 424 for a half-hour
complimentary Check-Up From the Neck Up
mentoring session and also get his Knowing Your
ALAN GIBSON HONOURED AT Numbers spreadsheet to help get started.
THE CANON MEDIA AWARDS

MARK’S TOP THINGS TO

The 2017 Canon Media Awards, held in June, announced CONSIDER WHEN STARTING YOUR
The New Zealand Herald photographer Alan Gibson as Photographer of OWN PHOTOGRAPHY BUSINESS
the Year. PHASE ONE
• Get a mentor to help you stay on track
Stand-outs in Gibson’s portfolio include the captured heartbreak of
a family mourning the deaths of an elderly couple at the hands of a • Know your numbers (ask Mark to send you
methamphetamine-fuelled stranger, a sculptor at work at night in his his spreadsheet)
home-made foundry, and a surfer caught on the crest of a giant wave off • Decide on your business structure and how you
the Kaikoura Coast. The judges said that Gibson’s portfolio was an excellent are going to sell yourself (your value proposition)
demonstration of photojournalism across all genres and that his use of light • Identify your market (don’t try to be all things to
and moment made him a worthy winner among a strong field. all people)
• Develop a brand strategy and client engagement chain
Kim Conner, CEO of Canon New Zealand, says he was incredibly inspired (CEC)
by the talented photographic and videography winners who captured • Design your logo and collateral
moments that have moved the nation throughout the past year. “Canon have • Get the right gear
proudly supported the Canon Media Awards for the last 11 years, celebrating
New Zealand’s finest journalists,” says Conner. PHASE TWO
• Determine your product and pricing strategy, and link
Best News Photo was awarded to Blair Pattinson of the Otago Daily Times for it to your CEC.
his iconic news picture of Queenstown police wrestling two criminals to the • Set up a website and social media presence
ground after a long car chase that was ended due to a herd of sheep being on • Design your client’s journey and tie it to your
the road. Mike Scott of The New Zealand Herald won Best Photo Essay with value proposition.
his riveting portrayal of young girls in rural China having their hair chopped • Create a marketing plan that gets bookings
off to make wigs for the Western market. Best Photo (Junior) was awarded PHASE THREE
to Christel Yardley of the Waikato Times for her image capturing a tender • Set your intention and short term goals
moment between an elderly woman caring for her husband after he was
• Organize bank, legal, and accounting
abused at a rest home.
• Setup a Customer Relationship Management
system (CRM)
• Join a professional organisation, such as the
New Zealand Institute of Professional Photography
(NZIPP), or the Australian Institute of Professional
Photography (AIPP)

78 D-PHOTO.CO.NZ | NO. 79
ROTORUA PHOTOGRAPHER WINS SONY ALPHA AWARDS

John Ford, Grand Prize and Nature first place

The beginning of June saw the announcement of Rotorua, and I took this image early one awarded $2K’ worth of Sony Ѓ camera products.
of the 2017 Sony Alpha Awards, which morning this April when I shifted our main mob John, the Grand Prize winner, received $3K’ worth
showcased the very best of New Zealand and of ewes into a fresh paddock. After opening the of gear. In addition, he will also be embarking
Australian photography shot using the Sony Ѓ gate for the sheep, I went up to the top of the on a once-in-a-lifetime overseas photography
(Alpha) camera range. Celebrating its second hill and waited for them to spread out over the workshop with Sony Global Digital Imaging
year, the awards received over 1500 entries paddock as the sun came up on my right. I must ambassador Craig Parry.
from professional and amateur photographers have taken about 50 photos altogether, and
vying to be recognized for their captivating this image is the best of them. It is a panorama John said of the experience, “It was a huge
imagery. Professional photographers Craig Parry of three photos taken on my Sony Ѓ6000 thrill to win the Nature section of the
and Mark Galer selected the winning images with the 18–50mm kit lens ... I stitched [the Sony Alpha Awards and for Sony to fly
across the eight categories, crowning Rotorua photos] together and adjusted shadows, etc. in Catherine and I over to Sydney for the awards
photographer John Ford the winner of the Nature Lightroom CC. It is a classic case of ‘f/8 and be evening, and ... absolutely amazing to then be
category, as well as the overall Grand Prize winner. there’, and the small size and convenience of the picked as overall winner. After my family, my two
Sony Ѓ6000 made this easy.” passions in life are farming and photography,
John described his shoot: “My wife, Catherine, and to win this competition with an image taken
and I are sheep and cattle farmers just south Each winner across the eight categories was on our farm was just perfect.”

On display, and for sale, will be DJI’s full range of

aerial platforms and handheld products, including
Spark, a new and easy-to-use mini camera-
drone that lifts off from the palm of your hand.
Customers can also try on the DJI Goggles for a
fun and immersive drone-flying experience with
the Phantom 4 Advanced or Mavic Pro.
“We are very excited to work with our dealer
partner to expand DJI’s retail footprint in
New Zealand and to provide a place where people
can discover and experience the joys of flight.
Whether it’s learning how to operate a drone for
the very first time or getting inspiration from other
aerial photographers, they will be amazed at what
this technology can do for them,” said Kevin On,
DJI’s director of communication.
DJI STORE OPENS IN DJI, the world’s leader in civilian drones and aerial “From its volcanic plateau, miles of coastline
CENTRAL AUCKLAND imaging technology, has officially opened its with gorgeous sandy beaches, to the magnificent
newest retail frontage — a 65-plus square-meter glaciers, you’ll find a variety of awesome landscapes
store in Auckland’s Eden Terrace. It’s the first DJI in New Zealand, making it an ideal canvas for
Authorized Retail Store in New Zealand. creators, artists, and photographers,” he added.
The centrepiece of the store is an 8m2 flight Head to 96 New North Road, Eden Terrace,
cage, where customers can learn from drone Auckland, Monday to Saturday, to check out the
pilots, have their questions answered by technical store for yourself.
support staff, and see DJI drones in action.

79
FOCUS NEWS

ANTIP ODEAN-MADE AND INTERNATIONALLY ACCLAIMED

The Momento Pro Australian and New Zealand Photobook of the Year Awards 2016 finalist
books travelled to the Vienna Photo Book Festival as their first international showcase

The Vienna Photo Book Festival included international Self-publisher and commentator on photobooks, Doug
and high-profile talks and presentations, showcasing Spowart, accompanied the photo books to the event,
photo books and prints from all corners of the globe. where he was also invited to present on the activity and
A visual feast of compelling printed photography was innovation of the Antipodean photo book community
enjoyed by fans, experts, collectors, publishers, and the —all of which were met with an overwhelmingly positive
curious public across two event-filled days. reaction. It confirmed that just as we perform to a
high calibre in various sporting and scientific pursuits,
It was the festival’s fifth annual event, and boasted over Australasia punches far above its weight, and stands up
100 table displays of everything from prints, to booksellers to its Northern Hemisphere counterparts in the arts.
of new and antiquarian books, student groups, and “We received many statements from viewers
educational institutions. It also, equally significantly, complimenting the quality of our books,” Doug said of
provided the first international showcase of the ANZ the reaction.
Photobook of the Year Award 2016 finalist books. “The award-winning books, Touchy, Rannoch, and Astres
Noirs were popular, however people did stand at the
Both the Australian Photobook of the Year Awards table, pick up books, and look through them all!”
2016 and its New Zealand counterpart, presented
by Momento Pro, support excellence and innovation Iconic British documentary photographer,
in photo book creation, and showcase the work of photojournalist, and photobook collector, Martin Parr,
Antipodean photo artists to local and international was one of many who applauded the Antipodean
audiences. The Australian Photobook of the Year photobooks. For the last decade, Martin’s made it
award was won by Melbourne-based photo artist his quest to position the book centre stage within
Katrin Koenning, Bangladeshi photographer Sarker photographic culture, and with an extraordinary
Protick, and French publisher Chose Commune, with collection of nearly 12,000 photo books that occupy his
their collaborative project and photo book Astres Noir. Bristol home, it’s safe to say he’s seen a fair few.
The title of New Zealand Photobook of the Year was
shared between two photographers at very different The 2017 New Zealand Photo Book of the Year Awards
stages of their career — with established architectural are open for entries on Friday, September 1, with
photographer and lecturer Simon Devitt’s Rannoch, $10,000 in prizes from Momento Pro on offer to assist
and recent Massey University photography graduate, finalists to produce and promote their publications.
Evangeline Davis’ Touchy — each of which tell a
unique story through the established and enduring
photographic genre of portraiture. Visit photobookoftheyear.co.nz to find out more.

80 D-PHOTO.CO.NZ | NO. 79
 INNOVATION IN AV

The Tauranga Photographic Society holds an international competition to encourage and acknowledge
the photographers working in the art of the audio-visual. We find out about the Tauranga Audio-Visual
Salon, as well as the club’s upcoming audio-visual workshop and presentation

Sally Hinton, Red Wrens of Caba

Jane Mackay, Venezia Blu Effect

One of the photography scene’s lesser-known genres which also took out the newly introduced World “Jane took blue as her theme to take us on a visual
is steadily growing in profile, as evidenced in the high of Nature category, explores the precarious lives of journey through Venice,” McAuslan says. “Her
bar set by both international and local artists in the red-backed fairy wrens in their fragile Cabarita Beach photos took us from the gondolas on the main
latest round of a locally hosted photography salon environment. island to the glassworks in Murano and the coloured
dedicated to the art of the audio-visual (AV).
“One of the outstanding features of Sally’s sequence houses of Burano.”
An AV combines still photography, audio was the quality of the production,” explains
components, and motion techniques in aid To further encourage work in the form, the Tauranga
McAuslan. “She supported the story with excellent
of telling a cohesive story. Each year, the still photography and short video sequences, backed Photographic Society will be holding a workshop to
Tauranga Photographic Society holds an international by an audio track, which included appropriate demystify both the creative and technical aspects
competition to encourage and acknowledge the music, sounds, and narration.” of producing an AV. The workshop will be held on
photographers working in the form. the afternoon of Saturday, August 5, just ahead
Hinton also took out the Documentary category of the salon’s presentation at the Tauranga Arts
Entries into the 2017 edition of the Tauranga with an emotive look at Hiroshima’s ground-
Audio-Visual Salon were a step up in quality from and Crafts Centre — for details, head online to
zero remembrance, the Peace Memorial Park. taurangaphoto.org.nz.
last year’s batch, said club member Trish McAuslan, Marcel Batist of the Netherlands won the Theme
pointing out the large number of entries that only
category with a greenhouse-focused presentation, The presentation event is worth a look for any
just missed out on awards this year.
and South African Luana Laubscher celebrated interested photographers, as it is likely to be the
“We thoroughly enjoyed the creativity and diversity women in her piece Lalena, to take the Music, last time many of the international entries will be
of ideas of many of the audiovisuals in this year’s Poetry, and Song category.
viewable to a local audience.
competition,” she says. “The skill of storytelling with
well-taken still images, and maybe a little video, is The Novice Award is a category established to grow
participation by local artists in the AV field, open “It is this international involvement that gives us
continuing to develop.” the opportunity to see what the top AV workers
only to New Zealanders who have not previously had
This was clearly illustrated by this year’s Champion an entry successfully accepted into the competition. in other countries are producing, which, in turn,
Audio-Visual, Red Wrens of Caba, by Australian This year, that honour went to Jane Mackay of the encourages us to continue to develop our own
photographer Sally Hinton. The presentation, North Shore Photographic Society. skills,” says McAuslan.

81
FOCUS NEWS

Discover a deeper black

EVENT REP ORT 2017 EP SON NZIPP INFOCUS, EXP OSURE, AND THE IRIS AWARDS
The New Zealand Institute of Professional Photography (NZIPP) Infocus conference is the biggest weekend in the country’s photography calendar. This
year’s event, held on June 14–19 at Shed 6 on Wellington’s waterfront, leaped into gear with an impressive line-up of local and international speakers
Covering a diverse range of photographic the Year, Lisa Saad, took attendees on an live shoots using the Profoto B1X and high-
subjects, the five-day Infocus conference, Iris emotional journey back to where her award- speed airTTL. During her later presentation,
Awards, and the various events that surrounded winning The Anonymous Man series originated. Amber spoke on why she feels that establishing
it offered education and inspiration in abundance Through a mix of spoken-word poetry and and dominating her niche within dance
— enough to get any photographer’s head and audiovisual sequences, Lisa explained the photography was the key to her success in the
heart racing. health concerns and heartache that led her to photographic industry.
“This year’s event has been by far the most epic find solace in creating her layered, illustrative Emotional energy was heightened as Craig Wetjen
that [the] NZIPP has ever hosted, with our loyal photographic works. A printed image produced shared his ongoing photographic project and
sponsors supporting our vision in bringing to by Lisa in Wellington during Infocus, entitled book Men and Their Sheds. By being invited into
New Zealand a photographic event that was truly The Anonymous Man #34, also formed a the sheds — and, equally, the lives — of men
world class,” said Kaye Davis, NZIPP honours stunning art piece in celebration of the event. throughout Australia, Craig’s images provide
chairperson. A stand-out for many was a collaboration an intimate, often entertaining, insight into
“We were able to offer enthusiasts, professionals between New York fashion photographer Lindsay the issues that primarily affect men. Sharon
and the general public five days of inspiration, Adler and World of Wearable Art (WOW). Thompson’s presentation was equally powerful; a
education, and bringing people together, through Lindsay captured garments from the WOW documentary photographer by trade, she shared
an amazing speaker line-up, workshops, live collection in a creative fashion shoot in her her stillbirth photography and spoke on turning
shoots, demonstrations, an awards gallery, and a hallmark clean, bold, and graphic style. Using the tough times into triumph, fears into fortitude, and
trade show.” Canon 5D Mark IV, Profoto D2 kit, and a tripod, how to put your heart back into your art.
Lindsay’s demonstration culminated in still images Photographers left Wellington with notebooks
Keynote speakers Lindsay Adler, Esther Bunning, and a cinematograph.
Simon Devitt, Lisa Saad, Sharon Thompson, and filled and blood pumping, yet the NZIPP said that
Craig Wetjen, among others, dealt with a diverse A special event, Amber Griffin Does next year’s Infocus is set to be bigger and better
range of photographic subjects throughout. Ballet on Cable St, saw the 2016 than ever, with preparations already underway.
Commercial Photographer of the Year and 2017 There’ll be “another must-attend event in July,
The 2016 International Photographer of Commercial Category winner run through two 2018,” said Kaye.

©Lisa Saad, The Anonymous Man #34

Amber Griffin, Mali Comlekci from the New Zealand School of Dance
Lindsay Adler, World of Wearable Art, The Floating, by Yanjingting Chen, worn by Lucy Aitchison, dressed by Felicity Mountford, makeup and hair by Damask Dewhirst and Ellie Whiting
Heather and Doug Records, The 2017 Epson NZIPP Infocus conference

THE NEW EPSON SURECOLOR P-800 A2 www.epson.co.nz

82 D-PHOTO.CO.NZ | NO. 79
PRODUCT REVIEW | CANON EOS 6D MARK II

GET INTO THE FULL-FRAME GAME

Calling astrophotographers, landscape shooters, and light chasers alike:

Canon’s EOS 6D Mark II camera puts full-frame performance into a
compact, fully featured DSLR

CANON EOS 6D MARK II

Sensor size .......................................35.9x24mm

Megapixels ..................................................... 26.2
ISO .....................100–40,000 (exp. 102,400)
Shutter .................................................... 1/4,000s
Burst shooting ............................................ 6.5fps
Autofocus ...................................45-point PDAF
Dimensions ................................. 144x111x75 mm
Weight............................................................ 765g

Nearly five years after the original EOS 6D similarities between the models than there paired with a DIGIC 7 image processor for
full-frame camera was launched, Canon has are differences. sharp, vivid image rendition. With incredible
unveiled a successor. The EOS 6D Mark II low-light performance, the camera’s native
improves on the past model in practically Canon’s recipe clearly works: the body is ISO sensitivity span of 100–40,000 allows
every way, offering increased resolution, ergonomically efficient and intuitive, and flexibility, so that photographers can shoot with
faster autofocus, and higher sensitivity. It’s anyone with experience of a recent EOS-series the confidence that details will be retained even
a considerably more powerful camera than DSLR will be able to find their way around in the darkest nights. That’s a dramatic increase
its predecessor, all while retaining the light the camera without any trouble at all. For this from the 32,000 maximum sensitivity of the
weight and good handling users loved about reason, there’s a large proportion of APS-C original 6D, once championed as a low-light
the original. shooters for who the EOS 6D Mark II would be marvel. Astrophotographers, get excited: this
a very sensible upgrade — besides a quick crash camera is capable of taking dark frames, bias
At first glance, the EOS 6D Mark II is exactly course on focal lengths, there’d be virtually no frames; flat frames; and, most important, the
what you’d expect — the physical interface of learning curve. light frames you need.
the camera is largely unchanged from that
of the original 6D. Even when the two cameras At its heart, the new Canon EOS 6D Mark II With Canon’s ultra-fast Dual Pixel autofocus
are compared side by side, there are more boasts a 26.2MP full-frame CMOS sensor, system, photographers can command greater

84 D-PHOTO.CO.NZ | NO. 79
 CANON EOS 6D MARK II, CANON EF 70–200MM F/4L IS USM LENS, 165MM, 6S, F/11, ISO 100

control over their creative vision. With 45 cross- As Canon’s first camera to offer both 4K time- and NFC, making it a lot easier to set up,
type autofocus points at its disposal covering lapse movie mode and a built-in intervalometer, shoot remotely, and sync with your phone.
80 per cent of the image plane, the EOS 6D getting creative is made even easier. In addition, Plus, with Canon’s Camera Connect app,
Mark II accurately locks on to subjects, even in the EOS 6D Mark II can record consecutive images can travel from the shutter straight
the lowest lighting. Now fully articulating and frames in pre-selected intervals, and track to social media. And, if you’re travelling, the
touch-sensitive, the camera’s rear vari-angle auto exposure for each image taken during the camera’s built-in GPS keeps track of location,
LCD offers the option to set focus point by time-lapse sequence, allowing photographers allowing you to pinpoint that favourite spot or
touch, too. This addition brings the EOS 6D to capture day-to-night time-lapse sequences shooting location.
Mark II in line with recent Canon DSLRs — but and proving that this camera is versatility at its
it’s the first fully articulating screen of its kind on finest. For more information on the
a full-frame DSLR. Whether you’re shooting a Canon EOS 6D Mark II, available at leading
starry night or the city lights, there’s never been On top of having Wi-Fi, as before, new photographic retailers from the end of July,
more flexibility in getting your shot. wireless features include Bluetooth 4.0 visit canon.co.nz.

LIKE WHAT YOU SEE? WELL, DON’T JUST TAKE OUR WORD FOR IT — NEXT ISSUE, ASTROPHOTOGRAPHER MARK GEE REVIEWS THE CANON EOS 6D MARK II.
GRAB A COPY TO FIND OUT WHAT HE HAS TO SAY.

85
BEST TECH | OUR 2017 CAMERA BUYERS GUIDE

NIKON

Nikon marks its centennial anniversary in 2017: for 100 years, the brand has brought
performance to the passionate via its ever-evolving line-up of entry-level, enthusiast,
and professional-grade cameras

Sensor ....................................................Full-frame NIKON D7500 Sensor ......................................................... APS-C

NIKON D750
Resolution ................................................24.3MP Low-light marvel Resolution ............................................... 20.9MP
Full-frame freedom
ISO ...................100–12,800 (50–51,200 exp.) ISO ........... 100–51,200 (50–1,640,000 exp.)
Shutter ..................................................... 1/4000s Shutter .....................................................1/8000s
Burst shooting ............................................6.6fps Burst shooting ................................................8fps
Autofocus ........ Advanced Multi-Cam 3500 II Autofocus ........ Advanced Multi-Cam 3500 II
Lens mount ...........................................................F Lens mount ...........................................................F

Pair it with: Pair it with:

TAMRON TAMRON
24–70MM F/2.8 DI VC USD G2 18–400MM F/3.5–6.3 DI II VC HLD

This high-speed standard zoom lens Spanning an impressive wide angle–

maximizes the potential of the latest to–super telephoto range, the Tamron
high-pixel-density cameras. 18–400mm is endorsed as the world’s
first 22.2x ultra-telephoto all-in-one
zoom.
For more information, visit tamron.co.nz.

Packed with an array of powerful features well-suited to any shooting scenario and will all 51 distinct focus points for precise accuracy,
in an incredibly compact frame, the Nikon benefit photographers and videographers alike. while 15 cross-type points are also integrated
D750 is the ideal companion on any shooting within this array to capture centrally located
expedition. As the smallest and lightest Nikon With a 20.9MP CMOS sensor and the subjects in brilliant detail.
FX-format model, it makes no compromises Expeed 5 image-processing engine contained
when it comes to performance. Boasting a within a sleek profile and monocoque Complementing the image capabilities, a bright
range of features inspired by the D4S and construction, the Nikon D7500 is designed pentaprism optical viewfinder offers 100-per-
D810, Nikon’s D750 boasts an impressive to be agile. The camera is designed for photo- cent frame coverage and 0.94x magnification
24.3MP full-frame sensor, an Expeed 4 and videographers alike, with a continuous for clear, realistic viewing in any lighting
image-processing engine, and full HD video shooting rate of 8fps, a native sensitivity range condition, while a tilting 3.2-inch 922K-dot
capabilities. In addition, the camera is fast of up to ISO 51,200 that can be expanded up touchscreen makes for intuitive live view
and responsive: it can shoot at up to 6.5fps at to a massive 1,640,000, as well as 4K UHD shooting and playback control.
full resolution. video and time-lapse recording capabilities.
Plus, for image sharing on the go, the device
The D750’s nimble design employs a tilting The camera champions a Multi-Cam supports Bluetooth, Wi-Fi, and Nikon
LCD for ease of shooting and versatility, as well autofocus system for fast performance and Snapbridge.
as built-in Wi-Fi for on-the-spot sharing. All accurate subject tracking capabilities. The
in all, it’s an exceptional imaging system that’s D7500 provides the option to use nine, 21, or Find out more at nikon.co.nz.

86 D-PHOTO.CO.NZ | NO. 79
 SONY

Sony’s become a linchpin for the ‘new school’ of ’graphers — pioneering

mirrorless camera manufacture and marching out impressive high-end cameras

The Ѓ9 is Sony’s latest entry into the Sony’s ultra-fast Bionz X image processor,
mirrorless line-up. It’s being received with a the Ѓ7 II boasts an ISO sensitivity range of
greater buzz than ever — and championed 100–25,600, and it has an enhanced Fast SONY 9
as the manufacturer’s most advanced Hybrid AF system that is about 30-per- Speed mastered
full-frame camera for professional cent faster than the previous model.
photographers yet.
The Sony Ѓ6000 weighs in at about half
With a focus on speed, the 24.2MP the heft of a DSLR, but, though it’s a small
camera enables photographers to shoot at camera, it’s enormous in potential.
a blazing 20fps with continuous autofocus
(AF), with auto-exposure tracking for up The camera’s 24.3MP APS-C-sized
to 241 RAW images. It shoots completely sensor and Bionz X image processor work
silently, too, thanks to its electronic shutter together to produce high-resolution well-
and no mirror. detailed imagery, with minimal noise and
notable low-light quality and sensitivity to
Just as important, Sony’s newest darling ISO 25,600.
shoots with very low viewfinder lag. When
the shutter is released while shooting stills, Its Fast Hybrid AF system combines the
the electronic viewfinder functions with strengths of both phase- and contrast-
absolutely no blackout, giving the user a detection. The result is not only an
seamless live view of their subject at all impressive 11fps burst mode and focus SONY 7 II
times and ensuring that they never miss in as little as 0.06 seconds, but highly The first full-frame camera with five-axis image stabilization
a moment. accurate movement tracking for both stills
and video, too.
In addition, Sony’s Fast Hybrid AF system
boasts a whopping 693 phase-detection A pocket-sized travel companion, Sony’s
points covering 93 per cent of the imaging Cyber-shot DSC-HX90V is one of the
area, and it’s equipped with ISO sensitivity smallest super-zoom cameras available.
of up to 204,800. It all comes together by
way of the model’s Bionz X processor and The camera’s Zeiss Vario-Sonnar T* 30x
stacked full-frame CMOS sensor, which optical zoom lens extends a legacy of
Sony’s notes say deals with data lighting high-precision optics to capture clear,
fast — so that you never lose sight of your sharp, undegraded images throughout an
subjects, even if they’re fast or of the equivalent 24–720mm focal range at a
feathered variety. modest maximum aperture of f/3.3–6.4.
SONY 6000
The truth is simple: better images It inherits some of the features from the Half the size and weight of a DSLR
begin with bigger sensors, and the Ѓ7 II premium RX camera series, including an
outclasses many cameras in its category. excellent pop-up electronic viewfinder and
It’s the first full-frame camera to boast five- a control ring around its lens. Plus, with
axis image stabilization and is a successor GPS, Wi-Fi, a pop-up OLED electronic
to the device that managed to squeeze a viewfinder, and a three-inch LCD that tilts
35mm sensor into a mirrorless body for 180 degrees upwards for selfies, it’s the
the very first time. ultimate compact travel camera.

With compensation equivalent to using a Find out more at sony.co.nz.

4.5x faster shutter speed, its sophisticated
stabilization lets you zoom, capture close-
ups, and shoot night scenes with greater
clarity than ever before.

Plus, with a 24.3MP sensor paired with SONY DSC-HX90V

Pocket-sized travel companion

87
BEST TECH | OUR 2017 CAMERA BUYERS GUIDE

SIGMA

While it might be best known for being a leading third-party lens producer, Sigma has also had a
constant, low-key presence within the camera market. Sigma’s latest line-up of interchangeable-lens
cameras, the Sd Quattro and Sd Quattro H, offer superb image quality — even at low ISOs

In line with Sigma’s dedication to optical base ISO, its resolution and colour-capture is 30 per cent larger than an APS-C, with a
excellence, Sigma’s SD Quattro camera are fantastic, surpassing the imagery of 1.35x crop.
is a new mirrorless model that leverages APS-C Bayer CMOS sensors, and even
the power of high-quality lenses. Boasting surpassing some full-frame Bayer CMOS The Quattro H has a dust- and splash-
a Foveon sensor that uses the light- sensors by a whisker. resistant magnesium alloy body, and is
absorption properties of silicon, the backed by a 1.62M-dot LCD rear screen.
Sigma SD Quattro offers an excellent The mirrorless Sigma SD Quattro H camera Plus, with a full-depth SA mount, the
image quality. wields a 25.5MP Foveon XD Quattro mirrorless camera is compatible with more
sensor that captures light and perceives than 39 lenses — meaning that the Quattro
Unlike conventional designs that place filters colour differently to conventional cameras H possibly has the widest choice of own-
in front of the sensor, the SD Quattro’s inner and is thus capable of producing files brand lenses compared with any other
eye interprets colours by recognizing their with much higher levels of detail than mirrorless camera.
different energy levels — or, more practically, you’d expect from the same number of
how different coloured light penetrates the megapixels. The ‘H’ in the camera’s name For more information, please visit your local
sensor to different depths. As a result, at refers to the use of an APS-H sensor, which photographic retailer.

SIGMA SD QUATTRO Pair it with:

Not your conventional camera SIGMA 30MM F/1.4
DC HSM ART

Pair it with:
SIGMA SD QUATTRO H SIGMA 35MM F/1.4
Incredible image detail DG HSM ART

HASSELBLAD

Hasselblad has had a rich 75-year history in achieves unprecedented detail — from the
imaging, but the company’s recent move to deepest shadows to the brightest highlights.
mirrorless looks to excite a new generation of
Hasselblad users, as the company continues to The X1D’s high-resolution rear LCD offers touch
push the limits of photography to new heights. control for all aspects of the camera’s features,
while it has an XGA electronic viewfinder
The Hasselblad X1D combines portability with for bright, crisp viewing, even under difficult
excellent optical quality, for which the brand lighting conditions.
is renowned. At less than half the weight of a
medium-format DSLR, the mirrorless model Hand-made in Sweden, and inspired by the
packs a 50MP CMOS sensor into a footprint company’s iconic design heritage, the camera’s
smaller than most full-frame cameras. rugged body is milled from aluminium to
provide a durable build and high-end finish. Pair it with:
The camera’s shutter-speed range covers
1/2000s to 60min, with the ability to capture For more information, please visit your local HASSELBLAD XCD 30MM F/3.5
up to 14 stops of dynamic range. The X1D photographic retailer. HASSELBLAD XCD 45MM F/3

88 D-PHOTO.CO.NZ | NO. 79
 FUJIFILM

Combining traditional styling with cutting-edge innovative technology,

Fujifilm’s X and newly appointed GFX series of mirrorless cameras will
reignite your passion for photography Fujifilm’s done more than simply throw more
pixels at the X-T2. Though it’s similar in design
to the X-T1, the X-T2 boasts some considerable
upgrades from its predecessor, making
the camera an all-rounder that’s equally at
FUJIFILM X-T2 home with ultra-wides, large telephotos, and
An all-round achiever everything in between.

Equipped with a 24.3MP X-Trans CMOS III

sensor, paired with Fujifilm’s own X-Processor
Pro engine, the camera captures fine detail
Sensor ......................................................... APS-C
quickly and with low noise, at sensitivities
Resolution ................................................24.3MP
up to an extended range of ISO 51,200.
ISO ................200–12,800 (100–51,200 exp.) This powerful combination allows for rapid
Shutter .....................1/8000s (1/32000s elec.) image capture at up to 8fps, and a maximum
Burst shooting ................................................8fps shutter speed of 1/8000s. It also gives grunt
Autofocus ................................ Intelligent Hybrid to the camera’s 4K video capabilities, and an
Lens mount .......................................................... X Intelligent Hybrid AF system, which boasts an
incredible 325 points to ensure accurate, fast
tracking, even in low light.

As the X-T2’s slightly smaller, slightly less-

expensive sibling, Fujifilm’s X-T20 replaces the
X-T10 and brings with it a host of new features.
FUJIFILM X-T20 Staying true to the X-series functional design
Compact and competitively priced ethos, it combines an SLR-style viewfinder
and Fujifilm’s tactile and timeless dial-based
operation.

Sensor ......................................................... APS-C

While a compact companion, it packs a punch,
Resolution ................................................24.3MP
with the same 24.3MP sensor–and–processor
ISO ....200–12,800 (expand 100–51,200 exp.)
combo boasted by the X-T2. As a result, the
Shutter .................... 1/4000s (1/32,000s elec.)
camera offers burst shooting of up to 8fps,
Burst shooting ................................................8fps
sophisticated 325-point continuous AF, and
Autofocus ................................ Intelligent Hybrid
4K video capabilities.
Lens mount .......................................................... X
While the GFX 50S shares a lot of what users
love about the X-series line-up, it’s created
a category of its own — it’s Fujifilm’s first
medium-format camera since the days of film.

Characterized by its large sensor and

advanced imaging capabilities, the Fujifilm
GFX 50S combines an outstanding 51.4MP
FUJIFILM GFX 50S CMOS sensor and an X-Processor Pro image
Insanely high ISO processor to render brilliant colour, as well as
an extended sensitivity range from ISO 50 right
through to a massive 102,400. It also makes
Sensor .........................................Medium Format for crisp brights and deep, velvety shadows,
Resolution .................................................51.4MP rendered by way of an extremely wide 14 stops
ISO ............... 100–12,800 (50–102,400 exp.) of dynamic range.
Shutter ...................... 1/4000s (1/16000s elec.)
Burst shooting ................................................3fps A pleasure to shoot with, the GFX 50S offers
Autofocus .......................................TTL-contrast a large 3.69-million dot OLED electronic
Lens mount ..........................................................G viewfinder, and a tilting 3.2-inch LCD
touchscreen that supports working from high
and low angles.Forward-thinking and with
film-inspired design, the GFX 50S is a master
of image-making.

To find out more, visit fujifilm.co.nz.

89
BEST TECH | OUR 2017 CAMERA BUYERS GUIDE

PANASONIC

Classic styling meets cutting-edge technology with the Panasonic Lumix range. The
line-up has the ideal camera to suit your needs — whether you’re looking for a compact
camera for travelling or a mirrorless model that lets you take photos like a pro

PANASONIC LUMIX GH5 PANASONIC LUMIX G85 PANASONIC LUMIX GX85

A new flagship The adventure-seeker Packed with powerful features

PANASONIC LUMIX TZ110 PANASONIC LUMIX LX10 PANASONIC DMC-FZ1000

Pocket-sized perfection Small in size, but by no means short on features Excellent performance throughout the zoom range

With 20.3MP still-image, backed up by 4K The Panasonic GX85 is small and compact, but sensor compact, with a bright, 24–72mm
video, capability, the Panasonic Lumix GH5 is packed with powerful features — it’s the street equivalent, zoom lens. The nifty little number
ideal for photographers whose interests enter photographer’s companion. At its core is a 16MP boasts Panasonic’s suite of 4K features for
the realm of moving-image work. five-axis stabilized Four Thirds sensor, with dual video and still capture, a built-in aperture
image stabilization technology. Pair that with its control ring, and pop-up flash. The approach
The GH5 features the latest iteration of continuous shooting capabilities — up to 10fps is a little different with this camera, as the LX10
Panasonic’s Depth From Defocus AF system, with single-shot AF — as well as up to 40fps doesn’t have a viewfinder. Instead, it offers a
which speeds up focusing by using pairs when using an electronic shutter function — and touchscreen interface and a 180-degree flip-up
of images and an understanding of a lens’s there are no excuses for losing track of your LCD, ensuring you’re ready for any shooting
out-of-focus rendering to create a depth map subject. Boasting a compact build and intuitive scenario.
of the scene. With a solid weather-sealed layout, with a 2.7MP electronic viewfinder and a
magnesium alloy body and dual UHS-II SD tilting three-inch touch LCD, the camera allows While it offers several high-performing
slots, it’s built to meet the needs of travel and new shooting angles, offering added flexibility. features for still photography, the Panasonic
adventure ’graphers. Lumix FZ2500’s video capability really
The TZ series has always stood for packs a punch — making it the ideal hybrid
With full weather sealing and a compact and ‘Travel Zoom’, and the TZ110 brings the series camera choice for amateur filmmakers and
mobile design, the Panasonic Lumix G85 is one up-to-date with a larger, one-inch MOS sensor, photography enthusiasts alike. The camera
to take with you on any adventure. The G85 and a powerful 10x zoom lens. The camera’s boasts a large 1-inch 20.1-megapixel sensor
is a video and photo all-rounder, boasting a Leica DC Vario-Elmarit lens has a maximum and bright 20x zoom f/2.8-4.5 lens, offering
16MP sensor, with no low-pass filter, so that you aperture range of f/2.8–5.9, and, with an ultra-high speed Depth from Defocus
can capture sharp, detailed imagery, wherever equivalent 25–250mm focal length, it offers focusing, and macro photography that gets
your journeys take you. The camera combines a highly versatile range. Thanks to its built-in as close to its subject as 3cm. Powered by
five-axis dual image stabilization for powerful electronic viewfinder, and a touchscreen LCD, Panasonic’s proprietary Venus engine, the
handshake correction, compensating shots framing and control are easy. camera shoots UHD 4K, and can output 10-
up to five f-stops, and 4K video capabilities to bit video via its HDMI port.
ensure you’re taking striking moving images — Small in size but by no means small on features,
not blurry ones. the Panasonic Lumix LX10 is a 20MP large- Find out more at panasonic.co.nz.

90 D-PHOTO.CO.NZ | NO. 79
 VOIGTLANDER

A manual-focus rangefinder camera crafted by one of the oldest brand names

in photography, the Voigtländer Bessa-R4M Wide Angle 35mm is compact
and lightweight

Rangefinder shooters will love that this The Bessa-R4M’s rewind crank features PRODUCT SP OTLIGHT
camera has built-in parallax-projected a double joint for extra compacting, Haze in a can
frame-lines for 21, 25, 28, 35, and 50mm and a locking switch below to prevent
lenses. This feature offers tremendous accidental opening. A manual viewfinder
convenience — ditch the accessory distance-adjustment switch sits next to
viewfinders and simply frame and
the non-dedicated hot shoe, while the
focus directly from the built-in one. Its
widest 21mm frame-line, paired with a camera’s power button is a simple switch
mechanical shutter release — making it wrapped around the shutter release.
possible to use the camera even without Rubber wraps around the midsection of
batteries (albeit, sacrificing metering) the camera for added grip, and a subtle
— is, above all, designed with lush thumb grip is located on the film door,
landscapes and sweeping vistas in mind. while the elegant chrome lettering of
‘Voigtländer’ adorns the top plate.
Aside from the wide-angle viewfinder, all
other features of the R4M are identical It uses a bayonet Leica M-type lens
to those of the Bessa-R3A — including
mount that accepts all 39mm screw-
a bright viewfinder and quiet shutter.
It has a simple LED metering display mount lenses (with the appropriate
along the bottom of the viewfinder adapter) from the manufacturer, Canon,
that displays exposure information in and Leica, as well as M-type bayonet
.5 exposure values, glowing red for lenses from Leica, Minolta, and Konica.
under-/overexposure and green for
correct exposure. Visit progear.co.nz to find out more.

VOIGTLANDER BESSA-R4M
WIDE ANGLE 35MM RANGEFINDER
Head into the rangefinder realm

Photographers have long lugged around

Film format ..................................................35mm fog machines, dabbled with pyrotechnics,
ISO .........................................................25–3200 and experimented with dry ice with the aim
Shutter .................................................... 1/2000s of capturing streams of directional light in
Autofocus ........................................................ No their images. But, with a new aerosol product
Lens mount ......................................................VM brought into New Zealand for the first time, it’s
Dimensions ..............................135.5x81x3.5mm never been easier.
Weight........................................................... 440g
Atmosphere Aerosol can be spritzed into
your shot with little fuss, and, being smaller
than a typical 70–200mm lens, it fits in any
camera bag. It’s safe, non-toxic, and clear, and,
when sprayed, a small non-harmful amount of
gas propels the spray and quickly dissipates,
leaving the haze in the air.

One eight-ounce can holds about as much as

a can of hairspray, and will spray continuously
for about five-and-a-half minutes. The haze
will linger for several moments, and, in an
environment with limited air movement, it’ll
hang around for hours.

For examples of the product in action,

check out Atmosphere Aerosol on Instagram
(@atmosanz), or visit atmosphereanz.co.nz.

91
GEARDUCATED | LEON ROSE

T R I ED -A N D -T RU E T R I O

Photographer Leon Rose heads out on a shoot with

three versatile pieces to his kit — a tried-and-true
trio that allows him to stay agile while remaining
prepared for any photographic contingency

No matter how well you may plan or try to ONE-STOP PORTRAIT GLASS The first backlight by shooting straight into the sun and
control a situation, there will always be an thing I noticed when I unwrapped the Sigma found that it coped exceptionally well, both
element of the unexpected in photography. 135mm f/1.8 DG HSM Art lens was the 1130g in focusing accurately and delivering accurate
That’s one of the big appeals to many weight. It boasts a lot of glass — 13 elements in light metering from my point of focus.
photographers. With the right kind of a gear, 10 groups — and it feels like it. This is a big plus
I recommend this lens, especially if you are a
you can be ready to take advantage of those for me. I have always loved heavy kit, because
portrait shooter and not afraid of heavier kit.
unforeseen moments and deliver great images I find it easier to keep steady. But if you are a
I’m thinking I might part company with my
no matter the conditions. smaller photographer doing a lot of location
85mm f/1.8 and my 100mm L-series macro
portraits, you might find this lens a bit heavy
But you can’t carry everything. So, I’m looking and step up to one of these.
for handheld work over long periods.
at three pieces of gear to see if they can do
A STABLE ENVIRONMENT For an all-in-
the job of many others — that is, clever and Essentially, this is a portrait lens with a lovely
one tripod with a ball-head option for great
efficient equipment that won’t overburden my ability to perform bokeh effects. Admittedly,
flexibility that’s small and light enough to
kit bag. it’s very hard to fault. To my surprise, I found
take anywhere, the Vanguard Alta Pro 2 263
it can also shoot close to macro, with the
AB100 tripod is worth a look. I carried out two
closest focal distance being 87.5cm. I did
test shoots with the AB100: some close-ups
have to adjust to a different way of working
of flowers and leaves at the garden in Albany,
because of its focus-limiter switch when
and a studio test, using the overhead position.
shooting close up. The focus-limiter has three
options: 0.875m to infinity, 1.5m to infinity, The tripod is an aluminium build and the
and full range — a great function once you get weight (7kg) is perfect for ease of use on
your head around it, allowing for faster, more location and during travel but not so light
accurate focusing. as to be a danger to your equipment. The
central column offers as many options as
The angle of view at 135mm is perfect for
you could want to position your camera
portraits — and this lens is pin-sharp. On my
in. Using just one tightening knob, you can
first test day, I shot a series of portraits and
position your camera from 0- to 90-degrees
still-life images at a magnificent English-style
above or below the central column position,
garden at Riverhead. Not only is the lens
and, using the central column adjustment
extremely sharp, but its focus speed and
knob, you can freely rotate anywhere in a
accuracy are also very impressive. I tested
360-degree rotation.
it through its aperture range of f/1.8–16
successfully. However, you just can’t help The rotation knob is firm and easy to adjust.
but open up and use that beautiful bokeh The rotation guides (in 2x180-degree
effect. I also tested the lens’s ability to handle increments) would be very useful for

92 D-PHOTO.CO.NZ | NO. 79
2 3

93
GEARDUCATED | LEON ROSE

5 6

panoramic stitches, but, when using the does so much more. With a 1.5x1.5-inch LED, USB. You will get about 40 minutes at full
tripod on location, I was always trying to it boasts an impressive 1500-lumen output power, or two hours at 50-per-cent power, but
use the wrong knob to release the ball and and Bluetooth connectivity — but its real I found that if I powered them off small power
readjust. Although this is something that I trick is acting as both a continuous video light banks, the time was unlimited.
would get used to, the tension adjustment felt and as a flash. The cube weighs only 100g,
The thing I love the most about these is their
unnecessary and confusing. is shockproof and waterproof to 30m, and
size. You can take them anywhere and always
The not-so-simple three-legged device offers throws light out in a 60-degree beam.
have a light source. If you carry a power
massive versatility, particularly due to the build The real technology is accessed via the cube’s bank around with you, it’s an easy process to
of its legs, which have three sections with two app: there is a free version and a pro version, recharge, even without AC power, thanks to
adjustment locks. The rubber lock turns easily which gives you control of up to five units at the USB recharge port.
and firmly with a good grip and only requires a a time. With the app, you have control of the
90-degree turn to lock and unlock. This is, by I bought my first Lume Cube to help me shoot
power output in brightness and the duration
far, the best locking system that I have used. a food event where the client specified keeping
of the strobe, from 1/8000 of a second to
It’s comfortable and locks into place firmly and the moody look of Clooney restaurant. I
30 minutes. Also, you can set it to continuous
easily. popped the Lume Cube on my camera via
or 0.5–10Hz output.
a hot-shoe attachment and shot on 2000
If you are looking for an all-in-one package that The app also gives the ability to turn each ISO, wide open all night. The images looked
suits location and indoor photography, the unit on or off separately, and you can also great and no hard flash was required. All in
AB100 is a great option. use red-eye mode and turn the Opto trigger all, I think these little guys are a must-have
LIGHTWEIGHT LIGHT Last, but absolutely on from here. The Opto trigger can sense an innovation. They are not expensive and can
not least, I played with one of my long-time external flash-head firing and uses its strobe get you out of some really tight spots.
favourites: the Lume Cube — a fantastic piece function as a slave flash, allowing you to carry
All three of these pieces of equipment were a
of kit to have on you at all times. I already own a Speedlight and a Lume Cube or two as a
great complement to my all-round shooting
one of these and have been planning to get a lighting kit anywhere you go.
style, allowing me to shoot with versatility in
second one for a while.
The cube has a built-in lithium-ion polymer a range of situations, from outdoor still life to
It looks like a small LED in a cube shape, but it rechargeable battery, which is charged via studio photography.

IMAGE 1 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/4.0, 1/500S, ISO 200
IMAGE 2 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/640S, ISO 125
IMAGE 3 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/100S, ISO 200
IMAGE 4 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/1.8, 1/2500S, ISO 1000 (PROCESSED WITH NIK COLOR EFEX PRO 4)
IMAGE 5 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/2.8, 1/30S, ISO 800, WITH LUME CUBE
IMAGE 6 CANON EOS 5D MARK III, SIGMA 135MM F/1.8 DG HSM ART LENS, 135MM, F/5.6, 1/60S, ISO 320, WITH LUME CUBE

SIGMA VANGUARD
CANON EOS 5D MARK III 135MM F/1.8 DG HSM ART LENS LUME CUBE ALTA PRO 2 263 AB100 TRIPOD

94 D-PHOTO.CO.NZ | NO. 79
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EXPLAINED

LED LIGHTING

We bring you the low-down on LEDs — the affordable constant light

source that’s an essential addition to any photographer’s kit

Over the past decade, light-emitting-diode (LED) continuous light on set. Tungsten lights are a fine
technology has come into its own. As a lighting option for your average big-budget film, but they
technology, you will find LEDs in everything from are power-hungry, expensive, and run extremely
tiny indicator lamps in devices to large-scale interior hot, and are not the kind of equipment a small-
light fit-outs and external signage. In addition to budget production can often use.
brightening our everyday lives, LED panels are
increasingly finding favour as a light source for So, alongside the rise of the independent film
photographers. industry, a category of cheaper, more convenient
constant lighting sources has emerged. And to the
Traditionally, the first step for photographers fore comes the ubiquitous LED.
looking to experiment with introduced light has
been flash lighting. Built-in camera flashes can give LEVERAGING LED An LED panel has a number
a rudimentary indication of how a scene can be of advantages over the likes of tungsten lighting
changed with introduced light, with an entry-level rigs. It is a lot smaller, lighter, and more portable
external flash unit being the logical follow-up. than the cumbersome alternatives, which can be
But, as technology evolves and becomes more very appealing to a production that has to move
affordable, other options open up in the form of a lot or has limited space to operate from. Being
constant lighting. a far more energy-efficient technology, LEDs run
on less power and don’t reach the dangerously
While flash lighting fires very brightly for an hot temperatures a tungsten bulb can. This means
extremely short span of time to coincide with the less need for batteries and no need to worry about
camera’s shutter, constant lighting stays on, well, gloves (or accidental burns) when altering the
constantly. This has previously been the purview of lighting set-up. LED panels are also, in general, a lot
film and video, as a scene being recorded obviously cheaper than tungsten lights.
has to remain consistently lit for the duration. On
film sets, this has been traditionally achieved with These advantages hold equally true for still
powerful tungsten lights that produce a bright, photographers looking to get creative with lighting.

96 D-PHOTO.CO.NZ | NO. 79
 For one, the realms of video and still-image The rub is that, as the technology becomes value is 100, and a discerning photographer will
production increasingly overlap. Professional more affordable, many budget LED models seek to use a light source of no less than 90CRI.
photographers are frequently asked to create may not be up to the task — they can be of The Manfrotto Lumimuse models all boast
video footage for clients along with still imagery, inferior build quality, flicker inconsistently, be output greater than 92CRI.
and a shoot lit with constant lighting can insufficiently powerful, or create unwanted
seamlessly move between the two. colour casts in images. It’s important to choose a The Lumimuse series also introduces a host
product from a high-quality reliable brand, such of other creative features, to give the user real
But even without considering video, there are as Manfrotto’s Lumimuse series of LEDs. flexibility in light options. A snap-on filter mount
advantages to lighting stills with constant LEDs. allows the insertion of up to three different
When a scene is constantly lit, the effects of THE MANFROTTO LUMIMUSE Designed filters at a time, which can alter the diffusion
the light are immediately obvious and can be with the needs of both professionals and and temperature of the light. Each model also
tweaked and experimented with in real time (as enthusiasts in mind, these units are smaller than comes with dimming features: the Lumimuse 3
a smartphone and charge via USB, so neither and 6 have three stages of brightness, and the
opposed to only showing up with the brief firing
light nor additional batteries will weigh down Lumimuse 8 offers four. The LED units also
of the flash). This allows the photographer to
a gear bag. Though sturdily compact, the little have a standard 6.4mm thread, so they can be
arrange and adapt the scene in much the same panels punch well above their weight grade: the
way a film director would. positioned atop tripods or lighting stands, or
entry-level three-lamp Lumimuse 3 LED has a fixed to the camera via a hot-shoe mount. Of
POWERFUL YET PORTABLE While large respectable 220-lux output, while the top-tier course, they are slight enough to be handheld
powerful LED panels have become available eight-lamp Lumimuse 8 goes up to 550 lux. with ease as well.
as professional video lighting alternatives, the But light output alone is not enough to A modest addition to any kit bag, a good LED
flexible technology has also allowed the creation distinguish a light source for photography. The unit will open up a wide array of creative options
of smaller units of professional quality, at an light needs to be of superior colour accuracy, so for constant-light shooting.
enthusiast-friendly price. Such convenient as to faithfully reveal the colours of a scene and
panels can easily be used to enhance natural the all-important skin tones of its subjects. The For more information on the Manfrotto
light, fill details lost in shadow, or cast striking ‘colour rendering index’ (CRI) is a measure used Lumimuse series, visit manfrotto.com, or head
catchlight in the eyes of portrait subjects. to assess this character. The highest possible to your local photo retailer.

MANFROTTO MANFROTTO MANFROTTO

LUMIMUSE 3 ON-CAMERA LED LIGHT TWISTGRIP UNIVERSAL SMARTPHONE CLAMP PIXI ORIGINAL MINI TRIPO

97
 CALENDAR

July 22
July 7–December 3 Event: An Evening with Bellamy Hunt
Metro Gallery, Auckland
Wildlife Photographer of the Year Bellamy Hunt, the camera collector behind the
Auckland War Memorial Museum website Japan Camera Hunter, scours Japan’s many
camera stores for collectible Nikon and Leica models.
For one night only, Hunt will share his knowledge
On loan from the Natural History Museum Wildlife Photographer of the Year is and experience in an exclusive event sponsored by
in London, the world-renowned exhibition, developed and produced by the Natural Leica New Zealand. For more information and to
purchase tickets, visit metrogallery.co.nz.
Wildlife Photographer of the Year, is being History Museum, London, and provides
showcased at the Auckland War Memorial a global platform that has showcased Until July 23
Museum. the natural world’s most astonishing Exhibition: 2017 Otago Wildlife
The travelling, free exhibition opened in and challenging sights for over 50 years. Photography Exhibition
Auckland on July 7 and features 100 awe- The competition launched in 1965 and
Explore the natural world as captured by Otago’s
inspiring images of the natural world. With attracted 361 entries, having since grown amateur photographers and videographers in
imagery that depicts both the majesty and to receive almost 50,000 entries from 96 the 18th annual Otago Wildlife Photography
vulnerability of life on our planet, the photo countries. Exhibition. This year’s competition saw a record
2174 photography and 52 video entries across
show displays fascinating animal behaviour six categories — Animal, Plant, Pets, Night Skies,
and breathtaking wild landscapes — from Jan English, head of touring exhibitions at Human Impact on the Environment, and Wildlife in
spotted hyenas to humpback whales, and the Natural History Museum, said, “Wildlife Action. To find out more, visit otagomuseum.nz.
urban leopards to wild orangutans. Photographer of the Year celebrates the
very best nature photography, and it is Until July 29
“It’s a privilege to be able to offer this world- consistently one of our most successful Exhibition: Dreaming in the
class exhibition free to Aucklanders,” said touring exhibitions, enjoyed by millions Anthropocene, Chris Corson-Scott
museum director Dr David Gaimster. every year. These images tell thought- Trish Clark Gallery, Auckland
“Auckland Museum is a dynamic space, provoking stories about our planet that This rich suite of Chris Corson-Scott’s new works is
prompt us all to think differently about the presented as an Auckland Festival of Photography
and we strive to create an ever-changing keynote exhibition under the theme of identity.
programme of special exhibitions and events natural world and the future we want to Through the compelling body of work, Corson-Scott
for the people of this city.” create.” calls our attention to the past reality before it
disappears entirely, and reminds us of our collective
dependence on and necessary care of the natural
world. For more info, visit trishclark.co.nz.

Until July 30
Exhibition: World Press Photo
AUDUN RIKARDSEN, NORWAY, WILDLIFE PHOTOGRAPHER OF THE YEAR

Exhibition 2017
Smith and Caughey’s, Auckland
This year’s winning World Press Photo
Exhibition 2017 images will be on display at
Level 6 of Auckland’s Smith and Caughey’s.
The World Press Photo competition is the
world’s leading contest for professional
press photographers, photojournalists, and
documentary photographers. The 2017 contest
drew entries from around the world, and 5034
photographers from 126 countries submitted
80,408 images. The jury gave prizes in eight
categories to 45 photographers from 25 countries,
including Kiwi photojournalist Robin Hammond.
For more details, head to worldpressphoto.co.nz.

July 30
Event: Nairn Street Preservation
WILLEM KRUGER, SOUTH AFRICA, WILDLIFE PHOTOGRAPHER OF THE YEAR

Society: Pinhole Camera

Nairn Street Cottage, Wellington
Join Photographers Paul Thompson and
Benjamin James in a workshop where you will make
your own pinhole camera. Learn about the way
a camera obscura works as you create your own
pinhole camera, take an image, and develop it with
common household products. For all the info, visit
museumswellington.org.nz.

Until July 31
Call for entries: 26th Annual
New Brighton Photographic Club
National Photojournalism Competition
Hosted by the New Brighton Photographic Club,
this competition welcomes entries from all

98 D-PHOTO.CO.NZ | NO. 79
New Zealand photographers, members of the Journeys follows the artist outside Auckland, to the workshop. In a chartered boat exploring
Photographic Society of New Zealand (PSNZ) islands of the Pacific and beyond. To find out more, photography locations and marine wildlife in
worldwide, and members of PSNZ-affiliated clubs go to aucklandartgallery.com. the world famous Abel Tasman National Park,
in New Zealand. Images can be entered into one or you’ll be able visit beaches and bays that would
both of two categories — Street Photography and August 1–31 normally take days to walk into and gain access
Social Commentary, or Sport and Action. For more to short walking tracks that lead to some of
information and terms and conditions, head to Call for entries: Nelson National
New Zealand’s most picturesque locations. Visit
newbrightonphotoclub.org.nz. Triptych Salon photographyworkshops.co.nz to find out more.
The Nelson National Triptych Salon is
Until August 24 New Zealand’s only national photo competition October 13–15
Call for entries: PSNZ Southern dedicated solely to the triptych format. Entries
Event: PSNZ Southern Regional
Regional Convention Salon may be submitted as prints or digitally projected
images, but must take the form of a triptych — that Convention Salon
With entries open to all PSNZ and camera-club is, entries must consist of three and only three Richmond Town Hall, Nelson
members registered for the convention, the photographs displayed on a common background.
annual Southern Regional Convention Salon is The salon was initiated and is organized and run by Hosted by the Nelson Camera Club, all PSNZ and
an excellent way to have your best photographs the Nelson Camera Club, is sponsored by Canon camera-club members are invited to attend this
recognized. To find out more and to enter, visit and Post Haste, and its subject matter is open. This fun, practical, and educational event. Speakers
southern.photography.org.nz. year, in addition to awards for the top print and top are set to include Esther Bunning, Keith Hawke,
digital entries, a special award will be made to the Ken Ball, and Wendy Verity. Plus, three field
Until August 27 triptych that best depicts a well-known phrase or trips will offer something to suit everyone’s
saying of the entrant’s choice. For further details, genre of photography, and will include the
Exhibition: The Evolving Universe visit nelsoncameraclub.co.nz. machinery of the Wakefield Steam Museum
Expressions Whirinaki Arts and Entertainment
and the lighthouse on Boulder Bank at sunrise.
Centre, Wellington August 8–27 Throughout the whole weekend, there’ll be a
See full-colour images from high-powered Exhibition: New Work, print exhibition of all the awarded images selected
terrestrial and orbiting telescopes first-hand in Kate van der Drift from the Southern Regional Salon, before the
this exclusive–to–Upper Hutt exhibition, on loan awards get presented on the Sunday morning.
Sanderson Contemporary Art Gallery,
from the Smithsonian in Washington DC, US. To find out more and to register, head online to
Through breathtaking photographs taken by the Auckland southern.photography.org.nz.
largest telescopes in the world, this photo-based Van der Drift’s poetic images are just one
show offers brilliant images of supernovae, stellar part of a rich multidisciplinary practice that October 18
nurseries, and nebulae. Visit expressions.org.nz for includes drawing, writing, and performance.
more information. The photographed landscapes are printed and Event: Three Little Wishes Macro

Until September 3
worked into by hand, then van der Drift subtracts Photography Workshop
landscape features by adding atmospheric Paremoremo, Auckland
Exhibition: #keeponkimiora, elements and painting thin layers of whitewash
onto the surfaces. For more information, visit Discover how to capture the secrets of the
Edith Amituanai sanderson.co.nz. tiny world around you with the help of the
Hastings City Art Gallery, Hastings Three Little Wishes team of professional
September 20–26 photographers and tutors. You will learn how to
In March this year, Edith Amituanai was in
Hawke’s Bay for five weeks as Hastings City Event: West Coast Wilderness use the features on your camera for eye-catching
close-ups, what lenses to use, simple lighting
Art Gallery’s first artist-in-residence, working with Photography Tour techniques, and how good composition can
students at Kimi Ora Community School. The Queenstown
result is #keeponkimiora, presenting a series of transform your shots. Visit threelittlewishes.co.nz
powerful images of the students in their everyday Join Shaun Barnett and Richard Young on this to find out more.
life and play. As part of the residency, Amituanai seven-day photography tour of the South Island’s
introduced the students to photography, and wild West Coast. Timed to take place at the end October 25–November 12
they were able to take her camera home with of winter, when the light is crisp and low, the
them, capturing images of their homes, ’aiga, West Coast Photography Tour will offer excellent Exhibition: The Mentawai of Indonesia,
whanau, and school. To find out more, visit opportunities to capture the wild beaches of the Guy Needham
hastingscityartgallery.co.nz. area, its forests, and waterfalls, as well as views of Studio 541, Auckland
the snow-covered Southern Alps. For details, head
Until November 19 to photographyworkshops.co.nz. Photographer Guy Needham’s photo series
illustrates the lives of the indigenous Mentawai
Exhibition: To All New Arrivals September 21–24 people, who live on an island group 150km off
Auckland Art Gallery Toi o Tāmaki the coast of Sumatra, Indonesia. Considered one
Event: 2017 Dunedin Art Show of the planet’s most ancient tribes, today they are
Themes of voyaging, migration, and arrival have Edgar Centre, Andersons Bay, Dunedin
been explored by artists from the beginning of still found deep in the island jungle. The resulting
New Zealand’s art history. To All New Arrivals The inaugural Dunedin Art Show 2017 has as its exhibition is a testament to their simple way of life
presents many examples of this kind of art, catchphrase “art for everyone”. Those who attend and pure sense of self. For more information, visit
alongside more recent work, some of which directly the event will be able to view and purchase a large studio541.co.nz.
references the creations of earlier artists. For more range of Kiwi-made artworks from Otago artists,
details, head to aucklandartgallery.com. as well as artists from across New Zealand. The November 14–17
plan is to have art take over the 2000m2 event
Until December 3 centre. To find out more about attending or apply Event: Queenstown Centre for
Exhibition: Marti Friedlander —
to have your work shown at the art show, head to Creative Photography Autumn
dunedinartshow.co.nz. Colours Workshop
Journeys Queenstown
Auckland Art Gallery Toi o Tāmaki September 28
For more than six decades, Marti Friedlander’s Event: Golden Bay Photography Learn new skills and hone the old in a
workshop hosted within Otago’s Arrow River,
lens followed the lives of ordinary New Zealanders Workshop Skippers Canyon, and Wakatipu Valley. Get to
and helped shape an awareness of our diverse Golden Bay, Nelson
communities with an eye for the wild and know your camera, develop your camera skills,
spontaneous. Although she is perhaps best known Photograph stunning limestone formations, and develop your own personal photographic
for her iconic image of a herd of sheep, Friedlander lush native forests, and ever-changing sand aesthetics with Canon Master photographers
also worked offshore creating important bodies of dunes alongside pro-photographers Dave Mike Langford and Jackie Ranken. For more
work in the Pacific and Israel. Marti Friedlander — Buckton and Richard Young on a four-day information, visit qccp.co.nz.

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OUR SHORTLIST IMAGES | 2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

Ben Karalus Tony Smith Josh Thomas Bri Woolnough Roger Hammond
Robert Saunders Marvin Cordon Chris Chao David Bowie Adrian Hodge
Jai O’Hagan Calden Jamieson Merryn Carr Ellen Rendle Daniel Lee
Jackson Munday Roy Cernohorsky Martin Kohn Cynthia Qiu Jason Stitt
Gail Orgias Thomas Trevilla Tony Smith Kate Burton Sarah North
Rachel Stewart Chris McKay Kurt McManus Arthur Hon Michael Hayward

100 D-PHOTO.CO.NZ | NO. 79

Tanya Rowe Matt Corbett Yuto Matsuda Kylie Dowd Roger Twiname
Philippa Wilson Peter Kurdulija Gail Orgias Corrie van Wyk Brendon Doran
Dan Bean Wein Katrina Easton Julie Fitz-Gerald Kerry Saul Kirsty Halliday
Kevin Chong Tony Whitehead Luke Larking Geoff Soper David Willing
Irene Middleton Geoff Tutty Rob Lynch Nicole Pye Hilary Lakeman
Sandra Batley Bin Bai John Burland Clive Collins Marvin Cordon

101
OUR SHORTLIST IMAGES | 2017 SIGMA AMATEUR PHOTOGRAPHER OF THE YEAR

Hark Ho Mike White Renier Figuracion Brendan Reeves Jackie Lentell

Kim Falconer Chris Watson Sue Riach Stephen Leaper Adil David
Craig Latimer Mark Smith Liz Hardley Doris Tutty Leon Berard
Stephen Kyungkyu Shyn Geoff Tutty Ross Pichler Juliet Russell Marvin Cordon
Cam Creswick Kirill Povarintsev Dominique Papoutsou Kate Beauchamp Tony Smith
Emiko Cowell Paul Aslop Judy Stokes Luke Larking Kate Parsonson

102 D-PHOTO.CO.NZ | NO. 79

Julie Fitz-Gerald Robert Stephenson Georgia Hendrie Marina Sebie Quentin Doig
Thomas Trevilla Anthanee Fermanis Gregory Young Tara Swan Kieran Read
Sung Taek Tony Park Debbie Brown-Smith Lorri Anne Adams Sam Mayhew Hendrix Brendon Arnold
George Botha Shelley Harvey June Brunken Christine Jacobson Brendan Reeves
Marvin Cordon Mandy Hague Rod Hill Nick Marsh Leicel Ibarra
Merryn Carr Tony Whitehead Marcus Bokkerink Rachel Stewart Toya Heatley

103
LAST SHOT | NEXT MONTH

TALMAN MADSEN / DIIMEX.COM, SONY т7R II, SONY FE 70–200MM F4 G OSS LENS, 139MM, 1/100S, F/8, ISO 160

INSIDE OUR NEXT ISSUE … Talman Madsen

— the Kiwi photographer who captured every
sunrise and sunset for an entire month —
brings us a step-by-step guide on how to
capture dramatic skies.
We talk to self-taught landscape
photographer Rach Stewart about her
signature long-exposure style, and how she’s
reached 170,000 followers and counting
on Instagram.
The new-release Canon EOS 6D Mark II is
put to the test in the hands of award-winning
astrophotographer Mark Gee. He gives us a
full review on the shooting experience.

RACH STEWART, CANON 5D MARK IV, CANON 16–35MM F2.8 MARK II LENS, 32S, F/10, ISO 100, SIX-STOP FILTER

104 D-PHOTO.CO.NZ | NO. 79

 BE IN TO WIN
TRAVEL $5,000

WIN A $5,000 TRAVEL VOUCHER

OR 1 OF 5 HEADPHONES
Buy any Sony camera from a participating retailer between 1 July
and 31 August 2017 and register online at sony.co.nz/travelpromo
to enter the draw to be into win a $5000 Travel Voucher or 1 of 5
headphones (headphones valued at $329.95).

Conditions apply, see website for details.