NZ Photographer May

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Helping you take better photos

Creepy CrawliesBryce McQuillan’s Macro Photograpy

Documentary photography

your work Critiqued

photoshop Tips

Underwater winner

Issue 14 May 5th 2010

CONTeNTs

4 Documentaryphotography

10 pic of the Bunch

17 critique

20 Critique

12 Bryce McQuillan

18 photoshop Tips

24 Cool stuff

NZ Photographer May

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The wonderful world of photography is changing again. The evolutionary step

from film to digital rocked a few boats, and I know there are still people holding

on to the bizarre thought that film is still a superior medium than digital. For the

TRUE artists out there, and there will be a couple I’m sure (everyone else is kidding

themselves), I understand your point of view – the skill and craftsmanship that goes into

film photography at its finest is truly artistic.

For the vast majority of us, though, digital is a godsend. Instant feedback from the

camera on light levels, colours, filter effects, whether you got that moment or not… all tools

that film photographers don’t have. And no per-click cost like there is with film.

Well, the next evolution is upon us, and I suggest you at least keep an eye on it,

if not grab it by the horns and embrace it – and that is: still-image extraction from

HD video capture, or more simply, single frames from video footage used in place

of photographs. Yervant, a renowned wedding photographer from Melbourne, is an

example of a professional using this technique to add more strings to his professional

bow (and more products to his sales list).

And that’s all it is – a technique. If you’re a purist who demands the images you make be individual captures via a shutter opening and

closing once over a brief period of time, then so be it. Be aware, though, that technology has advanced to the point that video footage

is of a high enough standard that you, the artist, can use the best moment out of a string of moments. You must still control the light, the

camera’s angle, the composition, just as you did in the days of film… it’s just that your medium

is now more fluid than it used to be.

If you’re thinking of upgrading your camera soon, perhaps look out for one that captures

1080p video footage, and be at the front of the new revolution, not the back.

eDiTOrial

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

EDITOR Ollie Dale, ANZIPP editor@nzphotographer.co.nzGROUP EDITOR Trudi CaffellART DIRECTOR Jodi OlssonADVERTISING ENQUIRIES Phone Richard on 09 523 4112 or

email richardl@espiremedia.com

ADDRESS NZ Photographer, C/- Espire Media, PO Box 137162, Parnell, Auckland 1151, NZWEBSITE www.nzphotographer.co.nz

NZ Photographer is an Espire Media publication

go extreme. there’s no turning back.You go to extremes to get just the right shot, and with the SanDisk Extreme®

line of CompactFlash® cards, you’ll get that shot, every time. Engineered to be

lightning fast with blistering read/write speeds of up to 90MB/sec, these cards

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12 Bryce McQuillan

Cover Image: Single Image Competition Winner Yulia Leiman

18 photoshop Tips

24 Cool stuff

NZ Photographer

May 5

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Documentary photography

and photojournalism are two

photographic disciplines that

overlap and yet are distinct from each other.

For starters, documentary photographers

tend to cover their subjects or topics

for a much longer period of time than

photojournalists, and in much more

depth. They also tend to be paid

less – documentary photography is

usually something that, in the eyes of the

photographer, needs to be done regardless

of financial reward, and if you get paid for

it that’s a nice bonus.

Usually a documentary photographer

decides there’s a need to illustrate a

particular topic for the good of society,

as a record of history, as a way to

educate themselves and others, or all of

the above. To be successful they must get

their hands dirty – they must learn about

their subject in a way that others don’t

and gain an in-depth knowledge of what

they are photographing.

It’s almost a chicken-and-egg scenario –

to be a good documentary photographer

you must learn as much as you can about

your chosen subject or topic, and usually

documentary photographers choose

subjects that are close to them or that mean

a lot to them personally.

Either way, you will learn an awful lot

about your subjects in the pursuit of a great

documentary essay.

Glen Howey is a Wellington-based

photographer and lecturer, and is a self-

proclaimed documentary photographer.

After completing his photographic studies in

Wellington, Glen spent 4 years working as

a press photographer. He then travelled and

photographed the world for several years

before returning to Wellington and becoming

HOW TO

DOCUMeNTary pHOTOgrapHyTips and TricksBy Glen Howey

NZ Photographer May

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5NZ Photographer

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2 5

DOCUMeNTary pHOTOgrapHy

a photography lecturer at Massey University

before moving on to teach at The Photo School.

One of Glen’s topics he’s covered for

several years is working with the Cambodia

Trust, which provides and facilitates artificial

limbs for land mine victims.

“I’ve been to Cambodia four times – the

first time I was really impressed by the

local staff who were really supportive

of patients, and the patients who would

come in to get a new limb much like you

and I would go to get new tyres. They all

just got on with it regardless of the tragic

nature of the situation.

“The second time back I learned

about the hierarchy of the whole

system and how donations are

obtained which make everything

happen – it’s fascinating.

“Every time I shoot another series I learn

something new.”

NZ Photographer

May 5

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““Smoky Mountain

A huge pile of smoldering rubbish that

has 500 people living on it. They recycle

what they can from the metro rubbish of

greater Manila in the Philippines. It’s part

of a huge on-going project I’ve been

shooting for 20 years.

- Glen Howey

NZ Photographer May

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NZ Photographer

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Glen has quite graciously shared the

following points with all of us, points

which come from his lecturing about

documentary photography:

Choosing a subjeCt

Basic level of concern or empathy •

with your subject – the more you

are one with your subject the more

your images will speak to the

viewer.

Photographic communication – the •

NZ Photographer May

5

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whole point is to tell the story behind

the subject; equally important is to

choose a subject that has a good story

to communicate.

A personal point of view – will you be •

expressing a point of view of your own

or trying to be as neutral as possible.

ReseaRCh:

Defining your subject – in as much •

detail as you can.

Project outline – have a goal and •

ideas of how to get there, but equally

be open to new opportunities.

Subject background – research and •

learn before you begin.

Your approach – make sure you have •

a clear understanding of how you will

approach your subject and the logical

progression through the story.

Your objectives – what are you trying •

to achieve by telling this story?

on the job:

Shot list – be prepared.•

Intuition – be prepared to change.•

Variety – look for opportunities.•

Story telling – keep the overall goal •

in mind.

Words in a sentence – each image •

is a singular expression, and together

they form the story.

Creativity vs. Technique – balance •

the two, and always shoot the

backup shots in case your creative

shots don’t work out (easier now with

digital cameras!)

Relationship with the subjeCt:

Personal intervention – how much does •

your being there change the story

you’re trying to capture? Do you need

to intervene?

Pure observation – be the fly on the wall•

editing:

A second opinion – very helpful to see •

if your story makes sense.

Image placement – how does each •

image fit into your story?

Opening and closing – just like •

writing a story you should have an

introduction and a summary to the

beginning and end of your images

Passion…. Your passion will show in your

images, so get passionate!

For more information or to contact Glen, go

to www.glenhowey.co.nz

NZ Photographer

May 5

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COMPETITION WINNER

Corinne Moore

Mike Johnston

NZ Photographer May

5

11piC OF THe BUNCHUnderwaTer compeTiTion

Congratulations to those of you

who took on the challenge of

underwater photography. It’s not

easy, but we had some great entries.

Yulia Leiman wins this issue’s cover

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

voucher from the fabulous people at Giclée

Print. For all YOUR fine art and canvas printing

needs, visit www.gicleeprint.co.nz.Special mention must be made,

though, of long time subscriber and two-

time winner Melanie Beres, who thought

outside the square and submitted the above

shot – nice creative touch Melanie!

Yulia Leiman

Sharon Dilks

NZ Photographer

May 5

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FEATURE

Spiders and bugs have always really

interested me, ever since I was about

four years old. I’ve always had pet

spiders, wasps, praying mantis, frogs, skinks

– you name it. I guess to some degree it

was a good way to see how certain bugs

and spiders behaved and lived, although it’s

not quite the same as out in the wild.

One evening, a photographer come around

to my house to take some photos of a female

huntsman spider and its offspring that I was

breeding at the time – he wanted the photos

for a new spider book he was doing. It was

when I saw some of his amazing photos that I

wanted to start taking photos myself.

So I would run off with my Mum’s

camera at night trying to photograph

anything I could find. Eventually she got

a Creepy Crawly wOrlDBy Bryce mcQuillan

NZ Photographer May

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sick of me running off with her camera, so

I saved up and bought my own camera:

a Fuji Finepix s5500. As I started to learn

how the camera worked and what it

could do, I slowly found that this camera

wouldn’t do the things I wanted and

needed it to do, namely extreme close up.

I started to look for cameras that would do

what I was after, and about a year later I

upgraded to a Fuji Finepix s9500 and got

a few close up filters for it.

I started to get a bit of a taste for macro

and very quickly wanted more. I looked

around and I came across a Nikon D50

with a 60mm macro lens, and the passion

for photography grew. I brought a few

extension tubes and a SB600 speedlight

and I was soon picking it up.

Spiders & bugs

have always really interested me

NZ Photographer

May 5

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Throughout my days at school I would

often go down to the park to take photos of

bugs and spiders, when I probably should

have been attending classes.

The best thing about the park was you

didn’t have teachers asking what you were

doing or students trying to steal your gear

off you. I would spend many hours out at

night finding new and different things to

take photos of; everything from spiders to

frogs, possums, anything that would give

me half a chance to take its photo. Even

to this day I am constantly amazed by

the incredible diversity of insect types and

colours and the way they live.

I don’t just photograph wildlife; I love

to photograph anything really. The only

problem is trying to get all the gear for

the different things I want to photograph,

as the DSLR world is so costly. A lot of my

friends often want me to take photos of

them at parties or tricking or anything else,

so I get my fair share of taking photos of

different subjects.

shooting the CReepy CRawlies

There are many different ways to do

macro, many different camera brands

and lenses and set ups you can use. My

current gear consists of a Nikon D90 body

with a 60mm F2.8 macro wlens (with the

aperture ring as the base of the lens). This

allows me to use manual extension tubes.

I prefer to use the 60mm macro lens over

the 90mm/100mm/105mm or the longer

macro lenses such as the sigma 150mm or

Nikon and Canon’s 180mm/200mm, as I

like to get down close to my subjects. This

makes me feel like I’m more in their world.

It can have its downsides as some bugs

are very shy and are quick to run/jump/

fly off, while others can get a bit aggressive

when you get a bit too close, such as wasps

guarding their nest. This often results in them

trying to have a go at you.

I currently have one full set of extension

tubes and also another home-made set with a

female and male connector. With the full set of

extension tubes and my home-made set on my

NZ Photographer

May 5

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FEATURE

I started to get a bit of A taste for macro

& very quickly wanted more.

NZ Photographer May

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camera I am able to get 4.5x or so life size.

I also have a 2x teleconverter and a

Raynox 250 (close up filter). With all

these on my camera it gives me about 10x

life size. Using teleconverters can often

make images a bit softer.

I normally shoot between 1x and 3x life

size at F11, or sometimes F13 or F14 if I’m

trying to get a bit more of the background

in focus as well. From 3x and above I will

use f8 to give the images a sharper look.

I always shoot on manual set ISO at

its lowest and shutter around 200 mark,

but the higher the magnification gives

you a lot less depth of field, making it

hard to get nicely focused shots. A lot of

high magnification shooters will do focus

stacking where you take a number of shots

at say F8 at different focus lengths and

then stack them all together giving you a

better focus image.

Here are some different photo stacking

software products:

CombineZM software stacker which •

is free to download.

Then there is also Zerene stacker •

(pay to download) but has a

few more advantages over the

combine series

I hand-hold my speed light (flash), I currently

use a SB600 with an off-shoe cord, with a

home-made diffuser to diffuse the light so

it doesn’t cause harsh shadowing on the

subjects I am photographing. I prefer to hand

hold my flash, as I am able to play around

with the lighting a bit better and get different

lighting angles which can often make photos

a bit more dramatic and exciting; that’s

something you might not be able to achieve

with having your flash on an L-Bracket or a

tripod. Hand-holding your flash in one hand

and your camera in the other certainly has its

down-sides; the camera can be heavy and

often is hard to hold it still for long enough to

get good shots.

I guess the hardest part of macro

photography is photographing bugs. A lot

of bugs can be very hard to approach

and often stop doing what they are

doing and run and hide. Watching

where the sun is shining and not

blocking the bug’s sunlight can be a big

help for getting close to your subject.

Approaching the subject at a lower

angle helps – get down more eye level

with the subject and you won’t seem so

big and intimidating.

There is a fair bit of patience required

in macro photography but often most bugs

will return to the same flower/area if you

stay still and wait for five or 10 minutes.

Bryce’s images have been published

in New Zealand Geograghic, New

Zealand Handyman and Amateur

Photography UK.

His photos can be viewed at: www.flickr.

com/photos/spidermanbryce2006/ or if

you are a facebook fan: www.facebook.

com/pages/BRYCE-MCQUILLAN-

PHOTOGRAPHY/116015408432400

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I started to get a bit of A taste for macro

& very quickly wanted more.

NZ Photographer

May 5

18

pHOTOsHOp TipsFor BeGinnersBy pete west

I think everyone has heard of Photoshop,

but ask anyone, “How do you get

on with it?” and the answer would

probably be “I don’t know how to use

it”. Photoshop is like a mansion with a

hundred rooms, you can easily enter one

room and see what’s in there. I’ve been

using it for 15 years now, but I would not

call myself an expert, so hopefully this

column will start a discussion going which

will be of use to everyone.

There are two main types of program

out there, vector and pixel based. Vector

based programs like illustrator allow you

to take an object 3cm square and blow

it up to the size of a car and it would still

be sharp. It uses mathematics to enlarge

the subject. Pixel based programmes such

as Photoshop only allow a small amount

of enlargement before the image becomes

blurred. More on this later.

TIPS

If you open

your picture in

Photoshop, the first

thing you’ll see

is that the image

is in background

(window>layers).

In background

there will always

be pixels. If you

try and rub pixels

out they are just

replaced by a

colour from the

tools palette. You

can convert the

background to a

layer by double

clicking on it. A

panel appears and

you get the chance

to name the layer

and then click OK.

Layers are like

transparent sheets

of acetate onto

NZ Photographer May

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pHOTOsHOp Tips

which you can put pixels,

and rub them out. Usually

you’d place these above

your background and

apply colour to them. You

can also duplicate a layer

by dragging it to the icon

at the bottom of the layers

palette. Layers can be

locked by applying the

lock icon at the top of this

palette – this stops any

actions taking place on

that layer. Simply click on

it again to release it.

If you’re trying different effects out on

your picture, go to save>save as. This

gives you the opportunity to save each

result as a different file. Don’t forget to

make a folder to put all your files in.

I’ve found the best idea for naming files is

to keep the original number and then add

on the end various suffixes or words. That

way when you do a search for the image

number it should be easy to find.

Pete West emigrated from the UK in 2002 and taught Photoshop at Natcol for 3

years. He works freelance producing aircraft illustrations and photographic articles

on Airshows for magazines in the UK and Brazil. (see flickr).

NZ Photographer

May 5

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There’s no better way to learn than by having your work critiqued! In this section you get to have your work critiqued by professional

photographers Lisa Crandall and Ollie Dale.

Lisa Crandall is a multi-award winning portrait photographer. In 2008 she was named ‘People Photographer of the Year’ at Iris, NZ’s

professional photography awards. Her studio, ImageMe www.imageme.co.nz is located in Takapuna in Auckland. She also runs

photography workshops, and is an Associate of the New Zealand Institute of Professional Photography (ANZIPP).

Ollie has been a professional photographer for seven years, and has clients such as the NZ Herald, Visa, Microsoft, Westpac, Unitec and

BMW. He is also a qualified commercial member and Associate of the New Zealand Institute of Professional Photography (ANZIPP).

CameRa: Fujifilm Finepix S6500fd

shutteR: 1/300 sec

apeRtuRe: f/5

iso: 100

authoR: Colin Prince

FRom the authoR: While walking the

Wellington waterfront late one sunny April

afternoon, we stopped to look at the floating

crane. Just as we were about to move away

I looked down on the piles and saw my

shadow, so called the rest of the family over

to make an interesting but different family

portrait! As there was a large wasted area

around the family group I have cropped the

image which also removed the bright sunlit

piles on one side.

ollie’s Comments: Well done for spotting

an opportunity, Colin. Family portraits can

be cliché (everybody smile at the birdie) so

it’s nice to see something different. I love the

placement of the people in order to create

the shadows – the person waving on the left

adds some communication to the viewer,

and the person on the right (who is either

standing closer to the wood than everyone

else, or is about nine feet tall!) helps to break

up the pattern a bit – It’s also great that they’re

standing on a different angle to everyone else.

To improve your shot: perhaps that figure on

the right is a tad too dominant – if they had

come back a little they wouldn’t take so much

away from the rest of the group, as my eyes

keep getting drawn to him/her. I also don’t

think you need any of the peripheral stuff –

CRITIQUE

sizeD Up YoUr work criTiQUed

crop the wood out of the centre and really

make a statement about the shadows and

the texture of the wood (OP2). If you leave

the water in you almost give too much away

to the viewer, and I think you should keep

them guessing a bit. I would also increase the

contrast (OP3) and perhaps even go grungy

black & white to make the most of those

shapes and lines in the image (OP4/OP5).

Then blow it up nice and big on a canvas

and hang it above the fireplace.

lisa’s Comments: Like Ollie, I’m enjoying

the originality of this family portrait. I agree

that the figure in the right is a bit dominant

because of the size – it makes the group

seem more like one adult and three children,

which I don’t think is correct or intended – I

assume that person needed to move back

into line with the rest of the family, to get

the sizing right. I also think the image could

have been more dynamic if the family

members had made interesting shapes

with their bodies. The wave is great!

Ollie’s crop simplifies the image – but I do

wonder if something has been lost. Before, we

had the sense that this was a family outing to

the seaside on a lovely sunny late afternoon.

Now, it could be just a family in front of a

garden fence. However the first composition,

with just a sliver of scenery around the wood,

is not very satisfying either. I don’t know

what was in the scene around, but if it was

attractive, perhaps a zoomed out view giving

a sense of place would have worked well. The

‘family portrait’ part could have been placed

on a third, rather than in the centre of the

image, to give a pleasing composition.

Op 2

Call FoR entRies: Get your images critiqued by professionals –

send an image to critique@nzphotographer.co.nz with

a brief description of how and why you took the shot, and we’ll

tell you what we think and if it could be improved.

The views and opinions expressed in this section are only two

people’s ideas on photographic imagery. You may have different,

constructive ideas about how good or not the images are, and what

could be done to them. You’re welcome to send those ideas in to editor@nzphotographer.co.nz. We agree that the opinions

contained in this critique section are by no means the only opinions

that could be held about these images.

Op 3

Op 4

Op 5

COMPETITIONS

DOCUMeNTary-sTyle essay (4-6 imaGes)

The brief: Capture in 4-6 shots a

series of images that invokes emotion

and uses the techniques described

in the Documentary Photography article.

The subject can be anything – school fairs,

colleagues at work, a visit to the doctor,

etc. The most thought-provoking essay wins.

Simple. Even if you don’t win you may still

get published on our Best of the Rest page.

Be in to win cover of Issue 16, and the

fabulous $100 voucher from the fabulous

people at Giclée Print. For all YOUR

fine art and canvas printing needs, visit www.gicleeprint.co.nz.

One entry per person, and you must be

in New Zealand or hold a NZ Passport at

the time of entry to qualify.

Images must be 100dpi, 1600 pixels

wide, and sent to competitions@nzphotographer.co.nz by 5pm on

Monday the 7th of June, 2010. Winner

will be published in Issue 15, out on

Wednesday the 16th of June, 2010.

MOTiON BlUr COMpeTiTiON(siNgle iMage)a QUick reminder…

Your Motion Blur image is due in our

email inbox no later than 5pm Monday

17 May, 2010. There is so much you

can do with this topic that it will really go to

someone who thinks outside the box.

Be in to win the cover of Issue 15,

and the $100 voucher from the fabulous

people at Giclée Print. For all YOUR fine art

and canvas printing needs, visit www.gicleeprint.co.nz. One entry per person,

and you must be in New

Zealand or hold a NZ

Passport at the time of

entry to qualify.

Images must be

100dpi, 1600 pixels

wide, and sent to

NZ Photographer 23M

ar 2

4competitions@nzphotographer.co.nz by 5pm on

Monday the 17th of

May, 2010. Winner

will be published

in Issue 15, out on

Wednesday the 26th

of May, 2010.

NZ Photographer

May 5

24

The cool stuff in this section comes to you with help from the

knowledgeable people at www.engadget.com. Each issue Ollie,

our illustrious editor, trawls through the amazing photographic

gadgets and gizmo’s to bring you the best of the best. Enjoy!

COOl sTUFF

GADGETS

hiRethings

Ever needed to hire some extra photographic

equipment? Or maybe you’ve never tried an

SLR and you just want to have a go?

There are a few places around where you

can hire photography equipment, and I

recently stumbled across a website that may

also be of some help: www.hirethings.co.nz.

The best part is they don’t just do camera

gear – pretty much anything you can think

of is available for hire, so if you want to

use something without having to buy it,

check them out first!

polaRoid 300

When Polaroid left the instant film market

back in 2008, it left a gaping hole that

Impossible Project has attempted to fill with

its overpriced reproduction paper. We’re

guessing someone at Polaroid saw that

and thought: “Hey, why don’t we charge

too much for instant film, and make an

overpriced camera to use it in?” And thus the

US$90 Polaroid 300 was born. Yes, US$90

for the sort of instant point-and-shoot that, a

few decades ago, you could pick up for under

$20. And the film? Ten shots for US$10.

Nostalgia don’t come cheap, people, and this

isn’t even an original product. It’s a rebranded

Fujifilm Instax Mini 7 – which costs a slightly

less egregious US$67 at various online

retailers. The camera and the film release in

May, and if this is how the reborn Polaroid is

hoping to stay afloat we’re thinking the death

of instant film is at hand – again.

Source: Engadget

goRillapod magnetiC

Did you finally run out of precarious places

to suspend your camera using an original

Gorillapod? We find that hard to believe

(did you try the chandelier?) but just the same

are happy to inform you that a world of new

possibilities is now open with the Gorillapod

Magnetic, which is shipping worldwide

for $24.95. Sadly it still only manages to

support a meager 11.5 ounces, so SLR-toting

shooters will not want to rely on this lodestone-

augmented franken-pod, but those of you

rocking compacts should be receiving theirs

soon. We look forward to see what new and

exciting places people stick theirs too – just

note that the one wood has already been

done, and so anyone looking to replicate that

feat is a low-down, dirty copycat.

Source: Engadget

golrillapod Magnetic

NZ Photographer May

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iN THe NexT issUe OF Nz pHOTOgrapHer…

Adventure Photography

The Hidden Photos

Motion Blur Competition Winner

Auckland Festival of Photography

Plus much more...Issue 15, Out Wednesday 26th of May 2010

Have yOU sUBsCriBeD TO Nz pHOTOgrapHer? iT’s Free!simply visit www.nzphotographer.co.nz to get a copy of nZ photographer

delivered straight to your inbox every third wednesday!

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