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Helping you take better photos

Issue 16 June 23rd 2010

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CONTENTS4 Copyright &Photography

12 Pic of the Bunch

20 Critique

16 Still Life

24 Cool Stuff

24 Critique

26 Auckland Festival of

Photography

32 Cool Stuff

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This issue will be a little bit of a challenge for you – we’ve decided to tackle a

bit of a technical issue when it comes to law and what we can and can’t do. It’s

definitely worth the read, and as such I’ve put it in first. It’s all important stuff, so

read and learn young grasshopper!

A couple of apologies are also in order – firstly to Chris White, who won Issue

15’s cover and the Motion Blur competition. Chris was mistakenly referred to once on

page 2 as Chris Smith, which has since been rectified. Just like the upside down NZ

Post stamp that’s worth loads now, anyone who downloaded the version with the error

in is the proud owner of a collector’s item :)

Secondly, for the tardiness of this Issue’s release! I let life get the better of me and I

apologise for that! We are going to stretch out our issues from now on - once every 4

weeks instead of every 3. Let us know what you think!

Now off you go to learn about Copyright and Photography, Still Life, and all the

other amazing bits we have in store for you this issue!

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

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16 Still Life

Cover Image: Documentary Competition Winner Camilla Lundbak

24 Cool Stuff

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HOW TO

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When photographers find out

what I do for a living, the two

most common questions I get

are “What should I do if someone is stealing

my photos?” and “Can I take a photo of

this building/structure without getting in

trouble?” (I heard that one a few times when

Lord of the Rings was being filmed). Both

are very valid questions, and both require

an understanding of copyright law.

For the question about the “stealing” of

a photo – it really depends on the situation

and circumstances, and I suspect that my

word limit won’t be nearly long enough to

cover all of your options.

With regard to the question of what you

can and can’t take photos of – well, that’s

a little more black and white (insert terrible

joke about black and white film here…)

There are many myths floating around about

what you can photograph in public, and I’ll

try and clarify and correct a few of them.

First things first though – what is

copyright?

The Basics

Copyright subsists in original literary,

dramatic, musical and artistic works,

sound recordings, films, broadcasts,

cable programmes, and typographical

arrangements of published editions (if

you don’t see your type of original work

listed here, don’t panic – it’s probably

covered. For example, computer programs

are ‘literary works’ and photographs are

‘artistic works’). In New Zealand, the law

of copyright is set out in the Copyright Act

1994. It’s a pretty beefy document, but if

you just can’t help yourself, you can read it

for free at www.legislation.govt.nz.

An important concept to grasp is that

copyright protects the expression of an idea

rather than the idea itself. A written recipe is a

good example of how this concept works. If

you photocopied a cake recipe from a Jamie

Oliver cookbook, then the act of photocopying

that recipe will almost certainly constitute

copyright infringement. However if you simply

picked up the cookbook and made the cake

COPyrigHT PHOTOgrAPHyUnderstanding the LawBy narly Kalupahana

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In New Zealand, there is no law preventing you from taking then publishing

a photo of a stranger

in a public place

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by following the instructions on the page, you

are not infringing copyright. The idea is the

cake and how to make it – the expression of

the idea is the printed recipe and its layout on

the page of the cookbook.

If you are the owner of a work protected

by copyright, then you have the exclusive

right to copy the work, issue copies of work

to the public (in exchange for money or

for free), perform, play or show the work

in public, broadcast the work, make an

adaptation of the work, or authorise any

person to do any of these acts.

While there are plenty of exceptions,

the general rule of thumb is that copyright

in a work lasts for 50 years after the

death of the author.

Now that the dull stuff is out of the

way, let’s try and cut through a few myths

about copyright.

MyTh 1: “It’s not protected until you’ve registered the copyright”

While there are some jurisdictions that

require copyright in a work to be registered at

an official registrar, New Zealand is not one

of them. In New Zealand, copyright subsists

automatically. That’s right – as soon as you

take that photo, it is protected by copyright.

There’s no need to register copyright,

no need to print that photo out and post

it to yourself (you’ve been watching too

many movies), and although it is highly

recommended, you don’t actually need

to put a copyright notice on it for it to be

protected by copyright (however, putting a

watermark with something along the lines of

“© Narly 2010” on your photos does help

to prevent people from claiming that they

had no idea that that the work was yours

and was protected by copyright).

Seeing as there’s no need to register

copyright, if you ever do find yourself

fighting someone in Court, you’ll need

to show that you are the owner of the

original work. To that end, be sure to

keep the original work in a safe place.

For photographers, this means either

safely storing the negatives somewhere

or backing up the original RAW or JPEG

files to an external hard drive, an offsite

server, or both.

MyTh 2: “If mine is 10% different, then it’s ok”

While there are actually a few sections

of the Copyright Act that describe the

permitted copying of a certain percentage

of a work for educational purposes, the

often heard “if it’s 10% different, then it’s ok”

myth is absolutely that – a myth.

There are many “restricted acts” that

constitute copyright infringement, but with

regard to photography, the copying of

the whole work or a substantial part of

the work is the general rule. Ascertaining

whether the whole work has been

copied is obviously a straightforward

task. Ascertaining whether a “substantial

part” of the work has been copied is

considerably more difficult.

Think of the following scenario: You’re

in the street and see a celebrity from

a distance. You take a photo of the

celebrity, but you only have a wide angle

lens on you, meaning that it’s actually

pretty hard to see the celebrity’s face

without enlarging the photo. Most of the

photo ends up being blue sky with a few

clouds, but nevertheless, you post the

photo on your blog because, well… why

not?

A few days later you discover that a

local gossip columnist has downloaded

your photo, cropped out most of the

background, and has used the part of

the photo with the celebrity’s face for her

gossip column. You email the columnist to

give her a piece of your mind and receive

a reply along the lines of “I only used

about 2.5% of your photo – there’s no

way that’s copyright infringement”.

Did the columnist copy the whole

work? Clearly not. Did the columnist

copy a substantial part of the work?

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Quite possibly. There have been many

legal skirmishes over what constitutes a

“substantial part” of a work protected

by copyright. Unfortunately, there is no

easy answer – it’s an extremely subjective

thing, and really does depend on the

facts of the case.

There is certainly a case to argue that

despite the celebrity’s face constituting only

2.5% of the original work’s surface area,

that specific part of the work is the critical

element of the work – without the celebrity’s

face, the work would be of little interest to

anyone (unless you had some sort of blue

sky and cloud fetish…)

Think “quantitative” versus “qualitative”.

On a quantitative basis, the face of the

celebrity constitutes a very small part of the

photograph, but on a qualitative basis - at

least in the eyes of the fans - it is a very

important part of the photograph.

There’s no hard and fast rule for

ascertaining what a “substantial part” of

a copyright protected work is, and there’s

certainly no magic percentage that helps

us work it out! However, it is a concept that

you need to bear in mind when faced with

a copyright infringement scenario.

MyTh 3: “That’s a privately owned building – you can’t take a photo of it”

This seems to be a bit of a hot topic in

the USA at the moment. I’m reading more

and more stories about people trying to

take photos of buildings, but being thwarted

- and in some cases, threatened - by

overzealous security guards.

In New Zealand, the law is pretty clear –

you can take a photo of a building without

infringing any copyright that might subsist

in the building. However, there are a few

caveats here.

The section of the Copyright Act dealing

with the photographing or drawing of

buildings (Section 73) classifies buildings

as “artistic works on public display”. It’s

the “public display” bit that you need to

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that may subsist in the building, but bear in

mind that you’re also making photographic

copies of the works of art that can be seen

from the street. Presumably those works of

art are protected by copyright - meaning

that you could be opening up a whole new

can of worms.

What if you were simply taking a photo

of a celebrity who happened to be making

a public appearance in a gallery, and they

posed for you next to a work of art? Would

the same situation apply if the art formed

the background of the photo? Have you

infringed copyright in the work of art located

behind the celebrity? In such a situation it’s

unlikely – presuming that the celebrity is

clearly the subject of the photograph, it is

arguable that the work of art is incidental

to the rest of the photograph (an exemption

under Section 41).

A bit of commonsense is needed here.

When you take photos on the street or in

places accessible to the public, you need

to keep in mind that a single photo might

actually be reproducing several works

protected by copyright.

MyTh 4: “Taking a photo of a sculpture or model infringes copyright. I don’t care if it’s located in the middle of town.”This is actually covered under the same

section as the building exemption (section

73). If a sculpture, model of a building, or a

work of artistic craftsmanship is permanently

situated in a public place (think of a statue

in a public park, or even something like

the Bucket Fountain in Cuba Mall), or is in

a premises open to the public, then taking

a photo of it does not infringe copyright

in the work. Note that the types of works

referred to – the exemptions are limited to

sculptures, models for buildings and works

of artistic craftsmanship. Photographs and

paintings are not covered by this exemption.

If you went to an outdoor art exhibition, then

taking photos of paintings – despite them

being in a premises open to the public – will

infringe copyright in those paintings.

This section is the one I often refer to

when people ask about taking photographs

of movie sets and props. By making sure

that movie sets and props are movable and

not “permanently situated” (for example,

by putting large structures and props on

wheels) and closing off access to the public,

filmmakers can ensure that these “artistic

works” avoid the Section 73 exemption and

are still protected by copyright, giving them

recourse against eager paparazzi.

MyTh 5: “You can’t take my photo. Haven’t you heard of privacy laws?”Everyone loves to scream “Privacy Act!”

but few people actually understand what

it seeks to protect. Under New Zealand’s

laws, there is no law preventing you from

taking then publishing a photo of a stranger

in a public place (unless your act constitutes

harassment under the Harassment Act

1997, and even then the complainant must

establish a pattern of behaviour, rather than

point to a single incident).

Let’s say that the stranger was eating an

ice cream when you took the photo, and

then you sold that photo to the company that

made the ice cream (knowing full well that

they would inevitably use it in advertising).

Although we’re no longer dealing with

copyright, any representation by the company

that the subject of the photograph endorses the

ice cream may well fall foul of the provisions of

the Fair Trading Act 1986 regarding product

endorsements. While it’s unlikely that you (the

be aware of here. If you get your photo of

a building by jumping fences, breaching

security or encroaching on private land…

please don’t call me – that’s unlikely to be

protected by the exemptions under Section

73. I’ll just wag my finger at you (not as

scary as my wife wagging her finger at you,

but still scary).

So, if you’re in a public place, can you

photograph any building at all? Well, sort

of – what if you were standing outside an

art gallery and photographing the gallery

building and works of art through the

windows? Sure, you fall within the section

73 exemption with regard to any copyright

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Narly is a New Zealand-qualified intellectual Property lawyer currently living and working in hong Kong. in his spare time, Narly

uploads far too many photos of his young son and random hong Kong happenings to www.narlyk.com. he also enjoys referring to

himself in the third person.

photographer) could be prosecuted under the

Fair Trading Act for the actions of the ice cream

company, it would be good practice to insist

on a release from liability for the actions of the

purchaser after the sale if you do sell or license

these types of photos.

As for the lack of laws preventing you from

taking and publishing photos of strangers in

public places – Mike Hosking learned this the

hard way. In 2004 the Court of Appeal held

that there can be no reasonable expectation

of privacy if photographs of people (whether

strangers or not) are taken in a public place.

The judgment contains a really interesting

discussion of photography and privacy, and if

you have a bit of spare time one day it’s well

worth a read (http://www.nzlii.org/cgi-bin/

sinodisp/nz/cases/NZCA/2004/34.html).

While I acknowledge that New Zealand’s

laws don’t protect a subject in such a case,

I do feel that a bit of empathy goes a long

way. Before going out and photographing

strangers in the street, put yourself in their

shoes for a second – would you be happy

if someone snapped photos of you minding

your own business in the street and then

published them for the world to see? I like

to think that Narly’s “Burping Loudly in an

Elevator Principle” applies here. Sure, it’s

not against the law - but you’re not going to

make a lot of friends if you keep doing it. If

you do intend to publish, distribute or license

a photograph of a stranger… well, as my

mother would say: “Ask nicely first”.

Whether you’re a seasoned professional or

a weekend hobbyist, you will be doing yourself

a huge favour by taking the time to learn a little

bit about copyright law. It will make your life a

lot easier in the long run.

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COMPETITION WINNERS

dOCUMentary COMpetitiOn

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dOCUMentary COMpetitiOn

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This documentary captures the unique

character of the world’s highest

freestanding mountain, Mount

Kilimanjaro. As a photographer she

certainly challenged me (!) to experience

her beauty by way of attitude and altitude

as she stands tall at 5895 AMSL giving

her command of weather and impressive

ecology. To viewers, photography often

seamlessly merges the three building

blocks: the subject, the photographer and

the gear. In undertaking this documentary

the three building blocks in photography

became incredibly distinct to me:

The subject itself - how to capture her •

beauty and uniqueness? For example,

the different vegetation zones, endemic

species such as impatiens kilimanjari

and senecio kilimanjari, and the glaciers

estimated to be gone by 2025;

The photographer - stubbornly trying •

to get the mind and body to ignore

gradients, the lack of oxygen and

layers upon layers of clothing; and the

camera gear - taking a SLR from moist

equatorial rain forest through to reaching

the ice caps in the space of 4-5 days.

I hope you enjoy meeting this

mountain as much as I did.

Well done: caMilla luNdBaK

Your photo essay was interesting and

more diverse than the other entries we

received, and shows just how much of

a challenge the mountain must be.

Camilla 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

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FEATURE

LUCy gaUntLett, phOtOgrapher FnZipp

Still Life Photography is a bizarre

world to me – done poorly it’s

simply a cliché of high school

art classes or fruit bowls on the table

at home, but done well it blows me

away. My brain doesn’t tend to see the

world the way an accomplished still-life

photographer’s does.

So, I thought I’d share some great still

life photography with you through someone

who has won awards with their images.

Lucy Gauntlett won the NZIPP Still Life

Photographer of the Year award in 2006,

the last year the category existed before it

officially became known as the Creative

category. Ironically, Lucy also won that

Creative category in 2007, proving her

finesse with imagery was ingrained.

By Ollie dale

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NZP: How long have you been a

photographer?

Lucy: I started my exploration into

photography during university years

around 2003; as part of my architecture

degree I took 1 paper on photography

and learnt the very basics, and also

built pinhole cameras which I found

fascinating, and it all sort of evolved

from there.

I joined the NZIPP around 2004 and

started entering the print awards and

subsequently won the categories ‘2007

New Zealand Creative Photographer of

the Year’ & ‘2006 New Zealand Still Life

Photographer of the Year’.

NZP: What sort of photography do you

focus on now?

Lucy: Mainly I concentrate on

landscape photography and sell these as

limited edition pieces. Also I shoot lots of

architectural photography as I work full

time as an architect (Pacific Environments

Architects) and there are always buildings

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that need professional photographs taken

for our firm and also for other architects.

You may be familiar with the widely

publicised night shots of the Yellow

Treehouse Café in which I was involved

with the design of and also photographed,

which has been internationally published

in over 100 architectural magazines and

books. (attached photos).

NZP: What’s your experience with Still

Life photography?

Lucy: Still Life photography for me

overlaps with architectural photography.

The still life photos that have been the most

successful have stemmed from amazing

architectural spaces such as the derelict

train photos that won me the Still Life

category. From these initial spaces I often

get a feeling or emotion and play on this

to enhance the drama and create a story

for each image.

Over the years, only occasionally I come

across scenes and spaces that in themselves

are breathtaking and I just know that I have

to go and get my camera to capture that

atmosphere and emotion – I don’t really

come across that many places for still life

photography, but when I do it’s very exciting

– I am always looking out for possibilities

for great shots that have occurred naturally

themselves, rather than set up Still Life

scenes to shoot that I have created myself.

Generally I have found the most

interesting locations are mostly the dark,

derelict and rundown spaces in which you

never know what you may find !

NZP: Do you have any tips for people

new to Still Life imagery?

Lucy: Be patient, and start with

interesting objects and backgrounds –

the most unusual places and objects are

actually quite hard to find. Experiment with

Photoshop and Lightroom, and don’t be

afraid to try out new technology such as

HDR (High Dynamic Range) techniques –

this can be very useful in creating Still Life

images. Also, don’t be afraid of adding

humour to images!

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NZP: Do you have any tips for

people who have shot Still Life before but

who could do with some expert advice

on how to shoot award-winning images?

Lucy: Find places and spaces that

take your breath away, and use what is

already there and build upon it with a

story through symbols and objects that

give the viewer clues as to the message

or story you are trying to impart. Add

drama and enhance the emotions off

the image by using filters and try to

remove or decrease the dominance

of anything in the image that they eye

is drawn to that is not the main focal

point or the main symbol (such as bright

areas). Build up your story with clues –

I see it as illustrating with photography,

so that the viewer can interpret the

photo as they would an artwork and

make up their own mind as to the

meaning. Also, have something for the

viewer to see that isn’t obvious upon

first glance – the more you look, the

more that is revealed.

lucy Gauntlett is a Fellow of the NZiPP, and more information and examples of her imagery can be found at www.lucygdesign.com

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TIPS

FOr BeginnersBy pete west

If there’s one thing guaranteed to upset

a photographic judge or the editor of a

magazine, it’s a sloping horizon. In the old

days you’d have to use a manual rotate ad a

ruler to get the horizon looking how it should.

That’s made much easier now, if you go

to the eyedropper tool (fig 1) you’ll notice

that there’s a small black arrow head in the

bottom right hand corner. (any tool with

this arrow in the corner means that there

are more options). Click on this arrow and

drag down until you hit the ‘ruler’ tool.

Click on the ruler, your cursor will change

to a’ cross hair’. Click on the horizon line

to one side of the image and drag it right

across to the other side along the horizon

line, then let go. You’ll now have a line

right across your image (fig 2).

Go to image>rotate canvas>arbitrary (fig

3). This will bring up a panel which will give

you a number (in degrees) that the horizon

1

3

2

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line is sloping (fig 4). Simply click OK and

the horizon automatically adjusts itself to be

exactly horizontal (fig 5).

If you now go to the crop tool (fig 6A)

click on one corner of your picture and

drag diagonally across the picture, then

let go of the mouse, (fig 6). (You will also

see a bar across the top of the screen

allowing you to crop specific sizes and

resolutions, more on this when we talk

about image size next month) You’ll

notice that depending on the angle of

tilt you may lose a portion of the picture.

You can still at this stage get hold of a

corner or side of the marquee and drag

it to get the maximum ‘usage’ out of your

picture. When you’re ready just double

click with the mouse and your picture is

squarely framed.

4 5

6 6a

7

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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: Nikon D90

shuTTer: 1/125 sec

aPerTure: f/14

isO: 320

auThOr: Fillicia Widjaya

FrOM The auThOr: I took this photo on my

recent trip to Christchurch. I was on my way

back to the motel and standing in the middle

of these trees waiting to cross the street.

Ollie’s cOMMeNTs: Well, Lisa’s away this

month, so it’s all down to me. You’ve seen

and taken a lovely moment, and I think the

sunbeam from the right really adds to that.

The time of day is as well chosen as the time

of year as the side light from the sun helps to

give definition to the leaves.

I don’t think there’s much more you could

have done in camera to improve the shot –

perhaps standing a few paces to your left

and making the arches of trees disappear

towards the centre of the image may have

worked as well, although you may have

purposefully avoided a symmetrical image, or

perhaps there was a distracting element that

you have hidden by the trees on the right.

As it is shot, the most distracting elements for

me are the cars on the left – I would crop the

left side of the image in by one tree (OP1).

So really it comes down to how you treat

CRITIQUE

SiZEd UP yOUr wOrK CritiQUed

your image in post production. I believe

your original image could use some added

contrast to start with. The rage at the

moment seems to be dark and moody, so

you could start by darkening the image, but

be careful to leave detail in the tree bark

(OP2). Alternatively you could try a more

sepia-toned approach – this option will

change the dominant feature of the image

from the colours of the leaves to the shapes

created by the trees.(OP3)

As usual, your favourite will depend on

your style of imagery, and may not be

those that I have explained above. Start

by shooting a well-exposed and well-

composed image and you give yourself the

best chance of ending up with a shot you

can be proud of.

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.

OP1

OP2 OP

3

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By Chris Traill, FNZIPP

If you’re in Auckland right now what are

you doing reading this? The Auckland

Festival of Photography is in full swing

with over 50 exhibitions on across the

city. One of them is the Epson/NZIPP

Iris Professional Photography Awards, on

display in the foyer of the Vero Centre in

Shortland St, in Auckland city.

Vero Centre, 48 Shortland St, Auckland.

8pm-6pm, Monday to Friday until July 2nd.

As a build up to this year’s Iris Awards, to

be held in Queenstown in September, come

and see what styles pulled the big prizes

and won Paul Gummer his title of NZIPP

Photographer of the Year for 2009.

This exhibition, as part of the Auckland

Festival of Photography, showcases the

highest scoring 150 images (gold, silver and

bronze) from the annual NZIPP Iris awards.

The finest work of N.Z’s leading professional

photographers are judged each year over a

number of categories including commercial,

creative, editorial, landscape, people

and wedding with an additional category

celebrating students and assistants.

This exhibition is Auckland’s stop on

a nationwide tour giving the public an

opportunity to appreciate the skills and

artistry, in this digital age, of its professional

image makers.

FESTIVAL

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The finest work of N.Zs

leading

professional photographers are judged each year

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COMPETITIONS

STiLL COmPETiTiON(singLe iMage)

Now that you’ve been inspired by

Lucy’s still life images it’s your turn

to have a go and remember, it

doesn’t have to be an apple!

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 18, 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 to win.

Images must be 100dpi, 1600

pixels wide, and sent to competitions@

nzphotographer.co.nz by 5pm on Monday

the 9th of August, 2010. Winner will be

published in Issue 18, out on Wednesday

the 18th of August, 2010

PHOTOgrAPy(singLe iMage)

a QUiCK reMinder…

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Your “Adventure” images are due in

our email inbox no later than 5pm

Monday the 28th of June, 2010. What

we’re looking for is something in the style of

adventure photography – a child jumping off

a sand dune could win it if you do it well. Like

the motion blur competition, this one will go

to the person who thinks outside the square.

If you want to you can Google adventure

photographs and study the style.

Be in to win cover of Issue 17, 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 competitions@nzphotographer.

co.nz by 5pm on Monday the 12th of July,

2010. Winner will be published in Issue 17,

out on Wednesday the 21st of July, 2010.

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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 GADGETS

Fujifilm’s rEAL 3d W1 didn’t exactly

get the warmest of welcomes, but

even today it remains one of the few

point-and-shoots that can natively take 3D

photographs. Here at NVIDIA’s Computex

press conference, the company slid in this

little nugget: Sony’s new Alpha series of

interchangeable lens compact cameras are

now compatible with NVIDIA’s 3D image

processing software. You won’t get your

Alpha growing a second lens or anything (at

least not yet), but any image you shoot with

it can be post-processed as 3D thanks to the

new partnership. Details beyond that were

few and far between, but the company’s

obviously stoked to have Sony onboard.

‘Course, with Sony’s own 3D obsession,

we wouldn’t be shocked to hear that every

single one of the outfit’s cameras will soon

be on the three-dee bandwagon in some

form or another.

Source: Engadget

Apple has unveiled its new iPhone 4 after a couple wild, unprecedented

months of leaks. Sure, it looks exactly

like we expected it to (Steve compares it

to an old Leica camera), with a glass front

and back, but it’s what’s on the inside that

counts, kids. The stainless steel band that

goes around the phone is an antenna system,

while also providing the main structure of

the phone, though it’s plugged into the same

old GSM / UMTS radio you all know and

love -- there’s a reason they didn’t call it the

iPhone 4G. There’s also of course that front

facing camera we were all anticipating, a

rear camera with LED flash, and a new high

resolution display that doubles the pixels in

each direction (960 x 640) for a 4X overall

pixel count increase -- Apple calls it a “Retina

Display.” It’s rated at 326ppi, which Apple

claims is beyond the human eye’s limit of

distinction. Check out an example of the

new screen up against the iPhone 3G here.

Similar to the iPad, it’s an IPS display, offering

800:1 contrast. Naturally, it’s still the same

old 3.5-inch size. Under the hood is the A4

processor that runs the iPad. Despite the new

engine (and the 25% thinner chassis), Apple

managed to make the battery slightly larger,

and the new handset is rated at 7 hours

of 3G talk, 6 hours of 3G browsing, 10

hours of WiFi browsing, 10 hours of video,

and 40 hours of music. Oh, and that WiFi?

It’s 802.11n now. The camera has been

bumped to 5 megapixels, with 5X digital

zoom and a “backside illuminated sensor,”

which now can also record HD video at

720p / 30fps.

Source: Engadget

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NZ PHOTOgrAPHEr…

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!

NEXT ISSUE

Urban Photography

Crystallising Your Images (Hopefully this time!)

Adventure Competition Winner

Plus much more...

Issue 17, Out Wednesday 21st July 2010