www.nzphotographer.co.nz

Issue 37 : October 2014

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Congratulations to Kevin Marshall for his winning image this month Blossoms. Such an icon of Spring! I love how your eye ‘walks’ down through the canopy of the blossoms. In this issue Scott Fowler shows us a thing or two about photography at the Rodeo!

Check out his awesome Rodeo shots and get his tips for photographing such an event. Kim Howells shares great advice for Colour Management: a must read to ensure the images you see on your screen are matching what you print.

This issue also features Abstract Photographer Jane Trotter and some beautiful examples of her work. We also introduce you to the new Canon EOS 7D Mark II. Be sure to check out the other entries for last month’s Spring photo competition and get your image in for this month’s theme, Landscapes!

Hollie WightmanResident JudgeNZ Photographer

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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 Hollie Wightman, hollie@nzphotographer.co.nz

GROUP EDITOR Jennifer Liew

ART DIRECTOR Jodi Olsson

ADVERTISING ENQUIRIES Phone Jennifer on 09 522 7257 or email jenniferl@espiremedia.com

WEBSITE www.nzphotographer.co.nz

NZ Photographer is an Espire Media publication

Hollie Wightman

PCL’S NEW IPHONE AND IPAD APP FREE WEEKLY TUTORIALS!

New Zealand’s premium photo lab, PCL IMAGING, has made its latest evolution into the palm of your hand. They have launched this month the iphone and ipad app

which allows users to edit, enhance and order photographs directly from their phones.PCL has been a photographic industry leader for over 40 years and once again is enabling photographers with the latest technological development. The app itself is a direct result of another technology PCL has been using for several years called ROES or remote order entry software. This software was made available for MAC or PC and has been used to by thousands of happy customers.

PCL will be holding weekly tutorials for the new app for their customers and if you mention this article you can join them for a free cupcake, espresso photographic print. The relaxed tutorials will take place at PCL every Thursday at 11am.

30 Karaka Street,

Eden Terrace,

Auckland

(09) 309 8090

contact@pcl.net.nz

www.pcl.co.nz

•Photographic Printing

•Custom Framing

•Mounting

•Scanning

•Inkjet Printing

•Canvas Prints

APPSTORE

YOUTUBE

FACEBOOK

WEBSITE0800 ASK PCL

Icons of Spring

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Next Month's Competition Landscapes or Seascapes

Photographers - This is a great opportunity to improve your photography skills and get some feedback from professional photography judges in a safe and friendly

environment. Here's what's up for grabs:

GET SHOOTING AND WIN!

• The winning image on the cover of the next issue

• A high quality print of your image and cover to immortalise your achievement for your grandchildren, courtesy of PCL Imaging

• $50 cash

• And of course, bragging rights and the envy of your fellow NZ Photographer fans!

Check out next month’s theme and enter at www.nzphotographer.co.nz!

Landscapes! Or Seascapes! The Amazing places around us. As an extra challenge, should you choose

to accept it, take those landscape shots in portrait form!

Good luck! Entries close October 24th.

Rules: Images submitted must be no older than 12

months from the date of publication of this issue.

Entry to the competition is $5 and you can enter

up to five images. Images must be no more than

100 dpi and no more than 1600px wide. Save them

as jpgs in the prefered colour space of Adobe RGB

(1998). If you don't know what this means, don't

worry, but do Google it...●

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Colour management is something that is too often put in the “too scary” or “too hard” basket. But if you want any sort of control

over how your images look in print, you need to know a little about how to achieve that. Here are some of the basics on getting it right.

Step 1: Ensure that you are editing in an appropriate colour space. For most people, this will be sRGB, which is the profile used when images are displayed online. Most labs also use sRGB (or are at least used to receiving files in this colour space).

Be aware that if you edit in a larger colour space (such as ProPhoto RGB, or Adobe RGB), and you convert to sRGB jpegs, clipping can occur due to how the file is rendered; and if you put something other than sRGB on the web, they may look truly awful.

Step 2: Calibrate your screen with a reputable device. This involves hardware and software that measure the colours, and sometimes contrast and brightness, of your screen. It then creates a colour profile to show you the corrected view.

Almost all screens are too blue or purple when

un-calibrated; even those that are supposedly ‘good out of the box’, whether PC or Mac.

Step 3: Check that your calibrated screen matches your prints to a level that you are happy with. Use a reputable lab to print your images. If they don’t match, re-calibrate. If they do match, recalibrate on a regular basis (eg monthly) as screens can ‘drift’.

Step 4: Control white balance. If you are shooting in raw, you can leave your white balance correction until you do your raw edit. But if you are shooting jpeg, you need to get this right in-camera. A good place to start is a digital grey card.

Don’t confuse this with a grey card for exposure; they are not the same. A digital grey card is spectrally neutral, and can be used to create a custom white balance in-camera, or to photograph and use later with the white balance tool in your raw program.

Managing your colour is important, so that what you see is what you get. There is no point in adjusting colour in an image if what you are seeing does not result in the end product being the same colour. ●

Is what you see on your screen what you get in print? Are the colours, contrast, and brightness consistent? By Kim Howells, Kim Howells Photography Training www.photographytraining.co.nz

Colour Management

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The Wonderful World of RodeoBy Scott Fowler

The thrills, the spills, the adrenalin rush. It all happens during the rodeo. Doesn’t matter if it’s just a local event or a national event, it’s worth

taking the camera out and capturing the action. There’s plenty of it all day long; all you have to do is keep up. Capturing an event like a rodeo takes nano-second reactions: pressing that shutter at just the right moment to catch the action.

By Scott Fowler www.scoiwi.com

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It’s not always easy to get close to the action at some rodeos – especially national events. Local ones are usually a lot easier. Ask a member of the organization team and they’ll usually help you get a good location to set up. Try and get to the rodeo early so you can get the feel of the arena and the best place to get the action. Generally, you’ll need to use a long telephoto lens to fill the frame; wide angle lenses don’t work so well in this situation.

Fast glass is important; a 70-200 F2.8 is a good starting point. Fast shutter speed is also important if you want to freeze the action, usually around 1/1000th of a second will freeze everything at F2.8. You don’t need much of a depth of field: you want the viewer’s eye to stay with the action. If the light conditions aren’t the best, take the ISO up to get the shutter speed you need. Watch out for dust on your lens, but be careful how you clean the dust off as you can scratch your lens. A small lens blower can work well.

Try lying on the ground if you can, with your lens resting on your camera bag. This gives a whole different perspective to the event. Always try different angles when doing this as you can get some amazing images by either lying down or, by standing on the fence, getting higher up.

A lot of people use the spray and pray technique, which basically means they continually shoot at 10 frames a second, and spend a week going through thousands of images to get a hundred good ones: but even then you can miss that decisive moment. Try challenging yourself to do single fire. This way,

you get your reaction time faster by anticipating the moment, which also means you have a lot less images to plough through to get to the good ones. With a little practice you can get very good at judging the right nano-second to press the shutter at to get that award winning image.

I use continual focus, as this allows me to keep up with the action.

During the breaks, go for a walk around to the chutes. If you want to do this, remember there is a dress code at rodeos: long sleeve shirt, hat, long pants and good footwear. If you’re not sure, ask. You can get some awesome images as the cowboys and cowgirls get themselves ready for their battle with the beast of choice. Same as before, use your long telephoto lens to get those sniper shots – some candid moments.

Don’t be frightened to go up and talk with a cowboy or cowgirl and ask to take their photo: most are very happy to. Narrow depth of field is a good way to capture these images, and B&W is often great for this behind-the-scenes style of photography. If you have a business card you can give it out to the rodeo committee, as they are always interested in new images. You may even make a few dollars for your effort.

These images will often work really well in B&W as this removes the confusion of colour, and lets the story of the action come through: but some images will always have more impact, and only work in colour. The images in this article by me were taken using a Sony Alpha 850 with a 70-200 F2.8 lens. ●

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My love for abstract photography all began when I started photographing familiar, everyday objects around my home. Almost

immediately, I discovered I wanted to explore more unconventional methods of interpretation and presentation. Valuing the truthfulness and authenticity of a photographic image, I decided not to heavily manipulate or artificially create my images, but instead embrace the challenge of conceptualising and crafting my abstracts ‘in camera’.

For me, photography is not so much about artistically recording what is there, but creating something new and different out of what exists already. I want to alter and challenge the viewer’s perspective. Cheese graters, fruit bowls, plastic folders, can openers, glass jars, tea pots and even the inside of my clothes dryer suddenly took on a new appearance: an ‘abstracted reality’.

A few years ago I started making triptychs, and I’ve been captivated by them ever since! This wasn’t so much a departure from what I had been doing before, but rather, I viewed it as an extension and expansion of my existing photographic vision.

I’d always enjoyed the freedom of making abstract images, and I found that working with triptychs captured my imagination and fuelled my curiosity even more. I enjoy the creative challenge in their construction; the opportunity to expand my thinking and approach towards an image; to extend compositional boundaries.

The use of colour, bold shapes and strong, simple graphic design elements feature strongly in my work. I’ve always felt simplicity is one of the most important aspects of a good abstract image. Having a singularity of purpose and clear structural design are

FEATURE ARTIST

Turning the Ordinary into the Extraordinarywww.abstractedreality.com

Jane Trotter

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paramount. Abstract photography is not a licence to do whatever you like, or to ignore the normal rules of composition. If anything, these become even more important and accentuated.

Music is my other love. I’ve been teaching the piano for over 20 years and have composed five books of children’s piano music. I believe there is much creative overlay between music and photography.

Both disciplines share a common means of communicating without words and work directly on an

emotional, instinctive and subconscious level.

My training as a musician has been to analyse,

interpret, transform and communicate: to create

something special and give life and meaning to the

notes on the page; to imbue the music with my own

unique voice. These are also the goals I hold dear

in my photography: to give new life to a subject; to

encourage people to see it in a different way and

appreciate its inherent form and beauty; to imbue the

photograph with my own unique vision. ●

FEATURE ARTIST

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The ultimate DSLR to capture the action other cameras simply miss. Building on the class-leading performance of the iconic Canon EOS

7D and harnessing technologies found in the flagship EOS-1D X, this revolutionary camera is made for speed, providing the freedom for photographers to shoot a world of ever-changing action.

Completely rebuilt and redesigned, the EOS 7D Mark II sets a new benchmark for electrifying speed and power in the APS-C category. Made for life’s fastest moments, the camera can capture an incredible 10 frames per second (fps) without a drop in resolution, thanks to a new Dual DiG!C 6 processors, and it also features a 65-point cross-type AF system.

PRESS RELEASE

Introducing the New Canon EOS 7D Mark IITurning the Ordinary into the Extraordinarywww.abstractedreality.com

Cinematic movie functionality

The camera captures every split second of the action in full HD quality, with a choice of frame rates from 24p to 60p for smooth movement and slow motion effects. Also supports uncompressed HDMI external recording including audio.

Explore new levels of in-camera creativity

Both Movie Servo AF speed and tracking sensitivity can be customised, giving you complete control for pull-focus effects and transition between subjects.

Real Life image Quality

Designed to help you capture the perfect moment in outstanding quality, the new Canon EOS 7D Mark II boasts a 20.2 MP APS-C CMOS sensor with a native ISO 100-16000 range, expandable to ISO 51,200. Together with an advanced high-resolution 150,000 pixel RGB+IR metering sensor and innovative flicker detection, the Canon EOS 7D Mark II ensures beautifully exposed sharp images.

Completely adaptable to the way you shoot, the camera offers customisable body controls, and the new Intelligent Viewfinder II with approximately 100 percent coverage lets photographers shoot and change settings while looking through the viewfinder; so you don’t need to take your eyes off the action.

Capture slip-second action

The Canon EOS 7D Mark II excels in high-speed situations, shooting bursts of an astonishing 10 full-resolution images in a single second, thanks in part to a newly designed shutter and mirror drive mechanism.

Canon Eos 7d Mark II key Benefits:

• Capture split-second action

• Delivers fast, smooth and accurate focus tracking, shooting at 10 frames per second and with a 65-point cross type auto-focus system.

• Exhibition-quality images you’ll be proud to display

• Capture 20.2 megapixels.

• Fast processing power

• Deliver enhanced image capabilities and a faster readout from the sensor through Canon’s Dual DiG!C 6 fast-imaging processors.

• Adaptable and customisable

• You can reconfigure its controls into the layout that best suits your individual requirements.

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The outstanding responsiveness is matched by a blisteringly fast 65-point AF system, making possible high speed in low light conditions without compromise in terms of speed or quality. Boasting one of the most advanced AF systems in a camera of its class, each AF point is cross-type, with the centre point offering dual cross-type focusing at f/2.8, and EV-3 low-light sensitivity.

This gives you unsurpassed accuracy in all light conditions and for all subjects. The Canon EOS 7d Mark II lets you tailor the AF system, with a customisable menu similar to the EOS-1D X. This provides you free reign over sensitivity and subject tracking, while a new dedicated AF Mode Selection lever lets you instantly switch between AF area modes without taking your eye away from the viewfinder.

Clarity, detail and colour like no other

Whether you’re shooting outdoors or indoors, under natural or artificial light, consistently accurate exposures are achieved with a new 150,000 pixel RGB+IR metering sensor: the first in an EOS to include infra-red and flickering light sensitivity.

The new cutting-edge flicker detection feature ensures images are only shot when light levels are at their brightest level: intelligently analysing the light source and detecting flickering light the eye simply can’t see. The cameras auto-focus system even works in moonlight. Additionally, EOS ITR AF and AI Servo AF III technologies, originally introduced in the EOS-1D X, work alongside the advanced metering sensor to deliver accurate subject tracking.

Cinematic movies in your hand

The Canon EOS 7D Mark II builds on its predecessor’s movie reputation with a new suite of pro-standard recording features. Superior AF performance is executed by Canon’s unique Dual Pixel CMOS AF technology, so you can shoot with smooth, accurate focus. In a first for EOS, both Movie Servo AF speed and tracking sensitivity can be customised, giving you complete control for pull-focus effects and transitions between subjects. The camera captures every split- second of the action in Full HD quality, with a choice of frame rates from 24p to 60p for smooth movement and slow motion effects.

Footage captured on the Canon EOS 7D Mark II seamlessly fits into existing professional video workflows, thanks to uncompressed (4:2:2) HDMI output to external recorders. Ensuring professional audio capture during every shot, the camera features new dedicated microphone and headphone sockets for external devices, as well as a silent control to prevent operational noise being captured if settings are changed.

Your Camera, your way

The Canon EOS 7D Mark II is engineered to shoot in demanding situations, with improved weather resistance and a tough magnesium alloy chassis, as well as built-in GPS and a digital compass to help you track your adventures.

For the first time in EOS, there is also a built-in interval timer which enables you to take a designated number of shots at a preselected time intervals. As part of the world- renowned EOS System, the Canon EOS 7D Mark II supports a number of accessories, including a new battery grip that enables longer, more stable shooting throughout the day.

The Canon EOS 7D Mark II will be available in retail stores throughout New Zealand from November. For more information on the new Canon EOS 7D Mark II visit www.canon.co.nz ●

PRESS RELEASE

CREATIVE PHOTOGRAPHY WEEKEND7th to 10th November 2014

Join international award-winning photographer, Scott Fowler EFIAP PPSA APSNZ for a long weekend of creativity and fun. All levels welcome. Take your photography to another level!

Limited numbers, great location in Otago, South Island.

Contact Scott at scottfowlerphotography@scoiwi.com for more detailsCost: $790 including accomodation and tuition

Covering: Creative Portraiture, Image Harvesting, Still Life, Macro, B&W, HDR, Creative Lighting, Post Processing and much more!

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Blossoms by Kevin Marshall

Cherry Blossom arches on Harper Ave Christchurch. Canon 7D, f9, 1/100sec, ISO 100, 50mm focal length.

Bee in Paris-dise by Edward Swift

A bee searches for nectar behind

Notre-Dame Cathedral in Paris. Canon EOS 100D, f3.5, 1/2000sec, ISO 400, 50mm

focal length.

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Christchurch Botanical Gardens by Venkataraman Nilakant

I like the reflection of the trees on the Avon river and the Daffodils in the background. The foreground signifies the departure of winter and the background signals the arrival of Spring with Daffodils. In this picture I was hoping to capture the starkness of winter and the joy of Spring. It brings to mind a line from a William Wordsworth poem:

“When all at once I saw a crowdA host, of golden daffodilsBeside the lake, beneath the treesFluttering and dancing in the breeze.”

Fuji X100S, f8, 1/30 sec, hand-held, ISO 3200, -0.3 exposure.

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Kowhai at the Christchurch Botanical Gardens by Kevin Marshall

The cleanness of the yellow flower again the blue sky was magic.

Canon 7D, f2.8, 1/1000sec, ISO 100, 100mm focal length.

Watchful Tui, Cornwall Park by Steve Harper

Nikon D300, 70-200+2X, 1/640sec, f5.6.

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“The two most engaging powers of a photograph are to make new things familiar and familiar things new”

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*As of October 26, 2011.

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- William Thackeray

LESS IS MORE NEW EOS 100D

The world’s smallest and lightest APS-C DSLR*,all performance, no compromise.

*As at 1st March 2013