nz photographer issue 11
DESCRIPTION
GOT A CAMERA? SUBSCRIBE TO NZ PHOTOGRAPHER! Whether you're an enthusiastic weekend snapper, a beginner to intermediate level photographer, or just have an interest in photography, NZ Photographer e-magazine is the free and fun e-magazine for Kiwi camera owners.TRANSCRIPT
NZ Photographer Mar
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Issue 11 March 3rd 2010
Helping you take better photos
DIRTY PICTURESPhotographing NZ’s Oil Rigs
How To: Create Smoke Art
Your Images Critiqued
Open Image Winner
New Clubs Section
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CONTENTS4 Creating Smoke Art
10 Pic of the Bunch
21 cool stuff
17 critique
22 The Photographic Community
14Dirty Pictures
16 Sized Up
23 Cool Stuff
NZ Photographer Mar
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14Dirty Pictures
This issue of NZ Photographer marks an historic occasion; in our quest to push the
boundaries of traditional magazine publishing we’ve teamed up with the people
at ISSUU to bring this issue to you as an online turn-the-page edition. As always,
we do it all for you, so feedback is essential!
I really hope y’all get into this month’s how-to – it’s a really good experiment, and
something that not many photographers I know have tried, so you’ll be doing well by
getting your teeth into it, so to speak.
On a lighter note, our Facebook fan page just clicked over 1000 fans, and our total
subscribers now kno--cks on the door of 1800. You guys are awesome.
I was at a lunch recently, and met someone who said they were into photography.
I mentioned I was the editor of an online magazine, and he said “I’m a subscriber!”
Awesome... World domination is only moments away...
On a personal note, I’m proud as punch to announce the birth
of my second child, a girl called Aliyah (most people ask how to
pronounce it, so here you go - AH-lee-a). With a most dramatic
entry into the world, she surprised us all by arriving into my arms
on our bathroom floor after only one hour’s labour, while I was on
the phone to 111 emergency, and 10 minutes after we told the
midwife we’d meet her at the hospital. I may have to do a How-
To on home-birthing in a future issue!
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 [email protected] EDITOR Trudi CaffellART DIRECTOR Jodi OlssonADVERTISING ENQUIRIES Phone Richard on 09 523 4112 or
email [email protected]
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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NZ Photographer
Mar 3
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The first time I saw some smoke art
images I thought they were a little
corny – reflected patterns, so what?
Then I gave it a go myself. It took a bit of
practise to get the formula just right, but
what I learned in the process was that it’s
fun and extremely creative.
For starters the smoke itself is only around
for moments, then it disappears; photography
is all about capturing moments, and I realised
that using an extremely temporary medium
was a challenge worth mastering.
Secondly, there are some basic
photographic principals in use here
which everyone interested in photography
should practise – angles of light, use of
backgrounds, timing, camera settings.
Adding all that up I decided it was a very
worthy subject as this issue’s how-to.
The other challenge I set myself was to use
an ordinary point-and-shoot camera to take the
photos. It’s all very well setting up $10,000
of camera equipment and then telling you
to copy me – some would be forgiven for
thinking “but I’ve only got (insert your camera
here) – I’ll never be able to do it.”
So, while I will talk about shutter speeds
and DSLR cameras, at the end of the article
I’ll show you how to do it at home with
nothing but a compact camera.
HOW TO
CREATINg SmOkE ARTA how-to for Any cAmerABy ollie Dale
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&The more creative of you can start duplicating
mirroring layers
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Firstly, a list of ingredients.
For the advanced version
of this project you will need:
Your camera – lens •
focal length should be
50mm or greater
Tripod, bean bag, •
Gorillapod, something
steady to lean against
Remote or cable shutter •
release (optional)
Incense, any flavour•
Matches/lighter•
Black cloth, preferably velvet and •
lint-free
Directional light source – either •
off-camera flash or window light
Still air, or as still as possible•
To explain a bit more: A tripod is used to keep your camera in
a precise position, plus you’ll be
shooting a lot of experimental shots, so
you’ll get tired of holding your camera.
Using a remote or cable shutter
release will also free you up to handle
the smoke, the light etc.
Incense is the best smoke-producer
for your shoot, as it has a predictable
and constant (therefore attractive)
stream of smoke – I recommend you
don’t use rolled up newspaper!
The black cloth is very important in
keeping your background clean and the
smoke clear.
An off-camera directional light source
is very important – you don’t want to be
using the flash on your camera, which I’ll
explain shortly.
Still air will give you the best results, so
if you’re trying this at home make sure you
close the windows and doors, turn off fans
and air-conditioners etc.
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NZ Photographer
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Right, so to start with here’s a sketch of
how I set up my shoot:
Note: I’ve used a flash here, but later I’ll
show you how to set up with just window light.
Once you’ve set up in a similar way:
Light the incense and position it in a way
that produces an easy shot of the smoke.
Usually incense smoke will be repelled by
the heat of the burning incense, so it should
travel away from the incense in the direction
the incense is ‘pointing’. If you have a
prevailing wind, due to a draughty room or
a window/door you can’t close, you may
need to rotate your whole set to position the
incense correctly.
The other trick, and why it’s so much easier
to do this with a DSLR camera, is focusing
on the smoke. If you’ve got a DSLR, and your
smoke is behaving itself and always rising
to the same spot, you can pre-focus
your lens and switch it to manual focus,
meaning when you take a photo it’s
simply closing the aperture and opening
the shutter. Compact cameras without a
manual focus mode will try to re-focus
every time you want to take a shot, and
smoke can sometimes be tricky to focus
on!
Compose your image – not long
after the smoke leaves the incense, it
starts to be affected by the turbulence
of the air in the room – this is where
the interesting patterns come from, and
is where you should be pointing the
camera.
Now it’s simply a matter of adjusting
your settings to get a correct exposure. The
off-camera flash will light the smoke from the
side/rear, the black background will make
the smoke stand out, and all you have to do
is take the photos at the right moments. My
settings for the above set were:
Shutter: 1/125
Aperture: f/20
ISO: 800
Lens: 70-200@165mm
Once you have perfected your exposure,
play with the smoke – wave your hand near
the smoke to change the turbulence affecting
the smoke, or hand-hold the incense and
manually create interesting patterns with it.
Alternately, try a different smoke source such
as a match.
As you can see from my images, and
what I suggest you do, the next step is
post production; the smoke looks great on
a white background, so invert the image.
In Photoshop there are several ways to do
this, the easiest is simply to duplicate the
layer and invert it – shortcut keys are Ctrl+J
(duplicate layer) and Ctrl+I (invert layer) on
a PC, Cmd+J and Cmd+I on a Mac. Once
you’ve done that, play around with the
curves or levels to bring out the best of the
smoke. The more creative of you can start
duplicating and mirroring layers, or even
merging different layers into one image.
If you’re getting other shadows in your
background, it may be because your black
background wasn’t perfectly black – either
adjust the lighting, clean the cloth, adjust
your exposure before you take the photo,
or use any one of several techniques in post
production to darken the black background
before you invert the image. Be careful
though – it’s better to correct the background
before or as you take the photo, as trying to
correct it in post production can be difficult
when you want the smoke to look its best.
To do this at home with only your compact
camera, here are the basic ingredients:
STUDIO SETUP
NZ Photographer Mar
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Your camera•
Incense•
Matches/lighter•
Black cloth (preferred)•
Window light•
An assistant (optional)•
Here’s how I set up the basic set:
You need to angle the black cloth slightly
away so that the light from the window isn’t
falling onto the cloth – we want the cloth as
dark as possible.
Light the incense, and watch where the
smoke travels – as above. Set your compact
camera to a preset setting such as Available
Light, Indoor, Night Scene or similar, and
make sure the flash will not fire. Experiment
with which of these presets works best for
your particular set-up.
Zoom in – 2x or 3x should be enough. Don’t
take photos of smoke on a wide angle unless
you have an awfully big piece of black cloth!
Compose your image as above. Once
you’ve perfected
capturing the
smoke, get
an assistant to
delicately wave the
incense to create
different patterns in
the smoke.
If you’re having
trouble focusing on
the smoke, as long
as the smoke isn’t
moving towards
or away from you
(i.e. try to get the
smoke to move
across your image
from left to right) then you will be able to point
the camera at the tip of the incense, push
the button half way down to focus, and then
reposition the camera to point at the smoke
and push the button all the way down.
Finally, send your best creations to
[email protected] for our
next Single Image Competition!
NATURAl lIgHT - COmPACT CAmERA SET-UP
THIS ImAgE WAS TAkEN WITH A COmPACT CAmERA
NZ Photographer
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COMPETITION WINNER
Pic of the Bunch Winner - Marcus Kramer
NZ Photographer Mar
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PIC OF THE BUNCHoPen SInGLe ImAGe comPetItIon
Well, that was popular! It
seems the Open category
inspired you all to get off
your chuff and... send in images you’d
already taken... Hopefully we’ll do this
once a year, seeing as it resulted in
so many of you entering your favourite
images. The winner, chosen by me for
no other reason than because I liked it
the best, is:
marcus kramerFabulous stuff – what a landscape! A
nice bit of High Dynamic Range for good
measure, and nicely composed.
You’ve won for yourself a $100
voucher from Giclée Print Ltd., our
new sponsors of the Pic of the Bunch
section. Thanks to Mike at the team at
www.gicleeprint.co.nz, Marcus gets to
Highly Commended - Paola Musumeci
spend $100 on a
canvas print!
There were
several other
images worth
celebrating on the
Highly Commended
page, plus the
best of the rest.
I wish we had
room to publish
everyone’s photos,
but hopefully this
selection will give
you inspiration
to take better
photos! Well done
everyone!Highly Commended - Sean Coleman
NZ Photographer
Mar 3
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Highly Commended - Richard Burson
Highly Commended - Kirsten Simcox
NZ Photographer Mar
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Bruce Nolan
Murray Lowe
Rick McQuinlan
Mat Whittington
Susan McIntyre
Cath Bonsor
Gene Armstrong
NZ Photographer
Mar 3
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FEATURE
DIRTY PICTURESPhotoGrAPhInG nZ’S oIL rIGS
Rob Tucker is one of a kind – well,
almost; until November 2009 he
was, anyway. There are now only two
photographers in New Zealand licensed to
take photos on oil rigs, and it’s no wonder.
Not only is it hot, dirty work, but on being
assignment can be a risky business.
“To work offshore you have to do a Bouzait
safety course”, says Rob. “This is a $2500,
three-day course teaching, amongst other
things, how to escape from a sinking helicopter
upside down. Rather a thrilling course.
“It is rather a boy’s own type job, and very
expensive; to hire one of the choppers (a new
$12million machine) is $4500/hr. You have
no room to muck up!
“You have to wear special safety suits (survival
suits) which are real hot in summer, as well as a
lifejacket, gloves and steel capped boots. Before
takeoff you have to sit through a twenty minute
helicopter emergency evacuation movie.”
The good side to all this is the photography.
“It’s easy to get drama. Hard-case guys, hard
hats, oil, grease, heat noise, etc. There’s also
great food in the galley – almost five meals a
day, all cooked!
“Sleeping on board a rig is different. Like
sleeping in a darkened coffin, with the thought of
‘just a wee spark and the whole thing goes up’.
“Lifeboats are launched some 100 feet from
the sea, and you climb in an almost-vertical
craft, strap in and when launched (you’re in the
dark) it goes underwater and bobs up like a
cork. Better than a fairground ride any day!”
Like most photographers, Rob isn’t limited
to just one thing. “Oil work is only a part of
what I do. I also have a publishing company
producing books on NZ. Hunting with Hounds
in NZ sold out 5000 copies.
“I also work in tourism – I’m just back from
a trip to an active volcano in Vanuatu. It was
spewing lava 200m above us, as we stood
on the crater rim watching if a piece was
going to hit us...”
For more, see Rob’s websites – www.robtucker.co.nz and www.tuckermedia.co.nz
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NZ Photographer
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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 a professional
photographer, and our illustrious editor,
Ollie Dale. Ollie has been a professional
photographer for seven years, and has had
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: Canon EOS 30D
Shutter: 1/500 sec.
aperture: f/16
ISO: 1000
FrOm the authOr: I changed the original
to black and white because there wasn’t
much colour there anyway, but what I
loved about that picture was the sheer
size contrast between the group of
people and the Pohutukawa. People,
flocking under the giant shadow it cast,
like birds.
CRITIQUE
OP1
SIZED UP yoUr worK crItIQUeD
OP1
OllIe’S COmmentS: First of all, having also
seen your original images I’m pleased to
see you have a good grasp on cropping
your images. In this image I also like the
structure of the image that you mention – the
people and the tree do work well. One
thing I would have liked to have seen was
more depth to the image – your settings tell
me that you had a lot of latitude with the
light, so I would have put a preference on
my aperture settings and reduced my depth
of field. What detail there is in the clouds
doesn’t add to the image, so the clouds
could be out of focus, and I would like to
see the hill slowly going out of focus as it
comes down the image towards the viewer.
The EOS 30D has a flash sync of 1/200
sec, so you definitely weren’t using flash.
With the same light you could have kept the
shutter speed at 1/500 sec, and changed
the aperture to f/5.6 and the ISO to 250
and that would have introduced some of
that depth of field effect.
As it is, I actually don’t mind the colour in
the tree and the grass, although I agree that
the people’s clothes are distracting. Perhaps
you could do something like my Option 1
image? (OP1)
You have a good grip on cropping your
images
“ “
NZ Photographer
Mar 3
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Camera: Canon EOS 30D
Shutter: 1/500 sec.
aperture: f/16
ISO: 1000
FrOm the authOr: I was with a
group of Auckland Uni Chemists
who I didn’t know, and I really
wish I had sucked up my pride
and actually got down on the
grass properly, but I didn’t because
I was a little embarrassed. I was
trying to capture the bliss of the
swing, and even though I missed
the crucial shot of the boy’s face, I
think this photo still captured that bliss. I’ve
seen the filter that’s been used for singling
out colour – I didn’t know how to do that
so I just selected all the orange of the
t-shirt and kept it bright while making the
rest B&W, because the orange captures
the mood of childish fun, while the B&W
shows the action and shadows and lines
etc.
OllIe’S COmmentS: This image suffers from
the same focus issue as the last one – I
agree that it’s a nice moment, although
it perhaps needs more of the boy’s face
as you suggested (that’s just a matter of
shooting more until you get the perfect
moment), but again, the background is too
much in focus to really bring the viewer’s
attention to the swing and its
occupant. The identical settings as
the last image mean that too much
of the detail of the vines compete
with the detail of the swing. Here’s
a Photoshopped example of how
a narrower depth of field can pull
a subject out of its background
(OP1).
With regards to the colour
treatment, I’ll be happy to give
you lessons on how to create
selective colour images. The way
you describe sounds and looks a
bit blunt – there are parts of the
shirt missing, and parts of the
background still coloured (just
under his left sleeve). A more
subtle approach can be more
effective. (OP2)OP1 OP2
NZ Photographer Mar
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19Camera: Canon EOS 30D
Shutter: 1/500 sec.
aperture: f/16
ISO: 1000
FrOm the authOr: I guess I wanted to take
a photo of the legs in the vines because it
shows how many people there were (it’s
strange to see that in such a huge vineyard),
but the boy turned around and looked at me
and I thought that was what made the picture
– he’s so little he could still be seen under
the vines! So I made it B&W and got him to
stand out because without him it would be a
boring picture.
OllIe’S COmmentS: Good work on the timing
– it’s definitely more interesting with the boy
engaging the viewer. You’ve also managed
to use selective colour well, even though I’m
not a huge fan – there aren’t any obvious
errors as in the last image.
There are three really distracting elements to
your composition, though, and unluckily for
you they’re not the easiest thing to avoid.
Obviously the timing of the boy looking
means that you wouldn’t have got that
picture without being where you were at the
time, but where you were at the time is what
lets this image down.
The enormous fence post that cuts the image
in half is unfortunate, as is the empty glass
tray to the right of the post. Finally, the big
overexposed patch of sky really needs to
go, as it’s way too distracting for me.
Like I said, not easily fixed. The fence post
could only be moved by moving further
along the row and waiting until the people
had walked past it. Who knows what the
empty glass tray is doing there, but asking
someone to move it only alerts the crowd
to your presence, which can spoil a good
candid moment. Lastly, the sky – there are
two ways to fix this; either drop in another
sky in post production, or change your
angle to the row of vines so that you’re
looking more at it than along it – that way
the amount of sky in your shot is reduced.
As for what to do with the image you sent
in, perhaps something like this? (OP1).
OP1
Get your images critiqued by a professional –
send an image to [email protected]
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!
NZ Photographer
Mar 3
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Now you’ve been inspired,
and shown how to do it
on any camera, impress us
with your art. Follow the How-To and
send your best image to competitions@
nzphotographer.co.nz.
Because it’s fun, creative and easy to do
we’re expecting lots of entries, so even if
you don’t win you may still get published on
our Best of the Rest page.
Be in to win the cover of Issue 13 and a
$100 voucher from the good folk at Giclée
Print Ltd. Visit www.gicleeprint.co.nz
Images must be 100dpi, 40cm/1600px
wide, and sent to competitions@
nzphotographer.co.nz by 5pm on Monday
the 5th of April, 2010. Winner will be
published in Issue 13, out on Wednesday
the 14th of April, 2010. (Can you believe
we’re talking about April already!?)
SmOkE ART SInGLe ImAGe comPetItIon
COMPETITIONS
NZ Photographer Feb
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TRAvEl PHOTOgRAPHYPhoto eSSAy comPetItIon
Open Travel Photo Essay – due
5pm Monday the 5th of March,
2010. Your images can be
historical or recent photos, but they must
have a travel (overseas preferred, around
NZ is ok) or exotic theme. Remember too,
essays must tell a story in the images, where
each can be taken as a single image, but
together they convey an overall story of the
subject. Winner will be announced in our
next issue, Issue 12, out on Wednesday the
24th of March.
NZ Photographer
Mar 3
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CLUBS
We’d like to invite NZ’s
photographic clubs and
societies to be a part of
this magazine. Send us what’s coming up
(usually we need about six weeks’ notice
for upcoming events), your thoughts on a
particular part of the industry, or even just
your contact details. We’d like to highlight a
club or society in every issue, and with only
16 issues a year it’ll be first in, best dressed.
This month we’d like to share something
sent in by Ross Muir of the Images
Photographic Group (www.images.org.nz):
“I am part of an organisation called
the Fungal Network of New Zealand –
an incorporated society whose ‘main’
membership is drawn from Government
scientists, amateurs and photographers.
They study mycology – the fungi of the
world that are an essential part of our
ecology. It would be safe to say that if fungi
were to cease to exist, life as we know it on
this planet would be seriously threatened.
Once a year a ‘Fungal Foray’ is held
for a week, alternating in sites between
the North and South Islands. Around 100
folk (including several from overseas)
gather together in a remote area
(but one with convenient comfortable
accommodation nearby).
The purpose is to go out in small
groups scouring the countryside to locate,
photograph and catalogue fungi.
My wife and I have been part of this
for some years as amateur photographers.
Although the information on the various
fungi is quite fascinating, they present an
amazing chance of photographing them at
close quarters under ideal circumstances
– and in the company of people who
know when and where to find them. I have
attached one of my photos to give an idea
of the possibilities.”
This year’s Foray is being held at Glentui
Meadows near Oxford, just Northwest
of Christchurch from the 2nd to 8th May
inclusive. See www.glentui.co.nz
For any information, contact Petra White
Contributor: Ross Muir, Images
Photographic Group
THE PHOTOgRAPHY COmmUNITY whAt’S new wIth PhotoGrAPhy cLUBS & SocIetIeS AroUnD new ZeALAnD
NZ Photographer Mar
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SOny tX5
Our early info on this diminutive
shooter only indicated it’d be
waterproof, so it’s a pleasant
surprise to see some further optimisations
thrown in for use in less hospitable
environments. You’ll be able to go down
to 10 feet under water with the TX5,
drop it from a 5-foot height, or explore
the tundra at temperatures as low as 14
degrees Fahrenheit (-10 Celsius) without
the camera throwing in the towel. So Sony
claims anyhow. Other features include a
now confirmed 10fps burst mode, a 10.2
Megapixel Exmor R CMOS sensor, 4x
optical zoom plus optical image stabilization,
and a 3-inch touchscreen on the back. The
one thing that doesn’t make the transition
from rumor to reality is the reputed 1080p
movie mode – the TX5 makes do with a still
desirable 720p video recording. Sony’s
also kicking out the DSC-H55 today, which
will have the same video mode, but adds
a 10x optical zoom and a thicker, non-
weatherproofed body.
Source: Engadget
haSSelBlaD h4D-40
Tough though it may be to believe,
Hasselblad’s 39 megapixel H3D II
actually came out in 2007. Yeah, last
decade. In other words, it’s about time we
saw a true successor hit the market, and
with PMA just about ready to get going in
Anaheim, the bold and beautiful H4D-40
is making its grand entrance. Boasting a
40 megapixel sensor, this medium format
behemoth – which we spotted in a leak late
last month – also features a ‘True Focus’ AF
system and ships with an 80mm lens and a
viewfinder. The kit is said to be shipping now
across the globe for US$19,995 (or 13,995
Euros / £12,995), which should make
choosing between a new shooter and a
public college education remarkably difficult.
Source: Engadget
rICOh CX3
J ust like clockwork, here’s Ricoh –
six months after its last CX series
refresh – with a new superzoom
point-and-shooter to tempt us into
breaking open those piggy banks. The
package on offer is compelling: there’s
a new 10 megapixel back-illuminated
CMOS sensor, an enhanced noise
reduction algorithm borrowed from the
GR Digital III, and a 3-inch 920k-dot
LCD, while the 10.7x optical zoom
lens (28-300mm in 35mm equivalence)
is carried over from the CX2. 720p
video recording – fast becoming a
standard feature in compact cameras
– is present and accounted for, with
recording in 16:9 ratio available to
the ubiquitous Motion JPEG format. The
CX3 is arriving soon, with early prices
of NZ$699 matching the cost of the
current generation.
Source: Engadget
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
THE PHOTOgRAPHY COmmUNITY
NZ Photographer Mar
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IN THE NExT ISSUE OF NZ PHOTOgRAPHER…
Underwater Photography
What to look for in a Wedding Photographer
Open Travel Competition WinnerPlus much more...
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