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Issue 12 March 24th 2010

Helping you take better photos

What to look for in a

WEDDING PHOTOGRAPHER

How To: Underwater Photography

Your Images Critiqued

Open Image Winner

The Photography Community

NZ Photographer

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CONTENTS

4 Underwater Photography

10 Pic of the Bunch

17 critique

22 The Photographic Community

16 WeddingPhotography

23 Cool Stuff

14Photographic Community

21 cool stuff

14Critique

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4 Underwater Photography

Photographys a funny beast its so intertwined with mood and psychology. Some days you wake up and you just dont feel like turning your camera on, and others you cant wait to get out and get snapping. Sometimes all thats needed is a little inspiration to kick start your enthusiasm.

Thats where the internet has made such a difference to photography.

You can go online and search for any image you want, and if you know

how to use Google you can even search for high res images. Sometimes I use

Google for inspiration for specific subjects, and other times just out of curiosity.

The problem with Google is trawling through all the rubbish to try and get that

sometimes elusive inspiration.

And then there are sites like www.1x.com thanks to Mike from Gicle Prints

for passing that on. 1x.com claim to have the best photos on the web thats

debatable, but whats great is the huge diversity of inspirational content they

have. I encourage you to browse through it, no matter what level of photography

youre at. There is something there for everyone to enjoy and use as the

inspiration for your next project.

Speaking of Projects, dont forget Lachy Barclays exhibition this Friday night

(26th March) if youd like to come please email editor@nzphotographer.co.nz

and Ill send you details.

Come along and see some

inspiring works by a 15 year

old photographer!

EDITORIAl

ABOUT Whether youre 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 its 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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14Critique

Cover Image: Single Image Competition Winner Brendan Doran

NZ Photographer

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Underwater photography is a challenging and rewarding hobby. There are a number of new techniques that you need to

learn, but the good news is, whether

youre in the water or the air, the basic

techniques of photography remain the

same the rule of thirds, framing and

image composure, etc. Now the bad

news underwater photography is not

easy; it has been described as taking a

photo from a moving car in the fog.

Obviously, the first thing is having a

camera that works underwater. The Olympus

Myu range of Shockproof and Waterproof

cameras really brought underwater

photography to the digital world, and now

most other major camera manufacturers

have at least tried a version of their own.

The other, more expensive option is to

purchase or hire a waterproof housing of

some kind to protect your DSLR camera. It

depends on your underwater abilities as to

which will suit you best, as operating an SLR

camera underwater is not easy.

This article talks about shooting with

an SLR, but many of the principles

apply to compact cameras, both the

waterproof versions and normal compacts

that are in waterproof housings.

Once youve got an underwater camera,

its time to get wet... almost. First its important

to ensure you are 100 percent comfortable

in the water, without the camera.

One of the biggest issues with people

trying to take photos underwater is keeping

still theres much less light under the

surface of the water, so your shutter speeds

will be slow, while at the same time youre

battling with waves, swells and currents.

The ultimate underwater photography

experience is when you can dive below

the surface to a calmer part of the ocean.

If you do go diving, you need to know

your diving equipment like the back of your

hand and be very confident performing all

the diving techniques (this includes buoyancy

and the ability to hover mid water).

Dont be fooled, using a camera

underwater can be distracting, and

for a new diver it can be enough for

you to crash into the reef, or worse,

float to the surface without knowing it.

This alone can be life-threatening.

HOW TO

UNDERWATER PHOTOGRAPHYTips and TricksBy sam Woolford

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PreParation

Preparation is a priority for underwater

photography you cant go back to the

car for a new battery or SD card. Set up

your camera, housing, and flash (if you

have one) before you get into the water

and then take some practice shots. Test

your settings. Everything will work similarly

to how it will work underwater, although

focusing on dry land will be easier, and

your flash will appear to be very powerful.

In fact, once your camera is set up its not

a good idea to open your housing on the

boat or standing in the waves. The humidity

can quickly create condensation on the

inside of the housing, which will mean your

photography is finished for the day.

Anticipate what you might see

underwater; adjust your flash, and f-stop

ahead of time. It would be terrible to see

a shark and miss the photo because your

camera was at F22.

Using a flash or strobe

Once in the water, for most photos (within

1-2m) you will need the flash on. Water

absorbs light very quickly so you cant

rely on sunlight once youre more than

five metres or so under water, so you will

need to create your own. Try to get lower

than your subject (looking up to utilise any

ambient light) if possible at eye-level. Turn

your flash on if you are within 1-1.5m

of your subject. If you are further than

1.5m away turn the flash off, unless your

subject is big and fast like a big fish, shark

or sting ray. For best results if possible

always try to get as close as possible to

your subject and use the flash. Red and

yellow are the first colours in the spectrum

to disappear underwater therefore if you

dont use a flash your photo will look blue.

If you leave the flash on, and take a

photo of a subject more than a metre or

so away, be prepared for the flash light

to pick up every little bit of floating gunk

between you and your subject unless

you are lucky enough to be shooting in

exceptionally clear water. The only way

to solve this is to get closer to the subject,

and/or purchase an external strobe so

that you dont have a direct flash.

The fastest and easiest way to improve

your underwater photos is to get an external

strobe. To use the strobe, you need to be

able to control your cameras aperture, and

control the power of the strobe. Be warned

if you think photography is expensive,

underwater photography equipment is very

specialised, and you get what you pay for.

If you have a strobe, cover the front

of the housing directly in front of the

internal flash with duct tape when

adding an external strobe that is

optically fired, otherwise you will still

get bits and pieces in the water reflected

from the internal flashs light.

Note: Use auto-white balance with your

flash. Dont use cloudy white balance or

underwater mode with your strobe. This will

only result in photos that are reddish-orange.

Use auto, aperture priority.

Tip: Always focus at the eyes, and try to get

a photo of the subject facing you.

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Macro Mode

The majority of the time you will want your

camera in macro mode. Getting close to

your target improves color, contrast, and

sharpness. It also pays to know how to turn

macro mode on and off, while underwater.

Note: As a rule of thumb if youre further

than 60cm away from your target turn the

macro setting off.

Tip: Keep your camera zoomed out when it

is not in use, as this will effect how closely

you can focus, especially in macro mode. If

you start to zoom in, you will find you cant

focus as closely on the subject, and that

defeats the purpose of macro mode. Also,

it enables you to point and shoot if a school

of kingies comes past. The pictures might not

be perfect but it is better than nothing. Just

like the boy scouts it pays to be prepared.

When you first start

underwater photography,

use your camera on auto

mode. As you get more

comfortable switch to full

manual mode, because

you cant control your

surroundings but you

can control the camera.

This includes the shutter

speed and aperture/f-

stop independently of each other thats the

mode you want to be using.

Photo coMPosition (qUick tiPs)

For best composition get low, shoot

at an upwards angle, never centre the

subject, and like normal photography

try to fill your frame with the subject.

Dont shoot down at the subject, your

image will end up dark and underexposed.

Make sure you focus on the subjects

eyes and that they are in focus.

Set your camera to the highest resolution,

and the lowest ISO to begin with.

Use auto white-balance when

using a flash/strobe, and custom

white balance or underwater

mode when not using a flash.

If you are shooting with natural light,

make sure you dont go deeper than

10 metres or one atmosphere, and

make sure the sun is behind you.

If your underwater photos are soft and

not in focus, check to see which shutter

speed was used. A rough rule is it needs

to be 1/30th for still objects, 1/60th

for slow moving objects, and a minimum

of 1/125th for faster moving fish.

Take a dive torch with you. Its a

helpful tool and you can use it to

help your camera auto-focus.

When not using the flash, make

sure you use manual white balance

mode, when using the flash, make

sure white balance is set to auto.

Get out and shoot. Find a place

to dive near where you live.

shoot in raw Mode if Possible.

Check photos underwater if you can.

Get the exposure right in camera;

dont rely on post-processing.

what to avoid

Make sure you have a main subject,

and avoid taking a photo that is too

cluttered without a clear subject.

Dont shoot only in landscape mode;

think portrait shoot vertically 50

percent of the time.

Dont photograph a subject more than

NZ Photographer Mar

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one meter away, as you can end up

shooting through too much water.

Make sure you dont have a

distraction in the background. See the

underwater composition section.

Dont use a long zoom lens to

zoom in to your subject.

Avoid trying to shoot a busy

reef in one photo. Try to isolate

subjects on the reef, instead of

taking a photo of everything.

Dont accidentally shoot at ISO1600

or a small jpeg quality during the

dive. Always check your camera,

batteries, ISO and JPEG/RAW

quality before starting a dive.

Make sure you use the lens for

what its for, and dont try to

shoot through too much water.

The joy of taking a good photo

underwater is unique; its a difficult and

challenging environment, which makes

success so gratifying. If you take

the time to be prepared and

know your camera before getting

in the water your success rate

will improve. Dont forget your

time is limited underwater to

your diving tables and the

amount of air in your tank; its

an increased pressure that

tends to be forgotten. Like

everything

the only way

to improve at

underwater

photography

is to make a

few mistakes,

then practice,

practice and

practice. Good

luck and good

photography.

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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 Travel cOmpeTiTiOn

These Open categories are really popular! Well done everyone on entering its pleasing to see such a high standard of photography sent in for our competitions.

The key to this competition was the

essay side of the photography. The

images needed to tell a story, and

therefore needed some sort of link

between each other.

The best example of this, and this

issues winner, was sent in by:

BRENDON DORAN

Congratulations Brendon your series

was well shot, interesting and fitted in

well with the essay requirement.

From Brendon:

These images were taken on a trip

through South America. The photos

document part of our journey through

Patagonian Argentina heading towards

the town of El Chaltn.

All photos were taken with a Canon

40D camera and either a 50mm or 17-

40mm lens.

Brendon wins this issues cover, and

a $100 voucher from the fabulous

people at Gicle Print. For all YOUR

fine art and canvas printing needs,

visit www.gicleeprint.co.nz

NZ Photographer

Mar 24

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Corinne Moore

Allison Msckenzie

BEST OF THE REST

Hilary Lakeman

Emily Moore

NZ Photographer Mar

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Hilary Lakeman

Emily Moore

NZ Photographer

Mar 24

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BEST OF THE REST

Howard Jack

Melanie Beres

Lisa Portman

NZ Photographer Mar

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Nev Bonsor

Sue Martin

Roger Griffiths

Michelle Davies

Wen Bertoldo

WANTED!MEDiuM forMAT sliDE projEcTor

Must be in good working condition

Please email barry_smith@xtra.co.nz or phone Barry on (03) 312 8647

NZ Photographer

Mar 24

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FEATURE

WHAT TO lOOk FOR IN A WEDDING PHOTOGRAPHERand WhaT ThaT means TO yOu

The wedding season for 09-10 is coming to an end, and wedding photographers all over the country move from shooting mode into post

production mode, and also start looking for

other things to keep them busy until October,

like planning for next season.

NZ Photographer has contacted a few of

NZs top wedding photographers to ask what

they think bridal couples should look for in a

wedding photographer. How is this relevant

to you? Well, if youre serious about shooting

weddings, here are a whole lot of tips about

what couples should be looking for in you,

the wedding photographer.

Also, having this information at your

fingertips and educating couples about

what to look for in a photographer will lift

the standard of photography around New

Zealand, and thats exactly what were all

about here at NZ Photographer! Plus you get

to look knowledgeable to your clients.

Firstly, when couples are looking for

a photographer, they should start with

professionals. The NZ Institute of Professional

Photography is the only qualifying body for

professional photographers in New Zealand,

and currently has over 350 members across

New Zealand covering the disciplines

of Wedding, Portrait and Commercial

Photography in fact, a search for wedding

photographers on their website returns 131

qualified wedding photographers across New

Zealand. As such, we chose to contact some

of these qualified professionals for comments.

Steve Sharp (www.shots.co.nz), the

Wedding Director of the NZIPP, is based

in Whangarei, and works all across New

Zealand and around the world. When

looking for a photographer for your wedding,

look for warning signs: make sure that what

they are telling you and what you are seeing,

match up. You should always view whole

wedding albums to see what sort of job the

photographer is capable of.

Is the photographer using good equipment

and do they have back-up equipment just in

case? Make sure their personality suits yours.

Johannes Van Kan

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Steve Sharp

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Emma Hughes

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If you click with your photographer you are

more likely to relax and trust them. This in turn

will show through in your photographs.

Know what you are paying for all the way

through. Add-ons, like extra hours and more

album pages can be an unwelcome surprise

if you arent paying attention. And dont be

bullied with hard sell tactics.

Emma Hughes

(www.emmahughes.co.nz), a wedding

and portrait photographer based

on Waiheke Island, agrees.

Its really important to meet your

photographer in person before making

your decision choosing a photographer

on price alone is not advisable; your

photographer is going to be with you on

one of the most exciting days of your life

so making sure that you click with your

photographer is one of the crucial elements

to getting great, relaxed photographs on

your wedding day.

Look for someone who is keeping up

with current trends as it shows that they are

interested in progressing in their craft and will

therefore be more likely to create something

new and exciting for your wedding day

rather than just repeating set shots from

previous weddings.

Make sure you see a whole album

from one wedding not just a selection

of the photographers best shots to

consistently shoot great photographs

throughout the course of the wedding day

is a real testament to your photographers

ability to work under pressure and should

give you confidence that they will capture

your day with flair and professionalism

from start to finish.

Johannes Van Kan

(www.modafotografica.co.nz), based in

Christchurch, has just recently won the

WPPI (Wedding & Portrait Photographers

International) Best Wedding Album shot

by a Single Photographer (you can view

his winning album here), and reiterates the

importance of the photographer getting on

with the bridal couple: The most important

thing is understanding the bridal couple,

gaining their trust, and having the visual skills

to create beautiful imagery for them.

Gary Hewlett (www.loveimages.co.nz),

an Auckland-based wedding, portrait and

commercial photographer, has a great

ebook on his website, Ten Tips on How

to Choose your Wedding Photographer,

and cant stress enough the importance of

paying to get good images.

Get the photographer who will provide you

with the best images, even if this pushes an

album beyond your budget - you can always

purchase an album later, when the budget is

flowing a little more freely again, but you can

never make average images into good

images later. A bad image will always

be a bad image, not matter how much

photoshopping is done to it.

So, for those of you who want to be

wedding photographers, emulate what the

professionals are telling their clients to look

for, and for everyone else, educate all your

friends who are getting married!

Emma Hughes

The most important thing is understanding the bridal couple, gaining their trust, and having the visual skills to create beautiful imagery for them.

NZ Photographer

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Theres 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: Olympus SP-590 UZ

shUtter: 1/50 sec.

aPertUre: f/4

iso: 125

aUthor: Jo Todd

froM the aUthor: I am an absolute beginner

photographer but was wondering if my shots

are any good. On my first photo I really liked

the way it looked like it was woven and the

light shining on it really drew my eye to it...

ollies coMMents: Its great to have

beginners send in their work to be

critiqued. For starters, I like your eye

youve seen something attractive there and

photographed it. Now to point out how

it could be better (and this is just my

opinion, ok?).

The most interesting part of the image,

and probably that which you saw originally,

is the central vertical section in-between the

two stalks. The dark stalk on the right is very

distracting, so the best thing you can do is

crop your image.

As your photography progresses theres

one thing you should remember you are

the master of your own work, so you are

in control of how you present your images.

Dont fall into the trap of thinking that every

image you take needs to be the size and

shape that your camera takes it at. In this

case, the vertical section is very striking,

and would look good printed out on canvas

CRITIQUE

SIzED UP yOur WOrk criTiQued

OP 2

(www.gicleeprint.co.nz) and hanging on

your wall (option 2).

What I like about cropping this image

down is that suddenly the image has depth,

and the interesting parts can be examined

more easily. For example, I love that through

the leaves you can see some of the plant life

in the background.

Learn to see the pictures within your

pictures, and your creativity will be freed.

NZ Photographer

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OP2

NZ Photographer Mar

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caMera: Olympus SP-590 UZ

shUtter: 1/400 sec.

aPertUre: f/5.6

iso: 64

aUthor: Jo Todd

froM the aUthor: and the shot of the

butterfly, I saw the butterfly landing on the

flower and thought that it looked really lovely.

ollies coMMents: Here is a great example

of how tricky photography can be youve

(again) seen something you like and

photographed it, only this time your timings

great, but the light isnt.

See how the camera, which I notice was

set to Auto, has averaged the light and

given you a dark exposure of the butterfly.

Here, because the sky is so bright, the

camera has underexposed the image,

meaning the body of the butterfly is lost in

shadow once your skill increases you will

be able to control your camera to give you

a more attractive exposure.

Either A) shift the sun around to light

this side of the butterfly, which isnt easy

to do as the suns very stubborn about not

moving very quickly, or B) overexpose

your image to compensate for the bright

sky thats trying to fool your camera.

Seeing as we cant re-shoot this

scene, what can we do with the image

we have? I dont know if you have

Photoshop, but a bit of post production

and filters can resurrect an image and

give it that magic that makes it an

amazing image and not just a snapshot.

In this case I used the Ink Outlines filter,

at these settings: Stroke Length =x 4, Dark

Intensity = 20, Light Intensity = 10 (Option 2)

What a transformation! Suddenly

we have a very colourful, interesting

image that we can proudly show

off to everyone we know.

Good work, Jo. Both these images had

great potential, and look very striking with a

little tweak here and there. Now you know

that image making doesnt stop once youve

pushed the button on your camera always

look for what you can do with those photos

to turn them into amazing images!

Get your images critiqued by a professional

send an image to critique@nzphotographer.co.nz

with a brief description of how and why you took

the shot, and well tell you what we think and if it

could be improved!

The views and opinions expressed in this section

are only one persons 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. Youre

welcome to send those ideas into the editor@

nzphotographer.co.nz. The opinions contained

in this critique section are by no means the only

opinions that could be held about these images.

Workshop SeriesBringing the knowledge to you.

NZ Photographer is pleased to announce the next dates of our popular Workshop Series... If you like NZ Photographer, youll love these workshops!

Basic Photography 1 Camera Basics Camera Presets Portrait Tips Using the Flash Using Macro Camera Angles+ the Latest Magazine Reviewed

(Bring your camera!)

90 min/ $40Sat 10th Apr10 - 11:30am

Basic Photography 2 Composition Rule of Thirds Megapixel vs. Megabyte Photo Editing Software+ the Latest Magazine Reviewed

(Bring your camera!)

90 min / $40Sat 10th Apr12 - 1:30pm

Post Production Skills 1 Basic Photoshop Other Software Options Workflow Tips+ the Latest Magazine Reviewed

90 min / $40Sat 24th Apr10 - 11:30am

Post Production Skills 2 Advanced Photoshop Techniques+ the Latest Magazine Reviewed

90 min/ $40Sat 24th Apr12 - 1:30pm

Limited seats for each workshop, so book now! Email editor@nzphotographer.co.nzeditor@nzphotographer.co.nz

Workshops held at Studio 3D, 93 The Strand, Parnell, Auckland, in association with PhotoNZ Ltd. Come and meet other subscribers, ask questions and get tricks & tips to improve your images!

Pre-bookings Essential!

NZ Photographer

Mar 3

22

UNDERWATER COmPETITION single image cOmpeTiTiOn

COMPETITIONS

Heres a challenge this competition is for images taken underwater, so youre going to need a waterproof camera. If you want to hire one for the day

let Ollie know and hell point you in the

right direction. The brief: Take an interesting

image underwater that we could use on our

cover, and the most interesting image wins.

Simple. Even if you dont win you may still

get published on our Best of the Rest page.

Be in to win cover of Issue 14, and the

fabulous $100 voucher from the fabulous

people at Gicle Print. For all YOUR fine art

and canvas printing needs, visit

www.gicleeprint.co.nz

One entry per person.

Images must be 100dpi, 1600

pixels wide, and sent to competitions@

nzphotographer.co.nz by 5pm on Monday

the 26th of April, 2010. Winner will be

published in Issue 14, out on Wednesday

the 5th of May, 2010.

SmOkE ART COmPETITION (SINGlE ImAGE)a Quick reminder

Your amazing smoke art image is due in our email inbox no later than 5pm Monday the 5th of April, 2010. If you havent tried it yet, read

Issue 11, go and buy some incense and

get snapping.

Be in to win cover of Issue 13, and the

fabulous $100 voucher from the fabulous

people at Gicle Print. For all YOUR fine

art and canvas printing needs,

www.gicleeprint.co.nzOne entry per person!

Images must be 100dpi, 1600

pixels 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.

NZ Photographer 23

Mar

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NZ Photographer

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CLUBS

This month wed like to share something sent in by Noel Dawson, of the Eden Roskill Camera Club:At the end of 2009 I had occasion to visit

one of the large photographic retail stores

in Auckland. I used to be a frequent visitor,

but it had been some time since I was in that

store. I noticed that they now kept a very

small stock, and restricted range, of film;

that the shelves of photographic chemicals

had disappeared completely; and that

supplies of printing paper for the darkroom

had dwindled to a few packets that were

probably past their use-by date. None of

this was a surprise, but what was something

of a surprise was the speed with which

these changes had occurred.

When I was a boy, I associated the word

revolution with people wearing sombreros

and crossed bandoliers on a remote

continent. I had yet to learn about other

types of revolution. It has, however, been my

privilege to witness a few revolutions in my

own day including the molecular revolution

in biology, the revolution in communications,

and the digital revolution in photography.

In 1816, Nicphore Nipce combined

the use of the camera obscura with

photosensitive paper; subsequent years then

saw a number of technical improvements

relating to photosensitive materials. By

1900, Kodak introduced the Box Brownie

camera, which put photography within the

reach of ordinary people. Oscar Barnack

introduced the use of 35mm film in 1914,

Kodachrome appeared in 1936, the first

THE PHOTOGRAPHY COmmUNITY WhaTs neW WiTh phOTOgraphy cluBs & sOcieTies arOund neW Zealand

Wed like to invite NZs photographic clubs and societies to be a part of this magazine. Send us whats coming up (usually we

need about 6 weeks notice for upcoming events), your thoughts on a particular part of the industry, or even just your contact

details. Wed like to highlight a club or society in every issue, and with only 16 issues a year itll be first in, best dressed.

NZ Photographer Mar

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THE PHOTOGRAPHY COmmUNITY

digital SLR appeared in 1991, and by

2004 Kodak ceased to manufacture film

cameras. Within the space of 188 years,

photography progressed from the crude

modification of an existing optical tool to the

extinction (over 13 years) of that technique,

and the introduction of new technology that

has placed photography within the reach of

an even larger populace. (Those interested

in this history should go to the following site:

www.photo.net/history/timeline).

A very interesting and instructive book is

Secret KnowledgeRediscovering the Lost

Techniques of the Old Masters, by David

Hockney (London, Thames & Hudson,

2006). Hockneys researches have revealed

that somewhere between the 15th and

16th centuries, beginning about 1430,

a revolution took place in painting. Those

interested can easily see the result by

comparing the paintings of Giotto, painted

before that revolution, with those of Ingres,

Raphael, or van Eyck (to name a few),

painted after it. This revolution was not due to

improved painting skill, but to the introduction

of a new set of tools: the concave mirror,

the camera obscura, and later the camera

lucidawhat Hockney refers to as optics.

So, the new technique introduced by

Nicphore Nipce in 1816, which marked

the beginning of photography, was really

only a late continuation of the revolution that

had taken place in painting somewhere

between the 15th and 16th centuries as

the result of the employment of optical

techniques, that is, new technology.

The introduction of optics as a tool in

Renaissance painting, and the introduction

of digital capture in photography, have

both been revolutions. Revolutions have

consequences, including the loss of old

skills, the acquisition of new ones, and new

possibilities. However, it is important not to

be taken up so much with the technique

either in the Renaissance or in 2010 that

we forget something more important, the

person with the brush or the camera in their

hand. Let David Hockney sum it up:

The lens cant draw a line, only the

hand can do that, the artists hand and eye

coordination with his heart This whole insight

about optical aids doesnt diminish anything.

For us as photographers, this same

message has been enunciated by David

Ward (Landscape Within, London:

Argentum, 2004) :

Images produced by blindly following

the rules without personal insight will be

empty vessels.

Warm regards,

Noel Dawson

President, Eden-Roskill Camera Club

CONTACT: Eden Roskill Camera Club, go to www.edenroskillcameraclub.co.nz

Images produced by blindly following the

rules without personal insight will be empty

vessels.

NZ Photographer

Mar 24

26

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 gizmos to bring you the best of the best. Enjoy!

COOl STUFF

GADGETS

the disMantled d90

Copy: Words... what good are words

when youre trying to describe the horrific

visage of a growling, rugged, heavyweight

camera coated in the frilly tutu of the color

spectrum, magenta? We shant try to

describe the peculiar mix of revolt, disgust

and subtle desire that this whole thing

incites in us, and will just point at you after

the break for the video. Theres plenty of

good clean fun to be had while exploring

the dismantled D90 (though theres one

instance of foul language when the modder

gets an electric shock, understandable) and

if youre of a nervous disposition you can

always skip the shockingly pink finale.

Editors note I found this

rather amusing to watch!

Source: Engadget

3d in nZ

A post on Engadget last year described

the revolutionary Read 3D W1 camera

from Fujifilm. I read: Some of more

notable features on the W1 aside from

being the touted worlds first 3D imagine

system, of course is a 3x optical

zoom, a 3D LCD system for on-camera

viewing, Dual Capture Shooting Mode

for taking two shots simultaneously with

different settings, and just to be perfectly

clear, the ability to shoot video in three

mind-blowing dimensions. Additionally,

the two lens can be used for some more

creative, but decidedly old-fashioned,

2D photography. As for the V1 display,

its got a 3D/2D LCD panel with 800

x 600 resolution, supports playback of

3D pics and movies, and supports SD/

SDHC. No word on what the resolution

/ card support is for the camera, but

for now were gonna guess its at parity

The Dismantlesd D90

NZ Photographer Mar

24

27

with the frame. If you want physical 3D

prints, Fujifilm says itll be providing that

service, doing the prints in-house and

send them your way. Actual printers for

purchase will come once a sustainable

market exists (assuming that happens).

Well, now its available in NZ The

Fujifilm Real 3D System (Camera $RRP

$1,200, Frame RRP $800) is now available

at Photo Warehouse, WPS, Photo &

Video Christchurch, & Camera & Camera,

Auckland. Go on, send me one to review

Source: Engadget

lensbaby

Lensbaby lenses have been out and about

for a long while now, but we were just

recently able to sit down with a few of the

companys best and brightest in order to

form our own opinions of the (admittedly

overlooked) creative devices. For those

unaware, Lensbaby makes a handful of

lenses and optics that help users engage

in selective focus photography, and

frankly, create all sorts of wild images

that would be otherwise difficult or

impossible to create within Photoshop.

Theres no question that these are hobby

lenses through and through you wouldnt

want to hinge your business on these

but are they worth the comparatively

low asking prices? You be the judge.

Source: Engadget

Lensbaby

Fujifilm Read 3D W1

NZ Photographer Mar

24

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IN THE NExT ISSUE OF Nz PHOTOGRAPHER

How To: Motion Blur

Keeping your camera clean

Smoke Art Competition Winner

Plus much more...Out Wednesday 14th of April 2010

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