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Issue 42 : May 2015

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Congratulations to Ashley Ross, the winner of this month’s competition, for his wonderful abstract image. Well done. One of the things I’d like to do

as the new editor is to increase the numbers of people entering in our monthly competition.

If you’re tempted by the prizes on offer, yet still are not entering, then that says to me that there must be something blocking you. I’d like to try and remove as many barriers as possible. The rules about being 100 dpi and in the colour space of Adobe RGB have now been removed.

Another common barrier to entering a competition is the psychological one of “I can’t win!”. If you have ever said this to yourself (and I know that I have!) remember that there is a difference between “I can’t win!” and “I might not win!”. If you don’t enter then, the first one applies. If you do enter, then the second applies. Yes, you might not win, but then again, you might!

Allan CoxResident 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 Allan Cox, allan@nzphotographer.co.nz

GROUP EDITOR Richard Liew

ART DIRECTOR Jodi Olsson

ADVERTISING ENQUIRIES Phone Jennifer Liew on 09 522 7257 or

email jenniferl@espiremedia.com

WEBSITE www.nzphotographer.co.nz

NZ Photographer is an Espire Media publication

Allan Cox

Welcome Allan

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Next Month's Competition: Abstract

GET SHOOTING AND WIN!

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:

• 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!✸WIN!

The theme for next month’s competition is ‘water’. From a single drop to a vast ocean, it’s everywhere, and the creative possibilities are endless. Show us what you can do!

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This Months feature artist is Craig McKenzie. Craig takes amazing bird photos and has been kind enough to shared some of his photos and tell us a

bit about his photography.

NZP: How did you first get into photography?CRAIG: Recording trips into the mountains in my youth.

NZP: What or who inspires you?

CRAIG: Wilderness and the natural world. I look at photographs and find inspiration from numerous photographers but cannot really single any out.

NZP: How would you describe your photographic style?

CRAIG: A difficult question probably best left to others to answer.

NZP: What would be in your camera bag on a typical day shooting birds?CRAIG: A camera with the big long lens and a tripod is usually enough to carry so not much more than spare batteries, cards and a few tools just in case, lunch and maybe a short lens in the hope of good landscape light on the way home.

NZP: What is your favourite photography accessories?

CRAIG: Does a gimbal head (Wimberley) count as an accessory or is it more of an essential item?

NZP: And were would the dream location to shoot be?

CRAIG: I went to New Zealand’s sub-antarctic islands a few years ago. I would love to go back with the knowledge gained on that trip and subsequently, especially if I could spend longer to really get to know it.

NZP: Aside from birds, what are your other favourite photography styles?

CRAIG: Other nature subjects and uncultivated landscapes.

NZP: When someone looks at your photos, what do you want them to take away from them?

CRAIG: Pleasure, curiosity, awe. I do not take photographs to disturb, shock or sadden people.

NZP: What is it that you love about photography?

CRAIG: An excuse to get out and about. While out, looking for photographs helps you see more.

Craig McKenzie

FEATURE ARTIST

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NZP: What are your three tips for others who want to become better photographers?

CRAIG: Look at other photographer’s photographs that you would like to emulate and take the time to try and work out what they have done to make them work for you and then try yourself. If you cannot, hopefully, you can find someone to help you. You will have definite questions to ask so you will get more satisfactory answers.

It is all too easy to take photographs these days so take time to think about each one more and decide if there is a better way to take it.

NZP: Raw vs. jpg and why?

CRAIG: Raw. Better ability to tweak exposure and white balance. I fully process relatively few photographs, so the extra time required to extract the maximum from the file doesn’t bother me.

NZP: What is the most common mistake you see people making when shooting these days?

CRAIG: A chance for me to get on my hobby horse. In nature photography, I see far too many photographs that are not sharp enough. I suspect it is to do with not taking enough care to keep the camera still or overcropping to get the subject large enough in the frame.

NZP: What is your goal with your photography?

CRAIG: May sound selfish but to enjoy myself and forget about the worries of day to day life. Others enjoying seeing them is a welcome bonus.

NZP: Do different birds require different approaches?

CRAIG: Definitely. Some birds let you approach them and for others you have to anticipate where they might move and let them come to you. There is a book in answering this question.

NZP: For those of us who don’t want to take out a second mortgage to buy a big lens, what other ways are there to get close to birds?CRAIG: Some birds, e.g., small forest birds and white-fronted terns will allow you to get close enough to them with modest lenses. It is a matter of getting to know the various species. There are some suitable lenses that do not break the bank. The Canon 400/5.6 has a very good reputation and very recently Tamron and Sigma have brought out a zoom lens that goes to 600mm for a very modest price. A photograph with the bird small in the frame but in interesting surroundings can be very effective.

NZP: Where can we see more of your work?www.flickr.com/photos/craigmckenzie ■

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Macro Number FourBy Allan Coxwww.nzphotoworkshops.com

I talked last time about the fact that as you focus closer the depth of field gets smaller. Because of this, when doing macro photography, we have to be a bit more

careful with our focus. In normal photography—unless we are shooting wide open e.g. f2.8—any small focus errors are taken care of by our depth of field.

With Macro, you have no room for focus errors. For critical focusing, I use the cameras ‘live view’ function. When live view is switched on, instead of looking through the viewfinder, we see the scene on the back of the viewing screen. This is of little value by itself. However, something

that you can do that makes it useful, is to magnify a part of the scene. This magnified view lets us check and correct focus.

Turn live view on and what the camera is ‘seeing’ will appear on the back screen. There should be a button with a symbol of a plus inside a magnifying glass, that when pushed, magnifies the scene.

Often pushing this button multiple times increases the magnification. You can move this magnified point around, with the four way directional controller - ‘multi-controller’ for Canon, ‘multi-selector’ for Nikon.

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I would normally decide which part of the scene I want to be pin sharp. I will focus on that by eye while looking through the viewfinder. Then I’ll switch to live view, magnify the part that I want to be sharp to the maximum and tweak the focus until it is perfect. Finally, I will switch from live view mode to mirror lock-up mode and take the photograph.

Obviously, this technique only works when shooting off of a tripod and will not work with anything that is moving, like an insect on the go or a plant blowing in the wind.

The tweaking of the focus, so it is perfectly sharp can be done with the focus ring on the lens. However, I am inclined to use a focus rail.

A focus rail goes between the camera and tripod and allows you to make small adjustments to the position of the camera with the turning of a knob. We’ll also use the focus rail later on for a technique called ‘focus stacking’.

If you’ve started to get the feeling that macro photography involves lots of little accessories (toys) like this, then you are right. For the more specialised

accessories like a focusing rail, eBay is probably the best place to go to get them. If, while, in eBay, you search for ‘Macro focusing rail’ you will find enough to sink the Titanic. Prices start from about $15.

If you haven’t discovered eBay yet, then you should try it. Friday night, a credit card, a bottle of wine and eBay: you can have a whole lot of fun! And two weeks later, when the parcels start turning up on your doorstep, it’s going to feel like Xmas all over again (especially if, like me, you can’t remember what you bought). ■

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COMPOSITION

PHOTOGRAPHIC SOCIETY OF NEW ZEALAND INC.

By Bob McCree FPSNZTHE THINKING PERSON’S GUIDE TO COMPOSITION

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What is compositionComposition could be described as the arrangement of the elements within an image to give a balanced and interesting picture.

How is good composition achieved?• By having a good “photographic eye”. • By applying the basic photographic principles learned.

• By control of lighting, exposure and by good camera technique.

What are the basic tenants of composition?

1. Balance. 2. Creation of a centre of interest. 3. The use of shape and form. 4. The use of perspective. 5. Simplicity.

1. Balance Above all else, the image must be ‘balanced’ - it must look right. It must ‘read’ correctly with a lead in taking the eye from the edge of the frame into the ‘centre of interest’ where the mind can dwell, evaluate, and appreciate the image. It should not be unbalanced to the point that the eye roams around the image seeking a point upon which to alight.

It should not be over-burdened with too much information so that the eye cannot comfortably land at the heart of the composition. It must fit the frame and be correctly positioned within it. It should fill the frame - not be but a part of it with useless, peripheral information surrounding the essential image.

Balance does not mean symmetrical balance - i.e., everything dead centre or all elements of equal size and shape or equidistant from each other, as this is generally uninteresting. It is better to opt for ‘dynamic balance’ where the elements are of unequal size or varying distance from each other. Think of a fulcrum - a heavy weight at one end, close to the centre of balance counterbalanced by a lighter weight at the other end, further away from the centre point. The two are uneven yet are in balance - so it is with composition.

a) Principle of thirds If the 35mm frame is mentally divided into third’s, both vertically and horizontally, experience has shown, that any subject lined up along these lines, or any intersections thereof, will often result in a harmonious balance among the various elements. It is not a rigid rule but rather a guide that will usually give a pleasing balance and harmonious composition.

b) Diagonals Diagonal lines in an image can be used to lead the eye through to a centre of interest or can be used to give a more dynamic balance to the image. They can be straight lines, curved lines, parallel lines or converging lines. Their application should strengthen the composition and add interest to the basic image. Diagonal lines are stronger than horizontal or vertical lines and when used as a lead in lines can give a strong, balanced composition.

c) Horizons Avoid placing the horizon through the centre of the image. Raise or lower it away from the centre to strengthen the image and give a better balance. Learn to make a feature of either the landscape or the sky - not both at one time. It’s called making decisions, which is what good composition is all about. Get to the heart of the image and remove the dross - a bit of each of two separate elements in one image rarely works. Better to isolate one element and build a composition around it rather than introduce too many elements into it (KISS principle). If you must have a horizon in the image make sure it is straight and level!

d) Backgrounds I consider the selection of the background to an image to be of equal, or even more importance than the subject itself. It must not compete with, or overrule the subject - for good balance it should be subsidiary to, yet complement the main subject matter. Choose your backgrounds with equal care to that of your subject, as the background is the base on which your composition sits. It should complement and enhance your subject - not overwhelm it. This can be achieved by lighting ratios, points of view, selective focus, colour and lighting contrasts, etc.

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2. Centres of Interest Most images need a centre of interest or a point that is the heart of the composition. The logical point to which the eye leads is usually best placed on the strong portion of the image, for example on the thirds line. It is often counterbalanced by one or more subsidiary elements in the composition, as explained above in ‘dynamic balance’.

The centre of interest should be the strongest element in the image around which all else revolves. It can be achieved by making it the largest apparent element in the frame, or by highlighting it with stronger lighting, or by using strong lead in lines to bring the eye logically to that point. Alternatively, you can use a

muted background to project your subject matter as the strongest element in the composition, or you can use a combination of all these artifices.

As a photographer, you need to cultivate an ability to correctly select the centre of interest in your image and build an interesting composition around it by using all the artifices of your craft. You need to be selective. You need to have a thorough knowledge of exposure and lighting and your camera’s capabilities and, above all, you need to indulge in a little creative and lateral thinking to achieve your ends. You need to create the image in the mind first then set about translating it into practice through the application of sound photographic practices.

Most photographers try to put too much information into their images

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3. Shape and Form Shape infers the organisation of lines into cohesive, two-dimensional outlines while form implies that in addition to the subject outline its three-dimensional volume is apparent, also. Because photography is inherently two-dimensional, shape and form are essentially graphic characteristics of the medium. They suggest the real world but belong to the graphic world.

Shape and form can be enhanced by light and shade, by camera angle or by colour contrast. The extent to which shape and form should be emphasised in the image should result from conscious decisions on the part of the photographer. By a change of camera position, or a lighting alteration, or a change of lens or perspective, a photographer may alter the shape and form of any given subject. He must be ever conscious of the image’s frame and how it relates to the objects within it. The emphasis may lean towards the graphic world, or, alternatively, towards the real world. But whichever way the pendulum swings, the emphasis should result from choice, not chance.

4. Perspective The perspective of an image will vary depending on the distance from which an object is viewed and by the angle of view. Thus, an object when viewed from close-up with a wide-angle lens may appear unusually large and distorted. The same object, when viewed from a middle distance, may appear very normal yet when viewed from a distance with a telephoto lens it may appear compressed. The presence of both very near and very distant objects in the same image may give the impression of expansiveness.

Conversely, the shallow field of view of a telephoto lens causes distant objects to seem unusually close together. Pointing a wide-angle lens upwards may cause distortion and converging lines. All these characteristics can and should be used to

Brought to you by the Photographic Society of New Zealand. Find out more at www.photography.org.nz

good compositional and creative effect. The inspired use of perspective and camera angle are two of the most effective compositional tools available to the creative photographer.

5. Simplicity KISS - keep it so simple! As with most things in life, simplicity in composition is the most effective. Most photographers try to put too much information into their images. Try to ruthlessly eliminate all extraneous information from the composition and endeavour to concentrate on the heart of the issue - the essential elements only.

Spend time looking through the viewfinder and visualising the final image. Try to find an angle that allows the subject to be displayed in isolation from any extraneous and peripheral information. Use all the artifices of your craft, for example, careful lens selection, precise point of view, selective focus, balanced lighting ratios, selective exposure. You can use whatever other tactic you can conjure up to keep the composition concise and strong. Within reason, the simpler the composition, the more effective it will be.

As a photographer, you must learn to use all these principles to create an interesting and vibrant image. You should cultivate your eyes to see the subject matter and your mind to create the final image. The best images are seen with the eyes but are created in the mind. It matters not that the final image may be somewhat divorced from reality - in fact; this may be an advantage. It is more important that it be compositionally and creatively effective - this is the photographer’s licence.

Of all the aspects of photography, the art of composition is an exercise of the creative mind. It involves much creative input, a fine measure of lateral thinking and an ability to apply creatively, some basic principles of the art. Do not be afraid to experiment, or to break the so-called rules, but always, endeavour to be creative and allow the mind full reign. ■

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“The way you see people is the way you treat them, and the way you treat them is what they become.”

WISE WORDS.

- Johann Wolfgang von Goethe German Writer & Philosopher, 1749-1832

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Ashley Ross

This is the interior ceiling of Knox Church in Dunedin. Makes for a very symmetrical abstract!

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Gail Orgias

Spotted on an early morning walk where the light made interesting converging and directional lines to form an abstract pattern on the footpath. Fuji EX-1, 35mm, 1/200 @ f5/6

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Gail Orgias

It was late afternoon on Lake Taupo - this was ideal for the reflections and layers of colour in the clear water. Canon 6D, 70-200 f4, 1/15@f/18

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Juliet C. Hopkins

Taken at home - laid the forks on a mirror - Canon 600d - sh 1/200 ap 5.6 manual setting. I just love having fun.

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