NZ Photographer Apr 1

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Helping you take better photos

KEEPING YOURCAMERA CLEAN

$6K From YOUR First Exhibition?

How To: Motion Blur

Frightening Technology

Smoke Art Winner

Issue 13 April 14th 2010

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CONTENTS4

Motion Blur

8 Pic of the Bunch

17 critique

20 The Photographic Community

10 Keeping it clean

22 Cool Stuff

18 Lachy’s Exhibition

12 Critique

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Welcome back! First of all I’d like to congratulate Lachy Barclay

for an extremely successful exhibition, which will be the first of

many, no doubt. It’s a great success story that I’m proud to say NZ

Photographer was involved with. Read the article on page 18 for more.

Secondly, welcome to Lisa Crandall: Lisa is a fabulous photographer who won

NZIPP People Photographer of the Year (no mean feat) in 2008, and who has

come on board as “the voice of reason” as another educated opinion in our critique

section. I’m sure you’ll all enjoy someone other than me picking your work to pieces!

Finally, and also very proudly, we clicked over our 2000th subscriber last

week. Not bad! Thanks to you all we’re able to continue to grow our little

empire. Roll on 3000!

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 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

22 Cool Stuff

go extreme. there’s no turning back.You go to extremes to get just the right shot, and with the SanDisk Extreme®

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18 Lachy’s Exhibition

Cover Image: Single Image Competition Winner Lindsay Murray

We clicked over our 2000th subscriber last week. Not bad! Thanks to you all we’re able to continue to grow our little empire. Roll on 3000!

NZ Photographer

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One way to bring life to still

images is by adding some

movement. Movement in an

image can add emotion, illustrate direction,

create a flow, lead the viewer’s eye, and/

or fill an otherwise empty or dull area of an

image with something lively.

If you can’t get your head around how

motion blur occurs, don’t worry, you’re

not alone. Putting it as simply as I can, I

explain it like this:

A photograph is a record of a brief

period of time – if an object moves relative

to the camera within that brief period of

time, you’ll get motion blur.

The key point is ‘relative to the camera’ –

that means that if you move the camera to

keep up with your moving subject, suddenly

your background becomes the moving part

of your image. More on that shortly.

There are two types of motion blur – real,

and to put it bluntly, fake. Motion blur is

real as it occurs when taking a photo, and

motion blur as added in post production is

simply an effect. This article deals solely with

in-camera motion blur.

To achieve motion blur you need an

element of your image that moves within the

time your shutter is open – that’s why sports

photographers shoot at high shutter speeds

to avoid this movement. The faster the

moving part of your image, the more likely

you will get motion blur.

Consider the Formula-1 race car versus

the snail – your shutter would have to be

open for quite a while to get motion blur

of a snail, whereas most people struggle

to get the Formula-1 car in the frame, let

alone still and sharp!

The trick to motion blur is practise – it’s

very tricky getting just the right amount of

blur, especially if you’re trying to keep your

subject sharp and blur the background. To

do that you need to move your camera with

the subject, which is called panning.

When you pan with your subject you

need to keep the subject in the same

position throughout the whole time your

HOW TO

MOTiON BLUrTips and TricksBy Ollie dale

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shutter is open, and this sounds much easier

than it actually is.

DSLR OwneRS:

Set your DSLR to 1/60th second, f/8, ISO

100 and go outside to the side of a street

with a 50kph speed limit (you may need

to adjust your aperture depending on how

bright the day is). Make sure you’re not

standing next to a Stop or Give Way sign!

Put your feet shoulder width apart, and

spread your weight evenly between them.

Using a mid range lens, if you have one

(somewhere around 35-50mm), set yourself

up so that the passing cars will be about

5-10 metres away from you.

Follow a car as it drives towards you

by rotating your body while keeping your

feet still. Keep the car in the centre of your

viewfinder as it gets closer, and take the

photo as it drives past you.

Practise this over and over until you get a

focused image of the car.

Experiment with slower shutter speeds

and different lighting conditions to really

get used to the effects.

COmpaCt CameRa OwneRS:

If you can set your camera to Manual

Mode, do as above for the DSLR owners

If you can’t, select a preset or scene

such as night portrait, where your camera

will give you slower shitter speeds. If

needs be, wait until dusk to enhance the

slow shutter speeds.

Follow the directions as above, following

cars as they pass you and finding the

perfect time to photograph them.

Once you‘ve perfected that, try shooting

other objects travelling at different speeds,

adjusting your shutter speed accordingly.

Too much motion blur and the subject almost

disappears, not enough and it looks like a

mistake rather than a purposeful effect.

The other version of motion blur is

when the camera is still and objects move

through the image.

The trick to

motion blur is practise

– it’s very tricky getting just the right amount of

blur

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In the same position as above, try holding

your camera still as a car drives past.

Find other scenes where things are

moving and try shooting them (e.g. waves

on a beach, kids playing sport, crowds at a

shopping mall, etc.)

Send your best one in for our motion

blur competition!

Like anything else there is a wealth of

information and examples on the internet

of motion blur, and a nice collection of 45

images can be found here – some great

inspiration and ideas for where motion blur

can take you.

Check out this series I did watering

the garden. As you can see, you have

many options when it comes to adding

motion blur!

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NZ Photographer

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COMPETITION WINNER

Pic of the Bunch Winner - Lindsay Murray

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PiC OF THE BUNCHsMOkE arT cOMpETiTiOn

We knew this would be a

challenge, and challenged

you were. Congratulations

to those of you who actually attempted the

smoke art experiment and sent them in. We

hope you learned a lot!

There can be only one, however,

and that one this time is:

Lindsay Murraywho wins this issue’s cover, and a $100

voucher from the fabulous people at Giclée

Print. For all YOUR fine art and canvas printing

needs, visit www.gicleeprint.co.nz.Special mention must be made,

though, of long time subscriber and two-

time winner Melanie Beres, who thought

outside the square and submitted the above

shot – nice creative touch Melanie!

Melanie Beres

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FEATURE

KEEPiNg iT CLEaNLOOking afTEr yOur digiTaL caMEra

Your camera is an expensive piece

of technology which should be

cared for – after all it is capturing

your family’s history, creating pieces of art,

recording moments of time, and giving

you something to do on the weekends. So,

surely, how to clean it is something we’re

taught by the pimply-faced sales person who

sold it to us, right? Hmmm...

I try to take care of my cameras, and

I like to think I’m careful when I change

lenses (which is one of the most dangerous

times for your camera, if you have a

DSLR), but invariably dust eventually finds

its way onto your sensor, and suddenly

you’ve got a problem.

And it’s not just the internal organs of

DSLR cameras that need to be clean – the

lens, on any type of camera, is critical

in getting a good photo – what hope

have you got of getting a good shot if

your lens has the territorial mark of a

greasy-handed two year old all over it?

(My last such mark was ice-cream on my

By Ollie dale

NZ Photographer Apr 1

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polarising filter...)

To get some answers I contacted Canon

NZ and asked them for their advice. Mieke

Van Der Walle replied on their behalf:

“My recommendation is always to use a soft

microfiber cloth (the same that you use for

your sun glasses etc)

Wipe off the exterior body with the soft

cloth, best not to use liquid, these cloths are

pretty good at getting rid of grime and dirt.

Don’t forget to wipe and clean

around the lens mount, I find cotton

buds are really good for this, as they

get right in there. You can use a very

small amount of meth spirits for this.

Cleaning the lens is the most important

part! Try to use a separate cloth for best

results, lightly blow onto the elements and

then using the cloth wrapped around your

finger use circle motions, but ever so lightly.

To make sure traces of finger prints etc. are

removed, hold the lens underneath a lamp

at a 45 degree angle – this will show up

pretty much anything that’s still on there.

If you own a DSLR and want to clean the

mirror a simple air brush can do the trick but

try not to wipe it with cloths etc….

As regards to Sensor cleaning, never,

ever try and do this on your own, it’s

just not worth it! The sensor is very

delicate and can end up costing you

hundreds of dollars to fix for the slightest

damage to it. Our technicians have

gone through extensive training in order

to be able to perform this procedure.

DSLR self-cleaning units (inside the

camera) are pretty good these days. The

problems start with dust sticking to the sensor

when people leave their camera switched

on when they change lenses. CMOS and

CCD sensors are electronically charged

devices – they’re like mini vacuum cleaners.

The most effective way to prevent

dust is too switch the camera off before

you change your lens, (make sure you

always use dust caps on your lenses)

and hold the camera body face-

down while you change the lens.

On average you should only have to

clean your sensor once a year (and this is

in extreme cases) Most of our professionals

who are using their gear every day get their

sensor cleaned every six months.”

Thanks, Mieke, for some great advice.

If your compact camera needs an internal

clean, say if you have dust, dirt, sand or

other foreign bodies inside, don’t hesitate

to get it cleaned by a professional, quickly.

Sand and dirt can damage the fine working

parts of your cameras, or scratch your lens

and render the whole camera useless.

If you insist on taking your camera to the

beach, be very careful about when you use

it, and where you leave it. One thing you

might find at home that will help protect

your camera on your next beach visit is a

zip-lock bag, but make sure you clean your

sandy, wet hands before you take your

camera out!

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There’s no better way to learn than by having your work critiqued!In this section you get to have your work critiqued by professional

photographers Lisa Crandall and Ollie Dale.

Lisa Crandall is a multi-award winning portrait photographer. In 2008 she was named ‘People Photographer of the Year’ at Iris, NZ’s

professional photography awards. Her studio, ImageMe www.imageme.co.nz is located in Takapuna in Auckland. She also runs

photography workshops, and is an Associate of the New Zealand Institute of Professional Photography (ANZIPP).

Ollie has been a professional photographer for seven years, and has clients such as the NZ Herald, Visa, Microsoft, Westpac, Unitec and

BMW. He is also a qualified commercial member and Associate of the New Zealand Institute of Professional Photography (ANZIPP).

CameRa: Nikon E5700

ShutteR: 1/80 sec

apeRtuRe: f/3.7

ISO: 100

authOR: Agnes Arnold

FROm the authOR: I wanted to capture the

gorgeous detail and patterns of this early

autumn leaf on a rainy, dark day... I like this

image, the lines and colours seem okay,

but there is something missing... and I don’t

know what!

The DOF here is too shallow for a start,

leaving some of the leaf out of focus – light

was low so I decided to use the widest

aperture to avoid camera shake. What else

could I have done to improve focus? Tripod

was out of the question as the leaf was half

way up the tree!

LISa’S COmmentS: There are so many things

to love about this image – the tight crop, the

off-centre placement of the main vertical vein

in the leaf, the diagonal lines created by the

smaller veins, the intense and contrasting

colours, the gorgeous water droplets.

Congratulations on seeing and capturing

this beauty. The only thing letting this image

down is the technical side.

Firstly, the colours in this image are a bit

cool (bluish). My guess is that the white

balance was set to auto. The camera didn’t

warm the image up enough to compensate

for the blue light being reflected from the

sky onto the leaf. If you had used ‘shade’

setting, the reds in this leaf would be

CRITIQUE

SizEd UP yOur WOrk criTiQuEd

warmer and even more

beautiful (see OP2 – I

have warmed it up in

Photoshop).

From the metadata I

can see that you were

struggling with a lack of

light, and this affected

your settings. You had

an aperture of f3.7,

which is a very wide

open aperture. This

setting lets in a lot of

light, but whenever you

choose a setting to let

in more light, there is a

trade-off. In the case of

aperture, the trade-off is

a reduced depth of field

(the slice of the world

that is sharp in your

photo). As you pointed

out, Agnes, the depth of field is really too

narrow in this photo for the subject. Large

parts of the leaf and dewdrops are soft

because they are outside of the depth of

field. It can be great to have a large part

of your photo soft if you want to create

a sense of distance, and make a sharp

subject pop out against a soft background.

However, that’s not the case in this image.

The leaf is basically flat to the camera, and

there is no background as such. A higher

f-stop number would have achieved a

greater depth of field, and the whole leaf

would have been sharp.

But how can you set a higher f-stop

(which cuts out light hitting your sensor) and

still achieve a good exposure (an image

that is not too dark)? There are three settings

that you can use to adjust the amount of

light hitting your sensor – aperture, shutter

speed and ISO.

Let’s think about shutter speed. A longer

shutter speed would have let in more light.

However – there is a danger of camera

shake. Putting your camera on a tripod can

deal to this problem. But as you mentioned,

the leaf was half-way up a tree and a tripod

was out of the question. What is a safe

shutter speed to handhold at? The old rule

of thumb (for 35mm film cameras) was: take

your lens length and make it into a fraction.

The fraction is the slowest shutter speed you

should attempt handheld. This rule of thumb

still works pretty well for digital cameras (even

those with smaller sensors). Your shutter speed

was 1/80 second and your lens length was

107mm. 107mm would suggest a shutter

speed of 1/100th of a second or faster. So,

your shutter speed was already on the slow

side, and I think that a hint of camera shake

has made your image a little bit soft.

So, if we can’t make the shutter speed

longer, it’s time to turn to the ISO. The ISO

used was 100, which is a lovely low ISO.

Low ISOs give smooth images with lots of

fine detail. When you use a higher ISO

(say 800 and above) digital noise starts to

creep in, and fine detail is lost. Because

this is a still-life with beautiful fine detail, you

probably would not want to take your ISO

really high. However, you could probably

take it to 200 or 400 (depending on your

camera’s performance) with very little visible

difference. 400 ISO would let in four times

as much light, letting you choose a higher

aperture and/or faster shutter speed.

Pehaps the best way to get an absolutely

stunning photo of this leaf would be to

photograph it when there is more light

falling on it. You could either introduce light

yourself, or shoot at a brighter time of day.

Photography is often an exercise in

problem-solving, and deciding which

compromises you are willing to make in

order to get the perfect shot!

OLLIe’S COmmentS: I couldn’t agree more with

Lisa on this one – you’ve seen something

really interesting in this leaf, and composed

it very well. It seems your biggest challenges

came from the lack of light.

Controlling the light is your job, as the

photographer. Could you use an off-

camera flash? Given the leaf has a very

limited lifespan anyway, could you take

the leaf off the tree (screams of protest from

all the greenies out there) and set it up

where the light was better and/or where

you could use a tripod?

Your composition is great though, so

controlling the light and attaining more

depth of field are where you need to work

for next time.

OP 2

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Apr 14

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CameRa: Canon EOS 400D

ShutteR: 1/60 sec.

apeRtuRe: f/4.0

ISO: 400

authOR: Mike Brown

LISa’S COmmentS: I love it when

photographers find an interesting subject in

everyday objects. This great shot celebrates

the graphic qualities of some grated cheese

with the grater. There is colour, textures (the

cheese and the smooth metal of the grater)

and the nice diagonal lines of the grater.

To emphasise these qraphic qualities further,

I tried cropping the image (Op2). The crop

has removed the out-of-focus cheese on the

right-hand side, which was less interesting.

Also, the composition is improved now

because the image is no longer cut in half.

As I cropped the photo I rotated it clockwise

a little, to make those lines of the grater

even more diagonal. I also brightened the

image, bumped up the saturation to make

the cheese more yellow, and darkened

the top right corner a little, to stop the eye

wandering out the frame.

Then I wondered if we need the edges of

the grater at all. It’s always worth asking

yourself ‘what’s the heart of my image?’

Many images show more of the world than

they need to. A good crop can often help

an image communicate more clearly what

the photographer found interesting and

attractive about the subject.

In Op3 I cropped in even further to

emphasise the reflection of the cheese in

the grater. This has made the image more

abstract, and the subject is less obvious.

If you severely crop an image after you have

taken it, then you throw away a lot of pixels,

and your final image cannot be enlarged to

a big print. It is better, if possible, to ‘crop

in camera’ and go through this thinking

process while you are taking the photo.

OLLIe’S COmmentS: I’m liking this double

critique idea – Lisa has pretty much said

everything I wanted to – next time I’ll go

first. Well done on the originality of this

shot. I like Lisa’s cropping of your original

and I also think you’ve done really well

in making a very ordinary object look

interesting. The original definitely needed

warming up, and the tighter crop gets rid

of some distracting elements.

Learn to see the pictures within your

pictures, and your creativity will be freed.

CRITIQUE

CaLL FOR entRIeS: Get your images critiqued by professionals

– send an image to critique@nzphotographer.co.nz with a brief description of how and why you took the shot,

and we’ll tell you what we think and if it could be improved.

The views and opinions expressed in this section are only two

people’s ideas on photographic imagery. You may have different,

constructive ideas about how good or not the images are, and

what could be done to them. You’re welcome to send those ideas

in to editor@nzphotographer.co.nz. We agree that the

opinions contained in this critique section are by no means the

only opinions that could be held about these images.

OP 3

OP 2

NZ Photographer

Mar 3

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COMPETITIONS

MOTiON BLUr COMPETiTiON (SiNgLE iMagE)

The brief: Take an interesting image

that utilises what you’ve learned from

the Motion Blur article in this issue

and that we could use on our cover, and the

most interesting image wins. Simple! Even if

you don’t win you may still get published on

our Best of the Rest page.

Be in to win cover of Issue 14, and the

fabulous $100 voucher from the fabulous

people at Giclée Print. For all YOUR

fine art and canvas printing needs, visit www.gicleeprint.co.nz.

One entry per person, and you must be

in New Zealand or hold a NZ Passport at

the time of entry to qualify.

Images must be 100dpi, 1600 pixels

wide, and sent to competitions@nzphotographer.co.nz by 5pm on

Monday the 17th of May, 2010. Winner

will be published in Issue 15, out on

Wednesday the 26th of May, 2010.

UNdErWaTEr COMPETiTiON (SiNgLE iMagE)a Quick rEMindEr…

Your Underwater image is due in

our email inbox no later than 5pm

Monday the 26th of April, 2010.

We’re going to be a little bit lenient with

how you shoot your shot – obviously we

want you to actually be underwater, but

if you pop in to your local pet shop and

shoot something through the fish tank we’ll

probably never know…

Be in to win the cover of Issue 14,

and the $100 voucher from the fabulous

people at Giclée Print. For all YOUR fine art

and canvas printing needs, visit www.gicleeprint.co.nz. One entry per person,

and you must be in New Zealand or hold a

NZ Passport at the time of entry to qualify.

Images must be 100dpi, 1600 pixels

wide, and sent to competitions@nzphotographer.co.nz by 5pm on

Monday the 26th of April, 2010. Winner

will be published in Issue 14, out on

Wednesday the 5th of May, 2010.

NZ Photographer 17M

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NZ Photographer

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LaCHy’S ExHiBiTiON$6 fOr a gOOd causE

NZ Photographer Apr 1

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In issue 10 Of NZ Photographer we

featured a story on Lachy Barclay, the 15

year old photographer from the Waikato.

On March 26th and 27th Lachy held his

first exhibition, in Auckland, aided by NZ

Photographer, where 15 of his works were

for sale by silent auction in order to raise

money for Lachy to buy a new camera.

The lovely people at the Dental Hygiene

Clinic (120 Remuera Road) donated the

premises and were fantastic hosts to around

70 people over the two three-hour sessions.

Lachy was there, meeting and greeting

people and getting very excited every time

someone made a bid.

Friends, family and strangers enjoyed the

art, commented on the quality of Lachy’s

photography, and, most importantly, outbid

each other for a chance to buy the canvases.

The best sale was for the exhibit’s largest

piece, titled Morning Friends (the editor’s

personal favourite), which sold for $1500.

Numbered 1/5, all the exhibited pieces

sold, and so did some of the other versions

of the works. In total, 35 pieces were sold,

and in total $5940 was raised!

The other exciting thing that we were all very

grateful for was the anonymous donation of

a new camera, which Lachy wore with pride

around his neck for the duration of the exhibition

(and which he probably still hasn’t taken off!).

Thank you to whoever that was – you have

made a talented young man very happy.

Watch this space – we will bring you

updates on Lachy’s career, which has started

off extremely well.

Watch this space – we will bring you updates on Lachy's career, which has started off extremely well.

NZ Photographer

Apr 14

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CLUBS

This month we’d like to share something

sent in by Martin Sanders of the North

Shore National Salon of Photography:

The North Shore Salon of Photography

is now in its sixteenth year. Last year we

introduced a very successful digital section,

which attracted over 800 entries out of the

final tally of approximately 1400. This year

the Print and Digital sections have plenty to

challenge photographic skills.

Apart from Open Colour and

Monochrome in both sections, PRINT

subjects this year are Close Up and

Architecture, and DIGITAL subjects are

Movement and Red.

Definitions and further information

can be found on the web site

www.northshoresalon.co.nz.

There is a prestigious Gold Medal for the

winners of each category plus the Progear

Trophy for the best overall image.

We hold exhibitions of the award

winning prints and digital images at the

Aotea Centre and Canon Head Offices.

A presentation to the Gold Medal winners

is made at a special club meeting with a

speech from a prestigious guest (last year it

was Marti Friedlander).

THE PHOTOgraPHy COMMUNiTy WhaT’s nEW WiTh phOTOgraphy cLuBs & sOciETiEs arOund nEW ZEaLand

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.

NZ Photographer Apr 1

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THE PHOTOgraPHy COMMUNiTy

the tImetabLe FOR thIS yeaR’S SaLOn IS:

28th May Closing date for entries

26th June Salon Judging Day

12th to 23th July Exhibition of Salon prints

and digital winning entries

4 August Presentation to gold-

medal winners and

audio-visual presentation

of winning entries at

North Shore

13 August Publication of the Salon’s

2010 Catalogue

photographic society’s “at home” evening, The War Memorial hall, The strand, Takapuna13 August Publication of the Salon’s

2010 Catalogue

Kind regards,

Martin Sanders

Salon Secretary,

North Shore National Salon of Photography

secretary@NorthShoreSalon.co.nz

NZ Photographer

Apr 14

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The cool stuff in this section comes to you with help

from the knowledgeable people at www.engadget.

com. Each issue Ollie, our illustrious editor, trawls

through the amazing photographic gadgets and

gizmo’s to bring you the best of the best. Enjoy!

COOL STUFF

GADGETS

the thIRD & the SeVenth

This month Engadget seemed to be full of

very geeky stuff, from accessories for your

iPad, to new touch screens and medium

format camera backs... so instead I thought

I’d share a simple video or two. I don’t want

to tell you what I think about it until you’ve

watched it, so watch BOTH of these clips

and then log on to our Facebook Page and

leave your comments. One thing I will say is

that this is a sign of things to come!

Movie 1 – The Third & The SeventhMovie 2 – The Making of The Third & The Seventh

CS5

Also, the other

big industry news

is this week’s launch of the Adobe CS5

Collection. In a sure sign of how we’ll be

using their products in the future, Adobe

are offering (only in Australia though) the

ability to subscribe to their Design Premium

CS5 package on a monthly or yearly

subscription. That will give access to the latest

versions of Photoshop, InDesign, Illustrator,

Acrobat, Flash, Dreamweaver, Fireworks

and Bridge for (only?) AU$199/month or

AU$129/month on a 12 month contract.

My personal pick is that as soon as we all

have fibre optic cables to our front doors

Adobe will host its products online and

monthly or yearly subscriptions will be the

only way to access them, thus ridding the

world of pirated versions of their products.

Watch this space, and check out the link

for more info on all the new products:

www.adobe.com/ap/products/creativesuite(Expect the new software to be

available sometime in May).

NZ Photographer Apr 1

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iN THE NExT iSSUE OF Nz PHOTOgraPHEr…

The Creepy Crawly World of Bryce McQuillan

Documentary Photography

Underwater Competition Winner

Plus much more...Issue 14, Out Wednesday 5th of May 2010

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