Motion NEW PERSPECTIVES master Awesome angles for better wildlife images HOW TO MAXIMISE YOUR MIRRORLESS’ VIDEO CAPABILITIES TESTED PLUS Sony 70-200mm Summer Challenge f/2.8 GM Mark II presented by LaCie: Sandisk G-Drive The winners! Armor ATD HDD Meet Walkley winning press shooter Alex Coppel June 2022 SANDISK EXTREME PRO SSD 1TB WORTH $254 P66 PEAK DESIGN EVERYDAY SLING 10L VALUED AT $299 P19 WIN! AUSTRALIAN RESIDENTS ONLY
EDITOR’S NOTE ESTABLISHED IN 1950 EDITORIAL Practice may not make Editor: Mike O’Connor perfect, but it will [email protected] certainly get you a lot Contributing Editors: Mick Fletoridis, closer to perfection than Rob Ditessa, Drew Hopper, almost anything else. Anthony McKee and Saima Morel. ADVERTISING National Sales Manager: Jodie Reid (02) 9213 8261 [email protected] Advertising Production: John Viskovich (02) 9213 8215 [email protected] SUBSCRIPTIONS WEB: www.greatmagazines.com.au CALL: 1800 807 760 EMAIL: [email protected] SUBSCRIPTION RATES 1 year/12 issues $107.00 1 year PLUS (print + digital) $118.00 Overseas 1 year NZ A$129 ASIA A$129 IMAGE: GETTY ROW A$160 VISIT: GREATMAGAZINES.COM.AU Australian Photography KEEPING IT CONSISTENT is published by Yaffa Media Pty Ltd. ABN 54 002 699 354 17-21 Bellevue Street, Surry Hills, NSW 2010. Ph: (02) 9281 2333 Fax: (02) 9281 2750 All mail to: MIKE O’CONNOR, EDITOR If you want to become a better photographer, you need to take pictures regularly. Not just on the week- GPO Box 606, Sydney NSW 2001 Have you ever considered what makes someone ends, but every single day. The greatest photographers Yaffa Photographic Group truly great at what they do? Back in 2008, author and artists create work on an industrial scale and do so includes: Malcolm Gladwell released a book, Outliers, for decades. It’s not glamorous, but there really is no Australian Photography, Capture, that proposed it takes 10,000 hours of intensive substitute for consistency. www.australianphotography.com practice to achieve mastery of complex skills and ma- terials, like playing the violin or getting as good as the Something like a 365-project (where you take at www.facebook.com/ Williams sisters at tennis. Since then, Gladwell’s ideas least a photo every day for a year) is a great way to australianphotographymag have been reassessed and critiqued, but I think the es- challenge yourself to create work and improve your sence of his idea is still sound. Consistency and perse- photography. You’re likely to end up with hundreds of Publisher: James Ostinga verance are vital components to becoming ‘great’. bad-to-mediocre photos, but surely it’s better to have Marketing Manager: Lucy Yaffa say 50 good-to-great images in a year than the 10 or Production Director: Matthew Gunn I’ll make it clear at this point that I’m not a great so you might only have had otherwise? If you were to Studio Manager: Lauren Esdaile photographer, and nor will I ever be. However, you extrapolate this out, just think about how taking 10 Designer: Bree Edgar don't need to be great at something to identify the pictures every day would improve your work! important factors to getting there, and it's something All editorial contributions should be sent I have found interesting to consider both inside and It's at this point that the other essential comes in to [email protected] outside of photography. to play – perseverance. You need a certain level of grit to motivate yourself to keep going, and going, Australian Photography welcomes freelance If you look at the habits of anyone great at just about and going. Some of this is in our nature, and this is contributions. Please check with the editor anything, you’ll see they practice religiously every sin- where Gladwell’s 10,000 hours idea has been criti- before submitting your story. Editorial gle day. I’m a huge jazz fan, and I’m always fascinated cised as an oversimplification. But I don’t think you guidelines are available via email and include by the lengths some of the greats would go to to im- can really dispute the importance of consistency. It full details on all requirements for story and prove. It’s been said that John Coltrane would spend will make you better than you were yesterday, and image submissions. Please note that stories hours upon hours playing just one note to the point that’s a good thing. ❂ should be embedded in the body of the email, where he would fall asleep while practicing. Sonny or supplied as email attachments in text format Rollins quit the music industry in 1959 just to dedi- (.txt), rich text format (.rtf) or Microsoft cate himself to practice, spending the next three years Word format (.doc). Ideally, images should be and up to 16 hours a day playing under New York’s supplied in JPEG format (.jpg) with a separate Williamsburg bridge before he thought he was ready list of captions. JPEG compression should to start producing music again. be no lower than 9/12 (75%). Digital images should be supplied at a resolution of 300ppi, My point is that consistency is key to improving at at a physical size of at least 20cm and not anything, let alone becoming great at it. larger than 42cm on the longest side. ISSN 0004-9964 | 3 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
CONTRIBUTORS 58 TESTED: SONY 70- DEPARTMENTS ROBERT SKIDMORE 200MM F/2.8 GM II LENS 8 BEHIND THE LENS Robert (Bobby) Skidmore is a Sony’s new telephoto zoom is a landscape and severe weather huge step up from its predecessor, Bobby Skidmore’s patience paid off in photographer based in SEQ. but is it worth a $1,000 premium? spades when he finally captured the image After picking up a camera Doug Gimesy takes a look. he was waiting for. almost 10 years ago to help with depression and PTSD, he 61 SANDISK G-DRIVE 10 QUICK SNAPS opened a whole new world of ARMORATD HDD adventure. In 2016 he won the News and views from the world of Heritage Bank Photographic Traditional spinning harddrives probably photography. awards. See more at don’t get as much attention as their solid- facebook.com/MrSPhotos state siblings, but SanDisk’s new ArmorATD 16 STRAIGHT SHOOTER series might be enough to change that. How TIM LEVY does oodles of storage for a seriously tasty Darran Leal breaks one of the myths of price sound? Anthony McKee takes a look. photography in this month’s Straight Tim Levy is an award- Shooter. winning Sydney based freelance photographer 18 YOUR BEST SHOT specialising in events and portraits. See more of his Take a look at the best images from our work at levy.photo and ‘Converging lines’ photo competition. theprint.network 54 APS ONE FRAME AND COLUMN MICHAEL SNEDIC News, views and images from the Australian Michael Snedic is one Photographic Society. of Australia’s most experienced professional 62 IMAGE DOCTOR wildlife and nature photographers. See more at Anthony McKee critiques a selection of wildnaturephotoexpeditions. readers' images and picks the winner of the com SanDisk 1TB SSD. THIS MONTH’S COVER DOUG GIMESY This month’s cover shot was captured during a short break in Sydney’s Doug is a professional rainy weather by photographer Rune Svendsen. “I was originally conservation and wildlife heading out to shoot from inside the botanic gardens, but the park photojournalist who focuses rangers asked me to leave just as the sunset colour was getting good,” on Australian issues. His he explains. “I unwillingly wandered out the gates, where I found this clients include National inviting puddle right outside. I inverted my tripod for the low angle, and Geographic, BBC Wildlife, shot this image very close to the ground. Meanwhile, the well-dressed bioGraphic and others. opera goers gave me strange looks as I was kneeling down. All worth it See more at gimesy.com in the end!\" Canon R5, 16-35mm lens @ 16mm. 30s at f11. ISO 100.
CALL FOR ENTRIES CATEGORY SPONSORS
PORTFOLIO AERIAL ANIMAL & NATURE BLACK & WHITE LANDSCAPE PEOPLE TRAVEL SINGLE IMAGE CREATIVE SINGLE SHOT JUNIOR OVER $22,000 IN CASH & PRIZES PRE-EARLYBIRD ENTRY PRICING ENDS 26 JUNE 2022 ENTER NOW AUSTRALIANPHOTOGRAPHY.COM/POTY IMAGES: DARREN GENTLE YAFFA 14310
BEHIND THE LENS CHASING THE FROST PHOTOGRAPHER: ROBERT SKIDMORE | 8 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
It was June 2021 and the borders between Queensland and want to leave footprints. Frost and a sunrise can be a real challenge. Tasmania had just opened for the first time in what felt like forever. This because as the first light hits it brings warmth. Evaporation In any other year visiting during this period, I would be surrounded causes low lying moisture, which can cause a snap frost in which by snow. But, in a strange twist of fate, a low-pressure system had everything goes extremely white. sent Tassie’s weather up to the NSW/QLD border region and with it the snow. What I was left with was endless days of cold, wind, and Although pretty, it means the ground can be one to two, or at constant rain. times three stops brighter than the sky in the pre sun-up exposure. In these situations, I have learned to turn my filter upside down. Tasmania can be a strange and wonderful place. I was That helps level out the brightness of both the sky and foreground. surrounded by roaring wind and rain, but just an hour’s drive in any direction could mean sunshine, rainforests, or beaches. I wanted I began by framing my shot, setting my tripod at waist height as I to focus on landscapes I hadn’t previously captured, but first I had wanted the image to lead the viewer through the frost to the bridge. unfinished business with a failed attempt from my last trip. The light soon broke the horizon, and the ground was the cleanest white. The blades of grass were so frozen they snapped if you By now it was my second to last day in Tasmania, and I knew this stood on them. By the time I captured this image, my hands were was going to be my one and only chance. My goal was another shot too cold to grasp the camera or tripod anymore, and I packed up at sunrise at the famous Richmond Bridge. Completed by convicts with the biggest smile on my face. I chose an ND8 graduated filter in 1825, it is Australia’s oldest sandstone bridge and is still in use with Polariser to really emphasise allowed the sky and ground and today. The forecast was for light cloud, with a high chance of frost. showcase the stunning morning colours. It was a close call, But Mr “S” Photography got his frost shot. As we arrived it was dark, and all around me was white frost lit by my car’s headlights. I knew I had to be quick, but also careful. NIKON D750, MANFROTTO TRIPOD & 15-30MM F/2.8 LENS @ I probably only had at the most half an hour before the light would 15MM 0.5S @ F3.5, ISO 50. NISI S5 FILTER KIT WITH ND8 GRAD lift above the horizon and trigger the frost to snap freeze for a short FILTER AND PRO POLARISER. period. This would make it appear even whiter, and I really didn’t | 9 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS QUICK AUSTRALIAN PHOTOGRAPHER TAKES OUT $33K SNAPS SONY WORLD PHOTO AWARDS CLOCKWISE FROM AUSTRALIAN photographer Adam Ferguson has won the Photographer of the TOP: Carlos Soyos Year title and accompanying $25,000 USD ($33,000 AUD) cash prize in and his son Enderson the 2022 Sony World Photo Awards. Soyos are looking to Ferguson’s winning series, Migrantes, is a series of black and white self-por- go to the USA to get traits of migrants in Mexico, taken as they waited to cross the border into the medical treatment; United States. Edwardo Benavides, age 40 and his son Photographed in collaboration with the subjects, the Dubbo-born photog- Jonathon Benavides rapher said he set-up the scene for each image, mounting a medium format Reyes, age 9, are camera on a tripod with a cable release and then stepped back, allowing the migrants from La individuals to choose the moment of capture and participate in the process of Union, El Salvador; Stephanie Solano, documenting their lives. age 17, from Zacapa, Speaking to 9 News, Ferguson said he travelled to Guatemala. Captured by her at an informal Mexico during the height of the COVID-19 pandemic. migrant camp at a Upon arriving at his first destination in Ciudad Juárez, municipal park in on the Rio Grande, he found the entire city in lockdown. Reynosa, Tamaulipas, Mexico on 3 May 2021; “It made it difficult for me to access the migrants be- Doris Maria Lara cause a lot of the migrant shelters put in very strict rules Caballero, age 31, around access. a migrant from Department Cortés, “They were trying to keep Covid out of their estab- Honduras. lishments and out of their shelters,” he said. Ferguson worked alongside two Mexican journalists, who he said made the project possible. “Mexico is the most dangerous country on the planet to work in as a local journalist,” said Ferguson. “I worked with two very good journalists in Mexico that really made my job possible, helping me find mi- grants and translate. I’m grateful to the brave and resil- ient individuals who agreed to work with me, and re- ceive this award on behalf of them also. Winning the Photographer of the Year award gives this story another life. It allows a new audience to connect with the im- portant stories of the individuals who shared their story with me.” As well as the cash prize, Ferguson wins a selection of Sony photography gear. You can see more of the winning images at australianphotography.com | 10 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS LEFT: Oskar Barnack’s OSKAR BARNACK'S PERSONAL LEICA personal Leica 0-SERIES IS UP FOR AUCTION 0-series No. 105. His name GERMAN auction house Leitz Photographica is celebrating its can be seen on the camera’s 20th anniversary by holding the world’s largest auction of his- viewfinder. toric cameras. BELOW: Another Among the collectibles up for auction are a Leica 0-Series No. auction highlight 105 produced in 1923 that has an estimated price of €2,000,000 is this analogue to €3,000,000 ($3-4 million AUD). Bids will start at a whopping Leica MP. The €1,000,000. decorative metal exterior parts of According to Leitz, the 0-Series, a batch of prototypes, holds the camera and special appeal for collectors. Before the Leitz Camera (‘Leica’ for matching lens short) went into series production in the mid-1920s and made the were coated with 35mm format the new standard for professional photographers, a layer of real approximately 20 examples of the 0-Series were manufactured. gold through electroplating. Only around a dozen of them are estimated to still be in ex- istence today. This particular 0-Series No. 105 is not only exceptional be- cause of its rarity, it was also one of the personal cameras of Os- kar Barnack – the inventor of 35mm photography whose name adorns the viewfinder of the camera. Barnack used the 105 to capture motifs from his family life, gaining technical insights he then applied to the further devel- opment of the camera and its succeeding models. The world’s most expensive camera to date – an 0-Series No. 122 – sold at the 32nd Leitz Photographica Auction in 2018 for 2.4 million euros (including buyer’s premium). Another auction highlight is an analogue Leica MP with the serial number 5630769 and matching Leica Elmar-M 1:2.8/50. The camera and lens are unique pieces that stem from a co- operation between Leica Camera AG and Leitz Photographica Auction. The decorative metal exterior parts of the camera were coated with a layer of real gold by electroplating. The camera’s top plate has a further special feature: It does not bear any engravings. The camera’s serial number is instead discreetly engraved on the underside of the winding lever, a unique touch. The set is complemented by a black Leica Elmar- M 1:2.8/50, reworked directly at Leica Camera AG in Wetzlar. Instead of the usual engravings laid out in white paint, this lens has gold-colored engravings to match the camera. These and other items will be auctioned from June 11. If you’re serious, bids can be submitted in advance – online at leit- zauction.com, or, if you’re really patient, in written form. | 11 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS DISCOVER A FASTER, MORE INSTA360 patible with the previous ONE R, which is a INTUITIVE EDITING WORKFLOW RELEASES nice touch. NEW ONE RS MODULAR The Insta360 ONE RS is waterproof to five ACTION CAMERA metres when assembled (all components are locked together and secured in the Mounting INSTA360 has announced Bracket), but can also be used with a separate Dive Case to protect the camera in deep or the Insta360 ONE RS in- rough water conditions (e.g. surfing), and to terchangeable lens action enable 360-degree image stitching. camera, an update to the two-year-old In- sta360 One R. The Insta360 One RS is available direct from Insta360 online, starting at $919.95 for the Like the Insta360 One R, the new ONE Leica 1-inch edition, which includes a Wide RS is modular in design, and comprises three Angle Lens, the ONE RS Core, the ONE RS main parts; a battery, processor and three Battery Base and a ONE RS Mounting Brack- lenses. It’s a relatively minor upgrade over its et. The price increases up to $1,398.99 for the predecessor, with the base (or “core,” as In- ‘Trip’ edition, which includes the 4K Boost sta360 calls it) and mounting system the main Lens, a 360 degree Lens, a 1-Inch Wide An- changes. Like the R, the camera can swap gle Lens, the ONE RS Core, ONE RS Battery between a traditional action camera and a Base, Lens Cap, ONE RS Mounting Bracket 360-degree camera, which makes it more ver- and a 64GB MicroSD card. satile than rivals like GoPro. The standout feature is the addition of a new high-performance 4K ‘Boost Lens’ that features a 1/2”-type 48MP image sensor. The company says it has an upgraded 1/2- inch 48MP image sensor, but it’s slightly faster too, with an f2.4 aperture (vs f2.8 on the R), and a higher maximum ISO, max- ing out at 6400. The Boost Lens is also com- FUJIFILM CONFIRMS FILM PRICES SET TO INCREASE BY UP TO 60% Loupedeck+ FUJIFILM global has announced it is raising lowed by colour photographic paper, process- Loupedeck Live ing chemicals and finally Prolab products Loupedeck CT the price of its photographic film and paper as from 1 June 2022. of a week ago, due to the cost of ‘soaring raw materials and transportation costs’ as well as a The current film line-up listed by Fujif- decline in demand. ilm includes two ‘consumer’ films – Fujicolor C200 and Fujicolor Superia X-TRA400 colour In a statement on the Fujifilm website with negative films, and a number of ‘Pro’ films – the somewhat cryptic title Fujifilm photo-relat- Fujicolor Pro 400H and 160NS (colour nega- ed products: notice of partial price revision, a tive), Fujichrome Velvia 50 and Velvia 100 (machine translated) statement said, (colour slide), Fujichrome Provia 100F (colour slide) and Neopan 100 Acros II black and white ‘Thank you very much for your continued pa- negative film. tronage of Fujifilm products. Fujifilm imaging systems co., ltd. has been working hard to absorb Fujifilm Australia did not respond to a re- photographic-related products, such as by im- quest for comment. proving production efficiency and cost savings due to the decrease in demand, in addition to the recent rise in raw materials and transporta- tion costs, but it is difficult to absorb them only by corporate efforts. We will implement price revisions with the following contents.’ According to a chart Fujifilm provided to DPReview, film prices will increase between 20–60%, while photographic paper and chemi- cals will increase by 10–20%, respectively: Fujifilm are staggering the increases, with photographic film the first to see a rise, fol- | 12 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS CHINESE DRONE MAKER DJI SUSPENDS BUSINESS IN RUSSIA AND UKRAINE CHINESE drone manufacturer DJI Technology to make a statement about any country, but to Online, footage has been shared that con- make a statement about our principles”. firmed the Russian military was using its prod- Co Ltd says it is temporarily suspending busi- ucts, although a DJI spokesperson said last ness in Russia and Ukraine, making it the first “DJI abhors any use of our drones to cause month it had not been able to confirm this and major Chinese company to pause sales in Rus- harm, and we are temporarily suspending sales had no control over the use of its products. sia since the country invaded neighbouring in these countries in order to help ensure no Ukraine in February. one uses our drones in combat,” Lisberg said. \"We are engaging with customers, partners and other stakeholders regarding the temporary The world's largest drone manufacturer said Ukraine has accused DJI of leaking data on suspension of business operations in the affect- on Wednesday it would suspend business in the Ukrainian military to Russia, a claim the ed territories,\" DJI's statement concluded. both Ukraine and Russia while “internally re- company denies. assessing compliance requirements in various jurisdictions”. Recently, DJI reiterated in a statement that its products were intended for purely civilian use, Although many Western firms have pulled saying its 'partners' agree not to sell its products out of Russia following its invasion of Ukraine, to “customers who clearly plan to use them for most Chinese companies have continued to do military purposes, or help modify our products business in the country, mirroring Beijing's pro- for military use”. Russia stance. “We will never accept any use of our prod- Adam Lisberg, DJI’s director of corporate ucts to cause harm, and we will continue striv- communications for North America, told Al ing to improve the world with our work,” the Jazeera the company had taken the action “not company said. NIKON ANNOUNCES NIKKOR Z 800MM F/6.3 VR S LENS NIKON has announced the kets to minimise dirt and moisture intrusion. Along with this dust and drip-resistant design, NIKKOR Z 800mm f/6.3 the anti-fouling performance of a fluorine coat VR S lens, a new super tele- on the surface of the frontmost lens element is photo prime that’s just 1/3- designed to repel dirt, dust and droplets. Other stop slower than the F-mount features include a focus limit switch and a num- DSLR version, but consider- ber of customisable buttons around the barrel ably cheaper and 48% lighter. of the lens. Set to be the longest fo- The Z 800mm f/6.3 VR S will retail for cal length in the NIKKOR $10,499.01 (yes, .01), and is available for pre- Z line-up, the Z 800mm order now from Nikon.com.au f/6.3 VR S sports a ‘new generation design’, that in- corporates a Phase Fresnel (PF) lens element to make the lens both lighter (2.3kg) and shorter (16%) than the DSLR equivalent. The new lens is constructed of 22 elements in 14 groups, and has a minimum focussing distance of 5 me- tres. It’s also compatible with Nikon’s 1.4x and 2x teleconverters, to give an effective 1120mm and 1600mm focal length, respectively. The lens employs a near-silent stepping mo- tor (STM) for quietness and response speed, along with in-lens Vibration Reduction (VR) of up to 5 stops. This extends to 5.5 stops with the Nikon Z 9 and Synchro VR activation. The Z 800mm f/6.3 VR S is constructed of a magnesium alloy and features rubber gas- | 13 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
QUICK SNAPS Optical performance. NEW PROJECT SHINES LIGHT ON RARELY-SEEN SYDNEY SUBCULTURE Weather sealed. A new project by Sydney cinematographer and “This project is one that myself, Steph and Tilly are very proud,\" said Kate. \"As members of Full versatility. photographer Kate Cornish has shone a light the LGBTQIA+ community, and proud Dykes on one of Australia's most unique subcultures on Bikes members, it’s important to showcase 28-200mm - Dykes on Bikes. the group’s history outside of its presence with- in Mardi Gras Parade, and the impact they’ve F/2.8-5.6 Di III RXD (Model A071) Created in collaboration with Steph Jowett had over their 30+ year history.” and Tilly Robba, Dykes On Bikes: An Origin For Sony E-mount. Story offers an insight into the historic group Dykes On Bikes: An Origin Story is the sec- Di III: For mirrorless interchangeable-lens cameras. in a documentary-style format, something that ond project from the new-look Canon Austra- hasn’t been done since the Dykes On Bikes lia Ambassador programme, following pho- first rode in the 1988 Sydney Gay and Lesbian tographer Jarrad Seng's Story of Scars project Mardi Gras Parade. released late last year. It can be viewed online in its entirety at canon.com.au ❂ In the images, group members are pictured in a mix of both studio and outdoor environments. THIS PAGE: Photographer Kate Cornish describes her series as a ‘visual poem’. Dykes on Bikes emerged in response to a spate of gay hate crimes in the 1980s, meeting on weekend evenings to patrol the streets of Sydney and break up attacks in the city. Caption xxxxx xxxxx xxxxx xxxxx xxx xxxxxxx xxxxxxx. www.tamron.com.au | 14 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
STRAIGHT SHOOTER THAT THING ABOUT ISO… Any photographer who thinks they still need to shoot everything at ISO 100 needs to ‘break free’ from the chains, believes Darran Leal. ABOVE: I love this image, even if If there’s one ‘rule’ of photography and 3200, or even further if you’re keen! everything is ‘technically’ wrong with that’s time has come, it’s the idea You will notice the shutter speed it if I was to be pedantic! I used a M43 of shooting everything in ISO 100 Panasonic Lumix G9 (20MP) handheld and, to a lesser extent, Manual changes while your aperture stays at and a 100-400mm lens (200-800mm mode – controversial, I know! f5.6. Once the images are processed, equiv.) at ISO 2000. Is the noise and noise reduction is applied, look at terrible? Is the image soft? I'll let you Before you jump on me to declare I’m the images at 50% magnification. decide on that. completely wrong, hear me out first. If we had this conversation 20 years ago, and we Can you see a difference? I use Adobe were all still shooting with film, I might Lightroom Classic to process 98% of my agree. And if you’re a photographer who images and love its noise reduction ca- shoots landscapes only, I might also agree. pability, especially the Masking tool in the Detail panel. Sure, you might see a However, the reality is most photogra- small change in your images at ISO 800- phers do not specialise in just landscapes, 1600 and a bigger change by ISO 3200. and digital capture has transformed But here’s the thing - is it dramatic? And image-making in the last 20 years. To- is it that bad you cannot use the image? day’s cameras, and even cameras from a Remember too that as you’ve pushed couple of generations back, have sensors up the ISO, your shutter speed has in- that capture a vast dynamic range of in- creased and with it the likelihood of a formation. From shadows to mid-tone sharper image. And a sharp image is al- and highlights, you can reproduce great ways better than a blurry one. prints and images on screen with incred- ible detail, with almost any modern digi- Due to the quality of our monitors, tal camera. viewing your work at 50% will offer the best indication of how an image Yes, ISO 100 is the default of many will look like as a print. 100% is great sensors, and yes, in theory, it offers the lowest noise (grain or lack of) but does it offer the best flexibility to be a cre- ative artist? I don’t think so. Likewise, shooting in Manual mode is far from the best way to learn photography. My experience is that many photographers restricting themselves to these settings quickly become frustrated and eventu- ally lose their passion for taking photos. IN THE REAL WORLD So, to prove it, here’s a challenge for you. Sit on the deck at home, using a tripod, and shoot in reasonable light with the fol- lowing settings - Aperture Priority (Av) at f5.6. Now, capture the same subject at a variety of ISOs – 100, 200, 400, 800, 1600 | 16 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
for checking fine detail and sometimes to your creative advantage. For example, ABOVE: I have had photographers join me in sharpness, but for me, it’s overkill most I often use ISO 400 as my default and Africa and say, \"I only shoot ISO 100\". Guess of the time, and especially so if your move to 1600 or 3200 as the light drops. what happened when they tried to photograph workflow already includes using Noise a subject like this? Here, I used a Nikon D3X Reduction tools in Lightroom, for exam- The lower ISOs do have their place camera (36MP) with a Nikon 200-400mm at ple, and sharpening the image. – ISO 50 is perfect for slow, handheld 400mm. 1/500s @ f4, ISO 400. If I had used creative blur shoots and with a tripod for ISO 100, the shutter speed would have been And then there’s plug-ins like Topaz longer exposures with water. I might oc- only 125th of a second. This image was shot in for noise reduction and sharpening. It casionally use 100 or 200, but this is to 2011. Today I would up my ISO to 800 or 1600 can clean out noise from your image and suit my creative goals, rather than some to offer a faster shutter speed, this offering a make it to look like it was shot at a lower textbook incremental control. better chance of a sharp image. ISO. More than once, I have recovered images thanks to this handy tool. Auto ISO is also perfect for action DARRAN LEAL photography on a good day. Sometimes HEART AND SOUL when photographing birds, I use Manu- Darran has been al mode with the camera set to 1/2000s, teaching photography Over the years I have made many books, the aperture to f8 and ISO on Auto. I since 1981. His and I remember one of my books 20 years limit the ISO so as not to go above ISO company, World ago looking grainy on screen but printing 3200, and then spend my time focusing Photo Adventures, up very well with minimal grain. The same on the subjects, not the camera. takes small groups occurred in my recent book, Wild Visions. of photographers An old scanned image looked nothing like It’s easy to be over-demanding of tech- on professionally guided photo tours a modern capture – grainy and soft. Yet I nology, but this will just lead to clinical around the world, including special love how it printed in the book. images with little heart and soul. Embrace Creative weeks with AP. More info: what the technology has given us, and re- worldphotoadventures.com.au I believe the answer is to shoot Aper- member that today, the only limitation on ture Priority as your default and use ISO your photography is your own creativity. ❂ | 17 | JUNE 2022 | AUSTRALIAN PHOTOGRAPHY.COM
YOUR BEST SHOT YOUR BEST SHOT CONVERGING LINES One of the staples of composition is to use converging lines to direct your viewers’ attention, and that’s something we saw used very effectively in many of the entries this month! These were our picks from an immensely popular theme. | 18 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
YOUR BEST SHOT NILMINI DE SILVA Hotel Hotel EDITOR’S COMMENT Nilmini De Silva describes New Acton as the innovative precinct that puts Canberra on the map for design, and creativity, and Hotel Hotel, where this great image was captured, is its centrepiece. “The converging lines created by the recycled timber and part of the grand staircase is a main feature of this image,” she says. We love the sense of movement and dynamism you’ve created in what is a static scene - the leading lines have a wonderful zooming effect that makes for a really captivating image. The addition of the figures is also a nice touch. It lets the viewer know we’re looking at something real - an amazing piece of architecture that looks like it lives up to its promise! Well done. TECHNICAL DETAILS Canon EOS R6, Laowa 12mm lens. 1/40s @ f8, ISO 2500. MICHELLE CANDY Thanks to the team at Blonde Robot, Michelle Candy has won a Peak Blue Door Design Everyday Sling 10L in Ash or Black valued at $299. With a 13\" EDITOR’S COMMENT laptop sleeve, the 10L Sling sets up Michelle Candy spotted this intricate door on a Masonic Hall building in a country town she was perfectly as a minimalist everyday work bag. As a photo bag, it'll give staying at overnight. “I went to take some photos early in the morning and while the hall was not very you plenty of room for your kit, while amazing to look at, the door was really impressive, so I decided to take a shot of it.,” she said. We’re still feeling compact and streamlined. glad you did, as this door really speaks to the theme, and is a lovely, clean composition. You’ve also The Sling’s padded cross-body strap done a good job of illustrating the maker’s skill by correcting for any perspective issues so the viewer features a quick-adjuster that you sees the door straight and true. Speaking of which, it’s clearly seen an eventful life, and your use of can loosen when accessing gear tone and texture in particular reveals plenty of character in the wood. Bonus points for capturing it and tighten when actively hiking on your beautiful Hasselblad too – it’s not a camera we see used much in Your Best Shot! or biking. TECHNICAL DETAILS MORE INFO: Hasselblad X1D, XCD 45P lens. 1/320s @ f4, ISO 200. PEAKDESIGN.COM | 19 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
16.6x zoom. Lightweight. Weather sealed. 18-300mm VICKI CAIN TRACY LEES F/3.5-6.3 Di III-A VC VXD (Model B061) The Unknown Eiffel Tower Base Di III-A: For APS-C mirrorless interchangeable-lens cameras. HOW I DID IT HOW I DID IT This image was created from a photo I took of A view looking up the water tower in my town of Howlong, NSW. into the base of the Adjustments were done in Photoshop to convert Eiffel Tower, standing it to Black and White, and then to Levels and directly underneath it. Contrast. At this stage the image only existed The image has been as the right side from the middle, but the more I cropped, straightened looked at the image, I was curious to see how it and finally converted to would look if I duplicated and flipped a layer of black and white. the image in Photoshop. I was pleased with the symmetrical result, the balance and element of TECHNICAL DETAILS mystery that was added by doing so. Nikon D3200, Tamron 18- 270mm lens. 1/60s @ f4, TECHNICAL DETAILS ISO 400. Nikon D7200, Nikkor 18-140mm lens @ 70mm. 1/125s @ f14, ISO 200. www.tamron.com.au | 20 | JUNE 2022| AUSTRALIANPHOTOGRAPHY.COM
YOUR BEST SHOT DAVID MARDI HARRISON HARRIES All lined up Welsh building HOW I DID IT HOW I DID IT Having lived and worked on a large Whilst in Wales, we visited the property for many years I was fortunate Welsh Government building. enough to have an abundance of great I saw all the wooden strips things to photograph. One was the on the pillars and roof and beautiful old shearing shed on the liked the converging lines property, which I spent many hours just and shapes. exploring beyond the main purpose of the shed. The character of wood, with its TECHNICAL DETAILS lanolin enriched oil, pieces of stray wool Fujifilm FinePix S9500 @ still adhered in the splinters and the old 8.1mm. 1/25s @ f3.1, ISO 100. baskets that could tell many a story, if only. This is just one of the thousands of photos that I have taken over the years. TECHNICAL DETAILS Canon 5D Mark III, Canon 17-40 f4L lens @ 17mm. 4s @ f11, ISO 100. TRUST YOUR TOOLS. King of Sustained High-Speed CFexpress Type B Recording. Not all SD Cards are created equal. For Full HD, 4K+ & RAW Video/Photo. | 21 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
REGISTER FOR YOUR ROLL PAPER UNIT FOR $1 Purchase an Epson SureColor P906 printer and for $1 receive a Roll Paper Unit ( $309RRP) 11th April 2022 − 30th June 2022 This offer is valid for purchases made between 11th April 2022 and 30th June 2022, through an approved Epson Reseller. Register your printer at www.epson.com.au/promotions by 15th July 2022 & have your proof of purchase received by 29th July 2022 to receive your Roll Paper Unit for $1. All eligible products must be of Australian specification intended for sale in the Australian market place. One claim per eligible product per household or organisation. Not to be used in conjunction with any other offer.
THE WINNERS! THE AP TEAM One of the tougher categories to assess, the judges Australian Photography is delighted eventually settled on Beth Baker’s Blinkers as the winner. to announce the winners of our Beth writes of her image, “We took the liberty of ex- inaugural Summer Challenge photo iting the house while our adult children hosted a party. competition, presented by LaCie. When we returned, we put on our blinkers and enjoyed a splash in the pool. Their mess, their problem!” Designed to encourage creativity and help photog- raphers hone their skills and sharpen their port- “What's not to love about this photograph?” asked folios over the summer months, The Summer Montgomery. “The sparkling blue water draws you Challenge had a prize pool of more than $5,000 into this relaxing scene. We have all done something in cash and prizes. similar, putting work aside to indulge in something more enjoyable.” MIRROR CATEGORY “Capturing the scene, a couple of steps back from Judge Mandarine Montgomery described Tracey Killen’s the pool and thereby keeping the plant in the frame on winning Mirror entry Up is Down as “a clever study of na- the left, gives it a voyeuristic element, as if we are peek- ture and industry co-existing in colour harmony”. ing into a private moment, while also strengthening the feeling of visual depth. Perfect positioning of the “The scene jumps out with pops of hot pink and traf- man makes it easier to see his blissed-out expression in fic-light yellow on the building, tones that are echoed the window’s reflection.” in the clouds – lending a harmonious relationship be- tween an unattractive man-made structure and the As Time Out winner, Baker wins $1,000, plus a La- natural world around it. Cie d2 Professional 10TB drive and a LaCie Rugged 1TB USB-C Portable Rugged Drive with a joint value “The mirror reflection is captured perfectly in its still- of $580 RRP. ness and a single roadside pole stands sentinel to the scene. Rather than using the rule of thirds, the composition is Second in the Time Out category was awarded to bravely balanced by the central “horizon”. The leading Amy Marshall for The sprinkler is on, with third place lines of the clouds draw our attention back to the buildings awarded to Saurabh Khullar for Companionship. cushioned harmoniously between water and sky.” UMBRELLA CATEGORY Commenting on the technical difficulty of capturing the photo, Montgomery said: “Photographing a land- There were many different variations on the Umbrella scape with a high dynamic range is very challenging as theme, but it was Dharma Bendersky’s image Bondi the sun is almost always blown out with clouds too bright Sunbakers that caught the judges’ attention. to show any detail. Tracey has controlled the highlights very well in the clouds to maintain a good level of detail “What makes this image so appealing is the level of and tone in both the highlights and shadows.” detail – everywhere you look there is something to en- tertain the eye,” said judge Anthony McKee. As the winner of the Mirror category, Tracey has won $1,000 plus a LaCie Rugged SSD 1TB and a LaCie Rug- As category winner, Dharma takes home $1,000 and ged 2TB USB-C Portable Rugged Drive, with a joint a LaCie 1big Dock 4TB drive valued at $550, thanks to value of $578 RRP, thanks to major sponsor LaCie. sponsor LaCie. Second in the Mirror category was awarded to Paul Second in the Umbrella category was awarded to Wesley with Genevieve, while third place was awarded Thavy Tra for Colour my World, with third place award- to Phil Woodhouse for We reflect what we project. ed to Victor Hawk’s Feelings of Flight. TIME OUT Finally, we’d like to thank our amazing sponsor La- Cie, without whose support we simply couldn’t run The most ‘open’ of the three categories, entries submit- The Summer Challenge. We would also like to thank ted in the Time Out category were as diverse as they our judges – the talented Mandarine Montgomery, were creative. Charli Savage and Anthony McKee. To all the photographers who entered this year, thank you for sharing your work. We hope you enjoyed the experience of shooting the challenges and entering your amazing images. ❂ Our new Summer Challenge will return in December 2022. | 24 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
LEFT TO RIGHT: The Mirror category winner and runner-up – Tracey Killen, Up is Down, and Paul Wesley, Genevieve. LEFT TO RIGHT: The Time Out category winner and runner-up – Beth Baker, Blinkers and Amy Marshall, The sprinkler is on. LEFT TO RIGHT: The Umbrella category winner and runner-up – Dharma Bendersky, Bondi Sunbakers and Thavy Tra, Colour my World. | 25 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO © ALLIE LEE ENTRIES CLOSE 12 JUNE 2022 More than $13,500 in cash and prizes SUPPORTING SPONSORS themonoawards.com.au YAFFA 14278
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS This brings us to the current generation of mirrorless 2) SHUTTER SPEED AND ND FILTERS cameras that are endowed with a bunch of innovative inclusions such as body combination lens image stabi- Get used to shooting everything in Manual. The gen- lisation, super accurate eye tracking focus, insane low eral rule is you’re going to want to keep your shutter light abilities and very capable film formats including speed at approximately double your frames per second. 10bit 4:2:2 recording (meaning a billion colour combi- So, 25fps = 1/50s, 50fps = 1/100s, 100fps = 1/200s etc. nations) and 8K RAW video. Finally, we have all the ingredients to be both a VERY capable photographer With normal shooting, this ‘slow’ shutter speed and cinematographer. can lead to overexposure problems in bright sunny conditions. For example – let’s say you want to shoot MASTERING PHOTOGRAPHY FIRST outdoors at say 25fps, 1/50s @ f1.4 @ ISO 100. The way to retain f1.4 is by using a Neutral Density Filter Stanley Kubrick was a genius director who originally 32 (ND32) which cuts the amount of light by five developed his eye as a stills photographer. He be- stops without altering colour. Or you can stop down came renowned for realising many iconic shots and to f8 – urgh! film scenes. No matter whether it was still or mov- ing, he understood the aesthetic and emotive power You can think of ND filters as basically dark sun- of the image. glasses for your camera. You could use a variable ND which is basically two polarisers stuck together So, if you are good at photography, you really won’t – but this can lead to uneven distribution of light find it a big jump to cinematography. Framing, light- on the sensor. ing, lenses – they are all pretty much the same con- cepts. After all, film is just a series of photos played You can buy ND in various densities which have back together, or, as I like to think of it – a camera their own annoying unhelpful scientific labelling sys- movement ‘take’ is just a ‘still image’ with two, three or tem. E.g. ND 4 = 2 stops, ND8 = 3 stops, ND16 is 4 more ‘shots’ you transition between. stops, ND 32 is 5 stops etc. Depending on how fast your lens is and what aperture you want to shoot with - an SETTING UP YOUR CAMERA ND 16 or 32 is a good start. I have a ND4 and ND32 in my kit bag and while not recommended, at a pinch you 1) FRAME RATE can double up and use them together. Remember those old BW films and how they look so ‘choppy’ and comical? That’s because they were shot between 12-20 fps. Generally, modern motion pictures are shot at 24 to 25 frames per second (fps). This is the minimum speed needed to capture video while still maintaining realistic motion. It’s also a speed we have grown accustomed to. Videos that are 30fps can end up looking a bit like a ‘soap opera’ look but are slightly better for captur- ing sport. That said, there are advantages of shoot- ing at higher frame rates such as 50(PAL) 60(NTSC) 100(PAL) or even 120(NTSC). It not only looks cool to see things in slow motion, but it also helps stabilise the footage. But no matter what the frame rate is you settle on; the result will end up being displayed at 24 to 25 frames per second. I often shoot at 100fps to capture ‘dreamy’ cut away / B Roll images. The key is to make sure you shoot anything that you want to appear ‘normal’, or with sound, at 25fps @ 1/50th second shutter speed – see more on that below. GADGETS • Gimbal • Shotgun Mike • ND Filters or variable • Lapel Mikes • Tripod • Headphones • Tripod head • Display Recorder • Reflector • LED lights • Lightstand • Software: FCP or Premier or Resolve | 28 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS TOP: If you are shooting documentary stills and video, try to tell a story with both mediums and get the subject to do everything twice. Make each capture interesting, or as I like to think of with stills, something obvious so you could title it, e.g. ‘stills of oyster farmer viewing a pot’. In video, I aim to keep the same framing, but look for scenes which will look interesting in 100fps slow mo, like here, where he is lifting and checking the pot. ABOVE LEFT: Ensure your recording levels are between -12 to -10dB. Use manual recording and try not to let the loudest sounds ‘peak’ into the yellow / red. ABOVE RIGHT: A waterproof Pelican case is a great way to safely contain & cart all your video equipment around. | 29 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS THIS PAGE: The top images here are stills from a video, while the lower image is a still – as photographers, you can really do it all! Stills and slow-mo movies of dancing are two of the most impressive captures you can make. With video like this, even though the ‘double frame rate’ rule would mean 100fps should be shot at 1/200s, in low light situations where cranking the ISO up would lead to excessive noise, you should be able to get away with 1/100s second shutter speed. | 30 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS PAL OR NTSC? Congratulations – you live in a PAL region. One of the first things you want to do is if your Japanese camera default is NTSC – switch it over to PAL. Some of you may have wondered why when shooting a video on your iPhone in Slow Motion the lights appeared to flicker. This is because iPhones were set to NTSC (which is for USA / Japan etc). I won’t waste time with tech talk about this – but just do it. It will help stop artificial light (e.g. domestic lighting) from flickering in the image. THE MAIN DIFFERENCES BETWEEN STILLS AND FILM 1. The camera set up 2. Flash vs constant lighting 3. Silence vs sound recording 4. Static vs camera movements 5. Editing software “ONE OF THE BIGGEST ROOKIE MISTAKES FOR FIRST TIME FILMMAKERS IS GETTING TERRIBLE SOUND...” 3) HD, 4K OR 8K AND INTRAFRAME CODEC AND RAW If you are shooting people in daylight situations, try to shoot in the shade as the light is softer. You can also While the idea of shooting at 8K sounds great, the real- use reflectors to add light by catching the sun. Or, if ity right now really isn’t. Do you know anyone with an shooting in the sun, you can use an overhead scrim to 8K TV yet? HD, aka 1080p, is generally good enough soften or even block the light. for anything that you are going to see on YouTube or so- cial media on your phone, laptop, or large monitor, or Better still is to shoot at daybreak or dusk to get even on a 4K TV. It’s also easier to edit and store all the even soft lighting. Ideally the shoot day would be footage on hard drives. Setting your Intraframe Codec overcast. In fact, many major films wait for hours just to ALL-I is also preferable to IPB as you have more infor- for a bunch of clouds to show up - they use a ND filter mation in the images to fix in post. to locate the sun and see when the cloud breaks are coming up. If you are shooting a short film or feature – sure, shoot in the highest quality you can. This includes RAW file For shooting indoors, using higher ISOs and a fast format. It does enable higher quality and the ability to lens will get you by. Using domestic lights are ok – crop or even ‘digitally zoom’ in. Just be prepared to fill but be prepared for strange colour casts / poor colour up tonnes of CF Express Cards / SD Cards and hard ‘accuracy’. Fortunately, the price and quality of LED drives and having to add a bunch of RAM to your com- lights have become very affordable. I have an Amaran puter to manage the editing process. 100D LED and three battery powered Aputure AL- F7’s in a Pelican Case (along with my sound gear / 4) LIGHTING FOR STILLS AND MOTION ND filters and all video related gadgets). A strobe speedlight is one of the revolutionary inventions For more powerful lighting, you are now beginning for photography. Small and lightweight – they are the to enter larger budget, true filmmaker territory. The perfect solution for creating a lot of light. But obviously latest generation LED lights are crazy powerful, can for film they are useless! So how do you replace flash be used with battery or mains and are usually compat- with ‘constant lighting’? ible with a Bowens mount so you can add generic stu-
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS dio flash modifiers – just make sure the built for strobe Another other option which I prefer for ‘talking modifiers can handle the heat of constant light. Another head’ videos is to use an omnidirectional lapel lava- interesting option for lighting is that many of the latest lier mic (lav mic) on a wireless transmitter. It does take generation of flash monoblocs come with daylight bal- a bit more time to set up on a person and to make it anced LED modelling light that are semi powerful so look neat, but it’s great for cutting down on extraneous you can also use them as a constant light source for film. sounds. The drawback is with multiple interviews, you must spend time setting up the mic and transmitter One other thing that is critical while exposing is to on each person. Which brings us to the handheld mic. monitor the Histogram. In harsh lighting conditions, This enables quick interview style reporting and keeps it’s often hard to see whether your highlights and shad- background chatter down. One simple gadget is from ow details have enough information in them (the loss Australian company Rode - the Wireless GO II. It’s a of detail is known as clipping and turning on ‘Zebra great first starter kit and has an array of uses and fea- settings’ will show where this occurs on your image). tures to get you up and running. It can also be plugged into a special reporter’s mic holder. Finally, you’ll want correct exposures so you can grade the footage in post later. You may want to add a small And don’t forget – you will need some wired head- monitor recorder to your camera to enable you to see phones to check your sound levels (best to record in more detail – but just be aware that it adds bulk to your manual mode) Test to see if the sound ‘peaks’ in the camera rig and starts to take away that true hybrid feel. red – and dial it down so it usually doesn’t go over or- ange. Basically, you want your recording levels to be 3) RECORDING SOUND -12 to -10 DB. Uh oh! Now you are entering a new world of non-pho- RIGHT: Use the rule of thirds to frame your ‘talking head’ tography gadgets. One of the biggest rookie mistakes subject and lock the camera off. Shooting a ‘medium shot’ from for first time filmmakers is getting terrible sound. This waist up is usually more flattering than a close up shot, as you is because inbuilt camera mics are kind of terrible! won’t notice skin pores and blemishes (things that are easy to remove in stills with photoshop). Using a wireless transmitter What you want at a minimum is a short shotgun mic mic sounds great and cuts down on extraneous noise. It’s also which slots into the flash hot shoe and feeds into the cam- easier to set up than a boom mic rig on stands, or having to hire eras AUX port. This is a big step up - but it does come with a dedicated sound person. a caveat. Pointing a shotgun mic does give you a narrow ‘pick up angle’ (eg 30/ 50/ 70 degrees depending on the BELOW: A shotgun mic and wired earphones are a very compact length of the mike ‘interference’ tube) but you will also set-up for your camera, and you can hear both recording and the pick up random unwanted sounds from the whole room playback sound. Always be prepared for another take if you don’t / environment. For example, shooting an interview at an get a ‘clean take’ with audio. event will lead to lots of background chatter. To solve this, you can use the shotgun mic ‘off camera’ on a boom pole and point it both directly at the source of the sound but at an angle down facing away from other noise. STATIC VS CAMERA MOVEMENTS Apart from ‘locking off’ the camera on a tripod for a static shot – there is an array of camera movements and techniques that will help make your footage more interesting. | 32 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS | 33 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
TOP: Social media PHOTO TIPS: VIDEO FOR MIRRORLESS SHOOTERS on phones make extensive use of “A FILM IS JUST vertical video. So A SERIES OF to keep up with IMAGES SHOWN current social media SEQUENTIALLY trends, try shooting – SO YOU CAN 15-30 second takes. ENHANCE YOUR Then, in Final Cut IMAGES (EVEN Pro, you can edit a FRAME BY FRAME) clip to vertical by IN PHOTOSHOP...” first right clicking on a clip> Duplicate 5) EDITING SOFTWARE Project As… > With photography, postproduction is much easier (Video> Vertical) and when it comes to cropping, removing blemishes, bal- then check ‘Smart ancing lighting, with dodging and burning on just one Conform’. The video image using Lightroom or Photoshop. will magically crop to include any people As mentioned before, a film is just a series of im- featuring in the ages shown sequentially – so you can enhance your video – or just shoot images (even frame by frame) in Photoshop! But this vertically! requires more work and advanced skills – so it’s better to do everything in-camera and use dedicated video RIGHT: When you editing software. are hybrid shooting, imagine different On the low end I can recommend Apple iMovie – shots which suit each but realistically you want to use Final Cut Pro (FCP) medium. For example, (one off purchase), Adobe Premiere (subscription do a portrait of the based) or Da Vinci Resolve (great free version with a performers holding pro upgrade version) I prefer FCP as it is the fastest their hula hoops and at rendering and playback on MAC, and the learning then a slow-mo of curve isn’t as steep as Premiere. them whirling them. Or, try a frozen action I recommend buying a keyboard shortcut cover shot of a dancer which will greatly speed up your work process as many jumping, then a slow of the tools you need to access regularly are hidden motion video of them away in drop down menus or buttons with nonsensi- dancing. It’s all about cal logos. upping your directing skills to get the most Regardless of the software you use, the biggest out of the subjects. learning curve is using the Timeline interface which is where you drop all your footage (clips), sound and graphics. It may take you three or four video edits to re- ally begin to get the hang of it. One tip is getting used to zooming in and out of the timeline to get into the intricate Cuts and Transitions in place between clips. Also, it’s best to lay down all the clips first then add the soundtrack (unless you are specifically cutting a music film clip.) Finally, the format to export to is H.264 as this is a universal format that can be read by all computers and phones. ❂ | 34 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE | 36 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE POWERFUL PERSPECTIVES BY MICHAEL SNEDIC Perspective can make a huge difference when it comes to photographing wildlife, with your choice of lens, framing, position, and use of light all having the potential to change how a viewer interprets your work. Here’s a crash course in capturing more powerful perspectives. By slowly edging closer to your subject(s) over time, you can basically win their trust in many cases. This comes into its own when using a wide-angle lens, which will allow you to not only capture an unusual perspective, but, as in this case of these two boobies on Norfolk Island, the landscape they inhabit as well. Nikon D200, 10-20mm f/4- 5.6 lens @ 15mm. 1/200s @ f5, ISO 320. | 37 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
As photographers, the tools we use and the deci- photo prime lenses like the 300mm, 400mm, 500mm sions we make can drastically change the look and 600mm are usually very sharp and have a wider of the subjects we capture. By changing perspec- minimum aperture. This means you can let in more tive, whether it be by moving, or choosing dif- light into your camera, which in turn means a higher ferent camera settings or focal lengths, subjects can shutter speed without needing to crank up the ISO appear much smaller or larger than normal, lines can too high (the higher the ISO, the more noise you will converge differently, and much more. In this article I’ll end up with). The downside is that these lenses are share a few tips for pushing your perspectives in inter- quite expensive, heavy, and if you can’t move from esting new directions. Let’s get started. the spot you are photographing (such as sitting in a safari vehicle in Africa, with a lion in front of you) you TRADITIONAL METHODS can’t change your focal length. Traditionally, most wildlife images are taken with a With a zoom lens, you have more options to com- fixed focal length telephoto lens such as a 300mm, pose an image on the spot, they are generally cheaper 400mm, 500mm or 600mm, or by using one of the in price and typically are a bit easier to handhold. The numerous zoom lenses available on the market like a downside is they may not be as sharp as a telephoto 100-400mm, 200-400mm, 200-500mm, etc. This is lens and the minimum aperture will often be small- because in wildlife photography our subjects are rarely er in size. For example, the Sigma and Tamron 150- close. But if you only use longer focal lengths all the 600mm lenses are very versatile, but in low light sce- time, you’re selling yourself short, and with the right narios such as rainforests, the widest aperture you can subjects, just about any focal length can be used for achieve at 600mm is f6.3. This will greatly affect the wildlife photography. camera’s shutter speed, so in turn you will likely have to raise your camera’s ISO to get sharp shots. Before we get started, it’s worth noting that tele- | 38 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE Ultimately, the lens you end up using and the fo- LEFT: Another great perspective when photographing wildlife is to cal length you choose will affect how your resulting incorporate wildlife into a landscape scene. This gives a sense of image looks. Lenses with a wider maximum aperture how the wildlife fits into its habitat. Here, a polar bear and reindeer can create more pleasing out of focus areas, while share a frame. Nikon D850, Nikon 70-200mm f/2.8 lens @ 200mm. zooms are more versatile. It's up to you as the pho- 1/4000s @ f5.6, ISO 200. tographer to make creative decisions in-camera be- fore you edit your images. ABOVE: An interesting perspective is to shoot just a part of an animal, with many species distinctive enough that just a hint of it is ANIMALS IN THE ENVIRONMENT enough to suggest to the viewer what they are looking at. Just the eye was all that needed to be sharp for this crocodile shot. Nikon Many of the renowned wildlife photography compe- D850, 500mm f/5.6 lens. 1/2500s @ f5.6, ISO 400. titions around the world include a category for ani- mals in their environment, where the animal(s) are 3 QUICK TIPS FOR NEW PERSPECTIVES a small part of a landscape. This gives the viewer a chance to see how the animal fits into its habitat. • Try different lenses focal lengths when photographing wildlife. By experimenting with lenses and focal Images where you first see an amazing landscape, then lengths you can end up capturing images of the same realise there is an animal(s), can be quite pleasing on the subject but with different perspectives. eye. You can think of it as value-adding - by adding an animal (or animals) to an already beautiful landscape, • By photographing animals that are minuscule in a you are adding additional points of interest in your image. stunning landscape, you are creating different points Your aim here is to draw the viewer to the animal(s), then of interest in the image. look at the scene they are in. Just use a deft hand, as you don’t want to distract from your subject too much. • Shooting at eye level creates a ‘level playing field’, where you are on the same level as your subject and not looking down on a subject, as if it were inferior. | 39 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE For the image of the four reindeer and a polar bear “THE BEST WILDLIFE in Svalbard, the Arctic, on page 38, I was in a zodiac IMAGES PUT THE with my photography tour participants, when I noticed VIEWER IN THE FRAME the gorgeous light bringing out the blue in the icy land- WITH THE SUBJECT. scape. However, it wasn’t until we began to approach IN TURN, THE VIEWER that I noticed the animals. By capturing the landscape ENDS UP WITH A as well as the wildlife it creates a sense of scale which STRONGER CONNECTION is often not evident when photographing just the land- TO THE SUBJECT...” scape on its own. CREATING A THREE-DIMENSIONAL LOOK Using a wide-angle lens such as a 14-24mm on a full frame camera can help create interesting and unusual images with a totally different perspective to many typ- ical wildlife images shot on longer focal lengths. Get- ting down at eye level and close to a subject (if it allows you to get close) has created many pleasing images for me over the years. This is because wide-angle lenses when used up- close exaggerate the three-dimensionality of a scene. To me, this close-up wide image creates more of an impact than a nice portrait shot taken with a longer fo- cal length. It also lets you emphasise different parts of your subject, say the eyes or beak of a bird, which can be quite photogenic. I am often asked “how do you get close to wild- life subjects” when using a wide-angle lens. One answer I give is “lots of patience”! With the shot of the pair of Tasman Boobies sitting on a cliff top at Norfolk Island that opens this story, I spent a couple of hours each morning, over many days, sit- ting with them, talking calmly and basically letting them see I wasn’t a threat. I would always approach very slowly and quietly, sit, and then edge a little closer over time. Wild birds will often let you rea- sonably close, as long as you don’t make sudden, jerky movement and make lots of noise. With the Tasman Boobies, I was eventually at a stage where the pair sat calmly on the hill, while I was quite close with my wide-angle lens. I was fortunate to have the clouds part slightly and the crepuscular rays shine through. All I needed to do now was sit still and press the shutter. The result- ing image captured the birds up close, as well as the moody, brooding stormy weather in the environment these birds inhabit. If I captured this image from a distance with a long lens, you would get very little sense of their environment. FIT EVEN MORE IN Even fish-eye lenses can be used for wildlife photog- raphy to give a different perspective. In the image of a lone penguin standing on a small iceberg on page 42-43, I wanted to show the Antarctic landscape while using the penguin to give a sense of scale. But I also wanted to include the people as well, to give a sense of what my experience was like photograph- ing there. Compared to a wide-angle lens, a fisheye | 40 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
LEFT: By shooting low and using a wide-angle lens with wildlife that you can get reasonably close to, you can create interesting environmental portraits, like in this shot of two royal penguins surrounded by their species. Nikon D810, 14-24mm f/2.8 lens @ 14mm. 1/2000s @ f5.6, ISO 400. BELOW: Adding people and/or man- made objects in your frame can create a sense of scale. Here, you get a sense of the size of this Humpback Whale by comparing it to the people in the zodiac. Nikon D810, 70-200mm f/2.8 lens + TC @ 240mm. 1/2500s @ f5.6, ISO 320. | 41 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE ABOVE: Setting up a wide-angle lens on a low-set tripod and using a remote trigger release can be a great way of getting close to a subject that would otherwise be fearful of your presence. Nikon D850, 14-24mm f/2.8 lens @ 18mm. 1/200s @ f2.8, ISO 1600. ABOVE RIGHT: A rarely seen perspective can make for a more interesting image. Here, this Rainbow Lorikeet’s eye shows beautiful colour and texture. Nikon D850, 105mm f/2.8 lens. 1/250s @ f11, ISO 1600. RIGHT: A fisheye lens is an extreme wide-angle optic that creates a unique distorted view of the world. Using it here helped me include the photographers and the penguin. Nikon D810, 15mm f/2.8 lens. 1/1600s @ f5, ISO 100. USING A TRIGGER REMOTE You may not always be able to get close to your subjects, however you can get interesting results by using wide- angle lenses on a tripod with a trigger remote. I have done this a few times in situations where the animal regularly does a courtship display, or where there is a bathing, feeding or preening spot. You will need to ‘guesstimate’ where the individual may be (or you hope it to be) and pre-focus manually. If you use automatic focus, you can’t necessarily control where the focus point will end up in your scene. I use a wireless remote release which allows me to sit a distance away and trigger the shutter without spooking the subject, but many cameras have accompanying smartphone apps that do the same thing – check your manual. | 42 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PHOTO TIPS: PERSPECTIVE lens overly and dramatically distorts the foreground. things sharp front-to back and made sure not to cut Here, I used it to create a curved ‘frame’ of people the horizon at the top to give a sense of place. The surrounding the penguin. result is a dynamic image that shows the birds in- teracting in their environment while surrounded by CREATE DEPTH their species. Another technique that can change perspective is SHOOT AT EYE LEVEL by using depth, which can be useful for situations where you have multiple subjects together. During The best wildlife images put the viewer in the frame a trip to Macquarie Island in the Subantarctic, we with the subject. In turn, the viewer ends up with a came across some quite mellow Royal Penguins (see stronger connection to the subject. As a photogra- the image on pages 40-41). As there are no preda- pher, you have the ability to turn your subject into a tors on the island, the penguins are very chilled. I ‘hero’ by framing them from perspectives most peo- sat on rocks surrounded by these delightful birds and ple won’t normally see. waited with a wide-angle lens on my camera. As this pair started interacting, I was able to focus on the One simple technique is to capture your subjects pair while keeping the other penguins distant in the at their eye-level. This creates a ‘level-playing field’, background. I chose a narrow depth of field to keep that doesn’t infer any hierarchy– by this, I mean your perspective is not looking down (read negative- ly) on your subject. At the same time, if you can get below your subject and frame them against the sky for example, you can emphasise emotions of size, power and grandeur. TURN YOUR ATTENTION TO THE DETAILS You can also achieve a completely different perspec- tive by focusing in on one part of an animal. This could be anything from the feathers of a bird, the fur of a mammal, the scales of a reptile or the eye(s) of a frog. Typically, images like these are quite abstract, but they are also a great way to expand your repertoire of wildlife images. For the best results, try to focus on a visual anchor that places the animal. For example, if you take a shot of a small part of a zebra’s stripes, the viewer will immediately know they are looking at a zebra. I like this style of imagery because once you start experimenting you have endless possibilities. Here’s a tip – if you are using a macro lens for images like these, remember that depth of field can become an issue when shooting so close. Make sure you use a small aperture (in size) to get as much of the detail you are photographing sharp and in focus. ALWAYS LOOK AT THE LIGHT To add a different perspective to a well photographed subject, try shooting it in a different light. This may be a silhouette, a reflection, or even a shadow of an animal. This style of photography can create a sense of mystery around your subject that is captivating to a viewer. It works best on subjects on clear outlines, so try to shoot your subject against a clear background – the horizon is often best. The best part of trying new ways to photograph wildlife it is that it is up to your imagination. Do some research as to where you may find certain wild- life subjects, head out with all the appropriate cam- era gear and start experimenting. You may fail with some of your shots, but you will succeed with others. As the old saying goes “Nothing Ventured, Nothing Gained”. Good luck. ❂ | 43 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PROFILE: ALEX COPPEL Panicked horses run from an out of control bushfire in Tynong North, near Bunyip, Victoria. Captured in March 2019. Canon EOS-1D X Mark II, EF16-35mm f/2.8L II USM lens @ 35mm. 1/320s @ f5.6, ISO 1250. | 44 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
NO DAY BY MIKE O’CONNOR Herald Sun photographer Alex Coppel has spent his career capturing iconic moments around the world. He joined AP for a rare sit- down to discuss the importance of capturing everything, the changing industry, and what it means to be one of Australia’s most richly awarded press photographers. | 45 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PROFILE: ALEX COPPEL If you don’t know his name, you will probably know GETTING IT RIGHT his work. Alex Coppel has been shaping our view of Australia for more than 20 years, in a career “My dad used to be a photographer, and when I was that has included capturing subjects as diverse as probably three or four, I used to sit in the darkroom global sporting events, celebrities in the studio, heart- with him, but that didn’t really resonate until I was in breaking personal moments, and the wildest of weath- High School,” Alex explains, talking to AP over Skype er. Chances are if it’s a news story involving Australia, from his hometown of Melbourne. He’s just back from Alex Coppel will have been there. three weeks at the Tokyo Olympics, where he reckons he shot more than 7,000 images every day. Press photographers will often tell you that no day is ever quite the same, an expression that means different “I’d failed a couple of subjects and decided to do things to different people. But Alex, a one-employer photography as an elective. My teacher at the time said, photographer who has spent the last 20 years shooting ‘You’ve done this before, haven’t you?’, and I said, ‘No, for Australia’s Herald Sun, has chosen to take the say- I haven’t’, but somehow I was getting everything right.” ing to heart - there’s almost nothing he won’t shoot. The result is a hugely diverse portfolio that’s given He may have had a natural gift, but it was another him widespread respect and accolades – most recently seven years before he decided to do something with it. the Nikon Walkley Press Photographer of the Year for Prior to that Alex was living in his car, fruit picking and 2022. And it all started in the darkroom before he even travelling around the East coast. However, the photog- knew what the darkroom was. raphy thing was always bubbling away. “One thing I’ve always done is look at photos in mag- azines and try and see how they were done – I’d pick | 46 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
OPPOSITE: In Formula One, crashes typically happen in the first five laps. “I spent years watching my colleagues capture amazing shots at the Grand Prix, and it got me wondering – are they concentrating the whole time? At the 2016 Melbourne Grand Prix, I decided to really focus and watch the whole race. When I heard a bang, I just panned as Fernando Alonso crashed at 280 km/h – I didn’t even see it through the camera. I quickly dropped the camera and ran with a short lens to have a look, and my boss was saying, did you get it, did you get it? I started shaking when I realised I’d captured the whole sequence.” Alex later told us he was offered $15,000 for the photos, but couldn’t sell them. Canon 1D X, EF400mm f/2.8L IS II USM lens. 1/1250s @ f4.5, ISO 500. LEFT: St Kilda’s Nick Riewoldt takes a mark over Western Bulldogs player Robert Murphy, before tumbling to the ground during the second preliminary final clash in 2010 at the MCG. Canon EOS 1D Mark III, 400m lens. 1/250s @ f4, ISO 4000. one photo in National Geographic, say, and try to repro- and some of his travel photos, and they took him on, duce that image. It could be light painting, or a long initially one shift a week. It was 2001. exposure, I’d try and copy it.” “At the start I shot images for the wedding section Realising that looking at magazines would only take which was at the back of the Herald,” he says. From him so far, he enrolled in Photography at RMIT. there, his initiative started to get him noticed, and he began to get more and more work, constantly expanding “I picked the more commercial side of photography [to his repertoire as he went. The rest, as they say, is history. study], but I guess I was a bit shy of putting myself out there – the fear of getting it wrong when you’re being paid was THE DAY-TO-DAY there for a really long time, but you overcome that.” The team at the Herald Sun is made up on nine pho- Without realising it, the skills he learned put him in tographers in Victoria – three on the desk and six who good stead for a career as a press photographer. rotate through a 7am-11pm roster. The work can come through at any time. “Looking back, I went down the commercial photog- raphy path, and didn’t go down the photojournalism “You could get a phone call a week ahead that might path, but ended up getting a job in photojournalism say, we’ve got Megan Gale with a product launch in where we probably light people on location more than Melbourne, where would you like to do it? Or you anything else!” he laughs. might get a call that says ‘quick, go here!’ 90% of the time you probably know what you’re doing ahead of It was while he was studying that a friend’s girlfriend time, but it’s not always like that.” tipped him off that the Herald Sun were looking for casuals. He submitted a portfolio of his RMIT images | 47 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
In a break from photographing news, while on holiday Alex captured this underwater shot of a mate during beautiful conditions at South Broulee, South Coast NSW. Canon 5D Mark III, EF15mm f/2.8 Fisheye lens. 1/3200s @ f5.6, ISO 500. | 48 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PROFILE: ALEX COPPEL | 49 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
PROFILE: ALEX COPPEL RIGHT: One of the biggest domestic stories of 2018 was that of conjoined 15-month-old twins Nima and Dawa, who were brought to Australia with their mother from Bhutan as doctors in their home country did not have the surgical experience necessary to carry out the complicated operation to separate them. Here, Paediatrician Dr Karma Sherub, and mum Bhumchu hold her daughters before their journey to Australia. Alex described capturing the family’s journey from Bhutan to Australia as a career highlight. Canon 1D X Mark II, EF85mm f/1.8 USM lens. 1/400s @ f1.8, ISO 2000. BELOW: East Gippsland fire affected areas. CFA member Bob Carney, who lost his home in the fire, is comforted by his dogs whose kennel he managed to save in Buchan, Victoria, in January 2020. Canon 1D X Mark II, EF16-35mm f/2.8L II USM lens @ 23mm. 1/800s @ f7.1, ISO 400. OPPOSITE: The 2011 Royal Tour. Here, her Majesty Queen Elizabeth II, who was travelling with the Duke of Edinburgh, visited Federation Square and rode on a tram through Melbourne. Canon 1D Mark IV, 35mm. 1/160s @ f5, ISO 400. | 50 | JUNE 2022 | AUSTRALIANPHOTOGRAPHY.COM
Search
