Digital Photography PDF

EDITORS WELCOME
QFeral Grill ahead Shot by Ewen Bell. To see more, turn to page 50
rom costumed caperers to sleek super maxi yachts, a harrowing hostage tale from Somalia and new batch of Ken Duncan panoramas, this could be our most varied and fascinating issue yet. Kicking things off with Ken on page 10, the driving emotion I felt after interviewing him was, oddly enough, shame. He makes the point that where great shooters and great painters differ is that painters tend to collect other peoples works not just pepper the walls with their own creations thereby preserving and protecting the art form for generations. If you really want to sell work one day, he says, how are you going to tell people that photography is a great art investment if youve never invested in it yourself? (Note to self: find our next generations Ansel Adams and buy some of their stuff for my wall. If you think this is you, email me.) From the sublime to the sublimely ridiculous, sports legend Delly Carrs exploration of Cosplay (pg44) must be seen to be believed; Dallas Kilponens career-making Sydney to Hobart shots will make you feel like youre there among the sea spray and creaking sails (pg20);
and Nigel Brennans disturbing catch-and-release tale will make you think twice about personal safety while shooting in conflict zones (pg26). After being held for more than a year by Somalian kidnappers, the Aussie photojournalist, remarkably, is back in the thick of it albeit with a radically altered outlook on his craft. Interviews aside, weve also got plenty of know-how, including travellers guides to Vietnam (pg38) and the Flinders Ranges (pg50), Part II of our ultimate guide to off-camera lighting with Paul Dymond (pg58), plus an eye-opening look from his fellow Queenslander Trevor Templeman at what it takes to stage your very first public exhibition (pg32) a daunting prospect, no doubt, but a necessary one for those wanting to move forwards as a photographer. And if you do follow in Trevors footsteps, just pray that Ken Duncan comes to your big night of nights that way youre pretty much guaranteed a sale.
Greg Barton
Editor@dpmagazine.com.au Facebook.com/DigitalPhotographyMag Twitter: @DPMagAustralia
DIGITAL PHOTOGRAPHY | 3
Contents
Digital Photography: Volume 33
Features
10 Calling all collectors! 20 The career makers
How to score yourself a Ken Duncan panorama masterpiece for next to nothing
Fairfax shooter Dallas Kilponens stunning Sydney to Hobart yacht-shots
26 No money, no life
Captured: Aussie photojournalist Nigel Brennan on being held hostage for 462 days in Somalia
Brisbanes Trevor Templeman explores the perils and pitfalls of public exhibitions
32 Put yourself on show
38 Black + white paradise
On assignment in Vietnam, Greg Sweetnam seeks out scenes crying out for mono treatment
44 Who is that masked man? 50 Postcard from Flinders

DP Editor-at-large Ewen Bell revels in the subtle landscapes of South Australias outback
Welcome to award-winning sports shooter and Nikon ambassador Delly Carrs secret obsession: Cosplay
58 The flash balancing act
In Part II of our ultimate guide to off-camera flash, Paul Dymond shows us how to make ambient lighting your most valuable asset
32
82
Tutorials
76 Capturing the mob
Expert photographer and retoucher Lisa Saad heads to the dog track and captures the action up close and then some
82 From vision to print
76
4 | DIGITAL PHOTOGRAPHY
Singaporean fashionista and Canon EOS Master UKay Cheung uses colour, shading and tone to transform one of his catwalk portraits
CONTENTS
Technique
SUBSC RIBE & SAVE !

DETAILS O PAGE 86 N
THE TEAM
EDITOR Greg Barton DEPUTY EDITOR Lisa Perkovic EDITOR-AT-LARGE Ewen Bell SUB EDITOR Adam Scroggy ART DIRECTOR Erica Woodward CREATIVE DIRECTOR Paul Cook GROUP EDITOR Alex Mead COVER IMAGE Ken Duncan
68
Ask the Experts

Your questions answered by our panel of photo gurus
70
Video Corner
Insider highlights from an ACMP HD-SLR video workshop
72
Walk with a Pro

Our wandering pros head to the land of the long white cloud!
CONTRIBUTORS Lynne Bonanno, UKay Cheung, Paul Dymond, Doug Hall, Corey Middleton, Paul Perkovic, Lisa Saad, Greg Sweetnam, Trevor Templeman, Grenville Turner
ADVERTISING
GROUP SALES MANAGER Alex Brereton (02) 9186 9109
Reviews
88 102
MANAGEMENT
DIRECTOR Jim Flynn FINANCIAL CONTROLLER Stuart Harle EDITORIAL DIRECTOR Richard Ryan PRODUCTION MANAGER Ian Scott
96 90 104
Distributed by Network Services Company in Australia and Netlink in New Zealand. Printed by C&C Offset Printing Company Limited (China).
PUBLISHED BY
Citrus Media PO Box 20154 World Square NSW 2002
100
A snapshot of all our favourite gadgets and gear on the market
2013 Citrus Media. All rights reserved. No article or images may be reproduced wholly or in part without prior written permission from the publisher. Citrus Media is a division of Media Factory Pty Ltd.
88 Cool Gear
100 Samsung
The new Galaxy and WB250 are changing the look of compacts
106 Opinion
Does the digital age mean the death of depth of field?
90 Hasselblad
Ewen Bell takes the medium format H5D-50 for a test flight and boy does it soar
Is the D7100 the best Nikon DX yet? Paul Perkovic takes a look
102 Nikon D7100
108 Readers
Gallery
Incredible works of art from the wider DP community
While every care was taken during the preparation of this magazine, Citrus Media cannot be held responsible for the accuracy of the information or any consequence arising from it. All judgements are based on equipment available to Citrus Media at the time of review. Value for money comments are based on prices at the time of publication. Citrus Media takes no responsibility for the content of external websites whose addresses are published.
A look at the latest Kolor Panorama stitching software
96 Autopano Giga
104 PowerShot
Greg Barton gives the smart new Canon PowerShot SX280 HS a run for its money
114 Parting Shot

The last word and image fromGreg Sweetnam
Creative
insights
Broaden your horizons with these inspirational images
BLACK AND WHITE PARADISE

The sights, the smells, the people, the history, the cities and towns it just goes on and on in Vietnam and it can be overwhelming if you dont have a firm goal for each day. Mine was shooting just one memorable image each day that would convert to a great black and white containing strong contrast, shadows and tones. For more from Greg Sweetnam, turn to page 38.
NO MONEY, NO LIFE.
My family were and are amazing. My sister Nicole spent 15 months negotiating directly with my hostage takers until a ransom price of $658,000 was agreed. For more from Nigel Brennan, turn to page 26.
WHO IS THAT MASKED MAN?

Cosplay is a type of expression by very dedicated fans and creative types where they replicate and play a pop culture character in costume. They put on the maskand costume and become that person or mythical creature. For more from Delly Carr, turn to page 44.
PUTTING YOURSELF ON SHOW

Putting your work on display can be a challenging undertaking but its definitely worth all the time, money and stress that goes with it. You need to get out of your comfort zone and push your boundaries. As the old saying goes: if you dont ask, the answer is always no. For more from Trevor Templeman, turn to page 32.
FEATURE
KEN DUNCAN
If youre going to be a photographer and you love this art form, you should be a collector
CALLING ALL
In a world where a single one of his prints can fetch over $37,000, Australian landscape legend Ken Duncan figured it was time to offer everyday people access to high-quality affordable panoramas. In ArtWorldPod, he may have found the solution
n a new venture with Melbournebased printing and framing gurus the Chamton Group, Ken Duncan Australias godfather of panorama and landscape photography has made available 12 of his exclusive panoramas for direct download via a custom-artwork website, ArtWorldPod.com. Boasting high-quality papers, canvases and Epson UltraChrome inks, now anyone, anywhere, can own their own Ken Duncan masterpiece of exceptional quality for next to nothing. Its all part of Kens drive to involve photographers and photography lovers in an often overlooked aspect of the craft: collecting. We recently caught up with Ken just as he was returning from extensive overseas travels to hear his thoughts on the relative freedoms of photographers here and overseas and to find out where he believes the future of this form of low-cost, high-quality image reproduction lies.
IN DETAIL
FLORENCE FALLS, LITCHFIELD NATIONAL PARK, NT This was taken from the bottom of the 160-step staircase that leads to the swimming hole at the bottom of Florence Falls a very pretty double waterfall that, since its only about an hour-and-half drive from Darwin, makes it one of the mast accessible in the Territory. Its also one of the few places in the region where you can swim in safety.
COLLECTORS
IN DETAIL
ULURU, NT I love Uluru, because it is like the beating heart in the centre of our nation. The Aboriginal people believe it to be the place where all dreams come from. When you stand in the presence of this huge monolith you are humbled by the awesome power of something greater than self. Were not the ones in control there is definitely something going on that is bigger than us.
FEATURE
KEN DUNCAN
In a place like this, there must be better ways of managing the public than simply locking them out
A whole new ArtWorld

With the ArtWorldPod.com website officially launched on June 17, its now possible to jump online and immediately order any of the 12 exclusive Ken Duncan images printed in this article. Most standard off-set printers use just four colours for image reproduction, whereas ArtWorldPod uses 8-10 as standard to provide maximum colour gamut. The life of the Epson UltraChrome inks is rated at 100 years in the right conditions, and the paper and waterproof canvases are a minimum of 250gsm. Prices begin at just $32 for a 30x10 paper print, and go up to $200 for a 150x50 canvas. Each print also bears a digital 3D Ken Duncan signature. Artworldpod.com
n the last few months Ive been to India, Mongolia, Bangladesh, China, New Zealand and a few other places. Ive done a project for World Vision an exciting book to raise money for mothers and children all around the world. That was very challenging, because you get to see some pretty heavy things. We donated our time to do that one. And for New Zealand Ive been doing some photographic trips and assignments. In China Ive been just doing some general exploration to try to find those
very remote areas. Most people when they visit they go to Shanghai or visit the Terra Cotta Warriors or sit on a part of The Great Wall that is very touristy, and there are a lot of pretty amazing places that arent being seen. Its just a matter of finding them. I really love China at the moment. Its actually far, far easier to shoot in China than it is in Australia. Its so ridiculous. Were meant to be a free society over here, but we are so bound up by rules and regulations when it comes to
photography here, it is laughable. In China, I wasnt questioned once about having a tripod or being in a national park no-one came up and harassed me or asked me what I was up to. And I was shooting video footage and everything. There were no hassles whatsoever. Is it possible you were being left alone intentionally? That the name Ken Duncan carries some weight over there? No way. They wouldnt have had a clue who
IN DETAIL
THE TWELVE APOSTLES, VIC Although they have withstood centuries of pounding waves, these huge limestone pillars, like the towering cliffs behind them, are being slowly whittled away. I was allowed to access this normally closed beach through an old tunnel that had been bored through the headland. Sadly this historic tunnel is no more, destroyed by authorities to prevent any further access to the beach. As a landscape photographer I understand more than most the need to preserve nature (this beach is an important Fairy Penguin colony). But I also understand the need for people to be able to connect with nature. Surely, in a place like this, there must be better ways of managing the public than simply locking them out.
I was. With over a billion people there, anonymity becomes a very easy thing. And everyone loves their photography they dont even think about trying to tax people or create boundaries to prevent you from doing things. It was such a pleasure. Here in Australia, you pull out a camera and some overzealous bureaucrat immediately wants to harass you. So thats your new preferred stomping ground? Does the rise of restrictions in Australia make you want to spend more time shooting in China? I do want to go back there, sure. Look, I love Australia and Im not about to give that up but it really was a refreshing change. It was the same in Mongolia actually: no-one comes up
and harasses you there, or in Bangladesh. So what is going on when our free nation has become so over-regulated that its made photographers feel like theyre criminals if they dare to want to go and take photos and then possibly sell them? Whats the worst situation youve been in when youve been harassed or asked to state your business as a photographer? Ive had so many of them now its hard to put any one of them above the others. I mean, at Uluru its basically the most locked-down place you can imagine. I dont even know why photographers go out there anymore they should just send their camera along and someone can just stick it in the approved spot and take the photo for you. Maybe that could be the new photo service. But, you know, Park Rangers come up and say, What are you doing here? and if they know you its even worse. I was there on holiday with my daughter, just taking some family happy snaps of her in front of The Rock, and we got harassed. Another time at the 12 Apostles there are thousands of people there, but the ranger came up and singled me out because I had the biggest tripod, telling me I needed a permit. So I told him to arrest me. If Im there and not asking for any more access than the average punter, no-one should have to have permits. If they want to arrest me, go for it.
IN DETAIL
SUNRISE, PALM COVE, QLD Few tourists venture into Australias north in the wet, which Ive always thought is a pity. The clouds are dramatic and often huge, and the light-shows can be spectacular. This is a sunset shot, soaked in wonderful, glowing, pastel light. How lovely it was just to sit and watch, waiting as the huge clouds drifted by like battleships. In the foreground was a graceful family of coconut palms, captured as silhouettes in the darkening evening. We just had to be careful not to get too close in case a coconut fell on our heads!
And have you been arrested to date? Not yet. But the way things are going, who knows? Although whats starting to happen now is that bureaucrats are starting to back off. But you have to keep the fight going, because with these people give them an inch and theyll take a mile. They make these kinds of legislation very much in the background. While were working, sleeping and getting on with life, theyre busy coming up with new ideas for more revenue streams which we find out by default when we suddenly run into new restrictions. So we need to make sure politicians and bureaucrats are accountable. The industry needs to keep watching, and to make sure they know we are watching. We recently had one of the heads of the national parks in Australia actually get questioned in Parliament and that has really slowed
FEATURE
KEN DUNCAN
IN DETAIL
SUNRISE, KING GEORGE FALLS, WA Approaching King George Falls by boat just after the Wet Season, we found the twin cataracts like avalanches. They thundered and roared over the Kimberley escarpment, turning the base of the cliffs into a cauldron of vapour. The two falls actually stem from the one river, which forks just behind the cliffs before plunging over the edge. The Wet Season is a time of cleansing in the Kimberleys. The entire landscape is flushed and left pure by the rush of water, in readiness for another year.
Weve got to create things that will last and give people many years of enjoyment
What is it that makes these prints endure over more standard posters? Well, in this day and age probably the most permanent form of printing is without doubt inkjet, and its by using Epsons UltraChrome inks, so these prints are of very good quality. This is revolutionary in terms of quality and value. The important difference between posters and prints is that prints are the ones that become valuable over time. Often people and I do this too will see a poster they like, then go and ask the photographer, Can I buy a real print of that? For instance, theres a guy named Bob Talbot who used to do all these dolphin posters years ago. Well, where are they now? Unless youve got an original, youve got nothing. He takes fabulous shots, and if you had a real print of them now rather than a poster, theyre worth much more. Now if you have a signed print, then thats what really makes the difference.
him down because he had to put his answers on Hansard. But look, Im not fighting this sort of thing because of a few park fees. I believe that every young Australian should have the same freedoms I had when I grew up in Australia taking photos. Especially at a time when everyones got a camera. On their phones they can do an entire HD production. They can shoot panoramas, they can do all sorts of things. Weve got to allow these people to record what they see and tell their stories. Thats the photographic history that we all leave behind for future generations. Speaking of new technologies tell us about your new association with ArtWorldPod. On the face of it, it seems too good to be true. Now anyone, anywhere, can have access to large, affordable Ken Duncan prints? Well, Ive done posters for Stavros Angelidis at the Chamton Group in
Melbourne for many years now, and hes a man of great integrity. Ive been approached by a lot of people over the years for various projects, but to me integrity is everything, so when he came to me with this concept, I said, Okay, lets do it. For me, I want to make sure my art pieces are available to everyday people, not just the rich and famous. Weve made a different set of shots available for this collection, and theyre printed on Epson, which is the one I love because they are archivally permanent. And I mean, even from an environmental standpoint this is a better idea because posters simply dont last. People spend all this money on getting posters framed, then in five years time theyre throwing them out. Its a waste of money and materials. So I thought, Weve got to create things that are much more archivally permanent, that will last and give people many years of enjoyment.
IN DETAIL
BURRA HOMESTEAD, SA Marooned in a freshly furrowed paddock, an old cottage lies abandoned at the foothills of the Mount Lofty ranges. The old homestead is a testimony to the forgotten dreams of a family whose farm was taken over when the harsh realities of changing weather patterns made small farms unprofitable. Life on the land certainly can be tough.
IN DETAIL
PARADISE, HILL INLET, QLD The pure white sands of Hill Inlet swirling in an ever-changing kaleidoscope through the waters of the bay make for one of the most magnificent beach scenes in the world. In such surroundings, its hard to imagine any problem that could overwhelm us. The anxieties of our normal workaday lives just fade away amid the dazzle of sand and crystal clear waters.
FEATURE
KEN DUNCAN
IN DETAIL
MITCHELL FALLS, WA In the Dry Season, as seen here, Mitchell Falls is a series of five neat, tiered cascades. In the Wet, the watercourse becomes a torrent, with its individual steps lost in the thunder of the whole, the water taking on the blur of massive movement. Its nature at its most primeval, a scene that seems to evoke feelings from the very beginnings of time.
IN DETAIL
AUTUMN COLOURS, MT WILSON, NSW Autumn brings a spray of vibrant colour to a garden in the Blue Mountains. It is like a meeting of the hemispheres, a touch of New England amid the old native gums. The light is soft and dappled, with many nooks slipping away into shadow. A leafstrewn path draws the viewer deep into the glade. Behind it all, the sky appears like a whitewash, far removed from the vivid blue of summer and yet accentuating the colours of the fading leaves. Scenes such as this serve to remind us of the steady march of the seasons. The bright hues of autumn herald the approach of winter, yet warmth and new life will soon return with the spring. In nature everything has its cycle. Nothing is static. All of creation is renewed each year.
These new downloadable prints of yours are all digitally signed? Yes, theyve got a holographic digital stamp. I havent personally signed these, because, to me, there must still be a separation between my art series and the limited editions. These are not limited editions, but they are fine art prints on good quality papers using the UltraChrome inks which I like because youre getting a much better colour gamut when youre printing RGB
than you do with CMYK. Although we do print our posters to the highest standards, these are of a far higher quality. And look, posters will still be there were not discontinuing posters but I just thought there was a market there for a higher quality, but affordable high quality. To give our readers a point of comparison, whats the most we could pay right now for a Ken Duncan print?
Well, were actually re-selling work now that takes up a lot of our market these days. Actually buying back work to then sell, because once a limited edition series is sold out, you cant just print more. So there are prints selling for $37,500. In fact, theres also a particular series of images thats up for $75,000 thats for a series of five prints and thats a series that will sell. Interestingly, I dont set that price, either. The market sets that price. To tell you the truth, I couldnt afford some of my work right now! Its funny, really: the artists themselves never make the money its often the investors that come out on top. I once met one of Ansel Adams assistants, and he showed me ten prints that Ansel had printed, and look, they were beautiful prints very well produced but I said, Why didnt you get them signed? He said, Oh, well, it was just Ansel. Signed, those prints would be worth half a million dollars each. Now these ArtWorldPod images have been signed with a special holographic signature so that they can be identified so that they cant be copied in any way, shape or form but I wont sign them personally. There has to be a point of difference, I believe. For example, we have one limited-edition print left of this particular elephant shot called The Power of One. Now, it will sell for $8500, and that will be the last of a 300-print series.
Its funny, really: the artists themselves never make the money its often the investors that come out on top
The value of that print, once sold, will go to $15,000 overnight. And this is what I am trying to tell photographers: they have got to get rid of this attitude of going into galleries and saying, Oh, I could do that. Im going to go to exactly the same spot and get the same photo. But you know what? Thousands of people have gone and shot Bridalveil Falls in Yosemite National Park. And some of them probably shoot it even better than Ansel Adams. But what makes it valuable is that Ansel Adams signature. Thats the bottom the line. Now, what Im trying to tell photographers is: if you really want to sell work one day, how are you going to tell people that photography is a great art investment if youve never invested in it yourself? When you start telling people, Oh, photography is a fine collectable, and the client replies with, Well, what do you collect? and the answer is, Myself well, that doesnt show a lot of belief in the art form. The bottom line is, if youre going to be a photographer and you love this art form, you should be a collector. Im a collector. I was just over in New Zealand with Andris Apse and we were doing a workshop together. I saw his work and said, I want some, and I bought a few pieces. I didnt try to track down the places hed been to and reproduce those shots I have no interest whatsoever in doing that. I just think, Good on you, Andy, Ill buy those prints. And you know what? If I copied it, its never going to be an Andy Apse. This is what people have got to learn. Another great example is [acclaimed Tasmanian wilderness photographer] Peter Dombrovskis. He was around for a long time, but how many photographers actually bought one of his prints? Everyone went to exhibitions and looked at his wonderful images. But hardly anyone bought one and theyre worth a bombshell now. What if youd had and held onto a Frank Hurley? Or a Harold Cazneaux? They are worth a fortune. Now, for me, the collecting isnt about the monetary side I just love the art of photography. I love appreciating what someone else has done. And this is my
FEATURE
KEN DUNCAN
IN DETAIL
FORGOTTEN HEROES, NORTH DAKOTA, USA I had spent days searching for classic scenes in rural Dakota. In the course of my travels, I came across this old Ford truck in a field. I met the farmer to ask permission to photograph it and he told me its story. It had belonged to his father, who had parked it here and soon after had fallen ill and died. The morning sun, rising on the far left, wasnt quite right for photographing the truck; so I parked my own vehicle out of view with its headlights trained on the trucks lights and hood. The effect was beautiful. The old truck came magically alive again a memento of the past in the midst of the frozen grass of North Dakota.
A lot of people dont get time to stop and take this beauty in. My job is to try and bring it into peoples homes
greatest message to the industry, because the people who are making money out of photography are the investors. And not only that but offshore investors, which means a lot of our work is fast disappearing because we havent cottoned on to the fact here that photography is such a collectable art form. In actual fact, I believe photography will be the art form of the next generation. Young people love it. Theres a sense that paintings are for old people, so young people are becoming interested in photography instead, especially classic landscapes, because its something you can look at and say, I can go there. So this is part of my mission: to tell photographers that you need to really be part of the industry collecting and
preserving, as well as trying to sell your own work if you wish to. The difference between us and painters is this: when Arthur Boyd left planet Earth in 1999, he left an amazing collection of paintings but not just his paintings. Same with Pro Hart, and many other painters. They have an appreciation for their art form. What do we do as photographers? We just sit there amassing digital images on our hard drives. Are we really collecting pictures in their finished form? We are not. So if you really love photography and you see an image that really does something to you, you should buy it and put it in your collection. My own home is like a gallery. I dont just have my own work on my wall I have every kind of image. Thats why it was important to me to have the quality of these new kinds of prints be very high. I wanted to give
IN DETAIL
LUCKY BAY, CAPE LE GRANDE NATIONAL PARK, WA Gloriously deserted, this scene in Western Australias Cape Le Grande National Park invites the viewer into a wilderness of beach and low coastal headlands. The gentle wash of water in the foreground gives way to the brilliant aquas of the ocean and the cloud-wisped blues of the sky. The sand here is so fine that it squeaks underfoot as you walk.
IN DETAIL
CRAIGS HUT, ALPINE NATIONAL PARK, VIC This mid-afternoon panorama captures Craigs Hut in the context of its magnificent alpine surroundings. To me, the scene epitomises the pioneering spirit of the legendary Australians who called the mountains home; they built their houses as tiny wood-slab fortresses often in the midst of a vast wilderness. Originally built as a period replica for the film The Man From Snowy River, this hut was tragically lost in the fierce fires that swept through the Victorian high country in December 2006. It has recently been completely rebuilt, though the new version has a tin roof rather than the more picturesque bark roof seen here.
people the opportunity to have something beautiful on their wall that will last. Because I really do believe that beautiful pictures of nature do something to your spirit. And in a time when theres so much anxiety in the world, people need hope. Whenever I go down to the beach to capture a sunrise, Im reminded again about how big and wonderful this world is and a lot of people are so busy,
with their noses to the grindstone, that they dont get time to stop and take this beauty in. So my job, I feel, is to try and bring that beauty into peoples homes and workplaces, and to try and give them just a little bit of peace along the way and realise that there is hope. For more of Ken Duncans work, check out kenduncan.com and artworldpod.com
PROFILE
DALLAS KILPONEN
CAREER MAKERS
Dallas Kilponen, Fairfax photographer, Sydney
More than just a 20-year veteran with The Sydney Morning Herald, Dallas Kilponen has made it his career mission to take readers on board the super maxi yachts that regularly tackle the Sydney to Hobart one of the most challenging ocean races in the world. He quickly found that his shooting must take a backseat to the demands of racing. But that didnt prevent him from capturing the boatload of dramatic images that made his career and changed his life.
THE
Its all about preservation. Its so easy for people to get injured and usually when things go wrong, its catastrophic
Theres no such thing as an easy ride to Hobart. Theyre all challenging in their own way
Q The Crucifix
y first Sydney to Hobart yacht race was in 2004, and I definitely think its changed me as a person. Ive always had a healthy respect for the ocean, but now I also have a deep-seated admiration for all the people who test themselves on this or any ocean race. There arent many sports you can do anymore where youre really pitting yourself against nature and putting yourself out there. And in this race, theres no easy escape if youre caught out or youre in trouble out there; you have to rely on everyone else to get you through. So its a real challenge not only physically, but mentally as well. Its the sort of race that, once you commit to it, youre thinking about it for six months beforehand. When it comes to race time, Im crew first, media second. The guys on the boat arent even interested in my photography until after the race, when theyll have a beer and go, How good was that photo in the paper? But during the race, its all about my job on the boat, which is as a grinder. So on the 100-foot Lahana, there are five pedestals with 10 grinders to manually trim the sails, and my job is to be one of 10 blokes just to be on the grinders non-stop. Then were also lugging sails around: when you do a sail change you might need six or seven guys to go down below just to get a sail up on deck, so its very physical. I then juggle the
IMAGE
(FAR LEFT) Shot with a Canon 1DMkIII; 1/500sec; f/5.6; ISO 400 (BELOW) Shot with a GoPro Hero 2; time lapse 1 frame per second
THE CRUCIFIX
STORM BAY
This shows just how tough this race can be, right to the very end
Q Storm Bay
Pro tip
Sailing comes first
When it comes to race time, Im crew first, media second. During the race, its all about my job on the boat, which is as a grinder. Its very physical. I then juggle the photography around my priority, which is crewing the boat.
PROFILE
DALLAS KILPONEN
It really captures that feeling of the boats jostling for position as they hit the line
photography around my priority, which is crewing the boat. Im having a break at the moment, but Ill never say never when it comes to the Sydney to Hobart. I feel pretty satisfied with what Ive achieved in the seven races Ive done. Ive had a third overall; a third on line honours; and Im really stoked with the work Ive done documenting the race. When I first started, I was told by Peter Campbell sort of the unofficial historian of the race that I was the first staff newspaper photographer ever to crew on a yacht and file pictures for the next days papers from the middle of Bass Strait. So for me the challenge was all about bringing the readers on board. Wed always seen photos of the start and finish which are spectacular, no question but I think in this day and age people want to see firsthand what its like out there. The true test of the race is when youre offshore; its a pretty lonely place out there. So to be able to give the readers a taste of what it was like out there I think out of my 20 years at The Herald, this is the work Im most proud of. Hopefully its helped change the way people view
IMAGE
THE START LINE
(ABOVE) Shot with a Canon 1DMkIII; 1/1250sec; f/6.3; ISO 400
HEAD ON
(BELOW) Shot with a waterproof Olympus S770SW; 1/640sec; f/3.5; ISO 80
Q The Start Line
You can see the focus on the face of the helmsman
Q Head on
This was the last shot my little Olympus ever took
the race, and I certainly hope Ive inspired future photographers to get on board and cover the race in the same way.
The Start Line (above)

This was taken two years ago for the 2011 Sydney to Hobart. I was on board Lahana and we had a really good start. It was right in the middle of the line youve got one of the tacticians with his arm out; hes calling the shots. You can see the focus on the face of the helmsman. Theres another tactician behind the helmsman looking back at the other yachts coming off the line right there were on a 100-foot yacht, which is incredibly hard to manoeuvre in the start line, so everythings really tense and tight. Theres not a lot of room for mistakes. Its amazing how much adrenalin and tension you can feel, even from the other boats around you during that last five minutes after the gun goes. Its like sitting on a horse in the barrier for the Melbourne Cup or on the grid of the Bathurst 1000. Its the start line of one of
Australias great sporting moments and iconic events, and I just love the shot because it really captures that feeling of the boats jostling for position as they hit the line.
It shows just how tough this race can be, right to the very end.
Pro tip
Dont take it lightly
The Sydney to Hobart is a real challenge physically and mentally. Once you commit to it, youre thinking about it for six months beforehand.
and went downstairs to grab my jacket, and this little crappy camera that had never done much for me was in the pocket. I pulled it out, held it overboard and took a few frames, then when I went to look at the photos, the camera died. I was so close to throwing it straight into the drink. But I didnt; I threw it back in the pocket and forgot about it. We got to Hobart, had a drink and everything then the next morning I woke up and there was the camera sitting on my floor, salt-encrusted. I pulled the card out and there was this shot. I couldnt believe it. It was the very last shot that camera ever took.
Head on (far left)

This was in 2009 and is a shot Ive been trying to get for years. Ive done seven Sydney/Hobarts and have always wanted to illustrate how punishing it can be sitting on the rail as the boat smashes through waves. This one was funny, actually, because I shot this on a little Olympus waterproof camera that had always let me down in the past itd never gotten me a good shot. Obviously I cant use my Canon gear for this sort of picture. Now youll notice in the shot that one of the crew has bare feet. We were seriously caught off guard. We were coming to Tasman Island and were nearing the finish, so everyone was in shorts and T-shirts. All of sudden we were smacked on the nose by a 40-knot southerly and it was game on to the point where we didnt even have time to put on our boots or proper wet-weather gear. And because it was the end of the race, we just thought wed gut it out until we got into the Derwent. So I clambered off the rail
Storm Bay (previous spread)

This is a classic image in that it really illustrates how punishing the Sydney to Hobart can be. The was right at the end of the 2012 race same boat, Lahana and here weve entered Storm Bay, so weve actually gone around Tasman Island, which is the landmark that signals to the yachtsmen that were almost there. The great thing about Storm Bay is that it really does make you feel like youre almost home but youre really not. Youve got such a long way to go. And Storm Bay is always so punishing. You come into this home stretch excited to be near the finish and you always get smashed. This shot illustrates perfectly how you can go from being in sunshine and feeling good, then all of a sudden youre pounding into a huge swell.
PROFILE
DALLAS KILPONEN
The only way you can get this shot is if youre dead still becalmed
Q Zero knots
IMAGE
ZERO KNOTS
(ABOVE) Shot with a Canon 1DMkIII; 2.0sec; f/2.8; ISO 2000
Zero knots (above)

This a really rare photo, because the only way you can get this shot is if youre dead still almost becalmed. You can see on the instruments that there are three zeroes up the top, which is your boat speed, so obviously we are doing zero knots. This was four in the morning, 2009, on board Lahana, right in the middle of Bass Strait. The sails were flapping and we were doing a million sail changes just to pick up any sort of breeze but there was nothing at all. We drifted around for a couple of hours. Now the only way you can really get this shot at that time of the morning is with a long exposure, so the boat needs to be pretty still. You can even see that a few stars in the sky are dragging because I shot it with Q Dallas in the office
The sails were flapping and we were doing a million sail changes just to pick up any sort of breeze
a two-second exposure. I took about 30 shots that I wasnt quite happy with, but then for this last one both the crew were looking my way with their headlamps on. I just love it. sun setting, I thought it was an amazing moment. It perfectly captures how this race can give you everything: even in a year when the forecast is easy, its always going to be tough going. Youre always going to be tested. Theres no such thing as an easy ride to Hobart. Theyre all challenging in their own way. On these big boats I usually go on, its all about preservation for the crew and the boat. Its so easy for people to get injured and usually when things go wrong, its catastrophic. Ive seen some pretty heavy things happen out there. Getting the crew and boat to Hobart in one piece is everything. Getting a good result on top of that is just a bonus. All images courtesy of Dallas Kilponen and The Sydney Morning Herald. For more of Dallas work, check out smh.com.au/national/dallas-kilponen and follow him on Twitter via @pelagicpictures.
The Crucifix (opening page)

This was the 2008 Sydney to Hobart on board a great boat an 80-footer called Shockwave, which sadly crashed off Flinders Island in another race a year later, tragically killing the owner, Andrew Short, and their navigator Sally Gordon. The 2008 race was a great race, though: it was downwind all the way and was truly one of those races where we all just looked at each other and said, I dont think it can get any better than that. This particular photo was on the first night, and is just one of the bowmen going out to retrieve a spinnaker sheet and the way hes just suspended there beautifully between the sails with the
Ill never say never when it comes to the Sydney to Hobart
PROFILE
NIGEL BRENNAN
NO MONEY,
They were the four words Australian photojournalist Nigel Brennan was tormented with for 462 days by his Somalian kidnappers. No money, no life meant hisfamily raised a ransom of more than $1 million in exchange for Nigel and his colleague, Canadian journalist Amanda Lindhout. Arriving in Somalia in August 2008, Brennan had no way of knowing he would spend the next 14 months in captivity. Surviving horrific conditions, learning Arabic, even carving dice out of Panadol to pass the time, his story is one of remarkable courage and conviction. Safe once more and working as a photojournalist he shares his story with Lisa Perkovic.
NO LIFE
H
ow did you first get intophotojournalism? I bought my first camera a Canon 20D in the UK before travelling to Nepal and India. During that trip I fell in love with photography as an art form and upon returning to Australia enrolled at the Queensland College of Art (QCA) to studyphotography. Id grown watching FourCorners and Foreign Correspondent, soI decided to major in photojournalism. During my degree Id wanted to become aconflict reporter because I saw it as a way of being able to travel, but more sototell stories of people less fortunate thanmyself. I guess Id hoped my pictures would change peoples perceptions of what was happening in other places around the world.
freelance route and try to make a name for myself which is unfortunately the way for many photographers these days due to staff cutbacks at media outlets. Id wanted to go into a conflict zone since I was first at QCA and decided to finally take the chance in late 2008 by going to Somalia. At the time it was one of the most dangerous countries in the world. I was hoping to photograph the humanitarian and food crises, as well asthe conflict occurring in Mogadishu. My plan was to spend seven days there and then, once back in Kenya, try and sellthe images to news organisations inAustralia, Europe and the US.
Your family was a huge part of this journey can you describe what theydid while you were in captivity? My family were and are amazing. Every Give us a bit of background on how you single one of them was involved in trying came to be in Somalia what were you to negotiate for my life back. My sister intending to do with your photos? Nicole spent 15 months negotiating After uni I worked for a year in a regional directly with my hostage takers until newspaper APN news and media, the aransom price of $658,000 was agreed. Bundaberg Newsmail. I saw it as a massive After deciding to leave the help of the learning curve and a great way to hone Australian and Canadian governments, my skills. I then tried to apply for positions they employed a private kidnap and with Newscorp and places like that but ransom specialist from the UK. At the was unsuccessful. I decided to go the endof the day they were very much
IMAGES
NIGEL BRENNAN
(LEFT) 18 months after returning home from his ordeal in Somalia. Photo courtesy of Adam Ferguson
YOUNG GIRL
(FAR LEFT) A young girl waits among a throng of thousands at a feeding station in central Mogadishu. Food safety and insecurity in Somalia means many are dependent on Foreign food aid to stay alive
Id wanted to go into a conflict zone since I was first at QCA and decided to finally take the chance in late 2008 by going to Somalia
PROFILE
NIGEL BRENNAN
After our escape attempt, the next 11 months were pretty horrific
alone in a situation that was so incredibly surreal. In the end they were forced to pay for both Amanda and myself, as the Canadians werent willing to take the risk of paying a ransom with the possibility of going to jail for giving money to a potential terrorist organisation due to changes in laws after September 11. Writing a book about the experience The Price of Life was it cathartic or painful? For me it was extremely cathartic. It allowed me to relive the emotional experience that Ihad compartmentalised during the ordeal. The book really is a love story of the lengths afamily will go to when one of their own is introuble. The process of writing the book was still difficult. Having to relive moments like Amandas torture and listening to phone calls my family had recorded was tough. The entire process took almost 12 months; we were fortunate to have a great publisher andeditors to help with the final product. Did your understanding of what had gone on at home change after reading the perspectives of your sister Nicole and sister-in-law Kellie? Most definitely. I didnt actually read their manuscripts until we had finished each of our pieces. Even today I still learn new things about what my family did during my captivity. I had no idea what was going on while I was in captivity, so it was a bit of an information overload when I first got out and was trying to understand exactly the lengths theyd gone to in order to get my life back. Did being a photographer change the way youhandled your confinement? Human beings are not meant to be isolated from each other, so I dont think itmakes a difference that Im a visual person. After our escape attempt, the next11 months were pretty horrific. Having nothing but four walls to stare at was extremely tough, even more so when you cant even see the sky. I think every person reacts differently to this sort of
IMAGE
SILHOUETTE
(TOP LEFT) A man stands among the ruins of what was once a beautiful Mogadishu hotel
LIGHTHOUSE
(LEFT MIDDLE) The scars from 18 years of war are prominent in the port of Mogadishu
(BOTTOM LEFT) These young boys queue for hours in the midday sun, waiting for food aid in Mogadishu
BOYS IN THE SUN
(TOP RIGHT) Women and children wait for foreign food aid at one of 20 feed stations, Mogadishu
WAITING
(BOTTOM RIGHT) Young boys play with improvised skateboards 28 | DIGITAL PHOTOGRAPHY
AT PLAY
extreme situation. For me I tried to look forthe beautiful things surrounding me, whether that was ants on the floor, abeautiful bird out the bathroom window ora sunset. You do what you need to just tokeep the mind stimulated; otherwise you have dark thoughts that lead to misery and death. Did your view of photography and photojournalism, and the role it plays change while you were in captivity? I guess it made me question the role of photojournalism. I realise photos have the ability to change peoples perceptions, like inVietnam and Africa during famine. I would have to say that I questioned whether photojournalists pray on the misery of others. We get to parachute into countries that are going through massive upheaval, take photos of people in turmoil, then leave and make money from these images. Usually we dont ask for permission to take these pictures and have no idea of the ramifications they could have on that person or persons by publishing them around the world. Saying that, I also realise people have to be informed about whats occurring around the world. Its a bit of a catch 22, really. Ethically, its a question that all photojournalist should ask themselves before snapping photos. Did you know you would keep taking photos once released? Or did you never want to pick up a camera again? I wanted to keep shooting. The problem was Ihad no kit it was taken by the kidnappers. It took about 18 months before I could afford to buy my new Canon 5D Mark II, which I love. I guess today I take photos for myself more so than for the wider public audience. Saying that, Ive recently exhibited my work from my last photographic assignment in India, of the Kumbh Mela festival in January this year. Its always amazing to see your own work up on agallery wall for people to critique. In your book you write, when you enter acountry in conflict, you virtually always put your life in the hands of a fixer. Would you be so trusting again? If I were going into an unstable country, Iwould always have a fixer. Unfortunately,
Pro tip
Conflict shooting
Its always important to have knowledge of whats going on in a country before you land there. However, things can change quickly, especially with civil unrest and war zones, so its hard to get up-todate information. Thats why a fixer is so important: theyll have far greater knowledge of whats happening on the ground than what youll ever obtain from the internet or media outlets. In saying that, social media like Twitter can be a great up-to-the-minute resource.
PROFILE
NIGEL BRENNAN
Trying to get through 14 hours every single day for 13 months by myself was torture
Afar tribesmen shave blocks of salt before its travels by camel to the markets in Mekel, Ethiopia
Q Tribesmen
Nigels tips on ensuring your safety as a photographer
themajority of all media outlets find a fixer attheairport if its the first time in that country. Youneed someone that can speak the language, find cars, drivers, accommodation and be able to set up meetings with the people you want tointerview. Theres a lot of trust that goes with hiring a fixer; its a big part of the business. What was the first photo you took after being released? How long was it before you picked up a camera again? I think the first photos were at Christmas 2009 ofmy niece and nephews. I didnt really pick up aproper SLR until I got my new kit, and the first story I shot was in Nepal in 2011 for a non-government organisation Maiti Nepal that rescues woman and children from sex slavery. Itwas an awesome experience and gave me thebelief that I could still take good images. Where have you travelled since being held incaptivity? Ive been very fortunate with my consulting joband public speaking tours because theyve allowed me to travel all over the world. In the pastthree years Ive been to the UK, USA, Thailand, Indonesia, India, Vietnam, Nepal, China,Malaysia, Singapore and New Zealand. Im planning a new adventure that will see mehead to the UK to take part in the Clipper Round the World Yacht Race. Ill be sailing in thefirst three legs, London back to Perth. Its been one of my goals to learn to sail, so whatbetter way to test myself than against someof the most deadly oceans in the world? Illbe documenting the trip with photographs, video and writing a blog. Im also trying to raise $25,000 for two charities back in Australia through personalchallenge.gofundraise.com.au/page/ NigelBrennan. Ill finish in late November, and will hopefully take part in the Sydney to Hobart race before heading back to India for two months to do a yoga teacher training course. Ill also be shooting another personal assignment in Gujarat in Western India, where the giant shipbreaking yardis located.
01
HEAT COURSES Go and do a hostile environment awareness training course, especially if youre shooting civil unrest, natural disasters and war zones. These courses are worth their weight in gold. They teach you how to work more safely overseas, and at the end of the day, youre responsible for your own safety. PREPARATION Make sure youre prepared and pack the right things, especially equipment with back-ups. Having accountability and assistance, making sure people know where youre going and being able to call on someone if the shit hitsthe fan, are imperative. PLANNING Communication and contingency
02
03
plans are vital. Things like GPS and SAT phones, and knowing how to operate them. Have a backup plan if the situation changes that can happen quickly in a war zone. EXIT STRATEGIES Having exit and emergency strategies is important too. Know how to get out of the hotel, street, suburb or even country and have agreat plan for an emergency situation. FIRST-AID Probably one of the best things for every photojournalist is to do a trauma medical first-aid course; this is a big-ticket item as sickness is the major hazard for everyone working in the field, especially in remote areas where you cant rely on ambulances or hospitals being nearby.
04
05
QScars
A young Afar woman bares traditional tribal facial scars 30 | DIGITAL PHOTOGRAPHY
Has your approach to photography changed? Would you now still do anything to get the shot? Photojournalist are vultures in some respect. I saw this as the worlds media descended on theKumnh Mela in India recently. Its ugly seeing a pack of photographers pushing and fighting to get that shot without having an understanding about the festival itself. I guess Ihave more empathy after my experience, so I dont want tobe someone that just shoves a camera in another persons face. At the time you seemed to think the kidnapping was premeditated. Do you stillthink that was the case? Most definitely. Someone working for us or someone in the hotel where we were staying had given our kidnappers our travel plans. Thegroup that took us knew our travel plans and exact details of who was staying in
the hotel. There were two National Geographic journalists in the hotel and I think the kidnappers were waiting for them. The group told us this several months into our captivity. At one point in your book you describe watching a sunset as an escape from an apocalyptic landscape. How much did moments like that help you? In some respects it helped and hindered me.Watching the sunset, or birds outside oreven planes flying high overhead, wishing I could be free like everyone else, was sometimes demoralising. At the same time, seeing these things allowed my mind to leave my body and roam through the bars of the window and out over the high compound walls that hid me from the rest of the world. Boredom was one of the hardest things to deal with in
captivity. Trying to get through 14 hours every single day for 13 months by myself was torture initself. My mind was the only thing they couldnt control, so visually I had to feed itwith whatever was available. You also wrote: For me, it wasnt the adrenalin rush; I wanted to capture the futility of war and what happens to innocents who get caught in the crossfire. Did you see yourself as one of those innocents? No, not at all and Im not a victim, more so a survivor. I wasnt innocent, as I knew the dangers and consequences of going into such a dangerous country. I take responsibility for what happened to me. Read more of Nigels story at thedirtyhostage.com and in his book The Price of Life, out now.
IMAGE
ANURADHA KOIRALA
(TOP RIGHT) Anuradha Koirala, founder of Maiti Nepal talks to locals about sex slavery and domestic violence
EDUCATION
(BELOW, LEFT) Maiti Nepal education program vehicles in a remote village
KATHMANDU
(BELOW) Young children find comfort at the Maiti Nepal crisis centre in Kathmandu
PROFILE
TREVOR TEMPLEMAN
Q 48 Hours Exhibition
On display at Sofitel Brisbane
Holding an exhibition could be just the step you need to develop as a serious photographer
PUTTING YOURSELF
ON SHOW
Brisbane-based photographer Trevor Templemans recent solo exhibition 48 Hours: Sydney, Melbourne, Brisbane got him thinking about the perils and pitfalls of putting your work out there. Here he offers his insights into a very rewarding aspect of the craft: the public exhibition.
f youre like me, your computer is probably full of photographs taken using anything from your first compact to a high-end DSLR and comprising everything from happy snaps to prized travel shots, portraits or personal projects. So where to now? Do these images remain within the confines of your hard drive? Or is it time to push your work out to the world? Perhaps youre already displaying on Flickr or sharing your shots using social media but it all comes down to how serious you want to get about your photography. Holding an exhibition could be just the step you need to develop as a serious photographer, and theres much to be gained by publicly displaying your work: it helps you get recognised as a professional photographer/artist; youll develop valuable industry contacts; and hopefully youll also sell a few shots in the process. And aside from the important opportunities exhibiting can create, theres also the gratification of seeing your images displayed for all to see.
The first step

This is when you get to go through all those files and ask yourself some hard questions.
Is what you have so far good enough? Do you have a body of work worthy of display? Do you have a theme or project in mind? Or should you start fresh and create a new body of work? This is where time, experience and how much work you wish to put in comes to the forefront. Putting on an exhibition can be stressful and challenging and get very expensive, very quickly. Even well-established professional photographers often just manage to break even with sales. However, the benefits of building your brand and getting your name out there can lead to some surprising opportunities. This is what happened to me as a result of an exhibition project featuring ten portraits of Brisbane culinary identities. I secured an exhibition space at a prominent restaurant, then plucked up the courage to begin approaching potential subjects. Much to my surprise, almost everyone said yes including Matt Moran of MasterChef fame, who was launching a new Brisbane restaurant at the time. I never expected to sell any of the photographs to the public but the exhibition did get a lot of media attention thanks to a shot of
the gorgeous Dominique Rizzo wearing nothing but cookbooks. During this exhibition I ended up landing three well-paid commissions plus the caf employed me to take photographs for their website. Perhaps more importantly, I gained valuable experience as a photographer and learned how to approach individuals and organisations as a creative artist. Setting yourself a project for an exhibition can open some unexpected doors and really push you creatively.
Finding the right space

The first rules are to keep it simple and have a plan with a timeline. Think about how long it will take to organise and how long the exhibition will run for the greatest effect. A rough guide should be between one and four months from start to finish. And remember: be professional. This is your work and reputation on display, and any contacts made now could help your career immeasurably. The next step is to consider what type of venue would suit your images, and also how your work will benefit the place youre approaching. Could it bring in more
Some venues wont want to take on your work and some can even be downright rude
customers, decorate a bland area or get media coverage for yourself and the venue? Is there a local gallery that takes pride in promoting new artists and is willing to drop their fee? Galleries often charge $1000 or more for a short exhibition, plus they take a commission on sales, which can make it difficult to break even, particularly when youre starting out. Some venues wont want to take on your work and some can even be downright rude. But dont take it personally. Keep looking until you find someplace that can appreciate your work. They are out there and they will be happy to have you, so be persistent. Coffee shops or restaurants can be good options, particularly when youre starting out, but there are also plenty of other venues. What about the foyer of a CBD building, a corporate boardroom or bridal store? Approaching potential display spaces can be daunting but it gets easier each time you do it. Have your spiel ready, be polite, friendly and well groomed and dont forget these people are almost certainly very busy. For example, handing over an iPad pre-loaded with your portfolio is professional and lets people view your work at their own pace. Stick to a maximum of 30 images and only show your best shots. Less is definitely more when it comes to this part of the process.
Q Jimbaran Bay
Taking the World Exhibition
Formula 1 Exhibition
Q Cockpit
Getting things together

Now you have a venue its time to pull everything together. One of the first things is to sit down and work out a timetable and budget. You should have a rough idea right from the start of about how much it will cost, but now is the time to work out all the expenses and timetables needed for your exhibition to not only be a success, but to go smoothly for everyone involved. At this point, its also a good idea to consider your definition of a successful show. Is it related to selling your work? Getting positive feedback? Building a profile? Or is it simply the pleasure of seeing your photos displayed? Sales are not always the best indicator of a successful exhibition. Consider getting some professional help for your first exhibition. Using a pro lab for printing may cost a little more but I learned early on in my career that it can also save you money. When I was putting together one of my first exhibitions, I had a number of images printed and the outcome wasnt good due to the poor calibration of my monitor and the wrong file sizes. This is where the pro lab really helped. They let me borrow a unit to re-calibrate my monitor, helped me correct the problems with the files and suggested ways to make the images far more striking by using metallic paper. The end result? Spectacular prints and plenty of sales. Knowledge is everything, so ask the pros. It may cost a little more but you wont get this kind of service from a chain store. The same thing applies to framing, although this is where your budget can go from affordable to OMG very quickly. My very first exhibition still makes me cringe. It contained 14 photographs printed affordably and frames that were just glass with metal clips. All very cheap (and it looked it, unfortunately), plus the frames were fragile and broke easily. Not good in a busy caf but it was a start. Investing in gallery-style
On show
Exhibition details
Trevor Templemans latest exhibition Walk On By will be displayed at the Sofitel Melbournes gallery space on Level 35 from September to December 2013.
Q Flinders Street Station
Walk On By Exhibition
Brisbane Culinary Identities Exhibition
Q Matt Moran
Q Dominique Rizzo
Brisbane Culinary Identities Exhibition
IMAGE
URBAN GRIND
(FAR LEFT, TOP) Nikon D200; f/8; 1/250sec; ISO 100 (FAR LEFT) Nikon D700; 1/60sec; f/3.8; ISO 500
JIMBARAN BAY
COCKPIT
(LEFT MID) Nikon D700; 1/320sec; f/9; ISO 500
MATT MORAN
(LEFT) Nikon D200; 1/60sec; f/4; ISO 400
DOMINIQUE
(NEAR LEFT) Nikon D200; 1/160sec; f/6.3; ISO 160
FLINDERS ST
(ABOVE) Nikon D200; 1/160sec; f/6.3; ISO 100 DIGITAL PHOTOGRAPHY | 35
Pro tip
Define success
Is it selling work? Getting good feedback? Building a profile? Or is it simply the pleasure of seeing your photos displayed? You decide.
frames and having work professionally mounted can make a huge difference to sales and the overall look of your exhibition. If money is inescapably tight, consider buying pre-assembled frames such as the ones available at IKEA, then getting the board cut and prints mounted by a framer. This can cut your costs by about a third compared to paying for professional framing from the get go. And, just like pro imaging services, framers are experts when it comes to the best ways to highlight your work and can often suggest ways to save money while still getting the results you want. So, now that your work is printed and framed, its time to think about what you want to tell the world. By this I mean the text youll need to accompany your images and your artist bio. If youre putting your images out there, you also need to tell the audience not only about yourself but about the work. Again be creative and tell the story of your exhibition. Perhaps you could have a brief story that goes with each image or have quotes to accompany your work. Paying a little extra to have this text professionally mounted is also a great investment of time and money. Simply pinning an A4 piece of paper to the wall brings down your work and sends entirely the wrong message.
Opening the show

Q Section 8 Before you hang and open your exhibition, have a checklist ready. Do you have what you need to hang and clean the frames? Is there anything
Walk On By Exhibition
IMAGE
SECTION 8
(ABOVE) Nikon D200; 1/60sec; f/3.5; ISO 125
48 HOURS
(RIGHT) Nikon D700; 1/50sec; f/3.5; ISO 1000
RIVETS IN STEEL
(RIGHT, TOP) Nikon D200; 1/750sec; f/14; ISO 800
MEGAN
(FAR RIGHT, TOP) Nikon D700; f/5.6; 1/125sec; ISO 200 36 | DIGITAL PHOTOGRAPHY
On display at Sofitel Brisbane
Q 48 Hours Exhibition
Get out of your comfort zone If you dont display your work, who will know who you are?
Q Rivets in Steel
Brisbanes Story Bridge, 48 Hours Exhibition
at the venue that needs to be taken down or moved? Do you have a contact person to assist with any issues? Is your website up to date? Make sure all the frames are firmly mounted to avoid accidents and always be mindful of your host. After all, theyre doing you the favour of putting on your exhibition. If youre planning an Opening Night, try to make it beneficial for everyone. Could you invite media to the event even a handful of influential bloggers? Dont forget friends and family for support as its good for numbers but remember that this is your exhibition, not a party, so work the room, make contacts and entertain your guests. Its fine to kick back with a few champagnes and congratulate yourself for pulling it off, but save that for after the event. Now that your exhibition is up and running you can relax, right? Wrong! Following up with potential galleries and venues is much easier when your work is already on display, so start planning your next show now. When the exhibition is over, take down the photographs using as much care as you did putting them up; scratched frames cant be resold or reused and throwing them out impacts your bottom line. Also think about where you will store the pieces afterwards. I always recycle my frames and have a portfolio case of prints that can be used at a later date. Remember, you might get to display these again sometime so above all, take care.
Q Megan
Femme Fatale Exhibition
Onwards and upwards

Putting your work on display can be a challenging undertaking but its definitely worth all the time, money and stress that goes with it. You need to get out of your comfort zone and push your boundaries.
As the old saying goes: if you dont ask, the answer is always no. It works the same way with photographers. If you dont display your work, who will know who you are? Its also very hard to develop if you dont push yourself creatively. It all comes down to selling not only your work but yourself. When each exhibition finishes, take time to reflect on the experience and ask yourself how it all went and where to next. Ive done this after every exhibition and always walk away with a sense of achievement and my mind ready for another creative idea. For more of Trevors work, check out trevortempleman.com
Trevors Top Tips for your first exhibition

Only show your best work Get creative when it comes to venues Work out a budget and stick to it Have a story to tell Get some help from the pros Look after your frames Plan your next project
FEATURE
GREG SWEETNAM
How do you get the most from Vietnam, or any offshore destination, and push yourself creatively?
BLACK AND WHITE
PARADISE
Sent on assignment to Vietnam, Greg Sweetnam discovered a country that lends itself perfectly to monochrome treatment. His returning collection is enough to make anyone want to follow in his footsteps.
Shot with a Canon 5D; 24-105mm lens; 1/50sec; f/5.6; ISO 250
Q Lively streets
ith an estimated 88 million inhabitants, Vietnam is one of the most colourful and chaotic places on the planet. From the rush of shopping strips to the noise and surprises of the local markets that dominate daily life in towns and small villages, its intense and surprising. And thats what makes it the perfect destination for photographers. Ive just returned after three fantastic weeks travelling there on assignment. To give my images a twist and escape the clichs, I concentrated on black and white captures from the streets as we travelled through historic cities of Hanoi, Danang and Ho Chi Minh as well as slightly more sedate farming villages and towns off the normal tourist tracks. So how do you get the most from Vietnam, or any offshore destination, and push yourself creatively? A simple approach is best.
Embrace the location

I did more in Vietnam than I would in a year back home in Australia. I took an overnight train ride and trekked through villages in the mountains; I rode on a motorbike through cities and towns; took a vintage pushbike to glorious beaches; went to a war memorial in the pouring rain with a local guide; did a cooking class at one of the worlds best Vietnamese restaurants and saw where the locals grow and buy their food. And thats just scratching the surface of the trip and what the country has to offer. To get the most of the location, if you want memorable images, its what you have to do. Im lucky to be more of a traveller than a tourist, so the experiences came naturally. Every experience offers the chance for great photos. You also meet a lot more locals and see customs and culture through their eyes.
Canon 5D; 24-105mm lens; 1/160sec; f/5; ISO 100 DIGITAL PHOTOGRAPHY | 39
Q Off the tourist track
FEATURE
GREG SWEETNAM
I followed my lens where it wanted to take me at all hours of the day and night in unfamiliar surrounds
A goal a day
The sights, the smells, the people, the history, the cities and towns it just goes on and on in Vietnam and it can be overwhelming if you dont have a firm goal for each day. Mine was shooting just one memorable image each day that would convert to a great black and white containing strong contrast, shadows and tones. That would give me 21 or so images that Id be proud to show others once I got home a collection that still provides just a glimpse of the trip.
Challenges of the road

Not everything goes your way on the road but I had a pretty good run. Only twice was I refused permission to take photos: once by a lady sorting zucchinis before the market started on my last day; and once by a group of laughing village children that followed uson a village trek. The children had been firmly instructed by their parents not to have their photos taken, while the vegetable seller was probably sick of cameras being pointed at her. I smiled each time and quickly moved on.
A smile and a nod got me through the entire time 40 | DIGITAL PHOTOGRAPHY
Q Language barrier?
BLACK + WHITE PARADISE
The daily procession of monks and passersby
Q Parasol train
Easy access tip

Head in the cloud
I was disciplined about saving images every day onto a small external hard drive, then uploading a second batch to the cloud. This proved great insurance, as the images were available to view from any internet-connected computer each day.
with getting the respect of the subject and making sure they are comfortable that theres a camera around and ideally theyve forgotten it and gone back to their daily routine, which makes the potential image so much more enthralling.
A lone cyclists speeds home down street slick with rain
Q Life cycle
Look after yourself

Overseas youre going to get sick. Sorry, thats the bad news. The good news is it shouldnt last more than a day or two as your gut gets used to the different bugs in the water, the cooking oil, different sanitation and foods. Being as fit and healthy as possible before you go will help, as will the acceptance that if youre sick on tour youre better to rest just the same as you would at home. Indoor days are perfect to edit and review your photos anyway. (If youre feeling up to it!)
Generally, most workers were happy to have their images taken; some were actually offended if I didnt, as it appeared that all visitors that came to their market, city or town took their photo. On occasion I even went ahead and took the images to leave their ego intact. A lot of images I didnt take, simply because I dont think the subjects were that comfortable this wasnt helped by the language barrier as I had little to no Vietnamese. A smile and nod got me through the entire time. Many times I was shadowed by other photographers in the markets and streets and at times that made it harder for me to take the images I wanted to. To shake them off Id double back or just linger a little longer in the one spot until theyd moved on. There was a lot of blasting away at the markets as though the stallholders were animals at the zoo. This is where my journalism training came in handy, and even though my fellow travellers often wondered why it took me so long to take a picture, the watching and waiting for the right moment also has plenty to do
images and enjoy their country. They didnt want me to have my gear stolen or be put in danger, but they were willing to acknowledge that there are problems if you arent careful. To avoid problems, be discreet. I admit I pushed the envelope. I followed my nose and my lens where it wanted to take me at all hours of the day and night in unfamiliar surrounds. I loitered on street corners and chatted to shady characters; I took cabs to destinations written on scraps of paper by people Id just met with the fleeting promise of a photo worth taking or a subject worth meeting. It was exhilarating. It was also dangerous. Some of the suggestions paid off; some were a waste of time. All had an element of risk. If you can, plan safety into every day of your trip. I never felt in danger but Im also
IMAGES
LIFE CYCLE
(FAR LEFT) Canon 5D; 24-105mm; 1/5sec; f/4; ISO 1600
LANGUAGE BARRIER?
(FAR LEFT, BELOW) Canon 5D; 24105mm; 1/125sec; f/8; ISO 640
PARASOL TRAIN
(ABOVE) Canon 5D; 24-105mm; 1/60sec; f/5; ISO 400
DARK HEAT
(BELOW) Canon 5D; 24-105mm; 1/60sec; f/4; ISO 1600
Safety first
Vietnam is a country in which the average worker earns about $9 a day and motorbikes and cycles are the most affordable modes of transport. Do you think youll get noticed with that big camera and big lens youre carrying around your neck? Or that flash camera bag? You bet you will. More than once I was told by complete strangers while walking the city streets on my own late at night and early in the morning to please be careful as people may take my camera. As unsettling as these requests were, they were certainly appreciated. Locals wanted me to take
Q Dark heat
A stunning, moody capture with great B&W contrasts DIGITAL PHOTOGRAPHY | 41
FEATURE
GREG SWEETNAM
Misty paddies
Hiring yourself a motorcycle vastly broadens your range
WHATS IN GREGS BAG

Canon EOS 5D 70-200mm f/4 24-105mm f/4 2TB mini portable hard drive Panasonic waterproof compact iPhone Burton f-stop camera bag. This came into its own on the trip for the amount of gear it could carry, the secure back opening, and the fact that it looks more like a travel bag than a camera bag.
It was exhilarating. It was also dangerous. Some of the suggestions paid off; some were a waste of time
blessed with a great gut instinct built up over years of working as a journalist.
Pleasant surprise
Ive never liked using my smartphone to take images (I confess to being a bit of a camera snob in that respect), but I learned some new lessons in Vietnam. I used my smartphone more than I ever have before. It had been taken along as a back-up to my compact camera but came into its own for street shooting because smartphones seem to be everywhere in Vietnam, and Q Live wires
so are a lot less conspicuous than a pointand-shoot not to mention a full-frame professional camera. Smartphones also have the advantage of allowing quick, easy uploads to social media such as Instagram and Twitter, which were fun for sharing images and keeping those at home up to speed with our travels.
Saving your images

I was determined not to lose any images from Vietnam. I was disciplined and dedicated to saving images every day onto a small external hard drive I carried with me, then uploading a second batch to a storage service in the cloud. Images were also left on the individual cards as storage allowed. This proved great insurance, as the images were available to view from any internet-connected computer each day as we travelled, which was great for showing and sharing with clients and family. As the images were uploaded each day, it also became a great marker for which days involved what images. My filing system was simple: VIETNAM_ DAY_ONE_001 and so on. If there was something specific or special on that day, Iwould simply create a subfolder such as BIKE_TOUR. This has served me well now that I am home and have close to 4000 images to sort through, cull and file into a system that is easily retrievable for myself and clients.
A snarl of electric cables becomes a perfect B&W study
Conclusion
With so many countries just a few hours from Australia, we really are spoilt for choice when seeking a photographic offshore adventure. If its Vietnam you choose, you wont be disappointed. The people are friendly and faultlessly welcoming, and the country offers a never-ending smorgasbord of imagery so just remember to explore, learn and be respectful. Greg Sweetnam is a Brisbane-based writer and photographer that specialises in farming, food, and travel. More of his work is available at gregsweetnam.com
IMAGES
MISTY PADDIES
(LEFT, ABOVE) Canon 5D; 24105mm; 1/60sec; f/5.6; ISO 100
LIVE WIRES
(LEFT, BELOW) Canon 5D; 24105mm; 1/125sec; f/8; ISO 640
THE STREETS BELOW

(RIGHT) Canon 5D; 24-105mm; 1/80sec; f/4.5; ISO 1600
SMILING FACE OF VIETNAM
(BELOW) Canon 5D; 24-105mm; 1/100sec; f/4; ISO 100
(BELOW, RIGHT) Canon 5D; 24105mm; 1/60sec; f/4; ISO 1600
RAIN SLICK STREETS
The key to great B&W: strong contrast, shadows and tones
Q Rain slick streets
PROFILE
DELLY CARR
MASKED MAN?
Sports shooter by day, Cosplay photographer by night, award-winning Nikon Ambassador Delly Carr opens up about his fascinating off-field passion: capturing people from all walks of life in elaborate Sci-Fi getup. Its weird, its wonderful, and its all part of his decade-long PopProject.
The beginnings
Dad gave me a plastic Diana F camera when I was seven. I was hooked on photography that same day, when Iopened thecamera back and popped a120 black and white film in it. And I still have it, in its original box with a price tag of 99c. I laugh now when I see a camera like that on eBay selling for $150. Fast forward 20 years and Id had enough of the corporate world. I was amarketing manager for a lacklustre, highly regulated life insurance firm whenIdecided to chase my heartfelt dream of being a fulltime freelance sportsphotographer. I took a retrenchment package they offered andafter a few years of eating vegemite sandwiches for dinner, my name and work started to become known in the industry. Fast forward another 25 years and hereI am today, the only Australian photographer on the World Photography Academy, a creative Ambassador for Subaru Australia, and most importantly Sports Photography Ambassador for Nikon. When I was granted what I like tocall the Nikon knighthood five years ago, I knew Id finally reached the dream.
WHO IS THAT
Cosplay explained
Cosplay is a type of expression by very dedicated fans and creative types where they replicate and play a pop culture character in costume. All of our minds arefilters, with different shaped and sizedholes. Different things stick and other things fall through. So each cosplayer is turned on by a different creature, villain, hero, pop genre, whatever. And that stays within their filter.These amazingly creative and dedicated people set out to be that superhero or villain. They put on the maskand costume and become that person or mythical creature.
Delly Carr & Chewbacca
Cosplay 101
Cosplay is when dedicated fans and creative types replicate and play a pop culture character in costume. There are cosplay communities all over the world
The cosplayer born on the day that man landed on the moon... Fact vs Fiction, Western NSW, 2009
Q Darth Vader
These amazingly creative and dedicated people set out to be that superhero or villain
Chewbacca
Cosplay Studio Shoot, 2012
The evolution of the PopProject

The PopProject came about after the passing of my father. Ive never experienced grief like that before. To cope I took it out on eBay, buying toys Id had as a child. It helped me remember my childhood; happier times, the times with my father. I was surprised by how many of my toys were superheroes. At that same time, I won midnight world premiere tickets to the final instalment ofthe Star
The PopProject was all me, no pressure from anyone or anything
Wars movies. At the theatre Iwas astounded by the number of people in Star Wars costumes, and it was midway through the movie that the PopCulture project dawned on me. The next day Icontacted the Star Wars Fan Club and here we are ten or so years later. A third foundation of the evolution ofmy project was that Id returned from the Olympic Games in Greece, mentally and physically toasted. I didnt want to pick up a camera for weeks. I thought Idhad enough of sports photography. Butmy PopProject proved otherwise. Iwas enjoying it too much and wanted more. So I came to realise that I was just over sport, not photography. The PopProject saved my career, because Iknew it wasnt photography I was tiredof. Sports photography was my job,andwith it came the pressure of trying to make a living. The PopProject was all me, no pressure from anyone oranything, I had the power to make it my own object, my own design.
Shooting versus participating

I dont participate in cosplay, but if I did, Id go for one of the big bad boys in black: Batman or Darth Vader. I find it best to have some distance from cosplay, but knowing too much allows no preconceived notions to alter my own creative process in setting up a portrait.
Backstage, Brisbane City RSL, 2007
Q Kiss
Sports versus play

Theres definitely a big difference,
and at the start I found it hard. Not soanymore. My sports world is about moments; quick moments that are otherwise missed but brought into existence by the photograph. And the moments are many, the moments are quick, and the moments all exist with different biologies to each other. The biology is determined by the vision and portrayal that I judge as being part of its outer skin. I try to put a little of my own self into the grand vision and the physical make-up of the captured moment. In sport, things happen super fast. Your eyes see the moment or an opportunity coming, your brain translatesall that information and has your body react correctly at 1/8000 of asecond I have no control over whats about to appear in my viewfinder. You cango to a thousand football matches between two teams, same venue, same players, same lighting conditions, same time and day, yet none of your images will be the same as the other match. The PopProject is under my control. Ihave a say in how it looks. So I feel no pressure. The pressure comes from what my creative process can come up with, and whether that final image is true to mypersonality and true to the character Im photographing. The hardest part for me is to switch over from my Nikkor big boy lenses thatare essential for sport, such as my 300mm f/2.8, 600mm f/4 and my new
WHO IS THAT MASKED MAN?
Comiccon, Melbourne, 2011 DIGITAL PHOTOGRAPHY | 47
Q Joker
PROFILE
DELLY CARR
IN DELLYS BAG
My kit covers the full spectrum needed for sport: Nikon D3S and D4; Nikon lenses 600mm f/4, 300mm f/2.8, 80-200 f/2.8, 24-70mm f/2.8, 14-24mm f/2.8, 50mm f/1.4, and a 1.4x teleconverter. The amazing new 800mm has just been placed on my lap. Its my new favourite toy; Nikon batteries, chargers, a Nikon 1 J1 for all my travel, headache tablets, an iPad, iPod, a pack of sultanas, and a novel.
Backstage at a concert held at Taronga Zoo, 2013
Q Beatnix
Elvis look-alike competition, Elvis Festival, Parkes NSW, 2009
Father & Son
Nikkor baby, 800mm, to smaller lenses traditionally used for portraits such as an85mm. My field of play has now been reduced from a cricket oval to a photographic studio. And many times Ilaugh as does my subject when I fireasports burst of frames on my D4 ofaround 10fps for a simple, still cosplay portrait. Hard to get out of habit, I guess.
Changes to the PopProject

The project has evolved a lot over the last tenyears. I want to grow as a photographer within portraiture. I try to make each shoot better than the last. I want to challenge myself every time to put more into each new image, put more of my personality, mood and vision into each shot. The unusual subject or cosplayer isnt enoughfor me anymore. I also try to make each image with themindset that I want to one day see theviewer stand back at my exhibition andsay, Wow. It doesnt happen all the time and sometimes I get it wrong, but Ineed to walk into each shoot thinking thatway. Otherwise it will stagnate. The creative process river must always flow.
Inside the cosplay universe

I have to stay true to the character or person within that costume. My Darth Vader cosplayer was born on the day of thefirst moon landing. Truth versus fiction.Perfect match. My Chewbacca agreed to the 60s hairdressing image after rejecting my initialcomic suggestion to make Chewbacca seem secretly evil by chainsawing a big teddy bear. Chewie is not evil and my subject flatly refused. I can now see what image-makers like Sam Jones or Australian photographers likeKristian Dowling are all about. My photography world prior to this project never extended further than the exit doorof the sports stadium.
The future of the PopProject

Cosplayers now come to me wanting to bea part of the project. Theres no longer
Comiccon, Melbourne, 2011
Q Loki
My photography world prior to this project never extended further than the exit door of the sports stadium
ashortage of subjects. Id planned to stop with Harry Potter, but the new wave of superhero movies has brought out a plethora of new cosplayers to shoot Ironman, Avengers, Jack Sparrows, to name a few. Superman was hard to find, but a new wave of Superdudes will come out with the new movie. For a while there early in the digital age, it seemed like a few sports photographers were making an exodus to another camera brand. But they were so bogged down on photography technicalities that they forgot to shoot with light itself the most crucial principle of great photography. So whos laughing now? Nikon have recently built an amazing path of gold in the digital world. The beauty about Nikon is that their DSLRs for consumers such as the D5200 are so damn affordable. Similar technology thats in my camera is available at entry level. I dont think that was available to mewhen I started all those years ago. Nowtechnology is becoming even more compact, which is why I carry around a Nikon 1 J1 with the confidence it will deliver similar image quality and at the speed I expect from my Nikon DSLRs. Im also amazed at how Nikon are making such a big effort to celebrate photography among this market and their online communities. The I AM NIKON marketing campaign and the My Nikon Life online community is a perfect example of that. I am so proud to be an ambassador for the best that there is in photography. To see more of Dellys work, check out mynikonlife.com.au/dellycarr
The cosplay wishlist

On my wish list would have to be the actual people of Popculture: the artists, the actors, the creators, the voices. Portraits of people like Stan Lee, creator ofMarvel, Carrie Fisher as Princess Leia, etc. And of course to one day visit San Diego for ComicCon, the Mecca of Popculture conventions, the Olympics forCostumePlayers.
The gear
When I made the decision to attempt sports photography, it was an easy decision to choose Nikon. Its never let medown during any crucial moment of capturing crucial moments. The D3S and now the flagship D4 were cameras built beyond their time, and in my opinion they leapfrogged the other camera brands in such a distance that the opposition brands are still trying to close the gap.
Brisbane, 2011
Q Ironman
FEATURE
5DMkII; 70-200mm lens; 1/100sec; f/8; ISO 400
EWEN BELL
Q Deep Flinders sunset
Aerial 101
Sky high in Blinman
Ian Fargher and his plane are available for photographic flights anywhere in the Flinders Ranges, operating out of his own strip near the town of Blinman. Hes skilled at mustering livestock with his Cessna 172, so low-level buzzing over scenery is never a hassle. AngorichinaStation.com.au
POSTCARDS
FLINDERS
FROM
The experience of shooting and exploring the Flinders is unique for every traveller
Quietly spoken treasures where the mountains meet the desert.
IMAGES
FOLDED FLINDERS
(FAR LEFT) 5DMkII; 24mm lens; f/8; 1/125sec; ISO 800
ts just gone 7pm and the last rays of sun are about to hide behind the distant hills. Ive driven off the main road to follow a folly a track that leads to the ruins of a small farming community. The dirt at my feet is red and sandy, the hills carpeted with spinifex grass, and every few hundred metres another mob of kangaroos is startled by the approach of my 4WD. A track leads to the top of a small hill and I pause the vehicle to shoot a large boomer backlit by the sun. Most roos leap away at the first sound of a car; some just wait and watch. This large male is very patient and allows me to get out of the car, walk closer, and take more shots.
I only have a 70-200mm lens but its good enough for the most patient of the marsupials. These will be my best shots of the day. The sun is moving too fast and I reach the top of the hill a little too late to shoot the wide open views around me. Sometimes the joy of being a photographer is finding yourself in the middle of nowhere with a peaceful sky and nothing but your own thoughts to capture the moment. There will be plenty of great photos tomorrow anyway. South Australias Flinders Ranges National Park which begins about 400km north of Adelaide is filled
with these moments. It offers up a subtle landscape that challenges your composition. There are very few slam-dunks here; each lovely image must be patiently crafted from the landscape, as though the millions of years of tectonic movement that pushed all this geology to the surface is in no hurry to be mounted on someones wall.
BUSH TOMATO
(MID LEFT) Pentax 645D; 55mm lens; 1/3200sec; f/2.8; ISO 200
Hop to it
Im especially pleased to have finished the day having captured a handful of kangaroos. Their presence in the park dominates the journey, partly because theyre so beautifully adapted to this environment, partly because they
(ABOVE LEFT) 5DMkII; 16-35mm lens; f/7.1; 1/100sec; ISO 1600
PRAIRIE HOTEL
(ABOVE RIGHT) Pentax 645D; 55mm lens; f/10; 1/125sec; ISO 200
GLASS GORGE TRACK
IMAGES
EASTERN GREY KANGAROO
(LEFT) 5DMkII; 70200mm lens; 1/320sec; f/2.8; ISO 100
PARACHILNA BLOOM
(RIGHT) 1DMkIV; 70200mm lens; f/3.5; 1/320sec; ISO 400
WILPENA POUND
(FAR RIGHT) 5DMkII; 24mm lens; f/8; 1/500sec; ISO 800 (BELOW) 1DMkIV; 16-35mm lens; f/10; 1/640sec; ISO 3200
PRAIRIE HOTEL
Planes put in a sharp left turn after take-off and within seconds you have views of the Pound to your right
present a constant danger when driving after dark. The locals repeatedly explain the need to simply slow down if you get caught on the roads in the night: 70km/h is reasonable; 100km/h is suicidal. I love the wildlife here, and part of the joy of travelling along these roads is that you see so much of it before you even step out of the car. Peregrines swoop to catch prey, wedge-tailed eagles hover above a rocky ridge, and macropodian marsupials like the western red kangaroo graze along the roadside. They always look surprised when a car barrels around the corner, popping their heads up and flicking their ears around to confirm the source of the drama. Most will hop away from trouble and further into the scrub, but every so often a young joey will panic and dash across the road. Emus present less of a danger to drivers by virtue of being more predictable. Once they decide to run, they just launch themselves forward and are reluctant to change course for anything. They lope along with gangly strides, such awkward seeming creatures that look as though they might tumble over at any second and bang their noses into the dust. They never do. Youll find the Flinders reasonably compact for driving between photo stops.
Local tip
From Pound to Prairie
An excellent days drive is on offer when you start at Wilpena and finish at Parachilna. The route takes in the southern sections of the Flinders with a well-maintained track through Bunyeroo Valley. Several lookout stops are easily found on this section of road with high vantage points for photographers. This route connects with Aroona Valley before heading west through Brachina Gorge, where you can meet the resident yellow-footed rock wallabies or just photograph the river gums and dry riverbeds for a few hours. From here its about 30 minutes or less before you reach the tiny town of Parachilna, where the Prairie Hotel awaits with comfy lodgings and the best food in the Flinders. PrairieHotel.com.au
POSTCARDS FROM FLINDERS
Hot rocks
Prehistoric landscape
What makes the Flinders unique is the geological history trapped in the rocks. 540 millions years of folding, faulting and erosion has left behind a series of connected mountain ranges, riverbeds and gullies. Hot spots like Brachina Gorge contain the entire gamut of geological stories within a few hundred metres. Just beyond Parachilna, a fossil record from the Ediacaran period a pre-Cambrian age named for these very hills has emerged to reveal some of the oldest life forms known on earth.
The problem is, a short distance can turn into a long day. Inspiration is found at almost every turn, so you stop and get out and think about the shot and before you know it lunch has come and gone. A handful of classic scenes can be found easily enough here, but the experience of shooting and exploring the ranges is always unique for every traveller. Modest distances are coupled with ample services, and a triangle of accommodation and dining is found between Wilpena, Parachilna and Blinman. Each asserts its own character and each is worth spending a few nights.
Clean air
Wilpena is one of the best places to get in the air around the Flinders Ranges and take some photos. The airstrip is bang on the doorstep of the scenery and if you can fight your way through the kangaroos in the early morning its a quick turnaround to get airborne for the first flush of light. Low cloud and pea-brained emus are the only things likely to get in the way of a great shot. Once in flight, the scenic views of Wilpena go from marvellous to magnificent. The suns first rays hit the dramatic cliffs of Wilpena Pound,
painting the rocks yellow and red. Planes put in a sharp left turn after takeoff and within seconds you have views of the Pound to your right. Photographers can enjoy the experience with doors off, offering unimpeded shots across the landscape. Most scenic flights here use the Cessna 182 or 172 aircraft, which have a high wing, angled struts and fixed landing gear. You cant shoot straight ahead and you have to dodge some of the engineering to the right, but theres lots of room to shoot if you twist around in the seat. When the pilot does a right-hand turn, youre looking directly down to the red earth below and you can feel the tension in the seatbelt. Doors-off shooting isnt for everyone but it is a genuine thrill. The tricky part is holding on to your cameras, as the force of wind hitting the lens when you overreach from inside the cabin is intense. You need to clutch your camera with two hands and keep the straps out of harms way. When you push into the airflow, the buffeting will destabilise your shot, so your window for composition is pretty tight in these smaller planes. A 24-70mm zoom on a full-frame DSLR is perfect for these shoots, with the ISO dialled up to keep the shutter
Q Emu on the runway

5DMkII; 70-200mm lens; f/2.8; 1/4000sec; ISO 800
FEATURE
EWEN BELL
Travel tip
Hitting the road
You dont need a 4WD for most of the Flinders, but a warning when you rent a car to make the trip: most rental agencies have long worked out that travellers visiting here after dark are highly likely to run into a kangaroo, and insurance is denied from dusk til dawn when you book a vehicle. You may have more fun and less stress by taking your own car instead of renting something in Adelaide.
Walking trails abound throughout the Flinders
Q Parachilna Gorge
Q Yellow-footed rock wallaby

You can stare and not see a thing, yet theyre right in front of you
above 1/500th of a second and the aperture around f/10. Early light is ideal as the contrast across the landscape is best and theres no need for any filters. Later in the day the sun gets much brighter and you start to see an effect from a polariser, which just adds another element of complexity to the task of shooting in-air. Patchy cloud was an issue on my aerial tour but a short window of light broke through in time to rattle off a few frames. Getting the first flight of the day is easier than the last, plus the possibility of heat haze is less of an issue in the mornings. Wilpena Pound is somewhat distinctive in that it offers stunning landscape at either end of the day. You just have to keep an eye out for those emus on landing.
Artists trail
Landscape photography in the Flinders is typically subtle when compared to other highlights of the Australian outback. Flora in the ranges provides an oasis from the desert beyond, imparting a softness to the scene that draws many artists. Great painters of the ranges have tuned in to this gentle palette, taking care to avoid intense reds, greens or blues. The geology is weathered and aged, an uprising of events that took place millions of years before, so working
in muted tones becomes sympathetic to the surrounds. Photographers often struggle to be subtle, so the Flinders becomes a challenge from the very start. As you drive north along the western flanks of the ranges, you can see with your eyes how beautiful the landscape is, but your mind does backflips trying to figure out how to capture that in-camera. Its not always obvious how to translate your experience into a capture. The basic foundations of landscape photography have to be employed with care. Working the foreground, looking for leading lines that carry the eye back into the distance and keeping balance within your composition. The ranges wont yield their best scenes on a platter; you have to earn them. Just getting into position can be something of a journey, with dusty trails across ridgelines providing the easiest access to the classic vistas. The road between Wilpena and Brachina Gorge passes through Bunyeroo Valley and presents several opportunities to stop and shoot. On a clear morning the light is ideal, illuminating the foreground scrub and distant hills. Further along the drive Aruna Valley is equally worthy of attention.
To get decent shots you will need a very long wildlife lens or a tonne of patience
Brachina Gorge itself is the classic location for powerful river gums that dig deep into the geology to tap into what water remains. The colours of the rocks contrast with sharp blue skies and green eucalyptus leaves. Enclaves of trees provide inspiration for shooting up close, extracting still life images of decayed leaves, reddish strips of bark or the occasional wildflower hiding among the leaf litter. You can sit on a bench and stare at the rocks and not see a thing and yet the wallabies are right in front if you. Their camouflage is effective, and it takes patience to get your eye in. Once you spot them, its apparent that they are numerous, and rather lazy. Late afternoon is a good time to spot them, as they awaken from rest and start getting active for the night ahead. To get decent shots you will need a very long wildlife lens 600mm, ideally or a tonne of patience. I watched one wallaby cross the road a few metres in front of me, but the majority cling to the sides of rocks and hop away as you approach the fence line. When you see them scaling a cliff face, the beauty of their evolution becomes apparent, able to jump and climb with accuracy while their grey, red and yellow shades of fur help them blend into the background.
Rocks and wallabies

One last treat is hidden in Brachina, the rareand remarkable yellow-footed rock wallabies. These peaceful grazers dont like to wander, preferring to live in colonies where water and feed is naturally abundant. Goats and rabbits place immense pressure on the yellow-footed rock wallabies, and their numbers are modest. As you drive west through Brachina Gorge, on the way to Parachilna, a special viewing section has been established.
Park info
Treks & trails
Walking trails throughout the Flinders Ranges are under continual improvement and offer some great opportunities for photographers who want to get closer to nature. Campsites across the ranges are perfect for trekking, not just driving, or you can join a tour group and let them organise the trekking while you concentrate on the cameras. Whether walking or driving into the Flinders Ranges National Park, you will need to pay fees to enter or camp. SouthAustralia.com
IMAGES
PARACHILNA GORGE
(FAR LEFT, TOP) 5DMkIII; 24mm lens; 1/200sec; f/8; ISO 100
(FAR LEFT, BELOW) 5DMkII; 70-200mm lens; 1/2000sec; f/2.8; ISO 400
YELLOWFOOTED ROCK WALLABY
FLINDERS WESTERN EDGE
(ABOVE) 5DMkIII; 24mm lens; 1/125sec; f/8; ISO 100 Its not always obvious how to translate your experience into a capture
Q Subtle landscapes
SUBTLE LANDSCAPES
(LEFT) 5DMkII; 70-200mm lens; 1/2000sec; f/2.8; ISO 400
FEATURE
EWEN BELL
With the doors off the Cessna, we join the eagles a few hundred feet above the landscape
Through the looking glass
You cant help but have favourites on a photographic journey, and the charms of Glass Gorge in the northern section of the Flinders was mine. A small posted track diverts from Parachilna Gorge and heads up into the hills where sheep, goats and kangaroos graze. Its outside the National Park but carries forward the iconic scenery. A few lookouts along the way provide highlights for photographers and the drive moves through a wide range of ecosystems before rolling into the backstreets of Blinman, including valleys of native pine and ridges lined with corkwood trees. All this within a short drive of a luxury room at the Prairie Hotel, and a hot breakfast waiting for me when the sunrise shoot has been completed. In the early mornings theres no traffic on the roads, so every kilometre you startle a new mob of kangaroos or smaller euros. Its a great place to shoot them in the wild, but something more of a challenge than the camping sites in Wilpena Resort. Youll need more than a 200mm lens to get the best shots but photography wouldnt be fun if it was too easy anyway. I revisited some of these scenes in the mornings and afternoon and it never looked the same twice. I also spoke to local photographer Peter MacDonald about this route and he confirmed that he still makes time to seek out new shots between Parachilna and Blinman, exploring the combinations of sky and sunlight on the folding ranges. I admit to being envious of his opportunity, living minutes away from this cauldron of inspiration. But Im also grateful to have had a chance to see his backyard through the lens, and through his eyes. Peter offered me one last treat by way of recommendation: a local wool farmer named Ian Fargher, who manages his pastoral land with the help of a light aircraft. Ians homestead is a short hop from the Blinman airstrip, and even shorter in the Cessna 172. With the doors off, we join the eagles a few hundred feet above the landscape. Photographers all over Australia have had the pleasure of Ians flying, sometimes heading down to the southern art of the Flinders, sometimes chasing the salt lakes or just making the most of the immediate scenery between Parachilna and Blinman.
Local tip
Inside knowledge
Peter MacDonald is a resident of Parachilna who brings an impressive record of editorial experience to his photography. Nobody knows more about the subtle charms and ideal locations for photography in the Flinders than Peter, and hes happy to share his insights. Private workshops can be tailored towards landscape photography in the ranges or stunning rural scenes on nearby cattle stations. TheSentimentalBloke.com
Q Ian Fargher
Pentax 645D; 55mm lens; 1/25sec; f/2.8; ISO 100
Pentax 645D; 55mm lens; 1/100sec; f/10; ISO 100
Q Rugged ranges
POSTCARDS FROM FLINDERS
Air time
Wilpena high and low
Wilpena Pound is a magnificent highlight for photographers, both on the ground and in the air. Wilpena Resort provides an excellent hub for exploring the southern end of the range, with a mix of accommodation options, fuel supplies and food supplies. Treks up to Saint Mary Peak start from here too, or take the fast route and take off for an aerial shoot from the resort airstrip. Planes will do a doors-off option for photographers and the runway is minutes away from the best morning shots Wilpena has to offer. WilpenaPound.com.au
Below our aircraft the geology takes on a new scale. Ridges of quartzite reveal their strata and with a clear horizon you can see the sweeping pattern created by consecutive folds in the ranges. Wilpena is a dramatic exception to its surrounding landscape, but the Parachilna end of the ranges are more naked and exposed. Photographically its a whole new inspiration, with the mountains to one side and the great Australian outback to the other. And thats what the Flinders Ranges is all about. For more of Ewens adventures here and abroad including information on guided tours check out PhotographyForTravellers.com
Q Ancient Wilpena
Pentax 645D; 55mm lens; 1/640sec; f/8; ISO 1600
Q Cessna sessions
5DMkII; 70-200mm lens; 1/1600sec; f/2.8; ISO 100
Tour info
With Peter Elfes
Sydney photographer Peter Elfes is running photography tours in the Flinders Ranges in conjunction with Wilpena Air. The tours will cater for people with all levels of photography experience, with an emphasis on the creative process as well as camera craft, post-processing and printing. Peter has been documenting the changing face of Kati Thanda-Lake Eyre for the past five years. His low-level aerial images represent a unique glimpse into this remote part of Australia. peterelfesphotography.com
FEATURE
PAUL DYMOND
Soon youll be talking strange flash slang with all your friends, snooting and gridding away
PART TWO
THE FLASH BALANCING ACT

In Part II of our ultimate guide to off-camera flash, travel writer and photographer Paul Dymond shows us how to make best use of small flashes paired with ambient light
the aperture, the more powerful the flash. So at f/2.8 your flash has a lot more grunt than at f/16. This axiom has largely been forgotten in the world of TTL flash, where the flash will automatically put out the right amount of light no matter what aperture you use. But its worth remembering that the smaller your aperture is, the harder your flashes have to work and so the quicker your batteries will drain. When youre struggling for power, a larger aperture can help. When you have too much power (think macro photography), then closing down your aperture can help. With digital, bumping up your ISO can also give you more oomph out of your flash, so dont forget that option either. The other side of the equation is shutter speed. Whereas aperture controls the power of your flash, shutter speed controls the ambient and is very important for small flash users. As an experiment, try photographing something backlit with the ne of the main differences in using small flashes compared to larger strobe units is how we treat the ambient light. In other words, all those areas of our picture that our flash doesnt hit. When using large strobes, if you come across a scene where the natural light is pretty ordinary, you can basically nuke it all to create the light you want. With small flashes, we dont really have that option. Our tiny units cant light up a factory unless we have a couple of hundred of them at our disposal so we have to learn how to blend our small flashes effectively with what light we have available. It takes some practice but once learned, the results can be impressive.
Building blocks
The trick to balancing flash with ambient light is to think apertures and shutter speeds. Thats right: its back to basics. When you first started learning about flash, Im sure you heard the saying, The bigger
flash on TTL and the camera in Manual mode at f/5.6. Then adjust only the shutter speed, starting at 1/250sec all the way down to 1/8sec second or so. You should see that the light on the subject doesnt change much at all after all, the flash is in TTL. But you will notice a marked difference in the background. As your shutter speeds get slower, the background gets brighter. We suddenly have control over two planes of light: the light provided by the flash; and the light in the rest of the frame. In other words, we can now actively decide how bright we want our subject, and simultaneously how bright we want our background. Thats something we simply cant do with natural light only. So how do we use this creatively? In the last edition (See Let there be light, Volume 32), we learned that a see-through umbrella can create very soft light, especially if used in nice and close. But what if its still creating shadows that are a little dark for our liking? We can always place a second flash or
IN DETAIL
Above: Pathology lab I After experimenting with a light, bright look from an umbrellaed flash (below), I increased my shutter speed to turn my ambient basically black and lit my subject with a single speedlite, gridded to narrow the beam to just her face and body and gelled with a blue piece of cellophane for that CSI kind of look!
IN DETAIL
Left: Pathology lab II When I first got into this pathology lab, I stuck with a single speedlite in a see-through umbrella, gelled to match the fluorescent lights. While I felt it showed the lab, it didnt really grab me as dramatic enough, or highlight my subject enough.
FEATURE
PAUL DYMOND
IN DETAIL
Blending with interior light For this shot of Lance Cochrane, we arranged to borrow a local Cairns hotel bar, as Lance has just opened up his own pub in Sydney. Rather than light the background, I decided to blend my flash with it to keep that lovely warm glow. Hes lit by a single speedlite to camera right firing through a see-through umbrella. reflector on the other side of our subjects face to lighten up those shadows, but an easier way is just to walk our shutter speed down until the shadows fill naturally with ambient light, which then becomes our second light source. family standing in front of a city skyline after the sun has gone down. Use your flash at its regular sync speed and the ambient is pitch black. Adjust your shutter speed down and all the bright lights of the city register in the background. But dont forget we can go the other way too, and make our ambient light non-existent. One place I often do this is in medical laboratories. When you dont know what the machine that goes ping does, then all labs tend to look the same: dull and white with fluorescent lights. How to make it look interesting? Choose a faster shutter speed to make the room go totally black, then use a single flash to highlight your subject. For example, in the pathology lab image from the opening spread, I liked the fluorescent lights going along the roof as a visual, but leaving them at ambient light levels rendered the rest of the frame boring. So I dialled in a fast shutter speed
The smaller your aperture is, the harder your flashes have to work
Night work
Another style of slow shutter flash photography you might be familiar with is images taken at night: think
IN DETAIL
Blending with exterior light For this shot in a high-rise office, I wanted to blend the light with the view outside. Many might think this is the realm of large studio flash but, as you can see, small flashes handle it quite easily. Here I have two umbrellas on either side of Jayme, placed to avoid reflections in the window. I then dial in a fast shutter speed to darken the outside view and match it with the indoor light to make it look natural.
IN DETAIL
Fun with funnel-webs Photographing this reared-up funnel-web spider required a fast shutter speed at least I thought so until I found that it would hold this pose for up to half an hour! I had a see-through umbrella up high to camera right, not so close as to spook the spider. Unfortunately the light dropped off so the background was very dark, so I put a second flash back there very high up and bounced off the ceiling. When bouncing flashes off the ceiling, the higher up you can put them, the less distance they have to travel and the more power theyll have. I could have lit the left-hand side of the background as well but liked how the lift falls off from right to left in both the foreground and background.
to darken the rest of the room, leaving the fluorescent lights slightly brighter (they were on). I then took a single flash and placed a piece of blue cellophane over the front of it (very CSI!). Now we have a spot-lit subject in blue with a dark, eerie background.
Great outdoors
Dont limit yourself to indoor flash, though it can be a powerful tool outside too.
One of my favourite ways to use flash is on a bright sunny day when the contrast levels are high. I like to filter the light hitting my subject by placing a see-through umbrella between them and the sun. This places lovely soft light on them, but also puts them in shadow because the umbrella cuts a couple of stops of light. I solve this problem by firing a flash through the umbrella. Or rather, in
Pro Tip
A simple rule
When lighting a scene, dont forget the law of reciprocity. Simply put, light will fall off more sharply behind your subject the closer you place your flash to it. So, in order to light more of the background, youll need to move your flash farther from your subject.
IN DETAIL
Softly lit frog When I can, I try and volunteer my photographic services to worthwhile charities that have no budget and I found a great one nearby in my local frog hospital. For this shot I wanted a nice soft light, so went with my trusty see-through umbrella and a single speedlite.
FEATURE
PAUL DYMOND
IN DETAIL
Kids in the kitchen I To shoot my son doing his cooking homework, I had a single speedlite in a see-through umbrella up high to camera left but was using quite a fast shutter speed to kill the ambient light (continued bottom right)
this case, where one flash doesnt have enough power, I gang up two or three flashes to give me enough grunt. Once I have my subject lit well, I can then shoot with a faster shutter speed to really darken the background, giving saturated colours and a dramatic look. Hint: Why dont I use a translucent panel to filter the sun on my subject? More stuff I have to fiddle around with. By using the umbrella, I kill two birds with one stone. No need for more light stands or an assistant, as I can do it all myself, and the light coming from the flashes comes from the same direction as the sun giving me continuity with my background shadows.
The narrow view

Of course there are times when we want our flashes to do all the heavy lifting and light the scene completely. For example, imagine your kid is cooking in the kitchen. Theres a lovely big window pouring soft light over the entire scene but its just not bright enough for a fast enough shutter speed. Thats fine if they keep still, but we all know thats not going to happen. Flash to the rescue as we light it all up. Before we start, though, we need to keep a couple of things in mind. First a concept that completely changed my way of thinking about flash: we only need to light what the camera can see. Take a moment to let that sink in. In other words, the narrower your field of view (ie, the longer your focal length), the less you have to light. The more your camera can see (ie, the wider your field of view), the more you have to light. A telephoto lens makes it easy to hide your flashes outside the frame. A wide-angle lens presents more of a challenge. The other thing to remember is the law of reciprocity. The what? Didnt we stop learning about that stuff when Manual flash went the way of the dinosaurs? Sure, but in
With just a Canon 50D, speedlites and umbrella, Paul is good to go
Q Keep it simple
No need for more light stands or an assistant, as I can do it all myself
IN DETAIL
this case it helps. In laymans terms, the closer your flash is to your subject, the quicker the light will fall off behind them. The farther your flash is from your subject, the more of the background it will light. So if you want to control your foreground light and your background light independently, you need to position your subjects flash as close to them as possible, so that it doesnt light the background as well. You can then use a second flash to light the background separately. If you only have one flash and you need to light the foreground and the background, then you need to back that light up as far as you can so that it reaches way behind your subject. on its little plastic foot on top of the fridge in the background. If I fire that flash into the ceiling, it will fill my background with lovely, soft, bright light. I can then play with the power of that flash to control how bright or dark my background is, independent of the light on my son. A simple but effective two-light portrait that solves my problem of needing to stop movement in a darkish environment. Kids in the kitchen II (Continued from top left) as a result, the background was quite dark, so I placed a second flash on top of the fridge (camera right) and fired it up into the roof to give a soft light that emulates a light fixture. Because I was using flash I could use a fast shutter speed of 1/125sec.
IN DETAIL
Tungsten magic One of my favourite techniques on a grey, miserable day is to put my white balance to tungsten. That turns the horrible grey a lovely shade of blue. Of course my subject then looks like a Smurf, so to turn them back to normal I have to gel my flash with an orange gel. Here Ive used quite a strong orange to give the appearance of sunrise. A single speedlite zoomed to 80mm is to the right of my subjects face, just out of the frame.
Back to the kitchen

This takes us back to our kitchen example. If I use an umbrella on a light stand to light up my son in the foreground, hell be lit softly if the umbrella is nice and close. By using a fast shutter speed (say, 1/250sec), Ill be killing any ambient and he will be lit exclusively by the flash. (Because our small flashes fire at up to 1/10,000sec, theres no worry about blurry pictures!) But my fast shutter speed will mean that my ambient is pitch black. And because my umbrella is so close, it wont light up my background at all. This is where remembering our rule of only lighting what the camera can see comes into play. I can place a second flash
FEATURE
PAUL DYMOND
IN DETAIL
Shooting in the dark x3 For these three shots of indoor basketball where it really was quite dark, I used two speedlites either side of the court, facing back down to the court to give me a nice wide coverage of light. The flash helped stop movement in the players in what was a very dark arena. My ISO was still at 800 to retain some detail in the unlit background and my flash was usually in the 1/125sec range.
Pro Tip
Split levels
A simple exercise for getting used to lighting your subject and background differently: shoot a subject backlit (Manual mode; f/5.6; flash on TTL). Step your shutter speed down from 1/250sec to 1/8sec, re-shooting with each step. As shutter speed slows, the background gets brighter while the subject remains largely unchanged.
IN DETAIL
Sunny day with umbrella One of my favourite techniques on a bright sunny day is to put a see-through umbrella up high between my subject and the sun. This puts my subject in lovely soft light. I then use three flashes ganged together and fire them through the umbrella to light them up, plus a really fast shutter speed to make my background dark and dramatic. Using high-speed sync means I can also use a wide-open aperture for a narrow depth of field. Here Neerim Callope, a rising young sports star from James Cook University, pops a basketball through the hoop over his shoulder. Or maybe my best friend Kerry (below) came along to help out and threw the ball? Im not telling.
If I shoot with a wide-angle lens, not only is that second flash on the fridge going to be in the frame, the bright flash of light hitting the ceiling is also going to be there. Not a good look. But when I zoom in to a short telephoto setting, suddenly my camera cant see the flash or the bright spot on the roof. It can only see whats within the viewfinder, which is my son, and the wall behind. Often to get our lights very soft we have to get them very, very close. So close, in fact, that theyre only just outside of the frame. Not possible with a wide-angle but easily achievable with a telephoto.
Game on
So can we only light tiny areas? Not at all. Im by no means a sports shooter, but I recently had an assignment to photograph basketball players inside, on a dark dungeon of a court. The ambient was way too low to stop motion, and even if it had been bright enough, the overhead court lights ensured that the players were mostly backlit. I couldve just stuck a flash on top of my camera but I knew we could get something better. I took a couple of small flashes and put them way up in the bleachers on either side of the key (you know that semi-circle around the basketball ring), then pointed them both down at the court. That now gave me a wide pool of light to shoot in that extended from the middle of the court all the way down to the ring. By setting my ISO at 800, I didnt even need my flashes on full power they were both set on quarter strength and provided me with plenty of light and a fast recycle time. I could then shoot away to my hearts content, unconcerned about lack of light or subject blurring. The first time I tried it I was simply amazed that two little flashes could make such a difference to an awkward shooting situation.
I was amazed that two little flashes could make such a difference to an awkward shooting situation
flash. Pretty soon youll be talking strange flash slang with all your friends, snooting and gridding your way to memorable flash photos and getting ready to take things further. Think high-speed sync, CTO gels and second-curtain! If theres one more accessory I could recommend its a little notebook to write down all your wonderful lighting set-ups. That way you can go back at any time and recreate a look that worked. Some of my favourite resources for off-camera flash learning are the Strobist website (strobist.blogspot.com), where youll find heaps of free info as well as DVD sets for sale. For print lovers, any of the books written by Joe McNally are exceptional, and although Joe is a Nikon shooter, much of the information is brand agnostic. For Canon users, Syl Arenas Speedliters Handbook is also must-have. Good luck and happy lighting! For more of Paul Dymonds work, checkout pauldymond.blogspot.com and dymond.photoshelter.com
IN DETAIL
Practice with a stand-in first Its best to practice with your lighting set-up first before the subject arrives. In this case, I got my best friend photographer Kerry Trapnell to be my sports star stand-in in preparation for the Neerim Callope shoot above. Lighting is three flashes firing through a see-through umbrella to camera left. The cameras are in TTL mode and fired with an extra long TTL cord from OCF Gear.
Conclusion
So there you have it. An introduction to the exciting world of off-camera small
TECHNIQUE
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TUTORIALS: PHOTOSHOP
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76 CAPTURING THE MOB
Photographer Lisa Saad heads to the dog track and captures the action up close
Your questions answered by our panel of photo gurus 68
VISION 82 FROM TO PRINT
UKay Cheung uses colour, shading and tone to transform a high fashion portrait
ACMPs tips and tricks to getting started in HD-SLR shooting 70
VIDEO CORNER
Lynne Bonanno goes behind the scenes as the team takes on NZs epic landscapes 74
WALK WITH A PRO
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Experts
IN EACH ISSUE, OUR STABLE OF PHOTO GURUS WILL FIELD QUESTIONS FROM READERS ON EVERYTHING FROM TECHNIQUE TO GEAR, PHILOSOPHY AND MORE.
Shot using the 10-24mm F3.5-4.5 lens; 1/40sec; f/4; ISO 250
Q Mid range
Q&A
This is a plea from a mad Sony photographer. I want to upgrade my lens for my Sony DSLR-A100 and, apart from a shop in Cairns, theres nothing I can find to shop around. Its hard to find much in the way of Sony equipment here in the far north I seem to be the only Sony DSLR owner up here! I like the Tamron 10-24 lens and would like to know where I can research them in Australia as an alternative.
Jenni Bibi
Ewen Bell says:

If you mean the 10-24mm F3.5-4.5 wide angle by Tamron for a Sony mount, Ive met many people who have used this lens for their APS-C format cameras and not one grumpy owner. It offers a genuine wide-angle zoom with better than average optical characteristics at a great price (around $700). We reviewed this particular Tamron in the mag recently and called it a wide zoom range packed into a fast lens, making it the choice bit of kit for enthusiasts who want more from their DSLR photography. In summary, its a great lens for a wide variety of conditions. It performs well in low light and sun-drenched scenes. The autofocus is reliable and fast, great for urban scenes and chasing people. The ability to react quickly is essential for getting the most from your ultra-wide-angle on an urban shoot, and thats what you get. The build quality is equal to its competitors, with a nice firm switch for manual or autofocus, well placed rings for focus and zoom, all the working elements are nicely internalised and the extension of the barrel while focusing is modest. For travellers, this model is light, tidy and solid enough to take a few hits. Overall, this is one of the best lenses you can buy for your APS-sized DSLR. Good luck in your hunt!
Overall, this is one of the best lenses you can buy for your APS-sized DSLR
Q Wide + wonderful
10-24mm F3.5-4.5 lens; 1/200sec; f/3.5; ISO 1600
TECHNIQUE
THIS ISSUE, WE LOOK AT A GREAT WIDE ANGLE LENS FOR A SONY MOUNT, AND DISCUSS DELETE VERSUS FORMAT ON MEMORY CARDS
ASK THE EXPERTS
Format the card before first use, and never shoot a card on various cameras
Q Close quarters
10-24mm F3.5-4.5 lens; 1/1250sec; f/3.5; ISO 1600
Q&A
Ive had two people who work in photography say do not press the delete button if you do not like a picture because it will corrupt your memory card. They say you should keep all pictures, pick out the ones you like, then after that just format the card. What is your take on this? Because I have been deleting. Can you give me some ideas on what to do and what not to do?
Douglas Willis
Corey Middleton says:

Having worked with the team at Sandisk in a distribution role for the last two years, Ive learned that their Extreme and Extreme Pro series cards have the controller set to recognise between RAW and JPEG / MPEG4 and Video files. It then partitions the silicon between the two formats for faster and more efficient previews. The same technology recognises when a file has been deleted and rearranges the data on the silicon so that the space made available from the data being deleted is effectively brought to the top, ready for the next frame to be laid down. That said, the usual rules apply: format the card before first use, never shoot a card on various cameras, and do a format at the end of your workflow.
Grenville Turner adds:

Like any hard drive, the process of deleting and rewriting files fragments the hard drive, thereby slowing down the read/write process. From time immemorial, even with very early digital cameras, photographers have been encouraged to reformat flash cards/memory cards rather than delete files and most of my colleagues follow this practice. However, there are times when Ive had to delete files and Ive not noticed any increase in the rate of corrupt files which are very low at the best of times maybe one in four or five thousand. Q Healthy memory
After downloading pics, always format your card so that clean, new directories are being written
ASK OUR EXPERTS SEND QUESTIONS VIA TWITTER, FACEBOOK, OR EMAIL:
Ewen Bell
DP Magazines Editor-at-large and reviews guru, Ewen is Melbourne-based, but conducts photography tours all around the world.
@DPMagAustralia
Grenville Turner
A pioneer of landscape shooting in Australia, Grenville has a career spanning more than 30 years and is based in Alice Springs. facebook.com/DigitalPhotographyMag
Corey Middleton
An accomplished Sydney shooter, Corey works with photographic distributors CR Kennedy & Company. editor@dpmagazine.com.au DIGITAL PHOTOGRAPHY | 69
VIDEO
Corner
ALL THE TIPS AND TRICKS FROM BEHIND THE SCENES AT AN ACMP HD-SLR VIDEO WORKSHOP, RUN BY PHOTOGRAPHY AND VIDEOGRAPHER LISA SAAD ACMP.COM.AU
The most important element for anything in motion is sound
Q Two Day Workshops

ACMP holds several workshops a year
The Australian Commercial and Media Photographers and Media (ACMP) have started running fantastic courses that go behind the scenes on HD-SLR writing, shooting and editing. Experts like DP regular Lisa Saad and pro shooter Joe Moreno are sharing their top tips of the trade, hosting sessions and workshops in association with Manfrotto and Nikon, in cities across the country. Ourvery own Lisa Perkovic sat in on arecent course and has cherry picked the best tips for anyone wanting to take their video skills to the next level.
ALLING ALL STEVEN SPIELBERG WANNABES!
you want. Using an 18% grey card, fill the whole screen with the grey card, making sure the camera is pointing in the direction youre shooting so you get the correct colours based on the light. Grey cards are usually more accurate than white cards. TIP: If youre shooting in a room with threedifferent types of light, shoot in the middle ground, so around the 550k area.
Colour
Its important to have a consistency ofcolour throughout your clip. Choose alook and aim for that each time. You can create a look by controlling and adjusting colour temperature. When youre shooting with daylight inside, choose a Kelvin degree. When youre shooting on a cloudy day, shoot in Tungsten. Try to come up with a look that appears natural, not like youve forced it. Study it, practice and work out how to recreate it. You need towork out your own style!
Interviews
When filming an interview, use a two-camera setup. Set up one camera with awide angle lens (e.g., 28-70mm) and another with a close-up lens (70-200mm) at a slightly different angle. Using two cameras ensures you wont have to stop mid-interview to switch the camera toanother angle. It will also make seamless editing a lot easier.
Getting started
You need to be flexible and familiar with your gear, soshoot and practice every week. Get a good team together: networking and getting areliable crew are both really important. Try to get agood gaffer. Use social media to promote your work and develop relationships with possible clients. All production companies want to see a showreel ofyour work, so keep one updated and ready to go. Figure out who your competitors are and what theyre doing so you can offer something different. Showcase your work: set up a website and use SEO.
Aperture
Still photographers often use a small aperture but in the video world, try and work on the widest. Videographers dont shoot past f/8 because video lenses in general dont have the amount of blades aDSLR there are only four blades and when working with the wider apertures, the footage will go black and that gives DSLR shooters an advantage. The bokeh you achieve at the wide apertures looks great on film. When working on a wide
White Balance
We live in a world of different colours andits important to adjust your white balance every time you change your lens. Video isnt like still shooting, where you can fix what youve shot in RAW. You need to get it right on the day. Customise your camera to see the white
TECHNIQUE
VIDEO CORNER
Rig Set-Up:
Nikon D800 with 28-70mm ED f2.8 lens, Manfrotto tripod with video head, Manfrotto Sympla System, small monitor on left is the Ninja 2 recorder and the monitor on the right is a 7 3G-SDI HDMI Field Monitor VK-7. The blue knob with the gear teeth around the lens is part of a third-party focusing system.
scene, focus to infinity. Pick your f-stop range and shoot the entire production on one f-stop. This helps withcreating a look. Dont work with small f-stops; stay in the f/5.6-f/8 range, use it to your advantage.
Zooming
If youre going to be zooming in on an object, zoom in, focus, then zoom out tobegin shooting. If you zoom out, focus and then zoom in, it wont be in focus. TIP: Breathing is the term used to describe the way the frame might adjust slightly as you zoom, because its moving lens groups. This is often used as an effect on film but can be distracting if its not what you were aiming for. Interestingly, video lenses have a longer thread on their barrel, so they can get a smoother zoom. The barrel of a DSLR lens is shorter. So try a Crush Zoom for music or fashion, where you twist the barrel fast. Its a great, punchy effect.
Tips for the best sound

Invest in a good set of headphones Get everyone on-set to take their keys out of theirpockets Record two minutes of everyone in silence, so you can overlay that ambience as a blend. Its called atmos If youre capturing speeches at a wedding, hide a wireless mic near the speaker and use shot-gun mics on the cameras If youre at a conference or event, see the tech team because theyll usually have a 3.5 line out and youll be able to plug into that and record the sound from there. Remember to bring your own converter Look after your equipment; keep them wrapped up and in plastic containers
Shutter speed
As a default setting, stick to around 1/150sec; dont go lower than 1/125sec orhigher than 1/160sec. TIP: if youre panning, you need to be careful with shutter speed. If you pick a shutter speed thats too fast, the footage will be jittery. Ifyou go too slow, the footage starts to smear and youll end up with constant blur. Neither is good for video. DSLR cameras have a Rolling Shutter instead of a Global Shutter typical on video cameras. If you pan too fast, youll notice discrepancies in the footage. For example if youre filming a helicopter, youmight see the individual blades ofthepropeller. To avoid any problems, dont pan too fast.
Sound and microphones

The most important element for anything in motion is sound. Not vision, but sound, because people hear first before they see. Video cameras have access to two audio channels. You can dial one down and the other up, but you cant do that with a DSLR. You need to build the sound up in layers and use a sound operator to make adjustments while recording. Never turn off the mic on your camera they pick up the ambient sound and youll need that later when youre editing. Lapel and boom mics capture directional sound, but ambience is vital to make a clip seamless. Find out when the next ACMP HD-SLR workshop is on near you at acmp.com.au.
DIGITAL PHOTOGRAPHY | 71 Getting experience in the field is vital
Q In the field
Focus
Using focus for DSLR video is different toshooting stills. Use autofocus first andthen flick over to manual. For focus tracking, start your subject in the frame; dont have them coming into the shot because the subject tracking wont work. Ifsomeone is coming towards you during ashot, use Follow Focus. This is when you adjust the focus while something is moving. Youll need to judge the distance from them to the centre but a bit of practice will help you do this.
WALK WITH
A Pro
IN THIS ISSUE, OUR WALKING PROS HAVE TAKEN TO THE SKIES, WINDING THEIR WAY TO NEW ZEALAND FOR AN INTERNATIONAL LANDSCAPES EDITION OF
By Doug Hall, Canon 5DMkIII; 24-70mm lens; 5sec; f/9; ISO 200
Q Greymouth Forest Trail
Kiwi edition
Q Walking Pros in NZ
L to R: Dave and Elizabeth Coleman, Samantha Taylor, Sarah Crundwell, Doug Hall, Lynne Bonanno, Tate and Hind Needham
PRO TIP
Misty water minus the filter

Want to get that smooth water look (far right) without a filter? Shoot with a tripod around 30mins before dawn or after sunset; select aperture priority; lowest ISO you can; around f/16; mirror lock-up if possible shoot away!
work our whole life to achieve. It is the time of our lives when we indulge ourselves and finally take the opportunity to discover interests weve always longed to try. Not surprisingly, one of the most favoured ways to spend our time in retirement is travelling. Most retirees no sooner return from one travel destination than they are eager to seek their next adventure. Imagine combining your love of travel with the fastest-growing hobby in the world: photography. The Walking Pros from Canberra-based T8 Photography Doug Hall, Samantha Taylor and Tate Needham recognise that many photography enthusiasts frequently own high-end equipment, yet rarely move the setting off auto. As Hall says: The real artistry in photography comes when you make creative choices; the first of these starts with your camera settings. Theres nothing to be scared of. Its just a matter of understanding the settings. We will help you speak the same language as your equipment. On their most recent WWAP outing, Hall and Co. hosted a group of eight enthusiastic shooters in New Zealand. The majestic South
N ACTIVE RETIREMENT IS SOMETHING we seem to
Island offered a visual feast and is known for the jagged mountain range that weaves its way down the isles length. A country chiselled by its icy history, landscapes here are the remains of retreating glaciers, offering a dramatically rugged backdrop to the lakes and streams that are tinted by powder-blue glacial flour. Such diverse scenery amply satisfied this group of budding photographers, allowing them an abundance of opportunity for individual expression. You can expect to capture images that vary from wondrous traditional landscapes to the intricate details of the islands evolved environmental spheres. Imagine returning from a trip that captured the russet tones of the southern region, gradational blue abstracts from the Franz Josef Glacier and fine art black and whites of the steely stone weeping walls of Milford Sound. Visual representations of the thriving thousandyear-old rainforests were also a highlight. The canopied oasis provides a sanctuary for teeming life; from the clumsy feet of age-old trees to the delicate array of mushrooms clinging to the tall limbs, all are equally as captivating.
TECHNIQUE
THEIR POPULAR TOUR. LYNNE BONANNO FOLLOWED IN THEIR FOOTSTEPS, SNAPPING PICS OF HER OWN AS SHE WENT
WALK WITH A PRO
By Dave Coleman, Canon 5DMkII; 24-105mm lens; 1/1000sec; f/9; ISO 200
Q Franz Josef Glacier
Q Greymouth Beach
By Samantha Taylor, Canon 5DMkIII; 16-35mm lens; 1/200sec; f/5.6; ISO 640
Q The Abyss, Franz Josef Glacier
Q Docherty Creek
By Tate Needham, Canon 5DMkII; 24-70mm lens; 6sec; f/16; ISO 100
Its such a rewarding experience to help people get in control of their camera
A Pro
The main thrust of these trips is to be able to reproduce the grandeur of the scenery
WALK WITH
Q Queenstown Ranges
By Dave Coleman, Canon 5DMkII; 24-105mm lens; 1/400sec; f/11; ISO 200
Q Queenstown Waters
Back at home in Canberra, the tours rewarding finale included a gallery exhibition at the professional studio for all the participants. Not just an opportunity to present the individual work of everyone involved, its a unique way to unveil newfound skills to family and friends with a display of your favourite pieces. An exhibition is the ideal end to a tour, says Tate, director of T8 Photography. Its an opportunity to show everyones piece of the trip, their perspective of the experience. Its such a rewarding experience to help people get in control of their camera. You see this magnificent landscape, but often a simple click on the camera just doesnt do it justice. I love helping people capture that landscape just the way you see it so they can show everyone at home just how amazing the place was. Samantha Taylor, the travel addict among
the T8 team, is always armed with her camera and passport and her desire is to encourage people to swap the comfort of their armchair for a seat on a tour bus, claiming, The view is much better, plus its exciting not knowing what youll see tomorrow. Taylor co-ordinates the travel arrangements on behalf of the groups and has a growing list of potential destinations. She feels that Australia, New Zealand and the Pacific regions have so much to offer the tourist armed with a camera. The scenery is so varied, she says. Theyre destinations within easy travelling distance and they are affordable. To keep tours intimate, Taylor coordinates small groups of eight so that everyone is afforded plenty of attention. While Hall and his team are happy to provide assistance in all aspects of the photography workflow including composing, exposing and editing the main thrust of these trips is to be able to reproduce the grandeur of the scenery, and to revisit the experience visually when you return home. Being able to relive great moments of your holiday by having the skills to capture it properly with your camera, for me, is priceless, says Hall. Travelling the world and taking great images? Tell me thats not a perfect way to enjoy life. For more from our Walking Pros, check out T8photography.com and Facebook.com/ WalkWithAPro to see if theyll come strolling to a location near you.
Q Milford Sound
By Doug Hall, Canon 5DMkIII; 24-70mm lens; 1/800sec; f/5.6; ISO 400 74 | DIGITAL PHOTOGRAPHY
TECHNIQUE
WALK WITH A PRO
PRO TIP
Q Road to Arthur's Pass

By Lynne Bonanno, Nikon D800; 105mm lens; 1/110sec; f/5; ISO 100
Use of foreground in landscapes

Don't forget to use your foregrounds intelligently to help guide the viewer into your frame. For better composition, have a look around before you click for any natural lines that might help achieve this.
Other T8 Tour Hotspots

Desert Dalliance: A weeklong introduction to the majestic centre of Australia. Capture the sunrise over a marbled Uluru, the rugged isolation of the Olgas and the magical star trails in the uninterrupted desert night sky. Baby Boomer Broome: Spend a week discovering this little piece of heaven. Shoot the staircase to the moon over Roebuck Bay, capture what a sunset looks like on board a camel safari and relive through your viewfinder the historic life of the local pearl emporiums.
Heaven in the Hinterlands: Indulge in this weeklong tour of Qlds rainforest regions. This area provides a wonderful opportunity to photograph both the robust forests and capture life under the canopy by trying your hand at macro photography. Terrific Tasmania: Imagine touring the wilderness state of the south with its natural and manmade beauty that represent our historical past. Tassie is a treasure and offers an amazing array of scenery for the photography enthusiast. T8photography.com/ PhotoTours
By Doug Hall, Canon 5DMkIII; 100mm lens; 1/160sec; f/7.1; ISO 125
Q Haast
Q Queenstown Night
By Dave Coleman, Canon 5DMkII; 24-105mm lens; 30sec; f/6.3; ISO 200
Photoshop
TUTORIAL
CAPTURING THE MOB
Level: INTERMEDIATE | Time: 1 HR
I TRULY BELIEVE THAT, in order to change your point of view, you need to change your perspective. The brief was to photograph the dogs racing from the rabbits point of view at the track. This image demonstrates my tenacious attitude towards my craft and also life. I love the fact that I have the ability to create something from nothing and to continually push the boundaries past my wildest imagination.
PRO TIP
Something as simple as CHANGING PERSPECTIVE can make a huge difference to a subject. Try experimenting with different angles in camera
TECHNIQUE
LISA SAAD IS A MELBOURNE-BASED, AWARD-WINNING PHOTOGRAPHER WITH 25 YEARS EXPERIENCE IN COMMERCIAL PHOTOGRAPHY. CHECK OUT LISASAADPHOTOGRAPHY.COM.AU
TUTORIAL
01
Getting the shot The Mob was shot at the
greyhound track in Lara, Victoria. The image was a year-long project to shoot and complete, including all post-production. This is a constructed image. Each dog was photographed individually. The technical challenge was to shoot each dog in motion whilst the camera (Kodak DCS 35mm digital SLR) was travelling backwards at 40-50 km/h firing on a programmed time of eight seconds with an approximate delay atthe start. The eight seconds of shooting could only be on the straight just before the first turn as the lure the camera was attached to became too shaky and violent after that point. The camera was mounted in the position of the rabbit and was controlled by the lure operator so it sat at adistance of approximately 1.2 meters from the lead dog. Each group of greyhounds, around four to five dogs per group, were suited up in race gear and started in the gate ina simulated race. The lure was fired up at different starting points until we could work out the correct sequence. Time management was crucial as the greyhounds could only run once around the track and I had six starts with about 30 dogsavailable each time and could only stretch the owners helpfulness to experimenting with their greyhounds on fouroccasions. The first day was a disaster, with the camera dropping to the bottom of the lure and being dragged in thesand. The second day was not any better and I feltvery frustrated as the rigging on the lure was failing. It couldnt deal with the weight of the camera verses a fluffy bunny. After much thought we arrived at day three, which involved numerous phone calls to the owners, track management and a few engineers. We managed to secure the camera but the images werent pin sharp and the greyhounds were too far away in the distance. On day four I was extremely nervous because this was the last chance. And it worked! (There were six months between day one and day four.)
Images of the dogs from test shots
Q Original Images
TUTORIAL PHOTOSHOP
02
Composition
Each dog was removed from its background andthen placed on a blank canvas. As you can see below, my first attempts at the grouping werent successful. It took me four days to arrive at the final composition. When a friend saw this attempt she said what is it that you truly see?
PRO TIP
One thing I realised from this shoot is the importance of having a good plan at the beginning and a CLEAR END GOAL. I knew I wanted to photograph the dogs racing from the rabbits point of view but it still took me a few days to pull the composition of the dogs together.
03
Background removal
The removal of the background is pretty straightforward. I used the Pen Tool (P) to draw around each dog and then made a mask to delete the background. This left only the subject visible and the background transparent.
TECHNIQUE
TUTORIAL
Shadows
04 05
Once the final grouping was created, ashadow was added to the dogs. Each shadow is the individual dog image flipped,grey scaled, blurred slightly then reduced in opacity on a separate layer.
Backgrounds
The original background image is a frame from the lure/camera set up from one of the days we shot so themotion blur is natural. I added a new sky to the background by placing another version on top of the existing image. I used a mask and brush to add/remove areas I didnt want and to blend the two skies together.
06
Adjustments
Using the Burn tool (O) Idarkened areas to help with composition.
TUTORIAL PHOTOSHOP
07
PRO TIP
Adding elements like artifical light can help an image make an impact. Think about how the light would fall and how the beam strength will change
Light beams
To help with composition, I added abeam of light to each of the flood lights on the right-hand side. This wasachieved by drawing a cone shape on a blank canvas with the Pen (P) tool. The shape I drew needed to represent a beam of light, so smaller at the top and wider at the bottom.
08 09
Creating light I filled the shape using the Gradient Tool (G),
andthen blurred the shape using Filter-Blur-Gaussian Blur set to about 30%. I then erased out (E) the bottom right hand corner of the beam so itwouldnt fall onto the line of the dogs or on the railing.
Layer tweaks
For each light I then changed the layer mode toscreen and the opacity to11%.
The Layer palette

Youll see here the order of my layers palette. I kept the image structure organised. Thats very important with any image.
10
TECHNIQUE
TUTORIAL
11
The blending and adjustments
Turning to the dogs and their shadow layers, I adjusted the opacity of each shadow layer and did a few final repositions to each dog.
12
Lighting layers
For this piece Ive used a technique I call lighting layers. They add some contrast and also help with the blending of the layers within the image. I use this: Knoll Light Factory: redgiant.com/products/all/knolllight-factory/ and make light shapes again using the layer blending modes to incorporate theminto the final image.
15
Final adjustments
Using Adjustment layers, Iadjusted the Hue/ Saturation and also the Brightness/Contrast. I also used a Levels adjustment tochange the overall exposure slightly.
The final image
TUTORIAL
From Vision to Print
THE THEME OF THIS PARTICULAR ASSIGNMENT was Legend. After brainstorming with my team, we decided to go with a futuristic mood and feel for the whole series of images. I specifically wanted to shoot at an outdoor location that could seem like a capture from a futuristic city sometime in the next century. The makeup was futuristic and the hair was made to be chic and slick. Clothing was also chosen to fit the theme. The use of colour to convey a mood or feeling is a very important part of photography. In this particular instance, I wanted a Sin City, Aeon Flux feel to the
images. The models were posing like statues that we see to commemorate heroes all over the world. During the shoot I managed to get the shot I felt was good enough to portray the story. However, in terms of colour and tone, they werent at all close to what I wanted as a final product. Heres how to get that look using Photoshop, from RAW to print.
PRO TIP
Working with a theme can help bring unity to your shot. Makeup and costume can help get that right in camera first
TECHNIQUE
USING COLOUR, SHADING AND TONES

Level: INTERMEDIATE | Time: 2HRS
UKAY IS A SINGAPORE-BASED CANON EOS MASTER WHO SHOOTS FASHION AND ADVERTISING CAMPAIGNS UKAYPHOTOGRAPHY.COM
TUTORIAL
01
Starting out
Start by cleaning up the image and the skin, looking for stray hairs, dust spots etc. The tools I usually use for this process are the healing brush tool and the stamp tool on its softest setting at 20% opacity.
Smooth skin
02
After the picture is cleaned up, thenext step is to put in a little skin smoothening. Save the latest version as a jpeg and open it up inCamera RAW. Once youve done that, set clarity to -90 or -95 depending on the picture. It willlook something like this.
03
Red channel
Now open the file and put it into the working PSD. The step after thisis crucial. Click and select the red channel using Command+click. This will give you the selected area in the red channel.
TUTORIAL
VISION TO PRINT
Masking
05
Now click on the mask tool and make the selected area into a mask. use opacity to control how much smoothening you want. My preferred is ard 30% to 50%.
06
Levels
Make a few level adjustments for contrast and colour, to give the picture more pop.
Plug-ins
07
Now you need to combine all thelayers into a new one using Cmd + Alt + Shift + E. I used Alien Skin plugins, and chose themost suitable plugin, which istheColour Film - Agfa CT Precisa100 - Blue Sky (dark).
TECHNIQUE
TUTORIAL
08
Dodge and Burn
The feel of the image is close towhat I want now, but theres alot of details and tones that are slightly too strong. As with printing film, we need to dodge and burn. Sothe next step isto do that. My usual workflow is touse one layer fordifferent parts ofthe picture Iwant tododge and burn. Make a new empty layer, change the layer tosoft light, with asoft brush at 2% opacity, slowly dodge or burn the parts that you want to lighten or darken.
Eye work
09
Concentrate on dodging the eyesas well as the skin areas first and then move onto the other parts. As you can see here, theres improvement from the original.
10
Sharpen
The final step is to sharpen the image. Combine all layers into a new one again. Use Cmd + Alt + Shift + E.
REVIEWS
88 COOL GEAR
Take a look at the latest gadgets and gear on the market
CAMERAS | LENSES | SOFTWARE | GEAR | ACCESSORIES

Hands -o tests, f n road irst lo oks and ex pert opinio n ALL H s ERE!
90 HASSELBLAD
Ewen Bell takes the medium format H5D-50 for a test flight
96 AUTOPANO GIGA
A look at the latest Kolor Panorama stitching software
100 SAMSUNG
GALAXY & WB250

The new Samsung point and shoot cameras changing the look of compacts
102 NIKON D7100

Is the D7100 the best Nikon DX model yet? Paul Perkovic takes a first look.
104 CANON SX280

Greg Barton gives the new PowerShot SX280 HS a run for its money
106 OPINION
Does the digital age mean the death of depth of field?
108 YOUR GALLERY

Works of art from the DP community
114 PARTING SHOT

The last word and image fromphotojournalist Greg Sweetnam
Ewen Bell pu shed the Has selblad H5D-50 to its limits aboard the Lady Penrhy n
Q Lofty hei
ghts
Q H5D-50
The Hasselblad heavyweight
Q Cutting edge
Samsungs compacts break the rules
Q Nikon D7100
Road testing the new DX design
COOL GEAR
PANASONIC LUMIX DMC-TZ40

The new super-slim ultra-compact TZ (travel zoom) from Panasonic has placed nearly all its eggs in the Wi-Fi basket: a neat app lets you live-view the cameras viewfinder from a smartphone or tablet, allowing for remote captures. With an effective range of 24mm right through to 480mm plus touchscreen, GPS, a new Creative Panorama mode and 18.1MP of grunt its another home run from one of the most consistent brands in the world. RRP$399; Panasonic.com.au
Whats Hot
Its a big wide world of photography out there. In each issue well bring you a round-up of gear and gadgets we love. This issue the focus is camera heavy from a do-it-yourself marvel to a customisable model in dazzling colour
PELICAN PROGEAR S130 SPORT ELITE
Pelican have dipped into the backpack market by combining their watertight technology with shoulder straps, resulting in the S130 featuring hard elements to protect a laptop in one cell and your camera gear in another. Floating shoulder straps, removable divider set and a rigid front plate are melded into the design, which will stay afloat in water and keep your gear dry for 30 minutes. Protection comes at a premium, with the backpack weighing over 3kg before you load it with goodies. RRP$340; Pelican.com
MANFROTTO 190XPROL TRIPOD

Calling all giant photographers: this latest leggy offering from Manfrotto has a max height of 164cm (and a minimum of just 8.5cm!). It also features the series clever Q90 system, allowing the central column to be quickly and easily swung 90 and used as a horizontal counterweight. Its 2kg weight puts it in the sturdy range, its fully aluminium, it can bear loads up to 5kg, and its ability to switch quickly and smoothly between framing positions makes it a superb performer. RRP$240; Manfrotto.com.au
LG POCKET PHOTO PRINTER

Wireless and portable powered, the Pocket Photo produces 2 x 3 prints without need for recharging cartridges. The technology is in the paper, using the expensive but effective Zink sheets that feature in Polaroid products. Bluetooth and USB connectivity is part of the package, designed more for smartphones than DSLR equipment but still handy if you like to give back photos to the people you meet while travelling. RRP$599; Lg.com.au
REVIEWS
COOL GEAR
LG 27EA83 MONITOR
The LG IPS ColourPrime 27EA83 is a serious monitor for high-end photo/design professionals or if you like your games to look crazy good. It recently took the gong for Best Photo Monitor at TIPA 2013 in Tokyo, thanks to its brilliant colour vibrancy and accuracy, 2560x1440 resolution across a 21 IPS panel, ability to produce 100% of the sRGB colour palette (and an astounding 99% of the Adobe RGB space), three-way USB3.0 hub and a host of other features. A worthy winner. RRP$999; Lg.com.au; officeworks.com.au
KONSTRUKTOR D.I.Y KIT

From Viennese analogue groovers Lomography comes the worlds first build-it-yourself 35mm SLR camera the Konstruktor. Arriving at your door as a flatpacked collection of parts, a little time spent with a screwdriver (and some patience) will produce a fully functioning film camera with a 50mm f/10 lens that can capture lovely sharp images and take long and even multiple exposures. Its the perfect way to really understand the mechanics of simple image making from the ground up! RRP$35; Microsites.lomography. com/konstruktor
PENTAX Q10
With 100 combos to mix and match from, custom build your own look on this new colourful crowd-puller from Pentax. Its not just a pretty face either: part of the new breed of powerful interchangeable lens systems, it draws from the growing cache of Q Mount lenses, shoots great HD video, boasts a 12.4MP backlit CMOS sensor and outputs RAW files to boot. Verdict: fun-loving style with serious tech to back it up. RRP$499; Pentax.com.au
REVIEW CAMERAS
CAMERA REVIEW RRP $29,695
A timeless classic gets a contemporary update. Words and images by Ewen Bell.
Hasselblad H5D-50
Q Fill-in flash unit and

hot shoe is integrated into the HV 90x-II viewfinder
MARKET LEADING QUALITY

The H5D-50s sheer sensor size and quality, paired with a tremendous selection of artisan quality lenses, is what sets this system apart in the Medium Format space.
H5D-200MS MULTISHOT VARIANT

The H5D-50 has one of the largest physical sensor sizes of any Medium Format camera, coupled with 50MP of resolution. Theres also a multishot version that uses several 50MP frames in sequence, coupled with very fine repositioning of the sensor, to achieve extreme resolution and colour reproduction to output 200MP RAW images.
Q Cosmetic updates to
the H5D include bigger buttons and expanded menu interface
REVIEWS
Yes, its system an expensive but it s also standa the r other c d to which a ll amera s mus aspire. You tru t now ly get what y ou pay for.
g advice
Buyin
As stylish as the Lady Penrhyn may be, she lacks the technology to keep pace with Hasselblad
he Hasselblad H5D is the latest update of a classic camera system, a subtle round of technological refinements to an already impressive design. Inside the controlled environment of a studio, the image quality of the Hasselblad lenses and bodies is well known. When we got a close look at the latest HD5-50 model, we chose a less constrained scenario with which to test the systems flexibility: in the open spaces of an airfield hangar, we brought together a classic design with the Hasselblads latest. The De Havilland Dragon Rapide was our chosen subject, an elegant aircraft bristling with technology that predates both the current Hasselblad H-system and its predecessor, the V-system. This particular aircraft was recently restored with the help of very little new technology, the original engine and cockpit graced with just a few modern improvements that go beyond the 1930s design. Updates to the H5D have seen far more progress. Most of the refinements in the new Hasselblad range go to the speed and handling of camera operations, with a snappier feel to the system in use and faster processing of files during capture. The improvements are incremental rather
than revolutionary, changes that dont translate into higher frame rates or more pixels, just more productive operation on the job and more confidence with focus. There is room for improvement at the back of the camera, with connectivity limited to Firewire and the display being adequate but not amazing. Its clear that Hasselblad have put their best technology inside the body rather than dangling off the rear of the sensor.
DETAILS
Website: hasselblad.com.au Sensor: 128 seconds maximum to 1/800th of a
second minimum
Sensor: CCD 50MP measuring 36.7mm x 49.1mm Sensitivity: ISO range from 50-800 Display: 3 inch TFT with 460k pixels Captures: 3FR RAW Image at 16-bit at 1.1fps Autofocus: Single focus point with True Focus II
technology
Focus on the lens

When working with fine detail captures, the True Focus II system is one of Hasselblads most significant features and has been updated to give better response and a confirmation signal to the photographer. True Focus works by sensing movement in five directions and calculating very subtle adjustments to the autofocus, thereby keeping your target correctly in focus as you recompose a shot. Battery life is excellent and during our shoot we were surprised at just how little juice was sapped with a full afternoon of captures and reviews. In the field the H5D-50 offers plenty of creative freedom without having to worry about conserving power. But its the large and faithful sensor itself, fed by a superb range of quality digital lenses, that makes the H-series so appealing.
Connectivity: Firewire 800 Storage: Single CF card with UDMA support Body: Magnesium Alloy with improved weather
sealing
Dimensions: 15.3 x 13.1 x 20.5cm Weight: 2.29kg
VERDICT
The same high standard of image quality in a more refined package with better autofocus support and snappier operation.
RATING
9/10
REVIEW CAMERAS
Q Taxiing to the runway
H5D-50; HCD 24mm lens; 1/160sec; f/4.8; ISO 200
WHAT WE THOUGHT
Love it:

Simply the best image quality you can hold in your hand.
Like it:
Seriously solid build quality. Simple and reliable operation.

Loathe it:
Rear display could use more pixels, more brightness and a touch interface.
Not all Medium Format cameras offer anything like a 5x4cm sensor, most sitting partway between that and a DSLR fullframe sensor. The H5D-50 has a 50MP sensor measuring 36.7x49.1mm, delivering 16-bit images with the most accurate tonal and dynamic range that money can buy. Hasselblad describe the 50MP sensor as having a 1.1 crop factor when shooting with older lenses. Shooting with the HC 35mm f/3.5, this sensor effectively delivers a field of view equivalent to 38mm on a pre-digital model. (For added confusion, this equates to a 24mm DSLR lens). Attach the latest digital lens such as the new HCD 24mm f/4.8 and you get exactly what it says: the full 24mm perspective. (Which is equivalent to 17mm on a DSLR full frame.) Its a minor difference but it demonstrates Hasselblads intention to stick with the HCD format as a moniker of their best lenses for the latest sensors.
Phocus on the desktop

The pairing of digital lens technology with the latest refinement of the Hasselblad sensor is extended off-camera to the Phocus software package that ships with every system. This dedicated toolkit for manipulating H-series RAW files is strong on correcting lens aberrations and delivers the essentials for converting captures to a useful image. While the RAW images are still on-camera, the H5D uses a space-efficient
file format called 3FR. Once transferred to the desktop, theyre imported and rewritten as FFF files. Why the second format for the same capture? FFF files are designed to encapsulate data and edits to the image without destroying the original RAW information. A full history and reversible chain of edits are stored in the FFF file, along with any additional metadata, colour profile matching and lens correction data. When shooting tethered to Phocus, the images appear directly within the application as an uncompressed FFF file, whereas shooting to CF card employs the smaller footprint of 3FR files. Recently Adobe have done a deal to add Lightroom support for the H-series digital backs, and every H5D also comes with a copy in the box in addition to Phocus. The additional flexibility and features in Lightroom are backed by an extensive level of lens correction data as well, but your edits and metadata are handled in the conventional manner of Lightroom instead of the unique approach already pioneered by Hasselblad. Hasselblad have gone to great lengths to make tethered shooting as practical as possible, as this model will most often be used in a controlled light environment. A Firewire 800 port on the digital back is sturdy enough to pick up the entire unit by the cable without it slipping, and delivers fast file delivery to your disk.
REVIEWS
HASSELBLAD H5D-50 REVIEW

DEEP DISH
50MP sensor is interchangeable and can be used with electronic shutters on other view camera systems.
DIGITAL WIDE
Hasselblads new HCD 24mm f/4.8 is designed with the latest sensors in mind.
HISTORY OF HASSELBLAD
of Kodak Eastman products.
Q 1841 Hasselblad family business begins. Q 1888 Hasselblad becomes Swedish distributor Q 1933 Dragon Rapide was first designed by Q 1953 Hasselblad 1000F was released Q 1957 Hasselblad 500C released (first of the Q 1976 Hasselblad sold to an investment company Q 2002 Hasselblad H1 is released (first of the Q 2013 Hasselblad H5D is released
H-system models) V-system models) De Havilland
Its the most refined Medium Format system money can buy
Q Matter of scale
H5D-50; HCD 24mm lens; 1/80sec; f/4.8; ISO 200 DIGITAL PHOTOGRAPHY | 93
REVIEW CAMERAS
LADY PENRHYN
Built for the RAF during the war in 1944 and came out to Australia in the late 1970s. It had a crash in England, nosed over and damaged the propellers. It was deemed to be uneconomical to repair. Maurice Rolfe decided otherwise and embarked on a 30-year effort to bring the Lady Penrhyn back to her former glory. The frame is timber with fabric covering with a finish of silver paint, giving the appearance of something very solid when in fact its light and thin.
Airfield testing
Taking a new Hasselblad into a large and cavernous aircraft hangar provides very poor light conditions, and the ISO range of the camera is immediately tested. We evaluated the H5D-50 without additional flash equipment or controlled lighting. Thats right: not so much as a reflector to fill in the odd cool spot. At the maximum sensitivity of ISO 800, the Hasselblad performs well and delivers good dynamic range while keeping noise under control. Remembering that these Medium Format-scale sensors are designed around image quality rather than flexibility, the ISO 800 restriction on the H5D-50 is actually pretty good. Storage to CF cards was painless and practical in the absence of tethered shooting. In choosing the Hasselblad for this photo session, I wanted the most suitable camera to document the aircraft and its restoration, with the most amount of detail possible. A 1944 built Dragon Rapide, freshly restored as a work of dedication and affection for the engineering of the day, deserves the best possible image quality. The quality of the work is what I wanted to capture, along with the man who made it all possible. I wanted a visual record of Maurice Rolfe and the Dragon Rapide named Lady Penrhyn that would do justice to them both.
H5D-50; HCD 24mm lens; 1/100sec; f/4.8; ISO 200
Q Sleek lines
This Hasselblad H5D is the benchmark against which all others will be compared
LEAF SHUTTERS
Larger sensors create a technical challenge for high-speed shutters, and dragging a shutter up and down the focal plane is often a clunky exercise. Hasselblad decided that leaf shutters placed in the lenses are the key to reliable photography, and so have done away with the focal shutter entirely.
Q The True Focus
system has been updated and improved
REVIEWS
HASSELBLAD H5D-50 REVIEW
LIGHTROOM INCLUDED
The full range of creative tools are packaged with the H5D-50.
High lights
Our shoot day began with overcast skies and soft light, but the last few minutes of the day saw a little sunshine appear below the clouds. The combination of great dynamic range and excellent lens optics delivered ideal shooting conditions for just a very short burst. Even at 1.1 frames per second the H5D was fast enough to make the most of the moment, with a standard of image quality equal to the restoration work at hand. The HCD 24mm lens proved the perfect choice, a remarkably straight wide angle lens with a very broad field of view. In the tight conditions of the aircraft hanger, it proved an attractive camera system to work with while the long lines of the DH89A wingspan could be tamed without distortion. In the years since the Dragon Rapide first took to the skies, weve seen the birth and rebirth of the Hasselblad brand. The H5D-50 retains some classic appeal that we recognise from the days of the 500C, but this latest refinement is very much the best of class in the digital age. As stylish as the silver finished Lady Penrhyn may be, she lacks the technology to keep pace with Hasselblad, inside or out. Fortunately the craftsmanship and style behind the restoration effort has now been well documented for future generations with the help of the current generation H5D.
RETINA IN PHOCUS
Version 2.7 of Phocus introduced support for Apples Retina display. Lightroom offers more tools compared to Phocus, but doesnt take advantage of the FFF format for embedding your optimisations and fine-tuning.
OPEN VIEW
Choice of eye-level or hip-level viewfinders can be attached to the body.
Conclusion
This is simply the most refined Medium Format system that money can buy. The H5D is a milestone in the history of Hasselblad, representing a very mature set of lenses and sensors coupled with the new body. The key to value in Medium Format photography is quality, and the H5D is the benchmark against which all others will be compared.
REVIEW SOFTWARE
When you aim for that bigger size print, you want the best possible software
SOFTWARE REVIEW RRP $285
Prime Panoramas
With the help of some simple but effective software Kolor Autopano Giga 3.05 Ewen Bell explores the world of large-scale panos.
ize matters in the world of landscape photography, and in the pursuit of large-scale prints you need a large number of pixels. You can buy a bigger camera, and better lenses to go with it, and still find yourself craving a little more fine detail once you print the result full scale. Stitching a series of frames with some quality software can do the trick for a much smaller budget.
Theres nothing new about stitching frames for a panorama, but as the software options get better, the need for advanced Photoshop skills has been reduced to nil. Autopano Giga for Windows or Mac provides a very intuitive interface for quickly assembling a panoramic series.
Red dust
Our inspiration for testing the software was the desert tones of Australias Red Centre. The sunrise viewing platform at Kata Tjuta is one of the less frequented hot spots in Uluru-Kata Tjuta National Park, providing distant views of Uluru on the horizon as the sun throws the first beams of light onto the profile of Kata Tjuta. The conglomerate rock formations that rise above the desert take on subtle hues as the sunlight rolls above the horizon, the foreground is dabbled with red sands and yellow grasses, while young desert oaks populate the scene, casting shadows across the landscape. The long, thin landscape pleases the
EDIT MODE
This latest version of Autopano Giga provides an extensive list of tools to apply finishing touches to your panorama.
REVIEWS
PRIME PANORAMAS
REVIEW
DETAILS
Kolor Autopano Giga 3.05 Website: kolor.com RRP: 199 ($285)
VERDICT
Powerful tool for stitching panoramas with excellent creative potential and detailed fine tuning for those who want to get under the hood.
RATING
9/10
OVERLAP + STACK
The more overlap you have between the individual frames provided, the higher the quality of the final stitch.
eye but eludes many of us for photographic satisfaction. You never quite go home with the shot you envisaged. Shooting with a 2x3 or 4x3 crop tends to diminish the key elements of the subject, because it naturally lends itself to a wider perspective and the panoramic format.
Hand held
In a perfect world, I would have had my tripod handy to set up a tight series of frames for this panorama. Something like a Gitzo GT2541 is perfect for the job, with a solid ball head and a panning base that makes it easy to swivel smoothly across the landscape once you get the tripod level. Even better would be to shoot with a tilt-shift lens, using the shift function to feed a set of images to your sensor that maintain perfect perspective without changing the camera angle. In this instance I used neither, instead choosing to go hand held and spinning through 90 degrees worth of scenery on my feet. Its not ideal, but such is the nature of good stitching software that it can compensate for the errors of alignment this might introduce. When grabbing a panoramic
sequence of frames, the two key factors are to have lots of overlap and take account of how much composition above and below the frame may get cropped when corrections for perspective are applied. Overlaps should be made very generously up to as much as 50% as this helps ensure the best quality in the final result and the most accuracy when aligning frames. In our example, the final 100MP image was compiled from nine frames shot with a 22MP sensor. With a 50mm lens I shot those nine frames in portrait, with the exposure and focus locked off. I took a series of test shots before the panorama to check my preferred exposure and select my hyper-focal point.
RENDER ENGINE
Output options go beyond basic file format, blending and scaling there are selections to handle anti-ghosting, HDR output and more.
REVIEW SOFTWARE
As the software options get better, the need for advanced Photoshop skills has been reduced to nil
Desk bound
THREE-STEP PROCESS
Boiled down to its essential components, the process is simple: gather the sequence; edit the stitched panorama; then render the final image. Degrees of difficultly emerge only as you choose to become more fiddly with the details.
MATRIX MODE
Sequences can also be matrix instead of simply linear that is, panning in multiple horizontal rows to stitch into a final scene that is considerably taller as well as wider.
FRAME BY FRAME
Each frame can be isolated for special attention or to rearrange frames as required.
Shooting the panorama is the easy bit. Most of your time is spent manipulating the images to produce the final file. Autopano Giga does handle the RAW files if you prefer, but most of us would rather massage the RAW files a little before beginning the stitch process. Autopano Giga is significantly faster when working with JPG images. In my case I wanted to balance some of the exposure differences between the sky and foreground, fine-tune the colour balance and shadow detail, plus apply a smidge of lens correction for my 50mm. In cases when lens vignetting is very strong, the resulting stitched image can become fiercely banded. Large overlaps help to negate this as well, but equally I like to feed the stitching software the best image possible. With a set of fine-tuned JPG files on hand, we drag-n-drop the series into Autopano Giga and hit the detect button. On the left-hand side of screen we get a thumbnail of the input files, and on the right we generate a thumbnail of the panoramic. While the software is simple to use, there is intense scope for fine-tuning for those who want to immerse themselves in the technical aspects.
Choice of algorithms for alignment, overlapping, rendering and distortion correction are all on offer. If you dig deep into these options they become a world of their own.
Focus on quality
The most fundamental choice to be made on the desktop is your projection method. Working with the Planar projection gives a straight render, as you might expect, from a very good wide lens on a large format camera. It avoids perspective bending and works well with a series shot on a 50mm lens or longer. Stitching with a wider lens makes it impossible to avoid the bends but some of the other projection tools are ideal to take advantage of, or even emphasise, those wider viewports. At the extreme end of the scale is the Little Planet, a fun option that works best with a 360-degree sequence shot with a wide lens. It stitches the frames into a ball with the foreground in the centre of the planet and the sky surrounding it. We didnt shoot Kata Tjuta in 360 degrees, however, our goal being a large-scale print that could fill an entire wall if necessary. When printing at large scale, the fine details become critical. Ghosting of unresolved features in the frames can be a real problem, especially when you have elements in the shot that are not still. Wind in the trees or people walking along a trail are examples than can fool lesser software. Autopano Giga handles these well by default, and provides detailed options for directing the software on how to handle a specific series. You can pull and tweak the levers until you get exactly what you want in preview. An edit tool appears at the top of each panoramic that opens up another realm of options for tuning the image. This time they are focused on output options more than merging options, catering to subtle adjustments like cropping, rotation, curves and colours. It aims to remove the need for sending the image back to Photoshop for tweaking, providing everything you need for the final output. You still get access to modifying
REVIEWS
PRIME PANORAMAS
Q Other Worlds
Blue skies make for great atmosphere
REVIEW
LITTLE PLANET, BIG FUN

Collect 360 of wide angle frames, then simply select the Little Planet projection view for these super-cool renderings.
the projection method and rendering configuration, but this interface is intended to let you correct or confirm the panoramic result. This is where youll spend the most time, simply because the range of options is so varied and rather hard to resist. Special mention has to be made for tagging elements in the composition for preservation or deletion. These are intended to resolve issues with poorly matched frames, or elements that have moved between frames in the series. You can target a subject that only appears in one of the overlap frames and have it deleted or locked in. You can also gain manual control over where the control points for alignment are set, or simply change the layering of frames. These are included to provide help for the worst possible cases, and we found no need to employ these features when feeding a good series of images.
Finish with sunrise

The final step with Autopano Giga is to render the image, writing a file to disk in any format you like. Photoshop, PNG, JPG and TIFF are supported, along with a few other exotics. Once you have the final result on the desktop you can really see the quality it contains, something much better than I would have imagined feasible without the advantage of a tripod and shift lens. Our shooting conditions were tricky for light and yet the combined image shows flawlessly smooth transition across the sequence. When printed at full scale, the image is magnificent, rich in detail and presenting a unique expression of what makes the Uluru-Kata Tjuta National Park so special.
Conclusion
Thats the key to panoramas: working at scale. If you only ever see them on a computer screen, on a website or even in this magazine, youll never get their full impact. They look like a cropped image rather than a stitch. Their appeal lies in the scale of presentation, and when you aim for that bigger size print youll want the best software to make it possible.
REVIEW CAMERAS
CAMERA REVIEW RRP $599
Samsung steps up
Samsung GALAXY
Its a camera. No, its a phone. Wait what is it? Its definitely not Superman. The new Samsung GALAXY Camera makes a mark in the brave new Android world.
APPS
Introducing Android phone apps on your camera, available from Google Play.
It looks like an Android phone

ZOOM POWER
Theres 21x optical zoom to get you close to the action.
DETAILS
Manufacturer: Samsung Features: 21x optical zoom, pop up flash, ISO
100-3200, full HD recording, Smart modes including Landscape, Macro, Rich Tone, Panorama mode
Memory Type: Micro SD RRP: $599 Processor: Quad Core Sensor: 16.3MP BSI CMOS Whos it for: Consumers Website: Samsung.com.au
VERDICT
Multi-tasking, snap-happy shooters who like to take photographs and check their emails atthe same time will love this camera. It would replace an iPhone if it made calls.
he Samsung GALAXY Camera has the specs of a top of the range compact camera 16.3MP BSI CMOS sensor, 21x optical zoom and a 23mm aperture lens will all stand you in good stead if youre out and about. Take one look at this camera and youll notice something different. The massive 4.8-inch HD LCD screen takes up theentire back of the camera. It looks like anAndroid phone and thats the whole idea. On closer inspection, you wont just find shooting modes and special effects, although theyre still there. What youll see are applications for calendars, text messages,
notes, music, calculator, clock, Instagram, andeven contacts. The GALAXY Camera runs on the Android Jelly Bean 4.1 software and apps can be downloaded from the Google Play and Samsung app stores. 3G and Wi-Fi models areavailable in Australia, so you canupload straight from the camera to yoursocial media sites. Manual mode on the touch screen isfantastic pop-up scroll dials for ISO, aperture and shutter speed mean theres no fiddling with function buttons.
DESIGN DETAILS
Like an Android phone, the camera has been designed to be sleek and chic, with minimal external buttons.
RATING
7/10
REVIEWS
SAMSUNG
REVIEW
Along with the usual still image effects, the WB250F features a few extras
Q Melbourne at night
Expand ISO with minimal noise for night shots
DETAILS
Manufacturer: Samsung Features: 18x optical zoom, full HD video, ISO 1003200, pop up flash, creative shooting options include Miniature, Vignette, Sketch, Fish Eye, Classic and Retro
Samsung WB250
The Samsung SMART camera 2.0 range has arrived down under and is bringing Wi-Fi along for the ride.
ireless capabilities is the buzzword of the moment. Click, edit and share is the whole idea. The WB250F has adedicated Direct Link Wi-Fi button, which you can use once the Samsung SMART Camera app is installed on your smartphone. The Wi-Fi setting on the mode dial also takes you to options for Auto Backup and Email. The WB250s more traditional specs include a 14MP BSI CMOS sensor, 3-inch screen with aHybrid Touch User interface and 24mm wide angle lens with a fairly large
Memory Type: SD RRP: $279 Sensor: 14MP BSI CMOS sensor Whos it for: Consumers Website: Samsung.com.au
optical zoom. The camera really shines in low light; without using the pop-up flash, you can expand ISO upto 3200 and still get decent shots. Along with the usual still image effects, theWB250F features a few extras such as BestFace, a Samsung initiative where a burst of photos can be edited to combine the most photogenic facial expressions of the subjects youve captured. It might make family portraits a little less stressful. As a dedicated option onthe mode dial, its something Samsung sees us all using, but well see.
VERDICT
This is a good entry-level camera for someone who wants to point, shoot and share on the go.
RATING
6/10
SHARP SHOOTING
The 24mm wide angle lens is designed for shooting on the go.
REVIEW CAMERAS
CAMERA REVIEW $1700 BODY ONLY
Nikon D7100
DESIGN HIGHLIGHTS
Dual SD card; good performer at high ISO; 6fps; 1.3x crop mode; 51-point AF; sensor has optical low-pass filter (OLPF) removed for sharp detail.
In the three years since the D7000 was released, Nikon have made enough improvements in this successor to consider it the finest DX camera in the world, writes Paul Perkovic.
he Nikon D7100 has been eagerly awaited as an upgrade to the D7000 and the audience will not be disappointed. Marketed by Nikon as their flagship DX model, theyve packed it full of features that are both functional and innovative with many aspects rolling down from their higher-end DSLRs. First impressions of this camera start with the solid and functional packaging that it arrives in. Everything has a place thoughtfully constructed and well protected. Picking up the camera for the first time brings a smile to the face as it feels solid yet easy to hold. The Magnesium body and weatherproofing are hallmarks of high-end cameras. Two SD configurable card slots add to the pro effect with numerous ports for
DETAILS
Website: nikon.com.au Sensor: 924.1MP DX format CMOS sensor
(no OLPF)
Processor: EXPEED 3 ISO: 100-6400 standard, 25600 expanded Shooting speed: Maximum 6fps continuous
in DX mode; 7fps in 1.3X crop mode
Autofocus: 51 point; 15 cross-type sensors Metering: 2016 pixel RGB Video: 1080 60i/30p; built-in stereo mic LCD: 3.2, 1.2million-dot Lens mount: F mount (with AF coupling and
AF contacts)
HDMI, USB, microphone jacks and Wi-Fi connectors. This camera is made for HD video shooting and sharing files directly from the camera with the aid of a Nikon plug-in Wireless Adaptor. Shooting is a delight, with controls easily found to adjust ISO, aperture and shutter speeds as you go or via pre-set U settings on the function dial for your favourite combinations of these values for situations such as low light, portraiture or high-speed scenarios at the race track. The autofocus is fast and accurate, as you would expect from an AF system taken directly from the high-end Nikon D4. There are 51 autofocus points, of which 15 are cross-type sensors in the most commonly used focus areas. The image quality and performance
Media: SD and UHS-I compliant SDHC and SDXC cards Size: 135.5 x 106.5 x 76mm; 765g with battery and
memory card
RRP: $1700 body only
VERDICT
A genuine upgrade to the D7000 that borrows specs from pro-level Nikon models while adding a few unique features to boot. Its sharper and faster with superb autofocus, making it the best DX camera currently in existence.
RATING
9/10
Q Ocean motion
Shot with a Nikon D7100; 24-85mm f/3.5-4.5 lens; 1/4000sec; f/8; ISO 800; focal length 85mm
REVIEWS
NIKON D7100 REVIEW
WHAT WE THOUGHT
The image quality and performance across a very wide ISO range are stunning
Love it:

1.3x crop mode a revelation for action/wildlife shooters. Ultrafast autofocus with pro-level 51 AF points, 15 cross-type. Faster shooting thanks to EXPEED 3 processor.
Like it:
Sturdy build, great handling and ergonomics. No OLPF for great sharpness and detail. In-built flash controls offcamera units.
Loathe it:
Battery grip from D7000 not compatible. No LCD cover or articulating screen. Moir problems could crop up in video shooting.
across a very wide ISO range are stunning. Importantly, the anti-alias filter (Optical Low Pass Filter, or OLPF) has also been removed from the 24.1MP sensor in the D7100, which should improve resolution for landscape shooters despite the potential for the introduction of the moir effect in some situations, especially for videographers. For stills shooters, a little more care is all thats required to avoid moir popping up; videographers may find things a little more problematic. For action shots theres a speedy 6fps in standard DX mode, with an innovative little feature when switched to 1.3x mode. This acts like an inbuilt teleconverter, boosting the existing 1.5 DX magnification by a further 1.3 giving an effective 2x mode. As an example, a 200mm lens gives an effective reach of 400mm, while at the same time this mode supports an increase from 6fps to 7fps.
Shot with a Nikon D7100; 18-105mm f/3.5-5.6 lens; 1/800sec; f/7.1; ISO 500; focal length 18mm
Q Leading lines
Conclusion
While the D7000 became an instant favourite upon its release two-and-a-half years ago, there will be a strong desire to upgrade to the D7100, as well as a new legion of fans for this top-of-the-range Nikon DX format. Theres a lot to be pleased about with the image quality, high ISO performance, superb autofocus and a view to the future with Wi-Fi accessory integration and full HD video performance.
Shot with a Nikon D7100; 18-105mm f/3.5-5.6 lens; 1/250sec; f/9; ISO 500; focal length 105mm DIGITAL PHOTOGRAPHY | 103
Q Close work
REVIEW CAMERAS
CAMERA REVIEW RRP $299
Sometimes less is more. But most of the time more is more. Canons latest compact may be missing a few key features but its still way more camera than most people will ever need on the go, writes Greg Barton.
he easiest way to describe this latest PowerShot is to talk about what its not. Its certainly not as expensive as the very excellent Canon S110 in fact its about $100 cheaper but then again it cant capture big RAW files and doesnt have touchscreen capabilities. A year ago that wouldnt have made much of a difference, but honestly once youve tasted a little touchscreen versatility in most of the cameras this size, its pretty jarring to suddenly go without. The onboard mapping function is pretty fun. Using the bundled Map Utility app, the cameras GPS will log the date, time and location of every shot and video you take, then plot your progress on a world map. Having the GPS also automatically take care of setting time and date no matter where you are in the world isnt too shabby either. But be warned: delving into any of the mapping/GPS type functions absolutely smashes through the battery. Several warning screens pop up to alert you to this fact,
Canon PowerShot SX280 HS

T
especially since once you activate GPS mode it will continue to beaver away doing its global plotting trick even after youve shut the camera down. Other features of the Wi-Fi are as expected: push pics and videos straight to any device, iOS or Android, either to an online storage service or to your choice of social networking site. Ive yet to think of a single practical purpose for being able to wirelessly transfer your images to another Wi-Fienabled camera, but you can do that too if you want. And of course you can push straight to some Wi-Fi-enabled printers which is a little more obviously practical in the real world. More nifty is the borrowing of a bit of tech more common to higher-end cameras: a downloadable app that lets you control the camera from your smartphone. Fancy feature; few people will ever actually use it for this compact model. Scarily effective is the SX280s smart Auto mode. Honestly, these cameras may be getting a little too clever for their own good. Recent years have seen more and more scene modes being packed into cameras of all sizes, with
Q Inbuilt flash
Smart auto mode; 1/30sec; f/4; ISO 400
Q Digital zoom
Shot from approx 25m away; 1/80sec; f/5.6; ISO 800 104 | DIGITAL PHOTOGRAPHY
REVIEWS
CANON POWERSHOT
REVIEW
TRAVEL TOUGH
Sturdy enough to instill confidence on the road.
DETAILS
Manufacturer: Canon Sensor: 12.1MP CMOS Processor: DIGIC 6 Focal length: 4.5-90mm (35mm equivalent
25-500mm)
Zoom: Optical 20x; Zoom Plus 40x; Digital

Approx. 4.0x; Combined Approx. 80x.
F-stops: f/3.5-f/6.8 Stabilisation: Lens shift-type, 4-stop

intelligent IS
ISO: AUTO, 80-6400 LCD: 3.0 PureColor II G (TFT) approx

461,000 dots
Movies: Full HD, 60fps MP4 [Video: MPEG4-AVC

(H.264), Audio: MPEG2 AAC-LC (stereo)]
SUPER COVERAGE
As far as versatility in a travel zoom goes, having the option to optically extend all the way from 25mm to a whopping 500mm is extraordinary and the quality at full extension, especially in video, is impressive.
Storage: SD, SDHC, SDXC cards Other: Wi-Fi and GPS enabled; Hi-Speed USB
and HDMI connect
JUICE WARNING
Use of the GPS reduces battery life radically.
Size: 106.4 x 62.8 x 32.6mm; 233g Website: canon.com.au
their attendant little icons: use this for shooting a portrait in snow; use this for shooting someone running; use this for shooting a baby holding a flower; and on and on. The SX280 does away with the need for all these modes and icons by simply assessing what it is youre trying to do and applying the optimum settings. It has a total of 58 scene types that it will detect (21 when shooting video), plus a few other bonus creative filters if you feeling like going crazy (fish-eye, fake tilt-shift, black and white, poster effect stuff like that). Another setting I found myself using surprisingly often was the Discreet mode. If like me you really hate the way any kind of flash photo looks when taken with a compact, it has always been possible, though a little fiddly, to hunt through the menu, locate the flash setting and switch it off permanently. Now you can do that simply by flicking the dial over to Discreet mode. The intention behind this setting is clearly for when youre at a wedding or similar scenario where loud beeping, clicking and flashing is generally frowned upon. One easy twist of the dial and the SX280 goes into a sweet stealth mode that all cameras should come equipped with as a standard feature much like all phones these days. All in all, the SX280 HS is a lot of camera in a very little space. Image quality is high, it looks fantastic and handles brilliantly, even if its missing a few of the more modern luxuries like touchscreen and RAW file capability. But considering the price, it performs well above expectations.
VERDICT
Sturdily built, great for travel, packed with features at a very good price. Overhauled optical zoom means you can capture everything from 25mm to 500mm all from a compact, which is frankly amazing.
RATING
Q Hand-held macro
Focal length 4.5mm; 1/30sec; f/4; ISO 80; macro mode
8/10
SMART SCENES
This PowerShot relies less on preset scenes and more on its Auto mode that detects what you are trying to achieve moment by moment.
Q Harbour Bridge
1/125sec; f/4.5; ISO 125; tilt-shift effect
OPINION
EWEN BELL
Depth of field
in the digital age
Depth of field isnt what it used to be. The digital revolution has changed our appreciation and acceptance of sharpness forever, writes Ewen Bell.
Q Shallow DOF
Shot with a Pentax 645D; 55mm lens; 1/3200sec; f/2.8; ISO 200
N THE OLD DAYS YOU could shoot at f/22 and have all the depth of field you wanted. Affordable lenses were rarely sharp enough to see the limitations offine apertures, so the impact of diffraction was typically lost within the lack of resolution offered by the glass. Todays digital sensors are very critical of even the best glass, and brands like Canon and Nikon have been kept busy upgrading their range of DSLR lenses to match the demands of their professional purchasers. Not only is that very geeky issue of diffraction a problem for professional output, but hitting the soft edges with your depth of field has never been easier to observe. There is no definitive point on your lens where in focus suddenly becomes out of focus. Theres a gradient, and what is acceptable to a photographer can be highly subjective. How sharp is sharp enough? In absolute terms its possible to find the best focus in a frame but the point at which youve lost focus will depend on the resolution in which you intend to view the final image. Printing big is the best way to test your image quality. Stand in front of a fine art exhibition with 60-inch-wide prints and you get a whole new appreciation for image quality and depth of field in particular. It doesnt take much to step outside the sweet spot. I notice this a lot when reviewing Medium Format cameras, because my tendency is to try and treat them the same way I do my DSLR gear. I have to change my mindset the moment I change my sensor. For landscape photography on a DSLR, I like to stay inside the f/10 mark because I know that even at that point Im adding some degree of diffraction to my image and hence reducing the
REVIEWS
DIGITAL DEPTH OF FIELD
Sensors have advanced faster than lenses, but the physics of glass remains the same
sharpness of the final capture. Sometimes its obvious to see, sometimes its not, but the higher you roll the f-stops, the more diffraction youre introducing. An aperture of f/10 gives a generous amount of depth of field, and its rare that you need to go beyond that with a DSLR body. On a Medium Format system, however, you get a lot less depth of field for the same f-stop because the sensor is much larger and hence the projected image is larger too. If you like working with a shallow depth of field, then Medium Format offers a good look. An f/4 lens on a Hasselblad H5D is like f/2.8 on a Canon 5D. As your sensors get smaller, however, the depth of field gets bigger which is why a compact camera needs very little effort to get your subject sharp. But its also why smaller camera systems come up short when you want shallow depth of field, and even an f/2.8 lens can get half a room in focus if the sensor is small enough. In recent editions weve looked closely at the Micro Four Thirds (MFT), format and one of the lessons learned from their ilk is to put as much effort into the design of the lens as possible. In order to maximise the image quality off the smaller sensor, theyve been developing an exceptional range of lenses that often cost more than the camera body itself. Its a strategy we first saw in the early 1900s when German engineer Oskar Barnack started designing the original Leica cameras. In order to get the most out of 35mm film, he took advantage of Leitz lens design to build a superior system. The difference between 1913 and 2013 is that we demand much more from our cameras than ever before. Sensors have advanced faster than lenses, but the physics of glass remains the same. Diffraction and depth of field are not a
function of design; they are a fact of life determined by the geometry of the optics. If you spend more on your lenses than the camera, you can vastly improve the technical quality of your images. But beware: along with improved sharpness and fewer aberrations comes the ability to see your errors more clearly as well. Got a question for Ewen about tips, technique or photo philosophy? Email editor@dpmagazine.com.au or post it at facebook.com/DigitalPhotographyMag
Shot with a Pentax 645D; 55mm lens; 1/500sec; f/8; ISO 200 DIGITAL PHOTOGRAPHY | 107
Q Deep DOF
Your gallery
WINNER!
Pillars, by Keith Midson
I took this in early June 2013 of Hobarts Cenotaph, the Ryoji Ikeda Spectra light display. The light shines 17km into the sky and looks quite amazing from a distance up close the rain really added something. Canon 5DMkIII; 16-28mm lens; 25sec; f/5; ISO 100.
WORKS OF ART FROM THE DIGITAL PHOTOGRAPHY COMMUNITY
Facebook.com/tamron.au
Facebook.com/acmemade.au
WIN!
Congratulations to Keith Midson, who has won himself a Tamron B008 18-270mm Lens ($849, facebook.com/tamron.au) for his terrific image,Pillars all thanks to
MaxwellInternational Australia; www.maxwell.com.au
RUNNER UP Coogee Poles, by Tom Grasso

Im an avid landscape photographer, and took this shot of the old Coogee Beach jetty at Woodman Point in WA in February this year. Nikon D800; 35mm lens; 120sec; f/13; ISO 100.
RUNNER UP Hundreds & Thousands of Dreams, by Tracy Williams

Ive only been shooting for a year. For this shot, I filled my daughters hands with hundreds and thousands and asked her to blow them at my camera. With the warm afternoon sun behind her, the effect was stunning. Canon Kiss X4; 18-55mm lens; 1/250sec; f/5; ISO 100.
RUNNER UP Bathing lorikeets, by Lesley Jenkins

Id just filled up the bird bath when these two bathing beauties hopped in. Since then Ive had lots of birds coming to the bird bath and feeder. Its great to see them each day and it just makes me smile. Lumix FZ100; 1/4000sec; f5.1; ISO 100.
RUNNER UP Rocket launcher,

by Mathew Bell
I took this photo of a pair of Australian soldiers firing an 84mm rocket launcher while in Uruzgan Provence, Afghanistan. This was the second attempt, caught it spot on with my Canon 550D; 18-55mm lens; 1/800sec; f/5; ISO 100.
RUNNER UP Iridium Flare,
by Chris Walsham
Rising early to capture the Comet Pan-STARRS, I had clear skies to capture this six-shot panorama of our Milky Way. The added bonus was the Iridium flare that graced the sky at the right moment. Canon T1i; Tokina 11-16mm lens; 6x30sec shots; f2.8; ISO 1600.
RUNNER UP Water Curtain, by Luke Veltman

This shot was taken on a stormy day on the rails of my back patio. It took me a while to get into the rhythm of the falling drops, but once I did, coordinating the shutter release with the impact of the drops became a breeze, and I was able to capture some really unique shots. Canon 7D; 18-135mm lens; 1/800sec; f/5.6; ISO 400.
SUBMIT YOUR IMAGES!

Think youve got what it takes to make the Digital Photography Gallery? Whether youre a prooran amateur, email pics to editor@dpmagazine.com.au foryour chance to win. Each issue, were giving away one Tamron B008 18-270mm Lens ($849, facebook.com/tamron.au), plus stylish Acme Made DSLRcases ($49 each, acmemade.com.au). Youcan enter as often as you like. Good luck!
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PARTING SHOT
F/8 and Be there

To get the most of your travels if you want memorable images you have to embrace the location
Greg Sweetnam
Q Black and White Paradise
Page 38, Canon 5D; 24-105mm lens; 1/250sec; f/6.3; ISO 100
see it. shoot it. share it.

Fotohood by Sony is a community of like-minded people where you can share all things photography. From enthusiasts tips to Sony camera tutorials and photo competitions, join the conversation with Sony today. www.facebook.com/fotohood
Photo by Daniel Kennedy, Sony camera owner

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EDITORS WELCOME

Fairfax shooter Dallas Kilponens stunning Sydney to Hobart yacht-shots

32 Put yourself on show

38 Black + white paradise

44 Who is that masked man? 50 Postcard from Flinders

58 The flash balancing act

82 From vision to print

SUBSC RIBE & SAVE !

Ask the Experts

Walk with a Pro

Does the digital age mean the death of depth of field?

102 Nikon D7100

A look at the latest Kolor Panorama stitching software

114 Parting Shot

BLACK AND WHITE PARADISE

WHO IS THAT MASKED MAN?

PUTTING YOURSELF ON SHOW

A whole new ArtWorld

(BELOW) Shot with a waterproof Olympus S770SW; 1/640sec; f/3.5; ISO 80

Q The Start Line

You can see the focus on the face of the helmsman

This was the last shot my little Olympus ever took

The Start Line (above)

Head on (far left)

Storm Bay (previous spread)

Zero knots (above)

The Crucifix (opening page)

Ill never say never when it comes to the Sydney to Hobart

BOYS IN THE SUN

Nigels tips on ensuring your safety as a photographer

(BELOW, LEFT) Maiti Nepal education program vehicles in a remote village

On display at Sofitel Brisbane

PUTTING YOURSELF ON SHOW

The first step

Finding the right space

Taking the World Exhibition

PUTTING YOURSELF ON SHOW

Getting things together

Brisbane Culinary Identities Exhibition

(LEFT MID) Nikon D700; 1/320sec; f/9; ISO 500

(NEAR LEFT) Nikon D200; 1/160sec; f/6.3; ISO 160

Opening the show

(RIGHT) Nikon D700; 1/50sec; f/3.5; ISO 1000

(RIGHT, TOP) Nikon D200; 1/750sec; f/14; ISO 800

On display at Sofitel Brisbane

PUTTING YOURSELF ON SHOW

Brisbanes Story Bridge, 48 Hours Exhibition

Femme Fatale Exhibition

Onwards and upwards

Trevors Top Tips for your first exhibition

BLACK AND WHITE

Embrace the location

Q Off the tourist track

Challenges of the road

BLACK + WHITE PARADISE

The daily procession of monks and passersby

Easy access tip

Look after yourself

(BELOW) Canon 5D; 24-105mm; 1/60sec; f/4; ISO 1600

A stunning, moody capture with great B&W contrasts DIGITAL PHOTOGRAPHY | 41

WHATS IN GREGS BAG

Saving your images

A snarl of electric cables becomes a perfect B&W study