Australian Photo Digit June 2015

YOUR BEST SHOT
WIN* AN EIZO CS230 PHOTO EDITING MONITOR VALUED AT $1375
See p.25
Are we there yet?
How to shoot great landscapes

with kids in tow!
STUNNING SPORT
How the pros get
their best shots
PUSH IT!
Get great results when your

ISO is in the thousands
PANASONIC
LUMIX DMC-GF7
Small camera,
big features
IMAGE DOCTOR
WIN
Fujifilm X-A1 and XC1650mm lens valued at $649

SEE P.82
*AUSTRALIAN RESIDENTS ONLY
Photobook secrets
Hot new ways to share and sell your photos
EDITORS NOTE
ESTABLISHED IN 1950
EDITORIAL
Managing Editor: James Ostinga
jamesostinga@yaffa.com.au
Editor: Robert Keeley
robertkeeley@yaffa.com.au
Contributing Editors: Peter Burian,
Shubroto Bhattacharjee, Mark Galer,
Prashphutita Greco, Anthony McKee
and Saima Morel.
Robert Keeley,
Editor
Make Your Own Book
ADVERTISING
Advertising Manager: Jodie Reid
(02) 9213 8261 jodiereid@yaffa.com.au
Advertising Production: Dan Lal
(02) 9213 8216 danlal@yaffa.com.au
SUBSCRIPTIONS
WEB: www.greatmagazines.com.au
CALL: 1800 807 760
EMAIL: subscriptions@yaffa.com.au
arlier this year a flickering light in the

encroaching darkness, in the form of a new outlet
for printed images, burst into life. For 10 days
in February Photobook Melbourne ran in an effort to
promote both photography and its publication in book
form. For some time now publishing (be it in books,
magazines, or newspapers) has been battling to keep its
head above water in the king tide of the internet.
Younger (and increasingly all other) generations are
now glued to screens, and it seems attention spans are
condensing in line with screen sizes. But there remains
something fundamentally appealing about viewing
printed images. Screen viewing is essentially ephemeral.
Printed images encourage indeed force a viewer to
contemplate their meaning and the ideas behind them.
The velocity of constant digital movement runs counterintuitively to reflection. But, against the tide, photo
books are still getting published, and what Photobook
Melbourne helped to illustrate is that the digital
revolution has also created opportunities.
Publishing one-off or small print run photo books
has now become far more achievable for photographers,
even if it remains to be seen if it can be viable.
Photobook Melbourne is one of the first efforts in this
country which aims to promote the culture of images
published in book form by independent operators, and
though it was backed by a small cohort of industry
specialists, its engine room was really individuals.
SUBSCRIPTION RATES
1 year/12 issues
$90.00
2 years/24 issues
$162.00
3 years/36 issues
$216.00
Overseas 1 year
NZ A$95
ASIA A$110
ROW A$150
Subscription Manager: Martin Phillpott
Australian Photography + digital
is published by Yaffa Media Pty Ltd.
ABN 54 002 699 354
17-21 Bellevue Street,
Surry Hills, NSW 2010.
Ph: (02) 9281 2333 Fax: (02) 9281 2750
All mail to:

GPO Box 606, Sydney NSW 2001
Yaffa Photographic Group
includes: Australian
Photography + digital, Capture,
www.australianphotography.com
Publisher: Jeremy Light
Circulation Manager: Lamya Sadi
Marketing Manager: Chris Hamilton
Group Production Manager: Matthew Gunn
Art Director: Ana Maria Heraud
Studio Manager: Lauren Esdaile
Designer: Bree Edgar
ama
AUSTRALIAN
MAGAZINE
AWARDS 13
Winner Niche
Magazine of
the Year
RIGHT
The rise of digital
technology has
fundamentally
changed the
use of printed
images. But it
may well herald
the re-emergence
of printed photo
books.
All editorial contributions should be sent to

editor@australianphotography.com
THINKSTOCK IMAGE.
Australian Photography + digital welcomes

freelance contributions. Please check with the
editor before submitting your story. Editorial
guidelines are available via email and include full
details on all requirements for story and image
submissions. Please note that stories should be
embedded in the body of the email, or supplied
as email attachments in text format (.txt), rich
text format (.rtf) or Microsoft Word format (.doc).
Ideally, images should be supplied in JPEG format
(.jpg) with a separate list of captions. JPEG
compression should be no lower than 9/12 (75%).
Digital images should be supplied at a resolution
of 300ppi, at a physical size of at least 20cm and
not larger than 42cm on the longest side.
ISSN 0004-9964
Member Australian
Bureau of Circulations
I had the chance to take in one of the key features of

the festival, a photo book fair staged at that stalwart of
independent photography in Melbourne, the Centre for
Contemporary Photography. Though primarily a space
designed as a gallery, on a warm February weekend the
book fair attracted a steady and enthusiastic audience.
With headliners like Stephen Dupont, the famed
Australian conflict zone photojournalist, the festival
carried some clout. Duponts handmade photographic
artist books and portfolios are held in places like
the National Gallery of Australia, National Library
of Australia, National Gallery of Victoria, and the
Australian War Memorial, as well as overseas. One of
his books had an asking price of $2000. But at the other
end of the spectrum were paper pamphlets. Naturally
enough, the quality varied substantially.
I bought two publications Out of the Dark by John
Werrett, and Viva Timor Loro Sae by photojournalist
Mathias Heng. Werretts volume was a compendium of
his lifes pursuit photographing working people, while
Hengs black and white images covered the period
leading up to the independence of East Timor from
1999 to 2002. What both these publications reinforced
to me was the power of photography once its connected
to dedicated photographers pursuing strong personal
themes, and the power of images when they appear in
print. Lets hope Photobook Melbourne and its cohorts
grow stronger from here.
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
AUSTRALIANPHOTOGRAPHY.COM 3
CONTENTS June 2015
In this
issue
36
06
FEATURES
28 Have Kids, Will Travel
Are we there yet? Can we go now?
Believe it or not it is possible to shoot
great landscapes with young kids in tow.
Dylan Toh and Marianne Lim tell you how.
36 This Sporting Life

Shooting sport is one of the toughest
things you can do with a camera. Three
experts tell Rob Ditessa how they manage
the creative and technical challenges.
44 In The Wild: Real Dragons

Theo Allofs had the warnings of locals
ringing in his ears as he closed in for a
dramatic shot of a giant Komodo Dragon.
46 Shooting Through Time

Veteran arts photographer Ponch Hawkes
brings a storytellers sensibility to her
images, says Robert Keeley.
54 Aim High
While high ISO settings offer tremendous
advantages when youre shooting in low
light, there are downsides. Peter Burian
shows you how to get better results when
your ISO is in the thousands.
60 Photobook Club
Its easier than ever for photographers
to produce affordable, high-quality
photobooks. Anthony McKee discovers
a burgeoning photobook subculture and
meets pro and amateur photographers
who are finding new ways to share and
sell their images.
68 Test: Panasonic DMC-GF7

Panasonics new entry-level camera gives
a designers nod to the current selfie
craze, writes Anthony McKee.
16
77
AUSTRALIANPHOTOGRAPHY.COM
DEPARTMENTS
06 Behind the Lens
How do you capture your own take
on a location thats photographed by
hundreds of visitors every day? That
was the challenge for Dylan Fox on a
recent visit to the Twelve Apostles.
08 Quick Snaps
The latest news and gear from the
world of photography.
14 Questions & Answers
28
Prashphutita Greco answers

readers questions.
68
16 Straight Shooter
Sometimes you need to take a picture
at just the right moment,. Darran Leal
tells how instinct kicked in for him on a
visit to an ancient port city.
18 Your Best Shot

See the best images from our Blur
photo competition.
70 APS Gallery and Column

News, views, and images from the
Australian Photographic Society.
77 Fujifilm Image Doctor

Saima Morel critiques
readers images.
46
18
COVER
This months cover was shot by Dylan
Toh at Hallett Cove, SA. Two exposures
were taken one for the sky and another
for the foreground and blended in
Photoshop. Canon EOS 5D Mk III,
16-35mm f/2.8 lens @18mm, 0.5s
(foreground), 0.2s (sky) @ f18, ISO 100.
BEHIND THE LENS
Test of
Time
By Dylan Fox
I captured this photograph in December 2013 on
a quick overnight trip along the Great Ocean
Road. A good mate of mine, Ricardo Da Cunha,
showed me the coastline here and the spectacular
rainforests which line it.We spent our entire second
day in the forest checking out the stunning waterfalls
which were particularly spectacular as it was raining
at the time. At one point we stopped for shelter,
waiting for a heavy downpour to pass, and we heard
a number of trees come crashing to the ground.
The cracking sound they made as they fell was
piercing, and a little worrying!
We planned to shoot the iconic Twelve Apostles
that evening, however we were a little concerned we
would see nothing but grey skies come sunset.
By the time we arrived the skies had cleared enough
and we were treated to some pretty nice light.
For weeks before this trip I had a specific shot in
mind but I was never sure it would be possible as
I had never visited the area. I was fortunate enough
to have the shot come together pretty close to
what Id envisioned. But the real keeper from that
evening was this shot. I had this idea as more of a
backup, in case my original plan didnt work.
Just as the sun was setting I framed this shot,
capturing the last light glowing on one side of the
Apostle.I took two exposures, one for the Apostle
and one for the cloud movement. The movement in
the clouds was an important element. It enhances
the feeling of time and the forces that are always at
work on these icons.
While the Twelve Apostles park is a beautiful
landmark, it has been photographed countless times
so I wanted to do something different. That's always
something people in creative fields should strive
for. Be inspired by others, but always try to create
something unique something that is yours alone.
CANON EOS 5D MK II, 16-35MM LENS. TWO
EXPOSURES BLENDED IN SOFTWARE.
CLOUDS: 61S@ F/13, ISO 50. APOSTLE:
3.2S@ F/8, ISO 50. TRIPOD.
6 AUSTRALIANPHOTOGRAPHY.COM
SEE MORE OF DYLAN FOXS

STUNNING IMAGES HERE.
Quick
snaps
DANIEL BEREHULAK ACCEPTS THE PULITZER

PRIZE FOR FEATURE PHOTOGRAPHY ON THE
EBOLA EPIDEMIC IN WEST AFRICA.
Australian Daniel Berehulak wins 2015 Pulitzer Prize
CLOCWISE FROM TOP LEFT
Australian photographer Daniel Berehulak has won

the 2015 Pulitzer Prize for Feature Photography in
recognition of his work documenting last years deadly
ebola outbreak in West Africa.
Currently based in Barcelona and New Delhi,
Berehulak began his career working in sport
photography in Sydney, before shifting his focus to
world news, social issues and politics. From 2005 to
2009 he was based in London as a Getty Images staff
news photographer.
Berehulak spent more than three months weeks in
West Africa covering the ebola outbreak for Getty Images
Reportage and The New York Times and his pictures
capture the difficult and often heart-breaking experiences
of victims, local communities and aid workers as they
battle the devastating effects of the virus.
This award makes me think of all the people
Eric Gweah, 25, weeps as a

burial team removes the body
of his 62-year-old father, who
died at home after being turned
away at the treatment centres
in Monrovia, Liberia. The only
thing the Government can do is
come for the bodies they are
killing us, said Gweah. Daniel
Berehulak (Getty Images/The
New York Times).
that shared their lives with me so that I was able to

document this ghastly and horrible virus, Berehulak
toldTheNew York Times.
Pictures make connections between people
regardless of culture, language or geography. A camera
is a voice to share somebodys story, and each picture is
proof that our jobs do matter.
Getty Images co-founder and CEO Jonathan Klein
praised Berehulaks ability to tell important stories
through the medium of photography.
We are delighted and enormously proud that Daniel
Berehulak has been awarded a Pulitzer Prize for his
extraordinary coverage of thehuman toll, courage
and hope of the Ebola outbreak in West Africa.Since
Daniels earliest days at Getty Images, more than 10
years ago, he has developed his extraordinary artistic eye
to communicate tough, critical stories with sensitivity
and deep humanity and become one of best
storytellers of our time.
In July 2013 Berehulak moved to Getty
Images Reportage as a key represented
photographer to focus on a combination of
long-term personal projects, breaking news and
client assignments. He was nominated for a
Pulitzer Prize in 2011 for his work documenting
the floods in Pakistan. Last February he was
awarded the prestigious Photographer of the
Year award for his body of work covering the
ebola epidemic.
James Dorbor, 8, suspected

of being infected with Ebola,
is carried by medical staff to
an Ebola treatment centre in
Monrovia. The boy, who was
brought in by his father, lay
outside the centre for at least six
hours before being seen. (Getty
Images/The New York Times).
A girl nicknamed Sweetie

Sweetie, who lost both parents
to Ebola and is thought to be
four years old, at a care centre in
Port Loco, Sierra Leone. (Getty
Images/The New York Times).
Etienne Ouamouno, father of
the baby thought to be Patient
Zero in the Ebola epidemic, in
the village of Meliandou, Guinea.
Daniel Berehulak (Getty Images/
The New York Times).
Introducing Blackmagic URSA, the worlds first

user upgradeable 4K digital film camera!
Blackmagic URSA is the worlds first high end digital film camera
designed to revolutionize workflow on set. Built to handle the
ergonomics of large film crews as well as single person use, URSA
has everything built in, including a massive 10 inch fold out on set
monitor, large user upgradeable Super 35 global shutter 4K image
sensor, 12G-SDI and internal dual RAW and ProRes recorders.
Super 35 Size Sensor
URSA is a true professional digital film camera with a
4K sensor, global shutter and an incredible 12 stops
of dynamic range. The wide dynamic range blows
away regular video cameras or even high end broadcast cameras,
so you get dramatically better images that look like true digital film.
The extra large Super 35 size allows for creative shallow depth of field
shooting plus RAW and ProRes means you get incredible quality!
Dual Recorders
Blackmagic URSA features dual recorders so you
never need to stop recording to change media.
Thats critical if you are shooting an historical event,
important interview or where you just cannot stop shooting! Simply
load an empty CFast card into the second recorder and when the
current card is full, the recording will continue onto the second card,
allowing you to change out the full card and keep shooting!
www.blackmagicdesign.com/au
Lenses and accessories shown are not included
User Upgradeable Sensor

Blackmagic URSA features a modular camera turret that can
be removed by unscrewing 4 simple bolts! The camera turret
includes the sensor, lens mount and lens control connections
and can be upgraded in the future when new types of sensors are developed.
This means your next camera will be a fraction of the cost of buying a whole
new camera! Choose professional PL mount, popular EF mount and more!
Built in On Set Monitoring!
Say goodbye to bulky on set monitors because
you get a massive fold out 10 inch screen built
into Blackmagic URSA, making it the worlds
biggest viewfinder! The screen is super bright and features an ultra
wide viewing angle. URSA also includes two extra 5 touch screens on
both sides of the camera showing settings such as format, frame rate,
shutter angle plus scopes for checking levels, audio and focus!
Blackmagic URSA EF
7,035
Blackmagic URSA PL
7,755
QUICK SNAPS
Secret photos of 1880s Sydney
revealed in new exhibition
Some of the worlds earliest street photographs, capturing many previously unseen
views of Sydney from the 1880s, are on display for the first time in a new exhibition
at the State Library of NSW.
The exhibition Crowd Source presents over 50 rare snapshots of Sydneysiders and
Sydneys bustling streets secretly taken with the worlds first hand-held camera
branded the Detective Camera by amateur local photographer Arthur Syer.
Arthur Syer took candid photographs of ordinary people in everyday situations
which he supplied to illustrators to use as source material to help them create a lifelike quality and characters in their drawings, said exhibition co-curator Margot Riley.
Syers distinctive low angle photographs evocatively capture the buzz of 1880s
Sydney showing the shoe-shiners and fruit sellers, road workers, transport deliveries
and barrow shopping, queues at Circular Quay, children playing, shipping and
scenes at the horses races, said Riley.
Syer crossed into the publishing industry through his artist brother Walter,
who introduced him to internationally renowned English cartoonist, Phil May.
Invited to Sydney by The Bulletin in 1885, May often used Syers images to add
authenticity to the backgrounds for his illustrations, for example drawings of
people at the racecourse.
When the hand-held camera was introduced to Australia in the mid-1880s,
it became a craze much like the smartphone or selfie stick of today, with photographs
for the first time being able to be taken quickly and unnoticed, said Riley.
The State Library holds over 170 original Arthur Syer photographs the most
extensive collection of early Australian street photography known to exist. With the
help of the Flickr community the Library has been able to label many of the images
in the collection.
Crowd Source is a free exhibition at the State Library of NSW until 23 August 2015.
TOP TO BOTTOM
Circular Quay near First Fleet Park; Pyrmont Bridge looking towards the city centre.
Chris Hondros legacy supports new

generation of photojournalists
Underwater housing for

Canon PowerShot G7X
Canadian photojournalist Kevin Frayer has been selected to receive the fourth
annual Getty Images and Chris Hondros Fund Award, valued at US$20,000,
while Armenian-American photographer Diana Markosian has won the $5,000
emerging photojournalist grant.
The Getty Images and Chris Hondros Fund award was created to honour Getty
Images photojournalist and two-time Pulitzer Prize finalist Chris Hondros, who
was killed in 2011 on assignment in Libya.
As a long-time admirer of Chris exceptional work and his dedication to it,
winning an award bearing his name is incredibly humbling, said Frayer. I aspire
to use this opportunity to create meaningful photography that would move Chris
in the same way his images reached me and so many others.I am grateful and so
very proud.
Frayer, a two-time Pulitzer finalist and winner of the World Press Photo, is
currently based in China.He began his photojournalism career in 1991 as a young
freelancer in the former Yugoslavia.
Frayer has since documented conflict in the Middle East, including the Gaza
Strip, Iraq, Lebanon, Afghanistan and Libya. After shooting at The Winnipeg
Sun newspaper, in 2003 he joined the Associated Press in Jerusalem, first basing
himself in Gaza City then becoming chief photographer for Israel and the
Palestinian Territories. He then shifted to New Delhi as chief photographer for
South Asia.
In 2013, he moved to Beijing where he joined Getty Images as a contract
photographer.
Established by Christina Piaia, Chris Hondros fiance, and with the support
of his family, the Chris Hondros Fund advances the work of photojournalists who
TESTAMENT IS A COLLECTION OF PHOTOGRAPHS AND
espouse his legacy and vision.
Fantasea Line has launched a new underwater housing for Canons

PowerShot G7X camera. Certified to a depth of 60m, and tested
to 80m, the housing provides access to the cameras essential
functions with ergonomically designed and labelled controls.
Fantasea says the FG7X is ideal for both outdoor and underwater
photography and with double O-ring protection will keep out water,
sand, dust, frost and other damaging elements. The shock resistant
housing also offers protection against bumps and falls.
A complete accessory system is available for the housing
including wide angle and macro lenses, colour correction filters,
flashes, video lights, adaptors and connectors.
More info: www.fantasea.com and www.canondive.com
WRITING BY LATE PHOTOJOURNALIST CHRIS HONDROS

SPANNING MORE THAN A DECADE OF CONFLICTS SINCE
THE LATE 1990S, INCLUDING KOSOVO, AFGHANISTAN,
THE WEST BANK, IRAQ, LIBERIA, EGYPT, AND LIBYA.
Ma i n l i n e
Phot ogr a phi c s _ a r t i s a n. pdf
Pa ge
2 6 / 0 3 / 1 5 ,
1 1 : 2 6 : 2 8
AM
AEDT
QUICK SNAPS
Sony announces WX500 and

HX90V compact superzooms
Sony has announced two new superzoom
compact cameras, the Cyber-shot DSCHX90V and DSC-WX500. According to
Sony, the new models are the worlds smallest
cameras to offer 30x optical zoom lenses. Both
cameras use an 18.2-megapixel BSI-CMOS
sensor with a 35mm-equivalent zoom range
of 24-720mm. They also share optical image
stabilisation, 3-inchtilting 921,000-dot LCD,
Full HD 1080/60p video, and built-in Wi-Fi

with NFC.
The key difference between the two models
is that the HX90V includes apop-up OLED
viewfinder (the same as the one found on the
RX100 III) and built-in GPS.
The Cyber-shot HX90V and WX500
will be available in June for SRP $599 and
$479 respectively.
Nature
Conservancy
photo comp
opens soon
The Nature Conservancy is
encouraging photographers
to embrace nature and
submit their best landscape
and nature photos to The
Nature Conservancy
Australia Photo Competition.
The competition, which runs
from 15 June to 24 July 2015,
will be judged by Queensland-based nature photographer Michael Snedic.
The idea behind TNC photo competition is to encourage photographers across Australia,
from all walks of life, to get out into nature, photograph its beauty and share these images
with the general public, said Snedic, a regular contributor to this magazine. I, along with
TNC, look forward to seeing many wonderful entries in the competition.
FIND OUT MORE ABOUT THE NATURE
More info: www.natureaustralia.org.au
CONSERVANCY AUSTRALIA PHOTO COMPETITION.
Sony releases A-mount

full-frame lenses
Sony has released mark II versions of two premium
A-mount full-frame Zeiss lenses. Sony says its new
Zeiss Vario-Sonnar T* 24-70mm F2.8 ZA SSM II and
Vario-Sonnar T* 16-35mm F2.8 ZA SSM II lenses
deliver better image quality, faster subject tracking and
are less susceptible to ghosting and flare.
The new lenses include dust- and moisture-resistant
seals and are compatible with Sony's A-mount bodies
including the A99 and A77 II. With the addition of an
optional mount adaptor, the lenses are also compatible
with E-mount cameras including the A7 series. Pricing
was not available at press time.
TOP TO BOTTOM
Zeiss Vario-Sonnar T* 16-35mm F2.8 ZA SSM II; VarioSonnar T* 24-70mm F2.8 ZA SSM II.
Every masterpiece
begins with a canvas.
What is a
Graphics Monitor?
While your camera can capture trillions of
colours, computer monitors can only show
around 16 million of these. By contrast, an
EIZO ColorEdge Graphics monitor is custom
built for photographic editing. A wide gamut
and a palette of over 278 trillion colours
reveal natural tones and subtle details that
would otherwise be hidden from view. The
enlarger lens of the 21st century, an EIZO
ColorEdge Graphics Monitor is designed
to faithfully reflect your editing changes and
display your files as they truly are.
To find out more:
www.eizo-apac.com
I find the Eizo monitors to be
honest and provide me with
a true and realistic rendition of
my images, while providing
excellent depth and detail.
Tony Hewitt, AIPP Grand Master of
Photography. www.tonyhewitt.com
Test drive an Eizo ColorEdge at these exclusive stockists
QUESTIONS & ANSWERS
AP answers your
photographic queries
Prashphutita
A. Greco
Process in camera
or in computer?
Ive noted that many people

offering photo tips recommend
that the majority of processing
should be done in the camera. What
exactly is meant by processing in the
camera? What does this involve? How
is processing in the camera advantageous
over using processing software?
John Hassall, Wagga Wagga, NSW.
THINKSTOCK.COM
Getting it right in-camera is

the actual admonition Ive seen
many times. The phrase relates
to getting the lighting, composition and
camera settings close to perfect when
you press the shutter, rather than relying
on Photoshop, Lightroom or some other
imaging software to fix the image later
on. It means capturing an exposure
with plenty of detail in the shadows and
highlights, and putting the focus where
you want it for example making sure the
eyes in a portrait are pin-sharp.
Doing the majority of processing in
the camera is something quite different,
and I think you would find most
photographers would probably disagree
with using this as a guiding principle!
In camera processing refers to
changes the camera applies when you
take a photo. Perhaps youve set up the
camera to boost the saturation, contrast
or sharpness or apply a special effect like
mono, pop art or miniature. These
changes all fall under the heading of all
in-camera processing.
There are a few reasons why youre
better off doing more processing in the
computer and less in the camera.
First, computers are more powerful.
Cameras have limited amounts of
processor power and RAM. They also need
to complete processing tasks as quickly
as possible so they can move on to the
next shot. A modern computer running a

program like Photoshop can handle much
more complex calculations.
Second, computers offer more control.
No matter how good your camera, when
it comes to tweaking image parameters, a
computer will always deliver more levels
of customisation. Your camera may offer
three or four options to boost saturation,
the options in Photoshop are nearly
endless. Want to increase saturation by
17% in the cyan hues, reduce it by 4%
in the green hues and push it to 100% in
the yellow hues no problem. Only want
those changes to apply to the bottom third
of the picture? Or a particular flower?

Almost anything is possible.
Third, if the processing is done in the
camera, theres a pretty good chance
youre stuck with it. Those shots you took
of Sydney Harbour in miniature effect
you cant go back and get rid of all those
blurry bits! Apply the effect in post, and
as long as youve used a non-destructive
workflow, you can always go back to the
original image.
Finally, its worth noting that for
optimal image quality many advanced
photographers choose to shoot in Raw, a
file format that involves no in camera
processing at all. Raw isnt for everyone,

but it does offer an array of choices for
photographers who dont mind spending
some time in front of the computer.
Whatever you do, avoid the temptation
of going for the punchy look which
might look great on the rear LCD, but
might in fact be causing you to lose
valuable tone and colour information
flaws that will be more obvious when the
image is displayed on a large, calibrated
computer monitor.
For all that, it really comes down to a
question of personal taste and how you
like to work. I have to say I am quite
happy with the in-camera high dynamic
range on my Canon EOS 5D Mk III.
It does an excellent job of combining the
three separate exposures and adjusting
for a certain amount of misalignment
between frames.
Cant download APs

tutorial image?
Im trying to work through

APs March 2015 Lightroom
tutorial and Ive downloaded
the Horseshoe Falls picture file. It came
through as a TIFF file and my Lightroom
5.7 can't seem to recognise it. I have
Windows 7. I looked up the Lightroom
help and the TIFF format should be
recognised. (I sometimes have trouble
getting Lightroom to recognise a new
folder, but in this case the other images
in the folder JPEGs are recognised).
I tried to right-click on the file and
Open With, select Lightroom, but
nothing happened.
Robert Adamson, Windsor, Qld.
Sorry for the inconvenience

Robert. Its always a challenge
sharing Raw files via the web.
While JPEGs are always easy, different
operating systems and internet browsers
respond differently to .DNG (Adobes
digital negative Raw format) files.
The bad news is that if the file is
showing up at your end as a TIFF file,
something has gone horribly wrong!
The good news is its working fine for
us across a range of operating systems
and browsers!
OK, heres the easy fix. If you ever
find you cant download one of the
tutorial images from our website
feel free to send an email to editor@
australianphotography.com let us know
which image youre having trouble with
from the D4S, but from there

I stopped using ViewNX and
I import direct via Lightroom.
John Stewart, Cromer, NSW.
and well email back with the attachment.

Heres the harder fix. Try downloading
the file again, just in case the first one
got corrupted somewhere along the way.
Try using a different browser. If you used
Firefox the first time try Chrome or Safari
this time (or vice versa). Hopefully the file
will appear in your downloads folder with
a filename like, HoreshoeFalls.dng.
To open it in Lightroom, go to File >
Import Photos and Videos... Find the file,
make sure its selected and choose Import.
Hope that works for you!
Lightroom exports
low-res pictures
I recently bought a Nikon

D4S DSLR camera. I do postediting with Lightroom 5.7.1
and/or the Photoshop CC. I shoot in
RAW format, but when I export out of
Lightroom as a High JPEG the files
size drops from around 16MPx to less
than 1MPx. Why would that happen?
Ive never experienced this with my
Nikon D3X. The files are brought into
Lightroom via my PC CompactFlash
card reader; I dont export via the
camera I never have with the D1,
D2X, D3X and now the D4S. The
problem presents when I save/export
from Lightroom to my designated
files. I used the Nikon ViewNX
software up to when Lightroom and
Photoshop accepted the RAW files
Thanks for supplying the

sample images. I can see that
the full resolution of 4928
x 3280pixels is available in the Raw
file but something has happened in
Lightroom to downsize the image to a
frustratingly small 1024 x 682 pixels.
What happened? Id start by checking
Lightrooms Export Settings.
Lightroom includes a great feature
which lets you export an image at a
specific size, say if you want to restrict
the longest edge of an image to a certain
number of pixels, or limit the file size to
a specific number, say 1MB or 500kB.
These settings are great if you are
preparing files for the web.
Theres just one catch. If you forget to
cancel the limits, they apply to all your
future exports as well. Your original
file will remain at its full size, but the
exported file may end up smaller than
you are expecting.
The problem is easily fixed go to
Lightrooms export settings (File >
Export) and check the File Settings
and Image Sizing tabs. Make sure the
checkboxes for Limit File Size To and
Resize To Fit are not ticked.
OPPOSITE PAGE
More of a wow!
factor can be
added to images
with processing;
in-camera or in
post, each has
advantages and
advantages.
LEFT
While downloading
from the internet is
something we all do
on a very regular
basis, sometimes
things do go wrong.
BELOW
Images exported
from Lightroom too
small? Make sure
the Limit File Size
To and Reduce To
Fit checkboxes are
not ticked.
Have a question?
Photography got you stumped? If you have any queries at all relating to photography
or digital imaging please email our correspondent Prashphutita Greco at
qanda@australianphotography.com. Please include your question, along with your
name, suburb, state and phone number. Prashphutita will try to get back to you with
an answer within a couple of weeks.
GOT A QUESTION
FOR Q & A? DROP
US AN EMAIL.
STRAIGHT SHOOTER
Darran Leal
Shoot while
you can
When you get to a great

location, you shouldnt miss
your photo opportunity.
Darran Leal explains the
importance of shooting when
the conditions are right.
magine being dropped off at a fort

thats several hundred years old,
where the same daily activities
have taken place thousands of
times and where humanity and nature
blend together to survive and live. This
is what confronted us when we went to
photograph Essaouira in Morocco in
late 2014.
Usually I like our groups to shoot that
special early light. On this occasion,
though, we had to drive from Marrakech
to Essaouira, so early sunlight was out.
Fortunately, we had the next morning
to shoot as well. We had to go with what
nature offered us on arrival. While we
had a few hours to walk through the
ancient streets and port, the best images
were on offer when we arrived just
before midday! If you decided to have
an early lunch, you would've missed the
best chance for great pictures! The sky
was looking menacing to the fishermen,
hence the entire fleet was in port. This
offered us fantastic lighting, a packed
harbour and the chance to make a
complete story, from nets being fixed,

through to gulls flying overhead. I went
back again a couple of hours later, after
a late lunch, and you guessed it - the
opportunities had virtually dried up.
No fishermen on nets, the sky wasn't as
angry, and the general atmosphere was
much less creative. The lesson is, never
let a great image opportunity go. If youre
excited about what you see, try your best
to give yourself quality time to explore

and shoot different angles. Over time,
youll build up an amazing diversity of
high-quality results - perhaps enough to
put together a very fine photo book.
Shoot creatively
For the worlds most amazing photo
adventures, visit Darrans website:
www.worldphotoadventures.com.au
ABOVE
SEE MORE OF DARRANS WORK AT THE

WORLD PHOTO ADVENTURES WEBSITE.
Essaouira in Morocco is
a hot shooting location.
A decent time frame
and targeting of the right
opportunities will generally
reward you with great
results. Aperture Priority
mode, 24-105mm lens
@ 35mm, 1/250s @ f/11,
ISO 400, hand held.
Your
best shot Blur
Various forms of abstraction can make for eye-catching

images. This month our contestants try out creative blur,
with many variations on the theme.
HIGHLY COMMENDED
AP
SUBSCRIBER
CLUB
PHOTOGRAPHER
Jocelyn Manning
EDITORS COMMENT
This highly distinctive landscape shot really
grabbed our attention. In some respects
it breaks a lot of rules about landscape
photography. Theres no central point to draw
our eye, and no dramatic colours present.
Nonetheless, we were impressed by the subtle
tones, and the unconventional approach.
Jocelyn Manning says, I took this shot at dusk
at Meelup Bay in WA, just as it was starting to
rain. I wanted to capture the movement in the
clouds and water, so I used an ND 400 filter,
with the camera on a tripod.

I like the different textures in the image,
and the contrast between static and moving
elements. We agree with you, Jocelyn.
DETAILS
Canon EOS 5D Mk III, 50mm f/1.4 lens, 20s
@ f/13, ISO 125. Photoshop used to adjust
contrast and exposure, and several Nik Color
FX filters used to add a subtle vignette and
colour adjustments.
WINNER
PHOTOGRAPHER
Madelin Love
EDITORS COMMENT
Madelin Love, our winner this month, tells
us, This is one photo in a series of panning
shots taken of my daughter playing on
her rope swing. To begin with I was taking
photos from the side, but then I decided
to try swinging her around in a circle with
me in the middle, which is when I captured
this shot. Her expression says it all for me
and although its not completely in focus
I liked the blur of the background as she
spun around. We think Madelins decision
to move her position signalled a great (and
effective) change of approach. We received

only a few images with people in them, and
this was the only one with this perspective.
It works a treat for us. Well done on winning
this months category!
DETAILS
Canon EOS 5D Mk II, 24-105mm lens
@ 60mm, 1/30s @ f/8, ISO 100. Post
production in Lightroom, converted to black
and white, increased contrast, highlights
and shadows altered, added a vignette.
YOUR BEST SHOT
HIGHLY COMMENDED
PHOTOGRAPHER
Andrew Fuller
EDITORS COMMENT
Andrew Fuller tells us, I took my D300 and
24-70mm lens to Victorias Mooney Valley
races (below) one Saturday afternoon, hoping
to capture some candid images around the
course. I soon found myself drawn to the races
themselves, and I thought Id try to test out
my panning technique. I wanted to portray the
sense of furious motion which occurs at the
back end of most races, when the fastest half
dozen or so horses fight out the finish. I set my
lens to its minimum aperture (f/22) to enable a
slowish shutter speed, which ended up at 1/6s.
I also used an ISO of 100 to help keep the
shutter speed down. The slow shutter speed
enabled the blurring of the movement of the
jockeys and the horses whilst the panning added
to the sense of speed by blurring the lines of the
background. All this indicates a sound technical
approach, but we also liked the creative impact
of this shot, which implies furious speed through
the use of blur. We felt this was a classic
example of how the technique can be used very
effectively to produce a great result.
PHOTOGRAPHER
AA Los Banos
HOW I DID IT
This shot was taken at Baler in the
Philippines, one of the best surf spots
in the country. The image was made
after sunrise.
I waited for one strong, perfect wave
and asked my subjects not to move for a
fraction of a second while I got the shot.
After this all my models were soaked

and freezing!
DETAILS
Sony Alpha A550, Sigma 10-20mm
lens, 1/2s @ f/20, ISO 200, ND grad
filters, tripod. Levels/contrast, cropped
and sharpened.
DETAILS
Nikon D300, 24-70mm lens, 1/6s @ f/22,
ISO 100.
PHOTOGRAPHER
Bruce Young
HOW I DID IT
This photograph was taken approximately at 5.20am from
North Head in Sydney. A cruise ship was beginning its
journey down Sydney Harbour to its berth. The ambient
light reflected from the clouds has made for a colourful shot.
DETAILS
Canon EOS 600D, 18-55mm lens, 206s @ f/11, ISO 200,
tripod. No adjustments in post.
PHOTOGRAPHER
Cheryl Profke
HOW I DID IT
This image was taken at dusk during
winter, looking down on the Cultural
Centre busway platform towards
Brisbane CBD. I feel it captures the
beauty of the city, which we often
fail to see in the hustle and bustle of
peak hour.
DETAILS
Canon EOS 650D, EFS 18-135mm
lens @ 35mm, 8s @ f/8, ISO
100, tripod. Adjustments made in
Lightroom 5 to enhance contrast
and clarity.
YOUR BEST SHOT
PHOTOGRAPHER
Keith Barnett
HOW I DID IT
I took this image at my local show just
before dusk in February last year. I felt it
captured the essence of a dodgem ride
fast and furious!
DETAILS
Nikon D800, 20-70mm lens @ 28 mm,
1s @ f/22, ISO 200, tripod. Cropping and
slight changes to highlights, shadows,
and vibrance in Lightroom 5.
PHOTOGRAPHER
David Raff
HOW I DID IT
My wife and I were travelling on the Metro in Paris when we
came across these musicians. I was interested in the way
our fellow travellers were virtually ignoring the musicians,
apart from the occasional cursory glance, as they hurried by
to catch their trains. I wanted to emphasise the difference
between the transitory nature of the audience and the
relative permanence of the musicians. In order to achieve
this I set a slow shutter speed to provide just enough blur
to portray the motion of the travellers. The wide aperture
was used to provide a shallower depth of field so only the
musicians would appear in sharp focus.
DETAILS
Pentax K3, 18-250mm lens @18mm, 1/20s @ f4/.5,
ISO 640, UV filter. RAW file processed in Lightroom 5.
Minor adjustments to exposure, clarity and contrast,
lens correction, cropping, conversion to B&W, sharpening,
slight vignette applied.
PHOTOGRAPHER
Mark Glancy
HOW I DID IT
Taken at Burleigh Heads, Queensland, on an early
morning and a rainy day. There was no sunrise to speak
of, so I used my tripod within the rocks and a two-stop
ND filter to make the water soft and misty.
DETAILS
Canon EOS 5D Mk III, 16-35mm lens @ 23mm,
15s @ f/20, ISO 100. Adjustments in Photoshop,
cropping, vibrance to sky, sharpening to rocks.
PHOTOGRAPHER
James Vodicka
HOW I DID IT
This was taken at Wahroonga train station in
Sydney as a train passed through. I wanted to
try some long exposure techniques and from
about 200 shots that night, this one was the
keeper. For the speed of the train I found that
about a second was long enough to capture the
light trails, but short enough to leave the shape
of the train and lights clear. This image instantly

came to my mind when I saw the theme for the
June photo comp was Blur.
DETAILS
Nikon D5200, 18-105mm lens @ 18mm,
1.3s @ f/10, ISO 100, remote shutter release.
YOUR BEST SHOT
PHOTOGRAPHER
Scott Clarke
HOW I DID IT
Taken on a late night run following a storm.
I set up near a rail container hub. I caught
the lights of an empty truck leaving, heading
towards the storm. Adding to the beauty of it
was catching some of Mother Natures fury
in the form of lightning.
DETAILS
Nikon D5200, DX 18-55mm lens @ 18mm,
30s @ f/3.5, ISO 100, tripod, UV filter.
PHOTOGRAPHER
Rob Jury
HOW I DID IT
On an evening in late February, I was walking around
Harts Mill, Port Adelaide, South Australia, trying out
a few settings on my Nikon D750. Im always looking
for abstract subjects to shoot, as well as landscapes,
which are my passion. There are a lot of places
around the Port Adelaide area that have great lighting
and compositions such as the old wool sheds, other
old buildings, ships, cranes, bridges and mills.
I thought that maybe the miniature effect could work
on shots from ground level, as well as from above,
and this is the result.
DETAILS
Nikon D750, 18-55mm lens @ 40mm, 1/3s @ f/5.3,
ISO 1600. Tripod. Miniature Mode.
How to enter
Your Best Shot is open to AP subscribers and APS members. To enter an

image in the comp, check the competition themes and instructions below
and email your best image to yourbestshot@australianphotography.com
UPCOMING
COMPETITION
THEMES
AUGUST ISSUE
DOMESTIC ANIMALS
Deadline: May 31, 2015
SEPTEMBER ISSUE
FLOWERS
Deadline: Jun 30, 2015
OCTOBER ISSUE
RED
Deadline: July 31, 2015
NOVEMBER ISSUE
TECHNOLOGY
Deadline: Aug 31, 2015
DECEMBER ISSUE
CLOSE UP/MACRO
Deadline: Sept 30, 2015
EMAIL DETAILS
CONDITIONS OF ENTRY
Send your entry to yourbestshot@

australianphotography.com
Include the name of the competition
theme you are entering in the email
subject line, for example Rain
or Abstract.
Please include the following details with
your entry: your name, image title (if there
is one) and 100-200 words about how you
created your image. Please also include
technical details including camera, lens,
focal length, shutter speed, aperture, filter
(if used), tripod (if used) and details of any
software manipulation.
Entries may be submitted up to midnight
on the evening of the specified deadline.
To enter, you must be a subscriber

to Australian Photography + digital
or be a member of the Australian
Photographic Society (APS).
See inside for subscription offers.
The judges decision is final and no
correspondence will be entered into.
Employees of Yaffa Publishing
(and freelance contributors) are not
eligible to win the prize.
Submitted images must have been
taken no more than 24 months before
the competition deadline.
The prize is subject to change
without notification.
You must have an Australian street
address to be eligible to win the prize.
By entering you grant Yaffa Publishing
the right to publish your image in
Australian Photography + digital and
at www.australianphotography.com
for the purposes of promoting the
Your Best Shot competition.
Copyright remains the property
of the photographer.
IMAGE REQUIREMENTS
Images must be saved in JPEG format.
Ideal image size is between 30 and 42cm
(on the longest edge) at a resolution of 300
pixels per inch (ppi). A JPEG compression
of 9/12 (or 75%) will keep images to an
acceptable email size without noticeably
reducing image quality.
Win a new EIZO ColorEdge CS230 Photo Editing Monitor valued at $1375!
Thanks to our good friends at EIZO, Madelin Love has won a gorgeous ColorEdge
CS230 Photo Editing Monitor valued at $1375.
While your camera can capture trillions of colours, most computer monitors are
only able to show a fraction of that colour range around 16 million colours. The
ColorEdge CS230 has a library of over 278 trillion colours and can display more than
one billion of those simultaneously, resulting in smoother colour and tonal gradations,
truer images and much more detail.
For around the price of a high-quality lens, the 23in ColorEdge CS230 Photo
Editing Monitor lets you see subtle details and a richness of colour that would
otherwise be hidden from view. Theres also automatic colour adjustment with a
built-in self-correction sensor and ColorNavigator software.
Thats why EIZO monitors are used and recommended by Australias leading photographers and
are the only monitors used for judging the Australian Professional Photography Awards (APPAs).
More info: www.eizo-apac.com
PHOTO COMPS ONLINE

If youre looking for more great photo challenges, youll find plenty
at www.australianphotography.com including our monthly photo
competition which includes a new brief each month.
To enter, go to www.australianphotography.com and click the
competitions tab.
KIDS,
28 HAVE
WILL TRAVEL
Yes, its possible to shoot beautiful
landscapes with young kids in tow.
Find out how. Are we there yet?
36 SHOOTING SPORT
The best sports photographers
tell stories, reveal emotion and
push creative boundaries. Three
experts tell you how they do it.
44 REAL DRAGONS
A nervous photographer finds

himself flat on his stomach with
just a camera between him and a
hungry Komodo Dragon.
46 PROFILE:
PONCH HAWKES
Arts photographer Ponch Hawkes
has seen and photographed
huge social changes. She shares
her story.
54 HIGH ISO
Want to capture cleaner images

at high ISOs? Heres how.
60 PHOTOBOOK 101
The rise of affordable, high-quality,

limited-run photobooks is giving pro
and amateur photographers new
ways to share and sell their images.
PANASONIC
68 TEST:
LUMIX DMC-GF7
Features
Panasonics latest entry-level

Compact System Camera is an
update of earlier versions, with a
nod to the current selfie craze.
GOLD
OAD FREE F
R
NL
W
ON THE
ra l
y. c o
m
ph
.au
www
st
NET
OM
DO
This issue: How to shoot memorable sport shots, why we love

photobooks, great tips for landscape shooters with young kids,
how to capture cleaner images at high ISOs, and much more.
ia n p h oto g
ra
Download Images
Whenever you see this logo, go to our website at www.australianphotography.com and download the free tutorial images
that accompany the article. From the home page go to the how to tab then click tutorial images.
AWA R D
Have Kids,
Will Travel
Having kids shouldnt keep

you from shooting stunning
landscapes! Dylan Toh and
Marianne Lim explain how
they combine the challenges
of looking after a young
family with pursuing their
passion for photographing
the great outdoors.
RIGHT
The beautiful waters
of Vivonne Bay in
South Australia
made for a perfect
backdrop on this
cloudless day. With
baby Charlotte
safely strapped
in and suitably
amused by the
lapping waters,
Dylan Toh sets up
his tripod to get the
shot. Canon EOS
7D, 1/800s @ f/3.2,
ISO 100, polariser.
Curves, contrast,
colour adjustments
in Photoshop CC.
Photo by
Marianne Lim.
arianne and I have been photographing

landscapes seriously since 2008. We had been
steadily adding images to our portfolio from
our travels around the world and enjoying every
minute of experiencing new and wonderful environments. But
in 2010 we decided the timing was right to start a family. Prior
to this big step we took a three-month holiday and literally had
the photographic trip of our lives while visiting Iceland, Scotland
and Nepal. With the arrival of our first child in 2011 and then
our second in 2014, we have since been trying to develop our
photography while raising our two young children. Its our hope
that by experiencing nature from an early age, our children will
grow up to appreciate and admire the natural world as much
as we do. For this reason we have been trying to combine our
family holidays with photography, always with our childrens
safety and wellbeing as the priority. This dynamic may not work
for some, but we believe it has allowed us to continue living life
in as uninhibited a manner as possible while providing added
experience for the children. Wed like to share our experiences
regarding this challenging combination of child-raising and
creating fine-art landscape photography.
The right mindset
As most of our images are taken on dedicated photographic

holidays, much of the following advice relates to trips away
from home. As with any holiday, ones frame of mind leading
up to the trip is a very important factor. We try our best to avoid
travel for travels sake, and treating a holiday as a home routine
displaced by several thousand kilometres. You cant expect that a
photographic holiday with children will be as productive as one
without them!
Weve found that having high photographic expectations when
visiting spectacular locations has only resulted in unwarranted
disappointment. The combination of childrens activities and
photography are all the more fulfilling if expectations are lower.
Our first trip away with our baby Charlotte was when she was
HOW TO Shoot Great Landscapes, with kids!
just five months old. This was to Kangaroo Island in South

Australia, where we were staying in a two-bedroom apartment
shared with visiting friends. We learned several important
lessons from this trip.
We soon discovered our previous travelling style (dormitory/
hostel accommodation) would probably not be suited to our
needs! At home, wed never co-slept with Charlotte and to
change this routine for a few days was quite disruptive for both
parent and child. We were frequently woken by noises in the
night emanating from the nearby cot, while worrying that
Charlotte might wake our friends in the next room. We were
also travelling during summer, which meant that dawn and dusk
shoots occurred during Charlottes sleeping hours. This required
a lot of preparation and the development of supreme stealth
skills in order to avoid waking our hyper-vigilant child!

We learned from this trip that summer travelling with a young
infant was not really conducive to photography during the golden
hours due to interference with her natural sleep-wake cycle.
When she was five months of age we were prepared to try
carrying Charlotte in a child carrier as she had good head
control, and was physically big enough to fit. We gave priority
to comfort (for us and Charlotte) and tolerability (by Charlotte)
when choosing a carrier. Thus far we have not been disappointed
with our Macpac Possum (http://www.macpac.co.nz/possumchildcarrier.html). See our tips on what to look for when choosing
a child carrier. Our next major photographic journey was a threeweek trip to New Zealands South Island when Charlotte was
eight months old. This time we booked accommodation with two
A handy child carrier

Choosing a child carrier is a personal decision, but heres a
few things we like about the Possum. Weve found that the
adjustable padded waist strap is quite effective and it also
has pockets just big enough for childrens snacks, plus an
accessory for carrying drink bottles which can be strapped on.
We also needed sufficient storage space for camera gear and
infant-related gear, and the carrier had to be adjustable so both
Marianne and I could use it. Its also important to note that if
you plan on doing long walks, theres a good chance your child
will fall asleep on your back. This situation should be simulated
to determine if your childs natural resting position is one that
requires some modification or additional padding of the straps.
We have heard of children suffering abrasion injuries from such
scenarios and we wanted to avoid this thankfully the Possum
comes with a chin support which doubles as a drool pad! A
sun cover with a mesh front came in handy when shooting
at locations with insects (sandflies, mosquitoes), and the rain
cover gave protection from light rain and wind.
bedrooms where possible, and we also looked for places that were
reasonably close to areas we wanted to visit. The timing of our visit
in late April meant that shooting at dawn and dusk coincided with
Charlottes usual sleep-wake cycle and fortuitously, the tail end of
autumn colours. We were mindful however, that at the brink of
the New Zealand winter, conditions could be quite cold at times
and we made sure we had enough layers for her to stay warm.
Our general rule was to provide her one more layer than what we
planned to wear, given that she wasnt involved with any activity
during our shoots. Where possible, we wanted to be right on the
doorstep of locations so that we wouldnt have to travel far to shoot
or for a quick getaway if the conditions werent suitable. Examples
of this included Lake Tekapo and Milford Sound, where we stayed
within walking distance of fabulous opportunities. By the end of
the trip, we found that we had settled into a routine of shooting
late dawns and early dusks, commuting during the day to coincide
with nap times and spending some family time together during
wakeful daylight hours. We never considered doing any overnight
hikes with Charlotte simply because of the impracticality of
camping and the likely imposition on other hikers if she were
to have a restless night in a trampers hut. As such I made two
LEFT
Marianne Lim: This image was taken
standing on the Glenorchy Jetty, NZ. I tried
to look for a new composition and my eye
kept settling on these trees with their curious
bases. It was such a still evening I opted for a
long exposure to smooth out the tiny ripples
in the water. Canon EOS 5D Mk II, 15.0s @
f/16, ISO 50, tripod. Curves, contrast, colour
adjustments in Photoshop CC.
BELOW
We scouted this location while driving
between Milford and Te Anau in New Zealand
several times, Dylan Toh says. Unfortunately
light did not eventuate as we had hoped, but
Charlotte certainly enjoyed her time out on
this evening. Canon EOS 5D Mk II, 1/100s
@ f/4, ISO 3200, handheld. Curves, contrast,
colour adjustments in Photoshop CC.
overnight trips by myself to Lake Mackenzie and Shallow Bay

while Marianne was able to shoot closer locations such as Milford
Sound and Lake Te Anau with Charlotte. This trip was a great
success for us photographically as both of us were able to shoot
at any given time and we felt it also laid the foundations for a
travelling routine which our children have since adjusted to well.
Expanding journeys
During the next year we made several shorter local outings to

locations around South Australia like Eyre Peninsula and to the
Limestone Coast. As Charlotte grew older two other issues became
more noticeable than in the past. Firstly, as her mobility increased
so did her own sense of adventure. As such we had to allow her
more exploration time during our photographic outings. This
meant that only one of us would be doing any dedicated shooting
while the other would be entertaining/supervising her. Sometimes
she would need both of our attentions and we often adapted our
shooting style to suit. This would mean setting up scenes with
long exposures in mind with a dense neutral density filter to allow
interaction in between images. As a compromise it would also
mean that at best, one of us would be shooting a particular scene
at any given time. The other option was to shoot while she was
asleep! As a result I began to delve more into astrophotography so
I could shoot uninterrupted and undistracted, at the cost of sleep.
The other issue was the attention span of a growing toddler during
a road trip, with extended our driving periods. As a result, we tried
to plan our trips so that commuting between any two locations
was no longer than three or four hours under normal driving
conditions. When a longer day was warranted, such as travelling
from Glenorchy to Milford Sound (six hours) we included regular
breaks to refresh both the drivers and the child. Generally we add
approximately 50% more time to get to a given location when
travelling with children.
Organise a Plan B
Until the age of two, the farthest we had travelled was New
Zealand. Our biggest trip occurred when Charlotte was two years
old and I attended a work conference in Seattle on the northwest
coast of the US. This gave us a great opportunity to photograph
the pristine landscapes of the Pacific Northwest. During this trip,
we found that having a plan B for poor health is important while
travelling too! Unfortunately we had unknowingly contracted the
RIGHT
This image was taken on a clear evening after
Charlotte had fallen asleep, says Toh. During
early October the Milky Way was in a good
position over the Haystacks with some zodiac
lighting from beneath. I had one hour to get
these images before a full moon was due to
rise. Each image in the panorama was lit with
a handheld torch rapidly flashing to and fro for
approximately three seconds of each exposure.
Canon EOS 5D Mk III, 30.0s @ f/3.2, ISO
3200, tripod. Thirteen vertical images stitched
with Photomerge, curves, contrast, colour
adjustments in Photoshop CC.
BELOW
The penguins at Curio Bay, NZ, are a noisy
bunch, and after a sleepless night, we went
out in the morning to catch them before they
headed out to sea, says Lim. Charlotte fell
asleep on Dylans back as I tried to catch the
interaction between photographer and subject.
Canon EOS 5D Mk II, 1/40s @ f/2.8, ISO 1600,
handheld. Curves, contrast, colour adjustments
in Photoshop CC.
flu immediately before our departure and this took its toll during
our first week, where we were literally suffering from cabin fever
at the foot of Mount Rainier, without much of a backup plan for
less physical activities. Once we regained our health, we began
to explore areas as a family with safety in mind given that at every
location Charlotte wanted to be exploring the environment. As a
general rule, if there were any potential safety issues at any given
location, we either did not take Charlotte (one parent would stay
home or at another location with her while the other worked solo),
or we would assess the environment thoroughly and make sure
there was an alternative if it became unsuitable for a child (for
example, rising tides when shooting seascapes). Unless youve
practiced the Twister style positions that are often required to
set up for a shot (with a weight on your back), trying it for the first
time with a wriggling infant on your back is something we would
strongly advise you not to attempt! On this particular trip there
was far more solo shooting combined with caretaker duties than
on our previous trip. At the age of two there were an incredible
number of heart-warming moments during our daytime forays that
we were constantly trying to capture.
As any parent would know, raising a child demands more
time commitment and energy than anything else, either
vocational or educational. We found this to be the case while
Marianne was pregnant with our second child.
Tips for a happy child

All parents know that a well-rested and well-fed child makes
for a happy one! Always carry more snacks than you think
youll need when you head out to shoot, preferably something
small and easily given (think dried fruit, yoghurt buttons,
muesli bars, crackers). If your child is very young, you may
need to attach a toy to the carrier to entertain them if they
are going to be carried for a long period of time. If your child
is older, be prepared to take them out and let them explore,
and put aside your camera for a time. You may need to pack
portable activities such as colouring books, but the best
entertainment is the environment. Get them involved looking
for things like colourful leaves (in autumn), throwing small
rocks into the river, making a cairn, collecting sticks, looking
for but not touching mushrooms, or spotting insects or
birds. Try to time photographic outings during their natural
waking times, so plan a trip out just after they wake. Dont
try to do too much with young children a typical outing for
us involves driving or walking to a location, spending time
photographing and exploring, having a meal break, then going
back to our accommodation for a rest, or driving to our next
location in preparation for the next shoot.
SEE MORE OF DYLAN TOH AND MARIANNE

LIMS BEAUTIFUL LANDSCAPES.
We planned a short trip away by ourselves for the first time

since wed become parents, leaving Charlotte in the care
of her grandparents. We immediately (re)discovered the
enormous amount of freedom we had, though the days lacked
the certain energy that only a two year old can bring. Despite
being away for only three days, we added quite a few images
to our portfolio from a weekend away to the Ocean Road,
while shooting at a leisurely pace.
Double trouble
ABOVE
ABOVE RIGHT
Abiqua Falls in the US state of Oregon on

a cool autumn morning as the sun catches
the leaves above the waterfall. Dylan Toh:
I arrived here well before dawn to explore
the area. This wasnt a safe location to
bring a child in a carrier. Canon EOS 5D
Mk III, 8.0s @ f/16, ISO 100, Benro tripod.
Curves, contrast, colour adjustments in
Photoshop CC.
This image was taken while Charlotte

was having fun burying herself (and us) in
an amazing display of fallen leaves, says
Toh. Using the 5D Mk IIIs wide range of
autofocus points allowed us to take these
images with greater ease rather than using
the focus and recompose method. Canon
EOS 5D Mk III, 1/100s @ f/3.2, ISO 800,
handheld, polariser.
In April last year our second child Jaime was born and it
was at the tender age of six months that she undertook her
first photographic family holiday to New Zealands North
Island. As with Charlotte, we did not co-sleep with Jaime,
meaning that where possible we now required three-bedroom
self-catering accommodation! We had previously struggled
to fit our photographic gear and child equipment such as the
carrier, pram and portacot into a rental SUV. For this trip we
hired a Toyota Estima to comfortably fit all of our equipment,
and therefore planned no off-road photographic locations.
We were travelling in October which meant that sunrise
and sunset were before and after bedtimes respectively.
This meant that our routine revolved around family time
during the day and one of us heading off for a solo shoot
before the children woke, or after their bedtime routines
were complete. To maximise our shooting opportunities
we had to research locations as thoroughly as possible so
RIGHT
Marianne Lim: This image was taken before the sun rose above
the distinctive Macchapuchhre (the Fish Tail Mountain) on the
Annapurna Sanctuary Trek, Nepal, before we had children. I spent
the night on a rock 4100m above sea level, because at the Base
Camp huts (4200m) my body was suffering from altitude sickness.
This more challenging type of shoot is simply beyond your capacity
when you have young children. Canon EOS 7D, 0.3s @ f/16,
ISO 100, Gitzo tripod. Curves, contrast, colour adjustments in
Photoshop CC.
SEE MORE OF DYLAN TOH AND MARIANNE
LIMS BEAUTIFUL LANDSCAPES.
we werent trying to make decisions on the fly. When were

travelling without children its easy to quickly adapt our
plans, depending on conditions, but for this trip we literally
had planned a shoot based on our accommodation location
and adhered to that schedule while hoping for favourable
photographic conditions. If they were terrible, wed save
our energy and take the chance to rest. With two children,
we learned that some remote locations such as Tongariro
National Park are probably best left for when the children are
older and capable of doing some walking!
We should point out this is a reflection on our personal
experiences on combining early parenthood with landscape
photography. Each of these activities individually can be tiring
and demanding. The combination of the two has the potential to
be exponentially more tiring, but with a positive frame of mind,
attention to safety and detailed preparation, it can ultimately
be a rewarding experience for the whole family. We hope we
can update this article in several years time as we gain more
experience with growing children. Oh, and the images that come
from such journeys are pure serendipity!
ULTIMATE
Photo Cruise Expeditions

We have been offering fantastic Photo Cruise Expeditions since 2004.
They are like no other with personalised photo assistance from professional photo guides
Darran and Pearce Leal. We guarantee stunning photo opportunities! Book early and save
as cabins are limited.
* July 2016 - Arctic Expedition
* September 2016 - Spirit Bear Expedition
* January 2017 - Antarctica Expedition
* May 2017 - Galapagos Islands Expedition
* September 2018 - Greenland & Iceland Expedition
Contact Julia to register your interest...
Email: julia@worldadventures.com.au
Website: www.worldphotoadventures.com.au
APM AD 8.indd 1
16/04/2015 1:57 pm
EXPERT ADVICE Stunning Sports
This
Sporting
Life
Theres more to sports
photography than long
lenses and fast shutter
speeds. Rob Ditessa talks
to three leading sports
photographers about the
creative and technical
challenges of shooting our
national obsession.
ports photographer Bradley Kanaris wouldnt change

his job for the world. Since starting with Getty Images
just over a decade ago, Kanaris has covered any
number of national and international sporting events
from The Ashes to Formula One. While most people think of
sports photography as long lenses and fast shutter speeds, theres
much more to it than that, says Kanaris. At the professional level,
he says, you have to be creative and tell a story. The images that
attract the most feedback have an element of difference.
Beyond the stock action images, the best photographers are
looking to capture the emotion of the event, the memorable
moments, and the most interesting angles and lighting. Kanaris
says in setting up a shot its important to think of the creative
concept first, and then the technical steps required to deliver
on that concept. Even if its a simple event, he works out all of
the images he must take. He looks around to observe the scene
and considers the light and how it will change later in the day.
Other things sports shooters need to observe, he says, include the
locations and angles from which you can work. When you try
out sports photography, apart from using those long lenses, he
suggests trying different angles and approaches from the normal
to provide diversity for your coverage of an event.
Kanaris will go as far as using camera remotes to shoot from
multiple angles at once. At the professional level, he says, its not
just about that one good shot, but rather the quality of your overall
coverage of an event. Once you have observed these things, you
can set up and shoot accordingly. I usually have all of my gear with
me, even if I think I dont need it all. You just never know what
might happen. As a contracted freelancer he has done sporting

photography for other clients, like Fairfax, as well. He still likes to
shoot commercial and portrait work, and he teaches part-time at
TAFE. He says its a good balance to have as a working professional.
Lucas Wroe works as a sports news photographer, but he
also does commercial sports work. He explains that with his
experience in both genres, he understands athletic movement,
and the technicalities of commercial images to make it work.
From shooting thousands of action images he has learned the
split second timing needed to get all the elements right, especially
the lighting, which contributes immensely to the dramatic effect.
Bringing this detailed scrutiny to backgrounds, signage, focus,
colour, and density, elevates my sports editorial work. Thats
especially useful when youre working with sponsors. Its the
culmination of attention to details, like using coloured gels on
my Canon flashes, to colour match athletes clothing and logos.
Before setting up for a commercial shoot Wroe researches the
talent, the organisers, the companies, and any previous coverage.
He then scouts the location looking for angles and background,

even using Google earth as a tool to study a course for a given
event. At the location, if hes working for a sponsor or team, he
looks for images which contain the relevant logos and brand
names. If it is a general press or editorial shoot, he looks for clean
backgrounds to isolate the subject, or backgrounds that create a
sense of location and being there. He aims to avoid emotional
bias so he can take pictures that fully capture the story and
experience of the atmosphere from different perspectives.
Your final selection of images should tell the story of that event.
Milos Lekovic is a freelance photographer of eight years
standing, who specialises in sports work. He says he is always
experimenting, researching and trying new techniques. He uses
a variety of lenses and remote cameras to capture images from
different angles and subject distances, which provides him with
diverse perspectives of an event. For instance, with cricket he will
position a camera high up in the stands to capture action at both
ends of the wicket. In boxing, he might place a remote camera in
ABOVE
Luke Feldman of the Queensland Bulls bowls
to Rob Quiney of the Victorian Bushrangers
during a Sheffield Shield match at The
Gabba in Brisbane. This image is one of my
favourites because I saw something the other
photographers seemed not to notice, says
photographer Bradley Kanaris. The point of
difference was in grabbing a moment where
the light and shadow was so interesting and
different, rather than just staying at ground
level and getting the generic action. Its a good
sports pic, but also a good creative image
so its a bit more than just your usual cricket
photo. I saw the shadow and light creeping
across the ground near the cricket pitch so I
decided to get up high and catch the pattern of
the light and shadow together with the action.
Nikon D4, 70-200mm f/2.8 lens, 1/1000s
@ f/11, ISO 1600. Photo by Bradley Kanaris/
Getty Images.
ABOVE
Super Rugby,
Waratahs vs
Crusaders at SFS
Allianz Stadium.
The Waratahs win a
line out. Taken from
behind the goal line.
Canon 1D Mk III,
EF 16-35mm f/2.8L
II lens, 1/1600s @
f/2.8, ISO 1600.
Photo by Milos
Lekovic.
the light rigging above the ring if the rigging is adequate. In postproduction I like to play around with a variety of software options
and develop my photos into atmospheric pictures. I find boxing
and combat sports in general already have a colosseum, or warriorlike atmosphere to them, but what may not be immediately
apparent to the viewer, and this is what I try to convey in my
photos, is the grace and artistic poise of the fighters themselves.
In most cases in shooting sports, Lekovic reflects, you want
to freeze the action so you catch players in motion, in mid-air,
or a punch landing on the chin of a boxer spraying sweat in all
directions. In balancing out shutter speed, aperture, and ISO, a
key consideration is how much grain (or noise) a photographer
is willing to accept or can work with in post production,
Good etiquette
The three photographers all say sports photographers have to
be mindful of etiquette. In summary:
Make sure you are allowed to be there. Some events will not
allow unaccredited individual photographers or media to shoot.
Ask security staff where you can or more importantly, cant go.
Be polite and tolerant with those working around you.
Stay out of the way of the contestants and do not obstruct the
view of the spectators.
With junior sports make sure coaches, managers and
importantly parents are comfortable with you taking photos.
remembering that the higher the ISO the more grain or noise is
likely. If you want to portray the speed and power of a sport such as
motor racing, you could need a slower shutter so you can pan and
track a racer to get some in-camera motion blur.
Different sports have different requirements, Wroe notes. Fast
shutter speeds say around 1/1000 to 1/2000s might be important to
freeze a tennis player, but you will need slow speeds of 1/10s to really
emphasise the movement of a cyclist. It comes from experience bur
the overriding question is always, What do I want to show? he says.
Modern sports are often played under lights for the benefit of evening
TV audiences. The trade-off is then in the ISO rating used. Modern
professional-level digital cameras have a very usable range, up to ISO
4000. So for many sports well set a shutter speed to freeze the action,
at 1/1000s, shoot the lenses wide open, say f/2.8 or f/4, and then set
the ISO for a good exposure. I almost always set my white balance
manually using the Kelvin temperature scale.
Long lenses, he says, will get a photographer in tight to any
action, and a shallow depth of field is very visually appealing,
but you can use a range of lenses to make different pictures.
A mid-range zoom, such as a 70-200mm lens, will capture a
wider action scene, a whole scrum, or the full length of a tennis
player. Wroe suggests the lenses you will use always depend on
the positions available and their relative distance to the action.
Indeed, the 400mm f/2.8 lens is one of Lekovics favourites
because it separates the subject from the background and is ultrafast
in focusing. By using other lenses, he adds, you can consider
photographing spectators, reactions from a coach or the players
bench, full stadium panoramas with some twilight atmosphere,

or panning shots in motor racing if you can get close enough.
While pointing out that settings depend on the result you want,
Kanaris says he generally shoots between f/2.8 to f/5.6 for generic
action where he needs a shallow depth of field. He will change this
to f/8 or higher if shooting wide where there may be interesting
lighting, or he wants a large part of the scene to be in focus and
doesnt need shallow depth of field. The ISO setting depends on
the lighting situation of each scene. In a stadium at night he may
be on ISO 3200, sometimes higher, but in the middle of the day
in bright sunlight he can shoot at ISO 100 and still get a 1/2000s
shutter speed. Most of the time auto focus is far more reliable and
quicker. He claims this based on his experience in using manual
focus when he first started shooting on SLR film cameras. Single
shooting is too slow for sports and therefore he uses continuous
shooting mode to capture a series of action shots.
Wroe says he uses autofocus often, but its not the best option
in some circumstances. When youre shooting predictable
movement like motorsport, the sensor zones can be restrictive
for using the full frame. For this I might prefer to pre-focus
where the car will be and track it in the viewfinder to that point,
leading to a much better composition. When stacking teleconverters or using a 2x tele you might need to pull focus, as the
autofocus system may not be sensitive enough to operate.
If youre starting out, Lekovic suggests shooting soccer, rugby
or cricket at an outdoor field. Use an aperture of f/4 to f/8, ISO
400 to 800 (which you can change based on available light)
ABOVE
Besart Berisha of the Brisbane Roar celebrates
after scoring a goal during an A-League match
between Brisbane and Melbourne Victory at
Suncorp Stadium, Brisbane in 2012. Besart
Berisha is a great player to photograph as he
always plays with a lot of emotion and when he
scores a goal he always goes off, says Bradley
Kanaris. With Besart Berisha celebrating and
the goalie directly behind him this really tells the
story of the moment quite well. An important
part of the job of the photographer is to have the
picture tell a story.
Nikon D4, 400mm f/2.8 lens, 1/1250s @ f/4, ISO
4000. Photo by Bradley Kanaris/Getty Images.
RIGHT
SEE MORE OF BRADLEY

KANARIS IMAGES.
SEE MORE OF LUCAS

WROES IMAGES.
SEE MORE OF MILOS

LEKOVICS IMAGES.
September 6, 2013. Mannequin

Rescue RSSL Commonwealth
Lifesaving Championships.
Canon EOS 1Dx, 15mm fisheye f/2.8
lens, 1/500s @ f/2.8. Photo by Lucas
Wroe.
BELOW
ICC World Cup match, Australia vs
Sri Lanka, Sydney Cricket Ground,
March, 2015. Sri Lankan Tillakaratne
Dilshan dives to stop a ball hit by
Australian Steve Smith. Canon EOS1D Mk IV, EF 400mm f/2.8L IS II USM
lens, 1.4x extender, 1/2000s @ f/4,
ISO 640. Photo by Milos Lekovic.
and a shutter speed over 1/1000s, and use auto white balance.
He suggests controlling depth of field by setting the aperture
and positioning the focus point on the subject. Remember,
he says, the lower the f number, the more blur there will be
surrounding the focus point. He suggests using auto focus, but
bearing in mind that even with sophisticated auto focusing
systems it will take a moment of time to bring your subject into
focus, so either start tracking your subject a little earlier or preempt where your subject will be and focus on that. Continuous
shooting ensures that you will capture any follow-on action.
The same fundamentals apply to shooting indoors as well as to
outdoors. But Lekovic points out that in shooting indoor sports
you could be working in a confined space and you may not have
much flexibility in moving around or carrying a lot of gear.
Kanaris warns that artificial lighting can make skin tones look
terrible if you do not colour manage them correctly. He suggests
you always do a custom white balance with a white balance disc
or with a colour checker passport when shooting indoor sports

or under stadium lighting. Wroe adds that as shooting indoors
is usually in the dark, at very high ISO speeds, it can be tricky
to get accurate focus. In covering sports you learn to act quickly
and adapt to the prevailing conditions, he says.
Milos Lekovic on post-production

techniques
1. I select and rate the images in camera. This allows me to just

work with the images I have selected instead of looking through
the 500 to 1000 images which can be on a memory card.
2. I apply templates and captions to each of the images. I use a
program called Photo Mechanic. Its fast in loading images
from your card or your hard drive, and it has many tools to
help speed up the captioning process.
3. I apply some tweaks to the images using Adobe RAW. I usually
adjust clarity, vibrance, and exposure if the image is a little dark,
Bradley Kanaris: Know your game

Bradley Kanaris says, The ability to read a sport or even just
read a situation in general is huge in sports photography.
I believe its the difference between a good sports
photographer and a great sports photographer. I grew up
playing sports and have always been a big sports lover so
I think this helps me to read situations in sporting matches
and just get a general feel for what may happen and it also
helps with timing. Fast cameras have helped and they make it
much easier to capture the action than it used to be. There is
no doubt that there are still photographers who do this much
better than others, regardless of the technology available to
us all. A good photojournalist can sense a good image and
quite often see it in a way many others havent seen it,
and this can also come with experience.
Three experts sport shooting kits

Bradley Kanaris
Camera bodies: 2 Nikon D4 camera bodies
Lenses: 400mm f/2.8, 14-24mm f/2.8, 24-70mm f/2.8, 70-200mm f/2.8
Filters: Polarising filter, Neutral Density filter
Tripods and mono-pods: Manfrotto tripod and monopod
Battery Pack: 2 Vagabond Mini Lithium battery pack
Lighting: 4 Einstein 640W studio lights with lighting accessories
Camera remotes: 2 Pocket Wizards, 3 Atlas by Phottix
Computers: iMac desktop and MacBook Pro for location work
Colour Management: Spyder4Elite with ColourChecker Passport
Favourite piece of equipment?
Kanaris says, It would have to be between the Nikon D4 body and the Nikon
400mm f/2.8 lens. The Nikon D4 offers a camera that for me is great for sports
action with 10fps, together with very good fast auto-focusing. Its also a great
camera for my portrait and commercial work. Then you have the 400mm f/2.8,
which is simply a great piece of glass that gives you lovely sharp pictures with
a milky shallow depth of field that is fantastic for sports and editorial work.
Milos Lekovic
Camera bodies: Canon 1Dx, 1D Mk IV, 5D
Lenses: Canon 15mm fisheye f/2.8, 16-35mm f/2.8, 24-70mm f/2.8, 85mm f/1.2,
70-200mm f/2.8, 400mm f/5.6. I hire a 400mm f/2.8, and 200-400mm f/4 when
required. I started out shooting lots of junior and amateur sports, and I still do,
and I found that for most of the field sports such as soccer, rugby, and cricket,
even though I am on the sideline, I needed a decent long lens, a 400mm, to
bring the action into the camera and to fill the frame. My preference is to use
prime lenses for field sports, just because I feel they produce the sharpest
images across the frame, but having said that I do use zoom lenses often, in
particular for boxing and motor racing.
Tripods and mono-pods: Manfrotto 695CX carbon fibre Mono Pod, 2 Manfrotto
035 Super Clamp, 496RC2 Camera Ball Head, 208 Adapter Kit, Oben TT-100
Table Top Tripod
Other:
Black Rapid Camera Straps
f-stop Camera Backpack
2 580 EX II Flash Units
2 Pocket Wizard Plus II transmitter/receivers
Safety cables
3 LP-E4N Batteries
2 LP-E4 Batteries
2 LP-E6 Batteries
Lots of hard drives for storage and backup
13in Mac Book Pro
My favourite piece of equipment is the Canon 400mm f/2.8. This lens is amazing.
Super fast focus and nice bokeh makes the subject really stand out and brings
the action in nice and close. You can easily put a 1.4x or 2x extender on it without
loss of quality. I use this lens regularly for field sports, rugby, soccer, and cricket.
Having said that, I am also playing with the Canon 200-400mm f/4 for soccer and
rugby, only because it allows me the flexibility of zooming out as the action draws
nearer without having to dive for a second camera.
Lucas Wroe
Cameras Bodies: Canon 1Dx, 1D Mk IV, 5D Mk III.
Lenses: 15mm fisheye, 20mm f/2.8, 17-40mm f/4, 16-35mm f/4 IS, 24-70mm
f/2.8 II, 70-200mm f/2.8 IS II, 85mm f/1.2, 100m f/2.8 Macro IS, 300mm f/2.8 IS
II, 400mm f/2.8 IS.
Filters: Polarisers to fit all lenses. Lee Filter kit for specialty plate filters and
bellows hood.
Tripods: Manfrotto 055PROB and heavy duty ball head.
Monopod: Manfrotto carbon
Flash: Canon 580 EX II, Canon 600 EX-RT, Profoto B2 1200w,
Profoto 1200w Monoblock.
Accessories: 48 Eneloop rechargeable batteries, Canon external flash
boosters, PocketWizard remotes, Profoto light modifiers.
Computing: iMac, Macbook Pro, 6TB per year backup drives, 1TB Portables,
Sandisk CF Cards, CF Card Readers, Griffgear laptop hood,
Luggage: Hardigg Storm Cases, Think Tank Rollers, Maxpedtion 5.11 bags
and pouches.
All of my cameras and lenses are Canon. I dont own third-party lenses as
traditionally these are often not quite as high performing, or robust. But I am
interested in the latest varieties, like the Sigma Art Series and some Zeiss lenses.
Every piece has its use, and what goes in the kit depends on the job. To choose
one, it would have to be my 400mm lens. Its a lens that Ive shot with so much
that Ive become intimately used to it. Its like working from muscle memory!
LEFT
January 11, 2015. Milos Raonic dives to return a volley at the Brisbane International.
Canon EOS 1Dx, 70-200mm f/2.8 IS II lens, 1/1250s @ f/2.8. Photo by Lucas Wroe.
then sharpness, and I apply some noise reduction if required.

4. I save my shots as JPEGs and send the pictures off to
PhotoDesk ready for client use. Once the event is out of the
way I sit back and review the photos again and select one or
two images to work on to add a creative touch, such as B&W
conversion or a combination of filters and tools to produce my
unique images. The software I predominantly use for this is
from Nik or onOne. Both provide some great tools.
Lucas Wroe on post-production
I have a very strict modern workflow, downloading the memory

card through Photo Mechanic, with new filenames, and adding
generic event captions to the metadata. I generally shoot RAW,
and I often need to handle 1000 frames a day. Only a small
selection are pictures worth processing. For my editorial work I use
Photoshop CS6, and particularly the Adobe Camera RAW plugin. This affords me all the image adjustments, cropping, etcetera
that I need, without really having to open images into Photoshop.
Final JPEGs are delivered to the client in a print-ready state.
Its important to get it right, even more so these days as small

mistakes in colour or density just wont be corrected on the
publishers picture desk any more.
Bradley Kanaris on post-production
Post-production depends on the type of sports photography Im

shooting and most importantly the end use of the image. If the
image is for a newspaper or online news feed then I am bound by
the ethics of editorial work and photojournalism and no part of the
scene can be changed, removed or manipulated. In that case
I would only use cropping, levels, curves, convert to black & white,
colour filters within reason, removal of dust spots only, dodging
and burning within reason. On the other hand, if this were a
feature portrait to be used by a client for advertising purposes then
I would do much more to the image. I often use the Nik Collection
Software as well as Photoshop techniques and compositing for
feature portraits. I always use a workflow that contains the original
unedited images and then a second folder that contains the original
version of the selection favourites and then a final edits folder.
ABOVE
November 2, 2013.
Peter Sagan pushes
his way through the
field at the Subaru
Australian Open
Criterium. Canon
EOS 5D Mk III, 2470mm f/2.8 II lens,
1/15s @ f/11. Photo
by Lucas Wroe.
IN THE WILD
Living
Dragons
The giant Komodo Dragons are the largest lizards on
the planet, found only on a small group of islands in the
Indonesian archipelago. Theo Allofs closed in on them
for a remarkable photographic assignment.
he Komodo dragon is the worlds largest lizard.

Known to grow as long as three metres and weigh
up to 150kg, the Komodo has survived on the
Lesser Sunda Islands in Indonesia for millions of
years. This powerful reptile seems like a relic of the dinosaur
era. Today almost all Komodo dragons live on the islands
of Komodo, Rinca and Flores with the current population
estimated to be between 3000 and 4000. Habitat loss as well
as illegal hunting of deer (their main prey) have been the key
factors responsible for their declining numbers.
A few years ago I was looking forward to visiting Komodo
Island for a week to observe and photograph the dragons in
their natural habitat. I learned through my guide that a number
of people had been killed by the dragons, their remains never
found. I also learned to my surprise that these large reptiles
dont directly kill their prey with their teeth and strong jaws.
Unfortunately for the victim the death is slow. The dragons
saliva teems with over 50 different kinds of bacteria and the
victim usually dies of blood poisoning within 24 hours. There is

some scientific dispute as to whether the dragons release venom
which helps kill their prey. Among the reptiles prey are deer,
smaller dragons and even buffalo!
It has been observed by local fisherman that the dragons
sometimes chase deer into the ocean. They then patrol the
beach until the exhausted animal comes back on shore too
weak to escape. I found this story fascinating and I wanted to
photograph a dragon on the beach walking along the waters
edge. Two local fishermen helped me with the shoot. My goal
was to portray the dragon in such a way that it would do its
name and size justice. In order to achieve this I had to lie flat
on the ground to get a low-angle shot. I also needed to wait until
the Komodo dragon was close enough so that its head was at an
impressive angle above my own head. My guides English was
very poor and they only spoke a few words. But one sentence
they learned to perfection during the days they helped me with
the dragon shoot was, Be careful, Theo! Be careful!
To capture this tight shot of the

Komodo Dragon, Theo Allofs needed
patience, timing, and nerves of
steel. These lizards, the largest on
the planet, have been known to eat
humans, so capturing this shot from a
low angle was only safe through the
use of a telephoto lens.
PROFILE: Ponch Hawkes
Shooting
Through Time
Veteran self-taught
photographer Ponch Hawkes
has seen dramatic changes in
her craft over several decades,
but she tells Robert Keeley
shes still keen to pursue her
distinctive images of the arts
world, as well as other genres.
onch Hawkes started working when anything seemed

possible, which was just as well, because she began
her photographic career at a point where her budding
career as a journalist had just crashed and burned.
She tells the story of how in the early seventies as a young and
untrained journalist she was sent to interview the then Prime
Ministers wife Margaret Whitlam for the alternative newspaper
The Digger. The paper was a counter-culture product, written
and produced by a shifting collective of young idealists between
1972 and 1975, a time when there were huge shifts taking place in
Australian society. The interview did not go well. Hawkes started
chatting with the highly sociable Whitlam and before she knew
it her allotted time with the PMs wife had been consumed with
small talk and she was ushered out of the room, with hardly a
quotable quote to write. Back in the office she was forced to cobble
together a barely passable report. Soon afterwards she found a
damaged camera in an office cupboard. With her journalism
career looking shaky she instead got the camera fixed and decided
to start taking pictures. It wasnt so much a career change, as an
attempt to try something else in a period when trying anything
and everything was an accepted part of life. So began Hawkes
life in photography. Without any formal training she learned her
camera craft through trial and error. But she learned well, and
today, four decades later, her images across a range of genres
but especially related to the arts are among the most significant
recorded in this country.
She explains that she actually at one point collected childrens
books on photography to learn the craft. I was teaching myself,
and learning off others, including documentary photographer
Jon Rhodes says Hawkes. I was a risk-taker. Sometimes you
From the exhibition

More Seeing is NOT
Understanding. Shot at
dusk in Melbournes Yarra
Bend Park with a mediumformat Hasselblad camera
fitted with an 80mm lens. A
camping torch was used for
the highlight. Shot on Provia
ISO 400 transparency film.
dont realise what you dont know. That highly productive

period at The Digger gave Hawkes on-the-job training in a range
of photographic styles. We covered social stories, evictions,
and rallies. I worked with people like Helen Garner. And I felt
a photographer could have an opinion. Hawkes joined the
Australian Performing Group at Melbournes Pram Factory
while still working at The Digger, and she did jobs behind the
scenes at theatre performances at La Mama theatre. She became
a lighting technician, but worked in all sorts of areas, even at
times selling tickets. However, she says she was taking photos all
the time. I was never without a camera, she recalls. It was an
incredibly fertile time in Melbourne.
Exciting days
Hawkes had gone to Monash University to do an Arts course,

but she had left halfway through it to do an apprenticeship as a
librarian an education she still values because it has taught her
the lifelong habits of proper archiving of her images and files!
She notes that the overarching theme of these early days for
her was the feminist movement. There was huge excitement at
the time. Women were encouraging other women. You imagine
you can change the world, she says. She says the people she
knew actors and performers were Australianising the stage.
I just approached it with gay abandon and assumed I could do
it, she says now. I had no idea. I dont think I realised how bad
some of the images were. Nonetheless, some of her work began
to appear in the Melbourne newspapers, The Age, and the Herald
Sun. She began to work with Prahran College photographer
Larry Meltzer, and documentary shooter Jon Rhodes, and she
sought out female photographers. It opened my eyes to the
possibilities, she says. She then worked with a group called the
Soap Box Circus, and also Circus Oz, a gathering of Australian
performers who aimed to break boundaries in theatre, and a
company which continues in the business today. She says,
It was nothing to do with ability, but rather proximity. I wasnt
shooting because I was a good circus photographer.
Nonetheless, she had her first exhibition around this time.
There were group shows at the Pram Factory, and her first solo
show, Our Mums and Us at Brummels Gallery in 1976. Hawkes
says she was well aware that women were portrayed as whores or
goddesses in art photography, and the prevailing image style of
nude women against rocks.
There was little representation of actual women,
she says, Or what their interests actually were. Nobody had done
anything like that. Today, she says, new photographers can go
online and see work from all over the world, in every genre.
You can get stuck because its already there. But you should do
the work because you want to do it.
Good reviews soon led to the National Gallery of Australia
buying some of her work. Hawkes says, My work was new.
You always want the new. It was content that wasnt being seen.
When she ponders the buying of her work, she says,
ABOVE
Hawkes 5 tips for better images

1. Persistence is vital. You have to keep shooting!
2. Keep trying to photograph subjects or situations that take you
out of your comfort zone. If you bugger it up, so what? Youll
still have learned something.
3. What are you actually really interested in? Whatever it is
birds, gaming, human behaviour in shopping centres
photograph that. But try to find several different approaches to
any one subject.
4. Review your work. Dont just keep shooting into the digital
ether! Make a point of printing a dozen photos a month. This
doesnt have to be on quality rag paper, the pictures can come
from Officeworks. Printed images enable you to see and mark
your development and often it makes you understand what you
have actually been focusing on.
5. Its OK to approach other photographers to ask for advice or help.
6. Be decent and fair to everyone. People are often vulnerable
when youre photographing them. Treat their decision to let you
into their life with respect..
An image from
the series Risk
3 Acts, Beyond
Commitment,
a Landscape
of Wounds
and Shattered
Expectations.
Hawkes says the
image illustrates the
perilous nature of
circus daredevils.
Performer Matt
Wilson jumped 15
metres from a roof
truss to a crash mat
below. Taken at the
Circus Oz blue
cabaret show at the
Adelaide Festival
and made on
transparency film.
Hawkes says this
was a lucky shot.
OPPOSITE PAGE
Mimi and Dany,
from the
series Our Mums
and Us, 1976.
I always seemed to be able to do what I wanted

to do. I was quite prepared to be poor and be an
artist. All I cared about was doing the work.
ABOVE
Pedro, on site at a
private school in
Melbourne clearing
asbestos from an
old school building
in 40-degree heat.
Hawkes taped
some white paper
to a wire fence
and the workers
came out briefly to
be photographed
during a break.
Canon EOS 5D Mk
III, 100mm lens.
These things happen when youre young. And you just think
thats what happens. I didnt understand that this might happen
once or twice in your lifetime.
Fortituously, Hawkes was getting paid for her work, though she
says the money was never a priority. We didnt earn a lot, but it
seemed like a fortune, she says. Then the pioneering Australian
book publishers McPhee Gribble encouraged her to produce
work, and she had a few titles released through the eighties.
Becoming a photographer
In 1988 she left Circus Oz with the aim of becoming a full-time

photographer. I dont have any children and I always seemed to
be able to do what I wanted to do. I was quite prepared to be poor
and be an artist, she says. All I cared about was doing the work.
Her 1989 book with Diane Bell, titled Generations:
Grandmothers, mothers, and daughters explored womens
precious objects, and the culture and values passed down
through family chains via these items. In 1990 she put out
another McPhee Gribble book, Best Mates, a study of male
friendship. She was also involved in other group shows.

I did all sorts of things whatever anybody asked me to do.
Coincidentally, her studio was in the same office as
Community Aid Abroad (now Oxfam), and she was asked to
shoot for them overseas. She has since taken images in Africa,
Cambodia, the US and Europe.
Over her career her work has covered a broad range of themes.
One of her favourites, perhaps unsurprisingly for a Melbourne
resident, has been sport. Im a sports nut, she says. Her father
played for AFL team Collingwood seconds (she describes her
support as fanatical), her brother was a jockey, and she was
a keen swimmer. But she brings her unique interpretative skill
to the subject. In 2012 she entered the Basil Sellers Art Prize.
Sellers is a wealthy philanthropist in the arts, but he is also a
keen sports enthusiast and a backer of the Sydney Swans AFL
team. His bi-annual prize was initiated in 2008 with the Ian
Potter Museum of Art at Melbourne University. The $100,000
first prize is awarded to an Australian who produces a piece of art
which incorporates an image of sport. Hawkes entered, but did
not win, though her images were selected as one of the finalists.
The upshot was that she won a Fellowship to the National Sports
Museum at the Melbourne Cricket Ground. She produced a
series of images which later appeared in the foyer of the iconic
ground, in an installation created to resemble a temple, titled
Eros, Philos and Agape. The images explored the role of love
in sport, from parents supporting their kids at grass-roots level,
to the passion of top-level sport with coaches, friends and
teammates. Shes created an interesting series about netball with
an element of role reversal, and she has shot the Masters Games,
where she took 100 portraits of mature-age competitors.
Hawkes has also worked at times with the not-for-profit
MAP Group, initiated in Australia by veteran documentary
photographer Andrew Chapman. The loose group of around
40 shooters takes on projects of social significance, and they
often turn up at country towns to shoot a range of people and
activities in these communities. Working for MAP, Hawkes shot
a series of images of orchid growers from the Orchid Society of
South Gippsland. I contacted them and it took 10 minutes to
shoot them with their favourite orchids. But organising it took

a lot longer! She describes the MAP group as terrific.
Another more challenging project she took on for MAP was
to shoot portraits of workers in the asbestos decontamination
industry. It was a difficult gig, says Hawkes, But were about
to have a bigger asbestos epidemic from home renovators.
We have lots of photos of victims, but I was interested in the
workers who clear properties.
ABOVE
Nine pairs of
acrobats on Albury
Station, for Mining
the Collection
Albury Gallery/
Museum, NSW.
Seeing is not understanding
In 2012 she shot a project titled More Seeing Is NOT

Understanding, which explored night photography. It was
initiated after she was in her kitchen one night and saw a
strange light emanating from somewhere nearby. I didnt
know anything about shooting at night. She used available
light or torches, and explored stories of memory constructions.
There are things in life that are slightly creepy or unnerving.
Ambiguous. I was interested in that, she says.
Another project in 2011 involved shooting 18 acrobats with
Cameras and computers

Hawkes is not obsessed with gear and is definitely not a techhead. She shoots with Canon cameras. She has an EOS 5D
Mk III, and mostly uses prime lenses. She has a 50mm lens,
a 105mm lens, a 70-200mm zoom and a 17-40mm zoom. She
uses a Minolta light meter, and Manfrotto tripods. She works out
of a studio based in the inner city suburb of North Melbourne.
She says she has three or four Elinchrom lights, Speedlights,
and a range of gels and filters. She also says that because of
her background in theatre lighting I know what colour does.
She also has tungsten lights and a selection of LED lights
and torches mostly purchased at Rays Outdoors! On some
assignments she uses a Hasselblad medium-format camera
which has wide-angle, standard, and telephoto lenses, as well

as filters. She has also recently taken to shooting with a small
Fujifilm X10 compact camera which she says she keeps in her
handbag. At the time of writing she has been taking lots of
photos of things people leave in the park with it. She likes the
portability of this camera, and she also uses her mobile phone
as a camera quite a lot. She works with a Macbook Pro laptop
computer on a 17-inch screen and a desktop Mac with two
screens. She uses Photoshop, but doesnt use Lightroom much.
And she says her analogue collection is well archived, courtesy
of her early training in librarianship. Not so much with digital,
she says ruefully.
RIGHT
He Should Never Have Worn Those Shorts. Hawkes was a finalist
in the Basil Sellers art prize. She shot a series of four images, shown
as one metre square durotrans on lightboxes. Hasselblad mediumformat camera with 80mm lens. For this set up tungsten lights were
used in a motel room.
BOTTOM
A young woman who had just finished the Melbourne Big M marathon
event. Shot with Tri-X film and a 50mm lens.
LEFT
From the series More Seeing Is NOT Understanding. The series
drew on, memories of chance encounters and ambiguous glimpses,
says Hawkes. Hasselblad medium-format camera with an 80mm
lens. Provia ISO 400 transparency film.
the Flying Fruit Fly Circus, based in Albury on the Victorian/

NSW border. Taking as her starting point an old image of people
standing on the train platform at the Albury rail station, she
photographed the circus performers at the station. The project,
called Mining The Collection, was an Albury Regional Gallery
concept which invited community members to choose items
from its collection. Hawkes was amongst four artists who were
then asked to creatively respond to these items. She was attracted
to a photograph from 1895 called Nine Men on Albury Station.
In the accompanying catalogue she says, I had to acknowledge
my strong connection to Albury and the Flying Fruit Fly Circus.
Most significantly, I remember the heart-rending moments of
farewelling the Nanjing Chinese acrobats onto the train at the
conclusion of the first-ever exchange visit of Chinese circus
trainers to Australia in 1984. It took me a while to understand
I had other memories memories of being a child on the train
from Sydney to Melbourne and getting off the train in the
middle of the night to go to the refreshment room. Interwoven
with these memories are the haunting Russell Drysdale
paintings of the station during its wartime busyness."
In 2013, her series Our Mums and Us was bought by
Melbournes Monash Gallery of Art, and was shown with the
series These women Have Just Run 26 Miles. Hawkes says that
in 1983 she had photographed women running the Melbourne
Marathon. The images were never shown in an exhibition, so it
was a long time coming for them to be seen at MGA.
Throughout her professional career Hawkes has shot all
manner of subjects for a wide range of clients, though she has
often been commissioned, or returned to shooting the arts in its
various guises. Her enormous portfolio showcases a wide variety
of interests. But the industry has changed dramatically in the
time she has been involved. She says that what photography has
evolved into is, that instant of recognition. But it has no further
life. It never gets printed. She believes Everybody has the skill
now. Its incredibly difficult as a photographer to make a living.
The colleges are pushing out well-trained people, and really
there are plenty of photographers around. She thinks in future
people skills will be vital for photographers who want to earn a
living from the craft. They cant all make a living from it. The
ones who do are really hard working. You have to have other
skills as well. As a final thought, she does recommend budding
photographers enter competitions. You see where you stand,
and it makes you do the work, she says.
SEE MORE OF PONCH

HAWKES PHOTOS HERE.
HOW TO Use High ISOs
Aim
High
While high ISO settings
let you make well exposed
images in low light, there
are downsides. Peter Burian
explains how to shoot
better photos when your
ISO is in the thousands!
ll enthusiast-level cameras today offer high

ISO options, many with sensitivity levels up
to ISO 12,800. They allow us to use a faster shutter
speed at night, for sports, in gloomy locations like
cathedrals, on the street after dark, or in places where flash and
tripods are prohibited, and still get sharp images. If you set ISO
3200 inside a dark theatre for example, you should be able to
shoot at around 1/60th of a second and get a well-exposed shot.
It will also minimise the risk of blurry photos caused by camera
shake and subject movements. Unfortunately theres no such
thing as a free lunch, as they say! Image quality does suffer at
very high ISO levels, but there are some ways to minimise that
problem. Lets look at the issues, and how they might be solved.
Digital noise issues
Any imaging sensor is designed with a native sensitivity,

typically ISO 100 or 200, and it will produce the best
possible results at that level. In order to allow for shooting
at higher ISO, a camera can instantly boost the effective
sensitivity of the image sensor. Thats done by amplifying
the signal. However, as youd expect, the more the signal is
amplified, the more obvious the digital noise will become.
The graininess and mottled colour speckles can be unsightly
and they can obliterate some of the fine detail in a photo. In
order to make the digital noise pattern less visible,

a cameras engine applies noise-suppression processing.
This blurs the digital noise pattern so the speckles arent as
sharp or as obvious. As a consequence, the High ISO Noise
Reduction processing also blurs intricate image details to
some extent. While the most sophisticated NR algorithms
in the latest cameras are better than earlier versions, some
blurring is unavoidable.
Two types of digital noise can affect images made at high
ISO levels. Luminance Noise is grey or black and resembles
film grain to some extent. Chrominance Noise consists of
the more colourful graininess that can be obvious, especially
in mid-tone areas. In-camera processing affects both types; the
level of intensity depends on the NR level that you had set in
the cameras menu. You can also use Noise Reduction software
later to gain a valuable benefit: as a tool for minimising
each type of noise individually, to achieve the best overall
effect. Typically, youll want to use a much lower level than
default level for Luminance NR in the software to prevent an
excessively smooth (or mushy) effect.
Minimise digital noise
Whenever you decide shoot at a very high ISO level

particularly above 3200 its worth using one or more of the
following techniques to get the optimal image quality.
Avoid Underexposure: Increase the exposure with
compensation or in Manual mode whenever necessary
to make strong bright images. Frankly, even a JPEG
made at ISO 400 can be problematic if it has been badly

underexposed. When you lighten it in software, the digital
noise pattern will become very prominent. (This will be even
worse at a higher ISO.) Apply aggressive Noise Reduction in
software and it will blur fine details in the image. Take care
not to increase the exposure excessively. If youre shooting
in RAW capture mode, use the maximum exposure that will
still retain detail or texture in important highlight areas such
as a brides gown. Activate the cameras Highlight/Shadow
warning feature in Playback mode. It will produce a blinking
overlay of colour over light-toned areas of the image that are
blown out. When necessary, set a different exposure and reshoot, then check the blinkies again. Especially when using
JPEG capture mode, be careful not to overexpose important
ABOVE
High ISOs help in
low-light scenarios.
For the best image
quality at high
ISOs, though, its
worth shooting in
Raw and applying
noise reduction
tools in your
Raw processing
software.
If you usually use RAW capture

mode, the level of noise reduction
can be modified later with Raw
processing software.
RIGHT
When shooting
JPEGs at very
high ISOs, avoid
setting a high
noise-reduction
level in camera, or
especially a high
level of luminosity
noise reduction
in the imaging
software, because
it will produce an
unnaturally smooth
effect (top). A more
moderate level of
noise reduction
(centre) produces a
better compromise
between an
acceptably smooth
image and high
definition of
intricate detail.
If you use no noise
reduction at all
however, the image
may exhibit very
prominent digital
noise (bottom).
(ISO 6400)
OPPOSITE PAGE
High ISO settings
are useful if you are
shooting fast action.
As you increase the
ISOs you will find
that you can choose
progressively faster
shutter speeds to
freeze the action.
light-toned areas since no software will be able to create detail

that the sensor did not record.
Hint: In JPEG capture at very high ISO levels, turn off any
dynamic range expansion feature such as Active D-lighting or
Auto Lighting Optimizer in the cameras menu. A feature of
this type uses extra processing to lighten shadow and mid-tone
areas, making the digital noise pattern more obvious than
usual. Also avoid setting a high level for in-camera sharpening
since that can emphasise the grainy effect.
Set the Best NR Level: Nearly all cameras provide a
menu item which allows for setting a desired level for High ISO
Noise Reduction. It can be tempting to set the maximum level
to eliminate digital noise almost entirely. That will certainly
minimise the noise pattern, but the image will exhibit an
unnaturally smooth (plasticky) effect with serious blurring of

fine detail. If you usually shoot JPEGs, experiment by taking
a photo at each NR level in low light at ISO 3200 and then
at ISO 6400. Examine the photos at 100% magnification on
a computer monitor to determine the in-camera NR level
that provides the best results with your camera. While its
subjective, look for acceptably smooth photos with great
definition of fine detail.
Hint: If you usually use RAW capture mode, the level of
noise reduction can be modified later with Raw processing
software. Hence, you might want to set in-camera NR to Off.
Try Multi-Shot (multi-frame) NR: Available with most Sony
cameras and many recent Canon EOS DSLRs, this feature can
produce the best results at high ISO. When you activate it, the
camera fires a series of identical JPEGs, micro-aligns them,

and composites them into one image after discarding most
of the noise data. In my experience, multi-shot NR definitely
produces cleaner images at high ISOs, with much less visible
noise and better definition of fine detail.
Use NR Software: If you shoot JPEGs you might want to set
in-camera Noise Reduction to Low and try a free trial version
of an effective Noise Reduction software, like Google Nik
Dfine or Topaz DeNoise.
Both make it possible to specify the amount and type of noise
reduction that will be applied and to maintain optimal detail
and sharpness. Neither program is simple to use, so be sure to
read the tutorials on the companies websites.
Hint: In any software, remember to view the photo at 100%
magnification on your monitor while adjusting the Noise

Reduction tools for the most accurate view of the effect that any
level will produce.
Use Raw Converter Software: If you shoot high ISO photos
in the RAW capture mode, use a versatile Raw converter
program with a full set of tools for Noise Reduction. After
modifying exposure, colour, and other parameters, set
the desired level of NR and sharpness. You might need to
experiment with various levels settings to reach a combination
which provides the best overall results. You can use the Raw
Converter software that was included with your camera, or an
aftermarket program with sophisticated Noise Reduction tools,
such as these options: Adobe Photoshop and Lightroom, Photo
Ninja or DXO Optics Pro.
The bottom line
In a dark location its ideal to use flash or a tripod and shoot

at a low ISO level. Of course on-camera flash is only effective
with a nearby subject and in many locations a tripod is either
prohibited or impractical to use. As well, no camera support

accessory can freeze a moving subject; a fast shutter speed
will be required with action photography. These factors
will often make a high ISO level the best solution in darker
locations. Take advantage of the recommended techniques
here, camera features and software tools and youll be surprised
at the superior image quality possible even at ISO 6400.
Finally, also remember to check the ISO thats set before you
start taking photos. We all sometimes forget to change the ISO
level. After shooting sports the previous night without a tripod,
you might begin making landscape images on a sunny morning
at ISO 3200. That wont be a disaster, but you certainly wont
be getting the best results your camera can provide.
ABOVE
Our North American correspondent, Canadian stock

photographer Peter Burian (www.peterkburian.com) is
the author of several books including Mastering Digital
Photography and Imaging as well as the co-author of many
guides to digital cameras.
OPPOSITE BOTTOM
While using a higher ISO can help you boost

shutter speed, sometimes the better option,
particularly when the subject is static, is to use
a tripod, a low ISO and a slow shutter speed.
This approach keeps noise to a minimum.
OPPOSITE TOP
Whether you use the Raw converter that came
with your camera, or an aftermarket program, its
worth experimenting with the settings for noise
reduction. Typically, youll get the best results
by setting luminosity noise reduction at a very
moderate level and using a moderately high level
of chromatic noise reduction.
While the name of the menu item can differ,
all recent cameras targeting photo enthusiasts
provide at least a few options as to the intensity of
High ISO noise reduction. Youll usually find this
feature in the Setup or Custom Menu.
HOW TO Make Beautiful Photobooks
PhotobookClub
New technology has
opened up a world of
publishing options for
photographers keen to
see their images in print.
Anthony McKee explores
the rapidly growing world
of photobooks.
hances are youve never heard of Spanish

photographer Christina De Middel. After
completing an MA in fine arts, another MA
in photography and a postgraduate course in
photojournalism, De Middell went to work on staff as a
photojournalist for a Spanish newspaper in 2003. And as
sometimes happens, after a few years she lost the passion
for reportage photography and took a year out to work on a
personal project. While researching project ideas De Middell
read about a Zambian school teacher who in 1964, in a bout
of nationalistic pride, decided to try and beat the Russians
and Americans in the space race. Edward Makuka Nkoloso
wanted to send 12 astronauts and a cat to Mars using a
slingshot and so he asked UNESCO for a 7,000,000 grant to
fund his space program. The funding was declined, but four
decades later this true story inspired De Middel to create a
series of contemporary photographs depicting this ill-fated
African space program.
De Middel then self-published the project in a photobook;
1000 copies of The Afronauts were printed, of which she gave
100 copies away to various art critics and collectors around the
world, including Martin Parr, the renowned British documentary
photographer. Parr gets dozens of photography books to review
every week, and if the cover and the first page arent engaging,
most of these books are quickly put aside.
But that wasnt the case with De Middels book. Parr
described The Afronauts book as almost perfect and with
those two words, De Middels book became one of the most
collectable photobooks of 2012. The book is now reselling for
as much as $5000 per copy and De Middell is exhibiting the
Internationally renowned
Australian photojournalist
Stephen Dupont made his
first photobooks in 1994.
These days he is still making
hand crafted books with the
help of Momento Pro. The
books are usually limited
to editions of just five or 15
copies, or in some special
cases just one single
book. The book Dupont is
holding here is Why Am I
A Marine? from a special
edition of five.
De Middels project is a rare success story

where even the best photographers struggle
to get published, or even just make money.
ABOVE
While the venue
was not large
for Melbournes
photobook fair,
there was a
steady stream of
enthusiastic visitors.
ABOVE RIGHT
Sarah Pannel
shows off her first
self-published
photobook.
OPPOSITE
Self-published
photobooks can be
printed to a very
high standard.
work internationally. Africas space program might not have got

off the ground, but The Afronauts did and has launched De
Middels freelance career to stellar heights, and all because of
one unique idea and a self-published book.
Cost effectiveness
De Middels project is a rare success story in a world where

nowadays even the best photographers struggle to get published,
to be exhibited, or to even just make money. Yet De Middels
story is also an inspiration to thousands of photographers
who are all quietly hoping that one day, they too might be
discovered. More photographers than ever are now using the
photo book to share their personal vision of the world, and the
reasons why they are turning to print are rather compelling.
Photobooks arent new; photos began appearing in books
soon after photography itself was invented in the mid-1800s,
but until now the process of including photos in books has
been an expensive one.
Photographers usually had two options; one was to craft some

prints in a darkroom and have a bookbinder stitch the work
together into a book, though this option was never conducive
to large print runs. The second option was to have your
book printed on an offset press, but this option was seriously
expensive. Usually youd ask a publisher to publish your book,
and if it was a photography book most publishers would usually
decline the project! The truth is photobooks have been always
been a labour of love, and thats never going to change.
What is changing though, is the technology. Over the
past decade, digital off-set printing presses have superseded
traditional off-set presses for short and medium-print runs,
and this is creating an opportunity for amateur, emerging
and even established photographers to start showcasing their
work in books. Some photographers are taking Christina De
Middels lead and sending books out to agents, publishers and
prospective employers, while others are printing books purely
for the pleasure of sharing their photos with friends and family.
A new culture
Beneath all of this though, is a growing sub-culture for

photobooks. For the first time since the invention of photography
its possible to put photos into a book without spending a
great deal of time and money, and this is creating unique
opportunities for photographers to start to share their work with
other book lovers and photographers.
This past February, Melbourne was host to the inaugural
Australian Photobook of the Year Awards. Over one week
photographers and book enthusiasts gathered to enjoy
lectures, view exhibitions, attend workshops and look at
unique collections of photobooks from all over the world.
One of the biggest events for the week was the Photobook
Melbourne Fair, which was held in the main exhibition room
at the Centre for Contemporary Photography in George Street,
Fitzroy. Photobook publishers and photographers presented
books on wooden tables while the public and enthusiasts
walked about, browsed and made occasional purchases.

RIGHT
Photobook fairs are an opportunity
for photographers, publishers and
distributors to gather in the one place
and both exhibit and sell books to a
like-minded audience.
OPPOSITE PAGE
Sydney based advertising photographer
Simon Bernhardt has so far selfpublished two books, and both have
made a profit. Bernhardts first book
Polaroid Holiday, was targeted at 13-25
year olds with an interest in Polaroid
camera photography. It sold 4000
copies over three years. Berghardts
second book, Gateway (pictured) is a
collection of 16 portraits of recreational
marijuana users; 50 copies of the book
were printed by Momento Pro and sold
for $125 each.
Five photobook tips

1. Do your research
Before putting a photobook together do your homework.
Go to a photobook archive or specialist book store and find
out which books sell and which books dont. Learn about
the different printing options, understand the costs involved,
determine who your market might be, and how you are going
to reach those people. Putting a photobook together can be a
pointless exercise if you dont have an understanding of what
youre doing.
2. Believe in your work
One comment that was consistently made throughout the
week-long Melbourne photobook festival was to believe in
your work. Dont make a photobook because you want to
make money; you will probably end up very disappointed.
Make a photobook because you are passionate about your
photos and the subject, and you want to share your images
and ideas with other people.
3. Get others to help edit your work
Usually photographers are the worst people at editing their
own work, so get helpful advice from a mentor. Dont let
personal attachment get in the way of good judgement.
If a particular picture fails to advance the story or the theme,
leave it out. The best photobooks are project orientated with
a consistent visual theme.
4. Dont spend too much
Its possible to make a photobook for as little as a few dollars
per copy and if you want to, you can make just a few books
without worrying about blowing the budget. Remember, you
can always print more if your book starts flying off the shelves!
Dont get left with a pile of books that no one wants.
5. Send it to people
A book is only useful if you share it with others. Make the
book, and then send it out to the people who you want to see
it, and the people who might help you with your next projects.
Dont be shy; send it to these people with a nice note, and
make things happen. Whats the worst thing that Martin Parr
can do with it?
This photobook fair might have been Australias first, but

in essence it was similar to many others held around the
world each year, including in New York and Los Angeles.
Photographers and photobook publishers attending these major
fairs can rent a table (usually for $1000), or they can share part
of a table, set up their books and hopefully sell some copies.
But book fairs are also an opportunity to network with other
industry professionals who might help distribute your work, or
even commission you to shoot another project. As most will tell
you, its about being there; if you arent, the opportunities will
not present themselves.
Walking around the fair was an experience. Despite this
being the first fair of its kind in Australia, there was no
shortage of enthusiasm, talent and good books to check
out. Some exhibitors were students or recent graduates
of Melbournes Photographic Studies College and RMIT
professional photography courses, selling small editions of their
work for the sake of getting their name out there. On other
tables were some more established photographers including
photojournalists Stephen DuPont and Mathias Heng. And in
between were books on every imaginable topic, from landscape
and documentary photography from all corners of the world, to
photographs of Australian urban landscape, and contemporary
studio photography.
The publishing dilemma
All of the books were interesting and appealing in their own

unique ways, and yet all of them also had one underlying
element in common; most of them would struggle to sell in a
large commercial book store. And this is the big dilemma for
any photographer looking to self publish a book; do you play it
safe and use a digital off-set printing press or do you get your
book published using the traditional off-set press method?
With a digitally printed book you can make one copy,
a hundred or a thousand copies and the unit price is always
going to be moderately static, if a little on the high side.
With a traditional offset press, the set-up costs are
significantly higher, but the unit cost per book drops
significantly once you get past the first thousand or so books.
If your book has a price-point of $40, but it has cost you $35
to print digitally, you are only going to make $5 profit on
each book, and there is no way you can really entertain a
distributor or retailer in the deal.
If you were to print 2000 copies of the book on a traditional
press, you could get the unit cost down to $10 a book, and
this might look like $30 profit for you, but chances are youll
need to distribute this book through retailers, and they will
want their 40 percent on each book sold. That leaves you
with $14 profit on each book. That still sounds great until you
realise you still need to sell 1430 copies of the book to recover
the initial $20,000 cost the off-set print run, and it is as you
start selling the remaining 570 books that youll actually start
making money on the project. This is the reason why so many
photographers would actually love to produce their own book,
and yet if they cant get a publisher, and they cannot afford to
fund the project themselves, the books usually remain a dream.
Creating success
There are photographers in Australia though, who do have

success stories to tell. Away from the book fair, the seminars
provided a powerful insight into what was required to create
a successful photobook, and it had nothing to do with luck.
Most successful photobook artists usually had a strong body of

photographic work to begin with, along with a few really good
ideas for books and business.
For Sydneysider Louise Hawson a realisation that she hardly
knew that much about her home town led to a personal journey,
writing a blog which aimed to explore 52 of Sydneys suburbs.
As the blog evolved and her following grew, a publisher
contacted Hawson with the request to publish the photos on her
blog into a book. The resulting volume 52 Suburbs was published
in time for Christmas and as they say, the rest is history. And then
Hawson wondered about producing a second 52 Suburbs book,
one that explored 52 different suburbs around the world. Hawson
asked her blog readers who would be interested in the project and
soon support and funding was offered from followers. One year
later she asked her blog for support in self-publishing the second
book, and again the support was strong. As Hawson admits, the
ideas were strong, but it was only the strong blog following that
ever made both books possible. To date Hawson has broken even
on her project, although it was only made possible due to the
generosity of her many blog followers.
Sydney-based advertising photographer Simon Berghardt
has self-published two books and he takes a very pragmatic
LEARN MORE ABOUT THE

AUSTRALIAN PHOTO BOOK
OF THE YEAR AWARD.
ABOVE
Louisa Hawsons
first book, 52
Suburbs started
off as a blog post
exploring suburbs
of Sydney, before a
publisher suggested
she could make
it into a book. For
Hawsons second
book (pictured),
she explored 52
suburbs in a journey
around the world.
RIGHT
At international
festivals, its
not uncommon
for two or more
photographers to
share the cost of a
display table.
approach to the book-publishing process. His advice to anyone

wanting to publish a book is to first ask who is going to buy
it? Friends, family? He believes you really need to know your
market, know your target audience, and know what they can
afford, and then get busy doing even more homework.
Berghardts first book was a homage to the Polaroid camera.
With the demise of Polaroid, Bernhardt realised young people
would probably want a memento of the camera so he set about
researching his book. By the time he self-published Polaroid
Holidays, a collection of 44 Polaroid photos bundled into a small
16 x 16 cm package, Bernhardt knew exactly who he wanted to
sell the books to (young people aged between 13 and 25), how
much they would be prepared to pay for this book, and how
much the production cost of each book had to be to meet this
price-point. Berghardt even tested book covers by creating mockups and placing them on the shelves of book stores to see how
much response they would get, even though there was no book
inside. It took three years, but over that time Berghardt sold all
the books and made a reasonable profit.
Berghardts second book, Gateway, is a very different
project. Its a collection of portraits featuring eight male
and eight female recreational marijuana users. He wanted
the book to be a political statement to show that in many
instances marijuana users are just ordinary people. Berghardt
got sponsorship to put this project together, and then he had
50 books produced by the digital self-publishing company
Momento Pro www.momentopro.com.au. Each book had
a price of just $125 each, and when they were sold out, that
was it. The Gateway books are now collectable, but it in this
instance Berghardt was not interested in making money, he
was simply making a political statement.
The top end
Not all photographers try to deal in high-volume book sales.

Renowned Australian photojournalist Stephen Dupont handmade his first photobook in 1988 and nowadays he typically
produces editions of just five hand-crafted books that are
usually bought by state and national libraries both in Australia
and overseas. The price of these books is often in the high
thousands and yet there is a regular demand for his books.
As one person commented, you would often pay several
thousand dollars for just one fine-art print from some
photographers, and so buying a book of large fine-art prints for
a similar price is actually a good deal. For most photographers
at the art fair, selling a few books for $15 or even $50 was a good
result for the day, but the week was also an opportunity for
photographers to enter the inaugural Asia Pacific Photobook
prize, and other avenues are growing for photographers to sell
their books. Photobooks are an evolving market.
TAKE THE
SURVEY
& GO IN THE DRAW TO WIN!

VISIT:WWW.AUSTRALIANPHOTOGRAPHY.COM/SURVEY
Help us deliver you a BETTER Australian Photography + digital
and be rewarded for your contribution.
You can go in the draw to win an EIZO CX241
Photo Imaging Monitor, VALUED AT $2,195.
We want to know what you think of Australian Photography + digital
Magazine
Website
eNewsletter
TAKE THE READERS

SURVEY NOW.
It takes less than 5 minutes.
WIN!
WIN!
EIZO CX241 Photo Imaging Monitor, featuring:

Built-in correction sensor that automatically maintains your
colour calibration settings
99% reproduction of the Adobe RGB Color Space
Eizo patented digital uniformity equalizer (DUE)
technology to ensure screen uniformity from corner to corner
VALUED AT $2,195
TO TAKE THE SURVEY NOW, GO TO:
WWW.AUSTRALIANPHOTOGRAPHY.COM/SURVEY
POWERED BY:
YAFFA 04910
Survey closes 22 June 2015
TESTED Panasonic DMC-GF7
Panasonic
Lumix DMC-GF7
Small can be beautiful, and
still effective. Anthony McKee
reviews this smaller, but more
highly optioned nifty FourThirds camera.
s a documentary style
photographer Im more
interested in photographing
people other people, than
myself! So when I was asked to review a
camera designed, among other things,
to photograph selfies I was a little
concerned. Would this camera survive
testingon me?
The new Panasonic Lumix DMCGF7 is the latest successor in a line of

entry level Four-Thirds cameras which
started in 2009. The 12.2-megapixel
DMC-GF1 was one of the smallest FourThirds cameras around at the time of its
release, being 35% smaller than other G
cameras. Six years on, the new GF7 is
smaller than the GF6 (though not the
GM5), and it features a 16-megapixel
sensor capable of delivering image
quality comparable to its larger siblings.
By comparison to many other Micro
Four Thirds cameras, the GF7 is
relatively simple in its design. The
top deck has just one large function
button on the upper left, while on
the right is the shutter-release button
with the power switch fitted around it,
a main mode dial and an Intelligent
Auto Button. Just behind the top deck
is a video record button and a tiny
slider switch which activates the small
built-in TTL flash (guide number 5.6 at
CHRIS NICHOLLS FROM

CAMERASTORE TV TESTS
THE LUMIX DMC-GF7
Specifications
Sensor: 16-megapixel Live MOS
Four Thirds.
Stills format: JPEG, RAW and

JPEG + RAW.
Lens: Micro Four Thirds type

interchangeable lens. Kit lens is a
12-32mm f/3.5-5.6 ASPH.
Movie format: 1080P. Also HD

and SD video.
Shutter: 60 sec to 1/16000s.

Burst Rate: Up to 5.8 frames per
second for up to 7 frames.
ISO Range: 200-25,600
(expandable to ISO 100).
WiFi: IEEE 802.11b/g/n

Battery: Li-ion Battery Pack
(7.2V, 680mAh).
Dimensions: 106.5 x 33.3 x 64.6
mm (Body Only)
LCD: 3in (75mm) 921,000-dot

Touch LCD screen (Tiltable 180)
Weight: 266-grams body

only/336-grams with lens,
battery and SD card
Flash: Built-in flash with GN of

4-metres / ISO 100.
Price: $699 with the 12-32

(24-64mm equiv.) lens.
Results
HANDLING
The Panasonic Lumix DMC-GF7 is a small camera and very easy

to keep in a pocket. It lacks an electronic viewfinder, but its option
to angle up the LCD touch screen and shoot from the waist, Vivian
Maier style, makes it ideal for street and travel photography.
FEATURES
200 ISO/metres). There is no hot-shoe or

external electronic viewfinder options.
The key selling point on this camera
is a 3in (75mm) 1.04-million dot LCD
panel that is hinged along the top edge
of the display. It can be rotated 180
degrees upwards to face forwards so that
the user can make selfies of themselves
and their friends. As the LCD panel
nears the vertical position, the image
is rotated into the correct orientation.
When you push the shutter release
button a three-second self timer counts
down to get everyone ready for the big
moment, or you can hold the camera
away on a selfie stick. I did test out the
selfie feature on this camera; it works,
although I think I look better when Im
behind the camera!
Most readers are unlikely to be
obsessed with making selfies, but
the LCD panel is also well suited for
street photography. Rotating the LCD
up 90 degrees brings the screen level
with the top deck, and if you cup the

camera in your hands you could easily
treat it as if you were working with a
waist-level viewfinder camera, similar
to those used in 1950s and 1960s by the
likes of Diane Arbus and the recently
discovered Vivian Maier. Because
youre looking down on the camera,
rather than holding the camera out in
front of your face, you can work rather
discreetly without drawing too much
attention to yourself.
The Panasonic Lumix DMC-GF7 is
available in a kit with a 12-32mm Lumix
G lens (equivalent to 24-64mm in the
35mm format) for $699, or for $999 with
the addition of the 35-100mm (equivalent
to 70-200mm) Lumix G lens.
More info: www.panasonic.com.au
ABOVE
Exposure is good out of the Panasonic
GF7, even in some of the tricky situations.
The most appealing feature of this camera is its compact form and
minimal control layout. Unlike many cameras, this has a modest
layout and yet its still capable of good control options via the
cameras 3in (75mm) touch screen. The selfie option is going to
appeal to younger users, but the rest of us will just enjoy it as a
handy LCD screen.
EXPOSURE
Intelligent Exposure gets the image right most of the time. Turning
the camera onto any of the other exposure modes, including manual
mode is still worthwhile though, particularly if you are the thinking
type of photographer.
IMAGE QUALITY
Above-average image quality at the low to mid ISO settings. JPEGs

out of the camera are in most instances above average, however best
image quality is achieved when you shoot in RAW mode and again,
you take control of the image-making decisions.
VALUE FOR MONEY
Small cost, but the GF7 is actually very capable. At $699 including a
lens, this camera is a little dearer than some compact cameras, but
its Four Thirds sensor will deliver quite a bit more quality.
FINAL WORD
The Panasonic Lumix DMC-GF7 is not going to replace your main camera,
but its an ideal sidekick. Its small
enough to carry everywhere, and
SCORE
with an amazing range of lenses to
GOLD AWARD
choose from it is a versatile street
and travel camera.
8.6
APS GALLERY
With Ron
Willems, FAPS,
AFIAP, FPSNZ,
ARPS
Labour
B
of Love
ack in 2012 I gained

my Fellowship with the
Australian Photographic
Society, which was presented
at the 50th Convention in Canberra.
At the time I was busy shooting in the
USA, having spent over 500 days there
in the past four years. But my interest
began way before then, when I joined
the Christchurch Photographic Society
in 1969 while I was at school.
Early days saw me shooting on colour
slide film with a passion for creative work,
often working in a darkroom using 4x5
film. These days my workflow is 100%
digital and I use a Nikon D7000 and
Photoshop software. Although Im best
known for my creative images, most of
my work is not manipulated. My main

interests are travel, people, landscape
and nature. The work shown here is a
fraction of what Ive done, but hopefully
it shows the variety that enthralls me.
Over the years Ive had a strong interest
in competitive photography, and Ive
had success throughout the world.
Today, while Im still active, I get more
enjoyment from helping photographers
through presentations and judging,
having presented at five different
Australian National Conventions.
My involvement in photography,
lecturing or exhibiting, has always been
for love, with my income coming from
other sources. You can see more of my
work here: www.ronwillemsphoto.com
CLOCKWISE
FROM LEFT
De Chelly Light
Play; City Cyclists;
Classic New
Zealand Holiday;
Trombone.
APS GALLERY
FROM RIGHT
Encasement;
Palouse Salt
Barn; Montana
Mountain Goat.
APS FOCUS
So Much
With Graham
Burstow
To See
I
ABOVE RIGHT
Architecture offers
great raw material
for photographers,
and its the inner
city suburbs of our
major capitals
which can
frequently provide
the most variety.
ts my holiday time again. If youre

a keen photographer, this interest
can play a big part in deciding on
your destination! The country,
coast or the city offer a very broad choice.
As I live in the country, which provides
convenient subject matter right through
the year, I set out for the city.
Eventually I was standing at a place
where the iconic Opera House was on my
right, a magnificent passenger ship was on
my left and just ahead was the enormous
Harbour Bridge. Then theres the water
and hundreds of people. Most of the
people were enjoying a stroll through this
area and the atmosphere was very friendly.
Images are there from the simplest
to the most complicated. Your choice
will dictate the subject matter. Having
some knowledge of how prominent
photographers have coped in this
situation can be a starting point.
Some photographers concentrate on
the effect and direction of the light.
Others will make the most of the
people, either in part or whole, often
finding a background which provides
meaning. Architecture is often chosen

as a subject. As all our larger cities have
a similar infrastructure, the variations are
most obvious in the earliest developed
areas. The inner city suburbs can show us
subjects that excite our visual senses and
give us the opportunity to discover another
age. The early sailing ships needed docks
and waterside workers provided one of our
first industries. Suburbs sprung up around
the waterfront and many of the workers
homes are still there.
Many of these adjoining homes are in
long avenues and often every home may
be only three to four metres wide so the
facades are easily covered with modern
cameras. If youre sensitive to the world
youll find that each faade, which may only
be two or three metres from the footpath,
has a personal touch added to the separated
similar architectural structures, which look
like they could be heritage listed. Once
I photographed four similar adjoining
houses, made 16 x 20 print of each, then
stood them side by side at a photographic
club meeting and asked the members to
find the difference in the personalities of
those people who now lived there. This was

a testing exercise, but it teaches us how we
can appreciate our world.
While the facades of these early homes
are often heritage listed, the backs of most
of them have been modernised, some
quite extensively. Modern architecture
relies more on machine-made integral
parts and finishes and as a result it features
more straight lines than the hand-crafted
structures of earlier times. Extremely
skilled stone masons provided a charm that
is seldom seen in todays architecture.
This can be captured in so many
ways without our modern cameras
and techniques. Such points can add
character to the places where you live.
The bigger cities all have malls where
people congregate, and if youre a people
photographer these are places you must
visit. Seen here are two images of the same
building in Sydney. One image has made
use of high contrast and the other has used
simple masking techniques to feature lines.
One image is bold and the other is quite
delicate. If you enjoy this type of subject
youll never run out of raw material.
AUSTRALIANPHOTOGRAPHY.COM
73
Education
A guide for photography enthusiasts
TO ADVERTISE CONTACT JODIE REID ON 02 9213 8261 OR JODIEREID@YAFFA.COM.AU
INSPIRING
FUN FILLED ADVENTURES
IN SPECTACULAR LOCATIONS
www.kenduncan.com
love photography?
Take your photography to the next level in 2015 with

some unique opportunities with master photography educator / guide Len Metcalf
Sea scape photography workshop
Take your photography to the next level in this

week long workshop based on the stunning Eurbodalla Coast. Daytime classroom based sessions
designed to develop your coastal photographic vision combined with amazing morning and evening
shoots. Be immersed in this grand coastal landscape with lovely peers and an inspiring teacher.
23rd - 27th November 2015 only AUD1595
Lens School
create better photographs
1300 85 81 69
http://lensschool.com
admin@lensschool.com
Market Place A guide for photography enthusiasts

TO ADVERTISE CONTACT JODIE REID ON 02 9213 8261 OR JODIEREID@YAFFA.COM.AU
C I R C U I T TO U R S
Photo Challenge
NEW TICKET DISCOUNTS

RED HOT TICKETS
Re g i s t e r f o r f r e e n o w a n d
a l w a y s ke e p y o u r p l a c e i n
the queue for all future
Re d H o t t i c ke t o f f e r s .
R e g i s t e r n ow @
circuit-tours.com.au
Nature | Photography | Culture | History | World Heritage
AU G 2 0 1 5
SEPT 2016
KAKADU
NITMILUK
Limited
Op e n
DA RW I N
LITCHFIELD
Ultimate Photography Tours

Join travel photographer Tom Wyness on the
ultimate photography tour of Sri Lanka.
Visit the north and east coast regions of
Sri Lanka rarely seen by foreign tourists on
a unique 20/21 day small group tour.
PROMOTE
YOUR
PRODUCTS
& SERVICES
HERE!
www.srilankaphotographytours.com.au
Phone: +61 410 616 140
CALL JODIE REID

ON 02 9213 8261
OR JODIEREID@
YAFFA.COM.AU
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE12/02/15

2015
C13856 Ultimate Photography Tours.indd 1
9:06 AM
LAUNCH OFFER
Interested in buying a drone?
Dont know where to start?
Or are you already a pro-drone pilot
looking to develop a business from it?
Order your copy of Australias only drone magazine today.
Be one of the first to receive it.
DRONE Magazine brings you the latest UAV news, reviews
and information from Australia and around the world, including:
How drones work
Flying tips, from beginners to professional
New technologies and new products
Buyers guides to drones and cameras
Drone Hands on Reviews Consumer and Pro Gear
Rule and regulations about drones
Behind the Scenes on Set at a Drone Shoot
Future Technology
44
KEEPING IT LEGAL:
CASA TELLS
POWER PLAY
BATTERY SAFETY
PLUS
Regardless of what level youre at, theres plenty of content

in DRONE Magazine for beginners to professionals alike.
To order the
launch issue of
DRONE magazine:
EXPERT
SETUP &
FLIGHT TIPS
NEW TECH
BEST
GEAR
2015
TECH TALK
HOW DO
THEY FLY
LAUNCH
OF F E R:
DRONEWARS: RACING DRONE IN FPV

PIMP MY DRONE: CUSTOM BUILD YOUR OWN MACHINE
ONLY
$9.90!
VISIT: www.greatmagazines.com.au/drone
& ENTER the promo code adv/lchaph
Or CALL: 1800 807 760 and quote adv/lchaph
Terms & Conditions: This is only open to readers with an Australian address. This offer expires 30 June 2015 Customer enquires to subscription@yaffa.com.au.
YAFFA 04989
LAUNCH OFFER ONLY $9.90!
PRO
HOBBY
COMMERCIAL
Image
doctor
ia n p h oto g
ra
AWA R D
MP
O CO ETITIO
OT
ra l
ph
y. c o
m
.au
www
st
ia n p h oto g
ra
DOCTOR
AGE
IM
st
ra l
y. c o
m
.au
www
ONLINE
Image Doctor Online
ph
ra l
PH
st
ph
.au
www
y. c o
m
DO
OM
Want to learn to shoot better

photographs? Saima Morel
offers
one-on-one feedback
OAD FREE F
GOLD
L
R
N
W
on readers images.
ia n p h oto g
ra
Now theres another way to get feedback on your images. Were now offering an online version of Image Doctor at
www.australianphotography.com, moderated by professional photographer Anthony McKee. Submit an image and find out
what youre doing right, what youre doing wrong and, most importantly, what you can do to improve your photos. To upload
an image go to www.australianphotography.com and click the image doctor tab on the home page.
IMAGE DOCTOR
THIS MONTHS WINNER!
Creative thinking
This contribution comes from 13-year-old Kodi

Durden, who took this photo of his brother doing
some training on the Gold Coast, Queensland.
He writes: I panned the camera with the movement
of my brother as he ran and I waited for overcast
weather to keep the contrast down. Also, I kept the
background at a distance to help with the blurring of
the image. Cool! Youve done a good job here.
The lighting is perfect, the background is nicely
blurred and the outline of your brother in mid-flight
is clear and strong. All the background lines and
the blurred motion shows real action. That said,
you couldve tried a slightly faster shutter speed, say
1/50s, to get a touch more clarity into the figure.
Another option is to try using the multi-shot mode
to get a number of different versions to choose from.
But your effort is definitely creative enough for us to
award you our prize this month. Well done!
SAIMAS TIP: When panning, its good to
establish manual focus on a subject before they start
to move and then stick with them as they go.
TITLE: Untitled
PHOTOGRAPHER: Kodi Durden
DETAILS: Olympus OMD EM1, 12-40mm lens
@ 36mm, 1/40s @ f/6.3, ISO 200.
Bad light, poor contrast
Paul Morton writes: I made this photograph on

holiday at Port Hughes, South Australia. At the
top of a hill in the middle of the beach I had this
beaut view looking back towards the jetty. It was
early morning and overcast. I decided to convert it
to black and white as the colours were washed out
and lifeless. The lighting is a bit lifeless as theres
a lot of cloud cover. Despite that you managed to
fill half of the frame with the washed-out sky and
water while the best stuff is in the foreground with
all the great textures and detail in that shrubbery.
It may be a case of not seeing the trees for the
forest looking at the big scene and not seeing the
more interesting smaller stuff right in front of you.
Sharp lines, touch of colour
Trevor Wilkinson took this shot in Hong Kong and he

writes: Hong Kong has the record for the most high-rise
buildings in the world and it has an amazing variety.
I love the collection of geometrical patterns in this
collection of buildings with a darkish cloudy background
for contrast. If the day had been clear of cloud I feel the
contrast and lighting would have suffered. I dont mind
the distortion from the wide-angle focal length.
Im not sure Im with you on the contrast comments or
the distortion. Mainly grey buildings against a grey sky
make for a lot of grey, but the great elements are the
sharp lines (both horizontally and vertically) of those
high-rises and the touches of colour. I like the packed
together effect of the overlapping buildings except
for those wildly falling-over-backwards buildings to the
extreme right and left. If you really dont want
If youd bent down and shot from a lower angle,

filled more of the frame with bushes and reduced
the amount of sky, you may have had a far stronger
landscape/seascape image.
SAIMAS TIP: If your lighting is dead, the
colours in your images will often follow.
TITLE: Moonta Beach
PHOTOGRAPHER: Paul Morton
DETAILS: Nikon D5100, Sigma 10-20mm lens
@ 10mm. 1/30s @ f/11, ISO 100, converted to
black and white, adjusted exposure, contrast and
sharpness in Lightroom 3.
to straighten the perspective in the software, how about

cropping the buildings at the sides of the frame? Another
weakish element has got to be the poles and chopped-off
bits and pieces at the bottom of the frame. I really think
all this stuff takes the shine off those amazing buildings.
SAIMAS TIP: Wide-angle lenses can produce
some wild effects, but the downside is the distortion
might entail shooting even wider to allow cropping or
perspective correction in software.
TITLE: Hong Kong
PHOTOGRAPHER: Trevor Wilkinson
DETAILS: Nikon D90, 18-200mm Nikkor lens
@ 18mm, 1/320s @ f/9, ISO 200, handheld using image
stabilisation, minor adjustment to lighting in Photoshop.
IMAGE DOCTOR
Go for vertical
This photo of a small, four-centimetre tree frog was

taken at Yarrawonga on the Murray River. Susan
Shanta says that it was well camouflaged, trying to
hide within the cut-out of a tree, and she only noticed
it because it had hopped into view at her campsite.
It stayed still long enough for her to capture this
image. With a one-off chance for shooting a subject
like this, it seems unfair for me to point out that the
shot would be more impressive if the frog wasn't
looking away from the camera and if it didn't have
that white grunge on its head. If you shoot at f/11,
you can get a better depth of field, but then theres a
higher risk of noise with your camera, which is old
(digitally speaking, of course). However, all that said,
its not a bad shot. A fairly instant adjustment you
could make is to crop the sides to draw our eye into
the subject.
SAIMAS TIP: Vertically oriented content often
begs to be taken in the portrait format so as to
emphasise its length and also crop extraneous
content on the sides.
TITLE: Tree Frog
PHOTOGRAPHER: Susan Shanta
DETAILS: Olympus E620 @ 35mm macro focal
length, 1/90s @ f/4, ISO 200.
Lighting needs a boost
While on an Inside Passage Cruise in Alaska,

Peter Bellmont took many images of a glacier
from out on his ships deck. He writes: When
I noticed the cloud slowly coming over the distant
mountains I felt it would make a much better
picture. Im curious as to why you think grey
cloud cover would make it better. Unless clouds
are dramatic, they have a tendency to deaden the
light, which then affects contrast and colour.
The ice here needs a bit of a boost or pick-me-up
in brightness and contrast to give it more oomph
as the main subject matter. Id use the adjustment
brush to do this. Id also suggest cropping some
of that foreground water. It takes up too much of
the frame and reduces the impact of the glacier.
Cropping would change the format to more of a
panoramic scene, but it would reduce all that grey
and bring the ice closer to us.
SAIMAS TIP: Too much foreground can take
the main subject away from the viewer and hence
diminish its overall impact.
PHOTOGRAPHER: Peter Bellmont
DETAILS: Sony Alpha A65, Tamron 18-200mm
lens @ 45mm, 1/250s @ f/11, ISO 200, aperture
priority. Processed in Lightroom 5, mainly
adjusting black and white to complete both ends
of the histogram, grad filter to darken the base,
minor sharpening.
Shooting into the sun
Robert Heness was shooting this sunset

and decided he needed something more
in the foreground to make it stand out.
He found this patch of reed grass. I really
agree that this sunset needed some interest
in the foreground to hold the whole
scene together. The grasses are lovely and
the light creeping through gives them
dimension while the colour is lovely as
well. Nevertheless, the picture still has
a disturbingly burnt-out section at the
sun, and theres the odd distracting patch
of overly bright stalk and/or leaf in the
foreground. Rather than shoot directly into
the sunlight, I suggest you shoot at an angle
to it and possibly exclude it from the frame.
Its good to have the lovely effect of evening
light, but you dont have to have the sun in
the frame to get a great image.
SAIMAS TIP: The problem with
shooting into the sun is the big hole that it
burns into the middle of an image.
PHOTOGRAPHER: Robert Heness
DETAILS: Nikon D5100 @ 18mm, 1/400s
@ f/10, ISO 100. Post processing added
saturation and some clarity.
IMAGE DOCTOR
Sharpen up!
Paul Elmer says: I have been practising with a neutraldensity filter so I can draw out the shutter speed to create
ghostly images of moving objects with static background,
but also to achieve richer colours during harsh sunlight,
like this photo of the Indian Pacific locomotive. I love
the flaking paint and dead insect collection. This shot is
definitely not sharp on the left and it needs to be sharper
for those insects to be clear. Try shooting at an f/8 or f/11 or
f/16 aperture, with your camera on a tripod. This is quite
a contrasty situation, and the side of the train on the right
doesnt have a lot of information or detail. You could also
try turning your ND filter to the left so you can overexpose

more on the right, to get more detail into the shadow area.
SAIMAS TIP: When shooting images with strongly defined
light and dark areas in the same scene, consider the use of
High Dynamic Range (HDR) software to get better results.
TITLE: Indian Pacific
PHOTOGRAPHER: Paul Elmer
DETAILS: Canon EOS 1000D SLR, Tamron 10-24mm lens
@ 16mm, 1/25s @ f/5.6, ISO 100.
CHECK OUT OUR AMAZING IMAGE

DOCTOR PRIZE, THE FUJIFILM X-A1.
WIN a Fujifilm X-A1!
How to submit an image
Thanks to Fujifilm, Kodi Durden has

won a fantastic X-A1 camera (with an XC
16-50mm lens) valued at $649. All your
photos are captured more beautifully with
the freedom of a small compact. Its small
enough to be a companion wherever you go.
With advanced performance that captures both your imagination and image
quality like no other camera in its class, the FUJIFILM X-A1 is the small compact
camera system that opens a big world of photo possibilities. The FUJIFILM X-A1
has many great features based on the globally award-winning operability and
styling of the FUJIFILM X-series. Step out with DSLR agility in a compact, light
camera with uncompromising resolution, onehanded operation, a tilting screen, built-in super
intelligent flash and interchangeable lenses.
Email entries to:

imagedoctor@australianphotography.com
with Image Doctor in the subject line.
Tell us your name, the title of the picture and
up to 150 words about how you created it.
Only one image per person per month.
Images must be saved in JPEG format.
Maximum file size is 5MB. Include your name
in the filename of the image.
An Australian address is required in order to
receive the prize.
Employees of Yaffa Publishing or the sponsor
are not eligible to win the prize.
The editors decision is final and no
correspondence will be entered into.
Discover
a deeper
black
THE NEW EPSON SURECOLOR SC-P600 A3+

Unprecedented black density: Epson UltraChrome HD Ink delivers
the best ever Dmax for outstanding black & white and colour images
WiFi Direct and Epson Connect: Easy to connect wirelessly and via
the cloud
High speed: Produce an A3+ print in only 153 seconds
Large colour 2.7 inch touch screen: Easy to set up and manage
Greater productivity with high-capacity cartridges: Nine 25.9 ml ink
cartridges with Auto-switching Photo and Matte Black Ink
Professional control: Advanced Black-and-White Mode for professional
level neutral or toned black & white prints
Multimedia support: Front-in, front-out path for ne art media and roll
support for panoramic prints
Learn more, visit www.epson.com.au

Photo Darran Leal www.worldphotoadventures.com.au

Australian Photo Digit June 2015

Загружено:

Сведения о документе

Оригинальное название

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Australian Photo Digit June 2015

Загружено:

Авторское право:

Доступные форматы

YOUR BEST SHOT

WIN* AN EIZO CS230 PHOTO EDITING MONITOR VALUED AT $1375

Are we there yet?

How to shoot great landscapes

Get great results when your

Fujifilm X-A1 and XC1650mm lens valued at $649

Hot new ways to share and sell your photos

Make Your Own Book

arlier this year a flickering light in the

All mail to:

All editorial contributions should be sent to

Australian Photography + digital welcomes

I had the chance to take in one of the key features of

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

CONTENTS June 2015

36 This Sporting Life

44 In The Wild: Real Dragons

46 Shooting Through Time

68 Test: Panasonic DMC-GF7

14 Questions & Answers

Prashphutita Greco answers

18 Your Best Shot

70 APS Gallery and Column

77 Fujifilm Image Doctor

BEHIND THE LENS

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

SEE MORE OF DYLAN FOXS

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

DANIEL BEREHULAK ACCEPTS THE PULITZER

Australian Daniel Berehulak wins 2015 Pulitzer Prize

CLOCWISE FROM TOP LEFT

Australian photographer Daniel Berehulak has won

Eric Gweah, 25, weeps as a

that shared their lives with me so that I was able to

James Dorbor, 8, suspected

A girl nicknamed Sweetie

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

Introducing Blackmagic URSA, the worlds first

User Upgradeable Sensor

Chris Hondros legacy supports new

Underwater housing for

Fantasea Line has launched a new underwater housing for Canons

WRITING BY LATE PHOTOJOURNALIST CHRIS HONDROS

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

Phot ogr a phi c s _ a r t i s a n. pdf

Sony announces WX500 and

Full HD 1080/60p video, and built-in Wi-Fi

CONSERVANCY AUSTRALIA PHOTO COMPETITION.

Sony releases A-mount

AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015

Test drive an Eizo ColorEdge at these exclusive stockists

QUESTIONS & ANSWERS

Ive noted that many people

John Hassall, Wagga Wagga, NSW.

Getting it right in-camera is

next shot. A modern computer running a

of the picture? Or a particular flower?

processing at all. Raw isnt for everyone,

Cant download APs

Im trying to work through

Robert Adamson, Windsor, Qld.

Sorry for the inconvenience

from the D4S, but from there