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Transcript of NZ Photographer Issue 16
NZ Photographer June
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Helping you take better photos
Issue 16 June 23rd 2010
NZ Photographer
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CONTENTS4 Copyright &Photography
12 Pic of the Bunch
20 Critique
16 Still Life
24 Cool Stuff
24 Critique
26 Auckland Festival of
Photography
32 Cool Stuff
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This issue will be a little bit of a challenge for you – we’ve decided to tackle a
bit of a technical issue when it comes to law and what we can and can’t do. It’s
definitely worth the read, and as such I’ve put it in first. It’s all important stuff, so
read and learn young grasshopper!
A couple of apologies are also in order – firstly to Chris White, who won Issue
15’s cover and the Motion Blur competition. Chris was mistakenly referred to once on
page 2 as Chris Smith, which has since been rectified. Just like the upside down NZ
Post stamp that’s worth loads now, anyone who downloaded the version with the error
in is the proud owner of a collector’s item :)
Secondly, for the tardiness of this Issue’s release! I let life get the better of me and I
apologise for that! We are going to stretch out our issues from now on - once every 4
weeks instead of every 3. Let us know what you think!
Now off you go to learn about Copyright and Photography, Still Life, and all the
other amazing bits we have in store for you this issue!
ABOUT Whether you’re an enthusiastic weekend snapper or a beginner who wants to learn more, NZ Photographer is the fun e-magazine for all Kiwi camera owners – and it’s free!
EDITOR Ollie Dale, ANZIPP [email protected] EDITOR Trudi CaffellART DIRECTOR Jodi OlssonADVERTISING ENQUIRIES Phone Richard on 09 523 4112 or
email [email protected]
ADDRESS NZ Photographer, C/- Espire Media, PO Box 137162, Parnell, Auckland 1151, NZWEBSITE www.nzphotographer.co.nz
NZ Photographer is an Espire Media publication
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16 Still Life
Cover Image: Documentary Competition Winner Camilla Lundbak
24 Cool Stuff
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HOW TO
NZ Photographer June
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When photographers find out
what I do for a living, the two
most common questions I get
are “What should I do if someone is stealing
my photos?” and “Can I take a photo of
this building/structure without getting in
trouble?” (I heard that one a few times when
Lord of the Rings was being filmed). Both
are very valid questions, and both require
an understanding of copyright law.
For the question about the “stealing” of
a photo – it really depends on the situation
and circumstances, and I suspect that my
word limit won’t be nearly long enough to
cover all of your options.
With regard to the question of what you
can and can’t take photos of – well, that’s
a little more black and white (insert terrible
joke about black and white film here…)
There are many myths floating around about
what you can photograph in public, and I’ll
try and clarify and correct a few of them.
First things first though – what is
copyright?
The Basics
Copyright subsists in original literary,
dramatic, musical and artistic works,
sound recordings, films, broadcasts,
cable programmes, and typographical
arrangements of published editions (if
you don’t see your type of original work
listed here, don’t panic – it’s probably
covered. For example, computer programs
are ‘literary works’ and photographs are
‘artistic works’). In New Zealand, the law
of copyright is set out in the Copyright Act
1994. It’s a pretty beefy document, but if
you just can’t help yourself, you can read it
for free at www.legislation.govt.nz.
An important concept to grasp is that
copyright protects the expression of an idea
rather than the idea itself. A written recipe is a
good example of how this concept works. If
you photocopied a cake recipe from a Jamie
Oliver cookbook, then the act of photocopying
that recipe will almost certainly constitute
copyright infringement. However if you simply
picked up the cookbook and made the cake
COPyrigHT PHOTOgrAPHyUnderstanding the LawBy narly Kalupahana
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In New Zealand, there is no law preventing you from taking then publishing
a photo of a stranger
in a public place
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by following the instructions on the page, you
are not infringing copyright. The idea is the
cake and how to make it – the expression of
the idea is the printed recipe and its layout on
the page of the cookbook.
If you are the owner of a work protected
by copyright, then you have the exclusive
right to copy the work, issue copies of work
to the public (in exchange for money or
for free), perform, play or show the work
in public, broadcast the work, make an
adaptation of the work, or authorise any
person to do any of these acts.
While there are plenty of exceptions,
the general rule of thumb is that copyright
in a work lasts for 50 years after the
death of the author.
Now that the dull stuff is out of the
way, let’s try and cut through a few myths
about copyright.
MyTh 1: “It’s not protected until you’ve registered the copyright”
While there are some jurisdictions that
require copyright in a work to be registered at
an official registrar, New Zealand is not one
of them. In New Zealand, copyright subsists
automatically. That’s right – as soon as you
take that photo, it is protected by copyright.
There’s no need to register copyright,
no need to print that photo out and post
it to yourself (you’ve been watching too
many movies), and although it is highly
recommended, you don’t actually need
to put a copyright notice on it for it to be
protected by copyright (however, putting a
watermark with something along the lines of
“© Narly 2010” on your photos does help
to prevent people from claiming that they
had no idea that that the work was yours
and was protected by copyright).
Seeing as there’s no need to register
copyright, if you ever do find yourself
fighting someone in Court, you’ll need
to show that you are the owner of the
original work. To that end, be sure to
keep the original work in a safe place.
For photographers, this means either
safely storing the negatives somewhere
or backing up the original RAW or JPEG
files to an external hard drive, an offsite
server, or both.
MyTh 2: “If mine is 10% different, then it’s ok”
While there are actually a few sections
of the Copyright Act that describe the
permitted copying of a certain percentage
of a work for educational purposes, the
often heard “if it’s 10% different, then it’s ok”
myth is absolutely that – a myth.
There are many “restricted acts” that
constitute copyright infringement, but with
regard to photography, the copying of
the whole work or a substantial part of
the work is the general rule. Ascertaining
whether the whole work has been
copied is obviously a straightforward
task. Ascertaining whether a “substantial
part” of the work has been copied is
considerably more difficult.
Think of the following scenario: You’re
in the street and see a celebrity from
a distance. You take a photo of the
celebrity, but you only have a wide angle
lens on you, meaning that it’s actually
pretty hard to see the celebrity’s face
without enlarging the photo. Most of the
photo ends up being blue sky with a few
clouds, but nevertheless, you post the
photo on your blog because, well… why
not?
A few days later you discover that a
local gossip columnist has downloaded
your photo, cropped out most of the
background, and has used the part of
the photo with the celebrity’s face for her
gossip column. You email the columnist to
give her a piece of your mind and receive
a reply along the lines of “I only used
about 2.5% of your photo – there’s no
way that’s copyright infringement”.
Did the columnist copy the whole
work? Clearly not. Did the columnist
copy a substantial part of the work?
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Quite possibly. There have been many
legal skirmishes over what constitutes a
“substantial part” of a work protected
by copyright. Unfortunately, there is no
easy answer – it’s an extremely subjective
thing, and really does depend on the
facts of the case.
There is certainly a case to argue that
despite the celebrity’s face constituting only
2.5% of the original work’s surface area,
that specific part of the work is the critical
element of the work – without the celebrity’s
face, the work would be of little interest to
anyone (unless you had some sort of blue
sky and cloud fetish…)
Think “quantitative” versus “qualitative”.
On a quantitative basis, the face of the
celebrity constitutes a very small part of the
photograph, but on a qualitative basis - at
least in the eyes of the fans - it is a very
important part of the photograph.
There’s no hard and fast rule for
ascertaining what a “substantial part” of
a copyright protected work is, and there’s
certainly no magic percentage that helps
us work it out! However, it is a concept that
you need to bear in mind when faced with
a copyright infringement scenario.
MyTh 3: “That’s a privately owned building – you can’t take a photo of it”
This seems to be a bit of a hot topic in
the USA at the moment. I’m reading more
and more stories about people trying to
take photos of buildings, but being thwarted
- and in some cases, threatened - by
overzealous security guards.
In New Zealand, the law is pretty clear –
you can take a photo of a building without
infringing any copyright that might subsist
in the building. However, there are a few
caveats here.
The section of the Copyright Act dealing
with the photographing or drawing of
buildings (Section 73) classifies buildings
as “artistic works on public display”. It’s
the “public display” bit that you need to
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that may subsist in the building, but bear in
mind that you’re also making photographic
copies of the works of art that can be seen
from the street. Presumably those works of
art are protected by copyright - meaning
that you could be opening up a whole new
can of worms.
What if you were simply taking a photo
of a celebrity who happened to be making
a public appearance in a gallery, and they
posed for you next to a work of art? Would
the same situation apply if the art formed
the background of the photo? Have you
infringed copyright in the work of art located
behind the celebrity? In such a situation it’s
unlikely – presuming that the celebrity is
clearly the subject of the photograph, it is
arguable that the work of art is incidental
to the rest of the photograph (an exemption
under Section 41).
A bit of commonsense is needed here.
When you take photos on the street or in
places accessible to the public, you need
to keep in mind that a single photo might
actually be reproducing several works
protected by copyright.
MyTh 4: “Taking a photo of a sculpture or model infringes copyright. I don’t care if it’s located in the middle of town.”This is actually covered under the same
section as the building exemption (section
73). If a sculpture, model of a building, or a
work of artistic craftsmanship is permanently
situated in a public place (think of a statue
in a public park, or even something like
the Bucket Fountain in Cuba Mall), or is in
a premises open to the public, then taking
a photo of it does not infringe copyright
in the work. Note that the types of works
referred to – the exemptions are limited to
sculptures, models for buildings and works
of artistic craftsmanship. Photographs and
paintings are not covered by this exemption.
If you went to an outdoor art exhibition, then
taking photos of paintings – despite them
being in a premises open to the public – will
infringe copyright in those paintings.
This section is the one I often refer to
when people ask about taking photographs
of movie sets and props. By making sure
that movie sets and props are movable and
not “permanently situated” (for example,
by putting large structures and props on
wheels) and closing off access to the public,
filmmakers can ensure that these “artistic
works” avoid the Section 73 exemption and
are still protected by copyright, giving them
recourse against eager paparazzi.
MyTh 5: “You can’t take my photo. Haven’t you heard of privacy laws?”Everyone loves to scream “Privacy Act!”
but few people actually understand what
it seeks to protect. Under New Zealand’s
laws, there is no law preventing you from
taking then publishing a photo of a stranger
in a public place (unless your act constitutes
harassment under the Harassment Act
1997, and even then the complainant must
establish a pattern of behaviour, rather than
point to a single incident).
Let’s say that the stranger was eating an
ice cream when you took the photo, and
then you sold that photo to the company that
made the ice cream (knowing full well that
they would inevitably use it in advertising).
Although we’re no longer dealing with
copyright, any representation by the company
that the subject of the photograph endorses the
ice cream may well fall foul of the provisions of
the Fair Trading Act 1986 regarding product
endorsements. While it’s unlikely that you (the
be aware of here. If you get your photo of
a building by jumping fences, breaching
security or encroaching on private land…
please don’t call me – that’s unlikely to be
protected by the exemptions under Section
73. I’ll just wag my finger at you (not as
scary as my wife wagging her finger at you,
but still scary).
So, if you’re in a public place, can you
photograph any building at all? Well, sort
of – what if you were standing outside an
art gallery and photographing the gallery
building and works of art through the
windows? Sure, you fall within the section
73 exemption with regard to any copyright
NZ Photographer June
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Narly is a New Zealand-qualified intellectual Property lawyer currently living and working in hong Kong. in his spare time, Narly
uploads far too many photos of his young son and random hong Kong happenings to www.narlyk.com. he also enjoys referring to
himself in the third person.
photographer) could be prosecuted under the
Fair Trading Act for the actions of the ice cream
company, it would be good practice to insist
on a release from liability for the actions of the
purchaser after the sale if you do sell or license
these types of photos.
As for the lack of laws preventing you from
taking and publishing photos of strangers in
public places – Mike Hosking learned this the
hard way. In 2004 the Court of Appeal held
that there can be no reasonable expectation
of privacy if photographs of people (whether
strangers or not) are taken in a public place.
The judgment contains a really interesting
discussion of photography and privacy, and if
you have a bit of spare time one day it’s well
worth a read (http://www.nzlii.org/cgi-bin/
sinodisp/nz/cases/NZCA/2004/34.html).
While I acknowledge that New Zealand’s
laws don’t protect a subject in such a case,
I do feel that a bit of empathy goes a long
way. Before going out and photographing
strangers in the street, put yourself in their
shoes for a second – would you be happy
if someone snapped photos of you minding
your own business in the street and then
published them for the world to see? I like
to think that Narly’s “Burping Loudly in an
Elevator Principle” applies here. Sure, it’s
not against the law - but you’re not going to
make a lot of friends if you keep doing it. If
you do intend to publish, distribute or license
a photograph of a stranger… well, as my
mother would say: “Ask nicely first”.
Whether you’re a seasoned professional or
a weekend hobbyist, you will be doing yourself
a huge favour by taking the time to learn a little
bit about copyright law. It will make your life a
lot easier in the long run.
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COMPETITION WINNERS
dOCUMentary COMpetitiOn
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dOCUMentary COMpetitiOn
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This documentary captures the unique
character of the world’s highest
freestanding mountain, Mount
Kilimanjaro. As a photographer she
certainly challenged me (!) to experience
her beauty by way of attitude and altitude
as she stands tall at 5895 AMSL giving
her command of weather and impressive
ecology. To viewers, photography often
seamlessly merges the three building
blocks: the subject, the photographer and
the gear. In undertaking this documentary
the three building blocks in photography
became incredibly distinct to me:
The subject itself - how to capture her •
beauty and uniqueness? For example,
the different vegetation zones, endemic
species such as impatiens kilimanjari
and senecio kilimanjari, and the glaciers
estimated to be gone by 2025;
The photographer - stubbornly trying •
to get the mind and body to ignore
gradients, the lack of oxygen and
layers upon layers of clothing; and the
camera gear - taking a SLR from moist
equatorial rain forest through to reaching
the ice caps in the space of 4-5 days.
I hope you enjoy meeting this
mountain as much as I did.
Well done: caMilla luNdBaK
Your photo essay was interesting and
more diverse than the other entries we
received, and shows just how much of
a challenge the mountain must be.
Camilla wins this issue’s cover and a $100
voucher from the fabulous people at Giclée
Print. For all YOUR fine art and canvas printing
needs, visit www.gicleeprint.co.nz
NZ Photographer
June 23
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FEATURE
LUCy gaUntLett, phOtOgrapher FnZipp
Still Life Photography is a bizarre
world to me – done poorly it’s
simply a cliché of high school
art classes or fruit bowls on the table
at home, but done well it blows me
away. My brain doesn’t tend to see the
world the way an accomplished still-life
photographer’s does.
So, I thought I’d share some great still
life photography with you through someone
who has won awards with their images.
Lucy Gauntlett won the NZIPP Still Life
Photographer of the Year award in 2006,
the last year the category existed before it
officially became known as the Creative
category. Ironically, Lucy also won that
Creative category in 2007, proving her
finesse with imagery was ingrained.
By Ollie dale
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NZP: How long have you been a
photographer?
Lucy: I started my exploration into
photography during university years
around 2003; as part of my architecture
degree I took 1 paper on photography
and learnt the very basics, and also
built pinhole cameras which I found
fascinating, and it all sort of evolved
from there.
I joined the NZIPP around 2004 and
started entering the print awards and
subsequently won the categories ‘2007
New Zealand Creative Photographer of
the Year’ & ‘2006 New Zealand Still Life
Photographer of the Year’.
NZP: What sort of photography do you
focus on now?
Lucy: Mainly I concentrate on
landscape photography and sell these as
limited edition pieces. Also I shoot lots of
architectural photography as I work full
time as an architect (Pacific Environments
Architects) and there are always buildings
NZ Photographer June
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that need professional photographs taken
for our firm and also for other architects.
You may be familiar with the widely
publicised night shots of the Yellow
Treehouse Café in which I was involved
with the design of and also photographed,
which has been internationally published
in over 100 architectural magazines and
books. (attached photos).
NZP: What’s your experience with Still
Life photography?
Lucy: Still Life photography for me
overlaps with architectural photography.
The still life photos that have been the most
successful have stemmed from amazing
architectural spaces such as the derelict
train photos that won me the Still Life
category. From these initial spaces I often
get a feeling or emotion and play on this
to enhance the drama and create a story
for each image.
Over the years, only occasionally I come
across scenes and spaces that in themselves
are breathtaking and I just know that I have
to go and get my camera to capture that
atmosphere and emotion – I don’t really
come across that many places for still life
photography, but when I do it’s very exciting
– I am always looking out for possibilities
for great shots that have occurred naturally
themselves, rather than set up Still Life
scenes to shoot that I have created myself.
Generally I have found the most
interesting locations are mostly the dark,
derelict and rundown spaces in which you
never know what you may find !
NZP: Do you have any tips for people
new to Still Life imagery?
Lucy: Be patient, and start with
interesting objects and backgrounds –
the most unusual places and objects are
actually quite hard to find. Experiment with
Photoshop and Lightroom, and don’t be
afraid to try out new technology such as
HDR (High Dynamic Range) techniques –
this can be very useful in creating Still Life
images. Also, don’t be afraid of adding
humour to images!
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NZP: Do you have any tips for
people who have shot Still Life before but
who could do with some expert advice
on how to shoot award-winning images?
Lucy: Find places and spaces that
take your breath away, and use what is
already there and build upon it with a
story through symbols and objects that
give the viewer clues as to the message
or story you are trying to impart. Add
drama and enhance the emotions off
the image by using filters and try to
remove or decrease the dominance
of anything in the image that they eye
is drawn to that is not the main focal
point or the main symbol (such as bright
areas). Build up your story with clues –
I see it as illustrating with photography,
so that the viewer can interpret the
photo as they would an artwork and
make up their own mind as to the
meaning. Also, have something for the
viewer to see that isn’t obvious upon
first glance – the more you look, the
more that is revealed.
lucy Gauntlett is a Fellow of the NZiPP, and more information and examples of her imagery can be found at www.lucygdesign.com
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Photo by Karim SahaiProfessional Travel Photographer
NZ Photographer
June 23
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TIPS
FOr BeginnersBy pete west
If there’s one thing guaranteed to upset
a photographic judge or the editor of a
magazine, it’s a sloping horizon. In the old
days you’d have to use a manual rotate ad a
ruler to get the horizon looking how it should.
That’s made much easier now, if you go
to the eyedropper tool (fig 1) you’ll notice
that there’s a small black arrow head in the
bottom right hand corner. (any tool with
this arrow in the corner means that there
are more options). Click on this arrow and
drag down until you hit the ‘ruler’ tool.
Click on the ruler, your cursor will change
to a’ cross hair’. Click on the horizon line
to one side of the image and drag it right
across to the other side along the horizon
line, then let go. You’ll now have a line
right across your image (fig 2).
Go to image>rotate canvas>arbitrary (fig
3). This will bring up a panel which will give
you a number (in degrees) that the horizon
1
3
2
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line is sloping (fig 4). Simply click OK and
the horizon automatically adjusts itself to be
exactly horizontal (fig 5).
If you now go to the crop tool (fig 6A)
click on one corner of your picture and
drag diagonally across the picture, then
let go of the mouse, (fig 6). (You will also
see a bar across the top of the screen
allowing you to crop specific sizes and
resolutions, more on this when we talk
about image size next month) You’ll
notice that depending on the angle of
tilt you may lose a portion of the picture.
You can still at this stage get hold of a
corner or side of the marquee and drag
it to get the maximum ‘usage’ out of your
picture. When you’re ready just double
click with the mouse and your picture is
squarely framed.
4 5
6 6a
7
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There’s no better way to learn than
by having your work critiqued! In
this section you get to have your
work critiqued by professional
photographers Lisa Crandall and
Ollie Dale.
Lisa Crandall is a multi-award
winning portrait photographer.
In 2008 she was named ‘People
Photographer of the Year’ at Iris,
NZ’s professional photography
awards. Her studio, ImageMe
www.imageme.co.nz is located
in Takapuna in Auckland. She also
runs photography workshops, and
is an Associate of the New Zealand
Institute of Professional Photography
(ANZIPP).
Ollie has been a professional
photographer for seven years, and has
clients such as the NZ Herald, Visa,
Microsoft, Westpac, Unitec and BMW.
He is also a qualified commercial
member and Associate of the New
Zealand Institute of Professional
Photography (ANZIPP).
caMera: Nikon D90
shuTTer: 1/125 sec
aPerTure: f/14
isO: 320
auThOr: Fillicia Widjaya
FrOM The auThOr: I took this photo on my
recent trip to Christchurch. I was on my way
back to the motel and standing in the middle
of these trees waiting to cross the street.
Ollie’s cOMMeNTs: Well, Lisa’s away this
month, so it’s all down to me. You’ve seen
and taken a lovely moment, and I think the
sunbeam from the right really adds to that.
The time of day is as well chosen as the time
of year as the side light from the sun helps to
give definition to the leaves.
I don’t think there’s much more you could
have done in camera to improve the shot –
perhaps standing a few paces to your left
and making the arches of trees disappear
towards the centre of the image may have
worked as well, although you may have
purposefully avoided a symmetrical image, or
perhaps there was a distracting element that
you have hidden by the trees on the right.
As it is shot, the most distracting elements for
me are the cars on the left – I would crop the
left side of the image in by one tree (OP1).
So really it comes down to how you treat
CRITIQUE
SiZEd UP yOUr wOrK CritiQUed
your image in post production. I believe
your original image could use some added
contrast to start with. The rage at the
moment seems to be dark and moody, so
you could start by darkening the image, but
be careful to leave detail in the tree bark
(OP2). Alternatively you could try a more
sepia-toned approach – this option will
change the dominant feature of the image
from the colours of the leaves to the shapes
created by the trees.(OP3)
As usual, your favourite will depend on
your style of imagery, and may not be
those that I have explained above. Start
by shooting a well-exposed and well-
composed image and you give yourself the
best chance of ending up with a shot you
can be proud of.
call FOr eNTries: Get your images critiqued by professionals –
send an image to [email protected] with
a brief description of how and why you took the shot, and we’ll
tell you what we think and if it could be improved.
The views and opinions expressed in this section are only two
people’s ideas on photographic imagery. You may have different,
constructive ideas about how good or not the images are, and what
could be done to them. You’re welcome to send those ideas in to [email protected]. We agree that the opinions
contained in this critique section are by no means the only opinions
that could be held about these images.
OP1
OP2 OP
3
NZ Photographer
June 23
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By Chris Traill, FNZIPP
If you’re in Auckland right now what are
you doing reading this? The Auckland
Festival of Photography is in full swing
with over 50 exhibitions on across the
city. One of them is the Epson/NZIPP
Iris Professional Photography Awards, on
display in the foyer of the Vero Centre in
Shortland St, in Auckland city.
Vero Centre, 48 Shortland St, Auckland.
8pm-6pm, Monday to Friday until July 2nd.
As a build up to this year’s Iris Awards, to
be held in Queenstown in September, come
and see what styles pulled the big prizes
and won Paul Gummer his title of NZIPP
Photographer of the Year for 2009.
This exhibition, as part of the Auckland
Festival of Photography, showcases the
highest scoring 150 images (gold, silver and
bronze) from the annual NZIPP Iris awards.
The finest work of N.Z’s leading professional
photographers are judged each year over a
number of categories including commercial,
creative, editorial, landscape, people
and wedding with an additional category
celebrating students and assistants.
This exhibition is Auckland’s stop on
a nationwide tour giving the public an
opportunity to appreciate the skills and
artistry, in this digital age, of its professional
image makers.
FESTIVAL
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The finest work of N.Zs
leading
professional photographers are judged each year
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COMPETITIONS
STiLL COmPETiTiON(singLe iMage)
Now that you’ve been inspired by
Lucy’s still life images it’s your turn
to have a go and remember, it
doesn’t have to be an apple!
Even if you don’t win you may still get
published on our Best of the Rest page.
Be in to win cover of Issue 18, and the
fabulous $100 voucher from the fabulous
people at Giclée Print. For all YOUR fine
art and canvas printing needs, visit www.
gicleeprint.co.nz
One entry per person, and you must be
in New Zealand or hold a NZ Passport at
the time of entry to qualify to win.
Images must be 100dpi, 1600
pixels wide, and sent to competitions@
nzphotographer.co.nz by 5pm on Monday
the 9th of August, 2010. Winner will be
published in Issue 18, out on Wednesday
the 18th of August, 2010
PHOTOgrAPy(singLe iMage)
a QUiCK reMinder…
NZ Photographer 33M
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Your “Adventure” images are due in
our email inbox no later than 5pm
Monday the 28th of June, 2010. What
we’re looking for is something in the style of
adventure photography – a child jumping off
a sand dune could win it if you do it well. Like
the motion blur competition, this one will go
to the person who thinks outside the square.
If you want to you can Google adventure
photographs and study the style.
Be in to win cover of Issue 17, and the
$100 voucher from the fabulous people
at Giclée Print. For all YOUR fine art
and canvas printing needs, visit www.
gicleeprint.co.nz
One entry per person, and you must be in
New Zealand or hold a NZ Passport at the
time of entry to qualify.
Images must be 100dpi, 1600 pixels wide,
and sent to competitions@nzphotographer.
co.nz by 5pm on Monday the 12th of July,
2010. Winner will be published in Issue 17,
out on Wednesday the 21st of July, 2010.
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The cool stuff in this section comes to you with help
from the knowledgeable people at www.engadget.
com. Each issue Ollie, our illustrious editor, trawls
through the amazing photographic gadgets and
gizmo’s to bring you the best of the best. Enjoy!
COOL GADGETS
Fujifilm’s rEAL 3d W1 didn’t exactly
get the warmest of welcomes, but
even today it remains one of the few
point-and-shoots that can natively take 3D
photographs. Here at NVIDIA’s Computex
press conference, the company slid in this
little nugget: Sony’s new Alpha series of
interchangeable lens compact cameras are
now compatible with NVIDIA’s 3D image
processing software. You won’t get your
Alpha growing a second lens or anything (at
least not yet), but any image you shoot with
it can be post-processed as 3D thanks to the
new partnership. Details beyond that were
few and far between, but the company’s
obviously stoked to have Sony onboard.
‘Course, with Sony’s own 3D obsession,
we wouldn’t be shocked to hear that every
single one of the outfit’s cameras will soon
be on the three-dee bandwagon in some
form or another.
Source: Engadget
Apple has unveiled its new iPhone 4 after a couple wild, unprecedented
months of leaks. Sure, it looks exactly
like we expected it to (Steve compares it
to an old Leica camera), with a glass front
and back, but it’s what’s on the inside that
counts, kids. The stainless steel band that
goes around the phone is an antenna system,
while also providing the main structure of
the phone, though it’s plugged into the same
old GSM / UMTS radio you all know and
love -- there’s a reason they didn’t call it the
iPhone 4G. There’s also of course that front
facing camera we were all anticipating, a
rear camera with LED flash, and a new high
resolution display that doubles the pixels in
each direction (960 x 640) for a 4X overall
pixel count increase -- Apple calls it a “Retina
Display.” It’s rated at 326ppi, which Apple
claims is beyond the human eye’s limit of
distinction. Check out an example of the
new screen up against the iPhone 3G here.
Similar to the iPad, it’s an IPS display, offering
800:1 contrast. Naturally, it’s still the same
old 3.5-inch size. Under the hood is the A4
processor that runs the iPad. Despite the new
engine (and the 25% thinner chassis), Apple
managed to make the battery slightly larger,
and the new handset is rated at 7 hours
of 3G talk, 6 hours of 3G browsing, 10
hours of WiFi browsing, 10 hours of video,
and 40 hours of music. Oh, and that WiFi?
It’s 802.11n now. The camera has been
bumped to 5 megapixels, with 5X digital
zoom and a “backside illuminated sensor,”
which now can also record HD video at
720p / 30fps.
Source: Engadget
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NZ PHOTOgrAPHEr…
HAvE yOU SUBSCriBEd TO NZ PHOTOgrAPHEr? iT’S FrEE!simply visit www.nzphotographer.co.nz to get a copy of nZ photographer delivered straight to your inbox every third wednesday!
NEXT ISSUE
Urban Photography
Crystallising Your Images (Hopefully this time!)
Adventure Competition Winner
Plus much more...
Issue 17, Out Wednesday 21st July 2010